Bob Dylan

The Complete Guide

Contents

1 Overview 1
1.1 Bob Dylan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.1 Life and career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.1.2 Never Ending Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.1.3 Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.1.4 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.1.5 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.1.6 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.1.7 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.1.8 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1.9 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
1.1.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

2 Studio Albums 31
2.1 Bob Dylan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.1.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.1.2 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.1.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.1.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
2.1.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.1.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.1.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.1.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.1.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
2.2 The Freewheelin' Bob Dylan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.2.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
2.2.2 Songs and themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
2.2.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.2.4 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
2.2.5 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
2.2.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

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2.2.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.2.8 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.2.9 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.2.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.2.11 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
2.2.12 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
2.3 The Times They Are a-Changin' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.4 Another Side of Bob Dylan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.4.1 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
2.4.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
2.4.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.4.4 The songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.4.5 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
2.4.6 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.4.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.4.8 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.4.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
2.5 Bringing It All Back Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2.5.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
2.5.2 Songs and themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
2.5.3 Cover art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
2.5.4 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
2.5.5 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
2.5.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
2.5.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
2.5.8 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
2.5.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
2.5.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
2.6 Highway 61 Revisited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
2.6.1 Dylan and Highway 61 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
2.6.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
2.6.3 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
2.6.4 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
2.6.5 Reception and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
2.6.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
2.6.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
2.6.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
2.6.9 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
2.6.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
2.6.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
2.7 Blonde on Blonde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
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2.7.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

2.7.2 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
2.7.3 Album cover and release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
2.7.4 Critical reception and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
2.7.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
2.7.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
2.7.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
2.7.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
2.7.9 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
2.7.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
2.7.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
2.8 John Wesley Harding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
2.8.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
2.8.2 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
2.8.3 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
2.8.4 Release dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
2.8.5 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
2.8.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
2.8.7 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
2.8.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
2.8.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
2.8.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2.9 Nashville Skyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2.9.1 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2.9.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2.9.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
2.9.4 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
2.9.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
2.10 Self Portrait . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
2.10.1 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
2.10.2 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
2.10.3 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
2.10.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.10.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.10.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.10.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.10.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.10.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.11 New Morning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.11.1 Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
2.11.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
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2.11.3 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
2.11.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
2.11.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
2.11.6 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
2.11.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
2.11.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
2.12 Pat Garrett & Billy the Kid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.1 Filming of Pat Garrett and Billy the Kid . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.5 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
2.12.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
2.12.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
2.12.8 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
2.12.9 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
2.12.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
2.13 Dylan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.13.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.13.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.14 Planet Waves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.14.1 Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.14.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
2.14.3 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
2.14.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
2.14.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.14.6 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.14.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.14.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.14.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.15 Blood on the Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
2.15.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
2.15.2 Autobiographical interpretation of Blood on the Tracks . . . . . . . . . . . . . . . . . . . . 92
2.15.3 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
2.15.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
2.15.5 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
2.15.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
2.15.7 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
2.15.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
2.15.9 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
2.15.10 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
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2.15.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
2.15.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
2.16 The Basement Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
2.16.1 Background and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
2.16.2 Dwarf Music demos and Great White Wonder . . . . . . . . . . . . . . . . . . . . . . . . 98
2.16.3 Columbia Records compilation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
2.16.4 Criticism of 1975 album . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
2.16.5 Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
2.16.6 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
2.16.7 Other released Basement Tape songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
2.16.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
2.16.9 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
2.16.10 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
2.16.11 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
2.17 Desire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
2.17.1 Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
2.17.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
2.17.3 Song information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
2.17.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
2.17.5 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
2.17.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.17.7 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.17.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.17.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.17.10 Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.18 Street-Legal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
2.18.1 Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
2.18.2 Writing and recording Street-Legal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
2.18.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
2.18.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
2.18.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
2.18.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
2.18.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
2.19 Slow Train Coming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
2.19.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
2.19.2 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
2.19.3 Reception and aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
2.19.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
2.19.5 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
2.19.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
2.19.7 Dylan’s conversion to Christianity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
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2.19.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

2.20 Saved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.1 Album information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.3 Cover art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.6 Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
2.20.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
2.21 Shot of Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
2.21.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
2.21.2 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
2.21.3 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
2.21.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.21.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.21.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.22 Infidels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.22.1 Etymology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.22.2 Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
2.22.3 Infidels under Canon Law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
2.22.4 As a philosophical tradition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
2.22.5 Implications upon medieval civil law . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
2.22.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
2.22.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
2.22.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
2.22.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
2.23 Empire Burlesque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
2.23.1 The recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
2.23.2 The songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
2.23.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
2.23.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
2.23.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
2.23.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
2.23.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24 Knocked Out Loaded . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24.2 Cover art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24.3 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
2.24.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
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2.24.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

2.25 Down in the Groove . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
2.25.1 Recording and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
2.25.2 The summer tour of 1988 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
2.25.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
2.25.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
2.25.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
2.25.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
2.26 Oh Mercy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
2.26.1 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
2.26.2 The cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
2.26.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
2.26.4 Critical and commercial response . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
2.26.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
2.26.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
2.26.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
2.26.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
2.27 Under the Red Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
2.27.1 Dedication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
2.27.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
2.27.3 The songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
2.27.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.27.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.27.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.27.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.28 Good as I Been to You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.28.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
2.28.2 Song selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
2.28.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
2.28.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
2.28.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
2.28.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
2.28.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29 World Gone Wrong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29.1 The recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29.2 The songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29.3 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29.4 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
2.29.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
2.29.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
2.29.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
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2.30 Time Out of Mind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

2.30.1 Background and writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
2.30.2 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
2.30.3 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
2.30.4 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
2.30.5 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
2.30.6 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
2.30.7 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
2.30.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
2.30.9 Sales chart positions and certification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
2.30.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
2.31 Love and Theft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
2.31.1 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
2.31.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
2.31.3 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.31.4 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.31.5 Allegations of plagiarism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.31.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.31.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.31.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
2.32 Modern Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
2.32.1 Band and production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
2.32.2 Anticipation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
2.32.3 Credit controversy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
2.32.4 Critical reaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
2.32.5 Artwork and versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.32.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.32.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.32.8 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.32.9 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.32.10 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
2.33 Together Through Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
2.33.1 Sources and quotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.3 Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.4 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.6 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
2.33.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
2.33.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
2.34 Christmas in the Heart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
CONTENTS ix

2.34.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

2.34.2 Release and promotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
2.34.3 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
2.34.4 Charity project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
2.34.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
2.34.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
2.34.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2.34.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2.34.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2.35 Tempest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2.35.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
2.35.2 Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
2.35.3 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
2.35.4 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
2.35.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
2.35.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
2.35.7 Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
2.35.8 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
2.35.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

3 Live Albums 167

3.1 Before the Flood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
3.1.1 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
3.1.2 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
3.1.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
3.1.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
3.1.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
3.1.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
3.2 Hard Rain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
3.2.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
3.2.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
3.2.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
3.3 Bob Dylan at Budokan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.3.1 Recording and releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.3.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.3.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.3.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.3.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
3.4 Real Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
3.4.1 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
3.4.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
3.4.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
x CONTENTS

3.4.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

3.5 Dylan & the Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
3.5.1 Reviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.5.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.5.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.5.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.5.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.6 The 30th Anniversary Concert Celebration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.6.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.6.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.6.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.7 MTV Unplugged . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.7.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.7.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.7.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.8 Live 1961–2000: Thirty-Nine Years of Great Concert Performances . . . . . . . . . . . . . . . . . 173
3.8.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.9 Live at The Gaslight 1962 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
3.9.1 HMV Canada dispute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
3.9.2 Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
3.9.3 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
3.9.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
3.9.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
3.10 Live at Carnegie Hall 1963 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
3.10.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
3.10.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

4 The Bootleg Series 176

4.1 The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . . . . . . . . . . . . . . . . . . 176
4.1.1 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.1.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.1.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.1.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.1.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
4.2 The Bootleg Series Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert . . . . . . . . . 176
4.2.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.2.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.2.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.2.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.2.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.2.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
4.3 The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue . . . . . . . . . . . 178
CONTENTS xi

4.3.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

4.3.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
4.3.3 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.4 The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall . . . . . . . . . . . 179
4.4.1 Preparing The Bootleg Series Vol. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.4.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.4.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.4.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
4.5 The Bootleg Series Vol. 7: No Direction Home: The Soundtrack . . . . . . . . . . . . . . . . . . . 180
4.5.1 Preparing The Bootleg Series Vol. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
4.5.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
4.5.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.6 The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 . . . . . . . . . . . . 182
4.6.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.6.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.6.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
4.6.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
4.7 The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964 . . . . . . . . . . . . . . . . . . . . 183
4.7.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
4.7.2 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.7.3 Royalties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.7.4 Demo session dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.7.5 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.7.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
4.7.7 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
4.7.8 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
4.7.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4.7.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4.8 The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) . . . . . . . . . . . . . . . . . . . 186
4.8.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4.8.2 Promotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4.8.3 Editions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
4.8.4 Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
4.8.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
4.8.6 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
4.8.7 Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
4.8.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
4.8.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

5 Text and image sources, contributors, and licenses 189

5.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
xii CONTENTS

5.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

5.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Chapter 1
Overview
1.1 Bob Dylan
This article is about the musician. For his debut album,
see Bob Dylan (album).
Bob Dylan (/ˈdɪlən/; born Robert Allen Zimmerman,
May 24, 1941) is an American singer-songwriter, artist,
and writer. He has been influential in popular music
and culture for more than five decades. Much of his
most celebrated work dates from the 1960s when his
songs chronicled social unrest, although Dylan repudi-
ated suggestions from journalists that he was a spokesman
for his generation. Nevertheless, early songs such as
"Blowin' in the Wind" and "The Times They Are a-
Changin'" became anthems for the American civil rights
and anti-war movements. Leaving his initial base in the
American folk music revival, Dylan’s six-minute single
"Like a Rolling Stone" altered the range of popular mu-
sic in 1965. His mid-1960s recordings, backed by rock
musicians, reached the top end of the United States mu-
sic charts while also attracting denunciation and criticism
from others in the folk movement.
Dylan’s lyrics have incorporated various political, social,
philosophical, and literary influences. They defied exist-
ing pop music conventions and appealed to the burgeon-
ing counterculture. Initially inspired by the performances
of Little Richard, and the songwriting of Woody Guthrie,
Robert Johnson and Hank Williams, Dylan has amplified
and personalized musical genres. His recording career,
spanning 50 years, has explored the traditions in Ameri-
can song—from folk, blues, and country to gospel, rock
and roll, and rockabilly to English, Scottish, and Irish
folk music, embracing even jazz and the Great Ameri-
can Songbook. Dylan performs with guitar, keyboards
and harmonica. Backed by a changing line-up of musi-
cians, he has toured steadily since the late 1980s on what
has been dubbed the Never Ending Tour. His accom-
plishments as a recording artist and performer have been
central to his career, but his greatest contribution is con-
sidered his songwriting.
Since 1994, Dylan has published six books of drawings
and paintings, and his work has been exhibited in major
art galleries. As a musician, Dylan has sold more than
100 million records, making him one of the best-selling
1
artists of all time; he has received numerous awards in-
cluding Grammy, Golden Globe and Academy Award;
he has been inducted into the Rock and Roll Hall of
Fame, Minnesota Music Hall of Fame, Nashville Song-
writers Hall of Fame, and Songwriters Hall of Fame. The
Pulitzer Prize jury in 2008 awarded him a special citation
for “his profound impact on popular music and Ameri-
can culture, marked by lyrical compositions of extraor-
dinary poetic power.” In May 2012, Dylan received the
Presidential Medal of Freedom from Barack Obama.
1.1.1 Life and career
Origins and musical beginnings
Bob Dylan was born Robert Allen Zimmerman
(Hebrew name ‫[ שבתאי זיסל בן אברהם‬Shabtai Zisl ben
Avraham])[2][3] in St Mary’s Hospital on May 24, 1941,
the first of two boys, in Duluth, Minnesota,[4][5] and
raised in Hibbing, Minnesota, on the Mesabi Range
west of Lake Superior. Dylan’s paternal grandparents,
Zigman and Anna Zimmerman, emigrated from Odessa
in the Russian Empire now Ukraine, to the United States
following anti-Semitic pogroms of 1905.[6] His maternal
grandparents, Ben and Florence Stone, were Lithuanian
Jews who arrived in the United States in 1902.[6] In his
autobiography Chronicles: Volume One, Dylan writes
that his paternal grandmother’s maiden name was Kirghiz
and her family originated from Kağızman district of Kars
Province in north-eastern Turkey.[7]
Dylan’s parents, Abram Zimmerman and Beatrice
“Beatty” Stone, were part of the area’s small but close-
knit Jewish community. Robert Zimmerman lived in Du-
luth until age six, when his father had polio and the fam-
ily returned to his mother’s home town, Hibbing, where
Zimmerman spent the rest of his childhood. Robert Zim-
merman spent his early years listening to the radio—first
to blues and country stations from Shreveport, Louisiana,
and, as a teen, to rock and roll.[8] Zimmerman formed
several bands while attending Hibbing High School. In
the Golden Chords, he performed covers of songs by Lit-
tle Richard[9] and Elvis Presley.[10] Their performance of
Danny & the Juniors' “Rock and Roll Is Here to Stay” at
their high school talent show was so loud that the principal
2 CHAPTER 1. OVERVIEW

cut the microphone.[11] In 1959, his high school yearbook
carried the caption: “Robert Zimmerman: to join 'Little
Richard'.”[9][12] The same year, as Elston Gunnn [sic], he
performed two dates with Bobby Vee, playing piano and
clapping.[13][14][15]
Zimmerman moved to Minneapolis in September 1959
and enrolled at the University of Minnesota. His focus
on rock and roll gave way to American folk. In 1985, he
said:
The thing about rock'n'roll is that for me
anyway it wasn't enough ... There were great
catch-phrases and driving pulse rhythms ... but
the songs weren't serious or didn't reflect life
in a realistic way. I knew that when I got into
folk music, it was more of a serious type of
thing. The songs are filled with more despair,
more sadness, more triumph, more faith in the
supernatural, much deeper feelings.[16]
He began to perform at the Ten O'Clock Scholar, a cof-
feehouse a few blocks from campus, and became involved
in the Dinkytown folk music circuit.[17][18]
During his Dinkytown days, Zimmerman began introduc-
ing himself as “Bob Dylan”.[19][a 1] In his memoir, Dylan
acknowledged that he had been influenced by the poetry
of Dylan Thomas.[20] Explaining his change of name in
a 2004 interview, Dylan remarked: “You're born, you
know, the wrong names, wrong parents. I mean, that hap-
pens. You call yourself what you want to call yourself.
This is the land of the free.”[21]
September, Dylan gained public recognition when Robert
Shelton wrote a review in The New York Times of a show
at Gerde’s Folk City.[27] The same month Dylan played
harmonica on folk singer Carolyn Hester's third album,
which brought his talents to the attention of the album’s
producer, John Hammond.[28] Hammond signed Dylan to
Columbia Records in October. The performances on his
first Columbia album, Bob Dylan, in March 1962,[29] con-
sisted of familiar folk, blues and gospel with two original
compositions. The album sold only 5,000 in its first year,
just enough to break even.[30] Within Columbia Records,
some referred to the singer as “Hammond’s Folly”[31] and
suggested dropping his contract, but Hammond defended
Dylan and was supported by Johnny Cash.[30] In March
1962, Dylan contributed harmonica and back-up vocals
to the album Three Kings and the Queen, accompany-
ing Victoria Spivey and Big Joe Williams on a recording
for Spivey Records.[32] While working for Columbia, Dy-
lan recorded under the pseudonym Blind Boy Grunt,[33]
for Broadside, a folk magazine and record label.[34] Dy-
lan used the pseudonym Bob Landy to record as a pi-
ano player on The Blues Project, a 1964 anthology album
by Elektra Records.[33] As Tedham Porterhouse, Dylan
played harmonica on Ramblin' Jack Elliott’s 1964 album,
Jack Elliott.[33]

1960s

Relocation to New York and record deal In May

1960, Dylan dropped out of college at the end of his
first year. In January 1961, he traveled to New York With Joan Baez during the civil rights "March on Washington for
City, to perform there and visit his musical idol, Woody Jobs and Freedom", August 28, 1963
Guthrie,[22] who was seriously ill with Huntington’s dis-
ease in Greystone Park Psychiatric Hospital.[23] Guthrie Dylan made two important career moves in August 1962:
had been a revelation to Dylan and influenced his early he legally changed his name to Bob Dylan,[36] and he
performances. Describing Guthrie’s impact, he wrote: signed a management contract with Albert Grossman.[37]
“The songs themselves had the infinite sweep of human- (In June 1961, Dylan had signed an agreement with Roy
ity in them ... [He] was the true voice of the American Silver. In 1962, Grossman paid Silver $10,000 to become
sole manager.)[38] Grossman remained Dylan’s manager
spirit. I said to myself I was going to be Guthrie’s greatest
disciple.”[24] As well as visiting Guthrie in hospital, Dy-
until 1970, and was notable for his sometimes confronta-
lan befriended Guthrie’s acolyte, Ramblin' Jack Elliott. tional personality and for protective loyalty.[39] Dylan
Much of Guthrie’s repertoire was channeled through El- said, “He was kind of like a Colonel Tom Parker figure
... you could smell him coming.”[18] Tensions between
liott, and Dylan paid tribute to Elliott in Chronicles: Vol-
ume One.[25] Grossman and John Hammond led to Hammond’s be-
From February 1961, Dylan played at clubs around ing replaced as producer of Dylan’s second album by [40] the
Greenwich Village. He befriended and picked up ma- young African-American jazz producer, Tom Wilson.
terial from folk singers there, including Dave Van Ronk, Dylan made his first trip to the United Kingdom from
Fred Neil, Odetta, the New Lost City Ramblers, and Irish December 1962 to January 1963.[41] He had been in-
musicians the Clancy Brothers and Tommy Makem.[26] In vited by TV director Philip Saville to appear in a drama,
1.1. BOB DYLAN
Bob Dylan in November 1963
Madhouse on Castle Street, which Saville was directing concerts.[54]
for BBC Television.[42] At the end of the play, Dylan
performed “Blowin' in the Wind”, one of its first pub-
lic performances.[42] The film recording of Madhouse on
Castle Street was destroyed by the BBC in 1968.[42] While
in London, Dylan performed at London folk clubs, in-
cluding the Troubadour, Les Cousins, and Bunjies.[41]
He also learned material from UK performers, including
Martin Carthy.[42]
By the time of Dylan’s second album, The Freewheelin'
Bob Dylan, in May 1963, he had begun to make his name
as a singer and a songwriter. Many songs on this album
were labeled protest songs, inspired partly by Guthrie and
[43] a willingness to experiment with a rockabilly sound.
influenced by Pete Seeger's passion for topical songs.
“Oxford Town”, for example, was an account of James
Meredith's ordeal as the first black student to risk enroll-
ment at the University of Mississippi.[44]
The first song on the Freewheelin ' album, "Blowin' in
the Wind", partly derived its melody from the traditional
slave song, “No More Auction Block”, [45] while its lyrics
questioned the social and political status quo. The song
was widely recorded by other artists and became a hit for
Peter, Paul and Mary.[46] Another Freewheelin' song, "A
Hard Rain’s a-Gonna Fall" was based on the folk ballad
"Lord Randall". With veiled references to an impend-
ing apocalypse, the song gained more resonance when the
Cuban Missile Crisis developed a few weeks after Dylan
3
began performing it.[47][a 2] Like “Blowin' in the Wind”,
“A Hard Rain’s a-Gonna Fall” marked a new direction in
songwriting, blending a stream-of-consciousness, imagist
lyrical attack with traditional folk form.[48]
Dylan’s topical songs enhanced his early reputation,
and he came to be seen as more than just a song-
writer. Janet Maslin wrote of Freewheelin ': “These
were the songs that established [Dylan] as the voice of
his generation—someone who implicitly understood how
concerned young Americans felt about nuclear disarma-
ment and the growing movement for civil rights: his mix-
ture of moral authority and nonconformity was perhaps
the most timely of his attributes.”[49][a 3] Freewheelin '
also included love songs and surreal talking blues. Hu-
mor was an important part of Dylan’s persona,[50] and
the range of material on the album impressed listen-
ers, including The Beatles. George Harrison said, “We
just played it, just wore it out. The content of the song
lyrics and just the attitude—it was incredibly original and
wonderful.”[51]
The rough edge of Dylan’s singing was unsettling to some
but an attraction to others. Joyce Carol Oates wrote:
“When we first heard this raw, very young, and seemingly
untrained voice, frankly nasal, as if sandpaper could sing,
the effect was dramatic and electrifying.”[52] Many early
songs reached the public through more palatable versions
by other performers, such as Joan Baez, who became Dy-
lan’s advocate as well as his lover.[53] Baez was influen-
tial in bringing Dylan to prominence by recording several
of his early songs and inviting him on stage during her
Others who had hits with Dylan’s songs in the early 1960s
included the Byrds, Sonny & Cher, the Hollies, Peter,
Paul and Mary, the Association, Manfred Mann and the
Turtles. Most attempted a pop feel and rhythm, while Dy-
lan and Baez performed them mostly as sparse folk songs.
The covers became so ubiquitous that CBS promoted him
with the slogan “Nobody Sings Dylan Like Dylan.”[55]
"Mixed-Up Confusion", recorded during the Freewheelin'
sessions with a backing band, was released as a single and
then quickly withdrawn. In contrast to the mostly solo
acoustic performances on the album, the single showed
Cameron Crowe described it as “a fascinating look at a
folk artist with his mind wandering towards Elvis Presley
and Sun Records.”[56]
Protest and Another Side In May 1963, Dylan’s polit-
ical profile rose when he walked out of The Ed Sullivan
Show. During rehearsals, Dylan had been told by CBS
television’s head of program practices that "Talkin' John
Birch Paranoid Blues" was potentially libelous to the John
Birch Society. Rather than comply with censorship, Dy-
lan refused to appear.[57]
By this time, Dylan and Baez were prominent in the civil
4 CHAPTER 1. OVERVIEW

rights movement, singing together at the March on Wash- the simplistic and arch seriousness of his own earlier top-
ington on August 28, 1963.[58] Dylan’s third album, The ical songs and seems to predict the backlash he was about
Times They Are a-Changin', reflected a more politicized to encounter from his former champions as he took a new
and cynical Dylan.[59] The songs often took as their sub- direction.[67]
ject matter contemporary stories, with “Only A Pawn In In the latter half of 1964 and 1965, Dylan moved
Their Game” addressing the murder of civil rights worker from folk songwriter to folk-rock pop-music star. His
Medgar Evers; and the Brechtian "The Lonesome Death jeans and work shirts were replaced by a Carnaby Street
of Hattie Carroll" the death of black hotel barmaid Hat- wardrobe, sunglasses day or night, and pointed "Beatle
tie Carroll, at the hands of young white socialite William
boots". A London reporter wrote: “Hair that would set
Zantzinger.[60] On a more general theme, "Ballad of Hol- the teeth of a comb on edge. A loud shirt that would dim
lis Brown" and "North Country Blues" addressed despair
the neon lights of Leicester Square. He looks like an un-
engendered by the breakdown of farming and mining dernourished cockatoo.”[68] Dylan began to spar with in-
communities. This political material was accompanied
terviewers. Appearing on the Les Crane television show
by two personal love songs, “Boots of Spanish Leather” and asked about a movie he planned, he told Crane it
and “One Too Many Mornings”.[61]
would be a cowboy horror movie. Asked if he played
By the end of 1963, Dylan felt both manipulated and con- the cowboy, Dylan replied, “No, I play my mother.”[69]
strained by the folk and protest movements.[62] Accepting
the "Tom Paine Award” from the National Emergency
Civil Liberties Committee shortly after the assassination Going electric Main article: Electric Dylan contro-
of John F. Kennedy, an intoxicated Dylan questioned the versy
role of the committee, characterized the members as old Dylan’s late March 1965 album Bringing It All Back
and balding, and claimed to see something of himself
and of every man in Kennedy’s assassin, Lee Harvey Os-
wald.[63]

Bob Dylan making an impromptu guest appearance with the

Byrds at Ciro’s nightclub, March 26, 1965

Home was another leap,[70] featuring his first recordings

Bobby Dylan, as the college yearbook lists him: St. Lawrence
University, upstate New York, November 1963
Another Side of Bob Dylan, recorded on a single evening
in June 1964,[64] had a lighter mood. The humorous Dy-
lan reemerged on “I Shall Be Free No. 10” and “Mo-
torpsycho Nightmare”. "Spanish Harlem Incident" and
"To Ramona" are passionate love songs, while "Black
Crow Blues" and "I Don't Believe You (She Acts Like
We Never Have Met)" suggest the rock and roll soon to
dominate Dylan’s music. "It Ain't Me Babe", on the sur-
face a song about spurned love, has been described as a
rejection of the role of political spokesman thrust upon
him.[65] His newest direction was signaled by two lengthy
songs: the impressionistic "Chimes of Freedom", which
sets social commentary against a metaphorical landscape
in a style characterized by Allen Ginsberg as “chains of
flashing images,”[66] and "My Back Pages", which attacks
with electric instruments. The first single, "Subterranean
Homesick Blues", owed much to Chuck Berry's "Too
Much Monkey Business";[71] its free association lyrics de-
scribed as harkening back to the energy of beat poetry
and as a forerunner of rap and hip-hop.[72] The song was
provided with an early video, which opened D. A. Pen-
nebaker's cinéma vérité presentation of Dylan’s 1965 tour
of Great Britain, Dont Look Back.[73] Instead of miming,
Dylan illustrated the lyrics by throwing cue cards contain-
ing key words from the song on the ground. Pennebaker
said the sequence was Dylan’s idea, and it has been imi-
tated in music videos and advertisements.[74]
The second side of Bringing It All Back Home contained
four long songs on which Dylan accompanied himself
on acoustic guitar and harmonica.[75] "Mr. Tambourine
Man" became one of his best known songs when The
Byrds recorded an electric version that reached number
one in the US and UK .[76][77] "It’s All Over Now, Baby
Blue" and "It’s Alright Ma (I'm Only Bleeding)" were two
of Dylan’s most important compositions.[75][78]
In 1965, heading the Newport Folk Festival, Dylan per-
1.1. BOB DYLAN
formed his first electric set since high school with a pickup
group mostly from the Paul Butterfield Blues Band, fea-
turing Mike Bloomfield (guitar), Sam Lay (drums) and
Jerome Arnold (bass), plus Al Kooper (organ) and Barry
Goldberg (piano).[79] Dylan had appeared at Newport in
1963 and 1964, but in 1965 met with cheering and boo-
ing and left the stage after three songs. One version
has it that the boos were from folk fans whom Dylan
had alienated by appearing, unexpectedly, with an elec-
tric guitar. Murray Lerner, who filmed the performance,
said: “I absolutely think that they were booing Dylan go-
ing electric.”[80] An alternative account claims audience
members were upset by poor sound and a short set. This
account is supported by Kooper and one of the direc-
tors of the festival, who reports his recording proves the
only boos were in reaction to the MC’s announcement that
there was only enough time for a short set.[81][82]
Nevertheless, Dylan’s performance provoked a hostile re-
sponse from the folk music establishment.[83][84] In the
September issue of Sing Out!, Ewan MacColl wrote: “Our
traditional songs and ballads are the creations of extraor-
dinarily talented artists working inside disciplines formu-
lated over time ...'But what of Bobby Dylan?' scream the
outraged teenagers ... Only a completely non-critical au-
dience, nourished on the watery pap of pop music, could
have fallen for such tenth-rate drivel.”[85] On July 29, four
days after Newport, Dylan was back in the studio in New
York, recording "Positively 4th Street". The lyrics con-
tained images of vengeance and paranoia,[86] and it was
interpreted as Dylan’s put-down of former friends from
the folk community — friends he had known in clubs
along West 4th Street.[87]
Highway 61 Revisited and Blonde on Blonde In July
1965, the single "Like a Rolling Stone" peaked at two
in the U.S. and at four in the UK charts. At over six
minutes, the song altered what a pop single could con-
vey. Bruce Springsteen, in his speech for Dylan’s inau-
guration into the Rock and Roll Hall of Fame, said that
on first hearing the single, “that snare shot sounded like
somebody'd kicked open the door to your mind”.[89] In
2004 and in 2011, Rolling Stone listed it as number one
of "The 500 Greatest Songs of All Time".[88][90] The song
opened Dylan’s next album, Highway 61 Revisited, af-
ter the road that led Dylan’s Minnesota to the musical
hotbed of New Orleans.[91] The songs were in the same
vein as the hit single, flavored by Mike Bloomfield's blues
guitar and Al Kooper's organ riffs. "Desolation Row",
backed by acoustic guitar and understated bass,[92] offers
the sole exception, with Dylan alluding to figures in West-
ern culture in a song described by Andy Gill as “an 11-
minute epic of entropy, which takes the form of a Fellini-
esque parade of grotesques and oddities featuring a huge
cast of celebrated characters, some historical (Einstein,
Nero), some biblical (Noah, Cain and Abel), some fic-
tional (Ophelia, Romeo, Cinderella), some literary (T.S.
Eliot and Ezra Pound), and some who fit into none of
5
the above categories, notably Dr. Filth and his dubious
nurse.”[93]
In support of the album, Dylan was booked for two U.S.
concerts with Al Kooper and Harvey Brooks from his stu-
dio crew and Robbie Robertson and Levon Helm, for-
mer members of Ronnie Hawkins's backing band the
Hawks.[94] On August 28 at Forest Hills Tennis Stadium,
the group was heckled by an audience still annoyed by
Dylan’s electric sound. The band’s reception on Septem-
ber 3 at the Hollywood Bowl was more favorable.[95]
From September 24, in Austin, Texas, Dylan toured the
US and Canada for six months, backed by the five musi-
cians from the Hawks who became known as the Band.[96]
While Dylan and the Hawks met increasingly recep-
tive audiences, their studio efforts floundered. Producer
Bob Johnston persuaded Dylan to record in Nashville in
February 1966, and surrounded him with top-notch ses-
sion men. At Dylan’s insistence, Robertson and Kooper
came from New York City to play on the sessions.[97] The
Nashville sessions produced the double album Blonde on
Blonde (1966), featuring what Dylan called “that thin
wild mercury sound”.[98] Kooper described it as “taking
two cultures and smashing them together with a huge ex-
plosion": the musical world of Nashville and the world of
the “quintessential New York hipster” Bob Dylan.[99]
On November 22, 1965, Dylan secretly married 25-year-
old former model Sara Lownds.[100] Some of Dylan’s
friends, including Ramblin' Jack Elliott, say that, imme-
diately after the event, Dylan denied he was married.[100]
Journalist Nora Ephron made the news public in the New
York Post in February 1966 with the headline “Hush! Bob
Dylan is wed.”[101]
Dylan toured Australia and Europe in April and May
1966. Each show was split in two. Dylan performed solo
during the first half, accompanying himself on acoustic
guitar and harmonica. In the second, backed by the
Hawks, he played electrically amplified music. This con-
trast provoked many fans, who jeered and slow hand-
clapped.[102] The tour culminated in a raucous confronta-
tion between Dylan and his audience at the Manchester
Free Trade Hall in England on May 17, 1966.[103] A
recording of this concert was released in 1998: The Boot-
leg Series Vol. 4: Bob Dylan Live 1966. At the climax of
the evening, a member of the audience, angered by Dy-
lan’s electric backing, shouted: "Judas!" to which Dylan
responded, “I don't believe you ... You're a liar!" Dylan
turned to his band and said, “Play it fucking loud!"[104]
as they launched into the final song of the night—"Like a
Rolling Stone”.
During his 1966 tour, Dylan was described as exhausted
and acting “as if on a death trip”.[105] D. A. Pennebaker,
the film maker accompanying the tour, described Dylan
as “taking a lot of amphetamine and who-knows-what-
else.”[106] In a 1969 interview with Jann Wenner, Dylan
said, “I was on the road for almost five years. It wore me
down. I was on drugs, a lot of things ... just to keep going,
6 CHAPTER 1. OVERVIEW

you know?"[107] In 2011, BBC Radio 4 reported that, in trey on drums,[123] and Pete Drake on steel guitar.[123]
an interview that Robert Shelton taped in 1966, Dylan The result was John Wesley Harding, a contemplative
said he had kicked heroin in New York City: “I got very, record of shorter songs, set in a landscape that drew on the
very strung out for a while ... I had about a $25-a-day American West and the Bible. The sparse structure and
habit and I kicked it.”[108] Some journalists questioned instrumentation, with lyrics that took the Judeo-Christian
the validity of this confession, pointing out that Dylan had
tradition seriously, departed from Dylan’s own work and
from the psychedelic fervor of the 1960s.[124] It included
“been telling journalists wild lies about his past since the
earliest days of his career.”[109][110] "All Along the Watchtower", with lyrics derived from the
Book of Isaiah (21:5–9). The song was later recorded
by Jimi Hendrix, whose version Dylan acknowledged as
[16]
Motorcycle accident and reclusion After his tour, definitive. Woody Guthrie died on October 3, 1967,
Dylan returned to New York, but the pressures increased. and Dylan made his first live appearance in twenty months
ABC Television had paid an advance for a TV show. [111] at a Guthrie memorial concert held at Carnegie Hall on
His publisher, Macmillan, was demanding a manuscript January 20, 1968, where he was backed by the Band.[125]
of the poem/novel Tarantula. Manager Albert Grossman Dylan’s next release, Nashville Skyline (1969), was main-
had scheduled a concert tour for that summer and fall. stream country featuring Nashville musicians, a mellow-
On July 29, 1966, Dylan crashed his 500cc Triumph voiced Dylan, a duet [127]
with Johnny Cash, and the hit single
Tiger 100 motorcycle near his home in Woodstock, New "Lay Lady Lay". Variety wrote, “Dylan is definitely
York and was thrown to the ground. Though the ex- doing something that can be called singing. Somehow he
tent of his injuries was never disclosed, Dylan said that has managed to add an octave to his range.”[128] Dylan
he broke several vertebrae in his neck.[112] Mystery still and Cash also recorded a series of duets, but only their
surrounds the circumstances of the accident since no recording of Dylan’s "Girl from the North Country" was
ambulance was called to the scene and Dylan was not used on the album.
hospitalized.[112][113] Dylan’s biographers have written In May 1969, Dylan appeared on the first episode of
that the crash offered Dylan the chance to escape the Johnny Cash's television show, duetting with Cash on
pressures around him.[112][114] Dylan confirmed this in- "Girl from the North Country", “I Threw It All Away”,
terpretation in his autobiography: “I had been in a motor- and “Living the Blues”. Dylan next traveled to Eng-
cycle accident and I'd been hurt, but I recovered. Truth land to top the bill at the Isle of Wight festival on Au-
was that I wanted to get out of the rat race.”[115] Dylan gust 31, 1969, after rejecting overtures to appear at the
withdrew from public and, apart from a few appearances, Woodstock Festival closer to his home.[129]
did not tour again for almost eight years.[116]
Once Dylan was well enough to resume creative work, he
began to edit D. A. Pennebaker's film of his 1966 tour. 1970s
A rough cut was shown to ABC Television and rejected
as incomprehensible to a mainstream audience.[117] The In the early 1970s, critics charged that Dylan’s output was
film was subsequently titled Eat the Document on boot- varied and unpredictable. Rolling Stone writer Greil Mar-
leg copies, and it has been screened at a handful of film cus asked “What is this shit?" on first listening to Self Por-
festivals.[118][119] In 1967 he began recording with the trait, released in June 1970.[130][131] Self Portrait, a double
Hawks at his home and in the basement of the Hawks’ LP including few original songs, was poorly received.[132]
nearby house, “Big Pink”.[120] These songs, initially de- In October 1970, Dylan released New Morning, consid-
mos for other artists to record, provided hits for Julie ered a return to form.[133] In November 1968, Dylan had
Driscoll and the Brian Auger Trinity ("This Wheel’s on co-written "I'd Have You Anytime" with George Harri-
Fire"), The Byrds ("You Ain't Goin' Nowhere", “Nothing son;[134] Harrison recorded “I'd Have You Anytime” and
Was Delivered”), and Manfred Mann ("Mighty Quinn"). Dylan’s "If Not for You" for his 1970 solo triple album All
Columbia released selections in 1975 as The Basement Things Must Pass. Dylan’s surprise appearance at Harri-
Tapes. Over the years, more songs recorded by Dylan son’s 1971 Concert for Bangladesh attracted media cover-
and his band in 1967 appeared on bootleg recordings, cul- age, reflecting that Dylan’s live appearances had become
minating in a five-CD set titled The Genuine Basement rare.[135]
Tapes, containing 107 songs and alternative takes.[121] Between March 16 and 19, 1971, Dylan reserved three
In the coming months, the Hawks recorded the album days at Blue Rock, a small studio in Greenwich Village
Music from Big Pink using songs they worked on in their to record with Leon Russell. These sessions resulted
basement in Woodstock, and renamed themselves the in "Watching the River Flow" and a new recording of
Band,[122] beginning a long recording and performing ca- "When I Paint My Masterpiece".[136] On November 4,
reer of their own. 1971, Dylan recorded "George Jackson", which he re-
In October and November 1967, Dylan returned to leased a week later. For many, the single was a sur-
Nashville.[123] Back in the studio after 19 months, he was prising return to protest material, mourning the killing
accompanied by Charlie McCoy on bass,[123] Kenny But- of Black Panther George Jackson in San Quentin State
1.1. BOB DYLAN
Prison that year.[137] Dylan contributed piano and har-
mony to Steve Goodman's album, Somebody Else’s Trou-
bles, under the pseudonym Robert Milkwood Thomas in
September 1972.[138]
In 1972, Dylan signed to Sam Peckinpah's film Pat Gar-
rett and Billy the Kid, providing songs and backing mu-
sic for the movie, and playing “Alias”, a member of
Billy’s gang with some historical basis.[139] Despite the
film’s failure at the box office, the song "Knockin' on
Heaven’s Door" became one of Dylan’s most covered
songs.[140][141]
Bob Dylan and the Band touring in Chicago, 1974
Return to touring Dylan began 1973 by signing with
a new label, David Geffen's Asylum Records, when his
contract with Columbia Records expired. On his next al-
bum, Planet Waves, he used the Band as backing group,
while rehearsing for a tour. The album included two ver-
sions of “Forever Young”, which became one of his most
popular songs.[142] As one critic described it, the song
projected “something hymnal and heartfelt that spoke of
the father in Dylan”,[143] and Dylan himself commented:
“I wrote it thinking about one of my boys and not wanting
to be too sentimental.”[16]
Columbia Records simultaneously released Dylan, a col-
lection of studio outtakes (almost exclusively covers),
widely interpreted as a churlish response to Dylan’s sign-
ing with a rival record label.[144] In January 1974, Dylan
returned to touring after seven years; backed by the Band,
he embarked on a North American tour of 40 concerts.
A live double album, Before the Flood, was on Asylum
Records. Soon, Columbia Records said word they “will
spare nothing to bring Dylan back into the fold”.[145] Dy-
lan had second thoughts about Asylum, miffed that while
there had been millions of unfulfilled ticket requests for
the 1974 tour, Geffen had sold only 700,000 copies of
Planet Waves.[145] Dylan returned to Columbia Records,
which reissued his two Asylum albums.
After the tour, Dylan and his wife became estranged. He
filled a small red notebook with songs about relationships
and ruptures, and recorded an album entitled Blood on the
Tracks in September 1974.[146] Dylan delayed the release
and re-recorded half the songs at Sound 80 Studios in
Minneapolis with production assistance from his brother,
David Zimmerman.[147]
7
Released in early 1975, Blood on the Tracks received
mixed reviews. In the NME, Nick Kent described “the
accompaniments [as] often so trashy they sound like
mere practice takes.”[148] In Rolling Stone, Jon Lan-
dau wrote that “the record has been made with typical
shoddiness.”[148] Over the years critics came to see it
as one of Dylan’s greatest achievements. In Salon.com,
Bill Wyman wrote: "Blood on the Tracks is his only
flawless album and his best produced; the songs, each
of them, are constructed in disciplined fashion. It is
his kindest album and most dismayed, and seems in
hindsight to have achieved a sublime balance between
the logorrhea-plagued excesses of his mid-1960s output
and the self-consciously simple compositions of his post-
accident years.”[149] Novelist Rick Moody called it “the
truest, most honest account of a love affair from tip to
stern ever put down on magnetic tape.”[150]
Bob Dylan with Allen Ginsberg on the Rolling Thunder Revue in
1975. Photo: Elsa Dorfman
That summer Dylan wrote a ballad championing boxer
Rubin “Hurricane” Carter, imprisoned for a triple mur-
der in Paterson, New Jersey, in 1966. After visiting
Carter in jail, Dylan wrote "Hurricane", presenting the
case for Carter’s innocence. Despite its length — over
eight minutes — the song was released as a single, peak-
ing at 33 on the U.S. Billboard chart, and performed at
every 1975 date of Dylan’s next tour, the Rolling Thunder
Revue.[a 4][151] The tour featured about one hundred per-
formers and supporters from the Greenwich Village folk
scene, including T-Bone Burnett, Ramblin' Jack Elliott,
Joni Mitchell,[152][153] David Mansfield, Roger McGuinn,
Mick Ronson, Joan Baez, and Scarlet Rivera, whom Dy-
lan discovered walking down the street, her violin case
on her back.[154] Allen Ginsberg accompanied the troupe,
staging scenes for the film Dylan was shooting. Sam
Shepard was hired to write the screenplay, but ended up
accompanying the tour as informal chronicler.[155]
Running through late 1975 and again through early 1976,
the tour encompassed the release of the album Desire,
with many of Dylan’s new songs featuring an travelogue-
like narrative style, showing the influence of his new col-
laborator, playwright Jacques Levy.[156][157] The 1976
half of the tour was documented by a TV concert spe-
8 CHAPTER 1. OVERVIEW

cial, Hard Rain, and the LP Hard Rain; no concert album est live versions of his old songs have the effect of lib-
from the better-received and better-known opening half erating Bob Dylan from the originals.”[166] When Dylan
of the tour was released until 2002’s Live 1975.[158] brought the tour to the U.S. in September 1978, the press
described the look and sound as a 'Las Vegas Tour'.[167]
The 1978 tour grossed more than $20 million, and Dy-
lan told the Los Angeles Times that he had debts because
“I had a couple of bad years. I put a lot of money into
the movie, built a big house ... and it costs a lot to get
divorced in California.”[164]
In April and May 1978, Dylan took the same band and
vocalists into Rundown Studios in Santa Monica, Califor-
nia, to record an album of new material: Street-Legal.[168]
It was described by Michael Gray as, “after Blood On
The Tracks, arguably Dylan’s best record of the 1970s:
a crucial album documenting a crucial period in Dylan’s
own life”.[169] However, it had poor sound and mixing
(attributed to Dylan’s studio practices), muddying the in-
strumental detail until a remastered CD release in 1999
restored some of the songs’ strengths.[170]

Christian period Further information: Slow Train

Coming

In the late 1970s, Dylan became a born again Chris-

Dylan performing in the Feyenoord Football Club Stadium, Rot-
terdam, June 23, 1978
The 1975 tour with the Revue provided the backdrop
to Dylan’s nearly four-hour film Renaldo and Clara, a
sprawling narrative mixed with concert footage and rem-
iniscences. Released in 1978, the movie received poor,
sometimes scathing, reviews.[159][160] Later in that year,
a two-hour edit, dominated by the concert performances,
was more widely released.[161]
In November 1976, Dylan appeared at the Band’s
“farewell” concert, with Eric Clapton, Joni Mitchell,
Muddy Waters, Van Morrison and Neil Young. Martin
Scorsese's cinematic chronicle, The Last Waltz, in 1978
included about half of Dylan’s set.[162] In 1976, Dylan
wrote and duetted on “Sign Language” for Eric Clapton's
No Reason To Cry.[163]
In 1978, Dylan embarked on a year-long world tour, per-
forming 114 shows in Japan, the Far East, Europe and the
US, to a total audience of two million. Dylan assembled
an eight piece band and three backing singers. Concerts
in Tokyo in February and March were released as the live
double album, Bob Dylan At Budokan.[164] Reviews were
mixed. Robert Christgau awarded the album a C+ rat-
ing, giving the album a derisory review,[165] while Janet
Maslin defended it in Rolling Stone, writing: “These lat-
tian[171][172][173] and released two albums of Christian
gospel music. Slow Train Coming (1979) featured
the guitar accompaniment of Mark Knopfler (of Dire
Straits) and was produced by veteran R&B producer Jerry
Wexler. Wexler said Dylan had tried to evangelize him
during the recording. He replied: “Bob, you're dealing
with a 62-year-old Jewish atheist. Let’s just make an
album.”[174] The album won a Grammy Award as “Best
Male Vocalist” for the song "Gotta Serve Somebody".
The second evangelical album, Saved (1980), received
mixed reviews, described by Michael Gray as “the near-
est thing to a follow-up album Dylan has ever made, Slow
Train Coming II and inferior.”[175] When touring in late
1979 and early 1980, Dylan would not play his older, sec-
ular works, and he delivered declarations of his faith from
the stage, such as:
Years ago they ... said I was a prophet. I
used to say, “No I'm not a prophet” they say
“Yes you are, you're a prophet.” I said, “No
it’s not me.” They used to say “You sure are
a prophet.” They used to convince me I was
a prophet. Now I come out and say Jesus
Christ is the answer. They say, “Bob Dylan’s
no prophet.” They just can't handle it.[176]
Dylan’s Christianity was unpopular with some fans and
musicians.[177] Shortly before his murder, John Lennon
recorded “Serve Yourself” in response to Dylan’s “Gotta
Serve Somebody”.[178] By 1981, Stephen Holden wrote in
the New York Times that “neither age (he’s now 40) nor his
1.1. BOB DYLAN 9

much-publicized conversion to born-again Christianity as inappropriate, but they did inspire Willie Nelson to or-
has altered his essentially iconoclastic temperament.”[179] ganize a series of events, Farm Aid, to benefit debt-ridden
American farmers.[186]
1980s In April 1986, Dylan made a foray into rap music when
he added vocals to the opening verse of “Street Rock”,
featured on Kurtis Blow's album Kingdom Blow.[187] Dy-
lan’s next studio album, Knocked Out Loaded, in July
1986 contained three covers (by Little Junior Parker,
Kris Kristofferson and the gospel hymn "Precious Mem-
ories"), plus three collaborations with (Tom Petty, Sam
Shepard and Carole Bayer Sager), and two solo com-
positions by Dylan. One reviewer commented that “the
record follows too many detours to be consistently com-
pelling, and some of those detours wind down roads
that are indisputably dead ends. By 1986, such uneven
records weren't entirely unexpected by Dylan, but that
didn't make them any less frustrating.”[188] It was the first
Dylan album since Freewheelin' (1963) to fail to make
Dylan in Toronto April 18, 1980 the Top 50.[189] Since then, some critics have called the
11-minute epic that Dylan co-wrote with Sam Shepard,
In late 1980 Dylan briefly played concerts billed as “A "Brownsville Girl", a work of genius.[190]
Musical Retrospective”, restoring popular 1960s songs
In 1986 and 1987, Dylan toured with Tom Petty and the
to the repertoire. Shot of Love, recorded next spring,
Heartbreakers, sharing vocals with Petty on several songs
featured his first secular compositions in more than two
each night. Dylan also toured with the Grateful Dead in
years, mixed with Christian songs. "Every Grain of Sand"
1987, resulting in a live album Dylan & The Dead. This
reminded some of William Blake's verses.[180]
received negative reviews: Allmusic said, “Quite possi-
In the 1980s reception of Dylan’s recordings varied, from bly the worst album by either Bob Dylan or the Grateful
the well-regarded Infidels in 1983 to the panned Down in Dead.”[191] Dylan then initiated what came to be called
the Groove in 1988. Michael Gray condemned Dylan’s the Never Ending Tour on June 7, 1988, performing with
1980s albums for carelessness in the studio and for fail- a back-up band featuring guitarist G. E. Smith. Dylan
ing to release his best songs.[181] As an example of the continued to tour with a small, evolving band for the next
latter, the Infidels recording sessions, which again em- 20 years.[192]
ployed Knopfler on lead guitar and also as the album’s
In 1987, Dylan starred in Richard Marquand's movie
producer, resulted in several notable songs that Dylan left
Hearts of Fire, in which he played Billy Parker, a washed-
off the album. Best regarded of these were "Blind Willie
up rock star turned chicken farmer whose teenage lover,
McTell", a tribute to the dead blues musician and an evo-
(Fiona), leaves him for a jaded English synth-pop sen-
cation of African American history,[182] “Foot of Pride”
sation played by Rupert Everett.[193] Dylan also con-
and "Lord Protect My Child". These three songs were
tributed two original songs to the soundtrack—"Night
released on The Bootleg Series Volumes 1–3 (Rare & Un-
After Night”, and “I Had a Dream About You, Baby”,
released) 1961–1991.[183]
as well as a cover of John Hiatt's “The Usual”. The film
Between July 1984 and March 1985, Dylan recorded was a critical and commercial flop.[194] Dylan was in-
Empire Burlesque.[184] Arthur Baker, who had remixed ducted into the Rock and Roll Hall of Fame in January
hits for Bruce Springsteen and Cyndi Lauper, was asked 1988, with Bruce Springsteen’s introduction declaring,
to engineer and mix the album. Baker said he felt he “Bob freed your mind the way Elvis freed your body. He
was hired to make Dylan’s album sound “a little bit more showed us that just because music was innately physical
contemporary”.[184] did not mean that it was anti-intellectual.[195]
Dylan sang on USA for Africa's famine relief single "We The album Down in the Groove in May 1988 sold even
Are the World". On July 13, 1985, he appeared at the more unsuccessfully than his previous studio album.[196]
climax at the Live Aid concert at JFK Stadium, Philadel- Michael Gray wrote: “The very title undercuts any idea
phia. Backed by Keith Richards and Ronnie Wood, he that inspired work may lie within. Here was a further
performed a ragged version of “Hollis Brown”, his bal- devaluing of the notion of a new Bob Dylan album as
lad of rural poverty, and then said to the worldwide audi- something significant.”[197] The critical and commercial
ence exceeding one billion people: “I hope that some of disappointment of that album was swiftly followed by the
the money ... maybe they can just take a little bit of it, success of the Traveling Wilburys. Dylan co-founded
maybe ... one or two million, maybe ... and use it to pay the band with George Harrison, Jeff Lynne, Roy Orbi-
the mortgages on some of the farms and, the farmers here, son, and Tom Petty, and in late 1988 their multi-platinum
owe to the banks.”[185] His remarks were widely criticized
10 CHAPTER 1. OVERVIEW

Elton John. Despite the line-up, the record received bad

reviews and sold poorly.[204]
In 1991, Dylan received a Grammy Lifetime Achieve-
ment Award from American actor Jack Nicholson.[205]
The event coincided with the start of the Gulf War
against Saddam Hussein, and Dylan performed "Masters
of War". Dylan then made a short speech, saying “My
daddy once said to me, he said, 'Son, it is possible for you
to become so defiled in this world that your own mother
and father will abandon you. If that happens, God will
believe in your ability to mend your own ways.'"[206] This
sentiment was subsequently revealed to be a quote from
19th-century German Jewish intellectual, Rabbi Samson
Raphael Hirsch.[207]
The next few years saw Dylan returning to his roots with
two albums covering folk and blues numbers: Good as I
Been to You (1992) and World Gone Wrong (1993), fea-
turing interpretations and acoustic guitar work. Many
critics and fans commented on the quiet beauty of
the song “Lone Pilgrim”,[208] written by a 19th-century
teacher. In November 1994 Dylan recorded two live
shows for MTV Unplugged. He said his wish to per-
form traditional songs was overruled by Sony executives
who insisted on hits.[209] The album from it, MTV Un-
Dylan in Barcelona, Spain, 1984
plugged, included “John Brown”, an unreleased 1962
song of how enthusiasm for war ends in mutilation and
[210]
Traveling Wilburys Vol. 1 reached three on the US al- disillusionment.
bum chart,[196] featuring songs that were described as
Dylan’s most accessible compositions in years.[198] De-
spite Orbison’s death in December 1988, the remaining
four recorded a second album in May 1990 with the title
Traveling Wilburys Vol. 3.[199]
Dylan finished the decade on a critical high note with Oh
Mercy produced by Daniel Lanois. Michael Gray wrote
that the album was: “Attentively written, vocally dis-
tinctive, musically warm, and uncompromisingly profes-
sional, this cohesive whole is the nearest thing to a great
Bob Dylan album in the 1980s.”[197][200] The track “Most
of the Time”, a lost love composition, was later promi-
nently featured in the film High Fidelity, while “What Dylan performs at a 1996 concert in Stockholm
Was It You Wanted?" has been interpreted both as a cat-
echism and a wry comment on the expectations of critics With a collection of songs reportedly written while
and fans.[201] The religious imagery of “Ring Them Bells” snowed-in on his Minnesota ranch,[211] Dylan booked
struck some critics as a re-affirmation of faith.[202] recording time with Daniel Lanois at Miami's Criteria
Studios in January 1997. The subsequent recording
sessions were, by some accounts, fraught with musical
1990s tension.[212] Late that spring, before the album’s release,
Dylan was hospitalized with a life-threatening heart in-
Dylan’s 1990s began with Under the Red Sky (1990), an fection, pericarditis, brought on by histoplasmosis. His
about-face from the serious Oh Mercy. The album con- scheduled European tour was cancelled, but Dylan made
tained several apparently simple songs, including “Un- a speedy recovery and left the hospital saying, “I really
der the Red Sky” and “Wiggle Wiggle”. The album thought I'd be seeing Elvis soon.”[213] He was back on
was dedicated to “Gabby Goo Goo”, a nickname for the the road by midsummer, and performed before Pope John
daughter of Dylan and Carolyn Dennis, Desiree Gabrielle Paul II at the World Eucharistic Conference in Bologna,
Dennis-Dylan, who was four.[203] Sidemen on the album Italy. The Pope treated the audience of 200,000 peo-
included George Harrison, Slash from Guns N' Roses, ple to a homily based on Dylan’s lyric “Blowin' in the
David Crosby, Bruce Hornsby, Stevie Ray Vaughan, and Wind”.[214]
1.1. BOB DYLAN 11

September saw the release of the new Lanois-produced autobiography, Chronicles: Volume One. Confounding
album, Time Out of Mind. With its bitter assessment expectations,[232] Dylan devoted three chapters to his first
of love and morbid ruminations, Dylan’s first collection year in New York City in 1961–1962, virtually ignoring
of original songs in seven years was highly acclaimed. the mid-1960s when his fame was at its height. He also
One critic wrote: “the songs themselves are uniformly devoted chapters to the albums New Morning (1970) and
powerful, adding up to Dylan’s best overall collection in Oh Mercy (1989). The book reached number two on The
years.”[215] This collection of complex songs won him his New York Times’ Hardcover Non-Fiction best seller list in
first solo “Album of the Year” Grammy Award.[216] December 2004 and was nominated for a National Book
Award.[233]
In December 1997, U.S. President Bill Clinton presented
Dylan with a Kennedy Center Honor in the East Room No Direction Home, Martin Scorsese's acclaimed film bi-
of the White House, paying this tribute: “He probably ography of Dylan,[234] was first broadcast on September
had more impact on people of my generation than any 26–27, 2005, on BBC Two in the UK and PBS in the
other creative artist. His voice and lyrics haven't always US.[235] The documentary focuses on the period from Dy-
been easy on the ear, but throughout his career Bob Dylan lan’s arrival in New York in 1961 to his motorcycle crash
has never aimed to please. He’s disturbed the peace and in 1966, featuring interviews with Suze Rotolo, Liam
discomforted the powerful.”[217] Clancy, Joan Baez, Allen Ginsberg, Pete Seeger, Mavis
In 1999, Dylan embarked on a North American tour with Staples, and Dylan himself. The film received a Peabody
Paul Simon, where each alternated as headline act with a Award in April 2006[236] and a Columbia-duPont Award
[237]
“middle” section where they performed together, starting in January 2007. The accompanying soundtrack fea-
on the first of June and ending September 18. The collab- tured unreleased songs from Dylan’s early career.[238]
oration was generally well-received, with just one critic, Dylan earned yet another distinction in a 2007 study of
Seth Rogovoy, from the Berkshire Eagle, questioning the US legal opinions and briefs that found his lyrics were
collaboration.[218] quoted by judges and lawyers more than those of any
other songwriter, 186 times versus 74 by the Beatles,
who were second. Among those quoting Dylan were
2000s US Supreme Court Chief Justice John Roberts and Jus-
tice Antonin Scalia, both conservatives. The most widely
cited lines included “you don't need a weatherman to
Dylan commenced the new millennium by winning the
know which way the wind blows” from "Subterranean
Polar Music Prize in May 2000 and his first Oscar; his
Homesick Blues" and “when you ain't got nothing, you
song "Things Have Changed", written for the film Wonder
got nothing to lose” from "Like a Rolling Stone".[239][240]
Boys, won an Academy Award in March 2001.[220] The
Oscar, by some reports a facsimile, tours with him, pre-
siding over shows perched atop an amplifier.[221]
Modern Times May 3, 2006, was the premiere of Dy-
“Love and Theft” was released on September 11, 2001. lan’s radio presenting career, hosting a weekly radio
Recorded with his touring band, Dylan produced the al- program, Theme Time Radio Hour, for XM Satellite
bum himself under the pseudonym Jack Frost.[222] The
Radio, with song selections revolving around a chosen
album was critically well received and earned nomi- theme.[241][242] Dylan played classic and obscure records
nations for several Grammy awards.[223] Critics noted
from the 1930s to the present day, including contempo-
that Dylan was widening his musical palette to in- rary artists as diverse as Blur, Prince, L.L. Cool J and
clude rockabilly, Western swing, jazz, and even lounge
the Streets. The show was praised by fans and critics as
ballads.[224] “Love and Theft” generated controversy “great radio,” as Dylan told stories and made eclectic ref-
when The Wall Street Journal pointed out similarities
erences with his sardonic humor, while achieving a the-
between the album’s lyrics and Japanese author Junichi matic beauty with his musical choices.[243][244] In April
Saga’s book Confessions of a Yakuza.[225][226] 2009, Dylan broadcast the 100th show in his radio se-
In 2003, Dylan revisited the evangelical songs from his ries; the theme was “Goodbye” and the final record played
“born again” period and participated in the CD project was Woody Guthrie’s “So Long, It’s Been Good To Know
Gotta Serve Somebody: The Gospel Songs of Bob Dy- Yuh”. This has led to speculation that Dylan’s radio series
lan. That year also saw the release of the film Masked & may have ended.[245]
Anonymous, which Dylan co-wrote with director Larry On August 29, 2006, Dylan released his Modern Times al-
Charles under the alias Sergei Petrov.[227] Dylan played bum. Despite some coarsening of Dylan’s voice (a critic
the central character in the film, Jack Fate, alongside a for The Guardian characterised his singing on the album
cast that included Jeff Bridges, Penélope Cruz and John as “a catarrhal death rattle”[246] ) most reviewers praised
Goodman. The film polarised critics: many dismissed it the album, and many described it as the final installment
as an “incoherent mess";[228][229] a few treated it as a se- of a successful trilogy, embracing Time Out of Mind and
rious work of art.[230][231] “Love and Theft”.[247] Modern Times entered the U.S.
In October 2004, Dylan published the first part of his charts at number one, making it Dylan’s first album to
12 CHAPTER 1. OVERVIEW

Dylan, the Spectrum, 2007

reach that position since 1976’s Desire.[248] The New York

Times published an article exploring similarities between
some of Dylan’s lyrics in Modern Times and the work of Bob Dylan performs at Air Canada Centre, Toronto, November
the Civil War poet Henry Timrod.[249] 7, 2006
Nominated for three Grammy Awards, Modern Times
won Best Contemporary Folk/Americana Album and
appearing with rapper will.i.am in a Pepsi ad that de-
Bob Dylan also won Best Solo Rock Vocal Performance
buted during the telecast of Super Bowl XLIII.[263] The
for “Someday Baby”. Modern Times was named Album
ad, broadcast to a record audience of 98 million view-
of the Year, 2006, by Rolling Stone magazine,[250] and
ers, opened with Dylan singing the first verse of “Forever
by Uncut in the UK.[251] On the same day that Modern
Young” followed by will.i.am doing a hip hop version of
Times was released the iTunes Music Store released Bob
the song’s third and final verse.[264]
Dylan: The Collection, a digital box set containing all of
his albums (773 tracks in total), along with 42 rare and In October 2008, Columbia released Volume 8 of Dy-
unreleased tracks.[252] lan’s Bootleg Series, Tell Tale Signs: Rare And Unreleased
1989–2006 as both a two-CD set and a three-CD version
In August 2007, the award-winning film biography of Dy-
with a 150-page hardcover book. The set contains live
lan I'm Not There, written and directed by Todd Haynes,
performances and outtakes from selected studio albums
was released—bearing the tagline “inspired by the mu-
from Oh Mercy to Modern Times, as well as soundtrack
sic and many lives of Bob Dylan”.[253][254] The movie
contributions and collaborations with David Bromberg
used six different actors to represent different aspects
and Ralph Stanley.[265] The pricing of the album—the
of Dylan’s life: Christian Bale, Cate Blanchett, Marcus
two-CD set went on sale for $18.99 and the three-CD ver-
Carl Franklin, Richard Gere, Heath Ledger and Ben
sion for $129.99—led to complaints about “rip-off pack-
Whishaw.[254][255] Dylan’s previously unreleased 1967
aging” from some fans and commentators.[266][267] The
recording from which the film takes its name[256] was
release was widely acclaimed by critics.[268] The abun-
released for the first time on the film’s original sound-
dance of alternative takes and unreleased material sug-
track; all other tracks are covers of Dylan songs, spe-
gested to one reviewer that this volume of old outtakes
cially recorded for the movie by a diverse range of artists,
“feels like a new Bob Dylan record, not only for the as-
including Sonic Youth, Eddie Vedder, Mason Jennings,
tonishing freshness of the material, but also for the in-
Stephen Malkmus, Jeff Tweedy, Karen O, Willie Nelson,
credible sound quality and organic feeling of everything
Cat Power, Richie Havens, and Tom Verlaine.[257]
here.”[269]
On October 1, 2007, Columbia Records released the
triple CD retrospective album Dylan, anthologising his
entire career under the Dylan 07 logo.[258] As part of this Together Through Life and Christmas in the Heart
campaign, Mark Ronson produced a re-mix of Dylan’s Bob Dylan released his album Together Through Life on
1966 tune "Most Likely You Go Your Way (And I'll Go April 28, 2009. In a conversation with music journalist
Mine)", which was released as a maxi-single. This was Bill Flanagan, published on Dylan’s website, Dylan ex-
the first time Dylan had sanctioned a re-mix of one of his plained that the genesis of the record was when French
classic recordings.[259] film director Olivier Dahan asked him to supply a song
The sophistication of the Dylan 07 marketing campaign for his new road movie, My Own Love Song; initially only
was a reminder that Dylan’s commercial profile had risen intending to record a single track, “Life Is Hard,” “the
considerably since the 1990s. This first became evident record sort of took its own direction”.[270] Nine of the
in 2004, when Dylan appeared in a TV advertisement for ten songs on the album are credited as co-written by Bob
Victoria’s Secret lingerie.[260] Three years later, in Oc- Dylan and Robert Hunter.[271]
tober 2007, he participated in a multi-media campaign The album received largely favorable reviews,[272] al-
for the 2008 Cadillac Escalade.[261][262] Then, in 2009, though several critics described it as a minor addition to
he gave the highest profile endorsement of his career, Dylan’s canon of work. Andy Gill wrote in The Inde-
1.1. BOB DYLAN 13

pendent that the record “features Dylan in fairly relaxed, CD format. The CDs were housed in miniature facsimi-
spontaneous mood, content to grab such grooves and sen- les of the original album covers, replete with original liner
timents as flit momentarily across his radar. So while it notes. The set was accompanied by a booklet featuring an
may not contain too many landmark tracks, it’s one of the essay by music critic Greil Marcus.[284][285]
most naturally enjoyable albums you'll hear all year.”[273] On April 12, 2011, Legacy Recordings released Bob
In its first week of release, the album reached number one Dylan in Concert – Brandeis University 1963, taped at
in the Billboard 200 chart in the U.S.,[274] making Bob Brandeis University on May 10, 1963, two weeks prior
Dylan (67 years of age) the oldest artist to ever debut at to the release of The Freewheelin' Bob Dylan. The tape
number one on that chart.[274] It also reached number one was discovered in the archive of music writer Ralph J.
on the UK album chart, 39 years after Dylan’s previous Gleason, and the recording carries liner notes by Michael
UK album chart topper New Morning. This meant that Gray, who writes the recording captures Dylan “from way
Dylan currently holds the record for the longest gap be- back when Kennedy was President and the Beatles hadn't
tween solo number one albums in the UK chart.[275] yet reached America. It reveals him not at any Big Mo-
On October 13, 2009, Dylan released a Christmas al- ment but giving a performance like his folk club sets of
bum, Christmas in the Heart, comprising such Christmas the period... This is the last live performance [286]
we have of
standards as "Little Drummer Boy", "Winter Wonder- Bob Dylan before he becomes a star.”
land" and "Here Comes Santa Claus".[276] Dylan’s roy- The extent to which his work was studied at an academic
alties from the sale of this album will benefit the charities level was demonstrated on Dylan’s 70th birthday on May
Feeding America in the USA, Crisis in the UK, and the 24, 2011, when three universities organized symposia on
World Food Programme.[277] his work. The University of Mainz,[287] the University of
[288]
The album received generally favorable reviews.[278] The Vienna, and the University of Bristol[289] invited liter-
ary critics and cultural historians to give papers on aspects
New Yorker commented that Dylan had welded a pre-
rock musical sound to “some of his croakiest vocals in of Dylan’s work. Other events, including tribute bands,
discussions and simple singalongs, took place around the
a while”, and speculated that Dylan’s intentions might
be ironic: “Dylan has a long and highly publicized his- world, as reported in The Guardian: “From Moscow to
Madrid, Norway to Northampton and Malaysia to his
tory with Christianity; to claim there’s not a wink in
the childish optimism of 'Here Comes Santa Claus’ or home state of Minnesota, self-confessed 'Bobcats’ will
gather today to celebrate the 70th birthday of a giant of
'Winter Wonderland' is to ignore a half-century of bit- [290]
ing satire.”[279] In USA Today, Edna Gundersen pointed popular music.”
out that Dylan was “revisiting yuletide styles popular-
ized by Nat King Cole, Mel Tormé, and the Ray Con-
niff Singers.” Gundersen concluded that Dylan “couldn't
sound more sentimental or sincere”.[280]
In an interview published in The Big Issue, journalist Bill
Flanagan asked Dylan why he had performed the songs
in a straightforward style, and Dylan responded: “There
wasn't any other way to play it. These songs are part of my
life, just like folk songs. You have to play them straight
too.”[281]

2010s
On October 18, 2010, Dylan released Volume 9 of his
Bootleg Series, The Witmark Demos. This comprised
47 demo recordings of songs taped between 1962 and
1964 for Dylan’s earliest music publishers: Leeds Music
in 1962, and Witmark Music from 1962 to 1964. One
reviewer described the set as “a hearty glimpse of young
Bob Dylan changing the music business, and the world,
one note at a time.”[282] The critical aggregator website
Metacritic awarded the album a Metascore of 86, indi-
cating “universal acclaim”.[283] In the same week, Sony
Legacy released Bob Dylan: The Original Mono Record-
ings, a box set that for the first time presented Dylan’s
eight earliest albums, from Bob Dylan (1962) to John
Wesley Harding (1967), in their original mono mix in the
Dylan and the Obamas at the White House, after a performance
celebrating music from the civil rights movement (February 9,
2010)
On October 4, 2011, Dylan’s label, Egyptian Records,
released an album of previously unheard Hank Williams
songs, The Lost Notebooks of Hank Williams. Dylan
had helped to curate this project, in which songs unfin-
ished when Williams died in 1953 were completed and
recorded by a variety of artists, including Dylan himself,
his son Jakob Dylan, Levon Helm, Norah Jones, Jack
White, and others.[291][292]
On May 29, 2012, US President Barack Obama awarded
Dylan a Presidential Medal of Freedom in the White
House. At the ceremony, Obama praised Dylan’s voice
14 CHAPTER 1. OVERVIEW

for its “unique gravelly power that redefined not just what ed pieces discussing the protectionist implications of his
music sounded like but the message it carried and how it words, and whether the singer had "sold out" to corporate
made people feel”.[293] interests.[306][307][308][309][310] In his songs, from "North
On September 11, 2012, Dylan released his 35th stu- Country Blues" in 1964 to “Union Sundown” on Infidels
dio album, Tempest.[294] The album features a tribute to in 1983, Dylan has addressed the theme of how global
John Lennon, “Roll On John”, and the title track is a 14 capitalism and cheap imported goods have destroyed jobs
[311]
minute song about the sinking of the Titanic.[295]
Review- in America.
ing Tempest for Rolling Stone, Will Hermes gave the al- In 2013 and 2014, auction house sales demonstrated the
bum five out of five stars, writing: “Lyrically, Dylan is high cultural value attached to Dylan’s mid-1960s work,
at the top of his game, joking around, dropping word- and the record prices that collectors were willing to pay
play and allegories that evade pat readings and quoting for artefacts from this period. In December 2013, the
other folks’ words like a freestyle rapper on fire.” Hermes Fender Stratocaster which Dylan had played at the 1965
called Tempest “one of [Dylan’s] weirdest albums ever”, Newport Folk Festival fetched $965,000, a record figure
and opined, “It may also be the single darkest record for a guitar.[312] In June 2014, Dylan’s hand-written lyrics
in Dylan’s catalog.”[296] The critical aggregator website of "Like a Rolling Stone", his 1965 hit single, fetched $2
Metacritic awarded the album a score of 83 out of 100, million dollars at auction, a record for a popular music
indicating “universal acclaim”.[297] manuscript.[313][314]
On August 27, 2013, Columbia Records released Vol- On October 28, 2014, Simon & Schuster published a
ume 10 of Dylan’s Bootleg Series, Another Self Portrait massive 960 page, thirteen and a half pound edition of
(1969–1971), and posted an on-line documentary about Dylan’s lyrics, Lyrics: Since 1962. The book was edited
the project.[298][299] The album contained 35 previously by literary critic Christopher Ricks, Julie Nemrow and
unreleased tracks, including alternate takes and demos Lisa Nemrow, to offer variant versions of Dylan’s songs,
from Dylan’s 1969–1971 recording sessions during the sourced from out-takes and live performances. A lim-
making of the Self Portrait and New Morning albums. The ited edition of 50 books, signed by Dylan, was priced at
box set also included a live recording of Dylan’s perfor- $5,000. “It’s the biggest, most expensive book we’ve ever
mance with the Band at the Isle of Wight Festival in 1969. published, as far as I know,” said Jonathan Karp, Simon
Another Self Portrait received favorable reviews, earning & Schuster’s president and publisher.[315][316]
a score of 81 on the critical aggregator, Metacritic, in-
On November 4, 2014, Columbia Records/Legacy
dicating “universal acclaim”.[300] AllMusic critic Thom Recordings released The Basement Tapes Complete by
Jurek wrote, “For fans, this is more than a curiosity, it’s Bob Dylan and The Band. These 138 tracks in a six-CD
an indispensable addition to the catalog.”[301] box form Volume 11 of Dylan’s Bootleg Series. The 1975
On November 4, 2013, Columbia Records released Bob album, The Basement Tapes, contained some of the songs
Dylan: Complete Album Collection: Vol. One, a boxed which Dylan and the Band recorded in their homes in
set containing all 35 of Dylan’s studio albums, six albums Woodstock, New York, in 1967. Subsequently, over 100
of live recordings, and a collection, entitled Sidetracks, recordings and alternate takes have circulated on boot-
of singles, songs from films and non-album material.[302] leg records. The sleeve notes for the new box set are
The box includes new album-by-album liner notes writ- by Sid Griffin, American musician and author of Million
ten by Clinton Heylin with an introduction by Bill Flana- Dollar Bash: Bob Dylan, The Band, and The Basement
gan. On the same date, Columbia released a compila- Tapes.[317][318]
tion, The Very Best of Bob Dylan, which is available in On February 3, 2015, Dylan released Shadows in the
both single CD and double CD formats.[303] To publi- Night, his 36th studio album. The album contains ten
cize the 35 album box set, an innovative video of the songs written between 1923 and 1963,[319][320] which
song "Like a Rolling Stone" was released on Dylan’s web- have been described as part of the Great American Song-
site. The interactive video, created by director Vania book.[321] All the songs on the album were recorded by
Heymann, allowed viewers to switch between 16 simu-
Frank Sinatra but both critics and Dylan himself cau-
lated TV channels, all featuring characters who are lip- tioned against seeing the record as a collection of “Sinatra
synching the lyrics of the 48-year old song.[304] In De-
covers”.[319][322] Dylan explained, “I don't see myself as
cember 2013 Time magazine named the video best music covering these songs in any way. They've been covered
video of 2013.[305]
enough. Buried, as a matter a fact. What me and my band
On February 2, 2014, Dylan appeared in a commercial are basically doing is uncovering them. Lifting them out
for the Chrysler 200 car which was screened during the of the grave and bringing them into the light of day.”[323]
2014 Super Bowl American football game. At the end In an interview, Dylan said he had been thinking about
of the commercial, Dylan says: “So let Germany brew making this record since hearing Willie Nelson's 1978
your beer, let Switzerland make your watch, let Asia as- album Stardust.[324]
semble your phone. We will build your car.” Dylan’s Shadows In the Night received favorable reviews, scoring
Superbowl commercial generated controversy and op- 84 on the critical aggregator Metacritic, which indicates
1.1. BOB DYLAN
“universal acclaim”.[325] Critics praised the restrained in-
strumental backings and Dylan’s singing, saying that the
material had elicited his best vocal performances in re-
cent years.[326][321] Bill Prince in GQ commented: “A
performer who’s had to hear his influence in virtually ev-
ery white pop recording made since he debuted his own
self-titled album back in 1962 imagines himself into the
songs of his pre-rock'n'roll early youth.” [322] In The In-
dependent, Andy Gill wrote that the recordings “have a
lingering, languid charm, which... help to liberate the ma-
terial from the rusting manacles of big-band and cabaret
mannerisms.”[327] The album debuted at number one in
the UK albums chart in its first week of release.[328]
1.1.2 Never Ending Tour
Main article: Never Ending Tour
The Never Ending Tour commenced on June 7,
Bob Dylan performing at Finsbury Park, London, June 18, 2011
1988,[329] and Dylan has played roughly 100 dates a
year for the entirety of the 1990s and 2000s—a heav-
ier schedule than most performers who started out in
the 1960s.[330] By May 2013, Dylan and his band had
played more than 2,500 shows,[331][332] anchored by long-
time bassist Tony Garnier, multi-instrumentalist Donnie
Herron, and guitarist Charlie Sexton. To the dismay of
some of his audience,[333] Dylan’s performances remain
unpredictable as he alters his arrangements and changes
his vocal approach night after night.[334] Critical opin-
ion about Dylan’s shows remains divided. Critics such
as Richard Williams and Andy Gill have argued that Dy-
lan has found a successful way to present his rich legacy
of material.[335][336] Others have criticized his live perfor-
mances for mangling and spitting out “the greatest lyrics
ever written so that they are effectively unrecognisable”,
and giving so little to the audience that “it is difficult to
understand what he is doing on stage at all.”[337]
Dylan’s performances in China in April 2011 generated
controversy. Some criticised him for not making any ex-
plicit comment on the political situation in China, and for,
allegedly, allowing the Chinese authorities to censor his
set-list.[338][339] Others defended Dylan’s performances, In November 2013, the Halcyon Gallery, London, hosted
15
arguing that such criticism represented a misunderstand-
ing of Dylan’s art, and that no evidence for the censorship
of Dylan’s set-list existed.[340][341] In response to these al-
legations, Dylan posted a statement on his website: “As
far as censorship goes, the Chinese government had asked
for the names of the songs that I would be playing. There’s
no logical answer to that, so we sent them the set lists from
the previous 3 months. If there were any songs, verses
or lines censored, nobody ever told me about it and we
played all the songs that we intended to play.”[342]
On April 10, 2015, Dylan commenced a United States
tour in Atlantic City,[343] which concluded in South Bend,
Indiana, on May 17.[344] Dylan has also announced his
touring schedule in Europe in June and July, and a further
European tour in October and November, 2015.[345]
1.1.3 Artist
Over a decade after Random House had published Drawn
Blank (1994), a book of Dylan’s drawings, The Drawn
Blank Series opened in October 2007 at the Kunstsamm-
lungen in Chemnitz, Germany.[346] This first public ex-
hibition of Dylan’s paintings showcased more than 200
watercolors and gouaches made from the original draw-
ings. The exhibition coincided with the publication of
the book Bob Dylan: The Drawn Blank Series, which in-
cludes 170 reproductions from the series.[346][347] From
September 2010 until April 2011, the National Gallery
of Denmark exhibited 40 large-scale acrylic paintings by
Dylan, The Brazil Series.[348]
In July 2011, a leading contemporary art gallery,
Gagosian Gallery, announced their representation of Dy-
lan’s paintings.[349] An exhibition of Dylan’s art, The Asia
Series, opened at the Gagosian Madison Avenue Gallery
on September 20, displaying Dylan’s paintings of scenes
in China and the Far East.[350] The New York Times re-
ported that “some fans and Dylanologists have raised
questions about whether some of these paintings are
based on the singer’s own experiences and observations,
or on photographs that are widely available and were not
taken by Mr. Dylan.” The Times pointed to close resem-
blances between Dylan’s paintings and historic photos of
Japan and China, and photos taken by Dmitri Kessel and
Henri Cartier-Bresson.[351] The Magnum photo agency
confirmed that Dylan had licensed the reproduction rights
of these photographs.[352]
Dylan’s second show at the Gagosian Gallery, Revision-
ist Art, opened in November, 2012. The show consisted
of thirty paintings, transforming and satirizing popular
magazines including Playboy and Babytalk.[353][354] In
February 2013, Dylan exhibited the New Orleans Series
of paintings at the Palazzo Reale in Milan.[355] In Au-
gust 2013, Britain’s National Portrait Gallery in London
hosted Dylan’s first major UK exhibition, Face Value,
featuring twelve pastel portraits.[356]
16 CHAPTER 1. OVERVIEW

an exhibition of seven wrought iron gates that Dylan had Family

created. The exhibition was titled Mood Swings. In a
statement released by the gallery, Dylan said: “I've been
Dylan married Sara Lownds on November 22, 1965.
around iron all my life ever since I was a kid. I was born
Their first child, Jesse Byron Dylan, was born on January
and raised in iron ore country, where you could breathe
6, 1966, and they had three more children: Anna Lea
it and smell it every day. Gates appeal to me because of
(born July 11, 1967), Samuel Isaac Abram (born July 30,
the negative space they allow. They can be closed but at
1968), and Jakob Luke (born December 9, 1969). Dylan
the same time they allow the seasons and breezes to enter
also adopted Sara’s daughter from a prior marriage, Maria
and flow. They can shut you out or shut you in. And in Lownds (later Dylan, born October 21, 1961). Bob and
some ways there is no difference.”[357][358] Sara Dylan were divorced on June 29, 1977.[362] Maria
[363]
Since 1994, Dylan has published six books of painting married musician Peter Himmelman in 1988. In the
and drawing.[359] 1990s, Dylan’s son Jakob became well known as the lead
singer of the band The Wallflowers. Jesse Dylan is a film
director and a successful businessman.
1.1.4 Discography Desiree Gabrielle Dennis-Dylan, Dylan’s daughter with
his backup singer Carolyn Dennis (often professionally
Main articles: Bob Dylan discography and List of songs known as Carol Dennis) was born on January 31, 1986,
written by Bob Dylan and Dylan married Carolyn Dennis on June 4, 1986.[364]
The couple divorced in October 1992. Their marriage
and child remained a closely guarded secret until the pub-
lication of Howard Sounes' Dylan biography, Down the
1.1.5 Awards Highway: The Life Of Bob Dylan in 2001.[365]
When not touring, Dylan is believed to live primarily
Main article: List of awards received by Bob Dylan in Point Dume, a promontory on the coast of Malibu,
Dylan has won many awards throughout his career in- California, though he also owns property around the
world.[366][367]

Religious beliefs

Growing up in Hibbing, Minnesota, Dylan and his family

were part of the area’s small but close-knit Jewish com-
munity, and in May 1954 Dylan had his Bar Mitzvah.[368]
Around the time of his 30th birthday, in 1971, Dylan vis-
ited Israel, and also met Rabbi Meir Kahane, founder of
the New York-based Jewish Defense League.[369] Time
magazine quoted him saying about Kahane, “He’s a really
sincere guy. He’s really put it all together.”[370] Subse-
quently, Dylan downplayed the extent of his contact with
Kahane.[371]
During the late 1970s and early 1980s, Dylan converted
President Barack Obama presents Bob Dylan with a Medal of to Christianity. From January to April 1979, he partici-
Freedom (May 29, 2012). pated in Bible study classes at the Vineyard School of Dis-
cipleship in Reseda, California. Pastor Kenn Gulliksen
cluding 11 Grammy Awards, one Academy Award and has recalled: “Larry Myers and Paul Emond went over
one Golden Globe Award; He has been inducted into the to Bob’s house and ministered to him. He responded by
Rock and Roll Hall of Fame, Nashville Songwriters Hall saying, 'Yes he did in fact want Christ in his life.' And he
of Fame, and Songwriters Hall of Fame. In May 2000, prayed that day and received the Lord.”[372][373]
Dylan was awarded the Polar Music Prize. He received
the Presidential Medal of Freedom in May 2012.[360] In By 1984, Dylan was distancing himself from the "born
February 2015, Dylan accepted the MusiCares Person of again" label. He told Kurt Loder of Rolling Stone mag-
the Year award from the National Academy of Recording azine: “I've never said I'm born again. That’s just a me-
Arts and Sciences, in recognition of his philanthropic and dia term. I don't think I've been an agnostic. I've always
artistic contributions to society.[361] thought there’s a superior power, that this is not the real
world and that there’s a world to come.” In response to
Loder’s asking whether he belonged to any church or syn-
1.1.6 Personal life agogue, Dylan laughingly replied, “Not really. Uh, the
Church of the Poison Mind.”[374] In 1997 he told David
1.1. BOB DYLAN
Dylan performs in Ahoy Rotterdam, the Netherlands, June 4,
1984
Gates of Newsweek:
In an interview published in The New York Times on
September 28, 1997, journalist Jon Pareles reported
that “Dylan says he now subscribes to no organized
religion.”[376]
Dylan has been a supporter of the Chabad Lubav-
itch movement in the last 20 years,[377] and has pri-
vately participated in Jewish religious events, includ-
ing the Bar Mitzvahs of his sons and attending Hadar
Hatorah, a Chabad Lubavitch yeshiva. In September
1989 and September 1991, he appeared on the Chabad
telethon.[378] Dylan reportedly visits Chabad synagogues;
on Yom Kippur in 2007 he attended Congregation Beth
Tefillah, in Atlanta, Georgia, where he was called to the
Torah for the sixth aliyah.[379]
Dylan has continued to perform songs from his gospel
albums in concert, occasionally covering traditional reli-
gious songs. He has also made passing references to his
religious faith—such as in a 2004 interview with 60 Min-
utes, when he told Ed Bradley that “the only person you
have to think twice about lying to is either yourself or
to God.” He also explained his constant touring sched-
ule as part of a bargain he made a long time ago with
the “chief commander—in this earth and in the world we
can't see.”[21]
In a 2009 interview with Bill Flanagan promoting Dylan’s
17
Christmas LP, Christmas in the Heart, Flanagan com-
mented on the “heroic performance” Dylan gave of "O
Little Town of Bethlehem" and that he “delivered the
song like a true believer”. Dylan replied: “Well, I am
a true believer.”[281]
1.1.7 Legacy
Dylan has been described as one of the most influen-
tial figures of the 20th century, musically and culturally.
He was included in the Time 100: The Most Impor-
tant People of the Century where he was called “master
poet, caustic social critic and intrepid, guiding spirit of
the counterculture generation”.[380] In 2008, The Pulitzer
Prize jury awarded him a special citation for “his pro-
found impact on popular music and American culture,
marked by lyrical compositions of extraordinary poetic
power.”[381] President Barack Obama said of Dylan in
2012, “There is not a bigger giant in the history of Amer-
ican music.”[293] In their 2008 assessment of the “100
Greatest Singers”, Rolling Stone magazine ranked him at
number seven.[382] Rolling Stone then ranked Dylan at
number two in its 2011 list of “100 Greatest Artists” of
all time,[383] while “Like A Rolling Stone” was listed as
the “Greatest Song of all Time.”[384] In 2008, it was es-
timated that Dylan had sold about 120 million albums
worldwide.[385]
Initially modeling his writing style on the songs of Woody
Guthrie,[386] the blues of Robert Johnson,[387] and what
he termed the “architectural forms” of Hank Williams
songs,[388] Dylan added increasingly sophisticated lyri-
cal techniques to the folk music of the early 1960s, in-
fusing it “with the intellectualism of classic literature
and poetry”.[389] Paul Simon suggested that Dylan’s early
compositions virtually took over the folk genre: "[Dy-
lan’s] early songs were very rich ... with strong melodies.
'Blowin' in the Wind' has a really strong melody. He
so enlarged himself through the folk background that he
incorporated it for a while. He defined the genre for a
while.”[390]
When Dylan made his move from acoustic folk and blues
music to a rock backing, the mix became more complex.
For many critics, his greatest achievement was the cul-
tural synthesis exemplified by his mid-1960s trilogy of
albums—Bringing It All Back Home, Highway 61 Revis-
ited and Blonde on Blonde. In Mike Marqusee's words:
Between late 1964 and the summer of
1966, Dylan created a body of work that
remains unique. Drawing on folk, blues,
country, R&B, rock'n'roll, gospel, British
beat, symbolist, modernist and Beat poetry,
surrealism and Dada, advertising jargon and
social commentary, Fellini and Mad magazine,
he forged a coherent and original artistic voice
and vision. The beauty of these albums retains
the power to shock and console.”[391]
18
Dylan’s lyrics began to receive detailed scrutiny from aca-
demics and poets. Literary critic Christopher Ricks pub-
lished a 500-page analysis of Dylan’s work, placing him
in the context of Eliot, Keats and Tennyson,[392] claim-
ing that Dylan was a poet worthy of the same close
analysis.[393] Former British poet laureate Sir Andrew
Motion argued that his lyrics should be studied in
schools.[394] Since 1996, academics have lobbied the
Swedish Academy to award Dylan the Nobel Prize in Lit-
erature.[395][396][397][398]
Dylan’s voice also received critical attention. New York
Times critic Robert Shelton described his early vocal style
as “a rusty voice suggesting Guthrie’s old performances,
etched in gravel like Dave Van Ronk’s.”[399] David Bowie,
in his tribute, "Song for Bob Dylan", described Dylan’s
singing as “a voice like sand and glue”. His voice con-
tinued to develop as he began to work with rock'n'roll
backing bands; critic Michael Gray described the sound
of Dylan’s vocal work on “Like a Rolling Stone” as “at
once young and jeeringly cynical”.[400] As Dylan’s voice
aged during the 1980s, for some critics, it became more
expressive. Christophe Lebold writes in the journal Oral
Tradition, “Dylan’s more recent broken voice enables him
to present a world view at the sonic surface of the songs—
this voice carries us across the landscape of a broken,
fallen world. The anatomy of a broken world in “Every-
thing is Broken” (on the album Oh Mercy) is but an ex-
ample of how the thematic concern with all things broken
is grounded in a concrete sonic reality.”[401]
Dylan’s oeuvre has influenced several musical genres. review:
As Edna Gundersen stated in USA Today: “Dylan’s
musical DNA has informed nearly every simple twist
of pop since 1962.”[402] Punk musician Joe Strum-
mer praised Dylan for having “laid down the tem-
plate for lyric, tune, seriousness, spirituality, depth of
rock music.”[403] Other major musicians who acknowl-
edged Dylan’s importance include Johnny Cash,[404] John
Lennon,[405] Paul McCartney,[406] Pete Townshend,[407]
Neil Young,[408] Bruce Springsteen,[88] David Bowie,[409]
Bryan Ferry,[410] Nick Cave,[411][412] Patti Smith,[413] Syd
Barrett[414] Joni Mitchell,[415] and Tom Waits.[416] Dylan
significantly contributed to the initial success of both the
Byrds and the Band: the Byrds achieved chart success
with their version of "Mr. Tambourine Man" and the
subsequent album, while the Band were Dylan’s back-
ing band on his 1966 tour, recorded The Basement Tapes
with him in 1967,[417] and featured three previously un-
released Dylan songs on their debut album.[418]
Some critics have dissented from the view of Dylan as
a visionary figure in popular music. In his book Awop-
bopaloobop Alopbamboom, Nik Cohn objected: “I can't
take the vision of Dylan as seer, as teenage messiah, as ev-
erything else he’s been worshipped as. The way I see him,
he’s a minor talent with a major gift for self-hype.”[419]
Australian critic Jack Marx credited Dylan with changing
the persona of the rock star: “What cannot be disputed is
that Dylan invented the arrogant, faux-cerebral posturing
CHAPTER 1. OVERVIEW
that has been the dominant style in rock since, with every-
one from Mick Jagger to Eminem educating themselves
from the Dylan handbook.”[420]
Fellow musicians also presented dissenting views. Joni
Mitchell described Dylan as a “plagiarist” and his voice
as “fake” in a 2010 interview in the Los Angeles Times, in
response to a suggestion that she and Dylan were similar
since they had both created personas.[421][422] Mitchell’s
comment led to discussions of Dylan’s use of other peo-
ple’s material, both supporting and criticizing him.[423] In
2013 Mitchell told the Canadian Broadcasting Corpora-
tion (CBC) in an interview that her remarks in the Los An-
geles Times had been taken “completely out of context”,
and that the interviewer was a “moron”. Mitchell added:
“I like a lot of Bob’s songs. Musically he’s not very gifted.
He’s borrowed his voice from old hillbillies. He’s got a lot
of borrowed things. He’s not a great guitar player. He’s
invented a character to deliver his songs.”[424]
Talking to Mikal Gilmore in Rolling Stone in 2012,
Dylan responded to the allegation of plagiarism, in-
cluding his use of Henry Timrod’s verse in his album
Modern Times,[249] by saying that it was “part of the
tradition”.[425][a 5]
If Dylan’s work in the 1960s was seen as bringing intel-
lectual ambition to popular music,[391] critics in the 21st
century described him as a figure who had greatly ex-
panded the folk culture from which he initially emerged.
Following the release of Todd Haynes’ Dylan biopic I'm
Not There, J. Hoberman wrote in his 2007 Village Voice
Elvis might never have been born, but
someone else would surely have brought the
world rock 'n' roll. No such logic accounts
for Bob Dylan. No iron law of history de-
manded that a would-be Elvis from Hibbing,
Minnesota, would swerve through the Green-
wich Village folk revival to become the world’s
first and greatest rock 'n' roll beatnik bard and
then—having achieved fame and adoration be-
yond reckoning—vanish into a folk tradition of
his own making.[426]
Prior to the June 2014 sale of the original lyrics of “Like
a Rolling Stone”, written on four sheets of hotel sta-
tionery by Dylan in 1965, Richard Austin, of Sotheby’s,
New York, said: “Before the release of Like a Rolling
Stone, music charts were overrun with short and sweet
love songs, many clocking in at three minutes or less.
By defying convention with six and a half minutes of
dark, brooding poetry, Dylan rewrote the rules for pop
music.”[384][427]
1.1. BOB DYLAN
1.1.8 Bibliography
Main article: Bob Dylan bibliography
Dylan has published Tarantula, a work of prose poetry,
Chronicles: Volume One, the first part of his memoirs, 1.1.11 References
several books of the lyrics of his songs, and six books of
his art. He has been the subject of many biographies and Footnotes
critical studies of his work.
1.1.9 See also
• Bob Dylan – Wikipedia book
1.1.10 Notes
[1] According to Dylan’s biographer, Robert Shelton, the
singer first confided his change of name to his high school
girlfriend Echo Helstrom in 1958, telling her that he had
found a “great name, Bob Dillon”. Shelton surmises that
Dillon had two sources: Marshal Matt Dillon was the hero
of the TV western Gunsmoke; Dillon was also the name
of one of Hibbing’s principal families. While Shelton was
writing Dylan’s biography in the 1960s, Dylan told him:
“Straighten out in your book that I did not take my name
from Dylan Thomas. Dylan Thomas’s poetry is for peo-
ple that aren't really satisfied in their bed, for people who
dig masculine romance.” At the University of Minnesota,
the singer told a few friends that Dillon was his mother’s
maiden name, which was untrue. The singer later told re-
porters that he had an uncle named Dillon. Shelton adds
that only when he reached New York in 1961 did the
singer begin to spell his name 'Dylan', by which time he
was acquainted with the life and work of Dylan Thomas.
Shelton (2011), pp. 44–45.
[2] In a May 1963 interview with Studs Terkel, Dylan broad-
ened the meaning of the song, saying “the pellets of poison
flooding the waters” refers to “the lies people are told on
their radios and in their newspapers”. Cott (2006), p. 8.
[3] The title “Spokesman of a Generation” was viewed by Dy-
lan with disgust in later years. He came to feel it was a
label the media had pinned on him, and in his autobiog-
raphy, Chronicles, Dylan wrote: “The press never let up.
Once in a while I would have to rise up and offer myself for
an interview so they wouldn't beat the door down. Later an
article would hit the streets with the headline “Spokesman
Denies That He’s A Spokesman”. I felt like a piece of
meat that someone had thrown to the dogs.” Dylan (2004),
p.119
[4] According to Shelton, Dylan named the tour Rolling
Thunder and then “appeared pleased when someone told
him to native Americans, rolling thunder means speak-
ing the truth.” A Cherokee medicine man named Rolling
Thunder appeared on stage at Providence, RI, “stroking a
feather in time to the music”. Shelton (2011), p. 310.
[5] Dylan told Gilmore: “As far as Henry Timrod is con-
cerned, have you even heard of him? Who’s been read-
ing him lately? And who’s pushed him to the forefront?
19
... And if you think it’s so easy to quote him and it can
help your work, do it yourself and see how far you can
get. Wussies and pussies complain about that stuff. It’s an
old thing – it’s part of the tradition.”
[1] Bob Dylan. The Rock and Roll Hall of Fame and Museum
[2] Sounes, p. 14, gives his Hebrew name as Shabtai Zisel
ben Avraham
[3] A Chabad news service gives the variant Zushe ben Avra-
ham, which may be a Yiddish variant “Singer/Songwriter
Bob Dylan Joins Yom Kippur Services in Atlanta”.
Chabad.org News. September 24, 2007. Retrieved
September 11, 2008.
[4] Sounes, p. 14
[5] “Robert Allen Zimmerman”. Minnesota Birth Index,
1935–2002. Ancestry.com. Retrieved September 6,
2011. Name: Robert Allen Zimmerman; Birth Date: 24
May 1941; Birth County: Saint Louis; Father: Abram
H. Zimmerman; Mother: Beatrice Stone(subscription re-
quired)
[6] Sounes, pp. 12–13.
[7] Dylan, pp. 92–93.
[8] Shelton, pp. 38–40.
[9] Gray, Michael (May 22, 2011). “One of a kind: Bob Dy-
lan at 70”. The Japan Times. Retrieved December 30,
2011.
[10] Heylin (1996), pp. 4–5.
[11] Sounes, pp. 29–37.
[12] LIFE Books, “Bob Dylan, Forever Young, 50 Years of
Song”, Time Home Entertainment, Vol. 2, No 2, February
10, 2012, p. 15.
[13] An interview with Vee suggests Zimmerman may have
been eccentric in spelling his early pseudonym: "[Dy-
lan] was in the Fargo/Moorhead area ... Bill [Velline]
was in a record shop in Fargo, Sam’s Record Land, and
this guy came up to him and introduced himself as Elston
Gunnn—with three n’s, G-U-N-N-N.” Bobby Vee Inter-
view, July 1999, Goldmine Reproduced online: “Early
alias for Robert Zimmerman”. Expecting Rain. August
11, 1999. Retrieved September 11, 2008.
[14] Sounes, pp. 41–42.
[15] Heylin (2000), pp. 26–27.
[16] Biograph, 1985, Liner notes & text by Cameron Crowe.
[17] Shelton, pp. 65–82.
[18] This is related in the documentary film No Direction
Home, Director: Martin Scorsese. Broadcast: September
26, 2005, PBS & BBC Two
20 CHAPTER 1. OVERVIEW

[19] Heylin (1996), p. 7. [45] The booklet by John Bauldie accompanying Dylan’s The
Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–
[20] Dylan, pp. 78–79. 1991 (1991) says: “Dylan acknowledged the debt in 1978
to journalist Marc Rowland: Blowin' In The Wind' has
[21] Leung, Rebecca (June 12, 2005). " “Dylan Looks Back”. always been a spiritual. I took it off a song called 'No More
CBS News. Retrieved February 25, 2009. Auction Block'—that’s a spiritual and 'Blowin' In The Wind
follows the same feeling.'" pp. 6–8.
[22] Sounes, p. 72
[46] Eder, Bruce. “Peter, Paul and Mary biography”. Bill-
[23] Dylan, p. 98. board. Retrieved June 5, 2015.

[24] Dylan, pp. 244–246. [47] Heylin (2000), pp. 101–103.

[25] Dylan, pp. 250–252. [48] Ricks, pp. 329–344.

[26] Shelton (2011), pp. 74–78.
[27] Shelton, Robert (September 21, 1961). The New York
Times, “Bob Dylan: A Distinctive Stylist” reproduced on-
line: Robert Shelton (September 21, 1961). “Bob Dylan:
A Distinctive Stylist”. Bob Dylan Roots. Archived from
the original on April 21, 2008. Retrieved September 11,
2008.
[28] Unterberger, Richie (October 8, 2003). “Carolyn Hester
Biography”. All Music. Retrieved September 11, 2008.
[29] Greene, Andy (March 19, 2012). “50 years ago today:
Bob Dylan released his debut album”. CNN. Retrieved 18
March 2013.
[30] Scaduto, p. 110.
[31] Gilliland 1969, show 31, track 3, 5:12.
[32] A photo of Dylan with Spivey at this session was on the
cover of his 1970 album, New Morning. See Gray (2006),
pp. 630–631.
[33] Unterberger, Richie. “Blind Boy Grunt”. allmusic.com.
Retrieved February 12, 2011.
[34] Shelton, pp. 157–158.
[35] Gill, p. 23.
[36] Sounes, p. 121.
[37] Sounes, p. 116.
[38] Sounes, pp. 94–95, 115. An interview with Silver on
DVD, filmed for the documentary No Direction Home but
not used, was included with the album Together Through
Life.
[39] Gray (2006), pp. 283–284.
[40] Heylin (2000), pp. 115–116.
[41] Heylin (1996), pp. 35–39.
[42] Llewellyn-Smith, Caspar (September 18, 2005). “Flash-
back”. The Observer (London). Retrieved June 17, 2012.
[43] Shelton, pp. 138–142.
[44] Shelton, p. 156.
[49] Maslin in Miller (ed.) Miller, (1981), The Rolling Stone
History of Rock & Roll, 1981, p. 220
[50] Scaduto, p. 35.
[51] Mojo magazine, December 1993. p. 97
[52] Hedin, p. 259.
[53] Sounes, pp. 136–138.
[54] Joan Baez entry, Gray (2006), pp. 28–31.
[55] Meacham, Steve (August 15, 2007). “It ain't me babe but
I like how it sounds”. The Sydney Morning Herald. Re-
trieved September 24, 2008.
[56] Biograph, 1985, Liner notes & text by Cameron Crowe.
Musicians on “Mixed Up Confusion": George Barnes &
Bruce Langhorne (guitars); Dick Wellstood (piano); Gene
Ramey (bass); Herb Lovelle (drums)
[57] Dylan had recorded “Talkin' John Birch Society Blues” for
his Freewheelin album, but the song was replaced by later
compositions, including "Masters of War". See Heylin
(2000), pp. 114–115.
[58] Dylan performed "Only a Pawn in Their Game" and
"When the Ship Comes In"; see Heylin (1996), p. 49.
[59] Gill, pp. 37–41.
[60] Ricks, pp. 221–233.
[61] Williams, p. 56.
[62] Shelton, pp. 200–205.
[63] Part of Dylan’s speech went: “There’s no black and white,
left and right to me any more; there’s only up and down and
down is very close to the ground. And I'm trying to go up
without thinking of anything trivial such as politics."; see,
Shelton, pp. 200–205.
[64] Heylin (1996), p. 60.
[65] Shelton, p. 222.
[66] In an interview with Seth Goddard for Life (July 5, 2001)
Ginsberg said Dylan’s technique had been inspired by Jack
Kerouac: "(Dylan) pulled Mexico City Blues from my hand
and started reading it and I said, 'What do you know about
that?' He said, 'Somebody handed it to me in '59 in St.
Paul and it blew my mind.' So I said 'Why?' He said, 'It
was the first poetry that spoke to me in my own language.'
1.1. BOB DYLAN 21

So those chains of flashing images you get in Dylan, like
'the motorcycle black Madonna two-wheeled gypsy queen
and her silver studded phantom lover,' they're influenced
by Kerouac’s chains of flashing images and spontaneous
writing, and that spreads out into the people.” Reproduced
online: “Online Interviews With Allen Ginsberg”. Uni-
versity of Illinois at Urbana Champaign. October 8, 2004.
Retrieved September 11, 2008.
[67] Shelton, pp. 219–222.
[68] Shelton, pp. 267–271; pp. 288–291.
[69] Heylin (2000), pp. 178–181.
[70] Heylin (2000), pp. 181–182.
[71] Heylin (2009), pp. 220–222.
[72] Marqusee, p. 144.
[73] Gill, pp. 68–69.
[74] Lee, p. 18.
[75] Sounes, pp. 168–169.
[76] Warwick, N., Brown, T. & Kutner, J. (2004). The Com-
plete Book of the British Charts (Third ed.). Omnibus
Press. p. 6. ISBN 978-1-84449-058-5.
[77] Whitburn, J. (2008). Top Pop Singles 1955–2006. Record
Research Inc. p. 130. ISBN 0-89820-172-1.
[88] “The Rolling Stone 500 Greatest Songs of All Time”.
Rock List Music. Retrieved May 2, 2010.
[89] Springsteen’s Speech during Dylan’s induction into the
Rock and Roll Hall of Fame, January 20, 1988 Quoted
in Bauldie, p. 191.
[90] “500 Greatest Songs Of All Time”. Rolling Stone. May
31, 2011. Retrieved June 1, 2011.
[91] Gill, pp. 87–88.
[92] Polizzotti identifies Charlie McCoy on guitar and Russ
Savakus on bass as the musicians, see Polizzotti, Highway
61 Revisited, p. 133
[93] Gill, p. 89.
[94] Heylin (1996), pp. 80–81
[95] Sounes, pp. 189–90.
[96] Heylin (1996), pp. 82–94
[97] Heylin (2000), pp. 238–243.
[98] “The closest I ever got to the sound I hear in my mind was
on individual bands in the Blonde on Blonde album. It’s
that thin, that wild mercury sound. It’s metallic and bright
gold, with whatever that conjures up.” Dylan Interview,
Playboy, March 1978; reprinted in Cott, Dylan on Dylan:
The Essential Interviews, p. 204.

[78] Shelton, pp. 276–277. [99] Gill, p. 95.

[79] Heylin (2000), pp. 208–216. [100] Sounes, p. 193.

[80] “Exclusive: Dylan at Newport—Who Booed?". Mojo. [101] Shelton, p. 325.

October 25, 2007. Retrieved September 7, 2008.
[102]
[81] CP Staff (April 28, 2010). “Al Kooper talks Dylan, Co-
[103]
nan, Hendrix, and lifetime in the music business”. City
Pages (Village Voice Media). p. 3. Retrieved May 1,
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[82] Jackson, Bruce (August 26, 2002). “The myth of New-
port '65: It wasn't Bob Dylan they were booing”. Buffalo
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Retrieved May 8, 2010.
[106]
[83] Shelton, pp. 305–314.
[107]
[84] A year earlier, Irwin Silber, editor of Sing Out!, had pub-
lished an “Open Letter to Bob Dylan”, criticizing Dy-
lan’s stepping away from political songwriting: “I saw at [108]
Newport how you had somehow lost contact with people.
Some of the paraphernalia of fame were getting in your
way.” Sing Out!, November 1964, quoted in Shelton, p.
313. This letter has been mistakenly described as a re- [109]
sponse to Dylan’s 1965 Newport appearance.
[85] Sing Out!, September 1965, quoted in Shelton, p. 313.
[110]
[86] “You got a lotta nerve/To say you are my friend/When
I was down/You just stood there grinning” Reproduced
online:Bob Dylan. “Positively 4th Street”. bobdylan.com.
Retrieved April 21, 2015. [111]
Heylin (2000), pp. 244–261.
“Live 1966”. NME. UK. September 6, 1998. Retrieved
May 2, 2010.
Dylan’s dialogue with the Manchester audience is
recorded (with subtitles) in Martin Scorsese’s documen-
tary No Direction Home
Heylin (2011), p. 251.
Heylin (2011), p. 250.
Rolling Stone, November 29, 1969. Reprinted in Cott
(ed.), Dylan on Dylan: The Essential Interviews, p. 140.
Jones, Rebecca (May 23, 2011). “Dylan tapes reveal
heroin addiction”. BBC Radio 4. Retrieved May 26,
2011.
Greene, Andy (May 23, 2011). “Questions About Bob
Dylan’s Claim That He was Once a Heroin Addict”.
Rolling Stone. Retrieved May 26, 2011.
Brown, Mick (May 23, 2011). “Bob Dylan: finally an ad-
mission about his heroin use, but is it the truth?". London:
www.telegraph.co.uk. Retrieved May 26, 2011.
Sounes, p. 215.

[87] Sounes, p. 186. [112] Sounes, pp. 217–219.

 22 CHAPTER 1. OVERVIEW

[113] Scherman, Tony (July 29, 2006). “The Bob Dylan [141] Artists to have covered the song include Bryan Ferry,
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[114] Heylin (2000), p. 268.
[142] Sounes, pp. 273–274.
[115] Dylan, p. 114.
[143] Heylin (2000), p. 354.
[116] Heylin (1996), p. 143.
[144] Heylin (2000), p. 358.
[117] Sounes, p. 216.
[145] Shelton, p. 37.
[118] Lee, pp. 39–63.
[146] Heylin (2000), pp. 368–383.
[119] "Eat the Document on IMDb”. imdb.com. Retrieved
September 27, 2013. [147] Heylin (2000), pp. 369–387.
[120] Sounes, pp. 222–225. [148] Heylin (2000), p. 383.
[121] Marcus, pp. 236–265.
[149] “Bob Dylan”. Salon.com. May 5, 2001. Retrieved
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174.
[150] Hedin, p. 109.
[123] “Columbia Studio A, Nashville, Tennessee, John Wesley
[151] “Log of every performance of “Hurricane"". Bjorner’s
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[124] Heylin (2000), pp. 282–288.
[152] Kokay, Les via Olof Björner (2000). "Songs of the Under-
[125] Heylin (2011), p. 289. ground: a collector’s guide to the Rolling Thunder Revue
1975–1976". Retrieved February 18, 2007.
[126] Shelton, p. 463.
[153] Sloman, Larry (2002). On The Road with Bob Dylan.
[127] Gill, p. 140. Three Rivers Press. ISBN 1-4000-4596-7.
[128] Shelton (2011), p. 273. [154] Gray (2006), p. 579.
[129] Sounes, pp. 248–253. [155] Shepard, pp. 2–49.
[130] Ford, Mark (May 14, 2011). “Bob Dylan: Writings 1968–
[156] Heylin (2000), pp. 386–401,
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[134] Heylin (2009), pp. 391–392.
[160] Sounes, p. 313.
[135] Heylin (2000), pp. 328–331.
[161] Lee, pp. 115–116.
[136] Heylin (1996), p. 128.
[162] “Reviews of The Last Waltz". Metacritic. October 8,
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[139] C. P. Lee wrote: “In Garrett’s ghost-written memoir, The
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Billy’s death, he wrote that 'Billy’s partner doubtless had [164] Sounes, pp. 314–316.
a name which was his legal property, but he was so given
to changing it that it is impossible to fix on the right one. [165] Christgau, Robert. “Robert Christgau: Bob Dylan”.
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[140] Björner, Olof. “Dylan covers sorted by song name: k”. [166] Maslin, Janet (July 12, 1979). “Bob Dylan at Budokan”.
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 1.1. BOB DYLAN 23

[167] Heylin (2000), p. 483. [197] Gray (2000), p. 13.

[168] Heylin (2011), pp. 479–481. [198] Heylin (2000), pp. 627–628.

[169] Gray (2006), p. 643. [199] Heylin (2000), pp. 638–640.

[170] Heylin (2000), pp. 480–481. [200] Dylan, pp. 145–221.

[171] Sounes, pp. 323–337. [201] Ricks, pp. 413–20.

