Боб Диланның "Мұнара бойында" әні

1967 song by Bob Dylan

"All Along the Watchtower" is a song by American singer songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston. The song's lyrics, which in its original version contain twelve lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5–9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations. Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.

Following a motorcycle accident in July 1966, Dylan spent the next 18 months recuperating at his home in Woodstock and writing songs. According to Dylan biographer Clinton Heylin, all the songs for John Wesley Harding, Dylan's eighth studio album, were written and recorded during a six week period at the end of 1967. Dylan has claimed that he thought of the song during a thunderstorm. He recorded "All Along the Watchtower" on November 6, 1967, at Columbia Studio A in Nashville, Tennessee, Accompanying Dylan, who played acoustic guitar and harmonica, were two Nashville veterans from the Blonde on Blonde sessions: Charlie McCoy on bass guitar and Kenneth Buttrey on drums. The producer was Bob Johnston, who produced Dylan's two previous albums, Highway 61 Revisited in 1965 and Blonde on Blonde in 1966, and the sound engineer was Charlie Bragg. The final version of "All Along the Watchtower" resulted from two different takes during the second of three John Wesley Harding sessions. The session opened with five takes of the song, the third and fifth of which were spliced to create the album track. According to Gray, as with most of the album's selections, the song is a dark, sparse work that stands in stark contrast with Dylan's previous recordings of the mid 1960s.

Musicologist Wilfrid Mellers, noting the biblical references "All Along the Watchtower", wrote that the song "heroically confronts, in grandly swinging Aeolian melody, deeply oscillating bass and thrusting rhythm, the chaos of fallen man". Mellers considered that the sense of threat expressed in the lyrics was "not exterior to the tune which remains, in its noble arches over its gravely descending bass, unruffled". Musicology scholar Albin Zak finds a strong blues influence in the song which Dylan developed from his affinity for the blues of Robert Johnson and quotes Dylan's dedication in Writings and Drawings by Bob Dylan: "To the magnificent Woody Guthrie and Robert Johnson who sparked it off and to the great wondrous melodies spirit which covereth the oneness of us all." Zak sees "All Along the Watchtower" as showing a combination of the influences of Guthrie's ballad writing and Johnson's blues influences on Dylan. Zak compares Dylan's lyrics in the song directly to Johnson's "Me and the Devil Blues" (1938), stating that: "Dylan probes such fearful fatalism (of Johnson's lyrics) by grafting a narrative of alienation and apprehension onto a musical frame of implacable stability." The music of the song has been described by Zak, who wrote, "The song's entire harmonic substance consists of three chords repeated in an unchanging cyclic pattern over the course of its three verses and instrumental interludes. The melodic pitch collection, shared by voice and harmonica, consists almost entirely of the pentatonic C#, E, F#, G#, B, though each part is restricted to a four note subset. And the declamatory vocal melody gravitates throughout to one of two pitches." Zak then summarizes the entire song as: "The song's musical elements, extraordinarily delimited in number and function, combine to create an impression of unrelenting circularity, which accumulates, in turn, to impart a sense not of musical progression, but of a hovering atmosphere."

John Wesley Harding was released on December 27, 1967, less than two months after the recording sessions. Peter Johnson of the Los Angeles Times wrote that the track "brings out Dylan's talent for imagery", but felt the recording seems "fragmented and unfinished". It was regarded as the best track on the album by the reviewer for the Bucks Examiner. This sentiment was shared by Troy Irvine of The Arizona Republic, who felt that John Wesley Harding was better than any of Dylan's earlier albums. Journalist Paul Williams regarded the song as "an extraordinarily successful interaction" between Dylan, McCoy, and Buttrey, featuring "some of the best cinematography in modern song writing". In 2013, Jim Beviglia rated it as the 92nd best of Dylan's songs, writing that Dylan "creates a stifling air of portent and tension with his three succinct verses". Author Nigel Williamson, in 2021, listed the song 31st in Dylan's oeuvre. The following year, The Guardian included the song on a list of "80 Bob Dylan songs everyone should know". Rapper Kanye West identified it as his "favorite song of all time" in a 2022 interview in which he also expressed a desire to work with and write with Dylan. The track was released as the B side to "Drifter's Escape" in Italy on March 1, 1968, and as an A side, backed with "I'll Be Your Baby Tonight", in the Netherlands and Germany on November 22, 1968. In January 1969, the song was one of four John Wesley Harding songs included on an extended play release in Australia.

