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Everything Is Broken

"Everything Is Broken" is an uptempo rock song written and recorded by American singer-songwriter , released on September 12, 1989, as part of his 26th studio album , produced by in New Orleans. The track was issued as the album's lead single on October 23, 1989, in Europe via CBS Records, featuring a blues shuffle reminiscent of with Dylan's signature harmonica and themes of existential fragmentation. The song's lyrics, copyrighted to Special Rider Music in 1989, repeatedly invoke the motif of breakage—ranging from "broken lines" and "broken strings" to "broken laws" and "broken hearts"—to evoke a chaotic, unreliable world where "the curse of static cling" and "the curse of lumbago" symbolize pervasive dysfunction. Critics praised Oh Mercy for revitalizing Dylan's career after a lean 1980s, with "Everything Is Broken" highlighted as a standout rocker cataloging "psychic dislocation" amid the album's brooding Southern Gothic atmosphere. The album peaked at number 30 on the Billboard 200 and earned widespread acclaim, including a five-star review from Rolling Stone, marking a creative resurgence for Dylan following less successful releases like Knocked Out Loaded (1986). Over the years, "Everything Is Broken" has been covered by artists including the Band on their 1997 album Trouble Is... and with in 2019 for Crow's Threads, underscoring its enduring appeal as a commentary on societal and personal breakdown. himself frequently performed the song live during tours in the and , such as at the Hammersmith Odeon in 1991, integrating it into sets alongside classics like "." Its raw energy and thematic depth have cemented it as a key track in Dylan's late-career catalog, reflecting the collaborative spark of his partnership with Lanois, which later influenced albums like Time Out of Mind (1997).

Background and composition

Album context

Oh Mercy is Bob Dylan's 26th studio album, released on September 12, 1989, by . The album represented a significant creative resurgence for Dylan following a challenging period in the , during which releases such as (1986) received mixed to negative reviews and failed to recapture his earlier commercial and artistic momentum. Critics hailed Oh Mercy as a return to form, with its cohesive songwriting and production marking a high point in Dylan's late-career output. The album's production was helmed by , whose atmospheric and roots-oriented approach drew from New Orleans' musical heritage to infuse the recordings with a moody, layered depth. Sessions took place in a rented at 1305 Soniat Street in New Orleans, transformed into a makeshift studio by Lanois to foster an intimate, improvisational environment that encouraged Dylan's lyrical introspection. This collaboration yielded a sound blending , and ambient elements, evoking the humid, nocturnal vibe of the city. "Everything Is Broken" serves as the third track on Oh Mercy, positioned after "Political World" and before "Most of the Time." It contributes to the album's overarching exploration of disillusionment amid personal and societal fragmentation, tempered by glimmers of renewal and resilience.

Writing and development

The song "Everything Is Broken" began as an initial draft titled "Broken Days" during the early creative stages of Bob Dylan's 1989 album Oh Mercy, amid preliminary writing efforts that preceded the formal recording sessions in New Orleans. This working title reflected the nascent theme of fragmentation, which Dylan would expand upon in subsequent revisions. The Oh Mercy sessions commenced in March 1989, providing the context for the song's development as part of Dylan's broader effort to revitalize his songwriting after a challenging decade. By April 1989, during overdubs and refinements to the album's tracks, rewrote the piece, retitling it "Everything Is Broken" and structuring it as a of disintegrating elements—ranging from everyday objects to institutional failures—emphasizing a pervasive sense of societal and personal collapse. This iterative process transformed the shorter, more tentative "Broken Days" into a cohesive uptempo track that cataloged breakdowns without resolution, aligning with the album's overarching mood of disillusionment. In his 2004 memoir Chronicles: Volume One, Dylan recounted the song's emergence through a spontaneous, stream-of-consciousness approach, where phrases poured out unfiltered amid his exploration of a shattered world: "Broken lines, broken strings / Broken threads, broken springs." He described attempting to conclude on an uplifting note—jotting lines such as "Broken strands of prairie grass / Broken / I visited the broken and rode upon the broken bridge / I’m crossin’ the river goin’ to Hoboken / Maybe over there, things ain’t broken"—but ultimately discarding them, as they clashed with the unrelenting that defined the composition. Producer required little alteration to capture its raw essence, with Dylan noting, "Danny didn’t have to swamp it up too much, it was already swamped up pretty good when it came to him." Dylan's 1980s experiences, marked by professional stagnation, fueled the song's despondent tone, culminating in his self-described state as "an empty burned-out wreck" by the time of the Oh Mercy sessions. These creative blocks, which had yielded uneven albums throughout the decade, served as a catalyst for the track's unflinching portrayal of , reflecting Dylan's on personal and cultural disarray.

