The song “Jack O’Diamonds” carries an air of mystery regarding its true authorship, often linked to both Bob Dylan and Ben Carruthers. Its origins and evolution present a fascinating musical puzzle. While the definitive answer to whether it’s a “true” Bob Dylan composition remains open to interpretation, its narrative is undeniably captivating, sparked by insightful commentary that propelled us into this exploration.
According to music historians at Second Hand Songs, Ben Carruthers played a pivotal role in shaping the song. He reportedly crafted a song from poetic or prose fragments penned by Dylan, originally intended for the sleeve notes of Dylan’s album, “Another Side Of Bob Dylan.” Carruthers’ connection to Dylan stemmed from his work as a secretary for Dylan’s manager, Albert Grossman, a link that seemingly facilitated this unique collaboration.
The roots of “Jack O’Diamonds” delve even deeper, possibly tracing back to Blind Lemon Jefferson, or even earlier figures in the folk and blues traditions. While pinpointing the absolute genesis within this rich musical landscape is challenging, experts like Alan Lomax, a renowned authority in folk music, offer valuable insights.
In his seminal work, “Our Singing Country” (1941), Lomax identifies it as a Texas gambling song, popularized by the legendary Blind Lemon Jefferson. He notes its resonance with railroad workers who had lost fortunes playing conquian, a card game akin to rummy. Intriguingly, the song belongs to a lineage of similar songs with roots stretching back to Britain, highlighting the transatlantic flow of musical traditions.
For those intrigued by the metamorphosis of songs across time and continents, consider “The Waggoners Lad.” Though sonically distinct today, it shares a common ancestor with “Jack O’Diamonds,” showcasing the fascinating evolution of folk melodies.
Returning to “Jack O’Diamonds,” let’s examine the foundational lyrics as performed by Blind Lemon Jefferson:
Jack O’ Di, Jack O’ Diamond
Jack O’ Diamond’s a hard card to play
Jack O’ Diamonds once in time
He did rob a friend of mine
Jack O’ Diamonds is a hard card to play
Bet the Jack against the Queen
It’s gonna turn your money green
Jack O’ Diamonds is a hard card to playNotably, Bob Dylan himself, to our knowledge, never officially recorded a rendition of this song. However, the sleeve notes accompanying “Another Side Of Bob Dylan” feature a poem that contains the following evocative lines (presented here in a more readable format, combining the fragmented lines of the original sleeve notes):
jack o’diamonds / jack o’diamonds / one-eyed knave / on the move
hits the street / sneaks. leaps / between pillars of chips / springs on them like samson
thumps thumps / strikes / is on the prowl / you’ll only lose / shouldn’t stay
jack o’diamonds / is a hard card t’ playThis excerpt represents just the opening verse of Dylan’s poetic contribution within the album’s liner notes.
Juxtapose these elements with the lyrics adopted by Fairport Convention, revealing another layer in the song’s interpretation:
Jack O’Diamonds, one-eyed knave
On the move, hits the street
Bumps his head, on the ground
Well, he’s a scout, you’re born to lose
Shouldn’t stay
Jack O’Diamonds is a hard card to play
Jack O’Diamonds, yeah Jack O’Diamonds
This one-eyed prince, wears a single glove
Oh sure, he’s not that lovely
Jack O’Diamonds broke my hand
Left me here to standThe Fairport Convention rendition, and others, weave together threads of the old blues tradition, fragments of Dylan’s sleeve notes, and newly composed melodies. The extent of Bob Dylan’s lyrical contribution remains a point of discussion. Dylan himself hasn’t revisited the song, which, while not conclusive, subtly hints at the nature of his involvement. It suggests a Dylan influence, perhaps, but not a dominant authorial claim.
Fairport Convention, featuring the enchanting vocals of Judy Dyble, first recorded “Jack O’ Diamonds” for their debut album in 1968. A subsequent version, with Sandy Denny at the helm, surfaced in their “Live at the BBC” collection, showcasing the song’s enduring appeal and adaptability across different vocal styles.
To experience the Ben Carruthers interpretation, you can listen here:
https://m.youtube.com/watch?v=tBIqd_u0lkM
And to delve into the original Fairport Convention version, explore this link:
[Link to Fairport Convention version – if available, otherwise remove or find]
So, is “Jack O’Diamonds” definitively a Dylan song? Perhaps in part, but it arguably resides outside his core, mainstream canon. However, the nuanced question of authorship has rarely been a central concern for Dylan himself. Therefore, dwelling excessively on strict attribution seems somewhat beside the point. In catalogs of Dylan’s works, acknowledging the collaborative and evolutionary nature of the song, perhaps with a credit like: “Traditional blues with added material by Dylan and Carruthers,” might be the most fitting approach.
It’s worth noting the broader context of this website, payoffsong.com, a treasure trove for enthusiasts of Bob Dylan’s music and related musical explorations. The site offers an extensive index of posts organized by themes and subjects, readily accessible on the homepage. For those seeking a comprehensive guide to Dylan’s vast repertoire, a dedicated page indexes over 500 reviewed songs, representing a significant undertaking to document and analyze his compositions. The site actively encourages community engagement, hosting a Facebook discussion group, “Untold Dylan,” fostering a space for fans to connect and delve deeper into Dylan’s musical world. Furthermore, collaborations with resources like “The Bob Dylan Project,” which meticulously catalogs every Dylan song, enrich the online ecosystem for Dylan aficionados.
In conclusion, “Jack O’Diamonds,” a compelling “Diamonds Song”, stands as a testament to the fluid and often collaborative nature of folk and blues music. Its journey from traditional roots, through possible Dylan fragments, to interpretations by artists like Fairport Convention, illustrates the rich tapestry of musical influence and reinterpretation. The song’s enduring appeal lies not just in its melody, but in its intriguing history and the questions it raises about authorship and musical evolution.
