bob Dylan

the Freewheelin’ bob Dylan

the times they are a-Changin’

albums 1 albums 2 albums 3 sONGs

bob Dylan

the Freewheelin’ bob Dylan

the times they are a-Changin’

John Wesley Harding another side Of bob Dylan
another side Of bob Dylan

bringing It all back Home
bringing It all back Home

bob Dylan’s Greatest Hits Highway 61 revisited
Highway 61 revisited

blonde On blonde
blonde On blonde bob Dylan’s Greatest Hits John Wesley Harding

Dylan bob Dylan’s Nashville skyline
Nashville skyline

Pat Garrett & billy the Kid
Pat Garrett & billy the Kid Dylan

self Portrait
self Portrait

New morning
New morning

Greatest Hits, Vol. 2
bob Dylan’s Greatest Hits, Vol. 2

Planet Waves

before the Flood

blood On the tracks

the basement tapes


Hard rain

albums 1 albums 2 albums 3 sONGs

Planet Waves

before the Flood

blood On the tracks

the basement tapes


Hard rain


bob Dylan at budokan

slow train Coming


shot Of love



bob Dylan at budokan

slow train Coming


shot Of love


real live

Empire burlesque


Knocked Out loaded

Dylan & the Dead

Down In the Groove

real live

Empire burlesque


Knocked Out loaded

Dylan & the Dead

Down In the Groove

6 bob Dylan live 1964: Concert at Philharmonic Hall time Out Of mind the bootleg series. 6 the bootleg series. 5 the bootleg series. Vol. 4 the 30th anniversary Concert Celebration World Gone Wrong the Essential bob Dylan “love and theft” bob Dylan’s Greatest Hits.Oh mercy under the red sky the bootleg series Volumes 1-3 (rare and unreleased) 1961-1991 Good as I been to You the 30th anniversary Concert Celebration World Gone Wrong albums 1 albums 2 albums 3 sONGs Oh mercy bob Dylan’s Greatest Hits. 7 the best Of bob Dylan modern times rare tracks from the Vaults . Vol. 3 the bootleg series. Vol. 4 the best Of bob Dylan the Essential bob Dylan modern times “love and theft” rare tracks from the Vaults the bootleg series. 7 No Direction Home: the soundtrack the bootleg series. 5 bob Dylan live 1975: the rolling thunder revue mtV unplugged the bootleg series. 3 under the red sky mtV unplugged the bootleg series Volumes 1-3 time Out Of mind Good as I been to You the bootleg series. Vol. Vol. Vol. Vol. Vol. Vol. Vol.

and its star was dubbed “Hammond’s Folly” around the Columbia records offices. produced by legendary record company executive John Hammond. but not for long.” the album contained only two original songs. although sometimes thought of as merely a warm-up for the great things to come.You’re No Good Talkin’ New York In My Time Of Dyin’ Man Of Constant Sorrow Fixin’ To Die Pretty Peggy-O Highway 51 Blues Gospel Plow Baby. Count basie and guitar genius Charlie Christian. Dylan’s idol at the time he arrived in New York City. who had also discovered billie Holiday. a talking blues about his arrival in New York City.” an homage to balladeer Woody Guthrie. albums 1 albums 2 albums 3 sONGs bob Dylan Produced by John Hammond Released on March 19. 1962 . Bob Dylan already showed that the young singer paid little mind to the folk orthodoxies of his moment. Bob Dylan was issued in march 1962 to poor sales. In November 1961 Dylan entered the studio alone with his guitar (and harmonica) and recorded an album full of the kinds of traditional songs he had been busy absorbing in minneapolis and Greenwich Village. Let Me Follow You Down House Of The Risin’ Sun Freight Train Blues Song To Woody See That My Grave Is Kept Clean 01 the first album by the unknown 20 year-old. mixing anglo-american folk material such as “man of Constant sorrow” and “Pretty Peggy-O” with blues-based material like blind lemon Jefferson’s “see that my Grave Is Kept Clean” and bukka White’s “Fixin’ to Die. and the fine “song to Woody.

It’s all right” and “Girl From the North Country” as well as playful.Blowin’ In The Wind Girl From The North Country Masters Of War Down The Highway Bob Dylan’s Blues A Hard Rain’s A-Gonna Fall Don’t Think Twice. It’s All Right Bob Dylan’s Dream Oxford Town Talkin’ World War III Blues Corrina.” and the quasi-apocalyptic “a Hard rain’s a-Gonna Fall”) and increasingly crystallized presentations of a persona that could deliver love songs like “Don’t think twice. Elvis Presley.” which became the Dylan song most recorded by other artists. With the exception of the traditional “Corrina. Corrina Honey. and established him both as the fastest-rising star in the folk music world and its most powerful songwriter.” it is made up entirely of Dylan originals. 1963 OrIGINal lINEr NOtEs . marlene Dietrich and Duke Ellington.” “Oxford town. delivering songs that were increasingly political (“masters of War. albums 1 albums 2 albums 3 sONGs Blowin’ in the Wind Girl From the North Country Masters of War Down the Highway Bob Dylan’s Blues A Hard Rain’s A-Gonna Fall Don’t Think Twice. eventually including Peter. as he would do for another couple of years. It’s All Right Bob Dylan’s Dream Oxford Town Talkin’ World War III Blues Corrina. Just allow me One more Chance. Corrina Honey.” Freewheelin’ was such an advance over Dylan’s debut that it overwhelmed nearly everyone. Paul & mary. Just Allow Me One More Chance I Shall Be Free the Freewheelin’ bob Dylan Produced by John Hammond Released on May 27. Dylan’s second album. Just Allow Me One More Chance I Shall Be Free 02 THE FREEWHEELIN’ DYLAN BOB a giant step forward. is still one of the finest in his recorded oeuvre. Corrina” and “Honey. released in the spring of 1963. wry sketches like “bob Dylan’s blues” and “I shall be Free. including “blowin’ In the Wind. Dylan performs solo (except on “Corrina”).

the first of Dylan’s songs in this set is “blowin’ in the Wind.tHE FrEEWHEElIN’ bOb DYlaN original liner notes 03 Of all the precipitously emergent singers of folk songs in the continuing renascence of that selfassertive tradition. in Duluth.” he explains. his own preferences developed and became more . What makes this collection particularly arresting that it consists in large part of Dylan’s own compositions the resurgence of topical folk songs has become a pervasive part of the folk movement among city singers. His experience with adjusting himself to new sights and sounds started early. since then.. Gradually. a cowboy singer and a painter. and minneapolis (where he spent a restless six months at the university of minnesota). “Down the Highway” is a distillation of Dylan’s feeling about the blues. a way of getting temporary relief from the heavy feeling of impotence that affects many who cannot understand a civilization which juggles its own means for oblivion and calls that performance an act toward peace.” and. “Girl From the North Country” was first conceived by bob Dylan about three years before he finally wrote it down in December 1962. there is already a marked change from his first album (Bob Dylan. he lived in Gallup. above all others. the strongest areas being Negro blues and county music. “that often happens. being particularly fond of the “song to Woody” in it.” he recalls.right now. the mood is a fusion of yearning. a reaction to the last straw. “I don’t sing songs which hope people will die. but few of the young bards so far have demonstrated a knowledge of the difference between well-intentioned pamphleteering and the creation of a valid musical experience. New mexico: Cheyenne. “masters of War” startles Dylan himself. What made the real blues singers so great is that they were able to state all the problems they had. as the highly critical editors of little sandy review have noted. and by the age of fifteen. Dylan is growing at a swift. cowboy singers. Dylan came East. especially at Gerde’s Folk City. among the musicians and singers who influenced him were Hank Williams. In February 1961. none has equaled bob Dylan singularity of impact. Columbia Cl 1779/Cs 8579). “. During his first nineteen years. but lots of people have to first find the wind. Hibbing. south Dakota.. and except when otherwise noted. as Harry Jackson. slicing wit and an uncommonly perceptive eye and ear for the way many of us constrict our capacity for living while a few of us don’t. poignancy and simple appreciation of a beautiful girl.” Gil turner wrote in his article on Dylan in sing Out. by september of 1961. “I carry a song in my head for a long time and then it comes bursting out. “his ears were wide open for the music around him. but I couldn’t help it in this one. mance lipscomb and big Joe Williams. primarily to visit Woody Guthrie at the Greystone Hospital in New Jersey. minnesota (where he was graduated from high school).. and Guthrie has expressed approval of Dylan’s first album. He’s not about to go begging anything from this girl up north. Dylan is heard alone—accompanying himself on guitar and harmonica. Dylan has. sioux Falls. has exclaimed: “He’s so goddamned real it’s unbelievable!” the irrepressible reality of bob Dylan is a compound of spontaneity. Kansas.You people over 21 should know better.. a feeling of what can you do?” the rage (which is as much anguish as it is anger) is a away of catharsis. Woody Guthrie. but to recapitulate briefly.” In 1962. Jelly roll morton. Dylan illuminates all these corners of his vision. experiencehungry rate. harmonica and autoharp. had ignited a nucleus of singers and a few critics (notably bob shelton of The New York Times) into exuberant appreciation of his work. pop singers and others—soaking up music and styles with an uncanny memory and facility for assimilation. leadbelly. Phillipsburg. Not yet twenty-two at the time of this albums release. he was born on may 24. south Dakota. minnesota. In these performances. he is certainly our finest contemporary folk song writer. 1941. Dylan has inexorably increased the scope of his american audiences while also performing briefly in london and rome.” he says. Nobody else really even comes close.” the details of Dylan’s biography were summarized in the notes to his first Columbia album. “comes from what I learned from big Joe Williams. the blues is more than something to sit home and arrange. the visits have continued. He listened to the blues singers.” On this track. candor. “I’ve never really written anything like that before. “Everywhere he went. the song is a sort of striking out.” the song-and Dylan’s performance-reflect his particular kind of lyricism. but simultaneously retains his bristling sense of self. “the way I think about the blues. Dylan said of the song’s background: “I still say that some of the biggest criminals are those that turn their heads away when they see wrong and they know it’s wrong. they albums 1 albums 2 albums 3 sONGs . muddy Waters. Dylan had taught himself piano. Dylan’s singing in Greenwich Village. but at the same time. and there will surely be many further dimensions of Dylan to come. I’m only 21 years old and I know that there’s been too many wars.” all that he prefers to add by way of commentary now is: “the first way to answer these questions in the song is by asking them. at ten he was playing guitar.


were standing outside them and could look at them. and in that way, they had them beat. What’s depressing today is that many young singers are trying to get inside the blues, forgetting that those older singers used them to get outside their troubles.” “bob Dylan’s blues” was composed spontaneously. It’s one of what he calls his “really off-thecuff songs. 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.” “a Hard rain’s a-Gonna Fall” represents to Dylan a maturation of his feelings on this subject since the earlier and almost as powerful “let me Die in my Footsteps,” which is not included here but which was released as a single record by Columbia. unlike most of his song-writing contemporaries among city singers, Dylan doesn’t simply make a polemical point in his compositions. as in this sing about the psychopathology of peace-throughbalance-of-terror, Dylan’s images are multiply (and sometimes horrifyingly) evocative. as a result, by transmuting his fierce convictions into what can only be called art, Dylan reaches basic emotions which few political statements or extrapolations of statistics have so far been able to touch. Whether a song or a singer can then convert others is something else again. “’Hard rain,’” adds Dylan, “is a desperate kind of song.” It was written during the Cuban missile crisis of October 1962 when those who allowed themselves to think of the impossible results of the Kennedy-Khrushchev confrontation were chilled by the imminence of oblivion. “Every line in it,” says Dylan, “is actually the start of a whole song. but when I wrote it, I thought I wouldn’t have enough time alive to write all those songs so I put all I could into this one.” Dylan treats “Don’t think twice, It’s all right” differently from most city singers. “a lot of people,” he says, “make it sort of a love song-

slow and easy-going. but it isn’t a love song. It’s a statement that maybe you can say to make yourself feel better. It’s as if you were talking to yourself. It’s a hard song to sing. I can sing it sometimes, but I ain’t that good yet. I don’t carry myself yet the way that big Joe Williams, Woody Guthrie, leadbelly and lightnin’ Hopkins have carried themselves. I hope to be able to someday, but they’re older people. I sometimes am able to do it, but it happens, when it happens, unconsciously. You see, in time, with those old singers, music was a tool-a way to live more, a way to make themselves feel better at certain points. as for me, I can make myself feel better some times, but at other times, it’s still hard to go to sleep at night.” Dylan’s accompaniment on this track includes bruce langhorne (guitar), George barnes (bass guitar), Dick Wellstood (piano), Gene ramey (bass) and Herb lovelle (drums). “bob Dylan’s Dream” is another of his songs which was transported for a time in his mind before being written down. It was initially set off after allnight conversation between Dylan and Oscar brown, Jr., in Greenwich Village. “Oscar,” says Dylan, “is a groovy guy and the idea of this came from what we were talking about.” the song slumbered, however, until Dylan went to England in the winter of 1962. there he heard a singer (whose name he recalls as martin Carthy) perform lord Franklin, and that old melody found a new adapted home in bob Dylan’s Dream. the song is a fond looking back at the easy camaraderie and idealism of the young when they are young. there is also in the Dream a wry but sad requiem for the friendships that have evaporated as different routes, geographical and otherwise, are taken. Of Oxford town, Dylan notes with laughter that “it’s a banjo tune I play on the guitar.” Otherwise, this account of the ordeal of James meredith speaks grimly for itself. “talking World War III blues” was about half formulated beforehand and half improvised at the

recording session itself. the “talking blues” form is tempting to many young singers because it seems so pliable and yet so simple. However, the simpler a form, the more revealing it is of the essence of the performer. there’s no place to hide in the talking blues. because bob Dylan is so hugely and quixotically himself, he is able to fill all the space the talking blues affords with unmistakable originality. In this piece, for example, he has singularly distilled the way we all wish away our end, thermonuclear or “natural.” Or at least, the way we try to. “Corrina, Corrina” has been considerably changed by Dylan. “I’m not one of those guys who goes around changing songs just for the sake of changing them. but I’d never heard Corrina, Corrina exactly the way it first was, so that this version is the way it came out of me.” as he indicates here, Dylan can be tender without being sentimental and his lyricism is laced with unabashed passion. the accompaniment is Dick Wellstood (piano), Howie Collins (guitar), bruce langhorne (guitar), leonard Gaskin (bass) and Herb lovelle (drums). “Honey, Just allow me One more Chance” was first heard by Dylan from a recording by a now-dead texas blues singer. Dylan can only remember that his first name was Henry. “What especially stayed with me,” says Dylan, “was the plea in the title.” Here Dylan distills the buoyant expectancy of the love search. unlike some of his contemporaries, Dylan isn’t limited to one or two ways of feeling his music. He can be poignant and mocking, angry and exultant, reflective and whoopingly joyful. the final I shall be Free is another of Dylan’s off-the-cuff songs in which he demonstrates the vividness, unpredictability and cutting edge of his wit. this album, in sum, is the protean bob Dylan as of the time of the recording. by the next recording, there will be more new songs and insights and experiences. Dylan can’t stop searching and looking and reflecting upon what he sees and hears.

albums 1 albums 2 albums 3 sONGs


“anything I can sing,” he observes, “I call a song. anything I can’t sing, I call a poem. anything I can’t sing or anything that’s too long to be a poem, I call a novel. but my novels don’t have the usual story lines. they’re about my feelings at a certain place at a certain time.” In addition to his singing and song writing, Dylan is working on three “novels.” One is about the week before he came to New York and his initial week in that city. another is about south Dakota people he knew. and the third is about New York and a trip from New York to New Orleans. throughout everything he writes and sings, there is the surge of a young man looking into as many diverse scenes and people as he can find (“Every once in a while I got to ramble around”) and of a man looking into himself. “the most important thing I know I learned from Woody Guthrie,” says Dylan. “I’m my own person. I’ve got basic common rightswhether I’m here in this country or any other place. I’ll never finish saying everything I feel, but I’ll be doing my part to make some sense out of the way we’re living, and not living, now. all I’m doing is saying what’s on my mind the best way I know how. and whatever else you say about me, everything I do and sing and write comes out of me.” It is this continuing explosion of a total individual, a young man growing free rather than absurd, that makes bob Dylan so powerful and so personal and so important a singer. as you can hear in these performances. — Nat Hentoff Mr. Hentoff is a frequent distributor to such periodicals as The Reporter, The New Yorker, Playboy, Commonweal and The Village Voice and is a Contributing Editor to HiFi/Stereo Review.

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The Times They Are A-Changin’ Ballad Of Hollis Brown With God On Our Side One Too Many Mornings North Country Blues

Only A Pawn In Their Game Boots Of Spanish Leather When The Ship Comes In The Lonesome Death Of Hattie Carroll Restless Farewell


Dylan’s third album consisted entirely of his original songs, including the anthemic title track, which remains one of his best-known compositions. the album, recorded within weeks of Dylan’s august 1963 appearance at the march on Washington alongside martin luther King, Jr., and released only two months after President Kennedy was assassinated, contains several of Dylan’s most potent socially conscious songs, including “Only a Pawn In their Game,” about the killing of civil rights activist medgar Evers, “the lonesome Death of Hattie Carroll,” and the antiwar classic “With God On Our side.” It solidified Dylan’s position at the top of the folk music world and made him the pacesetter for many other “protest” singer-songwriters of the time, including Phil Ochs and tom Paxton. but Dylan may already have been getting restless with the “voice of a generation” label that was being hung on him. the dark-tinged, introspective “restless Farewell” and “One too many mornings,” with their compressed imagery and wanderlust, indicated that he had more on his mind than being the next Woody Guthrie.

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the times they are a-Changin’
Produced by Tom Wilson Released on February 10, 1964


old north Hibbing . for I’ve never heard that sound before bringing wild thoughts at first ragged wild numb wild now though they’ve leveled out an’ been wrung out leavin’ nothin’ but the strangeness the roots within a washed-out cloth drippin’ from the clothesline pole strange thoughts doubtin’ thoughts useless an’ unnecessary the blast it’s true startled me back but for a spell content with all pictures. . . . .tHE tImEs tHEY arE a-CHaNGIN’ original liner notes 11 Outlined Epitaphs by bob Dylan 07 I end up then in the early evenin’ blindly punchin’ at the blind breathin’ heavy stutterin’ an’ blowin’ up where t’ go? what is it that’s exactly wrong? who t’ picket? who t’ fight? behind what windows will I at least hear someone from the supper table get up t’ ask “did I hear someone outside just now?” yesterday an hour ago it came t’ me in a second’s flash an’ was all so clear it still is now yes it is it’s maybe hidin’ it must be hidin’ the shot has shook me up . posters an’ the like that’re painted for me ah but I turned an’ the nex’ time I looked the gloves of garbage had clobbered the canvas leavin’ truckloads of trash clutterin’ the colors with a blindin’ sting forcin’ me t’ once again slam the shutters of my eyes but also me to wonderin’ when they’ll open much much stronger than anyone whose own eyes’re aimed over here at mine “when will he open up his eyes?” “who him? doncha know? he’s a crazy man he never opens up his eyes” “but he’ll surely miss the world go by” “nah! he lives in his own world” “my my then he really must be a crazy man” “yeah he’s a crazy man” an’ so on spangled streets an’ country roads I hear sleigh bells jingle jangle virgin girls far into the field sing an’ laugh with flickerin’ voices softly fadin’ I stop an’ smile an’ rest awhile watchin’ the candles of sundown dim unnoticed unnoticed for my eyes’re closed __________ the town I was born in holds no memories but for the honkin’ foghorns the rainy mist the rocky cliffs I have carried no feelings up past the lake superior hills the town I grew up in is the one that has left me with my legacy visions it was not a rich town my parents were not rich it was not a poor town an’ my parents were not poor it was a dyin’ town (it was a dyin’ town) a train line cuts the ground showin’ where the fathers an’ mothers of me an’ my friends had picked up an’ moved from north Hibbing t’ south Hibbing. deserted already dead with its old stone courthouse decayin’ in the wind long abandoned windows crashed out the breath of its broken walls albums 1 albums 2 albums 3 sONGs .

. but the winds of the north came followin’ an’ grew fiercer an’ the years went by but I was young an’ so I ran an’ kept runnin’ . . they’ve changed they’ve been remodeled an’ those union halls like the cio an’ the nmu come now! can you see’em needin’ me for a song or two ah where are those forces of yesteryear? why didn’t they meet me here an’ greet me here? the underground’s gone deeper says the old chimney sweeper the underground’s outa work sing the bells of New York the underground’s more dangerous ring the bells of los angeles the underground’s gone cry the bells of san Juan but where has it gone to ring the bells of toronto strength now shines through my window regainin’ me an’ rousin’ me day by day from the weariness of walkin’ with ghosts that rose an’ had risen from the ruins an’ remains of the model t past even though I clutched t’ its sheet I was still refused an’ left confused for there was nobody there t’ let me in a wasteland wind whistled from behind the billboard “there’s nobody home all has moved out” flatly denied I turned indeed flinched at first but said “ok I get the message” feelin’ unwanted? no unloved? no I felt nothin’ for there was nobody there I didn’t see no one t’ want or unwant to love or unlove maybe they’re there but won’t let me in albums 1 albums 2 albums 3 sONGs . . . . . I am still runnin’ I guess but my road has seen many changes for I’ve served my time as a refugee in mental terms an’ in physical terms an’ many a fear has vanished an’ many an attitude has fallen an’ many a dream has faded an’ I know I shall meet the snowy North again-but with changed eyes nex’ time ‘round t’ walk lazily down its streets an’ linger by the edge of town find old friends if they’re still around talk t’ the old people an’ the young people runnin’ yes .08 being smothered in clingin’ moss the old school where my mother went to rottin’ shiverin’ but still livin’ standin’ cold an’ lonesome arms cut off with even the moon bypassin’ its jagged body pretendin’ not t’ see an’ givin’ it its final dignity dogs howled over the graveyard where even the markin’ stones were dead an’ there was no sound except for the wind blowin’ through the high grass an’ the bricks that fell back t’ the dirt from a slight stab of the breeze . . . it was as though the rains of wartime had left the land bombed-out an’ shattered south Hibbing is where everybody came t’ start their town again. but stoppin’ for a while embracin’ what I left an’ lovin’ it-for I learned by now never t’ expect what it cannot give me __________ In times behind. I too wished I’d lived in the hungry thirties an’ blew in Woody t’ New York City an’ sang for dimes on subway trains satisfied at a nickel fare an’ passin’ the hat an’ hittin’ the bars on eighth avenue an’ makin’ the rounds t’ the union halls but when I came in the fares were higher up t’ fifteen cents an’ climbin’ an’ those bars that Woody’s guitar rattled .

. as it did in the newborn years before. am I gonna have t’ get mad with you? no no gimme gimme just stick it on top a the rest a the stuff here! if yuh learn it well yuh’ll get an a . who is supposed t’ dump ‘em now? when all can see their threads hang weak but still hold strong loyal but dyin’ fightin’ for breath who then will kill its misery? what sea shall we pollute? when told t’ learn what others know in order for a soothin’ life an’ t’ conquer many a brainwashed dream I was set forth the forces on records an’ books from the forces that were sold t’ me an’ could be found in hung-up style wanderin’ through crowded valleys searchin’ for what others knew with the eagles’ shadows silent hungry watchin’ waitin’ from high mountains an’ me just walkin’ butterflies in my head an’ bitter by now (here! take this kid an’ learn it well but why sir? my arms’re so heavy I said take it. an’ don’t do anything I wouldn’t do) and with each new brightnin’ phrase more messy till I found myself almost swallowed deep in burden spinnin’ walkin’ slower heavier heavier glassy-eyed but at last I heard the eagle drool as I zombie strolled up past the foothills thunderstruck an’ I stopped cold an’ bellowed “I don’t wanna learn no more I had enough” an’ I took a deep breath turned around an’ ran for my life shoutin’ shoutin’ back t’ the highway away from the mountain not carin’ no more albums 1 albums 2 albums 3 sONGs . t’ say the least yes that party is truly gone but where is the party t’ dump the feelings of the fiery cross burners an’ flamin’ match carriers? if there was such a party they would’ve been dumped long before this . it’ll do yuh good but I ain’t learned last night’s lesson yet. .09 not takin’ chances on the ones the grittin’ of my teeth for only a second would mean my mind has just been swallowed whole an’ so I step back t’ the street an’ then turn further down the road poundin’ on doors lost? not really just out lookin’ a stranger? no not a stranger but rather someone who just doesn’t live here never pretendin’ t’ be knowin’ what’s worth seekin’ but at least without ghosts by my side t’ betray my childishness t’ leadeth me down false trails an’ maketh me drink from muddy waters yes it is I who is poundin’ at your door if it is inside who hears the noise _______________ Jim Jim where is our party? where all member’s held equal an’ vow t’ infiltrate that thought among the people it hopes t’ serve an’ sets a respected road for all of those like me who cry “I am ragin’ly against absolutely everything that wants t’ force nature t’ be unnatural (be it human or otherwise) an’ I am violently for absolutely everything that will fight those forces (be them human or otherwise)” oh what is the name of this gallant group? lead me t’ the ballot box what man do we run? how many votes will it take for a new set of teeth in the congress mouths? how many hands have t’ be raised before hair will grow back on the white house head? a boston tea party don’t mean the same thing . ha ha . . . . . . . even the meanin’ of the word has changed.

“ “for the lack of a better word” “but what about the songs you sing on stage?” “they’re nothin’ but the unwindin’ of my happiness” __________ Woody Guthrie was my last idol he was the last idol because he was the first idol I’d ever met face t’ face that men are men shatterin’ even himself as an idol an’ that men have reasons for what they do an’ what they say an’ every action can be questioned leavin’ no command untouched an’ took for granted obeyed an’ bowed down to forgettin’ your own natural instincts (for there’re a million reasons in the world an’ a million instincts runnin’ wild an’ it’s none too many times the two shall meet) the unseen idols create the fear an’ trample hope when busted Woody never made me fear and he didn’t trample any hopes for he just carried a book of man an’ gave it t’ me t’ read awhile an’ from it I learned my greatest lesson you ask “how does it feel t’ be an idol?” it’d be silly of me t’ answer. . . “ “an’ poetry makes me feel good” “but .10 what people knew about things but rather how they felt about things runnin’ down another road through time an’ dignity an’ I have never taken off my boots no matter how the miles have burnt my feet . . wouldn’t it . Jim where is the party for those kind of feelings? how’re the gamblers that wheel an’ deal an’ shuffle ‘em around gonna be got outa the game? from here in beyond this an’ from now on __________ al’s wife claimed I can’t be happy as the New Jersey night ran backwards an’ vanished behind our rollin’ ear “I dig the colors outside. . walks back an’ forth free now from his native Harlem where his ma still sleeps at night hearin’ rats inside the sink an’ underneath her hardwood bed an’ walls of holes where the cold comes in albums 1 albums 2 albums 3 sONGs . . . an’ I’m happy” “but you sing such depressin’ songs” “but you say so on your terms” “but my terms aren’t so unreal” “yes but they’re still your terms” “but what about others that think in those terms” “lenny bruce says there’re no dirty words .” “an’ poetry makes me feel happy” “ok but . an’ I’m still on that road. . just dirty minds an’ I say there’re no depressed words just depressed minds” “but how’re you happy an’ when ‘re you happy” “I’m happy enough now” “why?” “cause I’m calmly lookin’ outside an’ watchin’ the night unwind” “what’d yuh mean unwind?” “I mean somethin’ like there’s no end t’ it an’ it’s so big that every time I see it it’s like seein’ for the first time” “so what?” “so anything that ain’t got no end’s just gotta be poetry in one way or another” “yeah.? __________ a russian has three an’ a half red eyes five flamin’ antennas drags a beet-colored ball an’ chain an’ wants t’ slip germs into my Coke machine “burn the tree stumps at the border” about the sex-hungry lunatics out warmongerin’ in the early mornin’ “poison the sky so the planes won’t come” yell the birch colored knights with patriotic shields “an’ murder all the un-americans” say the card-carryin’ american book burners (yes we burned five books last week) as my friend. bobby lee. . . . but . . Jim I’m still sleepin’ at night by its side an’ eatin’ where it’ll lead me t’ food where state lines don’t stand an’ knowledge don’t count when feelings are hurt an’ I am on the side a them hurt feelings plunged on by unsensitive hammers an’ made t’ bleed by rusty nails an’ I look t’ you. .

openin’ their eyes when people pass expectin’ each t’ bow as they go by an’ say “thank you mr. it rhymes if it don’t. it won’t) no I must react an’ spit fast with weapons of words wrapped in tunes that’ve rolled through the simple years teasin’ me t’ treat them right t’ reshape them an’ restring them t’ protect my own world from the mouths of all those who’d eat it an’ hold it back from eatin’ its own food (influences? hundreds thousands perhaps millions for all songs lead back t’ the sea an’ at one time. a tune.scared wrapped in blankets an’ she. there was no singin’ tongue t’ imitate it) t’ make new sounds out of old sounds an’ new words out of old words an’ not t’ worry about the new rules for they ain’t been made yet an’ t’ shout my singin’ mind knowin’ that it is me an’ my kind that will make those rules . . a line keys in the wind t’ unlock my mind an’ t’ grant my closet thoughts backyard air it is not of me t’ sit an’ ponder wonderin’ an’ wastin’ time thinkin’ of thoughts that haven’t been thunk thinkin’ of dreams that haven’t been dreamt an’ new ideas that haven’t been wrote an’ new words t’ fit into rhyme (if it rhymes. . it don’t if it comes. . if the people of tomorrow really need the rules of today rally ‘round all you prosecutin’ attorneys the world is but a courtroom yes but I now the defendants better ‘n you and while you’re busy prosecutin’ we’re busy whistlin’ cleanin’ up the courthouse sweepin’ sweepin’ listenin’ listenin’ winkin’ t’ one another careful careful your spot is comin’ up soon __________ Oh where were these magazines when I was bummin’ up an’ down up an’ down the street? is it that they too just sleep in their high thrones . gunslinger an’ buy new bolts for your neck there is only up wing an’ down wing last night I dreamt that while healin’ ceiling up in Harlem I saw Canada ablaze an’ nobody knowin’ nothin’ about it except of course who held the match __________ Yes. I pray. a story. a stealer of souls I have built an’ rebuilt upon what is waitin’ for the sand on the beaches 11 carves many castles on what has been opened before my time a word. I am a thief of thoughts not. is kind an’ gentle ain’t there no closer villains that the baby-eaten’ russians rats eat babies too I talked with one of the sons of Germany while walkin’ once on foreign ground an’ I learned that he regards adolf Hitler as we here in the states regard robert E. it comes if it won’t. God knows. magazine. . lee fasten up your holster mr. did I answer all my questions right?” ah but mine is of another story for I do not care t’ be made an oddball bouncin’ past reporters’ pens cooperatin’ with questions aimed at eyes that want t’ see “there’s nothin’ here go back t’ sleep or look at the ads on page 33” I don’t like t’ be stuck in print starin’ out at cavity minds who gobble chocolate candy bars quite content an’ satisfied their day complete at seein’ what I eat for breakfast the kinds of clothes I like t’ wear an’ the hobbies that I like t do albums 1 albums 2 albums 3 sONGs .

Dylan. . mr. you’ll see” an’ I seen or rather I have saw your questions’re ridiculous an’ most of your magazines’re also ridiculous caterin’ t’ people who want t’ see the boy nex’ door no I shall not corporate with reporters’ whims there’re other kinds of boys nex’ door. headin’ back again t’ take care of his end of the night slam an’ Geno then too is gone outside a siren whines leadin’ me down another line albums 1 albums 2 albums 3 sONGs . . leavin’ me conscious with a thousand sleepy thoughts untamed an’ tryin’ t’ run I think at these times of many things an’ many people I think of sue most times beautiful sue with the lines of a swan frightened easy as a fawn in the forest by this time deep in dreams with her long hair spread out the color of the sun soakin’ the dark an’ scatterin’ light t’ the dungeons of my constant night I think love poems as a poor lonesome invalid knowin’ of my power t’ destroy the good souls of the road that know no sickness except that of kindness (you ask of love? there is no love except in silence an’ silence doesn’t say a word) 12 ah but sue she knows me well perhaps too well an’ is above all the true fortuneteller of my soul I think perhaps the only one (you ask of truth? there is no truth what fool can claim t’ carry the truth for it is but a drunken matter romantic? yes tragic? no I think not) the door still knocks an’ the wind still blows bringin’ me my memories of friends an’ sounds an’ colors that can’t escape trapped in keyholes Eric . . Dylan. bearded Eric far in boston buried beneath my window yes I feel t’ dig the ground up but I’m so tired an’ know not where t’ look for tools rap tap tap the rattlin’ wind blows Geno in tellin’ me of philistines that he’d run into durin’ the night he stomps across my floor I laugh an’ drink cold coffee an’ old wine light of feelin’ as I listen t’ one of my own tongues take the reins guide the path an’ drop me off . . even though they’ve slanted me they cannot take what I do away from me they can disguise it make it out t’ be a joke an’ make me seem the ridiculous one in the eyes of their readers they can build me up accordin’ t’ their own terms so that they are able t’ bust me down an’ “expose” me in their own terms givin’ blind advice t’ unknown eyes who have no way of knowin’ that I “expose” myself every time I step out on the stage __________ the night passes fast for me now an’ after dancin’ out its dance undresses leavin’ nothin’ but its naked dawn proudly standin’ smilin’ smilin’ turnin’ turnin’ gently gently I have seen it sneak up countless times . . Dylan our readers want t’ know the truth” “that is the bare hungry sniffin’ truth” “mr.I never eat I run naked when I can my hobby’s collectin’ airplane glue “come come now mr. but really now” “that’s all I have t’ say today” “but you’d better answer” “that sounds like some kind a threat” “it just could be ha ha ha ha” “what will my punishment” “a rumor tale on you ha ha” “a what kind of tale ha ha ha ha” “yes well you’ll see. you’re very funny. .

shall remain my song there’s a movie called shoot the Piano Player the last line proclaimin’ “music. with the sounds of Francois Villon echoin’ through my mad streets as I stumble on lost cigars of bertolt brecht an’ empty bottles of brendan behan the hypnotic words of a. . the cats across the roof mad in love scream into the drain pipes bringing’ in the sounds of music the only music an’ it is I who is ready ready t’ listen restin’ restin’ a silver peace reigns an’ becomes the nerves of mornin’ an’ I stand up an’ yawn hot with jumpin’ pulse never tired never sad never guilty for I am runnin’ in a fair race with no racetrack but the night an’ no competition but the dawn __________ so at last at least the sky for me is a pleasant gray meanin’ rain or meanin’ snow constantly meanin’ change but a change forewarned either t’ the clearin’ of the clouds or t’ the pourin’ of the storms an’ after it’s desire returnin’ returnin’ with me underneath returnin’ with it never fearful finally faithful it will guide me well across all bridges inside all tunnels never failin’ . . lloyd each one bendin’ like its own song an’ the woven’ spell of Paul Clayton entrancin’ me like China’s plague unescapeable drownin’ in the lungs of Edith Piaf an’ in the mystery of marlene Dietrich the dead poems of Eddie Freeman love songs of allen Ginsberg an’ jail songs of ray bremser the narrow tunes of modigliani an’ the singin’ plains of Harry Jackson the cries of Charles aznavour with melodies of Yevtushenko through the quiet fire of miles Davis above the bells of William blake an’ beat visions of Johnny Cash an’ the saintliness of Pete seeger strokin’ my senses down down drownin’ drownin’ when I need t’ drown for my road is blessed with many flowers an’ the sounds of flowers liftin’ lost voices of the ground’s people up up higher higher all people no matter what creed no matter what color skin no matter what language an’ no matter what land for all people laugh in the same tongue an’ cry in the same tongue endless endless it’s all endless an’ it’s all songs it’s just one big world of songs an’ they’re all on loan if they’re only turned loose t’ sing lonely? ah yes but it is the flowers an’ the mirrors of flowers that now meet my loneliness an’ mine shall be a strong loneliness dissolvin’ deep t’ the depths of my freedom an’ that. . l. man. the chimes rung an’ they are still ringin’ albums 1 albums 2 albums 3 sONGs . . that’s where it’s at” it is a religious line outside.. then.13 I jump but get sidetracked by clunkin’ footsteps down the street (it is as though my mind ain’t mine t’ make up any more) I wonder if the cockroaches still crawl in Dave an’ terri’s fifteenth street kitchen I wonder if they’re the same cockroaches ah yes the times’ve changed Dave still scorns me for not readin’ books an’ terri still laughs at my rakish ways but fifteenth street has been abandoned we have moved .

in place of the rough-sounding old-timey voice of his earlier albums. babe” were a new kind of love song. and evasion. 10 To Ramona Motorpsycho Nitemare My Back Pages I Don’t Believe You Ballad In Plain D It Ain’t Me Babe People seem not to have been too sure what to make of this record when it came out late in 1964. sometimes mocking sound – a switch from corduroy to leather. 10 To Ramona Motorpsycho Nitemare My Back Pages I Don’t Believe You (She Acts Like We Never Have Met) Ballad In Plain D It Ain’t Me. songs like “all I really Want to Do” and “It ain’t me. but it is “Chimes of Freedom. and there was not a “protest song” to be heard.All I Really Want To Do Black Crow Blues Spanish Harlem Incident Chimes Of Freedom I Shall Be Free No. albums 1 albums 2 albums 3 sONGs another side Of bob Dylan Produced by Tom Wilson Released on August 8. after the one-two punch of political engagement on Freewheelin’ and The Times They Are A-Changin’. tenderness and sometimes corrosive humor. truth telling. teasing. Dylan released an album of acerbic. full of ambivalence. bitterness. hallucinatory.” became a hit for the folk-rock band the byrds. ironic love songs. 1964 OrIGINal lINEr NOtEs . juxtaposed imagery that points most unambiguously in the direction Dylan was heading. like “all I really Want to Do. Babe 14 All I Really Want To Do Black Crow Blues Spanish Harlem Incident Chimes Of Freedom I Shall Be Free No.” with its tumbling. was also something new – a kind of self-dramatization in imagist poetic lines. the songs were delivered in a more nasal. a technique that he would expand on greatly. His voice and image seemed to be changing as well.” which. “my back Pages. full of word play.

