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Clarifying oblique reference to biographer and Shakespeare.
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By November 1967, this song was a Top 40 hit for [[Peter, Paul and Mary]].{{sfn |Gilliland |1969 |loc=show 54, track 4}} According to ''[[Billboard (magazine)|Billboard]]'', this version's "clever driving blues arrangement compliments the trio to the fullest."<ref name=bb>{{cite news|newspaper=Billboard|access-date=2021-02-24|date=November 18, 1967|page=12|title=Spotlight Singles|url=https://worldradiohistory.com/Archive-All-Music/Billboard/60s/1967/Billboard%201967-11-18.pdf}}</ref> ''[[Cash Box]]'' said that it is "[[blues]] in a folk manner with plenty of funk."<ref name=cb>{{cite magazine |title=CashBox Record Reviews |date=November 18, 1967 |page=22 |access-date=2022-01-12 |url=https://worldradiohistory.com/Archive-All-Music/Cash-Box/60s/1967/CB-1967-11-18.pdf |magazine=Cash Box}}</ref> In Dylan's original, the chorus addresses two ladies—"Say hello to Valerie/Say hello to Vivien/Send them all my salary/On the waters of oblivion"—but Peter, Paul and Mary changed the second name to "Marion," displeasing Dylan. According to the trio's [[Paul Stookey]], Dylan consequently became disenchanted with the group: "We just became ''other hacks'' that were doing his tunes."<ref>{{harvnb|Sounes|2001|p=225}}</ref> Patrick Humphries notes that, whether by accident or design, the chorus's two women originally named share the names of the two wives of the major 20th-century poet [[T. S. Eliot]].<ref>{{harvnb|Humphries|1991|p=69}}</ref><ref group=a>Eliot married [[Vivienne Haigh-Wood]] in 1915; they separated in 1933. Critics consider their marriage central to his writing ''[[The Waste Land]]'' ({{harvnb|Gordon|2000|pp=147–192}}). Eliot married [[Valerie Eliot|Valerie Fletcher]] in January 1957, near the end of his life ({{harvnb|Gordon|2000|pp=496–536}}).</ref> Lachlan MacKinnon <ref> Mackinnon, Lachlan, "T.S.Eliot's carelessness towards John Hayward", '' [[Times Literary Supplement]] '', London, 12 March 2014 </ref> writes that the lines do refer to Eliot's wives and are "remarkably shrewd", suggesting the poet's "strange combination of self-distancing and financial propriety". Peter, Paul and Mary's recording of the song was also included on their 1968 album ''[[Late Again]]''.
By November 1967, this song was a Top 40 hit for [[Peter, Paul and Mary]].{{sfn |Gilliland |1969 |loc=show 54, track 4}} According to ''[[Billboard (magazine)|Billboard]]'', this version's "clever driving blues arrangement compliments the trio to the fullest."<ref name=bb>{{cite news|newspaper=Billboard|access-date=2021-02-24|date=November 18, 1967|page=12|title=Spotlight Singles|url=https://worldradiohistory.com/Archive-All-Music/Billboard/60s/1967/Billboard%201967-11-18.pdf}}</ref> ''[[Cash Box]]'' said that it is "[[blues]] in a folk manner with plenty of funk."<ref name=cb>{{cite magazine |title=CashBox Record Reviews |date=November 18, 1967 |page=22 |access-date=2022-01-12 |url=https://worldradiohistory.com/Archive-All-Music/Cash-Box/60s/1967/CB-1967-11-18.pdf |magazine=Cash Box}}</ref> In Dylan's original, the chorus addresses two ladies—"Say hello to Valerie/Say hello to Vivien/Send them all my salary/On the waters of oblivion"—but Peter, Paul and Mary changed the second name to "Marion," displeasing Dylan. The trio's [[Paul Stookey]] speculated that this mistake may have caused Dylan to consequently became disenchanted with the group: "We just became ''other hacks'' that were doing his tunes."<ref>{{harvnb|Sounes|2001|p=225}}</ref> Patrick Humphries notes that, whether by accident or design, the chorus's two women originally named share the names of the two wives of the major 20th-century poet [[T. S. Eliot]].<ref>{{harvnb|Humphries|1991|p=69}}</ref><ref group=a>Eliot married [[Vivienne Haigh-Wood]] in 1915; they separated in 1933. Critics consider their marriage central to his writing ''[[The Waste Land]]'' ({{harvnb|Gordon|2000|pp=147–192}}). Eliot married [[Valerie Eliot|Valerie Fletcher]] in January 1957, near the end of his life ({{harvnb|Gordon|2000|pp=496–536}}).</ref> Lachlan MacKinnon <ref> Mackinnon, Lachlan, "T.S.Eliot's carelessness towards John Hayward", '' [[Times Literary Supplement]] '', London, 12 March 2014 </ref> writes that the lines do refer to Eliot's wives and are "remarkably shrewd", suggesting the poet's "strange combination of self-distancing and financial propriety". Peter, Paul and Mary's recording of the song was also included on their 1968 album ''[[Late Again]]''.


