Them – It’s All Over Now, Baby Blue: Van Morrison’s Ethereal Interpretation of Dylan’s Farewell Ballad
Them’s rendition of Bob Dylan’s It’s All Over Now, Baby Blue is a transformative moment that transcends the boundaries of a traditional cover. Released in 1966 on their album Them Again, the Belfast band led by Van Morrison infused Dylan’s farewell anthem with a haunting, otherworldly quality that distinguished it from the original. This interpretation is a testament to both Dylan’s masterful songwriting and Morrison’s unparalleled ability to channel raw emotion through his voice, making it not merely a rendition but a reinvention.
Dylan’s original, a stark and poetic farewell, is stripped down and direct, carried by his acoustic strumming and plaintive delivery. Them’s version, by contrast, is atmospheric and layered, weaving elements of folk, rock, and R&B into a mesmerizing tapestry of sound. The arrangement begins with a spectral organ and chiming guitar arpeggios, immediately setting a mood of introspection and melancholy. This subtle, brooding backdrop provides the perfect foil for Morrison’s aching vocals, which oscillate between tenderness and intensity.
Van Morrison’s performance is the emotional core of the track. He inhabits the song’s ambiguous narrative of departure and transformation with an intensity that feels deeply personal. His voice is imbued with a mix of resignation and defiance, giving lines like “Strike another match, go start anew” a visceral urgency. While Dylan’s delivery leans toward detached wisdom, Morrison’s interpretation is deeply immersive, pulling the listener into the swirling undercurrent of emotions that the song evokes.
The instrumental arrangement underscores this emotional complexity. The organ swells and subtle percussion build a dreamlike atmosphere, while the interplay of electric guitar and bass provides a rhythmic pulse that keeps the song grounded. This combination of ethereal and earthy elements mirrors the duality of the song’s lyrics, which balance themes of finality with hints of renewal. The band’s skillful dynamics ensure that each musical layer serves to enhance the song’s emotional impact without overshadowing its lyrical depth.
Though It’s All Over Now, Baby Blue did not achieve widespread commercial success upon its release as a single in the Netherlands and later in Germany, it has since become a cornerstone of Them’s legacy. Its chart resurgence in Germany during the 1970s attests to its enduring appeal, while its inclusion on Them Again solidified the album’s reputation as a showcase of the band’s artistic versatility.
This cover also highlights Van Morrison’s growing artistry during his time with Them, foreshadowing the introspective and genre-defying work that would define his solo career. His ability to reinterpret Dylan’s complex and layered lyrics into something uniquely his own is indicative of the creative vision that would later manifest in masterpieces like Astral Weeks.
In the years since its release, Them’s It’s All Over Now, Baby Blue has been celebrated as one of the definitive versions of Dylan’s song, standing alongside interpretations by artists like Joan Baez and the Byrds. It encapsulates the raw power of the mid-1960s music scene, where boundaries between folk, rock, and soul were being dissolved in favor of more expansive and expressive forms.
Ultimately, Them’s version of It’s All Over Now, Baby Blue is a luminous testament to the enduring power of reinterpretation in music. By bringing their own sensibility to Dylan’s enigmatic farewell, Them—and Van Morrison in particular—created a version that stands not just as a cover, but as an essential work of art in its own right.