Paul Simon / 2:48
Musicians (New York)
Bob Dylan: vocals, guitar
David Bromberg: dobro
Stu Woods: bass
Musician (Nashville)
Fred Carter Jr.: guitar (?)
Recording Studios
Columbia Recording Studios / Studio B, New York: March 3, 1970; Columbia Recording Studios, Nashville: March 12 and April 2, 1970
Technical Team
Producer: Bob Johnston
Sound Engineer (New York): Don Puluse
Sound Engineer (Nashville): Neil Wilburn
“The Boxer” appeared on the last studio album by the duo Simon & Garfunkel, Bridge over Troubled Water in 1970. It was released as a single in April 1969 and peaked at number 7 on the US Billboard Hot 100 chart, number 2 on the Dutch singles charts, and number 6 on the UK singles charts. Composed by Paul Simon, it was recorded by the duo at multiple locations, including Nashville, then St. Paul’s Chapel in New York City (due to the acoustics) and Columbia Studios. The first four verses take the form of a first-person lament. They tell the story of a young man who arrives in New York City, and, after struggling to find work and friends, he falls into debauchery among the prostitutes on Seventh Avenue. The fifth and final verse switches to a third-person sketch of a boxer who, despite “ev’ry glove that laid him down,” refuses to give up the fight—“But the fighter still remains.” The chorus is wordless, consisting of only three syllables, “lie-la-lie.” According to the British rock critic Chris Charlesworth, “The Boxer” represented a sustained attack on Bob Dylan, who had turned his back on folk music. It is difficult to agree with such a statement. After all, why would Dylan have chosen to record a song written as an attack on him?
“The Boxer” is not an essential title in the Dylan discography. Compared to Simon & Garfunkel’s version, the songwriter’s is weak. Dylan tries for the first time to sing in harmony with his own voice, and the result is not up to his usual standard. The two vocals are not synchronous, harmonization is lacking, and there is no charm in the exercise. The musicians try to accompany Dylan as best they can, but it is not enough. The acoustic guitarist playing solo in Nashville is misidentified. Studio records indicate Fred Carter Jr., but it could be Charlie Daniels or Charlie McCoy. “The Boxer” appears on Dylan’s concert setlists for only seven shows.
Boudleaux Bryant / 3:04
Musicians: Bob Dylan: vocals, guitar; Charlie Daniels: guitar; Norman Blake: guitar; Fred F. Carter: guitar; Pete Drake: pedal steel guitar; Bob Wilson: piano; Charlie McCoy: bass; Kenny Buttrey: drums; Hilda Harris, Albertine Robinson, and Maeretha Stewart: chorus / Recording Studio: Columbia Recording Studios, Nashville: April 26, 1969 / Producer: Bob Johnston / Sound Engineer: Neil Wilburn
Based in Nashville, Felice and Boudleaux Bryant were among the most prolific songwriters in country music throughout the 1950s. The duo helped Little Jimmy Dickens and the Everly Brothers move up the hit parade. The story of this song is summarized by its title, “Take Me As I Am (Or Let Me Go).”
A little Nashville romance, “Take Me As I Am (Or Let Me Go)” was recorded by countless artists, from Little Jimmy Dickens to Carly Simon. Bob Dylan’s version could hardly sound more “Nashville,” with his crooning voice and Pete Drake’s omnipresent pedal steel guitar. The arrangement is generally quite similar to those recorded by Dottie West, and millions of light-years from productions of 1969, including albums by the Beatles (Abbey Road), King Crimson (In the Court of the Crimson King), the Who (Tommy), the Velvet Underground, Nick Drake (Five Leaves Left), Led Zeppelin (I and II), the Rolling Stones (Let It Bleed), and many other examples.
Felice Bryant / Boudleaux Bryant / 2:47
Musicians: Bob Dylan: vocals, guitar; Fred F. Carter: guitar; Norman Blake: guitar; Charlie Daniels: guitar; Pete Drake: pedal steel guitar; Bob Wilson: piano; Charlie McCoy: bass; Kenny Buttrey: drums; Hilda Harris, Albertine Robinson, and Maeretha Stewart: chorus / Recording Studio: Columbia Recording Studios, Nashville: May 3, 1969 / Producer: Bob Johnston / Sound Engineer: Neil Wilburn
This composition by Felice and Boudleaux Bryant has many versions, including one by the Everly Brothers that reached number 16 in 1959. The song tells a story about a man from the West who loses his lover after attacking a stagecoach. He asks someone to take a message to the woman he loves, Mary, to tell her he wants to postpone their marriage, but, above all, not to reveal that he is in jail.
“Take a Message to Mary” was recorded in Nashville on May 3, 1969, two days after Dylan appeared on the Johnny Cash Show. Hence a very country atmosphere suffuses the session. The success of this piece lies once again in Dylan’s crooning voice, which comes in just after the chorus and is supported by a fairly strong orchestration. Bob Wilson at the piano plays a vital role. Once again, the parallel with Elvis Presley is strong.