[172] Heylin (2000), pp. 490–526. [202] Scott Marshall wrote: “When Dylan sings that 'The sun is
going down upon the sacred cow', it’s safe to assume that
[173] Dylan Interview with Karen Hughes, The Dominion, the sacred cow here is the biblical metaphor for all false
Wellington, New Zealand, May 21, 1980; reprinted in gods. For Dylan, the world will eventually know that there
Cott (ed.), Dylan on Dylan: The Essential Interviews, pp. is only one God.” Marshall, Restless Pilgrim, p. 103.
275–278
[203] Gray (2006), p. 174.
[174] Heylin (2000), pp. 501–503.
[204] Sounes, p. 391.
[175] Gray (2000), p. 11.
[205] “Grammy Lifetime Achievement Award”. Grammy.com.
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[177] Sounes, pp. 334–336. [207] Bell, 2012, Once Upon a Time: The Lives of Bob Dylan.,
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[178] Rosen, Robert (2002). Nowhere Man: The Final Days of
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[194] Heylin (2000), pp. 599–604.
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CHAPTER 1. OVERVIEW
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 1.1. BOB DYLAN
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6.
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Essential Interviews. Hodder & Stoughton. ISBN
0-340-92312-1.
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and Times of Joan Baez, Bob Dylan, Mimi Baez
Farina, and Richard Farina. Farrar Straus Giroux.
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937815-38-1.
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30 CHAPTER 1. OVERVIEW

• Heylin, Clinton (2000). Bob Dylan: Behind the
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Songs of Bob Dylan, Volume One: 1957–73. Con-
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872747-04-3
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4.
1.1.12 External links
• Marcus, Greil (2001). The Old, Weird America: The
World of Bob Dylan’s Basement Tapes. Picador.
ISBN 0-312-42043-9.
• Marcus, Greil (2005). Like a Rolling Stone: Bob
Dylan at the Crossroads. Faber and Faber. ISBN
0-571-22385-0.
• Marqusee, Mike (2005). Wicked Messenger: Bob
Dylan and the 1960s. Seven Stories Press. ISBN
1-58322-686-9.
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tual Journey of Bob Dylan. Relevant Books. ISBN
0-9714576-2-X.
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of Rock & Roll, Picador, ISBN 0-330-26568-7
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(reissue ed.). Da Capo. ISBN 0-306-81371-8.
• Sounes, Howard (2001). Down The Highway: The
Life Of Bob Dylan. Grove Press. ISBN 0-8021-
1686-8.
• Williams, Paul (1991). Bob Dylan: Performing
Artist The Early Years 1960–1973. Underwood-
Miller. ISBN 0-88733-131-9.
• Williams, Paul (2004). Bob Dylan, Performing
Artist: The Middle Years (1974–1986). Omnibus
Press. ISBN 1-84449-096-3.
• Williams, Paul (2005). Bob Dylan, Performing
Artist: Mind Out Of Time (1986–1990 & beyond).
Omnibus Press. ISBN 1-84449-831-X.
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Dylan. Rough Guides. ISBN 1-84353-139-9.
• Official website
• Bob Dylan at DMOZ
• Expecting Rain – Dylan news and events, updated
daily
• BobLinks – Comprehensive log of concerts and set
lists
• Bob Dylan on Said Search – Searchable list of Bob
Dylan Interviews
• Bjorner’s Still on the Road – Information on record-
ing sessions and performances
• Bob Dylan at the Internet Movie Database

• Muir, Andrew (2001). Razor’s Edge: Bob Dylan &

the Never Ending Tour. Helter Skelter. ISBN 1-
900924-13-7.
• Polizzotti, Mark (2006). Highway 61 Revisited.
Continuum. ISBN 0-8264-1775-2.
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Chapter 2

Studio Albums

2.1 Bob Dylan contract’s final approval had worked its way through the
Columbia hierarchy. The label’s official approvals came
Bob Dylan is the eponymous debut album of Ameri- quickly.
can singer-songwriter Bob Dylan, released on March 19, Studio time was scheduled for late November, and dur-
1962 by Columbia Records (Mono-CL 1779; Stereo-CS ing the weeks leading up to those sessions, Dylan began
8579). Produced by Columbia’s legendary talent scout searching for new material even though he was already
John H. Hammond, who signed Dylan to the label, the familiar with a number of songs. According to Dylan’s
album features folk standards, plus two original compo- friend Carla Rotolo (sister of his girlfriend Suze Rotolo),
sitions, "Talkin' New York" and "Song to Woody". “He spent most of his time listening to my records, days
and nights. He studied the Folkways Anthology of Amer-
ican Folk Music, the singing of Ewan MacColl and A.
2.1.1 Recording sessions L. Lloyd, Rabbit Brown's guitar, Guthrie, of course, and
blues...his record was in the planning stages. We were
Dylan met John Hammond at a rehearsal session for all concerned about what songs Dylan was going to do. I
Carolyn Hester on September 14, 1961, at the apartment remember clearly talking about it.”
shared by Hester and her then-husband, Richard Fariña.
The album was ultimately recorded in three short after-
Hester had invited Dylan to the session as a harmonica
noon sessions on November 20 and 22. Hammond later
player, and Hammond approved him as a session player
joked that Columbia spent “about $402” to record it, and
after hearing him rehearse, with recommendations from
the figure has entered the Dylan legend as its actual cost.
his son, musician John P. Hammond, and from Liam
Despite the low cost and short amount of time, Dylan was
Clancy.
still difficult to record, according to Hammond. “Bobby
Hammond later told Robert Shelton that he decided to popped every p, hissed every s, and habitually wandered
sign Dylan “on the spot,” and invited him to the Columbia off mike,” recalls Hammond. “Even more frustrating, he
offices for a more formal audition recording. No record refused to learn from his mistakes. It occurred to me at
of that recording has turned up in Columbia’s files, but the time that I'd never worked with anyone so undisci-
Hammond, Dylan, and Columbia’s A&R director Mitch plined before.”[4]
Miller have all confirmed that an audition took place.
Seventeen songs were recorded, and five of the album’s
(Producer Fred Catero, then a recording engineer for
chosen tracks were actually cut in single takes (“Baby Let
Columbia Records, claims to have the master of that ses-
Me Follow You Down,” "In My Time of Dyin',” "Gospel
sion. It is not the original demo for Columbia, but a ses-
Plow,” “Highway 51 Blues,” and “Freight Train Blues”)
sion from December 6, 1962, recorded by John Ham-
while the master take of “Song to Woody” was recorded
mond, Sr.)
after one false start. The album’s four outtakes were also
On September 26, Dylan began a two-week run at cut in single takes. During the sessions, Dylan refused
Gerde’s Folk City, second on the bill to The Greenbriar requests to do second takes. “I said no. I can't see myself
Boys. On September 29, an exceptionally favorable re- singing the same song twice in a row. That’s terrible.”[5]
view of Dylan’s performance appeared in the New York
The album cover features a reversed photo of Dylan hold-
Times. The same day, Dylan played harmonica at Hester’s
ing his acoustic guitar. This was done to prevent the neck
recording session at Columbia’s Manhattan studios. After
of the guitar from obscuring Columbia’s logo.
the session, Hammond brought Dylan to his offices and
presented him with Columbia’s standard five-year con-
tract for previously unrecorded artists, and Dylan signed 2.1.2 Music
immediately.
That night at Gerdes, Dylan told Shelton about Ham- By the time sessions were held for his debut album, Dy-
mond’s offer, but asked him to “keep it quiet” until the lan was absorbing an enormous amount of folk material

31
32 CHAPTER 2. STUDIO ALBUMS

from sitting and listening to contemporaries performing debut album in concert, and only “Song to Woody” and
in New York’s clubs and coffeehouses. Many of these “Pretty Peggy-O” would be heard with any frequency.
individuals were also close friends who performed with
Dylan, often inviting him to their apartments where they
would introduce him to more folk songs. At the same 2.1.3 Outtakes
time, Dylan was borrowing and listening to a large num-
ber of folk, blues, and country records, many of which Three additional songs recorded during the Bob Dylan
were hard to find at the time. Dylan claimed in the docu- sessions were included on Volume 1 of the Bootleg Series:
mentary No Direction Home that he needed to hear a song "House Carpenter,” "He Was a Friend of Mine,” and an-
only once or twice to learn it. other original composition, “Man on the Street”. A fourth
outtake, “Ramblin' Blues” written by Woody Guthrie, re-
The final album sequence of Bob Dylan features only two mains unreleased.
original compositions; the other eleven tracks are folk
standards and traditional songs. Few of these were sta- Of these four, the most celebrated is perhaps “House
ples of his club/coffeehouse repertoire. Only two of the Carpenter,” a new rendition of the 16th century Scottish
covers and both originals were in his club set in Septem- ballad “The Daemon Lover” and the final song recorded
ber 1961. Dylan stated in a 2000 interview that he was for Bob Dylan. Biographer Clinton Heylin described the
hesitant to reveal too much of himself at first. song as “the most extraordinary performance of the ses-
sions, as demonically driven as anything Robert Johnson
Of the two original songs, “Song to Woody” is the best put out in his name.” Though it was a favorite at the time
known. According to Clinton Heylin, the original hand- in folk circles, Dylan apparently never played “House
written manuscript to “Song to Woody” bears the follow- Carpenter” in any documented performance.
ing inscription at the bottom of the sheet: “Written by
Bob Dylan in Mills Bar on Bleecker Street in New York An alternate (shortened) version of “House of the Ris-
City on the 14th day of February, for Woody Guthrie.” ing Sun,” heavily overdubbed with electric instruments in
Melodically, the song is based on one of Guthrie’s own 1964 (produced by Tom Wilson), was later included on
compositions, "1913 Massacre", but it is possible Guthrie the Highway 61 Interactive CD-ROM.
fashioned “1913 Massacre” from an even earlier melody;
like many folk artists, including Dylan, Guthrie would of-
2.1.4 Reception
ten adopt familiar folk melodies into new compositions.
Guthrie was Dylan’s main musical influence at the time of
Bob Dylan did not receive much acclaim until years later.
Bob Dylan's release, and indeed on several of the songs
“These debut songs are essayed with differing degrees of
Dylan is apparently imitating Guthrie’s vocal manner-
conviction,” writes music critic Tim Riley, "[but] even
isms. “Talkin' New York” is closely based on Guthrie’s
when his reach exceeds his grasp, he never sounds like he
song “Talking Dustbowl Blues” and also references “The
knows he’s in over his head, or gushily patronizing...Like
Ballad of Pretty Boy Floyd”.
Elvis Presley, what Dylan can sing, he quickly masters;
Dylan takes an arranger’s credit on many of the traditional what he can't, he twists to his own devices. And as with
songs, but a number of them can be traced to his con- the Presley Sun sessions, the voice that leaps from Dy-
temporaries. For example, the arrangement of "House lan’s first album is its most striking feature, a determined,
of the Rising Sun" was developed by Dave Van Ronk, iconoclastic baying that chews up influences, and spits out
who was a close friend at the time. Van Ronk had in- the odd mixed signal without half trying.”[6]
tended to record this arrangement himself and was up-
However, at the time of its release, Bob Dylan received
set that Dylan had recorded it. During his recording of
little notice, and both Hammond and Dylan were soon
“Baby Let Me Follow You Down”, Dylan mentions the
dismissive of the first album’s results.
arranger, Eric Von Schmidt, whom he met in Cambridge,
Massachusetts. Von Schmidt introduced the arrangement The album did not initially sell well either, and Dylan was
to Dylan as well as an arrangement for "He Was a Friend for a time known as “Hammond’s Folly” in record com-
of Mine,” which was also recorded for but omitted from pany circles. Mitch Miller, Columbia’s chief of A&R at
Dylan’s first album. the time, said U.S. sales totaled about 2,500 copies. Bob
Dylan remains Dylan’s only release not to chart at all in
Dylan would leave most of these songs behind when he
the US, though it eventually reached #13 in the UK charts
moved to the concert stage in 1963, but he performed
in 1965.[7] Despite the album’s poor performance, finan-
“Man of Constant Sorrow” during his first national tele-
cially it was not disastrous because the album was very
vision appearance in mid-1963 (a performance included
cheap to record.
on the 2005 retrospective No Direction Home). “Baby Let
Me Follow You Down” would later return in a driving On December 22, 1961, a month to the day after Bob Dy-
electric arrangement during his 1965 and 1966 tours with lan's final session, Dylan was in Minneapolis, Minnesota,
The Hawks; a live recording was included on Live 1966. where he and his friend Tony Glover paid a visit to their
friend Bonnie Beecher. Dylan held an informal session at
After 1966, Dylan performed only five songs from his
her apartment, performing twenty-six songs which were
2.1. BOB DYLAN 33

recorded by Glover on a reel-to-reel tape recorder. Often Technical personnel

known by a misnomer, the “Minneapolis hotel tape” soon
entered private circulation, providing a thorough look at • John H. Hammond – production
Dylan’s musical potential only a month after recording his
debut album. A larger and far more diverse selection of
songs, it was all recorded the night of the 22nd in roughly 2.1.7 Charts
two and a half hours.
Among the songs recorded that night were the harrow- Album
ing, racially-charged morality tale “Black Cross,” Big Joe
Williams’ “Baby Please Don't Go” (in which Dylan dis-
plays his growing skills at bottleneck guitar), the Pente-
2.1.8 Notes
costal “Wade in the Water”, Dylan’s own reinterpretation [1] Allmusic review
of the traditional “Nine Hundred Miles” (retitled “I Was
Young When I Left Home” and later issued on The Boot- [2] Entertainment Weekly review
leg Series Vol. 7: No Direction Home: The Soundtrack),
the traditional “Poor Lazarus”, a Memphis Jug Band ar- [3] Rolling Stone review
rangement of the traditional “Stealin'", another rewritten [4] Heylin, Clinton (1997). Bob Dylan: The Recording Ses-
folk song called “Hard Times in New York Town” (based sions, 1960–1994. Macmillan. pp. 7–8. ISBN 0-312-
on the traditional “Hard Times in the Country Working 15067-9. OCLC 81953762.
on Ketty’s Farm” and subsequently released on The Boot-
leg Series Volumes 1–3 (Rare & Unreleased) 1961–1991), [5] Cavallo, Dominick. A Fiction of the Past: The Sixties in
and the John Lomax discovery "Dink’s Song". (Accord- American History. St. Martin’s Press (1999), pp. 178–
79. ISBN 0-312-21930-X.
ing to Clinton Heylin, Lomax first heard the song “in
[8]
1908 when, across the Brazos river from Texas A&M [6] Riley, Tim. Hard Rain: A Dylan Commentary. Da Capo
College, he heard a lady called Dink sing her song.”[9] Press (1999), pp. 38–39. ISBN 0-306-80907-9
First published in Folksong USA, Dylan’s “hotel” record-
ing would later be included on The Bootleg Series Vol. 7: [7] “Bob Dylan”. Chart Stats. Archived from the original on
No Direction Home: The Soundtrack.) 19 March 2013.

Though only a few selections from the Minneapolis ho- [8] Adventures Of A Ballad Hunter by John Lomax, pub-
tel tape were ever officially released, all twenty-six songs lished by MacMillan in 1947
have been heavily bootlegged and celebrated by Greil
[9] Heylin, Clinton. Bob Dylan: Behind the Shades Revisited.
Marcus, a music critic who wrote about the recordings in HarperCollins (2003), pp. 78–79. ISBN 0-06-052569-X.
Rolling Stone Magazine. As Heylin writes, some of these
songs gave Dylan “an all-important clue as to how he [10] Heylin (2003), p. 88.
might mold traditional melodies and sensibility to his own
worldview.”[10] This would grow to fruition when Dylan [11] “The Original Mono Recordings”. bobdylan.com. Octo-
ber 19, 2010. Retrieved April 24, 2011.
began work on his next album, The Freewheelin' Bob Dy-
lan, a year later, by which time both Dylan’s reputation [12] Catalog of Copyright Entries, Third Series: 1963: January-
and his stockpile of original compositions had grown con- June (Google eBook). Copyright Office, Library of
siderably. Congress. 1964. p. 958. Retrieved 2013-11-10.
Bob Dylan was re-released in 2010 as the first of a 9 [13] “Freight Train Blues (Lyrics)". CountryMusicTrea-
cd boxset titled The Original Mono Recordings, with new sures.com. Retrieved 2013-11-10.
liner notes by Greil Marcus on a 60 pages booklet.[11] A
new edition was released in June 2013 as a single album
by Hoodoo records, with 12 bonus tracks (1 single and 2.1.9 References
11 live radio recordings from 1961-1962) and a 16-page
booklet. • Dylan, Bob. Chronicles: Volume 1. Simon and
Schuster, October 5, 2004, hardcover, 208 pages.
ISBN 0-7432-2815-4
2.1.5 Track listing
• Hammond, John. John Hammond On Record, Ridge
Press, 1977, 416 pages. ISBN 0-671-40003-7. Title
Bonus tracks on the 2013 reissue
sometimes reported as On The Record.

• Heylin, Clinton. Bob Dylan: A Life In Stolen Mo-

2.1.6 Personnel ments, Schirmer Books, 1986, 403 pages. ISBN 0-
8256-7156-6. Also known as Bob Dylan: Day By
• Bob Dylan – vocals, acoustic guitar, harmonica Day
34 CHAPTER 2. STUDIO ALBUMS

• Heylin, Clinton. Bob Dylan: Behind the Shades Re- dropping his contract. Hammond defended Dylan vig-
visited. Perennial Currents, 2003, 800 pages. ISBN orously and was determined that Dylan’s second album
0-06-052569-X should be a success.[3] The recording of Freewheelin' took
place from April 1962 to April 1963, and the album was
• Shelton, Robert, No Direction Home, Da Capo Press, assembled from eight recording sessions in the Columbia
2003 reprint of 1986 original, 576 pages. ISBN 0- Records Studio A, 799 Seventh Avenue, in New York
306-81287-8 City.[4]
• Greene, Andy. 50 Years Ago Today: Bob Dylan Re-
leased His Debut Album. Rolling Stone, 2012 Political and personal background

2.2 The Freewheelin' Bob Dylan

The Freewheelin' Bob Dylan is the second studio album
by American singer-songwriter Bob Dylan, released on
May 27, 1963 by Columbia Records. Whereas his debut
album Bob Dylan had contained only two original songs,
Freewheelin ' represented the beginning of Dylan’s writ-
ing contemporary words to traditional melodies. Eleven
of the thirteen songs on the album are Dylan’s original
compositions. The album opens with "Blowin' in the
Wind", which became an anthem of the 1960s, and an
international hit for folk trio Peter, Paul & Mary soon af-
ter the release of Freewheelin '. The album featured sev-
eral other songs which came to be regarded as amongst Dylan had become famous for his political songwriting—he is
Dylan’s best compositions and classics of the 1960s folk seen here in 1963 playing at a civil rights march with Joan Baez
scene: "Girl from the North Country", "Masters of War",
"A Hard Rain’s a-Gonna Fall" and "Don't Think Twice, Many critics have noted the extraordinary development
It’s All Right". of Dylan’s songwriting immediately after completing his
first album. One of Dylan’s biographers Clinton Heylin
Dylan’s lyrics embraced stories taken from the headlines connects the sudden increase in lyrics written along top-
about civil rights and he articulated anxieties about the ical and political lines to the fact that Dylan had moved
fear of nuclear warfare. Balancing this political mate- into an apartment on West 4th Street with his girlfriend
rial were love songs, sometimes bitter and accusatory, Suze Rotolo in January 1962.[5] Rotolo’s family had
and material that features surreal humor. Freewheelin ' strong left-wing political commitments; both of her par-
showcased Dylan’s songwriting talent for the first time, ents were members of the American Communist Party.[6]
propelling him to national and international fame. The Dylan acknowledged her influence when he told an inter-
success of the album and Dylan’s subsequent recognition viewer: “Suze was into this equality-freedom thing long
led to his being named as “Spokesman of a Generation,” before I was. I checked out the songs with her.”[7]
a label Dylan repudiated.
Dylan’s relationship with Rotolo also provided an impor-
The Freewheelin' Bob Dylan reached number 22 in the tant emotional dynamic in the composition of the Free-
United States (eventually going platinum), and became a wheelin ' album. After six months of living with Dylan,
number-one hit in the United Kingdom in 1964. In 2003, Rotolo agreed to her mother’s proposal that she travel
the album was ranked number 97 on Rolling Stone maga- to Italy to study art.[8][a 1] Dylan missed her and wrote
zine’s list of the 500 greatest albums of all time. In 2002,
long letters to her conveying his hope that she would re-
Freewheelin' was one of the first 50 recordings chosen turn soon to New York.[9] She postponed her return sev-
by the Library of Congress to be added to the National eral times, finally coming back in January 1963. Critics
Recording Registry. have connected the intense love songs expressing long-
ing and loss on Freewheelin' to Dylan’s fraught relation-
ship with Rotolo.[10] In her autobiography, Rotolo ex-
2.2.1 Recording sessions
plains that musicians’ girlfriends were routinely described
Neither critics nor the public took much notice of Dy- as “chicks,” and she resented being regarded as[11] “a posses-
lan’s debut album, Bob Dylan, which sold only 5,000 sion of Bob, who was the center of attention.”
copies in its first year, just enough to break even. In a The speed and facility with which Dylan wrote topical
pointed rebuke to John Hammond, who had signed Dy- songs attracted the attention of other musicians in the
lan to Columbia Records, some within the company re- New York folk scene. In a radio interview on WBAI
ferred to the singer as “Hammond’s Folly” and suggested in June 1962, Pete Seeger described Dylan as “the most
2.2. THE FREEWHEELIN' BOB DYLAN 35

prolific songwriter on the scene” and then asked Dylan Albert Grossman became Dylan’s manager on August 20,
how many songs he had written recently. Dylan replied, 1962.[20] Since Dylan was under twenty-one when he had
“I might go for two weeks without writing these songs. I signed his contract with CBS, Grossman argued that the
write a lot of stuff. In fact, I wrote five songs last night but contract was invalid and had to be re-negotiated. In-
I gave all the papers away in some place called the Bitter stead, Hammond responded by inviting Dylan to his of-
End.”[12] Dylan also expressed the impersonal idea that fice and persuading him to sign a “reaffirment”—agreeing
the songs were not his own creation. In an interview with to abide by the original contract. This effectively neutral-
Sing Out! magazine, Dylan said, “The songs are there. ized Grossman’s strategy, and led to some animosity be-
They exist all by themselves just waiting for someone to tween Grossman and Hammond.[21] Grossman enjoyed
write them down. I just put them down on paper. If I a reputation in the folk scene of being commercially
didn't do it, somebody else would.”[13] aggressive, generating more income and defending his
clients’ interests more fiercely than “the nicer, more am-
ateurish managers in the Village”.[22] Dylan critic Andy
Recording in New York Gill has suggested that Grossman encouraged Dylan to
become more reclusive and aloof, even paranoid.[23]
Dylan began work on his second album at Columbia’s
Studio A in New York on April 24, 1962. The album
was provisionally entitled Bob Dylan’s Blues, and as late
as July 1962, this would remain the working title.[14] At
this session, Dylan recorded four of his own composi-
tions: “Sally Gal,” "The Death of Emmett Till,” “Ram-
bling, Gambling Willie,” and "Talkin' John Birch Para-
noid Blues.” He also recorded two traditional folk songs,
“Going To New Orleans” and “Corrina, Corrina,” and
Hank Williams' "(I Heard That) Lonesome Whistle.”[15]
Returning to Studio A the following day, Dylan recorded
his new song about fallout shelters, "Let Me Die In
My Footsteps.” Other original compositions followed:
“Rocks and Gravel,” “Talking Hava Negiliah Blues,”
“Talking Bear Mountain Picnic Massacre Blues,” and two
more takes of “Sally Gal.” Dylan recorded cover ver-
sions of “Wichita,” Big Joe Williams' "Baby, Please Don't
Go,” and Robert Johnson's “Milk Cow’s Calf’s Blues.”[15]
Because Dylan’s songwriting talent was developing so
rapidly, nothing from the April sessions appeared on
Freewheelin'.[4]
The recording sessions at Studio A resumed on July 9,
when Dylan recorded "Blowin' in the Wind,” a song
which he had first performed live at Gerde’s Folk City on
April 16.[16] Dylan also recorded “Bob Dylan’s Blues,”
“Down the Highway,” and “Honey, Just Allow Me One
More Chance,” all of which ended up on Freewheelin', While recording Freewheelin ' in New York, Dylan had his first
plus one other original composition, “Baby, I'm in the performance at Carnegie Hall
Mood for You,” which did not.[17]
At this point, music manager Albert Grossman began to On September 22, Dylan appeared for the first time at
take an interest in Dylan’s business affairs. Grossman Carnegie Hall, part of an all-star hootenanny. On this oc-
persuaded Dylan to transfer the publishing rights of his casion, he premiered his new composition "A Hard Rain’s
songs from Duchess Music, whom he had signed a con- a-Gonna Fall",[24] a complex and powerful song built
tract with in January 1962, to Witmark Music, a division upon the question and answer refrain pattern of the tradi-
of Warner’s music publishing operation. Dylan signed a tional British ballad "Lord Randall". “Hard Rain” would
contract with Witmark on July 13, 1962.[18] Unknown to gain added resonance one month later, when President
Dylan, Grossman had also negotiated a deal with Wit- Kennedy appeared on national television on October 22,
mark. This gave Grossman fifty percent of Witmark’s and announced the discovery of Soviet missiles on the
share of the publishing income generated by any song- island of Cuba, initiating the Cuban Missile Crisis. In
writer Grossman had brought to the company. This “se- the sleeve notes on the Freewheelin' album, Nat Hentoff
cret deal” resulted in a bitter legal battle between Dylan quotes Dylan as saying that he wrote “Hard Rain” in re-
and Grossman in the 1980s.[19] sponse to the Cuban Missile Crisis: “Every line in it is
36 CHAPTER 2. STUDIO ALBUMS

actually the start of a whole new song. But when I wrote Traveling to England
it, I thought I wouldn't have enough time alive to write all
those songs so I put all I could into this one”.[25] In fact, Twelve days later, Dylan made his first trip abroad.
Dylan had written the song more than a month before the British TV director Philip Saville had heard Dylan per-
crisis broke. form in Greenwich Village, and invited him to take part
Dylan resumed work on Freewheelin' at Columbia’s Stu- in a BBC television drama: Madhouse on Castle Street.
dio A on October 26, when a major innovation took Dylan arrived in London on December 17. In the play,
place—Dylan made his first studio recordings with a Dylan performed “Blowin' in the Wind” and two other
backing band. Accompanied by Dick Wellstood on songs.[31] Dylan also immersed himself in the London
piano, Howie Collins and Bruce Langhorne on guitar, folk scene, making contact with the Troubadour folk club
Leonard Gaskin on bass, and Herb Lovelle on drums, organizer Anthea Joseph and folksingers Martin Carthy
Dylan recorded three songs. Several takes of Dylan’s and Bob Davenport. “I ran into some people in England
"Mixed-Up Confusion" and Arthur Crudup's "That’s All who really knew those [traditional English] songs,” Dy-
Right Mama" were deemed unusable,[26] but a master lan recalled in 1984. “Martin Carthy, another guy named
take of “Corrina, Corrina” was selected for the final al- [Bob] Davenport. Martin Carthy’s incredible. I learned
bum. An 'alternate take' of “Corrina, Corrina” from the a lot of stuff from Martin.”[32]
same session would also be selected for a single issued Carthy taught Dylan two English songs that would prove
later in the year. At the next recording session on Novem- important for the Freewheelin ' album. Carthy’s arrange-
ber 1, the band included Art Davis on bass, while jazz ment of "Scarborough Fair" would be used by Dylan as
guitarist George Barnes replaced Howie Collins. “Mixed- the basis of his own composition, "Girl from the North
Up Confusion” and “That’s All Right Mama” were re- Country". A 19th century ballad commemorating the
recorded, and again the results were deemed unsatisfac- death of Sir John Franklin in 1847, "Lady Franklin’s
tory. A take of the third song, “Rocks and Gravel”, was Lament", gave Dylan the melody for his composition
selected for the album, but the track was subsequently "Bob Dylan’s Dream". Both songs displayed Dylan’s fast-
dropped.[27] growing ability to take traditional melodies and use them
[33]
On November 14, Dylan resumed work with his backup as a basis for highly personal songwriting.
band, this time with Gene Ramey on bass, devoting From England, Dylan traveled to Italy, and joined Albert
most of the session to recording “Mixed-Up Confusion”. Grossman, who was touring with his client Odetta.[34] Dy-
Although this track did not appear on Freewheelin', it lan was also hoping to make contact with his girlfriend,
was released as a single on December 14, 1962, and Suze Rotolo, unaware that she had already left Italy and
then swiftly withdrawn.[28] Unlike the other material was on her way back to New York. Dylan worked on
which Dylan recorded between 1961 and 1964, “Mixed- his new material, and when he returned to London, Mar-
Up Confusion” attempted a rockabilly sound. Cameron tin Carthy received a surprise: “When he came back
Crowe described it as “a fascinating look at a folk artist from Italy, he'd written “Girl From the North Country";
with his mind wandering towards Elvis Presley and Sun he came down to the Troubadour and said, 'Hey, here’s
Records".[29] “Scarborough Fair"' and he started playing this thing.”[35]
Also recorded on November 14 was the new composi-
tion "Don't Think Twice, It’s All Right". (Clinton Heylin
writes that, although the sleeve notes of Freewheelin ' Returning to New York
describe this song as being accompanied by a backing
Dylan flew back to New York on January 16, 1963.[36]
band, no band is audible on the released version.)[25][30]
Langhorne then accompanied Dylan on three more orig- In January and February, he recorded some of his new
inal compositions: "Ballad of Hollis Brown", “Kingsport compositions in sessions for the folk magazine Broadside,
Town”, and “Whatcha Gonna Do”, but these perfor- including a new anti-war song, “Masters of War”, which
mances were not included on Freewheelin'.[27] he had composed in London.[37][38] Dylan was happy to
be reunited with Suze Rotolo, and he persuaded her to
Dylan held another session at Studio A on December
move back into the apartment they had shared on West
6. Five songs, all original compositions, were recorded,
4th Street.[39]
three of which were eventually included on The Free-
wheelin' Bob Dylan: “A Hard Rain’s a-Gonna Fall”, “Ox- Dylan’s keenness to record his new material for Free-
ford Town”, and “I Shall Be Free”. Dylan also made an- wheelin' paralleled a dramatic power struggle in the stu-
other attempt at “Whatcha Gonna Do” and recorded a dio: Albert Grossman’s determination to have John Ham-
new song, “Hero Blues”, but both songs were ultimately mond replaced as Dylan’s producer at CBS. According to
rejected and left unreleased.[27] Dylan biographer Howard Sounes, “The two men could
not have been more different. Hammond was a WASP,
so relaxed during recording sessions that he sat with feet
up, reading The New Yorker. Grossman was a Jewish
businessman with a shady past, hustling to become a
2.2. THE FREEWHEELIN' BOB DYLAN 37

millionaire.”[21] Columbia’s supposed destruction of all copies during the

Because of Grossman’s hostility to Hammond, Columbia pre-release phase (all copies found were in the standard
paired Dylan with a young, African-American jazz pro- album sleeve with the revised track selection). Other
ducer, Tom Wilson. Wilson recalled: “I didn't even par- permutations of the Freewheelin' album include versions
ticularly like folk music. I'd been recording Sun Ra and with a different running order of the tracks on the album,
Coltrane ... I thought folk music was for the dumb guys. and a Canadian version of the album that listed the tracks
[Dylan] played like the dumb guys, but then these words in the wrong order.[46][47] The original pressing of The
came out. I was flabbergasted.”[40] At a recording ses- Freewheelin' Bob Dylan is considered the most valuable
and rarest record in America,[47] with one copy having
sion on April 24, produced by Wilson, Dylan recorded
five new compositions: “Girl from the North Country”, sold for $35,000.[48]
“Masters of War”, “Talkin' World War III Blues”, “Bob
Dylan’s Dream”, and “Walls of Red Wing”. “Walls of
Red Wing” was ultimately rejected, but the other four
2.2.2 Songs and themes
[41]
were included in a revised album sequence.
“Blowin' in the Wind”
The final drama of recording Freewheelin' occurred when
Dylan was scheduled to appear on The Ed Sullivan Show
Main article: Blowin' in the Wind
on May 12, 1963. Dylan had told Sullivan he would per-
form “Talkin' John Birch Paranoid Blues”, but the 'head
of program practices’ at CBS Television informed Dy- “Blowin' in the Wind” is among Dylan’s most celebrated
lan that this song was potentially libelous to the John compositions. In his sleeve notes for The Bootleg Se-
Birch Society, and asked him to perform another num- ries Volumes 1–3 (Rare & Unreleased) 1961–1991, John
ber. Rather than comply with TV censorship, Dylan re- Bauldie writes that it was Pete Seeger who first iden-
fused to appear on the show.[42] There is disagreement be- tified the melody of “Blowin' in the Wind” as Dylan’s
tween Dylan’s biographers about the consequences of this adaptation of the old Negro spiritual “No More Auction
censorship row. Anthony Scaduto writes that after The Block”. According to Alan Lomax’s The Folk Songs of
Ed Sullivan Show debacle, CBS lawyers were alarmed to North America, the song originated in Canada and was
discover that the controversial song was to be included sung by former slaves who fled there after Britain abol-
on Dylan’s new album, only a few weeks from its re- ished slavery in 1833. In 1978, Dylan acknowledged the
lease date. They insisted that the song be dropped, and source when he told journalist Marc Rowland: '"Blowin'
four songs (“John Birch”, “Let Me Die In My Footsteps”, in the Wind” has always been a spiritual. I took it off a
“Rambling Gambling Willie”, “Rocks and Gravel”) on song called “No More Auction Block”—that’s a spiritual
[49]
the album were replaced with Dylan’s newer compo- and “Blowin' in the Wind” follows the same feeling.'
sitions recorded in April (“Girl from the North Coun- Dylan’s performance of “No More Auction Block” was
try”, “Masters of War”, “Talkin' World War III Blues”, recorded at the Gaslight Cafe in October 1962, and ap-
“Bob Dylan’s Dream”). Scaduto writes that Dylan felt peared on The Bootleg Series Volumes 1–3 (Rare & Un-
“crushed” by being compelled to submit to censorship, released) 1961–1991.
but he was in no position to argue.[43] Critic Andy Gill wrote: "'Blowin' in the Wind' marked
According to biographer Clinton Heylin, “There remains a huge jump in Dylan’s songwriting: for the first time,
a common belief that [Dylan] was forced by Columbia Dylan discovered the effectiveness of moving from the
to pull 'Talkin' John Birch Paranoid Blues’ from the al- particular to the general. Whereas 'The Ballad of Donald
bum after he walked out on The Ed Sullivan Show.” How- White' would become completely redundant as soon as
ever, the 'revised' version of The Freewheelin' Bob Dy- the eponymous criminal was executed, a song as vague
lan was released on May 27, 1963; this would have given as 'Blowin' in the Wind' could be applied to just about
Columbia Records only two weeks to recut the album, any freedom issue. It remains the song with which Dy-
reprint the record sleeves, and press and package enough lan’s name is most inextricably linked, and safeguarded
copies of the new version to fill orders. Heylin suggests his reputation as a civil libertarian through any number
that CBS had probably forced Dylan to withdraw “John of changes in style and attitude.”[50]
Birch” from the album some weeks earlier, and that Dy- “Blowin' in the Wind” became world-famous when Peter,
lan had responded by recording his new material on April Paul and Mary issued the song as a single three weeks
24.[44] Whether the songs were substituted before or after after the release of Freewheelin'. They and Dylan both
The Ed Sullivan Show, critics agree that the new material shared the same manager: Albert Grossman. The single
gave the album a more personal feel, distanced from the sold a phenomenal three hundred thousand copies in the
traditional folk-blues material which had dominated his first week of release. On July 13, 1963, it reached num-
first album, Bob Dylan.[45] ber two on the Billboard chart with sales exceeding one
[51]
A few copies of the original pressing of the LP with the million copies. Dylan later recalled that he was aston-
four deleted tracks have turned up over the years, despite ished when Peter Yarrow told him he was going to make
$5,000 from the publishing rights.[29]
38
“Girl from the North Country”
Main article: Girl from the North Country
There has been much speculation in print about the iden-
tity of the girl in the song. Clinton Heylin states that
the most frequently mooted candidates are Echo Hel-
strom, an early girlfriend of Dylan from his hometown of
Hibbing, and Suze Rotolo, whom Dylan was pining for as
he finished the song in Italy.[52] Howard Sounes suggests
the girl Dylan probably had in mind was Bonnie Beecher,
a girlfriend of Dylan’s when he was at the University of
Minnesota.[53][a 2] Musicologist Todd Harvey notes that
Dylan not only took the tune of "Scarborough Fair",
which he learnt from Martin Carthy in London, but also
adapted the theme of that song. “Scarborough Fair” de-
rives from "The Elfin Knight" (Child Ballad Number 2),
which was first transcribed in 1670. In the song, a super-
natural character poses a series of questions to an inno-
cent, requesting her to perform impossible tasks. Harvey
points out that Dylan “retains the idea of the listener being
sent upon a task, a northern place setting, and an antique
lyric quality”.[54] Dylan returned to this song on Nashville
Skyline (1969), recording it as a duet with Johnny Cash.
“Masters of War”
Main article: Masters of War
A scathing song directed against the war industry, “Mas-
ters of War” is based on Jean Ritchie's arrangement of
"Nottamun Town", an English riddle song. Written in
late 1962 while Dylan was in London, eyewitnesses (in-
cluding Martin Carthy and Anthea Joseph) recall Dylan
performing the song in folk clubs at the time. Ritchie
would later assert her claim on the song’s arrangement;
according to one Dylan biography, the suit was settled
when Ritchie received $5,000 from Dylan’s lawyers.[55]
“Down the Highway”
Dylan composed this song in the form of a 12-bar blues.
In the sleeve notes of Freewheelin’, Dylan explained to
Nat Hentoff: “What made the real blues singers so great
is that they were able to state all the problems they had;
but at the same time, they were standing outside of them
and could look at them. And in that way, they had them
beat.”[25] Into this song, Dylan injected one explicit men-
tion of an absence that was troubling him: the sojourn of
Suze Rotolo in Perugia: “My baby took my heart from
me/ She packed it all up in a suitcase/ Lord, she took it
away to Italy, Italy.”
“Bob Dylan’s Blues”
Main article: Bob Dylan’s Blues
CHAPTER 2. STUDIO ALBUMS
Dylan begins this track with a spoken intro where he
describes the origins of folk songs in a satirical vein:
“most of the songs that are written uptown in Tin Pan
Alley, that’s where most of the folk songs come from
nowadays”.[56] What follows has been characterized as an
absurd, improvised blues[56] which Dylan, in the sleeve
notes, describes as “a really off-the-cuff-song. I start
with an idea and then I feel what follows. Best way I
can describe this one is that it’s sort of like walking by
a side street. You gaze in and walk on.”[25] Harvey points
out that Dylan subsequently elaborated this style of self-
deprecatory, absurdist humor into more complex songs,
such as “I Shall Be Free No.10” (1964).[57]
“A Hard Rain’s a-Gonna Fall”
Main article: A Hard Rain’s a-Gonna Fall
Dylan was only 21 years old when he wrote one of his
most complex songs, “A Hard Rain’s a-Gonna Fall”, of-
ten referred to as “Hard Rain”. Dylan is said to have pre-
miered “Hard Rain” at the Gaslight Cafe, where Village
performer Peter Blankfield recalled: “He put out these
pieces of loose-leaf paper ripped out of a spiral note-
book. And he starts singing ['Hard Rain'] ... He finished
singing it, and no one could say anything. The length
of it, the episodic sense of it. Every line kept build-
ing and bursting”.[58] Dylan performed “Hard Rain” days
later at Carnegie Hall on September 22, 1962, as part
of a concert organized by Pete Seeger. The song gained
added resonance when U.S. President John F. Kennedy
gave his warning to the Soviet Union over their deploy-
ment of nuclear missiles in Cuba, just one month after
Dylan’s first performance of “Hard Rain”. Critics have
interpreted the lyric 'hard rain' as a reference to nuclear
fallout, but Dylan resisted the specificity of this interpre-
tation. In a radio interview with Studs Terkel in 1963,
Dylan said,
“No, it’s not atomic rain, it’s just a hard
rain. It isn't the fallout rain. I mean some
sort of end that’s just gotta happen .... In the
last verse, when I say, 'the pellets of poison
are flooding the waters’, that means all the lies
that people get told on their radios and in their
newspapers.”[59]
Many people were astonished by the power and complex-
ity of this work. For Robert Shelton, who had given Dy-
lan an important boost in his 1961 review in the New
York Times, this song was “a landmark in topical, folk-
based songwriting. Here blooms the promised fruit of
the 1950s poetry-jazz fusion of Ginsberg, Ferlinghetti,
and Rexroth.”[60] Folk singer Dave Van Ronk later com-
mented: “I was acutely aware that it represented the
beginning of an artistic revolution.”[61] Pete Seeger ex-
pressed the opinion that this song would last longer than
any other written by Dylan.[62]
2.2. THE FREEWHEELIN' BOB DYLAN 39

“Don't Think Twice, It’s All Right” of Mississippi had to be integrated with the help of U.S.
federal troops. Dylan responded rapidly: his song was
Main article: Don't Think Twice, It’s All Right published in the November 1962 issue of Broadside.[69]

Dylan wrote this song on hearing from Suze Rotolo that “Talkin' World War III Blues”
she was considering staying in Italy indefinitely,[63] and
he used a melody he adapted from Paul Clayton's song The “talkin' blues” was a style of improvised songwrit-
“Who’s Gonna Buy You Ribbons (When I'm Gone)".[64] ing that Woody Guthrie had developed to a high plane.
In the Freewheelin' sleeve notes, Dylan comments: “It (A Minneapolis domestic recording that Dylan made in
isn't a love song. It’s a statement that maybe you can say September 1960 includes his performances of Guthrie’s
to make yourself feel better. It’s as if you were talking to “Talking Columbia” and “Talking Merchant Marine”.)[70]
yourself.” “Talkin' World War III Blues” was a spontaneous com-
Dylan’s contemporaries hailed the song as a master- position Dylan created in the studio during the final ses-
piece: Bob Spitz quotes Paul Stookey saying “I thought sion for The Freewheelin' Bob Dylan. He recorded five
it was a masterful statement”, while Dave Van Ronk takes of the song and the fifth was selected for the al-
called it “self-pitying but brilliant”.[65][66] Dylan biogra- bum. The format of the “talkin' blues” permitted Dylan
pher Howard Sounes commented: “The greatness of the to address the serious subject of nuclear annihilation with
song was in the cleverness of the language. The phrase humor, and “without resorting to his finger-pointing or
“don't think twice, it’s all right” could be snarled, sung apocalyptical-prophetic persona”.[70]
with resignation, or delivered with an ambiguous mixture
of bitterness and regret. Seldom have the contradictory “Corrina, Corrina”
emotions of a thwarted lover been so well expressed, and
the song transcended the autobiographical origins of Dy- Main article: Corrine, Corrina
lan’s pain.”[67]

“Bob Dylan’s Dream” “Corrina, Corrina” was recorded by the Mississippi

Sheiks, and by their leader Bo Carter in 1928. The
song was covered by artists as diverse as Bob Wills, Big
Main article: Bob Dylan’s Dream Joe Turner, and Doc Watson. Dylan’s version borrows
phrases from a few Robert Johnson songs: “Stones In
“Bob Dylan’s Dream” was based on the melody of the My Passway”, “32-20 Blues”, and “Hellhound On My
traditional "Lady Franklin’s Lament", in which the title Trail”.[71] An alternate take of the song was used as a B-
character dreams of finding her husband, Arctic explorer side for his "Mixed-Up Confusion" single.[72]
Sir John Franklin, alive and well. (Sir John Franklin had
vanished on an expedition searching for the North West “Honey, Just Allow Me One More Chance”
Passage in 1845; a stone cairn on King William Island
detailing his demise was found by a later expedition in
1859.) Todd Harvey points out that Dylan transforms the Main article: Honey, Just Allow Me One More Chance
song into a personal journey, yet he retains both the theme
and the mood of the original ballad. The world outside “Honey, Just Allow Me One More Chance” is based
is depicted as stormy and harsh, and Dylan’s most fer- on “Honey, Won't You Allow Me One More Chance?",
vent wish, like Lady Franklin’s, is to be reunited with de- a song dating back to the 1890s that was popularized
parted companions and to relive the fond memories they by Henry Thomas in his 1928 recording. “However,
represent.[68] Thomas’s original provided no more than a song title
and a notion”, writes Heylin, “which Dylan turned into
“Oxford Town” a personal plea to an absent lover to allow him 'one more
chance to get along with you.' It is a vocal tour de force
Main article: Oxford Town and ... showed a Dylan prepared to make light of his own
blues by using the form itself.”[73]

“Oxford Town” is Dylan’s sardonic account of events at

the University of Mississippi in September 1962. U.S.
Air Force veteran James Meredith was the first black stu-
dent to enroll at the University of Mississippi, located
a mile from Oxford, Mississippi. When Meredith first
tried to attend classes at the school, some Mississippians
pledged to keep the university segregated, including the
state governor Ross Barnett. Ultimately, the University
“I Shall Be Free”
“I Shall Be Free” is a rewrite of Lead Belly's “We Shall
Be Free”, which was performed by Lead Belly, Sonny
Terry, Cisco Houston, and Woody Guthrie. According to
Todd Harvey, Dylan’s version draws its melody from the
Guthrie recording but omits its signature chorus (“We'll
40
soon be free/When the Lord will call us home”).[74] Crit-
ics have been divided about the worth of this final song.
Robert Shelton dismissed the song as “a decided anticli-
max. Although the album has at least a half dozen block-
busters, two of the weakest songs are tucked in at the end,
like shirttails.”[75] Todd Harvey has argued that by plac-
ing the song at the close of the Freewheelin' LP, Dylan
ends on a note of levity which is a relief after the weighty
sentiments expressed in several songs on the album.[76]
2.2.3 Outtakes
The known outtakes from the Freewheelin' album are
as follows. All songs released in 1991 on The Bootleg
Series 1–3 are discussed in that album’s liner notes,[49]
while songs that have never been released have been doc-
umented by biographer Clinton Heylin,[2] except where
noted. All songs written by Bob Dylan, except where
noted.
2.2.4 Release
Dylan promoted his upcoming album with radio appear-
ances and concert performances. In May 1963, Dylan
performed with Joan Baez at the Monterey Folk Festi-
val, where she joined him on stage for a duet of a new
Dylan song, "With God on Our Side". Baez was at
the pinnacle of her fame, having appeared on the cover
of Time magazine the previous November. The perfor-
mance not only gave Dylan and his songs a new promi-
nence, it also marked the beginning of a romantic rela-
tionship between Baez and Dylan, the start of what Dy-
lan biographer Sounes termed “one of the most celebrated
love affairs of the decade”.[55]
The Freewheelin' Bob Dylan was released at the end of
May. According to Scaduto, it was an immediate suc-
cess, selling 10,000 copies a month and bringing Dylan
an income of about $2,500 a month.[89] An article by
Nat Hentoff on folk music appeared in the June issue
of Playboy magazine and devoted considerable space to
Dylan’s achievements, calling him “the most vital of the
younger citybillies”.[89]
In July, Dylan appeared at the second Newport Folk Fes-
tival. That weekend, Peter, Paul and Mary's rendition of
“Blowin' in the Wind” reached number two on Billboard
's pop chart. Baez was also at Newport, appearing twice
on stage with Dylan. The combination of the chart suc-
cess of “Blowin' in the Wind”, and the glamor of Baez
and Dylan singing together generated excitement about
Dylan and his new album. Tom Paxton recalled: “That
was a big breakout festival for Bob. The buzz kept grow-
ing exponentially and it was like a coronation of Bob and
Joan. They were King and Queen of the festival”.[90] His
friend Bob Fass recalled that after Newport, Dylan told
him that “suddenly I just can't walk around without a dis-
guise. I used to walk around and go wherever I wanted.
CHAPTER 2. STUDIO ALBUMS
But now it’s gotten very weird. People follow me into the
men’s room just so they can say that they saw me pee.”[91]
In September, the album entered Billboard 's album
charts; the highest position Freewheelin ' reached was
number 22, but it eventually came to sell one million
copies in the US.[92] Dylan himself came to acknowl-
edge Freewheelin' as the album that marked the start of
his success. During his dispute with Albert Grossman,
Dylan stated in a deposition: “Although I didn't know it
at the time, the second album was destined to become
a great success because it was to include 'Blowin' in the
Wind'.”[93] Besides “Blowin' in the Wind”, “Masters of
War”, “Girl from the North Country”, “A Hard Rain’s
a-Gonna Fall” and “Don't Think Twice, It’s All Right”
have all been acclaimed as masterpieces, and they have
been mainstays of Dylan’s performing repertory to the
present day.[94] The album’s balance between serious sub-
ject matter and levity, earnest finger-pointing songs and
surreal jokes captured a wide audience, including The
Beatles, who were on the cusp of global success. John
Lennon recalled: “In Paris in 1964 was the first time I
ever heard Dylan at all. Paul got the record (The Free-
wheelin' Bob Dylan) from a French DJ. For three weeks
in Paris we didn't stop playing it. We all went potty about
Dylan.”[95]
The album was re-issued in 2010 as part of The Orig-
inal Mono Recordings, a Columbia Legacy box set that
included the monaural versions of Dylan’s first eight
albums.[96]
Cover art
The album cover features a photograph of Dylan with
Suze Rotolo. It was taken in February 1963—a few
weeks after Rotolo had returned from Italy—by CBS
staff photographer Don Hunstein at the corner of Jones
Street and West 4th Street in the West Village, New York
City, close to the apartment where the couple lived at
the time.[97] In 2008, Rotolo described the circumstances
surrounding the famous photo to The New York Times:
“He wore a very thin jacket, because image was all. Our
apartment was always cold, so I had a sweater on, plus I
borrowed one of his big, bulky sweaters. On top of that I
put on a coat. So I felt like an Italian sausage. Every time
I look at that picture, I think I look fat.”[98] In her memoir,
A Freewheelin' Time, Rotolo analyzed the significance of
the cover art:
It is one of those cultural markers that in-
fluenced the look of album covers precisely be-
cause of its casual down-home spontaneity and
sensibility. Most album covers were carefully
staged and controlled, to terrific effect on the
Blue Note jazz album covers ... and to not-so
great-effect on the perfectly posed and clean-
cut pop and folk albums. Whoever was respon-
sible for choosing that particular photograph
2.2. THE FREEWHEELIN' BOB DYLAN
for The Freewheelin' Bob Dylan really had an
eye for a new look.[99]
Critic Janet Maslin summed up the iconic impact of the as “easily the best of [Dylan’s] acoustic albums and a
cover as “a photograph that inspired countless young men quantum leap from his debut—which shows the frantic
to hunch their shoulders, look distant, and let the girl do pace at which Dylan’s mind was moving.” The magazine
the clinging”.[100]
2.2.5 Legacy
The success of Freewheelin ' transformed the public per-
ception of Dylan. Before the album’s release, he was one
amongst many folk-singers. Afterwards, at the age of
22, Dylan was regarded as a major artist, perhaps even a
spokesman for disaffected youth. As one critic described
the transformation, “In barely over a year, a young pla-
giarist had been reborn as a songwriter of substance, and
his first album of fully realized original material got the
1960s off their musical starting block.”[101] Janet Maslin
wrote of the album: “These were the songs that estab-
lished him as the voice of his generation—someone who
implicitly understood how concerned young Americans
felt about nuclear disarmament and the growing move-
ment for civil rights: his mixture of moral authority
and nonconformity was perhaps the most timely of his
attributes.”[102]
This title of “Spokesman of a Generation” was viewed by
Dylan with disgust in later years. He came to feel it was
a label that the media had pinned on him, and in his auto-
biography, Chronicles, Dylan wrote: “The press never let
up. Once in a while I would have to rise up and offer my-
self for an interview so they wouldn't beat the door down.
Later an article would hit the streets with the headline
“Spokesman Denies That He’s A Spokesman”. I felt like
a piece of meat that someone had thrown to the dogs.”[103]
The album secured for Dylan an “unstoppable cult fol-
lowing” of fans who preferred the harshness of his per-
formances to the softer cover versions released by other
singers.[4] Richard Williams has suggested that the rich-
ness of the imagery in Freewheelin ' transformed Dy-
lan into a key performer for a burgeoning college audi-
ence hungry for a new cultural complexity: “For students
whose exam courses included Eliot and Yeats, here was
something that flattered their expanding intellect while
appealing to the teenage rebel in their early-sixties souls.
James Dean had walked around reading James Joyce;
here were both in a single package, the words and the
attitude set to music.”[104] Andy Gill adds that in the
few months between the release of Freewheelin' in May
1963, and Dylan’s next album The Times They Are A-
Changin' in January 1964, Dylan became the hottest
property in American music, stretching the boundaries
of what had been previously viewed as a collegiate folk
music audience.[105]
Critical opinion about Freewheelin ' has been consistently both mono and stereo) are extremely rare. The original
favorable in the years since its release. Dylan biogra- track listing was as follows:
41
pher Howard Sounes called it “Bob Dylan’s first great
album”.[55] In a survey of Dylan’s work published by Q
magazine in 2000, the Freewheelin’ album was described
went on to comment, “You can see why this album got the
Beatles listening. The songs at its core must have sounded
like communiques from another plane.”[106]
For Patrick Humphries, “rarely has one album so effec-
tively reflected the times which produced it. Freewheelin
' spoke directly to the concerns of its audience. and ad-
dressed them in a mature and reflective manner: it mir-
rored the state of the nation.”[101] Stephen Thomas Er-
lewine’s verdict on the album in the Allmusic guide was:
“It’s hard to overestimate the importance of The Free-
wheelin' Bob Dylan, the record that firmly established Dy-
lan as an unparalleled songwriter ... This is rich, imagi-
native music, capturing the sound and spirit of America
as much as that of Louis Armstrong, Hank Williams, or
Elvis Presley. Dylan, in many ways, recorded music that
equaled this, but he never topped it.”[85]
In March 2000, Van Morrison told the Irish rock maga-
zine Hot Press about the impact that Freewheelin' made on
him: “I think I heard it in a record shop in Smith Street.
And I just thought it was incredible that this guy’s not
singing about 'moon in June' and he’s getting away with
it. That’s what I thought at the time. The subject mat-
ter wasn't pop songs, ya know, and I thought this kind of
opens the whole thing up ... Dylan put it into the main-
stream that this could be done.”[107]
Freewheelin' was one of 50 recordings chosen by the
Library of Congress to be added to the National Record-
ing Registry in 2002. The citation read: “This album
is considered by some to be the most important collec-
tion of original songs issued in the 1960s. It includes
“Blowin' in the Wind,” the era’s popular and powerful
protest anthem.”[108] The following year, Rolling Stone
magazine ranked it number 97 on their list of the 500
greatest albums of all time (this ranking would later be
changed to number 98 in the published book version of
the list).[92][109]
2.2.6 Track listing
All songs written by Bob Dylan, except where noted:[25]
Some very early first pressing copies contained four songs
that were ultimately replaced by Columbia on all subse-
quent pressings. These songs were “Rocks and Gravel”,
“Let Me Die in My Footsteps,” “Gamblin' Willie’s Dead
Man’s Hand” and “Talkin' John Birch Blues”. Copies of
the “original” version of The Freewheelin' Bob Dylan (in
42 CHAPTER 2. STUDIO ALBUMS

2.2.7 Personnel [9] Rotolo 2009, pp. 171–181

• Bob Dylan – guitar, harmonica, keyboards, vocals [10] Heylin 2000, pp. 99–101

[11] Rotolo 2009, p. 254

Additional musicians
[12] Heylin 2000, p. 92

• Howie Collins – guitar [13] Sing Out!, October–November 1962, quoted in Sounes
2001, p. 122
• Leonard Gaskin – bass guitar
[14] Heylin 2000, pp. 98–99
• Bruce Langhorne – guitar
[15] Heylin 1996, p. 30
• Herb Lovelle – drums
[16] Heylin 1996, p. 29
• Dick Wellstood – piano
[17] Heylin 1996, p. 32

Technical personnel [18] Heylin 2000, pp. 94–95

[19] Sounes 2001, pp. 118–119

• John H. Hammond – production
[20] Gray 2006, p. 284
• Nat Hentoff – liner notes
[21] Sounes 2001, p. 124
• Don Hunstein – album cover photographer
[22] Gray 2006, p. 283
• Tom Wilson – production [23] Gill 1999, p. 20

[24] Heylin 1996, p. 33

2.2.8 Chart positions
[25] Hentoff 1963
2.2.9 Certifications [26] Heylin 1996, pp. 33–34

[27] Heylin 1996, p. 34

2.2.10 Notes
[28] Heylin 1996, p. 35
[1] Rotolo writes that “my mother did not approve of Bob
at all. He paid her no homage and she paid him none”. [29] Crowe 1985
Rotolo suspected that her mother presented her with the
trip to Italy “as a fait accompli" to lure her away from her [30] Heylin 2000, p. 104
relationship with Dylan. See Rotolo 2009, p. 169
[31] BBC TV 2007
[2] An important recording of Dylan playing traditional ma-
[32] Loder, Kurt (1984), “Interview with Kurt Loder, Rolling
terial was taped in Beecher’s apartment in December
Stone", re-printed in Cott 2006, pp. 295–296
1961. Misnamed the “Minneapolis Hotel Tape”, the songs
were released on the Great White Wonder bootleg. See [33] Heylin 2000, pp. 106–107
Gray 2006, pp. 590–591. Beecher subsequently married
counter cultural figure Wavy Gravy. [34] Sounes 2001, p. 127

[35] Heylin 2000, p. 110

2.2.11 Footnotes [36] Heylin 1996, p. 40
[1] Heylin 1995, pp. 13–19 [37] Harvey 2001, p. 142
[2] Heylin 1996, pp. 30–43 [38] Heylin 2009, p. 117

[3] Scaduto 2001, p. 110 [39] Heylin 2000, p. 114

[4] Gray 2006, pp. 243–244 [40] Heylin 2000, p. 115

[5] Heylin 2000, pp. 88–89 [41] Heylin 1996, p. 43

[6] Rotolo 2009, pp. 26–40 [42] Heylin 1996, p. 44

[7] Heylin 2000, p. 90 [43] Scaduto 2001, p. 141

[8] Rotolo 2009, pp. 168–169 [44] Heylin 2000, pp. 114–117
2.2. THE FREEWHEELIN' BOB DYLAN 43

[45] Scaduto 2001, p. 142 [82] Browne 2005

[46] Gray 2006, p. 244 [83] Collette 2005

[47] Thompson 2002, pp. 12–13 [84] Gorodetsky 2005

[48] Sharp 2007 [85] Erlewine

[49] Bauldie 1991 [86] Flanagan 1991

[50] Gill 1999, p. 23 [87] Brackett 2004, p. 262

[51] Sounes 2001, p. 135 [88] Bob Dylan: The Freewheelin' Bob Dylan

[52] Heylin 2009, pp. 120–121 [89] Scaduto 2001, p. 144

[53] Sounes 2001, p. 47 [90] Sounes 2001, p. 136

[54] Harvey 2001, pp. 33–34 [91] Heylin 2000, p. 120

[55] Sounes 2001, p. 132 [92] Levy 2005
[56] Shelton 2003, p. 155 [93] Dylan’s deposition of October 15, 1984, in the case Albert
B. Grossman et al. vs. Bob Dylan; quoted in Sounes 2001,
[57] Harvey 2001, p. 17 p. 132
[58] Heylin 2000, p. 102 [94] Sounes 2001, p. 133
[59] Terkel, Studs (1963). “Radio Interview with Studs Terkel,
[95] Beatles 2000, p. 114
WFMT (Chicago),” reprinted in Cott 2006, pp. 6–7
[96] Kirby, David (October 21, 2010). “Bob Dylan unfiltered:
[60] Shelton 2003, pp. 155–156
Fall tour brings new releases, old recordings”. The Chris-
[61] Gill 1999, p. 31 tian Science Monitor. Retrieved March 30, 2012.

[62] Sounes 2001, p. 122 [97] Carlson 2006

[63] Heylin 2000, p. 101 [98] DeCurtis, Anthony (May 11, 2008). “Memoirs of a Girl
From the East Country (O.K., Queens)". New York Times.
[64] Harvey 2001, p. 24 Retrieved March 4, 2011.

[65] Spitz 1989, pp. 199–200 [99] Rotolo 2009, p. 217

[66] Harvey 2001, pp. 25–26 [100] Miller 1981, p. 221

[67] Sounes 2001, p. 120 [101] Humphries 1991, p. 43

[68] Harvey 2001, p. 19 [102] Miller 1981, p. 220

[69] Gill 1999, pp. 32–33 [103] Dylan 2004, p. 119

[70] Harvey 2001, p. 103 [104] Williams 1992, p. 53

[71] Harvey 2001, pp. 20–22 [105] Gill 1999, p. 37

[72] Shelton 2003, pp. 173, 178 [106] Harris 2000, p. 138
[73] Heylin 2000, p. 99 [107] Heylin 2003, p. 134
[74] Harvey 2001, p. 50 [108] The Library of Congress 2002
[75] Shelton 2003, p. 157 [109] Rolling Stone
[76] Harvey 2001, p. 52 [110] The Freewheelin' Bob Dylan – Bob Dylan: Awards at
AllMusic. Retrieved July 28, 2012.
[77] Three Song Sampler 2005
[111] “Bob Dylan: Albums”. Official Charts Company. Re-
[78] Escott 2010
trieved May 19, 2013.
[79] Heylin 1995, p. 11
[112] “American album certifications – Bob Dylan – The Free-
[80] Broadside Ballads, Vol. 6: Broadside Reunion wheelin_ Bob Dylan”. Recording Industry Association of
America. If necessary, click Advanced, then click Format,
[81] Björner 2010 then select Album, then click SEARCH
44
2.2.12 References
• Bauldie, John (1991). The Bootleg Series Volumes
1–3 (Rare & Unreleased) 1961–1991 (booklet).
Bob Dylan. New York: Columbia Records.
• Beatles, The (2000), The Beatles Anthology, Cassell
& Co., ISBN 0-304-35605-0
• Björner, Olof (October 21, 2010). “Still on the
Road: 1962 Concerts and Recording Sessions”.
Bjorner.com. Retrieved November 12, 2010.
• “Bob Dylan: The Freewheelin' Bob Dylan”. Ac-
claimedmusic.net. Retrieved April 25, 2010.
• Brackett, Nathan, with Christian Hoard (2004), The
New Rolling Stone Album Guide (4th ed.), Fireside,
ISBN 0-7432-0169-8
• “Broadside Ballads, Vol. 6: Broadside Reunion”.
Folkways Records. Retrieved May 19, 2013.
• Browne, David (October 30, 2005). “EW reviews:
Kanye West and Bob Dylan”. CNN. Retrieved April
3, 2010.
• Carlson, Jen (April 18, 2006). “NYC Album Art:
The Freewheelin' Bob Dylan”. Gothamist. Re-
trieved March 4, 2010.
• Collette, Doug (November 12, 2005). “Bob Dylan:
No Direction Home & Live at the Gaslight 1962”.
Allaboutjazz.com. Retrieved April 3, 2010.
• Cott, Jonathan (ed.) (2006), Dylan on Dylan: The
Essential Interviews, Hodder & Stoughton, ISBN 0-
340-92312-1
• Crowe, Cameron (1985). Biograph (booklet). Bob
Dylan. New York: Columbia Records.
• Dylan, Bob (2004), Chronicles: Volume One, Simon
and Schuster, ISBN 0-7432-2815-4
• “Dylan in the Madhouse”. BBC TV. October 14,
2007. Archived from the original on May 14, 2011.
Retrieved August 31, 2009.
• Erlewine, Stephen Thomas. “The Freewheelin' Bob
Dylan”. Allmusic.com. Retrieved March 11, 2010.
• Escott, Colin (2010). The Bootleg Series Vol. 9 –
The Witmark Demos: 1962–1964 (booklet). Bob
Dylan. New York: Columbia Records.
• Flanagan, Bill (May 29, 1991). “Dylan Catalog Re-
visited”. Entertainment Weekly. Retrieved Septem-
ber 10, 2011.
• “The Freewheelin' Bob Dylan”. Rolling Stone. Re-
trieved January 27, 2013.
• Gill, Andy (1999), Classic Bob Dylan: My Back
Pages, Carlton, ISBN 1-85868-599-0
CHAPTER 2. STUDIO ALBUMS
• Gorodetsky, Eddie (2005). No Direction Home: The
Soundtrack—The Bootleg Series Volume 7 (booklet).
Bob Dylan. New York: Columbia Records.
• Gray, Michael (2006), The Bob Dylan Encyclopedia,
Continuum International, ISBN 0-8264-6933-7
• Harris, John (ed.) (2000), “Q Dylan: Maximum
Bob! The Definitive Celebration of Rock’s Ultimate
Genius”, Q magazine
• Harvey, Todd (2001), The Formative Dylan: Trans-
mission & Stylistic Influences, 1961–1963, The
Scarecrow Press, ISBN 0-8108-4115-0
• Hentoff, Nat (1963). The Freewheelin' Bob Dylan
(Media notes). Bob Dylan. New York: Columbia
Records.
• Heylin, Clinton (1995), Bob Dylan: The Recording
Sessions: 1960–1994, St. Martin’s Griffin, ISBN 0-
312-15067-9, retrieved January 8, 2011
• Heylin, Clinton (1996), Bob Dylan: A Life In Stolen
Moments: Day by Day 1941–1995, Schirmer Books,
ISBN 0-7119-5669-3
• Heylin, Clinton (2000), Bob Dylan: Behind the
Shades Revisited, Perennial Currents, ISBN 0-06-
052569-X, retrieved January 8, 2011
• Heylin, Clinton (2003), Can You Feel the Silence?
Van Morrison: A New Biography, Chicago Review
Press, ISBN 1-55652-542-7
• Heylin, Clinton (2009), Revolution in the Air: The
Songs of Bob Dylan, Volume One: 1957–73, Con-
stable, ISBN 1-55652-843-4, retrieved January 8,
2011
• Humphries, Patrick (1991), Oh No! Not Another
Bob Dylan Book, Square One Books, ISBN 1-
872747-04-3
• Levy, Joe (ed.) (2005), The Greatest 500 Albums of
All Time, Wenner Books, ISBN 1-932958-61-4
• Miller, Jim (ed.) (1981), The Rolling Stone History
of Rock & Roll, Picador, ISBN 0-330-26568-7
• “The National Recording Registry”. The Library of
Congress. June 9, 2002. Retrieved February 28,
2010.
• Rotolo, Suze (2009), A Freewheelin' Time, Aurum
Press, ISBN 0-7679-2688-9
• Scaduto, Anthony (2001), Bob Dylan, Helter Skel-
ter, ISBN 1-900924-23-4
• Sharp, Johnny (March 1, 2007). “Scrap that
recording—it'll become an instant classic”. The
Guardian. Retrieved March 20, 2010.
2.4. ANOTHER SIDE OF BOB DYLAN 45

• Shelton, Robert (2003), No Direction Home, Da 2.4.1 Writing

Capo Press, ISBN 0-306-81287-8
Throughout 1963, Dylan worked on a novel and a play.
• Sounes, Howard (2001), Down The Highway: The A number of publishers were interested in signing Dylan
Life Of Bob Dylan, Grove Press, ISBN 0-8021- to a contract, and at one point, City Lights (a small but
1686-8 prestigious company specializing in poetry) was strongly
considered. However, as Dylan worked on his book at a
• Spitz, Bob (1989), Dylan: A Biography,
casual pace, his manager, Albert Grossman, decided to
W.W.Norton & Co., ISBN 0-393-30769-7
make a deal with a major publisher.
• Thompson, Dave (2002), The Music Lover’s Guide Macmillan’s senior editor, Bob Markel, said, “We gave
to Record Collecting, Backbeat Books, ISBN 0- [Dylan] an advance for an untitled book of writings...The
87930-713-7 publisher was taking a risk on a young, untested potential
phenomenon.” When Markel met with Dylan for the first
• “Three Song Sampler”. iTunes. November 14,
time, “there was no book at the time...The material at that
2005. Retrieved May 19, 2013.
point was hazy, sketchy. The poetry editor called it 'inac-
• Williams, Richard (1992), Dylan: a man called cessible.' The symbolism was not easily understood, but
alias, Bloomsbury, ISBN 0-7475-1084-9 on the other hand it was earthy, filled with obscure but
marvelous imagery...I felt it had a lot of value and was
very different from Dylan’s output till then. [But] it was
not a book.”
2.3 The Times They Are a-
It would be years before Dylan finished his book, but the
Changin' free form poetry experiments that came from it eventu-
ally influenced his songwriting. The most notable exam-
The Times They Are a-Changin may refer to: ple came in a six-line coda to a poem responding to Pres-
ident John F. Kennedy's assassination (which took place
• The Times They Are a-Changin (song), a song by on November 22, 1963):
Bob Dylan
the colors of Friday were dull / as cathedral
• The Times They Are a-Changin (album), the 1964 bells were gently burnin / strikin for the gentle
Bob Dylan album (of which the song is the title / strikin for the kind / strikin for the crippled
track) ones / an strikin for the blind
• The Times They Are A-Changin (Burl Ives album),
1968 This refrain would soon appear in a very important com-
position, “Chimes of Freedom”, and, as biographer Clin-
• The Times They Are a-Changin' (musical) ton Heylin writes, “with this sad refrain, Dylan would pass
from topical troubadour to poet of the road.”[1]
In February 1964, Dylan embarked on a twenty-day trip
2.4 Another Side of Bob Dylan across the United States. Riding in a station wagon with
a few friends (Paul Clayton, Victor Maymudes, and Pete
Another Side of Bob Dylan is the fourth studio album Karman), Dylan began the trip in New York, taking nu-
by American singer-songwriter Bob Dylan, released on merous detours through many states before ending the
August 8, 1964 by Columbia Records. trip in California. (At one point, Dylan reportedly paid
The album deviates from the more socially conscious a visit to poet Carl Sandburg.) “We talked to people in
style which Dylan had developed with his previous LP, bars, miners,” Dylan would later say. “Talking to people
The Times They Are A-Changin'. The change prompted – that’s where it’s at, man.”[2]
criticism from some influential figures in the folk commu- According to Heylin, “the primary motivation for this trip
nity – Sing Out! editor Irwin Silber complained that Dy- was to find enough inspiration to step beyond the folk-
lan had “somehow lost touch with people” and was caught song form, if not in the bars, or from the miners, then
up in “the paraphernalia of fame”. by peering deep into himself.” Dylan spent much time
Despite the album’s thematic shift, Dylan performed the in the back of the station wagon, working on songs and
entirety of Another Side of Bob Dylan as he had previous possibly poetry on a typewriter. It was during this trip
that Dylan composed “Chimes of Freedom”, finishing it
records – solo. In addition to his usual acoustic guitar and
harmonica, Dylan provides piano on one selection, “Black in time to premiere at a Denver concert on the 15th. "Mr.
Crow Blues”. Another Side of Bob Dylan reached No. 43 Tambourine Man" was also composed during this trip.
in the US (although it eventually went gold), and peaked It was also during this trip that The Beatles arrived in
at No. 8 on the UK charts in 1965. America. Their first visit to the United States remains a
46 CHAPTER 2. STUDIO ALBUMS

touchstone in American culture. Maymudes recalled how disordering of the senses...He reaches [for] the unknown
Dylan “nearly jumped out the car” when "I Wanna Hold and even if, crazed, he ends up by losing the understand-
Your Hand" came on the radio and his comments: "Did ing of his visions, at least he has seen them.” (Dated May
you hear that?..that was fuckin' great! Oh man.." and 1871) Dylan’s early experimentation with hallucinogens
how Dylan seemed lost in thought replaying the record has often been connected with the dramatic development
over in his head.[3] Dylan, however, had already been fol- his songwriting would soon take, but Dylan himself has
lowing The Beatles since 1963. There have been dif- denied any connection.
ferent accounts regarding Dylan’s attitude towards The Dylan later left for Europe, completing a few perfor-
Beatles at this time, but it’s known that Suze Rotolo and
mances in England before traveling to Paris where he
Al Aronowitz immediately took to them and championed was introduced to a German model, Christa Paffgen, who
their music to Dylan. Aronowitz later claimed that Dylan
went by the name of Nico. After treating Dylan to a meal
dismissed them as “bubblegum”, but in an interview in at her flat, Nico accompanied Dylan across Europe, a trip
1971, Dylan recalls being impressed by their music. “We
that passed through Germany before ending in Vernilya,
were driving through Colorado, we had the radio on, and a small village outside of Athens, Greece. Dylan stayed
eight of the Top 10 songs were Beatles songs...'I Wanna
at Vernilya for more than a week, finishing many of the
Hold Your Hand,' all those early ones. They were doing songs that would appear on his fourth and upcoming al-
things nobody was doing. Their chords were outrageous, bum. Nine songs of these would be recorded upon his
just outrageous, and their harmonies made it all valid...I return to New York: “All I Really Want to Do”, “Spanish
knew they were pointing the direction of where music had Harlem Incident”, “To Ramona”, “I Shall Be Free No.
to go.” 10”, “Ballad in Plain D”, “It Ain't Me, Babe”, "Mama,
When Dylan returned to New York in March, he rented You Been on My Mind", “Denise Denise”, and "Black
an electric guitar. In January, The Beatles were in France, Crow Blues". Dylan also completed another song called
playing a week’s worth of concerts. During their stay in "I'll Keep It With Mine", which, according to Nico, was
France, George Harrison came back to the hotel with an “about me and my little baby”. Dylan gave the song to
album titled En Roue Libre, better known as The Free- Nico, who would eventually record it for her own album,
wheelin' Bob Dylan. According to Harrison, “we just Chelsea Girl, released in 1967.
played it, just wore it [out]. The content of the song lyrics
and just the attitude!" (While The Freewheelin' Bob Dy-
lan was released in the UK in August 1963, the French
edition En Roue Libre was not released until May 1965 2.4.2 Recording sessions
so it was likely the UK release).
With Dylan’s commercial profile on the rise, Columbia
As The Beatles began to influence Dylan and vice versa,
was now urging Dylan to release a steady stream of
Dylan’s personal life was undergoing a number of sig-
recordings. Upon Dylan’s return to New York, studio
nificant changes. Though their stage appearances to-
time was quickly scheduled, with Tom Wilson back as
gether began to dwindle, Dylan continued his romance
producer.
with folksinger Joan Baez. Dylan’s girlfriend Suze Rotolo
apparently had had enough of the affair. Soon after Dy- The first (and only) session was held on June 9 at
lan returned to New York, the two had an argument. At Columbia’s Studio A in New York. According to Heylin,
the time, Suze was staying with her sister Carla, and when “while polishing off a couple of bottles of Beaujolais",
Carla intervened, Dylan began screaming at Carla. Carla Dylan recorded fourteen original compositions that night,
ordered Dylan to leave, but he refused to go. Carla Ro- eleven of which were chosen for the final album. The
tolo pushed Dylan, and he pushed her back. The two of three that were ultimately rejected were “Denise Denise”,
them were soon practically fighting. Friends were called "Mr. Tambourine Man", and "Mama, You Been on My
[5]
and Dylan had to be forcibly removed, effectively ending Mind".
[4]
his relationship with Suze Rotolo. In a 1966 interview, Ramblin' Jack Elliott was present during part of this ses-
Dylan admitted that after their relationship ended, “I got sion, and Dylan asked him to perform on “Mr. Tam-
very, very strung out for a while. I mean, really, very bourine Man”. “He invited me to sing on it with him,”
strung out.” recalls Elliott, “but I didn't know the words 'cept for the
One account of Dylan’s first experience with psychedelics chorus, so I just harmonized with him on the chorus.”
places it in April 1964; producer Paul Rothchild told Bob Only one complete take was recorded, with Dylan stum-
Spitz that he was present when Dylan took his first hit bling on some of the lyrics.[5] Though the recording was
of LSD. By February 1964, Dylan was already telling his ultimately rejected, Dylan would return to the song for
friends that "Rimbaud's where it’s at. That’s the kind of his next album.
stuff means something. That’s the kind of writing I'm By the time Dylan recorded what was ultimately the mas-
gonna do.” A nineteenth-century French poet, Rimbaud ter take of “My Back Pages”, it was 1:30 in the morning.
once wrote to his mentor Georges Izambard that “the poet Master takes were selected, and after some minor editing,
makes himself a seer by a long, prodigious and rational a final album was soon sequenced.
2.4. ANOTHER SIDE OF BOB DYLAN 47

2.4.3 Track listing have left that alone.”[9]

"'Spanish Harlem Incident' is a new romance that pre-
All songs written by Bob Dylan. tends to be short and sweet,” writes Riley, “but it’s an ex-
ample of how Dylan begins using uncommon word cou-
plings to evoke the mysteries of intimacy...her 'rattling
2.4.4 The songs drums’ play off his 'restless palms’; her 'pearly eyes’ and
'flashing diamond teeth' off his 'pale face.'"[10]
As Dylan told Nat Hentoff in The New Yorker, “there
aren't any finger-pointin' songs” on Another Side of Bob Described by Heylin as “the most realized song on An-
Dylan, which was a significant step in a new direction. other Side", “To Ramona” is one of the most celebrated
songs on the album. A soft, tender waltz, Riley writes
“As a set, the songs constitute a decisive act of non- that the song “extends the romance from ideals of emo-
commitment to issue-bound protest, to tradition-bound tional honesty out into issues of conditioned conformity
folk music and the possessive bonds of its audience,” ('From fixtures and forces and friends / That you gotta be
writes music critic Tim Riley. “The love songs open just like them')...in 'Spanish Harlem Incident,' [Dylan’s]
up into indeterminate statements about the emotional or- using flattery as a front for the singer’s own weak self-
bits lovers take, and the topical themes pass over artifi- image; in 'To Ramona,' he’s trying to save his lover from
cial moral boundaries and leap into wide-ranging social herself if only because he knows he may soon need the
observation.”[6] same comfort he’s giving her.”
“Chimes of Freedom” can be traced to "Lay Down Your Described by Riley as “the unalloyed sting of a roman-
Weary Tune", an outtake from The Times They Are A- tic perfidy”,[11] “I Don't Believe You (She Acts Like We
Changin'. “Its sense of the power of nature...closely Never Have Met)" would be dramatically rearranged for
mirrors 'Lay Down Your Weary Tune,'" writes Clinton a full-electric rock band during Dylan’s famous 1966 tour
Heylin. “Unashamedly apocalyptic...the composition of with The Hawks.
'Chimes of Freedom' represented a leap in form that per-
mitted even more intensely poetic songs to burst forth.” Four songs from Another Side of Bob Dylan were even-
tually recorded by The Byrds: “Chimes of Freedom”,
“The compassion that laces all the complaints in 'All I “My Back Pages”, “Spanish Harlem Incident”, and “All
Really Want to Do' and 'It Ain't Me, Babe' is round with I Really Want to Do”. In addition, they were introduced
idealism and humor,” writes Riley. “That [both songs] to their breakthrough hit single “Mr. Tambourine Man”
work off a pure Jimmie Rodgers yodel only makes their through a copy of Dylan’s unreleased recording from the
ties to wide-open American optimism that much more June 9, 1964 album session. All received their share of
enticing (even though they are both essentially reluctant critical acclaim.
good-byes).”[7]
"It Ain't Me, Babe" also reworks the same “Scarborough
Fair” arrangement that was written into Dylan’s earlier 2.4.5 Outtakes
compositions, "Girl from the North Country" and “Boots
of Spanish Leather”. Johnny Cash would record his own A complete take of “Mama, You Been On My Mind”
hit version of this song soon after Another Side of Bob Dy- was recorded for the album, but for reasons unknown, it
lan was released, while The Turtles' version would chart was rejected. Described by Tim Riley as “the echo of a
even higher. left-behind affair that rebounds off a couple of self-aware
curves ('I am not askin' you to say words like 'yes’ or 'no,'
Riley describes "My Back Pages" as “a thorough X-ray of / ...I'm just breathin' to myself, pretendin' not that I don't
Dylan’s former social proselytizing...Dylan renounces his know),” the song was soon covered by Joan Baez, as well
former over-serious messianic perch, and disowns false as Judy Collins, who had a considerable amount of com-
insights.” (“I was so much older then / I'm younger than mercial success with it. Dylan’s version would not see
that now.”) release until The Bootleg Series Volumes 1-3 (Rare & Un-
According to Heylin, “Ballad in Plain D” takes its melody released) 1961-1991 in 1991. However, Dylan would pe-
and refrain (“my friends say unto me...”) from the Scottish riodically perform the song in concert, occasionally with
folk song, “I Once Loved A Lass (The False Bride)".[8] Baez as his duet partner. Rod Stewart would later cover
“The song graphically details the night of his breakup with the song for his critically acclaimed album, Never a Dull
Suze,” writes Heylin. “Dylan’s portrayal of Carla as the Moment, and a version by Jeff Buckley appears as an out-
'parasite sister' remains a cruel and inaccurate portrait of take on the 2004 re-issue of Grace. Johnny Cash cov-
a woman who had started out as one of [Dylan’s] biggest ered the song on his album Orange Blossom Special. It
fans, and changed only as she came to see the degrees was covered by Linda Ronstadt on her 1969 album Hand
of emotional blackmail he subjected her younger sister Sown ... Home Grown with altered lyrics as “Baby, You've
to.” Asked in 1985 if there were any songs he regretted Been On My Mind”. The Israeli musician Shlomi Shaban
writing, Dylan singled out “Ballad in Plain D”, saying “I recorded a version of this song translated into Hebrew,
look back at that particular one and say...maybe I could which appeared on his 2007 album Ir (‫עיר‬, City). Keren
48 CHAPTER 2. STUDIO ALBUMS

Ann covered this song on her “101” tour in 2011 (follow- only for the reason that i myself me alone wanted and
ing the advice of Sahban, her friend). needed t write them.” (sic)
Though “Mr. Tambourine Man” would be re-recorded Dylan conceded in 1978 that the album title was not to his
for Dylan’s next album, Sony released the complete take liking. “I thought it was just too corny,” he said, “I just
recorded for Another Side of Bob Dylan on The Bootleg felt trouble coming when they titled it that.” However, it’s
Series Vol. 7: No Direction Home: The Soundtrack in worth noting that the original manuscripts to the album
2005. Unlike the familiar version recorded for Bringing It make two references to the eventual album title: an early
All Back Home, this early version has a harmonica intro as draft of “I Shall Be Free No. 10” has the line “You're on
well as Ramblin' Jack Elliott singing harmony vocals on another side” while the only line occupying one final page
the chorus. It was an acetate copy of this version of the says “there is no other side of bob dylan.”
song that found its way to the newly formed Byrds in late
1964, leading to their breakthrough electrified recording
of the song in advance of its first release by Dylan. Legacy

Dylan also recorded two additional songs that did not Years later, mixed reactions over Another Side of Bob Dy-
make the album. The first is “Denise”, a song which uses lan remained but not for the same reasons. Critics later
the same music as “Black Crow Blues” but with differ- viewed it as a 'transitional' album. Clinton Heylin claimed
ent lyrics. The second is “California”, which again uses that “Dylan was simply too close to the experiences he
“Black Crow Blues"'s music as the basic structure of the was drawing upon to translate them into art. He was also
song. A small section of the “California” lyrics were still experimenting with the imagery found on 'Chimes of
reused in “Outlaw Blues”, a song that appeared on Dylan’s Freedom' and 'Mr. Tambourine Man.' 'My Back Pages,'
next album, Bringing It All Back Home. Both outtakes are the least successful example of the new style, was replete
circulating. with bizarre compound images ('corpse evangelists,' 'con-
fusion boats,' etc.).” Salon.com critic Bill Wyman dis-
missed it as “a lesser, 'relationship' album”, but conceded
2.4.6 Reception that “Chimes of Freedom” was a “lovely hymn to the
'countless confused, accused, misused, strung-out ones
As Another Side of Bob Dylan was prepared for release, an' worse'.”
Dylan premiered his new songs at the Newport Folk Fes- However, Tim Riley called it “a bridge between folkie
tival in July 1964. The festival also marked Dylan’s first rhetoric (albeit superior) and his troika of electric rants...a
meeting with Johnny Cash; Dylan was already an admirer rock album without electric guitars, a folk archetype that
of Cash’s music, and vice versa. The two spent a night punches through the hardy, plainspoken mold. Built on
jamming together in Joan Baez's room at the Viking Mo- repeated riffs and coaxed by the controlled anxiety of Dy-
tor Inn. According to Cash, “we were so happy to [fi- lan’s voice, the songs work off one another with intellec-
nally] meet each other that we were jumping on the beds tually charged élan. It’s a transition album with a mind of
like kids.” The next day, Cash performed Dylan’s “Don't its own.”
Think Twice, It’s All Right” as part of his set, telling
the audience that “we've been doing it on our shows all
over the country, trying to tell the folks about Bob, that 2.4.7 Personnel
we think he’s the best songwriter of the age since Pete
Seeger...Sure do.” • Bob Dylan – vocals, acoustic guitar, piano,
harmonica
Though the audience at Newport seemed to enjoy Dy-
lan’s new material, the folk press did not. Irwin Silber
of Sing Out and David Horowitz criticized Dylan’s di- Technical personnel
rection and accused Dylan of succumbing to the pres-
sures/temptations of fame. In an open letter to Dylan • Tom Wilson – production
published in the November issue of Sing Out, Silber wrote
“your new songs seem to be all inner-directed now, inner-
probing, self-conscious” and, based on what he saw at 2.4.8 Charts
Newport, “that some of the paraphernalia of fame [was]
getting in your way.” Horowitz called the songs an “un- 2.4.9 References
qualified failure of taste and self-critical awareness.”
[1] Heylin, Clinton (2003). Bob Dylan: Behind the Shades
The album was a step back commercially, failing to make Revisited, p. 143. Harper Collins. ISBN 0-06-052569-X.
the Top 40, indicating that record consumers may have
had a problem as well. [2] Heylin (2003), p. 146.

Dylan soon defended his work, writing that “the songs are [3] “Positively 4th Street”, David Hadjou, p. 197, Blooms-
insanely honest, not meanin t twist any heads an written bury, 2001, ISBN 0-7475-5414-5
2.5. BRINGING IT ALL BACK HOME 49

[4] Howard Sounes Down the Highway: The Life Of Bob Dy- 2.5.1 Recording sessions
lan. Doubleday. 2001. p180 ISBN 0-552-99929-6

[5] Heylin, Clinton (1997). Bob Dylan: The Recording Ses- Dylan spent much of the summer of 1964 in Woodstock,
sions, 1960–1994, pp. 29–32. Macmillan. ISBN 0-312- a small town in upstate New York. Dylan was already
15067-9. familiar with the area, but his visits were becoming longer
and more frequent. His manager, Albert Grossman, also
[6] Riley, Tim (1999). Hard Rain: A Dylan Commentary, p. had a place in Woodstock, and when Joan Baez went to
83. Da Capo Press. ISBN 0-306-80907-9. see Dylan that August, they stayed at Grossman’s house.
Baez recalls that “most of the month or so we were there,
[7] Riley (1999), pp. 84–85.
Bob stood at the typewriter in the corner of his room,
drinking red wine and smoking and tapping away relent-
[8] I Once Loved A Lass (The False Bride)
lessly for hours. And in the dead of night, he would
wake up, grunt, grab a cigarette, and stumble over to the
[9] Heylin (2003), p. 158.
typewriter again.” Dylan already had one song ready for
his next album: “Mr. Tambourine Man” was written in
[10] Riley (1999), p. 87.
February 1964 but omitted from Another Side of Bob Dy-
lan. Another song, "Gates of Eden", was also written
[11] Riley (1999), p. 91.
earlier that year, appearing in the original manuscripts to
Another Side of Bob Dylan; a few lyrical changes were
[12] "Another Side of Bob Dylan”. Allmusic. Retrieved 2012- eventually made, but it’s unclear if these were made that
08-20.
August in Woodstock. At least two songs were written
that month: "If You Gotta Go, Go Now" and "It’s Alright
[13] Flanagan, Bill (1991-03-29). “Dylan Catalog Revisited”.
Ma (I'm Only Bleeding)".
EW.com. Retrieved 2012-08-20.
During this time, Dylan’s lyrics became increasingly
[14] “RollingStoneAlbumGuide’s music”. Rate Your Music. surreal. His prose grew more stylistic as well, often re-
Retrieved 2012-08-20. sembling stream-of-consciousness writing with published
letters dating from 1964 becoming increasingly intense
[15] “Bob Dylan - Another Side Of Bob Dylan (album re- and dreamlike as the year wore on.
view)". Sputnikmusic. 2005-04-30. Retrieved 2012-08-
Dylan eventually returned to the city, and on August 28,
20.
he met with The Beatles for the very first time in their
New York hotel (during which Dylan reportedly turned
the band on to marijuana), a meeting which would bring
2.5 Bringing It All Back Home about the radical transformation of the Beatles’ writing to
a more introspective style. Dylan would remain on good
terms with The Beatles, and as biographer Clinton Heylin
This article is about the Bob Dylan studio album. For
writes, “the evening established a personal dimension to
other uses, see Bringing It All Back Home (disambigua- the very real rivalry that would endure for the remainder
tion).
of a momentous decade.”
Dylan and producer Tom Wilson were soon experiment-
Bringing It All Back Home is the fifth studio album ing with their own fusion of rock and folk music. The first
by American singer-songwriter Bob Dylan, released on unsuccessful test involved overdubbing a "Fats Domino
March 22, 1965 by Columbia Records. The album is di- early rock & roll thing” over Dylan’s earlier, acoustic
vided into an electric and an acoustic side. On side one of recording of “House of the Rising Sun”, according to
the original LP, Dylan is backed by an electric rock and Wilson. This took place in the Columbia 30th Street
roll band—a move that further alienated him from some Studio in December 1964.[3] It was quickly discarded,
of his former peers in the folk song community. Like- though Wilson would more famously use the same tech-
wise, on the acoustic second side of the album, he dis- nique of overdubbing an electric backing track to an ex-
tanced himself from the protest songs with which he had isting acoustic recording with Simon & Garfunkel's "The
become closely identified (such as "Blowin' in the Wind" Sound of Silence". In the meantime, Dylan turned his
and "A Hard Rain’s a-Gonna Fall"), as his lyrics contin- attention to another folk-rock experiment conducted by
ued their trend towards the abstract and personal. John P. Hammond, an old friend and musician whose
The album reached No. 6 on Billboard's Pop Albums father, John H. Hammond, originally signed Dylan to
chart, the first of Dylan’s LPs to break into the US top 10. Columbia. Hammond was planning an electric album
It also topped the UK charts later that Spring. The first around the blues songs that framed his acoustic live per-
track, "Subterranean Homesick Blues", became Dylan’s formances of the time. To do this, he recruited three
first single to chart in the US, peaking at #39. members of an American bar band he met sometime
50 CHAPTER 2. STUDIO ALBUMS

in 1963: guitarist Robbie Robertson, drummer Levon unable to attend and replaced by Frank Owens. Daniel
Helm, and organist Garth Hudson (members of The Kramer recalls “the musicians were enthusiastic. They
Hawks, who would go on to become The Band). Dylan conferred with one another to work out the problems as
was very aware of the resulting album, So Many Roads; they arose. Dylan bounced around from one man to an-
according to his friend, Danny Kalb, “Bob was really ex- other, explaining what he wanted, often showing them
cited about what John Hammond was doing with electric on the piano what was needed until, like a giant puzzle,
blues. I talked to him in the Figaro in 1964 and he was the pieces would fit and the picture emerged whole...Most
telling me about John and his going to Chicago and play- of the songs went down easily and needed only three or
ing with a band and so on...” four takes...In some cases, the first take sounded com-
However, when Dylan and Wilson began work on the next pletely different from the final one because the mate-
rial was played at a different tempo, perhaps, or a dif-
album, they temporarily refrained from their own electric
experimentation. The first session, held on January 13, ferent chord was chosen, or solos may have been rear-
ranged...His method of working, the certainty of what he
1965 in Columbia’s Studio A in New York, was recorded
solo, with Dylan playing piano or acoustic guitar. Ten wanted, kept things moving.”
complete songs and several song sketches were produced, The session began with “Maggie’s Farm": only one take
nearly all of which were discarded. None of these record- was recorded, and it was the only one they'd ever need.
ings would be used for the album, but three would even- From there, Dylan successfully recorded master takes of
tually be released: “I'll Keep It With Mine” on 1985’s “On The Road Again”, “It’s Alright, Ma (I'm Only Bleed-
Biograph, and “Farewell Angelina” and an acoustic ver- ing)", “Gates of Eden”, “Mr. Tambourine Man”, and “It’s
sion of “Subterranean Homesick Blues” on 1991’s The All Over Now, Baby Blue”, all of which were set aside
Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961- for the album. A master take of “If You Gotta Go, Go
1991. Now” was also selected, but it would not be included on
Other songs and sketches recorded at this session: “Love the album; instead, it was issued as a single-only release
Minus Zero/No Limit”, “It’s All Over Now, Baby Blue”, in Europe, but not in the U.S. or the UK.
“Bob Dylan’s 115th Dream”, “She Belongs To Me”, “Sit- Though Dylan was able to record electric versions of vir-
ting On A Barbed-Wire Fence”, “On The Road Again”, tually every song included on the final album, he ap-
“If You Gotta Go, Go Now”, “You Don't Have To Do parently never intended Bringing It All Back Home to
That”, and “Outlaw Blues”, all of which were original be completely electric. As a result, roughly half of the
compositions. finished album would feature full electric band arrange-
Dylan and Wilson held another session at Studio B the fol- ments while the other half consisted of solo acoustic per-
lowing day, this time with a full, electric band. Guitarists formances, sometimes accompanied by Langhorne, who
Al Gorgoni, Kenny Rankin, and Bruce Langhorne were would embellish Dylan’s acoustic performance with a
recruited, as were pianist Paul Griffin, bassists Joseph countermelody on his electric guitar.
Macho, Jr. and William E. Lee, and drummer Bobby
Gregg. The day’s work focused on eight songs, all of
2.5.2 Songs and themes
which had been attempted the previous day. According
to Langhorne, there was no rehearsal, “we just did first
The album opens with "Subterranean Homesick Blues",
takes and I remember that, for what it was, it was amaz-
a romp through the difficulties and absurdities of anti-
ingly intuitive and successful.” Few takes were required
establishment politics that was heavily inspired by Chuck
of each song, and after three-and-a-half hours of record-
Berry's "Too Much Monkey Business". Often cited as
ing (lasting from 2:30 pm to 6:00 pm), master takes of
a precursor to rap and music videos (the cue-card scene
“Love Minus Zero/No Limit”, “Subterranean Homesick
in Dont Look Back), “Subterranean Homesick Blues” be-
Blues”, “Outlaw Blues”, “She Belongs to Me”, and “Bob
came a Top 20 hit for Dylan. “Snagged by a sour, pinched
Dylan’s 115th Dream” were all recorded and selected for
guitar riff, the song has an acerbic tinge...and Dylan sings
the final album.
the title rejoinders in mock self-pity,” writes music critic
Sometime after dinner, Dylan reportedly continued Tim Riley. “It’s less an indictment of the system than a
recording with a different set of musicians, including coil of imagery that spells out how the system hangs itself
John Hammond, Jr. and John Sebastian (only Langhorne with the rope it’s so proud of.”
returned from earlier that day). They recorded six songs,
"She Belongs to Me" extols the bohemian virtues of
but the results were deemed unsatisfactory and ultimately
an artistic lover whose creativity must be constantly fed
rejected.
(“Bow down to her on Sunday / Salute her when her birth-
Another session was held at Studio A the next day, and day comes. / For Halloween buy her a trumpet / And for
it would be the last one needed. Once again, Dylan kept Christmas, give her a drum.”)
at his disposal the musicians from the previous day (that
"Maggie’s Farm" is Dylan’s declaration of independence
is, those that participated in the 2:30 pm to 6:00 pm ses-
from the protest folk movement. Punning on Silas
sion); the one exception was pianist Paul Griffin, who was
McGee’s Farm, where he had performed "Only a Pawn in
2.5. BRINGING IT ALL BACK HOME 51

Their Game" at a civil rights protest in 1963 (featured in way around...I bought it 'cause I liked the sound...I used
the film Dont Look Back), Maggie’s Farm recasts Dylan to play it all the time.” In addition to inspiring the title,
as the pawn and the folk music scene as the oppressor. Langhorne also played the electric guitar countermelody
Rejecting the expectations of that scene as he turns to- in the song, the only musician to play on the song besides
wards loud rock'n'roll, self-exploration, and surrealism, Dylan. A surrealist work heavily influenced by Arthur
Dylan sings: “They say sing while you slave / I just get Rimbaud (most notably for the “magic swirlin' ship”
bored.” evoked in the lyrics), Heylin hailed it as a leap “beyond
"Love Minus Zero/No Limit" is a low-key love song, the boundaries of folk song once and for all, with one
of [Dylan’s] most inventive and original melodies.” Riley
described by Riley as a “hallucinatory allegiance, a po-
etic turn that exposes the paradoxes of love ('She knows describes “Mr. Tambourine Man” as “Dylan’s pied-piper
anthem of creative living and open-mindedness...a lot of
there’s no success like failure / And that failure’s no suc-
cess at all')...[it] points toward the dual vulnerabilities that these lines are evocative without holding up to logic, even
though they ring worldly.” Salon.com critic Bill Wyman
steer 'Just Like A Woman.' In both cases, a woman’s
susceptibility is linked to the singer’s defenseless infat- calls it “rock’s most feeling paean to psychedelia, all the
more compelling in that it’s done acoustically.” Almost
uation.”
simultaneously with Dylan’s release, the newly formed
"Outlaw Blues" explores Dylan’s desire to leave behind Byrds recorded and released an electrified, abbreviated
the pieties of political folk and explore a bohemian, “out- treatment of the song which would be the band’s break-
law” lifestyle. Straining at his identity as a protest singer, through hit, and would be a powerful force in launching
Dylan knows he “might look like Robert Ford” (who as- the folk rock genre.
sassinated Jesse James), but he feels “just like a Jesse
James.” "Gates of Eden" builds on the developments made with
“Chimes of Freedom” and “Mr. Tambourine Man”.
"On the Road Again" catalogs the absurd affectations and “Of all the songs about sixties self-consciousness and
degenerate living conditions of bohemia. The song con- generation-bound identity, none forecasts the lost inno-
cludes, “Then you ask why I don't live here / Honey, how cence of an entire generation better than 'Gates of Eden,'"
come you don't move?". writes Riley. “Sung with ever-forward motion, as though
"Bob Dylan’s 115th Dream" narrates a surreal experience the words were carving their own quixotic phrasings,
involving the discovery of America, “Captain Arab” (a these images seem to tumble out of Dylan with a will all
clear reference to Captain Ahab of Moby Dick), and nu- their own; he often chops off phrases to get to the next
merous bizarre encounters. It is the longest song in the line.”
electric section of the album, starting out as an acous- One of Dylan’s most ambitious compositions, "It’s Al-
tic ballad before being interrupted by laughter, and then right Ma (I'm Only Bleeding)" is arguably one of Dylan’s
starting back up again with an electric blues rhythm. The finest songs. Clinton Heylin wrote that it “opened up a
music is so similar in places to Another Side of Bob Dy- whole new genre of finger-pointing song, not just for Dy-
lan's "Motorpsycho Nitemare" as to be indistinguishable lan but for the entire panoply of pop,” and one critic said it
from it but for the electric instrumentation. The song is to capitalism what Darkness at Noon is to communism.
can be best read as a highly sardonic, non-linear (histor- A fair number of Dylan’s most famous lyrics can be found
ically) dreamscape parallel cataloguing of the discovery, in this song: “He not busy being born / Is busy dying";
creation and merits (or lack thereof) of the United States. “It’s easy to see without looking too far / That not much
Written sometime in February 1964, "Mr. Tambourine is really sacred"; “Even the president of the United States
Man" was originally recorded for Another Side of Bob / Sometimes must have to stand naked"; “Money doesn't
Dylan; a rough performance with several mistakes, the talk, it swears"; “If my thought-dreams could be seen /
recording was rejected, but a polished version has often They'd probably put my head in a guillotine.” In the song
been attributed to Dylan’s early use of LSD, although eye- Dylan is again giving his audience a road map to decode
witness accounts of both the song’s composition and of his confounding shift away from politics. Amidst a num-
Dylan’s first use of LSD suggest that “Mr. Tambourine ber of laments about the expectations of his audience (“I
Man” was actually written weeks before. Instead, Dy- got nothing, Ma, to live up to”) and the futility of poli-
lan said the song was inspired by a large tambourine tics (“There is no sense in trying"; “You feel to moan but
owned by Bruce Langhorne. “On one session, Tom Wil- unlike before / You discover that you'd just be one more
son had asked [Bruce] to play tambourine,” Dylan re- / Person crying”), Dylan tells his audience how to take
called in 1985. “And he had this gigantic tambourine...It his new direction: “So don't fear if you hear / A foreign
was as big as a wagonwheel. He was playing, and this sound to your ear / It’s alright, Ma, I'm only sighing.”
vision of him playing this tambourine just stuck in my The album closes with "It’s All Over Now, Baby Blue",
mind.” Langhorne confirmed that he “used to play this gi- described by Riley as “one of those saddened good-bye
ant Turkish tambourine. It was about [four inches] deep, songs a lover sings when the separation happens long af-
and it was very light and it had a sheepskin head and it had ter the relationship is really over, when lovers know each
jingle bells around the edge—just one layer of bells all the other too well to bother hiding the truth from each other
52
any longer...What shines through “Baby Blue” is a sadness
that blots out past fondness, and a frustration at articulat-
ing that sadness at the expense of the leftover affection it
springs from.” Heylin has a different interpretation, com-
paring it with “To Ramona” from Another Side of Bob Dy-
lan: "['Baby Blue' is] less conciliatory, the tone crueler,
more demanding. If Paul Clayton is indeed the Baby Blue
he had in mind, as has been suggested, Dylan was digging
away at the very foundation of Clayton’s self-esteem.”
However, the lyric easily fits in with the main theme of
the album, Dylan’s rejection of political folk, taking the
form of a good-bye to his former, protest-folk self, ac-
cording to the Rough Guide to Bob Dylan. According to
this reading, Dylan sings to himself to “Leave your step-
ping stones [his political repertoire] behind, something
calls for you. Forget the dead you've left [folkies], they
will not follow you...Strike another match, go start anew.”
The only musician besides Dylan to play on the song is
Bill Lee on bass guitar.[4]
2.5.3 Cover art
The album’s cover, photographed by Daniel Kramer with
an edge-softened lens, features Sally Grossman (wife of
Dylan’s manager Albert Grossman) lounging in the back-
ground. There are also artifacts scattered around the
room, including LPs by The Impressions (Keep on Push-
ing), Robert Johnson (King of the Delta Blues Singers),
Ravi Shankar (India’s Master Musician), Lotte Lenya
(Sings Berlin Theatre Songs by Kurt Weill) and Eric Von
Schmidt (The Folk Blues of Eric Von Schmidt). Dylan
had “met” Schmidt “one day in the green pastures of
Harvard University”[5] and would later mimic his album
cover pose (tipping his hat) for his own Nashville Skyline
four years later.[6] A further record, Françoise Hardy's EP
J’suis D'accord was on the floor near Dylan’s feet but can
only be seen in other shots from the same photo session.
Visible behind Grossman is the top of Dylan’s head from
the cover of Another Side of Bob Dylan; under her right
arm is the magazine Time with President Lyndon B. John-
son on the cover of the January 1, 1965 issue. There is
a harmonica resting on a table with a fallout shelter (ca-
pacity 80) sign leaning against it. Above the fireplace on
the mantle directly to the left of the painting is the Lord
Buckley album The Best of Lord Buckley. Next to Lord
Buckley is a copy of GNAOUA, a magazine devoted to
exorcism and Beat Generation poetry edited by poet Ira
Cohen, and a glass collage by Dylan called 'The Clown'
made for Bernard Paturel from coloured glass Bernard
was about to discard.[7]
Dylan sits forward holding his cat (named Rolling
Stone)[7] and has an opened magazine featuring an ad-
vertisement on Jean Harlow's Life Story by the columnist
Louella Parsons resting on his crossed leg. The cufflinks
Dylan wore in the picture were a gift from Joan Baez,
as she later referenced in her 1975 song "Diamonds &
Rust".
CHAPTER 2. STUDIO ALBUMS
On the back cover, the girl massaging Dylan’s scalp is the
filmmaker and performance artist Barbara Rubin.[8]
2.5.4 Outtakes
The following outtakes were recorded for possible inclu-
sion to Bringing It All Back Home.
• “California” (early version of “Outlaw Blues”)
• “Farewell Angelina”
• "If You Gotta Go, Go Now (Or Else You Got to Stay
All Night)"
• "I'll Keep It With Mine"
• “Sitting on a Barbed Wire Fence”
• “You Don't Have to Do That” (titled “Bending
Down on My Stomick Lookin' West” on recording
sheet)(fragment)
The raunchy “If You Gotta Go, Go Now (Or Else
You Got To Stay All Night)" was issued as a single in
Benelux. A different version of the song appears on The
Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-
1991. An upbeat, electric performance, the song is
relatively straightforward, with the title providing much
of the subtext. Manfred Mann took the song to #2
in the UK in September 1965. Fairport Convention
recorded a tongue-in-cheek, acoustic French-language
version, “Si Tu Dois Partir”, for their celebrated third al-
bum, Unhalfbricking.
"I'll Keep It with Mine" was written before Another Side
of Bob Dylan and was given to Nico in 1964. Nico was
not yet a recording artist at the time, and she would even-
tually record the song for Chelsea Girl (released in 1967),
but not before Judy Collins recorded her own version in
1965. Fairport Convention would also record their own
version on their critically acclaimed second album, What
We Did on Our Holidays. Widely considered a strong
composition from this period (Clinton Heylin called it
“one of his finest songs”), a complete acoustic version,
with Dylan playing piano and harmonica, was released on
1985’s Biograph. An electric recording exists as well—
not of an actual take but of a rehearsal from January
1966 (the sound of an engineer saying “what you were
doing” through a control room mike briefly interrupts the
recording)—was released on The Bootleg Series Volumes
1-3 (Rare & Unreleased) 1961-1991.
“Farewell Angelina” was ultimately given to Joan Baez,
who released it in 1965 as the title track of her album,
Farewell, Angelina. The Greek singer Nana Mouskouri
recorded her own versions of this song in French (“Adieu
Angelina”) in 1967 and German (“Schlaf-ein Angelina”)
in 1975.
2.5. BRINGING IT ALL BACK HOME 53

“You Don't Have to Do That” is one of the great “what if” 2.5.6 Track listing
songs of Dylan’s mid-1960s output. A very brief record-
ing, under a minute long, it has Dylan playing a snippet of All songs written and composed by Bob Dylan.
the song, which he abandoned midway through to begin
playing the piano.
2.5.7 Personnel
“Sitting on a Barbed Wire Fence”, first recorded during
this album’s sessions, would later be revisited during the • Bob Dylan – guitar, harmonica, keyboards, vocals
Highway 61 Revisited sessions (later issued on The Bootleg
Series Vol 1–3).
Additional musicians

• John Boone – bass guitar

2.5.5 Reception • Al Gorgoni – guitar

The release of Bringing It All Back Home coincided with • Bobby Gregg – drums
the final show of a joint tour with Joan Baez. By this
time, Dylan had grown far more popular and acclaimed • Paul Griffin – piano, keyboards
than Baez, and his music had radically evolved from their • John P. Hammond – guitar
former shared folk style in a totally unique direction. It
would be the last time they would perform extensively to- • Bruce Langhorne – guitar
gether until 1975. (She would accompany him on another
tour in May 1965, but Dylan would not ask her to perform • Bill Lee – bass guitar
with him.) The timing was appropriate as Bringing It All • Joseph Macho, Jr. – bass guitar
Back Home signaled a new era.
• Frank Owens – piano

• Kenny Rankin – guitar

Legacy
• John B. Sebastian – bass guitar

One of Dylan’s most celebrated albums, Bringing It All

Back Home was soon hailed as one of the greatest albums Technical personnel
in rock history. In 1979 Rolling Stone Record Guide, critic
Dave Marsh wrote a glowing appraisal: “By fusing the • Daniel Kramer – photography
Chuck Berry beat of the Rolling Stones and the Beatles
• Tom Wilson – production
with the leftist, folk tradition of the folk revival, Dylan re-
ally had brought it back home, creating a new kind of rock
& roll [...] that made every type of artistic tradition avail- 2.5.8 Chart positions
able to rock.”[13] Clinton Heylin later wrote that Bringing
It All Back Home was possibly “the most influential album
of its era. Almost everything to come in contemporary
2.5.9 References
popular song can be found therein.” In 2003, the album [1] http://www.allmusic.com/album/
was ranked number 31 on Rolling Stone magazine’s list of bringing-it-all-back-home-mw0000193642
the 500 greatest albums of all time.
[2] Breihan, Tom (2010-09-21). “Morning Benders, Mirah
In a 1986 interview, film director John Hughes cited it Pay Bob Dylan Tribute”. Pitchfork.
as so influential on him as an artist that upon its release
(while Hughes was still in his teens), “Thursday I was one [3] Heylin, Clinton, Bob Dylan: The Recording Sessions,
person, and Friday I was another.”[14] 1960–1994, Macmillan, 1997. Cf. p.33-34 for record
producer Tom Wilson's use of the 30th Street Studios for
Before the year was over, Dylan would record and release some of Dylan’s work, and other references in the book.
another album, Highway 61 Revisited, which would take
his new lyrical and musical direction even further. [4] Williams, P. (2004). Bob Dylan: Performing Artist, 1960–
1973 (2nd edition ed.). Omnibus Press. p. 138. ISBN
The title of the Modena City Ramblers' album Riportando 978-1-84449-095-0.
tutto a casa is a tribute to Bringing It All Back Home.
[5] Baby, Let Me Follow You Down
The mono version of Bringing It All Back Home was re-
released in 2010 on The Original Mono Recordings, ac- [6] Humphries, Patrick (1995). The Complete Guide to the
companied by a booklet containing a critical essay by Music of Bob Dylan. London, England: Omnibus Press.
Greil Marcus. ISBN 0-7119-4868-2.
54 CHAPTER 2. STUDIO ALBUMS

[7] Robert Shelton: No Direction Home: ISBN 0-14-
010296-5
[8] Hale, Peter. “Barbara Rubin (1945-1980)". The Allen
Ginsberg Project.
[9] allmusic: Review of Bringing It All Back Home
[10] rocklistmusic: Rolling Stone Album Guide – 5 Star
Record List 1983
[11] Sputnikmusic: Review of Bringing It All Back Home
[12] “Bob Dylan - Bringing it All Back Home - Gaslight
Records”. Gaslight Records. Retrieved 2013-03-22.
for their musical heritage, including St. Louis, Memphis,
New Orleans, and the Delta blues area of Mississippi.
Highway 61 Revisited peaked at number three in the
United States charts and number four in the United King-
dom. The album was ranked number four on Rolling
Stone 's "500 Greatest Albums of All Time". “Like a
Rolling Stone” was a top-10 hit in several countries, and
was listed at number one on Rolling Stone 's 500 Great-
est Songs of All Time list. Two other songs, “Desolation
Row” and “Highway 61 Revisited”, were listed at number
187 and number 373 respectively.