Recording and release

Production personnel

The production of "Everything Is Broken" was led by , who crafted a swampy, layered sonic landscape through ambient recording techniques, including strategic microphone placement and nocturnal sessions in a rented Victorian mansion in New Orleans' Garden District. According to the album's , the core personnel involved in the track included on vocals, guitar, and harmonica; on ; Brian Stoltz on guitar; Tony Hall on ; on ; Malcolm Burn on tambourine; and on percussion. The track was recorded on March 14 or 15, 1989, with overdubs on April 1 and 3, 1989. Album-wide contributors such as on guitar and on appeared on other tracks but were not primary for this recording. Dylan's performance featured a prominent harmonica solo that added emotional depth to the uptempo rock arrangement, while Lanois' dobro provided rhythmic texture and propulsion to the ensemble's driving groove. An alternate outtake from the Oh Mercy sessions, released on The Bootleg Series Vol. 8: Tell Tale Signs in 2008, presents a rawer version with stripped-back instrumentation, emphasizing Dylan's acoustic guitar and a sparser band dynamic led by Lanois on dobro.

Single release and chart performance

"Everything Is Broken" was released as the from Bob Dylan's 1989 album on October 23, 1989, by . The single featured "Death Is Not the End" as the B-side, an earlier recording from Dylan's 1988 album . The single was issued in multiple formats, including 7-inch vinyl, cassette, and CD, with promotional efforts focused on radio airplay aimed at rock audiences. These releases supported the song's distribution in the United States and internationally, aligning with Columbia's strategy to highlight Dylan's return to form following the critical success of . On the charts, "Everything Is Broken" debuted on the Mainstream Rock Tracks chart on September 30, 1989, and spent eight weeks there, peaking at number 8 on October 28, 1989. It did not achieve significant placement on the pop chart, reflecting its targeted appeal to radio rather than pop. Nonetheless, the single's performance contributed to the album reaching number 30 on the , marking Dylan's highest charting studio album since 1978. The single's rollout coincided with Dylan's ongoing , which began in June 1988, providing a platform for early live performances of the track. "Everything Is Broken" made its live debut on October 10, 1989, at the Beacon Theatre in , shortly before the single's official release, helping to build momentum through concert audiences.

Musical analysis

Style and structure

"Everything Is Broken" is classified as an uptempo /rock track that incorporates influences derived from its recording in New Orleans, while drawing on Bob Dylan's longstanding folk-rock foundations. The song employs a straightforward verse- structure characterized by a repetitive "" pattern, in which successive verses catalog various broken objects and concepts before converging on the titular . Running 3:15 in length, it is composed in at a moderate tempo of approximately 130 . Key instrumentation includes driving rhythm guitars from Brian Stoltz and , sliding dobro lines played by producer , and a prominent wailing harmonica solo by Dylan during the bridge section, all of which foster a gritty, percussive texture augmented by tambourine from Malcolm Burn and additional percussion from . This track reflects ' signature production approach evident elsewhere on , such as in the swampy atmospheres of "Man in the Long Black Coat," yet distinguishes itself through its vigorous, propulsive energy.

