Those wanting more folk acoustic work from Bob Dylan would be hard-pressed to find a better compilation than Lay Down Your Weary Tune. Lesser-known tracks ripped from the studio, the likes of which may feel slightly familiar in title alone. Percy’s Song? East Laredo Blues? These feel familiar in passing but it is not until the soft piano and harmonica blur (the latter thankfully reduced and not ear-piercing) comes through that Lay Down Your Weary Tune spotlights its aim. This is a collection of folk numbers where Dylan dared to add a few extra instruments in there, to push his sound not in the direction of electric but deeper into folk fundamentals. Lay Down Your Weary Tune is an additional thrill, a collection of songs which align just right. It stands strong alongside the official releases from the 1960s.
Whether outtakes from The Times They Are A-Changin’ or written and recorded in a lull period in what is the most prolific time for Dylan’s album output, Lay Down Your Weary Tune compiles the forgotten tracks. Not just a strong compilation of those non-album tracks but a testament to the writing skill and speed at which Dylan was working. A cover of Moonshiner and original song Only a Hobo feel like slightly lesser tracks but the instrumental purpose, the steady acoustic guitar never wavering, is a delight. A slight dip in quality for John Brown comes not from emotional conviction or playing style but from literal recording quality. Dylan stays consistent here with the same folk tales which cemented him as a classic voice of the genre. Lay Down Your Weary Tune will no doubt soothe the worries of bin-rakers who suggested a move to electric was a loss of artistic clarity. Lay Down Your Weary Tune is a delightful compilation from a source known for its continued quality.
Use this compilation then as an example of the surplus quality Dylan had. Countless songs recorded but never released, the works heard on Lay Down Your Weary Tune are of the same quality as what Columbia put on store shelves. Witmark Demos provide official releases of some recordings, like Gypsy Lou, but those compilations never quite consider the context of the individual song. Lay Down Your Weary Tune does. For one reason or another, these songs did not make it onto releases of the time. While each is a pleasant listen, every song ends with the same thought. “Fair enough.” It would not have fit here or there, but together, they paint another picture of Dylan not just as a respected folk artist but someone whose love for the genre still runs deep, even when he is making decisions which are perceived as against the grain of those acoustic fundamentals.
A live version of Troubled and I Don’t Know Why with Joan Baez is an excellent addition, a further note of context to a fascinating period of performances. Lay Down Your Weary Tune would later feature on Biograph, but again without the context of the period to guide it. These recordings, so soon after The Freewheelin’ Bob Dylan released, feel closely tied to Dylan’s second studio album. A delightful listen not just for those who want a worthy continuation of Dylan’s folk period but also a firm understanding of what was, ultimately, the most important part of the acoustic-led music. Percy’s Song is the best moment of all, the writing here a head above the rest and even stronger than some of the officially released songs of the time. Lay Down Your Weary Tune is a must-listen.