[13] Smith, Chris. 101 Albums that Changed Popular Mu-

sic. Oxford: Oxford University Press. p. 31. ISBN 2.6.1 Dylan and Highway 61
0195373715.
In his memoir Chronicles: Volume One, Dylan described
[14] Ringwald,, Molly. “Molly Ringwald Interviews John
the kinship he felt with the route that supplied the title of
Hughes”. Seventeen Magazine. Spring 1986. The John
Hughes Files. Retrieved 2010-02-25.
his sixth album: “Highway 61, the main thoroughfare of
the country blues, begins about where I began. I always
[15] “Bob Dylan | Artist”. The Official Charts Company. Re- felt like I'd started on it, always had been on it and could
trieved August 20, 2012. go anywhere, even down in to the deep Delta country. It
was the same road, full of the same contradictions, the
[16] Bringing It All Back Home – Bob Dylan: Awards at
same one-horse towns, the same spiritual ancestors ... It
AllMusic. Retrieved August 20, 2012.
was my place in the universe, always felt like it was in my
[17] “American album certifications – Bob Dylan – Bringing blood.”[2]
It All Back Home”. Recording Industry Association of
While he was growing up in the 1950s, Highway 61
America. Retrieved August 20, 2012. If necessary, click
stretched from Duluth, where Dylan was born, through St.
Advanced, then click Format, then select Album, then click
SEARCH Paul, and down to the Mississippi delta. Along the way,
the route passed near the birthplaces and homes of influ-
ential musicians such as Muddy Waters, Son House, Elvis
2.5.10 External links Presley, and Charley Patton. The “empress of the blues”,
Bessie Smith, died after sustaining serious injuries in an
• Bringing It All Back Home (Adobe Flash) at automobile accident on Highway 61. Critic Mark Poliz-
Radio3Net (streamed copy where licensed) zotti points out that blues legend Robert Johnson is al-
leged to have sold his soul to the devil at the highway’s
crossroads with Route 49.[3] The highway had also been
2.6 Highway 61 Revisited the subject of several blues recordings, notably Roosevelt
Sykes' “Highway 61 Blues” (1932) and Mississippi Fred
McDowell's “61 Highway” (1964).[4]
Highway 61 Revisited is the sixth studio album by the
American singer-songwriter Bob Dylan, released on Au- Dylan has stated that he had to overcome considerable
gust 30, 1965 by Columbia Records. Having until then resistance at Columbia Records to give the album its ti-
recorded mostly acoustic music, Dylan used rock musi- tle. He told biographer Robert Shelton: “I wanted to call
cians as his backing band on every track of the album, ex- that album Highway 61 Revisited. Nobody understood it.
cept for the closing 11-minute ballad, "Desolation Row". I had to go up the fucking ladder until finally the word
Critics have focused on the innovative way in which Dy- came down and said: 'Let him call it what he wants to
[5]
lan combined driving, blues-based music with the sub- call it'.” Michael Gray has suggested that the very title
tlety of poetry to create songs that captured the politi- of the album represents Dylan’s insistence that his songs
cal and cultural chaos of contemporary America. Author are rooted in the traditions of the blues: “Indeed the al-
Michael Gray has argued that in an important sense the bum title Highway 61 Revisited announces that we are in
1960s “started” with this album. [1] for a long revisit, since it is such a long, blues-travelled
highway. Many bluesmen had been there before [Dylan],
Leading with the hit single "Like a Rolling Stone", the
all recording versions of a blues called 'Highway 61'.”[6]
album features songs that Dylan has continued to per-
form live over his long career, including "Ballad of a Thin
Man" and "Highway 61 Revisited". He named the album
after the major American highway which connected his 2.6.2 Recording sessions
birthplace, Duluth, Minnesota, to southern cities famed
2.6. HIGHWAY 61 REVISITED 55

Background

In May 1965, Dylan returned from his tour of England

feeling tired and dissatisfied with his material. He told
journalist Nat Hentoff: “I was going to quit singing. I was
very drained.” The singer added, “It’s very tiring having
other people tell you how much they dig you if you your-
self don't dig you.”[7]
As a consequence of his dissatisfaction, Dylan wrote 20
pages of verse he later described as a “long piece of
vomit”.[8] He reduced this to a song with four verses and
a chorus—"Like a Rolling Stone”.[9] He told Hentoff that
writing and recording the song washed away his dissatis-
faction, and restored his enthusiasm for creating music.[7]
Describing the experience to Robert Hilburn in 2004,
nearly 40 years later, Dylan said: “It’s like a ghost is writ-
ing a song like that ... You don't know what it means
except the ghost picked me to write the song.”[10]
Highway 61 Revisited was recorded in two blocks of
recording sessions that took place in Studio A of
Columbia Records, located in Midtown Manhattan.[11] Al Kooper’s improvised organ riff on “Like a Rolling Stone”
The first block, June 15 and June 16, was produced by has been described as “one of the great moments of pop music
Tom Wilson and resulted in the single “Like a Rolling serendipity”.[15]
Stone”.[12] On July 25, Dylan performed his controversial
electric set at the Newport Folk Festival, where some
managed to sit in on the session, and he improvised an
of the crowd booed his performance.[13] Four days after
organ riff that, critics Greil Marcus and Mark Polizzotti
Newport, Dylan returned to the recording studio. From
argue, became a crucial element of the recording.[23][24]
July 29 to August 4, he and his band completed recording
The fourth take was ultimately selected as the master, but
Highway 61 Revisited, but under the supervision of a new
Dylan and the band recorded eleven more takes.[25] After
producer, Bob Johnston.[14]
“Like a Rolling Stone” had been completed, he impro-
vised a short unreleased song,[26] bootlegged under the
title “Lunatic Princess Revisited”,[25] but copyrighted as
Recording sessions, June 15–16 “Why Do You Have to Be So Frantic?".[27] Critic Clinton
Heylin calls the song a “weird little one-verse fragment”,
See also: Like a Rolling Stone § Writing and recording but claims that the riff is the blueprint of the singer’s 1979
Tom Wilson produced the initial recording sessions for evangelical composition, “Slow Train”.[26]
Highway 61 Revisited on June 15–16, 1965. Dylan
was backed by Bobby Gregg on drums, Joe Macho, Jr.
on bass, Paul Griffin on piano, and Frank Owens on Recording sessions, July 29 – August 4
guitar.[16] For lead guitar, the singer recruited Michael
Bloomfield of the Paul Butterfield Blues Band.[17] The To create the material for Highway 61 Revisited, Dylan
musicians began the June 15 session by recording a fast spent a month writing in his new home in the Byrdcliffe
version of "It Takes a Lot to Laugh, It Takes a Train artists’ colony of Woodstock in upstate New York.[28]
to Cry" and the song “Sitting on a Barbed Wire Fence”, When he returned to Studio A on July 29, he was backed
which was omitted from the Highway 61 album.[18] Dy- by the same musicians with Harvey Brooks on bass re-
lan and his band next attempted to record “Like a Rolling placing Joe Mach and his producer had changed from
Stone";[19] at this early stage, Dylan’s piano dominated Tom Wilson to Bob Johnston.[29][a 1]
the backing, which was in 3/4 time.[20] “Barbed Wire Their first session together was devoted to three songs.
Fence”, the fast version of “It Takes a Lot to Laugh”, and After recording several takes each of "Tombstone Blues",
an early take of “Like a Rolling Stone” were eventually “It Takes a Lot to Laugh” and "Positively 4th Street", mas-
released on The Bootleg Series Volumes 1–3 (Rare & Un- ters were successfully recorded.[31] “Tombstone Blues”
released) 1961–1991.[21] and “It Takes a Lot to Laugh” were included in the final
The musicians returned to Studio A the following day, album, but “Positively 4th Street” was issued as a single-
when they devoted almost the entire session to record- only release. At the close of the July 29 session, Dy-
ing “Like a Rolling Stone”. Present on this occasion was lan attempted to record “Desolation Row”, accompanied
Al Kooper, a young musician invited by Wilson to ob- by Al Kooper on electric guitar and Harvey Brooks on
serve, but who wanted to play on the session.[22] Kooper bass. There was no drummer, as the drummer had gone
56 CHAPTER 2. STUDIO ALBUMS

acoustic, half-electric fifth album, Bringing It All Back

Home. Documentary director D. A. Pennebaker, who
filmed Dylan on his acoustic UK tour in May 1965, has
said: “I didn't know that he was going to leave acoustic. I
did know that he was getting a little dragged by it.”[43]

2.6.3 Songs
Side one

Highway 61 Revisited opens with "Like a Rolling Stone",

Nashville sessions musician Charlie McCoy’s chance visit to New
York resulted in the guitar flourishes accompanying “Desolation this composition is “surely a Dylan cameo”, and that its
Row”, the last track on the album.[30]
home. This electric version was eventually released in Stone” reached number two in the Billboard Hot 100 in
[32]
which has been described as revolutionary in its com-
bination of electric guitar licks, organ chords, and Dy-
lan’s voice, “at once so young and so snarling ... and so
cynical”.[45] Michael Gray characterized “Like a Rolling
Stone” as “a chaotic amalgam of blues, impressionism, al-
legory, and an intense directness: 'How does it feel?'"[45]
Polizzotti writes that the composition is notable for avoid-
ing traditional themes of popular music, such as ro-
mance, and instead expresses resentment and a yearning
for revenge.[46][47] It has been suggested that Miss Lonely,
the song’s central character, is based on Edie Sedgwick,
a socialite and actress in the Factory scene of pop artist
Andy Warhol.[48] Critic Mike Marqusee has written that
full poignancy becomes apparent upon the realization that
“it is sung, at least in part, to the singer himself: he’s
the one 'with no direction home'.”[49] “Like A Rolling

2005, on The Bootleg Series Vol. 7.[33] the summer of 1965,[50] and was a top-10 hit in Australia,
Canada, the Netherlands, New Zealand, and the United
On July 30, Dylan and his band returned to Studio A and Kingdom.[51][52]
recorded three songs. A master take of “From a Buick
6” was recorded and later included on the final album, The fast-paced, two-chord blues song "Tombstone
but most of the session was devoted to "Can You Please Blues", driven by Michael Bloomfield’s lead guitar, uses a
Crawl Out Your Window?" Dylan was unsatisfied with parade of historical characters—outlaw Belle Starr, bib-
the results and set the song aside for a later date; it was lical temptress Delilah, Jack the Ripper (represented in
eventually re-recorded with the Hawks in October.[34] this song as a successful businessman), John the Bap-
tist (described here as a torturer), and blues singer Ma
After Dylan and Kooper spent the weekend in Wood-
Rainey whom Dylan humorously suggests shared a sleep-
stock writing chord charts for the songs,[35] sessions re- ing bag with composer Beethoven—to sketch an absurdist
sumed at Studio A on August 2.[36][37] “Highway 61
account of contemporary America.[53] For critics Mark
Revisited”, "Just Like Tom Thumb’s Blues", "Queen Polizzotti and Andy Gill, the reality behind the song is the
Jane Approximately", and “Ballad of a Thin Man” were
then-escalating Vietnam War; both writers hear the “king
recorded successfully and masters were selected for the of the Philistines” who sends his slaves “out to the jungle”
album.[38][39][40] as a reference to President Lyndon B. Johnson.[53][54]
One final session was held on August 4, again at Studio On July 29, 1965, Dylan and his band resumed record-
A. Most of the session was devoted to completing “Des- ing "It Takes a Lot to Laugh, It Takes a Train to Cry".[56]
olation Row”. Johnston has related that Nashville musi- Tony Glover, who observed the recording session, has re-
cian Charlie McCoy was visiting New York, and he in- called that Dylan re-worked on the song at the piano while
vited McCoy to play guitar at the session.[30] According the other musicians took a lunch break.[57] Critic Sean
to some sources, seven takes of “Desolation Row” were Egan writes that by slowing down the tempo, Dylan trans-
recorded, and takes six and seven were spliced together formed the song from an “insufferably smart-alec num-
for the master recording.[41] ber into a slow, tender, sensual anthem”.[58] Gill points
The resulting album, Highway 61 Revisited, has been de- out that the lyrics reveal the singer’s talent for borrow-
scribed as “Dylan’s first purely 'rock' album”,[42] a realiza- ing from old blues numbers, adapting the lines “Don't the
tion of his wish to leave his old music format behind and clouds look lonesome shining across the sea/ Don't my
move on from his all-acoustic first four albums and half- gal look good when she’s coming after me” from “Solid
2.6. HIGHWAY 61 REVISITED
Road” by bluesmen Brownie McGhee and Leroy Carr.[55]
AllMusic critic Bill Janovitz describes "From a Buick
6" as a “raucous, up-tempo blues”, which is played “al-
most recklessly”.[59] The song opens with a snare shot
similar to the beginning of “Like a Rolling Stone”.[60]
Partially based on Sleepy John Estes' 1930 song "Milk
Cow Blues",[59] the guitar part is patterned after older
blues riffs by Robert Johnson, Charlie Patton and Big
Joe Williams.[61] Robert Shelton hears the song as “an
earthy tribute to another funky earth-mother”,[61] while
for Heylin it is close to filler material; he argues that only
through the musicians’ performance is Dylan able to “con-
vince us he is doing more than just listing the number of
ways in which this 'graveyard woman' is both a lifesaver
and a death-giver”.[62]
"Ballad of a Thin Man" is driven by Dylan’s piano, which
contrasts with “the spooky organ riffs” played by Al
Kooper.[63] Marqusee describes the song as one of “the
purest songs of protest ever sung”, as it looks at the me-
dia and its inability to understand both the singer and
his work. He writes that the song became the anthem
of an in-group, “disgusted by the old, excited by the
new ... elated by their discovery of others who shared
their feelings”, with its refrain “Something is happen-
ing here/ But you don't know what it is/ Do you, Mr
Jones?" epitomizing the “hip exclusivity” of the bur-
geoning counterculture.[63] Robert Shelton describes the
song’s central character, Mr Jones, as “one of Dylan’s
greatest archetypes”, characterizing him as “a Philistine
... superficially educated and well bred but not very smart
about the things that count”.[61]
Side two
Polizzotti, in his study of Highway 61 Revisited, writes
that the opening track of Side Two, "Queen Jane Approx-
imately" is in a similar vein to “Like a Rolling Stone”, but
the song offers “a touch of sympathy and even comfort in
place of relentless mockery”.[64] The song is structured
as a series of ABAB quatrain verses, with each verse fol-
lowed by a chorus that is simply a repeat of the last line
of each verse: “Won't you come see me Queen Jane?".[65]
Gill calls this song “the least interesting track” on High-
way 61, but praises the piano ascending the scale during
the harmonica break as an evocation of “the stifling nature
of an upper class existence”.[66] “Queen Jane Approxi-
mately” was released as the B-side of Dylan’s "One of Us
Must Know (Sooner or Later)" single in early 1966.[67]
Dylan commences the title song of his album, "Highway
61 Revisited", with the words “Oh God said to Abraham,
'Kill me a son'/Abe says, 'Man, you must be puttin' me
on'".[68] As Gill has pointed out, Abraham was the name
of Dylan’s father, which makes the singer the son whom
God wants killed.[69] Gill comments that it is befitting that
this song, celebrating a highway central to the history of
the blues, is a “raucous blues boogie”.[69] He notes that the
57
scope of the song broadens to make the highway a road of
endless possibilities, peopled by dubious characters and
culminating in a promoter who “seriously considers stag-
ing World War III out on Highway 61”.[69] The song is
punctuated by the sound of a “Siren Whistle”, credited as
“Police Car” to Dylan in the album liner notes.[70] High-
way 61 Revisited” was released as the B-side of his “Can
You Please Crawl Out Your Window?" single on Novem-
ber 30, 1965.[71]
"Just Like Tom Thumb’s Blues" has six verses and
no chorus.[72] The lyrics describe a nightmarish expe-
rience in Juarez, Mexico, where, in Shelton’s words,
“our anti-hero stumbles amid sickness, despair, whores
and saints.”[73] He battles with corrupt authorities, alco-
hol and drugs before resolving to return to New York
City.[73][74][75] In this song, critics have heard literary ref-
erences to Malcolm Lowry's Under the Volcano, Edgar
Allan Poe's "The Murders in the Rue Morgue" and Jack
Kerouac's Desolation Angels.[73][76][77] The backing mu-
sicians, Bobby Gregg on drums, Mike Bloomfield on elec-
tric guitar, and two pianists, Paul Griffin on tack pi-
ano and Al Kooper on Hohner Pianet, produce a mood
that, for Gill, perfectly complements the “enervated tone”
of the lyrics.[38][78] Heylin notes that Dylan took great
care—sixteen takes—to get the effect he was after, with
lyrics that subtly "[skirt] the edge of reason”.[36]
Dylan concludes Highway 61 Revisited with the sole
acoustic exception to his rock album. Gill has char-
acterized "Desolation Row" as “an 11-minute epic of
entropy, which takes the form of a Fellini-esque pa-
rade of grotesques and oddities featuring a huge cast
of iconic characters”. These include historical celebri-
ties such as Einstein and Nero, the biblical characters
Noah and Cain and Abel, the Shakespearian figures of
Ophelia and Romeo, ending with literary titans T.S. Eliot
and Ezra Pound.[79] The song opens with a report that
“they're selling postcards of the hanging”, and adds “the
circus is in town”.[81] Polizzotti connects this song with
the lynching of three black circus workers in Duluth,
Minnesota, which was Dylan’s birthplace, and describes
“Desolation Row” as a cowboy song, “the 'Home On The
Range' of the frightening territory that was mid-sixties
America”.[80] In the penultimate verse, the passengers on
the Titanic are shouting “Which side are you on?".[82]
Shelton suggests Dylan is asking, “What difference which
side you're on if you're sailing on the Titanic?" and is thus
satirizing “simpleminded political commitment”.[82]
Outtakes
Eleven outtakes from the Highway 61 Revisited sessions
have subsequently been released on the Columbia and
Legacy record labels. The first proper non-album re-
lease from the sessions was the single “Positively 4th
Street”,[83] although on an early pressing of the single
Columbia used another Highway 61 outtake, “Can You
Please Crawl Out Your Window?", by mistake.[84] “Crawl
58 CHAPTER 2. STUDIO ALBUMS

Out Your Window” was subsequently re-recorded with review section, by an anonymous critic, commented:
the Hawks in October, and released as a single in Novem- “Bob Dylan’s sixth LP, like all others, is fairly incom-
ber 1965.[34] Columbia accidentally released an alternate prehensible but nevertheless an absolute knock-out.”[97]
take of “From a Buick 6” on an early pressing of High- The English poet Philip Larkin, reviewing the album for
way 61 Revisited, and this version continued to appear The Daily Telegraph, wrote that he found himself “well
on the Japanese release for several years.[62] Other offi- rewarded” by the record: “Dylan’s cawing, derisive voice
cially released outtakes include alternate takes of “Like is probably well suited to his material ... and his guitar
a Rolling Stone” and “It Takes a Lot to Laugh, It Takes adapts itself to rock ('Highway 61') and ballad ('Queen
a Train to Cry”, and a previously unreleased song, “Sit- Jane'). There is a marathon 'Desolation Row' which has
ting on a Barbed Wire Fence”, on The Bootleg Series an enchanting tune and mysterious, possibly half-baked
Volumes 1–3 (Rare & Unreleased) 1961–1991.[21] Alter- words.”[98]
nate takes of “Desolation Row”, “Highway 61 Revisited”, In September 1965, the US trade journal Billboard also
“Just Like Tom Thumb’s Blues”, “Tombstone Blues” and
praised the album, and predicted big sales for it: “Based
a still different take of “It Takes a Lot to Laugh, It Takes upon his singles hit 'Like a Rolling Stone', Dylan has a
a Train to Cry” were released on The Bootleg Series Vol-
top-of-the-chart-winner in this package of his off-beat,
ume 7.[33] Excerpts from several different takes of “Like commercial material.”[99] The album peaked at number
a Rolling Stone” appeared on the Highway 61 Interac- three on the US Billboard 200 chart of top albums,[50]
tive CD-ROM,[85] released in February 1995.[86] Several and number four on the UK albums charts.[100] In the US,
other alternate takes of various songs were recorded dur- Highway 61 was certificated as a gold record in August
ing the Highway 61 sessions but remain unreleased,[87] 1967,[101] and platinum in August 1997.[102]
as does the composition “Why Do You Have to Be So
Frantic?".[26] Highway 61 Revisited has remained among the most
highly acclaimed of Dylan’s works. Biographer Anthony
Scaduto praises its rich imagery, and describes it as “one
2.6.4 Packaging of the most brilliant pop records ever made. As rock,
it cuts through to the core of the music—a hard driv-
The cover artwork was photographed by Daniel Kramer ing beat without frills, without self-consciousness.”[103]
several weeks before the recording sessions. Kramer cap- Michael Gray calls Highway 61 “revolutionary and stun-
tured Dylan sitting on the stoop of the apartment of his ning, not just for its energy and panache but in its vision:
manager, Albert Grossman, located in Gramercy Park, fusing radical, electrical music ... with lyrics that were
New York, placing Dylan’s friend Bob Neuwirth behind light years ahead of anyone else’s; Dylan here unites the
Dylan “to give it extra color”.[88] Dylan wears a Triumph force of blues-based rock'n'roll with the power of poetry.
motorcycle T-shirt under a blue and purple silk shirt, The whole rock culture, the whole post-Beatle pop-rock
holding his Ray-Ban sunglasses in his right hand.[88] Pho- world, and so in an important sense the 1960s started
tographer Kramer commented in 2010 on the singer’s ex- here.”[1]
pression: “He’s hostile, or it’s a hostile moodiness. He’s Among Dylan’s contemporaries, Phil Ochs was im-
almost challenging me or you or whoever’s looking at it: pressed by Highway 61, explaining: “It’s the kind of mu-
'What are you gonna do about it, buster?'"[89] sic that plants a seed in your mind and then you have to
As he had on his previous three albums, Dylan con- hear it several times. And as you go over it you start to
tributed his own writing to the back cover of Highway 61 hear more and more things. He’s done something that’s
[104]
Revisited, in the shape of freeform, surrealist prose: “On left the whole field ridiculously in the back of him.”
the slow train time does not interfere & at the Arabian In 2003, Rolling Stone magazine described Highway 61
crossing waits White Heap, the man from the newspaper as “one of those albums that changed everything”, and
& behind him the hundred inevitables made of solid rock placed it at number four in its list of "The 500 Greatest
[105]
& stone.”[70] One critic has pointed out the close similar- Albums of All Time". The Rolling Stone list of "The
ity of these notes to the stream of consciousness, experi- 500 Greatest Songs of All Time" ranked “Highway 61
mental novel Tarantula, which Dylan was writing during Revisited”, “Desolation Row” and “Like a Rolling Stone”
[106] [107]
1965 and 1966. [58] at number 373, number 187, and number one,
[44]
respectively. In 2012, The Best 100 Albums of All Time
book ranked Highway 61 Revisited as the greatest album
2.6.5 Reception and legacy of all time.[108]
Most of the songs on Highway 61 Revisited have re-
In the British music press, initial reviews of Highway 61 mained important, in varying degrees, to Dylan’s live per-
expressed both bafflement and admiration for the record. formances since 1965. According to his website, he has
New Musical Express critic Allen Evans wrote: “An- played “Like a Rolling Stone” over 2,000 times, “High-
other set of message songs and story songs sung in that way 61 Revisited” more than 1,700 times, “Ballad of a
monotonous and tuneless way by Dylan which becomes Thin Man” over 1,000 times, and most of the other songs
quite arresting as you listen.”[96] The Melody Maker LP
2.6. HIGHWAY 61 REVISITED 59

• Mike Bloomfield — electric guitar

• Charlie McCoy — guitar

• Paul Griffin, Al Kooper — piano, organ

• Frank Owens — piano

• Harvey Brooks, Russ Savakus — bass guitar

• Bobby Gregg, Sam Lay — drums

Production personnel

• Bob Johnston — producer

• Tom Wilson — producer on “Like a Rolling Stone”

• Daniel Kramer, Don Hunstein — photography

• Steve Berkowitz — Hybrid SACD reissue produc-

tion

• Greg Calbi — Hybrid SACD reissue remastering

2.6.8 Notes
[1] Polizzotti writes that Wilson and Dylan had a falling
Having toured continuously since the inception of his Never End-
out during the recording of “Like a Rolling Stone”, per-
ing Tour in June 1988,[109] Dylan has performed “Like a Rolling
haps over the prominence of Kooper’s organ in the mix.
Stone” more than 2,000 times in concert.[110]
(Polizzotti 2006, p. 78) When questioned by Jann Wen-
ner in 1969 about the switch in producers, Dylan gave a
between 150 and 500 times.[110] deadpan answer: “All I know is that I was out recording
one day, and Tom had always been there—I had no reason
The influence of the songs on Highway 61 Revisited to think he wasn't going to be there—and I looked up one
can be heard in many cover versions. “Like a Rolling day, and Bob was there [laughs].” (Wenner, Jann. “Inter-
Stone” has been recorded by artists including the Rolling view with Jann S. Wenner”, Rolling Stone, November 29,
Stones, on their live album Stripped,[111] David Bowie and 1969, in Cott 2006, p. 142)
Mick Ronson on Heaven and Hull,[112] Johnny Winter
[2] Highway 61 Revisited—Discover: Liner Notes do not list
on Raisin' Cain,[113] and Jimi Hendrix at the Monterey Sam Lay among the personnel, but Heylin 1995, p. 39
Pop Festival.[114] My Chemical Romance's version of does.
“Desolation Row” was featured in the film Watchmen in
2009.[115] The song has also been covered by the Grateful
Dead on their album Postcards of the Hanging.[116] “Just 2.6.9 Footnotes
Like Tom Thumb’s Blues” has been recorded by Linda
Ronstadt, Nina Simone and Neil Young.[75] [1] Gray 2006, p. 321

[2] Dylan 2004, pp. 240–241

2.6.6 Track listing [3] Polizzotti 2006, pp. 24–25
[90]
The track listing of Highway 61 Revisited is as follows: [4] Gray 2006, pp. 318–319
All songs written and composed by Bob Dylan.
[5] Shelton 1986, p. 360

[6] Gray 2006, p. 66

2.6.7 Personnel
[7] Hentoff, Nat. Playboy, March 1966, reprinted in Cott
The musical personnel on Highway 61 Revisited were as 2006, p. 97
follows:[70][85][a 2]
[8] Dylan interviewed by Marvin Bronstein, CBC, Montreal,
February 20, 1966. Quoted by Marcus 2005 (1), p. 70
• Bob Dylan — vocals, guitar, harmonica, piano, po-
lice car [9] Shelton 1986, pp. 319–320
60 CHAPTER 2. STUDIO ALBUMS

[10] Hilburn, Robert. Guitar World Acoustic, February 2006, [47] Trager 2004, pp. 378–379
quoted in Polizzotti 2006, pp. 32–33
[48] Bell 2012, pp. 384–385
[11] Polizzotti 2006, p. 45
[49] Marqusee 2005, p. 165
[12] Heylin 1996, pp. 75–77
[50] Highway 61 Revisited: Awards
[13] Heylin 1996, pp. 77–78
[51] Hits of the World (1965-10-09), p. 36
[14] Heylin 1996, pp. 78–80
[52] Hits of the World (1965-12-25), p. 34
[15] Polizzotti 2006, p. 50
[53] Gill 1998, pp. 84–85
[16] Marcus 2005 (2)
[54] Polizzotti 2006, pp. 67–68
[17] Marcus 2005 (1), p. 110
[55] Gill 1998, p. 85
[18] Bjorner 2010
[56] Williams 1990, pp. 156–163
[19] Marcus 2005 (1), p. 234
[57] Heylin 2003, p. 221
[20] Marcus 2005 (1), p. 1
[58] Egan 2010, p. 60
[21] Bauldie 1991
[59] Janovitz (1)
[22] Marcus 2005 (1), p. 104
[60] Gill 1998, p. 86
[23] Polizzotti 2006, p. 53
[61] Shelton 1986, p. 280
[24] Marcus 2005 (1), pp. 215–218
[62] Heylin 2009, p. 252
[25] Bjorner 2012 (1) [63] Marqusee 2005, pp. 169–171
[26] Heylin 2009, p. 245 [64] Polizzotti 2006, p. 113
[27] Dunn 2008, pp. 5–7, 533 [65] Williams 1990, pp. 166–167
[28] Heylin 2003, p. 206 [66] Gill 1998, p. 87
[29] Polizzotti 2006, p. 78 [67] Krogsgaard 1991, p. 51
[30] Polizzotti 2006, pp. 141–142 [68] Highway 61 Revisited by Bob Dylan
[31] Bjorner 2012 (2) [69] Gill 1998, pp. 87–88
[32] Polizzotti 2006, p. 140 [70] Highway 61 Revisited—Discover: Liner Notes
[33] Gorodetsky 2005 [71] Krogsgaard 1991, p. 49
[34] Gray 2006, pp. 117–118 [72] Williams 1990, pp. 160, 167
[35] Heylin 1996, p. 79 [73] Shelton 1986, p. 282
[36] Heylin 2009, p. 259 [74] Marqusee 2005, p. 204
[37] Irwin 2008, p. 178 [75] Janovitz (2)
[38] Polizzotti 2006, p. 145 [76] Irwin 2008, pp. 165–170
[39] Irwin 2008, pp. 163–190 [77] Trager 2004, pp. 348–350
[40] Heylin 1995, p. 40 [78] Gill 1998, p. 88
[41] Bjorner 2012 (3) [79] Gill 1998, p. 89
[42] Bell 2012, p. 412 [80] Polizzotti 2006, pp. 139–141

[43] Bell 2012, p. 400 [81] Desolation Row by Bob Dylan

[44] Rolling Stone 500 Greatest Songs: “Like a Rolling Stone” [82] Shelton 1986, p. 283

[45] Gray 2006, p. 413 [83] Williams 1990, pp. 158–159

[46] Polizzotti 2006, p. 33 [84] Heylin 2009, p. 253

 2.6. HIGHWAY 61 REVISITED 61

[85] Heylin 1995, p. 39 2.6.10 References

[86] Willman 1995 • “Album Reviews”. Billboard. 1965-09-25. Re-
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[87] Heylin 1995, pp. 39–40
• Bauldie, John (1991). The Bootleg Series Volumes
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[89] Egan 2010, p. 56
• Bell, Ian (2012). Once Upon a Time: The Lives of
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[91] Smith 2007
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[99] Album Reviews, p. 76
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[101] Marqusee 2005, p. 222 • Brackett, Nathan, with Christian Hoard (2004). The
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[103] Scaduto 2001, pp. 221–222 • Cott, Jonathan (ed.) (2006). Dylan on Dylan: The
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[105] Rolling Stone 500 Greatest Albums

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• Heibutski, Ralph. “Heaven and Hull”. Allmusic.
Retrieved 2013-01-04.
• Gray, Michael (2006). The Bob Dylan Encyclope-
dia. Continuum International. ISBN 0-8264-6933-
7.
• Heylin, Clinton (1995). Bob Dylan: The Recording
Sessions, 1960–1994. St. Martin’s Griffin. ISBN
0-312-15067-9.
• Heylin, Clinton (1996). Bob Dylan: A Life In
Stolen Moments: Day by Day 1941–1995. Schirmer
Books. ISBN 0-7119-5669-3.
• Heylin, Clinton (2003). Bob Dylan: Behind the
Shades Revisited. Perennial Currents. ISBN 0-06-
052569-X.
• Heylin, Clinton (2009). Revolution In The Air: The
Songs of Bob Dylan, Volume One: 1957–73. Con-
stable. ISBN 1-84901-051-X.
• “Highway 61 Revisited by Bob Dylan”. Bobdy-
lan.com. Retrieved 2012-12-15.
• “Highway 61 Revisited—Discover: Liner Notes”.
Bobdylan.com. Retrieved 2010-12-25.
• “Highway 61 Revisited: Awards”. Allmusic. Re-
trieved 2010-12-10.
• “Hits of the World”. Billboard. 1965-10-09. Re-
trieved 2012-11-04.
• “Hits of the World”. Billboard. 1965-12-25. Re-
trieved 2012-11-04.
• Irwin, Colin (2008). Bob Dylan Highway 61 Revis-
ited. Flame Tree Publishing. ISBN 0-8230-8398-5.
• Janovitz, Bill. “From a Buick 6”. Allmusic. Re-
trieved 2010-11-25.
• Janovitz, Bill. “Just Like Tom Thumb’s Blues”. All-
music. Retrieved 2010-11-26.
• Kalet, Hank (2004-02-07). “Anarchy in the U.S.:
Bob Dylan’s Highway 61 Revisited”. PopMatters.
Retrieved 2010-11-27.
CHAPTER 2. STUDIO ALBUMS
• Krogsgaard, Michael (1991). Positively Bob Dylan.
Popular Culture, Ink. ISBN 1-56075-000-6.
• Lankford, Ronnie D. “Postcards of the Hanging:
The Grateful Dead Perform the Songs of Bob Dy-
lan”. Allmusic. Retrieved 2013-01-04.
• Larkin, Philip (1985). All What Jazz. Faber and
Faber. ISBN 0-571-13476-9.
• “LP Reviews”. Melody Maker. 1965-10-16.
• Marcus, Greil (2005). Like a Rolling Stone: Bob
Dylan at the Crossroads. PublicAffairs. ISBN 1-
58648-382-X.
• Marcus, Greil (2005-04-11). “Greil Marcus on
Recording 'Like a Rolling Stone'". NPR. Retrieved
2010-11-25.
• Marqusee, Mike (2005). Wicked Messenger: Bob
Dylan and the 1960s. Seven Stories Press. ISBN
1-58322-686-9.
• Parisien, Roch. “Stripped”. Allmusic. Retrieved
2013-01-04.
• Polizzotti, Mark (2006). Highway 61 Revisited.
Continuum. ISBN 0-8264-1775-2.
• “RIAA August Certifications”. Billboard. 1993-09-
13. Retrieved 2012-11-04.
• “The Rolling Stone 500 Greatest Albums of All
Time: Bob Dylan, Highway 61 Revisited”. Rolling
Stone. Retrieved 2012-11-19.
• “The Rolling Stone 500 Greatest Songs of All Time:
Bob Dylan, “Highway 61 Revisited"". Rolling Stone.
Retrieved 2012-11-19.
• “The Rolling Stone 500 Greatest Songs of All Time:
Bob Dylan, “Desolation Row"". Rolling Stone. Re-
trieved 2012-11-19.
• “The Rolling Stone 500 Greatest Songs of All Time:
Bob Dylan, “Like a Rolling Stone"". Rolling Stone.
Retrieved 2012-11-19.
• Ruhlmann, William. “Raisin' Cain”. Allmusic. Re-
trieved 2013-01-04.
• Scaduto, Anthony (2001). Bob Dylan. Helter Skel-
ter, reprint of 1972 original. ISBN 1-900924-23-4.
• Shelton, Robert (1986). No Direction Home: The
Life and Music of Bob Dylan. Ballantine. ISBN 0-
345-34721-8.
• Smith, Sid (2007-04-03). “Bob Dylan: Highway 61
Revisited Review”. BBC. Retrieved 2010-11-27.
• “Songs”. Bobdylan.com. Retrieved 2012-11-12.
2.7. BLONDE ON BLONDE 63

• Trager, Oliver (2004). Keys to the Rain: The Defini- have been described as among Dylan’s greatest composi-
tive Bob Dylan Encyclopedia. Billboard Books. tions and were featured in Rolling Stone 's 500 Greatest
ISBN 0-8230-7974-0. Songs of All Time list.

• Unterberger, Richie. “Jimi Plays Monterey”. All-

music. Retrieved 2013-01-05. 2.7.1 Recording sessions
• Williams, Paul (1990). Bob Dylan: Performing
Artist The Early Years 1960–1973. Underwood- Background
Miller. ISBN 0-88733-131-9.
After the release of the Highway 61 Revisited in August
• Willman, Chris (1995-02-18). “CD-ROM review: 1965, Dylan set about hiring a touring band. Guitarist
Bob Dylan Highway 61 Interactive”. Los Angeles Mike Bloomfield and keyboard player Al Kooper had
Times. Retrieved 2010-12-20. backed Dylan, both on his new album and at Dylan’s con-
troversial electric debut at the 1965 Newport Folk Festi-
val. Bloomfield chose not to tour with Dylan, preferring
2.6.11 External links to remain with the Paul Butterfield Blues Band.[2] After
backing him at concerts in late August and early Septem-
• Highway 61 Revisited (Adobe Flash) at Radio3Net ber, Kooper informed Dylan he did not wish to continue
(streamed copy where licensed) touring with him.[3] Dylan’s manager, Albert Grossman,
was in the process of setting up a gruelling concert sched-
ule that would keep Dylan on the road for the next nine
2.7 Blonde on Blonde months, touring the USA, Australia, and Europe. Dylan
contacted a group who were performing as Levon and the
This article is about the Bob Dylan album. For the band, Hawks. The Hawks comprised four Canadian musicians:
see Blonde on Blonde (band). Robbie Robertson, Rick Danko, Richard Manuel, and
Garth Hudson, plus Levon Helm from Arkansas. They
had come together as a band in Canada, backing Amer-
Blonde on Blonde is the seventh studio album by
ican rocker Ronnie Hawkins.[4] Two people had strongly
American singer-songwriter Bob Dylan, released on May
recommended the Hawks to Dylan: Mary Martin, the ex-
16, 1966 on Columbia Records. Recording sessions be-
ecutive secretary of Albert Grossman, and blues singer
gan in New York in October 1965 with numerous back-
John Hammond, Jr., son of record producer John Ham-
ing musicians, including members of Dylan’s live back-
mond, who had signed Dylan to Columbia Records in
ing band, The Hawks. Though sessions continued until
1961. The Hawks had backed the younger Hammond on
January 1966, they yielded only one track that made it
his 1965 album So Many Roads.[5]
onto the final album—"One of Us Must Know (Sooner or
Later)". At producer Bob Johnston's suggestion, Dylan, Dylan rehearsed with the Hawks in Toronto on Septem-
keyboardist Al Kooper, and guitarist Robbie Robertson ber 15, where they were playing a hometown residency
[3]
moved to the CBS studios in Nashville, Tennessee. These at Friar’s Club, and on September 24, they made their
[6]
sessions, augmented by some of Nashville’s top session debut in Austin, Texas. Just two weeks later, encour-
[6]
musicians, were more fruitful, and in February and March aged by the success of their Texas performance, Dylan
all the remaining songs for the album were recorded. took the Hawks into Studio A of Columbia Records in
New York City.[7] Their immediate task was to record a
Blonde on Blonde completed the trilogy of rock albums
hit single as the follow-up to "Positively 4th Street". But
that Dylan recorded in 1965 and 1966, starting with
Dylan was already trying to formulate the shape of his
Bringing It All Back Home and Highway 61 Revisited.
next album, the third he had begun that year backed by
Critics often rank Blonde on Blonde as one of the great-
rock musicians.[7]
est albums of all time. Combining the expertise of
Nashville session musicians with a modernist literary sen-
sibility, the album’s songs have been described as oper- New York sessions
ating on a grand scale musically, while featuring lyrics
one critic called “a unique blend of the visionary and the Producer Bob Johnston, who had overseen the recording
colloquial”.[1] It was one of the first double albums in rock of Highway 61 Revisited, started work with Dylan and the
music. Hawks at Columbia Studio A, 799 Seventh Avenue, New
The album peaked at No. 9 on the Billboard 200 chart York on October 5. They concentrated on a new arrange-
in the USA, where it eventually went double-platinum, ment of "Can You Please Crawl Out Your Window?", a
and reached No. 3 in the UK. Blonde on Blonde spawned song recorded during the Highway 61 sessions but not
two singles that were top twenty hits in the USA: "Rainy included on that album. Three further numbers were
Day Women #12 & 35" and "I Want You". Two further attempted, but none progressed into completed songs.
songs, "Just Like a Woman" and "Visions of Johanna", Both the fragmentary “Jet Pilot” and “I Wanna Be Your
64 CHAPTER 2. STUDIO ALBUMS

Lover”, a quasi-parody of the Beatles’ "I Wanna Be Your additional recording dates. Six weeks later, Dylan con-
Man", finally appeared on the 1985 box set retrospective, fided to critic Robert Shelton, “Oh, I was really down. I
Biograph. Also attempted were two takes of “Medicine mean, in ten recording sessions, man, we didn't get one
Sunday”, a song that later evolved into "Temporary Like song...It was the band. But you see, I didn't know that. I
Achilles".[8] didn't want to think that.”[20]
On November 30, the Hawks joined Dylan again at Stu-
dio A, but drummer Bobby Gregg replaced Levon Helm,
who had tired of playing in a backing band and quit Move to Nashville
the group.[9] They began work on a new composition,
“Freeze Out”, which was later retitled "Visions of Jo- Recognizing Dylan’s dissatisfaction with the progress of
hanna", but Dylan wasn't satisfied with the results. One the recordings, producer Bob Johnston suggested that
of the November 30 recordings was eventually released they move the sessions to Nashville. Johnston lived there
on The Bootleg Series Vol. 7: No Direction Home: The and had extensive experience working with Nashville ses-
Soundtrack in 2005.[10] At this session, they completed sion musicians. He recalled how Dylan’s manager, Albert
“Can You Please Crawl Out Your Window?" The song Grossman, was hostile to the idea: “Grossman came up
was released as a single in December, but only reached to me and said 'If you ever mention Nashville to Dylan
No. 58 on the American charts.[9][11] again, you're gone.' I said, 'What do you mean?' He
said, 'You heard me. We got a thing going here'.”[21] De-
Dylan spent most of December in California, perform-
spite Grossman’s opposition, Dylan agreed to Johnston’s
ing a dozen concerts with his band, and then took a break
suggestion, and preparations were made to record the al-
through the third week in January following the birth of
bum at Columbia’s A Studio on Nashville’s Music Row in
his son Jesse.[12][13] On January 21, 1966, he returned
February 1966.[22]
to Columbia’s Studio A to record another long compo-
sition, "She’s Your Lover Now", accompanied by the In addition to Kooper and Robertson, who accompanied
Hawks (this time with Sandy Konikoff on drums).[14] De- Dylan from New York, Johnston recruited harmonica
spite 19 takes, the session failed to yield any complete player, guitarist and bassist Charlie McCoy, guitarist
recordings. Dylan did not attempt the song again, but Wayne Moss, guitarist and bassist Joe South, and drum-
one of the outtakes from the January 21 session finally mer Kenny Buttrey. At Dylan’s request, Johnston re-
appeared 25 years later on The Bootleg Series Volumes 1– moved the baffles—partitions separating the musicians—
3 (Rare & Unreleased) 1961–1991.[14][15] (Although the so that there was “an ambiance fit for an ensemble”.[23]
song breaks down at the start of the last verse, Columbia Buttrey credited the distinctive sound of the album to
released it as the most complete take from the session.)[14] Johnston’s re-arrangement of the studio, “as if we were
on a tight stage, as opposed to playing in a big hall where
Around this time, Dylan became disillusioned about us-
you're ninety miles apart.”[23] In addition, Dylan had a pi-
ing the Hawks in the studio. He recorded more material
ano installed in his Nashville hotel room, which Kooper
at Studio A on January 25, backed by drummer Bobby
would play for Dylan to help in the songwriting process.
Gregg, bassist Rick Danko (or Bill Lee),[a 1] guitarist
Kooper would then teach the tunes to the musicians be-
Robbie Robertson, pianist Paul Griffin, and Al Kooper on
fore Dylan arrived for the sessions.[24]
organ.[16] Two more new compositions were attempted:
"Leopard-Skin Pill-Box Hat" and "One of Us Must Know On the first Nashville session on February 14, Dylan suc-
(Sooner or Later)". Dylan was satisfied with “One of Us cessfully recorded “Visions of Johanna”, which he had
Must Know"; the January 25 take was released as a single attempted several times in New York. Also recorded was
a few weeks later and was subsequently selected for the a take of "4th Time Around", which made it onto the al-
album.[17] bum, and a take of “Leopard-Skin Pill-Box Hat”, which
did not.[25]
Another session took place on January 27, this time
with guitarist Robbie Robertson, bassist Rick Danko, Al On February 15, the session began at 6 p.m., but Dylan
Kooper, and drummer Bobby Gregg. Dylan and his band simply sat in the studio working on his lyrics, while the
recorded “Leopard-Skin Pill-Box Hat” and “One of Us musicians played cards, napped, and chatted. Finally, at 4
Must Know” again, but Dylan was not satisfied with the a.m., Dylan called the musicians in and outlined the struc-
ture of the song.[25] Dylan counted off and the musicians
recorded performance of either song.[18] Also at this ses-
sion, Dylan attempted a rough performance of "I'll Keep fell in, as he attempted his epic composition, "Sad Eyed
It With Mine", a song which he had already recorded Lady of the Lowlands". Kenny Buttrey recalled, “If you
twice in demo form. The musicians added some tentative notice that record, that thing after like the second chorus
backing, a rendition biographer Clinton Heylin described starts building and building like crazy, and everybody’s
as cursory.[19] The recording was ultimately released on just peaking it up 'cause we thought, Man, this is it...This
The Bootleg Series Volumes 1–3 in 1991.[15] is gonna be the last chorus and we've gotta put everything
into it we can. And he played another harmonica solo and
A shortage of new material and the slow progress of the
went back down to another verse and the dynamics had
sessions contributed to Dylan’s decision to cancel three
to drop back down to a verse kind of feel...After about
2.7. BLONDE ON BLONDE 65

ten minutes of this thing we're cracking up at each other, Controversy over Nashville recording dates Al
at what we were doing. I mean, we peaked five minutes Kooper, who played keyboards on every track of Blonde
ago. Where do we go from here?"[26] The finished song on Blonde, has contested the conventional account that
clocked in at 11 minutes, 23 seconds, and would occupy there were two blocks of recording sessions in Nashville.
the entire fourth side of the album.[25] In comments on Michael Gray’s website, Kooper wrote:
The next session began similarly—Dylan spent the after- “There was only ONE trip to Nashville for Robbie &
noon writing lyrics, and the session continued into the I, and ALL THE TRACKS were cut in that one visit.”
early hours of February 17, when the musicians began Charlie McCoy agreed with Kooper’s version.[32] Wilentz
analyzed the recording of Blonde on Blonde in his book
to record "Stuck Inside of Mobile with the Memphis
Blues Again". After several musical revisions and false Bob Dylan In America, concluding that “the official doc-
umented version jibes better with Dylan’s known tour-
starts, the fourteenth take was the version selected for the
album.[27] ing schedule. It also jibes with the fact that five of the
eight songs first recorded after 'Memphis Blues Again',
but none of those recorded earlier, include a middle-eight
Second recording sessions in Nashville section—Dylan’s first extensive foray as a writer into that
conventional structure.”[27]
Most accounts of recording Blonde on Blonde, includ-
ing those by Dylan scholars Clinton Heylin and Michael Mixing and album title
Gray, agree that there were two blocks of recording ses-
sions: from February 14 to 17 and from March 8 to 10 Dylan mixed the album in Los Angeles in early April, be-
in 1966.[28][29] This chronology is based on the logs and fore he departed on the Australian leg of his 1966 world
files kept by Columbia Records.[27][a 2] tour.[30][33] Wilentz writes that it was at this point it be-
Dylan and the Hawks performed concerts in Ottawa, came “obvious that the riches of the Nashville sessions
Montreal, and Philadelphia in February and March,[29] could not fit onto a single LP",[30] and they had “pro-
and then Dylan resumed recording in Nashville on March duced enough solid material to demand an oddly con-
8. On that date, Dylan and the musicians recorded the figured double album, the first of its kind in contem-
take of "Absolutely Sweet Marie" that Dylan selected for porary popular music.”[27] According to producer Steve
the album. Historian Sean Wilentz observed that “with Berkowitz, who supervised the reissue of Dylan’s LPs in
the sound of 'Sweet Marie', Blonde on Blonde entered mono as The Original Mono Recordings in 2010, John-
fully and sublimely into what is now considered classic ston told him that they carefully worked on the mono mix
rock and roll”.[30] The same day saw the successful master for about three or four days whereas the stereo mix was
takes of "Just Like a Woman", and "Pledging My Time", finished in about four hours.[a 3]
the latter “driven by Robertson’s screaming guitar”.[30] Al Kooper recalled that both the album title, Blonde on
According to Wilentz, the final recording session, on Blonde, and song titles arrived during the mixing sessions.
March 9–10, produced six songs in 13 hours of studio “When they were mixing it, we were sitting around and
time.[30] The first number to be recorded to Dylan’s satis- Bob Johnston came in and said, 'What do you want to call
faction was "Most Likely You Go Your Way (And I'll Go this?' And [Bob] just like said them out one at a time...
Mine)", when McCoy reinforced—on trumpet—a mu- Free association and silliness, I'm sure, played a big
[34]
sical phrase which Dylan had been playing on his har- role.” Another Dylan chronicler, Oliver Trager, notes
[30]
monica, changing the sound of the song radically. Dy- that besides spelling out the initials of Dylan’s first name,
lan and his band then quickly recorded “Temporary Like the album title is also a riff on Brecht on Brecht, a stage
Achilles”. The session atmosphere began to “get giddy” production based on works by German playwright Bertolt
around midnight, when Dylan roughed out “Rainy Day Brecht that had influenced his early songwriting.[35] Dy-
Women #12 & 35” on the piano. [30]
Johnston recalled lan himself has said of the title: “Well, I don't even recall
commenting, “That sounds like the damn Salvation Army exactly how it came up, but I know it was all in good
band”. Dylan replied, “Can you get one?" [31]
Johnston faith... I don't know who thought of that. I certainly
[36]
then telephoned trombonist Wayne Butler, the only addi- didn't.”
tional musician required, and Dylan and the band, with
McCoy again on trumpet, played a high-spirited version
of the song.[31] 2.7.2 Songs
In quick succession, Dylan and the musicians then "Rainy Day Women #12 & 35"
recorded "Obviously 5 Believers", and a final take of
“Leopard-Skin Pill-Box Hat”, powered by Robertson’s According to author Andy Gill, by starting his new al-
lead guitar.[30] The session concluded with "I Want bum with what sounded like “a demented marching-
You", where, as Wilentz notes, “Wayne Moss’s rapid-fire band...staffed by crazy people out of their mind on loco-
sixteenth notes on the guitar” are an impressive element weed”, Dylan delivered his biggest shock yet for his for-
of the recording.[30] mer folkie fans.[38] The elaborate puns on getting stoned
66 CHAPTER 2. STUDIO ALBUMS

combine a sense of paranoiac persecution with “nudge-
nudge wink-wink bohemian hedonism”.[38] Heylin points
out that the Old Testament connotations of getting stoned
made the Salvation Army-style musical backing seem like
a good joke. The enigmatic title came about, Heylin sug-
gests, because Dylan knew a song entitled “everybody
must get stoned” would be kept off the airwaves. Heylin
links the title to the Book of Proverbs, chapter 27, verse
15: “A continual dropping in a very rainy day and a con-
tentious woman are alike.”[39] Released as a single on
March 22, 1966,[40] “Rainy Day Women” reached No.
2 on the Billboard singles chart,[41] and No. 7 in the
UK.[38][42]
and Robertson had become adept at responding to Dy-
lan’s vocal and also singled out Joe South’s contribution of
“this throbbing...rhythmically amazing bass part”.[50] Gill
comments that the song begins by contrasting two lovers,
the carnal Louise, and “the more spiritual but unattain-
able” Johanna. Ultimately, for Gill, the song seeks to con-
vey how the artist is compelled to keep striving to pursue
some elusive vision of perfection.[50] For Heylin, the tri-
umph of the song is in “the way Dylan manages to write
about the most inchoate feelings in such a vivid, immedi-
ate way.”[51]
"One of Us Must Know (Sooner or Later)"

"Pledging My Time"
When Dylan arrived at the studio on January 25, 1966,
he had yet to work out the lyrics and title for what was
Following the good-time fun of “Rainy Day Women #12
to become the closing track on Blonde on Blonde 's first
& 35”, the Chicago blues-influenced “Pledging My Time”
side.[17][52][53] With Dylan piecing together the song’s
sets the somber tone that runs through the album.[43][44]
sections, and the chorus that gives the song its title only
It draws on several traditional blues songs, including
emerging on take five, the session stretched through the
Elmore James' recording of "It Hurts Me Too".[45] For
night and into the next morning.[53] It was not until the
critic Michael Gray, the lines “Somebody got lucky but
eighteenth take that a full version was recorded. The next
it was an accident” echo the lines “Some joker got lucky,
take, the nineteenth, closed the session and made it onto
stole her back again” from Robert Johnson's "Come On
the album four months later.[17] Critic Jonathan Singer
in My Kitchen", which is itself an echo of the Skip James
credits Griffin’s piano for binding the song together: “At
1931 recording “Devil Got My Woman”. Gray suggests
the chorus, Griffin unleashes a symphony; hammering
that “the gulping movements of the melodic phrases” de-
his way up and down the keyboard, half Gershwin, half
rive from the melody of "Sitting on Top of the World",
gospel, all heart. The follow-up, a killer left hand figure
recorded by the Mississippi Sheiks in 1930.[46] The cou-
that links the chorus to the verse, releases none of the
plet at the end of each verse expresses the theme: a
song’s tension.”[54]
pledge made to a prospective lover in hopes she “will
come through, too”.[43][47] Besides Dylan’s vocals and im- “One of Us Must Know” is a straightforward account of a
provised harmonica breaks, the song’s sound is defined by burned-out relationship.[53] Dissecting what went wrong,
Robbie Robertson’s guitar, Hargus “Pig” Robbins’s blues the narrator takes a defensive attitude in a one-sided con-
piano and Ken Buttrey’s snare drum rolls.[30][48] The song versation with his former lover.[55][56] As he presents his
was released in edited form as the B-side of “Rainy Day case in the opening verse, it appears he is incapable of
Women #12 & 35” in March.[40] either acknowledging his part or limiting the abuse: “I
didn't mean to treat you so bad. You don't have to take
"Visions of Johanna" it so personal. I didn't mean to make you so sad. You
just happened to be there, that’s all.”[55][57] “One of Us
Considered by many critics as one of Dylan’s Must Know” was the first recording completed for Blonde
masterpieces,[9][50][51] “Visions of Johanna” proved on Blonde and the only one selected from the New York
difficult to capture on tape. Heylin places the writing in sessions.[55] The song was released as the first single from
the fall of 1965, when Dylan was living in the Chelsea the album on February 14, the same day Dylan began to
Hotel with his wife Sara.[51] In the New York recording record in Nashville.[16] It failed to appear on the Ameri-
studio, on November 30, Dylan announced his epic can charts, but reached No. 33 in the UK.[42][56]
composition: “This is called 'Freeze Out'.”[9] Gill notes
that this working title captures the “air of nocturnal "I Want You"
suspension in which the verse tableaux are sketched...full
of whispering and muttering.”[50] Wilentz relates how Andy Gill notes that the song displays a tension between
Dylan guided his backing musicians through fourteen the very direct tone of the chorus, the repeated phrase
takes, trying to sketch out how he wanted it played, “I want you”, and a weird and complex cast of charac-
saying at one point, “it’s not hard rock, The only thing in
ters, “too numerous to inhabit the song’s three minutes
it that’s hard is Robbie.”[9] Wilentz notes that, as Dylan
comfortably”, including a guilty undertaker, a lonesome
quiets things down, he inches closer to what will appear organ grinder, weeping fathers, mothers, sleeping sav-
on the album.[9] iors, the Queen of Spades, and the “dancing child with
Ten weeks later, “Visions of Johanna” fell into place his Chinese suit”.[58][a 4][59] Analyzing the evolution of
quickly in the Nashville studio. Kooper recalled that he the lyrics through successive drafts, Wilentz writes that
2.7. BLONDE ON BLONDE 67

there are numerous failures, “about deputies asking him at one point finding his doctor with her and later spying
his name...lines about fathers going down hugging one an- her making love with a new boyfriend because she “forgot
other and about their daughters putting him down because to close the garage door”. In the closing lines, the narrator
he isn't their brother”. Finally Dylan arrives at the right says he knows what her boyfriend really loves her for—
formula.[30] her hat.[69]
Heylin points out that the gorgeous tune illustrates what The song evolved over the course of six takes in New
Dylan explained to a reporter in 1966: “It’s not just pretty York, 13 in the first Nashville session, and then one try
words to a tune or putting tunes to words...[It’s] the words on March 10, the take used for the album.[70] Dylan, who
and the music [together]—I can hear the sound of what I gets credit on the liner notes as lead guitarist, opens the
want to say.”[60] Al Kooper has said that of all the songs song playing lead (on the center-right stereo channel);
that Dylan had outlined to him in his hotel, this was his however, Robertson handles the solos with a “searing”
favorite, so Dylan delayed recording it to the very end of performance (on the left stereo channel).[30][64] A year
the Nashville sessions, “just to bug him”.[30] Released as following the recording, “Leopard-Skin Pill-Box Hat” be-
a single in June 1966, shortly before the album Blonde on came the fifth single released from Blonde on Blonde,
Blonde, “I Want You” reached No. 20 in the USA,[41] and making it to No. 81 on the Billboard Hot 100.[64][65]
No. 16 in the UK.[42]
"Just Like a Woman"
"Stuck Inside of Mobile with the Memphis Blues Again"
According to Wilentz’s analysis of the session’s tapes, Dy-
lan felt his way into the lyrics of one of his most popular
Recorded at the third Nashville session, this song was the songs, singing “disconnected lines and semi-gibberish”
culmination of another epic of simultaneous writing and during the earlier takes. He was unsure what the per-
recording in the studio. Wilentz describes how the lyrics son described in the song does that is just like a woman,
[30]
evolved through a surviving part-typed, part-handwritten rejecting “shakes”, “wakes”, and “makes mistakes”.
manuscript page, “which begins 'honey but it’s just too This exploration of female wiles and feminine vulnerabil-
hard' (a line that had survived from the very first New ity was widely rumored—"not least by her acquaintances
York session with the Hawks). Then the words mean- among Andy Warhol's Factory retinue”—to be about
[71]
der through random combinations and disconnected frag- Edie Sedgwick. The reference to Baby’s penchant for
ments and images ('people just get uglier'; 'banjo eyes’; 'he “fog...amphetamine and... pearls” suggests Sedgwick or
[72]
was carrying a 22 but it was only a single shot'), before, some similar debutante, according to Heylin.
in Dylan’s own hand, amid many crossings-out, there ap- Discussing the lyrics, literary critic Christopher Ricks de-
pears 'Oh MAMA you're here IN MOBILE ALABAMA tects a “note of social exclusion” in the line “I was hungry
with the Memphis blues again'.”[61] and it was your world”.[73] In response to the accusation
Inside the studio, the song evolved through several musi- that Dylan’s depiction of female strategies is misogynis-
cal revisions. Heylin writes, “It is the song’s arrangement, tic, Ricks asks, “Could there ever be any challenging art
and not its lyrics, that occupies the musicians through about men and women where the accusation just didn't
the wee small hours.”[62] On the fifth take, released in arise?"[74] The song reached No. 33 in the USA.[41]
2005 on the No Direction Home Soundtrack, midtake Dy-
lan stumbles on the formula “Stuck inside of Mobile” on "Most Likely You Go Your Way (And I'll Go Mine)"
the fourth verse, and never goes back.[62] The song con-
tains two oft-quoted pieces of Dylan’s philosophy: “Your
debutante just knows what you need/ But I know what A bright blues “stomper” about lovers parting, “Most
you want” and “here I sit so patiently/ Waiting to find out Likely You Go Your Way (And I'll Go Mine)" is one of
what price/ You have to pay to get out of/ Going through the more literal songs Dylan recorded in his 1965–1966
all these things twice”.[63] period.[75][76] The narrator has tired of carrying his lover
and is going to let her “pass”.[75][77] As in “Just Like a
"Leopard-Skin Pill-Box Hat" Woman” and “Absolutely Sweet Marie”, he waits until
the end of each verse to deliver the punch line, which in
[78]
“Leopard-Skin Pill-Box Hat” is a sarcastic satire this case comes from the title. “Most Likely You Go
on materialism, fashion and faddism. [64][65]
Done in Your Way” was issued as a single a year later, in March
Chicago-blues style, the song derives its melody and 1967, on the B-side of “Leopard-Skin Pill-Box Hat”.[79]
part of its lyrics from Lightnin' Hopkins's “Automobile
(Blues)".[66][67] Paul Williams writes that its misogynistic “Temporary Like Achilles”
attitude is “moderated slightly when one realizes that jeal-
ous pique is the underlying emotion”.[68] In the lyrics, This slow-moving blues number is highlighted by Hargus
the narrator observes his former lover in various situa- “Pig” Robbins’s “dusky barrelhouse piano”[30] and Dy-
tions wearing her “brand new leopard-skin pill-box hat", lan’s “brief wheeze of harmonica”.[75] In the song, the
68 CHAPTER 2. STUDIO ALBUMS

narrator has been spurned by his lover, who has already that “Lowlands” hints at “Lownds”, and Dylan biographer
taken up with her latest boyfriend.[76][80] Referring to his Robert Shelton wrote that this was a “wedding song” for
rival as "Achilles", the narrator senses the new suitor may Sara Lownds, whom Dylan had married just three months
end up being discarded as quickly as he was.[75][80] The earlier.[89][a 5] In his paean to his wife, "Sara", written
refrain that ends each of the main verses—"Honey, why in 1975, Dylan amends history slightly to claim that he
are you so hard?"—is a double entendre Dylan had been stayed “up for days in the Chelsea Hotel/ Writin' 'Sad-
wanting to work into a song.[75][81][82] Eyed Lady of the Lowlands’ for you”.[86][93]
When Dylan played Shelton the song, shortly after
"Absolutely Sweet Marie" recording it, he claimed, “This is the best song I've ever
written.”[94] Around the same time, Dylan enthused to
This song, described as “up-tempo blues shuffle, pure journalist Jules Siegel, “Just listen to that! That’s old-time
Memphis"[76] and an example of “obvious pop sensibility religious carnival music!"[95] However, in 1969, Dylan
and compulsive melody”, was recorded in four takes on confessed to Rolling Stone 's editor, Jann Wenner, “I just
March 7, 1966.[83] Gill sees the lyrics as a series of sexual sat down at a table and started writing...And I just got
metaphors, including “beating on my trumpet” and keys carried away with the whole thing...I just started writing
to locked gates, many deriving from traditional blues.[84] and I couldn't stop. After a period of time, I forgot what
Nonetheless, the song contains what has been termed it was all about, and I started trying to get back to the
“one of the most oft-repeated of Dylan’s life lessons”, the beginning [laughs].”[96]
thought that “to live outside the law you must be honest”,
Heard by some listeners as a hymn to an other-worldly
which was later invoked in many bohemian and counter-
woman,[37] for Shelton “her travails seem beyond en-
cultural contexts.[84]
durance, yet she radiates an inner strength, an ability to be
reborn. This is Dylan at his most romantic.”[89] Wilentz
"4th Time Around" comments that Dylan’s writing had shifted from the days
when he asked questions and supplied answers. Like the
When The Beatles released their sixth studio album, verses of William Blake's "Tyger", Dylan asks a series of
Rubber Soul, in December 1965, John Lennon's song questions about the “Sad Eyed Lady” but never supplies
"Norwegian Wood" attracted attention for the way in any answers.[97]
which Lennon disguised his account of an illicit affair in
cryptic, Dylanesque language.[85] Dylan sketched out a
response to the song, also in 3/4 time, copying the tune Outtakes
and circular structure, but taking Lennon’s tale in a darker
direction.[85] Wilentz describes the result as sounding The following outtakes were recorded during the Blonde
“like Bob Dylan impersonating John Lennon imperson- on Blonde sessions.
ating Bob Dylan”.[25]

“Obviously 5 Believers” 2.7.3 Album cover and release

The cover photo of Blonde on Blonde shows a 12-by-

“Obviously 5 Believers”, Blonde on Blonde's second-to-
last track, is a roadhouse blues love song similar in melody
and structure to Memphis Minnie's "Me and My Chauf-
feur Blues",[88] and was described by Robert Shelton as
“the best R&B song on the album”.[89] Recorded in the
early morning hours of the March 9–10 Nashville ses-
sion under the working title “Black Dog Blues”, the song
is driven by Robertson’s guitar, Charley McCoy’s har-
monica and Ken Buttrey's drumming.[30][90][91] After an
initial breakdown, Dylan complained to the band that
the song was “very easy, man” and that he didn't want
to spend much time on it.[30][91] Within four takes, the
recording was done.[30]
"Sad Eyed Lady of the Lowlands"
Written in the CBS recording studio in Nashville[92] over
the space of eight hours on the night of February 15–
16, “Sad Eyed Lady” eventually occupied the whole of
side four of Blonde On Blonde.[25] Critics have observed
12 inch close-up portrait of Dylan. The double album
gatefold sleeve opens to form a 12-by-26 inch photo of
the artist, at three quarter length. The artist’s name and
the album’s title only appear on the spine. A sticker was
applied to the shrink wrap to promote the release’s two
hit singles, “I Want You” and “Rainy Day Women #12 &
35”.[35][102]
The cover shows Dylan in front of a brick building, wear-
ing a suede jacket and a black and white checkered scarf.
The jacket is the same one he wore on his next two al-
bums, John Wesley Harding and Nashville Skyline.[103]
The photographer, Jerry Schatzberg, described how the
photo was taken:
I wanted to find an interesting location out-
side of the studio. We went to the west side,
where the Chelsea art galleries are now. At the
time it was the meat packing district of New
York and I liked the look of it. It was freezing
2.7. BLONDE ON BLONDE
and we were very cold. The frame he chose for
the cover is blurred and out of focus. Of course
everyone was trying to interpret the meaning,
saying it must represent getting high on an LSD
trip. It was none of the above; we were just cold
and the two of us were shivering. There were
other images that were sharp and in focus but,
to his credit, Dylan liked that photograph.[104]
The original inside gatefold featured nine black-and-
white photos, all taken by Schatzberg and selected for the
sleeve by Dylan himself.[105] A shot of actress Claudia
Cardinale from Schatzberg’s portfolio was included but
later withdrawn because it had been used without her au-
thorization and Cardinale’s representatives threatened to
sue,[105] making the original record sleeve a collector’s
item.[106] Dylan included a self-portrait by Schatzberg as
a credit to the photographer.[105] The photos, for Gill,
added up to “a shadowy glimpse of [Dylan’s] life, includ-
ing an enigmatic posed shot of Dylan holding a small por-
trait of a woman in one hand and a pair of pliers in the
other: they all contributed to the album’s air of reclusive
yet sybaritic genius.”[38]
Release
The dating of the album’s release is uncertain. May 16,
1966 has been widely accepted as the official release
date;[24][107][108] however, Michael Gray, author of The
Bob Dylan Encyclopedia, disputes this. Gray maintains
the earliest Blonde on Blonde was available was late June
or early July.[28] This coincides with the album’s promo-
tion in Billboard, which carried a full-page Columbia ad-
vertisement on June 25,[109] selected the album as a “New
Action LP” on July 9,[110] and ran a review and article
on July 16.[102] The album debuted on Billboard 's Top
LP’s chart on July 23[111] —just six days before Dylan’s
motorcycle accident in Woodstock removed him from
public view.[112] Clinton Heylin argues that early July
is the probable release date, stating that an overdub on
“Fourth Time Around” was recorded in June.[113] Blonde
on Blonde has been described as rock’s first studio double
LP by a major artist.[114][115][a 6]
2.7.4 Critical reception and legacy
Blonde on Blonde reached the Top 10 in both the US
and UK album charts, and also spawned a number of hits
that restored Dylan to the upper echelons of the singles
charts. In August 1967, the album was certified as a gold
disc.[119]
On its release, many critics argued the album was a major
work. To accompany the songbook of Blonde on Blonde,
Paul Nelson wrote an introduction stating, “The very title
suggests the singularity and the duality we expect from
Dylan. For Dylan’s music of illusion and delusion—with
69
the tramp as explorer and the clown as happy victim,
where the greatest crimes are lifelessness and the inabil-
ity to see oneself as a circus performer in the show of
life—has always carried within it its own inherent ten-
sions...Dylan in the end truly UNDERSTANDS situa-
tions, and once one truly understands anything, there can
no longer be anger, no longer be moralizing, but only hu-
mor and compassion, only pity.”[120]
The album received generally favorable reviews in 1966.
For Pete Johnson in the Los Angeles Times, “Dylan is
a superbly eloquent writer of pop and folk songs with
an unmatched ability to press complex ideas and icon-
oclastic philosophy into brief poetic lines and startling
images.”[121] The editor of Crawdaddy!, Paul Williams,
reviewed Blonde on Blonde in July 1966: “It is a cache
of emotion, a well handled package of excellent music
and better poetry, blended and meshed and ready to be-
come part of your reality. Here is a man who will speak
to you, a 1960s bard with electric lyre and color slides,
but a truthful man with x-ray eyes you can look through
if you want. All you have to do is listen.”[122]
The achievement of Blonde on Blonde seems to have lin-
gered in Dylan’s memory. Twelve years after its release,
Dylan said: “The closest I ever got to the sound I hear
in my mind was on individual bands in the Blonde on
Blonde album. It’s that thin, that wild mercury sound.
It’s metallic and bright gold, with whatever that conjures
up.”[123] For critics, the double album was seen as the
last installment in Dylan’s trilogy of mid-1960s rock al-
bums. As Janet Maslin wrote, “The three albums of
this period—Bringing It All Back Home and Highway 61
Revisited both released in 1965, and Blonde on Blonde
from 1966—used their electric instrumentation and rock
arrangements to achieve a crashing exuberance Dylan
hadn't approached before.”[124] Mike Marqusee has de-
scribed Dylan’s output between late 1964 and the summer
of 1966, when he recorded these three albums, as “a body
of work that remains unique in popular music.”[125] For
Patrick Humphries, “Dylan’s body of work during the 14-
months period...stands unequalled in rock’s 30-year his-
tory. In substance, style, ambition and achievement, no
one has even come close to matching Bringing It All Back
Home, Highway 61 Revisited and Blonde on Blonde.”[126]
Blonde on Blonde has been consistently highly placed in
polls of the greatest albums of all time. In 1974, the writ-
ers of NME voted Blonde on Blonde the No. 2 album of
all time.[127] Demonstrating the transitory nature of such
polls, in 1997 the album was placed at No. 16 in a “Music
of the Millennium” poll conducted by HMV, Channel 4,
The Guardian and Classic FM.[128] In 2006, TIME maga-
zine included the record on their 100 All-TIME Albums
list.[115] In 2003, the album was ranked No. 9 on Rolling
Stone magazine’s list of the 500 greatest albums of all
time.[114] In 2004, two songs from the album also ap-
peared on the magazine’s list of the 500 greatest songs of
all time: “Just Like a Woman” ranked No. 230 and “Vi-
sions of Johanna” No. 404.[129][130] (When Rolling Stone
70
updated this list in 2010, “Just Like a Woman” dropped to
No. 232 and “Visions of Johanna” to No. 413.)[131][132]
Dylan scholar Michael Gray wrote: “To have followed up
one masterpiece with another was Dylan’s history making
achievement here...Where Highway 61 Revisited has Dy-
lan exposing and confronting like a laser beam in surgery,
descending from outside the sickness, Blonde on Blonde
offers a persona awash inside the chaos...We're tossed
from song to song...The feel and the music are on a grand
scale, and the language and delivery are a rich mixture
of the visionary and the colloquial.”[1] Critic Tim Riley
wrote: “A sprawling abstraction of eccentric blues revi-
sionism, Blonde on Blonde confirms Dylan’s stature as the
greatest American rock presence since Elvis Presley.”[133]
Biographer Robert Shelton saw the album as “a hall-
mark collection that completes his first major rock cy-
cle, which began with Bringing It All Back Home". Sum-
ming up the album’s achievement, Shelton wrote that
Blonde on Blonde “begins with a joke and ends with a
hymn; in between wit alternates with a dominant theme
of entrapment by circumstances, love, society, and unre-
alized hope... There’s a remarkable marriage of funky,
bluesy rock expressionism, and Rimbaud-like visions of
discontinuity, chaos, emptiness, loss, being 'stuck'.”[37]
For Mike Marqusee, Dylan had succeeded in combin-
ing traditional blues material with modernist literary tech-
niques: "[Dylan] took inherited idioms and boosted them
into a modernist stratosphere. 'Pledging My Time' and
'Obviously 5 Believers’ adhered to blues patterns that
were venerable when Dylan first encountered them in the
mid-fifties (both begin with the ritual Delta invocation of
“early in the mornin”). Yet like 'Visions of Johanna' or
'Memphis Blues Again', these songs are beyond category.
They are allusive, repetitive, jaggedly abstract composi-
tions that defy reduction.”[134]
That sense of crossing cultural boundaries was, for Al
Kooper, at the heart of Blonde on Blonde: "[Bob Dylan]
was the quintessential New York hipster—what was he
doing in Nashville? It didn't make any sense whatsoever.
But you take those two elements, pour them into a test
tube, and it just exploded.”[38]
2.7.5 Track listing
All songs written by Bob Dylan.
2.7.6 Personnel
The personnel involved in making Blonde on Blonde is
subject to some discrepancy:[16][135][136]
• Bob Dylan – vocals, guitar, harmonica, piano
Additional musicians
• Bill Aikins – keyboards
CHAPTER 2. STUDIO ALBUMS
• Wayne Butler – trombone
• Kenneth Buttrey – drums
• Rick Danko or Bill Lee – bass guitar (New York)
• Bobby Gregg – drums (New York)
• Paul Griffin – piano (New York)
• Jerry Kennedy – guitar
• Al Kooper – organ, guitar
• Charlie McCoy – bass guitar, guitar, harmonica,
trumpet
• Wayne Moss – guitar, vocals
• Hargus “Pig” Robbins – piano, keyboards
• Robbie Robertson – guitar, vocals
• Henry Strzelecki – bass guitar
• Joe South – bass guitar, guitar
Technical personnel
• Bob Johnston – production
• Jerry Schatzberg – cover photographer
2.7.7 Charts
Singles
2.7.8 Notes
[1] The booklet accompanying the The Original Mono
Recordings re-issue of Blonde on Blonde lists Will Lee
as the bass player (Marcus 2010, p. 47). Wilentz insists
that “the playing and talk on the session tape show conclu-
sively that Rick Danko was the bassist on 'One of Us Must
Know'" (Wilentz 2009, p. 113).
[2] The booklet accompanying the The Original Mono
Recordings re-issue of Blonde on Blonde gives recording
dates for each track of the double album, confirming the
Nashville recording sessions were in two blocks, one in
February, the other in March (Marcus 2010, pp. 48–49).
[3] Johnston said: “We mixed that mono probably for three or
four days, then I said, 'Oh shit, man, we gotta do stereo.'
So me and a coupla guys put our hands on the board, we
mixed that son of a bitch in about four hours!...So my
point is, it took a long time to do the mono, and then it
was, 'Oh, yeah, we gotta do stereo'" (Ford 2010, p. 3).
[4] Gill reports that “the dancing child” was rumored to be a
reference to Brian Jones of The Rolling Stones (Gill 2011,
p. 142). Heylin agrees there may be substance to this
because the dancing child claims that “time was on his
side”, perhaps a reference to "Time Is On My Side", the
Stones’ first US hit (Heylin 2009, p. 312).
2.7. BLONDE ON BLONDE 71

[5] Bob Dylan married Sara Lownds on November 22, 1965, [31] Black 2005
at a judge’s office on Long Island, New York. The only
guests were Albert Grossman and a maid of honor for [32] Kooper 2006
Sara; there was no publicity (Sounes 2001, p. 193).
[33] Heylin 1996, p. 94
[6] Freak Out!, the double album by The Mothers of Inven-
[34] Sounes 2001, p. 205
tion, was released on June 27, 1966 (Miles 2004, p. 117).
Given the uncertainty over the exact release date of Blonde [35] Trager 2004, pp. 51–52
on Blonde, these two albums were virtually simultaneous.
[36] Wenner, Jann. “Interview with Jann S. Wenner”, Rolling
Stone, November 29, 1969, in Cott 2006, p. 158
2.7.9 Footnotes [37] Shelton 2011, p. 224
[1] Gray 2000, p. 5 [38] Gill 2011, pp. 135–136
[2] Gray 2006, p. 62 [39] Heylin 2009, pp. 309–310
[3] Heylin 2003, p. 235 [40] Marcus 2010, p. 53
[4] Gray 2006, p. 33 [41] Blonde on Blonde: Billboard Singles
[5] Gray 2006, p. 292 [42] Bob Dylan: Top 75 Releases
[6] Heylin 1996, p. 82 [43] Trager 2004, p. 492
[7] Heylin 1996, pp. 83–84 [44] Williams 1994, p. 193
[8] Wilentz 2009, pp. 109–110 [45] Wilentz 2009, p. 308
[9] Wilentz 2009, pp. 110–113 [46] Gray 2006, p. 345
[10] Gorodetsky 2005 [47] Dylan 2004, p. 192
[11] Björner 2011 (1) [48] Gill 2011, p. 138
[12] Björner 2000 [49] Mellers 1984, p. 146
[13] Gray 2006, p. 197 [50] Gill 2011, pp. 138–139
[14] Heylin 2009, pp. 282–284 [51] Heylin 2009, pp. 273–279
[15] Bauldie 1991 [52] Heylin 2003, p. 741
[16] Marcus 2010, pp. 47–51 [53] Wilentz 2009, pp. 113–114
[17] Heylin 2009, pp. 285–286 [54] Singer 1999
[18] Björner 2011 (2) [55] Trager 2004, pp. 470–471
[19] Heylin 2009, p. 205 [56] Gill 2011, pp. 140–141
[20] Shelton 2011, p. 248 [57] Dylan 2004, p. 195

[21] Sounes 2001, p. 194 [58] Gill 2011, p. 142

[22] Sounes 2001, p. 200 [59] Gilliland 1969, show 40, track 1.

[23] Wilentz 2009, p. 117 [60] Heylin 2009, pp. 312–313

[24] Gill 2011, p. 134 [61] Wilentz 2007

[25] Wilentz 2009, pp. 118–119 [62] Heylin 2009, pp. 297–298

[26] Heylin 2003, p. 241 [63] Gill 2011, pp. 143–144

[27] Wilentz 2009, pp. 119–120 [64] Gill 2011, pp. 144–145

[28] Gray 2006, p. 59 [65] Trager 2004, pp. 368–369

[29] Heylin 1996, pp. 90–92 [66] Wilentz 2009, p. 113

[30] Wilentz 2009, pp. 122–124 [67] Gray 2006, p. 406

 72
[68] Williams 1994, p. 195
[69] Dylan 2004, p. 201
[70] Heylin 2009, p. 287
[71] Gill 2011, pp. 146–149
[72] Heylin 2009, p. 304
[73] Ricks, Christopher, in Rietberg 2011
[74] Ricks 2009
[75] Gill 2011, pp. 148–149
[76] Shelton 2011, p. 226
[77] Dylan 2004, pp. 203–204
[78] Heylin 2009, pp. 307–308
[79] Björner 2001
[80] Trager 2004, p. 609
[81] Heylin 2009, p. 308
[82] Dylan 2004, p. 205
[83] Heylin 2009, pp. 302–303
[84] Gill 2011, pp. 149–150
[85] Heylin 2009, pp. 292–293
[86] Gill 2011, p. 152
[87] Heylin 2009, p. 311
[88] Trager 2004, p. 461
[89] Shelton 2011, p. 227
[90] Gill 2011, pp. 150–151
[91] Heylin 2009, pp. 310–311
[92] Gilliland 1969, show 40, track 2.
[93] Dylan 2004, p. 369
[94] Shelton 2011, p. 249
[95] Heylin 2009, p. 296
[96] Cott 2006, p. 158
[97] Wilentz 2009, p. 126
[98] Crowe 1985
[99] Heylin 1995, pp. 45–46
[100] Dunn 2008, p. 321
[101] Dunn 2008, p. 361
[102] Dylan Disks Showcased, p. 41
[103] Williams 1990, p. 78
[104] Schatzberg 2006, p. 46
[105] Schatzberg 2006, p. 53
CHAPTER 2. STUDIO ALBUMS
[106] Zoom sur le mythe Dylan 2006
[107] Trager 2004, p. 51
[108] Erlewine
[109] Bob Dylan’s New Smash, p. 19
[110] Album reviews (Billboard), p. 36
[111] Billboard Top LP’s, p. 54
[112] Heylin 1996, p. 195
[113] Heylin 2011, p. 264
[114] 500 Greatest Albums of All Time: Blonde on Blonde
[115] Tyrangiel 2006
[116] Smith 2007
[117] Flanagan 1991
[118] Brackett 2004, p. 262
[119] Marqusee 2005, p. 222
[120] Nelson, Paul. Bob Dylan Approximately, 1966, reprinted
in McGregor 1972, pp. 171–172
[121] Johnson 1966
[122] Williams, Paul. “Tom Paine Hilmself: Understanding
Dylan”, Crawdaddy!, July 1966, in Williams 2000, p. 33
[123] Dylan Interview, Playboy, March 1978, reprinted in Cott
2006, p. 204
[124] Miller 1981, p. 225
[125] Marqusee 2005, p. 139
[126] Humphries 1991, p. 55
[127] NME Writers All Time Top 100—1974
[128] The music of the millennium 1998
[129] 500 Greatest Songs of All Time (2004): 201–300
[130] 500 Greatest Songs of All Time (2004): 401–500
[131] 500 Greatest Songs of All Time (2010): #232 “Just Like
a Woman”
[132] 500 Greatest Songs of All Time (2010): #413 “Visions of
Johanna”
[133] Riley 1999, pp. 128–130
[134] Marqusee 2005, p. 208
[135] Wilentz 2009, pp. 105–128
[136] Wilentz, Sean. “Mystic Nights: The Making of Blonde
on Blonde in Nashville”, Oxford American Magazine #58,
2007
[137] Blonde on Blonde: Billboard Albums
2.7. BLONDE ON BLONDE
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0.
• Gray, Michael (2006). The Bob Dylan Encyclope-
dia. Continuum International. ISBN 0-8264-6933-
7.
• Heylin, Clinton (1995). Bob Dylan: The Recording
Sessions, 1960–1994. St. Martin’s Griffin. ISBN
0-312-15067-9.
• Heylin, Clinton (1996). Bob Dylan: A Life In
Stolen Moments: Day by Day 1941–1995. Schirmer
Books. ISBN 0-7119-5669-3.
• Heylin, Clinton (2003). Bob Dylan: Behind the
Shades Revisited. Perennial Currents. ISBN 0-06-
052569-X.
74 CHAPTER 2. STUDIO ALBUMS

• Heylin, Clinton (2009). Revolution In The Air: The • Singer, Jonathan (1999-03-04). “Paul Griffin”.
Songs of Bob Dylan, Volume One: 1957–73. Con- Steelydan.com. Retrieved 2011-07-12.
stable. ISBN 1-84901-051-X.
• Smith, Sid (2007-04-23). “Blonde on Blonde: BBC
• Heylin, Clinton (2011). Bob Dylan: Behind the Review”. BBC. Retrieved 2011-03-17.
Shades: The 20th Anniversary Edition. Faber and
Faber. ISBN 978-0-571-27240-2. • Sounes, Howard (2001). Down the Highway: The
Life of Bob Dylan. Grove Press. ISBN 0-8021-
• Humphries, Patrick (1991). Oh No! Not Another 1686-8.
Bob Dylan Book. Square One Books Limited. ISBN
1-872747-04-3. • Trager, Oliver (2004). Keys to the Rain. Billboard
Books. ISBN 0-8230-7974-0.
• Johnson, Pete (1966-07-03). “Blonde on Blonde:
Review”. Los Angeles Times. • Tyrangiel, Josh and Light, Alan (2006-11-13).
"Blonde on Blonde in The All-TIME 100 Albums”.
• Kooper, Al (2006-11-01). “Planet Kooper—Part TIME. Retrieved 2011-07-04.
Two”. Bobdylanencyclopedia.blogspot.com. Re-
trieved 2011-07-07. • Wilentz, Sean (2007-09-01). “Mystic Nights: The
Making of Blonde on Blonde in Nashville”. Oxford
• Marcus, Greil (2010). The Original Mono Record- American. Retrieved 2011-07-26.
ings (booklet). Bob Dylan. New York: Sony
Legacy. COL MONO 88697761042. • Wilentz, Sean (2009). Bob Dylan In America. The
Bodley Head. ISBN 978-1-84792-150-5.
• Marqusee, Mike (2005). Wicked Messenger: Bob
Dylan and the 1960s. Seven Stories Press. ISBN • Williams, Paul (1990). “Photographing Dylan: El-
978-1-58322-686-5. liott Landy Interviewed by Paul Williams”. In John
Bauldie. Wanted Man: In Search of Bob Dylan.
• McGregor, Craig (1972). Bob Dylan: A Retrospec-
Citadel Press. ISBN 0-8065-1266-0.
tive. William Morrow & Co. ISBN 0-688-06025-0.
• Williams, Paul (1994). Bob Dylan: Performing
• Mellers, Wilfrid (1984). A Darker Shade of Pale:
Artist 1960–1973. Omnibus Press. ISBN 0-7119-
A Backdrop to Bob Dylan. Faber and Faber. ISBN
3554-8.
0-571-13345-2.
• Miles, Barry (2004). Zappa: A Biography. Grove • Williams, Paul (2000). Outlaw Blues: A Book
Press. ISBN 0-8021-4215-X. of Rock Music. Entwhistle Books. ISBN 978-0-
934558-35-8.
• Miller, Jim (ed.) (1981). The Rolling Stone History
of Rock & Roll. Picador. ISBN 0-330-26568-7. • “Zoom sur le mythe Dylan”. Le Figaro (in French).
2006-11-30. Retrieved 2011-04-03.
• “The music of the millennium”. BBC News. 1998-
01-24. Retrieved 2011-07-26.
2.7.11 External links
• “NME Writers All Time Top 100—1974”. Rock-
listmusic.co.uk. Retrieved 2011-09-26. • Blonde on Blonde (Adobe Flash) at Radio3Net
(streamed copy where licensed)
• Ricks, Christopher (2009-01-30). “Just Like a
Man? John Donne, T.S. Eliot, Bob Dylan, and the
Accusation of Misogyny”. MBL. Retrieved 2011-
07-25. 2.8 John Wesley Harding
• Rietberg, Katherine (2011-02-09). “BU professor
For the American outlaw, gunfighter, and controversial
visits Barnard, discusses Bob Dylan and misogyny”.
folk icon of the Old West, see John Wesley Hardin.
Columbia Spectator. Retrieved 2011-07-25.
• Riley, Tim (1999). Hard Rain: A Dylan Commen- John Wesley Harding is the eighth studio album by
tary. Da Capo Press. ISBN 0-306-80907-9. American singer-songwriter Bob Dylan,[2] released on
• Schatzberg, Jerry (2006). Thin Wild Mercury— December 27, 1967 by Columbia Records. Produced by
Touching Dylan’s Edge: The Photography. Genesis Bob Johnston, the album marked Dylan’s return to acous-
Publications. ISBN 0-904351-99-8. tic music and traditional roots, after three albums of elec-
tric rock music. John Wesley Harding shares many stylis-
• Shelton, Robert (2011). No Direction Home: The tic threads with, and was recorded around the same time
Life and Music of Bob Dylan, Revised & updated as, the prolific series of home recording sessions with The
edition. Omnibus Press. ISBN 978-1-84938-911-2. Band, partly released in 1975 as The Basement Tapes.
2.8. JOHN WESLEY HARDING 75

John Wesley Harding was exceptionally well received by with some kind of mellow sound,” Dylan said in 1971. “I
critics and enjoyed solid sales, reaching #2 on the US would have liked ... more steel guitar, more piano. More
charts and topping the UK charts. The commercial per- music ... I didn't sit down and plan that sound.”
formance was considered remarkable considering that The first session, held on October 17 at Columbia’s Studio
Dylan had kept Columbia from releasing the album with A, lasted only three hours, with Dylan recording master
much promotion or publicity. Less than three months af- takes of “I Dreamed I Saw St. Augustine”, “Drifter’s Es-
ter its release, John Wesley Harding was certified gold by
cape”, and “The Ballad of Frankie Lee and Judas Priest”.
the RIAA. "All Along the Watchtower" became one of Dylan returned to the studio on November 6, recording
his most popular songs after it was recorded by Jimi Hen-
master takes for “All Along the Watchtower”, “John Wes-
drix the following year. ley Harding”, “As I Went Out One Morning”, “I Pity the
In 2003, the album was ranked number 301 on Rolling Poor Immigrant”, and “I Am a Lonesome Hobo”. Dylan
Stone magazine’s list of the 500 greatest albums of all returned for one last session on November 29, completing
time. all of the remaining work.
The final session did break from the status quo by em-
ploying Pete Drake on the final two recordings. Cut be-
2.8.1 Recording sessions
tween 9pm and 12 midnight, “I'll Be Your Baby Tonight”
and “Down Along the Cove” would be the only two songs
Dylan went to work on John Wesley Harding in the fall
featuring Drake’s light pedal steel guitar.
of 1967. By then, 18 months had passed since the com-
pletion of Blonde on Blonde. After recovering from the Sometime between the second and third session, Dylan
worst of the results of his motorcycle accident, Dylan approached Robbie Robertson and Garth Hudson of The
spent a substantial amount of time recording the informal Band to complete some overdub work on the basic tracks:
basement sessions at West Saugerties, New York. Dur- “Then we did talk about doing some overdubbing on it,
ing that time, he stockpiled a large number of record- but I really liked it when I heard it and I couldn't really
ings, including many new compositions. He eventually think right about overdubbing on it. So it ended up com-
submitted nearly all of them for copyright, but declined ing out the way he brought it back.”
to include any of them in his next studio release (Dylan John Wesley Harding was released in stores less than
would not release any of those recordings to the commer- four weeks after the final session, an unusually quick
cial market until 1975’s The Basement Tapes; and by then, turnaround time, especially for a major label release.
some of those recordings had been bootlegged, usually
sourced from an easy-to-find set of publisher’s demos). This would be Dylan’s last LP to be issued simultaneously
Instead, Dylan used a different set of songs for John Wes- in both monophonic (CL 2804) and stereophonic (CS
ley Harding. 9604) formats; by the middle of the following year, all
of Dylan’s LPs would be released solely in stereophonic.
It is not clear when these songs were actually written, but
none of them have turned up in the dozens of basement
recordings that have since surfaced. According to Robbie
Robertson, “As I recall it was just on a kind of whim that 2.8.2 Songs
Bob went down to Nashville. And there, with just a cou-
ple of guys, he put those songs down on tape.” Those ses- Most of the songs on John Wesley Harding have pared-
sions took place in the autumn of 1967, requiring less down lyrics. Though the style remains evocative, con-
than twelve hours over three stints in the studio. tinuing Dylan’s strong use of bold imagery, the wild,
intoxicating surreality that seemed to flow in a stream-
Dylan brought to Nashville a set of songs similar to the of-consciousness fashion has been tamed into something
feverish yet pithy compositions that came out of the Base- earthier and more crisp. “What I'm trying to do now is
ment Tapes sessions. They would be given an austere not use too many words,” Dylan said in a 1968 interview.
sound sympathetic to their content. When Dylan arrived “There’s no line that you can stick your finger through,
in Nashville, producer Bob Johnston recalls that “he was there’s no hole in any of the stanzas. There’s no blank
staying in the Ramada Inn down there, and he played me filler. Each line has something.” According to Allen Gins-
his songs and he suggested we just use bass and guitar berg, Dylan had talked to him about his new approach,
and drums on the record. I said fine, but also suggested telling him “he was writing shorter lines, with every line
we add a steel guitar, which is how Pete Drake came to meaning something. He wasn't just making up a line to go
be on that record.” with a rhyme anymore; each line had to advance the story,
Dylan was once again recording with a band, but the bring the song forward. And from that time came some
instrumentation was very sparse. During most of the of his strong laconic ballads like 'The Ballad of Frankie
recording, the rhythm section of drummer Kenneth A. Lee and Judas Priest.' There was no wasted language, no
Buttrey and bassist Charlie McCoy were the only ones wasted breath. All the imagery was to be functional rather
supporting Dylan, who handled all harmonica, guitar, pi- than ornamental.” This mirrors Dylans increased interest
ano, and vocal parts. “I didn't intentionally come out in painting at the time. Each song creates profound im-
76
ages i.e. “two riders were approaching”, and each song
is concise, complete, yet leaving room for interpretation.
Even the song structures are rigid as most of them adhere
to a similar three-verse model, although much of the beat
patterns throughout the measures were timeshifted, that
is, units of three and five beats were employed, over the
four beat structure.
The dark, religious tones that appeared during the Base-
ment Tapes sessions also continue through these songs,
manifesting in language from the King James Bible. In
The Bible in the Lyrics of Bob Dylan, Bert Cartwright
cites more than sixty biblical allusions over the course of
the thirty-eight and a half minute album, with as many as
fifteen in “The Ballad of Frankie Lee and Judas Priest”
alone. An Old Testament morality also colors most of the
songs’ characters.
In an interview with Toby Thompson[3] in 1968, Dylan’s
mother, Beatty Zimmerman, mentioned Dylan’s growing
interest in the Bible, stating that “in his house in Wood-
stock today, there’s a huge Bible open on a stand in the
middle of his study. Of all the books that crowd his house,
overflow from his house, that Bible gets the most atten-
tion. He’s continuously getting up and going over to refer
to something.”
The album opens with the title song, which references
Texas outlaw John Wesley Hardin, although some com-
mentators find religious significance in the character’s
initials (“JWH” as Yaweh[4] ). Dylan discussed “John
Wesley Harding” when he spoke with Rolling Stone Mag-
azine in 1969:
“I was gonna write a ballad on ... like maybe one of those
old cowboy ... you know, a real long ballad. But in the
middle of the second verse, I got tired. I had a tune, and
I didn't want to waste the tune, it was a nice little melody,
so I just wrote a quick third verse, and I recorded that
... I knew people were gonna listen to that song and say
that they didn't understand what was going on, but they
would've singled that song out later, if we hadn't called
the album John Wesley Harding and placed so much im-
portance on that, for people to start wondering about it ...
if that hadn't been done, that song would've come up and
people would have said it was a throw-away song.”
Music critic Tim Riley writes that "'As I Went Out One
Morning' has more to do with the temptations of a fair
damsel who walks in chains than with America’s first
outlaw journalist, Tom Paine.”[5] In his album review in
Rolling Stone, Greil Marcus wrote, “I sometimes hear the
song as a brief journey into American history; the singer
out for a walk in the park, finding himself next to a statue
of Tom Paine, and stumbling across an allegory: Tom
Paine, symbol of freedom and revolt, co-opted into the
role of Patriot by textbooks and statue committees, and
now playing, as befits his role as Patriot, enforcer to a girl
who runs for freedom—in chains, to the South, the source
of vitality in America, in America’s music—away from
Tom Paine. We have turned our history on its head; we
CHAPTER 2. STUDIO ALBUMS
have perverted our own myths...”[6]
In “I Dreamed I Saw St. Augustine”, the narrator is ad-
dressed in his dreams by St. Augustine of Hippo, the
bishop-philosopher who held the episcopal seat in Hippo
Regius, a Roman port in northern Africa; he died in 430
A.D. when the city was overrun by Vandals. Riley notes
that in “I Dreamed I Saw St. Augustine”, Dylan twists St.
Augustine’s “symbolic stature to signify anyone who has
been put to death by a mob.” Throughout the song, the
narrator’s vision of St. Augustine reveals to him “how it
feels to be the target of mob psychology, and how confus-
ing it is to identify with the throng’s impulses to smother
what it loves too much or destroy what it can't under-
stand.” The opening lyrics are based on the labor union
song “I Dreamed I Saw Joe Hill Last Night”. The last line
continues the “Joe Hill” theme, echoing the last line of
Woody Guthrie's "Ludlow Massacre": “I said God bless
the Mineworkers’ Union, and then I hung my head and
cried”.
The album’s most overt Biblical reference comes in “All
Along the Watchtower”, inspired by a section in Isaiah
dealing with the fall of Babylon. As Heylin writes, “the
thief that cries 'the hour is getting late' is surely the thief in
the night foretold in Revelation, Jesus Christ come again.
It is He who says, in St. John the Divine's tract: 'I will
come on thee as a thief, and Thou shalt not know what
hour I will come upon thee.'" Dylan later said of John
Wesley Harding that he "'had been dealing with the devil
in a fretful way.'"[7] “All Along the Watchtower” would
soon gain great fame in a dramatic interpretation by Jimi
Hendrix.
“All Along the Watchtower” is also notable for its vi-V-
IV chord progression. Jimmy Page used this cadence for
the coda to "Stairway to Heaven,” John Entwistle of the
Who used it in the opening bars of "Fiddle About", and it
would later find popular use in heavy metal music. Dylan
himself returned to this progression in Desire’s “Hurri-
cane”.
“The Ballad of Frankie Lee and Judas Priest” is perhaps
the album’s most enigmatic song,[8] structured as a (pos-
sibly insincere) morality play. The song details Frankie
Lee’s temptation by a roll of ten dollar bills from Judas
Priest. As Frankie thinks it over, he grows anxious from
Judas’s stare. Eventually, Judas leaves Frankie to mull
over the money, telling him he can be found at “Eternity,
though you might call it 'Paradise'.” After Judas leaves,
a stranger arrives. He asks Frankie if he’s “the gambler,
whose father is deceased?" The stranger brings a mes-
sage from Judas, who’s apparently stranded in a house.
Frankie panics and runs to Judas, only to find him stand-
ing outside of a house. (Judas says, “It’s not a house ...
it’s a home.”) Frankie is overcome by his nerves as he
sees a woman’s face in each of the home’s twenty-four
windows. Bounding up the stairs, foaming at the mouth,
he begins to “make his midnight creep.” For sixteen days
and nights, Frankie raves until he dies on the seventeenth,
2.8. JOHN WESLEY HARDING
in Judas’s arms, dead of “thirst.” The final two verses are
the most impenetrable. No one says a word as Frankie is
brought out, no one except a boy who mutters “Nothing
is revealed,” as he conceals his own mysterious guilt. The
last verse moralizes that “one should never be where one
does not belong” and closes with the song’s most quoted
line, “don't go mistaking Paradise for that home across
the road.”
Each of the album’s next three songs features one of so-
ciety’s rejects as the narrator or central figure. “Drifter’s
Escape” tells the story of a convicted drifter who escapes
captivity when a bolt of lightning strikes a court of law.
“Dear Landlord” is sung by a narrator pleading for respect
and equal rights. “I Am a Lonesome Hobo” is a humble
warning from a hobo to those who are better off.
Self-styled 'Dylanologist' Al Weberman claimed “Dear
Landlord” was inspired by Dylan’s own conflicts with
manager Albert Grossman, but many critics have chal-
lenged this notion. Most interpretations rest on who the
'landlord' is supposed to be, with most explanations rang-
ing from a literal representation to a metaphor for God.[1]
“There’s only two songs on the album which came at the
same time as the music,” Dylan recalled in 1978, refer-
ring to “Down Along the Cove” and “I'll Be Your Baby
Tonight”. “The rest of the songs were written out on pa-
per, and I found the tunes for them later. I didn't do it
before, and I haven't done it since. That might account
for the specialness of that album.”[9]
Lyrically, those same two songs stand out from the rest
of the album. They are warm, cheerful love songs, lack-
ing any of the Biblical references found throughout the
album. “If John Wesley Harding was the album made the
morning after a dark night of the soul,” wrote Heylin,
“these two songs suggested a newly cleansed singer re-
turning from the edge.” Accentuating the difference is
the use of pedal steel guitarist Pete Drake on both tracks.
The overall sound of these two tracks sounds closer to
country, anticipating the country rock movement to fol-
low as well as Dylan’s next album, Nashville Skyline. But
producer Johnston said that despite some of the instru-
mentation, “I don't think it’s really country; some of it is
like country; some of it is like the '29 dust-bowl days of
Woodie Guthrie”.[1]
2.8.3 Packaging
The cover photograph of John Wesley Harding shows a
squinting Dylan flanked by brothers Luxman and Purna
Das, two Bengali Bauls, South Asian musicians brought to
Woodstock by Dylan’s manager, Albert Grossman. Be-
hind Dylan is Charlie Joy, a local stonemason and car-
penter. A long-recurring rumor is that images of various
members of the Beatles are hidden on the front cover,
in the knots of the tree. This was verified by Rolling The album was remastered and re-released in 2003 using
Stone with photographer John Berg prior to the album’s a new technology, SACD.
release.[10] There is speculation that the faces were much While legend has it that Dylan recorded John Wesley
77
more apparent but brushed over sometime before press
time (hence, the unusually dark features on the most
prominent tree trunk).
The album sleeve is also notable for its liner notes, writ-
ten by Dylan himself. The liner notes tells the story of
three kings and three characters (Terry Shute, Frank, and
Frank’s wife, Vera), incorporating details from the al-
bum’s songs.
2.8.4 Release dates
Contradictory release dates have been claimed for this al-
bum. In addition to the date listed above, the liner notes
to the Dylan mono box states December 17, 1967, as
the original date of release.[11] Reproduced in the liner
notes to the eleventh volume of the Dylan Bootleg Series
is an article by Al Aronowitz for The New York Times,
date stamped December 23, 1967, stating that John
Wesley Harding would be released “within the next two
weeks.”[12] In a November 2014 article for CounterPunch
on-line, musician Peter Stone Brown claims from per-
sonal recollection a date of January 2, 1968.[13] The al-
bum was re-released as one of the 15 Dylan titles remas-
tered for Hybrid SACD on September 16, 2003, and was
reissued again as part of The Original Mono Recordings
on October 10, 2010.[14]
2.8.5 Legacy
“I asked Columbia to release it with no publicity and no
hype, because this was the season of hype,” Dylan said.
Clive Davis urged Dylan to pull a single, but even then
Dylan refused, preferring to maintain the album’s low-
key profile.
In a year when psychedelia dominated popular culture,
the agrarian John Wesley Harding was seen as reactionary.
Critic Jon Landau wrote in Crawdaddy Magazine, “For
an album of this kind to be released amidst Sgt. Pepper,
Their Satanic Majesties Request, After Bathing at Baxter’s,
somebody must have had a lot of confidence in what he
was doing ... Dylan seems to feel no need to respond to
the predominate [sic] trends in pop music at all. And he is
the only major pop artist about whom this can be said.”[17]
The critical stature of John Wesley Harding has contin-
ued to grow. As late as 2000, Clinton Heylin wrote,
"John Wesley Harding remains one of Dylan’s most en-
during albums. Never had Dylan constructed an album-
as-an-album so self-consciously. Not tempted to incor-
porate even later basement visions like 'Going to Aca-
pulco' and 'Clothesline Saga,' Dylan managed in less than
six weeks to construct his most perfectly executed official
collection.”[7]
78 CHAPTER 2. STUDIO ALBUMS

Harding after finishing The Basement Tapes sessions with 2.8.7 Chart positions
members of The Band, several biographers and discogra-
phers have argued that the final reel of basement record- 2.8.8 Personnel
ings actually postdates the first John Wesley Harding
session.[18] • Bob Dylan – guitar, harmonica, piano, keyboards,
Regardless of when this session actually occurred, The vocals
Band did accompany Dylan for at least one performance
in the months following John Wesley Harding. After Additional musicians
hearing of Woody Guthrie's passing (two weeks before
John Wesley Harding's first session), Dylan contacted • Kenneth A. Buttrey – drums
Harold Leventhal, Guthrie’s longtime friend and man-
• Pete Drake – pedal steel guitar on “Down Along the
ager, and extended an early acceptance to any invita-
Cove” and “I'll Be Your Baby Tonight”
tion for any memorial show that might be planned. The
memorial came on January 20, 1968, with a pair of shows • Charlie McCoy – bass guitar
at New York’s Carnegie Hall. Sharing the bill with his
folk contemporaries like Tom Paxton, Judy Collins, and Technical personnel
Guthrie’s son, Arlo, Dylan gave his first public perfor-
mances in twenty months, backed by The Band (billed
• John Berg – cover photo
then as The Crackers). They played only three songs
(“Grand Coulee Dam”, “Dear Mrs. Roosevelt”, and “I • Charlie Bragg – engineering
Ain't Got No Home”), and it would be another eighteen
months before Dylan would again perform in concert.[7] • Bob Johnston – production
As 1967 came to a close, Dylan’s lifestyle became more
stable. His wife, Sara, had given birth to their daughter, 2.8.9 References
Anna, earlier that summer. He had reconciled with his
estranged parents. A long contract negotiation ended in a [1] Gilliland 1969, show 54, track 4.
lucrative new deal, allowing Dylan to stay with Columbia
[2] Discogs.com listing for JWH
Records. While the media would never lose interest, Dy-
lan maintained a low enough profile that kept him out of [3]
the spotlight.
[4] “Bob Dylan Who’s Who”. Expectingrain.com. Retrieved
After his appearance at Woody Guthrie’s memorial con- 2011-12-05.
cert, 1968 would see little, if any, musical activity from
Bob Dylan. His songs continued to be a major pres- [5] Riley, Tim (1999). Hard Rain: A Dylan Commentary, p.
177. Da Capo Press. ISBN 0-306-80907-9.
ence, appearing on landmark albums by Jimi Hendrix,
The Byrds, and The Band, but Dylan himself would not [6] Quoted in Riley, Tim (1999), pp. 177-78.
release or perform any additional music. There was very
little songwriting activity, as well. [7] Heylin, Clinton (2001). Bob Dylan: Behind the Shades
Revisited, pp. 286-90. HarperCollins. ISBN 0-06-
“One day I was half-stepping, and the lights went out,” 052569-X.
Dylan would recall ten years later. “And since that point,
[8] Beviglia, Jim. ""The Ballad Of Frankie Lee And Judas
I more or less had amnesia ... It took me a long time to
Priest” by Bob Dylan”. American Songwriter.
get to do consciously what I used to be able to do uncon-
sciously.” [9] Quoted in Heylin (2003), p. 287.
Around this time, there were also major changes in Dy- [10] “Dylan Record Puts Beatles Up A Tree”. rolling-
lan’s private life: his father died from a heart attack, stone.com. March 9, 1968. Retrieved July 27, 2012.
prompting Dylan to return to Hibbing to attend the fu-
neral. Shortly afterwards, on July 30, 1968, Sara gave [11] The Original Recordings in Mono. Legacy Records
88697761042, 2010, liner notes p. 53.
birth to their third child, Samuel Isaac Abram.
[12] The Bootleg Series Vol. 11: The Basement Tapes Com-
plete, Legacy Records 88875016122 2014, Lo & Behold
Photographs & More liner notes, p. 72.
2.8.6 Track listing
[13] Counterpunch retrieved 9 November 2014.

The track durations cited here are those of the remastered [14] “The Original Mono Recordings”. bobdylan.com. Octo-
version released September 16, 2003, and re-released ber 19, 2010. Retrieved April 24, 2011.
June 1, 2004. Previous versions differ.
[15] Erlewine, Stephen Thomas. John Wesley Harding (al-
All songs written by Bob Dylan. bum) at AllMusic
2.9. NASHVILLE SKYLINE 79

[16] “Rolling Stone review”. Rateyourmusic.com. Retrieved 2.9.1 Reception

2011-12-05.
By the time Nashville Skyline was recorded, the politi-
[17] Quoted in Riley, Tim (1999), p. 171. cal climate in the United States had grown more polar-
ized. In 1968, civil rights leader Martin Luther King, Jr.
[18] Dundas, and Heylin and Senator Robert Kennedy (a leading candidate for the
presidency) were both assassinated. Riots had broken out
in several major cities, including a major one surround-
Bibliography ing the Democratic National Convention in Chicago, Illi-
nois and a number of racially-motivated riots spurred by
• Dundas, Glen. Tangled Up in Tapes : a Recording King’s assassination. A new President, Richard Nixon,
History of Bob Dylan (Thunder Bay, Ontario: SMA was sworn into office in January 1969, but the U.S. en-
Services, 1999 (4th ed.)) ISBN 0-9698569-2-X gagement in Southeast Asia, particularly the Vietnam
War, would continue for several more years. Protests
• Gilliland, John (1969). “Hail, Hail, Rock 'n' Roll: over a wide range of political topics became more fre-
Getting back to rock’s funky, essential essence.” quent. Dylan had been a leading cultural figure, noted
(AUDIO). Pop Chronicles. Digital.library.unt.edu. for his political and social commentary throughout the
1960s. Even as he moved away from topical songs, he
never lost his cultural status. However, as Clinton Heylin
• Heylin, Clinton. Bob Dylan : The Recording Ses-
would write about Nashville Skyline, “if Dylan was con-
sions, 1960-1994 (London: St. Martin’s, 1995)
cerned about retaining a hold on the rock constituency,
ISBN 0-312-13439-8
making albums with Johnny Cash in Nashville was tanta-
mount to abdication in many eyes.”[5]
Helped by a promotional appearance on The Johnny Cash
2.8.10 External links
Show on June 7, Nashville Skyline went on to become one
of Dylan’s best-selling albums. Three singles were pulled
• John Wesley Harding (Adobe Flash) at Radio3Net from the album, all of which received significant airplay
(streamed copy where licensed) on AM radio.

• Bob Dylan: John Wesley Harding (1967), Send- Despite the dramatic, commercial shift in direction, the
MeMovies.com (2004) press also gave Nashville Skyline a warm reception. A
critic for Newsweek wrote of “the great charm... and
the ways Dylan, both as composer and performer, has
• Bob Dylan: John Wesley Harding (CD) SonyMusic-
found to exploit subtle differences on a deliberately lim-
Store.com (2005)]
ited emotional and verbal scale.” In his review for Rolling
Stone, Paul Nelson wrote, "Nashville Skyline achieves the
• An article about the cover photo of John Wesley artistically impossible: a deep, humane, and interesting
Harding can be found on a fansite for The Band. statement about being happy. It could well be... his best
theband.hiof.no album.”[6] However, years later in a review for Bob Dy-
lan’s Greatest Hits Vol. II, Nelson would retract his opin-
ion, writing, “I was misinformed. That’s why no one
should pay any attention to critics, especially the artist.”[7]
2.9 Nashville Skyline
A few critics expressed some disappointment. Ed Ochs
of Billboard wrote, “the satisfied man speaks in clichés,
Nashville Skyline is the ninth studio album by American
and blushes as if every day were Valentine’s Day.” Tim
singer-songwriter Bob Dylan, released on April 9, 1969
Souster of the BBC's The Listener magazine wrote, “One
by Columbia Records.
can't help feeling something is missing. Isn't this idyllic
Building on the rustic style he experimented with on John country landscape [simply] too good to be true?"[8]
Wesley Harding, Nashville Skyline displayed a complete
immersion into country music. Along with the more basic
lyrical themes, simple songwriting structures, and charm- 2.9.2 Track listing
ing domestic feel, it introduced audiences to a radically
new singing voice from Dylan—a soft, affected country All songs written by Bob Dylan.
croon.
The result received a generally positive reaction from crit-
ics, and was a commercial success. Reaching number 3 2.9.3 Personnel
in the US, the album also scored Dylan his fourth UK
number 1 album. • Bob Dylan – guitar, harmonica, keyboards, vocals
80 CHAPTER 2. STUDIO ALBUMS

Additional musicians 2.10 Self Portrait

• Norman Blake – guitar, dobro
• Kenneth A. Buttrey – drums
• Johnny Cash – vocals on “Girl from North Country”
• Fred Carter, Jr. - guitar
• Charlie Daniels – bass guitar, guitar
• Pete Drake – pedal steel guitar
• Marshall Grant – bass guitar on “Girl from North intentionally surreal and even satirical at times, Self Por-
Country”
• W.S. Holland – drums on “Girl from North Coun-
try”
• Charlie McCoy – guitar, harmonica
• Bob Wilson – organ, piano
• Bob Wootton – electric guitar on “Girl from North
Country”
Technical personnel
• Bob Johnston – production
• Charlie Bragg – engineering
• Neil Wilburn – engineering
Self Portrait is the tenth studio album by American
singer-songwriter Bob Dylan, released on June 8, 1970
by Columbia Records.
Self Portrait was Dylan’s second double album, and fea-
tures many cover versions of well-known pop and folk
songs. Also included are a handful of instrumentals and
original compositions. Most of the album is sung in the
affected country crooning voice that Dylan had intro-
duced a year earlier on Nashville Skyline. Seen by some as
trait received extremely poor reviews upon release; Greil
Marcus' opening sentence in his Rolling Stone review was:
“What is this shit?"[1]
Dylan has claimed in interviews that Self Portrait was
something of a joke, far below the standards he set in
the 1960s, and was made to get people off his back and
end the “spokesman of a generation” tags.
Despite the negative reception, the album quickly went
gold in the US, where it hit #4, and it gave Dylan yet an-
other UK #1 hit before it fell down the charts. The album
has since built a cult following and saw a retrospective
positive re-evaluation with the release of The Bootleg Se-
ries Vol. 10: Another Self Portrait (1969–1971) in 2013.
2.10.1 Production

The motives behind Self Portrait have been subject to

2.9.4 Charts
wild speculation and great debate. Over the years, a few
Singles credible theories have emerged from those familiar with
the project.
Critic Robert Shelton was under the impression that Self
2.9.5 References Portrait was intended as a serious release. “I told Dylan
[1] "Nashville Skyline". Allmusic. Retrieved January 11,
that Self Portrait confused me,” Shelton wrote in 1986.
2012. “Why had he recorded 'Blue Moon'? He wouldn't be
drawn out, although obviously he had been stung by the
[2] “Any Old Way: Four Pieces about Bob Dylan”. Robert criticism. 'It was an expression,' he said. He indicated
Christgau. Retrieved January 11, 2012. that if the album had come from Presley or the Everly
[3] Nelson, Paul (31 May 1969). “Records”. Rolling Stone Brothers, who veered toward the middle of the road, it
[2]
(San Francisco: Straight Arrow Publishers, Inc.) (34): 36. wouldn't have shocked so many.”
Retrieved 2 June 2015. However, in a Rolling Stone interview taken in 1984, Dy-
[4] “RollingStoneAlbumGuide’s music”. Rate Your Music. lan gave a different reason for the album’s release:
Retrieved January 11, 2012. As to why he chose to release a double album, Dy-
[5] Heylin (2003), p. 301. lan replied, “Well, it wouldn't have held up as a single
album—then it really would've been bad, you know. I
[6] Quoted in Heylin (2003), p. 302. mean, if you're gonna put a lot of crap on it, you might as
[7] Nelson, Paul (January 6, 1972). “Bob Dylan’s Greatest well load it up!"
Hits, Vol. 2”. Rolling Stone. Retrieved September 3, Later, Cameron Crowe interviewed Dylan for his liner
2014.
notes to 1985’s Biograph, a boxed-set retrospective of
[8] Both quoted in Heylin (2003), p. 303. Dylan’s career. When asked about Self Portrait, Dylan
added more details to the story:
[9] “Chart Stats – Bob Dylan – Nashville Skyline”. chart-
stats.com. Archived from the original on July 21, 2012. Later interviews only echoed the sentiments expressed to
Retrieved June 6, 2011. Crowe.
2.10. SELF PORTRAIT 81

2.10.2 Songs a number of journalists, including Robert Christgau, felt

there was a concept behind Self Portrait that had some
Self Portrait was heavily criticized for its performances merit.
and overall production, with many critics singling out var- “Conceptually, this is a brilliant album,” wrote Christ-
ious songs as poor cover choices. gau, “which is organized, I think, by two central ideas.
However, one track has managed to draw consistent First, that 'self' is most accurately defined (and depicted)
praise over the years. Written by Alfred Frank Bed- in terms of the artifacts—in this case, pop tunes and folk
doe (who was “discovered” by Pete Seeger after apply- songs claimed as personal property and semispontaneous
ing for work at People’s Songs, Inc. in 1946), "Copper renderings of past creations frozen for posterity on a piece
Kettle" captures an idyllic backwoods existence, where of tape and (perhaps) even a couple of songs one has writ-
moonshine is equated not only with pleasure but with tax ten oneself—to which one responds. Second, that the
resistance. Appalachian farmers who struggled to make people’s music is the music people like, Mantovani strings
their living off the land would routinely siphon off a per- and all.”[6]
centage of their corn in order to distill whiskey. Every- However, few critics expressed any interest in the music
thing produced would then be hidden from the govern- itself. "[I]n order for a concept to work it has to be sup-
ment in order to avoid the whiskey tax of 1791. ported musically—that is, you have to listen,” Christgau
Clinton Heylin writes, "'Copper Kettle'...strike[s] all the admitted. “I don't know anyone, even vociferous support-
right chords...being one of the most affecting perfor- ers of this album, who plays more than one side at a time.
mances in Dylan’s entire official canon.”[3] Music critic I don't listen to it at all. The singing is not consistently
Tim Riley called it “an ingenious Appalachian zygote for good, though it has its moments, and the production—
rock attitudes, the hidden source of John Wesley Hard- for which I blame Bob Johnston, though Dylan has to be
ing's shadows.”[4] listed as a coconspirator—ranges from indifferent to aw-
ful. It is possible to use strings and soprano choruses well,
“Copper Kettle” was popularised by Joan Baez and ap-
but Johnston has never demonstrated the knack. Other
peared on her best-selling 1962 LP Joan Baez in Concert.
points: it’s overpriced, the cover art is lousy, and it sounds
Among the original songs written for the album, the in- good on WMCA.”[6]
strumental “Wigwam” later achieved notoriety for its use
In his Rolling Stone review (with its memorably vitriolic
in the 2001 Wes Anderson film The Royal Tenenbaums.
opening line, “What is this shit?"), Greil Marcus warned,
“Living the Blues” was later covered by Leon Redbone.
“Unless [Dylan] returns to the marketplace, with a sense
“Living The Blues” was also covered by the Jamie Saft
of vocation and the ambition to keep up with his own
Trio with Antony Hegarty on the album Trouble: The
gifts, the music of [the mid-sixties] will continue to dom-
Jamie Saft Trio Plays Bob Dylan, in 2006. “All the Tired
inate his records, whether he releases them or not.”[7] He
Horses” only features two lines, and is sung only by a fe-
also commented, “I once said I'd buy an album of Dy-
male backing group. The song featured in the 2001 film
lan breathing heavily. I still would. But not an album of
Blow.
Dylan breathing softly.”[8] In a 1971 telephone interview
The only song on the album that can be considered with journalist A.J. Weberman, Dylan can be heard re-
psychedelic is the party-friendly romp "The Mighty sponding angrily to the Marcus review, while attempting
Quinn (Quinn the Eskimo),” a song originally recorded to defend larger accusations of perceived non-committal
at the 1967 Basement Tapes sessions, covered to great politics.
success by Manfred Mann in 1968. For live venues,
Rock critics Jimmy Guterman and Owen O'Donnell,
the Grateful Dead and Phish made the song an iconic
writing in their 1991 book The Worst Rock and Roll
favorite. The version on Self Portrait, however, is a
Records of All Time, listed Self-Portrait as the third worst
soundboard-sourced live performance from Dylan and
rock album ever, with only Lou Reed's experimental
the Band’s 1969 Isle of Wight concert (as are three other
Metal Machine Music and Elvis Presley's concert byplay
tracks on the album).
album Having Fun With Elvis On Stage faring worse. “The
breakup of the Beatles shortly before this album’s re-
lease,” they wrote, “signaled the end of the sixties; Self-
2.10.3 Aftermath
Portrait suggested the end of Bob Dylan.”
In 1973, Knopf published Dylan’s song lyrics, sketches,
Dylan had his share of negative criticism before Self Por-
trait. At worst, his 1962 debut was met with quiet in- and album notes as Writings and Drawings, with updated
difference. In 1966, his tour with the Hawks was met versions called Lyrics appearing in 1985 and 2000. In
with open hostility from some fans, but the burgeoning all three editions, the original lyrics from Self-Portrait are
never acknowledged, suggesting Dylan’s disavowal of the
rock press countered that reaction with their enthusiastic
praise. whole album to that time. However, the lyrics to “Liv-
ing the Blues” and “Minstrel Boy” are included, listed as
With Self Portrait, there were few admirers and far more
extra songs from Nashville Skyline sessions, the 2004 edi-
detractors. Critical disdain seemed universal. At best,
82 CHAPTER 2. STUDIO ALBUMS

tion includes them under their own entry[9] and Dylan’s 2.11 New Morning
current website includes the release together with lyrics
and download links.[10] For other uses, see New Morning (disambiguation).
Dylan revisited Self Portrait on The Bootleg Series Vol.
10: Another Self Portrait (1969–1971) in 2013. New Morning is the eleventh studio album by American
singer-songwriter Bob Dylan, released on October 19,
1970 by Columbia Records.
2.10.4 Track listing
Coming only four months after the controversial Self Por-
2.10.5 Charts trait, the more concise and immediate New Morning won
a much warmer reception from fans and critics. Most
Singles welcome was the return of Dylan’s familiar, nasal singing
voice. While he has a slightly nasal tone to his voice on
"Alberta #1" from Self Portrait this was the first full al-
2.10.6 Personnel bum with his familiar voice since John Wesley Harding in
1967: he had taken on a country croon since then. In ret-
2.10.7 Notes rospect, the album has come to be viewed as one of the
artist’s lesser successes, especially following the release
[1] Greil Marcus, “Self Portrait No. 25”, in Studio A: The Bob of Blood on the Tracks in 1975, often seen as a fuller
Dylan Reader (1970), p. 74 (Benjamin Hedin, ed., 2004) return-to-form.
[2] Shelton, Robert (2003 reprint). No Direction Home: TheIt reached #7 in the US, quickly going gold, and gave Dy-
Life and Music of Bob Dylan, p. 418. Da Capo Press. lan his sixth and last UK number 1 album until Together
ISBN 0-306-81287-8. Through Life in 2009. The album’s most successful song
from a commercial perspective is probably "If Not for
[3] Heylin, Clinton (2003 reprint). Bob Dylan: Behind the
Shades Revisited, p. 314. HarperCollins. ISBN 0-06-
You", which also was recorded by George Harrison, who
052569-X. had played guitar on a version of the song not released
until 1991’s Bootleg Series Volume 2, and was also an in-
[4] Riley, Tim (rev. ed. 1999). Hard Rain: A Dylan Com- ternational hit for Olivia Newton-John in 1971. Bryan
mentary, p. 195. Da Capo Press. ISBN 0-306-80907-9. Ferry also included the song on Dylanesque.
[5] Christgau, Robert (July 30, 1970). “Consumer Guide
(12)". The Village Voice (New York). Retrieved 14 April
2013. 2.11.1 Details
[6] Christgau, Robert (1990 reprint). Rock Albums of the '70s:
Dylan discusses the recording of New Morning at length
A Critical Guide, p. 116. Da Capo Press. ISBN 0-306-
in one chapter of his autobiography, Chronicles, Vol. 1.
80409-3.
Several alternate, preliminary forms of the album have
[7] Marcus (in Hedin, ed., 2004), p. 79. been documented, including tracks which later appeared
on the 1973 Dylan. He has played only four of the al-
[8] Marcus (in Hedin, ed., 2004), p. 82. bum’s twelve songs in concert; one, “If Dogs Run Free”,
[9] Dylan, Bob (2004). Lyrics : 1962 - 2001. New York: made its live debut on October 1, 2000, within days of
Simon & Schuster. ISBN 0743228278. the 30th anniversary of the album’s original release.