. i just play t’ win. pawns lives by trade sits an’ waits on fire plug digs the heat eyes meet picket line across the street head rings of bed springs freedom’s holler you ask of order she’d hock the world for a dollar an’ a quarter baby black dressed in black gunny sack about t’ crack been gone carry on i’m givin’ you myself t’ pawn __________ for françoise hardy at the seine’s edge a giant shadow of notre dame seeks t’ grab my foot sorbonne students whirl by on thin bicycles swirlin’ lifelike colors of leather spin the breeze yawns food far from the bellies or erhard meetin’ johnson piles of lovers fishing kissing lay themselves on their books. old men clothed in curly mustaches float on the benches blankets of tourist in bright red nylon shirts with straw hats of ambassadors (cannot hear nixon’s dawg bark now) will sail away as the sun goes down the doors of the river are open i must remember that i too play the guitar it’s easy t’ stand here 15 more lovers pass on motorcycles roped together from the walls of the water then i look across t’ what they call the right bank an’ envy your trumpet player __________ “i could make you crawl if i was payin’ attention” he said munchin’ a sandwich in between chess moves “what d’ you wanna make me crawl for?” “i mean i just could” “could make me crawl” “yeah.aNOtHEr sIDE OF bOb DYlaN original liner notes some Other Kinds Of songs . . life he says albums 1 albums 2 albums 3 sONGs . make you crawl!” “humm. that’s all” “well if you can’t win me. now i gotta beat you” straight away an’ into the ring juno takes twenty pills an’ paints all day. funny guy you are” “no. then you’re the worst player i ever played” “what d’ you mean?” “i mean i lose all the time” his jaw tightened an’ he took a deep breath “hummm. boats. Poems by bob Dylan baby black’s been had ain’t bad smokestacked chicken shacked dressed in black silver monkey on her back mammy ma juiced pa janitored between the law brothers ten rat-faced gravestoned ditch dug firescaped an’ substroked choked baby black hits back robs.

ants come an’ go through the grass. they hate nazis much more ‘n we over here do. “did you ask the poet fellow if he wants something t’ drink” he says t’ someone gettin’ all the drinks. snakes slide through the weeds. literate old man with rebel flag above home sweet home sign says he won’t vote for goldwater. people pound their chests an’ other people’s chests an’ interpret bibles t’ suit their own means. in east berlin renata tells me that i must wear tie t’ get in t’ this certain place i wanna go. “it’s my turn t’ be the good guy . infection gangrene an’ atom bombs. . leaps between pillars of chips springs on them like samson thumps thumps strikes is on the prowl you’ll only lose shouldn’t stay jack o’diamonds is a hard card t’ play jack o’diamonds wrecked my hand left me here t’ stand little tin men play their drums now upside my head in the midst of cheers flowers four queens albums 1 albums 2 albums 3 sONGs .16 is a head kinda thing. a loose-tempered fat man in borrowed stomach slams wife in the face an’ rushes off t’ civil rights meeting. lenny bruce shows his seventh avenue hand-made movies. insects play in their own world. eviction. i say “you don’t have t’ answer my question” he gets all squishy. take that. eichmann dies yes. i tell reporter lady that yes i’m monstrously against the house unamerican activities committee an’ also the cia an’ i beg her please not t’ ask me why for it would take too long t’ tell she asks me about humanity an’ i say i’m not sure what that word means. “talks too much. college student trails me with microphone an’ tape machine. stockings. turtles an’ lizards make their way through the sand. . turns red. standin’ on the stage of all ground. what d’ you think a the communist party? what communist party? he rattles off names an’ numbers. he gets up an’ hands feather t’ another little boy who immediately falls down. ferris wheel runs in california park an’ the sky trembles. outside of chicago. . he tries harder. i drop my ping pong paddle an’ look at the pool. an’ everything still crawls __________ jack o’diamonds jack o’diamonds one-eyed knave on the move hits the street sneaks. becomes airplane pilot. he can’t answer my question. while a bunch of women sneak little white tablets into shoes. everything . both ends exist only because there is someone who wants profit. newspapers tell neither. boy loses eyesight. back here. irma goes t’ israel an’ writes me that there. i take allen ginsberg t’ meet fantastic great beautiful artist an’ no trespassin’ boards block up all there is t’ see. while some strange girl chases me up smoky mountain tryin’ t’ find out what sign i am. Christianity would start all over again. an’ west germany sends eighty-year-old pruned-out gestapo hermit off t’ the penitentiary. henry miller stands on other side of ping pong table an’ keeps talkin’ about me. . everything crawls. my worst enemies don’t even put me down in such a mysterious way. should keep his mouth shut” i walk between backyards an’ see little boy with feather in his hair lyin’ dead on the grass. redskin” bang bang. legally sold t’ help clean the kitchen. she wants me t’ say what she can understand. above hiccups an’ pointed fingers. she wants me t’ say what she wants me t’ say. i say there’s no answer t’ my question any more ‘n there’s an answer t’ your question. respect is just a misinterpreted word an’ if Jesus Christ himself came down through these streets. hats an’ other hidin’ places. private come down junkie nurse home heals countless common housewives strung out fully on drugstore dope.

17 with pawed out hearts make believe they’re still good but i should drop fold an’ dean martin should apologize t’ the rolling stones ho hum weird tablestakes young babies horseback ride their fathers’ necks two dudes in hopped-up ford for the tenth time have rolled through town it’s your turn baby t’ cut the deck on you’re goin’ under stayed too long chinese gong down the way says jack o’diamonds (a high card) jack o’diamonds (but ain’t high enough) jack o’diamonds is a hard card t’ play jack o’diamonds used t’ laugh at me now wants t’ collect from me used t’ be ashamed of me now wants t’ walk ‘long side of me jack o’diamonds one-armed prince wears but a single glove as he shoves never loves the moon’s too bright as he’s fixed mirrors ‘round the room at night it’s hard t’ think there’s probably somethin’ in my drink should pour it out inside the sink would throw it in his face but it’d do no good give no gain just leave a stain jack o’diamonds an’ all his crap needs some acid in his lap what hour now it feels late somehow my hounddog bays need more ashtrays i can’t even remember the early days please don’t stay gather your bells an’ go jack o’diamonds (can open for riches) jack o’diamonds (but then it switches) a colorful picture but beats only the ten jack o’diamonds is a hard card t’ play jack o’diamonds stays indoors wants me t’ fight his wars jack o’diamonds is a hard card t’ play never certain. your voice you choose you lose run for cover hallaluyah you choose t’ lose take yourself disappear jack o’diamonds (a king’s death) jack o’diamonds (at the ace’s breath) jack o’diamonds is a hard card t’ play __________ run go get out of here quick leave joshua split go fit your battle do your thing i lost my glasses can’t see jericho the wind is tyin’ knots in my hair nothin’ seems t’ be straight out there no i shan’t go with you i can’t go with you on the brooklyn bridge he was cockeyed an’ stood on the edge there was a priest talkin’ to him i was shiftin’ myself around so i could see from all sides albums 1 albums 2 albums 3 sONGs . in the middle commentin’ on the songs of birds chucklin’ at screamin’ mothers jack o’diamonds drains fish brains raffles what’s left over across the table t’ little boy card sharks who just sat down t’ get off their feet bad luck run’s all in fun it’s your choice.

an’ i was in it an’ caught by the excitement of it) an’ i walked away i wanted t’ see him jump so bad that i had t’ walk away an’ hide uptown uptown orchard street through all those people on orchard street pants legs in my face “comere! comere!” i don’t need no clothes an’ cross the street skull caps climb by themselves out of manholes an’ shoeboxes ride the cracks of the sidewalk fishermen— i’ve suddenly been turned into a fish but does anybody wanna be a fisherman any more ‘n i don’t wanna be a fish (swingin’ wanda’s down in new orleans rumbles across brick written swear word vulgar wall in new york city) no they can’t make it off the banks of their river i am in their river (i wonder if he jumped i really wonder if he jumped) i turn corner t’ get off river an’ get off river still goin’ up i about face an’ discover that i’m on another river (this time. can stare at each other in total blankness they do not have t’ speak an’ not feel guilty about havin’ nothing t’ say. everyday boredom soaked by the temporary happiness of that their search is finally over for findin’ a way t’ communicate a leech cookout giant cop out. bourbon street st. royal street.18 in an’ out of stretched necks an’ things cops held people back the lady in back of me burst into my groin “sick sick some are so sick” like a circus trapeze act “oh i hope he don’t do it” he was on the other side of the railin’ both eyes fiery wide wet with sweat the mouth of a shark rolled up soiled sleeves his arms were thick an’ tattooed an’ he wore a silver watch i could tell at a glance he was uselessly lonely i couldn’t stay an’ look at him i couldn’t stay an’ look at him because i suddenly realized that deep in my heart i really wanted t’ see him jump (a mob. all mobs i would think. king rex blesses me with plastic beads an’ toot toot whistles paper rings an’ things. stuart white southern poet holds me up we charge through casa blazin’ jukebox gumbo overflowin’ get kicked out of colored bar streets jammed hypnotic stars explode in louisiana murder night everything’s wedged arm in arm stoned galore must see you in mobile then down governor nichel an’ gone) ok i can get off this river too on bleeker street i meet many friends who look back at me as if they know something i don’t know rocco an’ his brothers say that some people are worse hung up than me i don’t wanna hear it a basketball drops through the hoop an’ i recall that the living theater’s been busted (has the guy jumped yet?) intellectual spiders weave down sixth avenue with colt forty-fives stickin’ out of their albums 1 albums 2 albums 3 sONGs . claude an’ esplanade pass an’ pull everything out of shape joe b. each member knowin’ that they all know an’ see the same thing they have the same thing in common.

the doors’re then enlarged fourth of all.belly buttons an’ for the first time in my life i’m proud that i haven’t read into any masterpiece books (an’ why did i wanna see that poor soul so dead?) first of all two people get together an’ they want their doors enlarged. there are only tears an’ there is only sorrow there are no problems i have seen what i’ve loved slip away an’ vanish. a little old lady a worker lady looks at me rubs her chin an’ by sign language asks how come i’m so unshaven “the sea is very beautiful here” i reply pointin’ t’ my chin. second of all. obviously. after this enlargement the group has t’ find something else t’ keep them together or else the door enlargement will prove t’ be embarrassing on fourteenth street i meet someone who i know in front wants t’ put me uptight wants me t’ be on his level 19 in all honesty he wants t’ drag me down there i realize gravity is my only enemy loneliness has clutched hands an’ squeezes you into wrongin’ others everybody has t’ do things keep themselves occupied the workin’ ones have their minds on the weekends victims of the system pack movie theaters an’ who an’ of what sadistic company is he from that has the right t’ condemn others as trivial whose fault an’ who really is t’ blame for one man carryin’ a gun it is impossible that it’s him slaves are of no special color an’ the links of chains fall into no special order how good an actor do you have to be and play God (in greece. more people see what’s happenin’ an’ come t’ help with the door enlargement. there’s a group now existin’ an’ the only thing that keeps them friends is that they all want the doors enlarged. it follows then that the whole thing revolves around nothing but this door enlargement idea. i still love what i’ve lost but t’ run an’ try t’ catch it’d be very greedy for the rest of my life i will never chase a livin’ soul into the prison grasp of my own self-love i can’t believe that i have t’ hate anybody an’ when i do albums 1 albums 2 albums 3 sONGs . third of all. an’ she believes me needs no other answer i strum the guitar she dances laughs her bandana flies i too realize that she will die here one the side of this sea her death is certain here my death is unknown an’ i come t’ think that i love her) i talk t’ people every day involved in some scene good an’ evil are but words invented by those that are trapped in scenes on what grounds are the grounds for judgment an i think also that there is not one thing anyplace anywhere that makes any sense. the ones that arrive however have nothin’ more than “let’s get these doors enlarged” t’ say t’ the ones who were there in the first place.

. i’m afraid you’ve stepped beyond the borders of being kept) what price what price what price disgrace for sleepin’ on a cherub’s face? __________ an amazon chick with an amazin’ pancho villa face thumb out on highway stands in the boilin’ sun countin’ cars go by zoom catch that u-turn watch truck yes i knew zapata well some of my friends my very best have even looked like the japanese at certain times i myself think they’re grand .it will only be out of fear an’ i’ll know it i know no answers an’ no truth for absolutely no soul alive i will listen t’ no one who tells me morals there are no morals an’ i dream a lot so go joshua go fit your battle i have t’ go t’ the woods for a while i hope you understand but if you don’t it doesn’t matter i will be with you nex’ time around don’t think about me i’ll be ok just go ahead out there right out there do what you say you’re gonna do an’ who knows someday someone might even write a song about you __________ i used t’ hate enzo i used t’ hate him so much that i could’ve killed him he was rotten an’ ruthless an’ after what he could get i was sure of that my beloved one met him 20 in a far-off land an’ she stayed longer there because of him i croaked with exhaustion that he was actually makin’ her happy i never knew him sometimes i would see him on my ceilin’ i could’ve shot him the rovin’ phony the romantic idiot i know about guys for i myself am a guy poison swings its pendulums with a seasick sensation an’ i used t’ want t’ trample on him i used t’ want t’ massacre him i used t’ want t’ murder him i wanted t’ be like him so much that i ached i used t’ hate enzo __________ michelangelo would’ve wept if he saw but once where charlie slept (whoa. charlie. . make great radios do you ever see liz taylor down there pack is heavy there is ink runnin’ down its dusty straps amarillo ain’t far am going there too won’t need floor scrubbed voice dubbed or anything won’t need anything a place fumbles in the sky must make it t’ trinidad tonight a flyin’ saucer texan covered in cuff links ate his steak for breakfast an’ now his car radiator has blown up down the road back here. a sixty-three mercury convertible crashes into girl an’ ten birds just crossed the colorado border __________ johnny (little johnny) with his father’s hammer nailed five flies albums 1 albums 2 albums 3 sONGs .

an i say someone’s been tamperin’ with your head you jump raise your voice an’ gyrate yourself t’ the tone of principles your arm is raised an’ i tell you there are no politics in the afternoon you run t’ keep appointments with false lovers an’ this leaves you drained by nightfall you ask me questions an’ i say that every question if it’s a truthful question can be answered by askin’ it you stomp get mad i say it’s got nothin’ t’ do with gertrude stein you turn your eyes t’ the radio an’ tell me what a wasteland exists in television you rant an’ rave of poverty your fingers crawl the walls the screen door leaves black marks across your nose your breath remains on window glass bullfight posters hang crooked above your head an’ the phone rings constantly you tell me how much i’ve changed as if that is all there is t’ say out of the side of your mouth while talkin’ on the wires in a completely different tone of voice than you had a minute ago when speakin’ t’ me about something else i say what’s this about changes? you say “let’s go get drunk” light a cigarette “an’ throw up on the world” albums 1 albums 2 albums 3 sONGs . .21 t’ the kitchen window trapped baby bumblebees in orange juice bottles rib whipped his younger brother an’ stuck his sister’s hand in the garbage disposal pleasin’ johnny dad’s football star named all the girls that did it he did an’ never knew a one that didn’t bruiser johnny sore loser johnny bad in math but his parents fixed it got too drunk in bars an’ his parents fixed that too lovin’ johnny crew-cut johnny well molded clean lived in something his parents could be proud of no matter what the cost to him a structure of a manly duckling but his parents couldn’t buy him into the college where he wanted t’ go genius johnny poutin’ johnny punchin’ johnny crashed his here son have a car good boy cadillac into a couldn’t care less railroad bridge his parents supported him still they bought new hankies an’ johnny got lots of flowers an’ so as spoked prongs pierce from perilous heights plungin’ through soft pillows. . geese. there Is a sound that rings no praise no praise but you must be aware of poor johnny t’ hear it __________ you tell me about politics this that you speak of rats. ginks an’ finks an’ of what you’ve read an’ how things should be an’ what you’d do if . a world of peace you stumble stammer pound your fist an’ i tell you there are no politics you swear tell me how much you care you cheat the lunch counter man out of a pack of cigarettes an’ i tell you there are no politics you tell me of goons’ graves.

22 you go t’ your closet mumblin’ about the phoniness of churches an’ spastic national leaders i say groovy but also holy hollowness too yes hollow holiness an’ that some of my best friends know people that go t’ church you blow up slam doors say “can’t no one say nothin’ t’ you” s say “what do You think?” your face laughs you say “oh yeeeeeaah?” i’m gonna break up i say an’ reach for your coat ‘neath piles of paper slogans i say your house is dirty you say you should talk your hallway stinks as we walk through it your stairs tilt drastically your railing’s rotted an’ there’s blood at the bottom of your steps you say t’ meet bricks with bricks i say t’ meet bricks with chalk you tell me monster floor plans an’ i tell you about a bookie shop in boston givin’ odds on the presidential race i’m not gonna bet for a while i say little children shoot craps in the alley garbage pot you say “nothin’s perfect” an’ i tell you again there are no politics __________ high treachery sails unveils its last wedding song bang sing the bells the low pauper’s prayer rice rags in blossom blow in a fleet ribbons in the street white as a sheet (a mexican cigarette) the people’ve been set t’ try t’ forget that their whole life’s a honeymoon over soon i’m not gettin’ caught by all this rot as i vanish down the road with a starving actress on each arm (for better or best in sickness an’ madness) i do take thee i’m already married so i’ll continue as one faithful done ah fair blondy ye lead me blindly I am in the gravel an’ down on the gamut for our anniversary you can make me nervous clink sings the tower clang sang the preacher inside of the altar outside of the theater mystery fails when treachery prevails the forgotten rosary nails itself t’ a cross of sand an’ rich men stare t’ their private own-ed murals all is lost Cinderella all is lost albums 1 albums 2 albums 3 sONGs .

albums 1 albums 2 albums 3 sONGs bringing It all back Home Produced by Tom Wilson OrIGINal lINEr NOtEs Released on March 22. Paul Griffin piano. baby blue” both stand among the best songs Dylan has written. tambourine man.” with its rhythmically spoken lyrics.piano. One side of the original 1965 lP release featured Dylan alone with his guitar. scathing humor.” the picaresque “bob Dylan’s 115th Dream. 1965 .guitar.bass. “mr. Tambourine Man Gates Of Eden It’s Alright. and it laid the groundwork for Highway 61 Revisited. which became one of the most influential albums of all time. Bruce Langhorne . Kenneth Rankin – guitar. bass. Will Lee .” and “It’s all Over Now. including the epochal “even the President of the united states sometimes must have to stand naked.guitar. Jr. “subterranean Homesick blues. the other side of the record was something else again – Dylan performing songs.” this record once again changed every young songwriter’s sense of what was possible and desirable in songwriting. Bobby Gregg . 23 One of the most interesting Dylan albums.Subterranean Homesick Blues She Belongs To Me Maggie’s Farm Love Minus Zero/No Limit Outlaw Blues On The Road Again Bob Dylan’s 115th Dream Mr. Ma (I’m Only Bleeding) It’s All Over Now. performing intensely poetic songs full of hermetic and at times surreal imagery.drums.” became one of Dylan’s most enduringly popular songs.” and “maggie’s Farm” cohabit with the tender and almost mystical love song-poems “love minus Zero/No limit” and “she belongs to me. Joseph Macho. most of them blues-based and full of barbed. accompanied by an electric rock and roll band. Baby Blue Musicians: Al Gorgoni . “It’s alright. ma (I’m Only bleeding). Frank Owens . lines almost tripping over one another in their rush to be heard. Bringing It All Back Home is in a sense two records. it was to the nascent drug and consciousness-expansion culture what “blowin’ In the Wind” had been to the politically engaged folk culture of a few years before.

murph the surf and so forth/ erotic hitchhiker wearing japanese blanket. why allen ginsberg was not chosen t’ read poetry at the inauguration boggles my mind/if someone thinks norman mailer is more important than hank williams that’s at me you’re the one. mexico/i say no you must be mistaken. i have no arguments an’ i never drink milk. jayne mansfield. i have given up at making any attempt at perfection/ the fact that the white house is filled with leaders that’ve never been t’ the apollo theater amazes me. responsibility/security. gets my attention by asking didn’t he see me at this hootenanny down in puerto vallarta. the Great sayings have all been said/I am about t’ sketch You a picture of what goes on around here some. i know there’re some people terrified of the bomb. . a song is anything that can walk by itself/i am called a songwriter. or history of the united nations. you’re the one that’s been causing all them riots over in vietnam. an invisible circle of which no one can think without consulting someone/in the face of this. .brINGING It all baCK HOmE original liner notes 24 i’m standing there watching the parade/ feeling combination of sleepy john estes.mentionable.times. some people say that i am a poet (end of pause) an’ so i answer my recording engineer “yes. . with a melodic purring line of descriptive hollowness—seen at times through dark sunglasses an’ other forms of psychic explosion. i would not want t’ be bach. immediately turns t’ a bunch of people an’ says if elected. mozart. i happen to be one of the supremes/then he rips off his blanket an’ suddenly becomes a middle-aged druggist. well i could use some help in getting this wall in the plane” — bob Dylan albums 1 albums 2 albums 3 sONGs . success mean absolutely nothing. joe hill. i am convinced that all souls have some superior t’ deal with/like the school system. . do you need any help with anything?’’ (pause) my songs’re written with the kettledrum in mind/a touch of any anxious color. un. i split fast go back t’ the nice quiet country. am standing there writing WHaat? on my favorite wall when who should pass by in a jet plane but my recording engineer “i’m here t’ pick up you and your lastest works of art. false eyelashes/ sub.monica holders than discuss aztec anthropology/ english literature. . he’ll have me electrocuted publicly on the next fourth of july. the Great books’ve been written. a poem is a naked person . my poems are written in a rhythm of unpoetic distortion/ divided by pierced ears. . i accept chaos. experience teaches that silence terrifies people the most . but there are other people terrified t’ be seen carrying a modern screen magazine. though I don’t understand too well myself what’s really happening. tolstoy. i do know that we’re all gonna die someday an’ that no death has ever stopped the world. an’ people perhaps like a soft brazilian singer . i would rather model har. he starts scream. i look around an’ all these people he’s talking to are carrying blowtorches/ needless t’ say. . gertrude stein or james dean/they are all dead. up for district attorney. obvious. humphry bogart/mortimer snerd.tracted by people constantly torturing each other. . I am not sure whether it accepts me.

It Takes A Train To Cry From A Buick 6 Ballad Of A Thin Man Queen Jane Approximately Highway 61 Revisited Just Like Tom Thumb’s Blues Desolation Row Musicians: Mike Bloomfield . Dylan’s performances of the title song. and secret humor of drugs. Highway 61 Revisited has lost little of its presence.” “tombstone blues. Al Kooper . bass. the ballooning sense that what had been called the truth was disguising something sinister.piano.guitar. in the ensuing decades. Paul Griffin . the accelerating craziness of american culture in that time – the mounting uproar over the nation’s Vietnam involvement. distortion. its power to shake up the listener. and maybe adding to. albums 1 albums 2 albums 3 sONGs Highway 61 revisited Produced by Bob Johnston “Like A Rolling Stone” produced by Tom Wilson Released on August 30. the voice that Dylan had been growing since Another Side of Bob Dylan was now an instrument of irony. Jr. disillusionment. Al Gorgoni . and only five months after Bringing It All Back Home. Russ Savakus . gallows humor.piano.guitar. the exhilaration. the mississippi Delta. and sarcasm in the service of astonishingly vivid and disturbing images capable of meeting the increasingly strange and livid times head-on. Joseph Macho. 25 released one month after Dylan’s legendary July 1965 appearance with the electric Paul butterfield blues band at the Newport Folk Festival.bass. Frank Owens . and so it places us in a vein running straight through the middle of an america that seemed to be spiraling out of control. the album title refers to the road that runs from Dylan’s native minnesota down through memphis.organ.bass. amazingly.” the venomous “ballad of a thin man. Bobby Gregg drums. backed by a take-no-prisoners electric band. a classic – nothing less.” and his unprecedented 7-minute hit single “like a rolling stone” sat at the center of the 1960s. mockery.Like A Rolling Stone (Produced by Tom Wilson) Tombstone Blues It Takes A Lot To Laugh. Harvey (Goldstein) Brooks . 1965 OrIGINal lINEr NOtEs . Highway 61 Revisited is universally regarded as one of Dylan’s greatest and most influential records. “Desolation row. bitterness.” “Just like tom thumb’s blues. capturing. and New Orleans.

kid?” & then rome & John come out of the bar & they’re going up to Harlem…. when the Cream met savage rose & Fixable. with two zeros above her nose arguing over the sun being dark or bach is as famous as its commotion & that she herself – not Orpheus – is the logical poet “I am the logical poet!” she screams “spring? spring is nly the beginning!” she attempts to make Cream Judge jealous by telling him of down-to-earth people & while the universe is erupting. there’d be no you! what do you think of that???. says “I don’t know. you should hereby take two steps to the right. autumn. a good boy & one who keeps a buffalo in his mind. the hundred Inevitables all say “who’s that man who looks so white?” & the bartender. the songs on this specific record are not so much songs but rather exercises in tonal breath control…. we are singing today of the WIPE-Out GaNG –the WIPE-Out GaNG buys.there is no eye – there is only a series of mouths – long live the mouths – your rooftop – if you don’t already know – has been demolished…. he wrote one on famous dogs of the civil war & now he has false teeth & no children…. — bob Dylan albums 1 albums 2 albums 3 sONGs . she points to the slow train & prays for rain and for time to interfere – she is not extremely fat but rather progressively unhappy…. but I’m sure I’ve seen the other fellow someplace” & when Paul sargent. the kind of person you think you’ve seen before. when I speak this word eye. I cannot say the word eye anymore….HIGHWaY 61 rEVIsItED original liner notes 26 On the slow train time does not interfere & at the arabian crossing waits White Heap. Vivaldi’s green jacket & the holy slow train you are right john cohen – quazimodo was right – mozart was right…. he was introduced to them by none other than lifelessness – lifelessness is the Great Enemy & always wears a hip guard – he is very hipguard….the beautiful strangers. it is as if I am speaking of somebody’s eye that I faintly remember…. lifelessness said when introducing everybody “go save the world” & “involvement! that’s the issue” & things like that & savage rose winked at Fixable & the Cream went off with his arm in a sling singing “summertime & the livin is easy”…. paint your teeth & go to sleep…. one of the hundred Inevitables whispers “I told you so” to madame John…. nobody really gets angry – just a little illiterate most people get & rome. the subject matter – tho meaningless as it is – has something to do with the beautiful strangers…. savage rose & Fixable are bravely blowing kisses to Jade Hexagram-Carnaby street & to all the mysterious juveniles & the Cream Judge is writing a book on the true meaning of a pear – last year. comes strolling in with White Heap. the man from the newspaper & behind him the hundred Inevitables made of solid rock & stone – the Cream Judge & the Clown – the doll house where savage rose & Fixable live simply in their wild animal luxury…. comes in at three in the morning & busts everybody for being incredible. the Clown appears – puts a gag over autumn’s mouth & says “there are two kinds of people – simple people & normal people” this usually gets a big laugh from the sandpit & White Heap sneezes – passes out & rips open autumn’s gag & says “What do you mean youre autumn and without you there’d be no spring! you fool! without spring. a plainclothes man from 4th street. the hundred Inevitables hide their predictions & go to bars & drink & get drunk in their very special conscious way & when tom dooley.” then savage rose & Fixable come by & kick him in the brains & color him pink for being a phony philosopher – then the Clown comes by and screams “You phony philosopher!” & jumps on his head – Paul sargent comes by again in an umpire’s suit & some college kid who’s read all about Nietzsche comes by & says “Nietzche never wore an umpire’s suit” & Paul says “You wanna buy some clothes. owns & operates the Insanity Factory – if you do not know where the Insanity Factory is located. eye is plasma & you are right about that too – you are lucky – you don’t have to think about such things as eyes & rooftops & quazimodo.

and recriminatory. blues. Jerry Kennedy.” Dylan had found yet another voice for himself. alternately funny.” and the epical “sad-Eyed lady of the lowlands. slightly husky and softer.” a hit single on which Dylan sings over a raucous brass band. Jerry Kennedy. this double album is another of Dylan’s landmark recordings. Hargus Hargus Robbins. songs like “I Want You. were love songs. “Everybody must get stoned. Charlie McCoy.” “absolutely sweet marie. Kenneth Buttrey. albums 1 albums 2 albums 3 sONGs blonde On blonde Produced by Bob Johnston Released on May 16. Robbins.” “Just like a Woman. 1966 .” which took up an entire album side on the original issue. dark and giddily illuminated landscapes. Henry Strzelecki. “rainy Day Women #12 & 35. not as angry or distanced as the songs on Highway 61 Revisited.Rainy Day Women #12 & 35 Pledging My Time Visions Of Johanna One Of Us Must Know (Sooner Or Later) I Want You Stuck Inside Of Mobile With The Memphis Blues Again Leopard-Skin Pill-Box Hat Just Like A Woman Most Likely You Go Your Way And I’ll Go Mine Temporary Like Achilles Absolutely Sweet Marie Fourth Time Around Obviously 5 Believers Sad-Eyed Lady Of The Lowlands Musicians: Wayne Moss. Dylan had found a means of total expression that could miraculously stand up to all that chaos and cut it down to size. picaresque americana and urban fantasy speaks out of the whirlwind of a time when everything was out of whack. with the famous refrain. tender. Bill Aikins.” “Visions of Johanna. Blonde on Blonde’s mixture of mystic love poems.” “stuck Inside of mobile With the memphis blues again. Joe South. Al Kooper.” “leopard-skin Pill-box Hat. and the songs he delivers in that voice steer for a place of deeply symbolic and sometimes hallucinatory poetry. Jaime Robertson 27 Issued at the height of Dylan’s fame and just before the July 1966 motorcycle accident that brought his career to a halt. Except for the opening track. a peak of creativity for the songwriter and performer alike.

1967 . and Tom Wilson Released on March 27. Babe Like A Rolling Stone Mr. Bob Johnston. Tambourine Man Subterranean Homesick Blues I Want You Positively 4th Street Just Like A Woman 28 albums 1 albums 2 albums 3 sONGs bob Dylan’s Greatest Hits Produced by John Hammond.Rainy Day Women #12 & 35 Blowin’ In The Wind The Times They Are A-Changin’ It Ain’t Me.

” “the ballad of Frankie lee and Judas Priest. Kenny Buttrey .John Wesley Harding As I Went Out One Morning I Dreamed I Saw St. but “I Dreamed I saw st. Pete Drake steel guitar (on “I’ll Be Your Baby Tonight” and “Down Along The Cove”). and he took his time. Augustine All Along The Watchtower The Ballad Of Frankie Lee And Judas Priest Drifter’s Escape Dear Landlord I Am A Lonesome Hobo I Pity The Poor Immigrant The Wicked Messenger Down Along The Cove I’ll Be Your Baby Tonight Musicians: Charlie McCoy . a sacrificial altar.” “the Wicked messenger. “all along the Watchtower” became one of Dylan’s perennials. John Wesley Harding was a quiet acoustic album.” and “Drifter’s Escape.drums.” while less often performed. worse. the title track was based on the story of a real-life bank robber named John Wesley Hardin. and he had a young family that was precious to him. New York. It was a lot to think about. are enigmatic parables that occupy a unique place in Dylan’s body of work. regret and hope. symbolic songs about mortality and redemption. in fact. or that he had gone crazy. finally. in 1967. 29 after a motorcycle crash in July 1966 brought his public appearances to a halt indefinitely. using his recuperation time to step back from the extraordinary storm of touring. 1967 OrIGINal lINEr NOtEs . Perhaps he sensed a trap being prepared down that road. the world seemed to be going crazier each month and everyone seemed to expect him to keep pace with it or. rumors ran wild – fans heard that he was paralyzed.bass. full of cryptic. Dylan was. albums 1 albums 2 albums 3 sONGs John Wesley Harding Produced by Bob Johnston Released on December 27. bravery and betrayal. lead the way. take some stock and think more deeply about what he was doing. holed up in Woodstock. release an album. When he did. augustine. or that he was actually dead. it was nothing anyone could have predicted.

” said the third. looking the three kings over and fondling his mop. 30 terry shute then entered the room with a bang.” said the first chief. “Not too far but just far enough so’s we can say that we’ve been there. “Why didn’t you just tell them you were a moderate man and leave it at that instead of goosing yourself all over the room?” “Patience. stated: “Wait!” “Yes?” “How many of them would you say there were?” Vera smiled.” and he commenced to doing it.” “Fine. he pulled out a knife. “she’s in the back of the house. It was just before the break of day and the three kings were tumbling along the road. “the key is Frank!” It was late in the evening and Frank was sweeping up. hesitating. the second. “Get out of here. Vera. a lightbulb fell from one of his pockets and he stamped it out with his foot.” “that’s right. the first one’s nose had been mysteriously fixed. moaned and punched his fist through the plate-glass window.JOHN WEslEY HarDING original liner notes there were three kings and a jolly three too. the first king remained silent.” said the second king. “What seems to be the problem?” Frank turned back to the three kings who were astonished. suddenly opened them both up as wide as a tiger. mumbled. thank you.” “Well then. “three?” he asked. not even them!” Frank turned with a blast. “I am. this record of course features none but his own songs and we understand that you’re the key.” he said. His shoes were too big and his crown was wet and lopsided but nevertheless. “mr. terry dropped his drawer and rubbed the eye. Getting down to the source of things. “all right. Vera nodded.” Nobody answered. “I don’t believe so. “You’re both wrong. First of all. they ask nothing and they receive nothing. “Faith is the key!” said the first king. “and we’d like to have a word with you!” Frank opened the door and the three kings crawled in. then he took a deep breath. Frank.” he began. “they’re here!” she gasped.” said Frank. they scorn the widow and abuse the child but I am afraid that they shall not prevail over the young man’s destiny. “It’s us. the second one’s arm had healed and the third one was rich. Frank?” Frank. “I’ll see what I can do. preparing the meat and dishing himself out when there came a knock upon the door. “could you please open it up for us?” Frank. sure. the other two I’m not so sure about. who was sitting over by the curtain cleaning an ax. albums 1 albums 2 albums 3 sONGs . “and just how far would you like to go in?” he asked and the three kings all looked at each other. “No. settling back in his chair.” said Frank. the wilderness is rotten all over their foreheads. terry shute. “Yeah. “Frank. “Where’s the better half. replied. Frank. who was in no mood for jokes. froth is the key!” said the second.” “Good” she turned and puffed. the second king. out with it. he began to speak in the most meaningful way. climbed to his feet. didja Frank?” Frank just sat there watching the workmen replace the window. the first king cleared his throat. a broken arm and the third was broke. ripped off his shirt and began waving it in the air. Forgiveness is not in them. terry tightened his belt and in an afterthought. all three of them were blowing horns. walked over to Vera’s husband and placed his hand on his shoulder. flaming it up with an arrogant man. who was first to rise. the first one had a broken nose. took it lightly. “I’ve never been so happy in all my life!” sang the one with all the money. Dylan has come out with a new record.” said Frank. “Far enough?” he asked. you ragged man! Come ye no more!” terry left the room willingly. the door opened and Vera stepped in. “Who is it?” he mused. Never in my life have I seen such a motley crew. then he sprung up.” said the king in a bit of excitement. she tapped her toe three times. “What do they appear to be like?” “One’s got a broken vessel and that’s the truth.” said the three kings in unison. what’s on our minds today?” Nobody answered. terry watched her foot closely. the third king just shook his head and said he didn’t know. It begins with these three fellas and it travels outward. he sat down and crossed his legs. now come on. “terry shute will be leaving us soon and he desires to know if you kings got any gifts you wanna lay on him. he proudly boasted: “there is a creeping consumption in the land. “Get up off my floor!” shouted Frank. terry shute was in the midst of prying open a hairdresser when Frank’s wife came in and caught him. that’ll be all. “Yuh didn’t hurt yer hand. who all this time had been reclining with his eyes closed. “Oh mighty thing!” said Vera to Frank.

piano. as well as a hit single in “lay. He seemed almost ready to be reborn as a country star. 1969 OrIGINal lINEr NOtEs . lay. Charlie McCoy . On Nashville Skyline the influence of a slightly slicker.” and the sly and sexy “Country Pie. Norman Blake.” “to be alone With You. including Norman blake and Charlie Daniels. lighter vocal sound to the studio for sessions with some of Nashville’s Of course. lady.Girl From The North Country Nashville Skyline Rag To Be Alone With You I Threw It All Away Peggy Day Lay. Lady. from his very early days listening to the monroe brothers. Pete Drake steel guitar.” Dylan sings a duet with Johnny Cash on “Girl From the North Country. Wayne Moss. 31 the year 1969 delivered another surprise.guitar.” and the album had Dylan relishing the role of music row writer for hire with songs like “tonight I’ll be staying Here With You. singing straightforward love lyrics in new lilting tones. Lay One More Night Tell Me That It Isn’t True Country Pie Tonight I’ll Be Staying Here With You Musicians: Robert Wilson . more contemporary approach to country music gave Dylan an expanded audience. Kelton Herston . Dylan had always paid close attention to country music. Hargus (Pig) Robbins . Dylan brought a new.” albums 1 albums 2 albums 3 sONGs Nashville skyline Produced by Bob Johnston Released on April 9.bass.piano. dobro.drums. Charlie Daniels . Hank Williams and the stanley brothers. Kenny Buttrey . organ.

quick flashes of light From a brilliant. the what of sane and comprehend the good in men.-a source as leaves of grass. Here-in is a hell of a poet. the love of right and the creep of blight at the speed of light the pain of dawn. Yet unalike Each is complete and contained and as each unalike star shines Each ray of light is forever gone to leave way for a new ray and a new ray. alike. undaunted. alike. how strong to hold How much to hold of what is told. Knowing that to imitate the living Is mockery and to imitate the dead Is robbery there are those Who are beings complete unto themselves Whole. the break of bend the scar of mend I’m proud to say that I know it. as from a fountain Complete unto itself. and lots of other things and lots of other things. — Johnny Cash albums 1 albums 2 albums 3 sONGs . works and songs like strong. alike. erupting cone. Who cannot imitate but then there are those who emulate at times. the bad in men Can feel the hate of fight. flowing so are some souls like stars and their words. the end of end by math of trend What grip to hold what he is told How long to hold. as stars as mountains. to expand further the light Of an original glow. full. the gone of gone the end of friend. and Know the yield of rend.NasHVIllE sKYlINE original liner notes “Of bob Dylan” 32 there are those who do not imitate. so where are your mountains to match some men? this man can rhyme the tick of time the edge of pain.

