Quantifiers are words that indicate logical quantity. 'All,' 'Some,' and 'No' are examples. Here are some songs featuring them from my memory with no reliance on A. I.
Chuck Berry, No Particular Place to Go.
Bob Dylan, Only a Hobo
Rod Stewart, Only a Hobo. But is 'only' functioning as a quantifier in this title?
Jackson Browne, Somebody's Baby
Jefferson Airplane, Somebody to Love
B. B. King, Nobody Knows You When You are Down and Out
Louis Armstrong, I Ain't Got Nobody
Byrds, All I Really Want to Do
Jimi Hendrix, All Along the Watchtower
Beatles, Something
Beatles, Any Time At All
Roy Orbison, Only the Lonely
Bob Dylan, Most Likely You'll Go Your Way (and I'll Go Mine)
Here are some comments of mine on the video which accompanies this touched-up Blonde on Blonde track. The video is very cleverly constructed, providing a synopsis of milestones in Dylan's career. The first girl the guy with the acoustic guitar case is walking with is a stand-in for Suze Rotolo, the girl 'immortalized' on the Freewheelin' Bob Dylan album cover. But now we see the pair from the back instead of from the front. She is replaced by a second girl representing Joan Baez. (Dylan's affair with Baez helped destroy his relationship with Rotolo.) Then the guy gets into a car and emerges on the other side with an electric guitar case. This signifies Dylan's going electric in '65 at the Newport Folk Festival, a change which enraged the die-hard folkies and doctrinaire leftists who thought they owned Dylan as a mouthpiece for their views.
A quick shot of a newspaper in a trash can with the headline "Dylan Goes Electric" appears just in case you missed the subtlety of the auto entry-exit sequence. After that we see a downed motorcycle representing Dylan's motorcycle accident, an event that brings to a close the existentialist-absurdist-surrealist phase of the mid-60s trilogy, Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde. After the accident Dylan is further from the mind and closer to the earth. Dylan the psychedelically deracinated returns to his roots in the Bible and Americana with John Wesley Harding. The girl in the brass bed is an allusion to "Lay Lady Lay" ("lay across my big brass bed") from the Nashville Skyline album. Dylan then colaesces with the man in black (Johnny Cash), and steps over and through the detritus of what remains of the hippy-trippy 60's and into the disco era, his Christian period, marked by the 1979 Slow Train Coming and a couple of subsequent albums, his marriage to a black back-up singer, and on into the later phases of the life of this protean bard on never-ending tour.
Here is what Auster has to say about the song:
By the way, that’s the first time I’ve seen “judge” rhymed with “grudge” since Bob Dylan’s “Most Likely You Go Your Way (And I’ll Go Mine),” from Blonde on Blonde. Here’s the recording.
Dylan’s lyric (not for the first time) is pretty appropriate to our situation:
Well the judge
He holds a grudge
He’s gonna call on you.
But he’s badly built
And he walks on stilts
Watch out he don’t fall on you.
There is now on the U.S. Supreme Court an intellectually sub-par Puerto Rican woman whose entire career has been essentially founded on a grudge against whites, a judge who makes her pro-Hispanic, anti-white agenda an explicit element in her judging. “The judge, she holds a grudge.”
Sotomayor is not the first of that kind, however. Another Supreme Court sub-competent, Thurgood Marshall, openly stated to one of his colleagues that the philosophy behind his judging was that “It’s our [blacks’] turn now.”
Well, I can't call it a night without the schmaltzy
Dean Martin, Everybody Loves Somebody Sometime
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