An Analysis Of Bob Dylan's 'All Along The Watchtower'

Bob Dylan’s “All Along the Watchtower” has a song structure that is composed of an introduction, verse one, instrumental interlude, verse two, instrumental interlude, verse three, instrumental interlude, and outro.1 Jimi Hendrix clearly follows this structure when he covers the song.2 Dylan’s heavy reliance on the reedy sharp sounds of the harmonica combined with the soft mystical strumming of the acoustic guitar can be interpreted as a journey of desolation through oppression. Although Hendrix does not modify the syntagmatic structure of the song, he does alter the paradigmatic elements in order to convert it from a folk rock song to a psychedelic song. By embracing psychedelia, Hendrix utilizes the electric guitar, random crescendos, and

For example, at 1:43, the overdriven electric guitar re-enters the instrumental interlude in a low melodic tone as if everything is in slow motion. This is followed by Hendrix producing an enduring high-tone distinction of one note on the electric guitar that fluctuates among the steadfast sounds of the drums and the tambourine, thus conjuring the feeling of falling down a never-ending rabbit hole. At 2:09 there begins to be an overlap among the high and low pitch of the electric guitar underlined by a condense tape echo, which signifies the hallucinations starting to overpower the mind, thereby suggesting that the LSD is really taking effect. Also, at 2:45 the change in rhythm is accompanied by the high, tense sound of the electric guitar (a product of the whammy bar) eliciting the feeling of unease as if the hallucinations is becoming too overwhelming to handle. But then the intense sound suddenly stops, creating a sense of release. Yet the feeling of serenity is only highlighted for a brief moment, because the intensity in the raucous sounds of the electric guitar grows after the third verse. For instance, at 3:40 Hendrix once again uses the whammy bar, however this time he produces a pitch that is so piercing and stressed, that it resembles the alarming sounds of sirens. Even in the

His strained, at times raspy, voice guides you through the LSD trip, thus emphasizing the depersonalization of the drug experience. In the first verse Hendrix puts a great amount of emphasis on the last syllable of each word he sings, so it sounds like he is enunciating. On a connotative level this signifies Hendrix informing the listener that this is the start of the LSD trip. The second verse immediately starts off with Hendrix’s winded voice, singing the lyrics with fragmented diction and making long pauses between phrases, as if foreshadowing the flourishing severity of the LSD trip. In the third and last verse, Hendrix’s gruff voice re-enters screaming “all along the watchtower” warning the listener that they are about to experience the climax of this LSD trip. At 2:53 the audible low tone of the bass guitar interplays between Hendrix’s clean electric guitar overdrive and shrill voice. This is followed by Hendrix’s clear, stable pitch evolving into a hoarse screaming of “and the wind began to howl” as if exclaiming to the listener that this is where his guidance ends because the LSD will soon wear off. Moreover, the syntagmatic structure of “All Along the Watchtower” is essential in creating a progression to the LSD trip; therefore, it cannot be rearranged, even if the entire song is disjointed and