” and “the boxer. which Dylan later claimed to have been an effort to dismantle his fans’ expectations.” and “she belongs to me. “Go away – stop expecting so much of me. 1970 .” this may in fact have been some of his motivation for releasing the album. albums 1 albums 2 albums 3 sONGs self Portrait Produced by Bob Johnston Released on June 8. lilting Nashville Skyline voice croons tunes no one would have associated with him at the time – “blue moon.” “Copper Kettle.All The Tired Horses Alberta #1 I Forgot More Than You’ll Ever Know Days Of 49 Early Mornin’ Rain In Search Of Little Sadie Let It Be Me Little Sadie Woogie Boogie Belle Isle Living The Blues Like A Rolling Stone Copper Kettle Gotta Travel On Blue Moon The Boxer The Mighty Quinn (Quinn The Eskimo) Take Me As I Am Take A Message To Mary It Hurts Me Too Minstrel Boy She Belongs To Me Wigwam Alberta #2 33 Self Portrait seems. some recorded live.” and even the old Dean martin hit “return to me” without a hint of irony.” “Early mornin’ rain. In any case. although it sold very well to a public that was hungry for any new Dylan at all. to be anything but what its title claims. but it is also true that Dylan’s taste in music is famously eclectic – later he would perform and record old pop songs like “When Did You leave Heaven. some in the studio.” George Gershwin’s “soon.” along with very unusual reworkings of “like a rolling stone.” almost as if to say. songs mostly written by others. this two-lP set was slammed heavily by the rock critical establishment at the time. It is a collection of odds and ends. His light. at first glance.

“We sit beside bridges and walk beside fountains…. Buzzy Feiten . some of the critics who had ripped into Self Portrait earlier that same year (1970) raved about this effort. Ron Cornelius . Charlie Daniels . 1970 . Russ Kunkel drums. Dylan writes at some length of his meetings and discussions with macleish in his memoir Chronicles.electric guitar. Volume One. Al Kooper . this is not one of Dylan’s landmark discs. perhaps feeling that anything was an improvement over what they regarded as a debacle. according to Chronicles he was working hard to dismantle a public image that had become worse than a trap for him and his family. would not last all that much longer.” he sings. Time passes slowly when you’re lost in a dream.If Not For You Day Of The Locusts Time Passes Slowly Went To See The Gypsy Winterlude If Dogs Run Free New Morning Sign On The Window One More Weekend The Man In Me Three Angels Father Of Night Musicians: Bob Dylan .acoustic guitar. 34 New Morning grew partly out of an exploration of the possibility of Dylan’s writing music for a play by the great poet archibald macleish. albums 1 albums 2 albums 3 sONGs New morning Produced by Bob Johnston October 21. french horn. David Bromberg . deadpan “If Dogs run Free. Albertine Robinson.electric guitar. “Time passes slowly up here in the mountains. piano.” the dream. piano. the project never ended up working out. Dobro. and the album is filled out with love songs. pastorales like “Winterlude” (a waltz) as well as the funny.electric guitar. or amnesia as he would later refer to it. Hilda Harris. electric guitar.” all of which are about as far from the tone of his peak 1960s work as they could possibly have been. Harvey Brooks –electric bass. pop songs. but despite some strong and durable songs. electric guitar. organ.electric bass. Billy Mundi . Maeretha Stewart – background vocals.organ.drums. although a few of the songs survived.

Baby Blue Tomorrow Is A Long Time When I Paint My Masterpiece I Shall Be Released You Ain’t Goin’ Nowhere Down In The Flood 35 albums 1 albums 2 albums 3 sONGs bob Dylan’s Greatest Hits. 1971 .Watching The River Flow Don’t Think Twice. Lady. and Leon Russell November 17. It’s All Right Lay. Vol. Tom Wilson. Bob Johnston. Lay Stuck Inside Of Mobile With The Memphis Blues Again I’ll Be Your Baby Tonight All I Really Want To Do My Back Pages Maggie’s Farm Tonight I’ll Be Staying Here With You She Belongs To Me All Along The Watchtower The Mighty Quinn (Quinn The Eskimo) Just Like Tom Thumb’s Blues A Hard Rain’s A-Gonna Fall If Not For You It’s All Over Now. 2 Produced by John Hammond.

and Jason robards. the rest of the album consists of instrumentals meant to be heard under various scenes in the movie. as the enigmatic character alias. and also three fascinatingly different takes on a Dylan ballad about billy the Kid. lone. romantic figure at the heart of the story.” “billy 4. albums 1 albums 2 albums 3 sONGs Pat Garrett & billy the Kid Produced by Gordon Carroll July 13. James Coburn.” still one of Dylan’s most popular. “billy 1. 1973 . to appear in it as well. alongside actors Kris Kristofferson. and. the score produced a truly fine song in “Knockin’ On Heaven’s Door. as it turned out.Main Title Theme (Billy) Cantina Theme (Workin’ For The Law) Billy 1 Bunkhouse Theme River Theme Turkey Chase Knockin’ On Heaven’s Door Final Theme Billy 4 Billy 7 36 In November 1972 Dylan accepted an invitation to travel to mexico to write music for the sam Peckinpah western Pat Garrett & Billy The Kid.” and “billy 7” are sung in completely different voices (yet all unmistakably and characteristically Dylan) and evoke very different moods as well as containing different verses about the doomed.

” He has fun with Joni mitchell’s “big Yellow taxi” and turns Hank snow’s “a Fool such as I” into an archly comic spoken rap over a boogaloo beat. Bojangles Mary Ann Big Yellow Taxi A Fool Such As I Spanish Is The Loving Tongue 37 a disc scraped together in 1973 from more odds and ends of the previous couple years. He was playing it for laughs. you’ll laugh too. who really cheese up the proceedings throughout. 1973 . as is his energetic romp through “sara Jane. bojangles. the common view is that this is near. He can’t quite bring Peter laFarge’s recitative “the ballad of Ira Hayes” to life.Lily Of The West Can’t Help Falling In Love Sarah Jane The Ballad Of Ira Hayes Mr. the disc was released inexplicably by Cbs records in what must be assumed as an act of vengeance in response to Dylan’s defection to Geffen records. nor “mr. and it may be. but it has its moments along the way as Dylan does other people’s songs. If you can tune them out. the main problem is the presence of intrusive background singers. in the compilation of which Dylan apparently had no hand. in a sort of addendum to Self Portrait. Dylan’s version of “Can’t Help Falling In love” is a fine performance. or at. albums 1 albums 2 albums 3 sONGs Dylan Produced by Bob Johnston November 16.” in which he sounds as if he is having a blast. Cbs held the rights to dozens of unreleased Dylan songs but chose these as the first tracks to release after Dylan had left the label. the bottom of any ranking of Dylan albums. despite the softheaded lyrics.

17 1974 . for instance.On A Night Like This Going. Going. One of his most moving songs. a song of hope against hope. Gone.” is presented in two different versions with completely different feelings. albums 1 albums 2 albums 3 sONGs Planet Waves January. “On a Night like this” is a bouncing invitation song. cohabiting uneasily with more or less straight-ahead love songs like “Never say Goodbye” and “You angel You. a prayer for faith and endurance.” Dylan no longer sounded as satisfied with life as he did on New Morning. Dylan reunited in the studio in November 1973 with his 1966 road band. Going. even “Forever Young” seems to be written in view of all the storms to come. they were gearing up for a mega-tour in a couple of months. Planet Waves feels like a transitional album. as if Dylan is trying to get himself back into focus after the preceding couple of years of life in the country. Gone Tough Mama Hazel Something There Is About You Forever Young Forever Young Dirge You Angel You Never Say Goodbye Wedding Song 38 For 1974’s Planet Waves. full of high spirits and anticipation. now with levon Helm back in the drum seat and known simply as the band. but songs like “Dirge.” and “Wedding song” seem to be straining at the leash. “Forever Young. Perhaps because of this.” “Going. different meanings.

Ma (I’m Only Bleeding) The Shape I’m In When You Awake The Weight All Along The Watchtower Highway 61 Revisited Like A Rolling Stone Blowin’ In The Wind 39 recorded in January and February of 1974 during Dylan’s North american tour with the band. In later years Dylan seems to have disowned the music made on. not even anything from Planet Waves) as if against the walls of a prison cell. if not particularly reflective or subtle. the result is exciting at many points. in the years after they had backed Dylan on the road in 1966. 1974 . who had become a major rock attraction in their own right. Before The Flood is. like Planet Waves. Babe Ballad Of A Thin Man Up On Cripple Creek I Shall Be Released Endless Highway The Night They Drove Old Dixie Down Stage Fright Don’t Think Twice. Lady. It’s All Right Just Like A Woman It’s Alright. the tour. and the motives for.Most Likely You Go Your Way And I’ll Go Mine Lay. a document of a transitional period in Dylan’s life and art. the original double album also included several tracks by the band. Lay Rainy Day Women #12 & 35 Knockin’ On Heaven’s Door It Ain’t Me. at many points Dylan seem to be hurling himself at his own familiar songs (there is no new Dylan repertoire on the album. albums 1 albums 2 albums 3 sONGs before the Flood June 20. saying that it was as if he was “playing” himself and the band was playing the band.

albums 1 albums 2 albums 3 sONGs blood On the tracks January 20. Chris Weber. 40 and then came 1975’s Blood On The Tracks. recorded late in 1974. Eric Weissberg guitar. Thomas McFaul . Tony Richard Crooks – drums. Kevin Odegard guitar.keyboards.” a long letter full of recrimination and sadness and love to an estranged beloved. In it. one of Dylan’s greatest albums.organ. Bill Berg . fragmentary images juxtaposed incompact verses. at least in part. Barry Kornfeld . It contains the overwhelmingly powerful “Idiot Wind.bass. 1975 OrIGINal lINEr NOtEs . the result is a lyric masterpiece for the ages.” “simple twist Of Fate” “If You see Her.guitar. the imagistic compression.bass. Say Hello Shelter From The Storm Buckets Of Rain Musicians: Greg Inhofer .guitar. and the picaresque “tangled up In blue. Tony Brown . a deepening openness to sadness and regret and hope and direct utterance that has kept this album one of his most loved. Charles Brown III .keyboards. Rosemary And The Jack Of Hearts If You See Her. Bill Peterson . say Hello” and the rest – have a vulnerability and honesty of expression and feeling linked to a poetic talent that is once again at the peak of its form. of extreme personal turmoil in his life at home and partly out of a creative rebirth Dylan experienced studying painting with teacher Norman raeben. Paul Griffin .” in which Dylan manages to give the sense of a sweeping narrative through brilliant. guitar.Tangled Up In Blue Simple Twist Of Fate You’re A Big Girl Now Idiot Wind You’re Gonna Make Me Lonesome When You Go Meet Me In The Morning Lily. Dylan was able to muster all the intensity. born.drums. the pain and tenderness and bitterness of his best 1960s work. the other songs – “shelter From the storm. but with an added note of forgiveness.

and his poetry. a sense of inevitable farewell. say hello. there is no politician anywhere who can move anyone to hope.” Dylan is now looking at the quarrel of the self. old. and here at home. Kiss her for the kid. he speaks for us all. up above God’s green earth. he is as personal and as universal as Yeats or blake. something died. When our innocence died forever. of course. are searching for some simple things to believe in. vanished into the wild places of the earth. the plague recedes. the place of betty Grable and Carl Furillo and heavyweight champions of the world. the words. many retreated into that past that never was. and some of the other love poems in this collection. middle-aged. most art withered into journalism. and their butlers ordered up the bayonets. Dylan doesn’t fall in. he warned us. seem to me absolutely right. and a kind of dignity. only faintly hearing the young men march to the troopships. breeding in-a-compost of greed and uselessness and murder. some rage. We live with a callous on the heart. Dylan speaks now for that single hair. symphonies died on crowded roads. In the teargas in 1968 Chicago. the crowds have moved back off the stage of history. in those places where statesmen and generals stash the bodies of the forever young. the plague touched us all. bringing feelings back home. and the statesmen are as irrelevant as the tarnished statues in the public parks. the place of balcony dreams in loew’s met. which is the proper territory of poets. the generosity that so few people can summon when another has become a parenthesis in a life. of the words of Yeats. He had remained. still loved. tossed on a pilgrim tide. it is Dylan himself. and as dangerous. Early on. because Dylan has chosen not to remain a boy. knowing all about the seasons in hell. he told us about the hard rain that was gong to fall. and how it would carry plague. released it in silent streams. stronger. Only the artists can remove it. the music. If you’re makin’ love to her. where the infected drew the blinds. Except Dylan. Novels served as furnished rooms for ideology. she might be in tangiers…* so begins one of these poems. they marshaled metal death through the mighty clouds. he is not the only one now. slaying that old america where the immigrants lit a million dreams in the shadows of the bridges. Instead. the infected young men machine-gunned babies in asian ditches. they are the poems of a survivor. I thought. but it is not dead. he gave many of us voice. in front of us. most of them are gone now. It is not his voice that has grown richer. but of the quarrel with ourselves. the bacillus moved among us. killing the great brawling country of barnstormers and wobblies and home-run hitters. poetry. men and women. that is no small thing. No. Dylan is the one who has most clearly taken the roiled sea and put it in a glass. a woman once loved. and remained true. the tone of voice speak of regret. but is abut love filled with honor. It turned up again in america. seems to me to be more meaningful than ever. walker of the roads of Ireland: “We make out of the quarrel with others rhetoric. and a sense of simple joy. Dylan remains. risking that dangerous opening of the veins. He was not the only one. or writing from the north country. remember that he gave us voice. gone off. while Jo stafford gladly promised her fidelity. Who always has respected her. they hurled Dylan at the walls of the great hotels. the maps are blurred. It was not confined to the Oran of Camus. in this moment at the end of wards. and through the fog of the plague. We live in the smoky landscape now. as all of us. young. a single hair on the skin of the earth. melancholy. that song. speaking for himself. the warning voice of the innocent boy is no longer here. as light as a slide on ice. and moved on. Dylan here tips his had to rimbaud and Verlaine. for doin’ what she did…* It is a simple love song. while the hospitals exploded and green fields were churned to mud. the plague ran in the blood of men in sharkskin suits. as the exhausted troops seek the roads home.blOOD ON tHE traCKs original liner notes 41 In the end. and as the evidence piled up. Painters left the easel to scrawl their innocence on walls and manifestos. Poor america. his troubadour’s traveling art. land where the poets died. we are left with the solitary human. the wonder is that he survived. the signposts have been smashed. as the rock was pushed back to reveal the worms. of course. listening to these songs. bob Dylan made that moment into art. mixed with sly humor. where we browned ourselves in the Creamsicle summers. In this album. he tells us the essentials. and here is Dylan. more certain. who ran for President promising life and delivering death. so forget the clenched young scholars who analyze his rhymes into dust. but of all our poets. Only the artists can help the poor land again to feel. fair women and honorable men. but albums 1 albums 2 albums 3 sONGs . If you see her.

Dylan’s art feels. in what the artists left out of his painting. strumming a guitar. and ya do it well. . but most of all. glorifies the dismal glitter of celebrity. Kerouac. but in some ways Dylan has kept their promise. the casual drawings and etchings. If we listen. Every artist owns a vision of the world. the words are about “flowers on the hillside bloomin’ crazy / Crickets talkin’ back and forth in rhyme…” a girl. In the tall grass. trying to make mallarme’s dream flourish in the soil of america. where the rocks are clear and smooth at the bottom. as artists generally do. that human emotion that still exists. delivered almost casually. packaged’ all who spent themselves in combat with the plague. life is a bust. passing Huck Finn on the riverbanks. or taken out of context. we expand and inhabit the work of art. and it made me thing of Ginsberg and Corso and Ferlinghetti. Now we are getting Dylan’s vision. Used By Permission. they always knew they were near New York when they picked up symphony sid on the radio. but its real wonder is in the spaces. to enter that envisioned world. Say Hello. listen. if we work at it. New York. Used By Permission. and invites us to join him. against which the world moved so darkly. it blows through the human heart. can’t ya tell? ** a simple song. Or listen to the long narrative poem called “lily. racing Deam moriarty across the country in the Fifties. and most of all. boxcars. Is do what you must. because they are cheating themselves of a shot at wonder. Used By Permission. he allows us the grand privilege of creating along with him. ** From “Buckets of Rain. 1974 albums 1 albums 2 albums 3 sONGs * From “If You See Her.42 he insists on his right to speak of love. the poet sings to all of us: but I’ll see you in the sky above. to state things plainly is the function of journalism. and when the artists die. It is the most democratic form of creation. with Kerouac dreaming his songs of the railroad earth. and by leaving things out. In san Francisco they declared a renaissance and read poetry to jazz. and yet it can also stand as the anthem for all who feel invaded. rosemary and the Jack of Hearts.*** — Pete Hamill. Not Dante’s Inferno. that quality is in all the work in this collection. not because. symbolic. in Faulkner’s phrase. there is humor here too. we all die with them. I’ll do it for you. so forget the Dylan whose image was eaten at by the mongers of the idiot wind. padding across the flagstones. ah. In the ones I love. it should be experienced in full. coldblooded poem about the survivor’s anger. all who ever walked into the knives of humiliation or celebrates fad and fashion. a son of Provence. and he has survived the plague.” It should not be reduced to notes. You do what you must do. Dylan knows that such a wind is the deadliest enemy of art.” © 1974 Rams Horn Music. driving harder into self. listen to “Idiot Wind. or a magazine cover. blood brother of Villon. in the poisoned air and dead grey lakes. a small grin pasted over the hurt. All rights reserved. as if the poet could control the chaos of feeling with a few simply chosen words: life is sad. and he shouts his protest when he sees evil mangling that vision. but he must also tell us the vision. honey baby. is like plunging deep into a mountain pool. rich and loamy. and yes. in spite of.” © 1974 Rams Horn Music. All rights reserved. He is only a troubadour. that has always been the key to Dylan’s art.” © 1974 Rams Horn Music. the big Dipper pricking the velvet night. all ya can do. red-haired and melancholy. bottled. begins to smile. bouncing against the Coast. in all of television. Now he has moved past them.” they are fools. His song becomes our song because we live in those spaces. all the busted dreams of open places. they failed. *** From “You’re Gonna Make Me Lonesome When You Go. and not intended to be. but a song which conjures up the american road. look: he has just walked into the courtyard. there are some who attack Dylan because he will not rewrite “like a rolling stone” or “Gates Of Eden. music drove them. as personal as anything ever committed to a record. major works.” It is a hard. Don’t mistake him for Isaiah. and heading back again. to me. Its products live on the covers of magazines. the long. the compression of story is masterful. All rights reserved. full of imagery and ellipses. totalitarian art tells us what to fee. handled. we fill up the mystery. but Dylan sings a more fugitive song: allusive. You’re gonna make me lonesome when you go. embracing wind and night. or a leader of guitar armies.

” along with the beautiful “tears of rage. 1975 In the summer and fall of 1967. and some genuinely beautiful songs of love and grief. Mrs. the repertoire they played. mrs. giddy humor.” “tiny montgomery. music was still very much on his mind. although he would not tour again for eight years. fell into the hands of collectors and were widely circulated and bootlegged. among this extraordinary flowering of material could be found nonsense ballads. and played with. who would come to be known as the band. Homer Long-Distance Operator This Wheel’s On Fire 43 the basement tapes July 1. Dylan. New York area. albums 1 albums 2 albums 3 sONGs OrIGINal lINEr NOtEs . luckily for everyone.” hold a unique and precious place in Dylan’s work. Henry” “million Dollar bash. switching from high drama to comedy to the downright absurd. Henry Tears Of Rage Too Much Of Nothing Yea! Heavy And A Bottle Of Bread Ain’t No More Cane Down In The Flood Ruben Remus Tiny Montgomery You Ain’t Goin’ Nowhere Don’t Ya Tell Henry Nothing Was Delivered Open The Door.” especially – and comic gems like “Yea. recuperating from his motorcycle accident and taking stock of his life as well. bluegrass and country and hard blues. originally circulated by his music publishing company. some of the songs went on to have a life of their own – “You ain’t Goin’ Nowhere.” “Please. mixing and matching idioms.” and “lo and behold. the tapes. at those sessions was eclectic to say the least—traditional folk songs and doo-wop tunes. along with these were a series of original songs that used the conventions and subject matter of the traditional material kaleidoscopically. the musicians left a tape recorder running much of the time. while living in the Woodstock. Heavy and a bottle Of bread. regularly got together for informal sessions with the members of his 1966 backing group.Odds And Ends Orange Juice Blues (Blues For Breakfast) Million Dollar Bash Yazoo Street Scandal Goin’ To Acapulco Katie’s Been Gone Lo And Behold! Bessie Smith Clothes Line Apple Suckling Tree Please. Columbia records officially assembled twenty-four of the performances on a two-disc set known as The Basement Tapes. bob Dylan took time off. In 1975. dead-pan doubletalk.

the instrumental line up is: rick Danko.” harp on “long Distance Operator”: robbie robertson.” but there are two elements the three sessions do share. it has never even been rumored. you can sit down and play it. 1967. by his girlfriend. Garth Hudson’s omnipresent merry-go-round organ playing (and never more evocative than it is on “apple suckling tree”). and then scares him half to death. Jerry lee lewis and Johnny Cash together for the first and last time.” an old chain gang song that ought to be a revelation to anyone who has ever cared about the band’s music. immediate. there’s the kind of love song only richard manuel can pull off.” “You ain’t Goin’ Nowhere” and “this Wheel’s On Fire.” “Yazoo street scandal.. he was back. language. as they trade nuances and phrases within the songs. What was taking shape. sound like the music of a partnership. there is the unassuming passion of the band’s magnificent “ain’t No more Cane. some facts. or as albums 1 albums 2 albums 3 sONGs . and likely not too interested in doing so.” has never been bootlegged—for that matter. bob Dylan. that has never been in doubt. Neither “John Wesley Harding. in the basement of big Pink.” accordion on “ain’t No more Cane”). the irresistibly pretty “Katie’s been Gone”. “Goin’ to acapulco. sound much like “the basement tapes.” acoustic guitar on “ain’t No more Cane”).” “ain’t No more Cane” and “Don’t Ya tell Henry. up in West saugerties.. organ (sax on “Orange Juice blues (blues For breakfast). you can feel the warmth and the comradeship that must have been liberating for all six men.” a comic horror story wherein the singer is introduced.” made later that year. to a certain limit. those rough tours pushed bob Dylan’s music. a feeling of age. then.. had yet to rejoin his group when most of the material with Dylan was recorded.” more than any other music that has been heard from bob Dylan and the band. “the basement tapes” are a bit like the phantom 1956 session that brought Elvis. In the summer of 1967 Dylan and the band were after something else. the sound is clear. and they had made stand-up. beneath the easy rolling surface of the basement tapes. rick Danko. the band cut a song called “the rumor. as sly as Jerry lee lewis.tHE basEmENt taPEs original liner notes 44 some years back. with from one to three mikes. Cut live on a home tape recorder. there’s a lot of back-up singing all around. and the band’s. as for the quality of feeling in the music—well. Carl Perkins. for one thing. is completely unfettered. tones sharpened.” bass on “ain’t No more Cane”).” It’s a tune that could well describe the music now collected here. a kind of classicism. there is levon Helm’s patented mixture of carnal bewilderment and helpless delight in “Don’t Ya tell Henry” (and the solos he and robbie stomp out on that tune)—and the tale he tells in “Yazoo street scandal.” — bob Dylan.. one of them. to the local Dark lady. and direct. and robbie robertson take the lead on eight others. levon Helm. bob Dylan’s singing. a house rented by some members of the band.with a certain kind of blues music. as the Hawks. lead guitar (drums on “apple suckling tree. all of the tracks have been remastered. as intimate as living room and as slick as a barbed wire fence. “the basement tapes” have always been more of a rumor than anything else. a good number of the songs seem as cryptic. for the tunes by the band. What matters is rick Danko’s loping bass on “Yazoo street scandal”. richard manuel. no-quarter-given-andno quarter-asked music if there ever was such a thing. uncoiling menace of “this Wheel’s On Fire”. In spite of the bootlegs and cover versions. 1966 In 1965 and 1966 bob Dylan and the Hawks played their way across the country and then around the world. and an absolute commitment by the singers and musicians to their material. bob Dylan sings lead on sixteen numbers. “the basement tapes. none of which has ever surfaced either. bass (mandolin on “ain’t No more Cane”). as Dylan and the band fiddled with the may have to lean forward a little. you’ll be hard put to pin it down. who had left the band when. and so on. the twenty-four songs on these two discs are drawn from sessions that took place between June and October. on drums (mandolin on “Yazoo street scandal” and “Don’t Ya tell Henry. as Dylan and the band trade vocals across these discs. who can’t figure out if he’s lost his heart to the woman herself or the way she sings. levon Helm. who promptly seduces him. there’s the lovely idea of “bessie smith. richard manuel. acoustic guitar (piano on “apple suckling tree”). and as knowing as the old man of the mountains. “. there is some serious business going on. piano (drums on “Odds and Ends. nor “music From big Pink” (for which all of the band’s numbers here were at one time intended). was less a style than a spirit—a spirit that had to do with a delight in friendship and invention. as you first listen to the music they made. New York. because this performance seems to capture the essence of what they have always meant to be. highlights have been brought out. Garth Hudson.” written and sung by robbie and rick as the plaint of one of bessie’s lovers. they were backing Dylan on stage in 1965. tape hiss removed. the slow.

he wants to see nothing and to be seen by no one.” the spirit of a song like “I Wish I Was a mole In the Ground” matters here not as an “influence.” and “this Wheel’s On Fire”—one can hardly avoid hearing it. “the basement tapes” are a kaleidoscope like nothing I know. the settling of accounts past due.45 nonsensical. charms or spells. roaring with humor and good times. the ghost of rabbit brown’s sardonic “James alley blues” might lie just behind “Crash On the levee (Down In the Flood)” (“sometimes I think that You’re too sweet to Die. in the most powerful and unsettling songs on “the basement tapes. and not for what the singing and the music say—but the open spirit of the songs is as straightforward as their unmatched vitality and spunk. moving easily form the confessional to the bawdy house.” and not as a “source. I mean. obligation. a flair for ribaldry that’s as much a matter of levon’s mandolin as his.” especially—that can’t he found anywhere else. there are rhythms in the music that literally sing with compliments tossed from one musician to another—listen to “lo and behold!. He wants to be delivered from his like.” “Yazoo street scandal. it is the quiet terror of a man seeking salvation who stares into a void that stares back. and early rock and roll. “and another time I think You Oughta be buried alive”) “the basement tapes” summon sea chanteys. tall tales. he wants to destroy the world. and it is in this way most of all that “the basement tapes” are a testing and a discovery of roots and memory. death is not very universally accepted. naked emotion in some of Dylan’s writing and singing—in “tears Of rage. and to survive it. more than a little crazy. One hears a pure. like a mole in the ground. homecoming. “Obviously. but they seem to leap out of a kaleidoscope of american music no less immediate for its venerability. levon Helm and rick Danko play. impenetrable fatalism that drives the timeless ballads first recorded in the twenties. escape. and almost impossible to really comprehend. songs like buell Kazee’s “East Virginia.” “too much Of Nothing. if you listen only for words. you’d think that the traditional music people could gather from their songs that mystery is a fact.” “Crash On the levee (Down In the Flood). no more likely to fade than Elvis Presley’s “mystery train” or robert Johnson’s “love In Vain. if anything.” in “Goin’ to acapulco.” brown sang in 1927. the “acceptance of death” that Dylan found in “traditional music”—the ancient ballads of mountain music—is simply a singer’s insistence on mystery as inseparable from any honest understanding of what life is all about. It sounds as well like a testing and a discovery of memory and roots.” “Don’t Ya tell Henry.” “Cock robin. and I think it is the musical sympathy Dylan and the band shared in these sessions that gives “tears Of rage.” or “Five Nights Drunk”. of some very pointed themes.” Clarence ashley’s “Coo Coo bird. drinking songs.” they put an old.” put down by bascom lamar lunsford in 1928.” and other numbers.” — bob Dylan.” “lo and behold!”). put up or shut up. richard manuel. it might be why “the basement tapes” are. “I wish I was a mole in the ground—like a mole in the ground I would root that mountain down—and I wish I was a mole in the ground.” “tears Of rage. You can find it in Dylan’s singing and in his lyrics on “this Wheel’s On Fire”—and in every note Garth Hudson.” It is simply that one side of “the basement tapes” casts the shadow of such things and in turn. this music sounds to me at once like a testing and a discovery —of musical affinity. and to be changed into a creature insignificant and despised. Dylan and the band came to terms with feeling— came to terms with the void that looks back—in the summer of 1967. singing—a spirit that shoots a good smile straight across this album. owning up.” Dock boggs’ “Country blues”—or a song called “I Wish I Was a mole In the Ground. at times flatly bizarre (take “million Dollar bash. complete and no more dated than the weather. — Greil marcus albums 1 albums 2 albums 3 sONGs . Just below the surface of songs like “lo and behold!” or “million Dollar bash” are the strange adventures and poker-faced insanities chronicled in such standards as “Froggy Went a-Courtin’” “E-ri-e. as a misnumbered crossword puzzlethat is. is shadowed by them. old sense of mystery across with an intensity that has not been heard in a long time.” Henry thomas’s “Fishing blues.” and there is another kind of openness. robbie robertson. It is the awesome. It is a plain-talk mystery. it has nothing to do with mumbo-jumbo.” “ain’t No more Cane. or Dylan’s. along side of such things—and often intertwined with them—is something very different. 1966 I think one can hear what bob Dylan was talking about in the music of “the basement tapes. what the singer wants is obvious. of nerve. more compelling today than when they were first made.” Now. their remarkable depth and power. a traditional fact.

Howard Wyeth .Hurricane Isis Mozambique One More Cup Of Coffee Oh. harmonica.bass.rhythm guitar. 1976 OrIGINal lINEr NOtEs .background vocals. pain and fire and sudden transcendence. Desire was his biggest hit to date.bellzouki.” a devastatingly direct and open love letter to his wife. Scarlet Rivera violin. and confusion. as is “sara. one of Dylan’s most interesting. Featuring violinist scarlett rivera. a Dylan discovery. Desire leads off with Dylan’s blazing narrative ballad “Hurricane. rage and sarcasm that many hailed as a return to his “protest” work of the previous decade. Emmylou Harris . albums 1 albums 2 albums 3 sONGs Desire Produced by Don DeVito January 5.accordion. Dom Cortese .congas “Hurricane. several of the Desire tracks. Rob Stoner . trial and imprisonment.” were co-written with playwright Jacques levy. piano on “Isis”. an album full of tumult. Luther . Ronee Blakley background vocals “Hurricane”. energy.” which tells the story of boxer ruben “Hurricane” Carter’s arrest.” 46 the follow-up album to Blood On The Tracks was released between the first leg of Dylan’s epic rolling thunder tour in late 1975 and the second in the spring of 1976. Dylan’s Hebraic melisma on “One more Cup of Coffee” is another high point.drums. background vocals. Vincent Bell . a song full of anger. and have a quasi-surreal narrative spin to them. Sister Joey Romance In Durango Black Diamond Bay Sara Musicians: Bob Dylan . including “Isis” and “romance In Durango.

” & spent life redeeming pure North Jersey language so later poets could sing “tough iron metal” talk rhymes “they want to put his ass in stir they want to pin this triple murder on him … He coulda been the champion of the wooorld – “ & end plain as day “… shame! to live in a land where Justice is a game!” so every Paterson kid will know News furthermore that “rubin sits like buddha in a 10 foot cell. exploding boilers & characters disappering in tornadossuddenly a big dissolve & you’re sitting with albums 1 albums 2 albums 3 sONGs . Ea. so hear continuous succession of Panama Hat Necktie details. think Chaplinesque body dancing to syllables sustained by rolling thunder band rhythm following Dylan’s spontaneous ritards & talk-like mouthings for clarity.” so you can hear it! With two-part dialogue! big discovery. mother of ra. Dylan’s redemption songs! If he can do it we can do it. local newsboy-prophet song echoes old youthful idealistic William ZanZinger poem. whom Dylan minstrel visited in jail. big sound in conscious generations. “How does it feel?” and now come down from that mountain of sound.” Yes! with tough gold metal compassion.” Follows the first City Narrative. 1975. good anarchists.. Dylan will stay here with us! “you may not see me tomorrow.” Drunken aggressive beer bottles’ll never redeem anybody – but clear conscious song can. time is an ocean but it ends at the shore. he’s still tender friend – lost alone loved like a thin terrified guru by every seeker in america who’s heard that long-vowelled voice in heroic ecstacy. “to live outside the law you must be honest. says he’s reading Joseph Conrad storyteller. hard iron metal Villonesque stoicism & sympathy. who’s he talking about? Eternal sister? Good citizen sisters. with long lamenting refrain over name anonymous in 25 years Joey. Carter framed on bum rap Passaic Country N. big grey hat stuck with November leaves & flowers – no instrument in hand. Oh sister. “It’s only natchural. Isis here recorded. astarte. black Diamond bay’s also a short novel in verse.” big daily announcement. Hecate. You may not see me tomorrow. singing like a biblical mortal “Oh sister am I not a brother to you and one deserving of all affection? and is our purpose not the same on this Earth to love and follow his direction? …. protest song: Pro (in favor) * attest (testify for) the character case of boxer mr. solid facts beating foreward with drums & violins – like a jagged short story. except D. oldfashioned Dylan surrealist mind-jump inventions line by line. poet alone at microphone reciting-singing surreal-history love text ending in giant “YEaH!” when minstrel gives his heart away & says he wants to stay. Divine mother.C. every consonant sneered out with lips risen over teeth to pronounce them exactly to a tin microphone. ballad sung by hero making hero of unlikely sensitive gangster Gallo.” Old bards & minsrels rhymed their years news on pilgrimage road – Visitations town to town singing Kings shepherds’ cowboys’ & lawyers’ secrets – Good Citizen minstrel truth’s instantaneously heard. the only innocent Hurricane. america can do it. these songs are the culmination of Peotry-music as dreamt of in the ‘50s & early ‘60s – poets reciting-chanting with instruments and bongos – steady rhythm behind the elastic language. rubin Carter spring pray God if there’s One in america – familiar harmonica pieces ears that just hard about “criminals in their coats & their ties. with dialogue movie panoramic cold suns over brooklyn – and your inside news the papers didn’t interpret for the murdered outlaw. he’s giving away Gold again – but remember.” so he now lets loose his long-vowel yowls & yawps over smalltowns’ antennaed rooftops. Dead protest? Woody Guthrie lineage road bards’ll still make us weep where there’s suffereing to be sung. Doctor Poet W. the singer later developed onstage sung for weeks whiteface. snarled out NOt for bummer ego put-down but instead for egoless enunciation of exact phrasings so everyone can hear intelligence – which is only your own heart Dear.J. song’ll hit streets supreme Courts’ll have coughed & weeped. amplified alive. to Isis moon lady language Creator birth Goddess.DEsIrE original liner notes sONGs OF rEDEmPtION 47 Hurricane. “It’s all right ma I can make it. sophia & aphrodite. saraswati & Kali-ma too. every syllable pronounced. Williams dying nearby said “a new world is only a new mind. We grew up together from the cradle to the grave ….

for now the congregation of poets sings across the land with new old soul-joy... at ease—a little bit like america now. heart stilled & singing clear. Poetry renaissance 1955.a. its hopeless— ness-the condition of World on its own bummer. “We may not make it through the night. shit burned out. Howie Wyeth & botticelli-faced little David mansfield from New Jersey—stopped his red car in East Village for ravehaired scarlet rivera walking with her violin case—giant adolescent t-bone burnett materialized from texas.” he must’ve been ready for another great surge of unafraid prophetic feeling—odd weeks seeking community he’d gone back to Other End bleeker street music house & jammed & drunk with ancient friend song improvisor bob Neuwirth & also anonymous genius street studio guitarists drummers violin prodigies rob stoner. allowing for your speech to fall like your mother’s radiotalk. a new Dylan again redeemed.we’re only 25% responsible the Crazy Wisdom lama says.blowing like a circle round your skull From the Grand Coulee Dam to the Capitol. Interesting. cantillating like synagogue cantor. where’s the great slowdown tenderness where everyone knows where Dylan’s at under his minstrel Hat? two songs his own heart life sings alone. it’s the real seventies—(every generation-decade flowers in the middle. O Generation keep on working! ______________ allen Ginsberg Co-Director Jack Kerouac school of Disembodied Poetics. hopeless. as Coffee for road’s semitic mode. redeemed.. Naropa Institute boulder. by the time Dylan’d made the great disillusioned national rhyme Idiot Wind “. steven soles from blues New York—Half-month was spent solitary on long Island with theatrist Jacques levy working on song facts phrases & rhymes. this long real-life spy hallucination tale opening the mind-suddenly put back into the samsara tube with a cynic lament.” How far has he gone? all the way from scared solitude inner prophetics—building on that mindhonesty strangeness—to openhearted personal historical confession. so everybody’d finally know him. like the fast mexican 11 syllables beginning Durango “Hot Chili Peppers in the blistering sun” masterpieces emerged—song become conscious poetry. is profound ancient tune revealing family paradigm—telling Wife & World the last secrets of solitary weeping art: “staying up for days in the Chelsea Hotel Writing sad Eyes lady of the lowland for you” Who woulda thought he’d say it. and behind it all the vast lone space of No God.s. lifetime awareness. Colorado 10 November 1975. “What can you do?” under his breath. or God. sharing information seriousness—lots of hight rhythmic art. household watching the same poem Cronkited on tV news: bard sings the awful movie where everybody loses & what can you say? my father age 80 also bowed his head & said. mindful conscious compassion. not ours or Dylan’s. One more Cup of Coffee for the road—voice lifts in Hebraic cantillation never heard before in u. allowing for the singer to open his whole body for Inspiration to breathe out a long mad vowel to nail down the word into everyone’s heart that’s where you get the funny syncopation—waiting to pronounce the line just right as the music marches by. the best you can say in total rhythm. we’re here in america at last. ego recognized & allow’d its place. total. albums 1 albums 2 albums 3 sONGs . sara. song. same soul crying vulnerable caught in a body we all are? —enough Person revealed to make Whitman’s whole nation weep.” “but he’s still like an electric bullet. “’fore I go down to the Valley below. Peace Vietnam berkeley 1965) . not paranoid any more. free. jumping in and out the fatal chords.48 minstrel Dylan in l. pleasure-lust put aside with suicidal pain.. ancient blood singing—a new age.” the buddhist boy said.

things changed character. T Bone Burnett. Steven Soles. Howard Wyeth. albums 1 albums 2 albums 3 sONGs Hard rain Produced by Don DeVito and Bob Dylan September 1. Rob Stoner – background vocals. Lay Shelter From The Storm You’re A Big Girl Now I Threw It All Away Idiot Wind Musicians: Mick Ronson. exhausting and extremely powerful document. Sister Lay. Rob Stoner bass. and it plainly put strains on Dylan’s personal life as well. Steven Soles. with its Cast Of thousands.Maggie’s Farm One Too Many Mornings Stuck Inside Of Mobile With The Memphis Blues Again Oh. painful. T Bone Burnett piano. David Mansfield . 1976 . exhilarating. was a logistical mountain to move week in and week out. 49 the rolling thunder tour. Scarlet Rivera . Howard Wyeth. the rolling thunder tour stopped rolling. throughout these nine performances Dylan sings like a man shaking his fist at the heavens. somewhere in between the buoyant circus of the first leg of the tour (captured gloriously in The Bootleg Series Volume 5 ) and the stark and even shocking desperado bitterness and venom of the may 1976 performances captured on Hard Rain. “shelter From the storm” and especially “Idiot Wind” are almost demonic in their intensity. Gary Burke drums. Not long after these performances. this snapshot of the tour’s waning days is a burning.