[10] “Self Portrait (1972) [sic]". Retrieved 16 June 2012.

[11] “Number 1 Albums – 1970s”. The Official Charts Com- 2.11.2 Recording sessions
pany. Archived from the original on 9 February 2008.
Retrieved 8 June 2011. New Morning was released four months after Self Por-
trait and there was some speculation that it was recorded
hastily and rushed out as an immediate response to the
2.10.8 References scathing criticism that surrounded Self Portrait. In fact,
much of New Morning was already complete when Self
• Guterman, Jimmy and O'Donnell, Owen, The Worst Portrait was officially released.
Rock and Roll Records of All Time, Citadel, 1991.
“I didn't say, 'Oh my God, they don't like this, let me do
another one,'" Dylan said in 1975. “It wasn't like that. It
2.10.9 External links just happened coincidentally that one came out and then
the other one did as soon as it did. The Self Portrait LP
• Self Portrait (Bob Dylan album) at Discogs (list of laid around for I think a year. We were working on New
releases) Morning when the Self Portrait album got put together.”
2.11. NEW MORNING 83

During the March sessions that yielded most of Self Por- Weeks later, a session held on June 30 was dedicated
trait, Dylan attempted three songs that he later rerecorded to recording new versions of “Blowin' in the Wind,” but
for New Morning: “Went to See the Gypsy”, “Time Passes those recordings were left on the shelf.
Slowly”, and “If Not For You.” A number of perfor- Bob Johnston was still credited with production, but by
mances were recorded, but none to his satisfaction. July he was absent and would not return. Instead, Dy-
After work on Self Portrait was virtually completed, Dy- lan and Kooper created the preliminary sequence for New
lan held more sessions at Columbia’s recording studios in Morning. The process was wrought with frustration, pos-
the Columbia Studio Building at 49 East 52nd Street in sibly the result of the negative criticism over Self Portrait.
New York, beginning May 1, 1970.[1][2] Held in Studio The first sequence of New Morning included a few covers
B, the first session was accompanied by George Harri- as well as a new version of "Tomorrow is a Long Time,”
son, bassist Charlie Daniels, and drummer Russ Kunkel. an original composition dating back to 1962.
A large number of covers and old compositions were Meanwhile, Kooper convinced Dylan to record orchestral
recorded in addition to several new compositions. The re-
overdubs for “Sign on the Window” and “New Morning”.
sults were rejected, although “Working On A Guru” and An overdub session was held on July 13, but Dylan left
alternate versions of “Time Passes Slowly” and “If Not those overdubs out of the final mix. Kooper then con-
For You” have since been released. vinced Dylan to record overdubs for versions of “Spanish
Sometime in the spring of 1970, Dylan became involved Is the Loving Tongue”, “If Not For You” and “Went to
with a new play by poet Archibald MacLeish. A musi- See the Gypsy”. That overdub session was held on July
cal version of The Devil and Daniel Webster was titled 23, but Dylan would ultimately reject these recordings.
Scratch. “New Morning”, “Father of Night” and oth- “When I finished that album I never wanted to speak to
ers were all written for the production. Though Dylan him again,” Kooper said. “I was cheesed off at how dif-
enjoyed talking with MacLeish, he was never confident
ficult [the whole thing was]...He just changed his mind
about writing songs for the play. “Archie’s play was so every three seconds so I just ended up doing the work of
heavy, so full of midnight murder, there was no way I
three albums...We'd get a side order and we'd go in and
could make its purpose mine,” he would later write. master it and he'd say, 'No, no, no. I want to do this.' And
Eventually, a conflict with the producer over “Father of then, 'No, let’s go in and cut this.'... There was another
Night” prompted Dylan to leave the production, with- version of 'Went to See the Gypsy' that was really good...
drawing his songs in the process. Al Kooper, who is cred- It was the first time I went in and had an arrangement idea
ited as co-producer of New Morning, would later say that for it and I said, 'Let me go in and cut this track and then
these three songs were “pretty much the fulcrum for [New you can sing over it.' So I cut this track and it was re-
Morning]... That got him writing a little more.” ally good... and he came in and pretended like he didn't
The next session for New Morning would not be held un- understand where to sing on it.”
til June 1. By this time, Dylan had written several new Dylan ultimately decided to re-record “If Not for You”
songs, including “Three Angels”, “If Dogs Run Free”, and “Time Passes Slowly”, holding one final session on
“Winterlude”, and “The Man in Me”. August 12. During that session, he also recorded “Day of
Dylan vacated Studio B and moved into Studio E, both the Locusts,” which by now had been finished.
of which were in the Columbia Studio Building, where For the album’s final sequence, the three August 12
he stayed for the remaining sessions.[1][2] For five straight recordings were placed at the beginning of New Morning,
days, ending on June 5, Dylan recorded most of New while covers of "Ballad of Ira Hayes" and “Mr. Bojan-
Morning; he even recorded a number of covers with the gles” were dropped.
intention of including a few on New Morning. The June
1 session was devoted entirely to covers, but Peter La
Farge's “Ballad of Ira Hayes” was the only one given any
serious consideration for inclusion. The June 2 session
produced a solo piano rendition of “Spanish Is the Lov-
2.11.3 Songs
ing Tongue"; Al Kooper felt it was a strong candidate
for New Morning, but it was ultimately set aside. Jerry
Jeff Walker's “Mr. Bojangles” and the traditional “Mary If Not For You
Ann” were also recorded on June 2, with “Mr. Bojangles”
receiving serious consideration for inclusion.
The album opens with "If Not For You,” which was also
On June 9, several days after those initial June sessions, recorded for George Harrison's album All Things Must
Dylan accepted an honorary doctorate in music from Pass released a few months after this album. A sincere,
Princeton University. Dylan did not enjoy the experi- sentimental love song with modest ambitions, it was Dy-
ence, and it inspired him to write a new song, “Day of lan’s first and only single from New Morning. The song
the Locusts”. was later covered by Olivia Newton-John and was also
the title song of her first album in 1971.
84 CHAPTER 2. STUDIO ALBUMS

Day of the Locusts was featured in The Comic Strip's 1998 special “Four
Men In A Car”.
“Day of the Locusts” is a cynical piece of work inspired
by his June experience at Princeton University. David
Crosby was present, and later commented: “Sara was try- If Dogs Run Free
ing to get Bob to go to Princeton University, where he was
being presented with an honorary doctorate. Bob did not “Winterlude” is followed by “If Dogs Run Free”, a beat
want to go. I said, 'C'mon, Bob it’s an honor!' Sara and I jazz paean, featuring scat-singing Maeretha Stewart as a
both worked on him for a long time. Finally, he agreed. guest vocalist and Al Kooper on piano.
I had a car outside, a big limousine. That was the first
thing he didn't like. We smoked another joint on the way
and I noticed Dylan getting really quite paranoid about New Morning
it. When we arrived at Princeton, they took us to a little
room and Bob was asked to wear a cap and gown. He re- The title track of New Morning is another one of the
fused outright. They said, 'We won't give you the degree lighter tracks, a wry take on country life.
if you don't wear this.' Dylan said, 'Fine. I didn't ask for
it in the first place.'...Finally we convinced him to wear
Sign On the Window
the cap and gown.” The lyrics refer to the 17-year cicada
infestation covering Princeton at the time:
“Sign On The Window” expands on the joyous sentiments
“Sure was glad to get out of there alive. found in “New Morning”, applying it to domestic bliss.
And the locusts sang such a sweet melody. “Beginning hesitantly, the last verse of 'Sign On The Win-
and the locusts sang with a high whinin’ trill, dow' builds towards its repeated last line not as a forced
Yeah, the locusts sang and they was singing for me...” projection of false hope but as simple, matter-of-fact ac-
ceptance of middle-age sentiment,” writes music critic
Tim Riley. "[These words] offer a way of redefining one’s
Went to See the Gypsy
values that doesn't mean copping out or giving up. The
antithesis of the family man, at thirty a father of four, be-
It is often assumed that Dylan wrote “Went To See The
gins broaching homeliness without irony—and still con-
Gypsy” after meeting Elvis Presley,[3] as the song men-
vinces you not to hear it as strict autobiography.”
tions visiting with a mysterious and important man in a
hotel. The song also contains the line, “A pretty danc- Guitarist Ron Cornelius recalls, “Dylan had a pretty bad
ing girl was there, and she began to shout... 'He did cold that week. You can hear it on ['Sign On The Win-
it in Las Vegas, and he can do it here.'" This lyric was dow'], y'know, that bit about 'Brighton girls are like the
seen by some as a reference to Elvis’ record-breaking run moon,' where his voice really cracks up. But it sure suits
of performances in Las Vegas (his series of concerts at the song. His piano playing’s weird...because his hands
the International Hotel commenced on July 31, 1969). start at opposite ends of the keyboard and then sorta col-
The meeting described in the song may have been purely lide in the middle—he does that all the time—but the way
imaginary, however, as Dylan clarified in a 2009 inter- he plays just knocks me out.”
view with Rolling Stone’s Douglas Brinkley: “I never met
Elvis, because I didn't want to meet Elvis... I know The
Beatles went to see him, and he just played with their The Man in Me
heads.”[4] In the same interview, Dylan expanded upon
his imagined mythical image of the singer: “Elvis was In "The Man in Me", “Dylan surrenders to the person
truly some sort of American king. Two or three times he sees when his lover looks through him,” writes Riley.
we were up in Hollywood, and he had sent some of the “He’s not trying to impress this lover, so the title hook res-
Memphis Mafia down to where we were to bring us up onates enough to carry things... 'Take a woman like you
to see Elvis. But none of us went... I don't know if I to get through/To the man in me' is so direct in its expres-
would have wanted to see Elvis like that. I wanted to see sion of the unflinching cues of intimacy, you forgive him
the powerful mystical Elvis that had crash-landed from the occasional forced rhyme.” The song was later featured
a burning star onto American soil.”[4] In the final lines during several scenes in the 1998 Coen Brothers film The
of the song, Dylan makes mention of a “little Minnesota Big Lebowski.
town,” a rare reference to his own childhood in Hibbing.
Three Angels
Winterlude
“Three Angels” is gospel-tinged track limning sights on
“Winterlude” verges on satirical, a humorous love song an urban street, including “a man with a badge”, a "U-
directed at a girl named Winterlude, and includes the cho- Haul trailer”, and “three fellas crawling their way back to
rus, “Winterlude, this dude thinks you're fine”. The song work”.[5]
2.11. NEW MORNING
Father of Night
The final song, “Father of Night”, is Dylan’s interpreta-
tion of the Jewish prayer Amidah. In 1973, the song was
covered by Manfred Mann’s Earth Band for the album
"Solar Fire".
2.11.4 Reception
Critics were quick to praise New Morning upon its re-
lease. Ralph Gleason's Rolling Stone review reflected
most sentiments, proclaiming “WE'VE GOT DYLAN
BACK AGAIN.” Few placed it alongside his master-
works from the 1960s, but it was considered a substan-
tial improvement over its predecessor. It was only four
months since Self Portrait, and many reviewers did not
resist comparing the two. “In case you were wondering
how definitive that self-portrait was, here comes its mirror
image four months later,” wrote Robert Christgau, before Technical personnel
giving it an A-.
While New Morning neared completion, Dylan and his
manager, Albert Grossman, formally dissolved their busi-
ness relationship on July 17, 1970. Grossman retained
certain rights from previous agreements, including royal-
ties on work produced under his management, but their
publishing company, Big Sky Music, would be replaced
by Ram’s Horn Music before the end of 1971, putting an
end to any joint ownership in publishing. Dylan would
gain complete control over his personal management and
his own music publishing. Another tense contract nego-
tiation awaited in 1972, this time with CBS. Until then,
there would be little musical activity as Dylan entered the
quietest period of his career.
2.11.5 Track listing
All songs written by Bob Dylan.
2.11.6 Chart positions
2.11.7 Personnel
• Bob Dylan – vocals, harmonica, acoustic guitar,
electric guitar, organ; piano on “Day of the Locusts”,
“Time Passes Slowly”, “Went to See the Gypsy”,
“Winterlude”, “Sign on the Window”, and “Father
of Night”
Additional musicians
• David Bromberg – electric guitar, dobro
• Harvey Brooks – bass guitar
• Ron Cornelius – electric guitar
85
• Charlie Daniels – bass guitar
• Buzzy Feiten – electric guitar
• Al Kooper – organ, piano, electric guitar, French
horn
• Russ Kunkel – drums
• Billy Mundi – drums
• Hilda Harris – backing vocals
• Albertin Robinson – backing vocals
• Maeretha Stewart – backing vocals on “If Dogs Run
Free”
• Bob Johnston – production
• Len Siegler – photographer
2.11.8 References
[1] Heylin, Clinton, Bob Dylan: The Recording Sessions 1960-
94. Penguin. UK; St Martin’s Press, US, 1995. ISBN
0-312-13439-8. Cf. p.84 on use of Studio B and Studio
E in New York City in 1970 which were at the Columbia
Studio Building.
[2] Bjoerner, Olof, “Still on the Road: 1970 Recording SES-
SIONS”
[3] “Bono versus Elvis: the poem”. The Daily Telegraph
(London). May 7, 2009.
[4] Brinkley, Douglas (5-14-2009) Rolling Stone issue #1078,
pp. 48
[5] “Official Bob Dylan Site | The Official Bob Dylan Site”.
Bobdylan.com. 2012-07-17. Retrieved 2012-08-29.
[6] Thomas, Stephen (1970-10-21). “Allmusic review”. All-
music.com. Retrieved 2012-08-29.
[7] Flanagan, Bill (1991-03-29). “Dylan Catalog Revisited”.
EW.com. Retrieved 2012-08-29.
[8] “Bob Dylan: New Morning : Music Reviews : Rolling
Stone”. RollingStone.com. 1970-11-26. Archived from
the original on 2010-01-03. Retrieved 2012-08-29.
[9] “Number 1 Albums – 1970s”. The Official Charts Com-
pany. Archived from the original on 9 February 2008.
Retrieved 9 June 2011.
86 CHAPTER 2. STUDIO ALBUMS

2.12 Pat Garrett & Billy the Kid neither were seriously considered for the soundtrack (as
they were born more out of leisure than actual work), they
This article is about the musical album. For the movie, were eventually completed and recorded by the Nashville
see Pat Garrett and Billy the Kid. band Old Crow Medicine Show; "Wagon Wheel" was re-
leased in 2004 (and subsequently covered by many other
artists, including Darius Rucker) and “Sweet Amarillo”
Pat Garrett & Billy the Kid is the twelfth studio al- was released in 2014.[6]
bum and first soundtrack album by American singer-
songwriter Bob Dylan, released on July 13, 1973 by
Columbia Records for the Sam Peckinpah film, Pat Gar- 2.12.4 Reception
rett and Billy the Kid. Dylan himself appeared in the film
as the character “Alias”. The soundtrack consists primar-
Some well-known critics writing for pay were under-
ily of instrumental music and was inspired by the movie
whelmed by the record and full of opinions about what
itself, and included "Knockin' On Heaven’s Door", which
was wrong with it. Robert Christgau of The Village
became a trans-Atlantic Top 20 hit. Certified a gold
Voice described it as “two middling-to-excellent new Dy-
record by the RIAA, Pat Garrett & Billy the Kid reached
lan songs, four good original Bobby voices, and a lot of
#16 US and #29 UK.
Schmylan music”.[8] Jon Landau wrote in Rolling Stone
that “it is every bit as inept, amateurish and embarrassing
2.12.1 Filming of Pat Garrett and Billy the as Self Portrait. And it has all the earmarks of a deliberate
courting of commercial disaster, a flirtation that is appar-
Kid
ently part of an attempt to free himself from previously
imposed obligations derived from his audience.”[11]
Pat Garrett and Billy the Kid scriptwriter Rudy Wurlitzer
was a previous acquaintance of Dylan’s, and asked him Despite the album’s lukewarm reception, it spawned a sig-
to provide a couple of songs for the movie.[1] Dylan per- nificant hit in “Knockin' on Heaven’s Door,” which would
formed “Billy” for director Peckinpah, who found the be covered by acts such as Eric Clapton and Guns N'
performance very moving and offered Dylan an acting Roses. Years later, “Knockin' On Heaven’s Door” en-
part on the spot.[1][2] The role he ended up getting was dured as a popular favorite among critics and fans as well
a character named Alias.[3] In November 1972, Dylan as a concert staple, with its inspirational tone and lyrics
and his family moved to Durango, Mexico, where film- regarding impending death.
ing took place.[2] Filming lasted from late 1972 to early Modern critics, unencumbered by any investment in ex-
1973.[4] pectations about what a Bob Dylan album “should” be
like, often see it as a spare, beautiful departure from form
2.12.2 Recording sessions and a worthy effort as a whole, not just a collection of sin-
gles, fully in line with the thrust of the film, while contain-
Dylan’s first session for the Pat Garrett and Billy the Kid ing a singular great achievement in “Knockin' on Heaven’s
soundtrack was on January 20, 1973 at CBS Discos Stu- Door,” which by itself, was worth the price of the album.
dios in Mexico City.[5] The only song from that day that
was included on the album was “Billy 7"; also recorded
were multiple other takes of “Billy”, and the outtakes 2.12.5 Legacy
“Under Turkey”, “Billy Surrenders”, “And He’s Killed
Me Too”, “Goodbye Holly” and “Pecos Blues”.[5] The After Peckinpah completed his own cut of Pat Garrett
following month, Dylan recorded two days at Burbank and Billy the Kid, MGM re-cut the film without his input,
Studios in Burbank, California. The rest of the album’s removing several significant scenes and re-shuffling most
[12][13]
songs were recorded, as well as the outtakes “Sweet Ar- of Dylan’s music in the process. Peckinpah’s film
[14]
marillo” and “Rock Me Mama”. [5] was released to mixed reviews. Years later, critical re-
evaluation of Peckinpah’s film would lead many to regard
it as one of his major works, a revisionist view aided by
2.12.3 Outtakes the restoration of Peckinpah’s original cut in 1984.
After witnessing firsthand Peckinpah’s battles with
The Mexico City session produced two notable outtakes: MGM, Dylan had his own problems with Columbia
“Pecos Blues,” an instrumental based on the traditional Records. After years of minimal activity, Dylan had
“What Does The Deep Sea Say?,” and the song “Goodbye lost Columbia’s patience, and when negotiations for a re-
Holly.” Both tracks were rejected but eventually boot- newed contract began in 1972, the label (except for Clive
legged. Davis) had little interest in being generous. “Early in
The Burbank sessions yielded a few spontaneous record- 1973 I finally did conclude negotiations for a new contract
ings, including a jam titled “Sweet Amarillo” and a sim- with Bob,” wrote Clive Davis in his autobiography. Davis
ple, improvised song titled “Rock Me Mama.” Although had been a longtime supporter of Dylan’s, but he had been
2.12. PAT GARRETT & BILLY THE KID 87

the victim of a corporate coup. While finalizing the de- [7] Eder
tails of Dylan’s contract, Davis was fired by CBS presi-
dent Arthur Taylor on May 29. Dylan testified on Davis’s [8] Christgau 1973
behalf in a well-publicized civil trial held in July 1975. In [9] Flanagan 1991
the meantime, the incident soured Dylan’s relationship
with CBS, convincing him to sign with David Geffen’s [10] Brackett 2004, p. 262
fledgling Los Angeles-based label Asylum Records.
[11] Landau 1973

[12] Sounes 2001, p. 272

2.12.6 Track listing
[13] Heylin 2009, p. 527
All songs written by Bob Dylan.
[14] Shelton 1986, p. 493

[15] Pat Garrett & Billy the Kid: Billboard Albums

2.12.7 Personnel
[16] Bob Dylan: Top 75 Releases
• Bob Dylan — guitars, vocals, harmonica
[17] Pat Garrett & Billy the Kid: Billboard Singles
• Byron Berline — backing vocals, fiddle
• Fred Katz, Ted Michel — cello 2.12.10 References
• Gary Foster — recorder, flute
• “Bob Dylan: Top 75 Releases”. Theoffi-
• Carl Fortina — harmonium cialcharts.com. Retrieved 2011-09-26.

• Jolly Roger — banjo
• Bruce Langhorne — acoustic guitar
• Roger McGuinn — guitar
• Carol Hunter — 12 string guitar, backing vocals
• Booker T. Jones — bass guitar
• Terry Paul — bass guitar and backing vocals
• Jim Keltner — drums
• Russ Kunkel — tambourine, bongos
• Priscilla Jones, Brenda Patterson, Donna Weiss —
backing vocals
• Brackett, Nathan, with Christian Hoard (2004). The
New Rolling Stone Album Guide (4th ed.). Fireside.
ISBN 0-7432-0169-8.
• Christgau, Robert (1973). “Bob Dylan”. Consumer
Guide Reviews. Retrieved 2011-11-09.
• Eder, Bruce. “Pat Garrett & Billy the Kid: Review”.
Allmusic. Retrieved 2011-11-09.
• Flanagan, Bill (1991-05-29). “Dylan Catalog Re-
visited”. Entertainment Weekly. Retrieved 2011-11-
09.
• Heylin, Clinton (1995). Bob Dylan: The Recording
Sessions, 1960–1994. St. Martin’s Griffin. ISBN
0-312-15067-9.

• Heylin, Clinton (2009). Revolution In The Air: The

2.12.8 Charts Songs of Bob Dylan, Volume One: 1957–73. Con-
stable. ISBN 1-84901-051-X.
Album
Singles • Landau, Jon (1973-08-30). “Pat Garrett & Billy the
Kid”. Rolling Stone. Retrieved 2011-11-12.

• “Pat Garrett & Billy the Kid: Billboard Albums”.

2.12.9 Footnotes Allmusic. Retrieved 2011-11-09.
[1] Heylin 2009, pp. 525–526
• “Pat Garrett & Billy the Kid: Billboard Singles”.
[2] Shelton 1986, p. 492 Allmusic. Retrieved 2011-11-09.

[3] Sounes 2001, p. 271 • Shelton, Robert (2006). No Direction Home: The
Life and Music of Bob Dylan. Ballantine Books.
[4] Shelton 1986, p. 491 ISBN 0-345-34721-8.
[5] Heylin 1995, pp. 91–92
• Sounes, Howard (2001). Down the Highway: The
[6] Old Crow Medicine Show Finish What Bob Dylan Started Life of Bob Dylan. Grove Press. ISBN 0-8021-
in 'Amarillo' 1686-8.
88
2.13 Dylan
For Bob Dylan’s 2007 “best of” compilation, see Dylan
(2007 album).
Dylan is the thirteenth studio album by American singer-
songwriter Bob Dylan, released on November 19, 1973
by Columbia Records. Compiled and issued by the label
with no input from Dylan himself, it contains no original
Dylan songs, the material consisting of two outtakes from
Self Portrait and another seven from New Morning. It fol-
lowed the artist’s departure from Columbia for Asylum
Records, and the announcement of his first major tour
since 1966.
Although Dylan received very poor reviews,[5] it man-
aged to hit #17 in the US and become a gold record. It
is the only Columbia Dylan album not to be reissued on
compact disc in the North American market at the request
of Dylan himself. Recently the album has been re-issued
on digital disc included in the The Complete Album Col-
lection Vol. One box set (2013).[6][7] It became his first
album never to chart in the UK, where his albums gener-
ally charted higher than in the US.[8][9] In Europe, it was
called Dylan – A Fool Such as I.[10] A different record-
ing of "Spanish Is the Loving Tongue" had been issued
as the B-side of Dylan’s 1971 single "Watching the River
Flow". Until December 2009, the album was available on
iTunes as part of the download Bob Dylan: The Collec-
tion. The first seven tracks were recorded in June 1970
for New Morning sessions; the last two recorded in April
1969 for Self Portrait sessions.[11]
2.13.1 Track listing
2.13.2 References
[1] Erlewine, Stephen Thomas. Dylan (1973 album) at
AllMusic
[2] “Robert Christgau review”. Robertchristgau.com. Re- own conception of the album. On the left side is writ-
trieved 2012-02-07.
[3] Flanagan, Bill (1991-03-29). “Entertainment Weekly re- reportedly set out excerpts from Dylan’s personal jour-
view”. Ew.com. Retrieved 2012-02-07.
[4] “Rolling Stone review”. Rollingstone.com. Retrieved
2013-11-03.
[5] Robert Shelton, 1986. No Direction Home: The Life and
Music of Bob Dylan. New York: William Morrow and
Co., p. 428. ISBN 068805045X
[6] Amazon editorial comment retrieved 26 September 2013.
[7] Michael Gray, 2006. The Bob Dylan Encyclopedia.
London: Continuum International, p. 194. ISBN
0826469337
[8] UK chart history website retrieved 26 September 2013.
CHAPTER 2. STUDIO ALBUMS
[9] Expecting Rain website Dylan US chart history retrieved
26 September 2013.
[10] Olof Bjorner About Bob website 1969 session pages re-
trieved 26 September 2013.
[11] “DYLAN”. Retrieved 2012-02-07.
2.14 Planet Waves
Planet Waves is the fourteenth studio album by Ameri-
can singer-songwriter Bob Dylan, released on January 17,
1974 by Asylum Records in the United States and Island
Records in the United Kingdom.
Dylan is supported on the album by longtime collabora-
tors The Band, with whom he embarked on a major re-
union tour following its release (documented on the live
album Before the Flood) (the tour started a couple weeks
before release--though Asylum did want the album out
first). With a successful tour and a host of publicity,
Planet Waves was a hit, enjoying a brief stay at #1 on the
US Billboard charts—a first for the artist—and #7 in the
UK. Critics were not as negative as they had been with
some then-recent Bob Dylan albums (namely Self Por-
trait and Dylan), but still not enthusiastic for the album’s
brand of laid-back roots rock.
The album was originally set to be titled Ceremonies of the
Horsemen, a reference to the song "Love Minus Zero/No
Limit", from the 1965 album Bringing It All Back Home;
the release was delayed two weeks when Dylan decided
to change the title at the last minute. Another, earlier
working title was Wedding Song.
2.14.1 Artwork
The cover art is drawn by Dylan himself. Written on
the right side of the cover image is the phrase, “Cast-
iron songs & torch ballads,” apparently signaling Dylan’s
ten “Moonglow”, which is sometimes interpreted as a
subtitle.[1] The initial release also included an insert which
nals.
2.14.2 Recording sessions
In the summer of 1973, Robbie Robertson, lead guitarist
of The Band, relocated to Malibu, California, not far from
Dylan’s residence. According to Robertson, the idea of
collaborating with Dylan evolved from a conversation that
took place sometime after July 28, when The Band played
to hundreds of thousands of people at Summer Jam at
Watkins Glen in upstate New York. After much dis-
cussion about that experience, the idea of touring again
“seemed to really make sense,” says Robertson. “It was
2.14. PLANET WAVES 89

a good idea, a kind of step into the past...The other guys After several false starts, Dylan and The Band executed
in the Band came out [to Malibu] and we went right to what would ultimately be one of two master takes for
work.” “Forever Young.” However, Dylan nearly rejected the
Dylan had not toured since 1966, when The Band accom- performance after hearing some disparaging criticism
panied him as The Hawks. Since then, he had played with from one particular visitor.
The Band on a number of occasions, including a New “We only did one [complete] take of the slow version of
Year’s concert in 1971/1972; that was the last time Dylan 'Forever Young,'" recalls Fraboni. “This take was so riv-
had played with The Band, and it was warmly received by eting, it was so powerful, so immediate, I couldn't get
the audience. When Dylan joined The Band for a test run over it. When everyone came in nobody really said any-
at Robertson’s home in September 1973, he was satisfied thing. I rewound the tape and played it back and every-
by the results, enough to proceed with touring plans. body listened to it from beginning to end and then when
“We sat down and played for four hours and ran over it was over everybody sort of just wandered out of the
an incredible number of tunes,” recalls Robertson. “Bob room. There was no outward discussion. Everybody just
would ask us to play certain tunes of ours, and then we left. There was just [a friend] and I sitting there. I was
would do the same, then we'd think of some that we would so overwhelmed I said, 'Let’s go for a walk.' We went for
particularly like to do.” a walk and came back and I said, 'Let’s go listen to that
again.' We were like one minute or two into it, I was so
Dylan left for New York in October to compose new ma- mesmerized by it again I didn't even notice that Bob had
terial for album sessions scheduled in November. Dy- come into the room...So when we were assembling the
lan already had three songs (“Forever Young,” “Nobody master reel I was getting ready to put that [take] on the
'Cept You,” and “Never Say Goodbye”) which he had master reel. I didn't even ask. And Bob said, 'What're
demoed in June, and when he returned to Malibu after you doing with that? We're not gonna use that.' And I
twenty days in New York, he had six more. jumped up and said, 'What do you mean you're not gonna
On Friday, November 2, Dylan and The Band held a ses- use that? You're crazy! Why?' Well,...during the record-
sion at Village Recorder Studio A in Los Angeles, Cali- ing...[Dylan’s childhood friend] Lou Kemp and this girl
fornia. Engineer Rob Fraboni recalls the proceedings as came by and she had made a crack to him, 'C'mon, Bob,
fairly relaxed and informal, an opportunity “to get set up what! Are you getting mushy in your old age?' It was
and to get a feel for the studio.” Drummer Levon Helm based on her comment that he wanted to leave [that ver-
was not even present, as he was still in transit, on his way sion] off the record.”[2]
to Los Angeles from the East Coast. Nevertheless, the Fraboni would defend the recording, and when he re-
session was devoted to all three songs demoed in June, fused to relent, Dylan reconsidered and allowed him to
and Dylan and The Band succeeded in recording com- include it on the album. Fraboni also convinced Dylan to
plete takes of “Forever Young” and “Nobody 'Cept You” do his first vocal overdubs for the album.[3] (While The
as well as the master take for “Never Say Goodbye.” Band had three regular vocalists in Richard Manuel, Rick
When Dylan and The Band reconvened at Village Danko, and Helm, none of them sing on the album.)
Recorder the following Monday, November 5, with On November 9, Dylan held what he intended to be the
Levon Helm now present, they made another attempt at final session for the album. From Fraboni’s perspective,
“Nobody 'Cept You.” Robertson abandoned the wah-wah Dylan already had a perfect take of “Forever Young”
pedal used during the November 2 session, and a satis- from the previous day, but Dylan still attempted a differ-
factory take was completed and marked for possible in- ent, acoustic arrangement, which was ultimately rejected.
clusion. Master takes for “You Angel You” and “Going, Dylan would tell Fraboni that afternoon, “I been carrying
Going, Gone” were also completed. this song around in my head for five years and I never
“Forever Young” occupied a portion of the Monday ses- wrote it down and now I come to record it I just can't
[2]
sion, and the results would not meet Dylan’s satisfaction. decide how to do it.”
He would return to it for three more sessions, as it would The last song recorded on the 9th was a new composition
prove to be the most difficult song to record. titled “Wedding Song,” which Dylan had completed over
On the next day, November 6, Dylan and The Band the course of the sessions. “Nobody 'Cept You” was origi-
recorded master takes for three more songs: “Hazel,” nally planned as the album’s closing number, but without
“Something There Is About You,” and “Tough Mama.” a satisfactory performance, it would be omitted and re-
placed by “Wedding Song.” (The November 2 recording
They reconvened two days later, on November 8, per- of “Nobody 'Cept You” was eventually released in 1991
forming three takes of “Going, Going, Gone” before on The Bootleg Series Volumes 1–3 (Rare & Unreleased)
recording “On A Night Like This.” Attempts at the for- 1961–1991.)
mer would not replace the master take from the 5th, but a
master take of the latter was successfully recorded. The Though there was enough material to fill an album, Dylan
session would then end with “Forever Young.” decided to hold one more session. On the 14th, The Band
was called back to record two songs. The first was another
90 CHAPTER 2. STUDIO ALBUMS

arrangement of “Forever Young,” this time with Helm on Heylin, the song is “an attempt to write something hymnal
mandolin and Danko on fiddle. This new version of “For- and heartfelt that spoke of the father in him.”[2] Though
ever Young” would create the second of two master takes two different versions were released on the album, most
for the song, and both of them would be included on the critics and listeners defer to the “beautiful slow waltz of a
album. performance”[2] recorded on November 8 as the primary
The second song recorded on the 14th was “Dirge” (or recording. It is not a waltz, it is in 4/4 time. Formally this
“Dirge For Martha” as it was marked on the tape box). song is a passacaglia, just as “Something There Is About
“Bob went out and played the piano while we were mixing You”.
[the album]. All of a sudden, he came in and said, 'I'd like “Dirge”, “his most twisted song since the accident,”
to try 'Dirge' on the piano.'...We put up a tape and he said writes Heylin, “represents a quite astonishing catharsis on
to Robbie, 'Maybe you could play guitar on this.' They Dylan’s part. As the narrator expresses an underlying ha-
did it once, Bob playing piano and singing, and Robbie tred for 'the need that was expressed' by her presence, he
playing acoustic guitar. The second time was the take.” encapsulates all the ambivalence this popular artist felt
for both muse and audience.”[2] Critics also singled out
Dylan’s piano playing in praising the recording.
2.14.3 Songs
The closing number on Planet Waves is “Wedding Song,”
and over the years, a number of critics have called it au-
Critic Bill Wyman described Planet Waves via Salon.com
tobiographical. “It begins with the narrator attempting to
as “a spare but twisted collection of songs.” As a whole,
convince his lady love that he loves her 'more than life it-
they deal with domestic themes with a few tracks seeming
self,'" writes Heylin. “However, the focus begins to turn
like straightforward love songs, particularly the opener
when he informs her, 'we can't regain what went down
“On A Night Like This” and “You Angel You” (which
in the flood,' suggesting that their search for a new Eden
Dylan dismissed in 1985 as having “dummy lyrics”).
was always doomed to failure. By the sixth verse we have
However, as music critic Tim Riley notes, many of the
come to the crux of the song—the singer’s protestation
songs take on darker overtones, with lyrics suggesting
that he does not wish 'to remake the world at large,' be-
“death ('Dirge'), suicide ('Going, Going, Gone,' a song
cause he loves her 'more than all of that.'"[2] Many critics
that doesn't toy around with the idea), and the brick
have dismissed such claims of autobiographical content,
wall that love collides with when possessiveness curdles
making “Wedding Song” one of the more debated num-
into obsession (the overstated contradictions of 'Wedding
bers on Planet Waves.
Song').”[4] Unlike the “settled-in homilies” of Nashville
Skyline and New Morning, Planet Waves is “rounded out
with more than one shade of romance: subterfuge, sus-
2.14.4 Reception
picion, self-hate ('Dirge,' 'Tough Mama'), and memory
('Something There Is About You') counter lighthearted Planet Waves was Dylan’s first 'proper' album in three and
celebration ('On A Night Like This’).”[4] a half years. With a planned tour to follow (his first since
Many critics gave the performances on Planet Waves 1966 and backed by the same band that supported him on
plenty of attention, perhaps more than the songs them- that legendary tour), the media coverage was enormous.
selves. Dylan and The Band had performed on numer- Asylum Records planned on releasing Planet Waves the
ous occasions, most notably on tour in 1966 and during same day the tour began, but an album title change (from
the “Basement Tapes” sessions of 1967, but at the time Ceremonies of the Horsemen) and a last minute substitu-
of Planet Waves’ release, very few of these performances tion in liner notes (also written by Dylan) pushed the re-
were officially released. lease date back two weeks.
“The Band’s windup pitch to 'Going, Going, Gone' is Planet Waves would ship gold, topping Billboard's album
a wonder of pinpoint ensemble playing,” writes Riley. charts on the basis of advance orders, but by the end of
“Robertson makes his guitar entrance choke as if a noose 1974, it had sold a modest 600,000 copies, selling only
had suddenly tightened around its neck, and you get the 100,000 units after those initial orders were made. The
feeling these guys could shadow Dylan in their sleep.”[4] figures were a surprise considering the enormous suc-
Riley also writes that "'Tough Mama' is the track that ex- cess of the tour; it is estimated that $92 million worth
emplifies the best playing on Planet Waves, and a pitch of of checks and money orders were sent in from roughly
writing that shows Dylan can still challenge himself.”[4] ten million ticket applicants.
Clinton Heylin also singled out Dylan’s performances, The critical reception was generally positive, if a bit
noting that “Tough Mama” featured “one of his raunchi- muted. The consensus was ultimately strong enough to
est vocals”.[2] secure Planet Waves at #18 on The Village Voice's Pazz
Arguably the most celebrated song on Planet Waves, & Jop Critics Poll for 1974. “In a time when all the most
“Forever Young”, was originally written for his chil- prestigious music, even what passes for funk, is coated
dren, and a demo recording from June 1973 (released on with silicone grease, Dylan is telling us to take that grease
Biograph in 1985) explicitly shows this. As described by and jam it,” wrote critic Robert Christgau. “Sure he’s do-
2.15. BLOOD ON THE TRACKS
mestic, but his version of conjugal love is anything but
smug, and this comes through in both the lyrics and the
sound of the record itself. Blissful, sometimes, but some-
times it sounds like stray cat music—scrawny, cocky, and
yowling up the stairs.”
Ellen Willis of The New Yorker wrote, "Planet Waves is
unlike all other Dylan albums: it is openly personal...I
think the subject of Planet Waves is what it appears to
be—Dylan’s aesthetic and practical dilemma, and his im-
mense emotional debt to Sara.”[9]
Though most of Planet Waves was played on the tour (in-
cluding a solo, acoustic rendition of the outtake, “Nobody [6] Robert Christgau review
'Cept You”), as the tour progressed, songs from the album [7] Entertainment Weekly review
were removed from the setlist. By the end of the tour,
only “Forever Young” would remain. In the meantime, [8] Rolling Stone review
Dylan and The Band would professionally record many [9] Quoted in Heylin (2003), p. 357.
of the shows as they planned their next release. None of
the Planet Waves songs were included on the subsequent [10] http://www.discogs.com/Bob-Dylan-Planet-Waves/
live album (Before the Flood), and only “Forever Young,”
“Hazel,” and “Tough Mama” have been performed in re-
cent years.
2.14.5 Track listing
All songs written by Bob Dylan.
2.14.6 Chart positions
2.14.7 Personnel
• Bob Dylan – guitar, harmonica, vocals
• Rick Danko – bass guitar
• Levon Helm – drums
• Garth Hudson – organ
• Richard Manuel – piano, drums
• Robbie Robertson – guitars[10]
Technical personnel
• Rob Fraboni – production, engineering
• David Gahr, Joel Bernstein – photography
• Nat Jeffery – assistant engineer
• Robbie Robertson – special assistance
2.14.8 References
[1] “A Chance Encounter with Planet Waves”.
Stereophile.com. Retrieved 2012-03-05.
91
[2] Heylin, Clinton (2003). Bob Dylan: Behind the Shades
Revisited, p. 354-57. HarperCollins. ISBN 0-06-052569-
X.
[3] Heylin, Clinton (1997). Bob Dylan: The Recording Ses-
sions, 1960-1994, pp. 95-99. MacMillan. ISBN 0-312-
15067-9.
[4] Riley, Tim (updated ed. 1999). Hard Rain: A Dylan
Commentary, pp. 214-17. Da Capo Press. ISBN 0-306-
80907-9.
[5] Allmusic review
release/697866
2.14.9 External links
• Bob Dylan’s Shortest Interview – Planet Waves
2.15 Blood on the Tracks
Blood on the Tracks is the fifteenth studio album by
American singer-songwriter Bob Dylan, released on Jan-
uary 20, 1975[1] [2] by Columbia Records. The album
marked Dylan’s return to Columbia Records after a two-
album stint with Asylum Records. Dylan commenced
recording the album in New York City in September
1974. In December, shortly before Columbia was due
to release the record, Dylan abruptly re-recorded much
of the material in a studio in Minneapolis. The final al-
bum contained five tracks from New York and five tracks
from Minneapolis.
Blood on the Tracks was initially received with mixed re-
views, but has subsequently been acclaimed as one of Dy-
lan’s greatest albums by critics and fans. The songs have
been linked to tensions in Dylan’s personal life, including
estrangement from his then-wife Sara, and one of their
children, Jakob Dylan, has described the songs as “my
parents talking”.[3] The album has been viewed as an out-
standing example of the confessional singer-songwriter’s
craft, and it has been called “the truest, most honest ac-
count of a love affair from tip to stern ever put down on
magnetic tape”.[4] In interviews, Dylan has denied that
the songs on the album are autobiographical. In 2003,
the album was ranked number 16 on Rolling Stone's list
of the 500 greatest albums of all time, and in 2004, it was
placed at number 5 on Pitchfork Media's list of the top
100 albums of the 1970s.[5]
The album reached #1 on the Billboard 200 charts and
#4 on the UK Albums Chart. The single "Tangled Up
92 CHAPTER 2. STUDIO ALBUMS

in Blue" peaked at #31 on the Billboard Hot 100 sin-
gles chart. The album remains one of Dylan’s best-
selling studio releases, with a double-platinum US certifi-
cation by the Recording Industry Association of America
(RIAA).[6]
2.15.1 Recording
Pre-production
the album with a band, and instead substituted stripped-
down acoustic arrangements for all of his songs.[11] On
August 2, 1974, Dylan signed a contract with Columbia
Records. After releasing his two previous albums, Planet
Waves and Before the Flood, on Asylum Records, Dylan
decided his new album would benefit from the commer-
cial muscle of the record label that had made him famous,
and his new contract gave him increased control over his
own masters.[12]

At the conclusion of his 1974 tour with The Band, Dylan
began a relationship with a Columbia Records employee,
Ellen Bernstein, which Dylan biographer Clinton Heylin
has described as the beginning of the end of Dylan’s mar-
riage to his wife Sara.[7] In spring 1974, Dylan was in New
York for several weeks while he attended art classes with
the painter Norman Raeben.[8] Dylan subsequently gave
Raeben credit in interviews for transforming his under-
standing of time, and during the summer of 1974 Dylan
began to write a series of songs in a red notebook which
utilised his new knowledge:
[Raeben] taught me how to see in a way
that allowed me to do consciously what I un-
consciously felt... When I started doing it, it
the first album I made was Blood on the Tracks.
Everybody agrees that was pretty different, and
what’s different about it is there’s a code in the
lyrics, and also there’s no sense of time.[8]
Recording sessions
Dylan commenced recording at A & R Recording Studios
in New York City on September 16, 1974. Bernstein has
stated “the theme of returning ran through the sessions”,
so “it made a lot of sense to do it at A&R”.[12] A & R Stu-
dios was the former Columbia Records “Studio A”, where
Dylan had recorded six albums in the 1960s.[12] The mu-
sicians quickly realized that Dylan was taking a “sponta-
neous” approach to recording.[11] The session engineer,
Phil Ramone, later said that Dylan transitioned from one
song to another as if they were part of a medley. Ramone
noted:
Sometimes he will have several bars, and in
the next version, he will change his mind about
how many bars there should be in between a
verse. Or eliminate a verse. Or add a chorus
when you don't expect.

Eric Weissberg and his band, Deliverance, originally re-

Dylan subsequently spent time with Bernstein on his farm
cruited as session men, were rejected after two days of
in Minnesota and there he completed the 17 songs from
recording because they could not keep up with Dylan’s
which Blood on the Tracks was formed—songs which
pace.[11] Dylan retained bassist Tony Brown from the
Heylin has described as “perhaps the finest collection of
band, and soon added organist Paul Griffin (who had
love songs of the twentieth century, songs filled with the
also worked on Highway 61 Revisited) and steel guitarist
full spectrum of emotions a marriage on the rocks can
Buddy Cage.[11] After ten days[11] and four sessions[13]
engender”.[9]
with the current lineup, Dylan had finished recording and
Prior to recording, Dylan previewed the songs that would mixing, and, by November, had cut a test pressing on the
constitute Blood on the Tracks for a number of friends in album. Columbia began to prepare to release the album
the music world, including David Crosby, Graham Nash, before Christmas.[14]
Stephen Stills, Tim Drummond, and Peter Rowan.[10]
Dylan played the test pressing for his brother, David Zim-
Nash recalled that Stills disliked Dylan’s private perfor-
merman, who persuaded Dylan the album would not sell
mance of his new songs; immediately after Dylan left the
because the overall sound was too stark. At his brother’s
room, Stills remarked to Nash, “He’s a good songwriter
urging, Dylan agreed to re-record five of the album’s
... but he’s no musician.”[10]
songs in Sound 80 in Minneapolis, with backing musi-
Initially, Dylan considered recording Blood on the Tracks cians recruited by David. The new takes were accom-
with an electric backing group, and contacted Mike plished in two days at the end of December 1974. Blood
Bloomfield who had played lead guitar on Dylan’s on the Tracks was released into stores on January 20,
Highway 61 Revisited album. When the two met, Dy- 1975.[15]
lan ran through the songs he was planning to record, but
he played them too quickly for Bloomfield to learn.[11]
Bloomfield later recalled the experience: “They all began 2.15.2 Autobiographical interpretation of
to sound the same to me; they were all in the same key; Blood on the Tracks
they were all long. It was one of the strangest experiences
of my life. He was sort of pissed off that I didn't pick The songs that constitute Blood on the Tracks have been
it up.” In the end, Dylan rejected the idea of recording described by many Dylan critics as stemming from his
2.15. BLOOD ON THE TRACKS 93

personal turmoil at the time, particularly his estrange- and the self-consciously simple compositions of his post-
ment from his then-wife Sara Dylan.[16] One of Bob and accident years.”[30] Bell, in his critical biography of Dy-
Sara Dylan’s children, Jakob Dylan, has said, “When lan, wrote that that Blood on the Tracks was proof that
I'm listening to Blood On The Tracks, that’s about my “Dylan had won the argument over his refusal to argue
parents.”[17] about politics. In this, he began to seem prescient.”[31]
Dylan has denied this autobiographical interpretation, Bell concluded the album “might [32]
well count as one of
stating in a 1985 interview with Bill Flanagan, “A lot of the best things Dylan ever did.” Novelist Rick Moody
people thought that album pertained to me. It didn't per- called it “the truest, most honest account of a love affair
from tip to stern ever put down on magnetic tape.”[4]
tain to me... I'm not going to make an album and lean
on a marriage relationship.”[18] Informed of the album’s A result of the acclaim surrounding Blood on the Tracks
popularity, Dylan told Mary Travers in a radio interview has been that when critics have praised one of Dylan’s
in April 1975: “A lot of people tell me they enjoy that subsequent albums they have often described it as “his
album. It’s hard for me to relate to that. I mean... peo- best since Blood on the Tracks.”[33][34] According to mu-
ple enjoying that type of pain, you know?" Addressing sic journalist Rob Sheffield, Blood on the Tracks became
whether the album described his own personal pain, Dy- a benchmark album for Dylan in the years that followed
lan replied that he didn't write “confessional songs”.[11] because it was “such a stunning comeback”.[24]
In his 2004 memoir, Chronicles, Vol. 1, Dylan stated that
the songs have nothing to do with his own personal life,
2.15.4 Track listing
and that they were inspired by the short stories of Anton
[19]
Chekhov.
All songs written and composed by Bob Dylan.

2.15.3 Critical reception 2.15.5 Outtakes

Released in early 1975, Blood on the Tracks initially re-
Only one of the five New York acetate recordings that
ceived mixed reviews from critics.[27] Rolling Stone pub-
were subsequently replaced on the official album has been
lished two assessments. The first, by Jonathan Cott,
officially released: "You're a Big Girl Now", released on
called it “Dylan’s magnificent new album”. The sec-
1985’s Biograph. Although alternate takes of "Tangled
ond reviewer, Jon Landau, wrote that “the record has
Up in Blue", "Idiot Wind", and "If You See Her, Say
been made with typical shoddiness.”[28] In the NME,
Hello" from those same sessions were released on The
Nick Kent described “the accompaniments [as] often
Bootleg Series, Vol. 1–3, these were not the same takes
so trashy they sound like mere practice takes”,[28] while
that were initially slotted for inclusion on the official al-
Crawdaddy magazine’s Jim Cusimano found the instru-
bum. That collection also includes “Call Letter Blues”,
mentation incompetent.[27]
an outtake/early version of "Meet Me in the Morning"
An influential review of the album was written by Dylan with alternate lyrics. “Up to Me”, another outtake from
critic Michael Gray for the magazine Let It Rock. Gray these sessions, was also released on 1985’s Biograph. An
argued that this album transformed our perception of Dy- alternate take of the song "Shelter From the Storm" is fea-
lan, that he was no longer defined as “the major artist tured in the original soundtrack album for Jerry Maguire
of the sixties. Instead, Dylan has legitimized his claim (1996). "Lily, Rosemary and the Jack of Hearts" is the
to a creative prowess as vital now as then—a power not only song from the New York sessions which has not been
bounded by the one decade he so affected.”[29] This view officially released in any form.[35]
was amplified by Clinton Heylin, who wrote: “Ten years
after he turned the rock & roll brand of pop into rock...
[Dylan] renewed its legitimacy as a form capable of con- 2.15.6 Personnel
taining the work of a mature artist.”[29] In The Village
Voice, Robert Christgau wrote that although the lyrics oc- (For personnel details, see Heylin, 1996[35] and Björner,
casionally evoke romantic naiveté and bitterness, Blood 2014[36] )
on the Tracks is altogether Dylan’s “most mature and as-
sured record”.[26] • Bob Dylan – vocals, guitar, harmonica, production
Since its initial reception, Blood on the Tracks has been
viewed by critics as one of Dylan’s best albums.[27] In Additional musicians
Salon.com, Wyman wrote: "Blood on the Tracks is his
only flawless album and his best produced; the songs,
• Bill Berg – drums[A]
each of them, are constructed in disciplined fashion. It
is his kindest album and most dismayed, and seems in • Charles Brown, III – guitar[B]
hindsight to have achieved a sublime balance between
the logorrhea-plagued excesses of his mid-1960s output • Tony Brown – bass guitar[B]
94
• Buddy Cage – steel guitar[B]
• Richard Crooks – drums[B]
• Paul Griffin – organ, keyboards[B]
• Gregg Inhofer – keyboards[A]
• Barry Kornfeld – guitar[B]
• Thomas McFaul – keyboards[B]
• Kevin Odegard – guitar [A]
• Peter Ostroushko – mandolin[A]
• Billy Peterson – bass guitar[A]
• Chris Weber – guitar, 12-string guitar[A]
• Eric Weissberg – banjo, guitar[B]
Technical personnel
• Ron Coro – art direction
• Pete Hamill – liner notes
• David Oppenheim – illustrations
• Phil Ramone – engineering[B]
• Paul Martinson – engineering [A]
• Glenn Berger – tape operator, assistant engineer[B]
• Paul Till – photography
2.15.7 Chart positions
2.15.8 See also
• The 500 Greatest Albums of All Time
2.15.9 Notes
Notes
• A ^ Denotes personnel performing at the Minneapo-
lis recording sessions.
• B ^ Denotes personnel performing at the New York
recording sessions.
CHAPTER 2. STUDIO ALBUMS
2.15.10 Footnotes
[1] “Shelter From The Storm – the inside story of Bob Dy-
lan’s Blood On The Tracks”. Uncut Magazine. Retrieved
January 20, 2015.
[2] http://www.searchingforagem.com/1970s/
International018.htm
[3] Sounes 2001, p. 284
[4] Hedin 2004, p. 109
[5] “Staff Lists: Top 100 Albums of the 1970s”. Pitchfork
Media. June 23, 2004. Retrieved January 11, 2013.
[6] “The Rolling Stone 500 Greatest Albums of All Time”.
Rolling Stone. November 1, 2003. Retrieved March 22,
2007.
[7] Heylin 2011, pp. 362–363
[8] Heylin 2011, pp. 368–369
[9] Heylin 2011, p. 372
[10] Gill & Odegard 2005, pp. 42–44
[11] Williamson, Nigel (2004). The Rough Guide to Bob Dy-
lan. London: Rough Guides. pp. 111–113. ISBN 1-
84353-139-9.
[12] Heylin 2011, p. 378
[13] Bjorner, 1974 On the Road Again: Calendar Bjorner’s As
the Years Passed the Door. Retrieved September 3, 2010
[14] Heylin 2011, pp. 381
[15] Heylin 2011, pp. 381–383
[16] Gill & Odegard 2005, pp. 186–188
[17] Gray 2006, p. 199
[18] Flanagan 1990, pp. 96–97
[19] “All Things Reconsidered: The 35th Anniversary of Bob
Dylan’s Blood on the Tracks”. PopMatters. Retrieved Au-
gust 13, 2011.
[20] Allmusic review
[21] Kot, Greg (1992). “Dylan Through The Years: Hits
And Misses”. Chicago Tribune (October 25). Retrieved
September 19, 2014.
[22] Larkin, Colin (2011). The Encyclopedia of Popular Mu-
sic. Omnibus Press. p. 2006. ISBN 0857125958.
[23] Q (London) (December): 131. 1993. Missing or empty
|title= (help)
[24] Sheffield, Rob (2004). “Bob Dylan”. In Brackett, Nathan;
Hoard, Christian. The New Rolling Stone Album Guide.
Simon and Schuster. pp. 262, 264. ISBN 0743201698.
[25] Butler, Nick (June 26, 2006). “Bob Dylan - Blood on the
Tracks”. Sputnikmusic. Archived from the original on
September 19, 2014. Retrieved September 19, 2014.
2.16. THE BASEMENT TAPES 95

[26] Christgau, Robert (1975). “Consumer Guide (52)". 2.15.11 References

The Village Voice (January 27) (New York). Retrieved
September 19, 2014. • Bell, Ian (2012). Once Upon a Time: The Lives
of Bob Dylan. Mainstream Publishing. ISBN
[27] Williamson 2004, p. 113. 9781780575735.

[28] Heylin 2011, p. 383 • Björner, Olof (2014). “1974 Blood on the Tracks
Recording Sessions”. Bjorner.com. Retrieved May
[29] Heylin 2011, p. 384 13, 2014.

[30] “Bob Dylan”. Salon.com. May 5, 2001. Retrieved May • Flanagan, Bill (1990). Written In My Soul: Candid
13, 2013. interviews with rock’s great songwriters. Omnibus
Press. ISBN 0-7119-2224-1.
[31] Bell 2012, p. 556
• Gill & Odegard, Andy & Kevin (2005). A Simple
Twist of Fate: Bob Dyland and the Making of Blood
[32] Bell 2012, p. 558
on the Tracks. Da Capo Press. ISBN 0-306-81413-
7.
[33] Rosen, Jody (August 30, 2006). “Bob Dylan’s Make-Out
Album”. Slate. Retrieved March 22, 2007. • Gray, Michael (2006). The Bob Dylan Encyclope-
dia. Continuum International. ISBN 0-8264-6933-
[34] Christgau, Robert (March 1998). “Not Dead Yet”. Spin. 7.
Retrieved March 22, 2007.
• Hedin, Benjamin (2004). Studio A: The Bob Dylan
[35] Heylin 1996, pp. 151–153 Reader. W. W. Norton & Company. ISBN 0-393-
05844-1.
[36] Björner 2014
• Heylin, Clinton (1996). Bob Dylan: A Life In
[37] "RPM Top Albums – April 05 1975”. RPM. Library and Stolen Moments: Day by Day 1941–1995. Schirmer
Archives Canada. Retrieved July 20, 2011. Books. ISBN 0-7119-5669-3.

[38] “Bob Dylan – Blood on the Tracks”. dutchcharts.nl. Hung • Heylin, Clinton (2011). Bob Dylan: Behind the
Medien. Retrieved July 28, 2012. Shades, 20th Anniversary Edition. Faber and Faber.
ISBN 978-0-571-27240-2.
[39] “Bob Dylan – Blood on the Tracks”. charts.org.nz. Hung
Medien. Retrieved July 28, 2012. • Sounes, Howard (2001). Down the Highway: The
Life of Bob Dylan. Grove Press. ISBN 0-8021-
[40] “Bob Dylan – Blood on the Tracks”. norwegian- 1686-8.
charts.com. Hung Medien. Retrieved July 28, 2012.
• Williamson, Nigel (2004). The Rough Guide to Bob
Dylan. Rough Guides. ISBN 1843531399.
[41] “1975–03–01 Top 40 Official UK Albums Archive”. The
Official Charts Company.
2.15.12 External links
[42] Blood on the Tracks – Bob Dylan: Awards at AllMusic.
Retrieved July 28, 2012.
• Blood on the Tracks (Adobe Flash) at Radio3Net
(streamed copy where licensed)
[43] “Discography Bob Dylan”. irish-charts.com. Hung Me-
dien. Retrieved July 28, 2012. • Blood on the Tracks at Discogs (list of releases)

[44] “Canadian album certifications – Bob Dylan – Blood on • Reviews, superseventies.com

the Tracks”. Music Canada.
• Public Radio Special, “Right On Target, So Direct:
[45] “British album certifications – Bob Dylan – Blood on the Bob Dylan’s BLOOD ON THE TRACKS”
Tracks”. British Phonographic Industry. Enter Blood on
the Tracks in the field Keywords. Select Title in the field
Search by. Select album in the field By Format. Select
Gold in the field By Award. Click Search
2.16 The Basement Tapes

[46] “American album certifications – Bob Dylan – Blood on This article is about the 1975 album. For the 2014
the Tracks”. Recording Industry Association of America. box set and standard two-disc issue, see The Bootleg
If necessary, click Advanced, then click Format, then select Series Vol. 11: The Basement Tapes Complete. For a
Album, then click SEARCH comprehensive list of the 1967 Basement Tapes session
96
recordings, see List of Basement Tapes songs.
The Basement Tapes is a studio album by American
singer-songwriter Bob Dylan and the Band, released on
June 26, 1975 by Columbia Records. It is Dylan’s six-
teenth studio album. The songs featuring Dylan’s vocals
were recorded in 1967, eight years before the album’s re-
lease, at houses in and around Woodstock, New York,
where Dylan and the Band lived. Although most of the
Dylan songs had appeared on bootleg records, The Base-
ment Tapes marked their first official release.
During his world tour of 1965–66, Dylan was backed
by a five-member rock group, the Hawks, who would
subsequently become famous as the Band. After Dy-
lan was reportedly injured in a motorcycle accident in
July 1966, four members of the Hawks gravitated to the
vicinity of Dylan’s home in the Woodstock area to col-
laborate with him on music and film projects. While Dy-
lan was concealed from the public’s gaze during an ex-
tended period of “convalescence” in 1967, they recorded
more than 100 tracks together, comprising original com-
positions, contemporary covers and traditional material.
Dylan’s new style of writing moved away from the ur-
ban sensibility and extended narratives that had charac-
terized his most recent albums, Highway 61 Revisited and
Blonde On Blonde, toward songs that were more intimate
and which drew on many styles of traditional American
music. While some of the basement songs are humor-
ous, others dwell on nothingness, betrayal and a quest for
salvation. In general, they possess a rootsy quality antic-
ipating the Americana genre. For some critics, the songs
on The Basement Tapes, which circulated widely in un-
official form, mounted a major stylistic challenge to rock
music in the late sixties.
When Columbia Records prepared the album for offi-
cial release in 1975, eight songs recorded solely by the
Band—in various locations between 1967 and 1975—
were added to sixteen songs taped by Dylan and the Band
in 1967. Overdubs were added in 1975 to songs from
both categories. The Basement Tapes was critically ac-
claimed upon release, and reached number seven on the
Billboard 200 album chart. Subsequently, the format of
the 1975 album has led critics to question the omission of
some of Dylan’s best-known 1967 compositions and the
inclusion of material by the Band that was not recorded
in Woodstock.
2.16.1 Background and recording
By July 1966, Bob Dylan was at the peak of both
creative and commercial success. Highway 61 Revis-
ited had reached number three on the US album chart
in November 1965;[2] the recently released double-LP
Blonde on Blonde was widely acclaimed.[3] From Septem-
ber 1965 to May 1966, Dylan embarked on an extensive
tour across the US, Australia and Europe backed by the
CHAPTER 2. STUDIO ALBUMS
Hawks, a band that had formerly worked with rock and
roll musician Ronnie Hawkins.[4] The Hawks comprised
four Canadian musicians—Rick Danko, Garth Hudson,
Richard Manuel and Robbie Robertson—and one Amer-
ican, Levon Helm. Dylan’s audiences reacted with hos-
tility to the sound of their folk icon backed by a rock
band. Dismayed by the negative reception, Helm quit the
Hawks in November 1965 and drifted around the South,
at one point working on an oil rig in the Gulf of Mexico.[5]
The tour culminated in a famously raucous concert in
Manchester, England, in May 1966 when an audience
member shouted “Judas!" at Dylan for allegedly betray-
ing the cause of politically progressive folk music.[a 1] Re-
turning exhausted from the hectic schedule of his world
tour, Dylan discovered that his manager, Albert Gross-
man, had arranged a further 63 concerts across the US
that year.[6]
Motorcycle crash
On July 29, 1966, Dylan crashed his Triumph motorcy-
cle near his home in Woodstock, New York, suffering
cracked vertebrae and a mild concussion.[7][8] The con-
certs he was scheduled to perform had to be canceled.[9]
Biographer Clinton Heylin wrote in 1990 on the signifi-
cance of the crash: “A quarter of a century on, Dylan’s
motorcycle accident is still viewed as the pivot of his ca-
reer. As a sudden, abrupt moment when his wheel re-
ally did explode. The great irony is that 1967—the year
after the accident—remains his most prolific year as a
songwriter.”[10] In a 1969 Rolling Stone interview with
Jann Wenner, Dylan said, “I had a dreadful motorcycle
accident which put me away for a while, and I still didn't
sense the importance of that accident till at least a year
after that. I realized that it was a real accident. I mean
I thought that I was just gonna get up and go back to
doing what I was doing before ... but I couldn't do it
anymore.”[11]
Dylan was rethinking the direction of his life while re-
covering from a sense of having been exploited. Nine
months after the crash, he told New York Daily News re-
porter Michael Iachetta, “Songs are in my head like they
always are. And they're not going to get written down
until some things are evened up. Not until some people
come forth and make up for some of the things that have
happened.”[12] After discussing the crash with Dylan, bi-
ographer Robert Shelton concluded that he “was saying
there must be another way of life for the pop star, in which
he is in control, not they. He had to find ways of working
to his own advantage with the recording industry. He had
to come to terms with his one-time friend, longtime man-
ager, part-time neighbor, and sometime landlord, Albert
Grossman.”[13]
2.16. THE BASEMENT TAPES
Big Pink, West Saugerties, New York (2006)
Early recordings
Rick Danko recalled that he, Richard Manuel and Garth
Hudson joined Robbie Robertson in West Saugerties, a
few miles from Woodstock, in February 1967. The three
of them moved into a house on Stoll Road nicknamed
Big Pink; Robertson lived nearby with his future wife,
Dominique.[14] Danko and Manuel had been invited to
Woodstock to collaborate with Dylan on a film he was
editing, Eat the Document, a rarely seen account of Dy-
lan’s 1966 world tour.[14] At some point between March
and June 1967, Dylan and the four Hawks began a se-
ries of informal recording sessions, initially at the so-
called Red Room of Dylan’s house, Hi Lo Ha, in the
Byrdcliffe area of Woodstock. In June, the recording ses-
sions moved to the basement of Big Pink.[15][16] Hudson
set up a recording unit, using two stereo mixers and a tape
recorder borrowed from Grossman, as well as a set of mi-
crophones on loan from folk trio Peter, Paul and Mary.[17]
Dylan would later tell Jann Wenner, “That’s really the
way to do a recording—in a peaceful, relaxed setting—in
somebody’s basement. With the windows open ... and a
dog lying on the floor.”[18]
For the first couple of months, they were merely “killing
time”, according to Robertson,[19] with many early ses-
sions devoted to covers.[20] “With the covers Bob was ed-
ucating us a little”, recalls Robertson. “The whole folkie
thing was still very questionable to us—it wasn't the train
we came in on. ... He'd come up with something like
'Royal Canal',[a 2] and you'd say, 'This is so beautiful!
The expression!' ... He remembered too much, remem-
bered too many songs too well. He'd come over to Big
Pink, or wherever we were, and pull out some old song—
and he'd prepped for this. He'd practiced this, and then
come out here, to show us.”[21] Songs recorded at the
early sessions included material written or made popu-
lar by Johnny Cash, Ian & Sylvia, John Lee Hooker,
Hank Williams and Eric Von Schmidt, as well as tra-
ditional songs and standards.[22] Linking all the record-
ings, both new material and old, is the way in which Dy-
lan re-engaged with traditional American music. Biogra-
pher Barney Hoskyns observed that both the seclusion of
Woodstock and the discipline and sense of tradition in the
Hawks’ musicianship were just what Dylan needed after
97
the “globe-trotting psychosis” of the 1965–66 tour.[23]
New compositions
Bassist Rick Danko co-wrote "This Wheel’s on Fire" with Dylan
Dylan began to write and record new material at the ses-
sions. According to Hudson, “We were doing seven,
eight, ten, sometimes fifteen songs a day. Some were
old ballads and traditional songs ... but others Bob would
make up as he went along. ... We'd play the melody, he'd
sing a few words he'd written, and then make up some
more, or else just mouth sounds or even syllables as he
went along. It’s a pretty good way to write songs.”[24]
Danko told Dylan biographer Howard Sounes, “Bob and
Robbie, they would come by every day, five to seven days
a week, for seven to eight months.” Hudson added, “It
amazed me, Bob’s writing ability. How he would come
in, sit down at the typewriter, and write a song. And what
was amazing was that almost every one of those songs was
funny.”[25]
Dylan recorded around thirty new compositions with the
Hawks, including some of the most celebrated songs
of his career: "I Shall Be Released", "This Wheel’s on
Fire", "Quinn the Eskimo (The Mighty Quinn)", "Tears
of Rage" and "You Ain't Goin' Nowhere".[26] Two of
these featured his lyrics set to music by members of
the Band: Danko wrote the music of “This Wheel’s on
Fire";[27] Manuel, who composed “Tears of Rage”, de-
scribed how Dylan “came down to the basement with a
piece of typewritten paper ... and he just said, 'Have you
got any music for this?' ... I had a couple of musical
movements that fit ... so I just elaborated a bit, because I
wasn't sure what the lyrics meant. I couldn't run upstairs
and say, 'What’s this mean, Bob: “Now the heart is filled
with gold as if it was a purse"?'"[28]
One of the qualities of The Basement Tapes that sets it
apart from contemporaneous works is its simple, down-
to-earth sound. The songs were recorded in mid-1967,
the "Summer of Love" that produced the Beatles' Sgt.
Pepper’s Lonely Hearts Club Band, their most technically
elaborate album.[29] In a 1978 interview, Dylan reflected
on the period: “I didn't know how to record the way other
people were recording, and I didn't want to. The Beatles
98
had just released Sgt. Pepper which I didn't like at all. I 2.16.2
thought that was a very indulgent album, though the songs
on it were real good. I didn't think all that production was
necessary.”[29] Of the sound and atmosphere of the base-
ment recordings, Barney Hoskyns wrote that “Big Pink
itself determined the nature of this homemade brew.”[30]
“One of the things is that if you played loud in the base-
ment, it was really annoying, because it was a cement-
walled room”, recalled Robertson. “So we played in a
little huddle: if you couldn't hear the singing, you were
playing too loud.”[31]
Mike Marqusee describes how the basement record-
ings represented a radical change of direction for Dy-
lan, who turned his back on his reputation for importing
avant-garde ideas into popular culture: “At the very mo-
ment when avant-gardism was sweeping through new cul-
tural corridors, Dylan decided to dismount. The dandi-
fied, aggressively modern surface was replaced by a self-
consciously unassuming and traditional garb. The giddi-
ness embodied, celebrated, dissected in the songs of the
mid-sixties had left him exhausted. He sought safety in a
retreat to the countryside that was also a retreat in time,
or more precisely, a search for timelessness.”[32]
Dylan had married Sara Lownds in November 1965.[34]
By the time the basement sessions started in Big Pink
around June 1967, he had two children: Maria (Sara’s
daughter from her first marriage)[35] and Jesse Dylan.[36]
Anna Dylan was born on July 11, 1967.[37] Both Heylin
and biographer Sid Griffin suggest that recording had to
move from Dylan’s home to Big Pink when it became
clear that the sessions were getting in the way of fam-
ily life.[38][39] Domesticity was the context of The Base-
ment Tapes, as Hudson said in The Last Waltz: “Chopping
wood and hitting your thumb with a hammer, fixing the
tape recorder or the screen door, wandering off into the
woods with Hamlet [the dog Dylan shared with the Band]
... it was relaxed and low-key, which was something we
hadn't enjoyed since we were children.”[40] Several Base-
ment Tapes songs, such as “Clothes Line Saga” and “Ap-
ple Suckling Tree”, celebrate the domestic aspects of the
rural lifestyle.[41]
The intense collaboration between Dylan and the Hawks
that produced the basement recordings came to an end
in October 1967 when Dylan relocated to Nashville to
record a formal studio album, John Wesley Harding,
with a different crew of accompanying musicians.[42] The
same month, drummer Levon Helm rejoined his former
bandmates in Woodstock, after he received a phone call
from Danko informing him that they were getting ready
to record as a group.[43][a 3] In his autobiography, Helm
recalled how he listened to the recordings the Hawks had
made with Dylan, and remembered that he “could tell that
hanging out with the boys had helped Bob to find a con-
nection with things we were interested in: blues, rocka-
billy, R&B. They had rubbed off on him a little.”[44]
CHAPTER 2. STUDIO ALBUMS
Dwarf Music demos and Great
White Wonder
The bootleg Great White Wonder featured many of the songs
recorded for The Basement Tapes—its release and popularity
created demand for the official album
Dylan referred to commercial pressures behind the base-
ment recordings in a 1969 interview with Rolling Stone:
“They weren't demos for myself, they were demos of the
songs. I was being PUSHED again into coming up with
some songs. You know how those things go.”[45] In Oc-
tober 1967, a fourteen-song demo tape was copyrighted
and the compositions were registered with Dwarf Mu-
sic, a publishing company jointly owned by Dylan and
Grossman.[46] Acetates and tapes of the songs then circu-
lated among interested recording artists.[47][a 4]
Peter, Paul and Mary, managed by Grossman, had the
first hit with a basement composition when their cover
of “Too Much of Nothing” reached number 35 on the
Billboard chart in late 1967.[48] Ian & Sylvia, also man-
aged by Grossman, recorded “Tears of Rage”, “Quinn
the Eskimo” and “This Wheel’s on Fire”.[49] In January
1968, Manfred Mann reached number one on the UK pop
chart with their recording of “The Mighty Quinn”.[50] In
April, “This Wheel’s on Fire”, recorded by Julie Driscoll,
Brian Auger and the Trinity, hit number five on the
UK chart.[51] That same month, a version of “You Ain't
Goin' Nowhere” by the Byrds was issued as a single.
Along with “Nothing Was Delivered”,[52] it appeared on
their country-rock album Sweetheart of the Rodeo, re-
leased in August.[53] The Hawks, officially renamed the
Band,[a 5] recorded “This Wheel’s on Fire”, “I Shall Be
Released” and “Tears of Rage” for their debut album,
Music from Big Pink, released in July 1968. Fairport Con-
vention covered “Million Dollar Bash” on their 1969 al-
bum Unhalfbricking.[54]
As tapes of Dylan’s recordings circulated in the music
industry, journalists became aware of their existence.
2.16. THE BASEMENT TAPES
In June 1968, Jann Wenner wrote a front-page Rolling
Stone story headlined “Dylan’s Basement Tape Should Be
Released”. Wenner listened to the fourteen-song demo
and reported, “There is enough material—most all of it
very good—to make an entirely new Bob Dylan album,
a record with a distinct style of its own.” He concluded,
“Even though Dylan used one of the finest rock and roll
bands ever assembled on the Highway 61 album, here he
works with his own band for the first time. Dylan brings
that instinctual feel for rock and roll to his voice for the
first time. If this were ever to be released it would be a
classic.”[55]
Reporting such as this whetted the appetites of Dylan
fans. In July 1969, the first rock bootleg appeared in Cal-
ifornia, entitled Great White Wonder. The double album
consisted of seven songs from the Woodstock basement
sessions, plus some early recordings Dylan had made in
Minneapolis in December 1961 and one track recorded
from The Johnny Cash Show. One of those responsi-
ble for the bootleg, identified only as Patrick, talked to
Rolling Stone: “Dylan is a heavy talent and he’s got all
Track listing
those songs nobody’s ever heard. We thought we'd take it
[56]
upon ourselves to make this music available.” The pro-
cess of bootlegging Dylan’s work would eventually see the See also: List of Basement Tapes songs (1975)
illegal release of hundreds of live and studio recordings,
and lead the Recording Industry Association of Amer- All songs written by Bob Dylan, except where noted.
ica to describe Dylan as the most bootlegged artist in the
history of the music industry.[57]
Personnel
2.16.3 Columbia Records compilation
In January 1975, Dylan unexpectedly gave permission for
the release of a selection of the basement recordings, per-
haps because he and Grossman had resolved their legal
dispute over the Dwarf Music copyrights on his songs.[58]
Clinton Heylin argues that Dylan was able to consent fol-
lowing the critical and commercial success of his album
Blood on the Tracks, released that same month: “After
Blood on the Tracks, The Basement Tapes no longer had
the status of a final reminder of Dylan’s lost genius”.[59]
In 1975, as well, the Band purchased Shangri-La ranch
in Malibu, California, which they transformed into their
recording studio.[60]
Engineer Rob Fraboni was brought to Shangri-La to clean
up the recordings still in the possession of Hudson, the
original engineer. Fraboni had worked on Dylan’s Planet
Waves album, with backing by the Band, and the live
Dylan–Band album Before the Flood, both released in
1974. Fraboni has described Robertson as the domi-
nant voice in selecting the final tracks for The Basement
Tapes and reported that Dylan was not in the studio very
often.[60] The stereo recordings made by Hudson were
remixed to mono, while Robertson and other members
of the Band overdubbed new keyboard, guitar, and drum
parts onto some of the 1967 Woodstock recordings. Ac-
cording to Fraboni, four new songs by the Band were also
recorded in preparation for the album’s official release,
99
one of which, a cover of Chuck Berry's “Going Back to
Memphis”, did not end up being included.[61] There is
disagreement about the recording date of the other three
songs: “Bessie Smith”, “Ain't No More Cane” and “Don't
Ya Tell Henry”. While Fraboni has recalled that the Band
taped them in 1975,[61] the liner notes for the reissued
versions of the Band’s own albums state that these songs
were recorded between 1967 and 1970.[62] Ultimately,
eight of the twenty-four songs on The Basement Tapes did
not feature Dylan,[63][64] several of them studio outtakes
postdating the sessions at Big Pink. In justifying their in-
clusion, Robertson explained that he, Hudson and Dylan
did not have access to all the basement recordings: “We
had access to some of the songs. Some of these things
came under the heading of 'homemade' which meant a
Basement Tape to us.” Robertson has suggested that the
Basement Tapes are, for him, “a process, a homemade
feel” and so could include recordings from a wide variety
of sources.[65]
• Bob Dylan – acoustic guitar, piano, vocals
• Rick Danko – bass guitar, mandolin, vocals
• Levon Helm – drums, mandolin, bass guitar, vocals
• Garth Hudson – organ, clavinet, accordion, tenor
saxophone, piano
• Richard Manuel – piano, drums, harmonica, vocals
• Robbie Robertson – electric guitar, acoustic guitar,
drums, vocals[66]
Cover art
The cover photograph for the 1975 album was taken by
designer and photographer Reid Miles in the basement
of a Los Angeles YMCA. It poses Dylan and the Band
alongside characters suggested by the songs: a woman in
a Mrs. Henry T-shirt, an Eskimo, a circus strongman and
a dwarf who has been identified as Angelo Rossitto.[67]
Robertson wears a blue Mao-style suit, and Manuel wears
an RAF flight lieutenant uniform.[68] Michael Gray has
identified musicians David Blue and Neil Young in the
photo.[69] Others have claimed that Young was not in the
photo.[67]
100 CHAPTER 2. STUDIO ALBUMS

Reception and sales ing from the basement sessions. By including eight Band
recordings to Dylan’s sixteen, he says, “Robertson sought
Columbia Records released The Basement Tapes on June to imply that the alliance between Dylan and the Band
26, 1975.[77] The album peaked at number seven on was far more equal than it was: 'Hey, we were writing
the Billboard chart,[78] and reached number eight in the all these songs, doing our own thing, oh and Bob would
UK.[79] It was acclaimed by critics. John Rockwell of sometimes come around and we'd swap a few tunes.'"[64]
The New York Times hailed it as “one of the greatest Heylin asserts that “though revealing in their own right,
albums in the history of American popular music.”[80] the Band tracks only pollute the official set and reduce its
Rolling Stone 's Paul Nelson called its contents “the hard- stature.”[64]
est, toughest, sweetest, saddest, funniest, wisest songs IBarney Hoskyns describes “Heylin’s objections [as] the
know”.[81] Robert Christgau gave it an A+ in his Village academic ones of a touchy Dylanologist: The Basement
Voice “Consumer Guide” column.[72] He commented on Tapes still contained some of the greatest music either
how the recordings sounded richer and stranger in 1975 Dylan or the Band ever recorded.”[89] Sid Griffin simi-
than when they were made and concluded, “We don't have larly defends the inclusion of the Band’s songs: "'Ain't
to bow our heads in shame because this is the best album No More Cane' may be included under false pretenses,
of 1975. It would have been the best album of 1967, but it is stirring stuff. ... And while a Dylan fan might un-
too.”[82] The Basement Tapes topped the Voice 's Pazz & derstandably grumble that he wanted to hear another Bob
Jop Critics Poll.[83] The review in The Washington Post song, a fan equally versed and interested more generally
declared, “He may perplex, irritate, and disappoint, but in late 20th century American music would only smile
Dylan has to rank as the single greatest artist modern and thank the Good Lord for the gift of this song.”[90] Of
American pop music has produced.”[80] the Band’s version of “Don't Ya Tell Henry”, he writes,
“True, the argument could be made that Robertson was
way outside his brief in including this on the two-LP set,
2.16.4 Criticism of 1975 album as this wasn't from Woodstock or '67, and has no Dylan
on it. ... But it is a song from the Basement Tapes era and
Criticism of the 1975 official release of The Basement it swings like a randy sailor on shore leave in a bisexual
Tapes has centered on two issues: the recordings by the bar. So give Robbie a break.”[91]
Band on their own, and the selection of the Dylan songs.
In his book about the basement sessions, Greil Mar- By 1975, Dylan showed scant interest in the discograph-
cus describes the album’s contents as “sixteen basement ical minutiae of the recordings. Interviewed on the radio
recordings plus eight Band demos”.[84] Critic Michael by Mary Travers, he recalled, “We were all up there sorta
Gray writes of the album, “The interspersed tracks by drying out ... making music and watching time go by.
the Band alone merely disrupt the unity of Dylan mate- So, in the meantime, we made this record. Actually, it
rial, much more of which should have been included. Key wasn't a record, it was just songs which we'd come to this
songs missing here include 'I Shall Be Released' and 'The basement and recorded. Out in the woods...” Heylin has
Mighty Quinn'".[85] Heylin similarly argues that compiler commented that Dylan [59]
seemed to “dismiss the work as
Robbie Robertson did Dylan fans “a major disservice” by unfinished therapy”.
omitting those two songs as well as “I'm Not There” and
“Sign On The Cross”. He writes, “The album as released
hardly gave a real idea of what they had been doing in 2.16.5 Themes
Woodstock. Not even the two traditional songs pulled to
the master reels—'Young But Daily Growin' ' and 'The Although The Basement Tapes reached the public in an
Banks Of The Royal Canal'—made the final twenty-four unorthodox manner, officially released eight years after
cuts.”[59] the songs were recorded, critics have assigned them an
The authenticity of the 1975 album was questioned by a important place in Dylan’s development. Michael Gray
reviewer of the remastered version of the Band’s Music writes, “The core Dylan songs from these sessions actu-
From Big Pink, issued in 2000. Dave Hopkins noted that ally do form a clear link between ... two utterly differ-
“Katie’s Been Gone”, which appears as a bonus track on ent albums. They evince the same highly serious, pre-
the Big Pink reissue, is the same recording that appeared carious quest for a personal and universal salvation which
on The Basement Tapes, but now “in stereo and with im- marked out the John Wesley Harding collection—yet they
proved sound quality beyond what the remastering pro- are soaked in the same blocked confusion and turmoil
cess alone would provide”. Hopkins declared, “The cat’s as Blonde On Blonde. 'Tears Of Rage', for example, is
out of the bag: 'Katie' and the other Band-only tracks on an exact halfway house between, say, 'One of Us Must
The Basement Tapes must have been intentionally mud- Know (Sooner [85]
or Later)' and 'I Dreamed I Saw St. Au-
died in the studio in 1975 so that they would fit better gustine'".
alongside the Dylan material recorded in the basement Singer-songwriter David Gray commented that the great
with a home reel-to-reel.”[86] Heylin also takes exception achievement of The Basement Tapes is that Dylan found
to Robertson’s passing off the Band’s songs as originat- a way out of the anguish and verbal complexity that had
2.16. THE BASEMENT TAPES 101

characterized his mid-sixties albums such as Blonde on undiscovered country”.[19]

Blonde: “It’s the sound of Dylan letting his guard down.
'Clothes Line Saga' and all those ridiculous songs, he’s ob-
viously just making it all up, they were having such a great 2.16.6 Legacy
time. The sound of the Band is so antiquated like some-
thing out of the Gold Rush and Dylan fits in because he’s While removed from the public’s gaze, Dylan and the
this storyteller with an ancient heart. At the time every- Band made music very different from the recordings of
thing he did was so scrutinised, yet somehow he liberated other major artists. Andy Gill writes, “Musically, the
himself from all that and enjoyed making music again. songs were completely at odds with what was going on in
You hear an unselfconscious quality on this record which the rest of the pop world, which during the long hot sum-
you don't ever hear again.”[92] “He mocks his own inertia mer of 1967 was celebrating the birth of the hippie move-
and impotence”, writes critic Mike Marqusee, “but with ment with a gaudy explosion of 'psychedelic' music—
a much gentler touch than in Blonde on Blonde. In place mostly facile paeans to universal love draped in inter-
of that album’s strangled urgency, Dylan adopts a laconic minable guitar solos.”[31] Patrick Humphries itemizes the
humor, a deadpan tone that speaks of resignation and self- ways in which Dylan’s songs dissented from the domi-
preservation in the face of absurdity and betrayal.”[93] nant ethos of rock culture: “While the rock world vented
Robert Shelton has argued that The Basement Tapes re- its spleen on parents and leaders, Dylan was singing pri-
volves around two sets of themes. One group of songs is vately about parental fidelity. While George Harrison was
“tinctured with the search for salvation": “I Shall Be Re- testifying that life went on within and without you, Dy-
leased” (on the demo, but not on the album), “Too Much lan was taking his potatoes down to be mashed. While
of Nothing”, “Nothing Was Delivered”,[52] “This Wheel’s Mick Jagger was 2,000 light years from home, Dylan was
On Fire”, “Tears of Rage” and “Goin' To Acapulco”.[94] strapping himself to a tree with roots.”[98]
"'Nothing' and 'nowhere' perplex and nag” in these songs, This aspect of the basement recordings became obvious
he writes. “The 'nothing' echoes the artist’s dilemma: when Dylan chose to record his next album, John Wes-
death versus life, vacuum versus harvest, isolation ver- ley Harding, in Nashville in late 1967. The songs on that
sus people, silence versus sound, the void versus the life- record, according to Howard Sounes, revealed the influ-
impulse.”[95] A second group, comprising “songs of joy, ence of Dylan’s daily reading of both the Bible and the
signaling some form of deliverance”, includes most of the Hank Williams songbook.[99] And its sound came as a
remaining songs in the collection.[94] shock to other rock musicians. As producer Bob Johnston
In his sleeve notes for the 1975 release of The Basement recalled, “Every artist in the world was in the studio trying
Tapes, Greil Marcus wrote, “What was taking place as to make the biggest-sounding record they possibly could.
Dylan and the Band fiddled with the tunes, was less a So what does [Dylan] do? He comes to Nashville and tells
style than a spirit—a spirit that had to do with a delight in me he wants to record with a bass, drum and guitar.”[99]
friendship and invention.” He compared the songs to fa- Dylan summed up the gap: “At that time psychedelic rock
bled works of American music: “The Basement tapes are was overtaking the universe and we were singing these
a testing and a discovery of roots and memory ... they are homespun ballads.”[100]
no more likely to fade than Elvis Presley’s 'Mystery Train' When the Band began work on their debut album, Mu-
or Robert Johnson's 'Love In Vain. '"[66] sic from Big Pink, in a New York studio in January
[101]
In 1997, after listening to more than 100 basement 1968, they employed a recording technique similar to
recordings issued on various bootlegs, Marcus extended the one they had become familiar with during the Base-
these insights into a book-length study, Invisible Republic ment Tapes sessions. As Robertson described it, “We
(reissued in 2001 under the title The Old, Weird Amer- used the same kind of mike on everything. A bit of an
ica). In it, he quotes Robertson’s memory of the record- anti-studio approach. And we realized what was comfort-
ing: "[Dylan] would pull these songs out of nowhere. able to us was turning wherever we were into a studio.
[102]
We didn't know if he wrote them or if he remembered Like the Big Pink technique.” That technique influ-
them. When he sang them, you couldn't tell.” [19]
Mar- enced groups including the Beatles, writes Griffin, who
cus calls the songs “palavers with a community of ghosts. calls their Twickenham Get Back sessions in early 1969
... These ghosts were not abstractions. As native sons an effort to record “in the honest, live, no frills, no over-
and daughters they were a community. And they were dubs, down home way that the Hawks/Band did for the
[102]
once gathered in a single place: on the Anthology of Basement Tapes”.
[97]
American Folk Music". A collection of blues and coun- “Listening to The Basement Tapes now, it seems to be the
try music recorded in the 1920s and 1930s, the Anthol- beginning of what is called Americana or alt.country,”
ogy—compiled by Harry Smith and originally released by wrote Billy Bragg. “The thing about alt.country which
Folkways Records in 1952—was a major influence on the makes it 'alt' is that it is not polished. It is not rehearsed
folk music revival of the 1950s and the 1960s. Marcus or slick. Neither are The Basement Tapes. Remember
suggests that Dylan’s Basement Tapes shared with Smith’s that The Basement Tapes holds a certain cultural weight
Anthology a sense of alchemy, “and in the alchemy is an which is timeless—and the best Americana does that as
102 CHAPTER 2. STUDIO ALBUMS

In 2005, the Band compilation A Musical History was re-

leased, which includes the 1967 Woodstock Band record-
ings “Words and Numbers”, “You Don't Come Through”,
“Caledonia Mission”, “Ferdinand the Imposter” and
“Will the Circle Be Unbroken”.[62] In 1968, the Band
re-recorded “This Wheel’s on Fire”, “Tears of Rage”, “I
Shall Be Released” and “Caledonia Mission” in studios in
New York and Los Angeles for Music From Big Pink.[113]
Versions of other Band Basement Tape compositions,
recorded in various locations between 1967 and possi-
bly 1975, appear on Across the Great Divide[114] and A
Musical History,[62] and as bonus tracks on the 2000 reis-
sues of Music From Big Pink and Cahoots.[113][115] Live
British folk punk musician Billy Bragg considers The Basement
versions by the Band of various Basement Tapes songs
Tapes the beginning of alt-country
have also been issued: “I Shall Be Released” on Before
the Flood;[116] “Caledonia Mission” and “This Wheel’s On
well.”[103] The songs’ influence has been detected by crit- Fire” on Rock of Ages, with “I Shall Be Released”, “Down
ics in many subsequent acts. Stuart Bailie wrote, “If in the Flood” and “Don't Ya Tell Henry” appearing on
rock'n'roll is the sound of a party in session, the Base- the album’s 2001 reissue;[117] “I Shall Be Released” on
ment Tapes were the morning after: bleary, and a bit rue- The Last Waltz and “This Wheel’s On Fire” on the 2002
ful but dashed with emotional potency. Countless acts— box set release of the album;[118] “I Shall Be Released”
Mercury Rev, Cowboy Junkies, Wilco, the Waterboys— and “Don't Ya Tell Henry” on Live at Watkins Glen;[119]
have since tried to get back to that place.”[104] and “Ain't No Cane on the Brazos” recorded live at the
Woodstock Festival in August 1969, on Across the Great
For Elvis Costello, The Basement Tapes “sound like they Divide.[114]
were made in a cardboard box. I think [Dylan] was try-
ing to write songs that sounded like he'd just found them On March 31, 2009, Legacy Records issued a remas-
under a stone. As if they sound like real folk songs— tered version of the original 1975 Basement Tapes dou-
because if you go back into the folk tradition, you will ble album, which critics praised for its improved sound
find songs as dark and as deep as these.”[19] quality.[74][120] According to reviewer Scott Hreha, there
was “something about the remastering that makes it feel
In 2003, Rolling Stone magazine ranked The Basement more like an official album—the earlier CD version’s
Tapes number 291 on its list of the 500 greatest albums of weak fidelity unfairly emphasized the 'basement' nature
all time.[105] In a special issue devoted to Dylan’s work, Q of the recordings, where it now possesses a clarity that
magazine awarded the record five stars, its highest rating, belies its humble and informal origins.”[74]
commenting that “Dylan’s work is by turns haunting, hi-
larious and puzzling—and all of it taps into centuries of In the early 1990s, a virtually complete collection of
American song”.[106] all of Dylan’s 1967 recordings in Woodstock was re-
leased on a bootleg five-CD set, The Genuine Basement
Tapes. The collection, which contains over 100 songs
2.16.7 Other released Basement Tape and alternate takes, was later remastered[22]and issued as
the four-CD bootleg A Tree With Roots. On Novem-
songs ber 4, 2014, Columbia/Legacy issued The Bootleg Series
Vol. 11: The Basement Tapes Complete, an official 6-
Between 1985 and 2013, Columbia issued five additional CD box set containing 139 tracks which comprise nearly
1967 recordings by Dylan from Big Pink: take 2 of all of Dylan’s basement recordings, including 30 never-
"Quinn the Eskimo (The Mighty Quinn)" on Biograph in bootlegged tracks.[121] A companion 2-CD set containing
1985,[107] “I Shall Be Released” and "Santa-Fe" on The highlights from the recordings, The Basement Tapes Raw,
Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961– was also released.[121]
1991 in 1991,[108] “I'm Not There (1956)" on the I'm
Not There soundtrack in 2007,[109] and “Minstrel Boy” on
The Bootleg Series Vol. 10 – Another Self Portrait (1969–
1971) in 2013.[110] In the early 1970s, Dylan released new 2.16.8 See also
recordings of five compositions from the Basement Tape
era: live performances of “Minstrel Boy” and “Quinn
the Eskimo” from the Isle of Wight Festival on Au- • Lost on the River: The New Basement Tapes
gust 31, 1969, appeared on Self Portrait,[111] and Octo-
ber 1971 recordings with Happy Traum of “You Ain't
Goin' Nowhere”, “I Shall Be Released” and “Down in the • The Bootleg Series Vol. 11: The Basement Tapes
Flood” appeared on Bob Dylan’s Greatest Hits Vol. II.[112] Complete
2.16. THE BASEMENT TAPES 103

2.16.9 Notes [8] Griffin 2007, pp. 46, 52–53

[1] For his detailed account of the Manchester concert, C. P. [9] Shelton 1986, pp. 426–427
Lee interviewed members of the audience about the rea-
[10] Heylin 2000, p. 268
sons for their hostility. One explained, “It was as if every-
thing we held dear had been betrayed. He showed us what [11] Wenner, Jann. “Interview with Jann S. Wenner,” Rolling
to think, I know that’s a stupid thing to say but there he Stone, November 29, 1969, in Cott 2006, p. 143
was marching with Martin Luther King, and suddenly he
was singing this stuff about himself. We made him and he [12] Heylin 2000, p. 272
betrayed the cause” (Lee 1998, p. 154).
[13] Shelton 1986, p. 376
[2] Robertson is referring to “Banks of the Royal Canal (The
Auld Triangle)" by Dominic Behan, one of the basement [14] Sounes 2001, p. 221
recordings that has been bootlegged but never officially re-
[15] Heylin 1995, pp. 55–56
leased. The song first appeared in Brendan Behan’s play
The Quare Fellow, and Dylan probably learned it from [16] Griffin 2007, pp. 120–158
Liam Clancy, who recorded it in 1965 (Barker 2008, pp.
303–305). [17] Marcus 1997, p. 72

[3] Griffin writes that Helm’s arrival in October meant that he [18] Wenner, Jann. “Interview with Jann S. Wenner,” Rolling
did not play on most of the Dylan–Band 1967 Woodstock Stone, November 29, 1969, in Cott 2006, p. 151
recordings, including the sixteen Dylan Basement Tapes
album tracks—and it is unclear whether the drums over- [19] Marcus 1997, p. xvi
dubbed on “Too Much of Nothing” in 1975 were played
[20] Heylin 1995, p. 58
by Helm. Griffin believes Helm drummed on eight un-
released recordings made by Dylan and the Band in the [21] Marcus 1997, p. 240
house on Wittenberg Road that Danko and Helm shared
after vacating Big Pink (Griffin 2007, pp. 201, 221, 236– [22] Marcus 1997, pp. 237–265
241). Heylin has suggested that Helm might be the drum-
mer on four tracks on The Basement Tapes: “Odds and [23] Hoskyns 1993, p. 136
Ends”, “Clothes Line Saga”, “Apple Suckling Tree” and
[24] Griffin 2007, p. 104
“Goin' To Acapulco” (Heylin 2009, pp. 376–381).
[25] Sounes 2001, p. 222
[4] The songs on the demo were: “Million Dollar Bash”,
“Yea! Heavy and a Bottle of Bread”, “Please Mrs. [26] Heylin 1996, pp. 107–108
Henry”, “Down in the Flood”, “Lo and Behold”, “Tiny
Montgomery”, “This Wheel’s on Fire”, “You Ain't Goin' [27] Shelton 1986, p. 318
Nowhere”, “I Shall Be Released”, “Tears of Rage”, “Too
Much of Nothing”, “The Mighty Quinn”, “Open the Door, [28] Spencer 1985
Homer” and “Nothing Was Delivered” (Griffin 2007, pp.
[29] Heylin 2000, pp. 283–284
229–230).
[30] Hoskyns 1993, p. 137
[5] When Albert Grossman was shopping around for a record-
ing contract for the Hawks in late 1967, the group in- [31] Gill 1998, p. 112
structed him to sign them under the name the Crackers—
a derogatory term for poor white Southerners. The band [32] Marqusee 2005, p. 225
also mischievously dubbed themselves the Honkies. It was
only when Helm joined them in Woodstock that they set- [33] Marcus 1997, pp. 84–85
tled on calling themselves the Band (Hoskyns 1993, pp.
[34] Gray 2006, p. 199
143–144).
[35] Gray 2006, p. 321

2.16.10 Footnotes [36] Gray 2006, p. 197

[1] Strong 2006, p. 338. [37] Gray 2006, p. 194

[2] Polizotti 2006, p. 8 [38] Heylin 1995, p. 61

[3] Humphries 1991, pp. 185–190 [39] Griffin 2007, p. 110

[4] Heylin 1996, pp. 82–106 [40] Hoskyns 1993, p. 138

[5] Helm 2000, pp. 141–142 [41] Hoskyns 1993, p. 139

[6] Griffin 2007, p. 40 [42] Heylin 1996, p. 110

[7] Scherman 2006 [43] Hoskyns 1993, p. 144

104 CHAPTER 2. STUDIO ALBUMS

[44] Helm 2000, p. 156 [81] Nelson 1975

[45] Griffin 2007, p. 228. Capitals as printed in original inter- [82] Christgau 1975 (2)
view.
[83] 1975 Pazz & Jop Critics Poll
[46] Sounes 2001, pp. 209–210 [84] Marcus 1997, p. xii
[47] Griffin 2007, pp. 229–230 [85] Gray 2000, p. 9
[48] Whitburn 2004, p. 488 [86] Hopkins 2000

[49] Griffin 2007, p. 230 [87] Gill 1998, p. 121

[50] Roberts 1999, p. 278 [88] Griffin 2007, pp. 301–302

[89] Hoskyns 1993, p. 312
[51] Roberts 1999, p. 176
[90] Griffin 2007, p. 300
[52] Gilliland 1969, show 54, track 3.
[91] Griffin 2007, p. 302
[53] Griffin 2007, p. 270
[92] Harris 2000, p. 96
[54] Griffin 2007, p. 280
[93] Marqusee 2005, p. 231
[55] Wenner 1968, p. 1
[94] Shelton 1986, p. 384
[56] Sounes 2001, p. 240 [95] Shelton 1986, p. 385
[57] Sounes 2001, p. 478 [96] Heylin 2009, p. 353
[58] Griffin 2007, p. 289 [97] Marcus 1997, pp. 86–87
[59] Heylin 2000, p. 390 [98] Humphries 1991, pp. 65–66

[60] Griffin 2007, p. 293 [99] Sounes 2001, p. 226

[61] Griffin 2007, pp. 293–294 [100] Heylin 2000, p. 278

[101] Hoskyns 2000
[62] Bowman 2005
[102] Griffin 2007, p. 154
[63] Griffin 2007, pp. 293–303
[103] Griffin 2007, p. 308
[64] Heylin 1995, pp. 67–68
[104] Harris 2000, p. 80
[65] Griffin 2007, pp. 294–295
[105] 500 Greatest Albums of All Time
[66] Marcus 1975
[106] Harris 2000, p. 141
[67] Linderman [107] Crowe 1985
[68] Hoskyns 1993, p. 313 [108] Bauldie 1991
[69] Gray 2006, p. 38 [109] I'm Not There Original Soundtrack 2007

[70] Erlewine [110] Marcus 2013

[71] Kot 1992 [111] Heylin 1995, p. 77

[72] Christgau 1975 (1) [112] Bob Dylan’s Greatest Hits Vol. II (1971)
[113] Bowman 2000 (1)
[73] Flanagan 1991
[114] Flippo 1994
[74] Hreha 2009
[115] Bowman 2000 (2)
[75] Brackett 2004, p. 262
[116] Before the Flood
[76] Bob Dylan and The Band: The Basement Tapes
[117] Bowman 2001
[77] Heylin 1995, p. 55
[118] The Last Waltz
[78] Griffin 2007, p. 304 [119] Morris 1994
[79] Warwick 2004, p. 358 [120] Guttenberg 2009
[80] Shelton 1986, pp. 383–385 [121] Greene 2014
2.16. THE BASEMENT TAPES
2.16.11 References
• Barker, Derek (2008). The Songs He Didn't Write:
Bob Dylan Under The Influence. Chrome Dreams.
ISBN 1-84240-424-5.
• Bauldie, John (1991). The Bootleg Series Volumes
1–3 (Rare & Unreleased) 1961–1991 (CD booklet).
Bob Dylan. New York: Columbia Records.
• “Before the Flood”. Bobdylan.com. Retrieved
2010-06-10.
• “Bob Dylan and The Band: The Basement Tapes”.
Acclaimedmusic.net. Retrieved 2010-05-29.
• “Bob Dylan’s Greatest Hits Vol. II (1971)". Bobdy-
lan.com. Retrieved 2010-06-04.
• Bowman, Rob (2000). Cahoots (CD booklet). The
Band. New York: Capitol Records.
• Bowman, Rob (2000). Music From Big Pink (CD
booklet). The Band. New York: Capitol Records.
• Bowman, Rob (2001). Rock of Ages (CD booklet).
The Band. New York: Capitol Records.
• Bowman, Rob (2005). A Musical History (CD
booklet). The Band. New York: Capitol Records.
• Brackett, Nathan, with Christian Hoard (2004). The
New Rolling Stone Album Guide (4th ed.). Fireside.
ISBN 0-7432-0169-8.
• Christgau, Robert (1975). “Bob Dylan/The
Band~T1”. Consumer Guide Reviews. Retrieved
2010-05-29.
• Christgau, Robert (August 4, 1975). “The Basement
Tapes: Bob Dylan Goes Public”. Consumer Guide
Reviews. Retrieved 2010-05-29.
• Cott, Jonathan (ed.) (2006). Dylan on Dylan: The
Essential Interviews. Hodder & Stoughton. ISBN
0-340-92312-1.
• Crowe, Cameron (1985). Biograph (CD booklet).
Bob Dylan. New York: Columbia Records.
• Erlewine, Stephen Thomas. “The Basement Tapes”.
Allmusic.com. Retrieved 2010-05-29.
• “500 Greatest Albums of All Time: #291 The Base-
ment Tapes”. RollingStone.com. Retrieved 2010-
06-20.
• Flanagan, Bill (May 29, 1991). “Dylan Catalog Re-
visited”. Entertainment Weekly. Retrieved 2011-09-
10.
• Flippo, Chet (1994). Across the Great Divide (CD
booklet). The Band. New York: Capitol Records.
105
• Gill, Andy (1998). Classic Bob Dylan: My Back
Pages. Carlton. ISBN 1-85868-599-0.
• Gilliland, John (1969). “Hail, Hail, Rock 'n' Roll:
Getting back to rock’s funky, essential essence.”
(AUDIO). Pop Chronicles. Digital.library.unt.edu.
• Greene, Andy (August 26, 2014). “Bob Dylan’s
Complete, Legendary 'Basement Tapes’ Will Be Re-
leased”. Retrieved 2015-04-04.
• Gordon, Lyndall (2000). T. S. Eliot: An Imperfect
Life. Norton. ISBN 0-393-32093-6.
• Gray, Michael (2000). Song & Dance Man III. Con-
tinuum. ISBN 0-8264-5150-0.
• Gray, Michael (2006). The Bob Dylan Encyclope-
dia. Continuum International. ISBN 0-8264-6933-
7.
• Griffin, Sid (2007). Million Dollar Bash: Bob Dy-
lan, the Band, and the Basement Tapes. Jawbone.
ISBN 1-906002-05-3.
• Guttenberg, Steve (April 18, 2009). “Newly re-
mastered Bob Dylan CDs”. The Audiophiliac. Re-
trieved 2010-06-01.
• Harris, John (ed.) (October 2000). “Q Dylan: Max-
imum Bob! The Definitive Celebration of Rock’s
Ultimate Genius”. Q magazine.
• Helm, Levon, with Stephen Davis (2000). This
Wheel’s on Fire: Levon Helm and the Story of the
Band. acappella. ISBN 1-55652-405-6.
• Heylin, Clinton (1995). Bob Dylan: The Recording
Sessions, 1960–1994. St. Martin’s Griffin. ISBN
0-312-15067-9.
• Heylin, Clinton (1996). Bob Dylan: A Life In
Stolen Moments: Day by Day 1941–1995. Schirmer
Books. ISBN 0-7119-5669-3.
• Heylin, Clinton (2000). Bob Dylan: Behind the
Shades Revisited. Perennial Currents. ISBN 0-06-
052569-X.
• Heylin, Clinton (2009). Revolution In The Air: The
Songs of Bob Dylan, Volume One: 1957–73. Con-
stable. ISBN 1-84901-051-X.
• Hopkins, Dave (September 5, 2000). “The Band
Remasters”. TheBandhiof.no. Retrieved 2010-06-
06.
• Hoskyns, Barney (1993). Across The Great Divide:
The Band and America. Viking. ISBN 0-670-
84144-7.
• Hoskyns, Barney (October 2000). “Liner Notes for
The Band 2000 Remasters”. TheBandhiof.no. Re-
trieved 2010-06-13.
106 CHAPTER 2. STUDIO ALBUMS

• Hreha, Scott (June 26, 2009). “Bob Dylan: New
Morning / The Basement Tapes / Before the Flood
/ Dylan & the Dead”. Popmatters.com. Retrieved
2010-06-01.
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Bob Dylan Book. Square One Books. ISBN 1-
872747-04-3.
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Life of Bob Dylan. Grove Press. ISBN 0-8021-
1686-8.
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versations with the Band: Richard Manuel”. The
Woodstock Times 14 (12).

• I'm Not There Original Soundtrack (CD booklet).
Bob Dylan. New York: Columbia Records. 2007.
• Linderman, Jim. “The Basement Tapes Reid Miles
Bob Dylan Genuine Photo Outtake Photo Shoot by
Jim Linderman”. Essays On Bob Dylan By Jim Lin-
derman. Retrieved January 7, 2013.
• Kot, Greg (October 25, 1992). “Dylan Through The
Years: Hits And Misses”. Chicago Tribune. Re-
trieved December 26, 2013.
• “The Last Waltz”. TheBandhiof.no. Retrieved
2010-06-10.
• Strong, Martin Charles (2006). The Essential Rock
Discography. Canongate U.S. ISBN 1841958603.
...'The Basement Tapes’, a classic double album of
experimental roots rock.
• Warwick, Neil, Jon Kutner and Tony Brown (2004).
The Complete Book of the British Charts: Singles &
Albums (3d ed.). Omnibus Press. ISBN 1-84449-
058-0.
• Wenner, Jann (June 22, 1968). “Dylan’s Basement
Tape Should Be Released”. Rolling Stone (12).

