Feeling Ill About Bob Hugging George And Saying "if Only We'd Done Three Shows!" After The Concert For

Maybe i’m literally just fucking crazy but also it feels like a callback to idiot wind

“i woke up on the roadside” “i’ve been sleeping on the road” and then talks about what’s in his head . now obviously the going going gone line is more specific to the fact he’s been on tour for a year during the rolling thunder revue, but still.

and holy fucking shit the line about diamonds and rust. BEFORE it’s all diamonds and rust . he’s saying that he feels he can salvage their relationship and not leave it in this “diamonds and rust” memory, that they can still be friends and have some sort of nuance - but first, for joan’s own good, and bobs, joan has to let go. joan has to stop loving him. and he knows it too, and he’s saying the same to himself too.

the first time he sings this verse he’s more gentle. he also admits that he’s still in love with joan. literally just right then and there. he says i’m in love with you, but you have to understand that freeing yourself means letting go of me. the next time he just says “i’ve been telling you baby”, being a bit more mean and direct. he still calls her baby but it’s still way more like “come on just get over it”.

i think it can also connect to this line from winds of the old days about being set free -

this entire song is about bob, but this line directly references a hard rains a gonna fall. there’s so much analysis to be done of this line and how it’s about bob moving on from protest song and also how bob not only lies to all the reporters, but to his loved ones. “the sixties are over so set him free” means leaving that all behind, and i think yes she’s singing to bob but here she’s singing a bit to herself, saying that her and bob will never be together, it’s no longer the sixties so she needs to let their potential child go. and i think bob is directly responding to this: you want to be free, it’s you who needs to let go, not me. and this goes back to bob Not Taking Responsibility like in a simple twist of fate. i forgot if i yapped about it here but like when joan changed the lyrics to simple twist of fate, bob was originally just “i was born too late blame it on a simple twist of fate” but joan said basically i’m better than this, she adds “i was born too late to blame it on a simple twist of fate”, meaning i’m not just going to simply blame it on fate, i know what i’ve done and i’ve taken my own actions. and bob does the same thing here, he refuses to acknowledge that he also initiated shit with joan . and holy fucking shit this song is insane

Another favourite moment from ‘Get Back’ is when George is complaining about delaying takes for ciggies, tea and wine so they immediately turned the recording light on him. He was ready tho.

I love this it looks like you've just walked in on him telling telling art garfunkel how to cast wizard spells and art is so enraptured and george is speaking so intimately and so close but then you set off george's wizard senses and he hones in on you from across the room watching him whisper sweet alchemical nothings in art garfunkel's ear and he vaporizes you on the spot by invoking the power of the crystal ball he trapped tom petty in 1000 times (also a wizard.)

Miss O'Dell: Hard Days and Long Nights with The Beatles, The Stones, Bob Dylan and Eric Clapton / Romeo and Juliet; Dire Straights / If Not For You; George Harrison and Bob Dylan / George Harrison for Creem magazine; 1987 / Tom Petty for Rolling Stone; 2002 / Romeo and Juliet; Dire Straights / Bob Dylan for Rolling Stone; 2001

George Harrison & Bob Dylan “If Not For You” Concert For Bangladesh rehearsal, July 31, 1971.

George Harrison smile appreciation post (1/?)

“I was falling in love. When I heard those songs I melted. They were mana from heaven to me. And he was so shy and fragile. I wanted to mother him and he seemed to want and need it. He seemed so helpless.”

-Joan Baez recalling her “first dates” with Bob Dylan, Positively 4th Street by David Hajdu

George Harrison visiting Bob Dylan, Sara Lownds, and Robbie Robertson near Woodstock, NY (November of 1968). In Bob’s home, he and George wrote “I’d Have You Anytime”.

George on writing with Bob:

George “I liked ‘I’d Have You Anytime’ because of Bob Dylan. I was with Bob and he had gone through his broken neck period and was being very quiet, and he didn’t have much confidence. That’s the feeling I got with him in Woodstock. He hardly said a word for a couple of days. Anyway, we finally got the guitars out and it loosened things up a bit. It was really a nice time with his kids all around, and we were just playing. It was near Thanksgiving. He sang me that song and he was very nervous and shy and he said 'What do you think about this song?’ And I felt strongly about Bob when I had been in India years before, the only record I took with me along with all my Indian records was Blonde on Blonde. I somehow got very close to him, you know, because he was so great, so heavy and observant about everything. And yet, to find him later very nervous and with no confidence. But the thing he said on Blonde on Blonde about what price you have to pay to get out of going through all things twice, 'Oh mama, can this really be the end.’ And I thought, 'Isn’t it great?’ because I know people are going to think, 'Shit, what’s Dylan doing?’ But as far as I was concerned, it was great for him to realise his own peace and it meant something. You know, he had always been so hard and I thought, 'A lot of people are not going to like this,’ but I think it’s fantastic because Bob has obviously had the experience. I was saying to him, 'You write incredible lyrics,’ and he was saying, 'How do you write those tunes?’ So I was just showing him chords like crazy, and I was saying, 'Come on, write me some words,’ and he was scribbling words down and it just killed me because he had been doing all these sensational lyrics. And he wrote, 'All I have is yours, All you see is mine, And I’m glad to hold you in my arms, I’d have you anytime.’ The idea of Dylan writing something, like, so very simple, was amazing to me.”

(‘The Beatles: Off The Record 2 - The Dream is Over’, Keith Badman)

I’d Have You Anytime was started in Woodstock - I was invited by The Band. It was Thanksgiving time… I was hanging in his house, with him, Sara and his kids. He seemed very nervous and I felt a little uncomfortable - it seemed strange especially as he was in his own home. Anyway, on about the third day we got the guitars out and then things loosened up and I was saying to him 'Write me some words’, and thinking of all this: 'Johnnie’s in the basement, mixing up the medicine’, type of thing and he was saying 'Show me some chords. How do you get those tunes?’ I started playing chords, like major sevenths, diminisheds and augmenteds and the song appeared as I played the opening chord (G major 7th) and then moved the chords shape up the guitar neck (B flat Major 7th). The first thing I thought was: 'Let me in here/I know I’ve been here/Let me into your heart’. I was saying to Bob 'Come on, write some words’. He wrote the bridge: 'All I have is yours/All you see is mine/And I’m glad to hold you in my arms/I’d have you anytime.’ Beautiful. And that was that.

(‘I, Me, Mine’, George Harrison)

George Harrison at Friar Park