Lyrics and themes

The lyrics of "Everything Is Broken" are structured as a repetitive of breakdowns, enumerating a of fractured elements across four to evoke a pervasive sense of collapse. The opening sets this pattern with lines such as "Broken lines, broken strings / Broken threads, broken springs / Broken idols, broken heads / People sleeping in broken beds," progressing through everyday objects, social institutions, and human experiences like "Broken treaties, broken vows" and "Broken hands on broken ploughs," culminating in the "Everything is broken." This accumulation builds to a climactic image of societal desperation: "People bending backwards / Like a / People kissing cousins / They're all just bozos on the bus," before the final verse intensifies with "The curse, it is cast / And some of y'all just simply won't last," reinforcing the inexorable nature of decay. At its core, the song explores themes of universal and disillusionment, depicting a world trapped in irreversible ruin where attempts at repair or evasion prove futile. The repeated invocation of brokenness extends beyond the physical to symbolize ontological fragmentation—a fallen human condition marked by imperfection and existential resignation, as Dylan's raspy delivery mirrors the thematic disintegration. This portrayal aligns with broader motifs in his late-1980s work, emphasizing a cursed where "Ain't no use jiving, ain't no use joking" in the face of inevitable breakdown. Dylan employs the blues idiom through rhythmic, incantatory phrasing and ironic detachment, transforming lament into an almost celebratory pulse that underscores the absurdity of collapse without offering resolution. The irony lies in the upbeat delivery contrasting the dire content, suggesting a wry acceptance of chaos amid 1980s societal decay, including political unrest and personal alienation, though the lyrics avoid explicit references to maintain universality. This approach draws from traditional blues forms while infusing them with Dylan's sardonic worldview, evoking a sense of ironic endurance in a disintegrating era. The song evolved from an early draft titled "Broken Days," recorded during the Oh Mercy sessions in 1989, which featured more fragmented, personal imagery before expanding into broader existential commentary. This shift, evident in alternate versions with lines like "Broken nights, broken days / Broken leaves on broken trees," broadened the scope from intimate despair to a cosmic of futility, refining the theme of inescapable .

Reception and legacy

Critical reception

Upon its release in 1989, "Everything Is Broken" received positive attention in initial reviews of the album Oh Mercy. described it as a "rollicking catalog of psychic dislocation" that captured the record's gritty atmosphere. Similarly, of The Village Voice praised the album's overall understated production and easy beat, which lent rhythmic energy to tracks like this amid the moody, late-night tone of the collection, awarding it a B grade. In retrospective assessments, the song has been widely acclaimed for its enduring relevance. Spectrum Culture ranked it among Bob Dylan's 20 best songs of the 1980s in 2020, calling it an ideal anthem for contemporary times with lines evoking societal fracture. The Guardian included it in its 2021 list of 80 essential Dylan tracks, noting the album's prescient edge in a birthday tribute to the artist. NJArts.net selected it as the standout favorite from in a 2021 overview of Dylan's catalog. Critics have specifically lauded the song's musical elements. In their 2015 book Bob Dylan All the Songs: The Story Behind Every Track, Philippe Margotin and Jean-Michel Guesdon characterized it as a ", or swamp blues" number, highlighting the rhythmic guitars and harmonica that evoke the style of while creating a powerful, disturbing recording.

Cultural impact

In the post-2000 era, "Everything Is Broken" has resonated in political commentary addressing societal fractures during major crises. During the global pandemic and heightened racial tensions in the United States, the song was cited as an apt encapsulation of national turmoil, with its lyrics evoking a world unraveling under multiple pressures. Similarly, in the , it has been described as a fitting anthem for "broken Britain" amid economic and political challenges following , underscoring perceptions of institutional decay and public disillusionment. The song has also been appropriated in religious and philosophical contexts to explore themes of human imperfection and renewal. In a 2021 Yom Kippur sermon delivered at Westchester Reform Temple, Rabbi Jonathan E. Blake invoked the track to illustrate the Jewish mystical concept of cosmic brokenness from Lurianic Kabbalah, portraying it as "swamp rock meets Lurianic Kabbalah" and linking its imagery of shattered elements to the potential for redemption through tikkun olam (repairing the world) and personal atonement. This interpretation was echoed in a 2021 GetReligion analysis of America's deepening moral and cultural divides, where the song framed divisions into "blue America," "red America," and "Trump America" as symptoms of pervasive societal entropy since the 1970s. Following Bob Dylan's , "Everything Is Broken" gained attention in discussions of his oeuvre as a prophetic of and decline, often highlighted for its enduring applicability to global instability. The song's themes of universal dysfunction continue to appear in contemporary reflections on historical and ongoing "brokenness," reinforcing its status as a timeless emblem of in modern discourse. Beyond commentary, the track has permeated popular media, appearing in the 2002 Disney film , where Dylan's original recording underscores scenes of disruption and repair, enhancing its crossover into family-oriented entertainment despite not being included on the official .

