The “sacrilegious lullaby” that Bob Dylan would rather forget
Though Bob Dylan is often afforded Messiah status, it still feels strange to remind oneself that perhaps the ultimate spokesperson for the counterculture of the 1960s is a devout Christian. Though he may not have been as defiantly in tune with his faith while crafting some of the decade’s most provocative protest numbers, he would soon put his religion front and centre.
While he was born into a Jewish family and had exposure to Jewish traditions and practices, Dylan’s relationship with religion evolved over time. In the late 1970s, Dylan experienced a significant shift in his music and life, during which he became more vocal about his Christian faith.
The three albums Slow Train Coming, Saved and Shot of Love would divide Dylan’s audience as he pursued his faith more intensely than ever, putting out three consecutive gospel-led records. In this phase, Dylan openly discussed his embrace of Christianity and its impact on his life.
The songwriter actively participated in numerous Christian music events and concerts, showcasing a repertoire of religiously inspired songs. But, before he hit this stage of his life and career, arguably before he found Christianity itself, Dylan was happy to tempt the rules of his religion in the name of a good song.
‘Gates of Eden’, which features on his 1965 album Bringing It All Back Home, is one such song. Dylan notably referred to it as “a sacrilegious lullaby in D minor”. The track is a typification of Dylan’s writing style before his infamous “Judas” confrontation. Rather than determine his singular idea of the afterlife that waits beyond the titular gates, Dylan offers up a series of motifs that provide differing views of what lies beyond the end of our days.
By 1965, Dylan had become the mouthpiece for an entire culture of young people and had, despite his protestations, been continually cast in the “voice of a generation” role. It is perhaps because of this reason that he refutes any concrete idea of heaven for something far more subjective.
‘Gates of Eden’ is soulful and drenched in the canny folk musings that made Dylan such a hero. Lyrically, it is filled with some of his finest poetry, offering up a selection of different characters who have all met their end, each being welcomed by a different Eden. It would mark itself out as one of the few religious numbers in his catalogue before his gospel period took over.
But while that period would be more seriously administered and routinely followed, unwieldy in its delivery the period would often see Dylan break away from his on stage performances to deliver what many would refer to as “sermons”.
As time passed, Dylan’s religious motifs in his musical expression diminished, and he delved into diverse themes and genres in his artistic endeavours. He consistently releases albums that touch upon a broad spectrum of subjects, extending beyond the confines of solely Christian themes.
But that doesn’t mean his faith has ever wavered. The songwriter is still regularly connected to Christianity, and while his music might not be dramatically coloured by the expressive belief in God. But with such a feeling towards the track it is unsurprising that it might be considered one tune he would rather forget.
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