The Mighty Monkey Of Mim wrote:
I don't think it sucks at all, but it is clearly meant to be a rough demo so the band knows how the song goes. The take on BS2 builds into something great but collapses during the last verse. Neither could have realistically been considered suitable for the album. There were MANY takes of this song attempted—19 to be exact—but the fact that the one selected for BS2 is incomplete suggests to me that there isn't a good complete take among them. By the time of the next recording session a few days later, he'd already completely rewritten it as (or, if you prefer, cannibalized the melodic structure into) SOONER OR LATER and the rest is history.
incorrect history. the two bear no resemblance
Dylan became frustrated and angry at the next Blonde on Blonde date, held three weeks into the new year during an extended break from touring. In nine hours of recording, through nineteen listed takes, only one song was attempted, for which Dylan supplied the instantly improvised title, “Just a Little Glass of Water.” Eventually renamed “She’s Your Lover Now,” it’s a lengthy, cinematic vignette of a hurt, confused man lashing out at his ex-girlfriend and her new lover. Nobody expected it would be recorded easily. (Dylan’s manager, Albert Grossman, interjects on the tape, just before the recording starts, that there is a supply of “raw meat for everybody in the band.”) The first take rolls at a stately pace, but Dylan is restless and the day has just begun.
On successive takes, the tempo speeds, then slows a bit, then speeds up again. Dylan tries singing a line in each verse accompanied only by Garth Hudson’s organ, shifting the song’s dynamics, but the idea survives for only two takes. After some false starts, Dylan exclaims, “It’s not right…it’s not right,” and soon he despairs, “No, x it, I’m losing the whole x song.” He again changes tempos and fiddles with some chords and periodically scolds himself as well as the band: “I don’t give a x if it’s good or not, just play it together…you don’t have to play anything fancy or nothing, just…just together.” A strong, nearly complete version ensues, but Dylan flubs the last verse. “I can’t hear the song anymore,” he finally confesses. He wants the song back, so he plays it alone, slowly, on his tack piano, and nails every verse. He reacts to his own performance with a little “huh” that could have been registering puzzlement or rediscovery. But Dylan would end up discarding “She’s Your Lover Now,” just as he would abandon a later, interesting take of an older song, “I’ll Keep It with Mine.”