“Changing Of the Guards. Carolyn Dennis. along with a breakthrough into a new arena of spiritual and creative possibility. 1978 . Whether or not a dead end was in fact being hinted at in the music. Steve Douglas . L E G A L   One of Dylan’s most underrated albums. Jerry Scheff . full of struggle and light and darkness. as in the fine “señor (tales of Yankee Power)” and “Where are You tonight? (Journey through Dark Heat). Alan Pasqua keyboards. a harbinger of things to come. David Mansfield . the album was certainly the most slickly produced Dylan record up to that point. tarot references. 1978’s Street-Legal plunges deep into a pool of intense and hermetic language. background singers and keyboards.percussion. Dylan was reaching one. Ian Wallace drums. even dead ends. and more regret. Helena Springs – background vocals. Stop Crying Is Your Love In Vain? Señor (Tales Of Yankee Power) True Love Tends To Forget We Better Talk This Over Where Are You Tonight? (Journey Through Dark Heat) Musicians: Bob Dylan .rhythm guitar (background vocals).electric rhythm guitar & lead vocals. more lust.” is a shifting procession of mythological references.” “Is Your love In Vain?” “We better talk this Over” – telegraph the pulse of anxiety that underlies the entire album. Steven Soles . albums 1 albums 2 albums 3 sONGs street-legal Produced by Don DeVito June 15. Steve Madaio trumpet (is your love in vain?). some critics greeted it with a degree of suspicion because the backup band included horns.violin & mandolin. the first track. regret. Bobbye Hall . intense visual imagery and scraps of dialogue.Changing Of The Guards New Pony No Time To Think Baby. the titles alone – “No time to think. 50 BOB  DYLAN S T R E E T .bass. In retrospect it is possible to hear in much of Street-Legal evidence of the confusion and longing that might precipitate the kind of religious conversion that Dylan experienced not long afterward. Billy Cross – lead guitar.” fueled by lust. Jo Ann Harris.tenor and soprano saxophone . longing. most of the album seems to be about anguish and loss of direction.

finds Dylan backed with a band similar to that on Street-Legal. 1978 . most of the tracks find superb Dylan vocals encrusted with arranged touches from saxophone. Ma (I’m Only Bleeding) Forever Young The Times They Are A-Changin’ 51 this 2-disc live album. It’s not a usual setting for Dylan’s music and the approach works with varying degrees of success. It’s All Right Maggie’s Farm One More Cup Of Coffee (Valley Below) Like A Rolling Stone I Shall Be Released Is Your Love In Vain? Going. ma (I’m Only bleeding)” and a fine reading of “Forever Young. When it works it delivers new insights such as on the powerful re-imagining of “It’s alright. and keyboards. Going. recorded in tokyo in early 1978. including at least one song from every studio album he had recorded up to that point. flute. he makes disarming remarks before some tunes. Gone Blowin’ In The Wind Just Like A Woman Oh. but one that has gained stature with passing time. Sister Simple Twist Of Fate All Along The Watchtower I Want You All I Really Want To Do Knockin’ On Heaven’s Door It’s Alright. Tambourine Man Shelter From The Storm Love Minus Zero/No Limit Ballad Of A Thin Man Don’t Think Twice. and takes some liberties with lyrics here and there.” Not one of Dylan’s very best records.” Dylan sounds relaxed and happy most of the time. notably on “simple twist Of Fate. with the exception of Bob Dylan. performing a kind of career retrospective.Mr. as well as prominently featured background singers. albums 1 albums 2 albums 3 sONGs bob Dylan at budokan Produced by Don DeVito April 23. perhaps.

Carolyn Dennis. but you’re gonna have to serve somebody. as they had when he began appearing with an electric band in the previous decade.Gotta Serve Somebody Precious Angel I Believe In You Slow Train Gonna Change My Way Of Thinking Do Right To Me Baby (Do Unto Others) When You Gonna Wake Up? Man Gave Names To All The Animals When He Returns Musicians: Bob Dylan – guitar.percussion. vocals.” and the rest of the disc goes on to illuminate aspects of that choice in tones alternately devotional and evangelical. the album’s opening track lays it out clearly: “It might be the Devil.guitar. albums 1 albums 2 albums 3 sONGs slow train Coming Produced by Jerry Wexler & Barry Beckett August 20. the music world was sharply divided at the time over the new turn Dylan had taken. and in may 1979 he entered the studio to record an album that shook up the pop music world. but Dylan showed his characteristic integrity by doing what he felt called to do. and songs like “Gotta serve somebody. a fan threw a small silver cross onto the stage at a performance in san Diego on a night when Dylan was. Just after this. Pick Withers . Barry Beckett.horns. Muscle Shoals Horns . Revina Havis – background vocals. Dylan began bible study with a small group in California.” “I believe In You” and “When He returns” rank with his best work. at a low ebb in his life.bass. he clearly had a profound spiritual experience that resulted in a conversion to Christianity.keyboards. 1979 . 52 SLOW TRAIN COMING bOb dyLAN In the fall of 1978. by his own admission. Mark Knopfler .drums. and his fans. Helena Springs. or it might be the Lord. Slow Train Coming. audiences often heckled him at his live shows. Mickey Buckins . Tim Drummond . Barry Beckett . as they had been several times in the past.

with tracks like “solid rock. Fred Tackett – guitar. one can feel a constant struggle with the sin of pride. Jim Keltner – drums. Saved is. he was quoted as saying. Clydie King. “I’m becoming less and less defined as Christ becomes more and more defined. It is in its way one of Dylan’s least personal albums. albums 1 albums 2 albums 3 sONGs saved Produced by Jerry Wexler & Barry Beckett June 19. harmonica. 1980 . vocals. 53 anyone hoping that Dylan’s Christian preoccupation was just a phase or a momentary blip on the screen would have been very disappointed by this 1980 follow-up album. but one with an absolutely uncompromising vision. Mona Lisa Young – vocals. an even stronger evangelical statement.” throughout Saved. if anything.A Satisfied Mind Saved Covenant Woman What Can I Do For You? Solid Rock Pressing On In The Garden Saving Grace Are You Ready Musicians: Bob Dylan – guitars.” “Pressing On” and the title song bearing witness to Dylan’s belief in biblical prophecy. Not perhaps one of the top Dylan albums. with his own sense of possibility and right and wrong. or am I still acting like the boss?”). from his reading of the old gospel standard “a satisfied mind” (“it’s so hard to find one rich man in ten with a satisfied mind”) to his own “are You ready” (“have I surrendered to the will of God. or with people’s perceptions of it. less introspective than Slow Train Coming. Tim Drummond – bass. Spooner Oldham – keyboards. he was glad to point listeners to a Higher authority. In a 1980 interview. perhaps after all the years of wrestling with his own persona. Terry Young – keyboards & vocals. Regina Havis.

54 after the hellfire and brimstone of Saved. albums 1 albums 2 albums 3 sONGs shot Of love Produced by Chuck Plotkin and Bob Dylan (except for “Shot of Love. percussion. Carl Pickhardt – piano. Danny Kortchmar – electric guitar. His “lenny bruce. vocals. (With) Steve Ripley – guitar. Dead man” is unambiguous enough. serving either as songs of religious faith or as songs of earthly love. Jim Keltner – drums. Fred Tackett – guitar. 1981’s Shot of Love seems a little on the unfocused side.” a song of praise for the great comedian who “fought a war on a battlefield where every victory hurts. Benmont Tench – keyboards.Shot Of Love Heart Of Mine Property Of Jesus Lenny Bruce Watered-Down Love The Groom’s Still Waiting At The Altar Dead Man.” is very affecting. Tim Drummond – bass. a millennial song with scorching lyrics and imagery that bounces back and forth between middle East armageddon and a frustrated love affair. although many found it easier to listen to than the previous record. Dead Man In The Summertime Trouble Every Grain Of Sand Musicians: Bob Dylan – guitars. some of the railing-prophet energy seems to have burned off. Steve Douglas – saxophone. Clydie King. a number of the other songs on the album could be read ambiguously. 1981 . although the message in “Property Of Jesus” and “Dead man. and the beauty and humility and meditative quality of the devotional “Every Grain of sand” could be said to reflect a more mellowed relation to his newfound faith. Carolyn Dennis. harmonica. Chuck Plotkin and Bob Dylan) August 12. piano. When the album was originally issued it did not contain “the Groom’s still Waiting at the altar”. It was added to the CD release after making its first appearance on the 1985 collection Biograph. Regina McCrary.” produced by Bumps Blackwell. Madelyn Quebec – backing vocals.

Sly Dunbar – drums.” “sweetheart like You” is a subtle and brilliant love song. keyboards. densely symbolic exploration into the ambiguity of salvation.Jokerman Sweetheart Like You Neighborhood Bully License To Kill Man Of Peace Union Sundown I And I Don’t Fall Apart On Me Tonight Musicians: Bob Dylan – guitar. Instead he produced a number of songs that had the feeling of prophecy inflected by inner struggle. Mark Knopfler – guitar. Robbie Shakespeare – bass. the close relation between pride and the impulse to save. some of the very best things recorded at the Infidels session were left off the album. harmonica. During this time Dylan was writing and performing with all the fire and spiritual depth of his Christian work. the temptations of idolatry. 55 In 1983. worthy of Blood on the Tracks. Alan Clark – keyboards.” show up on The Bootleg Series Volume 1-3. October 27. and some of its fruits can be found on Infidels. a theme explored in more direct terms on “man Of Peace. the album’s strongest track must certainly be “Jokerman. LTD. albums 1 albums 2 albums 3 sONGs Infidels Produced by Bob Dylan For “Wreck of the Old 97 Productions” and Mark Knopfler for Chariscourt. but with a less deliberately or directly evangelical element. 1983 . and the difficulty of trusting even the believing self. Mick Taylor – guitar. percussion. “blind Willie mctell” and the scorching “Foot of Pride.” a cryptic. Dylan hit a streak of extraordinary inspiration again. Oddly. a couple of these.

Colin Allen – drums. 1984 . a pulsating “Highway 61 revisited” kicks things off and the leader’s vocals are strong rhythmically and musically. Greg Sutton – bass. on some songs he does not always sound absolutely in sync with the lyrics. harmonica. Ian McLagen – keyboards.” where there seems to be a disconnect between his delivery and the song’s meaning.” from the recent Infidels. “I and I” and “license to Kill. Mick Taylor – guitar. albums 1 albums 2 albums 3 sONGs real live Produced by Glyn Johns November 29. and Carlos santana joins the band on guitar for a rocking version of “tombstone blues. although he plainly enjoys hearing the audience sing along on the refrain (even dropping out so they can sing it alone one time).” 56 Dylan’s European tour of 1984 is documented in this interesting set drawn from July concerts in England and Ireland. just a record of a hard-working “song and dance man.Highway 61 Revisited Maggie’s Farm I And I License To Kill It Ain’t Me. as he had been doing for over two decades at that point. a mixture of solo and band performances most notable for a solo version of “tangled up In blue” with markedly different lyrics than those found on Blood On The Tracks. vocals. However. Carlos Santanna – additional guitar on “Tombstone Blues. as on “It ain’t me babe. get a couple of the set’s best readings.” as he once called himself. serving up the goods on the road. Babe Tangled Up In Blue Masters Of War Ballad Of A Thin Man Girl From The North Country Tombstone Blues Musicians: Bob Dylan – guitar.” Nothing new here in terms of repertoire.

” which plays a game with lines from old movie dialogue. It doesn’t seem to have gotten its due for being what it is. Peggi Blu. Ron Wood. Jim Keltner – drums. like “Emotionally Yours. Ted Perlman. titled “someone’s Got a Hold Of my Heart.” and “I’ll remember You. an album full of love songs. Bashiri Johnson – percussion. haunting solo performance.” a scary song about an all-american boy who came back psychologically damaged from war. remixed by producer du jour. Benmont Tench – keyboards. arthur baker. Queen Esther Marrow. Madelyn Quebec – vocals. more “produced” feel to it than any of his previous albums. standout tracks include the slashing “seeing the real You at last. with the possible exception of StreetLegal. Anton Fig.” may be heard on The Bootleg Series 1-3) and “Clean Cut Kid. Ira Ingber – guitars. and Dylan sings them well.” “Never Gonna be the same again. Mike Campbell. Richard Scher. keyboards.Tight Connection To My Heart (Has Anybody Seen My Love) Seeing The Real You At Last I’ll Remember You Clean-Cut Kid Never Gonna Be The Same Again Trust Yourself Emotionally Yours When The Night Comes Falling From The Sky Something’s Burning. Mick Taylor. Bob Glaub. albums 1 albums 2 albums 3 sONGs Empire burlesque May 30. 57 this 1985 album is certainly among the more underrated ones in Dylan’s catalog.horns. Vince Melamed – Synthesizer. Urban Blight Horns .” and that may have something to do with why the set is undervalued. “Dark Eyes. Stuart Kimball. Sly Dunbar. most of them with a high gloss to be sure. Carol Dennis. David Watson – Sax. Robbie Shakespeare. Chops. 1985 . Syd McGuiness. Alan Clark. John Paris – bass. Al Kooper. some of the songs are flat-out pop tunes. Baby Dark Eyes Musicians: Bob Dylan – guitar. is a quiet.” a last-minute addition. Don Heffington. Howie Epstein. it has a slicker. vocals. but they are good pop songs. the fine poetry of “tight Connection to my Heart” (an alternate version of this.

Let Me Follow You Down If Not For You I’ll Be Your Baby Tonight I’ll Keep It With Mine [1/4/65] The Times They Are A-Changin’ Blowin’ In The Wind Masters Of War The Lonesome Death Of Hattie Carroll 58 Percy’s Song [10/23/63] Percy’s Song [10/23/63] Mixed Up Confusion Mixed Up Confusion Tombstone Blues Tombstone Blues The Groom’s Still The Groom’s Still Waiting At The Altar Waiting At The Altar Most Likely You Go Most Likely You Go Your Way And I’ll Go Mine Your Way And I’ll Go Mine Like A Rolling Stone Like A Rolling Stone Lay Down Your Lay Down Your Weary Tune [10/24/63] Weary Tune [10/24/63] Subterranean Subterranean Homesick Blues Homesick Blues I IDon’t Believe You Don’t Believe You (She Acts Like We Never (She Acts Like We Never Have Met) [Live 5/6/66] Have Met) [Live 5/6/66] Visions Of Visions Of Johanna [5/26/66] Johanna [Live 5/26/66] Every Grain Of Sand Every Grain Of Sand Quinn The Eskimo (The Quinn The Eskimo (The Mighty Quinn) [July 1967] Mighty Quinn) [July 1967] Mr. It also brought Dylan’s music. For better or for worse. I’m In The Mood For You [7/9/62] I Wanna Be Your Lover [Ocotober1965] [October 1965] I Want You Heart Of Mine [Live August 1981] On A Night Like This Just Like A Woman Romance In Durango [Live 12/4/75] Señor (Tales Of Yankee Power) Gotta Serve Somebody I Believe In You Time Passes Slowly I Shall Be Released Knockin’ On Heaven’s Door All Along The Watchtower Solid Rock Forever Young [June 1973] albums 1 albums 2 albums 3 sONGs the 1985 release of the 5-lP set Biograph set off a widespread media reevaluation of Dylan’s art and his place in american culture. biograph Produced by Jeff Rosen November 7. to that extent. to a new generation of listeners. Baby Blue [Live 5/17/66] Can You Please Crawl Out Your Window? Positively 4th Street Isis [Live 12/4/75] Jet Pilot [October 1965] Caribbean Wind [4/7/81] Up To Me [9/25/74] Baby. it kicked off the record industry phenomenon of the boxed-set career retrospective. Lady. but it followed no particular chronological or thematic order. Tambourine Man Mr.” the poignant and beautiful “Percy’s song.” a stunning live 1966 solo version of “Visions of Johanna. the set itself has its own allusive aesthetic.” the Shot Of Love outtake “Caribbean Wind. Instead it had a kind of free-associative quality that proved to be a perfect light in which to view all the facets of Dylan’s work. Lay Baby. Babe You Angel You You Angel You Million Dollar Bash Million Dollar Bash To Ramona You’re A Big Girl Now Girl Now [9/25/74] [9/25/74] Abandoned Love [July 1975] Tangled Up In Blue It’s All Over Now. brilliantly programmed.” full-tilt live versions of “Isis” and “romance In Durango” from the rolling thunder revue. the early unissued tracks “I’ll Keep It With mine” and “lay Down Your Weary tune. 1985 OrIGINal lINEr NOtEs . among Biograph’s many previously unissued treasures are the Blood On The Tracks outtake “up to me. Babe Ain’t Me. in itself. in all its variety and scope. mixing familiar tracks from Dylan’s albums with unheard live performances and studio outtakes. Biograph was a career retrospective. working by juxtaposition and leaps of intuition – resembling. a kind of masterpiece. Biograph is. Tambourine Man Dear Landlord Dear Landlord ItItAin’t Me. and still the best all-around introduction to Dylan.Lay. all in all. Dylan’s own aesthetic.” the 1965 mini-epic “Jet Pilot”…. there are way too many highlights to list.

eleven or twelve. this made me different from your regular folk singers. there was a lot of unrest in the country. Dylan was taken in by the artistic community and it was there that he first became acquainted in the rural folk music of artists like big bill broonzy. John lee Hooker and others. He lost his job in Duluth and we moved to the Iron range and moved in with my grandmother Florence and my grandfather who was still alive at the time. He would not be long for Hibbing. Elston Gunn & the rock boppers. that was the only thing that I did that meant anything really. minnesota.. I could always hear my voice sounding better as a harmony singer. Dylan traveled first to the minneapolis/st. Jimmy reed. they bought the store and started selling lamps. really. Whoa Boys Can’t Ya Line ’M. everybody had pretty much the same thing and the very wealthy people didn’t live there. before that.” remembered Dylan. anyway. whatever. nobody with any place special to live. I worked on the truck sometimes but it was never meant for me. He knew more songs than I did. When he took the stage for a high school talent show.” “I always wanted to be a guitar player and a singer. I learned all those from him. fellow students were shocked at the slight kid who opened his mouth and came out wailing. also. “I came out of the wilderness and just naturally fell in with the beat scene. I worked off and on with mark spoelstra and later with Jim Kweskin. wiring homes and things. leadbelly. Hank snow. John Hardy. had gone to electrical school and by this time had gotten electrician licenses. Paul area. Dylan was thinking about leather jackets and motorcycles.. australia late in ’78 and told him how he impressed me so when I was growing up. I had already decided that society. Golden Vanity. there was a big epidemic. I slept on a roll-a-way bed. wanted to dress like him too.” bob Dylan said recently on a break from sessions for a new album. roscoe Holcomb and the great Woody Guthrie.. “by that time. it was all pretty much connected. the explosive film Blackboard Jungle had touched his life and so had the late-night rhythm and blues stations from Chicago. I ran into him in the elevator in sydney. clocks. st. I never understood this until much later but it must have been hard for him because before that he’d been a very active and physical type guy. two of my uncles. who played mostly ballads and Josh White-type blues. I totally fell in love with... born robert Zimmerman on may 24th. I guess. not unlike the Delmore brothers. You always ran into people you knew from the last place. just like the albums 1 albums 2 albums 3 sONGs .” “minneapolis was the first big city I lived in. who were either folk song purists or concert-hall singers. suitcases. Henrietta was the first rock ‘n’ roll record I heard. I was singing stuff like Ruby Lee by the sunny mountain boys. He was the first singer whose voice and style. Where I was at. was pretty phony and I didn’t want to be part of that. In New York. “my family settled in Hibbing I think in about ’46 or ’47. 1941 looked mighty different around Hibbing. gray midwestern mining town where they lived. carrying horns. the ten O’Clock scholar. it was all that interested me. guitars. my father had polio when I was very young. the shadow blasters. they were the ones that owned the mines and they lived thousands of miles away. you usually went from town to town and found the same setup in all these places. He hounded the local record store for the newest singles from Hank Williams. and Jack O’Diamonds by Odetta and somehow because of my earlier rock ‘n’ roll background was unconsciously crossing the two styles. You could feel it. later. the Golden Chords. bebop crowd. radios. sort of like a calm before a hurricane.. most of them had a frame of reference that didn’t stretch much farther than the small. We sounded great. as it was. a lot of frustration. that was real early though. my uncle Paul and my uncle maurice.bIOGraPH original liner notes 59 tHE FIrst GlImPsEs OF bOb DYlaN come from friends and classmates in his hometown of Hibbing. Young Dylan. I’d played by myself with just a guitar and harmonica or as part of a duo with spider John Koerner. that’s all I remember. Johnny ray. Jim and I sounded pretty similar to Cisco and Woody. the brothers took him in as a partner. with a fully realized little richard howl. my father never walked right again and suffered much pain his whole life. Howlin’ Wolf. He enrolled in classes at the university of minnesota but ended spending more time in the nearby bohemian district known as Dinkytown. if you want to call it that.. Kansas City..” after high school graduation in 1959. Chuck berry. minnesota. louis. “since I was ten. they had moved from Duluth to up here where they operated out of a store called micka Electric. soon Dylan had formed his own bands. before that I’d listen to Hank Williams a lot. I loved his style. people just passed through. where he played in a coffee house. people comin’ and goin’. the bohemian. this was not a rich or poor town. When most of the other kids in Hibbing were still riding bicycles. my father’s brothers. We slept in the living room of my grandma’s house for about a year or two. anything electrical and then much later tV’s and furniture.. they still did wiring though and that was their main thing. things were shaking up. and this is where he worked for the rest of his life. that just knocked me out. who just happened to be singing folk songs. there was just something about the way he sang When Your Sweetheart Sends A Letter. I still have a few of his records..

sonny and brownie. I wouldn’t do that today. then he moved on to Chicago. Wisconsin and fell in with the folk and blues community there.e. When I left it was like some rural outpost that you see once from a passing train. Nova Express. who took a liking to Dylan and occasionally allowed him to sleep in the back room. Ferlinghetti. cummings. Once in New York.. He stopped first in madison.. “they needed two people to help drive to New York and that’s how I left. e. Camus. suzie rotolo. big bill broonzy.60 stories you hear. free love. the New York Yankees. mcCarthy.. “I was lucky to meet lonnie Johnson at the same club I was working and I must say he greatly influenced me. I got in at the tail-end of that and it was magic. ‘post-war’ and sort of into a gray-flannel suit thing. there was no formula. Eventually Dylan got a ride to New York with a couple of college kids. it was time for me to go. you know.. no place to stand or breathe. poetry. On The Road.” Dylan and underhill were dropped off on the New York side of the George Washington bridge and immediately took a subway to Greenwich Village.’ t.. anyway the whole scene was an unforgettable one. Coltrane. it’s like it was waiting for me. the first ride I got. Paul local coffee house and pizza parlor called the Purple Onion. Charlie Christian. it had just as big an impact on me as Elvis Presley. he was at the center of all action. I mean Corrina.. commies. there were a lot of poets and painters. Dylan listened to everybody and took it all in. It was a chance to actually see and sometimes meet the artists he’d come to admire. then performing as a solo guitarist and singer. “Where I came from there was always plenty of snow so I was used to that. including Woody Guthrie. never was ‘main stream’ or ‘the thing to do’ in any sense. anyway.. there were a lot of house parties most of the time. sort of a bela lugosi type. It was some place which not too many people had gone. this made perfect sense to me. Eliot. well. People aren’t as friendly and there’s too many drugs on the road. Pictures From The Gone World. you know. the harmonica part. that was my whole world. stuff like that but I don’t think working was on most people’s minds—just to make enough to eat.. Corrina. John rechy.. It was always crowded. Coney Island of the Mind. exterminator. that’s my favorite style of guitar playing. It was sort of like that and it kind of woke me up. the newer poets and folk music. Gary snyder. bartender. wherever there was space. monk. I stood on the highway during a blizzard snowstorm believing in the mercy of the world and headed East. nobody had any money anyway. wine. broadway. very claustrophobic and what ever was happening of any real value was happening away from that and sort of hidden from view and it would be years before the media would be able to recognize it and choke-hold it and reduce it to silliness. you had the feeling that they’d just been kicked out of something. I made a lot of friends and I guess some enemies too.s.. didn’t have nothing but my guitar and suitcase. you might as well have been talking about China. anyway. People hitchhiked a lot back then. puritanical. there were always a lot of poems recited—‘Into the room people come and go talking of Michelangelo.e. experts at one thing or another who had dropped out of the regular nine-to-five life.. oh man. he was playing at a st.” It would be several months before Dylan actually arrived in New York. most of everybody. cummings. I’d been dreaming about that for a long time. Ginsberg. e. It all got real old real fast. It never happened. It was a particularly heavy winter in the midwest and Dylan’s plan was to play at the club until the snow subsided enough for him to hitchhike East. It was owned by bill Danialson. Dean moriarty. who carried me into Wisconsin. but I had to overlook it all. me and a guy named Fred underhill went with them. everyday was like sunday. the Purple Onion was located next to the main highway heading out of town. “but going to New York was like going to the moon. mostly expatriate americans who were off in Paris and tangiers. I’d learned as much as I could and used up all my options. New York! Ed sullivan. it was wild—‘I saw the best minds of my generation destroyed by madness’ that said more to me than any of the stuff I’d been raised on. Corso and Ferlinghetti— Gasoline. It was real natural.. ‘What I’d like to know is what do you think of your blue-eyed boy now.. I think he and tampa red and of course scrapper blackwell.. “I just got up one morning and left. You just didn’t get on a plane and go there. Fred was from Williamstown or somewhere and he knew New York.. It was outside. Death. t.. where he had some phone numbers to try and ended up staying there for a couple of months. Eliot. measuring their lives in coffee spoons’.. drifters. It was the worst New York winter in 60 years and the snow was knee-deep. jazz. that’s pretty much lonnie Johnson. some people had odd jobs—bus boy. a girlfriend of mine in New York. scholarly types.” Dylan mapped out his strategy. Of all the rides I’ve ever gotten it’s the only one that stands out in my mind. snow or no snow.. When I arrived in minneapolis it had seemed like a big city or a big town. in the alley. they rode the bus or they stuck out their thumb and hitch- hiked. I’d always liked Wayne raney and Jimmy albums 1 albums 2 albums 3 sONGs . it all left the rest of everything in the dust.. Pound. recalled Dylan. I’d spent so much time thinking about it I couldn’t think about it anymore. and anybody who did go never came back. guys and girls some of whom reminded me of saints.. I used to watch him every chance I got and sometimes he’d let me play with him. Mr. later turned me on to all the French poets but for then it was Jack Kerouac. I knew I had to get to New York though.” the frail-looking Dylan was a voracious learner. they were usually in lofts or warehouses or something or sometimes in the park. you know. Harlem.” said Dylan.s. burroughs. america was still very ‘straight’. You can hear it in that first record. was from some old guy in a jalopy.

. I’ve done a little bit of that but I’d rather have some kind of song before I get there. some purists didn’t appreciate the irreverence.. Dylan had a quirky stage presence.. rehearsing for the Hester session at the home of a friend. the first bunch of songs I wrote... Even the stodgiest standards sounded different Dylan’s way. If you sang folk songs from the thirties. possibly the last one that meant as much. It just seems to work out better that way.. all the way up to the late seventies.. I guess I was pretty naive. I would just learn it and sing it the only way I could play it.” the first album was released before Dylan’s 21st birthday. I had to do it that way to be heard on the street. if you want to call it a problem. quite a few of them began to copy my attitude in guitar phrasing and such. my early records.. Patti Page.. maybe since Sgt. I learned so much from her I could never put into words. everybody started to spend more of their time in the studio. Noted New York times folk critic robert shelton had raved about Dylan’s show at Gerde’s Folk City. since the late sixties. Frankie laine. you know..” much was made in subsequent years of the fact that Dylan had only one of his own compositions (Song to Woody) on that first album...” he said. but that’s all right. I know you’d love some other man’.. these were. I didn’t much ever pay attention to that. like an accordion. there is no doubt he is bursting at the seams with talent”). for Dylan was merely the opening act and not the main headliner (“.. John Hammond recorded me soon after that. You just didn’t. “You didn’t get a lot of studio time then. Victoria spivey too.” Performing first at Village clubs like the Gas light. You know. let alone they have to carry it in the store. Dylan was soon to receive one of the most important reviews of his life.. billie Holiday and later bruce springsteen). but you will.’ I must have played a whole lot of songs. at the time. li’l Junior Parker. you didn’t play English ballads.. It was up on 7th avenue and when I left I was happening to be walking by a record store. it was a bold move. you didn’t do bluegrass tunes or appalachian ballads. but it didn’t go down well with tight thinking people. It was one of the most thrilling moments in my life. in an unprecedented review. the crinkled review was still in his hand. He didn’t ask me what I wrote and what I didn’t write. You didn’t really do too many of your own songs back then. Dylan was fresh and ready for his Hester session. It was really pathetic.. In fact. and if you did. but I couldn’t get it in the rack like that or adjust the equipment to an amplified slow pace so I took to blowing out. and it sold an unremarkable 5.’ It never occurred to me that it could have been otherwise. It was only the second time he’d worked in a major studio. you know above the noise.. the first being a short stint on harmonica for a Harry belafonte record earlier that summer.” Dylan’s first album was recorded in a matter of hours. One session was a record date with noted folk artist Carolyn Hester. let’s use this one’ and I’d sing that one and he’d say. I was only doing a few of my own songs back then. Everybody had their particular thing that they did. you know.. Hammond signed Dylan that afternoon. the Commons. Nineteen-year-old Dylan read and re-read the review. If you sang texas cowboy songs. you’d just try to sneak them in.61 reed. I was like on a cloud. indeed. ‘You don’t know me now. sonny terry. I never would say I wrote them. If you sang southern mountain blues. by the next morning. just knowing I was going to make one and it was going to be in that window.” said Dylan.. actually making songs up and building them in the studio. Frank sinatra. were done in periods of hours. equal parts humor and intensity. most of the music included in this collection was recorded in two or three takes. ‘let’s use that one. mitch miller. you know. Pepper on. oh man I loved her. Dylan was taking large steps in finding his songwriting albums 1 albums 2 albums 3 sONGs . It was very strict.’ the other singers never seemed to mind.” he explained. showing it to friends and re-reading it again. “I couldn’t believe it. If I liked a song. I wanted to go in there dressed in the rags like I was and tell the owner. Cafe rienzi and later Gerde’s Folk City. It was just something you didn’t do. “six months to make a record. “I left there and I remember walking out of the studio. “Folk music was a strict and rigid establishment.. I didn’t know that just because you make a record it has to be displayed in a window next to Frank sinatra. Hammond kept young Dylan in mind. Part of it was a technical problem which I never had the time or the inclination for. anyway. He kept what he kept. would be among them in the window. actually Woody had done it. “I just took in what I had. bessie smith. maybe. I’d hear things like ‘I was in the lincoln brigade’ and ‘the kid is really bastardizing up that song. though. While the executives fretted over whether their “rising young star” was still a sound investment.” said Dylan. He also took several jobs as a guitarist or harmonica player. you didn’t sing southern mountain ballads and you didn’t sing City blues..” “there was just a clique. tony bennett and so on and soon I.000 copies. bam bam bam bam once upon a time bam bam bam bam I’d be yours bam bam bam bam (foot tap) li’1 girl you’d be mine. Days. It was even before I made a record. “I could sing How High The Moon or If I Gave My Heart To You and it would come out like Mule Skinner Blues.. the session was over when they ran out of tape and Hammond estimated the entire cost at $402. Dylan first met the distinguished Columbia records producer and talent scout John Hammond (aretha Franklin. ‘told you baby. all the material was recorded live and it’s important to note that Dylan would maintain that spirit of studio spontaneity for the next twenty years.. myself. I couldn’t believe that I was staring at all the records in the window. the good old days.” Dylan soon developed a style that would synthesize many different folk influences. It wasn’t even conceivable. ‘Well. “I tried a bunch of stuff and John Hammond would say.

