Nobody Cept’ You (1973)

This is one of my favorite Dylan love songs.  The lyrics have the feel of “Most Of The Time,” but inside this song is a much different world.  Whereas in “Most” pain overshadows how he feels mostly, which is at most “halfway content,”  in “Nobody” all is diminished in the face of love.  Or rather with lyrics like this,

I know somethin’ has changed
I’m a stranger here and no one sees me
’Cept you, yeah you

everything else that makes him feel diminished diminishes.  She inspires the phoenix in him, born again through the ashes that life appears set on reducing him to.  The fire reference in this verse supports this:

You’re the one that reaches me
You’re the one that I admire
Every time we meet together
My soul feels like it’s on fire
Nothing matters to me
And there’s nothing I desire
’Cept you, yeah you\

The rhyming pattern is consistent and then not.  It is ‘cept for the last two verses. Besides the bridge, the first three rhyme a/b/c/b/a/b/e (‘cept for the first which keep the “a’ rhyme going in the fifth line); the last two verses are exceptions, too, with 8 and 9 lines respectfully, and with a rhyme scheme of a/b/c/d/b/c/e/f and a/b/a/c/a/c/d/c/b. So the structure keeps the whole ‘cept thing alive.

The last verse has the most exceptions.  First it combines wording from the opening bridge:

Nothing much matters or seems to please me
’Cept you, yeah you
Nothing hypnotizes me
Or holds me in a spell
Everything runs by me
Just like water from a well
Everybody wants my attention
Everybody’s got something to sell
’Cept you, yeah you

Even better though is how “you” and “me” combine in the last verse.  In the bridge, it’s mostly about “you.”  Elsewhere, it’s mainly about “me.” No separation of bridge and verse in this one. (I prefer to say the rest of the song separates them ‘cept this one.)  In the last verse, “you” and “me” run rampant together, as if this is a world worth staying in, the world of just “you” and “me.”

 

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