“Jeder's manchmohl einsam” ("Everyone's lonely sometimes") is a standout track from the 1996 album Leopardenfell (Leopard Skin): Dylan covers sung in Kölsch dialect by Wolfgang Niedecken, best known as the frontman of the Cologne-based rock band BAP. This particular cover of "It's All Over Now Baby Blue" captures a universal human truth that even in a crowded world, solitude finds its way into every life. It’s an intimate meditation on emotional isolation, rendered with warmth, humility, and Niedecken’s unmistakable gravelly sincerity.
Musically, the track is understated and reflective. Built around a mostly gentle acoustic arrangement, it leans more toward folk and singer-songwriter traditions than BAP's usual rock-oriented sound. The instrumentation (sandwiched between some of the most impressive saxophone playing this side of Baker Street) is limited to acoustic guitar, subtle piano, and sparse percussion - creating a soft, embracing atmosphere that suits the song’s contemplative message. There are no theatrics, just space for the lyrics to breathe.
Lyrically, “Jeder's manchmohl einsam” is poignant without being sentimental. Niedecken doesn't overstate the theme of loneliness; instead, he acknowledges it as an occasional, inevitable visitor in everyone’s life. The use of dialect adds intimacy and authenticity, making the song feel like a quiet conversation between old friends. There’s a comforting honesty in his phrasing, as if he’s gently reminding us that being alone doesn’t mean being broken.
What elevates the track is its emotional balance. Rather than dwelling in melancholy, the song accepts loneliness as part of the human condition - neither good nor bad, just real. Niedecken’s delivery is restrained and empathetic, avoiding melodrama in favor of quiet recognition.
“Jeder's manchmohl einsam” is a beautifully modest song that speaks volumes in hushed tones. With its gentle melody, heartfelt lyrics, and earthy wisdom, it captures the bittersweetness of solitude in a honest, grounded, and unmistakably human way.
Musically, the track is understated and reflective. Built around a mostly gentle acoustic arrangement, it leans more toward folk and singer-songwriter traditions than BAP's usual rock-oriented sound. The instrumentation (sandwiched between some of the most impressive saxophone playing this side of Baker Street) is limited to acoustic guitar, subtle piano, and sparse percussion - creating a soft, embracing atmosphere that suits the song’s contemplative message. There are no theatrics, just space for the lyrics to breathe.
Lyrically, “Jeder's manchmohl einsam” is poignant without being sentimental. Niedecken doesn't overstate the theme of loneliness; instead, he acknowledges it as an occasional, inevitable visitor in everyone’s life. The use of dialect adds intimacy and authenticity, making the song feel like a quiet conversation between old friends. There’s a comforting honesty in his phrasing, as if he’s gently reminding us that being alone doesn’t mean being broken.
What elevates the track is its emotional balance. Rather than dwelling in melancholy, the song accepts loneliness as part of the human condition - neither good nor bad, just real. Niedecken’s delivery is restrained and empathetic, avoiding melodrama in favor of quiet recognition.
“Jeder's manchmohl einsam” is a beautifully modest song that speaks volumes in hushed tones. With its gentle melody, heartfelt lyrics, and earthy wisdom, it captures the bittersweetness of solitude in a honest, grounded, and unmistakably human way.