This song also appeared on [[Spooky Tooth]]'s debut album ''[[It's All About]]'', and on [[Fotheringay]]'s debut album, as well as [[Albert Lee]]'s ''Black Claw & Country Fever'' sessions. All three versions substituted "Marion" for "Vivien".
This song also appeared on [[Spooky Tooth]]'s debut album ''[[It's All About]]'', and on [[Fotheringay]]'s debut album, as well as [[Albert Lee]]'s ''Black Claw & Country Fever'' sessions. All three versions substituted "Marion" for "Vivien".

Revision as of 18:43, 5 December 2022

"Too Much of Nothing" is a song written by Bob Dylan in 1967,[1] first released by him on the album The Basement Tapes (1975).

Themes and history of song

One of the most haunting themes of The Basement Tapes is an apprehension of the void.[2][3] Biographer Robert Shelton hears in this song an echo of the bald statement that Shakespeare's Lear makes to his daughter Cordelia, "Nothing will come of nothing" (King Lear, Act I, Scene 1).[3] Marcus asserts that this was one of the songs recorded at the end of "the basement summer" in August or September 1967. He writes that these songs "are taken slowly, with crying voices. Dylan’s voice is high and constantly bending, carried forward not by rhythm or by melody but by the discovery of the true terrain of the songs as they’re sung. Richard Manuel’s and Rick Danko’s voices are higher still, more exposed."[4]

Cover versions

"Too Much of Nothing"
Single by Peter, Paul and Mary
from the album Late Again
B-side"The House Song"
ReleasedNovember 1967
LabelWarner Bros.
Songwriter(s)Bob Dylan
Producer(s)Albert Grossman, Milton Okun

By November 1967, this song was a Top 40 hit for Peter, Paul and Mary.[1] According to Billboard, this version's "clever driving blues arrangement compliments the trio to the fullest."[5] Cash Box said that it is "blues in a folk manner with plenty of funk."[6] In Dylan's original, the chorus addresses two ladies—"Say hello to Valerie/Say hello to Vivien/Send them all my salary/On the waters of oblivion"—but Peter, Paul and Mary changed the second name to "Marion," displeasing Dylan. The trio's Paul Stookey speculated that this mistake may have caused Dylan to consequently became disenchanted with the group: "We just became other hacks that were doing his tunes."[7] Patrick Humphries notes that, whether by accident or design, the chorus's two women originally named share the names of the two wives of the major 20th-century poet T. S. Eliot.[8][a 1] Lachlan MacKinnon [9] writes that the lines do refer to Eliot's wives and are "remarkably shrewd", suggesting the poet's "strange combination of self-distancing and financial propriety". Peter, Paul and Mary's recording of the song was also included on their 1968 album Late Again.

This song also appeared on Spooky Tooth's debut album It's All About, and on Fotheringay's debut album, as well as Albert Lee's Black Claw & Country Fever sessions. All three versions substituted "Marion" for "Vivien".

Personnel

Overdubbed 1975:

  • Hudson – additional keyboards
  • Helm – (possibly) drums, backing vocal

Notes

  1. ^ Eliot married Vivienne Haigh-Wood in 1915; they separated in 1933. Critics consider their marriage central to his writing The Waste Land (Gordon 2000, pp. 147–192). Eliot married Valerie Fletcher in January 1957, near the end of his life (Gordon 2000, pp. 496–536).

References

  1. ^ a b Gilliland 1969, show 54, track 4.
  2. ^ Marcus 1975
  3. ^ a b Shelton 1986, p. 385
  4. ^ Marcus 1997, p. 192
  5. ^ "Spotlight Singles" (PDF). Billboard. November 18, 1967. p. 12. Retrieved 2021-02-24.
  6. ^ "CashBox Record Reviews" (PDF). Cash Box. November 18, 1967. p. 22. Retrieved 2022-01-12.
  7. ^ Sounes 2001, p. 225
  8. ^ Humphries 1991, p. 69
  9. ^ Mackinnon, Lachlan, "T.S.Eliot's carelessness towards John Hayward", Times Literary Supplement , London, 12 March 2014

Bibliography


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