” His work made a subtle. the guy who was best at that was Peter laFarge. You know. it was because of this song. Blowin’ In The Wind. “tom Wilson. I remember when protest song writing was big. actually attitude had more to do with it than technical ability and that’s what the folk movement lacked. articles and interviews were filled with pointed questions like..” albums 1 albums 2 albums 3 sONGs . Johnny Cash recorded a bunch of his songs. and there were too many of them. I had learned from Woody Guthrie and knew and could sing anything he had done. He had a lot of his bones broken. He was able to take an audience from laughter to thoughtful silence in a handful of sharply chosen words. you might have a white ray Charles with a message. I played all the folk songs with a rock ‘n’ roll attitude. titled it that. proved that Dylan was never simply a revolutionary or even a political singer in the conventional sense. if pointed shift with Another Side of Bob Dylan. It was an indisputably strong song. “Does it take a lot of trouble to get your hair like that?” “How do you feel about selling out?” and “How many folk singers are there now?” (Dylan’s chain-smoking replies were.62 voice. actually. “It came from me.. these were songs about the politics of love. We had the same girlfriend.’ these were terms made up by magazine people who are invisible who like to put a label on something to cheapen it. besides.” noted Dylan. “I begged and pleaded with him not to do it. Johnny Half-Breed. It was like the term ‘beatnik’ or ‘Hippie. but he was a love song writer too. he don’t ride well anymore. I thought it was overstating the obvious. there wasn’t anybody doing things like that. he might have been right to do what he did. so strong was Dylan’s impact on the folk stages of america in the early sixties that when he chose to move back to his original high school roots in rock and roll. anyway. did much to silence the opposition. with rock ‘n’ roll and rhythm and blues playing a big part earlier on.” Wilson takes the credit for Dylan going electric. along with the applause.. but that’s what I figured that people would take it to mean. I said. Peter is one of the great unsung heroes of the day. at composing them there are few as talented. I had to find a band. For some time press conferences.” the album. one of Dylan’s only constants has been the love song. I know that tom didn’t mean it that way. “Woody Guthrie had done similar things but he hadn’t really done that type of song. here’s another protest song I’m going to sing’. “I didn’t even particularly like folk music. but there never was any such thing. marie. and the first to bring a new social awareness to the pop charts. Nobody ever said. ‘if you put some background to this. Iron Mountain. “When I started writing those kinds of songs. His live show strengthened and deepened as he added more of his own material. Paul and mary. this guy played like the dumb guys but then these words came out. who was there in the studio. ‘the general. the producer.. I always think of Peter. In other words. Phil Ochs came to town. to this day it’s Dylan’s most covered composition. from It Ain’t Me Babe and To Ramona to Lay Lady Lay and Sweetheart Like You. throughout all the styles. never did it approach the heavy-handed. “No. When I think of a guitar poet or protest singer.’ We were pretty tight for a while. it just wasn’t right. simple and timeless from the first listening. He contributed a lot to my style lyrically and dynamically but my musical background had been different. this is what made me different and allowed me to cut through all the mess and be heard. buffy st. anyway. I was flabbergasted. I’d been recording sun ra and Coltrane and I thought folk music was for the dumb guys. even to dress differently. It doesn’t matter now. The Lonesome Death of Hattie Carroll was the actual story of a baltimore maid mistakenly murdered by a drunken socialite. It would become the fastest selling single in Warner brothers history in the hands of Peter. periods and influences of his work. remained the traditionalist doubters. but it was a very gradual process. recorded in two nights. but now the times had changed and things would be different. It seemed like a negation of the past which in no way was true. the socialite escaped with a sixmonth sentence. then it can be controlled better by other people who are also invisible. Patrick sky. White Girl and about a hundred other things. I think he’d also been shot up in Korea. He was a champion rodeo cowboy and sometime back he’d also been a boxer. He’s approached the subject from all sides. so he had it his way. there was one about Custer.” said Dylan. Dylan’s second album featured Dylan compositions and it was a success. It was exactly this delicate quality that made Dylan’s social commentary so original and his imitators so obvious. as always. His style was just a little bit too erratic. first published in Broadside Magazine in 1962. Dylan wrote of the brutal injustice with a masterful touch. I knew I was going to have to take a lot of heat for a title like that and it was my feeling that it wasn’t a good idea coming after The Times They Are A-Changin’. but tom meant well and he had control. tim Hardin was around. he was always hurting and having to overcome it. he wrote Ira Hayes. When folk music found its largest audience. but it wasn’t his fault. there was an almost immediate uproar. ‘Well. the songs that followed during this period stung and inspired and often took their stories directly from newspaper or word-of-mouth accounts. People with no definition of feeling and that sort of thing. I said to albert Grossman. from bobby Darin to marlene Dietrich. I guess in the long run.” Wilson recalled at the time.’ but it wasn’t until a year later that everyone agreed that we should put a band behind him. you just have to sleep on it for about twenty years.

I mean. Kooper did not play organ. was somewhat less than generous. after Dylan. when Dylan arrived.. We’d go from town to town. plugged in his Fender electric and began the prestigious sunday night showcase performance (the bill included Pete seeger and Peter.. Wilson objected to the organ-playing. and the dynamics in the music. every stop was another drama. the byrds’ own electrified hit version of Mr. (Called levon and the Hawks. Dylan on-stage and the tumultuous ’66 tour of the british Isles are well documented in this collection. anyway. bumped off the beatles’ Help to become Dylan’s first number-one single. the result was an amazing series of performances in 1965 and 1966. It was less than five years from the day he’d stared in the window of the record store on 7th avenue and the weight of that fact didn’t escape him. you’re a liar”) was taken from the albert Hall concert days later. the other half form-bending solo acoustic music. He asked producer tom Wilson for a spot in the band and Wilson advised Kooper to take a shot and simply be there. a story from al Kooper’s fine book. Dylan was recording his breakthrough Bringing It All Back Home album. then-guitarist Kooper. “they certainly booed. these concerts with bob Dylan and the band are now thought to be highlights in rock history but they too were booed at the time.) asked about his music.” Dylan shrugged at a san Francisco press conference in December ’65. they’ve done it just about all over. from country to country and it was like a job. the Who. they booed and albums 1 albums 2 albums 3 sONGs . guitar in hand. as he once said. most of all the songs. by January. singer-songwriters were no longer akin to ambidexterity—interesting. at this point he was writing whole batches of songs in long. an early Dylan fan. though. the next take. We set up. remembers robbie robertson today. Backstage Passes helps recall the atmosphere. the brill building. Dylan soon appeared with guitarist michael bloomfield in tow and Kooper was casually switched to organ. I put an end to it. manfred mann. at almost six minutes. Paul and mary) with an earsplitting Maggie’s Farm. Dylan had shown up at the folk music capital of the world in a black leather jacket. You can hear the violence. the prolific artist was even coming in with songs he’d written on the way to the studio. those other people had it down to a science. had become a single. fresh from having recorded Like A Rolling Stone. Like A Rolling Stone. obsession or rejection. People can record their own songs now.) Dylan himself was exploring the inner limits of his songwriting ability and the outer limits of his stage presence. all-night sessions in coffee houses. Dylan. Dylan was firing on all cylinders. by most accounts. Chuck berry had been one of the only popular artists to sing his own songs. at the Newport Folk Festival. they had also begun to cry out for instrumentation. he said. the stones. the show actually took place in manchester but an amazing bit of audience-andartist dialogue (audience member: “Judas!” Dylan “I don’t believe you.. Half the album would feature a hard-edged rock and blues backing. I don’t know who they were. Within minutes they became records with only one criteria—feel. being recorded came from there. Dylan was reaching a level of popularity beyond even his own expectations. released five days later.” the songs were. tin Pan alley is gone. Dylan asked that it be turned up. Following wrestlers and carnivals into halls where rock had never been before (or since). Jamie (robbie) robertson. another show on the same tour was released in underground circles as The Royal Albert Hall Concert and it’s still a cherished recording. homes of friends. Dylan had met and heard the new wave of English pop bands.” Dylan recalled. from the beatles to the animals. it was then the longest hit in history.. the controversy fueled one of Dylan’s most famous and fruitful periods.. Dylan had settled on a new band featuring drummer levon Helm and a stunning new blues-and-rock guitarist. about objection. the Pretty things. Tambourine Man.” typically. “I didn’t know it at the time but all the radio songs were written at tin Pan alley..” and “136” respectively. With mike bloomfield off touring as part of the Paul butterfield blues band. Never one for complacency. Dylan was amazed. I use words like most people use numbers.. I just drifted into it. I guess because most singers didn’t write their own. blasted through the set with a vengeance. we played. had wandered into the empty studio where a session was due to begin. that’s about the best I can do. taken from a Dylan demo tape. but the musician kept quiet and improvised when Dylan counted off his newest song. “I didn’t really know what was going to happen. It would come in the summer of 1965. but not necessary. “they had stables of songwriters up there that provided songs for artists. the group would years later rename themselves and go on to their own success as the band. “that tour was a very strange process. the purists booed.” DYlaN’s CONCErts IN tHE mID-sIxtIEs grew to be strange and mysterious affairs. they’re almost expected to do it. after the take. I’ll tell you that.63 “I don’t feel guilt. Country artist Johnny tillotson stopped Dylan in the street to tell him Like A Rolling Stone had gone to number one. they must be pretty rich to go some place and boo. on napkins and tablecloths. they didn’t even think about it. the funny thing about it though is that I didn’t start out as a songwriter.. You could hear it all over the place. Perhaps only Elvis Presley before him had been able to stir up public emotions and at the same time redefine popular music. I mean. they were good songwriters but the world they knew and the world I knew were totally different. “It’s mathematical. before Dylan. but there were still many folk purists in Dylan’s audience and all signs were pointing to a showdown. While touring England. I couldn’t afford it if I was in their shoes. the reaction. I heard of it but not paid much attention.

have been saddled with the phrase “the new bob Dylan” at one time or another in their careers. their worst fears nearly came true. this is not working. Why is everybody so upset?” (It’s an interesting footnote to music history that along an early English tour. Part rocker. “How does this sound for you?” he would ask. you just have to hear the way he says it. Like A Rolling Stone. though. ‘robbie.” back in the states. part wounded romantic. While struggling songwriter and then-janitor Kris Kristofferson cleaned the ashtrays. and one that came closest to Dylan’s truest musical intentions. but for Dylan himself. He told ron rosenbaum in a ’78 Playboy interview. a number of facial cuts and several broken vertebrae in his neck.. Dylan had reached household-name status. then we went to the next town. I remember thinking.” said Dylan. threw things and we left again. He was a poet. It’s metallic and bright gold.” “the sessions happened late at night. the world soon had its first bootleg album. as his momentum doubled and re-doubled. “I don’t remember what it was. they booed. even while recording Blonde on Blonde in Nashville. “Have you ever heard anything like this before?” usually they hadn’t. I was—all that bit. listen to a tape of the show and think..”) lennon would later comment on their relationship. It’s conceivable that the artist himself never scheduled a moment to reflect on all the commotion.” recalled Kooper. He amped and pushed himself to the limits of personal stamina.. we would cut the song and then they’d go back to cards. played.” those present for the Blonde on Blonde sessions remember it as an unlikely setting for greatness. ‘are we crazy?’ We’d go back to the hotel room. He was straight. songs like Visions of Johanna (original title: Seems like a Freezeout) and Sad-Eyed Lady of the Lowlands would make it to acetate stage and Dylan would often take the discs with him on the road to play for others. and they said it with the group standing right there. and of course I wouldn’t know whether he was uptight because I was so uptight. with whatever that conjures up. the still somewhat frail Dylan charged forward.” more than a few artists. Dylan would finish a song. you know. It could have been much worse. Dylan was writing a wide range of new songs and the idea was to record them at a leisurely pace. He was a sellout.. ‘Get rid of these guys they’re terrible. Even albums 1 albums 2 albums 3 sONGs . ‘this is a strange way to make a buck. shit. Compared to the circus-quality of the live shows. Dylan quietly recuperated for several months. He never once came to me and said. possibly as demos for other artists. It was much-needed time to regroup but long after the wounds healed. didn’t much please the victims of the theft. cryogenically frozen or retired. from bruce springsteen to David bowie. “Blonde on Blonde was very different from what we were doing out on the road. It has remained as one of the most artful albums in modern music.” Dylan sometimes worked on his hotel piano. the band was recording at the nearby basement-home studio they had dubbed big Pink. “We played some stuff into a tape recorder but I don’t know what happened to it. I don’t remember anything about the song.’ they said it behind our backs. they basically did their routine. he wasn’t a poet. He worked constantly. this was a twilight zone of complacency. While Dylan laid low at his then-home in upstate New York. Dylan left behind a wake of peers who stood in awe of his talent and in fear for his safety and health. and then when he wasn’t uptight. and when what robertson called “a tape of a tape of a tape of a dub of a tape” slipped out. rarely stopped. Dylan would visit the home of John lennon and the two would pen a song together. He continued writing and touring.” said robertson. “It’s that thin. I can remember playing it and the recorder was on. He was a genius. “the afternoons were mostly for songwriting. late in July 1966. Dylan recorded with a band that was made up of traditional Nashville studio musicians and several New York favorites like robertson and Kooper. “You don’t have to hear what bob Dylan’s saying. Dylan’s singing—once the quality Woody Guthrie liked best about him—had also gotten more expressive. bob Dylan was now a culture hero and a conversation piece. Positively 4th Street and I Want You were classic singles as well as songs.64 threw things at us. He was thrown from the seat and drilled into the pavement. I remember the Nashville studio musicians playing a lot of card games.. but we just sat it out because we just liked being together. that’s not bad. “this was a very controlled atmosphere. new rhythms.. some songs pushed it somewhere else. like Obviously Five Believers where we had four screaming guitar solos. amid macabre Deanish reports that he was either dead. Dylan never did anything about it. I haven’t been able to succeed in getting it all the time. and over the period Dylan and the band recorded a large group of songs that ran from the seminal I Shall Be Released to the jaunty story-telling of Million Dollar Bash. that wild mercury sound. He had to be On something. he would still be working to regain his personal equilibrium. he had learned to make records now. While joyriding in Woodstock. like James Dean before him. to a number of songs too bawdy to even record.’ the only reason tapes of those shows exist today is because we wanted to know. paralyzed. and the rush was felt on radios all over the world. and it sounded beautiful. both of us were always uptight. rarely ate.’ “I give tremendous credit to bob in that everybody at the time said. part cynic and part believer. of course. suffering a concussion. Not only was he an unlikely hit-singles artist. “I’ve grown up enough to communicate with him. John lennon said in a Rolling Stone interview in 1970. other times at a studio typewriter. that’s my sound. the back wheel locked on Dylan’s triumph 500. there were new characters. the sessions stretched through several months of the down-time. there weren’t many examples to look at. this.

all I had were these songs that I’d just sort of scribbled down. had even become famous for going through Dylan’s garbage for “clues. make it something special. You’ve got to know or you don’t know and I really didn’t know about that album at all. like. I asked Columbia to release it with no publicity and no hype because this was the season of hype.” “Self Portrait. but it never was intended to be anything else but just a bunch of songs. they didn’t spend any money advertising the album and the album just really took off.. You know.. so to speak. Dylan produced one of his biggest single hits in april of 1969. and my feeling was that if they put it out with no hype. actually I was slightly embarrassed by it. lots of times people will get excited and they say.. rock was more topical and meaningful. amazing. He had become a part of everybody else’s sixties experience but did he feel like he’d had one of his own? “I never looked at it that way.J. People have made a lot out of it. sweetened by a brief break from cigarettes. I figured I’d call the album that. Lay Lady Lay missed the deadline for inclusion on the soundtrack. “the bootleg records. there was always that possibility it would piss people off. I just thought that was the way he spelled his name. In his recuperation period. the album seemed to make a simple statement—he enjoyed singing other people’s material but it also further signaled that bob Dylan had no responsibility toward the vocal few who still demanded to know why he stopped writing “protest songs. “I didn’t even consider it being the sixties. Clive Davis really wanted to release that song as a single. why it was even on the album. there was enough interest in the album anyway.. you don’t think anybody’s there. the producers used Fred Neil’s Everybody’s Talkin’ instead. “was a bunch of tracks that we’d done all the time I’d gone to Nashville. Written for the movie Midnight Cowboy. I’d been out of commission for awhile. really. call attention to it. Dylan released Lay Lady Lay himself and it is that love song that became one of his longest lasting hits. With a cover that’s got a picture of you that was taken from underneath your bed and it’s got a striptease type title and it costs $30. but I didn’t really care to and I’d lost my (studio) contacts at that point. if it actually had been a bootleg record. ‘this is great.. I usually know less about it after I ask than before. nobody’s around. they’re just trying to tell you something to make you feel good. figuring that stuff out and I hadn’t. you know.” Dylan’s next release was 1970’s Self Portrait. so I figured the best thing to do would be to put it out as quickly as possible.65 though the mood of The Basement Tapes. Weberman.” answered Dylan.” Dylan explained recently. a decade that Dylan had largely spent in a spin-cycle of touring and recording. then you wonder why most artists feel so paranoid. when he turned out to be right. Pepper’s Lonely Hearts Club Band. and then there was a lot of other stuff that was just on the shelf. It was too much like a albums 1 albums 2 albums 3 sONGs .” he smiled. a.” One man. now revered by critics looking for an argument. was forbidden and exciting. today I don’t think I could sound that way if I wanted too. (Neil Young for years kept a mastertape copy and played it during the breaks in his own sessions often) the songs stayed on the shelf until 1975. so I just figured I’d put all this stuff together and put it out. the spelling on that album. the beatles released Sgt.” It would be his last work of the sixties. you know. to open up we’d do two or three songs. If you’re just sitting and strumming in a motel.” Nashville Skyline continued Dylan’s string of albums recorded at the Cbs studio in the country music capital of the world. “I don’t know what made me sound that way. He said it was a smash hit. just to get things right and then we’d go on and do what we were going to do. my own bootleg record. it never occurred to anybody that we were living in the sixties. they have stuff you do in a phone booth. the form had been stretched and now studio techniques were changing too. wasn’t even sure I even liked the song.. We did that stuff to get a (studio) sound. he had watched his own influence take rock in an explosive new direction.. Criticized as trivial at the time. and I didn’t know what to make of it.” “We recorded that album. Dylan was waiting on Dylan too. it’s like the phone is tapped. but I was being bootlegged at the time and a lot of stuff that was worse was appearing on bootleg records. “I didn’t know the studio like those guys did.. people probably would have sneaked around to buy it and played it for each other secretly.. and if you hyped it. and not only hadn’t I. People have a way of telling you what they think you want to hear—anytime I don’t know something and I ask somebody.” Dylan commented. as if it was some sort of ink blot test or something. as they were called. “those are outrageous. this is fantastic. His voice. I was just so fed up with all that who people thought I was nonsense. maybe it was better’n I thought. I mean.” It would be a while before Dylan officially re-emerged on record with a quietly thoughtful Nashville album called John Wesley Harding. a double album of standards and several live tracks from his concert at the Isle of Wight.’ but usually they’re full of shit. I wasn’t going to be anybody’s puppet and I figured this record would put an end to that. also. the rolling stones answered with Satanic Majesties and now the pop world was waiting on Dylan. I was really astonished. and then it appears on a bootleg record. I thought he was crazy. Did he feel confident about meeting the challenge? “Not really. call it John Wesley Harding because that was one song that I had no idea what it was about. they had obviously spent a lot of hours in the studio. people would go out and get it. People who were in it..

but this time when we played. someone other than sam had taken a knife to some valuable scenes that were in it. Except for Heaven’s Door. everybody loved us.66 pressure cooker. at night when it was quiet. but we rehearsed and eventually settled on a show that wasn’t dissimilar from our last tours (in ’65-’66). a real hombre. Everybody heard about it. I could see why actors would do anything for him.” Dylan soon released New Morning. I would listen to the bells. invented a part for me but there wasn’t any dimension to it and I was very uncomfortable in this non-role. who was writing this thing. Dylan’s first coast-to-coast us tour was announced. as far as I know. mexico set of the late sam Peckinpah’s Pat Garrett and Billy The Kid. but then time started to slip away and there I was trapped deep in the heart of mexico with some madman. Nobody wanted to say that. I moved with my family to Durango for about three months. but for people who were active. rudy Wurlitzer. chartered 747’s. I used to think to myself. It was all sort of mindless. People like to think of themselves as being important when they write about things that are important. It was a strange feeling. bob Dylan could now look around to see a world of rock megatours. she’d say to me. Nobody really figured it out until the late sixties that something happened.’ In the sixties they didn’t say that. the music seemed to be scattered and used in every other place but the scenes in which we did it for. He was an outlaw. Dylan. “I think I was just playing a role on that tour. the seats sold out in hours but the event brought on board a number of new questions. “I was playing bob Dylan and the band was playing the band.. and in a way that’s kind of true. all these generals making you jump into hot ants. but what they albums 1 albums 2 albums 3 sONGs . somebody from the old school. men like they don’t make anymore. In 1973.. It was like a flying saucer landed. remembers robbie robertson. my wife got fed up almost immediately. sam himself just didn’t have final control and that was the problem. popping up only occasionally with performances like Concert for bangladesh or a single like Watching the River Flow or George Jackson. the album (and the first single. You had to play the dummy all day. On A Night Like This) set the tone for a highspirited return. who first left minnesota at a time when rock and roll was still a forbidden entity. What would Dylan be like? Could he match the intensity of his early days in huge arenas? Would he mean as much? the questions were dispensed with in short order.” all the while. they’re the only ones who made a big deal about it. Kris Kristofferson talked Dylan into joining him on the Durango. Dylan spent the next few years in New York. Dylan had some problems with the myth-making proportions of the tour. It was another critically heralded return for a man who’d never really left. ‘What the hell are we doing here?’ It was not an easy question to answer. “We were hoping to do an extremely different kind of show. the concerts were cheered like victory parties. the film featured Peckinpah’s trademark violent and unpolished beauty. and the music fit it perfectly. I mean. First titled Ceremonies of the Horseman and later re-titled Planet Waves. I saw it in a movie house one cut away from his and I could tell that it had been chopped to pieces. how would Dustin Hoffman play this?’ that’s why I wore glasses in that reading part. setting up turkey shoots and whatever and drinking tequila ’til they passed out.. but turning in a clever performance as alias. I remember Joe strummer said that when he first heard my records.. I’d already been there and gone. anyway.” muCH IN musIC HaD CHaNGED OVEr tHE PrEVIOus FEW YEars. there wasn’t any time to sit around and think about it. It was crazy. was about to venture back at a time when it had become the biggest business. I don’t know if we needed it but it was kind of a relief. I was too beat to take it personal. In 1974 he reunited with the band and began recording a batch of new songs in los angeles. the project seemed to signal a new period of activity. It could have been the twenties. He’d simply learned to work at his own pace. there were a lot of people who jumped on the bandwagon who didn’t know it existed before.” said co-star Kris Kristofferson at the time. there wasn’t a part for me and sam just liked me around. mega-platinum artists.” he said. but even so.” said Dylan. rockers on the cover of world news magazines and more. Why did I do it. I saw him do it in Papillon. with an adrenalin-charged voice and powerful backing from the band. they’d bought the records. sam was a wonderful guy though. a confident album of originals. sidekick to billy the Kid. they’ve heard about it. In no way can I say I did it for the money. I guess I had a fondness for billy the Kid. watching how this movie was made and I know it was wide and big and breathless. was released from the soundtrack album. whatever. but it didn’t come out that way. He had that look in his eyes. that’s what the sixties were like. ordering people around like a little king. Knockin’ On Heaven’s Door. it didn’t hurt but I was sleepwalking most of the time and had no real reason to be there. there was a lot of pressure back there. I’d gotten my family out of New York. It was just more of a ‘legendary’ kind of thing. I was just one of Peckinpah’s pawns. “He sat down at the piano the other night. but only a few really saw it. “I think he’s getting ready for something. it didn’t matter. Not like what we’re living now is the eighties where everybody says. a pace that tended not to interfere with the raising of his family. “actually. Dylan appeared at full strength. I can’t say as though I recognized anything I’d done for being in the place I’d done it for. ‘Well now. at least what was in sam’s mind. Dylan ended up not only scoring the movie. ‘these are the eighties and ain’t it great. the people that came out to see us came mostly to see what they missed the first time around. that was the important thing. one of Dylan’s most successful singles.

anything can happen. Have you ever seen a slaughterhouse where they bring in a herd of cattle? they round them all up. kick my brains in. above the myth.” Dylan said in a 1977 interview. the same magazine that once questioned his authorship of Blowin’ In The Wind. actually it was just big industry moving in on the music. that was a much more demanding show. When people don’t know what something is. Blood On The Tracks. like the armaments manufacturers selling weapons to both sides in a war. Street Legal defined Dylan’s work for the next several years. the Vegas comparison was. that was much more demanding. What got it to that level wasn’t what they saw. slowly. brings in lots of bucks. more than a few visitors in the Village. weird and defensive. the scene had changed somewhat when we stepped into that picture. drive me to the wall. man. I always had those songs though and so I always figured everything was alright. this was acoustic soul music and clearly not the work of an artist intent on staying in arenas touring on the strength of his own myth. People didn’t know what it was at that point. like knock me out. the resulting elevenpiece group was one of his biggest and most precise. on some of the same stages where he started out. nothing really exceptional just sound and lights. “What they saw wasn’t really what they would have seen in ’66 or ’65. the myth doesn’t exist for me like it may for other people. I saw one review that accused me of going ‘Vegas’ and copying bruce springsteen because I was using steve Douglas. lotta energy. because it wasn’t quite the same. a saxophone player. the unreleased Abandoned Love and many other songs from this period.. It’s the blood behind the myth that creates the art. the myth can’t write the songs. the only thing people talked about was energy this. In what was now Dylan’s third or fourth wave of popularity. it was just a big show. glitter and glamour. blow me up. those shows built into the rolling thunder revue. We were expected to produce a show that lived up to everybody’s expectations. the album derived more of its style from Dylan’s renewed interest in painting. “because I can’t work under the myth.. California and was rehearsing musicians for a band he could both tour and record with. man. I’d rather go on. t-bone burnett. man’. He had relocated to a converted rehearsal hall in santa monica. inventing bigger and better things to take your head off while behind your back. concert booklets. he reversed himself. well you know.’ that’s what this whole scene had become. robert mcGuinn. reportedly inspired by the breakup of his marriage.. they don’t understand it and they start to get. What they saw you could compare to early Elvis and later Elvis. If they had seen that. his saxophone player albums 1 albums 2 albums 3 sONGs .. you know. ‘beautiful. It was utterly profound. with a measure of gospel blues added. put them all in one area. costume changes. He recorded one of his most successful albums.. time had proven them all wrong. I don’t think the guy had ever been to Vegas and the saxophone thing was almost slanderous. It always reminds me of that.. by this time it didn’t matter.” He wanted to do them quickly. You know.” When the tour was over commemorated by a cover in Newsweek. when we needed that acceptance it wasn’t there. really. the bigger and louder something was. the sound of this period was something close to the dense precision of Blonde on Blonde. heavy energy. HE bEGaN rECOrDING what is often recognized as his finest album of the seventies. Desire. whip me ’til it hurts.. Dylan responded in surprising style.” after Blood On The Tracks. the highest compliments were things like ‘Wow. the more energy it was supposed to have.’ It had become absurd. I mean I don’t copy guys that are under fifty years old and though I wasn’t familiar with bruce’s work. sound and lights. just incredibly beautiful. accustomed to seeing the early photos of a long-gone Dylan still pasted in the windows. with a new group of musicians led by scarlet rivera. said Dylan. and more sound and lights. pacify ’m and slaughter them. Dylan was already past it. “the critics treated this record spitefully. even candidate Jimmy Carter was campaigning for president with a speech that quoted bob Dylan. energy that.. We were cleaning up but it was an emotionless trip. the songs cut deep and their sense of perspective and reality was always changing. “I’m not concerned with the myth. a bicentennial tour of small to mid size halls that was documented in a tV special. Just as he had cultivated his most public performing style yet.. mick ronson and others. a big circus except there weren’t any elephants. Her violin helped characterize Hurricane. those club performances grew to include others like ramblin’ Jack Elliott. there’s a few people laughing and getting rich off your vanity.67 saw didn’t give any clue to what was.. in a small way. a number of books and later in Dylan’s own film Renaldo and Clara. Dylan had seen her playing on a street comer and invited her to join the band. it would make me want to puke. Dylan also began popping up in clubs around Greenwich Village. they toured the world in 1978 and also recorded the underrated Street Legal album. by the time of Renaldo and Clara’s release. contacted several acoustic musicians and told his label he was going to record some “private songs. the greatest praise we got on that tour was ‘incredible energy.” “rock-and-roll had become a highly extravagant enterprise. that’s what it had become and that’s what it still is. lighting shows. Joan baez. t-shirts. Dylan stayed in New York. that’s what people were accepting as heavy energy. Nothing is predictable and you’re always out on the edge. and we did. It is like those guys who watched the H bomb explode on bikini Island and then turn to each other and say. did a triple take when they actually saw Dylan back again on the stage. big business.

. I guess it don’t matter but it’s irritating. “mostly I just write songs. same thing with the old music and the new music. Saved. maybe boy George or something but Shot of Love didn’t fit into the current format. I glad him do it. It’s A Sin To Tell A Lie. “I don’t feel like I know what I’m going to do even next week. fared less well.. like that’s why the old black and white movies look better than color movies. on this day he was almost earnest in his albums 1 albums 2 albums 3 sONGs .. You know.. A Million Miles From Nowhere. Shot of Love was one of the last songs bumps blackwell produced and even though he only produced one song. because there comes a time when an artist just cannot follow the crowd. Him still do it.. a link-up with a rasta.. I Who Have Nothing. become totally unreal. also Clydie King and I sound pretty close to what’s all the best of every traditional style so how could anybody complain about that. I gotta say that of all the producers I ever used. too. I can tell you that it doesn’t mean anything to him that people might not like what he is doing. I’m In The Mood For Love. there was a cross element of songs on it.. anyway people need to be encouraged. I’d probably like to finish that.. Red Headed Stranger or something. a revelation. change the names—New developments. put in every color. this was raw Dylan. they give your eye and your imagination something to do. if you wanna make things clear.” Dylan said of the future. it’s a cheap substitution for reality.. new ideas? I guess I’d like to do a concept album like. I mean no offense to Clarence or anything but he’s not in the same category and the guy who reviewed my stuff should have known it. I don’t know.. “Yes mon. anyway people were always looking for some excuse to write me off and this was as good as any. wouldn’t allow the people to make up their own minds. probably too much progress or something.. I hate to keep talking about them. I can see where pretty soon the human voice will be synthesized. Slow Train Coming was both a critically praised and successful work. the range of influence was wider. well.. you got to make the crowd follow you. maybe write some stories the way Kerouac did. All My Tomorrows.. I don’t know what was happening. clog it all up... with its biblical inscription on the outer sleeve. religious themes have had a place in his music from the beginning.. what came out was something close to what would have come out if he was really there.. “that is a good verse too. and me like his song Serve Somebody quite a bit as well. that’s one of the reasons. make records. I guess someday I’d like to do an album of standards. so I just expect it to go on that way.. Dylan received his first Grammy and the album went platinum... the follow-up album.. or an album of cover songs but I don’t know if the people would let me get away with that.. “People didn’t listen to that album in a realistic way. the critics. It also won the Dove award for Inspirational album of 1979. it’s all got the soul of a robot. too much chaos on the airways for the senses to take. reports would soon circulate that Dylan had become a born-again Christian.. Infidels... not stepped on and put in a straight jacket. also. It probably never will... was produced by Dylan and Chuck Plotkin (with the help from bumps blackwell on Shot of Love).. your mind thinks it’s true but your heart knows it’s wrong. the meaning behind the songs did not fall entirely on deaf ears. I don’t know. stimulating little boys and little girls with sex in a bottle. live in the studio. I started a book awhile back called Ho Chi Minh in Harlem... could have been made in the ’40s or maybe the ’50s. maybe a children’s album. maybe instrumentals. that takes up most of my time. More Than You Know. was a critical and artistic success that also ushered Dylan into the video age with Sweetheart Like You and Jokerman. like it was some kind of methodist record..68 couldn’t be spoken of in the same breath as steve Douglas who’d played with Duane Eddy and on literally all of Phil spector’s records... or not do.” Shot of Love. about some of the people I know and knew. the most knowledgeable and he had the best instincts. Dylan was inspired with religious thought but he’d also struck a smoldering studio groove with celebrated rhythm and blues producers Jerry Wexler and barry beckett. First of all..” the next album. guitar melodies with percussion. he was the best. as Haile selassie is the Conquering lion of the house of Judah... assault on the all too fragile imagination as it is. I can’t say if being ‘non-commercial’ is a put down or a compliment.. the next album told the bigger story. people don’t know I can do that sort of thing.. y’know. Him still do it. all they talked about was Jesus this and Jesus that. this partnership produced one of the most finely recorded albums of Dylan’s recording career.. I can get away with a lot more in a show than I can on record. a somewhat more secular lP recorded in los angeles. and do tours. fill up everything.” aFtEr HIs WOrlD tOur. If you are an artist like bob Dylan. I would have liked him to do the whole thing but things got screwed up and he wasn’t so called ‘contemporary’. but for a time the media searched these songs for clues to his commitment. you’ve got to leave other things out. there’s a great temptation to see how false you can be.” said bob marley.” While Dylan had often deflected artistic inquiries in the past. although the messages might have been too much for pop music mentality. like put in Paul anka and get him sounding like Howlin’ Wolf or vice versa. the music was technically improved from earlier days but the feel could have been 1966. I mean I’m aware of synthesizers and drum machines but they don’t affect my stuff to any great degree. you know. scrambling to get to the heart of his new songs. and that is the most important thing. and the record had something that.

that’s all he ever used to wear. You know what I mean. If I did anything. a lot of the styles and lyrical dynamics that I use I feel I have invented myself or stumbled into accidentally. Tutti Frutti and Blue Suede Shoes were great catch phrases and driving pulse rhythms and you could get high on the energy but they weren’t serious or didn’t reflect life in a realistic way. I really don’t have a plan. I love that stuff but it’s not new. there was nothing serious happening in music when I started.. It was just put on a happy face and ride sally ride. I don’t think of myself really as a pop singer anyway. sex.. In the beginning it wasn’t anything like that.. he didn’t do What’s Going On until the ’70’s. but. It’s like lyndon Johnson saying we shall overcome to a nationwide audience.. I’d like to see Charlie sexton become a big star. I mean muddy Waters didn’t stop playing just because the J. it was radical. My Bonnie Love Is Lang A Growing. I noticed that George Jones didn’t roll over just because merle Haggard appeared. You felt like you were part of some circus side show. I think it’s happened and nobody knows the difference. at the moment I like Judy rodman. You have to be so dedicated and committed and everything is against it. no roll. big establishment thing.. all in poetry. homosexual rock. you were eligible to get busted for playing it.” For a man often credited with helping to define rock. link Wray invented heavy metal music but who knows it? tbone Walker is really the essence of city blues. In the old days. the songs are filled with more despair.69 observations. his shows are like prize fights and he always comes out on top. I’ve Been Had By Love Before. Go Down Ye Bloody Red Roses. rock ‘n’ roll. I think of luke the Drifter as rap records and as far as concept and intelligence and warring with words. ridiculous. bigger and younger gun. Either back in the sixties or even in the late seventies or eighties using certain combinations that have never come up before. definitely not pussy stuff. it’s now a highly visible enterprise. whatever. You have to know there’s always someone else that’s gonna come along after you. I needed that. Everybody just gets their chance—most of it just sounds recycled and shuffled around. he’d recite epics like some grand roman orator. more faith in the supernatural. ‘If you want to defeat your enemy. 1 knew that when I got into folk music. so I work mostly in that area... I don’t know. Now it’s the main event.. the roll’s gone. there’s that phrase again. you used to hear that stuff all the time. I can’t stop doing it just because a whole lot of other people have taken certain elements of it and used it for their own thing. life is full of complexities and rock ‘n’ roll didn’t reflect that.. You could get run out of town or pushed over a cliff. summer and winter. mighty sparrow. Where were the record companies when he was around? Even him though. really backwater stuff though.. I guess it can be taken the other way too. can wipe b.. Geils band started making records. magazine articles. working man’s rock.. sing his song’ and that’s pretty much still true. one he seemed inspired to have gained. there’s enough dribble. It’s actually quite complimentary to witness your own influence in someone else’s success. and God knows when else. You can even go to college and study rockand-roll. there’s an old saying. Stagger Lee. he wore a jail blanket. Dylan was careful to point out that he was never owned by it. You go see him and in the audience there’s people just standing up and arguing away with him about every kind of thing.. they turn out professors who grade your records. there’s always going to be a faster. it’s like it was done 30 years before that. Jones off the map but who can tell you that? Isn’t bessie smith rock ‘n’ roll? People forget. Calypso King.. I brought one to the other. “No. not even the beatles. he’s fantastic. you know. outerspace.. You know things go better with Coke because aretha Franklin told you so and maxwell House Coffee must be OK because ray Charles is singing about it. he answers ’m all back. I think it’s gone. there are some guys true to it but it’s so hard. mighty sparrow was and probably still is king. if you’ve heard my records and know what was going on at the time I turned them out. but I don’t know. right? Pop music on the radio? I don’t know. watered down. it was more of a serious type of thing. it was tough getting heard.. had nothing to do with pantyhose and perfume and barbecue sauce.. Of course there was always someone there with a net.. big brown. all this and a fifteen or twenty piece band just blasting away. Hattiesburg Hattie. proclamations. but the whole machine would have to break down right now before that could happen. rhythm and blues or whatever. there is more real life in one line than there was in all the rock ‘n’ roll themes. never breaks stride. Cocaine Smitty. so what do I know. I listen mostly to Preacher stations and the country music stations and maybe the oldies stations. more sadness. Even rap records.. politics. there was nothing even resembling Sixteen Snow White Horses or See That My Grave Is Kept Clean in even the vaguest way. you paid the price to play. even Jesse James or Down By the Willow Garden. It was easier before. more triumph. declarations. written albums 1 albums 2 albums 3 sONGs . look at what happened to lefty Frizzell. Everybody’s singing about ketchup or headache medicine or something.. John Hammond would remember him too—he was like Othello. Now it’s just rock. there was this one guy. they were singing Love Me Do and marvin Gaye.b. that’s about it.. whatever. In its pure form.. capital r.. more than anything happening on the pop stations. stockbroker rock. “the thing about rock ‘n’ roll is that for me anyway it wasn’t enough.. bob Dylan’s perspective in the mid eighties is a valuable one. much deeper feelings.” What did he think of the new music? “Nothing is new. I’m not trying to paint just one side of a picture.