• Lee, C.P. (1998). Like The Night: Bob Dylan and

• Whitburn, Joel (2004). The Billboard Book of Top
the Road to the Manchester Free Trade Hall. Helter
40 Hits (8th ed.). Billboard Books. ISBN 0-8230-
Skelter. ISBN 1-900924-07-2.
7499-4.
• Marcus, Greil (1975). The Basement Tapes (CD
booklet). New York: Columbia Records. • Williams, Richard (1992). Dylan: A Man Called
Alias. Bloomsbury. ISBN 0-7475-1084-9.
• Marcus, Greil, with Michael Simmons (2013). The
Bootleg Series Vol. 10 – Another Self Portrait (1969–
1971) (CD booklet). New York.
• Marcus, Greil (1997). Invisible Republic: Bob Dy- 2.17 Desire
lan’s Basement Tapes. Picador. ISBN 0-330-33624-
X. Desire is the seventeenth studio album by American
singer-songwriter Bob Dylan, released on January 5,
• Marqusee, Mike (2005). Wicked Messenger: Bob
1976 by Columbia Records.
Dylan and the 1960s. Seven Stories Press. ISBN
1-58322-686-9. It is one of Dylan’s most collaborative efforts, featuring
the same caravan of musicians as the acclaimed Rolling
• Morris, Chris (1994). Live at Watkins Glen (liner). Thunder Revue tours the previous year (later documented
The Band. New York: Capitol Records. on The Bootleg Series Vol. 5); many of the songs also
• Nelson, Paul (1975). "The Basement Tapes". featured backing vocals by Emmylou Harris and Ronee
Rolling Stone. Retrieved 2010-07-27. Blakley. Most of the album was co-written by Jacques
Levy, and is composed of lengthy story-songs, two of
• “The 1975 Pazz & Jop Critics Poll”. Consumer which quickly generated controversy: the over-11-minute
Guide Reviews. Retrieved 2010-05-22. long "Joey", which is seen as glorifying the violent gang-
ster “Crazy Joey” Gallo, and "Hurricane", the opening
• Polizotti, Mark (2006). Highway 61 Revisited. Con-
track that tells a passionate account of the murder case
tinuum. ISBN 0-8264-1775-2.
against boxer Rubin Carter, who the song asserts was
• Roberts, David (1999). Guinness British Hit Singles. framed. Carter was released in 1985, after a judge over-
Guinness Publishing. ISBN 0-85112-092-X. turned his conviction on appeal.

• Scherman, Tony (July 29, 2006). “The Bob Dylan A well-received follow-up to Blood on the Tracks,[1]De-
Motorcycle-Crash Mystery”. American Heritage. sire reached #1 on the Billboard Pop Albums chart for
Retrieved June 18, 2014. five weeks, becoming one of Dylan’s top-selling studio al-
bums (currently certified double platinum), while reach-
• Shelton, Robert (1986). No Direction Home: The ing #3 in the UK. It claimed the number one slot on NME
Life and Music of Bob Dylan (hardback ed.). New Album of the Year. Rolling Stone named Desire #174 on
English Library. ISBN 0-450-04843-8. its list of The 500 Greatest Albums of All Time.[2]
2.17. DESIRE 107

2.17.1 Context Jacques Levy continued to grow. Jacques Levy was

then best known for "Chestnut Mare", a collaboration
Desire was released between the two legs of Dylan’s with Roger McGuinn that ultimately became one of The
Rolling Thunder Revue tour. By 1975, Dylan had ex- Byrds' last hits. Dylan had met Levy the previous spring,
tensive experience playing with a number of bands, but but they became reacquainted at The Other End.
these groups were assembled by others. In the case of
One night, Dylan met Levy at his loft and showed him
the Hawks (later known as The Band), the group had per-
an early draft of “Isis.” According to Levy, “Isis” began
formed for a number of years before ever meeting Dylan.
life as a “slow dirge”, unlike anything he had ever heard
Dylan’s idea of forming his own band, who would later be before, which he felt gave the appearance of setting the
known as the Rolling Thunder Revue, came when he saw listener up “for a long story”. When Dylan first played
Patti Smith and her group play at The Other End (for- this embryonic version for him, the two of them started
merly, and currently renamed The Bitter End) on June working together. According to Levy, it was an enjoy-
26, 1975. Smith had yet to record an album, but she was able song-writing partnership, with Levy writing words
already attracting a lot of attention from the music press and Dylan contributing ideas. The session lasted until the
and industry. According to Clinton Heylin, these were early hours of the morning, after which Dylan and Levy
her first shows with drummer Jay Dee Daugherty, the cul- traveled to The Other End. Dylan read the lyrics to the
mination of four years spent “compiling a unique rock & gathered crowd, to favorable reactions. The partnership
roll sound”. According to Smith, Dylan was immediately went on to pen “Hurricane” and other tracks later featured
struck by the chemistry between Smith and her band, and on Desire.
expressed a wish that he had chosen to stay with a single
Dylan finally held a recording session on July 14, record-
band.
ing two songs co-written with Levy: “Joey,” an epic bal-
Dylan would spend many nights over the next two weeks lad about gangster Joey Gallo, and “Rita Mae,” a short
in New York’s Greenwich Village and The Other End song about lesbian writer Rita Mae Brown. At this time,
in particular, eventually meeting Rob Stoner and reac- the Rolling Thunder Revue had not yet formed. The par-
quainting himself with Bob Neuwirth. Stoner would later ticipating musicians instead consisted of the Dave Ma-
join his Rolling Thunder Revue, and Dylan would meet son Band, Scarlet Rivera (the only future member of the
the remaining members through Neuwirth. According to Rolling Thunder Revue to participate in this session), and
Smith, he was thinking about improvisation and extend- a number of other session players. Disappointed with the
ing himself “language-wise”. results, the session merely encouraged Dylan to form his
own working band for his upcoming album.
Following the session, Dylan and Levy isolated them-
2.17.2 Recording sessions
selves in the Hamptons to work on their songs. According
to Levy, they finished off a total of fourteen songs over a
Around the time of his first meetings with Smith and
three-week period, but in reality, they finished roughly
Stoner, Dylan began work on several new songs, finish-
half that number in less than two weeks. In total, an en-
ing at least one song called “Abandoned Love.” Then,
tire album’s worth of songs was written in less than four
sometime in late June, while being driven in his limousine
weeks of collaboration with Levy.
around the Village, Dylan spotted Scarlet Rivera walking
with her violin in the case. Dylan stopped to converse Two weeks after the first, failed session, Dylan returned
with Rivera and invited her to his rehearsal studio where to Studio E on July 28 with approximately 21 musicians
she spent the afternoon playing along with several of the at his disposal. By most accounts, the recording process
new songs. “If I had crossed the street seconds earlier,” was very haphazard. Dylan was determined to record the
said Rivera in 2012, “it never would have happened.” Ac- songs live, while producer Don DeVito’s inexperience led
cording to Rivera, “One More Cup of Coffee,” “Isis,” and him to 'stack' instruments on the multitrack tapes, making
“Mozambique” were all rehearsed with Dylan on guitar it virtually impossible to properly remix any of the songs
and Rivera accompanying on violin. As the rehearsals or to overdub any off-key accompaniments.
progressed, Dylan attempted some of the same songs on Neil Hubbard, who was present at the session, felt that
piano, experimenting with different keys in the process. there were too many musicians present and the session
Soon after, Dylan would ask Rivera to join him for his lacked leadership. Guitarist Eric Clapton was present,
next album. just one of five guitarists in the studio. Clapton recalled
As early as mid-July, the concept of the Rolling Thunder later that Dylan appeared to be seeking an opportunity to
Revue was beginning to solidify. According to Don De- work with new people he had met, although Clapton felt
Vito, a representative for Columbia Records, the possibil- that Dylan was uncomfortable performing personal songs
ity of forming a band and touring the United States play- with such a large group present, and left the session after
ing unannounced concerts was already being discussed at advising Dylan to use a smaller band, a sentiment later
this point. reiterated by Rob Stoner to producer Don DeVito.
Meanwhile, Dylan’s songwriting partnership with Others at this session included Rob Stoner, Scarlet
108 CHAPTER 2. STUDIO ALBUMS

Rivera, Emmylou Harris, and the English pub rock band Mae”),” was issued on a single-only release. An up tempo
Kokomo. Many of them would later, and at the time, re- song, that some listeners believe to be a tribute to lesbian
count their frustrations regarding the recording process writer Rita Mae Brown. It was later covered by Jerry Lee
for Desire which was, in the opinions of the many profes- Lewis on his self-titled album, issued in 1979.
sional musicians present, a rather chaotic process. Two other recordings were later released upon other al-
The following day, Dylan returned to Studio E with bums. "Catfish,” a tribute to future Baseball Hall of Fame
roughly half the number of musicians, retaining Stoner, pitcher Jim Hunter (better known as Catfish Hunter), and
Rivera, Harris, Hugh McCracken, and Vinnie Bell as well “Golden Loom” were officially released on The Bootleg
as saxophonist Mel Collins and percussionist Jody Lin- Series Volumes 1-3 (Rare & Unreleased) 1961-1991 in
scott of Kokomo. This time, they managed a usable take 1991.
of the song “Oh, Sister”, but the remainder of the session
was deemed unacceptable.
On the night of July 30, 1975, Dylan returned to Studio
E with a smaller group of musicians, including Stoner,
Rivera, Harris, and drummer Howie Wyeth (a friend of
2.17.3 Song information
Stoner’s who was hired by Dylan on Stoner’s suggestion).
For the most part, this group of musicians formed the core
of the Rolling Thunder Revue. The difference became Hurricane
apparent early on in the session, when a usable take of
“Isis” was recorded on the first try. Both Dylan and Stoner
were pleased with the session, and Stoner suggests that theThe album opens with "Hurricane", arguably the most
more intimate sound was much closer to the sound of the popular song on Desire. It protests the conviction of for-
completed album. mer middleweight boxer Rubin “Hurricane” Carter for
triple murder in 1966, arguing for his innocence. Ru-
Five of the nine songs from Desire were recorded at that bin Carter was eventually released in 1985 after United
session, as well as a slow version of “Isis,” the original States District Court Judge Haddon Lee Sarokin ruled
master take of “Hurricane”, the single-only release “Rita that Carter had not received a fair trial.
Mae,” and a successful take of “Golden Loom” that was
later released in 1991. Of the participating musicians, Dylan had been inspired to write it after reading Carter’s
only Emmylou Harris was dissatisfied with the results. It autobiography, The Sixteenth Round, which Carter had
would also be her last session, as she had prior commit- sent to Dylan because of his prior commitment to the civil
ments with her own career. rights struggle.

The following night, Dylan held another session, this time During the fall tour preceding Desire's release, Dylan
recording three songs. From this session, Dylan recorded and the Rolling Thunder Revue played a benefit con-
the master take for “Isis” as well as master takes for cert for Carter in New York City’s Madison Square Gar-
“Abandoned Love” and “Sara.” Dylan’s wife Sara, the den. The following year, they played another benefit at
subject of the song that bore her name, also accompanied Houston, Texas’s Astrodome. Dylan met with Carter on
him to this session. December 5, 1975, and performed a concert in Clinton
State Prison, in which Carter took to the stage, to ad-
dress the press. Among those present were representa-
tives of People Magazine who ran an article about Dylan
Outtakes and Carter on December 22 of the same year.
New Jersey prosecutors said that they would not try Ru-
The Desire sessions yielded a number of outtakes, but
only one of these outtakes received any serious consid- bin (Hurricane) Carter and John Artis a third time for a
eration. Written from the point of view of someone triple-murder in a case that provoked national attention
“despairing, isolated, [and] lost”, “Abandoned Love” de- over charges that the authorities had framed both men.
buted as an impromptu performance at the Other End on The 21-year legal conflict ended in effect when the Acting
July 3, 1975. Clinton Heylin wrote that the song sug- Passaic County Prosecutor, John P. Goceljak, filed a four-
gested Dylan’s self-confidence as an artist had returned, page application in the county courthouse in Paterson to
but that he still faced problems in his marriage. Origi- dismiss all charges against the two men.
nally intended for the album, it was ultimately replaced
It is just not legally feasible to sustain a prosecution, and
by “Joey.” “Abandoned Love” would not see official re-not practical after almost 22 years to be trying anyone,
lease until 1985 when a finished take was issued on the
Attorney General W. Cary Edwards said in Trenton. Mr.
boxed-set retrospective, Biograph. Its first and only live
Edwards, whose office participated in the decision, added,
performance at the Other End circulates as a highly prized
It is time we put this matter to rest once and for all, and
recording among collectors. I wish Mr. Carter the best of luck and a very productive
Another song, "Rita May (sometimes spelled as “Rita life.
2.17. DESIRE 109

Isis
One of the most celebrated songs on Desire is the sym-
bolic travelogue "Isis". According to music critic Tim
Riley, “Isis” tells the story of a young groom who mar-
ries his bride before he learns the value of loyalty. Riley
wrote that the story told of a man who learns about the
love of a woman through the deception of another man
and a “quest for riches that resigned itself to the quest
for human contact”. Also, the protagonist mistakenly be-
lieves that his quest is for treasure when an ulterior pur-
pose is at play. When he approaches the tomb, he finds
it empty and without any reward. Unbeknownst to him,
he was playing a part in a higher story line: the tomb ea-
gerly awaited for the arrival of his companion who dies
immediately. When he chucks the body into the empty
space, he realizes what a folly this whole adventure has
been, and thus returns to the arms of his knowing wife.
cluded a cover of the song on her 2010 debut solo album,
Obadiah. John Nolan of Taking Back Sunday included a
cover of the song on a solo release, Songs I Didn't Write,
in 2010.[4] Syd Matters also covered the song in 2012 in
live concert at Cité de la Musique with This Is The Kit
(guest). The song was written at a corner table at The
Other End nightclub in Greenwich Village in the summer
of 1975.
Oh, Sister
“Oh, Sister” became a concert favorite during the fall tour
preceding Desire's release. Tim Riley noted that it was the
first time Dylan had invoked God as a method of wooing a
woman, and that with Emmylou Harris, the song became
a discourse on the fragility of love. Harris’s vocal on the
final mix was actually overdubbed a day later, one of the
few overdubs made during the Desire sessions.

Mozambique
Joey
"Mozambique" started as a game, to see how many
rhymes for "-ique” Dylan and Levy could find. The longest song of the album is "Joey". A twelve-verse
ballad, it describes the life of deceased gangster Joey
Gallo and created a substantial amount of controversy
One More Cup of Coffee when Desire was released. Dylan presents Gallo as an
outlaw with morals, in the tradition of songs like Woody
“One More Cup of Coffee” tells the tale of a girl whose Guthrie's "Pretty Boy Floyd". Dylan’s Gallo refused to
family are gypsies and drifters, and of the man who must kill innocent people, made peace with black men, and
leave her to enter the “valley below”. The narrator de- shielded his family when he was about to be shot as they
scribes a character who is beautiful: “your eyes are like were eating in a restaurant. Many commentators, notably
two jewels in the sky” but for whom the narrator’s love rock critic Lester Bangs have argued, however, that Gallo
and admiration are not reciprocated (“but I don't sense was well known as a vicious Mafioso whose documented
affection no gratitude or love, your loyalty is not to me career was not accurately reflected in the song’s lyrics.
but to the stars above”). The song deals with themes of
abandonment; the apparent end of a relationship and the The song details Gallo’s murder in Umberto’s Clam
concept of a coming journey. The song could be seen as House in Little Italy, Manhattan, on April 7, 1972.
Graphic details of Gallo’s murder had been published in
a metaphor for Dylan’s relationship with Sara; however,
this is unsubstantiated. The song is also thought to have Donald Goddard’s biography while Gallo’s friends, actor
Jerry Orbach and his wife Marta, were introduced to Dy-
been inspired by a visit Dylan made to Saintes-Maries-
de-la-Mer in Provence, France, where there is an annual lan through Levy. Dylan said in 1975 that he had con-
sidered Gallo more a hero than a gangster. After hearing
gathering of Romany people who venerate Saint Sarah
the Egyptian. This would seem to point to another link Jerry and Marta Orbach talk about Gallo, Dylan and Levy
wrote the entire song in one night.
to Sara Dylan.[3]
The song is a duet between Dylan and Emmylou Harris; Unlike legendary outlaws like Robin Hood, or historical
as an incidental to its use of the natural minor scale it has ones like Jesse James and Billy the Kid, Gallo was not a
a decidedly Middle Eastern flavor in the vocal melody. It figure of the distant past nor was he mythologized by tall
was covered by The White Stripes on their eponymous tales spread by word-of-mouth and the local press. With
debut album. Furthermore there is a version by Roger Gallo’s life still prominent in the minds of the public and
McGuinn and Calexico for the 2007 film I'm Not There. without favorable media coverage, Dylan’s attempt to ro-
Calexico also perform the song at their concerts. Robert manticize Gallo was greeted with an enormous amount
Plant covered the song in his 2002 album Dreamland. In of contempt by the press, public officials, and private cit-
2003, Sertab Erener covered this song which in turn be- izens alike.
came the soundtrack of the movie Masked and Anony- Goddard’s biography depicted Gallo as a racist who often
mous. Bic Runga also released a live version in 2004 on beat his wife and abused his children, and who had taken
her album “Live In Concert With The Christchurch Sym- part in a brutal gang rape of a young boy while he was in
phony”. In 2009 Italian rock noir band Belladonna cov- prison. None of these details was mentioned or alluded
ered the song in their Rome, Italy show. Frazey Ford in- to in Dylan’s “Joey”. Instead, the song paints a far more
110 CHAPTER 2. STUDIO ALBUMS

romantic portrait, incorporating a lyric that Gallo “would Sara

not carry a gun/'I'm around too many children,' he'd say,
'they should never know of one.'" Desire closes with “Sara”, arguably Dylan’s most public
Lester Bangs later wrote a scathing response to a question display of his own personal life. An ambitious tribute to
posed by Dylan in the song’s chorus: “What made them his wife, Sara, it is possibly Dylan’s only song in which
want to come and blow you away?". In a Village Voice ar- he steps out of his public persona and directly addresses
ticle published on March 7, 1976, Bangs argued that some a real person, with striking biographical accuracy. Tim
could have considered there to have been an open con- Riley wrote that it was “a fevered cry of loss posing as
tract on Gallo for his shooting of gangster Joe Colombo sincere devotion.”
almost a year previously. Bangs also suggested that two Dylan’s marriage was in a turbulent state when he wrote
other theories advanced by investigators extremely close the song. Dylan’s estrangement from his wife had led
to the case showed Gallo attempting to lay claim to terri- to at least one separation in the previous year. Sara was
tory occupied by other, more powerful mob factions. De- present at the song’s recording session, (on the same day
spite all the controversy, Clinton Heylin noted that “Joey” he recorded two other songs that touched on the subject
remained the one song from Desire to have regularly fea- of marriage: “Isis” and “Abandoned Love”). However, in
tured in concert in the nineties. March 1977, Sara Dylan filed for divorce.
In an interview with Bill Flanagan for his album Together In the lyrics of “Sara,” Dylan states that he wrote "Sad
Through Life in 2009, Dylan claimed that Jacques Levy Eyed Lady of the Lowlands" (from Blonde on Blonde)
wrote the lyrics to “Joey”, not Dylan himself.[5] for Sara Dylan.

Romance in Durango
“Romance in Durango" concerns an outlaw and his lover,
on the run in Mexico. Heylin described the song as “the
climax to an unmade Sam Peckinpah movie in song.”
This song has been covered by the Italian singer and song-
writer Fabrizio De André in the name of “Avventura a
Durango”, and also by the Brazilian singer Raimundo
Fagner in the name of “Romance no Deserto”.
Black Diamond Bay
As described by Heylin, “Black Diamond Bay” describes
the destruction of a tiny island (following the eruption of
a volcano), observed from two perspectives: from a ho-
tel on the island itself and from the narrator’s point of
view through a television news report. The song essen-
tially describes what the people on the island are doing
at the time - often drawing attention to the ironic futil-
ity of their actions (for example, one of the islanders is
preparing to commit suicide when the volcano erupts and
destroys the island). The song also describes the news-
watcher’s indifference to the catastrophes he hears about
on TV, as the narrator goes to get another beer rather
than watch the news story about the catastrophe on the
island. He says “I never did plan to go anyway to Black
Diamond Bay.” Joseph Conrad's Victory was a major in-
fluence to this song, which references many of its themes.
The song title, the island, the volcano, the gambling, and
the Panama hat are all references to Joseph Conrad’s Vic-
tory.
2.17.4 Aftermath
Desire would not be released until early the following
year. In the meantime, Dylan embarked on the first leg of
a North American tour with the Rolling Thunder Revue.
During the course of the tour, which received heavy me-
dia coverage, Dylan and his band unveiled songs from De-
sire in addition to reinterpreting past works. The Rolling
Thunder Revue was also augmented by guest musicians
such as Mick Ronson (best known for his work with
David Bowie) and other artists such as Roger McGuinn,
Joni Mitchell, and Joan Baez who not only contributed
during Dylan’s set, but also played complete sets of their
own. Bruce Springsteen was invited to perform, but de-
clined when Dylan informed him that he could not use
the E Street Band to back him.
The fall of 1975 would ultimately produce a widely crit-
icized film, Renaldo and Clara, but the concerts them-
selves were well received. Often regarded as one of Dy-
lan’s finest series of shows, this first leg of the tour was
eventually documented on The Bootleg Series Vol. 5: Bob
Dylan Live 1975, The Rolling Thunder Revue.
2.17.5 Critical reception
On January 5, 1976, Desire was released, garnering a fair
share of critical acclaim. Critic Dave Marsh would call it
one of the “two best records Dylan has made since John
Wesley Harding"[9] and gave it a four-star review in the
1979 Rolling Stone Record Guide. Some critics were not
impressed; Robert Christgau wrote: “Although the can-
did propaganda and wily musicality of “Hurricane” de-
lighted me for a long time, the deceitful bathos of its com-
panion piece “Joey” tempts me to question the unsullied
innocence of Rubin Carter himself”. He disputed their
2.18. STREET-LEGAL 111

categorization as protest songs and mused that Dylan’s 2.17.9 References

songs about oppressed “heroes” may have been a reflec-
tion of Dylan’s own feelings at the time. Nevertheless, [1] Desire - Bob Dylan > Charts & Awards > Billboard Album
there was enough critical support to push Desire to #26 at AllMusic. Retrieved 29 December 2004.
on The Village Voice's Pazz & Jop Critics Poll for 1976. [2] Levy, Joe; Steven Van Zandt (2006) [2005]. “174 | Desire
In 2003, the album was ranked number 174 on Rolling – Bob Dylan”. Rolling Stone’s 500 Greatest Albums of All
Stone's list of the 500 greatest albums of all time.[2] Time (3rd ed.). London: Turnaround. ISBN 1-932958-
The album also received a fair share of commercial suc- 61-4. OCLC 70672814. Retrieved 27 September 2006.
cess, eventually topping the U.S. Billboard charts.[1] [3] Picknett,L. and Prince, C. “The Templar Revelation”,
1997, p. 90.

2.17.6 Track listing [4]

All tracks written by Bob Dylan and Jacques Levy, except [5] http://www.bobdylan.com/#/conversation?page=9
as noted. [6] Erlewine, Stephen Thomas. Desire (Bob Dylan album) at
AllMusic. Retrieved 29 December 2004.

2.17.7 Chart positions [7] Christgau, Robert. “Bob Dylan > Consumer Guide Re-
views”. Robert Christgau. Retrieved 21 February 2006.
2.17.8 Personnel [8] Flanagan, Bill (March 29, 1991). “Dylan Catalog Re-
visited”. Entertainment Weekly (59). Retrieved 20 May
• Bob Dylan – vocals, rhythm guitar, harmonica; 2010.
piano on “Isis”
[9] Marsh, Dave (March 11, 1976). “Bob Dylan Desire > Al-
bum Review”. Rolling Stone (208). Archived from the
Additional musicians
original on 29 April 2007. Retrieved 14 January 2007.
Posted on June 17, 1997.
• Vincent Bell – bouzouki

• Ronee Blakley – background vocals on “Hurricane” 2.17.10 Resources

• Dominic Cortese – accordion, mandolin • Lyrics and sound clips
• Emmylou Harris – background vocals

• Scarlet Rivera – violin 2.18 Street-Legal

• Luther Rix – congas on “Hurricane”
For other meanings, see Street legal (disambiguation).
• Steven Soles – background vocals on “Hurricane”

• Rob Stoner – bass guitar, background vocals
• Howard Wyeth – drums, piano
Technical personnel
Street-Legal is the eighteenth studio album by Ameri-
can singer-songwriter Bob Dylan, released on June 15,
1978 by Columbia Records. The album was a serious
musical departure for Dylan, who uses a large pop-rock
band—complete with female backing vocalists—for the
first time.

• John Berg – cover design Following the twin successes of Blood on the Tracks and
Desire, Street-Legal was another gold record for Dylan,
• Ruth Bernal – cover photography but it peaked at only #11 on the US Billboard charts, mak-
ing it his first studio album to miss the US Top 10 since
• Don DeVito – production 1964. However, it became his best-selling studio album
in the UK, reaching #2 on the charts (his highest posi-
• Stan Kalina – mastering
tion in eight years) and achieving platinum status with
• Don Meehan – engineering 300,000 copies sold (the only other Dylan album to do
this was The Essential Bob Dylan).
• Ken Regan – cover art
The original 1978 LP credits mastering to Stan Kalina
• Luther Rix – conductor at CBS Recording Studios NY; the album was produced
by Don DeVito. In 1999, Street-Legal received a special
• Lou Waxman – recording director remixing and remastering job from DeVito. The newer
112
version boasted richer sound, correcting numerous issues
with the original production. The new mix was also used
in a 2003 SACD reissue of Street-Legal. However the
original 1978 mix was reinstated for The Complete Album
Collection Vol. 1.
2.18.1 Themes
Themes of note are the subtly religious and somewhat
apocalyptic overtones found throughout, especially in
"Changing of the Guards", “No Time to Think” and
“Where Are You Tonight? (Journey Through Dark
Heat)". Although the Bible (both Old and New Testa-
ments) had always influenced Dylan’s work, the prox-
imity of this album to the beginning of his gospel tour
(early 1979) raises the possibility that some songs may
have been written with more Christian intent than previ-
ous ones.
2.18.2 Writing and recording Street-Legal
Before rehearsals could begin, Dylan had to assemble
a band, and he quickly contacted several musicians, in-
cluding former Rolling Thunder Revue members Steven
Soles, David Mansfield, Rob Stoner, and Howie Wyeth.
Stoner recalls, “I thought the Hard Rain thing was the last
I'd ever hear from Bob...Then suddenly I get this call—I
think Bob called me up personally...and asked me to bring
Howie, and a couple of other people, to L.A. to 'just try
some things out.'"
Soles, Mansfield, Stoner, Wyeth, pianist Walter Davis,
Jr., and percussionist Otis Smith arrived in late Novem-
ber and early December. Even with the players assem-
bled, Dylan was not ready to rehearse as the custody bat-
tle over his children and the imminent release of Renaldo However, by mid-January 1978, Dylan was still unsat-
and Clara drew most of his attention. (He was still edit- isfied with some aspects of the band, and with the first
ing Renaldo and Clara despite the approaching deadline.)
“Bob kept us sitting around for a week or two,” recalls
Stoner. “He just never showed up...and [when he finally]
drops in, he’s distracted...He was really [stressed out]. He
was always bummed out. He was chain-smoking and he
was really in a bad mood. He was short with people. It
just wasn't working out.”
Eventually, a settlement in his custody battle was reached
in late December, ensuring that his children would remain
in California where Dylan would have access to them, but
in exchange, Dylan had to sign an agreement promising In the meantime, Seiwell had to be let go; during his brief
never to see the children’s nanny Faridi McFree again. stint with Wings, he and the rest of Wings were busted for
Fallout from the custody battle would keep Dylan and drug possession in Sweden, prompting Japanese officials
Sara from reaching amicable terms for several years.
Meanwhile, work on Renaldo and Clara was finally com-
pleted and with his legal matters settled, Dylan was ready
to rehearse. As rehearsals went underway, it became clear
that they weren't “picking up where the Rolling Thunder
Revue left off,” recalls Mansfield. “I brought my steel gui-
CHAPTER 2. STUDIO ALBUMS
tar and I had it in rehearsal and every time I'd go to start
unpacking it, Bob would go, 'We don't need that.' All of
a sudden the instrument that I played all over the place in
the previous band, he didn't want to see it, let alone hear
it.”
One component from the Rolling Thunder Revue left by
his own choice. Howie Wyeth was struggling with his
own heroin addiction at the time, recalling, “I knew I
couldn't get high once we'd left [for Japan]...I realized I
was either gonna get busted or I'd end up being tortured
to death. So I literally had to just tell Bob one night, 'I
can't do it.' That was terrible. He had his own problems.
He felt bad that I wasn't gonna do it, and he called me up
when I got home to New York and said, 'Are you sure?'"
After auditioning a number of drummers (“maybe ten or
a dozen” by Bernstein’s estimates), Dylan replaced Wyeth
with Denny Seiwell, who had briefly played with Wings.
When rehearsal was held on December 30, the band
now included Stoner, Mansfield, Soles, guitarist Jesse Ed
Davis, and singers Katey Sagal, Debbie Dye Gibson, and
Frannie Eisenberg. This rehearsal was mostly dedicated
to rearrangements of classic Dylan compositions, many
of which drew heavily on the adult-contemporary pop of
the time (Wayne Newton, Barry Manilow, Marvin Ham-
lisch). As biographer Clinton Heylin writes, "[Dylan] be-
gan to impose a grander vision on whatever sound the
Revue veterans had initially conceived. With his love of
fatback R&B, it should have come as no surprise that he
hankered after a band with a saxophone player and some
female singers...the band he assembled in the two months
before the 1978 world tour shares many similarities with
the big band he had attempted to impose on Desire. The
girls/sax/keyboards combination also reflected elements
of the extravagantly presented shows Presley had been
playing in the 1970s.”
leg of his world tour already set for February, he quickly
made some last-minute changes, removing Sagal and
Eisenberg and replacing them with novice singer Helena
Springs and seasoned professional Jo Ann Harris. Sa-
gal was not too surprised by her dismissal. “I remem-
ber...he'd have three girls all sing a part that was not in
our range,” Sagal recalls, “and we were too terrified to
say anything.” An aspiring actress as well as a singer, she
later gained fame and fortune as Peg Bundy on the long-
running sitcom Married... with Children.
to deny him an entry visa. A number of auditions were
quickly arranged, and according to Stoner, they “settled”
on former King Crimson drummer Ian Wallace. Though
Wallace’s drumming would become problematic (“The
man had a beat like a cop,” recalls Stoner), time had run
out as the tour was almost upon them.
2.18. STREET-LEGAL
Danish-American guitarist Billy Cross was also brought
in, and eventually Dylan’s touring band was solidified with
Cross, Wallace, keyboardist Alan Pasqua, percussionist
Bobbye Hall, and saxophonist Steve Douglas, Mansfield,
Stoner, Soles, and the back-up singers.
In the final two weeks of rehearsals, Dylan began settling
on new tour arrangements for his classic, earlier record-
ings. Rob Stoner recalls, “a telegram arrived from the
Japanese promoter, and in it he had a manifest of the
songs he expected Bob to do on this tour. In other words
he was a jukebox, he was playing requests. We don't want
you coming here and doing like your new experimental
material, or getting up there and jamming.” As Heylin
writes, “though the idea of a big band had always ap-
pealed to Dylan, the reality was a whole series of new ar- was recorded,” recalls Mansfield, “with Bob getting impa-
rangements, to make each song different and to highlight
the band’s demonstrable versatility...Often these arrange- ing levels and getting sounds in sync...and the recording
ment ideas came from the band. As Stoner observes,
when they put these arrangements to Dylan, 'Sometimes
he'd like it and he'd use it, and other times he'd say, Forget
it.'"
Around this time, Renaldo and Clara was released to velous in the room, tons better than Budokan. It really
some of the worst reviews of Dylan’s career. The nega- was sort of like Bob Dylan meets Phil Spector in the best
tive reaction clearly irritated Dylan, making the final days way...as if it had [just] been recorded so the instruments
of rehearsals all the more stressful.
The band finally flew to Japan on February 16, 1978, and
the tour drew considerable praise from the audience and
press, in both Japan and Australia. Later documented
on Bob Dylan at Budokan, this tour was marked by bold,
new arrangements of Dylan’s classic recordings. During
the course of these two-hour plus shows, Dylan often re-
cast familiar songs in a more 'professional,' contempo-
rary guise. However, some of the band members, includ-
ing Stoner, were not entirely satisfied with Dylan’s new
sound. “He had in mind to do something like Elvis Pres-
ley,” recalls Stoner. “That size band and the uniforms...he
wasn't very sure about it, which is why he opened way out
of town. I mean, we didn't go any place close to Europe
or England or America [for] forever, man...and I don't
blame him. I think he knew, subconsciously, he was mak-
ing a big mistake.”
The tour ended on April 1 at the Sydney Showground in
Australia. When it was over, Stoner informed Dylan that
he was leaving the band. Dylan was planning to record
his next album upon returning to Los Angeles, but with
Stoner gone, Dylan hired a new bass player, Jerry Scheff.
Like saxophonist Steve Douglas, Scheff was a well-known
player in Presley’s touring band of the early 70s.
With Scheff replacing Stoner, Dylan began recording his
new material with his touring band. Sessions were held
at Rundown, with Dylan renting a mobile truck to record
the proceedings. (The mobile truck was equipped with
24-track capabilities, something his studio did not have.)
“I didn't want to do it there,” Dylan later recalled. "[I]
couldn't find the right producer, but it was necessary to
do it. So we just brought in the remote truck and cut
113
it, [and] went for a live sound.” Dylan would ultimately
settle on Don DeVito as his producer, even though he was
dissatisfied with DeVito’s work on Desire.
Dylan already had a European tour scheduled for June,
but he still had enough time to record his album. Over
the course of just four days Dylan would record nine of
his own compositions. Dylan knew exactly which songs
he wanted to record, and though three songs co-written by
Helena Springs were also recorded during these sessions
(“Coming from the Heart”, “Walk Out in the Rain”, “Stop
Now”), there is no indication that these songs were ever
serious contenders for the album.
Because the sessions lasted only four days, there were still
a number of problems. “The biggest problem...was how it
tient with the engineering assistants...baffling and check-
crew just having to scramble to get mikes into place, and
get something on tape, while we were playing the thing
the few times we were gonna play it. Consequently, the
music is very poorly recorded, but that stuff sounded mar-
sounded full and well-blended.”
The album is dedicated to the memory of Bob’s friend
Emmett Grogan, who had been found dead on a subway
car near Coney Island, New York on April 6, 1978.
2.18.3 Outtakes
As opposed to previous albums, the outtakes for Street-
Legal are few in number. Only three additional songs
were recorded for the album, of which none have seen re-
lease. There are two takes of “Stop Now”, sounding very
much like an additional “Street-Legal” song, in circula-
tion. The Searchers would record “Coming From The
Heart (The Road Is Long)" and Eric Clapton would re-
lease “Walk Out In the Rain”.
• “Coming From The Heart (The Road Is Long)"
(Bob Dylan & Helena Springs)
• “Stop Now” (Bob Dylan & Helena Springs)
• “Walk Out In The Rain” (Bob Dylan & Helena
Springs)
2.18.4 Aftermath
When Street-Legal was released, it was dismissed by the
American press. Crawdaddy! critic Jon Pareles re-
marked that “Dylan still needs a producer,” but others
found fault with both the songs and the performances.
Greil Marcus criticized the singing as “simply impossi-
ble to pay attention to for more than a couple of minutes
114 CHAPTER 2. STUDIO ALBUMS

at a time” and accused “Is Your Love in Vain?" of sex- 2.18.6 Personnel
ism, claiming Dylan was “speak[ing] to the woman like a
sultan checking out a promising servant girl for VD.” • Bob Dylan – lead vocals, rhythm electric guitar
Robert Christgau would later call it a “horrendous prod-
uct,” and in his original review, he gave it a C+, writ- Additional musicians
ing that Dylan “sounds overripe, too in love with his own
self-generated misery to break through the leaden tempos • Billy Cross – lead electric guitar
that oppress his melodies, devoid not just of humor but • Carolyn Dennis – background vocals
of lightness.”
In the UK, reviews were positive, with Michael Watts of • Steve Douglas – tenor and soprano saxophone
Melody Maker proclaiming it Dylan’s “best album since • Bobbye Hall – percussion
John Wesley Harding". NME's Angus MacKinnon hailed
it as Dylan’s “second major album of the 70s.” In con- • Jo Ann Harris – background vocals
trast to the record’s still mixed reputation, Q Magazine
• Steve Madaio – trumpet on “Is Your Love in Vain?"
has given the album a 5 star rating on re-release on two
occasions, pointing out that the original muddiness of the • David Mansfield – violin, mandolin
production was part of the reason the record has so long
been critically overlooked. • Alan Pasqua – keyboards
When Dylan embarked on his European tour, he would • Jerry Scheff – bass guitar
be greeted by a generally warm audience reception, and
his single, "Baby, Stop Crying" (the lyrics of which were • Steven Soles – rhythm guitar, background vocals
allegedly inspired by Robert Johnson's “Stop Breaking • Helena Springs – background vocals
Down”), would chart in the top ten throughout Europe,
and reached #13 on the UK Singles Chart with the album • Ian Wallace – drums
peaking at #2 on the album chart. In the US, however,
the single failed to crack the top 100 and the album it- Technical personnel The liner notes include titles that
self peaked at #11, ending Dylan’s string of #1 albums in do not explain the nature of each person’s contribu-
America until 2006’s Modern Times. When Dylan con- tions
tinued his tour in America, it would be derided by the
American press as the Alimony Tour and later the Vegas • Mary Alice Artes – “Queen Bee”
Tour, much to Dylan’s chagrin.
• Michael H. Brauer – remixing engineering (1999
Many years later, even Street-Legal's most ardent admir- edition)
ers would admit some flaws in the album, finding most
fault with the production. "Street-Legal would be the first • Biff Dawes – engineering
in a long line of song collections whose failure to be real-
ized in the studio would lay a 'dust of rumors’ over Dylan • Don DeVito – “Captain in Charge”, production
as an abidingly creative artist that he has never been able • Filmways/Heider – recording
to fully shake,” writes Heylin.
• Ryan Hewitt – remixing engineering (1999 edition)
In 1999, Don DeVito revisited Street-Legal and remixed
the album with modern, digital techniques in an attempt • Stan Kalina – mastering engineer at CBS Recording
to improve the mix. Admirers of the album generally Studios in New York City
seemed pleased by the new mix, but many critics who
dismissed the album the first time around remained unim- • Larry Kegan – “Champion of All Causes”
pressed. The new mix was later used in a 2003 SACD • Ava Megna – “Secretary of Goodwill”
reissue of Street-Legal. In 2014, as part of The Complete
Album Collection Vol. 1, Street-Legal was again remas- • Arthur Rosato – “Second in Command”
tered, but restored to its original 1978 Stan Kalina LP
mix.
2.18.7 References
[1] Stephen Thomas Erlewine (1978-06-15). “Street Legal -
Bob Dylan | Songs, Reviews, Credits, Awards”. AllMusic.
Retrieved 2013-09-15.
2.18.5 Track listing [2] “CG: Bob Dylan”. Robert Christgau. Retrieved 2013-09-
15.

All songs written by Bob Dylan. [3]

2.19. SLOW TRAIN COMING 115

2.19 Slow Train Coming was also impressed with Dylan’s professionalism. “Bob
and I ran down a lot of those songs beforehand,” recalls
Slow Train Coming is the nineteenth studio album by Knopfler. “And they might be in a very different form
American singer-songwriter Bob Dylan, released on Au- when he’s just hittin' the piano, and maybe I'd make sug-
gust 20, 1979 by Columbia Records. It was the artist’s gestions about the tempo or whatever. Or I'd say, 'What
first effort since becoming a born-again Christian, and all about a twelve-string?'"[1]
of the songs either express his strong personal faith, or
When sessions were held in Alabama, Dylan retained
stress the importance of Christian teachings and philoso-
only two members from his 1978 touring band: Helena
phy. The evangelical nature of the record alienated many
Springs and Carolyn Dennis, both background singers.
of Dylan’s existing fans; at the same time, many Chris-Veteran bassist Tim Drummond was hired, as was Dire
tians were drawn into his fan base. Slow Train Coming Straits' drummer Pick Withers on Knopfler’s recommen-
was listed at #16 in the 2001 book CCM Presents: The dation. Keyboardist Barry Beckett and the Memphis
100 Greatest Albums in Christian Music. Horns, all key elements of the celebrated Muscle Shoals
The album was generally well-reviewed in the secular Sound, were also brought in.
press, and the single “Gotta Serve Somebody” became The first session was held on April 30; it proved to be
his first hit in three years, winning Dylan the Grammy very difficult. Much of the day was dedicated to record-
for best rock vocal performance by a male in 1980. The ing “Trouble in Mind,” a song that was ultimately left
album peaked at #2 on the charts in the UK and went off Slow Train Coming. Wexler criticized Dylan for un-
platinum in the US, where it reached #3. necessarily vocalizing while Dylan refused to wear head-
phones, adamant that they pursue a more 'live' sound even
though overdubs on the 24-track recordings were virtually
2.19.1 Recording sessions expected.
“Bob began playing and singing along with the musi-
Dylan first heard Mark Knopfler when assistant and en- cians,” recalls Wexler. “We were in the first stages of
gineer Arthur Rosato played him the Dire Straits sin- building rhythm arrangements; it was too soon for him
gle, “Sultans of Swing”. Later, on March 29, 1979, Dy- to sing, but he sang on every take anyway. I finally per-
lan caught the final show of a Dire Straits' residency at suaded him to hold off on the vocals until later, when the
the Roxy in Los Angeles, California. Dylan approached arrangements were in shape and the players could place
Knopfler after the show, asking the guitarist to partici- their licks around—not against—Bob.”
pate on his next album. Knopfler agreed, unaware of the As the sessions wore on, Wexler’s techniques seemed
religious nature of the material that awaited him. more accommodating. Once arrangements were set, Dy-
Dylan also approached Jerry Wexler to produce the up- lan could focus on recording a strong vocal track while
coming sessions. Studio recording had become much subsequent overdubs would fill in the gaps. As Heylin de-
more complex during the 1970s, and after his strug- scribes it, the basic tracks with “lead vocals intact [were]
gles recording the large ensemble performances of Street- laid down before Dylan’s boredom threshold was reached.
Legal, Dylan was resolute in hiring an experienced pro- Adding and redoing bass parts, acoustic and electric gui-
ducer he could trust. He was familiar with Wexler’s cele- tars, background vocals, horns, organ, electric piano, and
brated work with Aretha Franklin, Wilson Pickett, Percy percussion would require their own set of sessions, but by
Sledge, Dusty Springfield, and other soul artists. “Syn- then Dylan could be an interested observer.” For “Pre-
onymous with a small studio in Sheffield, Alabama, the cious Angel”, bass, guitar, organ, and horns would all be
sixties Atlantic recordings of Wexler defined the Muscle overdubbed a week after recording the master take. “No
Shoals Sound,” writes Clinton Heylin. Like Knopfler, Man Righteous (Not No One)" (ultimately left off Slow
when Wexler agreed to produce, he was unaware of the Train Coming) was also constructed in similar fashion.
nature of the material that awaited him. As Heylin notes, Dylan also broke from his “usual prac-
“Naturally, I wanted to do the album in Muscle Shoals— tice of recording songs without running them down for
as Bob did—but we decided to prep it in L.A., where Bob the musicians.” “Bob might run it down on piano or gui-
lived,” recalls Wexler. “That’s when I learned what the tar, just singing and playing the background until we had
songs were about: born-again Christians in the old corrala rough shape in our minds, then the Muscle Shoals band
... I liked the irony of Bob coming to me, the Wandering would start to play it,” recalls Wexler. “As soon as it
Jew, to get the Jesus feel ... [But] I had no idea he wassounded right, Bob and the girls would start to sing.”
Unlike his previous album sessions, Slow Train Coming
on this born-again Christian trip until he started to evan-
gelize me. I said, 'Bob, you're dealing with a sixty-two-sessions would run smoothly and efficiently after a slow
year-old confirmed Jewish atheist. I'm hopeless. Let’s start. The basic tracks for the remaining ten songs were
just make an album.'"[1] recorded in just six three-hour sessions over a period of
three days. The first takes of “I Believe in You” and
Knopfler voiced his concerns to his manager, Ed Bicknell,
“Gonna Change My Way of Thinking” would become the
remarking that “all these songs are about God,” but he
116 CHAPTER 2. STUDIO ALBUMS

basic tracks for the masters. In a year when Van Morrison and Patti Smith released
The final song recorded was “When He Returns”. Its their own spiritual works in Into the Music and Wave, re-
role as the album’s closer was already decided, but Dy- spectively, Dylan’s album seemed vitriolic and bitter in
lan planned on having Springs or Dennis sing the lead vo- comparison. Critic Charles Shaar Murray wrote, "Bob
cal. After recording a guide vocal, backed by Beckett on Dylan has never seemed more perfect and more impres-
piano, he reconsidered. As Heylin suggested, Beckett’s sive than on this album. He has also never seemed more
“strident accompaniment made him think again.” Dylan unpleasant and hate-filled.” Greil Marcus wrote, “Dylan’s
practiced singing “When He Returns” overnight before received truths never threaten the unbeliever, they only
chill the soul” and accused Dylan of “sell[ing] a prepack-
laying down eight vocal takes over Beckett’s original pi-
ano track. The final take, described by Heylin as “perhaps aged doctrine he’s received from someone else.” Accord-
ing to Clinton Heylin, “Marcus isolated Slow Train Com-
Dylan’s strongest studio vocal since 'Visions of Johanna',”
was selected as the master. ing's greatest flaw, an inevitable by-product of his deter-
mination to capture the immediacy of newfound faith in
Wexler convinced Dylan to overdub new vocals for song.”
“Gonna Change My Way of Thinking” and “When You
Gonna Wake Up?", but otherwise the overdubbing ses- Robert Christgau gave a mostly positive review, grading it
sions held the following week focused on instrumental a B+. “The lyrics are indifferently crafted,” wrote Christ-
overdubbing. gau. “Nevertheless, this is his best album since Blood on
the Tracks. The singing is passionate and detailed.”[3]
Reviewing the album in Rolling Stone, Jann Wenner pro-
2.19.2 Outtakes claimed it “one of the finest records Dylan has ever
made.”[5]
Dylan recorded three additional songs during these ses- On October 18, 1979, Dylan promoted the album with
sions, but these did not make the final cut for Slow Train his first—and, to date, only—appearance on Saturday
Coming. “Trouble in Mind” was issued as a B-side in Night Live, performing “Gotta Serve Somebody,” “I Be-
1979. “Ain't No Man Righteous” was covered by a reg- lieve in You,” and “When You Gonna Wake Up.” On
gae group, but no studio take circulates. “Ye Shall Be November 1, Dylan began a lengthy residency at the Fox
Changed” was issued on The Bootleg Series Vol 1–3. Warfield Theater in San Francisco, California, playing a
total of fourteen dates supported by a large ensemble. It
• “Trouble in Mind” was the beginning of six months of touring North Amer-
ica, performing his new music to believers and his heck-
• “Ain't No Man Righteous, No Not One” ling fans alike.

• “Ye Shall Be Changed” Despite the mixed reactions to Dylan’s new direction,
“Gotta Serve Somebody” was a U.S. Top 30 hit, and the
album outsold both Blood on the Tracks and Blonde on
Blonde in its first year of release despite missing the top
2.19.3 Reception and aftermath
of the charts. It even managed to place at #38 on The
Village Voice's Pazz & Jop Critics Poll for 1979, proving
Before the album was completed, Patty Valentine had
he had some critical support if not universal acclaim.
brought a defamation-of-character suit against Dylan, re-
garding the song “Hurricane” from Desire; on May 22, During this period, Dylan refused to play any of his older
while giving a pre-trial deposition in his defense, Dylan compositions, as well as any secular material. Though
was asked about his wealth. “You mean my treasure on Pastor Larry Myers had assured Dylan that his old com-
earth?" replied Dylan. He was asked about the identity of positions were not sacrilegious, Dylan would say he would
the 'fool' in “Hurricane.” Dylan said the 'fool' was “who- not “sing any song which hasn't been given to me by the
ever Satan gave power to ... whoever was blind to the truth Lord to sing.” Fans wishing to hear his older songs openly
and was living by his own truth.” Five days later, Dylan’s expressed their disappointment. Hecklers continued to
pre-trial statement was reported in The Washington Post, appear at his concerts, only to be answered by lectures
which also interviewed Kenn Gulliksen, who revealed to from the stage. Dylan was firmly entrenched in his evan-
the paper that Dylan had joined the Vineyard Christian gelical ways, and it would continue through his next al-
Fellowship. bum, whether his audience would follow or not.
By June, with the album virtually finished, Dylan gave
London’s Capital Radio station an acetate of “Precious
Angel,” which premiered on Roger Scott’s afternoon ra-
dio show. By July, the album was ready for issue, and pre-
release copies of Slow Train Coming circulated through
2.19.4 Track listing
the press. New Musical Express would proclaim “Dylan
& God – It’s Official.” All songs written by Bob Dylan.
2.19. SLOW TRAIN COMING
2.19.5 Chart positions
2.19.6 Personnel
• Bob Dylan – guitar, vocals
Additional musicians
• Barry Beckett – keyboards, percussion
• Mickey Buckins – percussion
• Carolyn Dennis – background vocals
• Tim Drummond – bass guitar
• Regina Havis – background vocals
• Mark Knopfler – lead guitar
• Muscle Shoals Sound Studio – horns
• Helena Springs – background vocals
• Pick Withers – drums
Technical personnel
• Barry Beckett – production
• Harrison Calloway – arrangements
• Gregg Hamm – engineering
• Bobby Hatta – original mastering engineering
• Wm. Stetz — cover concept/design
• Jerry Wexler – production
• Paul Wexler – original mastering supervision
• David Yates – assistant engineering
2.19.7 Dylan’s conversion to Christianity
By November 1978, Dylan had received some of the
worst reviews of his career. In late January, he finally pre-
miered Renaldo and Clara, the part-fiction, part-concert
film shot in the fall of 1975, during the first Rolling Thun-
der Revue tour. Though the performances were well-
received, the overwhelming majority of reviews were
negative. A number of them were so harsh, Dylan saw
them as personal attacks, particularly those by The Vil-
lage Voice, which printed four negative reviews by four
different critics.
Though critical reception in the United Kingdom was far
kinder, with some British critics proclaiming it a major
work, his most recent album, Street-Legal, was also re-
ceived poorly by most American critics. Charges of sex-
ism, poor production, and poor singing were thrown at
the album.
117
In the meantime, Dylan’s latest tour was getting its own
share of negative reviews, many of which reflected the
negative criticism waiting to greet the American release
of Bob Dylan at Budokan, taken from performances held
in early 1978.
Yet Dylan was in good spirits, according to his own ac-
count. “I was doing fine. I had come a long way in just
the year we were on the road [in 1978].” This would
change on November 17 in San Diego, California. As
Clinton Heylin reports, “the show itself was proving to
be very physically demanding, but then, he perhaps rea-
soned, he'd played a gig in Montreal a month earlier with
a temperature of 105.”[1]
“Towards the end of the show someone out in the crowd ...
knew I wasn't feeling too well,” recalled Dylan in a 1979
interview. “I think they could see that. And they threw a
silver cross on the stage. Now usually I don't pick things
up in front of the stage. Once in a while I do. Sometimes
I don't. But I looked down at that cross. I said, 'I gotta
pick that up.' So I picked up the cross and I put it in my
pocket ... And I brought it backstage and I brought it with
me to the next town, which was out in Arizona ... I was
feeling even worse than I'd felt when I was in San Diego. I
said, 'Well, I need something tonight.' I didn't know what
it was. I was used to all kinds of things. I said, 'I need
something tonight that I didn't have before.' And I looked
in my pocket and I had this cross.”[1]
Dylan believed he had experienced a vision of Christ in
his Tucson hotel room. “Jesus did appear to me as King
of Kings, and Lord of Lords,” he'd later say. “There was
a presence in the room that couldn't have been anybody
but Jesus ... Jesus put his hand on me. It was a physical
thing. I felt it. I felt it all over me. I felt my whole body
tremble. The glory of the Lord knocked me down and
picked me up.”
Heylin writes that “his state of mind may well have made
him susceptible to such an experience. Lacking a sense of
purpose in his personal life since the collapse of his mar-
riage, he came to believe that, when Jesus revealed Him-
self, He quite literally rescued him from an early grave.”
"[Dylan’s] conversion wasn't one of those things that
happens when an alcoholic goes to Alcoholics Anony-
mous,” David Mansfield, one of Dylan’s band members
and fellow-born-again Christian, would later say. “The
simplest explanation is that he had a very profound expe-
rience which answered certain lifelong issues for him.”
Hints of Dylan’s newfound faith began to appear pub-
licly. In the final four weeks of the tour, Dylan could be
seen wearing the same silver cross that catalyzed his con-
version. During performances of “Tangled Up in Blue,”
lyrics were replaced with explicit references to the Bible.
As Heylin writes, “Rather than having the mysterious
lady in the topless bar quoting an Italian poet from the
14th century [sic], she was quoting from the Bible, ini-
tially from the Gospel According to Matthew. Gradu-
ally, though, the lines changed, until he settled upon a
118 CHAPTER 2. STUDIO ALBUMS

verse from Jeremiah—the one he would quote on the in- [Dylan] now made its allegories come out in black and
ner sleeve of the Saved album: 'Behold, the days come, white.” In an interview taken in 1985, Dylan would say,
sayeth the Lord, that I will make a new covenant with the “What I learned in Bible school was just ... an exten-
house of Israel, and with the house of Judah' (Jeremiah sion of the same thing I believed in all along, but just
31:31).”[1] couldn't verbalize or articulate ... People who believe in
Dylan also began writing songs that would reflect his new the coming of the Messiah live their lives right now, as if
spirituality. During soundchecks on the final two weeks He was here. That’s my idea of it, anyway. I know people
of the tour, he worked on a new song called "Slow Train.” are going to say to themselves, 'What the fuck is this guy
talking about?' but it’s all there in black and white, the
At the final show in Hollywood, Florida, he would intro-
duce a new song to his audience: “Do Right to Me Baby written and unwritten word. I don't have to defend this.
The scriptures back me up.”[6]
(Do Unto Others).” According to Heylin, it “was the first
song he had ever written around a dictum from the Bible, Through his Bible classes, Dylan became acquainted with
indeed a saying directly attributed to Jesus himself: 'All “the works of Hal Lindsey, the man to whom God in his
things, therefore, that you want men to do to you, you infinite wisdom had revealed the true code of Revela-
also must likewise do to them; this, in fact, is what the tion,” writes Heylin. “Though no saint himself, Lindsey
Law and the Prophets mean' (Matthew 7:12).”[1] was closely associated with the Vineyard Church. His
Dylan wasn't alone in his religious awakening. Band book, The Late Great Planet Earth (1970), became Dy-
members Steven Soles and David Mansfield had already lan’s second Bible and added an apocalyptic edge to his
joined the Vineyard Fellowship, a Christian organization worldview ...
introduced to them by T-Bone Burnett. Helena Springs, “According to Lindsey, current world events had been
one of the singers in the band, was brought up Christian foretold in the apocalyptic tracts of the Bible,” Heylin
and still practiced her faith. Dylan was also romantically continued. “His basic premise, in The Late Great Planet
linked with Mary Alice Artes; raised as a Christian, she Earth, was that the events revealed to St. John in
had strayed from her faith only to return to it after joining Revelation corresponded with 20th century history, start-
the Vineyard Fellowship (without the influence of Bur- ing with the re-establishment of the Jews’ homeland,
nett, Soles, or Mansfield). Israel. By identifying Russia as Magog and Iran as Gog—
At one meeting with the Vineyard Fellowship, Artes ap- the confederation responsible for instigating the final con-
flict, the Battle of Armageddon—Lindsey prophesied an
proached pastor Kenn Gulliksen, seeking pastoral guid-
ance for Dylan. Pastors Larry Myers and Paul Emond imminent End.”
were sent to Dylan’s home where they ministered to him. In later shows, Dylan would reflect these beliefs on stage.
As Heylin writes, “by embracing the brand of Christian- At one show in the fall of 1979, Dylan said, “You know
ity advocated by the Vineyard Fellowship, Dylan was we're living in the end times ... The scriptures say, 'In the
about to become, in popular perception, just another last days, perilous times shall be at hand. Men shall be-
Bible-[thumping] fundamentalist. In fact, though the come lovers of their own selves. Blasphemous, heavy and
Fellowship certainly shared the 'born again' precepts of highminded.' ... Take a look at the Middle East. We're
more right-wing credos—believing such a change was heading for a war ... I told you 'The Times They Are A-
an awakening from original sin ('Adam given the Devil Changin' ' and they did. I said the answer was 'Blowin' in
reign/Because he sinned I got no choice')—it represented the Wind' and it was. I'm telling you now Jesus is coming
a more joyous baptism of faith.” As Mansfield would say, back, and He is! And there is no other way of salvation ...
“a big part of the fellowship of that church was music.” Jesus is coming back to set up His kingdom in Jerusalem
Under the guidance of the Vineyard Fellowship, Dylan for a thousand years.”
was asked to attend a course held at the Vineyard School As Heylin writes, "[Dylan’s] belief in the imminence of
of Discipleship, which would run four days a week over the End was reflected in almost all of the songs he now
the course of three months. “At first I said, 'There’s no found himself writing.” Dylan would later say in an inter-
way I can devote three months to this,'" Dylan would say view taken in 1984, “The songs that I wrote for the Slow
in a 1980 interview. "'I've got to be back on the road Train album [frightened me] ... I didn't plan to write them
soon.' But I was sleeping one day and I just sat up in ... I didn't like writing them. I didn't want to write them.”
bed at seven in the morning and I was compelled to get “Precious Angel,” “Gonna Change My Way of Think-
dressed and drive over to the Bible school.” ing,” “When You Gonna Wake Up?" and “When He Re-
Pastor Gulliksen would later say, “It was an intensive turns” all “drew heavily and directly upon the Book of
course studying about the life of Jesus; principles of dis- Revelation,” notes Heylin. “In the early months of 1979,
cipleship; the Sermon on the Mount; what it is to be a Dylan was writing his most message-driven album in six-
believer; how to grow; how to share ... but at the same teen years. This time, though, the pursuit of the millen-
time a good solid Bible-study overview type of ministry.” nium had overtaken more sociopolitical concerns.”
As Heylin writes, “A well-read man, for whom the Bible
had previously been little more than a literary source,
2.20. SAVED 119

2.19.8 References 2.20.4 Track listing

[1] Heylin, Clinton (2003). Bob Dylan: Behind the Shades All songs written by Bob Dylan, except where noted.
Revisited, pp. 491–502. HarperCollins. ISBN 0-06-
052569-X.
2.20.5 Personnel
[2] “Allmusic reviews”. Allmusic.com. 1979-08-20. Re-
trieved 2012-02-07. • Bob Dylan – guitar, harmonica, keyboards, vocals

[3] “CG: Bob Dylan”. Robert Christgau. Retrieved 2012-02-

07. Additional musicians

[4] “RollingStoneAlbumGuide’s music”. Rateyourmu- • Carolyn Dennis – vocals

sic.com. Retrieved 2012-02-07.
• Tim Drummond – bass guitar
[5] Jann S. Wenner (1979-09-20). “Slow Train Coming | Al-
bum Reviews”. Rolling Stone. Retrieved 2012-08-23. • Regina Havis – vocals

[6] “Microsoft Word - 3F1E9DA8-47C0-0830B8.doc” • Jim Keltner – drums

(PDF). Retrieved 2012-02-07.
• Clydie King – vocals

• Spooner Oldham – keyboards

2.20 Saved • Fred Tackett – Guitar

Saved is the twentieth studio album by American singer- • Monalisa Young – Vocals
songwriter Bob Dylan, released on June 23, 1980, by
Columbia Records. • Terry Young – Keyboards, Vocals

Technical personnel
2.20.1 Album information
• Barry Beckett – production
Saved was the second album of Dylan’s “Christian tril-
ogy”, following his conversion to born-again Christianity. • Gregg Hamm – engineering
It expanded on themes explored on its predecessor Slow
Train Coming, with gospel arrangements and lyrics ex- • Bobby Hata – mastering
tolling the importance of a strong personal faith. • Mary Beth McLemore – assistant engineering

• Arthur Rosato – photography

2.20.2 Reception
• Jerry Wexler – production
The album hit No. 3 on the UK charts, reached No. 24 • Paul Wexler – mastering supervision
on the US charts and did not go gold. CCM Magazine
described the album as an “open declaration of Dylan’s • Tony Wright – artwork
deepening faith.”[5]

2.20.6 Releases
2.20.3 Cover art
Originally released in 1980 on LP and Cassette, a reprint
The cover of Saved originally featured a painting by Tony was first done in 1985 and a CD version was first released
[6]
Wright of Jesus Christ's hand reaching down to touch the in 1990
hands of his believers. However, this cover was subse-
quently replaced by a painting of Dylan on stage per-
forming during that time period in order to downplay the 2.20.7 References
overtly religious nature of the original cover. It has since
been changed back on some re-releases. A quote inside [1] Erlewine, Stephen Thomas. Saved (album) at AllMusic
the sleevenotes reads: "'Behold, the days come, sayeth the [2] “Robert Christgau review”.
Lord, that I will make a new covenant with the house of
Israel, and with the house of Judah' (Jeremiah 31:31)".[5] [3] “Entertainment Weekly review”. EW.com.
120 CHAPTER 2. STUDIO ALBUMS

[4] Loder, Kurt (September 18, 1980). “Rolling Stone : Dylan embarked on a tour in November-December 1980,
Bob Dylan: Saved : Music Reviews”. web.archive.org. before returning to his songwriting. In March 1981, Dy-
Archived from the original on June 26, 2007. Retrieved lan held more informal sessions at both Rundown and Stu-
September 10, 2011. dio 55, rehearsing some of his new compositions while
[5] “Reviews / Bob Dylan Saved". CCM Magazine 3 (1): 27.
auditioning a potential producer, Jimmy Iovine. These
July 1980. sessions focused on the song “Caribbean Wind,” an am-
bitious work that had been performed live once during
[6] Saved at Discogs November. Already generating interest in the rock press,
“Caribbean Wind” was seen as a potential centerpiece
for his upcoming album, but it was not quite considered
2.20.8 External links finished. Numerous attempts at recording “Caribbean
Wind” during the Iovine sessions proved disappointing,
• Official lyrics from BobDylan.com with Dylan growing increasingly pessimistic about the
song’s prospects. Another new composition, "Angelina"
was recorded with much greater success, and Dylan was
2.21 Shot of Love satisfied enough to mark it for inclusion.
In the meantime, Dylan concluded that another producer
For the Lakeside album, see Shot of Love (Lakeside was needed, but after relieving Iovine of his duties, Dy-
album). lan struggled to find an appropriate producer, as well as an
appropriate studio. Various sessions were booked across
Shot of Love is the twenty-first studio album by Ameri- Los Angeles, including sessions at Cream Studios and
can singer-songwriter Bob Dylan, released on August 10, United Western Studios. None of these places provided
1981 by Columbia Records. It is considered to be Dylan’s the sound Dylan had in mind but had difficulty creating.
last of a trilogy of Christian albums. Arrangements are The sessions did provide an opportunity to rehearse new
rooted more in rock'n'roll, and less in gospel than Dylan’s compositions, including “In the Summertime,” as well as
previous album. experiment with new ideas.
Dylan resigned himself to Rundown, where he and his
At the time of its release, Shot of Love received mixed re-
views; Paul Nelson of Rolling Stone criticised the album, band worked through his songs over a period of several
though he did single out the last track “Every Grain of weeks. Sometime in late April, veteran producer Bumps
Sand,” as a stand-out. Shot of Love, while reaching UK Blackwell stopped by to see Dylan. Blackwell was best
#6, continued Dylan’s US commercial decline, reaching known for producing Little Richard's most celebrated
#33 during a brief chart stay. Bono of Irish band U2 de- recordings, and though the purpose of his visit remains
unclear, Blackwell ultimately produced that day’s session,
scribed Shot of Love as one of his favourites, particularly
due to Dylan’s singing ability.[5] supervising recordings of “Trouble”, “Magic”, and “Shot
of Love” that were later selected for the album. The expe-
rience gave Dylan an enormous amount of satisfaction, as
2.21.1 Recording sessions he would later reveal in subsequent interviews, but Black-
well did not return for further work, possibly because of
Throughout 1980, Dylan was still focused on religious- health issues.
oriented music in what was dubbed as his 'Born Again' Chuck Plotkin, who had experience working with Bruce
period. This period was marked by prolific songwrit- Springsteen, was eventually hired by Dylan on the sug-
ing, and it continued through the summer, when Dylan gestion of a friend, Debbie Gold. Five sessions were
began work on his follow-up album to Saved. “Prop- scheduled for Plotkin’s Clover Studio, beginning on April
erty of Jesus,” “Yonder Comes Sin,” and new arrange- 27 and ending on May 1, and work proceeded on songs
ments of older material like “Ain't Gonna Go to Hell like “Property of Jesus”, “Watered-Down Love”, “Heart
(For Anybody)" were composed during this time, as were of Mine”, “Lenny Bruce”, “Dead Man, Dead Man”, “In
“Caribbean Wind” and “The Groom’s Still Waiting at the the Summertime”, and “Every Grain of Sand”, all of
Altar”, which “contrast[ed] his troubled sexual relations which received usable takes that were marked for the al-
with the demands of a higher calling,” according to Dylan bum. An extensively rewritten and rearranged version of
biographer Clinton Heylin. “Caribbean Wind” was also recorded at Clover, but once
Then, sometime in mid-September, Dylan reassembled again, Dylan was disappointed with the results; it was ul-
his standing band at Rundown Studios in Santa Mon- timately set aside for an indefinite amount of time.
ica, California, where they recorded a number of his new On May 12, Dylan and Plotkin sequenced a preliminary
songs, including “Every Grain of Sand”. A rough record- version of Shot of Love, but after listening to it the fol-
ing of “Every Grain of Sand” dating from this period was lowing day, Dylan decided to remove “Angelina” and
eventually released on The Bootleg Series Volumes 1–3 “Magic” from the final sequence. The remaining nine
(Rare & Unreleased) 1961–1991.
2.21. SHOT OF LOVE
songs were retained, but Dylan decided to re-record sev-
eral of those songs. Three re-recordings were eventu-
ally used for the final sequence: “Trouble”, “Dead Man,
Dead Man”, and “Heart of Mine”, all of which were taped
two to three days after the preliminary sequence was ap-
proved.
The mixing process proved rather tense as Plotkin and
Dylan had conflicting ideas on how to mix the songs.
Plotkin made numerous prototype mixes, delivering each
one on cassette dub over to Dylan at Rundown Studios.
Most, if not all of them, were rejected. “Chuck [wanted]
to get a nice mix at the end of each song,” recalls Jim Kelt-
ner, “and Bob wouldn't have any of the nice mixes. Most
everything you hear on that Shot of Love album turns out
to be the monitor mixes.” Plotkin spent another month
mixing and overdubbing over the nine songs selected for
Shot of Love. Mixing was finally completed on June 7,
with overdubbing continuing through June 16.
2.21.2 Songs
Unlike Dylan’s previous studio album (Saved), Shot of
Love included more secular material as well as overtly
religious and evangelistic songs.
The opening title track of Shot of Love makes a few spir-
itual references while railing against substance abuse.
“The purpose of music is to elevate and inspire the spirit,”
Dylan said in a 1983 interview with NME. “To those who
care where Bob Dylan is at, they should listen to “Shot
of Love”. It’s my most perfect song. It defines where I
am spiritually, musically, romantically and whatever else.
It shows where my sympathies lie. It’s all there in that
one song.” Produced by Bumps Blackwell, it’s the only
Blackwell production featured on Shot of Love.
The second track on Shot of Love fits, again, somewhere
between in secular and religious territory. A slight but
jaunty, Tex-Mex number, “Heart of Mine” is a love song,
Dylan’s first in several years, but it is founded on Jeremiah
17:9, “The heart is deceitful above all things, and desper-
ately wicked: who can know it?" Instead of singing to a
person of interest, the narrator addresses his own “heart”,
trying to tame his own impulses and emotions in fear of
getting hurt.
An earlier performance was already selected for use when
Dylan decided to re-record “Heart of Mine” with Ronnie
Wood and Ringo Starr. In an interview taken in 1984,
Dylan admitted that “Heart of Mine” was “done a bunch
of different ways ... but I chose for some reason a par-
ticularly funky version of that—and it’s really scattered.
It’s not as good as some of the other versions, but I chose
it because Ringo and Ronnie Wood played on it, and we
did it in like ten minutes.” A live version from August
1981 is included on the Biograph compilation. The orig-
inal version of “Heart of Mine” remains available only on
bootlegs.
121
Continuing the evangelism of Slow Train Coming and
Saved, the satirical “Property of Jesus” is another one of
Dylan’s sharp put-down songs, this time aimed at non-
believers who sneer at the Christian faithful.
The fourth track, "Lenny Bruce", is about the subversive
Jewish comedian of that name. An influential entertainer
whose use of provocative language led to a famous ob-
scenity trial, Bruce died of a drug overdose in 1966. De-
spite the secular tone of the lyrics, the music is “anchored
in the resolute cadences of piano gospel,” according to
music critic Tim Riley. Often regarded as a bizarre trib-
ute, the song portrays Bruce as some kind of martyr, even
though its characterizations of Bruce have been described
as peculiar and almost non-descript. When Dave Herman
asked why, after so many years, Dylan chose to write a
song about Lenny Bruce (July 2, 1981 interview), he an-
swered, “You know, I have no idea! I wrote that song in
five minutes! I found it was a little strange after he died,
that people made such a hero out of him. When he was
alive he couldn't even get a break. And certainly now,
comedy is rank, dirty and vulgar and very unfunny and
stupid, wishy-washy and the whole thing. ... But he was
doing this same sort of thing many years ago and maybe
some people aren't realizing that there was Lenny Bruce,
who did this before and that is what happened to him. So
these people can *do* what they're doing now. I don't
know.”
The first verse might, in fact, be seen to offer a subtle cut
to Bruce’s imitators for whom the use of profanity is a
cheap “shock” gimmick, while for Bruce it was a strike
for free speech: “He was an outlaw, that’s for sure/More
of an outlaw than you ever were.”
When Shot of Love was reissued for Compact Disc, “The
Groom’s Still Waiting at the Altar” was added into the
album sequence. Recorded during the Shot of Love ses-
sions, it was originally issued as a B-side to the 45rpm
release of “Heart of Mine”. Throughout the song, Dylan
sings of a theological schism that ultimately separates the
narrator and a woman, whom he addresses as 'Claudette.'
The term 'groom' is used or implied in the Bible and in
Christian theology. In this context, Jesus Christ is the
Bridegroom to the Church, the Bride of Christ. Widely
praised and heavily played on progressive radio, Riley
called it “a generous return to slow-burning defiance that
restores not only the lust to Dylan’s heart, but the power
to his voice.” Together with “Caribbean Wind” (an out-
take discussed below), “The Groom’s Still Waiting at the
Altar” marked a dramatic change in lyrical direction, one
Dylan would continue to follow in his next album, Infidels.
“Watered-Down Love” is Dylan’s version of 1
Corinthian’s 13, describing “love that’s pure”, and
lamenting that pure love is not what many people want.
The reggae-tinged “Dead Man, Dead Man” is another
evangelical song. As Greil Marcus writes in Salon.com,
it “is a textbook warning against the devil, if you listen
as if you're reading; if you hear it, it’s a poker game, and
122 CHAPTER 2. STUDIO ALBUMS

the singer’s winning.” But, actually, the song’s theme is January 20, 1988, he would also cite “Every Grain Of
Romans 7:24 “O wretched man that I am! who shall de- Sand” as an example of his best work.
liver me from the body of this death?", and “dead man”
that Dylan is addressing is himself, admitting his moral
fallibility and mocking his own appearance “Satan’s got
you by the heel/There’s a bird’s nest in your hair.”
A song based in wistful retrospection, “In the Summer- 2.21.3 Aftermath
time” is perhaps the most relaxed, upbeat song on the
entire album. Paul Nelson of Rolling Stone opined that A number of critics had already turned on Dylan for the
“In the Summertime” has “a lovely feel to it, and Dy- evangelism of his last two albums, but the reception for
lan’s harmonica playing hangs in the air like the scent of Shot of Love was particularly harsh. Despite lavishing
mimosa.” praise on “Every Grain Of Sand,” Paul Nelson of Rolling
“Trouble” is the quintessential blues song about how Stone savaged the rest of the album. Nick Kent of New
tribulation is intrinsic to human existence. Musical Express called it “Dylan’s worst album to date.”
Despite heavy touring in Europe and North America (in
In recent years, some critics have grown to appreciate which all but two songs were performed), sales of Shot of
Shot of Love while others continue to disparage it. If Love were below CBS’s expectations. Still, in an inter-
there is any critical consensus, it’s to be found on the clos- view taken in 1983, Dylan would describe Shot of Love
ing track. Marked by an ethereal quality that is not found as a personal favorite.
elsewhere on Shot of Love, “Every Grain of Sand” is one
Dylan’s most celebrated recordings. In this song, Dy- Religion still held a strong place in Dylan’s work, but as
lan puzzles over the dilemma of whether his disappoint- 1981 came to a close, his religious songs gave way to more
ments, temptations, failings, and triumphs were due to his secular material. During concerts in the summer of 1981,
actions alone or ordained by God’s delivering hand (“I've he covered Dave Mason's "We Just Disagree" and Dion's
gone from rags to riches in the sorrows of the night/In "Abraham, Martin & John". Some fans took the latter
the violence of a summer’s dream/In the chill of a win- as a veiled ode to John Lennon, who was shot and killed
ter light” and “I hear the ancient footsteps like the motionthe preceding winter, but in fact most of Dylan’s perfor-
of the sea/Sometimes I turn and there’s someone there, mances of this song had been in the month immediately
sometimes it’s only me”). preceding Lennon’s death, as a staple in the November–
December 1980 US tour. Clinton Heylin notes, “Dylan
It’s “perhaps his most sublime work to date,” writes Clin- was audibly coming to the end of this particular road.”
ton Heylin, “the summation of a number of attempts to
express what the promise of redemption meant to him The year 1982 began with personal tragedy when Dylan’s
personally. One of his most intensely personal songs, it close and longtime friend Howard Alk was found dead
also remains one of his most universal. Detailing 'the at Rundown Studios on New Year’s Day. His death was
time of my confession/the hour of my deepest need,' the ruled a suicide. As Heylin reports, “recent months had
song marks the conclusion of his evangelical period as seen the deaths of guitarist Michael Bloomfield and fellow
a songwriter, something its position at the conclusion of Christian musician Keith Green", all of whom worked
Shot of Love tacitly acknowledges.” Paul Nelson called it with Dylan, but Alk’s death marked the end of an era. Dy-
“the 'Chimes of Freedom' and 'Mr. Tambourine Man' lan would soon dissolve his standing band, and he would
of Bob Dylan’s Christian period ... it has surety and not tour again until 1984. Sometime after June 1982,
strength all down the line. Also vulnerability ... Dylan’s Dylan closed down Rundown Studios.
beautifully idiosyncratic harmonica playing has metamor- Shot of Love was the last album issued under a con-
phosed into an archetype that pierces the heart and moist- tract signed with CBS in 1978, but despite the decline in
ens the eye. And, for once, the lyrics don't let you down. his commercial standing, Dylan was re-signed to another
The artist’s Christianity is both palpable and comprehen- contract (a five-year, five-album deal) in July 1982.
sible ... For a moment or two, he touches you, and the
Much of 1982 was relatively quiet in terms of musical
gates of heaven dissolve into a universality that has noth-
activity. An album of duets was recorded with his lover
ing to do with most of the LP.”
Clydie King at Gold Star Studios, but it would remain
Tim Riley described “Every Grain of Sand” as “a prayer unreleased. At the time Dylan explained, “it doesn't fall
that inhabits the same intuitive zone as "Blowin' in the into any category that [CBS] knows how to deal with.”
Wind" - you'd swear it was a hymn passed down through
However, the stage was set for his next album. Unlike his
the ages.” Rock critic Milo Miles wrote, “This is the one
work on Shot of Love, his next batch of songs would not be
Dylan song in ten years ... in which he examines a pop-
auditioned on stage. As Dylan completed his new songs in
culture paradox (that legendary stars in particular have to
private, much time would be spent in Minneapolis catch-
believe in ideals greater than themselves) more eloquently
ing up with his eldest, 16-year-old son, Jesse; this in-
than any other performer has.” When Bruce Springsteen
volved frequenting performances of new wave and punk
inducted Dylan into the Rock 'n' Roll Hall of Fame on
acts like The Clash, Elvis Costello, Squeeze, and X.
2.22. INFIDELS
2.21.4 Track listing
All songs written by Bob Dylan.
2.21.5 Personnel
• Bob Dylan – guitar, harmonica, percussion, piano,
keyboards, vocals, production
Additional musicians
• Carolyn Dennis – vocals, background vocals
• Steve Douglas – saxophone
• Tim Drummond – bass guitar
• Donald “Duck” Dunn – bass guitar
• Jim Keltner – drums
• Clydie King – vocals, background vocals
• Danny “Kootch” Kortchmar – guitar, electric guitar
• Regina McCrory – vocals, background vocals
• Carl Pickhardt – piano
• Madelyn Quebec – vocals, background vocals
• Steve Ripley – guitar
• William D. “Smitty” Smith – organ
• Ringo Starr – drums, tom-tom
• Fred Tackett – guitar
• Benmont Tench – keyboards
• Ronnie Wood – guitar
• Monalisa Young – vocals
Technical personnel
• Vic Anesini – Compact Disc mastering
• Dana Bisbee – assistant engineering
• Bumps Blackwell – production
• Ken Perry – original LP mastering
• Chuck Plotkin – production
• Toby Scott – engineering
123
2.21.6 References
[1] Erlewine, Stephen Thomas. Shot of Love at AllMusic
[2] Christgau, Robert. “Robert Christgau: CG: Bob Dylan”.
robertchristgau.com. Retrieved 11 September 2011.
[3] Entertainment Weekly review
[4] Nelson, Paul (1981-10-15). “Bob Dylan: Shot Of Love
: Music Reviews : Rolling Stone”. web.archive.org.
Archived from the original on 2007-10-01. Retrieved 11
September 2011.
[5] “100 Greatest Singers: Bob Dylan”. Rolling Stone. 1941-
05-24. Retrieved 2012-03-09.
2.22 Infidels
For other uses, see Infidel (disambiguation).
Infidel (literally “unfaithful”) is a pejorative term used in
certain religions for those who do not believe the central
tenets of one’s own religion, are members of another re-
ligion, or are not religious.[1][2]
Infidel is an ecclesiastical term in Christianity around
which the Church developed a body of theology that deals
with the concept of infidelity, which makes a clear differ-
entiation between those who were baptized and followed
the teachings of the Church versus those who are outside
the faith.[3] The term infidel was used by Christians to
describe those perceived as the enemies of Christianity.
After the ancient world the concept of otherness, an ex-
clusionary notion of the outside by societies with more
or less coherent cultural boundaries, became associated
with the development of the monotheistic and prophetic
religions of Judaism, Christianity and Islam.[3]
In modern era literature, the term infidel includes in its
scope atheists,[4][5][6] polytheists,[7] animists,[8] heathen
and pagan.[9] Infidel as a concept is sometimes contrasted
with the concept of religious pluralism.[10]
2.22.1 Etymology
The origins of the word Infidel date to the late 15th cen-
tury, deriving from the French infidèle or Latin īnfidēlis,
from in- “not” + fidēlis “faithful” (from fidēs “faith”, re-
lated to fīdere 'to trust'). The word originally denoted
a person of a religion other than one’s own, specifically
a Christian to a Muslim, a Muslim to a Christian, or a
Gentile to a Jew.[2] Later meanings in the 15th century
include “unbelieving”, “a non-Christian” and “one who
does not believe in religion” (1527).
2.22.2 Usage
124 CHAPTER 2. STUDIO ALBUMS

Christian term kafir refers to anyone who satisfies one or more

of the following conditions - practices idolatry of any
Christians have historically referred to people outside form, does not accept the absolute oneness of God, de-
their religious group as infidels, somebody who has ac- nies Muhammed as Prophet, ignores God’s ayah (evi-
tively rejected the Christian religion. It only became a dence or signs), or rejects belief in resurrection and final
well established notion in English sometime in the early judgment.[22][23][24] Jews were condemned as infidels for
sixteenth century, when Jews or "Mohammedans", were their disbelief in God’s ayah, Christians were condemned
described as active opponents to Christianity, and as as infidels for their belief in the Trinity, which the Qur'an
such infidel was seen as term of contempt. In Catholic declared as a form of polytheism.[22][23][24][25] Texts of
doctrine, an infidel is one who does not believe in the doc- Sunni sect of Islam, the majority, include other sects of
trine at all and is thus distinct from a heretic, who is one Islam such as Shia as infidel.[17][26] Certain sects of Is-
seen as having fallen astray from true doctrine, i.e. by lam, such as Wahhabism, include as kafir those Muslims
denying the divinity of Jesus. Similarly, the ecclesiasti- who undertake Sufi shrine pilgrimage and follow Shia
cal term was also used by the Methodist Church,[11][12] in teachings about Imams.[27][28][29] Similarly, in Africa
reference to those “without faith”.[13] and South Asia, certain sects of Islam such as Hausas,
Today, the usage of the term infidel has declined;[14] the Ahmadi, Akhbaris have been repeatedly declared as Ku-
current preference is for the terms non-Christians and fir or infidels by other sects of Muslims.[30][31][32]
non-believers (persons without religious affiliations or be-The usage of kafir, and related words with root k-f-r for
liefs), reflecting the commitment of mainstream Christian infidel and unbelievers is very common in the Qur'an
denominations to engage in dialog with persons of other and Hadith.[24] Under Islam, an infidel (kafir) is con-
faiths.[15] Nevertheless, some apologists have argued for sidered unclean and ritually impure (najasat).[33] Many
the usage of the term, stating that it does not come from a
scholars claim Islam’s original sources (Qur'an and Ha-
disrespectful perspective, but is similar to using the term
dith) and derived sources (Ijma, Qiyas and Qitabs) speak
orthodox for devout believers.[16] of violence against infidel unbelievers living in Dar al-
Moreover, some translations of the Bible, such as the Harb - countries [34] targeted for war because they refused to
Authorized Version, which is still in vogue today, em- submit to Islam, as a matter of religious duty of the
ploy the word infidel, while others supplant the term with Muslim community (fard ala'l kifāya).[33] Other schol-
[35][36]
nonbeliever; the term is found in two places: ars disagree. Yet other scholars refer to the histor-
ical sequence of the verses, suggesting verses from early
Meccan period recommend waiting and living apart from
And what concord hath Christ with Belial? unbelievers. Later recited verses, such as Surah 2:191
Or what part hath he that believeth with an discuss violence against k-f-r, widely translated as infidel
infidel? —2 Corinthians 6:15 KJV and unbelievers.[22][33]

Fight in the cause of Allah those who fight

But if any provide not for his own, and you, but do not transgress limits; for Allah
specially for those of his own house, he hath loveth not transgressors.
denied the faith, and is worse than an infidel. And kill them wherever you find them, and
—1 Timothy 5:8 KJV drive them out from whence they drove you
out, and persecution is severer than slaugh-
ter, and do not fight with them at the Sacred
Islamic Mosque until they fight with you in it, but if
they do fight you, then slay them; such is the
Infidel is an English language word commonly used to recompense of the unbelievers.
translate the equivalent Arabic language word for non- —Qur'an, [Quran 2:191]
Muslims; kafir (sometimes “kaafir”, “kufr” or “kuffar”),
and the equivalent Turkish loanword gâvur, literally the
one who “covers” and “conceals”, is usually translated as The sunnah in various hadiths, which record the teachings
“infidel” and “disbeliever”.[17][18][19] Other terms some- and actions of Muhammad, similarly describe violence
times synonymously used in Islamic literature for infidel against infidels. For example:
are shirk, mushirk, and mushrikun.[20][21]
In the earliest recited verses of the Qur'an, such as Al- Narrated 'Abdullah: The Prophet recited
Kafirun, the term kafir simply divided the Meccan com- Surat-an-Najm and then prostrated himself,
munity into believers and unbelievers. In later recited and all who were with him prostrated too. But
verses, particularly those recited after the Hijra in 622 an old man took a handful of dust and touched
AD, the concept of infidel - kafir - was expanded upon, his forehead with it saying, “This is sufficient
with Jews and Christians included.[22] The expanded for me.” Later on I saw him being killed as an
2.22. INFIDELS 125

infidel. they worship someone other than Allah.”[44][45] Sheikh

—Sahih al-Bukhari, 5:59:311 Ahmad Kutty, and other scholars, consider annual reli-
gious holidays celebrated by Christians such as Christmas
as a celebration of the belief in the “Son of God” which
When the Messenger of Allah appointed in Islam is blasphemy and kafir.[46][47][48]
anyone as leader of an army or detachment he Kafir, like the term infidel, has also come to be regarded
would especially exhort him to fear Allah and as offensive.[49]
to be good to the Muslims who were with him.
He would say: Fight in the name of Allah and
in the way of Allah. Fight against those who Jewish
disbelieve in Allah. Make a holy war, do not
embezzle the spoils [of war, booty[37] ]; do not Judaism has a notion of pagan gentiles who are called
break your pledge; and do not mutilate the acum (an acronym of Ovdei Cohavim u-Mazzaloth or,
dead bodies; do not kill the children. When literally, those who are “star-and-constellation worship-
you meet your enemies who are polytheists, pers”) or idolaters. The Hebrew term, kofer, cognate with
invite them to three courses of action. If the Arabic kafir, is reserved for apostate Jews.[3]
they respond to any one of these, you also
accept it and withhold yourself from doing
them any harm. Invite them to accept Islam; 2.22.3 Infidels under Canon Law
if they respond to you, accept it from them
and desist from fighting against them. Then Right to rule
invite them to migrate from their lands to the
land of Muhairs and inform them that, if they In Quid super his, Innocent IV, asked the question "[I]s
do so, they shall have all the privileges and it licit to invade a land that infidels possess or which be-
obligations of the Muhajirs. If they refuse to longs to them?" and held that while Infidels had a right to
migrate, tell them that they will have the status dominium (right to rule themselves and choose their own
of Bedouin Muslims and will be subjected to governments), however the pope, as the Vicar of Christ,
the Commands of Allah like other Muslims, de jure possessed the care of their souls and had the right
but they will not get any share from the spoils to politically intervene in their affairs if their ruler vio-
of war or Fai' except when they actually fight lated or allowed his subjects to violate a Christian and
with the Muslims against other disbelievers. Euro-centric normative conception of Natural law, such
If they refuse to accept Islam, demand from as sexual perversion or idolatry.[50] He also held that he
them the Jizya. If they agree to pay, accept it had an obligation to send missionaries to infidel lands, and
from them and hold off your hands. If they that if they were prevented from entering or preaching,
refuse to pay the tax, seek Allah’s help and then the pope was justified in dispatching Christian forces
fight them. accompanied with missionaries to invade those lands, as
—Sahih Muslim, 19:4294 Innocent stated simply “If the infidels do not obey, they
ought to be compelled by the secular arm and war may
be declared upon them by the pope, and nobody else.”[51]
The term infidel, kafir in Islam, is broad. One group is This was however not a reciprocal right and non-Christian
the so-called murtadd, who are variously translated as missionaries such as those of Muslims could not be al-
apostate or renegades. For renegades, Islamic law pre- lowed to preach in Europe “because they are in error and
scribes death, with the opportunity first of obeying the we are on a righteous path.”[50]
demand to return to Islam. The other group, the so-called A long line of Papal hierocratic canonists, most notably
kafirun asliyun, or unbelievers proper, have only to expect those who adhered to Alanus Anglicus’s influential ar-
death or slavery.[33][38] guments of the Crusading-era, denied Infidel dominium,
Some scholars claim Islam considers Jews and Chris- and asserted Rome's universal jurisdictional authority
tians as fellow believers. They are called the "People over the earth, and the right to authorize pagan conquests
of the Book (Ahl al-kitab)".[39][40] Other Islamic scholars solely on the basis of non-belief because of their rejec-
and literature, however, consider Jews and Christians as tion of the Christian god.[52] In the extreme hierocractic
kafir.[41] Muhammad ibn Abd al-Wahhab, for example, canonical discourse of the mid-twelfth century such as
claims, “it is well known among the Muslims, and they that espoused by Bernard of Clairvaux, the mystic leader
are unanimously agreed that the Christians are kaafirs, of the Cisertcians, legitimized German colonial expan-
and even that those who do not regard them as kaafirs sion and practice of forceful Christianisation in the Slavic
are also kaafirs.”[42][43] Similarly, Abdul Aziz bin Abdul- territories as a holy war against the Wends, arguing that
lah bin Baz suggests, “The Jews and Christians are both infidels should be killed wherever they posed a menace
kafirs and mushrikeen. They are kafirs because they deny to Christians.[53] When Frederick the II unilaterally arro-
the truth and reject it. And they are mushrikeen because gated papal authority, he took on the mantle to “destroy
126
convert, and subjugate all barbarian nations.” A power in
papal doctrine reserved for the pope. Hostiensis, a stu-
dent of Innocent, in accord with Alanus, also asserted
"... by law infidels should be subject to the faithful.” and
the heretical quasi-Donatist John Wyclif, regarded as the
forefather of English Reformation, also held that valid do-
minium rested on a state of grace.[53]
The Teutonic Knights were one of the by-products of
this papal hierocratic and German discourse. After the
Crusades in the Levant, they moved to crusading activ-
ities in the infidel Baltics.[54] Their crusades against the
Lithuanians and Poles however precipitated the Lithua-
nian Controversy, and the Council of Constance, follow-
ing the condemnation of Wyclif, found Hostiensis’s views
no longer acceptable and ruled against the knights. Future
Church doctrine was then firmly aligned with Innocents
IV’s position.[54]
The development of counter arguments later on the va-
lidity of Papal authority, the rights of infidels and the
primacy of natural law, led to various treatises such as
those by Hugo Grotius, John Locke, Immanuel Kant and
Thomas Hobbes, which in turn led to the transformation
of international law's treatment of the relationship be-
tween Christian and non-Christian societies and the de-
velopment of human rights.
Colonization of the Americas During the Age of dis-
covery, the Papal Bulls such as Romanus Pontifex and
more importantly inter caetera (1493), implicitly re-
moved dominium from infidels and granted them to the
Spanish Empire and Portugal with the charter of guaran-
teeing the safety of missionaries.[55] Subsequent English
and French rejections of the bull refuted the Popes au-
thority to exclude other Christian princes. As indepen-
dent authorities such as the Head of the Church of Eng-
land, they drew up charters for their own colonial missions
based on the temporal right for care of infidel souls in lan-
guage echoing the inter caetera.[55] The charters and pa-
pal bulls would form the legal basis of future negotiations
and consideration of claims as title deeds in the emerg-
ing Law of nations in the European colonization of the
Americas.[55]
The rights bestowed by Romanus Pontifex and inter
caetera have never fallen from use, serving as the basis
for legal arguments over the centuries. The U.S. Supreme
Court ruled in the 1823 case Johnson v. M'Intosh that
as a result of European discovery and assumption of ul-
timate dominion, Native Americans had only a right to
occupancy of native lands, not the right of title. This
decision was upheld in the 1831 case Cherokee Nation
v. Georgia, giving Georgia authority to extend state laws
over Cherokees within the state, and famously describ-
ing Native American tribes as “domestic dependent na-
tions.” This decision was modified in Worcester v. Geor-
gia, which stated that the U.S. federal government, and
not individual states, had authority in Indian affairs, but
CHAPTER 2. STUDIO ALBUMS
it maintained the loss of right to title upon discovery by
Europeans.
Native American groups including the Taíno and
Onondaga have called on the Vatican to revoke the bulls
of 1452, 1453, and 1493.
Marriage
According to the Catholic Encyclopedia, the Church
views Marriage as forbidden and null when conducted
between the faithful (Christians) and infidels, unless a
dispensation has been granted.[56] This is because mar-
riage is a sacrament of the Catholic Church, which infi-
dels are deemed incapable of receiving.[56]
2.22.4 As a philosophical tradition
Some philosophers such as Thomas Paine, David Hume,
George Holyoake, Charles Bradlaugh, Voltaire and
Rousseau earned the label of infidel or freethinkers, both
personally and for their respective traditions of thought
because of their attacks on religion and opposition to the
Church. They established and participated in a distinctly
labeled, infidel movement or tradition of thought, that
sought to reform their societies which were steeped in
Christian thought, practice, laws and culture. The Infidel
tradition was distinct from parallel anti-Christian, sceptic
or deist movements, in that it was anti-theistic and also
synonymous with atheism. These traditions also sought to
set up various independent model communities, as well as
societies, whose traditions then gave rise to various other
socio-political movements such as secularism in 1851, as
well as developing close philosophical ties to some con-
temporary political movements such as socialism and the
French Revolution.[57]
Towards the early twentieth century, these movements
sought to move away from the tag “infidel” because of its
associate negative connotation in Christian thought, and
is attributed to George Holyoake’s coining the term 'sec-
ularism' in an attempt to bridge the gap with other theist
and Christian liberal reform movements.[57]
In 1793, Immanuel Kant’s Religion within the Bound-
aries of Mere Reason, reflected the Enlightenment pe-
riods’ philosophical development, one which differen-
tiated between the moral and rational and substituted
rational/irrational for the original true believer/infidel
distinction.[3]
2.22.5 Implications upon medieval civil
law
Laws passed by the Catholic Church governed not just
the laws between Christians and Infidels in matters of re-
ligious affairs, but also civil affairs. They were prohibited
from participating or aiding in infidel religious rites, such
2.22. INFIDELS
as circumcisions or wearing images of non-Christian re-
ligious significance.[56]
In the Early Middle Ages, based on the idea of the superi-
ority of Christians to infidels, regulations came into place
such as those forbidding Jews from possessing Christian
slaves; the laws of the decretals further forbade Christians
from entering the service of Jews, for Christian women
to act as their nurses or midwives; forbidding Christians
from employing Jewish physicians when ill; restricting
Jews to definite quarters of the towns into which they
were admitted and to wear a dress by which they might
be recognized.[56]
Later during the Victorian era, testimony of either self
declared, or those accused of being Infidels or Atheists,
was not accepted in a court of law because it was felt that
they had no moral imperative to not lie under oath be-
cause they did not believe in God, or Heaven and Hell.[57]
These rules have now given way to modern legislation and
Catholics, in civil life, are no longer governed by ecclesi-
astical law.[56]
2.22.6 See also
• Agnosticism
• Antitheism
• Apostasy
• Atheism
• Blasphemy
• Deism
• Freethought
2.22.7 Notes
[1] See:
• James Ginther (2009), The Westminster Handbook
to Medieval Theology, Westminster, ISBN 978-
0664223977, Quote = “Infidel literally means un-
faithful";
• “Infidel”, The American Heritage Dictionary of the
English Language, Fourth Edition, Houghton Mif-
flin Company. “An unbeliever with respect to a par-
ticular religion, especially Christianity or Islam";
• Infidel, Oxford Dictionaries, US (2011); Quote =
“A person who does not believe in religion or who
adheres to a religion other than one’s own”
[2] ""infidel.” The Oxford Pocket Dictionary of Current En-
glish. 2009.". Oxford University Press. Retrieved 2010-
06-20. Quote="a person who does not believe in religion
or who adheres to a religion other than one’s own.”
127
[3] ""Infidels.” International Encyclopedia of the Social Sci-
ences. 2008". MacMillan Library Reference. Retrieved
2010-06-20.
[4] The Works of Thomas Jackson, Volume IV. Oxford Uni-
versity Press. Retrieved 2011-04-08. Atheism and irreli-
gion are diseases so much more dangerous than infidelity
or idolatry, as infidelity than heresy. Every heretic is in
part an infidel, but every infidel is not in whole or part an
heretic; every atheist is an infidel, so is not every infidel
an atheist.
[5] The Bengal Annual. Samuel Smith and Co. Retrieved
2011-04-08. Kafir means an infidel, but more properly an
atheist.
[6] Catechism of the Catholic Church. Burns & Oates. Re-
trieved 2011-04-08. 2123 'Many... of our contemporaries
either do not at all perceive, or explicitly reject, this inti-
mate and vital bond of man to God. Atheism must there-
fore be regarded as one of the most serious problems of
our time.' 2125 Since it rejects or deniest the existence of
God, atheism is a sin against the virtue of religion.
[7] See:
• Ken Ward (2008), in Expressing Islam: Religious
Life and Politics in Indonesia, Editors: Greg Fealy,
Sally White, ISBN 978-9812308511, Chapter 12;
• Alexander Ignatenko, Words and Deeds, Russia in
Global Affairs, Vol. 7, No. 2, APRIL – JUNE
2009, pp. 145
[8] Whitlark & Aycock (Editors) (1992), The literature of
emigration and exile, Texas Tech University Press, ISBN
978-0896722637, pp 3-28
[9] See:
• Tibi, Bassam (2007). Political Islam, World Poli-
tics and Europe. Taylor & Francis. p. 47. ISBN
0415437806.
• Mignolo W. (2000), The many faces of cosmopo-
lis: Border thinking and critical cosmopolitanism.
Public Culture, 12(3), pp. 721-748
[10] See:
• Cole & Hammond (1974), Religious pluralism, le-
gal development, and societal complexity: rudi-
mentary forms of civil religion, Journal for the Sci-
entific Study of Religion, Vol. 13, No. 2, pp. 177-
189;
• Sullivan K. M. (1992), Religion and liberal democ-
racy, The University of Chicago Law Review, Vol.
59, No. 1, pp. 195-223.
[11] The Wesleyan-Methodist magazine: A Dialogue between
a Believer and an Infidel. Oxford University. Retrieved
2007-03-25.
[12] The Methodist review, Volume 89. Phillips & Hunt. Re-
trieved 2007-03-25. Is it conceivable that a Spirit which
is invisible, and imponderable, and impalpable, and yet
which is the seat of physical and moral powers, really oc-
cupies the universe? The infidel scoffs at the idea. We ob-
serve, however, that this same infidel implicitly believes
128
in the existence of an all-pervading luminiferous ether,
which is invisible, and imponderable, and impalpable, and
yet is said to be more compact and more elastic than any
material substance we can see and handle.
[13] The Primitive Methodist magazine. William Lister. Re-
trieved 2007-03-25. It is sometimes translated infidels,
because an infidel is without faith; but is also properly ren-
dered unbelievers in the strict Gospel sense of the word.
[14] Infidels. Random House. Retrieved 2007-03-25. Like-
wise, “infidel,” which had still been in use in the early
nineteenth century, fell out of favor with hymn writers.
[15] Russell B. Shaw, Peter M. J. Stravinskas, Our Sunday Vis-
itor’s Catholic Encyclopedia, Our Sunday Visitor Publish-
ing, 1998, ISBN 0-87973-669-0 p. 535.
[16] Infidel Testimony. J.E. Dixon. Retrieved 2007-03-25.
When we use the word infidel, we intend nothing disre-
spectful, any more than we do when we use the word or-
thodox.
[17] Hafizullah Emadi (2004), Journal of Peace Research, Vol.
36, No. 2, pp 23-38
[18] Ruthven M. (2002), International Affairs, Vol. 78, No. 2,
pp 339-351
[19] “Kaffir”, The American Heritage Dictionary of the En-
glish Language, Fourth Edition, Houghton Mifflin Com-
pany, 2006. "Islam An infidel."; Also: “Kaffir” - Arabic
kāfir “unbeliever, infidel”, Encarta World English Dictio-
nary [North American Edition], Microsoft Corporation,
2007.
[20] “Encyclopedia Britannica”. Britannica.com. Retrieved
2014-08-22.
[21] Islamic Science University of Malaysia, Dr. Abdullah al-
Faqih, The meaning of “Kufr” and “Shirk”
[22] Campo, Juan Eduardo (2009). Encyclopedia of Islam. In-
fobase Publishing, New York, ISBN 978-0-8160-5454-1,
see page 421.
[23] Lewis, Bernard. The political language of Islam. Univer-
sity of Chicago Press, 1991.
[24] Waldman, Marilyn Robinson. “The Development of the
Concept of Kufr in the Qur'ān.” Journal of the American
Oriental society 88.3 (1968): 442-455.
[25] Schimmel, Annemarie, and Abdoldjavad Falaturi. We
Believe in One God: The Experience of God in Chris-
tianity and Islam. Seabury Press, 1979.
[26] Wilfred Madelung (1970), Early Sunnī Doctrine concern-
ing Faith as Reflected in the” Kitāb al-Īmān”, Studia Is-
lamica, No. 32, pp 233-254
[27] Williams, Brian Glyn. “Jihad and ethnicity in
post‐communist Eurasia. on the trail of transna-
tional islamic holy warriors in Kashmir, Afghanistan,
Central Asia, Chechnya and Kosovo.” The Global Review
of Ethnopolitics 2.3-4 (2003): 3-24.
CHAPTER 2. STUDIO ALBUMS
[28] UNGUREANU, Daniel. “Wahhabism, Salafism and the
Expansion of Islamic Fundamentalist Ideology.” Journal
of the Seminar of Discursive Logic, Argumentation The-
ory and Rhetoric. 2011.
[29] Marshall, Paul A., ed. Radical Islam’s Rules: The World-
wide Spread of Extreme Shariʻa Law. Rowman & Little-
field, 2005.
[30] Mark Juergensmeyer (2011), The Oxford Handbook of
Global Religions, Oxford University Press, ISBN 978-
0199767649, pp 519-523 and page 451
[31] Patrick J. Ryan, Ariadne auf Naxos: Islam and Politics in
a Religiously Pluralistic African Society, Journal of Reli-
gion in Africa, Vol. 26, Fasc. 3 (Aug., 1996), pp. 308-
329
[32] H. R. Palmer, An Early Fulani Conception of Islam, Jour-
nal of the Royal African Society, Vol. 13, No. 52, pp.
407-414
[33] E. J. Brill’s First Encyclopaedia of Islam, 1913-1936, Vol-
ume 4, ISBN 9789004097902, see page 619
[34] Peter Gowing (1975), Moros and Khaek: the position of
Muslim minorities in the Philippines and Thailand, South-
east Asian Affairs, pp 27-40
[35] Manisuli Ssenyonjo, Jihad Re-Examined: Islamic Law
and International Law, 10 Santa Clara J. Int'l L. 1 (2012).
[36] Khadduri, Majid, ed. The Islamic law of nations: Shay-
bani’s Siyar. JHU Press, 2001.
[37] this term has been variously translated; embezzlement
refers to Surah 8:41 of Qur'an, which requires that the Is-
lamic generals hand over 20% of the booty collected dur-
ing their wars on disbelievers, to Allah and his Prophet
(state), and keep 80% for themselves and their army.
[38] “A Summary of Al-Kufr, Shaykh Ahmed al-Wasaabee
(2005)" (PDF). Retrieved 2014-08-22.
[39] “Infidel” in An Introductory Dictionary of Theology and
Religious Studies, p. 630
[40] “Kafir” in An Introductory Dictionary of Theology and Re-
ligious Studies p. 702
[41] This competing view is based on the principle of ab-
rogation in Islam using historical timeline of revela-
tions, by a process called al-nāsikh wal-mansūkh (‫الناسخ‬
‫ )والمنسوخ‬by Islamic scholars. The analysis is based
on numerous Surah of Quran, in particular verses in
al-Tawba of Quran, particularly verses 9.30[Quran 9:30] ,
9.31[Quran 9:31] , 9.29[Quran 9:29] , 9.5[Quran 9:5] and others;
verse 9.29 and 9.5 are called “sword verses” in schol-
arly literature, while 9.29 is sometimes also referred to
as “jizya verse” in literature on Christians, Jews and oth-
ers; For a review, see: Michael Bonner (2008), Jihad in
Islamic History: Doctrines and Practice, Princeton Uni-
versity Press, ISBN 978-0691138381, pp. 24-29
[42] “Majmoo’ al-Fataawa, 5/233, 234”. Islamqa.com. Re-
trieved 2014-08-22.
2.23. EMPIRE BURLESQUE 129

[43] Doumato, Eleanor Abdella. “Manning the barricades: Is-
lam according to Saudi Arabia’s school texts.” The Middle
East Journal (2003): 230-247.
[44] “Majmoo’ Fataawa al-Shaykh Ibn Baaz, 4/274”. Is-
lamqa.com. Retrieved 2014-08-22.
• This article incorporates text from a publication now
in the public domain: Herbermann, Charles, ed.
(1913). "Infidels". Catholic Encyclopedia. Robert
Appleton Company.

[45] [Kabha, Mustafa, and Haggai Erlich. “Al-Ahbash and
Wahhabiyya: Interpretations of Islam.” International
Journal of Middle East Studies (2006): 519-538.]
[46] Sheikh Ahmad Kutty (2004), Islamic Institute of Toronto,
Can Muslims Celebrate Christmas?
[47] [Abdul-Rahman, Muhamm. Islam: questions and an-
swers: alliance and amity, disavowal and enmity. MSA
Publication Limited, 2003; see pages 152-153]
2.22.9 External links
• Prayer of St. Francis Xavier for the Conversion
of the Infidels: a prayer written by Francis Xavier,
Doctor of the Church
• Definition of “infidel” by the Merriam-Webster dic-
tionary

[48] Masud, Muhammad Khalid. “Islamic law and Muslim mi- • Definition of “unbeliever” by the Merriam-Webster
norities.” ISIM Newsletter 11 (2002): 17. dictionary

[49] Bjorkman, W. “Kafir”. Encyclopaedia of Islam. Brill, • Infidels: a history of the conflict between Chris-
Brill Online. tendom and Islam by Andrew Wheatcroft Random
[50] Williams, p.48 house, 2005

[51] Williams, p.14

[52] Williams, pp. 41, 61-64 2.23 Empire Burlesque

[53] Williams, pp. 61–64
Empire Burlesque is the twenty-third studio album by
[54] Williams, pp. 64–67 American singer-songwriter Bob Dylan, released on June
[55] Christopher 31-40 10, 1985 on Columbia Records. Self-produced, the al-
bum peaked at number thirty-three in the US and at num-
[56] “Catholic Encyclopedia: Infidels”. Newadvent.org. 1910- ber eleven in the UK.
10-01. Retrieved 2014-08-22.
Accompanied by multiple session musicians—including
[57] Royle, Edwards, “Victorian Infidels: The Origins of the Tom Petty & the Heartbreakers members, Mike Camp-
British Secularist Movement 1791-1866”, Manchester bell, Benmont Tench and Howie Epstein—the album
University Press, ISBN 0-7190-0557-4 foregrounds a distinct “80s style” aesthetic.[5] Fans and
critics continue to debate the album’s merits, especially
when compared to his 1960s and 1970s output.
2.22.8 References
• Williams, Robert A. The American Indian in West-
ern Legal Thought: The Discourses of Conquest, 2.23.1 The recording sessions
1990, Oxford University Press, ISBN 0-19-508002-
5 Before embarking on a European tour in the summer
of 1984, Dylan had spent a substantial amount of time
• Tomlins, Christopher L.; Mann, Bruce H. The Many recording demos of new songs in his Malibu home, ac-
Legalities of Early America, 2001, UNC Press, companied at times by other musicians.
ISBN 0-8078-4964-2 In rehearsals for the tour, Dylan attempted at least three
• Weckman, George. The Language of the Study of of these new songs, and he occasionally found time to
Religion: A Handbook, 2001, Xlibris Corporation polish their lyrics during the tour.
ISBN 0-7388-5105-1 When the tour was over, Dylan returned to New York and
began work on his next studio album. As Clinton Heylin
• Merriam-Webster’s Dictionary of Synonyms,
reports, Dylan recorded in sporadic sessions, as had be-
Merriam-Webster Inc., 1984, ISBN 0-87779-341-7
come his norm, rather than “block-booking studio time”
• Espin, Orlando O.; Nickoloff, James B. An Intro- and recording in one concentrated period. The result was
ductory Dictionary of Theology and Religious Stud- “an unprecedented expenditure of” time for recording a
ies, Liturgical Press, 2007, ISBN 0-8146-5856-3 Dylan album, from July 1984 to March 1985.
To accommodate the casual nature of this process, Dylan
Attribution chose to produce the sessions himself. Arthur Baker, who
130 CHAPTER 2. STUDIO ALBUMS

had previously worked with New Order and Afrika Bam- Through The Night” by Kris Kristofferson.
baataa, was later recruited for these sessions, but much of Work became much more productive when Dylan con-
the production work would actually be Dylan’s. tinued work at Cherokee Studios in Hollywood. Recruit-
One of his first decisions was to forgo the use of a sta- ing Lone Justice drummer Don Heffington for the early
ble set of musicians. Instead, Dylan recorded with an December sessions, Dylan recorded an ambitious song he
eclectic mix of studio professionals. An aborted session had co-written with playwright Sam Shepard, titled “New
with Al Green's band was held at Intergalactic Studios on Danville Girl” and another song. Acceptable takes were
July 24, 1984. A session with Ronnie Wood (formerly of recorded for both songs, though despite positive feedback
Faces and currently with The Rolling Stones), Anton Fig from his peers, Dylan ultimately omitted “New Danville
(best known as the drummer for David Letterman's house Girl” from Empire Burlesque.
band), and John Paris was held at Delta Sound Studios on Regardless, he also found success on the next song,
July 26. recorded at Cherokee on December 14. Benmont Tench,
The Delta session produced two notable tracks: “Driftin’ Mike Campbell, and Howie Epstein, from Tom Petty's
Too Far From Shore” and “Clean Cut Kid.” The former Heartbreakers, joined Heffington for the session. “Some-
was set aside and would not be finished until 1986, when thing’s Burning, Baby” would evolve into a key track on
Dylan recorded his next album, Knocked Out Loaded. the album.
The latter had originally been recorded during the Infidels Over the rest of the winter, Dylan recorded most of the
sessions in 1983, but was not completed until now. tracks that were ultimately used for Empire Burlesque.
Wood later described his surprise at Dylan’s lack of On January 28, 1985, another session at Cherokee pro-
authority during the mixing process. "[The engineers duced the master take for “Seeing The Real You At Last.”
would] say, 'Hey Bob, we don't need this,' and he'd say, This was followed by a brief stop at A&M Studios on the
'Oh, okay.' And they'd make a mix to their ears, and he'd 28th and/or the 29th to record his contribution to “We
just stand outside and let them do it. And I'd be saying, Are the World.” On February 5, Dylan recorded mas-
'Hey! You can't let these guys...Look!! They've left off ter takes for two more tracks: “Trust Yourself” and “I’ll
the background vocals!' or 'What about the drums?!' But Remember You.” On the 14th—Valentine’s Day—Dylan
there would be something going on in the back of his head recorded love songs, including Johnny Cash’s “Straight
which didn't allow him to interfere. And yet if he'd have A’s In Love,” but also one of his own, “Emotionally
gone into the control room with the dominance that he Yours.” With the exception of the “We Are the World”
had while we were cutting the stuff, it could have been session, all of these songs were recorded with Heffington,
mind-bending.” the three Heartbreakers, and a few other session players
During one session between July and September 1984 at Cherokee Studios in Hollywood.
(at the Power Station), Dylan demoed a song called Between the 14th and the 19th of February, Dylan re-
“Go 'Way Little Boy,” with Ron Wood and “cowpunk” turned to New York City, resuming work at the Power
rockers Lone Justice. Dylan and Wood also played on Station. On the 19th, he held a session with Roy Bittan
Lone Justice's version of “Go 'Way Little Boy,” which on piano and Steve Van Zandt on guitar, both members
was recorded at the same session and was ultimately re- of Bruce Springsteen's E Street Band. They recorded at
leased as a B-side to their single, “Sweet Sweet Baby (I’m least one usable take of “When The Night Comes Falling
Falling)”. A blues entitled “Oh Baby” was also recorded From The Sky,” but Bittan and Van Zandt would not re-
with the same lineup but has never surfaced. turn for the remainder of the sessions.
In terms of his own album, the New York sessions had so The following day, Sly Dunbar and Robbie Shakespeare,
far been fairly unproductive. After six months of work, better known as reggae recording artists Sly & Robbie,
Dylan had only a few recordings that were deemed ac- joined the sessions. They had previously worked with
ceptable, and only two would eventually appear on Em- Dylan on Infidels. Along with female vocalists Queen Es-
pire Burlesque. “Sometimes nothing comes out, and other ther Marrow, Debra Byrd, and Carolyn Dennis, the group
times I get a lot of stuff that I keep,” Dylan said at the recorded “Never Gonna Be The Same Again.”
time. “I just put down the songs that I felt as I wantedOn February 23, Dylan returned to the Power Station with
to put them down. Then I'd listen and decide if I liked Sly & Robbie, his back-up singers, and a number of ses-
them. And if I didn't like them I'd either rerecord themsion players, including Al Kooper, who filled in on gui-
or change something about them.” In November, Dylan tar. The day’s work produced a significantly different
returned to Los Angeles and began recording there. version of “When The Night Comes Falling From The
An early session at Ocean Way Studios produced little Sky,” which was ultimately chosen over the ‘Van Zandt
if any work that was used for Empire Burlesque. Much version’ from a few days before.
time was spent covering other artists’ songs, including Around this time, Dylan also revived from the Infidels
“In The Summertime” by Ray Dorset (not to be confused
sessions “Someone’s Got A Hold Of My Heart.” “A song
with Dylan’s own song of the same name), “Freedom For about being torn apart by irreconcilable demands,” ac-
The Stallion” by Allen Toussaint, and “Help Me Make It
2.23. EMPIRE BURLESQUE 131

cording to Clinton Heylin, in revision it was stripped of When members of the press, as well as Dylan’s own fans,
“just about every religious allusion from the original.” dubbed Empire Burlesque as 'Disco Dylan,' it was mainly
Dylan retitled it “Tight Connection to My Heart” and set for the song “When The Night Comes Falling From The
it aside for further overdubbing. Sky.” An evocative song filled with apocalyptic imagery,
One final song was recorded on March 3, a brand-new it was originally an upbeat, piledriving rocker recorded
composition no more than a few days old. Recorded live- with Steven Van Zandt and Roy Bittan, both members
to-tape with no video editing, overdubbing, or embellish- of Bruce Springsteen's E Street Band. Unsatisfied with
ment, “Dark Eyes” was also sequenced as the last song of the recording, Dylan and Baker radically recast the song
as a contemporary dance track. (The earlier version was
the album.
later released on The Bootleg Series Volumes 1-3 (Rare &
Some further overdubbing was scheduled, but with Unreleased) 1961-1991.)
recording essentially finished, Arthur Baker was left to
mix the album. “I'm not too experienced at having The penultimate song, “Something’s Burning, Baby”, is
records sound good,” said Dylan. “I don't know how to another song filled with apocalyptic imagery. A slow-
go about doing that. With Arthur Baker...I just went out building march accented with synthesizers, it was singled
and recorded a bunch of stuff all over the place, and then out by biographer Clinton Heylin as the strongest track on
when it was time to put this record together, I brought it Empire Burlesque: “An ominous tale set to a slow march
all to him and he made it sound like a record.” beat, [it] was a welcome reminder of his ongoing preoc-
cupations with that dreadful day.”
“Dark Eyes” features only Dylan on guitar and harmon-
2.23.2 The songs ica. According to earlier interviews and Dylan’s autobi-
ography, Chronicles, it was written virtually on demand
when Arthur Baker suggested something simpler for the
The opening track, "Tight Connection to My Heart (Has
album’s final track. Dylan liked the idea of closing the
Anybody Seen My Love)", was originally recorded for
album with a stark, acoustic track, particularly when the
1983’s Infidels under the title “Someone’s Got a Hold of
rest of the album was so heavily produced.
My Heart” (eventually released on The Bootleg Series Vol-
umes 1-3 (Rare & Unreleased) 1961-1991). It was re- However, Dylan didn't have an appropriate song. He re-
written and re-recorded several times before finding its turned to his hotel in Manhattan after midnight, and ac-
way on to Empire Burlesque. A lushly produced pop song cording to Dylan:
riding a reggae groove courtesy of Robbie Shakespeare “As I stepped out of the elevator, a call girl was com-
and Sly Dunbar (better known as Sly & Robbie), the love ing toward me in the hallway—pale yellow hair wearing a
song was singled out as the best track on the album by the fox coat—high heeled shoes that could pierce your heart.
most recent edition of The Rolling Stone Album Guide. It She had blue circles around her eyes, black eyeliner, dark
was also chosen as the first single for Empire Burlesque. eyes. She looked like she'd been beaten up and was afraid
Clinton Heylin describes “Seeing The Real You At Last” that she'd get beat up again. In her hand, crimson purple
as “a compendium of images half remembered from Hol- wine in a glass. 'I'm just dying for a drink,' she said as
lywood movies,” as many of the lyrics made “allusions to she passed me in the hall. She had a beautifulness, but
Humphrey Bogart movies, Shane, even Clint Eastwood's not for this kind of world.”
Bronco Billy.” The brief, chance encounter inspired Dylan to write
The love ballad, “I'll Remember You” was still played in “Dark Eyes,” which was quickly recorded without any
concert until 2005, more so than all but one other song studio embellishment. Structured like a children’s song,
from Empire Burlesque. It was also featured, in an acous- with very rudimentary guitar work and very simple notes,
tic version, in the movie Masked & Anonymous, though it’s often quoted for its last chorus: “A million faces at my
not included on the released soundtrack. feet, but all I see are dark eyes.”
“Clean-Cut Kid” was another song recorded during the A number of critics have noted the bizarre sources of in-
Infidels sessions. The lyrics weren't finished until much spiration behind some of the songs. As mentioned, some
later, and the finished result was included on Empire Bur- lines were lifted from old Humphrey Bogart pictures, but
lesque. In the interim Bob gave the song to Carla Olson of at least a few were taken from the sci-fi television show,
the Textones as a thank you for her appearing in his first- Star Trek. Author Clinton Heylin wrote that “one of
ever video, Sweetheart Like You. She included it on the the best couplets—"I’ll go along with the charade / Un-
Textones’ debut album Midnight Mission and Ry Cooder til I can think my way out’ (from “Tight Connection to
was featured on slide guitar. A novelty song wrapped My Heart”)—actually comes verbatim from a Star Trek
around sharp political commentary, the 'clean-cut kid' episode, ‘Squire of Gothos’.” Some then say this line was
is an average American kid who’s radically altered by originally used in the Humphrey Bogart movie Sahara,
his experience in the Vietnam War. Village Voice critic but it was not.
Robert Christgau praised it as “the toughest Vietnam-vet
song yet.”
132 CHAPTER 2. STUDIO ALBUMS

2.23.3 Outtakes • “Too Hot to Drive By”

As with many of Dylan’s albums, outtakes and rough • “The Very Thought of You” (circulating)
mixes from Empire Burlesque were eventually boot- • “Waiting to Get Beat” (circulating). “The Very
legged. This is a list of known outtakes, though more Thought” and “Waiting To Get Beat”, like “Denise”
than a few are not in circulation. and “Black Crowe Blues” from Another Side of Bob
Dylan use the same music but have different lyrics.
• “As Time Passes By”
• “We Had It All” (Donny Frittis, Troy Seals)
• “Driftin' Too Far From Shore” (circulating). This
song was later released on Knocked Out Loaded, • “When the Line Forms”
after several major overdubs were included. The • “Who Loves You More” (circulating). Finished
much more stripped down take from the EB sessions track
is circulating.
• “Wolf”
• “Firebird”
• “Freedom for the Stallion” (two takes circulating) One of the most famous outtakes from the EB sessions
is “New Danville Girl.” A satirical epic co-written with
• “Go Away Little Boy” (circulating) playwright Sam Shepard, it was originally an attempt at
• “Gravity Song” answering Lou Reed's song, “Doin' the Things That We
Want To.” (Reed was inspired to write “Doin' the Things
• “The Girl I Left Behind” (traditional) That We Want To” after seeing one of Shepard’s plays.)
• “Help Me Make It Through The Night” (Kris “It has to do with a guy standing on line and waiting to see
Kristofferson) an old Gregory Peck movie (called The Gunfighter) that
he can't quite remember, only pieces of it,” says Shep-
• “Honey Wait (?)" (circulating) ard. “Then this whole memory thing happens, unfolding
before his very eyes. He starts speaking internally to a
• “I See Fire in Your Eyes”
woman...reliving the whole journey they'd gone on...We
• “In the Summertime” (circulating) spent two days writing the lyrics, Bob had previously
composed the melody line, which was already down on
• “Instrumental 1” tape.”
• “Instrumental 2” As Clinton Heylin notes, “allowing each line to raise ques-
tions that lead the listener across the flatlands of Texas and
• “Instrumental 3” time, Shepard contributes a conversational tone that hints
• “Instrumental 4” at the very mundanity the song’s characters are seeking to
transcend.”
• “Instrumental 5”
Session guitarist Ira Ingber recalls, “When we first
• “Instrumental 6” recorded '[New Danville Girl],' we...made a cassette.
And he took it out and started playing it. He came back
• “Jam 1” the next day we were working and said, 'Yeah, a lot of
people like this thing.' And then he didn't do anything
• “Jam 2”
with it. It’s like he was doing it to spite people who were
• “Jam 3” all liking it, and he just held on to it.”

