Man Gave Names to All the Animals

Last updated
"Man Gave Names to All the Animals"
Man Gave Names to All the Animals cover.jpg
French cover
Single by Bob Dylan
from the album Slow Train Coming
B-side
  • "Trouble in Mind" (France)
  • "When He Returns" (Europe)
  • "When You Gonna Wake Up"(US)
Released1979
RecordedMay 4, 1979
Muscle Shoals Sound Studios
Genre
Length4:25
Label Columbia Records
Songwriter(s) Bob Dylan
Producer(s) Jerry Wexler
Barry Beckett
Bob Dylan singles chronology
"Forever Young"
(1978)
"Man Gave Names to All the Animals"
(1979)
"Gotta Serve Somebody"
(1979)

"Man Gave Names to All the Animals" is a song written by Bob Dylan that appeared on his 1979 album Slow Train Coming and was also released as a single in some European countries, becoming a chart hit in France and Belgium. It was also released as a promo single in the US. [4] [2] However, some have labelled it the worst song Dylan ever wrote. [2] A 2013 reader's poll conducted by Rolling Stone magazine, ranked "Man Gave Names to All the Animals" as being the fourth worst Bob Dylan song, behind "Gotta Serve Somebody" (the hit single from Slow Train Coming) in second place. [5]

Contents

"Man Gave Names to All the Animals" has been covered by multiple artists, including Townes Van Zandt, who covered the song on his 1993 album Roadsongs . [2] The lyrics were turned into a children's book published by Harcourt in 1999, with illustrations by Scott Menchin. [2] The Singing Kettle covered this song in the second episode of their third BBC television series, while The Wiggles covered it on their album Furry Tales in 2013.

Lyrics and music

The music to "Man Gave Names to All the Animals" is reggae-inspired. [2] [3] The lyrics were inspired by the biblical Book of Genesis, chapter 2 verses 19–20 in which Adam named the animals and birds. [2] [3] The lyrics have an appeal to children, rhyming the name of the animal with one of its characteristics. So after describing an animal's 'muddy trail' and 'curly tail', Dylan sings that 'he wasn't too small and he wasn't too big' and so that animal was named a pig. [3] Similarly, the cow got its name because Adam 'saw milk comin' out but he didn't know how' and the bear got its name because it has a 'great big furry back and furry hair'. [3]

In the last verse, the lyrics take a more sinister turn. [4]

Saw an animal as smooth as glass
Slithering his way through the grass
Saw him disappear by a tree near a lake

The verse ends there, with the music hanging and the lyrics avoiding naming the snake. [4] [3] In concert, Dylan sometimes elaborated on the meaning of the snake to him at the time. [4] For example, in a concert in Pittsburgh in May 1980, Dylan confirmed that the animal in the final verse is the same snake that appeared to Adam and Eve in the Garden of Eden; [4] in Dylan's description that day, Lucifer had put his spirit into that snake, and Jesus later died not only for forgiveness of sins but also to destroy the devil's work. [4] Despite the obvious biblical source for the song, Dylan avoids any explicit mention of Adam and Eve, which (to author Oliver Trager) seems to pin the blame for the fall of man solely on the snake. [2] Music critic Michael Gray finds it interesting that Dylan avoids blaming Eve for man's fall, appreciating that he stops 'the song short on a beautifully hungover note at the arrival on the scene of the serpent'. [6]

According to back-up singer Regina Havis Brown, originally Dylan was not sure if he wanted to include "Man Gave Names to All the Animals" on Slow Train Coming. [2] But when Dylan heard Brown's three-year-old son laughing at the identification of the animals, he said 'I'm going to put that on the record.' [2]

Live performances

Dylan regularly played "Man Gave Names to All the Animals" in concert between 1979 and 1981, and he played it in concert again during his 1987 tour of Europe, in light of the song's popularity there. [4] [2] In concert, he often played with the lyrics, switching animals and messing up the rhymes. [2] For example, the line 'he wasn't too small and he wasn't too big' might be followed by identifying the animal as a giraffe rather than a pig. [2] [7] Dylan's back-up singers would often hiss to replace the missing line identifying the snake. [2]