.’ Everything is just too commercial. I can go off on tangents. people just showing off. when you were alive they wouldn’t give you the time of day. anything.. a long figure with a guitar and a point-of-view. For me I hate to see it because it set me free.. is too threatening. whatever.. the answer seemed obvious. little richard. used to be... Kentucky Fried Chicken. know him is to love. You never know do you? When people don’t get threatened and challenged. never have to make decisions. Oh mercy! spare me please! these things are just hooks. blue jeans.. you know. put up a monument to it and now that’s what you’re hearing. that sort of thing. “basically. all he had to do was appear with his guitar and a straw hat and he played on the same stage with big bands.. Not that I’m an expert or anything but I’ve always tried to stick that into my music in some kind of way or at least not to leave it untouched. for me this is a deep reality. the old stuff stayed in your head long after it was over. Especially anybody who’s living a lie gets hurt. You don’t remember who else was on the bill. now it’s just blabbering noise and after you shut it off you’ve forgotten about it and you’re glad—Some Like It Hot. a sharp hand gesture with a cigarette barely holding its ash.. a lot of times you don’t even bother. “the truth about anything in this society. to sell soap. if you’re still one of the few or are you ‘them’ now.” Dylan considered the thought.. It’s like ‘conscience’ is a dirty word. they never take a stand. know. even something as simple as ‘to know.70 about it to keep you guessing for a lifetime but it’s not in reading and writing about it.... What I mean by that actually is that I picked it all up from other people by watching them.. they all struck fear into the heart. it’s become country club music. I wonder who they think he was singing to when he sang ‘just give me some truth. like a sprawling octopus... set the whole world on fire. someone who’s telling me where he’s been that I haven’t and albums 1 albums 2 albums 3 sONGs . robert Johnson. the best stuff was done without the spotlight before the commentaries and what not. His speech sometimes flecked with the country-isms of his youth.” sitting across from bob Dylan on this afternoon. when they came to define it. they were very much afraid. nothing challenging. a horse and buggy is more soulful than a car but it takes longer to get where you’re going and besides that. the same people who praise you when you’re dead. I seldom ever asked them to take me aside and show me how to do it.. I think they killed something very important about it.. as you know. that’s all I can handle—Cliff Carlysle. I like to wonder about some of these people who elevated John lennon to such a mega-god as if when he was alive they were always on his side. Elvis.. nothing means anything.. He still is. the headstone. die and never get a break or a chance to say goodbye. Chuck berry. Gossip is King. I never saw Woody Guthrie in his prime. fortune and fame. like hide your daughters. nothing threatening. I think that this world is just a passing through place and that the dead have eyes and that even the unborn can see and I don’t care who knows it. I don’t know. once they understood it they killed it and made it a thing of the past. I don’t know. I’m self taught. too much part of the system. sure. it’s in doing it. who’ve been there.. White House. I have views contrary to all that. live their lives in a fishtank.” Dylan reflected.. it’s all been neutralized. stay in the same old scene forever. for all the years of who-is-bob-Dylan analysis.. “It had nothing to do with writing songs. they run over like a bulldozer. He was in his last days but you couldn’t tell—he looked like Clark Gable and he was absolutely magnificent. the most inspiring type of entertainer for me has always been somebody like Jimmie rodgers. like the horse and buggy. and that was the important thing.. girly choruses and follies burlesque and he sang in a plaintive voice and style and he’s outlasted them all. that sort of thing. I never saw him. Now they got a purpose sort of. somebody who could do it alone and was totally original. I mean in some kind of way. sometimes you feel like you’re walking around in that movie Invasion Of The Body Snatchers and you wonder if it’s got you yet. love. You get a lot of ugly reactions from people not familiar with it. just one voice you know. Whatever is truthful haunts you and don’t let you sleep at night. I started out as a traveling guitar player and singer.. you know. love him. by imitating them.. dancing to a pack of lies— lotta people gotta be dead first before anybody takes notice. it’s a billion dollar business. there’s a lot of us who still can remember.’ it became monumental in some kind of way. singing the song. I only heard his records. one could see his influences very clearly.. What I’m telling is no lie but then again who wants to hear it? You just get yourself worked up over nothing.. contributing something and paying my way. What do they care? anything that’s in the way. I always like to think that there’s a real person talking to me. You know what I mean? I could always play a song on a concert-hall stage or from the back of a truck. the great folk music and the great rock ‘n’ roll you might not hear it again. as he always has been. nothing magical. they never grow. a leather jacket draped on his shoulders. you could get killed on the road.. I think maybe the greatest of all those I ever saw was Cisco Houston. that was his great genius and he was there first. He recorded at the same time as blind Willie mctell but he wasn’t just another white boy singing black. I guess it’s hard to find flaws with this. the corporate world.. when they figured out what it was and how to use it they snuffed the breath out of it and killed it. things that got nothing to do with music.. He was combining elements of blues and hillbilly sounds before anyone else had thought of it. fish hooks in the back of your neck. they don’t get confronted. a nightclub or on the street..

General motors. that type of thing can rule your life. and that whole kind of thing. she was a great singer. they buy products and the company tries to please the consumers. ‘you must learn to leave the table when love is no longer being served’ but that’s a hard thing to do. I’ve seen it happen. it’s never satisfied and it must be fed but there’s power in darkness too and in keeping things hidden. the Pretenders. If the fan don’t like you. take the blows. to the songs. bob Dylan has his own definition of the word... Got To Keep The Customer Satisfied—I’m not gonna live and die behind that—I’m not selling breakfast cereal. He stared out at a small courtyard. as well as Dylan’s movements of today. they’re not just witchdoctoring up the planet. picks up his check and gets back on the bus heading out for another nowhere. maybe she says. people get too famous too fast these days and it destroys them. Paul brady. I don’t think for a minute though that he’s having the last laugh cause that’s not what I think it’s about. Fan-sponsored publications like Telegraph and Wanted Man pour over set lists from twenty years ago. what is it? Ibm. Gotta learn to bite the bullet like tom mix.. make an album like he did in the sixties. sometimes like a troubadour out of the dark ages. every time I hear a song of his. vomits up the pain in the back room. It’s important to stay away from the celebrity trap. incredible.” From the demos. the one with the long flowing hair who’s combing it in the candlelight. time marches on... “In the big picture. it’s a life only half begun. a hero to many. your environment changes. from his own work to the music of artists like springsteen. you know. that’s the way people are. and anyway fans are consumers. ideas. tom Waits. they say I’m too poor’. it’s easy to say but the air gets thin at the top. conformity to fashion. it wasn’t any big deal. there’s only certain things a King wants to hear. a cat shrieked from an overhanging balcony.. I asked him how he viewed his impact upon modern culture.. lou reed. You gotta be able to feel your dream before anyone else is aware of it. I’m not too sure. that’s about the most heroic thing that I can do. Van Gogh never sold but a few paintings while he was alive. I’m always hearing people saying how ‘Dylan should do this and do that. consider this: Dylan’s influence continues to be heard all around us. they do and if they don’t. to play a song to calm the king.. the lone balladeer with the guitar could blow an entire army off the stage if he knew what he was doing. artists should remember that—there’s a tremendous hypocrisy in this thing. as far as the sixties go. look at Napoleon. like the Paul simon song. mickey mouse.. as far as he was concerned he was a failure.. to draw a crowd with my guitar. conformity to other people’s opinions. Jimmie rodgers or even Judy Garland. the inspiration behind the inspiration.71 what it’s like there—somebody whose life I can feel. I know I’ve done some important things but in what context.. someone who’s not afraid to jump in front of a freight train to save a loved one’s life. tom Petty and the Heartbreakers and many others. David allen Coe. you know that could be your downfall. well that’s their business— nobody owes anybody anything. It’s hard to relate to fans. “I think of a hero as someone who understands the degree of responsibility that comes with his freedom. the andy Warhol-fame-for-a minute type trip. Or like Charles aznavour. the blasters. to the hits and the neverheards. you get light-headed. I mean if I had a choice I albums 1 albums 2 albums 3 sONGs . but who knows? maybe there are just enough. Dylan’s life is already the stuff of myth. Pop culture.. on the big stage. or razor blades or whatever. I mean I relate to people as people but people as fans. lots of singers who can’t even deliver live on stage. to take yourself seriously or to take seriously what other people are thinking. some guys got it down—leonard Cohen..” bob Dylan stood and walked to a nearby window. it’s like I wish it would last forever. they don’t set up barriers. well. no cheers. sweetness. or al Jolson. this is a collection of music that anyone should take the time to listen to in sequence. sing me that song about the cat and the fiddle. You got to be strong and stay connected to what started it all. I’m not sure I know what that means and don’t forget John lennon was murdered by a so-called fan—I know it gives them all a bad name but so what? I don’t think of myself as a fan of anybody. I don’t know.. Just listen to the fire in his impassioned vocal on the usa for africa single We Are The World. punches his way through ten rounds or whatever.. I mean it’s a weakness. ‘sing me another song. so why should I think of anyone as a fan of me? If they like you. and then if he don’t like it. and also for who. always making someone else look good. to many. Calvin Klein... no admiration. he might send you to the gallows. the Clash. God knows there are so few of them. and when the last notes of Forever Young disappear. use tapes and things. I am more of an admirer. like the song says. u2.’ How the hell do they know? I could make Blonde on Blonde tomorrow and the same people would probably say its outdated. conformity in the mirror. to Dylan. sometimes you feel like a club fighter who gets off the bus in the middle of nowhere. Gordon lightfoot.. to who you were when people didn’t mind stepping on you. He shrugged. the media is a great meatgrinder. the knave and long sea voyage’ or maybe she don’t. everybody don’t get to do that. secret heroes—John Prine.. Dylan was restless and ready to go. ‘Your parents don’t like me. new people come into your life. I always thought that one man. he becomes somebody else’s fan. singing for your supper and rambling the land or singing to the girl in the window. maybe she invites you up. Napoleon conquered Europe and nobody even knew what he looked like.. I listen more to that kind of stuff than whatever is popular at the moment.

I’d love to have been riding with him or hiding in caves with him when he was a hunted outlaw. never thought I would be. sometimes I think that I get by on only 50% of what I got. People dissect my songs like rabbits but they all miss the point. what happened in the ’60s? Wiretapping? What was so revolutionary about it? You know. do what I want to do.. I can’t say I haven’t done my share of playing the fool. actually I’m amazed that I’ve been around this long. really test your nerve. I’d like to change that I guess.72 would rather have lived at the time of King David. I wonder what he would have been saying and about who—or maybe at the time of Jesus and mary magdalene—that would have been interesting huh.... sometimes even less. How would I change my life? Yeah. I can understand why rimbaud quit writing poetry when he was 19. I try to learn from both the wise and the unwise. or maybe even later in the time of the apostles when they were overturning the world. not pay attention to anybody. when he was the high King of Israel. there was never any secret. you can say how ridiculous and how could they have been so stupid but nevertheless people did think it to be truth just like right now a lot of what’s thought to be truth will later be proved false... that’s about all I can think of.... well. I was in the right place at the right time.” —Cameron Crowe albums 1 albums 2 albums 3 sONGs . Jones’ played over the war in lebanon? Or the aIDs epidemic? Or mengele’s bones? sometimes I think I’ve been doing this too long. I mean have you ever seen ‘something’s happening but you don’t know what it is do you. there was a time when people thought the world was flat and that women didn’t have souls.. Mr...

John McKenzie – bass. Mike Berment. Dave Stewart – guitar. Patrick Seymour – keyboards. starting almost conversationally. the lyrics play with time. Madeline Quebec. Anton Fig. memory. Al Perkins – steel guitar.” Knocked Out Loaded is another collection of odds and ends. Don Heffington. Peggi Blu. Brian Parris – steel drums. Philip Lyn Jones – conga. like a good preacher. Ron Wood. and places. Annette May Thomas – vocals. before bringing it in for a good landing. Raymond Lee Pounds. Milton Gabriel. Carole Dennis. Howie Epstein. reggae-tinged reading of the spiritual “Precious memories. people. Yet it contains one masterpiece. Tom Petty. 1986 . the eleven-minute epic “brownsville Girl. its title borrowed from the old louis Jordan tune “Junco Partner. Clem Burke – drums. the set would be essential if just for that. Vince Melamed. Carl Sealove. Steve Douglas – saxophone. Al Kooper. although his remake of Junior Parker’s “I Wanna ramble.. until he is throwing everything he has into every line by the end. 73 One of the less substantial albums in the Dylan canon. John Paris. Muffy Hendrix. and the delivery is staggering. Benmont Tench. Ira Ingber. Dylan ratchets up the intensity verse by verse. James Jamerson Jr. Larry Meyers – Mandolin. a shaggy-doggish yarn about romance in the West dovetailed with memories of watching Gregory Peck in the film The Gunfighter. Steve Madaio – trumpet. albums 1 albums 2 albums 3 sONGs Knocked Out loaded July 14.” his pleasant. bitter “maybe someday” are valuable additions. Vito San Filippo. Jack Sherman.” and the funny.” written with playwright sam shepard. Elisecia Wright. T Bone Burnett. Stan Lynch.You Wanna Ramble They Killed Him Driftin’ Too Far From Shore Precious Memories Maybe Someday Brownsville Girl Got My Mind Made Up Under Your Spell Musicians: Bob Dylan – guitar.

their 1989 tour is remembered fondly by fans. although this record captures the hit and miss quality of a performer and a group both known for letting spontaneity rule their live performances. 1988 . “We could have been better rehearsed. “slow train” and “Queen Jane” stand out as fine performances.Slow Train I Want You Gotta Serve Somebody Queen Jane Approximately Joey All Along The Watchtower Knockin’ On Heaven’s Door 74 bob Dylan and Jerry Garcia had a bond that stretched back to their shared roots in traditional music.” Nevertheless. I would have had him (Dylan) give us a song list. If I had to do it over again. a lot of the time was spent rehearsing songs that were never played. as bob Weir of the Grateful Dead put it in 2006. albums 1 albums 2 albums 3 sONGs Dylan & the Dead Produced by Jerry Garcia and John Cutler January 18.

Ron Wood.” which. Clyde King. Mike Baird – drums. Mitchell Froom – keyboards. keyboards. FULL FORCE – background vocals. from 1988. Bob Weir. Myron Grombacher. Dylan tries his hand at a couple of older folk songs. tellingly. they do point the way toward his remarkable solo albums of traditional tunes. Eric Clapton – guitar. Danny Kortchmar. and none of which are masterpieces. Nathan East. 1988 . Sly Dunbar. although it was a hit for Guy lombardo. Good As I Been To You and World Gone Wrong. contains four Dylan originals. Paul Simonon. Madelyn Quebec – vocals. Stephen Shelton. although “silvio” percolates with a steady beat and would soon become a concert staple rave-up. country. Randy Jackson.Let’s Stick Together When Did You Leave Heaven? Sally Sue Brown Death Is Not The End Had A Dream About You. Brent Mydland .” as well as the old pop tune “When Did You leave Heaven. Henry Spinetti. Kip Winger.Additional vocals 75 Down In The Groove. Kevin Savigar. and blues tunes. albums 1 albums 2 albums 3 sONGs Down In the Groove May 19. Baby Ugliest Girl In The World Silvio Ninety Miles An Hour (Down A Dead End Street) Shenandoah Rank Strangers To Me Musicians: Bob Dylan – vocals. Alan Clarke. Dylan may have picked up from a filmed performance of big bill broonzy’s. the traditional “shenandoah” and the stanley brothers’ “rank strangers. Steve Jones. harmonica. two of which were written with Grateful Dead lyricist robert Hunter. Beau Hill. Peggi Blu. Alexandra Brown. Bobby King. In these years of the late 1980s the one place he seemed to reliably find his focus was when he turned his gaze to traditional folk. Carol Dennis. Mark Knopfler. although the performances on Down In The Groove don’t really jell. Steve Jordan. Jerry Garcia. guitar. Larry Klein – bass. Robbie Shakespeare. Willie Green.

the album has a sound that commands attention. Rockin’ Dopsie – accordion. Daryl Johnson – percussion. Tony Hall. of the album’s genesis and recording is one of the most honest and accurate renderings of the ups and downs and reversals and tensions of the creative process ever printed. Willie Green – drums. Volume One. Malcolm Burn – tambourine. albums 1 albums 2 albums 3 sONGs Oh mercy Produced by Daniel Lanois September 12. guitar. Paul Synegal – guitar. John Hart – sax. even – or especially – when he is singing of confusion and chaos. as on “Political World” and “Everything Is broken. Brian Stoltz. the record let everyone know that Dylan was far from finished artistically. Oh Mercy was a much more ambitious album than its immediate predecessors. Larry Jolivet – bass.” and “shooting star” and “most of the time” are two of the most moving ballads he ever wrote. 76 recorded in New Orleans in 1989. Despite the album’s overall mood of regret and anxiety. – scrub board. Dylan’s description. Cyril Neville. and the leader’s vocals are pulled together. are set off by producer Daniel lanois’ moody atmospherics. 1989 . in Chronicles.Political World Where Teardrops Fall Everything Is Broken Ring Them Bells Man In The Long Black Coat Most Of The Time What Good Am I? Disease Of Conceit What Was It You Wanted Shooting Star Musicians: Bob Dylan – vocal. Alton Rubin jr. Mason Ruffner. Daniel Lanois – dobro. his strongest writing since Infidels. ten new originals by Dylan.

he headed straight back to the deepest well he could find. Rayse Biggs – trumpet. but their presence was not quite enough to bring Under The Red Sky up to the level of Dylan’s best work. Randy Jackson. One critic praises Dylan’s use of nursery rhyme motifs in some of the songs. Possibly Dylan knew he was in need of serious creative renewal. Bruce Hornsby – piano. still. Al Kooper – keyboards. Good As I Been To You.000 Men 2X2 God Knows Handy Dandy Cat’s In The Well Musicians: Bob Dylan . David Crosby. is encrusted with the names of guest performers including stevie ray Vaughan. harp. but they don’t really help much. Sweet Pea Atkinson. Paulinho Da Costa – percussion.” and the ballad “born In time. accordion. Elton John. David Lindley – bouzouki. George Harrison. Under The Red Sky has its bright spots. in this case “God Knows. David McMurray – sax. Jamie Muhoberac – organ. Donald Ray Mitchell. Jimmy Vaughan.slide Guitar.V. Elton John – piano. David Lindley . bruce Hornsby and George Harrison. produced by Don and David Was. as with almost every Dylan album. Talkin’ Song 10. in his next studio effort. David Was. David Crosby background vocals. 1990 . albums 1 albums 2 albums 3 sONGs under the red sky Produced by Don Was and David Was and Jack Frost September 11. Stevie Ray Vaughan – guitar.Wiggle Wiggle Under The Red Sky Unbelievable Born In Time T.guitar. Waddy Wachtel.” both of which were originally considered for inclusion on Oh Mercy. Kenny Aronoff – drums. Robben Ford. Don Was – bass. David Lindley. 77 the personnel listing of Dylan’s 1990 studio album Under The Red Sky. vocals. Slash. Sir Harry Bowens.

especially. nightmarish “Foot Of Pride”. Gambling Willie [4/24/62] 78 Talkin’ Hava Negeilah Blues [4/25/62] Quit Your Low Down Ways [7/9/62] Worried Blues [7/9/62] Kingsport Town [11/14/62] Walkin’ Down The Line [1963] Walls Of Red Wing [4/24/63] Paths Of Victory [8/12/63] Talkin’ John Birch Paranoid Blues [10/26/63] Who Killed Davey Moore? [10/26/63] Only A Hobo [8/12/63] Moonshiner [8/12/63] When The Ship Comes In [1962] The Times They Are A-Changin’ [1963] Last Thoughts On Woody Guthrie [4/12/63] Seven Curses [8/6/63] Eternal Circle [10/24/63] Suze (The Cough Song) [10/24/63] Mama. there isn’t much point in going on. . from minneapolis to Oh Mercy. “mama. Every listener will find his or her own favorites. previously unknown repertoire. spanning almost all of Dylan’s career to that point. this is a set full of precious gems. this three disc set was a revelation.” the subtle and poetic “Walls Of red Wing” (about a minnesota reformatory). The Bootleg Series Volume 1 – 3 presents surprise after surprise – new versions of familiar material. It Takes A Train To Cry [6/15/65] I’ll Keep It With Mine [1/27/66] She’s Your Lover Now [1/21/66] I Shall Be Released [Fall 1967] Santa Fe [Fall 1967] If Not For You [5/1/70] Wallflower [11/4/71] Nobody ‘Cept You [11/2/73] Tangled Up In Blue [9/16/74] Call Letter Blues [9/16/74] Idiot Wind [9/19/74] If You See Her. live performances. Go Now (Or Else You Got To Stay All Night) [1/15/65] Sitting On A Barbed-Wire Fence [6/15/65] Like A Rolling Stone [6/15/65] It Takes A Lot To Laugh.Hard Times In New York Town [12/22/61] He Was A Friend Of Mine [11/20/61] Man On The Street [11/22/61] No More Auction Block [Late 1962] House Carpenter [3/19/62] Talkin’ Bear Mountain Picnic Massacre Blues [4/25/62] Let Me Die In My Footsteps [4/25/62] Rambling.” the great Infidels outtakes “blind Willie mctell” and. although fans had known for years that there was plenty of unreleased Dylan material in the Columbia records vaults. each one different and reflecting a distinct part of the genius who produced them. It is hard to think of even a handful of performers of this or any era whose unissued work could fill three discs worth of material as good as this. You been On my mind. 1991 OrIGINal lINEr NOtEs . the searing. Guthrie-like “Hard times In New York town. this compilation still inspired a kind of awe. Say Hello [9/16/74] Golden Loom [7/30/75] Catfish [7/28/75] Seven Days [4/21/76] Ye Shall Be Changed [5/27/79] Every Grain Of Sand [9/23/80] Every Grain Of Sand [4/23/81] You Changed My Life[9/23/80] You Changed My Life [4/23/81] Need A Woman [5/4/81] Need A Woman [5/4/81] Angelina [5/4/81] Angelina [5/4/81] Someone’s Got A Hold Of Got A Someone’sMy Heart [4/25/83] Tell Me [4/21/83] [4/25/83] Hold Of My Heart Tell Protect My Child [5/3/83] LordMe [4/21/83] Lord Protect [4/25/83] Foot Of PrideMy Child [5/3/83] Foot Willie Mctell [5/5/83] BlindOf Pride [4/25/83] Blind The Night Comes When Willie Mctell [5/5/83] Falling Night Comes When The From The Sky [2/19/85] Series Of Dreams [3/23/89] Falling From The Sky [2/19/85] Series Of Dreams [3/23/89] released in 1991. You Been On My Mind [6/9/64] Farewell Angelina [1/13/65] Subterranean Homesick Blues [1/13/65] If You Gotta Go. . although any list of highlights would have to include the wry. a fair amount of which had dribbled out on unauthorized or “bootleg” versions. albums 1 albums 2 albums 3 sONGs the bootleg series Volumes 1-3 (rare and unreleased) 1961-1991 Produced by Jeff Rosen March 26. studio alternates – in a dizzying overview of one of the most protean and vibrant creative careers of the 20th Century.” the unfinished 1966 masterpiece “she’s Your lover Now.

For those who never suspected this material even existed.” marcus maintained. it was crammed with delights. tapes of early coffeehouse gigs in Greenwich Village. and for Dylan fans. not everyone was hip to what was happening. the main focus in this collection is on Dylan as the songwriter: 38 songs that have never been released on an official album. demo recordings. included here are a bunch of previously unsuspected tracks. and always waiting. and now at last. the second anniversary issue.” gloriously crazy songs recorded with the band in Woodstock in 1967. they’ll just have to come up with a bunch of superlative outtakes. there are untold delights in store. won’t they? — JOHN baulDIE. and the sweeter for it. tracking. then. including the legendary 1966 royal albert hall appearance. analysis. london. Greil marcus was let loose over five big pages to enthuse about countless hours of other unreleased Dylan tapes that he’d scrambled and hustled for himself. and more. and tapes of concerts. outtakes. as far as the fans were concerned. “Dylan’s greatest recordings. In the faxless ‘60s. several months after the decidedly non-folk rock-rap recording of “subterranean Homesick blues.” and “I shall be released. concert recordings. It all began when a strange white label ‘bootleg” record called “Great White Wonder” came out of California. and for those exhaustive and insatiable collectors. and songs recorded for.” and “this Wheel’s On Fire. private recordings in friends’ apartments. In “rolling stone” #47. the tenth new bob Dylan lP. although it sounded as though it had been recorded by means of tin-can-and-string technology. both solo and with the Hawks. die-hard enthusiasts had recording of bob Dylan singing 103 songs on nine Columbia albums. something of the true extent and value of much of the buried treasure long sought after by tape collectors is brought to light. the record company was understandably outraged. and most certainly unofficial.” Even in the states. but then in late summer 1969. and trading tapes. thus began the great tape hunt. some of it is nothing short of sensational— performances of staggering power and subtlety and seemingly infinite variety. in December 1969. Dylan was being hailed as a great new folk singer. and carried home in triumph. it was something that we shouldn’t really be listening to—forbidden fruit. when tVs were still steamdriven and urgent correspondence was carried in the saddlebags of the Pony Express. for news of what he was up to. Please Don’t Go. the “completists” who like to think that they’ve heard everything. the copyright people were justifiably up in arms. to be a bona-fide. coffeehouse recordings. enthusing about the songs and Dylan’s singing to incredulous friends and puzzled parents. even though “like a rolling stone” had been roaring out of every radio set just about on the hour in the week leading up to that “first electric concert. Over in England in 1965. tracing. alternative takes. later known as the band. the quest to collect anything and everything that bob Dylan had ever recorded. In this cornucopia of previously unissued material are stashed home recordings. In Newport. as well as demo and rehearsal versions of wellknown songs. by the end of the decade. Over the last 20 years. hard-core. outtake versions—some of them with very different words or arrangements—of songs we already knew. but we had bob Dylan singing “baby. dreaming about one day seeing him in concert. and if the writers and critics who are called upon to reassess bob Dylan’s achievements find that the superlatives have all been used up on his back catalog of official releases. with the rest of the day set aside for lyric transcription.” times sure were different then. though it didn’t say so on the sleeve. Half of the tracks were taken from “the basement tapes.” and life had never seemed so good. a feverish underground network of collectors has been at work. news of Dylan’s doings would often come limping along months after the event. full paid-up bob Dylan fan didn’t demand much more than buying the records. much of it teaches us a good deal about the way in which Dylan developed as a songwriter or performer in those early years. things changed. on which a very young bob Dylan sang his way spiritedly through all kinds of great blues and folk songs—why. being rare. subsequent volumes will deal with live work. life was never to be the same again. with tetchy impatience. and his “latest protest”—“the times they are a-Changin’”—was storming into the top 20. unreleased. and the appropriate indulgence of wonderment at how different each record was from the one that had preceded it. It was.bOOtlEG sErIEs VOl 1-3 original liner notes Introduction 79 For most of those fabulous ‘60s. 1991 albums 1 albums 2 albums 3 sONGs . but never used on the official albums.” Each of the records had been bought with baited breath. Whatever reputation bob Dylan has enjoyed as a writer and performer in his 30-year recording career will inevitably have to be reviewed in the light of this historic collection. the other songs on “Great White Wonder” were recordings from 1961. not counting the “Greatest Hits. he even tried telling a joke! For the most part this stuff was great—and seemed all the more exciting just because. the fussy old folkies who’d cherished the socially outspoken bobby Dylan stuck their fingers in their ears and yelled “turn it down!” as bob and the butterfield band raved on at the infamous 1965 Folk Festival.

Jim Jones Blackjack Davey Canadee-i-O Sittin’ On Top Of The World Little Maggie Hard Times

Step It Up And Go Tomorrow Night Arthur McBride You’re Gonna Quit Me Diamond Joe Froggie Went A Courtin’


If the end of the 1980s saw a series of albums that suggested (with the exception of Oh Mercy) that Dylan was having trouble finding his focus, his live performances tended to come to life with the inclusion of the kinds of traditional old-time country and blues and bluegrass tunes that had been his stock in trade in his early years in New York. In 1992, Dylan went into the recording studio, steering for his old-time used-to-be, and came out with his first completely solo album in 19 years, containing not one Dylan original. Good As I Been To You is Dylan, by himself, playing blues, ballads, and folk songs associated with the stanley brothers (“little maggie”), the mississippi sheiks (“sittin’ On top of the World”), lonnie Johnson (“tomorrow Night”), Paul brady (“arthur mcbride”), and blind blake (“You’re Gonna Quit me”) as well as traditional songs like “Frankie and albert” and “Froggie Went a-Courtin’.” He finds his own twist on almost all of them, and the disc contains his most committed singing and guitar playing on record in years. Here he was, once again, soaking up energy and inspiration from the people who had been important to him in the beginning, and it was plainly doing him good.

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Good as I been to You
November 3, 1992

It’s Alright, Ma (I’m Only Bleeding) – Bob Dylan My Back Pages - Bob Dylan, Roger McGuinn, Tom Petty, Neil Young, Eric Clapton, George Harrison

Knockin’ On Heaven’s Door - everyone Girl From The North Country - Bob Dylan


On October 16, 1992, an impressive and eclectic group of artists gathered at madison square Garden in New York City for the purpose of celebrating the music of bob Dylan on the occasion of his 30th anniversary of recording. bringing together musical greats as far-flung as Johnny Cash and Eddie Vedder, the Clancy brothers and lou reed, the four-hour show celebrated a truly remarkable lifetime of songs in front of a sold-out audience of over 18,000. Warmly dubbed the bobfest by participant Neil Young, the show was broadcast around the world and featured a cast of musical notables performing carefully chosen and often surprising selections from the incomparable Dylan songbook. at evening’s end, the man of honor himself appeared on stage and gracefully brought it all back home again. In a world where all-star celebrity gatherings have become commonplace, the bob Dylan celebration stood out as, first and foremost, a legitimately memorable musical event. — From the original 1993 liner notes, by David Wild

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Selections from the 30th anniversary Concert Celebration
Produced by Jeff Rosen and Don DeVito August 24, 1993

Love Henry Ragged & Dirty Blood In My Eyes Broke Down Engine Delia

Stack A Lee Two Soldiers Jack-A-Roe Lone Pilgrim


some kind of light must have gone on for Dylan during the recording of Good As I Been To You, because the next year, 1993, he came out with another solo album made up entirely of traditional tunes, as good as its predecessor and maybe better in some cases. In World Gone Wrong Dylan again chooses material from the anglo-american and african-american traditions, and at least one associated with both – his decision to perform West Virginia coal miner Frank Hutchison’s version of the african-american murder ballad “stack a lee” is inspired. as on the preceding album, he has the mississippi sheiks on the brain, performing their “blood In my Eyes” as well as the album’s title song. throughout, he chooses unusual and tasty items from across the spectrum of the traditional repertoire, and brings his own sensibility to them. In particular, his roaring version of blind Willie mctell’s “broke Down Engine” and his quiet and eerily beautiful delivery of the ballad “lone Pilgrim” are standouts.

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World Gone Wrong
Produced by Bob Dylan October 26, 1993


the singer’s not talking from a head full of booze. disarming the people. mystery on the rails—the train of love. doesn’t put his face in his knees & weep & wears no dunce hat. comes whipping around the corner. it’s about revival. getting a new lease on life. an infantile sensualist—white teeth.. no wall phone. a romance tale without the cupidity. doesn’t ride a Harley Davidson across the desert highway. the fortunes of the privilege elite. armageddon or world war 111. No rights Without Duty is the name of the game & fame is a trick. it’s about trains. it’s about ambiguity. what does the song say exactly? it says no man gains immortality thru public acclaim. a perverse tale. makes no apology & is doomed to obscurity. rebellion against routine seems to be their strong theme.” are you any good at what you do? submerge you personality. the song cannot be categorized—is worlds away from reality but “gets inside” reality anyway & strips it of its steel and concrete. one of the original New lost City ramblers) the young virgin follows her heart (which can’t be confined) & in it the secrets of the universe. playing for time is only horsing around. imposing his will & dishonest garbage in popular magazines. traveling under a false passport. Elizabeth 1 or even Evita Peron. not just posing there—paint chipped & flaked. he must’ve had a hearing problem. unable to handle his “psychosis” responsible for organizing the Intelligentsia. sir. evil charlatans masquerading in pullover vests & tuxedos talking gobbledygook. he’s not interested in mosques on the temple mount. blOOD IN mY EYEs is one of two songs done by the mississippi sheiks. baltimore & Ohio whatever—it’s about variations of human longing—the low hum in meter & syllables. he is not some egotistical degraded existentialist dionysian idiot. DElIa is one sad tale-two or more versions mixed into one. doesn’t need a blood change & would never go on a shopping spree. Henry—modern corporate man off some foreign boat. legally stateless. he shoulda known better. single bulb swinging above the bed. coming in from left field—infamy on the landscape—“pray to the Good lord” hit the light switch! JaCK-a-rOE is another tom Paley ballad (tom. strange things indeed—irrationalist bimbos & bozos. some dragoon officer’s epaulettes laying liquid in the mud. “there was a wealthy merchant” wealthy & philosophically influential perhaps with an odd penchant for young folk.. wide smile. he lays his head on a pillow of down & falls asleep. all their songs are raw to the bone & are faultlessly made for these modern times (the New Dark ages) nothing effete about the mississippi sheiks. they say “let’s sleep on it” but theory already living in the sanitarium. a little known de facto group whom in their former glory must’ve been something to behold. the song has no middle range. war dominated by finance (lending money for interest being a nauseating & revolting thing) love is not collateral. lOVE HENrY is a “traditionalist” ballad. Jerry Garcia showed me tWO sOlDIErs (Hazel & alice do it pretty similar) a battle song extraordinaire. not being pushed around by ordinary standards.WOrlD GONE WrONG original liner notes about the songs (what they’re about) 83 brOKE DOWN ENGINE is a blind Willie mctell masterpiece. WOrlD GONE WrONG is also by them & goes against cultural policy. career minded. physical plunge into limitationville. “strange things are happening like never before” strange things alright—strange things like courage becoming befuddled & nonfundamental. inverted symmetry. truth is shadowy. no Queen Gertrude. Delia herself. tom Paley used to do it. toleration of the unacceptable leads to the last round-up. seems to be about counterfeit loyalty. the guy in the courthouse sounds like a pimp in primary colors. neither does he represent any alternative lifestyle scam (give me a thousand acres of tractable land & all the gang members that exist & you’ll see the authentic alternative lifestyle. in the pre-postindustrial age. hittin’ em where they ain’t (in the albums 1 albums 2 albums 3 sONGs . does this song have rectitude? you bet. limousine double parked. lotza money. futurologists would insist it’s a matter of taste. the agrarian one) billy didn’t have an insurance plan. it’s about dupes of commerce & politics colliding on tracks. flood control—watching the red dawn not bothering to dress. the stuff of legend. stack’s in a cell. kowtow to fairy queen exploiters & corrupt religious establishments. staCK a lEE is Frank Hutchinson’s version. monstrous pompous superficial pageantry parading down lonely streets on limited access highways. victims of violence were allowed (in fact it was their duty) to be judges over their offenders—parents were punished for their children’s crimes (we’ve come a long way since then) the song says that a man’s hat is his crown. mattress bare. “before you step on board. the train that carried my girl from town—the southern Pacific. didn’t get airsick yet his ghost is more real & genuine than all the dead souls on the boob tube—a monumental epic of blunder & misunderstanding.

the idols of human worship paying thru the nose. lONE PIlGrIm is from an old Doc Watson record. that one’s long gone but there have been many others since then. there was a Never Ending tour but it ended in ‘91 with the departure of guitarist G. to know which was which consult the playlists. factually there aren’t any now. by the way. stuffed cabbage. superior beauty. learning to go forward by turning back the clock. technology to wipe out truth is now available. pieces of a jigsaw puzzle— taking stupid chances—being mistreated only just so far. before the insane world of entertainment exploded in our faces—before all the ancient & honorable artillery had been taken out of the city. salvation & the needs of mankind are prominent & hegemony takes a breathing spell. sufferers from a weak education. not everybody can afford it but it’s available. what attracts me to the song is how the lunacy of trying to fool the self is set aside at some given point. before Charlie Chaplin. raGGED & DIrtY one of the Willie browns did this— schmaltz & pickled herring. before the Wild One. heavy moral vocabulary—sweetness & sentiment. when the cost comes down look out! there wont be songs like these anymore. not just standing there —the seductive magic of the thumbs up salute. — bob Dylan 84 albums 1 albums 2 albums 3 sONGs . “my soul flew to mansions on high” what’s essentially true is virtual reality. lords of the illogical in smoking jackets.imperfect state that they’re in) america when mother was the queen of Her heart. smith. firing a few random shots at the face of time.E. before the Children of the sun—before the celestial grunge. the money Never runs Out tour (fall of ‘91) southern sympathizer tour (early ‘92) Why Do You look at me so strangley tour (European ‘92) the One sad Cry of Pity tour (australia & West Coast america ‘92) Principles Of action tour (mexico—south american ‘92) Outburst Of Consciousness tour (‘92) Don’t let Your Deal Go Down tour(‘93) & others too many to mention each with their own character & design. don’t be bewildered by the Never Ending tour chatter. stopping the mind from thinking in hours. carefully thought out overtones & stepping sideways. house rocking.

Tangled Up In Blue Changing Of The Guards The Groom’s Still Waiting At The Altar Hurricane Forever Young Jokerman Dignity Silvio Ring Them Bells Gotta Serve Somebody Series Of Dreams Brownsville Girl Under The Red Sky Knockin’ On Heaven’s Door 85 albums 1 albums 2 albums 3 sONGs bob Dylan’s Greatest Hits. Barry Beckett. Daniel Lanois. Vol. 3 Produced by Gordon Carroll. and David Was November 15. Mark Knopfler. Bob Dylan. Jerry Wexler. Don Was. 1994 . Don DeVito. Chuck Plotkin.