Performances and covers

Live performances by Dylan

debuted "Everything Is Broken" live on October 11, 1989, at the Beacon Theatre in , shortly after the release of the album . The song became a staple of his , performed a total of 285 times from 1989 to 2003, frequently positioned as a mid-set energizer to invigorate audiences with its driving rhythm. Early live renditions from to closely mirrored the studio version's uptempo feel, emphasizing Dylan's harmonica solos and the band's tight, electric groove, as heard in performances like the debut show. By the mid-1990s, the arrangements evolved into more improvisational outings, with extended jams and looser structures that allowed for spontaneous variations in tempo and phrasing, reflecting Dylan's ongoing experimentation during the . The song's final performance occurred on May 6, 2003, at the in , after which it was retired from Dylan's setlists, with no documented appearances since according to official archives.

Cover versions

One of the earliest notable covers of "Everything Is Broken" came from blues musician , who delivered a raw, gritty rendition on his 1994 tribute album Tangled Up in Blues: Songs of Bob Dylan, infusing the track with his signature style characterized by hypnotic rhythms and . This version emphasized the song's themes of dysfunction through Burnside's weathered vocals and sparse instrumentation, capturing a essence distinct from Dylan's original rock arrangement. In 1997, the Kenny Wayne Shepherd Band recorded a high-energy rock interpretation for their album Trouble Is... (released October 7, 1997), featuring aggressive guitar riffs and a driving tempo that amplified the song's chaotic energy into a hard blues-rock anthem. Shepherd's take, with its layered solos and amplified production, showcased the track's adaptability to electric blues traditions while maintaining its lyrical cynicism. An alternate outtake of the song by himself, recorded during the Oh Mercy sessions, was released on The Bootleg Series Vol. 8: Tell Tale Signs in 2008, offering a stripped-down acoustic arrangement that highlighted raw vocal delivery but remained within Dylan's interpretive scope. In 2009, jazz vocalist Louisa Bey released a smooth, improvisational cover on her album Turning Me Jazz, incorporating elements and upright bass to give the track a lounge-like that contrasted its origins. Shifting to the 2010s, collaborated with on a folk- duet version for Crow's 2019 Threads, reimagining the track with harmonious vocals, gentle acoustic strumming, and subtle pedal steel accents to evoke a sense of weary resilience. This rendition transformed the original's urgency into a conversational dialogue, blending Crow's pop sensibilities with Isbell's Americana roots. More recent interpretations include a live tribute by The Album Show, an ensemble, performed in 2022 at Avoca Beach Theatre as part of their Dylan: The Hits program, featuring and harmonized vocals in a faithful yet energetic stage arrangement. Other notable covers from the include Lucinda Williams's blues-infused version on her 2020 Good Souls Better Angels and Rory Block's acoustic rendition on her 2024 release The Blues Ain't Gonna Die While I'm Around. Beyond these, the song has inspired diverse adaptations, such as singer Martyna Jakubowicz's 2005 rendition titled "Wszystko tu popsute," which translated the lyrics into Polish while preserving the blues- structure on her Tylko Dylan. Overall, more than 40 documented covers exist, spanning , , and genres, as cataloged in music databases.

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