Reception

Rolling Stone described "Man Gave Names to All the Animals" as being 'clever' but 'not very profound' and that although it 'went over pretty well live', it is 'simplistic' and easy to see 'why it has detractors'. [5] Author John Nogowski calls it 'an embarrassment', 'silly', and 'just awful'. [8] But music critic Michael Gray praised it as one of the stand-out tracks on Slow Train Coming, citing its humor, its quality as a children's song, and the self-mocking contrast to the more fundamentalist tone of the songs Dylan wrote during this period. [6] Cash Box said that the song combines "gospel-tinged theme and backup singing with reggae-inspired rhythmic approach" and that "there is subtle humor here in the lyrical, child-like rhymes." [9] Record World said it "has a light reggae beat with a marvelous recurring keyboard line." [10]

Notable covers

The song has been covered by over a dozen artists. Among the most notable versions are those by Townes Van Zandt, Julie Felix, Tim O'Brien and Jason Mraz. French singer Hugues Aufray translated the lyrics into French (as "L'homme dota d'un nom chaque animal") and recorded it twice: in a solo version in 1995 and as a duet with Alain Souchon in 2009. Brazilian singer-songwriter Zé Ramalho also translated the lyrics into Portuguese, as "O Homem Deu Nome a Todos os Animais", which was covered by Adriana Calcanhotto in her album for children named Adriana Partimpim. [11]

Related Research Articles

"Absolutely Sweet Marie" is a song by American singer-songwriter Bob Dylan, which was released on the third side of the double album and Dylan's seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It was recorded at around 1:00 am on March 8, 1966, at Columbia Studio A, Nashville. Some commentators have interpreted the song as being about sexual frustration.

"Angelina" is a song by American singer-songwriter Bob Dylan, recorded on March 26, 1981, for his album Shot of Love but not included on the record. The song was written by Dylan and produced by Jimmy Iovine. A version was released on The Bootleg Series Volumes 1-3 1961-1991 on March 26, 1991, exactly ten years later. A different take was issued on The Bootleg Series Vol. 16: Springtime in New York 1980–1985 in 2021. Critics have expressed their lack of understanding of the lyrics, whilst generally affording the song a positive reception. Dylan's rhyming of the name in the title of the song with "concertina", "hyena", "subpoena", "Argentina" and "arena" has attracted commentary, with scholar Nicholas Birns calling the rhymes "bravura and ... provocative".

<span class="mw-page-title-main">The Ballad of Frankie Lee and Judas Priest</span> 1967 song by Bob Dylan

"The Ballad of Frankie Lee and Judas Priest" is a song by American singer-songwriter Bob Dylan. It was released as the fifth track on his eighth studio album John Wesley Harding (1967). The track was written by Dylan and produced by Bob Johnston. It was recorded in one take on October 17, 1967, at Columbia Studio A in Nashville. The song's lyrics refer to two friends, Frankie Lee and Judas Priest. Lee asks Priest for a loan of money and Priest offers it freely. Lee spends it in a brothel over 16 days, then dies of thirst in Priest's arms. It has been suggested by commentators that the song refers to Dylan's relationship with his manager Albert Grossman or to his contractual negotiations with his record company. The song received a mixed critical reception. Dylan performed the song live in concert 20 times, from 1987 to 2000.

<span class="mw-page-title-main">Leopard-Skin Pill-Box Hat</span> 1967 song by Bob Dylan

"Leopard-Skin Pill-Box Hat" is a song by the American singer-songwriter Bob Dylan, which was released on the second side of his seventh studio album Blonde on Blonde (1966). The song was written by Dylan, and produced by Bob Johnston. Dylan has denied that the song references any specific individual, although critics have speculated that it refers to Edie Sedgwick, who Dylan had spent time with in December 1965.

"Tombstone Blues" is a song by American singer-songwriter Bob Dylan, which was released as the second track on his sixth studio album Highway 61 Revisited (1965). The song was written by Dylan, and produced by Bob Johnston. Critical interpretations of the song have suggested that the song references the Vietnam War and US President Lyndon Baines Johnson.

<span class="mw-page-title-main">Stuck Inside of Mobile with the Memphis Blues Again</span> 1966 song by Bob Dylan

"Stuck Inside of Mobile with the Memphis Blues Again" is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971).