Fronting his regular touring band and playing to a wildly enthusiastic audience. Jeff Rosen June 30. harmonica.” with its tumbling. underplayed readings of “the times they are a-Changin’. 1995 . Bucky Baxter – pedal steel.” but the jewel of the set is Dylan’s reworking of 1989’s Oh Mercy outtake “Dignity.Tombstone Blues Shooting Star All Along The Watchtower The Times They Are A-Changin’ John Brown Rainy Day Women #12 & 35 Desolation Row Dignity Knockin’ On Heaven’s Door Like A Rolling Stone With God On Our Side Musicians: Bob Dylan – guitar. 86 In November 1994 Dylan entered the sony studios to tape a segment for mtV’s Unplugged series. jostling imagery. dobro. John Jackson – guitar.” as well as interestingly subtle. energetic versions of favorites like “tombstone blues” and “all along the Watchtower. Brendan O’Brien – hammond organ.” “Desolation row” and “shooting star. Winston Watson – drums. vocals. albums 1 albums 2 albums 3 sONGs mtV unplugged Produced by Jeff Kramer. Dylan served up rolling. Tony Garnier – bass. intended to present performers in an acoustic setting.

Tony Mangurian – percussion. 1997 . subaqueous aural medium that quavers around Dylan’s stripped-to-the-bone vocals like the light in an aquarium. 87 In 1997. David Kemper – drums. Augie Meyers – vox organ combo. His vocals are as strong. Dylan released his first album of new compositions since Under The Red Sky.” “standing In the Doorway”). aimlessness. Winston Watson – Drums. electric L5 Gibson. “Duke” Robillard – guitar. and younger. piano.” with its haunting line. through this oddly-lit gloom. “Bucky” Baxter – acoustic guitar. firebird. Hammond B3 organ & accordion. Robert Britt – Martin acoustic & Fender Stratocaster. pedal steel. in association with Jack Frost Productions September 30. and a few scalding. Martin 0018. the album contained moody ballads (“make You Feel my love. rhythm & lead. there is an honesty and directness here that is liberating for both the listener and the singer. the amazing Time Out of Mind. vocals.Love Sick Dirt Road Blues Standing In The Doorway Million Miles Tryin’ To Get To Heaven Til I Fell In Love With You Not Dark Yet Cold Irons Bound Make You Feel My Love Can’t Wait Highlands Musicians: Bob Dylan – guitar.) albums 1 albums 2 albums 3 sONGs time Out Of mind Produced by Daniel Lanois. Jim Dickenson – keyboards. acoustic and electric rhythm lead. “When you think that you’ve lost everything/You find out you can always loooooose a little more…” the buzz surrounding the album’s release brought Dylan to a wider. of exhaustion. Dylan sings with shocking candor about a world come loose from its moorings. lost love and the prospect of death. the album sold millions and earned Dylan a Grammy® award for album of the Year (his first ever. “Cold Irons bound. Time Out Of Mind is set in a spooky. like Oh Mercy. harmonica. Cindy Cashdollar – slide guitar. Tony Garnier – Electric Bass & acoustic upright bass.” “love sick” and “Can’t Wait.” “Not Dark Yet. emptiness. by Daniel lanois.” In addition there is the beautiful and unique “tryin’ to Get to Heaven. and as pure as anything he had done for years. mando-guitar. Brian Blade – drums. Daniel Lanois – guitar. Jim Keltner – drums. as focused. audience than he had enjoyed in years. claustral explorations of the borderline of sanity. Produced. Wurlitzer electric piano & pump organ.” “til I fell In love With You” and the 16 1/2 – minute “Highlands”). blues-based quasi-recitatives (“million miles. Gretch gold top.

4 bob Dylan live 1966: the “royal albert Hall” Concert Produced by Jeff Rosen October 13. stunned confusion. someone in the audience yells out. rather than inviting you to gather around and listen as “folk” music was supposed to. becoming one of the first and best-selling rock bootlegs. Dylan first plays an acoustic set of songs from Bringing It All Back Home. Highway 61 Revisited. Vol. Let Me Follow You Down Just Like Tom Thumb’s Blues Leopard-Skin Pill-Box Hat One Too Many Mornings Ballad Of A Thin Man Like A Rolling Stone 88 BOB DYLAN LIVE 1966 T h e B o o t l e g S e r i e s Vo l . this performance is taken from a slightly earlier one at the manchester Free trade Hall. one-on-one intimacy with the listener. in your face. creates an eerie. to be known as the band.” and older songs gone electric. it came right up to you. they played loud and strong and every night they tested the boundaries of what people could listen to as they flung themselves and their audiences against the limits of their own energies.” the performances would be met by a mixture of cheers. Ever since Dylan’s first appearance with an electric backup band at the 1965 Newport Folk Festival his electric performances had caused an outcry in the folk and pop music worlds alike. Baby Blue Desolation Row Just Like A Woman Mr. and Blonde On Blonde. Dylan’s ability to sustain this kind of focused.She Belongs To Me 4th Time Around Visions Of Johanna It’s All Over Now. the music was assaultive. Tambourine Man Tell Me. with a set consisting of his recent songs like “ballad Of a thin man. 4 The “Royal Albert Hall” Concert the bootleg series. with none of his earlier “protest” songs in evidence. although the band did play at the albert Hall on this british leg of the tour.” the concert was recorded and released illegally. Fasten your safety belts. In this set’s most famous moment. since. understated intensity through the long reaches of songs like “Desolation row” and. Each performance sets a spell. “Judas!” the response from the stage is a tidal wave called “like a rolling stone. with levon Helm replacing mickey Jones on drums. the band Dylan used for the 1966 tour. and catcalls from audience members outraged at his “betrayal” of folk music. was a group of individual talents willing to follow Dylan into uncharted waters. the show captured on Live 1966 follows the standard format for one of that year’s programs. after intermission he would come back with the Hawks and blow the roof off the venue. Momma I Don’t Believe You (She Acts Like We Never Have Met) Baby. albums 1 albums 2 albums 3 sONGs OrIGINal lINEr NOtEs . like Another Side’s “I Don’t believe You (she acts like We Never Have met). the music that Dylan and his electric band made during their 1966 world tour was like nothing the world had ever heard. known then as the Hawks and soon. 1998 What it was like live. especially. “Visions of Johanna” is astonishing. known universally as the royal albert Hall concert – a mistake.

shops. In the 1960s you couldn’t find a band with amps. When he returns. a dramatized myth of murder.. she gave an impassioned speech. but rather a riot. Pa and drum kits on every block and there weren’t even that many Fender guitars around—and half of those were being played in the Flame and other CW bars downtown. the perspective is a bit more chaotic. done solo and acoustic.. it’s as a vastly changed man. imploring a highly conservative audience— “You were once wild here. incest and adultery. and ran across albums 1 albums 2 albums 3 sONGs . these people had big record and tape collections. I’d gone backwards from the Chicago blues bands to discover the roots in delta blues/folk people like leadbelly and sonny terry.” where an audience was to be transformed through their encounter with his work. someone yells “Judas!” Dylan replies. defiance and a sheer majesty rarely captured on tape. russian poet sergei Esenin. some even sent off to the library Of Congress to buy tape dubs from the field recording collections at $17 an hour. though I didn’t know it till I read some books years later. In 1922. modern dancer Isadora Duncan began a tour with her husband. “I don’t believe you!” turns to the band and snarls. and played piano on a few gigs with top 40 hitman bobby Vee. It was the height of the red scare and the powers that be were threatened by the bolshevik revolution of a few years before. In 1935. as Parisian audiences stood and shouted. in Paris. it is beauty.Y. artaud had championed the “theater Of Cruelty. and retires into a 20-month seclusion. some four or five years later. ends four months of grueling touring with a triumphant concert. australia and Europe. stare out the window or talk about foreign films without being hassled.s. “Play fucking loud!” Drummer mickey Jones cracks the snare like a rifle shot and the Hawks roar into “like a rolling stone. When the band broke up with people getting drafted or otherwise leaving town. just before the last number. Now he appears in a mod cut suit and pointed boots in front of a five-piece band with an electric guitar in hand.. it turns out that both bob and I were musical expatriates from the r&r scene. hooks up with a kick-ass rock band. He’d been involved with a high school band. breaks his neck in a motorcycle accident. It was a dark and mellow kind of place where you could nurse a cup. and artaud eventually wound up in an asylum. declaring “nudity is truth.s.” Dylan’s voice is a velvet sneer as he shouts out the line “How does it feeeeeeel” and the performance rolls on with power. russian composer Igor stravinsky wrote music for the rite Of spring. a Diaghilev ballet. writes some poetic topical songs that become the soundtrack for the civil rights and anti-war struggles. moves to N. a store-front coffee house. I first met bob Dylan in mid-1960. an amplified metronome and tolling church bells were played through loudspeakers located in the four corners of the building and spectators were assaulted with macabre lighting effects. drowning out the orchestra. bob Dylan stands on an English stage. turns inward and begins doing existentially surrealistic visionary work. actor-director-writer antonin artaud performed his play The Cenci. the mythology was in place: a blues-tinged Woody Guthrie comes out of the midwest. I gravitated toward the Dinkytown scene. so what happened. there was a beat/folk music scene going down in Dinkytown. there are catcalls throughout the set. don’t let them tame you!” When she waved a red scarf and bared a breast.s. was well received. returns to the u. coming back for the second half of a concert. they considered stravinsky’s score a “blasphemous attempt to destroy music as an art” and booed roundly throughout the piece. barnstorms the u. and why were those people so angry? therein lies a tale… From the 30 years down the road viewpoint. I had a garage blues-rock group that played a combination of bo Diddley and Jimmy reed styled music—we cut a couple acetates and played a few dances at the VFW hall. playing incandescent rock and roll. the play soon closed. by the time the first so-called “royal albert Hall” bootleg came out. When Duncan performed in boston. settings were designed to disorient the spectator: recorded sound effects of trampling feet. apartments. a Folk society was formed—people met to discuss and play these songs and it was all pretty academic. the music around the u was in the trad folk line. and the scholar. a bearded biblical poet. with acoustic parables from a whole other century. a few months before he headed east to visit Woody Guthrie. politically-motivating messages that had gained Dylan popularity barely a year before. even though the lyrics were not the socially-conscious. the first part. He read and she danced in auditoriums across the u. choreographed by Nijinsky. made by people who were enamored of mountain banjo melodies and old string bands with names like Gid tanner’s skillet lickers. play chess. and finally. history looks like the inevitable evolution of events—but when you’re living through them. it is art!” the audience fled the hall. His twelve-tone scales and use of unfamiliar structures caused not just a scandal. a section of minneapolis just off the university of minnesota campus.bOOtlEG sErIEs VOlumE 4 original liner notes 89 In 1913. In may of 1966. were there. and ran across the people making music there.

During sessions for his next. ray & Glover. How can he help himself? Your new songs seem to be all inner directed now. When he signed with Columbia and they put out his first album in February of 1962. and it’s happening on-stage too. which mixed love songs and humorous talking blues with the surrealistic imagery of “Chimes Of Freedom. Paul and mary performed his anthem. In June 1964. as far as I was concerned. The Freewheelin’ Bob Dylan. and electric instruments were anathema to the folk crowd who were consciously turning their backs on mainstream culture and pop music. but also included gut-wrenching songs of loss like “One too many mornings” and “boots Of spanish leather. if a bit misguided. wicked arms dealers. through notoriety. baby blue” and you have some incredibly compelling moody masterpieces—which are performed excellently. In October. it makes it almost impossible for the artist to function and grow. which in no way was true. the handwriting was in the air… In January 1965. albums 1 albums 2 albums 3 sONGs . Corrina. in a single day he cut Another Side Of Bob Dylan. bob headed east in late 1960. the resulting 45. with new songs appearing regularly in Sing Out! and Broadside. It may be true that bob never had a great voice. he was a star. Now that’s all okay—if that’s the way you want it. he was a guy who’d started out with Odetta and Harry belafonte tunes and was just getting heavily into Woody and his songs as sung by Jack Elliott. self-conscious—maybe even a little maudlin or cruel on occasion.” the result was a wave of disapproval from the People’s songs crowd. editor Irwin silber chastised him in an open letter: “…You said you weren’t a writer of ‘protest’ songs…but any songwriter who tries to deal honestly with reality in this world is bound to write ‘protest’ songs. We exchanged letters and he proudly sent back a flyer advertising him playing at Gerde’s Folk City on a bill with John lee Hooker. It is a process that must be constantly guarded against and fought. the blues-folk group I played with. the Establishment breeds creativity in protest against and non-conformity to the system.” “It’s alright. another trip deeper down his new road. that at the very moment when bob Dylan was beginning to receive acclamation as the voice of his generation’s political consciousness. Koerner.” paired the trad tune with a rocking original that sounded like Woody gone rockabilly. bob cut tracks for Bringing It All Back Home. it was just a matter of degrees. he flat-picked guitar and was starting to play harp in a neck rack. He’d appeared at the august 1963 march on Washington rally. his new album was full of personal songs…the album moved off an interior landscape in which murdered black servants. I begged and pleaded with him not to do it. unable to produce real art on its own.” His new The Times They Are A-Changin’ album had bertolt brecht-inspired political ballads. the bibles of the activists. the album was a nice mix of blues and interesting versions of trad folk songs.” a ballad also on bob’s first album. Of course bob was there as well and we connected up at the hotel. believe me when I say that this letter is written out of love and deep concern… Irwin silber” by then. bob Neuwirth. I thought it was overstating the obvious…it seemed like a negation of the past. while in a room he. You know. It’s worth noting that bob didn’t come up with the album name. ma (I’m Only bleeding)” and “It’s all Over Now. tambourine man. add in “mr. with a couple of Guthrie-esque originals for good measure.” with phrases like “upon four-legged forest clouds the cowboy angel rides” and “the motorcycle black madonna two-wheeled gypsy queen” which sounded similar to the kind of word play that William burroughs had used in his cut up manuscripts like Naked Lunch. When I met bob. with only “Corrina” remaining. by early 1964 bob was considered a spokesman by a number of groups with varying agendas. the old one never wasted our precious time… the american success machinery chews up geniuses at the rate of one a day and still hungers for more.” reaction was quick to come—in the November issue of Sing Out!. had a couple of albums out and we were booked into the Newport Folk Festival. but then you’re a different bob Dylan from the one we knew. One side of the album was with a band. Cameron Crowe quotes him in the Biograph box set booklet: “tom Wilson titled it that. assassinated presidents and starving miners were nowhere to be found. bob went into the studio and changed directions. played some voter registration rallies in mississippi and become the fair-haired boy of the topical song movement. fast money and status. the single wasn’t commercial enough for top 40 radio. and I sang old Hank Williams tunes—and worked out the harmonies on “tell me”—an original number off the new rolling stones’ first album. the animals were on the Ed sullivan show doing a rock version of “House Of the rising sun. over a three-day session.” He’d appeared at a number of “cause” concerts. and then. there was a lot to chew on there—the solo sides included “Gates Of Eden. “mixed-up Confusion/Corrina. “blowin’ In the Wind. You seem to be relating to a handful of cronies behind the scenes now—rather than the rest of us out front. with some nice piano and harp interplay—it was cool. where martin luther King had given his famous “I have a dream” speech. bob was hooked up with a four-piece band. Give it some thought bob. one side solo acoustic. From there on.” as richard Williams put it in A Man Called Alias: “the fact was though. One of my strongest memories of the weekend is of an afternoon with the festival rolling on in a topical-traditional mode outside. the band tunes originally slated for the album were scratched. innerprobing. We played at some parties here and there and traded a few harp riffs. bob sang “Only a Pawn In their Game” and Peter.90 their Folkways recordings with Woody Guthrie.

telling them they were lucky.91 but dammit.” a month later it was on the radio—it had been released to DJs split in half on a 45 with Part 1 on the a side. It was straight. it was telling someone something they didn’t know. I grinned and thought. worksongs.” bob told writer Jules siegel a year later. who was soon to work with the Paul butterfield band. Every concert was the same: first half. standing ready in case the hoses were needed to quell a riot.” Writing was always cathartic and in one of his bouts at the typewriter he spewed out a long rambling stream. When I first heard it.s. It was a true breakthrough and amazing to hear on the radio—a weird combination of joyous rock and literate lyrics that caught the ear. something along the lines of “let’s see what these white kids think they can do. “after I finished the English tour. in the utmost of slow motion following something…I wrote it. he was in a New York studio with some session cats plus hotshot guitarist mike bloomfield. but the fans wanted to hear more of sloganeering and less of rock poetry. bob was sitting in on harp with the byrds. just a rhythm thing on paper all about my steady hatred directed at some point that was honest. that’s a better word. the press conferences were exercises in absurdist humor and bob was wearing a sharp leather jacket instead of his work shirt. then decided for his next-day concert appearance he wanted to do his new single. after doing several joint concerts with Joan baez. I had never thought of it as a song until one day I was at the piano. “there was nothing happening for me. Over two days they cut three tunes. revenge. I didn’t fail. It wasn’t called anything. these were considered despised symbols of tin Pan alley force-fed pop song albums 1 albums 2 albums 3 sONGs . there was a weird feel in the air at Newport. I didn’t understand. then having to take care of myself all night. but then I was just following myself after that. they had several Dylan tunes in their repertoire. the first “folk-rock” group to crack the top 40. it should’ve been obvious that so was bob. It’s a document of a man in conflict—dutifully doing the dates he’d been booked into for some time. bob did a solo workshop in the afternoon of the first day. so it was an easy job to recruit the rhythm section of bassist Jerome arnold and drummer sam lay. and it was a whole other trip hearing it on the grounds of the Newport Festival in late July. a couple of months later. it’s evocative and delivers his words with just-right emotional intensity—can you imagine anyone doing them with more compassion or authority? the electric side caused more waves. lomax said “oh yeah?” somebody threw a punch and they wound up rolling and scuffling in the dirt for a number of seconds as bystanders bemusedly watched these two physical and industry-sized behemoths going at each other. He came back to the u. “It was ten pages long. the beatles and the stones admired him. a yearly event since 1963: either straight-ahead traditional (mountain ballads. It was filmed and released in 1967 as Don’t Look Back. Neither category allowed for electric guitars or drum kits. and there was a restlessness running through the crowds that had everybody on edge. Guitarist bloomfield was already there with butter’s band. there seemed to be two main kinds of acceptable music at the festival. In the end it wasn’t hatred. the first time I felt no shame. one of which was the six-minute epic “like a rolling stone. and keyboardists al Kooper (who was also on the single session) and barry Goldberg. playing a repertoire that he’d largely outgrown in those fast-moving days. I quit because it was too easy. One of the most telling shots in the movie shows him pausing to look in a music shop window. bob went to England for a two-week tour in late april. two encores and run out. who carried on his shoulder a siamese cat/ain’t it hard when you discover that he really wasn’t where it’s at. “subterranean Homesick blues. Overnight rehearsals resulted in a three-song set. after he took from you everything he could steal—how does it feeeel?” and then that perfect guitar fill lacing in and out. there was definitely something afoot.” as the band kicked off the first electric set ever heard on the Folk Fest grounds. One eruption occurred at an afternoon workshop when folklorist and song collector alan lomax (he’d done the field recordings of son House. It rose to number #39 on the pop charts.” In mid-June 1965. on little transistor radios. manager albert Grossman (who also managed bob) came up to lomax and told him that was a pretty shitty job of running a workshop. banjo breakdowns. or singer-songwriters doing current event/protest songs. part 2 on the b. around the late march album release time. I’d get standing ovations and it didn’t mean anything.” a power-driven speed-rapped riff which mixed Chuck berry riffs with allen Ginsberg-like bursts of poetic imagery. Fred mcDowell and muddy Waters) made a very condescending introduction to the Paul butterfield band on an afternoon blues workshop. If “subterranean” was a kick on a car radio. tickled your funny bone and had your foot tapping all at once. but most of them were putting it back together on tape and playing a complete version. Fire trucks were stationed at the gates. spirituals. the tune both soared and rocked. (though there were six songs from the new album included in the set lists. cool—he got big enough to get a band backing him. most of the tunes were basically folk-styled pieces backed up with a band—with one big exception. blues and bluegrass). imagine hearing “You used to ride on a chrome horse with your diplomat. and on the paper it was singing ‘how does it feel?’ in a slow motion pace.) the radio hit in England was “the times they are a-Changin’” and to anyone paying attention. burned out. It was down to a pattern. eyeing a burns electric guitar. second half.

” as the band worked over the arrangement.C.) albums 1 albums 2 albums 3 sONGs . but that version wasn’t used. the on-stage sound was a mess and the beat got turned around and scrambled in spots. call out take numbers. the only people I heard making comments about the takes were albert and Neuwirth. the first tune played was “maggie’s Farm. First tune up was “Phantom Engineer. there were several agendas rampant that night: the evening concert began with Pete seeger. but the problem was that the Pa sound basically sucked.” the line “I ain’t gonna work on maggie’s farm no more. Paul and mary urged Dylan to return—but bob said that was all the tunes they’d worked up. In N. bob was satisfied. Vocal and guitar volumes surged and/ or disappeared and the keyboards were virtually inaudible. he’d abandoned the dreaded electric gear. “then go back alone.” after about four or five takes.” Without stage monitors. the session men would gather around bob as he ran down a tune for them. nodding as bob unleashed lyrics which might have been inspired by Newport. I was watching from Chip monck’s lighting trailer off to the side. people came to see you. an edgy and riled up crowd filed out later that night to the calming sounds of a soulful solo harmonica. according to later published reports.” bob liked it and told Johnston to get them an acetate to work with. tambourine man. still the raw energy was undeniable. seemed to be embracing the world of commercial music from which they’d made such a conspicuously conscious effort to turn away from. when I was down you just stood there grinning/You got a lotta nerve to say you got a helping hand to lend. as most of the musicians and crew split. Paul rothchild. performers were welcomed. the fire trucks weren’t needed after all.” given the context. the band drove on. an Elektra records album producer. (Fourth street ran through the heart of Dinkytown. the sessions seemed loose but businesslike. then sit down with their instruments and try out lines and rhythms. baby blue” and. stirring more yells from the crowd. the stage was dark and empty for a few minutes while Emcee Peter Yarrow of Peter. When it was time for Dylan to come on in mid-concert the amps and keyboards were hauled out. then bob pulled out a newer tune.” “can’t hear the piano” etc. make phone calls. On-stage.m. there was also a heavyhanded emphasis on traditional music—even to the extent of having a black group singing work songs while chopping a log on-stage. keep the logs. “It takes a lot to laugh. amid more shouts about both sound and repertoire the band quit the stage—now the crowd was mad.” taken at the same fast pace as Newport. Four days later. “It’s all Over Now. he had a wellstocked refrigerator and there usually was some good smoking material on hand. angry that Dylan. seeger was going somewhat berserk. taken at too fast a tempo to have the melancholy majesty it would later grow into. Neuwirth and I looked at each other.” so bob went out with a borrowed acoustic guitar and did two more totally prophetic titles. “Positively 4th street. the band plowed on with “It takes a lot to laugh. they sounded betrayed. outraged at this loud and abrasive deviation from his vision. after bumming a harp from the front rows of the audience. there was a power and energy there. backstage. but covered a lot of different times and places. at 10 a. but it was obviously an end of a chapter. trying to cut the power cables. producer bob Johnston was from the John Hammond school of production.” with some tasty guitar and piano builds in it. When the crew was back in place. you just wanna be on the side that’s winning. Peter said. they wanted more than three songs—some wanted the band. the original venerable topical song singer playing a tape recording of a newborn baby crying and asking the night’s performers to tell the baby about the world it would grow up in—it was pretty obvious the message he had in mind. “mr. July 29 in New York City’s Columbia records studios. as far as I could tell. recording for the new album got underway. some wanted their old familiar troubadour. bob lived on West 4th street for a few years.” the soreheads were somewhat placated by hearing the older material and it looked like they’d won.. mel lyman of the Jim Kweskin Jug band playing a deeply felt “rock Of ages”—it took the edge off. the expectations were high—till then the show had been fairly dull. each take getting tighter. the Chambers brothers quartet who’d also been at Newport dropped by that day and while listening to tape playbacks they came up with some harmony parts for the chorus of “tombstone blues. I heard people yelling “turn up the voice. and stay out of the way.92 culture. kicking into “like a rolling stone. with the same crew from the “rolling stone” sessions. singing a few verses as they noted down the changes. including a few voices calling out for the old tunes.” by the final verse and the line “you’d know what a drag it is to see you” it was obvious there was another hit single there. Chip ran a hip hospitality house.Y.) “You got a lotta nerve to say you are my friend. after a couple takes it was played back and bob moved on to “tombstone blues. bob had invited me down to hang out and I found a corner in the control room. was clearly in over his head as he struggled with the sound board. bob ran down how he wanted it done differently—and in three takes they got the lovely version on the album. and a kind of farewell. It takes a train to Cry” (still called “Phantom Engineer”). and a lunch break was called. there’d been a discussion that afternoon about doing something different with the lights during bob’s set—after a fair amount of chuckling the idea of having the entire stage go red at the end of a tune was arrived at and approved. (they later came in and overdubbed their parts on the track. with his amplified accompanists. bob sat down at the piano and worked over “Phantom Engineer” for an hour or more. took on a whole OtHEr meaning.

” by the first verse into it. I tried it as a blues. ‘I had this thing called ‘subterranean Homesick blues. the harpsichord. there wasn’t guarantee of success in the pop field. I knew this was gonna be a killer album. who wound up backing him for the rest of the tour. this take. with a new backup band. You didn’t need anybody.” albert replied. or this whole athletic supercleaness bit. I caught a ride uptown in the station wagon.93 at the time I was conscious of watching history go down. for their story on the new “folk-rock” phenomenon: “the conversion of Dylan the performer to folk-rock was instinctive. so I missed the session where the album take of “Desolation” was cut—but even without hearing that. I haven’t changed a bit. a Canadian band that had backed rockabilly singer ronnie Hawkins. it wasn’t a matter of going where the easy money was at all. but its presence seemed right. do you. he was risking his whole career. but I had to quit when I was 16 or 17 because I just couldn’t make it that way. New York. but alienating his old fans as well. “You’ll get it next time. I tried the piano. three weeks later there was an august 28 gig at Forest Hills. now added were robbie robertson on guitar and levon Helm on drums. that night after the session. the energy wasn’t quite as charged as yesterday’s. the following day’s session was called at the more reasonable hour of 3 or 4 p. besides Kooper and brooks. “It’s way outta tune—why didn’t you stop me?” “It’s a long song. bob was in high gear. “Keep playing. with mostly the same crew. but it was still a productive day. they came from the Hawks. Jones?” I remember the leer on the organ player’s face as he dropped in some horror-movie swells here and there. a kind of reality shift that nobody acknowledged. When “rolling stone” came on the radio there was an odd moment. the last tune attempted that night was a long song called “Desolation row. mr. it fit.” he told the sidemen. From Variety: “bob Dylan split 15.” after a weekend up the country. It seemed to me the result was a paler version of “Positively 4th street. bob called for a playback and as it began he scowled. bob was in toronto checking out and then rehearsing with the Hawks. but Kooper and brooks opted out. issued as a single. he had his own vision to follow. yet bob was tired of preaching to the choir. sometimes the recording creative process can be deadly to watch. definitely in synch with bob’s flow. In mid-month. the kazoo. but “Can You Please Crawl Out Your Window?” took a few more. at some point drummer sam lay from butter’s band showed up and ended up taking over the drum kit on “Highway 61 revisited. then bring on the band. and both Kooper and bloomfield were positive energy fields in their own rights. Dylan delivered a round of folk-rock songs but had to pound his material against a hostile wall of anti-claquers. “From a buick 6” went down in about three takes. but because it was easy.m.” a few days later the Highway 61 Revisited album was released. some of whom berated him for betraying the cause of folk music. about the same time as a Hollywood bowl concert with the same personnel. except Harvey brooks who was later added on bass. From Newsweek. one that was going to take his fans right up to the edge. a tour through the south was set to begin in late september. I just got tired of playing the guitar by myself…’” He was given more room to talk in an interview with Joseph Hass for the Chicago Daily News: “…I didn’t go into folk music to make any money. at a creative peak. but that wasn’t the case here. you didn’t need anybody else at all… I was playing r&r when I was 13 and 14 and 15. no matter how weird it gets. albums 1 albums 2 albums 3 sONGs . the image of the day was Frankie avalon or Fabian. I had to head back to minnesota. so many roads. there really was a feeling of magic afoot. the following week’s sessions were back on the energy track. where bob and Kooper spent an afternoon going over the song list and getting chord charts together for the musicians. Dylan has apparently evolved too fast for some of his young followers.. On september 24 the tour began in austin. it was obvious that bob’s guitar was rather painfully out of tune.000 of his fans down the middle at Forest Hills tennis stadium sunday night… the most influential writer-performer on the pop music scene during the past decade. the real highlight of that session was “ballad Of a thin man” with its almost sinister refrain “something’s happening and you don’t know what it is. but it fit right in with the band.’ It just didn’t sound right by myself. the cigar-sized toy siren-whistle that bob wound up sticking in his harp-holder and used to punctuate the tune came out of lay’s drum case. I tried it on pipe organ.” with less interesting lyrics. there are often long stretches of boredom as endless retakes are done to repair some minuscule imperfections. bob liked working fast and the band was good at synching with and abetting his drive. Neuwirth drove and bob peered quietly out the window.” he said inscrutably. but albert didn’t want to stop the take. He was not only chancing falling on his face in the competitive rock scene. bob decided to do the first half of the concert solo. “let him go. you could be by yourself. both had been part of the excellent backup band on a recent John Hammond album.” In fact. didn’t have the rough energy of a later version cut with the Hawks. and robbie’s in-concert Hubert sumlin-inspired scorch-guitar tones were a match for bloomfield’s manic fills. both Neuwirth and I pointed it out. some 12 minutes later. It’s worth pointing out that in many ways bob was jumping off a cliff here—he wasn’t merely moving beyond the folk/topical-song audience. who are ready for radical changes in practically everything else…repeating the same scene that occurred during his performance at the Newport Folk Festival. all you needed was a guitar. as there were a lot of breakdowns getting into it. they wanted more of the same.

he was using a blowtorch on the middle. the result of long and careful crafting. after a week-and-a-half of east coast dates. the tour hit seattle. “Positively 4th street” hit the radio (it rose to #7). including a raw and driving version of “Can You Please Crawl Out Your Window?” and “I Wanna be Your lover. and his film would provide some raw material for that.Y. He seemed patient about it—there wasn’t a defiant feeling which had been there to a degree before. back to Nashville for more sessions. there was an abC television special in the works. you couldn’t carry around an amplifier and electric guitar and expect to survive. robbie and the rest.. though the sound was a bit hit and miss in the big hall. do you know who that is?” “uhhh—who were you expecting to see?” I asked. played Carnegie Hall. but I guess he didn’t have much pull. “Just like a Woman. including one November 5 at the same minneapolis auditorium where Elvis had appeared a decade earlier.” with its spectral evocation of a haunted night ride to dawn. December 1. that was the point when I realized that the scene was moving to a whole other level. He seemed bemused when I explained that was him and that the band would be out later. Ohio and minneapolis. the Tribune piece. it sounds like a contemplative work. in some places people actually really dug it. as bob closed up his suitcase he pointed to the rabbit suit hanging on a doorknob. that stuff and I became a folk singer… you couldn’t make it livable back then with r&r. mickey Jones (he’d previously worked with trini lopez and Johnny rivers).” listening to the album now. Philadelphia.” “I Want You” and “rainy Day Women #12 & 35. because the seats were at the back of the hall. which included several tunes that became radio hits. the next day the tour continued. Ottawa. followed by a couple weeks in California. montreal. at month’s end. the tour got to N. “Freeze Out” (which later became “Visions Of Johanna”). around this time “rainy Day Women #12 & 35” was released to mixed albums 1 albums 2 albums 3 sONGs . tickets ranged from $2 to a top of $4. Joining up was filmmaker D.a. with yet another drummer. “One Of us must Know (sooner Or later)” made the cut. somewhere near the end of February. Harry belafonte. the tour took a month off. after miami there was a week off. it was just too much of a hangup. more recording in N. a number of tunes that would later turn up on Blonde On Blonde were tried.50. boston. just around the time “Heartbreak Hotel” first came out. bob was not just burning the candle at both ends. who’d shot bob’s previous European dates for Don’t Look Back. although the calendar shows a couple of weeks off. In mid-December the New York Herald-Tribune and The New York Times sunday magazines simultaneously featured long articles on Dylan. another shot at “Can You Please Crawl Out Your Window?” and another long one. “One Of us must Know (sooner Or later)” was released (it made it to #45). was actually written by Dylan. and then you had to make more money to have enough people to play the music. which makes the accomplishment all the more amazing. there would be 23 more concerts over the next six weeks. I went along back to the hotel as they packed up. and that although people seemed to be booing the band set because they’d read about it as a thing to do. rather it was more of a man following his convictions and willing to wait till people were ready to hear what he was saying. with a couple of tunes attempted. you need two or three to create some conglomeration of sound…” a few days into the tour. the san Francisco public television station televised a live press conference. completing the rest of the Blonde On Blonde tracks. drummer levon Helm got fed up with going out every night. bob was several songs into the solo acoustic set when a guy came in late and sat down beside me. the band set was strong.Y. bob put me on the list. then began the European leg of the tour. bob went into the Nashville Columbia studios for three days of recording. backstage I met up with bob. atlanta. back on the road again. Five takes resulted. His chair was filled by session man bobby Gregg. Chicago and Washington. the next day. playing kick-ass tunes and getting booed because of all the non-musical baggage that came attached—so he quit and went back to arkansas.94 which if you didn’t have that you couldn’t make any friends…about 1958 or ’59 I discovered Odetta. Dylan said it’d been going well.” Gigs continued through November: Cleveland. “Excuse me. now with sandy Konikoff (another Hawks alumnus) on drums. an april 9 date in Honolulu was followed by a hostile press welcome to a week-and-a-half in australia.” another good rocker that fell by the wayside. though uncredited.. but only one from this session.Y. ready to fly out that night for the next gig in buffalo. winding up in Vancouver at the end of march. with another three-day shot the second week of march.” he smiled.C. ‘like a rolling stone. the group hit stockholm on april 29. including such gems as the mystical love ballad “sad Eyed lady Of the lowlands” and “Visions Of Johanna. among other things. then knocked off a quick recording session where four tunes were cut. texas. “right there. resuming shortly after more late January album sessions in N. back on the road for a month-and-a-half worth of dates. toronto.’” he replied. but when you look at the tour schedule you see that it was wrenched out of stolen moments. Neuwirth. Pennebaker. New York. It cost money to buy an electric guitar. “bob Dylan. with his harp rack draped over it— “there’s bob Dylan. done on the run. and bob was obviously charged about working with the group. and running on various octanes of ingredients. lay back? You must be kidding. album mixing and photo sessions were going on. which mixed some suits trying to get bob to explain the reasons for his popularity along with allen Ginsberg asking “Do you think you’ll ever be hung as a thief?” bob mentioned that there were a few places where he hadn’t been booed. after a couple of tunes he leaned over and said.

later at the hotel. the electric set is interrupted by shouts and the review is headlined “the Night Of the big letdown. quite simply. which is why they weren’t issued. the fact that the band is right on the money is proved with a track from Dublin that turned up on Biograph. On to Cardiff. “Dylan is to me the perfect symbol of the anti-artist in our society. the track is a great example of the power and precision that the ensemble could muster up in the face of overt hostility. but you can see the ghost of electricity in the bones of his face for sure—he looks like a man with exposed nerve endings. the combination of the hectic schedule and the intense white heat in which Dylan was working were beginning to take their toll. but bob and cameraman Howard alk decide to re-edit.” the audience is pin-drop respectful and responsive during the acoustic portion. liverpool. when the hall sold out.) Free at last. not to please the audience and certainly not out of obligation. who muttered. the loudest that most of the audience had EVEr heard. they are playing some great shit. but for the sheer joy of doing it.” may 17. and that the second night was distorted in other ways. where the subject was how to respond to Dylan as a traitor to the proletariat cause. at both scottish gigs Dylan is subjected to slow hand-claps and walkouts. Edinburgh and Newcastle. lee quotes a member of the scottish Communist party as saying that this was actually the result of heated party meetings. everybody listens to playbacks and probably gets some welcome confirmation of the fact that.” this was followed a month later by an interview with british folkie and staunch traditionalist Ewan macColl. Pennebaker had come up with a fairly straightforward tour/performance version called Something Is Happening. the result becomes the rarely seen Eat albums 1 albums 2 albums 3 sONGs . but it was obvious that opinions were running volatile. He’s against everything—the last resort of someone who really doesn’t want to change the world…He deals in generalizations…also I think his poetry is punk. Garth’s organ swirls in and out of robbie’s guitar lines as Dylan’s vocal and harp ride the top of the sound wave. he has a wired-to-the-bone stoned fragility that makes it look like he might vanish in a burst of flame at any second. He’s at a peak of young-lion power and beauty.95 newspaper reviews—it was called a drug song by some. back to london for the final two shows at royal albert Hall. manchester. yes.) again. the sound was. check out “Visions Of Johanna” from the 26th on Biograph. it came from a line feed recorded on a Nagra for the filmmakers. still. C. was literally burning himself out. the English musical press had been fanning the flames for some time. unlikely to appeal to pop fans because of its length. Paul Williams in Performing Artist: The Music Of Bob Dylan 1960-73 describes the psychic scene: “the concerts were incandescent because the singer was living for art. It’s later said that the first night’s electric set was distorted on the tapes. bob heads to spain for a brief holiday before returning to the u. and is the actual source for the recordings in this set.P. he manages to impress a crowd of fans and rock royalty over two nights. may 5th was in Dublin.s. (a real Communist plot!?!) Dylan has one last press conference in Paris. With their amps. traveling with intrepid companions out into unknown aesthetic realms. In Like The Night by C. most of the halls’ small Pa systems weren’t adequate to handle a band. (though some great tapes have emerged from the solo set.P. using outtakes. a load of rubbish by others. On to Glasgow (filmed from on-stage by Pennebaker). soundboards and huge speaker cabinets. but if bob was in the people’s faces. they were in his as well. so the tour took the innovative step of bringing in its own gear. Watching him in the film that was later shown as Eat The Document is scary. then sheffield—the first of four shows recorded by Columbia. as well as the numerous bootlegs from “the royal albert Hall. lee.” the following night in belfast is more of the same. at many venues. leicester. there are photos of him with a marionette on his knee—strings would help them both. extra seats were added at the sides and back of the stage. editing film for the abC tV special. by now it looks like Dylan is dangerously close to crashing out altogether. another track from the live set surfaced later as the b-side of “I Want You”—“Just like tom thumb’s blues. again with Columbia recording. “I Don’t believe You (she acts like We Never Have met)”. birmingham.” this set off a firestorm of letters to the editors. their review of “rolling stone” the previous august called it “sub-standard Dylan. the booing has nothing to do with the quality of what they’re creating. a practice that wouldn’t become common until several years later. again shouts of “turn it down” and walkouts were gleefully reported. then comes the band set and all hell breaks loose again. monotony and surrealist lyrics…but Dylan no doubt enjoys confounding critics and going over to the electronic enemy. (a recent chronicle of the European tour which focuses on his hometown show in manchester) photos show faces peering intently from a few feet behind the drum kit—literally surrounding the band. they’ve heard over half of these tunes before and they’re on ground that’s comfortable here. may 10th was the first date on british soil. shining lights into unexplored darkness. this show is also recorded by Columbia. June and July are busy weeks in Woodstock. the day before his show at the Odeon on his 25th birthday. and drew comments from other musicians as well—most of them taking Dylan’s side. using a three-track machine.” (like the previously mentioned live number.” It went on. Derivative and old hat. “the monotonous melody line and expressionless intoning…will offend folk purists with the strings [sic] and electric guitars.

which was. with an acoustic guitar. breaking his neck. for one thing. but at bottom. in short. this concert stands as one of the greatest events in rock music. burned and turned his back on his previous existence. it makes a better story—the last-ever concert of a kick-ass tour before the artist crashed. and so the myth begins… When the first bootlegs came out they were misidentified. —tony Glover st. When he returns. He’s not heard from again musically until November of 1967. at the end of July. what really matters is that one night in 1966. grown a beard. there may also have been some incorrectly marked tape boxes used. may 1998 albums 1 albums 2 albums 3 sONGs . He goes into total seclusion and all projects. barely glimpsed faces. and is singing spare mystical songs. He was true to his vision and he went right to the edge for it. an ahead-of-itstime prototype for the way mtV-style rock videos were later made. all this has been the subject of endless speculation and arguments in fanzines and on the Internet. by then 1966 was not only just the past. songs cut off in the middle and fans interviewed saying “he needs shooting”— it’s no wonder it was rejected by the network. Why? Well.96 The Document. are shelved. to this day. with mismatching dates and locations. he’s had a haircut. it was another life. the wheel on bob’s triumph motorcycle locks up and he’s thrown. Paul. there are a lot of jump cuts. a poet stood on a stage with a band he chose to help him propel his vision and made incredibly powerful music which was utterly unique. including Tarantula. a book of free-form fragments.