The Jimi Hendrix Experience began to record their version of Dylan's "All Along the Watchtower" on January 21, 1968, at Olympic Studios in London. Hendrix was musically attracted to Dylan's songs several times in his career, according to engineer Andy Johns. Hendrix had been given a reel to reel tape of Dylan's unreleased recordings at that point by publicist Michael Goldstein, who worked for Dylan's manager Grossman. "(Hendrix) came in with these Dylan tapes and we all heard them for the first time in the studio", recalled Johns. Stubbs writes that this was the second of Dylan's songs Hendrix had adapted to his own style, the first being "Like a Rolling Stone" played earlier at Monterey.

Dogget described the interpretation of the song: "Hendrix used the sound of the studio to evoke the storms and the sense of dread, creating an echoed aural landscape." Although Zak has written of both the Dylan and the Hendrix versions of the song as influenced by blues players such as Robert Johnson, he has stated that the Hendrix version is much closer in its blues style to the songs and style of Muddy Waters, stating: "If Dylan's crying blues is reminiscent of Robert Johnson, Hendrix's shout calls to mind Muddy Waters and his 'deep tone with a heavy beat'."

According to Hendrix's regular engineer Eddie Kramer, the guitarist cut a large number of takes on the first day of recording in January in London, shouting chord changes at Dave Mason who featured at the session and played an additional 12 string guitar. but Hendrix was quickly dissatisfied with the result and went on re recording and overdubbing guitar parts during June, July, and August at the Record Plant studio in New York City. By the end of the sessions, Kramer and Hendrix had 16 tracks to use for mixing the song that soon became the intended single of the album. over a month prior to the album release on Electric Ladyland. Dylan gave it a glowing review in the Melody Maker magazine, which pleased Hendrix greatly. It reached number 20 on the US Billboard Hot 100 chart, Hendrix's highest ranking American single and only Top 40 hit to date. becoming the first UK stereo only single to do so. Hendrix soon became reluctant about performing the song live, and after three months it disappeared from the setlist. In the booklet accompanying his 1985 Biograph album, Dylan said: "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way Strange how when I sing it, I always feel it's a tribute to him in some kind of way." In 1974, Dylan, with the Band, embarked on his first concert tour since his 1966 world tour. From the first show of the Bob Dylan and the Band 1974 Tour on January 3, 1974, in Chicago, the shows featured what Heylin described as a "Hendrixized" version of "All Along the Watchtower". Stubbs contended that through the "more heavy duty arrangement of it on [the album]", Dylan "practically conceded that Hendrix made the song his own". They opined that as Dylan's vocal range has narrowed and his delivery of lyrics became more brusque, listening to the song in concert, audience members "must either take it as a painfully constricted, even dismissive reference to the song the album gave us in 1967, or hear in it a compendium of all the history, Dylan's own and others', musical and other, between then and now, or as much of that history as we can know". In The Bob Dylan Encyclopedia, Gray noted that this is the most often performed of all of Dylan's songs. In recent years, Dylan has taken to singing the first verse again at the end of the song in live performances. As Gray notes in his Bob Dylan Encyclopedia: blockquote|"Dylan chooses to end in a way that at once reduces the song's apocalyptic impact and cranks up its emphasis on the artist's own centrality. Repeating the first stanza as the last means Dylan now ends with the words 'None of them along the line/Know what any of it is worth' (and this is sung with a prolonged, dark linger on that word 'worth')."

The original recording of "All Along the Watchtower" appears on several of Dylan's subsequently released "greatest hits" albums, as well as his two box set compilations, Biograph, released in 1985, and Dylan, released in 2007. In addition, Dylan has released live recordings of the song on the following albums: Before the Flood (recorded February 1974); Bob Dylan at Budokan (recorded March 1978); Dylan & The Dead (recorded July 1987); and MTV Unplugged (recorded November 1994). The track has been covered by dozens of artists, including Bobby Womack on Facts of Life (1973), XTC on White Music (1978), and U2 on Rattle and Hum (1988). A dance music remix by Funkstar De Luxe was released in 2001. Hendrix's recording of the song appears at number 40 on the 2021 Rolling Stone 500 Greatest Songs of All Time (up from 48 in the 2004 version), and in 2000, British magazine Total Guitar named it top of the list of the greatest cover versions of all time. Hendrix's guitar solo was included at number five on Guitar Worlds list of the 100 Greatest Guitar Solos. His version of "All Along The Watchtower" was listed by Billboard in 2015 as one of the "Most Overplayed Songs in Movies". and in 2021, American Songwriter ranked it number one on their list of his 10 greatest songs.