<span class="mw-page-title-main">Pledging My Time</span> 1966 single by Bob Dylan

"Pledging My Time" is a blues song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song, written by Dylan and produced by Bob Johnston, was recorded on March 8, 1966 in Nashville, Tennessee. Dylan is featured on lead vocals, harmonica, and guitar, backed by guitarist Robbie Robertson and an ensemble of veteran Nashville session men.

<span class="mw-page-title-main">One of Us Must Know (Sooner or Later)</span> 1966 single by Bob Dylan

"One of Us Must Know (Sooner or Later)" is a song by American singer-songwriter Bob Dylan, which was released as a single on February 14, 1966, and as the fourth track on his seventh studio album Blonde on Blonde in June of that year. The song was written by Dylan and produced by Bob Johnston. It is the narrator's account of a burned-out relationship. It was recorded at Columbia studio A in New York on January 25, 1966, with Dylan and other musicians developing the song through over twenty takes during the session.

"To Ramona" is a song by American singer-songwriter Bob Dylan, first released on his fourth studio album, Another Side of Bob Dylan (1964). The song was written by Dylan, and produced by Tom Wilson. The lyrics were started at the May Fair Hotel in London in May 1964, and finished during a week-long stay in the Greek village of Vernilya later that month. Dylan recorded all the tracks for the album, including the song, in a single three-hour session on June 9, 1964, at Studio A, Columbia Recording Studios, New York. Its narrator advises Ramona, who is preparing to return to "the South", not to follow the advice of others. Critics have suggested several different people as inspirations for the song, including Joan Baez, Suze Rotolo, and Sara Lownds.

"Love Minus Zero/No Limit" is a song written by Bob Dylan for his fifth studio album Bringing It All Back Home, released in 1965. Its main musical hook is a series of three descending chords, while its lyrics articulate Dylan's feelings for his lover, and have been interpreted as describing how she brings a needed zen-like calm to his chaotic world. The song uses surreal imagery, which some authors and critics have suggested recalls Edgar Allan Poe's "The Raven" and the biblical Book of Daniel. Critics have also remarked that the style of the lyrics is reminiscent of William Blake's poem "The Sick Rose".

<span class="mw-page-title-main">Most Likely You Go Your Way and I'll Go Mine</span> 1966 song by Bob Dylan

"Most Likely You Go Your Way and I'll Go Mine", or "Most Likely You Go Your Way (and I'll Go Mine)", is a song by American singer-songwriter Bob Dylan. It was released as the first track on side three of his seventh studio album Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. Dylan recounted that he had probably written the song after the end of a relationship. The song's narrator criticizes the lies and weakness of a woman, and says that he finds it hard to care. The final verse establishes that the woman has been unfaithful to the narrator by having a relationship with another man, as he suspected all along.

<i>Roadsongs</i> (Townes van Zandt album) 1994 live album by Townes Van Zandt

Roadsongs is a live album of cover songs released by folk/country singer–songwriter Townes Van Zandt in 1994.

<span class="mw-page-title-main">Precious Angel</span> 1979 single by Bob Dylan

"Precious Angel" is a song written by Bob Dylan that first appeared on his 1979 album Slow Train Coming. It was also released as a single in the Netherlands. "Precious Angel'" is a religious love song, released during his "born-again Christian" period. Music critic Michael Gray considers it one of the standout tracks on Slow Train Coming.

"John Brown" is a song by American singer-songwriter Bob Dylan. The song, written in October 1962 was released under his pseudonym "Blind Boy Grunt" on the Folkways Records compilation album Broadside Ballads, Vol. 1 (1963). Live performances have been officially released on MTV Unplugged (1995), Live at The Gaslight 1962 (2005), and Live 1962–1966 – Rare Performances From The Copyright Collections (2018). A demo version was issued on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964 (2010).

