Bob Dylan’s “Solid Rock” from his album Saved is a song that, on the surface, appears remarkably straightforward. Yet, as with much of Dylan’s work, there are layers to explore, even within its seemingly simple message of faith. While Dylan himself has offered explanations for some of his overtly religious songs like this one, it’s almost surprising he felt the need. After all, the lyrical content is among the most unambiguous in his vast catalog, clearly proclaiming a devotion to Christian beliefs and salvation.
This explicitness stands in stark contrast to Dylan’s more cryptic and debated songs – think of the intricate layers of meaning in tracks like “Too Much of Nothing,” or countless others throughout his career, right up to his most recent works. These complex narratives and metaphorical lyrics are often left unexplained, fueling endless fan interpretations and scholarly discussions. This tendency to clarify the obvious while leaving the enigmatic untouched is part of what makes Dylan such a fascinating and sometimes perplexing artist.
“Solid Rock” firmly plants itself in the realm of Revelations, echoing themes of salvation and redemption. Here, the “bottomless pit” of despair, a concept explored in other songs from his Christian period like “Saved,” is avoided by clinging steadfastly to Jesus Christ, the titular “Solid Rock.” This is a fundamental Christian tenet, a message many might recall learning in Sunday school or religious education. This isn’t to diminish the sincerity or power of the message, but rather to highlight the directness of Dylan’s approach in this particular song. One might argue that if Dylan were inclined to elucidate his songwriting, there’s a vast landscape of his discography that begs for deeper exploration far more than the readily apparent themes of “Solid Rock.”
Interestingly, the evolution of “Solid Rock” in live performances suggests a potential tension between Dylan’s message and his audience’s reception. There’s a theory that Dylan sensed some fans were appreciating the music of these gospel-infused songs without fully engaging with the spiritual message. Over time, the live arrangements of “Solid Rock” shifted, perhaps in an attempt to underscore the lyrical content and make the message more impactful, even for those who might not share his beliefs. However, some argue that in this process of emphasizing the message, the raw musical energy that defined the early live versions was somewhat diminished.
What truly elevates “Solid Rock” beyond a simple gospel message is the masterful treatment of the line: “Made before the foundation of the world.” It’s a lyrical and musical moment unlike almost anything else in Dylan’s work. This line, delivered with a deliberate, almost spoken-word emphasis, stands in stark contrast to the song’s overall driving, fervent energy. Yet, it fits perfectly, adding a layer of profound theological depth. Each word is enunciated independently, creating a powerful rhythmic and semantic effect. It’s a testament to Dylan’s songwriting genius that he can seamlessly blend such contrasting elements within a single song.
Between November 1979 and October 2002, “Solid Rock” became a staple in Dylan’s live shows, performed an impressive 162 times. This longevity speaks to the song’s enduring appeal, particularly within his catalog of redemption and salvation themed works. Musically, it’s a song that warrants such staying power, although for many listeners, the initial, high-octane energy of the early live renditions remains the most compelling.
Well, I’m hangin’ on to a solid rock
Made before the foundation of the world
And I won’t let go, and I can’t let go, won’t let go
And I can’t let go, won’t let go and I can’t let go no more
The impact of that second line, “Made before the foundation of the world,” is further intensified by the unexpected chord progression that frames it. As each word is proclaimed, it’s preceded by a sequence of three chords: D, E, and F#m. The origin of this musical idea is unclear, but it feels distinctly Dylan – an innovative and unconventional approach that enhances the lyrical weight.
Following this powerful declaration, the song surges forward with unrestrained vigor in verses like:
For me He was chastised, for me He was hated
For me He was rejected by a world that He created
Nations are angry, cursed are some
People are expecting a false peace to come
This raw energy and unwavering conviction are hallmarks of “Solid Rock.” As a Rolling Stone retrospective on Dylan aptly noted, reflecting on the period following Dylan’s “born-again” albums:
“The release of Bob Dylan’s 1979 born-again LP Slow Train Coming was a major event, and the album hit Number Three on the Billboard Hot 100. Less than a year later he released Saved, which was greeted like the second moon landing. It was a million times less interesting the second time around, and his label was even reluctant about putting it out. But the album has never really gotten a fair hearing. “Solid Rock” is one of the highlights, and it firmly explains Dylan’s dedication to his new beliefs. “I won’t let go, and I can’t let go,” he sings. “And I can’t let go, won’t get go and I can’t let go no more.” A few years later, he let go and re-embraced his Jewish heritage.”
This quote encapsulates the mixed reception and subsequent re-evaluation of Dylan’s gospel period, while rightly highlighting “Solid Rock” as a standout track that genuinely conveys the intensity of his faith at the time. Whether you connect with the religious message or not, the musicality and lyrical force of “Solid Rock” make it a compelling and enduring song in Dylan’s extensive repertoire.
