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)

GA Review

The following discussion is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

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This review is transcluded from Talk:One of Us Must Know (Sooner or Later)/GA1. The edit link for this section can be used to add comments to the review.

Reviewer: Ippantekina (talk · contribs) 08:20, 13 March 2023 (UTC)

GA review (see here for what the criteria are, and here for what they are not)

1. It is reasonably well written.

   a. (prose, spelling, and grammar):

   b. (MoS for lead, layout, word choice, fiction, and lists):

2. It is factually accurate and verifiable.

   a. (reference section):

   b. (citations to reliable sources):

   c. (OR):

   d. (copyvio and plagiarism):

3. It is broad in its coverage.

   a. (major aspects):

   b. (focused):

4. It follows the neutral point of view policy.

   Fair representation without bias:

5. It is stable.

   No edit wars, etc.:

6. It is illustrated by images and other media, where possible and appropriate.

   a. (images are tagged and non-free content have non-free use rationales):

   b. (appropriate use with suitable captions):

7. Overall:

   Pass/fail:

(Criteria marked are unassessed)

Lead and infobox

• To the best of my knowledge the Billboard singles chart always have 100 positions. Not sure if it indeed reached "No. 119 on the US Billboard chart"?

• Took me a bit of time to pin this one down. It's listed as a number 119 in Joel Whitburn's top pop singles 1955-2012, but the intro to that book made me think it must be the Bubbling Under the Hot 100 chart. I've added the issue of Billboard which it appeared there as an additional reference in the body, and amended the article text in the lead and body. BennyOnTheLoose (talk) 23:03, 19 March 2023 (UTC)

Background and recording

• Pipe master
• "The master take lasts four minutes and 55 seconds" is repeated twice

• Done. BennyOnTheLoose (talk) 22:55, 19 March 2023 (UTC)

Releases

• Same concern regarding the 100-position Billboard chart

• See reply above. BennyOnTheLoose (talk) 23:04, 19 March 2023 (UTC)

Critical comments

• The entire first paragraph should have its own section i.e. "Lyrical interpretation"

• Done. BennyOnTheLoose (talk) 00:51, 20 March 2023 (UTC)

• Ditto the quote-farm issues with other Dylan song articles I've reviewed. Also, try to group similar-ish reviews in a paragraph with an opening sentence for better flow (WP:RECEPTION)

• Hopefully improved now. BennyOnTheLoose (talk) 00:51, 20 March 2023 (UTC)

• Any further information regarding the song's music, sound...?

• 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). Unfortunately, I don't know what this means, so didn't want to just add it in. I've added a little from Gray, but looking through a few other sources, didn't find anything else. BennyOnTheLoose (talk) 00:51, 20 March 2023 (UTC)

• "The reviewer for Cash Box"
• Ditto for Liverpool Echo, Bucks Examiner, Evening Post
• "criticised" → American spelling for consistency
• Italicize Uncut

• Amended per the four points above. BennyOnTheLoose (talk) 00:51, 20 March 2023 (UTC)

Verdict

•  On hold for seven days. Also, would appreciate it if you could review The Best Day (Taylor Swift song), which has been up at GAN since Sep last year..! Ippantekina (talk) 17:17, 17 March 2023 (UTC)

• Many thanks, Ippantekina. Let me know if anyhting else is required. Regards, BennyOnTheLoose (talk) 00:53, 20 March 2023 (UTC)

  Thanks for addressing my comments. Passing now :) Ippantekina (talk) 06:23, 20 March 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion.

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)