<span class="mw-page-title-main">Slow Train (Bob Dylan song)</span> 1980 single by Bob Dylan

"Slow Train" is a song written by Bob Dylan that first appeared on his 1979 album Slow Train Coming. In the United States, it was released as the follow-up single to "Gotta Serve Somebody." It was also released as the lead song from Dylan's 1989 live album with the Grateful Dead, Dylan & the Dead. Music critic Paul Williams has called it "the one track [on Slow Train Coming] that must be listened to again and again and again, inexhaustible, essential." Rolling Stone editor Jann Wenner has called it "nothing less than Dylan's most mature and profound song about America". Cover art by Catherine Kanner

<span class="mw-page-title-main">Bob Dylan Gospel Tour</span> 1979–80 concert tour by Bob Dylan

The Bob Dylan Gospel Tour was a concert tour by American singer-songwriter Bob Dylan that consisted of 79 concerts in North America in three legs, lasting from November 1, 1979 to May 21, 1980.

"Temporary Like Achilles" is a song by American singer-songwriter Bob Dylan that was released on side three of his double album, Blonde on Blonde (1966). The song was written by Dylan, and produced by Bob Johnston. It was recorded at Columbia Studio A, Nashville, Tennessee on March 9, 1966. The song is a blues number that incorporates elements of Dylan's incomplete "Medicine Sunday", which he had recorded with members of the Band in New York in October 1965. The song describes a narrator's frustration at being kept waiting by a woman that he wishes to be romantically involved with, who is guarded by "Achilles". Some critics have suggested that the song references the Iliad.

"You're No Good" is a song by Jesse Fuller that appeared as the opening track on Bob Dylan's eponymous debut album (1962). Eight takes were recorded by Dylan on November 20, 1961. He learnt the song directly from Fuller in Denver; Fuller's own recorded version was not released until May 13, 1963, on his album San Francisco Bay Blues. The song concerns the narrator's difficult relationship with a woman, and concludes with the narrator wanting to "lay down and die". Dylan's version is more uptempo than Fuller's, and has some changes to the lyrics; it has been positively reviewed by critics.

"Highway 51 Blues" was the title of a song composed by American blues pianist Curtis Jones, released on a 78 record on January 12, 1938, which was popular enough to spawn several covers and offshoots, including "New Highway 51," recorded in 1940 by the Mississippi guitarist and singer Tommy McClennan. Bob Dylan's track "Highway 51", released as the closing track of the first side of his debut album Bob Dylan on March 19, 1962, was based on McLennan's recording.

"I Shall Be Free No. 10" is a song by American singer-songwriter Bob Dylan, which was released as the fifth track on his fourth studio album Another Side of Bob Dylan (1964). The song was written by Dylan and produced by Tom Wilson. The song is a humorous talking blues, indebted to earlier songs including Lead Belly's "We Shall Be Free". Dylan opens the song by proclaiming that he is normal and average, but then acknowledges his reputation by singing the self-aware doggerel "Yippee! I'm a poet, and I know it/ Hope I don't blow it".

References

  1. Neill, Logan (September 16, 2005). "Audio Files". Tampa Bay Times. Archived from the original on October 11, 2023. Retrieved November 24, 2020.
  2. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Trager, O. (2004). Keys to the Rain. Billboard Books. pp. 409–410. ISBN   0823079740.
  3. 1 2 3 4 5 6 Rogovoy, S. (2009). Bob Dylan: Prophet Mystic Poet. Scribner. p. 208. ISBN   9781416559153.
  4. 1 2 3 4 5 6 7 Heylin, C. (2010). Still on the Road. Chicago Review Press. pp.  143–144. ISBN   9781556528446.
  5. 1 2 "Readers' Poll: The 10 Worst Bob Dylan Songs". rollingstone.com. Archived from the original on 2017-11-19. Retrieved 2013-07-06.
  6. 1 2 Gray, M. (2000). Song and Dance Man III: The Art of Bob Dylan. Continuum. pp. 231–233. ISBN   0-8264-5150-0.
  7. Williams, P. (1994). Bob Dylan Performing Artist 1974–1986. Omnibus Press. p. 154. ISBN   0711935556.
  8. Nogowski (2008). Bob Dylan. McFarland. p. 90. ISBN   9780786435180.
  9. "CashBox Singles Reviews" (PDF). Cash Box. December 1, 1979. p. 20. Retrieved 2022-01-01.
  10. "Single Picks" (PDF). Record World. December 1, 1979. p. 14. Retrieved 2023-02-11.
  11. "Cover versions of Man Gave Names to All the Animals by Bob Dylan | SecondHandSongs". secondhandsongs.com. Retrieved 2021-05-04.