Written and Recorded by Bob Dylan
Bob Dylan has blessed us with a tremendous catalog of music, but the majority of these songs do not follow a traditional pop song format, and hence, no bridges! But, there are a few Dylan classics that do feature wonderful bridges. So, if you’d like to read more, please, stay lady stay…
“Lay Lady Lay” tells the story of a man who can’t quite convince his gal that he’s the one. Our narrator is head-over-heels for this woman, but she’s a bit more ambivalent about her feelings for him, or if she even wants to settle in with one lover at all.
Dylan was deep into his country music period in the late 60s and Nashville Skyline provided us with plenty of on-brand references, lyrics and music beyond the album title. The country themes often harken back to the cowboy days of the Old West, so if you’re going to have a bed, it should be big and brass. But, our protagonist is offering his object of desire more than just a romp in the hay:
Whatever colors you have in your mind
I'll show them to you and you'll see them shine
And he promises her that he’s worth the time – he’s not just another cowboy looking to love ‘em and leave ‘em.
His clothes are dirty, but his hands are clean
And you're the best thing that he's ever seen
But perhaps his sales pitch is not being well-received and she’s still not convinced. So it’s time to get into her head to keep her in bed. And this is when we get to the bridge.
Why wait any longer for the world to begin?
You can have your cake and eat it too
Why wait any longer for the one you love
When he's standing in front of you?
These are excellent questions, and I hope our protagonist can get some answers, because he seriously longs for her. These questions seem straightforward and simple, but does the music tell a different story?
The rest of the song is arranged with a simple rhythmic approach. Congas, an on-brand cowbell, limited drums and a sparse bass part focused on root notes. But in the bridge, we find further syncopation and a more active bassline. Is this a product of the studio sessions and a coincidence, or indicative of the complications of relationships?
Either way, it’s a lovely bridge, and a relatively rare one within Dylan’s body of work. There are a few more, and perhaps I’ll get them in the future. But for now, I’m tired – time for a nap on that big brass bed!
-MJK
Bob Dylan has blessed us with a tremendous catalog of music, but the majority of these songs do not follow a traditional pop song format, and hence, no bridges! But, there are a few Dylan classics that do feature wonderful bridges. So, if you’d like to read more, please, stay lady stay…
“Lay Lady Lay” tells the story of a man who can’t quite convince his gal that he’s the one. Our narrator is head-over-heels for this woman, but she’s a bit more ambivalent about her feelings for him, or if she even wants to settle in with one lover at all.
Dylan was deep into his country music period in the late 60s and Nashville Skyline provided us with plenty of on-brand references, lyrics and music beyond the album title. The country themes often harken back to the cowboy days of the Old West, so if you’re going to have a bed, it should be big and brass. But, our protagonist is offering his object of desire more than just a romp in the hay:
Whatever colors you have in your mind
I'll show them to you and you'll see them shine
And he promises her that he’s worth the time – he’s not just another cowboy looking to love ‘em and leave ‘em.
His clothes are dirty, but his hands are clean
And you're the best thing that he's ever seen
But perhaps his sales pitch is not being well-received and she’s still not convinced. So it’s time to get into her head to keep her in bed. And this is when we get to the bridge.
Why wait any longer for the world to begin?
You can have your cake and eat it too
Why wait any longer for the one you love
When he's standing in front of you?
These are excellent questions, and I hope our protagonist can get some answers, because he seriously longs for her. These questions seem straightforward and simple, but does the music tell a different story?
The rest of the song is arranged with a simple rhythmic approach. Congas, an on-brand cowbell, limited drums and a sparse bass part focused on root notes. But in the bridge, we find further syncopation and a more active bassline. Is this a product of the studio sessions and a coincidence, or indicative of the complications of relationships?
Either way, it’s a lovely bridge, and a relatively rare one within Dylan’s body of work. There are a few more, and perhaps I’ll get them in the future. But for now, I’m tired – time for a nap on that big brass bed!
-MJK
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