For even a lay-listener of either The Beatles or Bob, "You've Got To Hide Your Love Away" is the song in which the majority of folks would most readily identify their crossing paths. Don't think Dylan's ever actually played it, but I've heard it in my head a million times, and — "H-e-e-ey!" —
it always sounds amazin'.
John gets as close as he ever did to his vocal inflection — just try singing along and not doing it just a little more nasal! Gather round, as our masked clown unburdens another load of introspection and insecurities:I can never win,
Seeing them, hearing them,
In the state I'm in...
His hermetic acoustic strumalong wth George is absolutely beguiling, and an interesting forecast for his "Happy Xmas" to come... Paul keeps it nice and laid-back, too busy trying to out-flirt George with Eleanor Bron to try and be too flash. And Ringo couldn't be any more laid-back at all as he lazily slaps his tambourine. Man, I've wanted a bed in the floor like that ever since I first saw the movie.
And, of course, how could I forget? Caps off to John Scott, not
the yokel in the movie, for his flute parts (tenor and alto) which so perfectly carry the fragile beauty of the melody. Much as I love the broken-a-glass Anthology 2
take(s), I always feel a bit let down when their anticipated melancholy entry doesn't happen. And I ain't convinced that Mr Dylan would've had the foresight to drop his harp in order to let 'em in, even if the song had come from his back pages.
Though the blissed-out Lennon seems to be addressing the warning of the words to Priestess Ahme in the film, it has been suggested that they were directed at, or inspired by, Brian Epstein and his gay lovers: John had, after all, been closer to their circle than any of the four. It could equally well have been a prewegian caution to himself. There's not really any way of knowing if love did
find a way; or whether everyone involved was simply left "feeling two feet small..."Gather round, all you clowns,
Let me hear you say-ay-ay...