Talk:One of Us Must Know (Sooner or Later)

paul griffin
This part of the article seems it would fit in a Paul Griffin article rather than here. also prettty pov

Griffin’s playing on “One of Us Must Know (Sooner or Later)” is reminiscent of what he would play five years later on Don McLean’s “American Pie” — but even more brilliant in its intensity and improvisation. The song is an emotional confession of misconnects and apologies from the singer to some woman who has tragically slipped out of his life. Griffin gives the song its tragic depth — and height. He picks his way sensitively through the verses; but at other times, he prowls beneath the words with Judgement and an ominous gospel lick that he stokes until he has climbed to the verse’s peak. At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half Gershwin, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song’s tension. Then, on the last chorus, not content to repeat the same brilliant part, Griffin’s playing is so breathtaking, so completely embodies the lyric, that he enters into some other dimension. For several seconds, on one of Dylan’s best songs, Griffin makes Dylan seem almost earthbound.

“It’s great, two-fisted, gospel piano playing,” Kooper says, “played with the utmost of taste.”

Paul Griffin doesn’t remember it. He’s momentarily bewildered, almost apologetic for not recalling something others hold so dear. The part was probably something he’d heard in Paradise Baptist church at least a hundred times before. But do not mistake an isolated, fuzzy memory for a moment that he is unaware of. He is well aware of this music’s significance — in Paul Griffin’s life." Paul Griffin, whose piano work can also be heard on other Dylan classics such as "Highway 61 Revisited" and "Blood on the Tracks," died on June 14, 2000.

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This is not a neutral article. Using opinions renders the article non-neutral. Editing is needed to correct the opinions of the editor:

"The song is an emotional confession of misconnects and apologies from the singer to some woman who has tragically slipped out of his life. Griffin gives the song its tragic depth — and height. He picks his way sensitively through the verses; but at other times, he prowls beneath the words with Judgement and an ominous gospel lick that he stokes until he has climbed to the verse’s peak. At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard. The follow-up, a left hand figure that links the chorus to the verse, releases none of the song’s tension."

While all of that may be true to the person who added it, it is an opinion, and not appropriate in an encyclopedia. ArielGold ♥  (talk)

I agree completely, I removed it but left it on this page. It was also copied and pasted directly from an article on steelydan.com But its gone so I'm going to remove the POV tag.

Regarding the date
There is inconsistency in the recording date - is it October 65 or Jan 66? Also see "Let me Please crawl out your Window", supposedly also the same session. —Preceding unsigned comment added by 85.147.84.235 (talk) 12:26, 23 May 2010 (UTC)
 * The take of "One of Us Must Know" used on the album was recorded January 25, 1966, as noted in the infobox. "Can You Please Crawl" was recorded and released in 1965. I'm not sure whether the take used was from the October 5 or November 30 session. Allreet (talk) 06:20, 31 March 2011 (UTC)

Old Crow Medicine Show cover
Old Crow Medicine Show covered this song on their latest album, 50 Years of Blonde on Blonde. I have tried to add this information to the "covers" portion of this article but, despite several modifications, the edit has been reverted by another editor. I am at a loss to understand why OCMS's cover does not merit mention alongside those of Les Fradkin and Mick HuknallPurpleChez (talk) 15:45, 26 August 2017 (UTC)

Comments by Mellers
Wilfrid Mellers wrote that " the tune soars upward in triadic form, and turns into a forceful tumbling strain in the refrain. The beat is sturdy, the same as that of 'Johanna' but faster; the tonality is a clear diatonic major, with no blue notes" (A darker shade of pale : a backdrop to Bob Dylan, p.146). If someone would like to explain that and add it to the article, then thanks! Regards, BennyOnTheLoose (talk) 09:08, 20 March 2023 (UTC)