"Sign on the Window" is a song by American singer-songwriter Bob Dylan. It was released on his eleventh studio album New Morning (1970). It has received positive reviews, with critics considering it a highlight of its parent album and some declaring it one of Dylan's masterpieces.

"Sign on the Window"
Song by Bob Dylan
from the album New Morning
ReleasedOctober 1970
RecordedJune 5, 1970[1]
StudioCBS Studio B (New York)
Length3:45
LabelColumbia
SongwriterBob Dylan
ProducerBob Johnston

Background and recording

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Writer Michael Gray opines that "Sign on the Window" portrays a conflicted look towards family life, a "marked expression of explicit doubt about the family-man-countryman role" which Dylan had developed over his previous two albums.[2] Gray highlights the repetition of the line "That must be what it's all about" as a "patently unconfident remark" which emphasizes the unease of the narrator.[2] Brian Hinton echoes this sentiment, stating the track "certainly catches a mood of come-down at the end of the 60s dream", accentuated by a vocal performance characterized by "pathos and uncertainty".[3]

Some writers opt for a more optimistic interpretation of the song. Robert Shelton considers the song to be "the apotheosis of personal contentment in a love relationship".[4] Shelton notes the song's mood as "wistful contentment, free of smugness".[4] Howard Sounes states that Dylan's voice "almost crack[s] with emotion" as he "[sings] joyfully about raising a family".[5]

Dylan recorded five takes of the song on May 1, 1970, during a session with George Harrison, while the album version was recorded on June 5, during a session which saw eight takes of the song performed.[1] A string arrangement by Al Kooper was created for the song, though it was omitted from the final track, a decision which Heylin states may have possibly been made in response to the negative reaction afforded to the recently-released Self Portrait (1970), which contained similar arrangements.[1]

Reception

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"Sign on the Window" has received critical acclaim. Heylin considers the song an "overlooked masterpiece", with some of Dylan's "finest piano playing on record".[1] In the biography Dylan: Behind the Shades, Heylin deems the track one of Dylan's "best songs since his Woodstock heyday of 1967".[6] In a review of New Morning for Rolling Stone, Ed Ward called the song "the undisputed masterpiece of the album", further stating that it "ranks with the best work [Dylan has] done" and is "one of the most involved (and involving) pieces he's ever recorded".[7]

References

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