• “Jam 4” “New Danville Girl” would actually be re-written and re-

• “Look Yonder”
• "Mountain of Love" (Harold Kenneth Dorman)
• “New Danville Girl” (circulating)
• “Queen of Rock and Roll”
• “Prince of Plunder”
• “Rising Sun” (Steven Hufsteter/Tito Larriva/Tony that did not make the final cut. He covered the 1950s
Marsico/Chalo Quintana)
• “Straight A’s in Love” (circulating)
recorded as “Brownsville Girl” for Dylan’s next album,
Knocked Out Loaded.
Another outtake, “Driftin' Too Far From Shore,” was still
unfinished when it was recorded in July 1984 at Delta
Studios. The same recording would later be issued on
Knocked Out Loaded after several major overdubs.
In addition to recording “Go 'Way Little Boy” during the
Empire sessions, Dylan also recorded several other songs
classic “Straight A’s in Love.” He recorded a song with
two widely different lyrics. The first was entitled “Wait-
ing to Get Beat”. Using the same music, he wrote new
2.23. EMPIRE BURLESQUE 133

lyrics, and recorded a second version entitled “The Very a then-contemporary sound on Empire Burlesque; Dylan
Thought of You.” Dylan also recorded a six minute song jokingly replied that he didn't know anything about new
entitled “Who Loves You More”, which is a virtually fin- music, adding “I still listen to Charley Patton.”
ished take. In his Consumer Guide column for The Village Voice,
Three takes of “In the Summertime” are circulating, as critic Robert Christgau wrote, “At best [Dylan]'s achieved
are two full takes of “Freedom for the Stallion” and also the professionalism he’s always claimed as his goal...he’s
a brief take. certainly talented enough to come up with a good bunch
All the cut songs from Empire are circulating, including of songs. Hence, his best album since Blood on the
alternate takes to every song that made the album. Tracks. I wish that was a bigger compliment.”

Dylan had numerous recordings from his Malibu record- As promotion for Empire Burlesque, music videos for
ings preceding his European tour in 1984. Though they “Tight Connection to My Heart,” “When The Night
were very informal, they were also used to demo songs Comes Falling From The Sky,” and “Emotionally Yours”
and work out ideas that would later develop on Empire were produced and broadcast on MTV, with Paul
Burlesque. One composition titled “Angel of Rain (Al- Schrader (best known for his work with Martin Scorsese)
most Done)" was composed at these sessions. There’s directing the video for “Tight Connection to My Heart.”
no documentation suggesting Dylan recorded this during However, album sales remained fairly modest.
the formal Empire Burlesque sessions, but it clearly held In terms of media coverage, Empire Burlesque was over-
his interest during the rehearsals for the European tour. shadowed by a number of Dylan-related projects from
“Angel of Rain” made a deep impression on keyboardist that same year. Charitable causes had become en vogue
Ian McLagan in what was supposed to be a rehearsal for in American pop music, and Dylan participated in a num-
previously released material. “There was one beautiful ber of high-profile causes.
song he played occasionally that he'd never recorded and First was the “We Are the World” single, recorded in Jan-
never [fully] rehearsed with us either,” recalls McLagen. uary of that year. Organized to raise funds for starving
“It was a tricky little number, we never knew the title, but Ethiopians, the record received massive publicity, and it
he'd launch into it from time to time, leaving us totally in became one of the biggest hits of the year. Dylan was
the dark.” prominently featured in the recording, but he expressed
In 1991, one significant outtake from the Empire Bur- some doubts regarding the single’s merits. “People buy-
lesque sessions was released on The Bootleg Series Vol- ing a song and the money going to starving people in
umes 1-3 (Rare & Unreleased) 1961-1991. An early ver- Africa...is a worthwhile idea but I wasn't so convinced
sion of “When the Night Comes Falling from the Sky,” about the message of the song,” Dylan would later say.
recorded on February 19, 1985, it featured Roy Bittan on “To tell you the truth, I don't think people can save them-
piano and Steve Van Zandt on guitar; both men were bet- selves.”
ter known as members of Bruce Springsteen's E Street Dylan joined Artists United Against Apartheid in record-
Band. “The Van Zandt 'When The Night Comes Falling ing Sun City, a record protesting South Africa’s policies
From The Sky,' [an] apocalyptic vision bristling with of apartheid. Recorded in the summer, it was released in
drama, sung without restraint, could have provided Dy- October, to great critical acclaim. Produced by Arthur
lan with another epic to counterbalance the mawkish filler
Baker, Dylan’s participation was also prominent.
he'd been recording since 'New Danville Girl',” writes
Heylin. “Instead, Dylan again second-guessed some of In April, Dylan participated in a recording session with
his better lines...and absolutely one of his best vocals from Sly Dunbar and Robbie Shakespeare (better known as Sly
a fraught decade, rerecording the song...with a whomping & Robbie), playing harmonica on “No Name On The Bul-
synthesizer and horns track...” Music critic Tim Riley ar- let.” The song was released on ‘’Language Barrier’’, issued
gued, “the alternate take...has such an undeniably raunchy in August on Island Records.
attitude (and guitar solo by Miami Steve Van Zandt) you In July, Dylan performed at the benefit concert Live Aid,
wonder why Dylan stuck with the lifeless take that makes which also raised funds for starving Ethiopians. Held
Empire Burlesque drift off on side two.” in Philadelphia, Pennsylvania, Dylan’s set was accompa-
nied by Ronnie Wood and Keith Richards of The Rolling
Stones. Technical problems sabotaged his performance,
2.23.4 Aftermath as the musicians were unable to hear their own perfor-
mances. Dylan performed three songs, and as Heylin
Upon its release, Empire Burlesque received generally notes, “two were very strange choices. 'Ballad of Hollis
positive reviews, most notably a full-page review in Time Brown' dealt with a starving American farmer who chose
magazine, but a number of critics demurred on the pro- not to save himself, while the vengeful 'When The Ship
duction, reservations that presaged Empire Burlesque's Comes In' seemed distinctly at odds with all this univer-
poor reputation in later years. sal hand-holding.” After his set, Dylan asked the “bil-
lions watching to remember those in their own country
Members of the press accused Dylan of trying to achieve
134 CHAPTER 2. STUDIO ALBUMS

struggling from economic events beyond their control. In • Alan Clark – synthesizer (5)
particular, he chose to cite the plight of the American
farmers.” Dylan’s remarks helped inspire Willie Nelson • Carolyn Dennis – backing vocals (1, 4, 5 and 6)
to organize Farm Aid, a benefit concert raising funds for
• Sly Dunbar – drums (1, 5 and 8)
struggling farmers.
Dylan soon found himself performing at Farm Aid, as • Howie Epstein – bass guitar (3 and 7)
well, which was broadcast live on national prime-time
television on September 22, 1985. For this performance, • Anton Fig – drums (4)
Dylan was accompanied by Tom Petty and the Heart-
• Bob Glaub – bass guitar (2)
breakers, on the advice of concert promoter Bill Graham.
Mindful of the circumstances behind his Live Aid per- • Don Heffington – drums (2 and 9)
formance, Dylan and the Heartbreakers rehearsed exten-
sively on their six song set. Only four songs would be • Ira Ingber – guitar (9)
broadcast on TV, but the performance as a whole was
widely regarded as a triumph, featuring lauded perfor- • Bashiri Johnson – percussion (2, 6 and 8)
mances of “Clean Cut Kid,” “I'll Remember You,” and
“Trust Yourself” from Empire Burlesque. • Jim Keltner – drums (3, 6 and 7)

In November, Columbia released Biograph, a heavily- • Stuart Kimball – electric guitar (8)
promoted, five-LP boxed set retrospective that became
only the second boxed set to sell half a million copies in • Al Kooper – rhythm guitar (8)
the U.S. (the other being Elvis Presley's Elvis Aron Pres-
• Queen Esther Marrow – backing vocals (1, 4, 5 and
ley). It was also the first to hit #33 on Billboard's album
6)
charts, matching the same peak as Empire Burlesque.
Finally, November also saw publication of a revised edi- • Sid McGinnis – guitar (5)
tion of 1973’s Writings & Drawings, retitled Lyrics.
• Vince Melamed – synthesizer (9)
Though few regard 1985 as one of Dylan’s landmark
years, he has never matched the same dizzying array of • John Paris – bass guitar (4)
projects in a single year. If Empire Burlesque was lost in
the shuffle, it did set the stage for Dylan’s resurgence as • Ted Perlman – guitar (1)
a live performer. Though the Heartbreakers were recom-
• Madelyn Quebec – vocals (3, 6, 8 and 9)
mended to him by Bill Graham, he already had worked
with them on Empire Burlesque. Two major tours with • Richard Scher – synthesizer (1, 5, 8 and 9), synth
Tom Petty and the Heartbreakers would follow, one in horns (7)
1986 and a more celebrated tour in 1987. As Dylan
would later acknowledge in his autobiography, Chroni- • Mick Taylor – guitar (1)
cles, he would regain his powers as a vocalist and an in-
terpreter during these tours as he revisited his own back • Robbie Shakespeare – bass guitar (1, 5, 6, 8 and 9)
catalog of songs.
• Benmont Tench – keyboards (2 and 6), piano (4),
organ (7)
2.23.5 Track listing
• Urban Blight Horns – horns (8)
All songs written by Bob Dylan.
• David Watson – saxophone (2)

• Ronnie Wood – guitar (4)

2.23.6 Personnel
Musicians Recording personnel
• Bob Dylan – vocals, guitar (2, 4, 6, 8 and 10), • Bob Dylan – producer
keyboards (1 and 5), piano (3 and 7), harmonica (10)
• Josh Abbey – recording, engineer
• Peggie Blu – backing vocals (1, 4 and 5)
• Debra Byrd – backing vocals (5 and 6) • George Tutko – engineer

• Mike Campbell – guitar (2, 3, 6 and 7) • Judy Feltus – engineer

• Chops – horns (2) • Arthur Baker – mixing

2.24. KNOCKED OUT LOADED 135

Artwork 2.24.3 Reception

• Nick Egan – cover design The album earned mostly negative reactions, with only
a rewritten version of an outtake (“New Danville Girl'",
• Ken Regan – photography retitled “Brownsville Girl”) recorded during the Empire
Burlesque sessions, receiving uniform praise. Robert
Christgau called it “one of the greatest and most ridicu-
2.23.7 References lous of [Dylan’s] great ridiculous epics.”
"Knocked Out Loaded is ultimately a depressing af-
[1] Erlewine, Stephen Thomas. Empire Burlesque at fair,” wrote Anthony DeCurtis in his review published in
AllMusic Rolling Stone magazine, “because its slipshod, patchwork
nature suggests that Dylan released this LP not because
[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”. he had anything in particular to say, but to cash in on
robertchristgau.com. Retrieved 10 September 2011.
his 1986 tour. Even worse, it suggests Dylan’s utter lack
of artistic direction.” In the Howard Sounes book Down
[3] Entertainment Weekly review
The Highway: The Life Of Bob Dylan, it is reported that
[4] Loder, Kurt (1985-07-04). “Bob Dylan: Empire Bur-
Dylan said “if the records I'm making only sell a certain
lesque : Music Reviews : Rolling Stone”. web.archive.org. amount anyway, then why should I take so long putting
Archived from the original on 2007-11-03. Retrieved 10 them together?"
September 2011. Sales for Knocked Out Loaded were considered weak, as
it peaked at #53 on U.S. charts and #35 in the UK.
[5] Higgins, Jim Dylan’s Burlesque Sounds Half-Finished.
The Milwaukee Sentinel. June 14, 1985. Dylan has played few songs from this album in concert;
“Driftin' Too Far From Shore”, with 14 performances
(all but one in 1988), is the most frequently performed.
Four songs remain unplayed, while the other three have
2.24 Knocked Out Loaded together been aired only five times.
In recent years the album has gained a cult following
Knocked Out Loaded is the twenty-fourth studio album among some Dylan fans who believe it is one of his least-
by American singer-songwriter Bob Dylan, released on understood works,[7] but critical consensus remains nega-
July 14, 1986 by Columbia Records. tive, with recent reviews from Salon.com to Rolling Stone
The album was received poorly upon release, and is Magazine calling it a “career-killer” and “the absolute
still considered by some critics to be one of Dylan’s bottom of the Dylan barrel” respectively.
least-engaging efforts. However, the 11-minute epic The album was remastered and re-issued in 2013 as a part
"Brownsville Girl", co-written by Sam Shepard, has been of “The Complete Albums Collection Vol. One” box set.
cited as one of his best songs by some critics.[6]

2.24.4 Track listing

2.24.1 Composition
2.24.5 Personnel
The album includes three cover songs, three collabora-
tions with other songwriters, and two solo compositions • Bob Dylan – guitar, harmonica, keyboards, vocals,
by Dylan. Most of the album was recorded in the spring production
of 1986, although recording or mixing work on one track,
“Got My Mind Made Up”, reportedly occurred in June. Additional musicians
Several tracks from the album used overdubbing to build
on instrumental tracks from 1984 and 1985 sessions.
• Mike Berment – steel drums
One song, “Maybe Someday”, paraphrases a line from
T. S. Eliot’s poem Journey of the Magi: Eliot’s “And the • Peggie Blu – background vocals
cities hostile and the towns unfriendly” becomes in Dylan
• Majason Bracey – background vocals
“Through hostile cities and unfriendly towns”.
• Clem Burke – drums

2.24.2 Cover art • T-Bone Burnett – guitar

• Mike Campbell – guitar

The cover art is a reworking of the January 1939 cover of
Spicy Adventure Stories. • Carolyn Dennis – background vocals
136
• Steve Douglas – saxophone
• Howie Epstein – bass guitar
• Anton Fig – drums
• Lara Firestone – background vocals
• Pamela Quinlan – background vocals
• Milton Gabriel – steel drums
• Keysha Gwin – background vocals
• Don Heffington – drums
• Muffy Hendrix – background vocals
• April Hendrix-Haberlan – background vocals
• Ira Ingber – guitar
• James Jamerson, Jr. – bass guitar
• Dewey B. Jones II – background vocals
• Phil Jones – conga
• Al Kooper – keyboards
• Stan Lynch – drums
• Steve Madaio – trumpet
• Queen Esther Marrow – background vocals
• Larry Mayhand – background vocals
• John McKenzie – bass guitar
• Vince Melamed – keyboards
• Larry Meyers – mandolin
• Angel Newell – background vocals
• Herbert Newell – background vocals
• John Paris – bass guitar
• Bryan Parris – steel drums
• Al Perkins – steel guitar
• Tom Petty – guitar
• Crystal Pounds – background vocals
• Raymond Lee Pounds – drums
• Madelyn Quebec – background vocals
• Vito San Filippo – bass guitar
• Carl Sealove – bass guitar
• Patrick Seymour – keyboards
• Jack Sherman – guitar
• Daina Smith – background vocals
CHAPTER 2. STUDIO ALBUMS
• Maia Smith – vocals
• Medena Smith – background vocals
• Dave Stewart – guitar
• Benmont Tench – keyboards
• Annette May Thomas – background vocals
• Damien Turnbough – background vocals
• Ronnie Wood – guitar
• Chyna Wright – background vocals
• Elesecia Wright – background vocals
• Tiffany Wright – background vocals
Technical personnel
• Britt Bacon – engineering
• Judy Feltus – engineering
• Greg Fulginiti – mastering
• Don Smith – engineering
• George Tutko – engineering
2.24.6 Notes
[1] Erlewine, Stephen Thomas. Knocked Out Loaded at
AllMusic
[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”.
robertchristgau.com. Retrieved 10 September 2011.
[3] Entertainment Weekly review
[4] Decurtis, Anthony (1986-09-11). “Bob Dylan: Knocked
Out Loaded : Music Reviews : Rolling Stone”.
web.archive.org. Archived from the original on 2007-10-
02. Retrieved 10 September 2011.
[5] Weebly review
[6] Gray, The Bob Dylan Encyclopedia, 95-100
[7] “Knocked Out Loaded analysis”. Weebly.com.
2.25 Down in the Groove
Down in the Groove is the twenty-fifth studio album by
American singer-songwriter Bob Dylan, released on May
30, 1988 by Columbia Records.
A highly collaborative effort, it was Dylan’s second con-
secutive album to receive almost unanimous negative re-
views. Released during a period when his recording ca-
reer was experiencing a slump, sales were disappointing,
reaching only #61 in the US and #32 in the UK.
2.25. DOWN IN THE GROOVE 137

2.25.1 Recording and reception issues with creative writing had hampered his ability to
produce new material.
“Even by Dylan standards, this album has had a strange, A unique aspect of the album was the ‘garage rock’-type
difficult birth,” wrote Rolling Stone critic David Fricke. tour that followed. Dylan’s previous tour had placed a
“Its release was delayed for more than half a year, and heavy emphasis on guest appearances to allow for a more
the track listing was altered at least three times. If the variety themed show. The intimate nature of the smaller
musician credits are any indication, the songs that made band allowed the artists to interpret songs differently each
the final cut come from half a dozen different recording time they played. Often the performances held little re-
sessions spread out over six years.” Like its predecessor semblance to prior shows.
Knocked Out Loaded, Dylan once again used more col-
laborators than normal. In his review for Rolling Stone magazine, Fricke noted
that “a highly anticipated—if somewhat unlikely—
collaboration with Full Force, the top Brooklyn hip-hop
posse, turned out to be an old Infidels outtake, 'Death Is
Not the End,' newly garnished with some tasty but rather
superfluous Full Force vocal harmonies.” “Death Is Not
The End” was covered by Nick Cave in 1996.
In 2007, Rolling Stone labeled Down in the Groove as Bob
Dylan’s worst album.[8]
Artist Rick Griffin, primarily known for the Grateful
Dead's most iconic logos and poster art, was selected by
Dylan to design the cover of the record jacket. Griffin
designed a spectacular line art piece of Bob Dylan play-
ing guitar while riding a horse backwards with an array
of imagery in a style unlike his famous psychedelic work.
Rick Griffin’s original design for the cover of Down in the Groove. Considered to be one of his last masterpieces, the intri-
cate drawing ended up not being used for the album and
Columbia Records featured a rather mundane photograph
In a review published in his Consumer Guide column, of Dylan on the release.
Robert Christgau wrote, “Where Self Portrait was at least
weird, splitting the difference between horrible and hi-
larious, [Dylan is now] forever professional—not a single
remake honors or desecrates the original. All he can do to
a song is Dylanize it, and thus his Danny Kortchmar band
and his Steve Jones-Paul Simonon band are indistinguish-
able, immersed in that patented and by now meaningless
one-take sound.” Christgau would later call Down in the
Groove “horrendous product”.[5]
Recently coming off of the album Knocked Out Loaded,
Dylan took the opportunity to further work on his collab-
orative efforts. The album features several guest appear-
ances for the first time. Most prominent was the appear-
ance of The Grateful Dead, who provided the album with
one of the notable high spots on the album with the sin-
gle “Silvio”. The track was later included on Bob Dylan’s
Greatest Hits Volume 3 and The Essential Bob Dylan.
As stated in the Encyclopedia of Popular Music, the al- The reverse side of the album after Rick Griffin’s album art was
bum shares no single recording session. This created a declined.
tone that the Encyclopedia described as, “raucous to pen-
sive to sombre in a heartbeat”.[6]
In the book Bob Dylan: The Recording Sessions, 1960- 2.25.2 The summer tour of 1988
1994, author Clinton Heylin offers an explanation for the
style and layout of the albums tracks. He states, “As it Soon after Down in the Groove's release, Dylan embarked
is, Dylan’s intent all along may have been to show the on a summer tour of North America, presumably in sup-
rich vein of music he listened to when growing up in port of Down in the Groove. The first show was on June
Hibbing.”[7] The author goes on further to describe how 7, 1988, at Concord Pavilion in Concord, California, and
the album was a sensible step for Dylan, suggesting his it was a dramatic shift from previous tours. In recent
138 CHAPTER 2. STUDIO ALBUMS

years, Dylan had relied on larger ensembles, often staffed • Jerry Garcia – vocals
with high-profile artists like Mick Taylor, Ian McLagan,
the Grateful Dead, and Tom Petty and the Heartbreak- • Willie Green, Jr. – background vocals
ers. This time, Dylan organized his concerts around a
small, 'garage rock'-type combo, consisting of guitarist • Beau Hill – keyboards
G.E. Smith (of Saturday Night Live fame), bassist Kenny
Aaronson, and drummer Christopher Parker. (There was • Randy “The Emperor” Jackson – bass guitar
a notable exception in the early June shows; those con-
certs featured a second, lead guitarist in Neil Young, • Steve Jones – guitar
whose own career was also in a downturn at the time.)
Song selection also became more adventurous, with • Steve Jordan – drums
setlists from different nights offering little resemblance
to one another. The concerts would also alternate be- • Danny Kortchmar – guitar
tween full-band, electric sets and smaller, acoustic sets
(with Smith providing Dylan’s only accompaniment); it • Bobby King – background vocals
was during the acoustic sets that Dylan incorporated an
endless variety of traditional cover songs, a marked de- • Clydie King – background vocals
parture from previous shows that depended heavily on his
own compositions.
• Pamela Quinlan - background vocals
The concerts initially received modest attention, but they
would soon receive a generous amount of praise. The tour • Larry Klein – bass guitar
schedule was also surprising for a man of Dylan’s age, as
Dylan was spending most of his time on the road. Just • Mark Knopfler – guitar; production on “Death Is Not
as one leg of the tour would end, Dylan would schedule the End”
another leg soon after, and this would continue for many
years to come. As a result, Dylan’s shows are now often • Brent Mydland – vocals
referred to as the "Never Ending Tour". Though the sup-
porting personnel would undergo a number of changes for
• Madelyn Quebec – keyboards, background vocals
years to come, the basic format begun in the summer of
1988 would continue to this day.
• Robbie Shakespeare – bass guitar

2.25.3 Track listing • Stephen Shelton – drums, keyboards, engineering,

mixing
2.25.4 Personnel
• Paul Simonon – bass guitar
• Bob Dylan – guitar, harmonica, keyboards, vocals;
production on “Death Is Not the End” • Henry Spinetti – drums

Additional musicians[9] • Bob Weir – vocals

• Michael Baird – drums • Kip Winger – bass guitar

• Peggie Blu – background vocals • Ronnie Wood – bass guitar

• Alexandra Brown – background vocals

Technical personnel
• Eric Clapton – guitar

• Alan Clark – keyboards • Coke Johnson – engineering

• Carolyn Dennis – background vocals
• Mike Kloster – assistant engineering
• Sly Dunbar – drums
• Jeff Musel – assistant engineering
• Nathan East – bass guitar

• Mitchell Froom – keyboards • Jim Preziosi – assistant engineering

• Full Force – background vocals • Brian Saucy – assistant engineering

2.26. OH MERCY 139

2.25.5 References a time where men commit crime/And crime don't have
a face”, to which Allmusic critic Thomas Ward com-
[1] Erlewine, Stephen Thomas. Down in the Groove at mented, "… which leaves one to argue, which age does
AllMusic. Retrieved 2011-06-28. this not apply to?"[3] Ward criticised the song’s “irra-
[2] Rolling Stone 14 July 1988 tionality and sweeping general statements”, describing it
as “on the whole [...] a rather trite, cloyed song.”[4]
[3] Christgau, Robert. Bob Dylan. Retrieved 2011-06-28.
In regard to “Everything Is Broken”, Dylan wrote,
[4] EW Dylan catalog review “Danny didn't have to swamp it up too much, it was al-
ready swamped up pretty good when it came to him. Crit-
[5] “Dylan Back: World Goes On”. Robert Christgau. ics usually didn't like a song like this coming out of me
[6] Encyclopedia of Popular Music. 2007. p. 2006. Encyclo- because it didn't seem to be autobiographical. Maybe not,
pedia of Popular Music. but the stuff I write does come from an autobiographical
place.” A propulsive, riff-driven number, it was the first
[7] Clinton Heylin. Bob Dylan: The Recording Sessions, single issued from Oh Mercy.
1960-1994. p. 168.
“Ring Them Bells” is one of the more celebrated tracks
[8] “Rolling Stone’s 15 Worst Albums By Great Bands”. on Oh Mercy, and also where Lanois’ production is at its
Rolling Stone Magazine. most subtle and restrained. The song features some spir-
itual overtones, invoking St. Peter, St. Catherine and
[9] “Bob Dylan - Down in the Groove (sleeve)". http://www.
vinylrecords.ch/.
a “Sweet Martha” who may or may not be the biblical
Martha. It opens with the verse, “Ring them bells ye hea-
then/From the city that dreams/Ring them bells from the
2.25.6 External links sanctuaries/Cross the valleys and streams.”
“Ring Them Bells” may be the only song on the album
• Down in the Groove Recording Sessions that was released with its live vocals intact.[5]
• Sidewalks story “One of my favorites is 'Man in the Long Black Coat,'
which was written in the studio, and recorded in one
• Down In The Groove first vinyl pressing in Ar- take”, recalls Lanois. Praised by author Clinton Heylin as
gentina a “powerful reinterpretation of The Daemon Lover mo-
tif”, “Man in the Long Black Coat” also contains some
prominent use of apocalyptic imagery, evoking a place
2.26 Oh Mercy where the “water is high” and “tree trunks uprooted”. In
his own assessment of “Man in the Long Black Coat”,
For the band, see Oh Mercy (band). Dylan wrote that “in some kind of weird way, I thought
of it as my 'I Walk the Line,' a song I'd always considered
to be up there at the top, one of the most mysterious and
Oh Mercy is the twenty-sixth studio album by American revolutionary of all time, a song that makes an attack on
singer-songwriter Bob Dylan, released on September 18, your most vulnerable spots, sharp words from a master”.
1989 by Columbia Records. Produced by Daniel Lanois,
it was hailed by critics as a triumph for Dylan, after a The second half of Oh Mercy is notable for its sustained
string of weaker-reviewed albums. Oh Mercy gave Dy- moodiness and resignation, often in relation to romantic
lan his best chart showing in years reaching #30 on the dissolution. This is immediately apparent on the atmo-
Billboard charts in the United States and #6 in the UK. spheric “Most of the Time”, which features the richest
production on the album. Described as “magisterial” by
Allan Jones of Melody Maker, the narrator in “Most of the
2.26.1 Songs Time” sings of an estranged lover whom the narrator can't
quite shake from his memories. The song addresses an ir-
The recording of the album is described by Dylan in his reconcilable, personal relationship, and this theme would
book Chronicles Volume One.[1] Dylan biographer Clin- continue through “What Good Am I?", a frank look at the
ton Heylin notes that Dylan finished recording the basic narrator’s moral worth, and “What Was It You Wanted”.
tracks for the album on March 29, 1989 but added new Though he is still uncertain of its origins, in his autobiog-
vocals (and other overdubs) for almost all the tracks the raphy Dylan does write that “Disease of Conceit” may
following month.[2] have been inspired by the defrocking of Jimmy Swag-
The album opens with “Political World”, a song that has gart. Lou Reed selected this song as one of his 'picks
been described as a “catalog of troubles...almost an up- of 1989'.[6]
date on 'With God On Our Side.'" A cranky tirade against The album closes with “Shooting Star”, a wistful ballad of
the modern world, it begins with the verse, “We live in remembrance with possible allusions to the loss of Dy-
a political world/Love don't have any place/We live in
140 CHAPTER 2. STUDIO ALBUMS

lan’s Christian faith. Dylan appears to address Christ: it was later included on 1994’s Bob Dylan’s Greatest Hits
“Seen a shooting star tonight and I thought of me/If I was Volume 3. “Dignity” was performed live during a 1994
still the same/If I ever became what you wanted me to appearance on MTV Unplugged, and the same perfor-
be”. The next line, “Did I ever miss the mark or over- mance was later issued on the accompanying album. A
step the line that only you could see” makes an apparent remixed version of “Dignity” featuring new overdubs was
reference to Joseph Addison Alexander's poem “There is released on Bob Dylan’s Greatest Hits Volume 3, while the
a line by us unseen/That crosses every path/The hidden original Lanois production would not see release until the
boundary between/God’s patience and His wrath.”. The soundtrack album of the television show, Touched by an
words occasionally evoke some portentous imagery (“the Angel.
last fire truck from hell goes rollin' by”), but it ends the Listed as “Broken Days/Three of Us” on the track sheets,
album on a soft, romantic note.
the original version of “Everything Is Broken” was briefly
issued on-line as an exclusive download on Apple Com-
puter's iTunes music store. In 2008, it was remastered
2.26.2 The cover from a better source and reissued on The Bootleg Series
Vol. 8: Tell Tale Signs. Described by Heylin as an “evo-
The photo on the cover of the album shows a mural that
cation of a fragmented relationship”, the lyrics were later
Dylan came across on a wall of a Chinese restaurant
rewritten and overdubbed with new vocals and an addi-
in Manhattan’s Hell’s Kitchen on 9th Avenue and 53rd
tional guitar part.
Street. The artist, Trotsky, who created the image of two
people dancing was located (he lived near the mural) and Two more outtakes, “Born In Time” and “God Knows”,
permission was granted.[7][8] were set aside and later re-written and re-recorded for Dy-
lan’s next album, Under the Red Sky. Versions of both
songs from the Oh Mercy sessions were also included on
2.26.3 Outtakes The Bootleg Series Vol. 8: Tell Tale Signs. “The Oh Mercy
outtake of 'Born In Time' was one of those Dylan perfor-
When Rolling Stone magazine wrote “it would be unfair mances that so surrendered itself to the moment that to
to compare Oh Mercy to Dylan’s landmark Sixties record- decry the lyrical slips would be to mock sincerity itself”,
ings”, author Clinton Heylin countered this remark, argu- wrote author Clinton Heylin.
ing that the Oh Mercy sessions had the songs to compete
with Dylan’s most celebrated work. A few of these songs
were not issued on the album, but they soon found their
way into private circulation where they acquired a strong 2.26.4 Critical and commercial response
reputation among critics and collectors.
After disappointing sales with Knocked Out Loaded and
One of Dylan’s most ambitious compositions, "Series of Down in the Groove, Oh Mercy was hailed as a comeback
Dreams" is given a tumultuous production from Daniel in a year when several long-time veterans were releasing
Lanois. The lyrics are fairly straightforward, giving a lit- their own 'comeback' albums, including Paul McCartney
eral description of the turmoil encountered by the narra- with Flowers In The Dirt, The Rolling Stones with Steel
tor during a “series of dreams.” However, the descriptions Wheels, Neil Young with Freedom, Tom Petty with Full
quickly unfold into a set of highly evocative verses. Moon Fever, Bonnie Raitt with Nick of Time, and Lou
During a Sound Opinions interview broadcast on Chicago Reed with New York. Consensus was strong enough to
FM radio, Lanois told Chicago Tribune critic Greg Kot place Oh Mercy at #15 in The Village Voice's Pazz & Jop
that “Series of Dreams” was his pick for the opening Critics Poll for 1989. Also in 1989, Oh Mercy was ranked
track, but ultimately, the final decision was Dylan’s. Mu- #44 on Rolling Stone magazine’s list of the 100 greatest
sic critic Tim Riley would echo these sentiments, writing albums of the 1980s.
that "'Series of Dreams’ should have been the working ti- Oh Mercy's production was unlike anything ever released
tle song to Oh Mercy, not a leftover pendant.” on a Dylan record, and it drew praise from a majority
Another outtake, "Dignity", was one of the first songs of critics. Robert Christgau of The Village Voice wrote,
written for Oh Mercy. Dylan viewed “Dignity” as a strong "Daniel Lanois's understated care and easy beat suit [Dy-
contender for the album, and an extensive amount of lan’s] casual ways, and three or four songs might sound
work was done on it. However, Dylan was dissatisfied like something late at night on the radio, or after the great
with the recorded results, resulting in his decision to omit flood. All are modest and tuneful enough to make you
it. forgive 'Disease of Conceit,' which is neither.”
The two most celebrated outtakes from Oh Mercy's ses- But as Heylin notes, “Though many a critic who had de-
sions, Dylan would not only perform “Dignity” and “Se- spaired at the sound of Dylan’s more recent albums en-
ries of Dreams” live, he would eventually release them. thused about the sound on Oh Mercy, it was evident that
“Series of Dreams” was the final track on The Bootleg Se- rock music’s foremost lyric writer had also rediscovered
ries Volumes 1–3 (Rare & Unreleased) 1961–1991, and his previous flair with words.”[13]
2.26. OH MERCY
Rock critic Bill Wyman criticized the production but
praised the songs. “Taken over by Daniel Lanois, mas-
ter of a shimmering and distinctive electronically pro-
cessed guitar sound...[the album] is overdone”, writes
Wyman. “It’s irritating to hear Dylan’s songs so manip-
ulated, but there are sufficient nice tracks—"Most of the
Time”, “Shooting Star”, both simple and direct, among
them—to make this by far the most coherent and listen-
able collection of his own songs Dylan has released since
Desire.”[14]
Though it did not enter Billboard's Top 20, Oh Mercy
remained a consistent seller, enough to be considered a
modest commercial success.
By the end of the year, Dylan would begin planning
his next album, to be produced by Don and David Was
of Was (Not Was), using the Oh Mercy outtake “God
Knows” as a starting point.
To celebrate the album’s 20th anniversary, Montague
Street Journal: The Art of Bob Dylan dedicated roughly
half of its debut issue (published in 2009) to a roundtable
discussion on Oh Mercy.
In 2006, Q magazine placed the album at #33 in its list of Technical personnel
“40 Best Albums of the '80s”.[15] During that same year,
“Political World” appeared in the film Man of the Year.
2.26.5 Track listing
All songs written by Bob Dylan.
2.26.6 Personnel
• Bob Dylan – vocals, guitar, piano, harmonica, 12-
string guitar, organ 2.26.8
Additional musicians
• Malcolm Burn – tambourine, keyboards, mercy
keys, bass guitar on “Everything Is Broken”, “Ring
Them Bells”, “Man in the Long Black Coat”, “Most
of the Time”, “What Good Am I?", “What Was It
You Wanted”
• Rockin' Dopsie – accordion on “Where Teardrops
Fall”
• Willie Green – drums on “Political World”, “Every-
thing Is Broken”, “Most of the Time”, “Disease of
Conceit”, “What Was It You Wanted”, and “Shoot-
ing Star”
• Tony Hall – bass guitar on “Political World”, “Ev-
erything Is Broken”, “Most of the Time”, “Disease
of Conceit”, and “Shooting Star”
• John Hart – saxophone on “Where Teardrops Fall”
141
• Daryl Johnson – percussion on “Everything Is Bro-
ken”
• Larry Jolivet – bass guitar on “Where Teardrops
Fall”
• Daniel Lanois – production, mixing, dobro, lap
steel, guitar, omnichord (performs on all tracks ex-
cept “Disease of Conceit”)
• Cyril Neville – percussion on “Political World”,
“Most of the Time”, and “What Was It You Wanted”
• Alton Rubin, Jr. – scrub board on “Where
Teardrops Fall”
• Mason Ruffner – guitar on “Political World”, “Dis-
ease of Conceit”, and “What Was It You Wanted”
• Brian Stoltz – guitar on “Political World”, “Every-
thing Is Broken”, “Disease of Conceit”, and “Shoot-
ing Star”
• Paul Synegal – guitar on “Where Teardrops Fall”
• Malcolm Burn – recording, mixing
• Greg Calbi – mastering
• Mark Howard – mixing, studio installation
2.26.7 See also
• Chronicles: Volume One
References
[1] Chronicles Volume One by Bob Dylan 2004
[2] Heylin, C., (2010), Still on the Road: The Songs of Bob
Dylan, 1974-2006. Chicago Review Press. pp. 370-371
[3] http://www.allmusic.com/song/
political-world-mt0001401535
[4] http://www.allmusic.com/song/
political-world-mt0001401535
[5] Heylin, C., (2010), Still on the Road: The Songs of Bob
Dylan, 1974-2006. Chicago Review Press. p. 502
[6] Rolling Stone, March 8, 1990
[7] Editor, People Magazine. “Trotsky, Whose Lively Street
Art Became An Off-the-Wall Album Cover for Bob Dy-
lan”. People Magazine. V. 32. No. 17. 23 October 1989
[8] Spencer, Lauren. “Off the Record: Positively 53rd
Street”. New York Magazine. 25 September 1989
[9] Oh Mercy at AllMusic
142 CHAPTER 2. STUDIO ALBUMS

written songs, lazily performed and unimaginatively pro-

[10] Christgau, Robert (2011). “Robert Christgau: CG: Artist
169”. robertchristgau.com. Retrieved 10 September duced. The first bridge of “2 X 2” (“How much poison
2011. did they inhale?") was reminiscent of the menace which
pervaded Oh Mercy, but otherwise, where before there
[11] Entertainment Weekly review
had been certainty and sureness, here was confusion and
[12] Decurtis, Anthony (1989-09-21). “Rolling Stone : Bob indecision.”[5]
Dylan: Oh Mercy : Music Reviews”. web.archive.org.
Humphries saved his harshest attack for the album’s
Archived from the original on 2006-07-02. Retrieved 10
September 2011.
opening song, “Wiggle Wiggle":
The album did have some critical support, particularly
[13] Heylin, Clinton (2003) Bob Dylan: Behind the Shades Re-
from Robert Christgau of The Village Voice, who wrote
visited, p. 631.
“To my astonishment, I think Under the Red Sky is Dy-
[14] Wyman, Bill. (May 22, 2001) "Bob Dylan" Salon Re- lan’s best album in 15 years, a record that may even sig-
trieved 11 December 2012. nal a ridiculously belated if not totally meaningless return
to form...It’s fabulistic, biblical...the tempos are postpunk
[15] Q August 2006, Issue 241 like it oughta be, with [Kenny] Aronoff’s sprints and shuf-
fles grooving ahead like '60s folk-rock never did.” And
Paul Nelson, writing for Musician, called the album “a de-
2.27 Under the Red Sky liberately throwaway masterpiece.” When the Voice held
its Pazz & Jop Critics Poll for 1990, Under the Red Sky
Under the Red Sky is the twenty-seventh studio album placed at #39.
by American singer-songwriter Bob Dylan, released on In the end, album sales were disappointing, peaking at
September 10, 1990 by Columbia Records. #38 on the US charts and #13 in the UK. According to
The album was largely greeted as a strange and dis- the book Down The Highway: The Life Of Bob Dylan,
appointing follow-up to 1989’s critically acclaimed Oh the disappointing record sales of this album made him
Mercy. Most of the criticism was directed at the slick depressed. On top of that, Dylan’s second wife had just
sound of pop producer Don Was, as well as a handful of signed for divorce in August 1990.
tracks that seem rooted in children’s nursery rhymes. It
is a rarity in Dylan’s catalog for its inclusion of celebrity
cameos by Jimmie Vaughan, Slash, Elton John, George 2.27.3 The songs
Harrison, David Crosby, Stevie Ray Vaughan and Bruce
Hornsby. Four songs from the album, “Handy Dandy”, “10,000
Men”, “God Knows”, and “Cat’s In The Well”, were
recorded in a single session in Los Angeles on 6 Jan-
2.27.1 Dedication
uary 1990, before Dylan commenced a four-week tour.
(“Handy Dandy” received overdubs subsequently.)[6]
The album is dedicated to “Gabby Goo Goo”, later ex-
plained to be a nickname for Dylan’s four-year-old daugh- Dylan biographer Clinton Heylin writes that Dylan fin-
ter. This has led to the popular assumption that the al- ished recording the basic tracks for the album in mid-
bum’s more childlike songs were for her entertainment, March 1990, but added new vocals to some tracks the
something that has never been confirmed nor denied by following month, with instrumental overdub sessions ex-
Dylan. tending into May 1990.[7]
In 2005, Q magazine included the lead-off track “Wig-
gle Wiggle” in a list of “Ten Terrible Records by Great
2.27.2 Reception
Artists”. Time Magazine placed “Wiggle Wiggle” on the
Dylan has echoed most critics’ complaints, telling Rolling list of The 10 Worst Bob Dylan Songs, noting that it
Stone in a 2006 interview that the album’s shortcomings "...sounds like the theme song to one of those tripped-out
resulted from hurried and unfocused recording sessions, television shows beloved by toddlers and drug users.”[8]
due in part to his activity with the Traveling Wilburys The song was covered on the 2014 tribute album Bob
at the time. He also claimed that there were too many Dylan in the 80s: Volume One by Slash and Aaron Free-
people working on the album, and that he was very dis- man.[9] Its lyrics were also the namesake for the Danish
illusioned with the recording industry during this period pop/rock band Big Fat Snake.
of his career. Heylin has called the title track an “important song” (with
Dylan critic Patrick Humphries, author of The Com- a “fine guitar solo” by guest George Harrison), noting [10]
that
plete Guide to the Music of Bob Dylan, was particularly it has been a staple of Dylan’s live performances.
harsh in his assessment of Under the Red Sky, stating Two songs, “Born in Time” and “God Knows”, are re-
the album “was everything Oh Mercy wasn't—sloppily workings of material originally recorded at the previous
2.28. GOOD AS I BEEN TO YOU 143

year’s Oh Mercy sessions. Versions of these songs from [6] Heylin, C., (2010), Still on the Road: The Songs of Bob
the Oh Mercy sessions are included on The Bootleg Series Dylan, 1974-2006. Chicago Review Press. p. 374
Vol. 8: Tell Tale Signs.
[7] Heylin, C., (2010), Still on the Road: The Songs of Bob
The intro to “Unbelievable” (which was released as a sin- Dylan, 1974-2006. Chicago Review Press. pp. 391-392,
gle, with an accompanying promotional video) is very 502
similar to the intro on Carl Perkins's “Honey Don't”, as
[8] http://entertainment.time.com/2011/05/23/
sung by The Beatles on Beatles for Sale. 10-worst-bob-dylan-songs/slide/wiggle-wiggle/
According to producer Don Was, there were two out-
[9] http://www.jambands.com/news/2014/01/22/
takes from the album: “Shirley Temple Doesn't Live Here widespread-panic-marco-benevento-slash-tea-leaf-green-deer-tick-gene-we
Anymore” (which Dylan co-wrote with Was and David .UuAAp3bTnnD
Weiss) and “Heartland” (which Dylan later sang with
Willie Nelson on Nelson’s 1993 album Across the Border- [10] Heylin, C., (2010), Still on the Road: The Songs of Bob
line).[11] “Shirley Temple Doesn't Live Here Anymore” Dylan, 1974-2006. Chicago Review Press. pp. 383-385
was later recorded by Don Was's group Was (Not Was) [11] Hughs, Rob (2008-10-09). “Bob Dylan: Online Exclu-
for their 2008 album Boo! as “Mr. Alice Doesn't Live sives - Under The Red Sky with Don Was”. Uncut. Re-
Here Anymore”. trieved 2012-09-29.

2.27.4 Aftermath
2.28 Good as I Been to You
Dylan recorded and released the nursery rhyme song,
"This Old Man", on the Disney charity album, For Our Good as I Been to You is the twenty-eighth studio album
Children, in 1991, a year after this album was released. by American singer-songwriter Bob Dylan, released on
November 3, 1992, by Columbia Records.
Dylan’s follow-up effort Good As I Been to You would be
released two years later. It is composed entirely of traditional folk songs and
covers, and is Dylan’s first entirely solo, acoustic album
since Another Side of Bob Dylan in 1964. It is also his first
2.27.5 Track listing collection not to feature any original compositions since
Dylan in 1973.
All songs written by Bob Dylan.
On the charts, Good as I Been to You reached #51 in the
US and #18 in the UK, and helped to restore Dylan’s crit-
2.27.6 Personnel ical standing following the disappointing Under the Red
Sky.
• Bob Dylan – acoustic and electric guitar, piano,
accordion, harp, vocals, production
2.28.1 Recording sessions
Additional musicians Since launching the Never Ending Tour in June 1988, tra-
ditional covers became a feature at virtually every con-
Technical personnel cert, often as part of an acoustic set. After recording
Under the Red Sky in 1990, Dylan would not release an
original song until 1997, and during that time, he would
2.27.7 References increasingly rely on his stockpile of covers for 'fresh' ma-
terial. Dylan called these covers “the music that’s true for
[1] Erlewine, Stephen Thomas. Under the Red Sky at
me.”
AllMusic
According to Dylan’s friend Susan Ross, Good as I Been
[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”. to You began life as a contractual filler. Dylan had
robertchristgau.com. Retrieved 10 September 2011.
scheduled two weeks at Chicago’s Acme Recording Stu-
[3] Entertainment Weekly review dio sometime in 1992, hiring long-time associate David
Bromberg as his producer. An album’s worth of songs, in-
[4] Evans, Paul (1990-10-04). “Rolling Stone : Bob Dylan: cluding the contemporary Christian ballad “Rise Again,”
Under The Red Sky : Music Reviews”. web.archive.org. were recorded at those sessions with the accompaniment
Archived from the original on 2007-06-29. Retrieved 10 of a full band. Bromberg was left to mix the recordings
September 2011.
while Dylan completed a brief, 11-show tour in main-
[5] Humphries, Patrick (1995). The Complete Guide to the land Europe. There are several songs known to have
Music of Bob Dylan. London, England: Omnibus Press. been recorded during these sessions, including “I'll Rise
pp. 125–127. ISBN 0-7119-4868-2. Again” (trad.), "Nobody’s Fault but Mine" (Blind Willie
144 CHAPTER 2. STUDIO ALBUMS

Johnson), “Lady From Baltimore” (Tim Hardin), “Polly Belong to Me”. Though it wasn't authentically traditional,
Vaughan” (trad.), “Casey Jones” (trad.), "Duncan and it was popular enough to be covered by Jo Stafford, Patti
Brady" (trad.), “Kaatskill Serenade” (David Bromberg), Page, and Dean Martin. The most popular version was
“World Of Fools” (David Bromberg), “Sloppy Drunk”, recorded by the Duprees, one of the final Italian doo wop
and “Miss the Mississippi.” groups to make a wave in the early 1960s.
Prior to the release of Volume 8 of Dylan’s Bootleg Se- Two years later, the recording appeared in Oliver Stone's
ries, Tell Tale Signs, the only songs known to be circulat- controversial film, Natural Born Killers.
ing from these sessions are “Kaatskill Serenade”, “Sloppy
Drunk”, "Polly Vaughan", and “Miss the Mississippi”.
“Duncan and Brady” was included in that set. 2.28.4 Aftermath
When he returned to Malibu in mid-July, Dylan decided
The response to Good as I Been to You was surprisingly
to record some solo acoustic material in his garage stu-
positive, particularly for an album with very modest am-
dio. The intention was to break up the Bromberg record-
bitions. It drew comparisons with the acoustic sets fea-
ings with a few solo performances in between. As those
tured in Dylan’s "Never Ending Tour" shows, drawing
garage sessions progressed, plans were changed, and the
much praise for his interpretive skills. A number of crit-
Bromberg recordings were pulled from the album.
ics pointed out that Dylan’s voice was now physically rav-
Neither Dylan nor Bromberg have explained why the aged, but the focus was often on the phrasing. “Dylan
Bromberg recordings were rejected and put away—they sounds now, in comparison to his younger self, like one
have never been released—and whether Dylan actually of those ghosts,” wrote David Sexton of The Sunday Tele-
disliked them is unknown. It was made clear that Dylan graph, “but a powerful ghost. The effect is not so much
was pleased with the results he was getting in his garage nostalgia...as deeply inward.”
studio, particularly in the minimal production work given
The inaccurate song credits created some controversy for
to the recordings. Producer credit was given to Debbie
Dylan. Nearly half of the songs were incorrectly cred-
Gold, a friend of Dylan’s who took a hands-off approach
ited, and in one case, Dylan faced legal action when Aus-
to the entire proceedings.
tralian folksinger Mick Slocum sued Dylan’s music pub-
lisher over the arrangement credit in “Jim Jones.” Slocum
2.28.2 Song selection recorded his arrangement with his band, The Original
Bushwhackers, in 1975, and Dylan’s publisher was forced
Without the use of notes or lyrics, Dylan recorded a to concede their error.
wide range of traditional songs. "Froggy Went A- Good as I Been to You was successful enough to warrant a
Courtin',” “Blackjack Davey,” and the anti-recruiting sequel, and in less than a year, Dylan would return to the
"Arthur McBride" were part of the British and Irish tra- studio with World Gone Wrong.
dition of folk songs. “Little Maggie” was a popular blue-
grass standard. “Diamond Joe” was well-known thanks
to fellow folk revivalist Ramblin' Jack Elliott. "Frankie 2.28.5 Track listing
and Albert" and “Sittin' on Top of the World” both had
long, deep roots in folk-blues. All songs are traditional, arranged by Bob Dylan, except
Dylan also covered songs that weren't authentically tradi- where noted.
tional, such as “Tomorrow Night” (best known for Lonnie
Johnson’s hit version in 1947 and a version by Elvis Pres- 1. ^ the original album notes incorrectly credit all song
ley released in 1965) and Stephen Foster’s “Hard Times.” arrangements to Bob Dylan.
Though Dylan is credited with all of the arrangements, 2. ^ the original album notes correctly identify “Hard
several arrangements clearly belong to other artists, in- Times” as public domain, as it was published in
cluding the Texas songster Mance Lipscomb. A num- 1855, but the author’s name has now been listed for
ber of publications, including Folk Roots, criticized the complete accuracy.
album for making this error. Lipscomb’s posthumous
oral biography, “I Say Me for a Parable,” edited by Glen 3. ^ the original album notes incorrectly identify “To-
Alyn, notes that Dylan listened to Mance play backstage morrow Night” as public domain. It was written in
at Newport in the early 1960s and then later took the stage 1939 by Sam Coslow and Will Grosz.
and sang Mance’s songs as his own.

2.28.6 Personnel
2.28.3 Outtakes
• Bob Dylan – vocals, guitar, harmonica
When time came to sequence the album, producer Deb-
bie Gold was unable to convince Dylan to include “You • Stephen Marcussen – mastering
2.29. WORLD GONE WRONG 145

• Micajah Ryan – mixing 2.29.2 The songs

• Jimmy Wachtel – front cover photography The balance of songs in World Gone Wrong swung more
towards rural blues. Two had been recorded by the
Mississippi Sheiks, two more by Blind Willie McTell,
2.28.7 References one by Willie Brown, and another by Frank Hutchison.
Songs popularized by Tom Paley and Doc Watson were
[1] Erlewine, Stephen Thomas. Good as I Been to You at also recorded.
AllMusic
In the case of “The Two Soldiers”, Dylan had been per-
[2] Robert Christgau review forming it live since 1988. As Clinton Heylin writes, on
World Gone Wrong Dylan invested it “with that classic
[3] Wild, David (1993-01-07). “Bob Dylan: Good As impersonality the true traditionalist seeks”.
I Been To You : Music Reviews : Rolling Stone”.
web.archive.org. Archived from the original on 2007-10-
01. Retrieved 10 September 2011. 2.29.3 Outtakes

Five songs were leftover from the sessions, including ver-

2.29 World Gone Wrong sions of “Goodnight My Love”, “Twenty-One Years”,
Robert Johnson's “32-20 Blues” and the Carter Family's
World Gone Wrong is the twenty-ninth studio album by “Hello Stranger”. In 2008, “32-20 Blues” and another
American singer-songwriter Bob Dylan, released on Oc- outtake from these sessions, “Mary and the Soldier”, were
tober 26, 1993 by Columbia Records. released on The Bootleg Series Vol. 8: Tell Tale Signs.

It was Dylan’s second consecutive collection of only tra-

ditional folk songs, performed acoustically with guitar 2.29.4 Aftermath
and harmonica. The songs tend to deal with darker and
more tragic themes than the previous outing, Good as I The response to World Gone Wrong was very positive,
Been to You. with many regarding it as superior to Good as I Been to
The album received a warm, if not excited, reception You.
from critics. Despite earning a Grammy award for Best Robert Christgau gave it an A– in his Consumer Guide
Traditional Folk Album, it peaked at number 70 in the column published in The Village Voice. “Dylan’s second
US, and at number 35 in the UK. attempt to revive the folk music revival while laying down
a new record without writing any new songs is eerie and
enticing,” wrote Christgau.
2.29.1 The recording sessions
Ira Robbins wrote in Newsday that “the record expresses
Like its predecessor Good as I Been to You, World Gone as much about Bob Dylan’s art as any collection of orig-
Wrong was recorded to fulfill the terms of his January 18, inals.” Even music critic Bill Wyman, who dismissed
1988, contract. It would be the final album released under Good as I Been to You, wrote that “it’s a testament to his
that contract. unpredictability that [Good as I Been to You] is tedious
and World Gone Wrong is a signal document, a mesmer-
In May 1993, Dylan once again held sessions at his Mal- izing and sanguinary walk down the blood-soaked history
ibu home inside his garage studio. Recorded solo in a of folk and blues. It also has his best liner notes since the
matter of days, a total of 14 songs were recorded with- 1960s.”
out a single change in guitar strings. Marked by distor-
tion, the recording quality was very primitive by modern Wyman was not the only critic enamored with the liner
standards, with very casual microphone placement and notes, which are written in strange, verbose prose. Andy
very little tuning. There were some rumors that Dylan Gill of The Independent wrote, “it’s the liner notes
had mastered the album from cassette tapes, as Bruce that offer the most interesting aspect of the album …
Springsteen had done with Nebraska, but those rumors [With] the songs steeped in deceit, treachery, venality and
have been as difficult to prove as they have been to dis- despair—not to mention his sometimes slightly berserk
miss. annotations—the picture builds up of the Blues as Bible
Study, a series of lessons to be interpreted.” Christgau,
Possibly influenced by the controversy surrounding Good Greg Kot of The Chicago Tribune, and many others ex-
as I Been to You, Dylan wrote a complete set of liner notes pressed their enjoyment in reading the liner notes.
to World Gone Wrong, citing all possible sources. It had
been decades since Dylan had written his own liner notes, World Gone Wrong went on to place 23rd on The Village
and they were always surrealistic; these notes, while still Voice 's Pazz & Jop Critics Poll for 1993.
playfully written, were actually informative. Following its release, Dylan was temporarily a freelance
146 CHAPTER 2. STUDIO ALBUMS

artist. As possible promotion for World Gone Wrong,
Dylan arranged for an acoustic television special to be
accompanied by a live album release. Scheduled for
mid-November at Manhattan’s Supper Club, Dylan was
accompanied by his current touring band, pedal steel
and slide guitarist Bucky Baxter, guitarist John Jackson,
bassist Tony Garnier, and drummer Winston Watson.
After a series of rehearsals, Dylan performed four shows
in front of a live audience, “invest[ing] 'Jack-A-Roe,'
'Delia,' and Blind Boy Fuller's 'Weeping Willow' with a
power and passion that had been missing from a whole
year of lackluster performances,” wrote Clinton Heylin.
In addition to songs from his two most recent albums,
the group performed acoustic renditions of “Ring Them
Bells” and “Queen Jane Approximately” “that spoke with
all the hurt that inner voice felt when left crying to be
heard”.
For reasons never explained, the TV broadcast and CD
planned from these performances were all scrapped. It
was an expensive decision, as Dylan had paid all expenses
out of his own pocket, including those for a film crew and
a multitrack digital console. Everything was filmed and
recorded, but the results were shelved indefinitely (and are
now widely bootlegged.)
At the end of 1993, Sony signed Dylan to another con-
tract good for ten albums. A compilation and a live al-
bum would follow, but Dylan would take four years be-
fore releasing his next studio album, Time Out of Mind, a
collection of originals that won far more media attention
than World Gone Wrong.
2.29.5 Track listing
[5] Collis, Clark (January 1994). “Bob Dylan World Gone
Wrong". Select. p. 72.
2.30 Time Out of Mind
This article is about the Bob Dylan album. For other
uses, see Time Out of Mind (disambiguation).
Time Out of Mind is the thirtieth studio album by
the American singer-songwriter Bob Dylan, released on
September 30, 1997, by Columbia Records. It was his
first double studio album (on vinyl) since Self Portrait in
1970. It was also released as a single CD.
For fans and critics, the album marked Dylan’s artistic
comeback after he struggled with his musical identity
throughout the 1980s; he hadn't released any original ma-
terial for seven years, since Under the Red Sky in 1990.
Time Out of Mind is hailed as one of Dylan’s best albums,
and it went on to win three Grammy Awards, including
Album of the Year in 1998. It was also ranked number
408 on Rolling Stone's list of The 500 Greatest Albums
of All Time in 2003.[1]
The album features a particularly atmospheric sound, the
work of producer (and past Dylan collaborator) Daniel
Lanois, whose innovative work with carefully placed mi-
crophones and strategic mixing was detailed by Dylan in
the first volume of his memoirs, Chronicles: Volume One.
Although Dylan has spoken positively of Lanois’ produc-
tion style (especially for his 1989 album Oh Mercy), he
expressed dissatisfaction with the sound of Time Out of
Mind. Dylan has self-produced his subsequent albums.

All songs are Traditional, arranged by Bob Dylan, except

where noted. 2.30.1 Background and writing
In April 1991, Dylan told interviewer Paul Zollo that
2.29.6 Personnel “there was a time when the songs would come three or
four at the same time, but those days are long gone...Once
• Bob Dylan – vocals, guitar, harmonica, production, in a while, the odd song will come to me like a bulldog
liner notes at the garden gate and demand to be written. But most
of them are rejected out of my mind right away. You get
caught up in wondering if anyone really needs to hear it.
2.29.7 References Maybe a person gets to the point where they have written
enough songs. Let someone else write them.”[2]
[1] Erlewine, Stephen Thomas. “Bob Dylan World Gone Dylan’s last album of original material had been 1990’s
Wrong". AllMusic. Retrieved May 19, 2015.
Under the Red Sky, a critical and commercial disappoint-
[2] link ment. Since then, he had released two albums Good As
I Been To You and World Gone Wrong of folk covers
[3] Graff, Gary; Durchholz, Daniel (eds) (1999). Musi- and MTV Unplugged, a live album of older compositions;
cHound Rock: The Essential Album Guide. Farmington there had been no signs of any fresh compositions until
Hills, MI: Visible Ink Press. p. 371. ISBN 1-57859-061- 1996.
2.
Dylan began to write a fresh string of songs during the
[4] “Bob Dylan: Album Guide”. rollingstone.com. Archived winter of 1996 at his farm in Minnesota, which would
from the original on January 24, 2011. Retrieved May 19, later make up Time Out of Mind.[3] Criteria Studio in
2015. Miami, Florida, was booked for recording. In a televised
2.30. TIME OUT OF MIND 147

interview with Charlie Rose, Lanois recalled Dylan talk- Lanois admitted some difficulty in producing Dylan.
ing about spending a lot of late nights working on this “Well, you just never know what you're going to get. He’s
chapter of work. Once the words were completed, ac- an eccentric man...”[4] In a later interview, Lanois said
cording to Lanois, Dylan considered the record to be fin- Dylan and he used to go the parking lot to discuss the
ished saying, “you know whatever we decide to do with recording in absence of the band. Lanois elaborated their
it, that’s that.” Lanois replied: “what’s important is that
discussion on the song “Standing In The Doorway”. “I
it’s written.”[4] said 'listen, I love "Sad Eyed Lady of the Lowlands". Can
we steal that feel for this song?' And he'd say 'you think
that'd work?' Then we'd sit on the fender of a truck, in
2.30.2 Recording sessions this parking lot in Miami, and I'd often think, if people
see this they won't believe it!"[8] With Time Out of Mind,
Lanois “produced perhaps the most artificial-sounding al-
When Bob read me the lyrics of this record we were at
bum in [Dylan]'s canon,” says author Clinton Heylin, who
a hotel room here in New York city. The words were
described the album as sounding “like a Lanois CV.”[9]
hard, were deep, were desperate, were strong.... That’s
the record I wanted to make. I just wanted to say, one time when I was about sixteen or
seventeen years old, I went to see Buddy Holly play at the
“
Duluth National Guard Armory...I was three feet away
”
from him...and he looked at me. And I just have some
Daniel Lanois[5]
sort of feeling that he was—I don't know how or why—
but I know he was with us all the time we were making
Dylan demoed some of the songs in the studio, something this record in some kind of way.
he rarely did.[3] Elements of Dylan’s touring band were
“
involved in these sessions. Dylan also used these loose,
”
informal sessions to experiment with new ideas and ar-
Bob Dylan[5]
rangements. Dylan continued rewriting lyrics until Jan-
uary 1997, when the official album sessions began. It
would mark the second collaboration between Dylan and Dylan talked about his difficulty at the recording sessions
Lanois, who had previously produced Dylan’s 1989 re- in an interview with Guitar World magazine. “I lose my
lease Oh Mercy and was known for his work with U2, inspiration in the studio real easy, and it’s very difficult
Emmylou Harris, etc. for me to think that I'm going to eclipse anything I've
ever done before. I get bored easily, and my mission,
By now, new personnel hired for the album included slide
which starts out wide, becomes very dim after a few failed
guitarist Cindy Cashdollar and drummer Brian Blade,
takes and this and that.” In the same interview Dylan cited
both hired by Lanois. Dylan brought in Jim Keltner, who
Buddy Holly as an influence during the recording ses-
was Dylan’s tour drummer from 1979 to 1981. Dylan
sions.
also hired Nashville guitarist Bob Britt, Duke Robillard,
Tex-Mex organist Augie Meyers, and Memphis pianist In relation to past works like Highway 61 Revisited, Blood
Jim Dickinson to play at the sessions. on the Tracks, and Infidels, Dylan said:
According to Lanois, Dylan likes old 1950s records since
“they had a natural depth of field which was not the result 2.30.3 Songs
of a mixing technique.” He used a Sony C37A micro-
phone, which was also used to record Dylan’s album Oh “Love Sick”
Mercy. Various other devices were used to produce the
album’s distinctive sound. Lanois also devised a method
Main article: Love Sick (Bob Dylan song)
to accommodate new or revised lyrics later in an original
take, since this was often the case with Dylan.[6]
The first track on this album is “Love Sick”, which was
With two different sets of players competing in perfor-
later also released as a single. Daniel Lanois later said
mance and two producers with conflicting views on how
about the recording process of this song, “We treated
to approach each song, the sessions were far from disci-
the voice almost like a harmonica when you over-drive
plined. Years later, when asked about Time Out of Mind,
it through a small guitar amplifier.”[11]
Dickinson replied, “I haven't been able to tell what’s actu-
ally happening. I know they were listening to playbacks,
I don't know whether they were trying to mix it or not! “Dirt Road Blues”
Twelve musicians playing live—three sets of drums,... it
was unbelievable—two pedal steels, I've never even heard “Dirt Road Blues” was improvised from a country-blues
two pedal steels played at the same time before! ... I don't riff of indeterminate origin. Lanois recalls, “He made me
know man, I thought that much was overdoing it, quite pull out the original cassette, sample sixteen bars and we
frankly. "[7] all played over that [for the released version],...”[8] Some
148 CHAPTER 2. STUDIO ALBUMS

critics criticized the performance for being 'mediocre' Main article: Cold Irons Bound
and for destroying the mood that was set up by the open-
ing track. Michael Gray writes, "‘Dirt Road Blues’, whichThe next song, “Cold Irons Bound”, won the 1998
might under normal production circumstances be a heart- Grammy for best male rock vocal performance. Oliver
ening, even dexterous little rockabilly number, puts Dy- Trager describes the track as “biting” with “ricocheting
lan so far away and so tiny you just despair.”[12] guitar licks, rockabilly drums, distorted organ, and [a]
voice floating in a blimp of its own echo,” in which “one
“Tryin' to Get to Heaven” can still hear, to paraphrase 'Visions of Johanna,' the
ghost of electricity howling from the bones of Dylan’s
[15]
One of the most praised songs of Time Out of Mind is face...” Michael Gray also describes this song in de-
“Tryin' to Get to Heaven”, largely because of Dylan’s tail:
strong and clear vocals. It is also Dylan’s only harmon-
ica performance on the entire album. “There’s an interesting tension, too, in
'Cold Irons Bound,' perhaps more accurately
an interesting inappropriateness between, on
"'Til I Fell in Love with You” one side, the grinding electronic blizzard of
the music and the cold, aircraft-hangar echo of
This is a slow blues accompanied by syncopated electric the voice lamenting its sojourn across a lethal
piano, organ, and a “distant” echoing guitar. planet—fields turned brown, sky lowering with
clouds of blood, winds that can tear you to
“Not Dark Yet” shreds, mists like quicksand—and on the other
side the recurrently stated pursuit of tender-
ness, in phrases that seem imported from an-
Main article: Not Dark Yet other consciousness..”[16]

“Not Dark Yet”, the second of two singles from the album,
was described by Time magazine as 'the moody album’s
centre' and was included in its Ten Best Bob Dylan Songs
article of 2011.[13] “Not Dark Yet” was recorded at the
early recording sessions and featured “a radically differ-
ent feel”, according to Lanois. "[The demo of 'Not Dark
Yet'] was quicker and more stripped-down and [later dur-
ing the formal studio sessions], he changed it into a civil
war ballad.”[8]
The song has been subject to a literary analysis by Pro-
fessor Christopher Ricks which he claims demonstrates
the clearest example of John Keats' influence on Dylan’s
writing. In his book Dylan’s Visions of Sin, Ricks, a
Boston University professor of humanities, draws paral-
lels between “Not Dark Yet” and the Keats’ poem Ode to
a Nightingale. Broken down line for line, “similar turns of
phrase, figures of speech, [and] felicities of rhyming” can
be found throughout “Not Dark Yet” and the Ode. Ricks
also argues that “there is a strong affinity with Keats in
the way that in the song night colours, darkens, the whole
atmosphere while never being spoken of,” just as Keats
used winter to color and darken the atmosphere in another
poem he wrote, To Autumn. “Dylan’s refrain or burden
is 'It’s not dark yet, but it’s getting there.' He bears it and
bares it beautifully, with exquisite precision of voice, dry
humour, and resilience, all these in the cause of fortitude
at life’s going to be brought to an end by death.”[14] A pro-
motional video of this song was released. Since, original
song was later attached to the footage there was no actual
performance.
“Make You Feel My Love”
Main article: Make You Feel My Love
The song “Make You Feel My Love” was recorded twice
under the title "To Make You Feel My Love" by other
artists: Billy Joel recorded the song for his Greatest Hits
Volume III collection; Garth Brooks recorded it first for
the Hope Floats soundtrack. It was recorded under the
original title by Bryan Ferry on Dylanesque and by Adele
on 19. This song was criticized for its lyrical inferiority
by Robert Christgau[17] and Greg Kot of Rolling Stone.
In his review, Kot described the track as “a spare bal-
lad undermined by greetingcard lyrics [that] breaks the
album’s spell”.[18] Opposing his view, Dylan critic Paul
Williams said that it was “refreshing” to his ears. He said:
"...the ultimate effect is to strengthen the spell the whole
record casts—thus musical and verbal break is exactly in
place”[19]
“Can't Wait”
The penultimate track of the album is “Can't Wait”. An
alternate version of this song is included in the album The
Bootleg Series Vol. 8 – Tell Tale Signs: Rare and Un-
released 1989–2006. Greg Kot wrote, “On Time Out of
Mind, [Dylan] paints a self-portrait with words and sound
that pivots around a single line from the album’s penulti-
mate song, 'Can't Wait': “That’s how it is when things
disintegrate.""[18]

“Cold Irons Bound” “Highlands”

2.30. TIME OUT OF MIND 149

Main article: Highlands (song) Two more songs, “Red River Shore” (which according
to Jim Dickinson was “the best song there was from the
[22]
The closing track, the longest composition ever recorded session” ) and “Marching to the City” (which evolved
by Dylan, the 16-minute “Highlands”, most probably into "'Til I Fell in Love with You”), were left off the final
took its central motif (“My heart’s in the highlands”) from cut. They were both included on Tell Tale Signs.
a poem by Robert Burns called “My heart’s in the high- On past albums, some fans have criticized Dylan for some
lands” (published in 1790).[20][21] In Jim Dickinson’s ac- of the creative decisions made with his albums, particu-
count, “I remember, when we finished 'Highlands’—there larly with song selection. Time Out of Mind was no dif-
are two other versions of that, the one that made the ferent except this time the criticism came from colleagues
record is the rundown, literally, you can hear the beat turn who were disappointed to see their personal favorites left
over, which I think Dylan liked. But, anyway, after we on the shelf. When Dylan accepted the Grammy Award
finished it, one of the managers came out, and he said, for Album of the Year, he mentioned Columbia Records
“Well, Bob, have you got a short version of that song?” chairman Don Ienner, who “convinced me to put [the al-
And Dylan looked at him and said: 'That was the short bum] out, although his favorite songs aren't on it.”[5]
version.'"[22]
The song describes a story of the narrator and his inter-
actions with a waitress of a restaurant in Boston Town. 2.30.5 Reception
Dylan mentions Neil Young and Erica Jong in this song.
Keith Phillips of The A. V. Club wrote: “The mate-
Commercial reception
rial here is generally slow and meditative, lending the
work a consistent tone appropriately capped by the 16-
minute “Highlands,” a "Desolation Row"-style experi- Time Out of Mind was a commercial success for Dylan.
ment with an extended song form; it’s further proof that It was widely hailed as Dylan’s comeback album and U.S.
the singer/songwriter is far from coasting.”[23] sales soon passed platinum[27] and stayed on best-selling
charts for 29 weeks.[28] In UK the sales passed gold.[29]
The album, in other countries also, managed to secure po-
sitions on best-selling charts and remained there for sev-
2.30.4 Outtakes eral weeks.

Fifteen different songs were recorded for Time Out of

Mind, of which eleven would make the final cut.[24] Critical reception
The first song that did not was "Mississippi", which was
re-recorded for “Love and Theft”. According to Dy- Time Out of Mind received mostly positive reviews from
lan, “If you had heard the original recording of ['Mis- critics. Robert Christgau said “The hooks are Dylan’s
sissippi'], you'd see in a second” why it was omitted and spectral vocals—just his latest ventriloquist’s trick, a
recut for Love and Theft. “The song was pretty much new take on ancient, yet so real, so ordained—and a
laid out intact melodically, lyrically and structurally, but band whose quietude evokes the sleepy postjunk funk of
Lanois didn't see it. Thought it was pedestrian. Took Clapton’s 461 Ocean Boulevard without the nearness of
it down the Afro-polyrhythm route—multirhythm drum- sex.”[17] On the NY Rock website, critic Cook Young
ming, that sort of thing. Polyrhythm has its place, called the album’s songs “superb”.[32] He described Time
but it doesn't work for knife-like lyrics trying to con- Out of Mind as “a curious album. It’s sort of two records
vey majesty and heroism.”[25] Dylan offered the song to mixed together. Half the songs compare to the introspec-
Sheryl Crow,[26] who recorded it for The Globe Sessions, tive plaintive compositions that we witnessed on Blood on
released in 1998, before Dylan revisited it for “Love and the Tracks. The other half are 12-bar blues ditties that of-
Theft”. Three outtakes of “Mississippi” from the Time ten sound as if Bob is making ’em up as he goes.”[32]
Out Of Mind sessions were included on The Bootleg Series Some critics criticized Lanois’ production on Time Out of
Vol. 8 – Tell Tale Signs: Rare and Unreleased 1989–2006 Mind. Allmusic senior editor Stephen Thomas Erlewine
(two versions on the generally released discs and one on wrote, "...Time Out of Mind has a grittier foundation—
a bonus disc included with the Deluxe Edition of the al- by and large, the songs are bitter and resigned, and Dy-
bum). lan gives them appropriately anguished performances.
A second outtake, "Dreamin' of You"', since released on Lanois bathes them in hazy, ominous sounds, which may
Tell Tale Signs, was unveiled for the first time as a free suit the spirit of the lyrics, but are often in opposition
download on Dylan’s website. Dreamin' of You’s lyrics to Dylan’s performances.”[30] Michael Gray writes, “The
were largely adapted into “Standing in the Doorway”, sound is elsewhere unhelpful too on Time Out of Mind.
though the melody and music are completely different. Some tracks have Dylan so buried in echo that there is no
The music video, which starred Harry Dean Stanton, pre- hope of hearing the detailing in his voice that was once
miered on Amazon.com. so central and diamondlike a part of his genius.”[33]
150 CHAPTER 2. STUDIO ALBUMS

2.30.6 Aftermath 2.30.7 Track listing

Shortly after completing the album, Dylan became se- All songs written by Bob Dylan.
riously ill with near-fatal histoplasmosis. His forthcom-
ing tour was canceled, and he spent most of June 1997
in excruciating pain.[34] A potentially serious condition 2.30.8 Personnel
(caused by the fungal infection histoplasma capsulatum),
it makes breathing very difficult. “It was something called • Bob Dylan – guitar, harmonica, piano, vocals,
histoplasmosis that came from just accidentally inhaling production
a bunch of stuff that was out on one of the rivers by where
I live,” said Dylan. “Maybe one month, or two to three Additional musicians
days out of the year, the banks around the river get all
mucky, and then the wind blows and a bunch of swirling • Bucky Baxter – acoustic guitar, pedal steel on
mess is in the air. I happened to inhale a bunch of that. “Standing in the Doorway”, “Tryin' to Get to
That’s what made me sick. It went into my heart area, but Heaven”, “Not Dark Yet”, and “Cold Irons Bound”
it wasn't anything really attacking my heart,” Dylan told
Guitar World magazine.[10] • Brian Blade – drums on “Love Sick”, “Standing in
the Doorway”, “Million Miles”, "'Til I Fell in Love
In light of Dylan’s May 1997 health scare, a number with You”, “Not Dark Yet”, and “Can't Wait”
of columnists, including Dylanologist A.J. Weberman,
speculated that the songs on Time Out of Mind were in- • Robert Britt – Martin acoustic, Fender Stratocaster
spired by an increased awareness of his own mortality. on “Standing in the Doorway”, "'Til I Fell in Love
This was despite the fact that all of the songs were com- with You”, “Not Dark Yet”, and “Cold Irons Bound”
pleted, recorded, and even mixed before he was hospi-
talized. In interviews following its release, Dylan, also, • Cindy Cashdollar – slide guitar on “Standing in the
downplayed these speculations with much reserve. [10] Doorway”, “Tryin' to Get to Heaven”, and “Not
Dark Yet”
My recollection of that record is that it was a struggle. A
struggle every inch of the way. Ask Daniel Lanois, who • Jim Dickinson – keyboards, Wurlitzer electric pi-
was trying to produce the songs. Ask anyone involved in ano, pump organ on “Love Sick”, “Dirt Road Blues”,
it. They all would say the same....As a result, though it “Million Miles”, “Tryin' to Get to Heaven”, “Til I
held together as a collection of songs, that album sounds Fell in Love with You”, “Not Dark Yet”, “Can't
to me a little off. There’s a sense of some wheels going Wait”, and “Highlands”
this way some wheels going that, but hey, we're just about
getting there. • Tony Garnier – bass guitar, upright bass

“ • Jim Keltner – drums on “Love Sick”, “Standing in

” the Doorway”, “Million Miles”, “Tryin' to Get to
Bob Dylan[35] Heaven”, "'Til I Fell in Love with You”, “Not Dark
Yet”, and “Can't Wait”
Beside being ranked as number 408 on Rolling Stone mag- • David Kemper – drums on “Cold Irons Bound”
azine’s list of the 500 greatest albums of all time, in both
Pazz & Jop's critics poll[36] and Uncut magazine,[37] Time • Daniel Lanois – guitar, mando-guitar, Firebird,
Out of Mind was voted as album of the year. Martin 0018, Gretsch gold top, rhythm guitar, lead
guitar, production, photography
• Tony Mangurian – percussion on “Standing in
40th Grammy Awards
the Doorway”, “Million Miles”, “Can't Wait”, and
“Highlands”
At the 1998 Grammy Awards, Time Out of Mind won
in the categories of Album of the Year, Best Contempo- • Augie Meyers – Vox organ combo, Hammond B3
rary Folk Album and, for “Cold Irons Bound”, Best Male organ, accordion
Rock Vocal Performance. At the awards ceremony Dy-
lan performed the song “Love Sick”. During the perfor- • Duke Robillard – guitar, electric l5 Gibson (“Million
mance, Michael Portnoy, an American multimedia artist Miles”, “Tryin' to Get to Heaven”, and “Can't Wait”)
and choreographer, ripped off his shirt, ran up next to Dy-
• Winston Watson – drums on “Dirt Road Blues”
lan, and started dancing and contorting spastically with
the words “Soy Bomb” painted in black across his chest.
Dylan shot an alarmed glance at Portnoy, but carried on Technical personnel
playing. Portnoy continued to dance for about 40 sec-
onds, until security escorted him off stage.[38] • Chris Carrol – assistant engineering
2.30. TIME OUT OF MIND
• Joe Gastwirt – mastering engineering
• Mark Howard – engineering
• Geoff Gans – art direction
• Susie Q. – photography
• Mark Seliger – photography
2.30.9 Sales chart positions and certifica-
tion
Charts
Certifications
2.30.10 References
[1] "#408 Time Out of Mind” "The 500 Greatest Albums of
All Time" November 1, 2003. Retrieved December 21,
2010.
[2] Zollo, Paul. “Song talk interview by Paul Zollo”. GBS No.
3 booklet. Retrieved December 12, 2010.
[3] Drozdowski, Ted. "'97 flashback:How Bob Dylan’s Time
Out of Mind Survived Stormy Studio Sessions”. gib-
son.com. Retrieved December 17, 2010.
[4] “Daniel Lanois interview with Charlie Rose”. char-
lierose.com. Retrieved December 15, 2010.
[5] 1998 Grammy Album of the year acceptance speech.
[6] “Lanois interview”. neuhouse.com. Retrieved December
17, 2010.
[7] “Jim Dickinson 2002 interview”. furious.com. Retrieved
December 15, 2010.
[8] Thomson, Elizabeth and Gutman, David (2001). “Jack-
son, Joe (1997). “Ruminations on Mortality"". The Dylan
Companion. Da Capo Press. pp. 306–09. ISBN 0-306-
80968-0.
[9] Heylin, Clinton (2001). Bob Dylan: Behind the Shades
Revisited. HarperCollins. p. 699. ISBN 0-06-052569-X.
[10] Dylan, Bob (March 1999). Guitar world interview. Inter-
view with Murray Engleheart.
[11] Gray, Michael. The Bob Dylan Encyclopedia. The Con-
tinuum International Publishing. p. 433.
[12] Gray, Michael. The Bob Dylan Encyclopedia. The Con-
tinuum International Publishing. p. 397.
[13]
[14] Ricks, Christopher B. (2004). Dylan’s Visions of Sin.
HarperCollins. p. 369. ISBN 0-06-059923-5.
[15] Trager, Oliver (2004). Keys to the Rain: The Definitive
Bob Dylan Encyclopedia'. Billboard Books. p. 110.
151
[16] Gray, Michael (2000). Song & Dance Man III: The Art of
Bob Dylan. Continuum. p. 750.
[17] Christgau, Robert. “Review of Time Out of Mind”.
robertchristgau.com. Retrieved December 18, 2010.
[18] Kot, Greg. “Review of Time Out of Mind”. Rolling Stone
magazine. Retrieved December 18, 2010.
[19] Williams, Paul (2005). Bob Dylan, Performing Artist:
1986–1990 and beyond (Mind Out Of Time). Omnibus
Press. pp. 315–316. ISBN 1-84449-831-X.
[20] dylanchords.info. “Time Out of Mind on Dylan-
chords.info”. Retrieved December 20, 2010.
[21] Williams, Paul (2005). Bob Dylan, Performing Artist:
1986–1990 and beyond (Mind Out Of Time). Omnibus
Press. p. 317. ISBN 1-84449-831-X.
[22] “Jim Dickinson on Uncut”. uncut.co.uk. Retrieved De-
cember 20, 2010.
[23] Phillips, Keith. “A.V. Club review of Time Out of Mind".
avclub.com. Retrieved December 19, 2010.
[24] “Time Out of Mind outtakes”. bjorner.com. Retrieved
December 20, 2010.
[25] Carvill, John. “You Had To Ask Me Where It Was At:
Bob Dylan & the Media”. oomska.co.uk. Retrieved De-
cember 20, 2010.
[26] “For A&m, The Globe’s The Limit On Third Sheryl Crow
Album”, By MELINDA NEWMAN, Publication: Bill-
board, Date: Saturday, August 29, 1998
[27] “RIAA certification”. Recording Industry Association of
America. Retrieved December 22, 2010.
[28] Billboard chart
[29] “Certified Awards Search”. British Phonographic Indus-
try. 2010. Retrieved December 20, 2010.
[30] Erlewine, Stephen Thomas. “Allmusic review of Time
Out of Mind”. allmusic. Retrieved December 20, 2010.
[31] Walter, Miguel. “Review of Time Out of Mind”. Sput-
nikmusic.com. Retrieved December 18, 2010.
[32] Young, Cook. “Review of Time Out of Mind”. NY Rock.
Retrieved December 20, 2010.
[33] Gray, Michael. The Bob Dylan Encyclopedia. Contin-
uum. p. 398.
[34] Weber, Bruce (May 29, 1997). " “Dylan in Hospital With
Chest Pains; Europe Tour Is Off”. The New York Times.
Retrieved May 25, 2010.
[35] “Sunday L. A. Times interview with Dylan”. new-
pony.com. Retrieved December 20, 2010.
[36] “The 1997 Pazz & Jop Critics Poll”. robertchristgau.com.
Retrieved December 20, 2010.
[37] “Uncut album of the year list”. rocklistmusic.co.uk. Re-
trieved December 20, 2010.
152 CHAPTER 2. STUDIO ALBUMS

[38] “NY Times reprint”. Expectingrain.com. 1998-03-03.
Retrieved 2012-09-28.
[39] “Bob Dylan -Time Out of Mind charts”.
Charts.com. Retrieved December 26, 2010.
[40] Ready of AFYVE: 1997
[41] Official Charts Company
of American music—jump blues, slow blues,
rockabilly, Tin Pan Alley ballads, Country
Swing—that evokes the sprawl, fatalism and
Austrian-
subversive humor of Dylan’s sacred text, Harry
Smith's Anthology of American Folk Music, the
pre-rock voicings of Hank Williams, Charley
Patton and Johnnie Ray, among others, and the
ultradry humor of Groucho Marx.

2.31 Love and Theft Offered the song by Dylan, Sheryl Crow later recorded
an up-tempo cover of "Mississippi" for her The Globe
Sessions, released in 1998, before Dylan revisited it for
Love and Theft is the thirty-first studio album by Amer- Love and Theft. Subsequently the Dixie Chicks made it
ican singer-songwriter Bob Dylan, released on Septem- a mainstay of their Top of the World, Vote for Change,
ber 11, 2001 by Columbia Records. Though often re- and Accidents & Accusations Tours.
ferred to without quotations, the correct title is “Love
and Theft”. It featured backing by his touring band of As music critic Tim Riley notes, "[Dylan’s] singing
the time, with keyboardist Augie Meyers added for the [on Love and Theft] shifts artfully between humble and
sessions. It peaked at #5 on the Billboard 200, and has ironic...'I'm not quite as cool or forgiving as I sound,' he
been certified with a gold album by the RIAA.[1] A lim- sings in 'Floater,' which is either hilarious or horrifying,
[2]
ited edition release included two bonus tracks on a sepa- and probably a little of both.”
rate disc recorded in the early 1960s, and two years later, "Love and Theft is, as the title implies, a kind of homage,”
on September 16, 2003, this album was one of fifteen Dy- writes Kot, "[and] never more so than on 'High Water (for
lan titles reissued and remastered for SACD hybrid play- Charley Patton),' in which Dylan draws a sweeping por-
back. trait of the South’s racial history, with the unsung blues
singer as a symbol of the region’s cultural richness and
ingrained social cruelties. Rumbling drums and moan-
2.31.1 Content ing backing vocals suggest that things are going from bad
to worse. 'It’s tough out there,' Dylan rasps. 'High wa-
The album continued Dylan’s artistic comeback follow- ter everywhere.' Death and dementia shadow the album,
ing 1997’s Time Out of Mind and was given an even more tempered by tenderness and wicked gallows humor.”
enthusiastic reception. The title of the album was ap-
parently inspired by historian Eric Lott’s book Love & "'Po Boy', scored for guitar with lounge chord jazz pat-
Theft: Blackface Minstrelsy and the American Working terns, 'almost sounds as if it could have been recorded
Class, which was published in 1993. "Love and Theft around 1920,” says Riley. “He leaves you dangling at the
becomes his Fables of the Reconstruction, to borrow an end of each bridge, lets the band punctuate the trail of
R.E.M. album title”, writes Greg Kot in The Chicago Tri- words he’s squeezed into his lines, which gives it a reluc-
bune (published September 11, 2001), “the myths, mys- tant soft-shoe charm.”
teries and folklore of the South as a backdrop for one of In a critique, “A missed work of genius”, Tony Attwood
the finest roots rock albums ever made.” compares the lyrics of “Honest With Me” with Dylan’s
The opening track, “Tweedle Dee & Tweedle Dum”, in- 1965 song "Just Like Tom Thumb’s Blues", concluding
[3]
cludes many references to parades in Mardi Gras in New that the former song is “utter brilliance”
Orleans, where participants are masked, and “determined The album closes with “Sugar Baby”, a lengthy, dirge-
to go all the way” of the parade route, in spite of being in- like ballad, noted for its evocative, apocalyptic imagery
toxicated. “It rolls in like a storm, drums galloping over and sparse production drenched in echo. Praising it as “a
the horizon into ear shot, guitar riffs slicing with terse finale to be proud of,” Riley notes that “Sugar Baby” is
dexterity while a tale about a pair of vagabonds unfolds,” “built on a disarmingly simple riff that turns foreboding.”
writes Kot. “It ends in death, and sets the stage for an
album populated by rogues, con men, outcasts, gamblers,
gunfighters and desperados, many of them with nothing 2.31.2 Recording
to lose, some of them out of their minds, all of them
quintessentially American. This album has been incorrectly cited as being recorded
digitally into Pro Tools. This album was recorded to a
They're the kind of twisted, instantly mem- Studer A800 mkIII @ 30ips on BASF/Emtec 900 tape at
orable characters one meets in John Ford's +6/250 nanowebers per meter. Pro Tools was used solely
westerns, Jack Kerouac's road novels, but, for editing of specific tracks and was thus used very spar-
most of all, in the blues and country songs ingly. Whatever work was done in Pro Tools was flown
of the 1920s, '30s and '40s. This is a tour right back to the 2-inch (51 mm) masters. It was mixed
2.31. LOVE AND THEFT 153

from the 2-inch (51 mm) masters to an Ampex ATR-102 2.31.6 Track listing
1-inch 2-track customized by Mark Spitz at ATR Ser-
vices. All songs written and composed by Bob Dylan.
In an interview conducted by Alan Jackson for The Times
Magazine in 2001, before the album was released, Dylan 2.31.7 Personnel
said “these so-called connoisseurs of Bob Dylan music...I
don't feel they know a thing, or have any inkling of who I • Bob Dylan — vocals, guitar, piano, record produc-
am and what I’m about. I know they think they do, and yet tion
it’s ludicrous, it’s humorous, and sad. That such people
have spent so much of their time thinking about who? • Larry Campbell — guitar, banjo, mandolin, violin
Me? Get a life, please. It’s not something any one person
• Charlie Sexton — guitar
should do about another. You’re not serving your own life
well. You’re wasting your life.” • Augie Meyers — accordion, Hammond B3 organ,
Vox organ
• Tony Garnier — bass
2.31.3 Reception
• David Kemper — drums
In a glowing review for his “Consumer Guide” column • Clay Meyers — bongos
published by The Village Voice, Robert Christgau wrote:
“If Time Out of Mind was his death album—it wasn't, • Chris Shaw — engineering
but you know how people talk—this is his immortality
album.” Christgau gave the album an A+. Later, when
The Village Voice conducted its annual Pazz & Jop Crit- 2.31.8 References
ics Poll, Love and Theft topped the list, the third Dylan
[1] RIAA website retrieved 03-12-10. Archived 2 September
album to accomplish this.[14] It also topped Rolling Stone 2008 at WebCite
[15]
's list. Q listed Love and Theft as one of the best 50
albums of 2001.[16] [2] Public Arts review
In 2012, the album was ranked #385 on Rolling Stone’s [3] http://bob-dylan.org.uk/archives/329
500 Greatest Albums of All Time, while Newsweek
[4] Allmusic Review
magazine pronounced it the second best album of its
decade.[17] In 2009, Glide Magazine ranked it as the #1 [5] The A.V. Club Review Archived 20 June 2007 at WebCite
Album of the Decade.[18] Entertainment Weekly put it on
its end-of-the-decade, “best-of” list, saying, “The pre- [6] Blender, October 2001, p.102.
dictably unpredictable rock poet greeted the new millen- [7] Robert Christgau Review
nium with a folksy, bluesy instant classic.”[19]
[8] Music Box Review Archived 20 June 2007 at WebCite

[9] PopMatters Review Archived 16 November 2007 at

2.31.4 Chart positions WebCite

[10] Q, October 2001, p.122.

2.31.5 Allegations of plagiarism [11] Rolling Stone Review

“Love and Theft” generated controversy when some sim-
ilarities between the album’s lyrics to Japanese writer Ju-
nichi Saga’s book Confessions of a Yakuza were pointed
out.[21][22] Translated to English by John Bester, the book
was a biography of one of the last traditional Yakuza
bosses in Japan. In the article published in the Journal, a
line from “Floater” (“I'm not quite as cool or forgiving as
I sound”) was traced to a line in the book, which said “I'm
not as cool or forgiving as I might have sounded.” Another
line from “Floater” is “My old man, he’s like some feudal
lord.” On the first lines of the book is the line “My old
man would sit there like a feudal lord.” However, when
informed of this, author Saga’s reaction was one of hav-
ing been honored rather than abused from Dylan’s use of
lines from his work.[23]
[12] Spin, November 2001, p.127.
[13] Village Voice Review Archived 16 November 2007 at
WebCite
[14] “Pazz & Jop 2001: Album Winners”. The Village Voice.
Retrieved 2007-10-07.
[15] Fricke, David (December 27, 2001). “The Year in
Recordings: The Top 10 Albums of the Year 2001”.
Rolling Stone. Retrieved March 28, 2014.
[16] “The Best 50 Albums of 2001”. Q. December 2001. pp.
60–65.
[17] "#2 'Love and Theft' Bob Dylan”. Newsweek. 2009-12-
11. Archived from the original on 6 January 2010. Re-
trieved 2009-12-27.
154 CHAPTER 2. STUDIO ALBUMS

[18] “Glide’s Best Albums of the Decade” 500 Greatest Albums of All Time", Modern Times was
ranked at number 204.
[19] Geier, Thom; Jensen, Jeff; Jordan, Tina; Lyons, Margaret;
Markovitz, Adam; Nashawaty, Chris; Pastorek, Whit-
ney; Rice, Lynette; Rottenberg, Josh; Schwartz, Missy; 2.32.1 Band and production
Slezak, Michael; Snierson, Dan; Stack, Tim; Stroup, Kate;
Tucker, Ken; Vary, Adam B.; Vozick-Levinson, Simon;
Ward, Kate (December 11, 2009), “THE 100 Greatest
The album was recorded with Dylan’s touring band, in-
MOVIES, TV SHOWS, ALBUMS, BOOKS, CHARAC- cluding bassist Tony Garnier, drummer George G Receli,
TERS, SCENES, EPISODES, SONGS, DRESSES, MU- guitarists Stu Kimball and Denny Freeman, plus multi-
SIC VIDEOS, AND TRENDS THAT ENTERTAINED instrumentalist Donnie Herron. Dylan produced the al-
US OVER THE PAST 10 YEARS”. Entertainment bum under the name “Jack Frost”.
Weekly. (1079/1080):74-84
Early rehearsals were held in late January and early
[20] Allmusic website February 2006 at the Bardavon 1869 Opera House in
Poughkeepsie, New York. Days after the rehearsals,
[21] This is a reprint of an article from The Wall Street Journal recording sessions were held at Clinton Studios in
as cited in next footnote.“Did Bob Dylan Lift Lines From Manhattan where the album was recorded digitally in
Dr Saga?". California State University, Dear Habermas. roughly three weeks.
2003-07-08. Archived from the original on 24 July 2008.
Retrieved 2008-09-07. While it had been marketed as the third in a conceptual
trilogy, beginning in 1997 with Time Out of Mind, Dylan
[22] “Did Bob Dylan Lift Lines From Dr Saga?". Wall Street himself rebuffed the notion. In an interview with Rolling
Journal. 2003-07-08. Retrieved 2008-09-07. Stone, he stated that he “would think more of Love and
[23] Wilentz, Sean. Bob Dylan in America. ISBN 978-0-385-
Theft as the beginning of a trilogy, if there’s going to be
52988-4, p. 310. a trilogy.”[2]

[24] Bjorner (January 25, 2002) New York City, New York,
October 23, 1963 Bjorner’s Still on the Road. Retrieved 2.32.2 Anticipation
August 27, 2010
Dylan’s historical stature, as well as his renewed criti-
cal acclaim following Time Out of Mind and Love and
2.32 Modern Times Theft, helped to make Modern Times a highly anticipated
release. As with Love and Theft in 2001, Sony held a lis-
tening event for critics far in advance, but those invited
Modern Times is the thirty-second studio album by
were forbidden from disclosing details or opinions about
American singer-songwriter Bob Dylan, released on Au-
what they heard prior to the official release.
gust 29, 2006 by Columbia Records. The album was Dy-
lan’s third straight (following Time Out of Mind and Love Modern Times was leaked online through various
and Theft) to be met with nearly universal praise from BitTorrent and Dylan fan websites on August 21, 2006,
fans and critics. It continued its predecessors’ tenden- after 30-second sound clips were released on the official
cies toward blues, rockabilly and pre-rock balladry, and Sony website. The album was first released in some Euro-
was self-produced by Dylan under the pseudonym “Jack pean countries (including Germany and Ireland) on Au-
Frost”. Despite the acclaim, the album sparked some de- gust 25, in the UK on August 28 and premiered in the
bate over its uncredited use of choruses and arrangements U.S. on August 28 on XM Satellite Radio, the satellite ra-
from older songs, as well as many lyrical lines taken from dio service that carried Dylan’s Theme Time Radio Hour
the work of 19th-century poet Henry Timrod. program.
Modern Times became the singer-songwriter’s first #1 al-
bum in the US since 1976’s Desire. It was also his first 2.32.3 Credit controversy
album to debut at the summit of the Billboard 200, sell-
ing 191,933 copies in its first week. At age 65, Dy- Shortly after its release, the album sparked some debate
lan became the oldest living person at the time to have in the media concerning its songwriting credits, mainly
an album enter the Billboard charts at number one.[1] the liner notes’ contention of “All songs written by Bob
It also reached #1 in Canada, Australia, New Zealand, Dylan”, which appears in most editions of Modern Times.
Ireland, Denmark, Norway and Switzerland, debuted #2
in Germany, Austria and Sweden. It reached #3 in the
UK and the Netherlands, respectively, and had sold over Adaptations
4 million copies worldwide in its first two months of re-
lease. As with its two studio predecessors, the album’s Many of the album’s songs have roots in well-known older
packaging features minimal credits and no lyric sheet. In compositions, though in all cases, Dylan has given the
the 2012 version of Rolling Stone magazine’s list of "The songs new lyrics.
2.32. MODERN TIMES 155

• “Thunder on the Mountain” has a second verse say whiskey will kill ya, but I don't think it will” vs.
based on the song “Ma Rainey” by Memphis Min- “If whiskey don't kill me, I don't know what will.”
nie. Dylan cuts and shuffles Memphis Minnie's
lyrics substituting Alicia Keys and Hell’s Kitchen for • “The Levee’s Gonna Break” is based on "When the
Ma Rainey and her Georgia birthplace. The refer- Levee Breaks" by Kansas Joe McCoy and Memphis
ence to Keys was listed by Rolling Stone as among Minnie. It has been previously adapted by rock acts
the “ten weirdest shoutouts” in song.[3] The guitar such as Led Zeppelin. The song has also been in the
licks and riffs are typical of Chuck Berry's famous public domain since 2004.
records, with the melody sounding closest to "Let It • “Ain't Talkin'" derives its chorus from the more up-
Rock.”[4] tempo “Highway of Regret” by The Stanley Broth-
ers. The lyrics of the first verse seem to be derived
• “Rollin' and Tumblin'" is a blues standard first
from the first verse of “As I Roved Out”, a tradi-
recorded and possibly written by the bluesman
tional Irish song.
Hambone Willie Newbern. An arrangement very
similar to Dylan’s but with different lyrics was a hit
for Muddy Waters, who is also credited with writing Additional sources
the song. Except for the first verse, all the lyrics in
Dylan’s version are original. Two other sources of the album’s lyrics were cited in the
latter half of 2006. In September, The New York Times
• “When the Deal Goes Down” is based on the melody ran an article exploring similarities between some of the
of "Where the Blue of the Night (Meets the Gold of lyrics in Modern Times and the work of 19th-century poet
the Day)", a signature-song for Bing Crosby.[5] Henry Timrod. Albuquerque disc jockey Scott Warmuth
• “Someday Baby” is based on an old standard that can is credited as the first to discover at least ten substan-
be traced back to “Worried Life Blues”, recorded by tial lines and phrases that can be clearly traced to the
Sleepy John Estes, and made famous in versions by Civil War poet across several songs. Dylan and Sony
Lightnin' Hopkins and Muddy Waters. It is some- have declined to comment on the matter, and Timrod’s
times referred to as “Trouble No More”, and often name is nowhere to be found on the liner notes.[7][8][9]
credited to Muddy Waters. Robert Polito of the Poetry Foundation wrote a detailed
defense of Dylan’s usage of old lines in creating new
• The chorus of “Workingman’s Blues” features the work, saying that calls of plagiarism confuse “art with a
[10]
line, “Meet me at the bottom, don't lag behind, bring term paper”.
me my boots and shoes.” The unusual phrasing ap- In October 2006, The Nelson Mail ran an article by New
pears to have been borrowed from cool jazz singer Zealand poet Cliff Fell exploring similarities between
June Christy's 1946 song “June’s Blues”, which con- some of the lyrics in Modern Times and the works of the
tains the words, “Meet me in the bottom, bring me first-century Roman poet Ovid. Fell cited numerous di-
my boots and shoes”. Dylan has shown an affin- rect parallels between lines from Ovid and those in four
ity for Christy’s music, and played a number of of Dylan’s songs.[11] A sampling of these included:
her songs throughout the course of his Theme Time
Radio Hour XM program.[6] The line also appears Fell considered the borrowings a homage and not plagia-
as “Meet me in the bottom, bring me my running rism, noting Dylan’s direct reference to Ovid in the al-
shoes”, in the Willie Dixon song “Down in the Bot- bum’s first song, “Thunder on the Mountain”, with the
tom” (itself an adaptation of “Rollin' and Tumblin' line “I've been sitting down and studying The Art of
"), recorded by Howlin' Wolf. A similar variant ap- Love.” The Art[11] of Love was one of the great poet’s most
pears in Big Joe Williams' song “Meet Me Around famous works.
the Corner” (“Meet me around the corner, bring me
my boots and shoes”). Dylan’s response to credit controversy
• “Beyond the Horizon” is based around the song "Red
None of these previous incarnations or their authors are
Sails in the Sunset,” written by Jimmy Kennedy and
credited, though Dylan has casually acknowledged some
Hugh Williams in 1935 using its melody and basic
of the uses. In a 2006 Newsweek online feature, Dylan
structure.
mentioned that he was working on a song based on a Bing
• “Nettie Moore” takes its title, and some of its chorus, Crosby melody, now known to be “When The Deal Goes
[13]
from an 1857 composition “Gentle Nettie Moore” Down”. Meanwhile, Dylan has a history of being open
by Marshall Pike and James Lord Pierpont, the com- about his songwriting techniques, and his usage of older
poser of “Jingle Bells”, though Dylan’s melody and classics. For instance, in a 2004 interview with Robert
lyrics are otherwise unrecognizable, although the Hilburn of the Los Angeles Times, he stated,
song shares a rhyme with "Moonshiner", a tradi-
tional folk song that Dylan recorded in 1963: “They Well, you have to understand that I'm not
156
a melodist... My songs are either based on old
Protestant hymns or Carter Family songs or
variations of the blues form. What happens is,
I'll take a song I know and simply start playing
it in my head. That’s the way I meditate. A lot
of people will look at a crack on the wall and
meditate, or count sheep or angels or money
or something, and it’s a proven fact that it'll
help them relax. I don't meditate on any of
that stuff. I meditate on a song. I'll be playing
Bob Nolan’s “Tumbling Tumbleweeds,” for
instance, in my head constantly—while I'm
driving a car or talking to a person or sitting
around or whatever. People will think they are
talking to me and I'm talking back, but I'm
not. I'm listening to a song in my head. At a
certain point, some words will change and I'll
start writing a song.
—Bob Dylan, April 4, 2004[14]
The lack of official credits is not a legal problem, given
the age of the source material, but it troubled journal-
ist Jim Fusilli of the Wall Street Journal. Fusilli thought
that this was contrary to Dylan’s long track record of not-
ing his influences, as in the liner notes of 1993’s World
Gone Wrong.[15] Joe Levy of Rolling Stone claimed to
have raised the question with Sony BMG executives, who
shrugged it off as a non-issue.
Levy and many others have supported Dylan in the con-
text of a larger, older blues and folk tradition of song-
writers evolving old songs into new ones, which Dylan
was no stranger to in the 1960s. Pete Seeger himself has
previously expressed the view that Dylan is a link in this
chain of folk and blues songwriters. Seeger has spoken
many times about the folk process, often recounting that
his friend Woody Guthrie once said to him “That guy stole
that from me, but I steal from everybody”. Ramblin' Jack
at one time expressed similar sentiments: “Dylan learned
from me the same way I learned from Woody. Woody
didn't teach me. He just said, 'If you want to learn some-
thing, just steal it—that’s the way I learned from Lead
Belly'".
2.32.4 Critical reaction
The response from critics was overwhelmingly positive.
The publications Rolling Stone and Uncut both crowned
Modern Times with five-out-of-five stars. Rolling Stone
critic Joe Levy called the album Dylan’s “third straight
masterwork”. Robert Christgau of Blender described it as
“startling [and radiating] the observant calm of old mas-
ters who have seen enough life to be ready for anything—
Yeats, Matisse, Sonny Rollins". Jody Rosen of the online
magazine Slate concurred, calling Modern Times “a better
album than Time Out of Mind and even than the majestic
Love and Theft, which by my lights makes it Dylan’s finest
CHAPTER 2. STUDIO ALBUMS
since Blood on the Tracks". The album was also credited
for original blues and folk rock music which was said to
be “hard to hear these days” by critics.[24]
Alexis Petridis in The Guardian ridiculed the lavish praise
heaped on the album and wrote: “It’s hard to hear the mu-
sic of Modern Times over the inevitable standing ovation
and the thuds of middle-aged critics swooning in awe.”
While enjoying the record, Petridis said Modern Times
was “not one of those infrequent, unequivocally fantastic
Dylan albums”.[25] Jim DeRogatis of The Chicago Sun-
Times appreciated the lyrical content but found fault in
the languid music, writing that “with the exception of the
closing track 'Ain't Talkin', one of the spookiest songs
he’s ever written, Dylan disappoints with...[his] inexpli-
cable fondness for smarmy '30s and '40s balladry".[26]
Perhaps the sourest review came from Ron Rosenbaum.
Writing in the New York Observer, Rosenbaum called
Modern Times, “a wildly overhyped disappointment...
The new album is possibly the worst since Self Portrait,
with songs that rarely rise above the level of Dylan’s low
point—and everybody seems afraid to say so.”[27]
Some reviewers who liked the album were critical of
its musicianship, such as The Chicago Tribune 's Greg
Kot,[28] and Jon Pareles of The New York Times, who
wrote that “onstage Mr. Dylan’s touring band regularly
supercharges his songs. But on Modern Times the mu-
sicians play as if they’re just feeling their way into the
tunes.”[29]
According to Metacritic, a site that tracks prominent criti-
cal opinion, Modern Times’ approval rating hovers around
89%, indicating wide acclaim and putting it among the
100 most-liked-by-critics albums (on Metacritic) of all
time.[30]
The album became Dylan’s third successive album to top
the Village Voice 's 'Pazz & Jop' poll. Love and Theft and
Time Out of Mind won in 2001 and 1997 respectively.
The album was also placed at #1 on Rolling Stone Mag-
azines list of the 50 greatest albums of 2006 [31] and #8
on the same magazines 100 greatest albums of the 2000s
list.[32]
49th Annual Grammy Awards, 2007
• Bob Dylan won a Grammy Award for Best Solo
Rock Vocal Performance for the song “Someday
Baby”.[33]
• Modern Times won a Grammy Award for Best Con-
temporary Folk/Americana Album. By the end of
2007, Bob Dylan’s Modern Times Album had sold
over 6.3 million units worldwide.
2.32. MODERN TIMES
2.32.5 Artwork and versions
Because of the length of the songs, the entire album
stretched out to two LPs.
The album’s cover photo is Ted Croner's 1947 photo-
graph Taxi, New York at Night. The image was previously
used as a cover by the band Luna for their 1995 single
“Hedgehog/23 Minutes in Brussels”.[34][35]
The album was released in both standard and special edi-
tion formats, with the special edition including a bonus
DVD of four Dylan music videos. The DVD contains
"Blood In My Eyes" (Promo Video), "Love Sick" (Live
at the Grammys, 1998), "Things Have Changed" (Promo
Video) and "Cold Irons Bound" (Masked and Anonymous
Video).
2.32.6 Track listing
All songs written and composed by Bob Dylan.
2.32.7 Personnel
• Bob Dylan – vocals, guitar, harmonica, piano
Additional musicians
• Denny Freeman – guitar
• Tony Garnier – bass guitar, cello
• Donnie Herron – steel guitar, violin, viola, mandolin
• Stu Kimball – guitar
• George G. Receli – drums, percussion
Technical personnel
• Greg Calbi – mastering engineering
• Chris Shaw – engineering
• Tom Aiezza – assistant engineer
• Sheldon Yellowhair – assistant engineer
2.32.8 Chart positions
2.32.9 Certifications
2.32.10 Notes
[1] NME, “Bob Dylan gets his first number one for 30 years”,
at NME.com; last accessed September 9, 2006.
[2] Lethem, Jonathan (September 7, 2006). “The Genius of
Bob Dylan”. Rolling Stone. p. 6. Retrieved 2006-11-02.
157
[3] “Ten Weirdest Shoutouts”. Rolling Stone. July 9, 2007.
Retrieved 2012-05-31.
[4] "The Review by Ron Brown, published Sep. 21, 2006”.
Newreviewsite.com. 2006-09-21. Retrieved 2012-05-31.
[5] music video, retrieved June 4, 2008 on YouTube
[6] BobDylan.com page: "Theme Time Radio Hour – Sea-
sons 1 & 2".
[7] Rich, Motoko (September 14, 2006). “Who’s This Guy
Dylan Who’s Borrowing Lines from Henry Timrod?".
The New York Times. Retrieved 2009-05-11.
[8] Vega, Suzanne (September 17, 2006). “The Ballad of
Henry Timrod”. The New York Times. Retrieved 2006-
09-20.
[9] “The Answer, My Friend, Is Borrowin' ... (3 Letters)".
The New York Times. September 20, 2006. Retrieved
2006-09-20.
[10] Polito, Robert. “Bob Dylan: Henry Timrod Revisited”.
Poetry Magazine (Poetry Foundation). Archived from the
original on 2008-06-08. Retrieved 2009-05-11.
[11] Fell, Cliff (October 7, 2006). “An Avid Follower of Ovid”
(PDF). The Nelson Mail. Retrieved 2009-05-11.
[12] Thomas, Richard F. (March 2007). “The Streets of Rome:
The Classical Dylan” (PDF) 22 (1). Oral Tradition Jour-
nal. pp. 35–36. Retrieved 2009-05-11.
[13] “Talk Transcript: Another Look at Bob Dy-
lan – Newsweek Entertainment – MSNBC.com”.
Web.archive.org. 2007-02-06. Archived from the
original on 2007-02-06. Retrieved 2012-05-31.
[14] LA Times article: "Rock’s enigmatic poet opens a long-
private door"
[15] WNYC’s Soundcheck, “Deconstructing Dylan,” 6
September 2006, at WNYC.org; last accessed September
15, 2006.
[16] Jurek, Thom (2006-08-29). “Modern Times – Bob Dylan
: Songs, Reviews, Credits, Awards”. AllMusic. Retrieved
2012-05-31.
[17] Blender review
[18] “Robert Christgau review”. Robertchristgau.com. Re-
trieved 2012-05-31.
[19] “Entertainment Weekly review”. Web.archive.org. 2008-
07-09. Archived from the original on 2008-07-09. Re-
trieved 2012-05-31.
[20] Alexis Petridis (2006-08-25). “The Guardian review”.
London: Arts.guardian.co.uk. Retrieved 2012-05-31.
[21] “9/7/06 p.99 RS review”. Web.archive.org. 2009-04-
14. Archived from the original on 2009-04-14. Retrieved
2012-05-31.
[22] “Sputnikmusic review”. Sputnikmusic.com. 2006-09-01.
Retrieved 2012-05-31.
158 CHAPTER 2. STUDIO ALBUMS

[23] Franco, Michael. “Bob Dylan: Modern Times < PopMat- together if we thought it was important or the right rea-
ters”. Popmatters.com. Retrieved 2012-05-31. sons were there... He’s got a way with words and I do too.
We both write a different type of song than what passes
[24] Jody Rosen, review of Modern Times, 30 August 2006, at
today for songwriting.” The only other writer Dylan has
Slate.com; last accessed September 9, 2006.
ever collaborated with to such a degree is Jacques Levy,
[25] Alexis Petridis, review of Modern Times, 25 August 2006, with whom he wrote most of the songs on Desire in 1976.
at Guardian.co.uk; last accessed September 9, 2006.
Rumors of the album, reported in Rolling Stone maga-
[26] Jim DeRogatis, review of Modern Times, 27 August 2006, zine, came as a surprise, with no official press release
at JimDero.com; last accessed September 11, 2006. until March 16, 2009—less than two months before the
album’s release date.[4] Dylan produced the record under
[27] “Modern Times”. Warehouse Eyes. Retrieved 2012-05- his pseudonym of Jack Frost, which he used for his pre-
31.
vious two studio albums, "Love and Theft" and Modern
[28] Greg Kot, review of Modern Times, 27 August 2006, at Times. The album was rumored to contain “struggling
ChicagoTribune.com; last accessed September 9, 2006. love songs” and have little similarity to Modern Times.[4]

[29] Jon Pareles, review of Modern Times, 20 August 2006, at In a conversation with music journalist Bill Flanagan,
NYTimes.com; last accessed September 9, 2006. published on Bob Dylan’s official website, Flanagan sug-
gested a similarity of the new record to the sound of Chess
[30] “Music High and Low Scores”. Metacritic. Retrieved Records and Sun Records, which Dylan acknowledged as
2012-05-31. an effect of “the way the instruments were played.” He
[31] “Rolling Stone‘s Best Albums of '06”. Stereogum. 2006- said that the genesis of the record was when French film
12-14. Retrieved 2012-05-31. director Olivier Dahan asked him to supply a song for his
new road movie, My Own Love Song, which became “Life
[32] “100 Best Albums of the 2000s: Bob Dylan, 'Modern is Hard” - indeed, 'according to Dylan, Dahan was keen to
Times’". Rolling Stone. Retrieved 2012-05-31. get a whole soundtrack’s worth of songs from the man'[5]
[33] “GRAMMY.com”. Web.archive.org. Archived from the
- and “then the record sort of took its own direction.”[6]
original on 2010-07-29. Retrieved 2012-05-31. Dylan is backed on the album by his regular touring band,
plus David Hidalgo of Los Lobos and Mike Campbell of
[34] Dansby, Andrew (May 1, 2009). “Bob Dylan’s album cov-
ers sometimes just as powerful as his songs”. Houston
Tom Petty and the Heartbreakers.[6] Dylan commented
Chronicle. Retrieved 2009-05-12. on Campbell’s guitar work in his interview with Flanagan:
“He’s good with me. He’s been playing with Tom for so
[35] Goodman, Elizabeth (September 21, 2006). “Bob Dy- long that he hears everything from a songwriter’s point of
lan: Secret Luna Fan?". Rolling Stone. Archived from the view and he can play most any style.” [7]
original on 2008-04-06. Retrieved 2009-05-12.
"Beyond Here Lies Nothin'" was available as a free down-
[36] “Bob Dylan: Modern Times”. aCharts. Retrieved load for one day on Monday, March 30, 2009, via Dylan’s
September 18, 2012. official site.
[37] “RIAA Gold and Platinum Search for albums by Bob Dy- “I Feel a Change Comin' On” was released for stream-
lan”. RIAA. Retrieved 2009-12-12. ing on Monday, April 6 on The Times Online website,
as well as the third installment of his interview with Bill
[38] “Gold and Platinum ― March 2007”. Canadian Record-
Flanagan.[8]
ing Industry Association (CRIA). Retrieved 2009-12-12.
In the interview with Bill Flanagan, Dylan discusses
the only known outtake to “Together Through Life”,
2.33 Together Through Life “Chicago After Dark”. Apparently, this song was in the
running to be on the album but was left off the final ver-
sion, as Flanagan talks about the song as if it is on the
Together Through Life is the thirty-third studio album by album. The song is not circulating among collectors.
singer-songwriter Bob Dylan, released on April 28, 2009,
by Columbia Records. The album debuted at number one The album received two Grammy Award nominations in
in several countries, including the U.S.[1] and the UK. It Best Americana Album category and “Best Solo Rock
is Dylan’s first number one in Britain since New Morning Vocal Performance” category for “Beyond Here Lies
in 1970.[2][3] Nothin'".
Dylan wrote all but one of the album’s songs with Grateful The album also is significant as the only album by Dylan
Dead lyricist Robert Hunter, with whom he had previ- to top the US and UK charts consecutively.
ously co-written two songs on his 1988 album Down in The album’s cover photo is the same as that on the cover
the Groove. In an interview with Rolling Stone maga- of American author Larry Brown’s short story collection,
zine, Dylan commented on the collaboration: “Hunter is Big Bad Love.
an old buddy, we could probably write a hundred songs
2.33. TOGETHER THROUGH LIFE 159

2.33.1 Sources and quotations 2.33.4 Track listing

As with some of Dylan’s albums before Together Through Disc one

Life, Dylan has adapted lyrics from other songs and
incorporated them into his own lyrics—if with per-
All lyrics written by Bob Dylan and Robert Hunter, ex-
haps a 'slightly diminished use of the light-fingered lift',
cept where noted, all music composed by Dylan.
compared with 'Dylan’s lyrical approach from recent
albums’.[9] The phrase “If you ever go to Houston, you When pre-ordered from iTunes, consumers also got a
better walk right” is taken from the folk song "Midnight bonus track of a studio rehearsal of "Lay Lady Lay"
Special": Dylan played harmonica on Harry Belafonte's recorded in 1969.
1962 recording of the song. 'The one time he overtly used
someone else’s song as a springboard for his own - Billy Disc two Theme Time Radio Hour: Friends & Neighbors
Joe Shaver's “Ain't No God in Mexico”, a clear template
for “I Feel a Change Comin' On” - he openly acknowl-
edged the debt to historian Douglas Brinkley'.[9] Disc three
Several lyrics in “Jolene” also originated in songs, includ-
ing “Rolene,” recorded on Mink DeVille's album Return
to Magenta.[10]
2.33.5 Personnel

• Bob Dylan – guitar, keyboards, vocals, production

2.33.2 Reception
Additional musicians
Reception has been favorable. The record maintains a
score of 76/100 at critic aggregator MetaCritic (“Gen-
• Mike Campbell – guitar, mandolin
erally favorable reviews”).[23] During the Flanagan inter-
view, Dylan gave his own thoughts about how the record • Tony Garnier – bass guitar
would be received: “I know my fans will like it. Other
than that, I have no idea”.[6] • Donnie Herron – steel guitar, banjo, mandolin,
Rolling Stone gave the album 4 stars out of 5. Describ- trumpet
ing the album as a “murky-sounding, often perplexing
record”, David Fricke of Rolling Stone writes, “Dylan, • David Hidalgo – accordion, guitar
who turns 68 in May, has never sounded as ravaged,
pissed off and lusty”.[24] BBC noted that the album is • George Receli – drums
“a masterful reading of 20th century American folk, al-
beit shot through with some mischievous lyrical twists” Technical personnel
and compares it to “some Chicago urban blues tribute”.
According to Mojo, "Together Through Life is an album
that gets its hooks in early and refuses to let go”. The • David Bianco – recording, mixing
[25]
reviewer described it as “dark yet comforting”. Uncut
and Blender both gave the album 5 stars out of 5, saying • Eddy Schreyer - mastering
that it was “unbelievably good.” iF Magazine.com says it
• Bill Lane – assistant engineering
“explores the bluesy side of his skills in a slight, but de-
lightful set of ten originals.”
• Rafael Serrano – engineering

• David Spreng – engineering

2.33.3 Versions
• Rich Tosti – assistant engineering
The album is available as a one-CD version containing
only the new material that Dylan recorded, or as a 3-disc
deluxe version including the album itself, the “Friends 2.33.6 Charts
& Neighbors” episode of Theme Time Radio Hour and
a DVD featuring an interview with Dylan’s first manager The album debuted at number one on the Billboard 200,
Roy Silver (recorded for the Martin Scorsese documen- selling 125,000 copies in its first week of release. It then
tary No Direction Home, but unused). reached number one on Top Internet Album, Top Digital
There is also a two-LP deluxe vinyl version, containing Album, Tastemaker, Top Rock Album, and Most Com-
the same songs as the CD. In the US, the CD is included prehensive Album. In the US the album has sold more
as part of the vinyl package. than 302,000 copies to date.[26][27]
160 CHAPTER 2. STUDIO ALBUMS

2.33.7 References [27] Caulfield, Keith (2009-05-06). “Bob Dylan Bows Atop
Billboard 200”. Billboard. Retrieved 2009-05-06.
[1] Caulfield, Keith (2009-05-06). “Bob Dylan Bows Atop
Billboard 200”. Billboard. Retrieved 2009-05-07. [28]

[2] “Bob Dylan Beats the Enemy to Number One”. [29] “Australia Albums Top 50 - Music Charts”. Acharts.us.
NME.com. Retrieved 2009-05-03. 2012-01-09. Retrieved 2012-01-13.

