Tony Attwood, a long-time admirer of Bob Dylan, often cites metaphor as the cornerstone of Dylan’s enduring appeal. For Attwood, Dylan’s genius lies in his ability to elevate the mundane, to offer layers of meaning through poetic imagery and veiled narratives. This deep appreciation for metaphorical language explains Attwood’s complex relationship with Dylan’s 1979 Grammy-winning song, “Gotta Serve Somebody.” While commercially successful and critically recognized by some, Attwood finds the track to be a significant departure from Dylan’s strengths, primarily due to its stark lyrical directness and absence of the very metaphor he so cherishes. This article delves into the reasons behind this critique, exploring why “Gotta Serve Somebody,” despite its accolades, can be seen as an anomaly in Dylan’s vast and often enigmatic catalog.
The Metaphorical Brilliance of Dylan and the Shift in “Gotta Serve Somebody”
Attwood eloquently states that “metaphor…is the key to the language. It gives us the chance to fly.” This sentiment encapsulates why many are drawn to Dylan’s work. Songs like “Blowin’ in the Wind” and “The Times They Are a-Changin'” resonate not just through their immediate message, but through their evocative symbolism and open-ended interpretations. Dylan’s folk and rock anthems often invite introspection and personal connection through metaphorical storytelling, a quality Attwood finds largely absent in “Gotta Serve Somebody.”
In stark contrast to Dylan’s typical lyrical approach, “Gotta Serve Somebody” presents a forthright declaration: “You’re gonna have to serve somebody.” There’s no poetic veil, no intricate wordplay designed to unlock deeper meanings. As Attwood points out, “the answer is not blowing in the wind – there is no wind, nothing is blowing, the world is not a stage, it is what it is, here is the answer, no arguing allowed.” This directness, while perhaps effective in conveying its message, strips away the ambiguity and metaphorical richness that many fans, including Attwood, consider essential to the Dylan experience. The song offers a clear-cut choice, a binary option of service, leaving little room for the listener’s own interpretation or metaphorical exploration.
Lyrical Examination: Preaching or Straightforward Declaration?
The lyrical content of “Gotta Serve Somebody” is undeniably the focal point of Attwood’s critique. The song’s verses paint a picture of worldly figures – ambassadors, gamblers, heavyweight champions, rock stars – each representing different facets of life and societal roles. However, these diverse figures are all united by the song’s central thesis: “You’re gonna have to serve somebody.” The repetitive nature of this chorus, iterated seven times, reinforces the unwavering message.
While some might interpret this directness as powerful conviction, Attwood views it as leaning towards preaching, a style he finds less compelling than Dylan’s more nuanced storytelling. He acknowledges Dylan’s right to express his beliefs but questions the artistic effectiveness of such an unambiguous and repetitive message, particularly when compared to the metaphorical depth of Dylan’s other work. The question arises whether the song aims to provoke thought or simply to assert a belief, and for Attwood, it leans heavily towards the latter, lacking the engaging ambiguity that typically characterizes Dylan’s songwriting.
Musical Simplicity and the Supporting Role of the Backing Track
Musically, “Gotta Serve Somebody” is relatively straightforward. The song is rooted in A minor, with verses largely revolving around that chord before transitioning to D major for the chorus. Attwood notes the “horrible sameness” and the repetitive chord structure, describing it as a “nice sound as a backing track – but it needs really exciting lyrics over the top to make it work.” He finds the melody “fair enough” but ultimately lacking in dynamism and unexpected turns.
This musical simplicity, while perhaps intentional to emphasize the lyrical message, contributes to Attwood’s overall impression of the song as “very ordinary.” He suggests that the music, rather than elevating the lyrics, simply provides a backdrop, and in his view, the lyrics themselves don’t possess the inherent excitement or complexity to fully captivate the listener, especially in the absence of Dylan’s signature metaphorical style. The song’s musical structure, while competent, doesn’t offer the innovative chord progressions or melodic intricacies that often define Dylan’s most celebrated compositions.
Context and Reception: Grammy Win and Confused Acclaim
“Gotta Serve Somebody” was the opening track on Dylan’s 1979 album “Slow Train Coming,” an album marking a significant shift towards overtly Christian themes in his music. Despite Attwood’s reservations, and perhaps surprisingly to him, the song garnered considerable acclaim, winning the Grammy Award for Best Rock Vocal Performance by a Male in 1979 and even becoming a hit single. Attwood expresses his incomprehension at this widespread positive reception, highlighting the disparity between the song’s critical and commercial success and his own perception of its artistic merit within Dylan’s broader oeuvre.
The Grammy win and commercial success underscore the song’s broad appeal at the time, possibly resonating with audiences through its direct message and timely exploration of spiritual themes during a period of cultural and societal shifts. However, for long-time Dylan enthusiasts like Attwood, who value the metaphorical depth and lyrical complexity of his earlier work, the song’s accolades remain somewhat perplexing, reinforcing the notion that “Gotta Serve Somebody” occupies a unique and perhaps divisive position within Dylan’s discography.
Echoes of “Heaven”: Irony and Direct Interpretation
Attwood draws a compelling comparison between “Gotta Serve Somebody” and Talking Heads’ “Heaven,” released in the same year. He interprets David Byrne’s “Heaven” as an ironic commentary on the potentially monotonous nature of perfection and eternity, where “nothing ever happens.” Byrne’s lyrics suggest that heaven’s unchanging perfection, while seemingly desirable, could ultimately lead to boredom.
Attwood posits that Dylan, in “Gotta Serve Somebody,” might have inadvertently embraced this idea of unchanging sameness, but without the irony. He suggests that the repetitive structure and direct message of “Gotta Serve Somebody” inadvertently mirror the static, uneventful nature of Byrne’s ironic heaven. While Byrne uses irony to critique the concept of perfect, unchanging bliss, Attwood argues that Dylan’s song, in its directness and musical simplicity, unintentionally embodies a similar sense of monotony, albeit in a different context. This comparison highlights the contrasting approaches to thematic exploration and artistic expression between the two songs, further emphasizing Attwood’s critique of “Gotta Serve Somebody” as lacking the nuanced depth he typically associates with Dylan’s best work.
Conclusion: A Departure from Dylan’s Norm
Tony Attwood’s critique of “Gotta Serve Somebody” centers on its departure from the metaphorical richness and lyrical ambiguity that he, and many others, consider hallmarks of Bob Dylan’s songwriting genius. While acknowledging the song’s commercial success and Grammy win, Attwood argues that its direct message, repetitive structure, and musical simplicity render it an anomaly within Dylan’s vast and varied catalog. His analysis highlights the subjective nature of musical appreciation and the diverse expectations fans bring to an artist as multifaceted as Bob Dylan. “Gotta Serve Somebody,” while undoubtedly a significant song in Dylan’s transitional period, serves as a fascinating case study in how a departure from an artist’s established style can elicit both acclaim and critical reservation, particularly from those who deeply value the very elements that are intentionally or unintentionally absent.