[3] Lindsay, Andrew (2009-05-04). “Bob Dylan’s first UK #1 [30] “Austria Albums Top 75 - Music Charts”. Acharts.us. Re-
in 39 years”. Stereokill.net. Retrieved 2009-05-04. trieved 2012-01-13.

[4] “Bob Dylan’s New Album: Together Through Life”. [31] “Belgium Albums Top 50 - Music Charts”. Acharts.us.
rollingstone.com. 2009-03-16. Retrieved 2009-05-01. Retrieved 2012-01-13.

[5] Clinton Heylin, Behind the Shades: The 20th Anniversary [32] “CANOE – JAM! Music SoundScan Charts”.
Edition (London 2011) p. 837 Jam.canoe.ca. 2012-01-05. Retrieved 2012-01-13.

[6] Flanagan, Bill (2009-03-16). “Bob Dylan talks about the
new album with Bill Flanagan”. bobdylan.com. Retrieved
2009-03-16.
[7] Beyond Here Lies Nothin' Songfacts
[8] Flanagan, Bill. “Bob Dylan on Barack Obama, Ulysses
Grant and American Civil War ghosts”"Times Online",
2009-04-06. Retrieved on 2009-04-08
[9] Heylin, p. 838
[10] Goon Talk. “Vive le Vol: Bob Dylan and the Importance
of Being Ernest Hemingway.” July 21, 2013. (Retrieved
9-19-2013.)
[11] Erlewine, Stephen Thomas. Together Through Life at
AllMusic
[12] Blender (magazine) review
[33] “Denmark Albums Top 40 – Music Charts”. Acharts.us.
2012-01-06. Retrieved 2012-01-13.
[34] “Dutch Albums Top 100 - Music Charts”. Acharts.us.
2012-01-07. Retrieved 2012-01-13.
[35] Suomen virallinen lista
[36] “Ireland Albums Top 75 - Music Charts”. Acharts.us. Re-
trieved 2012-01-13.
[37] " -ORICON STYLE ". Ori-
con.co.jp. Retrieved 2012-01-13.
[38] “Representando a la Industria Argentina de la Música”.
CAPIF. Retrieved 2012-01-13.
[39] Steffen Hung. “Bob Dylan – Together Through Life”.
swisscharts.com. Retrieved 2012-01-13.

[13] Drowned in Sound review [40] “UK Albums Top 75 - Music Charts”. Acharts.us. 2012-
01-08. Retrieved 2012-01-13.
[14] The Guardian review
[41] Caulfield, Keith (2009-05-06). “Bob Dylan Lands Fifth
[15] Mojo (magazine) review No. 1 Album”. Billboard. Retrieved 2009-05-06.

[16] Pitchfork Media review

[17] Robert Christgau review 2.33.8 External links

[18] Rolling Stone review • Bob Dylan talks about the new album with Bill
Flanagan
[19] Spin (magazine) review

[20] The Times review

• http://www.telegraph.co.uk/
culture/music/bob-dylan/5148795/
[21] Tiny Mix Tapes review Bob-Dylan-best-album-covers.html
[22] Uncut (magazine) review

[23] “Together Through Life by Bob Dylan”. metacritic.com. 2.34 Christmas in the Heart
Retrieved 2009-10-11.

[24] Fricke, David (2009-04-13). “Bob Dylan: Together Christmas in the Heart is the thirty-fourth studio album
and first Christmas album by American singer-songwriter
Through Life”. rollingstone.com. Retrieved 2009-05-01.
Bob Dylan, released on October 13, 2009 by Columbia
[25] Eccleston, Danny (2009-04-17). “New Dylan Album: Records. The album comprises a collection of hymns,
The First-In-Depth Review”. mojo-4-music.com. Re-
carols, and popular Christmas songs. All Dylan’s royalties
trieved 2009-05-01.
from the sale of this album benefited the charities Feeding
[26] “Bob Dylan Christmas Album Coming”. Billboard.com. America in the USA, Crisis in the UK, and the World
2009-09-14. Retrieved 2012-01-13. Food Programme.[1]
2.34. CHRISTMAS IN THE HEART 161

Dylan said that, although Jewish, he never felt left out of band mixes up the style of the songs, resulting in a reper-
Christmas during his childhood in Minnesota. Regard- toire of Christmas songs that genuinely sound like mod-
ing the popularity of Christmas music, he said, "... it’s ern material, while avoiding ever being cliché.”[17][18][19]
so worldwide and everybody can relate to it in their own
way.”[2]
2.34.4 Charity project
The album opened at #1 on Billboard’s Holiday and Bill-
board’s Folk Album Chart, #10 on Rock Album charts It’s a tragedy that more than 35 million people in this
and #23 on overall album charts. country alone—12 million of those children—often go to
bed hungry and wake up each morning unsure of where
their next meal is coming from. I join the good people of
2.34.1 Recording Feeding America in the hope that our efforts can bring
some food security to people in need during this holiday
In an interview published by Street News Service, jour- season.
nalist Bill Flanagan asked Dylan why he had performed
[20]
the songs in a straightforward style, and Dylan responded: Bob Dylan
“There wasn’t any other way to play it. These songs are
part of my life, just like folk songs. You have to play them Feeding America will receive Dylan’s royalties from sales
straight too.” When Flanagan reported that some critics in the USA, while two further charities, the United Na-
thought the album was an ironic treatment of Christmas tions’ World Food Programme and Crisis in the UK, will
songs, Dylan responded: “Critics like that are on the out- receive royalties from overseas sales. Dylan said: “That
side looking in. They are definitely not fans or the audi- the problem of hunger is ultimately solvable means we
ence that I play to. They would have no gut level under- must each do what we can to help feed those who are suf-
standing of me and my work, what I can and can't do—the fering and support efforts to find long-term solutions. I'm
scope of it all. Even at this point in time they still don’t honoured to partner with the World Food Programme and
know what to make of me.”[3] Crisis in their fight against hunger and homelessness.”[21]
Tracks were recorded in a Santa Monica studio owned by
Jackson Browne.
2.34.5 Track listing

2.34.2 Release and promotion 2.34.6 Personnel

• Bob Dylan — vocals, guitar, electric piano,
Dylan released a music video for the song “Must Be
harmonica
Santa” directed by Nash Edgerton. In the video, Dy-
lan and some other people are having a Christmas house • Tony Garnier — bass guitar
party, until two of the guests start fighting and smash-
ing things around and one of them running away. In the • George Recile — drums, percussion
closing scene, we see Dylan and Santa Claus.[14] A mu-
sic video was also released for the song “Little Drummer • Donnie Herron — steel guitar, mandolin, trumpet,
Boy”. violin

A music video ecard[15] was also released for the song • David Hidalgo — accordion, guitar, mandolin, vio-
“Must Be Santa”. lin

• Phil Upchurch — guitar

2.34.3 Reception • Patrick Warren — piano, organ, celeste

Its collective score at Metacritic stands at 62 out of

Additional musicians
100 based on 17 reviews, indicating generally favorable
[16]
reviews. The unexpected move by Dylan to record a
Christmas album was received with skepticism at first. • Amanda Barrett, Bill Cantos, Randy Crenshaw,
The outcome of the project was lauded by critics for Abby DeWald, Nicole Eva Emery, Walt Harrah,
bringing a fresh breath of air into these classics. Slant Robert Joyce — choir
Magazine's critic Jesse Cataldo said “This enjoyable sense
of exploration, which prizes levity in a genre that usually Technical personnel
amounts to an artistic wasteland, is invaluable. It also
proves how much life is left in the songs, and how much • Bob Dylan — producer
other artists have succeeded at butchering them.” Se7en
magazine’s critic agreed, writing “The arrangement of his • David Bianco — recording, mixing
162
• Bill Lane — assistant engineering
• David Spreng — additional engineering
• Glen Suravech — assistant engineering
• Rich Tosti, Ed Wong — studio support
Artwork
• Olivia De Berandis — inside cover illustration
• Ewin Fotheringham — back cover illustration
• Leonard Freed/Magnum Photos — inside photo
• Coco Shinomiya — design
• VisualLanguage.com — front cover
2.34.7 Charts
2.34.8 References
[1] “CAFAmerica to distribute royalities [sic] from Bob Dy-
lan’s Christmas album to Crisis”. UK Fundraising. 2009-
12-14. Retrieved 2009-12-19.
[2] Bob Dylan brings Christmas cheer to those without
homes, Reuters, November 26, 2009
[3] Flanagan, Bill (2009-11-23). “Bob Dylan Discusses Holi-
day Music, Christmas and Feeding The Hungry With Bill
Flanagan”. Street News Service. Retrieved 2009-11-26.
[4] Erlewine, Stephen Thomas. Christmas in the Heart at
AllMusic
[5] Matos, Michaelangelo (2012-02-10). “A.V. Club re-
view”. Avclub.com. Retrieved 2012-02-14.
[6] “The Chicago Tribune review”. Leisure- at Jackson Browne's Groove Masters Studios in Santa
blogs.chicagotribune.com. Retrieved 2012-02-14.
[7] Christgau, Robert. “Robert Christgau: CG: Artist 169”. self with the exception of the track “Duquesne
robertchristgau.com. Retrieved 11 September 2011.
[8] Ward, Mark (2009-10-26). “Drowned In Sound review”.
Drownedinsound.com. Retrieved 2012-02-14.
[9] Richard Williams (2009-12-10). “The Guardian review”.
London: Guardian. Retrieved 2012-02-14.
[10] “Rolling Stone review”. Rollingstone.com. Retrieved
2012-02-14.
[11] “Slant Magazine review”. Slantmagazine.com. Retrieved
2012-02-14.
[12] “Sputnikmusic review”. Sputnikmusic.com. Retrieved
2012-02-14.
[13] "(magazine) review”. Uncut. Retrieved 2012-02-14.
[14] “Premiere: Bob Dylan’s Must Be Santa Video From
Christmas LP | Music News”. Rolling Stone. 2009-11-
16. Retrieved 2012-02-09.
CHAPTER 2. STUDIO ALBUMS
[15] “eCard Music Video – Bob Dylan – Christmas in the
Heart”. Hdgreetings.com. Retrieved 2012-02-14.
[16] “Bob Dylan - Christmas In The Heart". Metacritic. Re-
trieved 2009-12-06.
[17] “Politics, Film, Music and Culture – A soundtrack for the
holidays – Bob Dylan does Christmas”. Se7en Magazine.
Retrieved 2012-02-14.
[18] “Isn't it ironic? Dylan surprises again with holiday CD -
2009-Dec-02 - CultureMap Houston”. Culturemap.com.
Retrieved 2012-02-09.
[19] “Music”. Slant Magazine. Retrieved 2013-07-25.
[20] “Dylan to release Christmas album”. BBC News. 2009-
08-27. Retrieved 2010-06-29.
[21] “Dylan royalties for Crisis charity”. Daily Mirror. 2009-
09-24. Retrieved 2009-10-24.
[22] “Christmas in the Heart”. aCharts. Retrieved January 14,
2013.
[23] Trust, Gary. Chart Beat Thursday: John Mayer, Folk Al-
bums, David Guetta . Billboard. November 26, 2009.
Retrieved December 6, 2009.
2.34.9 External links
• Bill Flanagan interview with Bob Dylan about
Christmas in the Heart
2.35 Tempest
Tempest is the thirty-fifth studio album by American
singer-songwriter Bob Dylan, released on September 10,
2012 by Columbia Records.[1][2] The album was recorded
Monica, California. Dylan wrote all of the songs him-
[3]
Whistle”,
which he co-wrote with Robert Hunter.
Tempest was well received by music critics, who praised
its traditional music influences and Dylan’s dark lyrics.
The album peaked at number three on the Billboard 200.
2.35.1 Composition
Rolling Stone reported that the fourteen-minute long title
track “Tempest” is about the RMS Titanic and includes
references to the James Cameron film Titanic (1997).
The song “Roll on John” is a tribute to John Lennon. It
includes references to some of his songs, including The
Beatles' "Come Together" and "A Day in the Life.”[4]
The album’s title initially spurred rumors that it would be
Dylan’s final album, based on its similarity to the title of
Shakespeare's final play. Dylan later responded: “Shake-
speare’s last play was called The Tempest. It wasn't called
2.35. TEMPEST
just plain “Tempest”. The name of my record is just plain
Tempest. It’s two different titles.”[5] This assertion was
further disproved when Shadows in the Night was released
in 2015.
2.35.2 Artwork
The cover art for Tempest incorporates a dark red duotone
photograph[6] of a statue located at the base of the Pallas-
Athene Fountain in front of the Austrian Parliament
Building in Vienna.[7][8] The statue is one of four figures
on the intermediate platform of the fountain bowl person-
ifying the main rivers of Austria-Hungary: the Danube,
the Inn, the Elbe, and the Moldau.[9] The figure shown on
the album cover represents the Moldau.[8] The sculpture
was created by Carl Kundmann between 1893 and 1902
based on architect Theophil Hansen's original plans.[9]
The photograph was taken by Alexander Längauer from
his Shutterstock portfolio, and the package was designed
by Coco Shinomiya. As with all Dylan albums of the past
15 years, the packaging features minimal credits and no
printed lyrics. The deluxe limited edition CD includes
a 60-page notebook of rare vintage magazines with Bob
Dylan on frontcover. The covers are from the collections
of Magne Karlstad and Oddbjørn Saltnes.
2.35.3 Release
Tempest was released on September 10, 2012, in the
United Kingdom and September 11 in the United States.
It was announced for release on July 17, 2012 through a
press release on Dylan’s official web site.[1] The release
was issued as a CD and an LP, and as a digital down-
load through online retailers. Various pre-order packages
were available from Dylan’s official online store including
a combined CD/MP3 download of the album, an LP-only
version, and two CD/LP bundles including a signature
Bob Dylan Hohner harmonica in the different keys and an
exclusive 11"x17” poster.[10] A segment of “Early Roman
Kings” was featured in a Cinemax commercial for the TV
series Strike Back: Vengeance[11] and “Scarlet Town” was
featured during the end credits of the first two episodes, sage at the start of “Duquesne Whistle”, Beviglia ob-
both of which aired on August 17, 2012.[12] “Duquesne
Whistle”, written by Dylan and Robert Hunter, was re-
leased as the album’s single, along with an accompany-
ing music video; the video was directed by Nash Edger-
ton, who had directed videos for previous Dylan songs.
Rolling Stone wrote that the video “initially seems like a Wasted Years”, and the remorseless biting lyrics of “Pay
Charlie Chaplin-inspired bit of light comedy”, but that it In Blood”, Dylan captures “humanity, in all of its flawed
takes a “shockingly dark turn”.[13]
2.35.4 Critical reception
Tempest was widely acclaimed by contemporary music the blues classic “Mannish Boy”, and “Pay In Blood”
critics.[14][24] At Metacritic, which assigns a normalized from “Idiot Wind” or “Like a Rolling Stone”.[25] Dylan’s
rating out of 100 to reviews from mainstream critics, the singing is strong on the album, especially on songs like
163
album received an average score of 83, which indicates
“universal acclaim”, based on 31 reviews.[14]
In his review in Rolling Stone magazine, Will Hermes
gave the album five out of five stars, calling it “musi-
cally varied and full of curveballs” and “the single darkest
record in Dylan’s catalog.”[21] According to Hermes, the
album draws upon elements common throughout Dylan’s
career—especially the last three albums—with music that
is “built from traditional forms and drawing on eternal
themes: love, struggle, death.”[21] Hermes continues:
Lyrically, Dylan is at the top of his game,
joking around, dropping wordplay and alle-
gories that evade pat readings and quoting other
folks’ words like a freestyle rapper on fire.
“Narrow Way” is one of Dylan’s most po-
tent rockers in years, and it borrows a cho-
rus from the Mississippi Sheiks' 1934 blues
“You'll Work Down to Me Someday”. “Scar-
let Town” draws on verses by 19th-century
Quaker poet and abolitionist John Greenleaf
Whittier; and allusions to Louis Armstrong and
the Isley Brothers pop up elsewhere.[21]
The title track, about the sinking of the RMS Titanic, is
a 14-minute epic consisting of 45 verses and no chorus,
with an Irish melody supported by accordion and fiddle.
The song depicts a series of horrifying scenes—of pas-
sengers falling into the icy waters, dead bodies “already
floating”, men turning against other men in murderous
acts—presented against acts of bravery, such as one man
“offering his lifeboat seat to a crippled child.”[21] The
closing track, according to Hermes, is a “prayer from one
great artist to another”,[21] John Lennon, and stands as a
reminder that “Dylan now stands virtually alone among
his 1960s peers. His own final act, meanwhile, rolls on.
It’s a thing to behold.”[21]
In his review for American Songwriter, Jim Beviglia gave
the album four and a half out of five stars, calling it
“the kind of meaty offering that his most ardent fans de-
sire most.”[25] The deceptively gentle instrumental pas-
serves, is a perfect opening to an album of “sudden jux-
tapositions and mood shifts that occur not just within
songs but sometimes within verses.”[25] Through the easy
tempo of “Soon After Midnight”, the grinding blues of
“Narrow Way”, the soulful guitar lines of “Long and
glory, at every turn.”[25] The musical antecedents of some
of these songs are transparent: “Duquesne Whistle” from
“Thunder on the Mountain”, “Scarlet Town” from “Ain't
Talkin'", “Tin Angel” from “Man in the Long Black Coat”
and “Black Jack Davey”, “Early Roman Kings” from
164 CHAPTER 2. STUDIO ALBUMS

“Long and Wasted Years”, where he toys with the phras- In his review in The Guardian, Alexis Petridis gave the
ing of each line, teasing out “every bit of hurt in this tale album four out of five stars, but downplayed some of the
of love gone wrong.” “His voice may be shredded,” Bre- superlatives offered by other reviewers who have com-
viglia observes, “but he can still interpret a song like no pared Tempest to some of Dylan’s finest work.[18] In his
other.”[25] consumer guide for MSN Music, Robert Christgau gave
Beviglia notes that the ambitious three-song run conclud- the album a “B+", offering a similar complaint about the
ing the album “should silence any doubts, if they exist, “autohype machine” and how some of the reviews were
that Dylan is still at the top of his game.”[25] “Tin Angel” overly positive.[16] Christgau was also unimpressed with
the title track, as well as the two closing numbers, which
tells a story of a lovers’ triangle that turns into a “Shake-
spearean body pile, providing plenty of fodder for Dyla- “aim higher with dubious-to-disgraceful results.”[16] In his
review in The Sun, Simon Cosyns gave the album five
nologists looking for symbols and hidden meanings.” The
title track, according to Breviglia, may be a metaphor for out of five stars, calling it “a magnificent beast of an
album”.[27] According to Cosyns, the album “continues
how mankind is “headed unknowingly toward an unfor-
tunate fate” with Dylan examining how people react— Dylan’s rich vein of late-career form” and in some ways
surpasses his recent albums based on “sheer lyrical and
"some nobly, some horribly, when put to the ultimate
test.” The closing track, “Roll On John”, veers between vocal power while managing to stretch the familiar old
biographical elements and Lennon song lyrics, present- timey sonic palette in all sorts of unexpected ways.”[27]
ing what Beviglia calls the “oft-overlooked soft side of In his review in The Daily Telegraph, Neil McCormick
Dylan” that is truly touching.[25] Beviglia concludes: called the album “among his best ever”.[28] According to
McCormick, the songs on Tempest reveal a Dylan “gen-
Unlike the Titanic watchman fast asleep at uinely fired up by the possibilities of language” and that
his post, Bob Dylan’s eyes are as wide open as the entire album “resounds with snappy jokes and dark
ever, even when he’s looking back. On this ruminations, vivid sketches and philosophical asides.”[28]
album, he depicts all he sees with his typi- McCormick continued:
cal insight, dexterity, and honesty, yet he still
has ways of doing so that upend all expec- Tempest is certainly his strongest and most
tations. Tempest is fantastic, but being im- distinctive album in a decade. The sound is
pressed by Dylan is old hat. That he still finds a distillation of the jump blues, railroad boo-
ways to surprise us is an achievement beyond gie, archaic country and lush folk that Dy-
all comprehension.[25] lan has been honing since 2001’s Love and
Theft, played with swagger and character by
In his review in the Los Angeles Times, Randall Roberts his live ensemble and snappily produced by
wrote, “Few American writers, save Mark Twain, have the man himself. A notoriously impatient
spoken so eloquently and consistently at such a steady, recording artist, Dylan seems to have found a
honest clip, and the evidence continues on Tempest.”[26] style that suits his working methods. Draw-
According to Randall, the album reveals a “master story- ing on the early 20th-century Americana that
teller” at work as Dylan “continues to explore the various first grabbed his attention as a young man
strands of early American roots music that he internalized (and that he celebrated in his Theme Time Ra-
as he matured.” dio Hour shows) and surrounding himself with
slick, intuitive musicians capable of charging
At their best, new songs such as “Scarlet these nostalgic grooves with contemporary en-
Town,” “Tin Angel” and “Roll On, John” show ergy, his late-period albums seem a continua-
an artist swirling in musical repetition and the tion of his tours, as if he rolls right off the stage
joy of longevity. Each is longer than seven and into the studio and just keeps rocking.[28]
minutes and each deserves to be heard again
the moment it ends. He mixes these longer nar- In his review for the Chicago Tribune, Greg Kot gave the
ratives with a few four-minute, expertly crafted album three and a half out of four stars, calling it “an in-
gems that float like whittled wooden birds come spired mix of blood and bawdiness.”[15] Kot called Dylan
to life—especially “Long and Wasted Years,” a a “masterful storyteller, by turns murderous, mischievous
bitter song about a dead marriage.[26] and tender, sometimes all at once.”[15] In his review on
Uncut, Allan Jones gave the album ten out of ten stars,
Randall is less enthusiastic about the longer pieces “Nar- calling it “the most far-reaching, provocative and transfix-
row Way” and the title track, noting that “even a master ing album of Dylan’s later career. Nothing about it sug-
craftsman sometimes needs an editor.”[26] Randall con- gests a swansong, adios or fond adieu.”[29] In his review
cludes, “Dylan lives in every molecule of our being, has in The Gazette, Bernard Perusse gave the album five out
taught us about lyrical possibility, has reveled in the joy of five stars, noting that it “ranks among Dylan’s darker
of words and the power and glory of making things up works, largely because it has the highest death toll.”[30] In
from scratch.”[26] his review in the Tampa Bay Times, Sean Daly gave the
2.35. TEMPEST 165

album an “A” rating, calling it “breathtaking but bleak” • John Shearer – booklet photography
and a “mesmerizing record”.[31]
• Coco Shinomiya – package design
In her review for USA Today, Edna Gundersen gave the
album four out of four stars, calling it “brilliant”.[32] • Shutterstock / A. Längauer – front cover photogra-
According to Gundersen, Dylan’s “peerless powers as phy
a wordplay wizard and consummate storyteller” have
• Albert Watson – additional booklet photography
not diminished with age, and that Tempest continues in
the vein of his recent albums, “steeped in tradition and
bent toward blues.”[32] Dylan’s voice is ideal for these 2.35.7 Release history
songs, Gundersen noted, whether he’s describing a triple
murder-suicide in “Tin Angel” or vilifying modern robber
2.35.8 Charts
barons in “Early Roman Kings”.[32] Beneath the humor
and mayhem Dylan layers “sexual and political metaphors
Albums
and bigger truths about human nature, twisted morals,
fate and mortality.”[32]
Year-end charts
Anne Margaret Daniel, writing in Hot Press, described
Tempest as “Breathtaking, mythmaking, heartbreaking, 2.35.9 References
the songs and ballads of Bob Dylan’s Tempest are com-
posed of intricately patterned rhyme and sound. No other [1] “Tempest Press Release | The Official Bob Dylan Site”.
songwriter can marry words and music as richly as Dy- bobdylan.com. July 17, 2012. Retrieved July 17, 2012.
lan can, and the perfect-ten tracks of this record come
[2] “Bob Dylan announces new studio album 'Tempest' |
straight to us from a bard’s ear and a poet’s pen.”[33] News”. NME. July 17, 2012. Retrieved July 17, 2012.
Rolling Stone named it the number 4 album of 2012.[34]
[3] Jurek, Thom. “Tempest – Bob Dylan”. Allmusic. Rovi
They also named the song Pay in Blood the 9th best song
Corporation. Retrieved September 13, 2012.
of 2012.[35]
[4] Greene, Andy (July 17, 2012). “First Details of Bob Dy-
lan’s Upcoming Album 'Tempest' | Music News”. Rolling
2.35.5 Track listing Stone. Retrieved July 18, 2012.

[5] Gilmore, Mikal (August 1, 2012). “Bob Dylan on His

All songs written and composed by Bob Dylan except
Dark New Album, 'Tempest'". Rolling Stone. Retrieved
where noted.
August 1, 2012.

[6] Great Album, Feeble Cover - Print Magazine

2.35.6 Personnel
[7] Bob Egan (March 7, 2013). “Tempest by Bob Dylan-
• Bob Dylan – guitar, piano, vocals, production Album Cover Location-Vienna, Austria”. PopSpotsNYC.
Retrieved April 20, 2015.

Additional musicians [8] “Wiener Parlamentsstatue auf neuem Dylan-Album”. Der

Standard. July 18, 2012. Retrieved August 27, 2012.
• Tony Garnier – bass guitar [9] “The Parliament Building”. Parliament of the Republic of
Austria. Retrieved August 27, 2012.
• Donnie Herron – steel guitar, banjo, violin,
mandolin [10] “Bob Dylan “Pre-Order” @ Bob Dylan Global Store”.
myplaydirect.com. Retrieved July 24, 2012.
• David Hidalgo – guitar, accordion, violin
[11] “Check Out New Bob Dylan Song in Trailer for Cinemax’s
• Stu Kimball – guitar “Strike Back” Series – Music News”. ABC NewsRadio.
August 1, 2012. Retrieved August 1, 2012.
• George G. Receli – drums
[12] Day, Patrick Kevin (August 2, 2012). “Bob Dylan’s new
• Charlie Sexton – guitar songs will debut with Cinemax’s Strike Back”. Los Ange-
les Times. Retrieved August 2, 2012.
Technical personnel [13] “Bob Dylan Debuts Shockingly Violent New Video”.
Rolling Stone. August 29, 2012. Retrieved September 12,
• William Claxton – back cover photography 2012.

• Scott Litt – engineering, recording, mixing [14] “Tempest Reviews, Ratings, Credits, and More”.
Metacritic. CBS Interactive. Retrieved September 12,
• Dana Nielsen – recording, mixing 2012.
166 CHAPTER 2. STUDIO ALBUMS

[15] Kot, Greg (September 7, 2012). “Bob Dylan, 'Tempest'". [34] 50 Best Albums of 2012: Bob Dylan, 'Tempest' | Rolling
Chicago Tribune. Retrieved September 7, 2012. Stone

[16] Christgau, Robert (September 11, 2012). “Pet Shop
Boys/Bob Dylan”. MSN Music. Retrieved September 11,
2012.
[17] Brunner, Ron (September 5, 2012). “Tempest (2012)".
Entertainment Weekly. Retrieved September 7, 2012.
[18] Petridis, Alexis (September 6, 2012). “Bob Dylan: Tem-
pest – review”. The Guardian. Retrieved September 7,
2012.
[19] Howard, Tom (September 7, 2012). “NME Album Re-
views – Bob Dylan 'Tempest'". NME. Retrieved Septem-
ber 12, 2012.
[20] Petrusich, Amanda (September 13, 2012). “Bob Dylan:
Tempest”. Pitchfork Media. Retrieved September 13,
2012.
[35] 50 Best Songs of 2012: Bob Dylan, 'Pay in Blood' | Rolling
Stone
[36] “Bob Dylan: Tempest”. aCharts. Retrieved September
19, 2012.
[37] “Top stranih – tjedan 40. 2012.” (in Croatian). Hrvatska
Diskografska Udruga. Retrieved 3 February 2014.
[38] “Irish Albums Chart > Archive > Week Ending: 13
September 2012”. GFK. 2012-09-13. Retrieved Septem-
ber 13, 2012.
[39] “Oficjalna lista sprzedaży”. OLiS. 2012-09-24. Retrieved
2012-09-21.
[40] “Top 100 Albumes” (PDF). Media Control International.
Retrieved September 20, 2012.

[21] Hermes, Will (September 13, 2012). “Tempest”. Rolling [41] “Billboard 200”. Billboard. September 29, 2012. Re-
Stone (1165): 77–78. Retrieved September 3, 2012. trieved September 20, 2012.

[22] Lanthier, Joseph Jon (September 9, 2012). “Bob Dy-
lan: Tempest”. Slant Magazine. Retrieved September 12,
2012.
[23] Marchese, David (September 12, 2012). “Bob Dylan,
‘Tempest’". Spin (New York: Buzz Media). Retrieved
September 12, 2012.
[24] “Tempest by Bob Dylan reviews”. AnyDecentMusic?.
Retrieved September 12, 2012.
[42] “Annual Report 2012”. Ultratop. Retrieved January 7,
2013.
[43] “Jaaroverzichten: Album 2012”. Dutch Charts. Retrieved
January 7, 2013.
[44] "Årslista Album - År 2012” (in Swedish). Hitlistan.se.
Sverigetopplistan. Archived from the original on 17 Jan-
uary 2013. Retrieved 17 January 2013.

[25] Beviglia, Jim (September 4, 2012). “Bob Dylan: Tem-

pest”. American Songwriter. Retrieved September 5,
2012.

[26] Roberts, Randall (September 5, 2012). “Bob Dylan rides

this 'Tempest'". Los Angeles Times. Retrieved September
6, 2012.

[27] Cosyns, Simon (September 7, 2012). “Most revealing

Bob Dylan review ever”. The Sun. Retrieved September
7, 2012.

[28] McCormick, Neil (September 7, 2012). “Bob Dylan’s

Tempest: Rock’s king lyricist keeps his crown”. The Tele-
graph. Retrieved September 7, 2012.

[29] Jones, Allan (September 7, 2012). “Bob Dylan – Tem-

pest”. Uncut. Retrieved September 7, 2012.

[30] Perusse, Bernard (September 7, 2012). “New music re-

view: Tempest, Bob Dylan”. Retrieved September 7,
2012.

[31] Daly, Sean (September 11, 2012). “Bob Dylan’s new al-
bum 'Tempest' is breathtaking but bleak”. Tampa Bay
Times. Retrieved September 10, 2012.

[32] Gundersen, Edna (September 10, 2012). “Bob Dylan’s

answer to aging is blowin' up a 'Tempest'". USA Today.
Retrieved September 11, 2012.

[33] Daniel, Anne Margaret (August 17, 2012). “BOB DY-

LAN'S NEAR PERFECT STORM”. Hot Press.
Chapter 3

Live Albums

3.1 Before the Flood Tracks, after returning label president Goddard Lieber-
son made a determined campaign to get Dylan back from
[5]
This article is about the Bob Dylan album. For the period Asylum. The Band continued to record on their own for
in Christian and Jewish theology, see Antediluvian. Capitol Records.
Subsequent reissues were on the Columbia imprint, and
Before the Flood is a live album by American singer- on March 31, 2009, a remastered digipak version of Be-
songwriter Bob Dylan and The Band, released on June fore the Flood was issued by Legacy Records, Columbia
20, 1974 on Asylum Records in the United States and now part of Sony Music Entertainment.
Island Records in the United Kingdom. It is the seven-
teenth album by Dylan and the seventh by The Band, and
documents their joint 1974 American tour. It peaked at
3.1.2 Critical reception
number three on the Billboard 200, reached number eight
In a contemporary review for Creem magazine, music
on the popular album chart in the United Kingdom, and
critic Robert Christgau felt that the Band followed Dy-
has been certified platinum by the Recording Industry As-
lan in intensifying his old songs for the arena venue and
sociation of America.[1]
stated, “Without qualification, this is the craziest and
strongest rock and roll ever recorded. All analogous live
albums fall flat.”[8] In a less enthusiastic review, Rolling
3.1.1 Content Stone magazine’s Tom Nolan said that Dylan’s vocal em-
phasis and the Band’s busy arrangements make for an
Dylan and his new record label Asylum had planned pro- awkward listen, although revamped versions of songs
fessional recordings before the tour began, ten separate such as “It’s All Right, Ma”, “Like a Rolling Stone”, and
sessions in total: three in New York at Madison Square “All Along the Watchtower” are successful and sound
Garden on January 30 and 31; two in Seattle,Washington, meaningful.[14] Before the Flood was voted the sixth best
at the Center Coliseum on February 9; two in Oakland,
album of 1974 in The Village Voice 's annual Pazz & Jop
California, at the Alameda County Coliseum on February critics poll.[15] Christgau, the poll’s creator, ranked it sec-
11; and three in Los Angeles on February 13 and 14.[2]
ond on his own list.[16]
To compile the album, recordings were taken from the fi-
nal three shows at the Los Angeles Forum in Inglewood, In a retrospective review, Greg Kot of the Chicago Tri-
[7]
California, with only "Knockin' on Heaven’s Door" from bune called the album “epochal”, while AllMusic's
New York.[3] Stephen Thomas Erlewine described it as “one of the best
live albums of its time. Ever, maybe.”[6] Greil Marcus
The title of the album is thought to derive from the novel commented, “Roaring with resentment and happiness,
Farn Mabul by Yiddish writer Sholem Asch; Dylan had the music touched rock and roll at its limits.”[17] By con-
a personal relationship with Moses Asch, son of Sholem trast, Dylan himself later disparaged the tour, feeling that
and founder of Folkways Records, a record label hugely it was overblown. “I think I was just playing a role on
influential in the folk music revival.[4] Another theory is that tour, I was playing Bob Dylan and The Band were
that the title refers to the album arriving before the in- playing The Band. It was all sort of mindless. The only
evitable flood of bootlegs could saturate the underground thing people talked about was energy this, energy that.
market. The highest compliments were things like, 'Wow, lotta
While Dylan and The Band had recorded the studio al- energy, man.' It had become absurd.”[18] In a retrospec-
bum Planet Waves prior to the tour, few of its songs tive review, Scott Hreha of PopMatters also felt that each
were incorporated into the tour’s setlist, and none are act did not sound collaborative as on The Basement Tapes
represented on Before the Flood. After the double al- and that the album “remains a worthy but inessential item
bum release, Dylan signed a new contract with Columbia in Dylan’s catalog—and both he and the Band have better
Records in time for his next studio album, Blood on the live recordings available, especially the several volumes in

167
168
Dylan’s Bootleg Series.”[11]
3.1.3 Track listing
Sides one and four are performances by Bob Dylan and
The Band; side two and tracks four through six on side
three are by The Band; tracks one through three on side
three by Dylan alone. "Blowin' in the Wind" is a splice of
two separate performances. All dates from Los Angeles
except as indicated. All songs written and composed by
Bob Dylan, except where noted.
Side one
Side two
Side three
Side four
3.1.4 Personnel
• Bob Dylan – vocals, guitars, harmonica, piano
• Rick Danko – vocals, bass guitar
• Levon Helm – vocals, drums
• Garth Hudson – organ, piano, clavinet
• Richard Manuel – vocals, piano, organ, drums
• Robbie Robertson – electric guitar, backing vo-
cals[19]
Technical personnel
• Barry Feinstein – photography
• Rob Fraboni – recording and mixing engineering
• Nat Jeffrey – mixing engineering
• Phil Ramone – recording engineering
• Location recording by Wally Heider Recording: Ed
Barton, Jack Crymes, Deane Jensen, Bill Broms and
Biff Dawes
3.1.5 References
[1] “RIAA – Searchable database: Before the Flood”.
Recording Industry Association of America. Retrieved
25 October 2011.
[2] Shelton, Robert. No Direction Home: The Life and Music
of Bob Dylan. 1986, ISBN 978-0-688-05045-0, pp. 436-
437.
CHAPTER 3. LIVE ALBUMS
[3] Bjorner’s Files Still on the Road
[4] Gray, Michael. The Bob Dylan Encyclopedia. 2006, ISBN
978-0-8264-6933-5, p. 43.
[5] Shelton, p. 378.
[6] Erlewine, Stephen Thomas. Before the Flood at AllMusic
[7] Kot, Greg (October 25, 1992). “Dylan Through The
Years: Hits And Misses”. Chicago Tribune. Retrieved
December 26, 2013.
[8] Christgau, Robert (October 1974). “The Christgau Con-
sumer Guide”. Creem. Retrieved December 26, 2013.
[9] George-Warren, Holly (November 16, 2010). “Bob Dy-
lan & The Band, Before The Flood”. eMusic. Retrieved
December 26, 2013.
[10] Graff, Gary; Durchholz, Daniel (eds) (1999). Musi-
cHound Rock: The Essential Album Guide. Farmington
Hills, MI: Visible Ink Press. p. 371. ISBN 1-57859-061-
2.
[11] Hreha, Scott (June 25, 2009). “Bob Dylan: New Morning
/ The Basement Tapes / Before the Flood / Dylan & the
Dead”. PopMatters. Retrieved December 26, 2013.
[12] Rolling Stone Album Guide
[13] Thomas, Adam (April 14, 2009). “Review: Bob Dylan –
Before the Flood”. Sputnikmusic. Retrieved December
26, 2013.
[14] Nolan, Tom (August 29, 1974). “Before the Flood”.
Rolling Stone. Retrieved December 26, 2013.
[15] “The 1974 Pazz & Jop Critics Poll”. The Village Voice
(New York). January 20, 1975. Retrieved December 26,
2013.
[16] Christgau, Robert (January 20, 1975). “Our Own Critics’
Poll”. The Village Voice (New York). Retrieved Decem-
ber 26, 2013.
[17] Marcus, Greil (1997). Mystery Train Images of America
in Rock & Roll Music. New York: Plume. p. 221. ISBN
978-0-452-27836-3.
[18] Dylan, Bob, in conversation with Cameron Crowe.
Biograph. 1985, Columbia Records C5X 38830 vinyl edi-
tion, liner notes, p. 22.
[19] http://www.discogs.com/
Bob-Dylan-Band-Before-The-Flood/release/1144348
3.1.6 External links
• Before the Flood at Discogs (list of releases)
3.2. HARD RAIN 169

3.2 Hard Rain Side two

Hard Rain is a live album by American singer-songwriter 1. "Shelter from the Storm" – 5:29
Bob Dylan, released on September 13, 1976 by Columbia
Records. The album was recorded during the second leg 2. "You're a Big Girl Now" – 7:01
of the Rolling Thunder Revue.
3. "I Threw It All Away" – 3:18
The album was partly recorded on May 23, 1976, during a
concert at Hughes Stadium in Fort Collins, Colorado; the 4. "Idiot Wind" – 10:21
penultimate show of the tour, the concert was also filmed
and later broadcast by NBC as a one-hour television spe-
cial in September. (Hard Rain's release coincided with 3.2.2 Personnel
this broadcast). Four tracks from the album (“I Threw
It All Away,” “Stuck inside of Mobile with the Mem- • Bob Dylan - vocals, guitar, production
phis Blues Again,” “Oh, Sister,” and “Lay, Lady, Lay”)
were recorded on May 16, 1976 in Fort Worth, Texas.[4] Additional musicians
Neither the album nor the television special was well re-
ceived.
• Gary Burke - drums
“Although the band has been playing together longer,
the charm has gone out of their exchanges,” writes mu- • T-Bone Burnett - guitar, piano
sic critic Tim Riley. "Hard Rain...seemed to come at
a time when the Rolling Thunder Revue, so joyful and • David Mansfield - guitar
electrifying in its first performances, had just plain run
out of steam,” wrote Janet Maslin, then a music critic • Scarlet Rivera - strings
for Rolling Stone. In his mixed review for Hard Rain,
Robert Christgau criticized the Rolling Thunder Revue • Mick Ronson - guitar
as “folkies whose idea of rock and roll is rock and roll • Steven Soles - guitar, background vocals
clichés.”
A representation of the earlier 1975 portion of the • Rob Stoner - Bass, background vocals
Rolling Thunder Revue was released in 2002 on The
Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling • Howard Wyeth - drums, piano
Thunder Revue.
Technical personnel
Despite heavy promotion that placed it on the cover of
TV Guide, NBC's television broadcast of the May 23rd
concert drew disappointing ratings. The album peaked at • Don DeVito - production
#17 in the US and #3 in the UK. Hard Rain eventually
earned gold certification. • Don Meehan - recording and mixing engineering

In August 2010, a source close to Dylan told Rolling Stone • Ken Regan - cover photo
that Hard Rain would be issued on DVD in the near
future.[5] • Paula Scher - cover design

• Lou Waxman - chief of tape research

3.2.1 Track listing
All songs by Bob Dylan, except where noted. 3.2.3 References
[1] Thomas, Stephen (1976-09-10). “Allmusic review”. All-
Side one music.com. Retrieved 2012-02-07.

1. "Maggie’s Farm" – 5:23 [2] “Robert Christgau review”. Robertchristgau.com. Re-

trieved 2012-02-07.
2. "One Too Many Mornings" – 3:47
[3] Rolling Stone review
3. "Stuck Inside of Mobile with the Memphis Blues
Again" – 6:01 [4] http://www.bjorner.com/1976%20Soon%20To%
20Be%20Divorced.pdf
4. "Oh, Sister" (Dylan, Jacques Levy) – 5:08
[5] Rolling Stone article: "Dylan’s New 'Bootleg' to Feature
5. "Lay Lady Lay" – 4:47 Unearthed Live Show.”
170 CHAPTER 3. LIVE ALBUMS

3.3 Bob Dylan at Budokan platinum, while simultaneously peaking at #4 in the UK.

Bob Dylan at Budokan is a live album by American

singer-songwriter Bob Dylan, released on April 23, 1979 3.3.3 Track listing
by CBS/Sony Records. It was recorded during his 1978
world tour and is composed mostly of the artist’s "greatest All songs written by Bob Dylan, except where noted
hits". The performances in the album are radically al-
tered from the originals, using the same musicians that
backed Street-Legal, but relying on a much larger band 3.3.4 Personnel
and stronger use of brass and backup singers. In some re-
spects the arrangements are more conventional than the • Bob Dylan – rhythm guitar, harmonica, vocals
original arrangements and the album was criticized for
being so. At the same time that it was criticized for being Additional musicians
too polished, it was criticized for being too sloppy. For a
few critics, such as Janet Maslin of Rolling Stone, the dif-
ferences between the older and newer arrangements had • Billy Cross – lead guitar
become less important.[1]
• Steve Douglas – saxophone, Flute, Recorder

• Debi Dye – backing vocals

3.3.1 Recording and releases
• Bobbye Hall – percussion
The audio recording is from two different shows on
February 28 and March 1, 1978. Columbia Records re- • Jo Ann Harris – backing vocals
leased this double LP in North America on August 21,
1978; the original issue was limited to the Japanese mar- • David Mansfield – pedal steel, violin, mandolin,
ket. Later that year, it was released in Australia. On April dobro, guitar
23, 1979, spurred by extensive importing and at least one
counterfeit European edition, Columbia released the al- • Alan Pasqua – keyboards
bum to worldwide markets. The shows were the fourth
and fifth in an eight-show appearance at Nippon Budokan • Ed Rash – tambourine
Hall in Tokyo, Japan.
• Steven Soles – acoustic rhythm guitar, backing vo-
cals
3.3.2 Reception
• Helena Springs – backing vocals
Bob Dylan at Budokan received some of the worst reviews
• Rob Stoner – bass guitar, backing vocals
of Dylan’s career. Critically savaged, it was derided as
“slick” and “sterile.” • Ian Wallace – drums
In a sarcastic review published in his “Consumer Guide”
column, Robert Christgau gave the album a C+ rating, Technical personnel
writing “I believe this double LP was made available so
our hero could boast of being outclassed by Cheap Trick,
who had the self-control to release but a single disc from • Tim Charles – monitor mixer
[3]
this location.” Critic Jimmy Guterman named it one of
the worst albums ever released in the history of rock. • Don De Vito – production

However, the album received stronger reviews in Europe, • Val Lane – sound technician
and critic Janet Maslin (then a music critic for Rolling
Stone magazine) defended the album in her review. “The
method here is hit-or-miss, and the results are corre- 3.3.5 References
spondingly spotty,” Maslin wrote. “The fire and brim-
stone are behind Dylan, [but] this hardly means the fight [1] Sounes, 2001, Down The Highway: The Life Of Bob Dy-
has gone out of him: Bob Dylan at Budokan is a very lan, pp. 314–316.
contentious effort—and, for the most part, a victorious
one.”[1] Ironically, fire and brimstone were to again be- [2] Allmusic review
come very much a part of Dylan’s music, with the release
of his gospel rock album Slow Train Coming later in 1979. [3] Robert Christgau review
Bob Dylan at Budokan reached #13 in the US and went [4] link Rolling Stone review
3.5. DYLAN & THE DEAD 171

3.4 Real Live 3.4.3 Personnel

• Bob Dylan – guitar, harmonica, keyboards, vocals
Real Live is a live album by American singer-songwriter
Bob Dylan, released on November 29, 1984 by Columbia
Records. Recorded during the artist’s 1984 European Additional musicians
Tour, most of the album was recorded at Wembley Sta-
dium on 7 July, but “License to Kill” and "Tombstone • Colin Allen – drums
Blues" come from St James’ Park, Newcastle on 5 July,
and "I and I" and "Girl from the North Country" were • Ian McLagan – keyboards
recorded at Slane Castle, Ireland on 8 July.[4]
• Carlos Santana – guitar on “Tombstone Blues”
Produced by Glyn Johns, it features Mick Taylor (for-
merly of the Rolling Stones) on lead guitar, Ian McLagan • Gregg Sutton – bass guitar
(formerly of the Faces) on keyboards, and a guest appear-
• Mick Taylor – guitar
ance from Carlos Santana. The performances on Real
Live were recorded in support of his successful Infidels
album. While Infidels was hailed as a “return to musi- Technical personnel
cal form” (as described by Kurt Loder in Rolling Stone
magazine), critical reception for Real Live was generally • Glyn Johns – producer
mixed.
Released in December to capitalize on the Christmas
3.4.4 References
shopping season, Real Live still sold in disappointing
numbers, reaching a then-career low of #115 in the US [1] Erlewine, Stephen Thomas. Real Live at AllMusic
and #54 in the UK.
[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”.
robertchristgau.com. Retrieved 11 September 2011.

[3] Loder, Kurt (1985-02-14). “Bob Dylan: Real Live : Mu-

3.4.1 Reception
In his review for Rolling Stone, Loder writes, “Although
cynics may find that Dylan’s trademark wheeze is verging
on self-parody by this point, his singing is truly spirited
throughout. The band he assembled for the tour generally
serves him well, if without inspiration...Dylanologists will
savor the heavily revised, third-person* lyrics for 'Tan-
gled Up in Blue' (although they scuttle the original song’s
compelling intimacy), and some fans may get a giggle
out of the rhythm riff – lifted from Ray Charles' 'I Be-
lieve to My Soul' – that graces 'Ballad of a Thin Man.'
But 'Highway 61 Revisited' and 'Tombstone Blues’ suffer
from formless arrangements, and the band simply can't
replicate the reggae groove called for on 'I and I'...If [Dy-
lan’s] rag-and-roll approach to rock is dated, that’s essen-
tially a cosmetic problem. One continues to hope that
he'll someday assemble a full-time band he really believes
in...a band that will enable him to reassert his brilliance
in the modern rock marketplace.”
• Loder neglected to realize, however, that the lyrics
were originally written from a third-person perspec- The album sold well, reaching #37 on the Billboard charts
tive prior to rerecording.[5] in the U.S., #38 in the UK, and earning gold status in the
United States.
3.4.2 Track listing
All songs by Bob Dylan.
sic Reviews : Rolling Stone”. web.archive.org. Archived
from the original on 2007-10-01. Retrieved 11 September
2011.
[4] Bieri, Guido (2008). Life on the Tracks: Bob Dylan’s
Songs. Basel, Switzerland: Lulu. p. 499.
[5] Tangled Up in Blue
3.5 Dylan & the Dead
Dylan & the Dead is a collaborative live album by Amer-
ican singer-songwriter Bob Dylan and the Grateful Dead,
released on February 6, 1989 by Columbia Records. The
album consists of seven songs written and sung by Dylan,
with the Grateful Dead providing accompaniment. The
album was produced by Jerry Garcia and John Cutler.
Dylan & the Dead was recorded in 1987, during a suc-
cessful stadium tour of the same name. Songs from two
of the Grateful Dead performances are documented on
the album View from the Vault IV.
In 1992 a bootleg of the first concert in 1987 was released
under the title Orbiting Uvula. This includes the first ever
live performance of Queen Jane Approximately, the first
live performance of John Brown since 1963 and the first
live performance of Chimes of Freedom since 1964.[1]
172 CHAPTER 3. LIVE ALBUMS

3.5.1 Reviews 3.5.4 See also

Despite strong initial sales, the album was poorly received • List of Grateful Dead covers
by critics. Rolling Stone stated that the record “makes
you wonder what the fuss [over the tour] was about,” al-
though they did have some kind words for several of the
3.5.5 References
[5]
tracks. Writing for The Village Voice, influential mu- [1] Olof Björner at www.bobsboots.com
sic critic Robert Christgau said that what Dylan “makes
of his catalogue here is exactly what he’s been making of [2] Allmusic review
it for years—money.”[6] Amazon.com's Steve Appleford [3] Rolling Stone review
lamented that “if these were the stadium tour’s best per-
[4] Robert Christgau review
formances, pity anyone who actually sat through one of
[7]
these concerts with a clear head.” Stephen Thomas Er- [5] Fricke, David. Dylan & the Dead review at Rolling Stone
lewine's review for AllMusic was particularly harsh, giv-
[6] Christgau, Robert. Dylan & the Dead review at
ing it one star out of a possible five, and calling it “quite RobertChristgau.com
possibly the worst album by either Bob Dylan or the
Grateful Dead” and “a sad, disheartening document.”[8] [7] Appleford, Steve. Dylan & the Dead at Amazon.com
Music listeners outside the music press, particularly Dy- [8] Dylan & the Dead at AllMusic
lan’s and the Grateful Dead’s audiences, often voiced
other views.
3.6 The 30th Anniversary Concert
3.5.2 Track listing Celebration
3.5.3 Personnel The 30th Anniversary Concert Celebration is a live
double-album release in recognition of Bob Dylan's 30
• Bob Dylan – guitar, vocals years as a recording artist. Recorded on October 16,
1992, at Madison Square Garden in New York City, it
• Jerry Garcia – guitar, vocals, production captures most of the concert, which featured many artists
performing classic Dylan songs, before ending with three
• Mickey Hart – drums
songs from Dylan himself.
• Bill Kreutzmann – drums The house band for the show were the surviving members
of Booker T. and the MG’s: Booker T. Jones on organ,
• Phil Lesh – bass guitar Donald “Duck” Dunn on bass, and Steve Cropper on gui-
tar. Joining them is drummer Anton Fig filling in for the
• Brent Mydland – keyboards, vocals
late Al Jackson, plus drummer Jim Keltner. Longtime
• Bob Weir – guitar, vocals Saturday Night Live bandleader G. E. Smith served as the
musical director.
Technical personnel The 30th Anniversary Concert Celebration, which reached
#40 in the US and went gold, was released in August 1993
just before Dylan was about to deliver his second folk stu-
• Guy Charbonneau – engineering
dio set inside of a year, World Gone Wrong. The concert
• John Cutler – production, engineering was dubbed “Bobfest” by Neil Young at the beginning of
his “All Along the Watchtower” cover.
• Joe Gastwirt – mastering An after-party was held at Tommy Makem's Irish Pavil-
ion.
• Herb Greene – photography
A VHS collection of the same name was released on
• Rick Griffin – art direction August 25, 1993. On March 4, 2014, the concert
was released in Deluxe Edition 2-DVD and Blu-ray
• Gary Hedden – engineering
sets with bonus performances and behind-the-scenes re-
• Peter Miller – engineering hearsal footage, as well as a 2-CD set with two bonus re-
hearsal tracks.
• David Roberts – engineering

• Billy Rothschild – engineering 3.6.1 Track listing

• Chris Wiskes – engineering All songs written by Bob Dylan.
3.8. LIVE 1961–2000: THIRTY-NINE YEARS OF GREAT CONCERT PERFORMANCES 173

3.6.2 Personnel • Scott Hull – mastering

• Bob Dylan – guitar, vocals • Frank Micelotta – photography

• Jeff Rosen – executive production
Additional musicians
• Don Was – mixing
Technical personnel • Allen Weinberg – art direction

3.6.3 External links 3.7.3 References

• The 30th Anniversary Concert Celebration at [1] Ruhlmann, William. MTV Unplugged (Bob Dylan al-
MusicBrainz (list of releases) bum) at AllMusic

[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”.

robertchristgau.com. Retrieved 11 September 2011.
3.7 MTV Unplugged
[3] Richardson, Susan (2 February 1998). “Rolling Stone
: Bob Dylan: MTV Unplugged : Music Reviews”.
MTV Unplugged is a live album by Bob Dylan, re-
web.archive.org. Archived from the original on 9 Decem-
leased in 1995 by Columbia Records (reissued in 2007
ber 2006. Retrieved 11 September 2011.
by Sony).[4] It documents Dylan’s appearance on the
then-highly popular MTV Unplugged television series, [4] “MTV Unplugged releases”. allmusic. Retrieved 22
recorded at Sony Music Studios in New York on Novem- February 2013.
ber 17 and 18, 1994. It gave Dylan his best sales in years,
reaching US #23 and going gold, while hitting #10 in the
UK. 3.8 Live 1961–2000: Thirty-Nine
The singer-songwriter had originally wanted to do a set Years of Great Concert Perfor-
of traditional folk songs. At MTV's behest, he instead
performed mostly classics from his early albums. mances
Live 1961–2000: Thirty-Nine Years of Great Concert
3.7.1 Track listing Performances is a live compilation album by Bob Dy-
lan, released only in Japan on February 28, 2001. All
All songs written by Bob Dylan. of the tracks on this album are available on other official
releases.
3.7.2 Personnel
3.8.1 Track listing
• Bob Dylan – guitar, vocals, harmonica
All songs written and composed by Woody Guthrie (track
Additional musicians 6); Bob Dylan (tracks 4, 5, 7-16); traditional, arrange by
Bob Dylan (tracks 1-3).
• Bucky Baxter – dobro, pedal steel, steel guitar
• Tony Garnier – bass guitar
3.9 Live at The Gaslight 1962
• John Jackson – guitar
Live at The Gaslight 1962 is a live album including ten
• Brendan O'Brien – Hammond organ
songs from early Bob Dylan performances at The Gaslight
• Winston Watson – drums Cafe in New York City's Greenwich Village. Released in
2005 by Columbia Records, it was originally distributed
Technical personnel through an exclusive 18-month deal with Starbucks, after
which it was released to the general retail market.
• Greg Calbi – mastering Live at The Gaslight 1962 was recorded early in Dylan’s
career, when he was still virtually unknown outside of
• Ed Cherney – mixing Greenwich Village. Thanks to the cooperation of vari-
• Randy Ezratty – engineering ous club owners, and the management skills of Dave Van
Ronk's wife, Terri Thal, Dylan was able to record a num-
• Kim Gaucher – illustrations ber of performances during that time on a reel-to-reel
174 CHAPTER 3. LIVE ALBUMS

tape recorder patched into the house PA system. It is Gonna Fall” (often referred to as “Hard Rain”), "Don't
believed that Live at The Gaslight 1962 was culled from Think Twice, It’s All Right", and “John Brown”. Both
tapes recorded with this arrangement. “Hard Rain” and “Don't Think Twice, It’s All Right”
These Gaslight recordings have circulated among Dylan would eventually appear on Dylan’s second album, The
collectors for many years. They made their first appear- Freewheelin' Bob Dylan. “John Brown” would later be
ance on bootleg LPs no later than 1973, and have ap- published and issued on Broadside Ballads, Vol. 1 in
peared, in various forms, on several bootleg LPs and CDs February 1963, but it would not be released on any of Dy-
and on many Dylan fan CDR projects. The full set of lan’s subsequent studio albums (the song only re-appeared
as a live performance on Dylan’s 1993 MTV Unplugged
recordings, including 17 tracks, is usually referred to by
Dylan collectors as the “Second Gaslight Tape”, but some album.)
refer to the recordings as a compilation of the “Second” The remaining songs on Live at The Gaslight 1962 are
and “Third Gaslight Tape”, believing them to be com- considered traditional folk songs; essays on a number of
piled from two different sets at The Gaslight. The source ballads performed by Dylan during his October residency
recording is not continuous, and its exact provenance hasat the Gaslight Cafe can be found in an anthology pub-
not been firmly established. lished in 2004 entitled The Rose & the Briar: Death, Love
Two tracks from these recordings were previously re- and Liberty in the American Ballad.
leased on official Dylan albums: “No More Auction “Rocks and Gravel” is Dylan’s own adaptation of Brownie
Block” appeared on The Bootleg Series Volumes 1–3 McGhee's “Solid Road” and Leroy Carr's “Alabama
(Rare & Unreleased) 1961–1991 in 1991 and “Handsome Woman”, an arrangement that fuses both songs into one.
Molly” appeared on the Japanese release Live 1961– It was originally slated to appear on Dylan’s second album
2000: Thirty-Nine Years of Great Concert Performances. (and later appeared on test pressings made for a prelimi-
A third track, "The Cuckoo (Is A Pretty Bird)", was in- nary version of the LP), but when Dylan reconfigured The
cluded on a promotional CD distributed in U.S. retail Freewheelin' Bob Dylan, he omitted “Rocks And Gravel”
markets in association with the official release of Chron- from the final album sequence.
icles, Vol. 1. “The Cuckoo” was originally recorded in the 1920s by
The Gaslight recordings had been warmly received by Western North Carolina banjo musician Clarence Ashley.
critics and collectors alike ever since Greil Marcus wrote According to Thomas Goldsmith of The Raleigh News &
about them in the late 1960s. When this CD was offi- Observer, “The Cuckoo” is reportedly descended from
cially released, the critical consensus remained positive, an old folk ballad; it’s an interior monologue where the
with Entertainment Weekly's David Browne giving it an singer “relates his desires—to gamble, to win, to regain
A- grade. “Although [Dylan] was too young to pull off the love’s affection.”[2]
burnout elegy 'Moonshiner,'" wrote Browne, "Gaslight is Described by critic Dave Marsh as “the most widespread
a spellbinding reminder that Dylan was never a typical folk song in the English language”, "Barbara Allen" dates
folkie (or typical anything, for that matter).” as far back as the 17th century, when Samuel Pepys
wrote about the song in a diary entry dated January 2,
1665. Similar but different versions of the ballad have
3.9.1 HMV Canada dispute been traced to English and Scottish folk traditions, and
when “Barbara Allen” was brought to North America by
During an 18-month deal whereby Starbucks had exclu- early European settlers, no particular version of “Bar-
sive rights to sell the album, HMV Canada pulled all Bob bara Allen” was dominant or considered definitive. Over
Dylan products off their shelves in protest. Similar joint the years, countless variations of “Barbara Allen” have
ventures in the past also brought protest from HMV, af- been found throughout the United States, with roughly
fecting sales of The Rolling Stones and Alanis Morissette. 100 variations in Virginia alone, but the version Dylan
HMV began stocking their shelves with Dylan’s albums sings on Live at The Gaslight 1962 is one rooted in the
(albeit sparingly) in December 2005 in order to capital- English folk tradition.
ize on the Christmas season. HMV fully restored Dylan’s
discography to their shelves in the spring of 2006. Af- In the story of “Barbara Allen”, the title character rejects
terwards, in order to appease frustrated HMV customers, a suitor (his name varies in different versions of the songs,
Columbia offered the Live at The Gaslight 1962 CD as ranging from Sweet William to John Graeme). On his
a free giveaway with any Bob Dylan purchase at HMV death bed, he calls Barbara Allen to his side, swearing
stores. his love for her. However, in some versions of “Barbara
Allen” (particularly older variations), he discovers Bar-
bara Allen’s complaint that he once neglected her in a
local tavern. When she sees him on his death bed, she
3.9.2 Songs
offers a cold observation, “Young man, I think you're dy-
ing.”
Live at The Gaslight 1962 captures early performances of
three different Dylan compositions: “A Hard Rain’s A- The story then takes a strange twist: when Barbara Allen
3.10. LIVE AT CARNEGIE HALL 1963 175

walks home, she hears the church bells tolling for her true The 50th Anniversary Collection, released by Columbia
love. She then dies, mysteriously, and the two are buried Records in order to prevent a number of Dylan recordings
in an old churchyard, where a love knot then comes to legally entering the public domain in Europe. These nine
twine, made from a rose growing out of her lover’s heart songs are: “Blowin' in the Wind”, “Percy’s Song”, “Seven
and a brier from Barbara Allen’s. Curses”, “Walls of Red Wing”, “Talkin' World War III
Towards the end of his essay on “Barbara Allen”, Dave Blues”, “Don't Think Twice, It’s All Right”, “Only a Pawn
Marsh focuses on the outcome of the song, the inter- in Their Game”, “Masters of War” and “The Lonesome
twined rose and briar emerging from the graves of the Death of Hattie Carroll”.
spurned lover, and Barbara Allen’s rejection of her true
love. “What’s amazing is our ability to ignore the lesson 3.10.2 References
that 'Barbara Allen' has to teach,” writes Marsh, “which is
the peril of denying the complicated mysteries that throb [1] Live at Carnegie Hall 1963 at AllMusic
within our hardened hearts and the equal peril of hors-
ing around instead of acknowledging our love for one an-
other. This is not a lesson you can squeeze onto a tomb-
stone, or, for that matter, our current conception of a cur-
riculum, but it is one to carry through this life.”

3.9.3 Track listing

3.9.4 References
[1] Allmusic review

[2] Goldsmith, Thomas (February 6, 2005). “The beauty and

mystery of ballads”. The Raleigh News & Observer. p.
G5.

3.9.5 External links

• Still On The Road 1962—discographical reference

• Gaslight history by Al Aronowitz

3.10 Live at Carnegie Hall 1963

Live at Carnegie Hall 1963 is a six-song live set by Bob
Dylan. It was released as an EP by Columbia Records in
2005. The songs were recorded on October 26, 1963 at
Carnegie Hall in New York City.

3.10.1 Track listing

All songs written by Bob Dylan.
Four other songs from this night’s show (and not present
here) have been released on previous Bob Dylan compi-
lations: "Talkin' John Birch Paranoid Blues" and "Who
Killed Davey Moore?" were originally released on The
Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–
1991, while "A Hard Rain’s A-Gonna Fall" and "When
the Ship Comes In" were released on The Bootleg Series
Vol. 7: No Direction Home: The Soundtrack.
The remaining nine songs performed at the concert were
issued in 2013 on the European limited vinyl release
Chapter 4
The Bootleg Series
4.1 The Bootleg Series Volumes 1–
3 (Rare & Unreleased) 1961–
1991
The Bootleg Series Volumes 1–3 is a compilation box set
by Bob Dylan, issued on Columbia Records, catalogue
C3K 86572. It is the first installment in the Dylan boot-
leg series, comprising material spanning the first three
decades of his career, from 1961 to 1989. It has been
certified with a gold record by the RIAA as of August
1997, and peaked at #49 on the Billboard 200 and #32 in
the UK.[5]
4.1.1 Content
Released in 1991 to satisfy enormous demand for Dy-
lan’s much-bootlegged unissued material, it contains rar-
ities and unreleased works from the sessions for 1962’s
eponymous debut Bob Dylan to 1989’s Oh Mercy. Of the [3] Decurtis, Anthony (4 April 1991). “Bob Dylan: The
58 total tracks, 45 are session outtakes from recording
sessions for Dylan studio albums. Of the remaining 13
tracks, one is an outtake from the session for the "George
Jackson" single of 1971, two are further releases from the [4] Lehnert, Richard (28 July 1991). “The Bob Dylan Bootleg
Basement Tape sessions of 1967, five are live recordings,
and five are demo records, three of latter being later dupli-
cated on Volume 9 of the series. Unlike subsequent vol-
umes, which to date have all been double-disc packages [5] RIAA website retrieved 02-12-10.
in their primary non-limited edition format, each volume
in this set is a single compact disc, and the three volumes
are not available separately.
4.1.2 Track listing
All songs written by Bob Dylan, except where noted; all
arrangements by Bob Dylan.
4.1.3 Personnel
Technical personnel
• Jeff Rosen — production and compilation
176
• Vic Anesini, Bob Irwin — digital remastering
• Josh Abbey, Jim Ball, Tim Geelan — mixing
• Steven Berkowitz — production coordination, mar-
keting
• Christopher Austopchuk, Nicky Lindeman — art
direction
• Don Hunstein, Morgan Renard — photography
• John Bauldie — liner notes
4.1.4 References
[1] Erlewine, Stephen Thomas. The Bootleg Series Volumes
1–3 (Rare & Unreleased) 1961–1991 at AllMusic
[2] Christgau, Robert. “Robert Christgau: CG: Artist 169”.
robertchristgau.com. Retrieved 11 September 2011.
Bootleg Series : Music Reviews : Rolling Stone”.
web.archive.org. Archived from the original on 3 Nov
2007. Retrieved 11 September 2011.
Series | Stereophile.com”. stereophile.com. Retrieved 11
September 2011.
4.1.5 External links
• Information about The Bootleg Series
4.2 The Bootleg Series Vol. 4: Bob
Dylan Live 1966, The “Royal
Albert Hall” Concert
Live 1966: The “Royal Albert Hall” Concert is a two-
disc live album by Bob Dylan, released in 1998. It
was recorded at the Manchester Free Trade Hall during
Dylan’s world tour in 1966, hence the quotation marks
4.2. THE BOOTLEG SERIES VOL. 4: BOB DYLAN LIVE 1966, THE “ROYAL ALBERT HALL” CONCERT 177

around the misinformation attribution to the Royal Al- lan’s real Royal Albert Hall concert had been previously
bert Hall. Extensively bootlegged for decades, it is an released: his May 26, 1966 performance of "Visions of
important document in the development of popular mu- Johanna" on the Box set Biograph. Excerpts from other
sic during the 1960s.[5] 1966 UK performances are included in Martin Scorsese's
The setlist consisted of two parts, with the first half of the 2005 television documentary No Direction Home. Film
concert being Dylan alone on stage performing an entirely footage of the “Judas” incident was discovered and used
acoustic set of songs, while the second half of the concert at the end of the documentary.
has Dylan playing an “electric” set of songs alongside his When Live 1966: The “Royal Albert Hall” Concert finally
band the Hawks. The first half of the concert was greeted was released in 1998, it was a commercial and critical
warmly by the audience, while the second half was highly success, reaching #19 in the U.K. The inside leaflet re-
criticized, with heckling going on before and after each veals useful information about the conditions of how the
song. concert was recorded and transferred to disc and it con-
firms that the version of "It’s All Over Now, Baby Blue",
previously released on the Box set Biograph, duly comes
4.2.1 History from this concert.[6]
On July 29, 1966, two months after finishing his spring
After touring North America from the fall of 1965 tour, Dylan suffered a motorcycle accident. As a result
through the winter of 1966, Dylan, accompanied by the of his long recuperation, Dylan had to cancel the remain-
Hawks (later renamed the Band), embarked on a six-week ing shows he had scheduled for 1966. However, he would
spring tour that began in Australia, wound through west- continue to collaborate with the Hawks, and over the next
ern Europe and the United Kingdom, and wrapped up in year or so, they would produce some of their most cel-
London. Dylan’s move to electric music, and his appar- ebrated recordings, many of which were eventually re-
ent disconnection from traditional folk music, continued leased on The Basement Tapes. Dylan would not embark
to be controversial, and his UK audiences were particu- on another tour until 1974.
larly disruptive with some fans believing Dylan had "sold
out".
4.2.2 Track listing
The electric part of this concert first surfaced in late 1970
or early 1971 on bootleg LPs with various titles. On All songs written by Bob Dylan except "Baby, Let Me
June 3, 1971, critic Dave Marsh reviewed one bootleg Follow You Down" by Eric von Schmidt and arranged by
in Creem magazine, writing “It is the most supremely ele- Dylan.
gant piece of rock 'n' roll music I've ever heard...The ex-
treme subtlety of the music is so closely interwoven with
its majesty that they appear as one and the same.” 4.2.3 Personnel
The same month, critic Jon Landau reviewed another edi-
• Bob Dylan – guitar, electric guitar, harmonica, piano
tion of the concert:
on “Ballad of a Thin Man”, vocals
The early bootleg LPs attributed the recording to one of
Dylan’s tour-closing concerts at London’s Royal Albert The Hawks
Hall that was also recorded, as was a show in Liverpool
(May 14), supervised by Dylan producer Bob Johnston. Technical personnel
However, Dylan’s now-legendary confrontation with a
heckler calling out "Judas" from the audience, clearly
heard on the recording, was well documented as having 4.2.4 See also
occurred at Manchester's Free Trade Hall on May 17,
1966. After “Judas!", there is clapping, followed by more • Bob Dylan World Tour 1966
heckles. Dylan then says “I don't believe you”, then af-
ter a pause, “You're a liar.” Bob Dylan then said to his • Eat the Document
band, “play it fuckin' loud” as they begin "Like a Rolling
Stone.” At the end, the audience erupts into applause and
4.2.5 External links
Dylan says, “Thank you.”
After years of conflicting reports and speculation among • Bootleg reviews
Dylan discographers, the Manchester source was verified
after the preliminary mix of a proposed Columbia edition
was bootlegged in 1995 as Guitars Kissing & The Contem- 4.2.6 References
porary Fix. Dylan rejected that edition; three years later,
[1] Allmusic review
he authorized a markedly different version for his sec-
ond “Bootleg Series” release. One song recorded at Dy- [2] Robert Christgau review
178 CHAPTER 4. THE BOOTLEG SERIES

[3] Fricke, David (6 October 1998). “Bob Dylan: The Boot-
leg Series, Vol. 4: The 'Royal Albert Hall' Concert : Mu-
sic Reviews : Rolling Stone”. web.archive.org. Archived
from the original on 26 December 2007. Retrieved 11
September 2011.
[4] Pitchfork Media review
[5] Unterberger, Richie. “The Bootleg Series, Vol. 4: The
“Royal Albert Hall” Concert – Bob Dylan”. AllMusic.
Retrieved 2012-01-17.
[6] “The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The
“Royal Albert Hall Concert": Bob Dylan: Music”. Ama-
zon.com. Retrieved 2012-01-17.
Additional musicians
• Joan Baez – acoustic guitar, additional percussion,
vocals on “Blowin' in the Wind”, “Mama, You Been
on My Mind”, “I Shall Be Released”, and “The Wa-
ter Is Wide”
• Ronee Blakley – vocals
• T-Bone Burnett – electric guitar, piano
• David Mansfield – dobro, mandolin, violin, steel
guitar

• Roger McGuinn – electric guitar, vocals on

4.3 The Bootleg Series Vol. 5: Bob “Knockin' on Heaven’s Door”
Dylan Live 1975, The Rolling • Bob Neuwirth – acoustic guitar, vocals
Thunder Revue
• Scarlet Rivera – violin
The Bootleg Series Vol. 5: Bob Dylan Live 1975, The
• Luther Rix – percussion, conga, drums
Rolling Thunder Revue is a live album by Bob Dylan re-
leased by Columbia Records in 2002. It documents the
• Mick Ronson – electric guitar
Rolling Thunder Revue, led by Bob Dylan prior to the re-
lease of the album Desire. Until the release of this album, • Steven Soles – acoustic guitar, electric guitar, vocals
the only official live documentation of the Rolling Thun-
der Revue was Hard Rain, recorded during the second leg • Rob Stoner – bass guitar
of the revue.
The 2-CD set got a warm reception from critics and fans, • Howie Wyeth – drums, piano
though some lamented that it does not document, or em-
ulate, a typical complete show from the tour.[5] Fans have Technical personnel
also expressed exasperation at the omission of certain
revered performances, notably the cover of Johnny Ace's
“Never Let Me Go”. • Steve Berkowitz – production
A bonus DVD accompanying the initial release of this al- • Michael Brauer – mixing
bum featured two video excerpts from Dylan’s 1978 film
Renaldo and Clara: a November 21, 1975 performance • Lisa Buckler – production coordination
of "Tangled Up in Blue" (included in audio form on the
main album) and a December 4, 1975 performance of • Greg Calbi – mastering
"Isis" (which had been included in audio form on the 1985
compilation Biograph). • Ricardo Chavarria – mixing assistance
The album debuted on the Billboard 200 chart on Decem-
ber 14, 2002 at number 56. It spent 9 weeks on the chart. • Don DeVito – recording supervision
It was certified and awarded a gold record on March 12,
2003 by the RIAA. The album reached #69 in the U.K. • Triana Dorazio – package manager

• Geoff Gans – art direction, design

4.3.1 Track listing
• James L. Hunter – graphic design
All songs written by Bob Dylan, except where noted. All
songs recorded live in concert. • Ken Regan – photography

• Jeff Rosen – production

4.3.2 Personnel
• Darren Salmieri – artist coordination
• Bob Dylan – electric and acoustic guitar, harmonica,
vocals • Charlie Sarrica – production coordination
4.4. THE BOOTLEG SERIES VOL. 6: BOB DYLAN LIVE 1964, CONCERT AT PHILHARMONIC HALL 179

4.3.3 Notes he was moving in this new direction, Dylan was still por-
trayed as a symbol of the civil rights and anti-war move-
Track 9 (Blowin' In The Wind) and Track 10 (Mama, You ments, and the Halloween concert of 1964 caught Dylan
Been On My Mind) on CD1, both duets with Joan Baez, in transition.
were originally listed in reverse order on bobdylan.com. The album debuted on the Billboard 200 album chart on
However, the recording dates of Cambridge, MA, 20 Nov April 17, 2004 at number 28. It spent 4 weeks on the
1975, and Boston, MA, 21 Nov 1975 (evening show), chart. It also reached number 33 in the U.K.
were not changed on the final insert. Joan Baez’s spo-
ken intro to Mama, You Been On My Mind is definitely
from Cambridge, not Boston, while Blowin' In The Wind 4.4.1 Preparing The Bootleg Series Vol. 6
is definitely from Boston.[6]
When Dylan and Sony began planning for The Boot-
leg Series Vol. 6, they weren't sure what to release.
4.3.4 References Steve Berkowitz, an A&R head at Sony Music who
worked on all the Bootleg Series discs with Dylan’s of-
[1] Erlewine, Stephen Thomas. The Bootleg Series Vol. 5: fice, stresses that Dylan’s office is behind the brainstorm-
Bob Dylan Live 1975, The Rolling Thunder Revue at ing and decision-making for the Bootleg Series, not Sony.
AllMusic Concerts held at Carnegie Hall and New York’s Town
Hall, both in 1963, were considered for The Bootleg Series
[2] Music Box review by John Metzger
Vol. 6, according to Berkowitz, but they were ultimately
[3] Weiner, Matthew. “Bob Dylan – Live 1975: (The Bootleg rejected.
Series Volume 5, The Rolling Thunder Revue) – Review The Halloween concert of 1964 had been previously
– Stylus Magazine”. stylusmagazine.com. Retrieved 11 bootlegged on vinyl and CD, but those releases were in-
September 2011. complete and taken from poor dubs of the soundboard
tapes. The Bootleg Series Vol. 6 presented the entire con-
[4] “Bob Dylan – Bootleg Series Vol. 5: Bob Dylan Live 1975
| Music Review | Tiny Mix Tapes”. tinymixtapes.com. Re- cert for the first time from the original master tapes.
trieved 11 September 2011. The set was well received by most critics, with NME's
Rob Fitzpatrick giving it the magazine’s highest rating (a
[5] allmusic ((( The Bootleg Series, Vol. 5: Bob Dylan Live 10 out of 10) and called it “utterly brilliant.”
1975 - The Rolling Thunder Revue > Overview )))

[6] http://www.searchingforagem.com/2000s/
4.4.2 Track listing
International046.htm
All songs written by Bob Dylan, except where noted

4.4 The Bootleg Series Vol. 6: Bob

4.4.3 Personnel
Dylan Live 1964, Concert at
Philharmonic Hall • Bob Dylan — vocal, guitar, harmonica
• Joan Baez — vocal on “Mama, You Been on My Mind,”
The Bootleg Series Vol. 6: Bob Dylan Live 1964, Con- “Silver Dagger,” “With God on Our Side,” and “It Ain't
cert at Philharmonic Hall is a complete recording of Me, Babe”
Bob Dylan's October 31, 1964 “Halloween” show at New
York’s Philharmonic Hall. It was released in 2004. Production personnel
The set list was dominated by Dylan’s protest songs,
including “The Times They Are a-Changin’,” “A Hard • Tom Wilson — original recordings supervisor
Rain’s a-Gonna Fall,” and “The Lonesome Death of Hat-
• Steven Berkowitz, Jeff Rosen — producers
tie Carroll”. Joan Baez, a major supporter of Dylan’s in
his early career, duets with Dylan on three songs, as well • Michael H. Brauer, Nat Chan — mixing engineers
as singing another alone (“Silver Dagger”). However,
Dylan performed these songs alongside early versions of • Greg Calbi — mastering engineer
three songs from the soon-to-be-recorded Bringing It All
Back Home. New compositions like “It’s Alright Ma (I’m
Only Bleeding)" and “Mr. Tambourine Man” showed 4.4.4 References
Dylan moving in a new direction, becoming more im-
[1] Allmusic review
mersed in evocative, stream-of-consciousness lyrics and
moving away from social, topical songwriting. Even as [2] Music Box review
180
[3] Pitchfork Media review
[4] Tiny Mix Tapes review
[5] NME review
4.5 The Bootleg Series Vol. 7: No
Direction Home: The Sound-
track
The Bootleg Series Vol. 7: No Direction Home: The
Soundtrack is the fifth installment in the Bob Dylan
“Bootleg Series” of rare and/or officially unissued record-
ings. It was released in 2005 in conjunction with the
Martin Scorsese PBS television documentary on Dylan
No Direction Home, and was compiled with Scorsese’s
input. It features mostly previously unreleased material
from Dylan’s formative years to his rise as an international
figure, spanning 1959 to his legendary 1966 world tour.
The Bootleg Series Vol. 7: No Direction Home: The
Soundtrack fared well commercially, debuting on the
Billboard 200 album chart on September 17, 2005 at
number 16, with sales of 50,987 copies. It remained on
the chart for 11 weeks. It was certified a gold record on
October 21, 2005 by the RIAA. It also reached #21 in the
UK.
4.5.1 Preparing The Bootleg Series Vol. 7
The project eventually titled as No Direction Home began in the documentary, including a large number of studio
to take shape in 1995 when Dylan’s manager, Jeff Rosen, outtakes that were previously unreleased.
began scheduling interviews with Dylan’s friends and as-
sociates. Among those interviewed were poet Allen Gins-
berg and folk musician Dave Van Ronk, both of whom 4.5.2 Track listing
died before the film was ever completed. Dylan’s old girl-
friend Suze Rotolo also granted a rare interview, and she All songs written by Bob Dylan, except where noted
later told Rolling Stone Magazine that she was very pleased
with the project’s results. Dylan himself also sat for ten
hours in a relaxed and open conversation with Rosen in
2000.
According to Rolling Stone Magazine, an unnamed source
close to the project claimed that Dylan himself had no in-
volvement with the project apart from the interview, say-
ing that "[Dylan] has no interest in this...Bob truly does
not look back.” However, work on the first installment
of Dylan’s autobiography, Chronicles, Vol. 1, did overlap
production of the project, though it’s unclear how much,
if any, influence Chronicles may have had on No Direction
Home.
Though raw material was being gathered for the project,
Rosen needed someone to edit and shape it into a quality
picture, and celebrated filmmaker Martin Scorsese was
approached to 'direct' the documentary planned from the
project. Scorsese eventually agreed and came aboard in
2001.
CHAPTER 4. THE BOOTLEG SERIES
In the meantime, Dylan’s office gathered hundreds of
hours of historical film footage dating from the time cov-
ered in No Direction Home. These included a scratchy
recording of Dylan’s high school rock band, his 1965
screen test for Andy Warhol, and newly discovered
footage of the famous Manchester, England concert from
May 17, 1966, when an angry fan called out “Judas!" just
before Dylan and the Hawks performed “Like a Rolling
Stone.” Shot by D. A. Pennebaker, the onstage, color
footage was found in 2004 in a pile of water-damaged
film recovered from Dylan’s vaults.
At the same time, musical recordings from Dylan’s
archives were also being explored for an accompanying
soundtrack. As originally planned, the soundtrack in-
cluded live performances featured in the film, such as Dy-
lan’s first live electric performance – “Maggie’s Farm,”
backed by the Paul Butterfield Blues Band – at the 1965
Newport Folk Festival. Producer Steve Berkowitz helped
create the first multitrack mix of this performance which
was ultimately used for the soundtrack, saying “it’s raw,
it’s punk rock...There was nothing overdubbed, nothing
changed. Everything in the soundtrack was mixed and
mastered to sound like it sounded then.” A large number
of performances could not be remixed, including a 1966
performance of “Ballad of a Thin Man” which was taken
from a mono recording, the only one ever made. “It’s to-
tally distorto, but I love it,” says Berkowitz. “Talk about
verite—it’s [absolutely] perfect.” Despite the praise, the
recording appears in 'fake' stereo on the compilation.
However, as the soundtrack was compiled, it was even-
tually decided to include material that was not featured
Disc one
1. “When I Got Troubles” (1959) – 1:31
• Recorded by Dylan’s high school friend, Ric
Kangas
2. “Rambler, Gambler” (Home recording) (Tradi-
tional, arranged Bob Dylan) – 2:28
• Recorded in late 1960 by Cleve Petterson
3. "This Land Is Your Land" (Live version) (Woody
Guthrie) – 5:58
• Recorded live in New York City on November
4, 1961
4. "Song to Woody" – 2:42
4.5. THE BOOTLEG SERIES VOL. 7: NO DIRECTION HOME: THE SOUNDTRACK
• Originally released in March 1962 on Bob Dy-
lan
5. "Dink’s Song" (Minnesota Hotel Tape) (Traditional,
arranged Bob Dylan) – 5:03
6. “I Was Young When I Left Home” (Minnesota Hotel
Tape) – 5:25
• Above two recorded on December 22, 1961 in
Minneapolis
7. "Sally Gal" – 2:38
• Outtake from The Freewheelin' Bob Dylan,
recorded on April 24, 1962
8. "Don't Think Twice, It’s All Right" (Witmark
demo) – 3:36
• Recorded in New York City in March 1963
9. "Man of Constant Sorrow" (Traditional, arranged
Bob Dylan) – 3:24
• Recorded in March 1963 for the TV broadcast
Folk Songs and More Folk Songs
10. "Blowin' in the Wind" (live) – 4:24
11. "Masters of War" (live) – 4:43
• Above two recorded at Town Hall in New York
City on April 12, 1963
12. "A Hard Rain’s A-Gonna Fall" (live) – 8:22
13. "When the Ship Comes In" (live) – 3:37
• Above two recorded at Carnegie Hall in New
York City on October 26, 1963
14. "Mr. Tambourine Man" – 6:43
• Outtake from the Another Side of Bob Dy-
lan sessions on June 9, 1964, performed with
Ramblin' Jack Elliott
15. "Chimes of Freedom" (live) – 8:04
• Recorded at the Newport Folk Festival on July
26, 1964
16. "It’s All Over Now, Baby Blue" (alternate take) –
3:34
• Recorded at the Bringing It All Back Home ses-
sions in January 1965
Disc two
1. "She Belongs to Me" (alternate take) – 4:10
• Recorded at the Bringing It All Back Home ses- download entitled Exclusive Outtakes from No Direction
sions in January 1965
181
2. "Maggie’s Farm" (live) – 5:03
• Recorded at the Newport Folk Festival on July
25, 1965
3. "It Takes a Lot to Laugh, It Takes a Train to Cry"
(alternate take) – 3:35
• Recorded at the Highway 61 Revisited sessions
on June 15, 1965
4. "Tombstone Blues" (alternate take) – 3:37
• Recorded at the Highway 61 Revisited sessions
on July 29, 1965
5. "Just Like Tom Thumb’s Blues" (alternate take) –
5:44
• Recorded at the Highway 61 Revisited sessions
on August 2, 1965
6. "Desolation Row" (alternate take) – 11:45
• Recorded at the Highway 61 Revisited sessions
on July 29, 1965
7. "Highway 61 Revisited" (alternate take) – 3:40
• Recorded at the Highway 61 Revisited sessions
on August 2, 1965
8. "Leopard-Skin Pill-Box Hat" (alternate take) – 6:26
• Recorded at the Blonde on Blonde sessions on
January 25, 1966
9. "Stuck Inside of Mobile with the Memphis Blues
Again" (alternate take) – 5:45
• Recorded at the Blonde on Blonde sessions on
February 17, 1966
10. "Visions of Johanna" (alternate take) – 6:38
• Recorded with The Hawks in New York City
on November 30, 1965
11. "Ballad of a Thin Man" (live) – 7:46
• Recorded at the ABC Theatre in Edinburgh on
May 20, 1966
12. "Like a Rolling Stone" (live) – 8:12
• Recorded at the Free Trade Hall in
Manchester on May 17, 1966; previously
released on The Bootleg Series Vol. 4: Bob
Dylan Live 1966, The “Royal Albert Hall”
Concert
Outtakes
Three outtakes were released as an internet single for
Home'.
182 CHAPTER 4. THE BOOTLEG SERIES

1. "Baby Please Don't Go" (The Freewheelin' Bob Dy- included on Tell Tale Signs. An alternate version of “Se-
lan outtake) – 1:56 ries of Dreams” was included on Vol. 3 of the Bootleg
Series. “Dreamin' Of You”, an outtake from the Time
2. "Mr. Tambourine Man" (Live) – 7:21 Out of Mind sessions, was offered for free download on
Bob Dylan’s site and was also sent to radio stations as a
• Recorded at the Newport Folk Festival in 1964
promotional single. In its first week it opened with #6 on
3. "Outlaw Blues" (Acoustic Version) – 2:15 the Billboard 200, selling over 600,000 copies to date and
becoming Dylan’s 17th album to open in the top 10.
In the first week of October 2008, the entire album was
4.5.3 References made available in a free streaming format on National
Public Radio's official website.[3] CBS’s announcement
[1] Erlewine, Stephen Thomas. The Bootleg Series Vol. 7:
that the two-CD set would sell for $18.99 and the three-
No Direction Home: The Soundtrack at AllMusic
CD version for $129.99 drew charges of “rip-off pric-
[2] Bennett, Ross (May 9, 2005). “Drowned in Sound – Re- ing” from Dylan biographer Michael Gray and other
views – Albums – Bob Dylan – No Direction Home”. critics.[4][5][6]
web.archive.org. Archived from the original on June 29,
2006. Retrieved September 11, 2011.
4.6.1 Track listing
[3] Music Box review

[4] Static and Feedback review All songs written by Bob Dylan except as indicated.

[5] Petrusich, Amanda (September 6, 2005). “Bob Dylan:

No Direction Home: The Soundtrack: The Bootleg Se-
ries Vol. 7: Pitchfork Record Review”. web.archive.org.
Archived from the original on May 1, 2007. Retrieved
September 11, 2011.
[6] Tiny Mix Tapes review
4.6 The Bootleg Series Vol. 8: Tell
Tale Signs: Rare and Unre-
leased 1989–2006
The Bootleg Series Vol. 8: Tell Tale Signs: Rare and
Unreleased 1989–2006 is a compilation album by singer-
songwriter Bob Dylan in his official “bootleg series” of
rare and unissued recordings.[1] It was originally released
as a double, and (limited edition) triple album. It was later
released as a single album, consisting of disc one of the
double set. The three-disc version of Tell Tale Signs in-
cludes a detailed 56 page book annotating the recordings
by Larry Sloman, and a book of photos of “The Collected
Single Sleeves of Bob Dylan” drawing on Dylan releases
from around the world, plus a 7” vinyl single with two
tracks from the set: “Dreamin' Of You” and “Ring Them
Bells”.
Deluxe Edition
The official Bob Dylan website offered a deluxe edition of
the album, including a 150-page book and a bonus disc of
tracks on top of the regular edition. Fans who pre-ordered
the deluxe set directly from Bob Dylan’s website also re-
ceived an exclusive 7” vinyl. The first 5000 customers
were also given a Theme Time Radio Hour poster.[7] The
Bootleg Series Vol. 8 was also released on vinyl as 4 x
180g. LPs, plus a digital download and a 12” x 12” ver-
sion of the book authored by Sloman.[8]
4.6.2 Reception
Tell Tale Signs currently maintains an 86% positive (“Uni-
versal acclaim”) rating at MetaCritic.[20] It was also
named the second best album of 2008 by Rolling Stone
magazine.[21]
4.6.3 References
[1] Cohen, Jonathan (2008-07-29). “Bob Dylan Unveils
Triple-Disc Rarities Set”. Billboard. Retrieved 2008-07-
29.

The album spans the recording sessions for Oh Mercy,
World Gone Wrong, Time Out of Mind, and Modern Times
as well as a number of soundtrack contributions and pre-
viously unreleased live tracks from 1989 through 2006.[2]
The collection also includes a track from an abandoned al-
bum Dylan had started to record with David Bromberg in
1992, and Dylan’s duet with Ralph Stanley, 'The Lone-
some River'. Although Under the Red Sky, Good as I
Been to You and Love and Theft were all recorded dur-
ing this time period, no tracks from these sessions are
[2] “Bob Dylan to release 8th Bootleg Series in Octo-
ber_English_Xinhua”. News.xinhuanet.com. 2008-07-
30. Retrieved 2012-01-17.
[3] NPR.com article: Exclusive Preview: Bob Dylan’s 'Tell
Tale Signs’.
[4] Gray expressed his opinion in his Bob Dylan Encyclopedia
blog “Tell Tale Signs Pt. 3, Money Doesn't Talk...”. Bob
Dylan Encyclopedia blog. 2008-08-14. Retrieved 2008-
09-06.
4.7. THE BOOTLEG SERIES VOL. 9: THE WITMARK DEMOS: 1962–1964
[5] Cairns, Dan (2008-10-05). “Tell Tale Signs”. The Sunday
Times. Retrieved 2008-10-06.
[6] Beech, Mark (2008-10-06). “Dylan Opens Archive to Re-
veal Gems, Gaffes, Rockers: Mark Beech”. Bloomberg.
Retrieved 2012-01-17.
[7] “Skyroo.com: Bob Dylan — The Bootleg Series No. 8 – bum features 15 that were produced exclusively as demos
Official SONY BMG Pre-Order Store”. Retrieved 2008- and had never been heard before except as bootlegs.[3][4]
07-30.
[8] Fremer, Michael (2009-03-01). “A Treasure Trove
Deluxe Edition for Bob Fans”. Michael Fremer’s music
angle. Retrieved 2010-10-01.
[9] Jurek, Thom. The Bootleg Series Vol. 8: Tell Tale Signs:
Rare and Unreleased 1989–2006 at AllMusic
[10] BBC review
[11] The Chicago Tribune review
[12] Christgau, Robert. “Robert Christgau: CG: Artist 169”.
robertchristgau.com. Retrieved 11 September 2011.
[13] Entertainment Weekly review
[14] The Guardian review
[15] Paste Magazine review
[16] Pitchfork Media review
[17] Rolling Stone review
[18] Uncut Magazine review
[19] Variety Magazine review
[20] MetaCritic page for Tell Tale Signs.
[21] Best Albums of 08 .
4.6.4 External links
• Exclusive Preview: Bob Dylan’s Tell Tale Signs at
NPR
• Tell Tale Signs at AllMusic
4.7 The Bootleg Series Vol. 9: The
Witmark Demos: 1962–1964
The Bootleg Series Vol. 9: The Witmark Demos: 1962–
1964 is an album of demo recordings Bob Dylan made
for his first two publishing companies, Leeds Music and
M. Witmark & Sons, from 1962 to 1964.
The album, released on October 19, 2010,[1] features
47 tracks with Dylan accompanying himself on acoustic
guitar, harmonica and occasionally piano. The record-
ings were only available as bootlegs until the 1991 re-
lease of The Bootleg Series Volumes 1–3 (Rare & Unre-
leased) 1961–1991, which included three of the demos.[2]
183
A fourth demo, a version of "Don't Think Twice, It’s All
Right", was included on The Bootleg Series Vol. 7: No Di-
rection Home: The Soundtrack, which came out in 2005.
The remaining tracks on The Witmark Demos were of-
ficially released for the first time in 2010. While Dylan
recorded subsequent versions of most of the songs, the al-
The Witmark Demos was released in two formats: a dou-
ble CD and a 4 LP set. Both releases featured a booklet
with an account on the album’s significance by historian
Colin Escott, along with photos of Dylan from the pe-
riod when the demos were recorded. The album peaked
at #12 on the Billboard 200 albums chart in its first week,
becoming Dylan’s 20th album to debut in the top 20.[5]
4.7.1 Background
Leeds Music demos
Dylan recorded his debut album, Bob Dylan, for
Columbia Records in November 1961, when he was 20.[6]
The album included two original tracks, "Song to Woody"
and "Talkin' New York", the first songs he had writ-
ten after arriving in New York City's Greenwich Village
in January 1961.[7][8] In addition, Dylan recorded one
other original during the Columbia sessions, “Man on the
Street”, which did not appear on the album.[9][10]
Based on the songs Dylan was writing, his producer at
Columbia, John Hammond, arranged for the young artist
to meet with Lou Levy at Leeds Music Publishing.[11][12]
Dylan was offered a $1,000 advance and signed with
a Leeds subsidiary, Duchess Music, on January 5,
1962.[13][14] In addition to agreeing to publish Dylan’s
songs and pay royalties on sales by other artists, Levy
suggested the possibility of producing a songbook once
they had enough material, a prospect that excited Dy-
lan as much as anything else.[15] Dylan returned to Leeds
the next week and recorded five songs in one demo ses-
sion: “Poor Boy Blues”, “Ballad for a Friend”, “Ram-
bling, Gambling Willie”, “Talking Bear Mountain Picnic
Massacre Blues”, and “Standing on the Highway”.[16][17]
To this he added the two songs from the Columbia ses-
sions that were not used on his album.[18] After signing
with Leeds, Dylan pursued songwriting with a new vigor.
As he reflected later, “I wrote wherever I happened to be.
Sometimes I'd spend a whole day sitting at a corner ta-
ble in a coffeehouse, just writing whatever came into my
head.”[12][19]
M. Witmark & Sons demos
In the spring of 1962, folk music manager Albert Gross-
man began to take an active interest in Dylan. One of
the organizers of the first Newport Folk Festival in 1959
and manager of a small stable of folksingers, Grossman
184
had recently launched a new act composed of three mu-
sicians he had handpicked, Peter, Paul & Mary.[20][21]
Grossman had been watching Dylan from the sidelines
for nearly year and played a peripheral part in some of the
events leading up to his contract with Columbia.[22][23][24]
While Grossman was negotiating Peter, Paul & Mary’s
contract with Warner Bros. Records, he closed a unique
arrangement with Music Publishers’ Holding Company,
a Warner-owned operation that was the industry’s lead-
ing publisher. The deal, finalized that spring, gave Gross-
man half of MPHC’s royalties share for any artist he
could sign to a publishing contract. Dylan became his
first prospect.[25][26][27]
Grossman proposed that Dylan sign with the prestigious
publisher M. Witmark & Sons, one of MPHC’s eight
subsidiaries.[28] After playing some songs for Witmark
executive Artie Mogull, Dylan mentioned a complication:
he was already under contract with Leeds/Duchess.[29]
Dylan was given $1,000 in early July 1962 and ap-
proached Leeds about buying out his contract. Since the
folksinger had yet to produce any sales, Leeds accepted
the money and released Dylan from the agreement.[28][30]
Dylan signed a new contract with Witmark on July 12
and immediately recorded a demo of what would become
his breakthrough song, "Blowin' in the Wind".[28] Four
months passed before Dylan returned to record another
song, “Ye Playboys and Playgirls”, but the next month,
in December, he showed up with seven new composi-
tions, including three that would become classics: "A
Hard Rain’s a-Gonna Fall", "Ballad of Hollis Brown", and
"Tomorrow Is a Long Time".[31]
In all, Dylan visited Witmark about a dozen times, reg-
istering his last demos in mid-1964. He recorded a to-
tal of 39 songs for Witmark, all of which are included
on The Bootleg Series Vol. 9: The Witmark Demos,
along with the eight recordings originally registered with
Leeds.[32][33][34] Besides early versions of many of his
classics, as well as rarities that have appeared on other
editions of The Bootleg Series, the set includes 15 songs,
an album’s worth of material, that had never been offi-
cially released in any form.[3][35]
4.7.2 Production
The recordings for the Leeds and Witmark demos were
never intended for public consumption, but were made to
sell Dylan’s songs to other artists.[36][37] The demo ses-
sions took place in a tiny 6-by-8-foot studio at Witmark’s
offices in the Look Building at 51st Street and Madi-
son Avenue, where an engineer would capture the perfor-
mances on a reel-to-reel. To save tape, the demos were
recorded at 7.5 inches per second, half the speed used
in professional studios. A Witmark copyist would then
transcribe the lyrics and music from the tape, and song
sheets would be printed and mailed to recording com-
panies. When a company’s artist expressed an interest
in a song, Witmark would cut an acetate, a recording
CHAPTER 4. THE BOOTLEG SERIES
on inexpensive plastic, that would be sent to the artist
for preview purposes. If acceptable, the song would be
recorded.[30][38]
4.7.3 Royalties
Royalties from sales of the songs were paid to Witmark,
which gave Dylan two cents per record and split its two-
cent share with Grossman. In addition, Grossman re-
ceived 25% of Dylan’s payments under the terms of their
management contract, which was signed on August 20,
1962, six weeks after the Witmark agreement.[28][30][39]
Dylan and Grossman subsequently set up their own pub-
lishing company, Dwarf Music, in a contract signed in
mid-1965 but back-dated to January of that year[40] By
late 1965, more than a year after the last of the Witmark
demos, Music Publishers’ Holding Company reported in
Billboard that at least 237 recordings had been made of
Dylan’s songs under the copyrights it held.[41]
4.7.4 Demo session dates
While the recording dates of the Leeds and Witmark De-
mos had previously been published, they were not in-
cluded in the information distributed with the CD or LP.
On disc 1, tracks 1–8 are from the demos recorded at
Leeds Music on 2 February 1962. Track 9, a demo of
“Blowin' in the Wind” and the first song recorded for Wit-
mark is from July 1962. Track 10 was recorded on 1
November 1962, followed by tracks 11–17, which were
recorded in December 1962. Tracks 18–22 were reg-
istered as recorded in winter 1963, probably February.
Tracks 23–25 of disc 1 and Tracks 1–2 of disc 2 were
recorded in March 1963. Tracks 3–6 date from April
1963, 7–9 from May 1963, and 10–15 were all recorded
in August 1963. Track 16, "The Times They Are a-
Changin'", was recorded in October 1963, and Track 17
is from December 1963. Tracks 18–19 were the last de-
mos recorded at the Witmark studio, in January 1964.
Tracks 20–22 were registered to Witmark in June 1964,
though they had been recorded elsewhere.[42]
4.7.5 Critical reception
Witmark Demos received positive responses from crit-
ics. It achieved an 86% positive (“Universal acclaim”)
at Metacritic based on reviews by 8 critics.[46] Allmusic
critic Stephen Thomas Erlewine said about the songs on
Witmark Demos, "...they’ve never been presented as com-
pletely and in as great fidelity as they are on this two-disc
set.”[47]
4.7.6 Track listing
All songs were written by Bob Dylan, except where noted.
4.7. THE BOOTLEG SERIES VOL. 9: THE WITMARK DEMOS: 1962–1964 185

Limited Edition bonus disc: In Concert – Brandeis [26] Sounes 2001, pp. 117–119
University 1963
[27] Gross, Mike (March 20, 1965). MPHC Grossing $1 Mil-
The In Concert – Brandeis University 1963 disc was given lion Year in Its Folk Operation. Billboard. Retrieved 2010-
as a limited edition bonus with purchases of Bootleg Se- 11-18.
ries Vol. 9 or Original Mono Recordings at a variety of
[28] Sounes 2001, pp. 118–119
retailers.
[29] Escott 2010, pp. 32–35

4.7.7 Charts [30] Heylin 2003, p. 95

4.7.8 Footnotes [31] Heylin 1997, p. 19

[1] The Bootleg Series Volume 9—The Witmark Demos: [32] Bjorner, Still on the Road, Witmark Demos, 1961-1964
1962-1964. bobdylan.com. 2010-10-17. Retrieved
2010-11-28. [33] Heylin 1997, pp. 19–29

[2] Heylin 2003, pp. 739–746 [34] Escott 2010, p. 55

[3] Corbett, Ben (October 22, 2010). “Album Reviews: Bob
Dylan, Bootleg Series Vol. 9, The Witmark Demos 1962-
1964 and The Complete Mono Recordings”. Crawdaddy.
Retrieved 2010-11-30.
[4] Love, Joshua (November 5, 2010). “The Bootleg Series,
Vol. 9: The Witmark Demos: 1962-1964”. Pitchfork.
Retrieved 2011-02-23.
[5] Billboard 200, 24 October 2010
[35] Goodman, Dean (2010-08-25). “Early Bob Dylan demos
released in new 'Bootleg' set”. Reuters. Retrieved 2011-
02-24.
[36] Fleming, Colin (October 2010). “How Bob Dylan
Sounded Before He Was a Star”. The Atlantic . Retrieved
2010-12-04.
[37] Escott 2010, p. 53

[6] Dylan was born May 24, 1941 (Gray 2006, p. 192). [38] Escott 2010, pp. 40–43

[7] Sounes 2001, pp. 80, 94 [39] Gray 2006, p. 284

[8] Gray 2006, p. 70 [40] Sounes 2001, pp. 209–210

[9] Bauldie 1991 [41] Dylan in Pub Field; Artie Mogull Mgr. Billboard. Novem-
[10] Bjorner 2010 ber 20, 1965. p. 12. Retrieved 2010-12-04.

[11] Dylan, Chronicles: Volume One, pp. 288-291 [42] Bjorner, Still on the Road, 1962-64

[12] Sounes 2001, pp. 109–110 [43] Allmusic review

[13] Heylin 2003, pp. 94–95 [44] Maddy Costa (2010-10-14). “The Guardian review”.
London: Guardian. Retrieved 2012-09-29.
[14] Escott 2010, p. 19

[15] Sounes 2001, p. 110 [45] “Pitchfork Media review”. Pitchfork.com. 2010-11-05.
Retrieved 2012-09-29.
[16] Heylin 2003, pp. 88–89
[46] "The Bootleg Series, Vol. 9: The Witmark Demos: 1962-
[17] Escott 2010, p. 20 1964". Metacritic. Retrieved 2010-11-30.
[18] Olof, “The Yearly Chronicles”, 1961 [47] Erlewine, Stephen Thomas. "The Bootleg Series, Vol. 9:
[19] Heylin 2003, pp. 89–92 The Witmark Demos: 1962-1964". allmusic.com. Re-
trieved 2010-11-28.
[20] Sounes 2001, p. 117
[48] Australian Album Charts, 14-November-2010
[21] Gray 2006, pp. 283–284
[49] http://www.billboard.com/#/charts/european-albums?
[22] Scaduto 1973, pp. 126–127 begin=11&order=position
[23] Sounes 2001, pp. 102–107
[50] “Music Albums, Top 200 Albums & Music Album
[24] Hajdu 2001, pp. 95–96, 102 Charts”. Billboard.com. Retrieved 2012-01-17.

[25] Heylin 2003, p. 94 [51] Official UK Top 40 Albums Chart, 24 October 2010
186 CHAPTER 4. THE BOOTLEG SERIES

4.7.9 References 4.8 The Bootleg Series Vol. 10: An-

• Bauldie, John (1991). The Bootleg Series Volumes
other Self Portrait (1969–1971)
1–3 (Rare & Unreleased) 1961–1991 (CD booklet).
Bob Dylan. New York: Columbia Records. The Bootleg Series Vol. 10: Another Self Portrait
(1969–1971) is an album of unreleased recordings, demo
• Bjorner, Olof. “The Yearly Chronicles, 1961-64”. recordings, alternative takes mostly from Bob Dylan's
1970 albums Self Portrait and New Morning, and a couple
• Bjorner, Olof. “Still on the Road: Recording ses- of live tracks from the Isle of Wight Festival (31 August
sions & concerts, 1961-64”. 1969), released on August 27, 2013. It is the penultimate
addition in the series of official "bootleg" recordings is-
• Bjorner, Olof (2010-11-17). “Studio A Columbia sued by Columbia Records.[1][2][3][4]
Recording Studios New York City, New York 20 &
The cover is new artwork by Bob Dylan. The liner notes
22 November 1961”. Bjorner.com. Retrieved 2011-
have been written by Greil Marcus, who wrote the origi-
01-25.
nal Self Portrait review for Rolling Stone that infamously
• Escott, Colin (2010). The Bootleg Series Vol. 9: The asked, “What is this shit?". Also included is an extensive
Witmark Demos: 1962–1964 (booklet). Bob Dylan. essay from journalist Michael Simmons. The set also con-
New York: Columbia Records. tains rare photographs of that era from John Cohen and
Al Clayton.[1][5][6]
• Gray, Michael (2006). The Bob Dylan Encyclope-
dia. Continuum International Publishing. ISBN 0-
8264-6933-7.
4.8.1 Background
The Bootleg Series Vol. 10 – Another Self Portrait (1969–
• Hajdu, David (2001). Positively 4th Street: The Lives
and Times of Joan Baez, Bob Dylan, Mimi Baez Fa-1971) “reveals fresh aspects of Dylan’s vocal genius as
he reimagines traditional and contemporary folk music
rina, and Richard Farina. North Point Press. ISBN
0-86547-642-X. as well as songs of his own. Across these unvarnished
performances, Dylan is the country singer from Nashville
• Heylin, Clinton (2003). Bob Dylan: Behind the Skyline (“Country Pie” and “I Threw It All Away”), an in-
Shades Revisited. Harper Entertainment. ISBN 0- terpreter of traditional folk (“Little Sadie,” "Pretty Saro")
06-052569-X. who’s right at home singing the songs of his contempo-
raries (Tom Paxton’s “Annie’s Gonna Sing Her Song”
• Clinton, Heylin (1997). Bob Dylan: The Record- and Eric Andersen's “Thirsty Boots”) before returning to
ing Sessions, 1960-1994. Macmillan. ISBN 0-312- writing and singing his own new music (“Went to See the
15067-9. Gypsy,” “Sign on the Window”)".[1]

• Scaduto, Anthony (1973) [1971]. Dylan: An Inti-

mate Biography. Signet: New American Library. 4.8.2 Promotion

• Shelton, Robert (2003) [1986]. No Direction Home. The first songs released from The Bootleg Series Vol. 10
Da Capo Press. ISBN 0-306-81287-8. – Another Self Portrait (1969–1971) were an unreleased
demo of “Wigwam” backed with a previously unreleased
• Sounes, Howard (2001). Down The Highway: The recording of “Thirsty Boots” on 7” vinyl for Record Store
Life Of Bob Dylan. Grove Press. ISBN 0-8021- Day 2013.[7] On August 8, 2013, a video for the song
1686-8. “Pretty Saro,” a traditional English ballad, was released.
The video featured photos taken from the Farm Security
Administration archive at the Library of Congress.[8] A
4.7.10 External links week later, the song was released as a download single.[9]

• BobDylan.com – Official web site, including lyrics

and touring schedule. 4.8.3 Editions

• Bob Dylan’s Witmark Demos – Documentary trailer The Bootleg Series Vol. 10: Another Self Portrait (1969–
by Jennifer Lebeau for the release of The Witmark 1971) is available in a standard two-disc configuration as
Demos CD. well as in a four-disc deluxe boxed set which includes, for
the first time, the complete historic performance by Bob
• Leeds Demos and Witmark Demos – Bringing It Dylan and the Band from the Isle of Wight Festival on
All Back Home Page, web site with information on Sunday, August 31, 1969 (though incorrectly dated Au-
bootlegs of Bob Dylan’s songs. gust 30, 1969 in the album notes accompanying the set).
4.8. THE BOOTLEG SERIES VOL. 10: ANOTHER SELF PORTRAIT (1969–1971) 187

Housed in a slipcase, the deluxe edition includes a newly In his review in Guitar World, Jeff Slate wrote that the
remastered version of the 1970 Self Portrait album, in “thing about being a fan of Bob Dylan is that the discov-
its entirety with original sequencing, in addition to two ery of his greatness is never-ending”.[16] The reviewer for
hardcover books featuring revisionist liner notes penned Slate observed, “Dylan sounds great, the songs and per-
by Greil Marcus (author of the notorious “What is this formances are peerless, and though stylistically Another
shit?" 1970 Self Portrait review in Rolling Stone). A vinyl Self Portrait is a bit all over the place (owing mostly to
version of The Bootleg Series Vol. 10: Another Self Por- the fact that the sessions the material is culled from spans
trait (1969–1971) includes the album’s 35 tracks on three three years) it also is remarkably coherent.”[16] The Slate
LPs plus a 12” × 12” booklet.[10][11] reviewer concluded that “the thing that struck me in re-
flecting on this entry in the series and the nine volumes
that came before it—not to mention Dylan’s official stu-
4.8.4 Critical reception dio output—was the consistency of Dylan’s output. It’s
all great. Seriously.”[16]
In his review for AllMusic, Thom Jurek gave the album
In his review for Rolling Stone magazine, David Fricke
four out of five stars, calling it “an indispensable addition
gave the album four and a half out of five stars, calling it
to the catalog”.[13] While he believes that Dylan made the
right choices on the original New Morning album, these “one of the most important, coherent and fulfilling Bob
outtakes and alternate takes are still interesting.[13] Dylan albums ever released”.[17] Fricke found the perfor-
mances to be “immediate and invigorating”, with Dylan
In his review for American Songwriter, Jim Beviglia gave delivering “virile singing”.[17] Fricke continued:
the album four out of five stars.[14] Beviglia wrote:

What this collection attempts to do is rec-
tify the errors, in production and song selec-
tion, made when the albums were first released.
In the case of Self Portrait, overdubs added af-
ter the fact in '70 have been eliminated, remov-
ing the filter between the listener and Dylan’s
raw, affecting performances of “Copper Ket-
tle” and “Days Of '49.”[14]
In his review on the Consequence of Sound website, Mike
Madden gave the album three and a half out of five
stars, writing that Another Self Portrait is “highlighted
by songs we've heard before but presented here in dif-
ferent versions, such as the cozy lament 'I Threw It All
Away'".[15] Despite some “bottom-of-the-barrel” mate-
rial, Madden noted the “pleasing discoveries” presented
on the album:[15]
'I contemplated every move, or at least I
tried,' Dylan sings on 'Went to See the Gypsy'.
Elsewhere, Another Self Portrait indicates that
while he had trouble with his writing mechan-
ics around this time, it wasn't for lack of try-
ing. 'Sign on the Window' is home to orchestral
arrangements that could have been on George
Harrison’s All Things Must Pass, while Abbey
Road dynamics power the second alternate ver-
sion of 'Time Passes Slowly'. These, as well
as the rockabilly of 'Working on a Guru' and
the Nashville classicism of 'Tattle O'Day', are
moderate successes, but they reveal that Dylan
did in fact have the motivation to flesh out new
directions for himself during these years. Let’s
be grateful that this set exists, if only because
it begins to clears up a mythical period of the
now 72-year-old Dylan’s frequently inscrutable
oeuvre.
Despite the vintage, or maybe because it’s
all been hidden for so long, everything here
feels like new music, busy being born and put to
tape with crisp impatience. 'Let’s just take this
one,' Dylan says before a take of the traditional
ballad “Little Sadie,” one of 17 raw, magnetic
tracks from a single three-day sprint with gui-
tarist David Bromberg and pianist Al Kooper
in March 1970. Dylan was, in fact, on the
verge of a crossroads: the widely scorned dou-
ble LP Self Portrait, issued three months later.
He sounds eager to get there. That album is still
tough going: a frank, confrontational likeness
of the artist at 29 and loose ends, crooning folk
tunes, pure corn and odd, plaintive originals,
mostly through thick Nashville syrup. There
may be no better description of Dylan at the
close of his first, whirlwind decade, exhausted
and uncertain of his way into the next, than Self
Portrait's opening mantra, sung in his place by
a group of country-gospel angels: “All the tired
horses in the sun/How'm I supposed to get any
ridin' done?"[17]
Fricke believed that Self Portrait and New Morning were
part of a “long, connected act of self-examination and
re-ignition”.[17] This latest addition to the Bootleg series
highlights “Dylan’s breadth of drive at a time when many
thought he had no direction forward”.[17]
4.8.5 Track listing
All songs written by Bob Dylan except where noted; tra-
ditional songs arranged by Dylan.
188 CHAPTER 4. THE BOOTLEG SERIES

4.8.6 Charts [17] Frick, David (August 14, 2013). “Bob Dylan: Another
Self Portrait (1969-1971): The Bootleg Series Vol. 10”.
4.8.7 Credits Rolling Stone. Retrieved September 2, 2013.

[18] “Bob Dylan: Another Self Portrait”. aCharts. Retrieved

4.8.8 References September 10, 2013.

[1] “The Bootleg Series Vol. 10: Another Self Portrait (1969-
1971)". Bob Dylan. 16 July 2013. Retrieved 16 July 4.8.9 External links
2013.
• BobDylan.com – Official web site, including lyrics
[2] “Bob Dylan Revisits 'Self Portrait' on Next Edition of
and touring schedule.
Bootleg Series”. Rolling Stone. 16 July 2013. Retrieved
16 July 2013.

[3] “Latest in Bob Dylan’s Bootleg Series, ‘Another Self Por-

trait,’ Coming in August”. The New York Times. 16 July
2013. Retrieved 16 July 2013.

[4] “Bob Dylan Mines Self Portrait For New Bootleg Series”.
American Songwriter. 16 July 2013. Retrieved 16 July
2013.

[5] “Bob Dylan’s The Bootleg Series, Vol. 10 Another Self

Portrait (1969 - 1971) Out August 26th 2013”. Contact
Music. 16 July 2013. Retrieved 16 July 2013.

[6] “Bob Dylan’s Maligned ‘Self Portrait’ Album Gets Reis-

sued”. Ultimate Classic Rock. 16 July 2013. Retrieved
16 July 2013.

[7] “WIGWAM single to be released for Record Store Day”.

bobdylan.com. Retrieved 18 August 2013.

[8] ""Watch “Pretty Saro” Video from “Another Self Por-

trait"". bobdylan.com. Retrieved 18 August 2013.

[9] “Pretty Saro (Self Portrait) - Single”. iTunes. Retrieved

18 August 2013.

[10] “BOB DYLAN'S THE BOOTLEG SERIES, VOL. 10

Press Release” (PDF). Bob Dylan Isis & Columbia
Records. 16 July 2013. Retrieved 16 July 2013.

[11] “Bob Dylan to release 'Another Self Portrait' with Isle of

Wight gig”. Digital Spy. 16 July 2013. Retrieved 16 July
2013.

[12] “Another Self Portrait 1969-1971: The Bootleg Series,

Vol. 10 Reviews”. Metacritic.com. Retrieved August 27,
2013.

[13] Jurek, Thom. “Another Self Portrait”. AllMusic. Re-

trieved September 7, 2013.

[14] Beviglia, Jim (August 14, 2013). “Bob Dylan: Another

Self Portrait (1969-1971) The Bootleg Series Vol. 10”.
American Songwriter. Retrieved September 2, 2013.

[15] Madden, Mike (August 29, 2013). “Album Review: Bob

Dylan – The Bootleg Series Vol. 10 – Another Self Por-
trait (1969-1971)". Consequence of Sound. Retrieved
September 2, 2013.

[16] Slate, Jeff (September 2, 2013). “Album Review: Bob

Dylan — 'Another Self Portrait (1969-1971), The Bootleg
Series Vol. 10'". Guitar World. Retrieved September 2,
2013.
Chapter 5

Text and image sources, contributors, and

licenses

5.1 Text
• Bob Dylan Source: https://en.wikipedia.org/wiki/Bob_Dylan?oldid=668837992 Contributors: AxelBoldt, RjLesch, Derek Ross, Elo-
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pen, Deb, William Avery, SimonP, R Lowry, Modemac, Bernfarr, JDG, Edward, Jazz77, Infrogmation, JohnOwens, Michael Hardy, Fred
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189
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low, Mortene, DropDeadGorgias, Bearcat, RedWolf, Goethean, Blainster, Ensiform, Raeky, Aomarks, ScudLee, Darklight, Gamaliel,
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DASHBot, 2redg4, GoingBatty, John of Lancaster, Yeepsi, ZéroBot, Ὁ οἶστρος, H3llBot, Unreal7, Adelson Velsky Landis, Chuispaston-
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• The Freewheelin' Bob Dylan Source: https://en.wikipedia.org/wiki/The_Freewheelin'_Bob_Dylan?oldid=664861190 Contributors: R
Lowry, Ubiquity, TUF-KAT, Zoicon5, Tpbradbury, Jgm, Bearcat, RedWolf, Meelar, Ensiform, Aomarks, ScudLee, Darklight, ShaneCa-
vanaugh, Gamaliel, Bgoldenberg, Chowbok, Bodnotbod, Pitchka, HWelles, Uzisuicide, Cbing01, Rich Farmbrough, CanisRufus, Ogg, Dav-
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650 Norton (1951), Tassedethe, Zorrobot, Legobot, Luckas-bot, Yobot, J Milburn Bot, Pteradactyle, AnomieBOT, Materialscientist, Cita-
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• The Times They Are a-Changin' Source: https://en.wikipedia.org/wiki/The_Times_They_Are_a-Changin'?oldid=646926923 Contribu-
tors: Andrewa, Bossanoven and DPL bot
5.1. TEXT 193

• Another Side of Bob Dylan Source: https://en.wikipedia.org/wiki/Another_Side_of_Bob_Dylan?oldid=662675175 Contributors: R

Lowry, Bearcat, RedWolf, Raeky, ScudLee, Gamaliel, Bgoldenberg, Auximines, Pitchka, Klemen Kocjancic, Cbing01, Rich Farm-
brough, Martpol, CanisRufus, Ogg, Cmdrjameson, Runnerupnj, Rje, Shirimasen, Ianblair23, Kesla, Rjwilmsi, Koavf, Amire80, Tixity,
Jamdav86, FlaBot, Flubber~enwiki, Weebot, Uglinessman, Monicasdude, YurikBot, PetSounds, Markt3, Retired username, DYLAN
LENNON~enwiki, Mikeblas, Emersoni, Tony1, L1759, Lockesdonkey, Nikkimaria, CapitalLetterBeginning, Jogers, Thetriangleguy,
SmackBot, Chairman S., Rueckk, Oanabay04, Martijn Hoekstra, Derek R Bullamore, Eprose819, Snaketown, Loadmaster, Shamrox,
Ehjort, CmdrObot, Soul Crusher, Jimknut, Penbat, George cowie, Cydebot, Gnfnrf, GassyGuy, Daniel Olsen, Richhoncho, Thijs!bot,
PEJL, Btocher, ENpeeOHvee, MegX, Rothorpe, Airproofing, Lady Mondegreen, STBot, Pekaje, Agadant, Thaurisil, LeCorrector, All-
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SporkBot, CactusBot, Helpful Pixie Bot, Goturgoat and Anonymous: 57
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Horvath, Mortene, DavidWBrooks, TUF-KAT, Jimregan, Zoicon5, Hyacinth, Owen, Bearcat, RedWolf, Cholling, Ensiform, Bgolden-
berg, Bobblewik, Ulmanor, Cbing01, Rich Farmbrough, Vague Rant, SECProto, Martpol, 2005, Ogg, Rje, DCEdwards1966, Dhartung,
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Uglinessman, Flowerparty, Design, Bgwhite, Wasted Time R, Monicasdude, RussBot, Gaius Cornelius, PetSounds, AugieWest, L1759,
Lockesdonkey, Deville, Closedmouth, CapitalLetterBeginning, Jogers, QzDaddy, G.AC, Kingboyk, SmackBot, Levi allemany, Chair-
man S., Eskimbot, Guyalsfere, Commander Keane bot, Chris the speller, Roscelese, Ruckyou, Zone46, OrphanBot, JJEagleHawk, Oan-
abay04, Funky Monkey, Curly Turkey, Ohconfucius, Mcguinn713, SajmonDK, SilkTork, Eprose819, Berenlazarus, Loadmaster, Ehjort,
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Frugalandhep, NathanD 016, Kallerna, Chaotic Popcorn, Cloonmore, Dvl007, Andy Pipkin, Rosekelleher, Newzild, SomeGuy11112, P.
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WikHead, Mbroderick271, Addbot, Kitchen roll, Koossepa, Routeonline, LaaknorBot, Chzz, 650 Norton (1951), DinoBot2, Zorrobot,
Legobot, Luckas-bot, Yobot, J Milburn Bot, AnomieBOT, Rvd4life, ArthurBot, Abolibibelot, Elementlens, Sayerslle, FrescoBot, Aidymc,
Rmp1920, Gubu13, Tomcat7, Foobarnix, Full-date unlinking bot, Colchester121891, Sayantan m, Idiotchalk, Diannaa, DARTH SIDIOUS
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Khazar2, Synthwave.94, Shikari 123, PunkFanru486 and Anonymous: 140
• Highway 61 Revisited Source: https://en.wikipedia.org/wiki/Highway_61_Revisited?oldid=667085128 Contributors: Andre Engels, Or-
tolan88, R Lowry, Two halves, Ixfd64, Sheldon Rampton, Tregoweth, TUF-KAT, TUF-KAT, Jeandré du Toit, Charles Matthews, Joshk,
Motor, Grendelkhan, Bevo, Aaronhill, Jamesday, Fredrik, RedWolf, Donreed, Nilmerg, ZekeMacNeil, Michael Snow, Jholman, Everyking,
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Martpol, KevinBot, CanisRufus, Hurricane111, DaveGorman, Rje, DCEdwards1966, Knucmo2, SemperBlotto, Fritz Saalfeld, Scott5114,
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Rjwilmsi, Koavf, Mick gold, Bruce1ee, Salix alba, Soakologist, Tixity, Jamdav86, Remurmur, FlaBot, Ground Zero, Weebot, Ugliness-
man, K2wiki, Visor, Monicasdude, YurikBot, Jimp, RussBot, Hede2000, Idigworms, Akamad, C777, Shell Kinney, Gaius Cornelius,
PetSounds, Anetode, L1759, Lockesdonkey, Deville, BGC, CapitalLetterBeginning, Jogers, G.AC, Dposse, BonsaiViking, SmackBot,
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you, Tartan, Dawson1066, Oanabay04, Powelldinho, DoxTxob, NIRVANA2764, Risssa, Ceoil, Serein (renamed because of SUL), Tener-
iff, SilkTork, Catapult, Notahippie76, Berenlazarus, Frixa, Beetstra, Mr Stephen, EdK, Ehjort, Tawkerbot, David Legrand, Courcelles,
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Jackbel, Billyshiverstick, Crazytrained, Dozzzzzzzzzing off, FootballCleaner, Metal Machine Music 666, Brice LS and Anonymous: 74
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bleak, CatherineMunro, TUF-KAT, Mulad, Kbk, Aaronhill, RadicalBender, RedWolf, ScudLee, Varlaam, Karlajohnson, Ingman, Joyous!,
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Jerome Charles Potts, Colonies Chris, Steff, Oanabay04, Funky Monkey, Derek R Bullamore, DoxTxob, Hestemand, E-Kartoffel, HisSpac-
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crockfan42, RexxS, Redrkr, Addbot, LaaknorBot, Squandermania, DinoBot2, Zorrobot, WolfSpear, Luckas-bot, J Milburn Bot, Zooma-
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m, Roy McCoy, Threewms, Woovee, DASHBot, GoingBatty, PositivelyJordan, BootleggerWill, Ponydepression, Verda stelo, Ὁ οἶστρος,
CactusBot, Cwilcox1976, Country Pie, BattyBot, Nashville Skyline, Rotlink, Extabulis and Anonymous: 90
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tors: Ubiquity, Palnatoke, Taras, Zoicon5, Betterworld, ScudLee, Varlaam, SamSim, Discospinster, Max Terry, Orlady, Wareh, Bobo192,
NetBot, Rje, Shirimasen, Phocks, Tainter, Woohookitty, Potatoeman57, Hbdragon88, GregorB, Kesla, BD2412, Koavf, Bobhobbit, Mick
gold, Tixity, Tbone, Weebot, Darkhorse82, Flowerparty, Magbatz, Gheorghe Zamfir, Design, Monicasdude, GusF, C777, CambridgeBay-
Weather, PetSounds, Sojambi Pinola, Retired username, Fantailfan, L1759, BGC, CapitalLetterBeginning, Jogers, Conman33, The Wook-
ieepedian, SmackBot, Brianyoumans, Hraefen, Lew19, Lenin and McCarthy, Moogums, Oanabay04, Wowlookitsjoe, DoxTxob, Robofish,
Zout, E-Kartoffel, Myrtone86, Signinstranger, J Milburn, Markjoseph125, CmdrObot, Machchunk, Soul Crusher, Harej bot, Captain
Caveman, Jimknut, ShelfSkewed, Cydebot, Hebrides, Richhoncho, Thijs!bot, PEJL, CopperKettle, PJtP, Coyets, Andrzejbanas, Teeb,
Rothorpe, Airproofing, Owl523, Lady Mondegreen, Tented, Achisha, Buttons to Push Buttons, Entroporium, LeCorrector, DadaNeem,
Wikieditor06, MikeLondon, Rlendog, Xenus, Lightmouse, Bede735, Remorafilms, Andy Pipkin, PipepBot, Snigbrook, Desertmonk, Triv-
ialist, Alexbot, Cary, Classicrockfan42, Pichpich, HexaChord, Gcstackmoney, Addbot, Dan56, Kitchen roll, LaaknorBot, Tassedethe,
Numbo3-bot, DinoBot2, Lightbot, J Milburn Bot, Zoomazooma, AnomieBOT, Rubinbot, Fiend666x, Pk1026, Kohoutek1138, FrescoBot,
Tomcat7, Sayantan m, Good Riddance 97', Woovee, WikitanvirBot, GoingBatty, Zero Diggity, Yeepsi, CactusBot, Helpful Pixie Bot, FSII,
Dig Connabeer, BattyBot, TheGreatMustafio, The Celebrated Mister Kite, Mr Jimmy Downtown, The Man with No Water, Jeffjones22
and Anonymous: 90
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HWelles, Grstain, CanisRufus, Rje, Shirimasen, Echuck215, Woohookitty, Wikiklrsc, Floydgeo, Kesla, Rjwilmsi, Koavf, Tixity, Veg-
aswikian, Weebot, Flowerparty, Adoorajar, Monicasdude, Piet Delport, C777, PetSounds, L1759, Ccoll, BGC, CapitalLetterBeginning,
Jogers, SmackBot, Chairman S., Piper108, Kirponos, Icemuon, Chris the speller, Darwin’s Bulldog, Jwy, Oanabay04, Derek R Bullamore,
DMacks, TenPoundHammer, Shamrox, E-Kartoffel, Signinstranger, Machchunk, Soul Crusher, Harej bot, Jimknut, ShelfSkewed, Cyde-
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rector, JayJasper, Plasticup, Moisejp, MikeLondon, Michaeldsuarez, Tokailoverock, Rlendog, Xenus, Gretschviking, Bede735, De728631,
Andy Pipkin, Kristoffer7, SomeGuy11112, Mild Bill Hiccup, Vivio Testarossa, Two Hearted River, El bot de la dieta, Classicrockfan42,
WikHead, Italian Calabash, Gcstackmoney, Addbot, Dan56, Koossepa, LaaknorBot, DinoBot2, Zorrobot, Luckas-bot, Zoomazooma,
AnomieBOT, Otherpop, Kohoutek1138, Ionutzmovie, Sayantan m, RjwilmsiBot, Woovee, In ictu oculi, GoingBatty, Ponydepression,
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Anonymous: 78
• Pat Garrett & Billy the Kid (album) Source: https://en.wikipedia.org/wiki/Pat_Garrett_%26_Billy_the_Kid_(album)?oldid=661631532
Contributors: Dreamyshade, Paul A, Motor, R. fiend, Ary29, Yossarian, Grstain, D6, Rich Farmbrough, Rustl, CanisRufus, Warpozio, Cm-
drjameson, Georingo~enwiki, Andrew Gray, Tainter, Floydgeo, Kesla, TopazSun, BD2412, Kushboy, Rjwilmsi, Koavf, Phantom784,
5.1. TEXT 195

Weebot, Flowerparty, RussBot, Wisekwai, Piet Delport, DanMS, PetSounds, Yeath, Daltonls, L1759, Mike Dillon, BGC, CapitalLetter-
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TonyTheTiger, GentlemanGhost, Skymasterson, JustAGal, PJtP, Magioladitis, Crazytonyi, Airproofing, Gnoopy, Avicennasis, Richard Li-
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PetSounds, L1759, BGC, CapitalLetterBeginning, Jogers, Kingboyk, Conman33, The Wookieepedian, SmackBot, Chairman S., Hmains,
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erkiller1692, Richhoncho, Thijs!bot, Rrose Selavy, PEJL, PJtP, Btocher, Zidane tribal, Engine61, Rothorpe, VoABot II, Tented, J.delanoy,
Paulstoner, LeCorrector, Dmitri Yuriev, Wiher, VolkovBot, MikeLondon, FinnWiki, Pastoryam12, Rlendog, Xenus, Bede735, ImageRe-
movalBot, ClueBot, Andy Pipkin, Jason woody allen, Alexbot, DumZiBoT, Cdl obelix, WikHead, Addbot, LaaknorBot, DinoBot2, Zor-
robot, Luckas-bot, J Milburn Bot, Radiopathy, AnomieBOT, Owenmadison, Full-date unlinking bot, Sayantan m, Dinamik-bot, Wikitan-
virBot, CactusBot, JulienWriter, Myxomatosis57, NickKrammes and Anonymous: 39
• Planet Waves Source: https://en.wikipedia.org/wiki/Planet_Waves?oldid=665230983 Contributors: Liftarn, Nikai, Zoicon5, Ulmanor,
Cbing01, Rich Farmbrough, JPX7, Dremora, Tainter, Kesla, Rjwilmsi, Koavf, Nkrosse, Lairor, Weebot, Flowerparty, GreyCat, Wasted
Time R, Monicasdude, Dannycas, Wisekwai, Piet Delport, PetSounds, L1759, BGC, Jogers, SmackBot, Chairman S., Eskimbot, Oan-
abay04, Derek R Bullamore, Mark Lungo, Mr. Manu, E-Kartoffel, Dysprod1975, Applemask, Audiori, Mattbr, Machchunk, Soul Crusher,
Harej bot, Jimknut, Gnfnrf, Daniel Olsen, Thijs!bot, PJtP, TFunk, The Person Who Is Strange, TaylorNichols, Rothorpe, Recurring dreams,
Lady Mondegreen, Ummagumma23, STBot, VirtualDelight, Paulstoner, LeCorrector, JayJasper, MDSanker, Sir Crimson, MikeLondon,
TXiKiBoT, Walor, Slysplace, Rlendog, Xenus, Aspects, Bede735, Andy Pipkin, SomeGuy11112, Piriczki, Trivialist, Two Hearted River,
NJGW, Classicrockfan42, SlubGlub, Addbot, Koossepa, LaaknorBot, Tassedethe, DinoBot2, Zorrobot, Luckas-bot, J Milburn Bot, Bob
Caldwell CSL, Zoomazooma, AnomieBOT, Santa Claus of the Future, Xqbot, Hartenhof, PigFlu Oink, Symplectic Map, Full-date unlink-
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DrDrake100, Helpful Pixie Bot, Lugia2453, Hulme Wolf and Anonymous: 53
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mation, Mortene, TUF-KAT, BigFatBuddha, Zoicon5, RedWolf, JustinHall, Ensiform, Michael Snow, Jholman, ScudLee, Gamaliel, Var-
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top, Wikiklrsc, Thebogusman, Junjk, Kesla, Graham87, Taestell, RxS, Koavf, Tiorted, Mick gold, Tixity, Vegaswikian, Datapharmer,
Brighterorange, BrothaTimothy, Weebot, Wasted Time R, Monicasdude, C777, PetSounds, MosheA, Yeath, L1759, BOT-Superzerocool,
Wangi, Malepheasant, Zzuuzz, BGC, Jogers, Spin Boy 11, Garion96, G.AC, SmackBot, Eskimbot, Lion King, Evanreyes, Dawson1066,
Steelbeard1, Oanabay04, JGF Wilks, John, JackLumber, SilkTork, Shamrox, Eurodog, Twas Now, Underture, Metsman, Machchunk,
Soul Crusher, Harej bot, ShelfSkewed, Cydebot, Treybien, Prodigenous Zee, Daniel Olsen, BetacommandBot, Thijs!bot, PEJL, Kram-
den4700, Seaphoto, James Epstein, Vanjagenije, Q8-falcon, Dogru144, Wwb, MegX, Rothorpe, .anacondabot, 75pickup, Arno Matthias,
Farfendugle, Airproofing, PenguinJockey, AsgardBot, Cricket02, STBot, LeCorrector, JayJasper, Moisejp, Inwind, Sparklism, Onresume,
Mudwater, MikeLondon, Three white leopards, Sanfranman59, Badlarry67, Legoktm, SieBot, Rlendog, Xenus, Meeglebee, CutOffTies,
Bede735, Newzild, Bugsy0, Titan50, Ember of Light, Star shaped, Dwwren, Classicrockfan42, Cdl obelix, Redrkr, Jprw, Japanscot,
RandySavageFTW, Dan56, Koossepa, LaaknorBot, Zorrobot, Legobot, Luckas-bot, Yobot, AnomieBOT, ArthurBot, Jayarathina, Robby-
Rob de, Mcoupal, Mathonius, FrescoBot, Dreambien, Tomcat7, Tim1357, Trappist the monk, Sayantan m, Idiotchalk, Gegege13, Rjwilm-
siBot, Ripchip Bot, Woovee, DASHBot, John of Reading, WikitanvirBot, BootleggerWill, Werieth, Truthissoap, Unreal7, Tlönian, ClueBot
NG, CactusBot, Helpful Pixie Bot, Lukascamenzind, Moor0535, H33wt, GlennBergerPhD, HeyBro4, ChrisGualtieri, YFdyh-bot, Craven,
Synthwave.94, SNUGGUMS, Shanescala, StratDancer, Monkbot, Shsrpr and Anonymous: 97
• The Basement Tapes Source: https://en.wikipedia.org/wiki/The_Basement_Tapes?oldid=668747062 Contributors: Zundark, Ortolan88,
Edward, Liftarn, CatherineMunro, TUF-KAT, Jimregan, Blukens, Zoicon5, Tpbradbury, Maximus Rex, Topbanana, Jerzy, Goethean,
Academic Challenger, Adam Sampson, Michael Devore, Gamaliel, HWelles, Ulmanor, Sootymangabey, Mindspillage, Cbing01, Jgrosch,
Waxwing slain, JoeSmack, Surachit, R7, DCEdwards1966, Sun King, Zosodada, Tainter, Woohookitty, TheoClarke, Thebogusman, Sev-
entyThree, Kesla, Rjwilmsi, Koavf, Nkrosse, Mick gold, Sdornan, Ucucha, Weebot, Wasted Time R, Monicasdude, RussBot, C777,
PetSounds, Fantailfan, L1759, Hrvoje Simic, BGC, The Wookieepedian, SmackBot, Herostratus, DCGeist, Chris the speller, Zone46,
Dawson1066, Alcuin, BlackTerror, Ceoil, JackLumber, Berenlazarus, Mr. Manu, E-Kartoffel, Dr.K., Tawkerbot, DougHill, Twas Now,
Sayler, Tawkerbot2, Underture, Signinstranger, Machchunk, Soul Crusher, Harej bot, Pie.er, Jimknut, Cwchilders, ShelfSkewed, Rttlesnke-
Whiskey, Ken Gallager, George cowie, Cydebot, Registered user 92, ST47, I.M.S., Brad101, Richhoncho, Rozegirl123, PEJL, N5iln,
Thebanjohype, JustAGal, PJtP, Dugwiki, James Epstein, SmokeyTheCat, Modernist, Andrzejbanas, DuncanHill, Magioladitis, Ling.Nut,
Jjoshua33, Srice13, Milobloom, Tented, Carolfrog, LeCorrector, JayJasper, Allreet, MDSanker, STBotD, WJBscribe, Moisejp, MikeLon-
don, GimmeBot, A4bot, Grant.goodman, Slysplace, Pjoef, Rlendog, Xenus, Ohpopshop, Hardcore Harro, 1uncleleo1, Bede735, Fratrep,
Dabomb87, Wantnot, ClueBot, Liuzhou, Piriczki, TheOldJacobite, Hylennox, DragonBot, New4321, BobDyland, DanielssJohnston, Wiki
libs, Indopug, WikHead, PL290, Addbot, Dan56, LaaknorBot, Redheylin, DinoBot2, Simonhorner67, Lightbot, Legobot, Luckas-bot,
Plochmann, J Milburn Bot, Rogerb67, AnomieBOT, Jezhotwells, Moxy, Kohoutek1138, FrescoBot, Citation bot 1, Full-date unlinking
bot, Sayantan m, IHeardFromBob, RjwilmsiBot, Woovee, Marek Koudelka, BootleggerWill, Ponydepression, Thargor Orlando, Spork-
Bot, CactusBot, AlterBerg, BG19bot, Wm Scheele, Bonnie13J, TFSyndicate, DilatoryRevolution, Inanygivenhole, PerlMonk Athanasius,
Monkbot, Iain Robb, Matt Evan Carey, Hulme Wolf and Anonymous: 86
• Desire (Bob Dylan album) Source: https://en.wikipedia.org/wiki/Desire_(Bob_Dylan_album)?oldid=662675437 Contributors: SimonP,
GTBacchus, Ottawakungfu, Zoicon5, Everyking, Ferdinand Pienaar, Wmahan, R. fiend, Salasks, Thincat, HWelles, Cbing01, Rich Farm-
brough, Land1234567890, JPX7, MattTM, The Iconoclast, Giraffedata, Willerror, Zellin, Shirimasen, RJFJR, Grenavitar, Woohookitty,
Hailey C. Shannon, Thebogusman, GregorB, Kesla, Wbeek, BD2412, DePiep, Rjwilmsi, Koavf, Mick gold, Cfortunato, Flowerparty,
Design, Wasted Time R, Monicasdude, YurikBot, RussBot, Akamad, C777, PetSounds, Markt3, Leutha, Andland, Fantailfan, Yeath,
196 CHAPTER 5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

L1759, Lockesdonkey, Hrvoje Simic, Wknight94, BGC, Jogers, Lontjr, That Guy, From That Show!, SmackBot, Chairman S., Eskim-
bot, Davidthal, Lion King, Chris the speller, James Fryer, Jennica, Oanabay04, Heteren, Mitchumch, JackLumber, SilkTork, Dybeck,
Mr Stephen, Hoju1394, The-Pope, Metsman, Goromike, Machchunk, Soul Crusher, Harej bot, Jimknut, ShelfSkewed, Avillia, Cydebot,
Khatru2, Helvetica, Daniel Olsen, BetacommandBot, Thijs!bot, PEJL, Thebanjohype, Modernist, Rothorpe, Blackdiamondbay, Purslane,
Noahdabomb3, STBot, Brianpalmer57, JulesDassin, Gazza63, Buttons to Push Buttons, LeCorrector, JayJasper, RB972, Bonadea, This-
mightbezach, VolkovBot, MikeLondon, Sesamevoila, Nimba, A4bot, Finlux, FinnWiki, DavyJAllan, AlleborgoBot, SieBot, Rlendog,
Xenus, CutOffTies, Android Mouse Bot 3, Bede735, Anchor Link Bot, Andy Pipkin, Piriczki, Sun Creator, Wiki libs, Thingg, NJGW, Clas-
sicrockfan42, Чръный человек, NotoriousElderly, Addbot, Dan56, Kitchen roll, Koossepa, Deamon138, Tassedethe, DinoBot2, Legobot,
XcruftX, Luckas-bot, Fraggle81, J Milburn Bot, Eurotuber, Zoomazooma, SwisterTwister, AnomieBOT, Xqbot, Pdunwoody, Williamhero,
FrescoBot, Ionutzmovie, RedBot, Full-date unlinking bot, Sayantan m, Dsavage87, RjwilmsiBot, Woovee, John of Reading, Rmarques,
GoingBatty, Sibilla3, ChuispastonBot, CactusBot, CocuBot, Rezabot, Helpful Pixie Bot, J.wong.wiki, ChrisGualtieri, Khazar2, Dobie80,
Marilyn Nix, NickKrammes, Inanygivenhole, ColRad85, Monkbot, Hulme Wolf, Bwsibolifia and Anonymous: 115
• Street-Legal (album) Source: https://en.wikipedia.org/wiki/Street-Legal_(album)?oldid=655813132 Contributors: Paul A, Blukens,
AaronSw, Skagedal, Ary29, Cbing01, Rich Farmbrough, JPX7, Mattbrundage, Kesla, Rjwilmsi, Wahoofive, Koavf, Tixity, TrafficBen-
Boy, Lairor, Egg Creations, FlaBot, Flowerparty, RobyWayne, Design, Kjlewis, YurikBot, S.Camus, RussBot, PetSounds, L1759, Deville,
BGC, Jogers, SmackBot, Chairman S., Lion King, DStoykov, Ushi5, Oanabay04, Derek R Bullamore, TenPoundHammer, JackLumber,
Alpine-helmut, BandOnTheRun, CmdrObot, Machchunk, Soul Crusher, Harej bot, Jimknut, ShelfSkewed, Daniel Olsen, PEJL, Roman 92,
MegX, Rothorpe, FrF, Eldumpo, STBot, VirtualDelight, William Bowe, LeCorrector, Oakshade, Fp cassini, Pawnkingthree, Rockthing,
EdRicardo, Caleb36, MikeLondon, Slysplace, Cryonic07, SieBot, Xenus, Bede735, Davidor7, SlackerMom, Andy Pipkin, Binksternet,
Hult041956, Liuzhou, Piriczki, Alexbot, NJGW, Mantupeht, Leia, Shieber, Addbot, Koossepa, LaaknorBot, 650 Norton (1951), Tassede-
the, DinoBot2, Luckas-bot, J Milburn Bot, AnomieBOT, Xqbot, D'ohBot, Eddie Nixon, Sayantan m, Wallyjr, Ripchip Bot, Woovee,
GoingBatty, Akerans, ChuispastonBot, CactusBot, Delusion23, Briefdragger, NickKrammes, Sweetdudejim, Iain Robb, Hulme Wolf and
Anonymous: 57
• Slow Train Coming Source: https://en.wikipedia.org/wiki/Slow_Train_Coming?oldid=662705184 Contributors: Amillar, RedWolf,
ScudLee, Mike R, Elembis, Cbing01, Rich Farmbrough, YUL89YYZ, SECProto, Carptrash, Land1234567890, NetBot, Clawson, Hu,
CoastTOcoast533, Woohookitty, Wdyoung, Kesla, BD2412, Rjwilmsi, Koavf, Bobhobbit, Tixity, Lairor, Ian Pitchford, Weebot, De-
sign, YurikBot, PetSounds, Jogers, SmackBot, Chairman S., Eskimbot, Evanreyes, Portillo, Richfife, Oanabay04, Derek R Bullamore,
Ocean87~enwiki, Hoju1394, FairuseBot, Underture, Solkaige, Machchunk, Soul Crusher, Harej bot, Jimknut, Gogo Dodo, Mivens, Daniel
Olsen, Rosencrantz1, Wwb, Sfarrell, Pchdriver, Allanclare, Dailynetworks, Lady Mondegreen, STBot, MarkRoberts, Arrivisto, LeCor-
rector, JayJasper, Rockthing, MikeLondon, Lamro, AlleborgoBot, GuitarBhoy, Rlendog, Xenus, RoIn2, Aspects, Bede735, Grim-Gym,
RoIn22, Cloonmore, Andy Pipkin, Hult041956, Liuzhou, Mild Bill Hiccup, Piriczki, The TRUE Music Review, Alexbot, Swanrizla,
Fledgeaaron, NJGW, Classicrockfan42, DumZiBoT, Чръный человек, WikHead, SilvonenBot, Kbdankbot, Gcstackmoney, Addbot, Laa-
knorBot, Tassedethe, DinoBot2, Luckas-bot, J Milburn Bot, CanterburyUK, Remclaecsec, AnomieBOT, Depicter, MauritsBot, Xqbot,
DanQueen2008, GorgeCustersSabre, FrescoBot, AstaBOTh15, Sayantan m, Ripchip Bot, Woovee, GoingBatty, CactusBot, Cwilcox1976,
Helpful Pixie Bot, Eternities, BattyBot, ChrisGualtieri, Briefdragger, Dexbot, Sam Sailor, Hulme Wolf and Anonymous: 43
• Saved (album) Source: https://en.wikipedia.org/wiki/Saved_(album)?oldid=645876541 Contributors: RedWolf, ScudLee, Andycjp, Rich
Farmbrough, NetBot, Walter Görlitz, CranialNerves, Kesla, Tokle, Koavf, Feydey, Tixity, Muj0, Cfortunato, Weebot, Design, Monicas-
dude, PetSounds, Bad Wolf~enwiki, Jogers, SmackBot, Chairman S., Eskimbot, Portillo, Dawson1066, Rrburke, Oanabay04, DantheCow-
Man, ArglebargleIV, Kyros, Underture, Machchunk, Soul Crusher, Harej bot, Jimknut, Thijs!bot, Paulisdead, MarkRoberts, LeCorrector,
JayJasper, VolkovBot, A4bot, Xenus, Phe-bot, Flyer22, Le Pied-bot~enwiki, Bede735, Cloonmore, Andy Pipkin, Hult041956, Piriczki,
Swanrizla, NJGW, Cdl obelix, Addbot, LaaknorBot, DinoBot2, Zorrobot, Luckas-bot, Yobot, J Milburn Bot, Zoomazooma, RobbyRob
de, Citation bot 1, Woovee, CactusBot, Proscribe, Helpful Pixie Bot, Monkbot, Mattycotty91, Hulme Wolf and Anonymous: 37
• Shot of Love Source: https://en.wikipedia.org/wiki/Shot_of_Love?oldid=659177678 Contributors: CatherineMunro, Owen, RedWolf,
ScudLee, Gamaliel, Edcolins, Rich Farmbrough, NetBot, Sweeny, Alai, Kesla, Tokle, Rjwilmsi, Koavf, FlaBot, Weebot, Joedeshon, Design,
Adoorajar, Monicasdude, PetSounds, PaulGarner, Jogers, SmackBot, Debuskjt, Chairman S., Eskimbot, Evanreyes, Portillo, Dawson1066,
Oanabay04, Derek R Bullamore, TenPoundHammer, Soap, David Legrand, Whedonite, Underture, CmdrObot, Machchunk, Soul Crusher,
Harej bot, Jimknut, Karenjc, PEJL, PJtP, Luna Santin, Sluzzelin, MegX, Rothorpe, Airproofing, Milliam, MarkRoberts, LeCorrector,
JayJasper, Rockthing, Moisejp, PHIFOU62~enwiki, VolkovBot, MikeLondon, Seraphim, Scarian, Xenus, Le Pied-bot~enwiki, Aspects,
Bede735, Nn123645, Jrevah, Manawyddan, Hult041956, Mild Bill Hiccup, Piriczki, Swanrizla, NJGW, Cdl obelix, Dbisbee, SilvonenBot,
Addbot, Koossepa, LaaknorBot, Favonian, Kdonegan, Tassedethe, DinoBot2, Zorrobot, PlankBot, Luckas-bot, J Milburn Bot, Zooma-
zooma, AnomieBOT, RobbyRob de, Ruchikalia, Fortdj33, Staffleberry, Sayantan m, DixonDBot, Woovee, WikitanvirBot, Starcheerspeak-
snewslostwars, GoingBatty, Charlie1965nrw, CactusBot, Baconsteakerroni, ChrisGualtieri, Synthwave.94, Hulme Wolf and Anonymous:
55
• Infidels Source: https://en.wikipedia.org/wiki/Infidel?oldid=662747338 Contributors: Frecklefoot, Michael Hardy, Delirium, Skysmith,
Julesd, John K, Charles Matthews, Pigsonthewing, RedWolf, Desmay, Jacoplane, Alensha, Prosfilaes, Chowbok, BozMo, Beland, JimWae,
Tothebarricades.tk, Timothy Usher, Gazpacho, D6, Jayjg, DanielCD, Rich Farmbrough, Cagliost, Dbachmann, Closeapple, Kross, Shanes,
Gershwinrb, John Vandenberg, Palmiro, Aquillion, Flammifer, Cherlin, Irishpunktom, Ynhockey, Jvano~enwiki, Grenavitar, Bsadowski1,
TShilo12, Woohookitty, Aaron McDaid, Farhansher, Quiddity, SMC, Nneonneo, Drexel1, The wub, Yuber, RexNL, BjKa, Ariele, Gwer-
nol, Anonymous editor, Netscott, NawlinWiki, Mike18xx, Grafen, Howcheng, Karl Meier, Bota47, Slicing, Pegship, Theda, Carabinieri,
Sardanaphalus, SmackBot, Elonka, Jagged 85, Kintetsubuffalo, HalfShadow, Gilliam, Portillo, Pecher, Jprg1966, Ned Scott, Darth Panda,
Tewfik, Pepsidrinka, Mistress Selina Kyle, Countering Systemic Bias, AAA765, Kuru, Armyrifle9, JoshuaZ, Kashmiri, Bless sins, PEiP, Ar-
mon, LeyteWolfer, JBull12, Markbyrn, Sabb0ur, Merzbow, Redaktoer, CmdrObot, DoctorFuQang, Patchouli, MicahDCochran, Deviance-
in-audio, Sumanthvepa, Ennerk, WeggeBot, Cydebot, Therake6, Lizabeth83, Rlcuda, Viscious81, Alaibot, Kozuch, Danogo, Eliyyahu,
Heliotic, N5iln, Mojo Hand, Anupam, Luna Santin, Tigeroo, 3fingeredPete, JAnDbot, Yahel Guhan, Leopard Gecko, Indon, Jaakobou,
Frotz, C.Logan, MartinBot, Ahassan1, Dropbear46, Beit Or, Tgeairn, Arrow740, Monsday, Plasticup, SJP, Albodairi, Aminullah, Cjh57,
Funandtrvl, Apocalogy, Jmrowland, Michael1408, Fences and windows, IPSOS, Melsaran, Asgaghru, Nguyenhphuong, RussianKakashi,
Arun K Sivanandan, SieBot, StAnselm, Dawn Bard, Matthew Yeager, Cptcellulose, Kartoffelsalad, Flyer22, Vmrgrsergr, Vanished user
oij8h435jweih3, Borriszinders, Mercenario97, Maelgwnbot, MadmanBot, Vice regent, Twinsday, ClueBot, Eric Wester, S.M. Zakir,
Wysprgr2005, Brewcrewer, Mr Pillows, La Pianista, Chaosdruid, Rds865, Thingg, Editor2020, Burkaja, Salikk, St.Trond, ZooFari, Iran-
way, Addbot, GargoyleBot, Surfboarder, AndersBot, SpBot, Lightbot, Mahmoud farahat, Legobot, Luckas-bot, AnomieBOT, Apollo1758,
GoldenMew, Mahmudmasri, Materialscientist, Ahlasunna, ChildofMidnight, Samanthazanjani, Fyrra, Sandcherry, Lothar von Richthofen,
5.1. TEXT 197

Chicagocubsfan, Notedgrant, Saforcer, Yserbnaayj, December21st2012Freak, Jonkerz, Lotje, UdonSoba, Defender of torch, InvestigateIs-
lam, Diannaa, Nsyink, John of Reading, Oldmoth, Racerx11, Mmeijeri, PBS-AWB, Sarajelli, Nanib, Jesanj, Julierbutler, Trendsies, Don-
ner60, MichaelPWSmith, Llistasonis, Kenny Strawn, Jessicaolsen, ClueBot NG, BarrelProof, Helpful Pixie Bot, 11bo53, Mark Arsten,
Bmbaker88, Harizotoh9, Orikrin1998, BattyBot, Infidelusa, Mogism, 331dot, Jackninja5, MacsWin203, Hillbillyholiday, Yannako, ‫علي‬
‫سمسم‬, Haminoon, Prof.akbar, Heppner77, Latifa Raafat, Amortias, Absolom66, RegistryKey, Merit23, Dware94hyslop70, TheWorldIs-
Great4, Aksndjdi, JosephShepard555, KasparBot and Anonymous: 198
• Empire Burlesque Source: https://en.wikipedia.org/wiki/Empire_Burlesque?oldid=668308241 Contributors: Wnissen, Owen, Bearcat,
RedWolf, Gamaliel, Ferdinand Pienaar, Duja, Tainter, Wdyoung, ^demon, Kesla, BD2412, Tokle, Rjwilmsi, Koavf, Tixity, Egg Creations,
FlaBot, Weebot, Adoorajar, Monicasdude, Shell Kinney, PetSounds, DGJM, L1759, Ccoll, Jogers, BuffaloBob, SmackBot, Chairman S.,
Eskimbot, Chris the speller, Dawson1066, Oanabay04, Hestemand, Berenlazarus, Ehjort, David Legrand, JForget, Audiori, Machchunk,
Soul Crusher, Jimknut, After Midnight, Richhoncho, PEJL, PJtP, MegX, Ore4444, LeCorrector, Allreet, Jevansen, Moisejp, EdRicardo,
Paranoid600, MikeLondon, McM.bot, Scarian, Xenus, Bede735, Danio, Bibliophylax, Manawyddan, Piriczki, DragonBot, Alexbot, Min-
strelo, Ashtonstreet01, NJGW, Cdl obelix, Addbot, Koossepa, LaaknorBot, Favonian, Tassedethe, DinoBot2, Lightbot, Ettrig, Luckas-bot,
J Milburn Bot, Zoomazooma, AnomieBOT, ArthurBot, Sayantan m, Ripchip Bot, Woovee, GoingBatty, CactusBot, Colapeninsula, Jor-
doCo, BobDylanFan1994, Bullywertz, Briefdragger, SweetTarty, Discodan59, Jryphillips, Hulme Wolf, HollandHellion and Anonymous:
42
• Knocked Out Loaded Source: https://en.wikipedia.org/wiki/Knocked_Out_Loaded?oldid=664341552 Contributors: RedWolf, ScudLee,
Gamaliel, Rich Farmbrough, CanisRufus, NetBot, Walter Görlitz, Grenavitar, Kevinskogg, ^demon, Kesla, Tokle, Koavf, Mick gold,
FlaBot, Weebot, Design, Monicasdude, Shell Kinney, Theelf29, PetSounds, L1759, Jogers, SmackBot, Chairman S., Dawson1066, Jwy,
Oanabay04, ANGLESEA, TenPoundHammer, Berenlazarus, HisSpaceResearch, Underture, Soul Crusher, Harej bot, Jimknut, Mattisse,
Thijs!bot, PEJL, Escarbot, Rothorpe, Paulisdead, Flowanda, MarkRoberts, LeCorrector, EdRicardo, MikeLondon, The Devil’s Advocate,
Scarian, Xenus, Bede735, LarRan, Piriczki, Alexbot, El bot de la dieta, NJGW, Cdl obelix, Addbot, Koossepa, LaaknorBot, Tassedethe,
DinoBot2, Luckas-bot, Symmerhill, J Milburn Bot, Zoomazooma, Feemsh, Kohoutek1138, Woovee, GoingBatty, CactusBot, Briefdragger,
Hmainsbot1, Fobishmuster, Discodan59, Hulme Wolf and Anonymous: 33
• Down in the Groove Source: https://en.wikipedia.org/wiki/Down_in_the_Groove?oldid=655428402 Contributors: RedWolf, ScudLee,
Gamaliel, Niteowlneils, NetBot, Dremora, Kesla, BD2412, Tokle, Rjwilmsi, Koavf, Weebot, Cjmarsicano, Wasted Time R, Monicasdude,
Theelf29, Tavilis, PetSounds, L1759, Jogers, Harabanar, SmackBot, M.luke.myers, Bluebot, Oanabay04, Funky Monkey, Thom84, Beren-
lazarus, E-Kartoffel, Underture, Machchunk, Soul Crusher, Harej bot, Jimknut, Thepandoras, Richhoncho, PEJL, DavidCh0, Rothorpe,
Warchef, MarkRoberts, Matt Lewis, Thinman10, LeCorrector, Vranak, Wwiyw, MikeLondon, The Devil’s Advocate, DavyJAllan, Rlen-
dog, Scarian, Xenus, Dominik92, Bede735, Teutobilly, Andy Pipkin, Hult041956, Trivialist, DragonBot, Ember of Light, BOTarate, Tibe,
Gcstackmoney, Addbot, LaaknorBot, Favonian, Tassedethe, DinoBot2, Luckas-bot, TaBOT-zerem, Legobot II, J Milburn Bot, Zooma-
zooma, AnomieBOT, Ojorojo, Danno uk, Kohoutek1138, FrescoBot, Woovee, John of Reading, TuHan-Bot, Blamegame, CactusBot,
YFdyh-bot, Discodan59 and Anonymous: 36
• Oh Mercy Source: https://en.wikipedia.org/wiki/Oh_Mercy?oldid=666957075 Contributors: RedWolf, Gamaliel, Spooky, Klemen Koc-
jancic, Rich Farmbrough, JPX7, CanisRufus, Georingo~enwiki, Grutness, Dremora, Ianblair23, Alai, Tainter, Firsfron, Jyavner, Wdyoung,
Kesla, Kushboy, Tokle, Rjwilmsi, Wahoofive, Koavf, Tixity, Weebot, RobyWayne, Joedeshon, Wasted Time R, Monicasdude, Michael
Slone, PetSounds, L1759, Donald Albury, Jogers, Kungfuadam, Conman33, SmackBot, Chairman S., Imaginaryoctopus, Can't sleep, clown
will eat me, Siege72, Oanabay04, Funky Monkey, OutRIAAge, Derek R Bullamore, Wizardman, Salamurai, David Legrand, Metsman,
Machchunk, Soul Crusher, Jimknut, AndrewHowse, George cowie, Djg2006, Daniel Olsen, Thijs!bot, PEJL, Egpetersen, Dannygutters,
Gavia immer, Arno Matthias, Edgy DC, Omgomgomgomg, Ekki01, STBot, LeCorrector, JayJasper, DadaNeem, Jmckinley, Tiyoringo,
Burzmali, Moisejp, VolkovBot, Someguy1221, Lucylikestofly, Slysplace, Mycomp, Moonriddengirl, Xenus, Eric444, Addit, Bede735,
Klipfontein, Cloonmore, Swanrizla, El bot de la dieta, RexxS, Cdl obelix, XLinkBot, Addbot, Koossepa, LaaknorBot, Zorrobot, Roderick-
silly, Luckas-bot, J Milburn Bot, AnomieBOT, GrouchoBot, AstaBOTh15, Bd231dn, Sayantan m, Cbben, Tbhotch, Woovee, GoingBatty,
Mab987, Ὁ οἶστρος, AvicAWB, CactusBot, BattyBot, Jorg Ag, Dexbot, BrunoMacDonald, GretDrabba, Mr david ham and Anonymous:
54
• Under the Red Sky Source: https://en.wikipedia.org/wiki/Under_the_Red_Sky?oldid=668514643 Contributors: RedWolf, ScudLee,
Gamaliel, Niteowlneils, Edcolins, Rich Farmbrough, Ajplmr, Martpol, NetBot, DaveGorman, Dremora, Firsfron, Kesla, Tokle, Dave
Cohoe, Koavf, Weebot, Joedeshon, Adoorajar, Monicasdude, PetSounds, L1759, Bondegezou, Jogers, The Wookieepedian, SmackBot,
Chairman S., Hmains, Cavie78, Chris the speller, Chlewbot, Chadwholovedme, Oanabay04, Funky Monkey, Madchen Hoch, Serein (re-
named because of SUL), Berenlazarus, Underture, J Milburn, Machchunk, Soul Crusher, Harej bot, Jimknut, Thijs!bot, PEJL, Escarbot,
Rothorpe, DFS, Arno Matthias, Pekaje, C Ruth, Arrivisto, LeCorrector, STBotD, Rockthing, Moisejp, MikeLondon, Xenus, Kevin Avery,
Bede735, Andy Pipkin, Greenineugene, Alexbot, PixelBot, Swanrizla, NJGW, Cdl obelix, Catpochi, Чръный человек, Addbot, Jafeluv,
Koossepa, LaaknorBot, DinoBot2, Luckas-bot, Amirobot, J Milburn Bot, Zoomazooma, Lonet, Feemsh, RjwilmsiBot, Woovee, CactusBot,
LordRapture, Bankmeister and Anonymous: 29
• Good as I Been to You Source: https://en.wikipedia.org/wiki/Good_as_I_Been_to_You?oldid=644899445 Contributors: Blukens, Red-
Wolf, ScudLee, Gamaliel, Niteowlneils, Ferdinand Pienaar, Rich Farmbrough, Ogg, NetBot, Dremora, Tainter, Kesla, BD2412, Tokle,
Rjwilmsi, Koavf, Tixity, Sango123, Weebot, Flowerparty, GreyCat, Wasted Time R, RussBot, PetSounds, L1759, Jogers, SmackBot,
Pmppk, Eskimbot, Hmains, Oanabay04, Berenlazarus, Xihix, Gil Gamesh, Underture, Elvrum, Roballyn, Machchunk, Soul Crusher, Harej
bot, Jimknut, Richhoncho, Thijs!bot, Escarbot, Antmusic, Progjunky, Ikeshut, LeCorrector, Sir Crimson, Jmrowland, Tzetzes, David
Couch, Xenus, Bede735, Andy Pipkin, Hult041956, Cdl obelix, Breakingglass27, Addbot, LaaknorBot, DinoBot2, Zorrobot, Luckas-bot,
Amirobot, J Milburn Bot, AnomieBOT, Ojorojo, RobbyRob de, Ripchip Bot, Woovee, GoingBatty, BootleggerWill, Mab987, CactusBot,
Indiangrove, LordRapture, TwonB, Joe Vitale 5 and Anonymous: 29
• World Gone Wrong Source: https://en.wikipedia.org/wiki/World_Gone_Wrong?oldid=663040858 Contributors: RedWolf, Niteowlneils,
Gyrofrog, Elembis, Oneiros, Dremora, Tainter, Jasonnaas, Kesla, Rjwilmsi, Koavf, Amire80, Tixity, Weebot, PetSounds, L1759, Dev-
ille, Mike Dillon, Jogers, SmackBot, Dawson1066, Oanabay04, Funky Monkey, Alcuin, Hoju1394, Machchunk, Soul Crusher, Jimknut,
Sfarrell, Rothorpe, The Timid Crusader, Arno Matthias, Arrivisto, LeCorrector, TXiKiBoT, Rei-bot, Xenus, Bede735, ClueBot, Andy
Pipkin, Alexbot, Addbot, Dan56, LaaknorBot, DinoBot2, Luckas-bot, TaBOT-zerem, Amirobot, J Milburn Bot, The Hyphen, Woovee,
BootleggerWill, CactusBot, LordRapture, JG66, IfYouWereGone and Anonymous: 31
• Time Out of Mind Source: https://en.wikipedia.org/wiki/Time_Out_of_Mind?oldid=667264735 Contributors: Kwertii, DavidWBrooks,
Fredrik, Chris 73, Gamaliel, Rich Farmbrough, Rhobite, Strib, SECProto, CanisRufus, JSutcliffe, AKGhetto, Fritz Saalfeld, Sun King,
198 CHAPTER 5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Chicopac, RHaworth, Kesla, Rjwilmsi, Koavf, Tixity, Lairor, Eubot, Weebot, Adoorajar, Wasted Time R, YurikBot, Extraordinary Ma-
chine, C777, PetSounds, Cholmes75, L1759, BGC, Bobyllib, Jogers, Village Explainer, Kingboyk, WesleyDodds, The Wookieepedian,
SmackBot, Chairman S., Rhw66, Cavie78, Persona13, TKD, Oanabay04, Funky Monkey, OutRIAAge, Jagarin, Rodrigogomespaixao,
DoxTxob, Ohconfucius, Ajweberman, Teneriff, Berenlazarus, JHunterJ, Shamrox, Dabanhfreak, Guillu, JetPackRocketBaby, Tawkerbot,
Clarityfiend, Underture, J Milburn, CmdrObot, Metsman, Machchunk, Soul Crusher, Harej bot, Pie.er, MrFizyx, Jimknut, ShelfSkewed,
Ken Gallager, AndrewHowse, Cydebot, Playtime, Djg2006, ST47, I.M.S., Doug Weller, BobJoHankins, After Midnight, Mcmillancaleb,
Numberoneconti, Richhoncho, TonyTheTiger, PEJL, JCGB, Nick Number, TAMilo, Yonatan, Rothorpe, JohnnyPistols, Arno Matthias,
Farfendugle, Grunge6910, Lady Mondegreen, Ekki01, Jango2787, Emeraude, Daudulaka, Pekaje, Arrivisto, LeCorrector, JayJasper, All-
reet, Apemantus67, Squids and Chips, MikeLondon, TXiKiBoT, A4bot, Guillaume2303, Mcshamus, SieBot, Mungo Kitsch, Margarehen-
nesse, Bede735, BGTopDon, Andy Pipkin, Keraunoscopia, Drmies, Sevilledade, Mild Bill Hiccup, Niceguyedc, Auntof6, MaxP3, Swan-
rizla, Fledgeaaron, MelonBot, Indopug, Wolfer68, Addbot, Dan56, Koossepa, LaaknorBot, Favonian, Tassedethe, DinoBot2, Lightbot,
Legobot, Luckas-bot, Yobot, TaBOT-zerem, J Milburn Bot, Olive10081980, AnomieBOT, Truth or consequences-2, Citation bot, Capri-
corn42, Brixtonfish, FrescoBot, Tomásomaonaigh, BobHarris99, Greedyhalibut, AstaBOTh15, Jonesey95, Tomcat7, Pekaxmon, Full-date
unlinking bot, Sayantan m, Diannaa, Statmo1921, RjwilmsiBot, Woovee, EmausBot, John of Reading, GoingBatty, BootleggerWill, Weri-
eth, ZéroBot, Rcsprinter123, Chris857, CactusBot, DrDrake100, Helpful Pixie Bot, BattyBot, Dexbot, Mogism, Chartbot, Synthwave.94,
Librarian800 and Anonymous: 124
• Love and Theft (Bob Dylan album) Source: https://en.wikipedia.org/wiki/Love_and_Theft_(Bob_Dylan_album)?oldid=667813893
Contributors: Andre Engels, Angela, Hyacinth, Onebyone, RedWolf, Jmabel, Enz1, Gtrmp, Sj, Gamaliel, Bgoldenberg, SarekOfVulcan,
Vanished user 1234567890, CJCurrie, Cbing01, Rich Farmbrough, SECProto, CanisRufus, Ogg, AKGhetto, Geomr, Fritz Saalfeld, Sun
King, Dremora, Blaxthos, Mel Etitis, Asav, Sf222, Kesla, Graham87, Deltabeignet, Rjwilmsi, Koavf, Mick gold, Amire80, Tixity, Titoxd,
FlaBot, Weebot, Flowerparty, Joedeshon, Igordebraga, Wasted Time R, RussBot, Akamad, PetSounds, Jaxl, Cholmes75, L1759, BOT-
Superzerocool, Mysid, Joshurtree, BGC, Esprit15d, Jogers, Kingboyk, Tom Morris, SmackBot, Anthonylombardi, Eskimbot, Klokie,
Technostalgia, Papa November, Azrael84, Nedlum, Triley60, Writtenright, Dawson1066, Oanabay04, Cdmstewart, Alcuin, Ohconfucius,
John, E-Kartoffel, Tawkerbot, JoeBot, Twas Now, Underture, Markjoseph125, Harej bot, Pie.er, MrFizyx, Cydebot, Prodigenous Zee,
Daniel Olsen, BetacommandBot, Thijs!bot, O, PEJL, PJtP, Dfrg.msc, JBell, Gavia immer, PhilKnight, JohnnyPistols, Parsecboy, Arno
Matthias, Duisburg Dude, Farfendugle, Ashadeofgrey, Warchef, Xtifr, STBot, Dantheshax, Wesrobking, Arrivisto, LeCorrector, JayJasper,
ElMorador, Tompotts1963, STBotD, Sir Crimson, ZoneAlarm5, VolkovBot, Mickraus, Wiendietry~enwiki, Seraphim, Legoktm, Trax-
inet, Eric444, Bede735, Werldwayd, Silvergoat, Andy Pipkin, Drmies, Trivialist, BOTarate, NJGW, Jimlavalamp, Indopug, DumZiBoT,
Wolfer68, RandySavageFTW, Nematzz, Dan56, IbLeo, LaaknorBot, AndersBot, Lightbot, Arm of Keith, Legobot, Drpickem, Luckas-
bot, Yobot, AnomieBOT, Xqbot, GrouchoBot, Xeyedandpainless, Erik9, Kohoutek1138, AndrewAllen15, RedBot, Tim1357, Sayantan m,
Cshaw340, Tbhotch, Ripchip Bot, DASHBot, EmausBot, Rmarques, GoingBatty, Marek Koudelka, BootleggerWill, Evanh2008, Verda
stelo, Ὁ οἶστρος, AndrewOne, Δ, CactusBot, DrDrake100, FRE1991DDIE, BattyBot, Myxomatosis57, Briefdragger, DylanReview, Syn-
thwave.94, Librarian800, Monkbot, Waterborough, Kmarco71 and Anonymous: 87
• Modern Times (Bob Dylan album) Source: https://en.wikipedia.org/wiki/Modern_Times_(Bob_Dylan_album)?oldid=667264644 Con-
tributors: Ihcoyc, Owen, Gidonb, Caknuck, Darklight, Mboverload, Adam McMaster, HWelles, Cab88, SYSS Mouse, Rich Farmbrough,
SECProto, Carptrash, Bender235, Szyslak, Jimmycracker, Elchupachipmunk, Dremora, Mattbrundage, Red dwarf, Woohookitty, Tabletop,
Junjk, Rjwilmsi, Koavf, Mick gold, FlaBot, Ysangkok, El Slameron, RussBot, Msikma, Andland, Blur4760~enwiki, Cholmes75, Ospalh,
L1759, Sandmountainslim, BGC, Plastic editor, Jogers, Easter Monkey, The Wookieepedian, SmackBot, Classicfilms, Verne Equinox,
LuciferMorgan, Underwater, Evanreyes, Stan weller, Jimmy-james, BuBZ, Cavie78, Jprg1966, Reaper X, OrphanBot, Dawson1066,
Oanabay04, Funky Monkey, Derek R Bullamore, Alcuin, TenPoundHammer, Harryboyles, Rabbitfighter, Ian Spackman, Berenlazarus,
Shamrox, E-Kartoffel, Jugoretz, Anger22, The archbisquick, J Milburn, Markjoseph125, Musikxpert, Severino, Soul Crusher, MrFizyx,
ShelfSkewed, Ministerpumpkin, Cydebot, Registered user 92, Khatru2, NMChico24, Krungadoren, John R Murray, Bostart, Mattisse,
Kingbotk, PEJL, Hesperides, RaNdOm26, RetiredUser124642196, AntiVandalBot, Nutipiapeace, Lamontacranston, Gczffl, Modernist,
Sluzzelin, Andrzejbanas, Jerdon13, Californian Treehugger, Robina Fox, Hello32020, Responsible?, Rothorpe, Magioladitis, Halcyonicity,
Foldback, Twsx, Ejfetters, BlueChair, Modernmusic, Daaf, CMWM, Tvoz, Wikiuser113, Chrishobbs, Tennis 52, Wzevonrip, Walker222,
Tikiwont, FSG, Aqwis, LeCorrector, JayJasper, Allreet, Dwonderful, VolkovBot, RainOrShine, Mgard7331, Seraphim, Drfenner, Quentin-
isgod, Minnaloushe, SieBot, Ohpopshop, Saltywood, Mungo Kitsch, Hardcore Harro, JD554, DepressedPer, Aspects, Bede735, Davidor7,
Efe, ImageRemovalBot, PipepBot, Snigbrook, Niceguyedc, Cabrio Dreaming, RI-jim, Classicrockfan42, DumZiBoT, WikHead, Italian
Calabash, Kbdankbot, Addbot, Dan56, Koossepa, Roadstaa, LaaknorBot, Doniago, Tassedethe, Arm of Keith, Luckas-bot, Ptbotgourou,
TaBOT-zerem, J Milburn Bot, Ayrton Prost, VL7, Bility, AnomieBOT, Obamamaniac, Flipping Mackerel, Xqbot, Kohoutek1138, Fres-
coBot, JPayneSmith, Citation bot 1, MastiBot, Trappist the monk, Sayantan m, Takeharu yamamoto, RjwilmsiBot, Woovee, WikitanvirBot,
GoingBatty, Marek Koudelka, BootleggerWill, Evanh2008, Ὁ οἶστρος, AndrewOne, MrContador, CactusBot, DrDrake100, MusikAni-
mal, BobDylanFan1994, Khazar2, DylanReview, SNUGGUMS, MostlyWithMusic, Copperfieldd and Anonymous: 235
• Together Through Life Source: https://en.wikipedia.org/wiki/Together_Through_Life?oldid=647310299 Contributors: Docu, Sd-100,
Tainter, Woohookitty, Koavf, Mick gold, Egg Creations, FlaBot, Ericorbit, BGC, SmackBot, Fikus, J. Spencer, Oanabay04, IRua, Derek
R Bullamore, Berenlazarus, Shamrox, The archbisquick, Cydebot, YuckieDuck, Akcarver, After Midnight, Bostart, QuasyBoy, Escarbot,
Whoosher, Rothorpe, Airproofing, Grunge6910, Admc2006, Robbyfrank, Agadant, Toon05, Mango101, Zzzronnyzzz, Jeff G., TXiKiBoT,
A4bot, Mgard7331, Leekil, Xenus, Mungo Kitsch, Dgsvoboda, Bede735, DocKino, Marcbrownireland, Undermedveten, Davidor7, Clue-
Bot, Andy Pipkin, EoGuy, WinterRabbit, Michaplot, Wildspell, Alexbot, Brandontepapatapp, Another Believer, NJGW, MrLukowski,
Cdl obelix, Catpochi, LupEnd007, Wolfer68, Addbot, Shangoyal, LatitudeBot, Feeling free, LaaknorBot, Moerschinesisch, Debresser,
Tassedethe, Arm of Keith, Yobot, Giusex27sc, Matty, Engarbo, NilsHolgersson, Smanu, Feemsh, Dennissell, Dohaeng, FrescoBot, Lu-
cienBOT, Elsie11, Atomovision, Javert, Cooper58, Wikidmage, Sayantan m, EmausBot, John of Reading, Starcheerspeaksnewslostwars,
GoingBatty, Jacobisq, CactusBot, DrDrake100, Helpful Pixie Bot, BobDylanFan1994, Sickcow, BattyBot, Telegraph Totter, Chartbot, Da
Cow 2.7 and Anonymous: 122
• Christmas in the Heart Source: https://en.wikipedia.org/wiki/Christmas_in_the_Heart?oldid=659900249 Contributors: Twice25, Dina,
Cbing01, Rich Farmbrough, DavidFarmbrough, Koavf, Ericbg05, Mick gold, Egg Creations, Kingboyk, The Wookieepedian, Rrburke,
Derek R Bullamore, J 1982, Theswampman, Signinstranger, W guice, Jimknut, Cydebot, Akcarver, Richhoncho, Thijs!bot, PJtP, Rothorpe,
JMyrleFuller, Dan arndt, M-le-mot-dit, Reidlos, VolkovBot, TXiKiBoT, Cesano, Artrush, Grundle2600, Bede735, Orat Perman, Cloon-
more, Andy Pipkin, Mild Bill Hiccup, Lurulu, Millionsandbillions, MrLukowski, Cdl obelix, Wolfer68, Arbies92, Gons, Addbot, Feeling
free, Arm of Keith, WikiHendrik, Luckas-bot, Bunnyhop11, AnomieBOT, Xqbot, Groovenstein, GrouchoBot, Mkj1413, DrilBot, Red-
Bot, Jhbuk, Sayantan m, Lotje, Dsavage87, RjwilmsiBot, WikitanvirBot, H3llBot, CactusBot, BG19bot, BobDylanFan1994, Chartbot,
Inanygivenhole and Anonymous: 54
5.1. TEXT 199

• Tempest (Bob Dylan album) Source: https://en.wikipedia.org/wiki/Tempest_(Bob_Dylan_album)?oldid=657345408 Contributors:

Goethean, Gamaliel, Koavf, Mick gold, K2wiki, Saudade7, The Wookieepedian, Alcuin, Ajweberman, Bobo6balde66, Fdssdf, Jason1978,
Rothorpe, Theroadislong, 72Dino, JayJasper, Jmrowland, Malinaccier, Leekil, Bede735, Secondarywaltz, Greenock125, Catpochi, Vic333,
Addbot, Dan56, Zorrobot, Legobot, David Klompas, Yobot, AnomieBOT, LilHelpa, Xqbot, LostLikeTearsInRain, Blaze98, PokerFace3,
Alessandro Gelsumini, WQUlrich, HRoestBot, Cjones132002, Sayantan m, Idiotchalk, Tbhotch, Djlollyb, Yeepsi, ZéroBot, Mab987,
Brokenbells, Stee888, Mihelpl, ClueBot NG, Indiangrove, BG19bot, BobDylanFan1994, Henry McClean, Ahaby, Justincheng12345-
bot, Dhawk790, RideLightning, Drpaulgleason, Chartbot, DylanReview, Mrdeland, Helptottt, Librarian800, Da Cow 2.7, Hardrain76
and Anonymous: 59
• Before the Flood Source: https://en.wikipedia.org/wiki/Before_the_Flood?oldid=665331384 Contributors: Zoicon5, Jgm, Bearcat,
Goethean, Gamaliel, Varlaam, Bobblewik, Rich Farmbrough, CanisRufus, Rje, Shirimasen, Ianblair23, Simetrical, BernardWebb, Kesla,
Koavf, Nkrosse, FlaBot, Weebot, Wasted Time R, Monicasdude, Wisekwai, PetSounds, L1759, BOT-Superzerocool, BGC, Jogers, The
Wookieepedian, SmackBot, Chairman S., Dawson1066, JR98664, Oanabay04, Mwelch, Alcuin, J 1982, Mark Lungo, Mr. Manu, −5-
, Machchunk, Harej bot, Thijs!bot, PJtP, Btocher, Tmccool1, MegX, Rothorpe, 75pickup, Gsparaco, FMAFan1990, JayJasper, MD-
Sanker, EdRicardo, TXiKiBoT, Rlendog, Xenus, Aspects, Bede735, OKBot, Dustman15, NJGW, Cdl obelix, Addbot, Dan56, LaaknorBot,
Tassedethe, DinoBot2, Zorrobot, Yobot, J Milburn Bot, Bob Caldwell CSL, AnomieBOT, JohnFromPinckney, RobbyRob de, FrescoBot,
Sayantan m, IHeardFromBob, Wallyjr, Ripchip Bot, WikitanvirBot, GoingBatty, BootleggerWill, Akerans, SporkBot, Δ, Charlie1965nrw,
CactusBot, JG66 and Anonymous: 44
• Hard Rain (Bob Dylan album) Source: https://en.wikipedia.org/wiki/Hard_Rain_(Bob_Dylan_album)?oldid=654917459 Contributors:
Robbot, ScudLee, Ary29, Grm wnr, Cbing01, Rich Farmbrough, SECProto, CanisRufus, NetBot, Potatoeman57, Clemmy, Kesla, Koavf,
Tixity, Crazynas, SGCommand, Eubot, Flowerparty, Wasted Time R, PetSounds, Mikeblas, L1759, Jogers, The Wookieepedian, Smack-
Bot, Imz, Chairman S., Bluebot, Dawson1066, Oanabay04, Marcus Brute, J 1982, Shamrox, Whedonite, The archbisquick, Underture,
TimothyHorrigan, Machchunk, Harej bot, Jimknut, Thijs!bot, Epbr123, STBotD, DeFaultRyan, Slysplace, Rlendog, Xenus, Bede735,
Righteouscat, Mnoga, Sun Creator, NJGW, WikHead, Addbot, Koossepa, LaaknorBot, Tassedethe, DinoBot2, Zorrobot, WikiDreamer
Bot, Luckas-bot, Amirobot, J Milburn Bot, Martin Homuth-Rosemann, DASHBot, GoingBatty, Akerans, CactusBot and Anonymous: 26
• Bob Dylan at Budokan Source: https://en.wikipedia.org/wiki/Bob_Dylan_at_Budokan?oldid=665775572 Contributors: Paul A, Red-
Wolf, ScudLee, Cbing01, Bedders, Rich Farmbrough, NetBot, Echuck215, Dremora, Ianblair23, Kesla, Wahoofive, Koavf, Mick gold,
Tixity, Cfortunato, FlaBot, Weebot, Shadow007, Flowerparty, RobyWayne, Design, Monicasdude, Quentin X, RussBot, Shell Kinney, Pet-
Sounds, L1759, BGC, Jogers, SmackBot, Chairman S., Hmains, Cavie78, Dawson1066, Oanabay04, TenPoundHammer, Teneriff, J 1982,
Whedonite, Disambiguator, Mattbr, Machchunk, Jimknut, Richard Keatinge, Thijs!bot, Hoch88, Wwb, Kinston eagle, Srice13, LeCor-
rector, Vranak, VolkovBot, ElinorD, McBrian, Slysplace, Le Pied-bot~enwiki, Bede735, OKBot, Andy Pipkin, Binksternet, Mild Bill
Hiccup, P. S. Burton, Doprendek, NJGW, DumZiBoT, Prosperosity, Shieber, Gcstackmoney, Addbot, LaaknorBot, DinoBot2, Zorrobot,
Luckyz, Yobot, J Milburn Bot, AnomieBOT, Novemberbytes, Xqbot, Middle 8, Staffleberry, Lowfire, Full-date unlinking bot, Sayantan m,
Bigkid64, Rlholden, John of Reading, WikitanvirBot, GoingBatty, CactusBot, TonyGrimaud, Briefdragger and Anonymous: 24
• Real Live Source: https://en.wikipedia.org/wiki/Real_Live?oldid=665516207 Contributors: RedWolf, ScudLee, Gamaliel, Rich Farm-
brough, NetBot, Commander Keane, Kesla, Tokle, Koavf, Weebot, Monicasdude, PetSounds, L1759, Jogers, SmackBot, Chairman S.,
Dawson1066, Derek R Bullamore, J 1982, Lozarithm, Underture, Machchunk, Harej bot, Jimknut, Thijs!bot, PEJL, JustAGal, Twsx,
LeCorrector, Xenus, Bede735, Leahtwosaints, Binksternet, Hult041956, DragonBot, Swanrizla, El bot de la dieta, NJGW, Cdl obelix,
Addbot, Neodop, MrOllie, LaaknorBot, Favonian, Tassedethe, DinoBot2, J Milburn Bot, Xqbot, J04n, GrouchoBot, FrescoBot, Full-date
unlinking bot, Ripchip Bot, GoingBatty, CactusBot, NickKrammes and Anonymous: 21
• Dylan & the Dead Source: https://en.wikipedia.org/wiki/Dylan_%26_the_Dead?oldid=655395679 Contributors: Timc, RedWolf, Scud-
Lee, Varlaam, Ary29, Grm wnr, Cwoyte, NetBot, DaveGorman, Georingo~enwiki, Markaci, Kesla, Tokle, Koavf, Weebot, Adoorajar,
Wasted Time R, Monicasdude, PetSounds, Schavira, Mike Selinker, Conman33, SmackBot, Moeron, Umph, Evanreyes, Kevin Ryde, Jen-
nica, Oanabay04, Dave-ros, SteveHopson, J 1982, Shamrox, Mr. Manu, Underture, Machchunk, Patking90, Xnux, Andreas Schwarz,
LeCorrector, VolkovBot, Mudwater, Slysplace, SieBot, Rlendog, Jeterguy02, Bede735, Nancy, Hult041956, Piriczki, DragonBot, Arjayay,
BOTarate, Ashtonstreet01, NJGW, Cdl obelix, Newgrass, Addbot, LaaknorBot, Zorrobot, Yobot, J Milburn Bot, Danno uk, GrouchoBot,
Full-date unlinking bot, Ripchip Bot, DASHBot, GoingBatty, Marek Koudelka, SporkBot, CactusBot, BobDylanFan1994, UselessToRe-
main, Ezraskid, Hulme Wolf and Anonymous: 29
• The 30th Anniversary Concert Celebration Source: https://en.wikipedia.org/wiki/The_30th_Anniversary_Concert_Celebration?oldid=
659575603 Contributors: Twice25, Goethean, Rich Farmbrough, Cmdrjameson, CyberSkull, Fritz Saalfeld, SteinbDJ, Kesla, Tokle, Koavf,
FlaBot, Weebot, Design, PetSounds, Jogers, SmackBot, Chairman S., Chris the speller, Seduisant, Oanabay04, J 1982, Xihix, Machchunk,
Harej bot, MrFizyx, Jimknut, Lugnuts, JustAGal, SummerPhD, Bry456, DWHRemote, Bovineboy2008, GDonato, Tikuko, Mcall19, Scar-
ian, Le Pied-bot~enwiki, Sfan00 IMG, Niceguyedc, Arjayay, Addbot, Percivl, LaaknorBot, Tassedethe, DinoBot2, Luckas-bot, Yobot,
TaBOT-zerem, J Milburn Bot, Martin Homuth-Rosemann, DanQueen2008, FrescoBot, Joecool1968, Slm999, GoingBatty, Tannolf, Ὁ
οἶστρος, CactusBot, Rmm413, Delaywaves, Da Cow 2.7, IfYouWereGone and Anonymous: 38
• MTV Unplugged (Bob Dylan album) Source: https://en.wikipedia.org/wiki/MTV_Unplugged_(Bob_Dylan_album)?oldid=650229283
Contributors: RedWolf, ScudLee, Gamaliel, Niteowlneils, Mike Garcia, NetBot, Giraffedata, Ianblair23, Kesla, Koavf, Chromium.switch,
Adoorajar, Wasted Time R, Extraordinary Machine, PetSounds, Cholmes75, Jogers, SmackBot, Suppendepp, Dawson1066, Tommywalker,
JackLumber, J 1982, Zout, Disambiguator, Underture, Machchunk, Harej bot, Jimknut, RttlesnkeWhiskey, Lugnuts, Richhoncho, Jame-
sAM, Thijs!bot, PEJL, Robina Fox, Arno Matthias, Mjrmtg, Ore4444, FMAFan1990, Warhammerofdoom, LeCorrector, DadaNeem,
Squids and Chips, Walrus655321, TXiKiBoT, Rlendog, DanBLOO, Andy Pipkin, P. S. Burton, Alexbot, Cdl obelix, WikHead, Addbot,
Dan56, LaaknorBot, DinoBot2, Luckas-bot, J Milburn Bot, GrouchoBot, RibotBOT, FrescoBot, XZYOE, Full-date unlinking bot, Sayan-
tan m, EmausBot, GoingBatty, BootleggerWill, CactusBot, Anger-Cola, BattyBot, Da Cow 2.7, Hilwarling and Anonymous: 32
• Live 1961–2000: Thirty-Nine Years of Great Concert Performances Source: https://en.wikipedia.org/wiki/Live_1961%E2%
80%932000%3A_Thirty-Nine_Years_of_Great_Concert_Performances?oldid=645203011 Contributors: Koavf, Extraordinary Machine,
Dawson1066, J 1982, The archbisquick, Jimknut, George cowie, AlleborgoBot, Rlendog, Addbot, Zorrobot, Luckas-bot, Yobot, TaBOT-
zerem, WeWantPhil, MastiBot, Full-date unlinking bot, Sayantan m, EmausBot, GoingBatty and Anonymous: 9
• Live at The Gaslight 1962 Source: https://en.wikipedia.org/wiki/Live_at_The_Gaslight_1962?oldid=645246108 Contributors: Cather-
ineMunro, Stewartadcock, Rich Farmbrough, CanisRufus, Cmdrjameson, Fritz Saalfeld, GrouchyDan, Kesla, Koavf, Monicasdude, Pet-
Sounds, L1759, BGC, Jogers, Kingboyk, SmackBot, Chairman S., Ephraim33, Dawson1066, Oanabay04, J 1982, Underture, Machchunk,
Harej bot, Jimknut, Gnfnrf, MichaelKingRoss, Wilsbadkarma, Skier Dude, Derekbd, TXiKiBoT, Mungo Kitsch, CutOffTies, Mild Bill
200 CHAPTER 5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Hiccup, Bbb2007, Rankiri, Addbot, LaaknorBot, DinoBot2, Yobot, Ptbotgourou, J Milburn Bot, Full-date unlinking bot, Sayantan m,
Bento00, DASHBot, WikitanvirBot, GoingBatty, BootleggerWill, Jenks24, CactusBot and Anonymous: 23
• Live at Carnegie Hall 1963 Source: https://en.wikipedia.org/wiki/Live_at_Carnegie_Hall_1963?oldid=646892147 Contributors: Ensi-
form, Rich Farmbrough, Koavf, CambridgeBayWeather, Village Explainer, Dawson1066, J 1982, Jimknut, Alaibot, Thijs!bot, Fisherjs,
JAnDbot, JayJasper, VolkovBot, MikeLondon, Andy Pipkin, Mild Bill Hiccup, Niceguyedc, Another Believer, Cdl obelix, Addbot, Rob-
byRob de, Erik9bot, Ælfgar, Full-date unlinking bot, GoingBatty, BootleggerWill, CactusBot and Anonymous: 7
• The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 Source: https://en.wikipedia.org/wiki/The_Bootleg_Series_
Volumes_1%E2%80%933_(Rare_%26_Unreleased)_1961%E2%80%931991?oldid=656750055 Contributors: RedWolf, Gamaliel, Var-
laam, Niteowlneils, Rich Farmbrough, Snow1215, Fritz Saalfeld, Someoneinmyheadbutit’snotme, Ratzer, Kesla, Tokle, Koavf, Tixity,
Weebot, Monicasdude, Theelf29, PetSounds, Takethemud, Jogers, Silas619, Conman33, The Wookieepedian, Scolaire, SmackBot, Hero-
stratus, Derek R Bullamore, Serein (renamed because of SUL), Zombiebaron, E-Kartoffel, Chris Stangl, Machchunk, Jimknut, Neelix,
Cydebot, Registered user 92, Richhoncho, Thijs!bot, Magomarl, PEJL, PJtP, Edelmand, Zidane tribal, MegX, ChiliD, JayJasper, Allreet,
Brickwalljon, Moisejp, VolkovBot, MikeLondon, Whorepresents?, Rlendog, Poppet1995, ImageRemovalBot, Niceguyedc, P. S. Burton,
Trivialist, Bpreo, El bot de la dieta, Flip135, NJGW, Nigelmustapha, Cdl obelix, WikHead, MystBot, Addbot, Kitchen roll, LaaknorBot,
Favonian, Tassedethe, DinoBot2, Zorrobot, Luckas-bot, Yobot, J Milburn Bot, TheBigBlack, Bunchik, RedBot, Sayantan m, Tbhotch,
EmausBot, GoingBatty, BootleggerWill, CactusBot, Donmeehan, Helpful Pixie Bot, Middle Eye 512, ColRad85 and Anonymous: 38
• The Bootleg Series Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert Source: https://en.wikipedia.org/wiki/The_
Bootleg_Series_Vol._4%3A_Bob_Dylan_Live_1966%2C_The_%22Royal_Albert_Hall%22_Concert?oldid=645007286 Contributors: R
Lowry, JDG, Ubiquity, ShaneCavanaugh, Rich Farmbrough, JoeSmack, Cmdrjameson, Fritz Saalfeld, Zeichman, Amorymeltzer, Ian-
blair23, Thebogusman, Wikedguy, Kesla, Tim!, Koavf, Mick gold, Cfortunato, Weebot, BananaLanguage, Wasted Time R, Monicasdude,
Phantombantam, Akamad, PetSounds, Andland, Cholmes75, L1759, BGC, Spondoolicks, Jogers, Kingboyk, The Wookieepedian, Smack-
Bot, Chairman S., Mr Pyles, Evanreyes, Chris the speller, Bluebot, Persona13, Colonies Chris, D-Rock, Chlewbot, OrphanBot, Racklever,
Dawson1066, Oanabay04, Derek R Bullamore, Marcus Brute, Mr. Manu, Sw2442, Twas Now, Spacini, Metsman, Machchunk, Harej
bot, Jimknut, Registered user 92, Thijs!bot, Vera, Chuck & Dave, PJtP, CraigP, Rothorpe, 75pickup, Cue the Strings, Moisejp, TXiK-
iBoT, - tSR - Nth Man, Rlendog, Glassbreaker5791, P. S. Burton, Educated Guest, Ashtonstreet01, Subash.chandran007, Cdl obelix,
MystBot, Gcstackmoney, Addbot, LaaknorBot, Not-So-Funny-Comedian, DinoBot2, Zorrobot, Luckas-bot, J Milburn Bot, AnomieBOT,
Xqbot, Jeffrey Mall, Mkj1413, Polofrfr, Kamarus, DrilBot, Full-date unlinking bot, Tbhotch, DASHBot, PositivelyJordan, BootleggerWill,
ZéroBot, CactusBot, Justlettersandnumbers, Isrightla, C9458, Chuckwoodakawoodchuck and Anonymous: 51
• The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue Source: https://en.wikipedia.org/wiki/The_Bootleg_
Series_Vol._5%3A_Bob_Dylan_Live_1975%2C_The_Rolling_Thunder_Revue?oldid=660770041 Contributors: R Lowry, RedWolf,
HWelles, CanisRufus, Cmdrjameson, Fritz Saalfeld, Woohookitty, Wikedguy, Kesla, Koavf, Weebot, Wasted Time R, PetSounds,
Cholmes75, L1759, Jogers, Conman33, SmackBot, Müslimix, Dawson1066, Oanabay04, Abrahamjoseph, Ehjort, Sw2442, CmdrObot,
Machchunk, Jimknut, George cowie, Charolastra charolo, Thijs!bot, PJtP, Edelmand, Walker222, LeCorrector, Alexbot, DumZiBoT, Cdl
obelix, Addbot, Koossepa, LaaknorBot, Tassedethe, DinoBot2, Zorrobot, J Milburn Bot, Ikespirit, Full-date unlinking bot, Cbben, Keith-
Talent1, CactusBot, AlterBerg, Hmainsbot1, The Singing Brakeman and Anonymous: 35
• The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall Source: https://en.wikipedia.org/wiki/The_Bootleg_
Series_Vol._6%3A_Bob_Dylan_Live_1964%2C_Concert_at_Philharmonic_Hall?oldid=654048856 Contributors: RedWolf, Rich Farm-
brough, CanisRufus, Davidjennings, Fritz Saalfeld, Richard Arthur Norton (1958- ), Kosher Fan, Kesla, Koavf, FlaBot, Weebot, Monicas-
dude, JayzinSmith, PetSounds, Markt3, Cholmes75, Pele Merengue, BGC, Jogers, SmackBot, Alcuin, Zout, Sw2442, Xihix, Machchunk,
Jimknut, Richhoncho, PJtP, MinedOutOffHisPiste, Arno Matthias, Allreet, TXiKiBoT, Rlendog, Flyer22, P. S. Burton, Leonardopolly,
Sun Creator, El bot de la dieta, Addbot, Koossepa, LaaknorBot, DinoBot2, Zorrobot, Drpickem, Luckas-bot, J Milburn Bot, DASHBot,
BootleggerWill, CactusBot, LordBm, Jryphillips and Anonymous: 21
• The Bootleg Series Vol. 7: No Direction Home: The Soundtrack Source: https://en.wikipedia.org/wiki/The_Bootleg_Series_Vol.
_7%3A_No_Direction_Home%3A_The_Soundtrack?oldid=625173306 Contributors: Ubiquity, RedWolf, Blainster, Pitchka, Necro-
mancer~enwiki, Rich Farmbrough, Fritz Saalfeld, Kesla, Koavf, FlaBot, Weebot, Monicasdude, RussBot, Shell Kinney, PetSounds,
Cholmes75, Pele Merengue, Dissolve, BGC, Jogers, MartinUK, Curpsbot-unicodify, SmackBot, Dangherous~enwiki, Dawson1066, Jack-
ohare, Derek R Bullamore, Alcuin, Shamrox, Sw2442, Xihix, Twas Now, Machchunk, Harej bot, George cowie, Rauschpotato, PJtP,
Robina Fox, Dkunz, ElinorD, Lebessis63, MDuchek, El bot de la dieta, Cdl obelix, Addbot, Koossepa, LaaknorBot, DinoBot2, Zorrobot,
TaBOT-zerem, J Milburn Bot, Full-date unlinking bot, TobeBot, Diannaa, WikitanvirBot, GoingBatty, Shanest9632, CactusBot, Khazar2
and Anonymous: 29
• The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 Source: https://en.wikipedia.org/wiki/The_Bootleg_
Series_Vol._8%3A_Tell_Tale_Signs%3A_Rare_and_Unreleased_1989%E2%80%932006?oldid=645329618 Contributors: Twice25,
Cbing01, Rich Farmbrough, Giraffedata, Nwhrmn~enwiki, Woohookitty, Koavf, Mick gold, SmackBot, Evanreyes, Derek R Bullam-
ore, Berenlazarus, Shamrox, Zout, Signinstranger, Jimknut, Akcarver, PJtP, DJ giantSupreme, MB1972, Rothorpe, Steveprutz, Warchef,
Allreet, Mudwater, TXiKiBoT, WikiHenning, JD554, Lightmouse, Danio, Bibliophylax, Tej68, Cloonmore, Alexbot, Cdl obelix, Addbot,
Dan56, Feeling free, LaaknorBot, Moerschinesisch, Zorrobot, TaBOT-zerem, Gfatdi311, Scucullu, Felixafroman, Wifione, Sayantan m,
John of Reading, Lyckankommer, GoingBatty, BootleggerWill, CactusBot, Chartbot and Anonymous: 38
• The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964 Source: https://en.wikipedia.org/wiki/The_Bootleg_Series_Vol._9%
3A_The_Witmark_Demos%3A_1962%E2%80%931964?oldid=656750660 Contributors: Cbing01, Warpozio, Woohookitty, MagicBez,
Rjwilmsi, Koavf, Mick gold, Kingboyk, Scolaire, SmackBot, Tony7444, Derek R Bullamore, Hoju1394, Whedonite, Jimknut, Ss112,
Akcarver, Richhoncho, PJtP, JaGa, Allreet, Doomsdayer520, Moisejp, Bede735, Aiming4astar, 2000 Dad, Addbot, Koossepa, Luckas-
bot, Yobot, ArthurBot, LilHelpa, Ælfgar, Sayantan m, RjwilmsiBot, DASHBot, EmausBot, John of Reading, GoingBatty, Rcsprinter123,
CactusBot, Helpful Pixie Bot, BG19bot, Malachia53, Chartbot, Stamptrader, Monkbot and Anonymous: 16
• The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) Source: https://en.wikipedia.org/wiki/The_Bootleg_Series_Vol._10%
3A_Another_Self_Portrait_(1969%E2%80%931971)?oldid=666206566 Contributors: Notalent, Ulmanor, Koavf, Bgwhite, Akcarver,
PJtP, Rothorpe, Smjwalsh, Mudwater, Bede735, WikiPJ, Liuzhou, Drmies, Righteouscat, Trivialist, Vic333, Gcstackmoney, Koossepa,
Yobot, Symmerhill, Dohaeng, Mjs1991, ThaRid, Sheltsound, Yeepsi, BobDylanFan1994, Ppbkwrtr, Malachia53, Zandeh, MegaTh-
ruster127, Mr Jimmy Downtown and Anonymous: 22
5.2. IMAGES 201

5.2 Images
• File:Al_Kooper_22A.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d8/Al_Kooper_22A.jpg License: CC-BY-SA-3.0
Contributors: Photo by Joe Mabel Original artist: Joe Mabel
• File:Allah-green.svg Source: https://upload.wikimedia.org/wikipedia/commons/4/4e/Allah-green.svg License: Public domain Contribu-
tors: Converted to SVG from Image:Islam.png, originally from en:Image:Ift32.gif, uploaded to the English Wikipedia by Mr100percent on
4 February 2003. Originally described as “Copied from Public Domain artwork”. Original artist: ?
• File:Allah_logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/f/f9/Allah_logo.svg License: CC BY-SA 3.0 Contributors:
File:Allah1.png Original artist: Tauhid16; Originally uploaded by Ibrahim ebi of the png picture.
• File:Ambox_important.svg Source: https://upload.wikimedia.org/wikipedia/commons/b/b4/Ambox_important.svg License: Public do-
main Contributors: Own work, based off of Image:Ambox scales.svg Original artist: Dsmurat (talk · contribs)
• File:Apple_Suckling_Tree.ogg Source: https://upload.wikimedia.org/wikipedia/en/8/85/Apple_Suckling_Tree.ogg License: Fair use
Contributors:
music sample file created by Moisejp from The Basement Tapes CD
Original artist:
Bob Dylan
• File:B_dylan_1996.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/58/B_dylan_1996.jpg License: CC-BY-SA-3.0
Contributors: svWiki Original artist: Henryk Kotowski
• File:Back_Cover_Down_in_the_Groove.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/d7/Back_Cover_Down_in_
the_Groove.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Thepandoras
• File:Billy_Bragg_shot_by_Kris_Krug.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b6/Billy_Bragg_shot_by_
Kris_Krug.jpg License: CC BY-SA 2.0 Contributors: Billy Bragg - Body of War Concert - SXSW 2008 Original artist: Kris Krug from
Vancouver, Canada
• File:Black_star.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/80/Black_star.svg License: Public domain Contributors:
Own work Original artist: Estoy Aquí
• File:Bob_Dylan-Cold_Irons_Bound.ogg Source: https://upload.wikimedia.org/wikipedia/en/6/6f/Bob_Dylan-Cold_Irons_Bound.ogg
License: Fair use Contributors:
Time Out Of Mind Original artist: ?
• File:Bob_Dylan-Make_You_Feel_My_Love.ogg Source: https://upload.wikimedia.org/wikipedia/en/9/90/Bob_Dylan-Make_You_
Feel_My_Love.ogg License: Fair use Contributors:
Time Out Of Mind Original artist: ?
• File:Bob_Dylan-Not_Dark_Yet.ogg Source: https://upload.wikimedia.org/wikipedia/en/6/62/Bob_Dylan-Not_Dark_Yet.ogg License:
Fair use Contributors:
Time Out Of Mind Original artist: ?
• File:Bob_Dylan_-_Azkena_Rock_Festival_2010_2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/02/Bob_Dylan_
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• File:Bob_Dylan_-_Blowin'_in_the_Wind.ogg Source: https://upload.wikimedia.org/wikipedia/en/e/e7/Bob_Dylan_-_Blowin%27_in_
the_Wind.ogg License: Fair use Contributors: ? Original artist: ?
• File:Bob_Dylan_-_Like_a_Rolling_Stone.ogg Source: https://upload.wikimedia.org/wikipedia/en/d/d2/Bob_Dylan_-_Like_a_
Rolling_Stone.ogg License: Fair use Contributors: ? Original artist: ?
• File:Bob_Dylan_-_The_Times_They_Are_a-Changin'.ogg Source: https://upload.wikimedia.org/wikipedia/en/1/16/Bob_Dylan_-_
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• File:Bob_Dylan_1978.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a7/Bob_Dylan_1978.jpg License: CC BY-SA
2.0 Contributors: http://www.flickr.com/photos/chris_hakkens/5109375515/in/photostream/ Original artist: Chris Hakkens
• File:Bob_Dylan_1984.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/34/Bob_Dylan_1984.jpg License: CC BY 2.0
Contributors: http://www.flickr.com/photos/chris_hakkens/4638915362/in/set-72157624133260894/ Original artist: Chris Hakkens
• File:Bob_Dylan_Barcelona.jpg Source: https://upload.wikimedia.org/wikipedia/commons/2/2c/Bob_Dylan_Barcelona.jpg License: CC
BY 2.0 Contributors: originally posted to Flickr as Bob Dylan Original artist: Stoned59
• File:Bob_Dylan_Finsbury_Park_London_2011.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/53/Bob_Dylan_
Finsbury_Park_London_2011.jpg License: CC BY 2.0 Contributors: Flickr Original artist: Francisco Antunes
• File:Bob_Dylan_and_The_Band_-_1974.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/aa/Bob_Dylan_and_The_
Band_-_1974.jpg License: CC BY-SA 3.0 Contributors: Wikipedia:Contact us/Photo submission Original artist: Jim Summaria
• File:Bob_Dylan_in_November_1963-5.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/7d/Bob_Dylan_in_
November_1963-5.jpg License: CC BY 2.0 Contributors: http://www.flickr.com/photos/joegratz/83460811/, from the 1964 year-
book of St. Lawrence University Original artist: Unknown
• File:Bob_Dylan_in_November_1963.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f0/Bob_Dylan_in_November_
1963.jpg License: Public domain Contributors: BobDylan-1964StLawrenceYearbook-3, from the 1964 yearbook of St. Lawrence Uni-
versity Original artist: Unknown
• File:Bob_Dylan_in_Toronto.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/38/Bob_Dylan_in_Toronto.jpg License:
CC BY 3.0 Contributors: Photograph taken by Kasra Ganjavi Original artist: Original uploader was Piedmontstyle at en.wikipedia
• File:Bob_Dylan_in_Toronto2.jpg Source: https://upload.wikimedia.org/wikipedia/commons/7/74/Bob_Dylan_in_Toronto2.jpg Li-
cense: CC BY-SA 2.0 Contributors: originally posted to Flickr as Bob Dylan Original artist: Jean-Luc Ourlin
202 CHAPTER 5. TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Bob_Dylan_performs_The_Times_they_are_a_Changin'_at_the_White_House.ogv Source: https://upload.wikimedia.org/

wikipedia/commons/0/01/Bob_Dylan_performs_The_Times_they_are_a_Changin%27_at_the_White_House.ogv License: Public do-
main Contributors: http://www.whitehouse.gov/photos-and-video/video/bob-dylan-performs-white-house?category=93 Original artist:
The White House / Bob Dylan
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Contributors: http://www.whitehouse.gov/photos-and-video/video/bob-dylan-performs-white-house?category=93 Original artist: The
White House / Bob Dylan
• File:Bob_dylan.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a6/Bob_dylan.jpg License: CC-BY-SA-3.0 Contribu-
tors: Own work Original artist: XIART.at
• File:Bobdylanpart1.ogg Source: https://upload.wikimedia.org/wikipedia/commons/f/f7/Bobdylanpart1.ogg License: CC-BY-SA-3.0
Contributors: PyroGamer made this recording based on Wikipedia. Original artist: Original uploader was PyroGamer at en.wikipedia
• File:Carnegie_Hall,_NYC.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/df/Carnegie_Hall%2C_NYC.jpg License:
CC BY-SA 3.0 Contributors: Own work Original artist: David Samuel, User:Hellodavey1902
• File:Charlie_McCoy03.JPG Source: https://upload.wikimedia.org/wikipedia/commons/e/e1/Charlie_McCoy03.JPG License: CC BY
2.5 Contributors: Own work Original artist: Roland Godefroy
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original
artist: ?
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? Original artist: ?
• File:Disambig_gray.svg Source: https://upload.wikimedia.org/wikipedia/en/5/5f/Disambig_gray.svg License: Cc-by-sa-3.0 Contributors:
? Original artist: ?
• File:Don't_Ya_Tell_Henry.ogg Source: https://upload.wikimedia.org/wikipedia/en/8/86/Don%27t_Ya_Tell_Henry.ogg License: Fair
use Contributors:
music sample file created by Moisejp from The Basement Tapes CD
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Bob Dylan
• File:Dylan-Obamas-White_House-20100209.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f4/
Dylan-Obamas-White_House-20100209.jpg License: Public domain Contributors: Flickr Original artist: Official White House
Photo by Pete Souza
• File:Dylan2_Spectrum.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/1f/Dylan2_Spectrum.jpg License: CC BY-SA
3.0 Contributors: Tore Utheim Original artist: Tore Utheim
• File:Edit-clear.svg Source: https://upload.wikimedia.org/wikipedia/en/f/f2/Edit-clear.svg License: Public domain Contributors: The
Tango! Desktop Project. Original artist:
The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although
minimally).”
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sa-3.0 Contributors: ? Original artist: ?
• File:Ginsberg-dylan.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/c3/Allen_Ginsberg_and_Bob_Dylan_by_Elsa_
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• File:Gnome-mime-sound-openclipart.svg Source: https://upload.wikimedia.org/wikipedia/commons/8/87/
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svg, which is public domain. Original artist: User:Eubulides
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use Contributors: ? Original artist: ?
• File:Great_White_Wonder_album.png Source: https://upload.wikimedia.org/wikipedia/en/0/00/Bob_Dylan_-_Great_White_
Wonder.png License: PD Contributors:
Own work
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• File:Joan_Baez_Bob_Dylan.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/33/Joan_Baez_Bob_Dylan.jpg License:
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• File:Lay_Lady_Lay.ogg Source: https://upload.wikimedia.org/wikipedia/en/b/be/Lay_Lady_Lay.ogg License: Fair use Contributors:
The song “Lay Lady Lay” by Bob Dylan
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• File:Love_Sick.ogg Source: https://upload.wikimedia.org/wikipedia/en/8/85/Love_Sick_%28Bob_Dylan_song_-_audio_sample%29.
ogg License: Fair use Contributors: ? Original artist: ?
• File:Obviously_5_Believers.ogg Source: https://upload.wikimedia.org/wikipedia/en/d/d6/Obviously_5_Believers.ogg License: Fair use
Contributors: ? Original artist: ?
5.3. CONTENT LICENSE 203

• File:Open_The_Door,_Homer.ogg Source: https://upload.wikimedia.org/wikipedia/en/e/e3/Open_The_Door%2C_Homer.ogg License:

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• File:Original_Cover_of_Down_in_the_Groove.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/0f/Original_Cover_
of_Down_in_the_Groove.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Thepandoras
• File:P_christianity.svg Source: https://upload.wikimedia.org/wikipedia/commons/7/79/P_christianity.svg License: CC-BY-SA-3.0 Con-
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Clipart Original artist: OpenClipart
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• File:President_Barack_Obama_presents_American_musician_Bob_Dylan_with_a_Medal_of_Freedom.jpg Source:
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