Tom Wilson. Babe Maggie’s Farm It’s All Over Now. John Hammond. Don DeVito. Barry Beckett. Baby Blue Mr. Jerry Wexler.Don’t Think Twice. Bob Dylan. and Leon Russell . Mark Knopfler. Daniel Lanois. Bob Johnston. Lay If Not For You I Shall Be Released You Ain’t Goin’ Nowhere Knockin’ On Heaven’s Door Forever Young Tangled Up In Blue Shelter From The Storm Hurricane Gotta Serve Somebody Jokerman Silvio Everything Is Broken Not Dark Yet Things Have Changed 97 albums 1 albums 2 albums 3 sONGs the Essential bob Dylan Produced by Gordon Carroll. It’s All Right The Times They Are A-Changin’ It Ain’t Me. Tambourine Man Subterranean Homesick Blues Like A Rolling Stone Positively 4th Street Just Like A Woman Rainy Day Women #12 & 35 All Along The Watchtower The Mighty Quinn (Quinn The Eskimo) I’ll Be Your Baby Tonight Lay. Lady.

35 years after Blonde On Blonde and 25 years after Blood On The Tracks. accordion. albums 1 albums 2 albums 3 sONGs . one of Dylan’s very best vocal performances ever – roaring. leaves one shaking one’s head in amazement. Larry Campbell – guitar. apocalyptic “High Water (For Charley Patton)” to the blazing. 2001. was released on september 11. banjo.” Dylan’s next studio album after Time Out of Mind. totally assured – a tour de force. from the rockabilly extravaganza “summer Days” to the scary. wiser. Clay Meyers .” is unlike any of the others. whimsical. Charlie Sexton – guitar. and gratitude. piano. and an excellent performance. sly. 2001 “Love And Theft. another five of them are easygoing. guitar. in fact. swaggering “Cry a While. despite the obvious ravages of the years on his voice.” “bye and bye” and the gorgeous “moonlight. Augie Meyers – vox organ. of letting go. “Love And Theft” has to be counted among the very top Dylan albums. mandolin. to see it follow Time Out Of Mind. displaying a richer mix of materials and even better vocals. It’s all right. Tony Garnier – bass.Tweedle Dee & Tweedle Dum Mississippi Summer Days Bye And Bye Lonesome Day Blues Floater (Too Much To Ask) High Water (For Charley Patton) Moonlight Honest With Me Po’ Boy Cry A While Sugar Baby Musicians: Bob Dylan – vocals. the album has an ingenious arrangement in which a couple of very distinct types of material play off against one another. snarling.” all in all. six of the twelve tunes are blues-based material of one sort or another. the final song on the disc.bongos on “Tweedle Dee” and “Honest With Me. this is. “sugar baby. romantic songs with an occasionally wistful aspect. even of defeat – a much older.” “mississippi” is one of Dylan’s most sustained lyrics in years. B3.” with its Charley Patton-derived guitar riff. “Love and Theft” dispenses with the unified tone of Time Out Of Mind. light. like “Po’ boy. a heartbreaking song of loss. David Kemper – drums.” 98 BOB DYLAN “Love And Theft” “love and theft” Produced by Jack Frost September 11. violin. and sadder version of “Don’t think twice.

poet allen Ginsberg. 5 capture the tone and feeling perfectly. surprise and wonder in all directions. playwright sam shepard. at various times the tour included Dylan’s old singing partner Joan baez. including the rarely-heard “mama You been On my mind.” a fine souvenir of an exhilarating and optimistic time. Canadian folk and pop star Joni mitchell. capable of doing short individual sets as well as playing together. beatrice Zimmerman.” “It ain’t me babe” and many others. albums 1 albums 2 albums 3 sONGs THE ROLLING THUNDER REVUE the bootleg series. the tracks on Bootleg Vol. the tour was part rock and roll extravaganza. Sister Hurricane One More Cup Of Coffee (Valley Below) Sara Just Like A Woman Knockin’ On Heaven’s Door 99 BOB DYLAN LIVE 1975 The Bootleg Series Vo l . Vol. and the film’s musical segments come from those shows. Babe A Hard Rain’s A-Gonna Fall The Lonesome Death Of Hattie Carroll Romance In Durango Isis Mr.Tonight I’ll Be Staying Here With You It Ain’t Me. for a short stretch. and his wife sara. scattering excitement. 2002 . painter and aide de camp bob Neuwirth. much of Dylan’s Renaldo And Clara was filmed during the tour. It Takes A Train To Cry Oh. 5 bob Dylan live 1975: the rolling thunder revue OrIGINal lINEr NOtEs Produced by Jeff Rosen and Steve Berkowitz November 26. and head out into america playing at small venues. as you can hear on “a Hard rain’s a-Gonna Fall. 5 the rolling thunder revue was one of Dylan’s most inspired ideas: take a group of congenial musicians. Dylan joined voices with Joan baez for several duets. Tambourine Man Simple Twist Of Fate Blowin’ In The Wind Mama. You Been On My Mind I Shall Be Released It’s All Over Now. and even. part medicine show and traveling carnival troupe. his early role model and fellow Guthrie acolyte ramblin’ Jack Elliott. Baby Blue Love Minus Zero/No Limit Tangled Up In Blue The Water Is Wide It Takes A Lot To Laugh. his mother. It was also a moveable film-in-progress. many of his older tunes got new treatments to invigorating effect.

bOOtlEG sErIEs VOlumE 5 original liner notes 100 like countless others in the sixties. the drummer tested the high-hats. I still recall the item in the New York Post. my cultural touchstone was no longer andy bathgate of the New York rangers. I watched the chess players and musicians in Washington square Park. I had the whole Dylan canon. Or the rolling stones. In fact. His tour was canceled. I borrowed my parents’ car and drove into Flushing to a store named Gertz where I picked up Highway 61 Revisited. Even more enigmatic photos on the inner sleeve. Needless to say. angels left looking just like ghosts. Dylan finally strode onstage. a whole side of one album given to a marvelous ode to a mysterious muse— the sad-Eyed lady of the lowlands. at number 43. From the opening cacophony of ethereal organ. Dylan. Now I’d like to be able to say that I heard “blowin’ in the Wind” and then rushed off to mississippi to register voters for sNCC or that after listening to “the times they are a Changin’. waved to someone in the audience and ambled off. he was paralyzed. the place was jammed and after about an hour wait.” a quick bow and he was off. I immediately knew something was happening and I knew that it wasn’t the Kiwanis Club. Blonde on Blonde just cemented the relationship. it was over all too fast. I wasn’t going to major in accounting anymore. a quick countdown and then wham—the most incredible rock music I’d ever heard permeated the hall. I started driving to the city and hanging out in Greenwich Village. they took in a movie while my friend and I went to the show. New York. urban fairy tale (“Once upon a time…”). then the rumors spread. like a dream. the King of the Philistines put the pied pipers in prison. It was a revelation. I was exploring rimbaud and going to students for a Democratic society meetings and loitering at the Peace Eye bookstore in the East Village. that cinched it. I saw the Fugs at the Players theatre on macDougal street singing their odes to pot. When the album was released. No. Dylan took a regal half-bow. How did it feel? like I was home. and it changed my life. the lights dimmed and five strangers wandered onstage. I couldn’t wait to see Dylan play those songs. I went into a record store on bell boulevard and looked at that week’s single charts. God talked to abraham. there. amazingly intense songs like “Freeze-Out” (later to be released as “Visions of Johanna”) and “Desolation row. the rock star bob Dylan had been seriously injured in a motorcycle accident. Napoleon in rags and siamese cats. I was transported to a world populated by bums and diplomats. On the ride home that music was still resounding in my head. no calls of “Judas!” from the folk-purist segment of Dylan’s audience. that was about the extent of my anti-social activity. that couldn’t be true— albums 1 albums 2 albums 3 sONGs . after the intermission. I was hooked. was a song called “like a rolling stone” by someone named b. With a new arsenal of material. and waiting for the next musical pronouncement from the minnesota bard himself. the guitar players plugged into amplifiers and then Dylan strode back onstage. Haunting yet perfectly unobtrusive music servicing brilliant. Wait. Growing up in semi-suburban Queens. one part salve—kicked in and like in some surreal. thanks to Dylan.” I marched on Washington with Dr. there were no boos. enigmatic songs. pussy and perversity. I got turned on to Dylan because I was a charter member of the rolling stones Fan Club. He had been horribly disfigured. I was irate. Within a month. my life was changed by bob Dylan. Come on. on sale for $1. to the best of my recollection of that February night in White Plains. Each chance I got. he had merely lost his mind. martin luther King but that wasn’t the case. I bought clothes at the Paul sergeant store mentioned on the liner notes to Highway 61.88 in mono. I was a little late coming to the Dylan party. I was a member of the Kiwanis Club at bayside High and had an after-school job reconciling bank statements for a neighborhood pizzeria. then that voice—one part sneer. and a few weeks after that I spotted a small ad in the paper for a Dylan concert in White Plains. miss lonely and the mystery tramp. He did a stunning solo set. mixing up the classic folk ballads with some middle-period love-hate songs and some new. I immediately wrote for tickets and convinced my parents to drive me to Westchester. then came that fateful day in June of 1965. (For a great evocation of the drama of these ’65-’66 shows see tony Glover’s liner notes to the Bob Dylan—Live 1966 two-CD set.) Just mindblowing music that seemed as spontaneous as it was divine. No. It was now b. little did I know I’d have to wait eight years. I noticed he was wearing an olive box-checkered suit. he didn’t even have a motorcycle accident. hoping to catch a glimpse of allen Ginsberg. Convinced that this Dylan guy was ripping off mick and the boys name to get famous. I bought his record. He was holed up in a place in upstate New York called Woodstock. Einstein disguised himself as robin Hood and romeo met Cinderella out on Desolation row. Dump trucks unloaded heads. honky-tonk piano and blistering guitar. Dylan.

“Yeah. We can certainly do that but we can do a bunch of other things too. by that summer. a year and a half later almost everyone felt betrayed. and we didn’t get to that. and in order for me to do what ever it is that I do. I asked Harrison if he had heard Dylan’s still unreleased album. When I told him that two years later. lady. almost biblical parable-songs. and Dylan. that album helped me out of a jam when I got assigned by Rolling Stone to cover the George Harrison tour. I have to have control and I didn’t have too much control on that specific tour. after that. I got kind of held up on that tour. Dylan was expectations about that work. these moonJune-spoon country songs? and what was with that high-pitched voice? the troops on the front line were mystified and disgruntled. Self-Portrait. was our leader (even though he had warned “don’t follow leaders. I got a chance to hear an early version of that album and I did a preview piece for Rolling Stone (in fact. twenty-four hour occupation of the social sciences building at Queens College. screaming at the gods in the sky and everything is so high-pitched. so what was this Nashville Skyline. no less!) and a soundtrack album that was mostly instrumental. I felt like Willis reed. late night freeze-out songs that seemed to come right out of urban lofts like andy Warhol’s Factory had been replaced by taut. you know. It seems that Dylan had been working on some new albums 1 albums 2 albums 3 sONGs . In 1970. Dylan started spending a lot of time back in New York. “Yeah. hitting some of the same spots that he had thirteen years earlier when he first burst onto the music scene. there was the poignancy of “I threw It all away. “Whenever bob sings with the band it’s like thunder and mountains. I came on when they reached the East Coast. just the intensity of the music was so high that it was really straining. Blood On The Tracks was released in January of 1975.” It was clear that the one thing that you couldn’t have if you were interested in the work of mr. In the end. by then I had graduated with a master’s degree in deviance from the university of Wisconsin and I was writing about rock music for Rolling Stone magazine. Dylan took to the road with the band (his 1966 back-up band who had gone on to fame with their own finely-crafted albums) in January of 1974. at the Other End one night. embracing significant Issues. whether he liked it or not.” trading lines. you know. when Nashville Skyline was released in april of 1969. Nobody was in control. the latest incarnation of the bitter End. the majesty of the musical genre that Dylan invented (which was labeled “folk-rock”) had given way to a trimmed-down acoustic sound played by some of Nashville’s best session men. Now it was the rock’n rollers who felt betrayed. I saw the opening night show in Chicago in the cavernous Chicago stadium (home of the Chicago black Hawks). We were protesting the war. an offbroadway director and ex-clinical psychologist who had written lyrics for ex-byrd roger mcGuinn. His next album. Dylan ran into Jacques levy. doing what he does best—telling the tribe the news of the hour. fighting racism. it was clear that Dylan was once again out on the front lines.” but with the album and the tour. I moved to the midwest to organize welfare mothers and go to graduate school and it was a New morning for both Dylan and me. such intensity and energy. he seemed to agree. I didn’t know from country music but these songs certainly spoke to me. the experience wasn’t totally pleasant for either the band or Dylan. One of the places that Dylan frequented was the Other End. lay. I think that his anticipation and nervousness on that tour didn’t allow for any laid-back stuff…we didn’t do any of that on tour ’74. isn’t it great?” George enthused. in the middle of a three-month. We were just shuffled around from airport to limo to hotel lobby to hockey rinks. at promoter bill Graham’s urging.” the surrealism of “Country Pie.. wryly enough.”). and after we both broke into “tangled up in blue. to be more precise) in 1974. With the release of Planet Waves. Even though the stage had been decorated with carpets. I was in my senior year of college. to break the ice. right after stone editor ben Fong torres’ piece lambasting the tour was printed. Harrison wanted nothing to do with anyone from Rolling Stone but.” my sense at the time was that Dylan was ambivalent about that tour. lamps and even a couch to give a sense of intimacy and warmth to this cold arena. For years we had to make do with a greatest hits collection (volume 2. so with that in mind.” the seductiveness of “lay. I bought and cherished his next collection of outtakes and covers called. an album that seemed to be an attempt to reconcile artistic vision with the demands of domesticity. but then the well seemed to run a little dry. but I secretly loved the album. John Wesley Harding only fueled the rumors. maybe it was the rust of eight years off. maybe it was the expectations of the crowd that made the Dylan/band reunion a major media Event in itself. he reluctantly agreed to sit down and hear my plea for an interview for my article. and those murky. the next dispatch was the breathtakingly heart-breaking Blood On The Tracks. I could sense that Dylan felt a little stilted.101 he was seen in a local café drinking coffee and doing The New York Times crossword puzzle. how was he supposed to get any riding/writing done? Dylan brought it all back home (or back on the road. “tour ’74 was hard work. I mean I wasn’t really in control of the situation. Harrison warmed up and gave me an interview).. woodsy. I guess with all those tired horses in the sun. a popular music and comedy venue in the early sixties.” robbie robertson remembered. We met in a dressing room in the bowels of madison square Garden the day of the show.

On Wednesday night. “bob was really open. they were trading lyrics and they worked all through the night. Dylan felt so passionate about this cause that he paid a visit to Walter Yetnikoff. picking musicians up and bringing them back to the sessions. scarlet and sheena joined Dylan and after one take of “Isis. to no avail. something that boxers just didn’t do in the era when muhammad ali was still Cassius Clay. saccharined picture-postcard for a country that was verging on revolution. July 28th and Dylan had assembled a cast of musicians that was Felliniesque in its scope.m. Carter’s plight notwithstanding. recording until 6 a. from the playbacks. the reality is that Dylan had decided to put together a unique form of a musical revue long before any of the albums 1 albums 2 albums 3 sONGs . “romance in Durango. It ended up with something like twentyfour musicians in the studio. the song became “Isis. so the suspicion that Carter was a marked man by the authorities was reinforced when he and his companion John artis were arrested in June of 1966 for the murder of three whites in a tavern shoot-up. bittersweet lament to his wife. all playing these incredibly incongruous instruments. singer Emmylou Harris.” “black Diamond bay”– if they completed a song. “Joey. the first session was on monday. Crammed into Columbia’s studio were guitar hero Eric Clapton. He was also a proud black man who was very outspoken about racial and social issues. Plus Village bassist rob stoner.” It was speculated that one impetus for the tour was a song that Dylan and levy wrote about the imprisoned boxer rubin “Hurricane” Carter. an autobiographical. by the end of July.102 material and the two went around the corner to levy’s loft. stoner. sister. whose regular gig was blowing harp out on Eighth street for spare change. Dylan and his producer Don DeVito met with rob stoner who. folkie Eric Frandsen. Carter was a fierce middleweight who seemed destined to be the champ. the iconoclastic mobster that was hit in umberto’s Clam bar. Dylan sat down on the piano and started into a slow dirge. they were back in the city and Dylan headed straight for the studio.” “Joey. by virtue of his ability to watch Dylan’s fingers and communicate the changes to the rest of the musicians. the collaboration went so well that the two of them went out to the Hamptons for three weeks and continued to knock out songs. since Kokomo was departing. levy typed up the then current version of the lyrics and he and Dylan went back to the Other End. Wyeth.” “mozambique. “One of the things about [those songs] that’s so wonderful is that they give [Dylan] a chance to do some acting.” the true story of Crazy Joe Gallo. ready to express how he felt about things. they decided to go with a smaller group. late that night.” a story about a gunslinger and his love on the run. ready to come out. an old friend of bob’s. they stopped the car.” In fact. an album’s worth of material coalesced. the president of Columbia records. “that was amazing. Carter was 5’ 8. two of the wounded victims described the killer as a lightskinned black. where bob proceeded to read them to the lucky few who were sitting around the bar. who was then backing long-time Dylan pal bobby Neuwirth. then stoner suggested his drummer. he was convicted and sent to rahway state Prison where he always maintained his innocence and even penned a book called The Sixteenth Round. Including a song bob wrote by himself.” an ironic. after reading the book. it was a take. and he was hardly light-skinned.” “Oh. when it was time to move the cars lest they get towed away. He was after a really large sound but the songs were so personal that he wasn’t comfortable with all the people around… I had to get in the fresh air ‘cause it was just madness in there. with a pencil-thin moustache. “and he immediately started talking about a tour. Dylan included.” “Hurricane. He was just driving around. then there was scarlet rivera. and sugar blue.” levy told me. from the vibrations.” the song was incredibly powerful— listening to it was as intimate as viewing snapshots from a family album—except this album belonged to one of the most famous people on the planet. Next thing they knew.” after two nights of this. an eight-member English r&b funk band named Kokomo. had become the de facto bandleader. his backup vocalist Yvonne Elliman. violin—and it didn’t really work. and listening to playbacks until 8 a. and studio pros Hugh mcCracken and Vinnie bell.” Clapton later told a rolling stone interviewer. about six feet tall.” Working feverishly.” 155 pounds. they worked feverishly through the night. “sara. Dylan was ecstatic.” a picaresque narrative about grave robbing and lost love. with only a few breaks to go shoot some eight ball. a defense committee was formed and a copy of the book was sent to many celebrities. and “mozambique. Howie Wyeth.” so it was natural for Dylan and levy to work up a song about rubin’s plight called “Hurricane. urgent calls were put out to super session men Jim Gordon and Kenny buttrey. accordion. On the way back down to the Village. urging him to get the song out as soon as possible. Emmylou. Dylan had been riding around the city with an aspiring singer named sheena when he saw a dramatic-looking woman with waist-length jet-black hair carrying a violin. to drop off the musicians. “He felt that he had succeeded.” it was evident that magic was afoot.” sheena remembered. a drummer was needed.m. “[bob] was trying to find a situation where he could make music with new people. No matter. “One more Cup Of Coffee (Valley below). asked her if she could play that violin and next thing she knew she was in the middle of this madness. Dylan visited rubin in jail and was convinced that “this man’s philosophy and my philosophy were running on the same road.

there was a simpler explanation for rolling thunder. the buses would hit town. a multi-instrumentalist who had a band called Quacky Duck. boom. bobby Neuwirth. but chance played a part in the makeup of the revue too. a musical extension of the commedia dell’arte.103 songs for the Desire album were even written. the ex-byrd roger mcGuinn and I stumbled into the Other End after a late night meal in Chinatown. the rolling thunder musicians were to be cast as actors in a mythocumentary that would combine scripted pieces. Dylan decided to put together an old-timey medicine show. Now all Dylan had to do was cast the characters. one for Dylan and one for tour promoter barry Imhoff) finally rolled out of New York. Now the tour needed a name. (the resultant four-hour movie Renaldo and Clara was savaged by the critics but greatly influenced a whole generation of music video directors. an l.) Dylan was later pleased to learn that in american Indian lore the phrase “rolling thunder” means “speaking truth. the Italian street theatre troupes. I recall getting a ride into town with a man with a donkey cart and I was sitting on this donkey cart. Of course. a contemporary of the great Woody Guthrie. which I did for Rolling Stone. One night at the Other End. the already established folk star often brought him onto her stage. one of Dylan’s musical forefathers. It was guerilla theatre at its best. it included the band that bob used to record Desire. they rehearsed there for a few days and made a surprise visit to a mah Jongg convention where Dylan and baez sang and Ginsberg recited some poetry to the albums 1 albums 2 albums 3 sONGs . a small hall would be rented. as he had previously envisioned. massachusetts. Fifteen of those seventy people were part of a film crew. which meant stoner on bass. she was on the bus. besides shooting footage of the concerts. Wyeth on drums and scarlet on the violin. when all of a sudden. Dylan shared a piano for a few hours with the actress/musician ronee blakely. young texas songwriter/guitarist named t-bone burnett. they would pile into buses and campers and criss-cross the Northeast. boom. When Dylan first began performing. Joan baez was a logical choice. For that. he dug back into his past. songwriter named steve soles. and that’s when it flashed on me that I was gonna go back to america and get serious and do what it is that I do because by that time people didn’t know what it was that I did. bouncing around on the road there.) the first stop on the tour was the sea Crest motel in North Falmouth. Others maintained that the tour was named after that ignoble episode at the end of the Vietnam War when Nixon decided to saturate-bomb Cambodia. there were seventy people on board. On off-days. Dylan had decided to make a full-length film along the way. the name had morphed into the rolling thunder revue. there was a prevailing theory that the tour was named after an Indian medicine man/shaman named rolling thunder. all kinds of people.” (If bob was sitting at home at malibu at the time. so that the tickets sold largely by word-of-mouth. most people don’t know what I do. He made some very eclectic choices.” that speculation increased since Guam was the u. another night. they’d take off for the next venue. who had been the subject of an eponymous book. but according to Dylan.” When the buses (and two campers. so I figured that should be the name. including the famous beat poet allen Ginsberg and his long-time lover Peter Orlovsky. and even the genesis of the name was shrouded in mystery. by the end of the night. Neuwirth hired a lanky. luther rix provided percussion. and when Neuwirth outfitted the back-up band with t-shirts that read “Guam. robbie robertson remembered that even before the sturm und drang of tour ’74. seeing them reunite and perform old Dylan classics like “blowin’ In the Wind” or “mama You been On my mind” would be a folkies dream. Elliot was one of bob’s early champions. boom.” bob later told me. there were reports that Dylan first wanted to call it the montezuma revue. Dylan had been talking about traveling by train and having a “gypsy caravan situation happening where it was loose and different people could get up and do different things at different times and nothing would be out of place. “I was just sitting outside my house one day thinking about a name for this tour. to supplement them. the sun was going down and the moon was sapphire.s. and David mansfield.a. overlooking some vineyards. “I was just sitting in a field. Dylan’s long time confidant and a musician in his own right. We bumped into bob and next thing we knew. a week before the gig. ramblin’ Jack Elliott was another natural. only the people that see our show know what it is that I do. the sky was pink. the rest of the people just have to imagine it. the night before the show. documentary footage and improvised scenes. that bombing mission was code-named rolling thunder.” but the idea for a revue crystallized in Dylan’s mind in the spring of 1975. local college campuses would be invaded by advance men who circulated handbills for the show. mick ronson. Instead of traveling by train. mcGuinn was part of the band and I was invited by Dylan to cover the tour. rolling from west to east. then immediately after the show. was enlisted to put together the back-up band. boom. base that those flights originated from. I looked into the sky and I heard a boom! then. the guitar virtuoso who was most famous for playing with David bowie. mcGuinn was convinced that the noise was from jets taking off from the nearby Vanderburg air Force base and that the tour should have actually been named the sonic boom Jet revue. “I was in Corsica. under an assumed name. but by late October when the tour was about to depart from New York.” Perhaps as a reaction to the impersonality of that limited tour ’74.

Jack left only to be followed by a short. Neuwirth gestured towards his old friend. sharing a mike. He did four numbers. then both. his girlfriend also asked Dylan why he wore the make-up. It was Dylan. “I saw it once in a movie. ronee blakely was convinced that it was a strategy to force people to look at the two most expressive areas of his face. but the audience wouldn’t let up—the standing ovation lasted for a full eight minutes.” From lowell the revue moved to rhode Island where the tour was joined by rolling thunder himself.” after songs from t-bone. the tour officially opened. the next shows were at the springfield Coliseum and by now the band was sizzling. Dylan seemed perturbed at the question. that was the essential structure of a rolling thunder show. ramblin’ Jack. tambourine man. Jack rambled onstage. In albums 1 albums 2 albums 3 sONGs . arlo Guthrie showed up and did a few numbers. When I asked him why he wore the make-up. baez. always people that try to make more out of it than what it is. Joni mitchell did likewise and enjoyed it so much that she wound up on the rest of the tour. eyes burning intensively as he related the star-crossed story of Isis.” a screen was lowered and rubin Carter’s face appeared above the performers. the other vibrant and soaring. baez then did a five-song set and brought on roger mcGuinn who led the band in a blistering version of “Chestnut mare. the curtain slowly lifted to reveal an amazing sight—Dylan and baez. ronson and ronee blakely came on for a solo spot. “Here’s another old friend. the song ended with a signature Dylan harmonica flourish. a black leather jacket and wearing a gray hat. together again. Dylan ambled onstage alone and soloed on “mr. and Dylan each took a verse of “this land Is Your land. so in springfield. another college gym. then Dylan slipped off his guitar. almost bossa nova version of “It ain’t me babe” was next and by the song’s end. accompanied by an unintroduced roger mcGuinn on banjo. clad in jeans. in full Cherokee regalia. these new narrative songs gave Dylan the chance to emote and he gestured with one hand. stoner. In New Haven. at 8:20. then the tempo picked up with a torrid version of “a Hard rain’s a-Gonna Fall” followed by “romance In Durango” which featured scarlet’s gypsy violin. lowell was also the first place that Dylan donned whiteface make-up. a familiar sound rang out through the hall.” Neuwirth slyly said and the audience cheered as Dylan and Neuwirth dueted on “When I Paint my masterpiece.” as soon as baez departed.” then again.” a smoking. soles. that Dylan led the assemblage offstage. but Dylan and Ginsberg found time to pay a visit to Jack Kerouac’s grave where the film crew caught them improvising a blues song after Ginsberg read a selection from Kerouac’s Mexico City Blues. the Vanderbilt mansion.” It wasn’t until 11:30.” the rest of the band then filtered on for a tender version of “Just like a Woman. wiry figure emerging from the backstage darkness. his eyes and his mouth since the rest of his face was blanked out by the clown-white makeup.104 blue-haired Jewish mommas in the audience.” then baez came back and finished her set with “the Night they Drove Old Dixie Down. the revue had exhausted all their songs so the crowd reluctantly filtered out. content to know that they were the first to see this new world of music—the first to see Plymouth rock. then it was onto the buses and forward to stockbridge. after a while. strumming on an acoustic guitar.” levy was right. lowell was next.” then he was joined by a pared-down ensemble of stoner.” followed by an intense. cheering. followed by a moving “sara. Except the revue just got tighter and tighter as they wended their way around New England. the lights flicked and with the curtain still down. On October 30.” “One more Cup Of Coffee (Valley below)” was next.” then it was hootenanny time as Neuwirth. as they ripped through “Hurricane. stopping briefly for a private tour of the breakers. Wyeth and scarlet and they performed the haunting “Oh. ending the first half of the show. Except for varying songs here and there. the next morning. One reason I put it on is so you can see my face from far away. one low and guttural. sister. three hours after showtime. then Neuwirth started a song about ramblin’ Jack Elliot and sure enough. “I don’t know… there’s always people that don’t understand. then a quick wave and the curtain slowly tumbled down. appropriately enough in Plymouth. along with his wife spotted Fawn and another Native american brave. sipped some coffee and grabbed the mike as the band ripped into “Isis. massachusetts. the band took the stage at the quaint 1800-seat Plymouth memorial auditorium and Neuwirth broke into an easygoing version of “Good love Is Hard to Find. almost all of the 1800 spectators were on their feet. feet tapping constantly. a vest. two iconographic voices. rolling thunder and his entourage led the musicians in a moving sunrise ceremony on a beach in Newport.” after doing “I shall be released” Dylan affectionately patted baez on the hair and yielded the stage to her. compelling version of “the lonesome Death Of Hattie Carroll.’” then they went into a Johnny ace song. igniting a flurry of press reports that speculated on the significance of it. playing the gym at southern massachusetts university. when bruce springsteen turned up in New Haven and went backstage after the show. another night in Plymouth then on to North Dartmouth. before the audience could even catch its collective breath. “Never let me Go. singing “the times they are a Changin. “bob Dylan!” he shouted. Jacques levy had blocked out the shows so that local artists could get up and do their thing as the tour progressed. some pundits claimed it was an attempt to distance himself from the audience.

” the next day was a doubleheader. the first stop in the boston area was in Worcester. here’s one for ya. What’s also evident from even a first listening is how magnificent Dylan’s performances were on this tour. includes a plea from Dylan for anyone who was politically connected to help get rubin out of jail and “back onto the streets. all of these tracks collected here are from bob’s segments of the shows. led by some searing guitar fills from ronson and some great pedal steel work from mansfield. lawrence. by then.” a hoarse Dylan announced that night after the song. the 1850 seats had long been sold-out and those lucky few were treated to a night to remember. but the momentum continued.” While those were songs that Dylan frequently played. “thanks for coming.” 1965’s “It takes a lot to laugh. the next night the tour visited Cambridge. a venue that even once hosted the bolshoi ballet. the train ride to montreal. maybe we’ll see you tomorrow night.” and “One more Cup Of Coffee (Valley below). he even dedicated a song to this reporter in Waterbury. Gertrude stein. D.” there was hardly time to scarf down some dinner before the second show began. mesmerizing. Except for a few of the Dylan-baez duets that opened the second half of the shows. steamrolling version of “the lonesome Death Of Hattie Carroll. Just listen to “Isis” in its two incarnations and you’ll see the albums 1 albums 2 albums 3 sONGs . Connecticut where rick Danko of the band played and texas singer/ songwriter Kinky Friedman visited (Kinky would go on to join the tour on its second southern leg.” throughout the tour. It takes a train to Cry. three songs from that afternoon matinee are included here. but the highlight of that night (and for me. No longer a C&W ditty. by the time rolling thunder got to the metropolitan boston area.” Dylan looked shocked. his mother.H. they had been on the road for three weeks and the music was incendiary.” “tangled up In blue” gets a slight lyric reworking and a tender.” taken from that concert. a working-class town adjacent to boston. and then.” Dylan smiled and went into “Oh. Connecticut). Herman melville. sister. and arthur rimbaud (in the interests of full disclosure. “Just like a Woman? What’s just like a woman? WHat’s just like a woman? Nothing like a woman!” later that same show.” “Oh. six tracks from this compilation were recorded there including a reworked “simple twist Of Fate” and “Knockin’ On Heaven’s Door.” “romance In Durango. your mother.” which had been added to the second set and featured verses that Dylan improvised from town to town. Dylan regularly dedicated songs to people as diverse as David Crosby. Dylan had completely reworked the lyrics and the band. two of bob’s acoustic numbers come from this show. sister. almost wistful reading. most of the tracks on these discs were culled from those venues. playing the tiny Harvard square theatre. drove the message home with a fevered urgency.” “Oh. Even a cursory listen to these tracks points to the stark contrast between these rolling thunder dates and the concerts from 1966. someone else made the same request and he complied. maybe it was the taping.” after boston there were stops at brandeis university and Hartford. of this entire collection) was the compelling. bobby” and “Dylan for President!” and the love was reciprocated as a relaxed Dylan actually bantered with the audience. standing ovation complete with a shower of huge rolls of toilet paper that were flung down from the rafters.) then it was on to maine where Dylan’s mother joined the tour (she would later go onstage and clap along during the finale in toronto). albert Grossman. from there a quick flight to toronto. “Hurricane. by now the tour (and film) were costing so much that the revue was being booked into hockey rinks— the maple leaf Gardens in toronto and the Forum in montreal. but the montreal show was so smoking that the appreciative audience gave the revue a screaming. baby blue” and “love minus Zero/No limit. the band burned through “an autobiographical song for ya. When one spectator at the second boston show yelled out “Just like a Woman. the montreal audience was treated to a rare performance of “tonight I’ll be staying Here With You” off the Nashville Skyline album. two shows at the classic boston music Hall. tambourine man. rollicking.105 toronto. “We’ll be in the area a few days. the largest (at 4200 seats) theatre in New England. Gordon lightfoot brought the house down when he sat in. sister. the Desire album was released on January 5 of 1976. “It’s all Over Now. From maine it was a short hop over the border to Quebec City. the catcalls and the Judas cries are replaced by fans screaming “We love you. finally.” a heartfelt “sara” (witnessed live by sara Dylan who by then had hooked up with the tour). at the same boston show someone else yelled.” and “One more Cup Of Coffee (Valley below)” had been rendered almost superfluous by the amazing live readings of those songs on the tour. where another live recording was made. an evocative solo acoustic version of “mr.” the core songs from Desire come from this show—red-hot versions of “Isis. the memorial auditorium is a gorgeous old hall filled with ornate woodcarvings and a beautiful marble lobby. the album versions of songs like “Isis. maybe it was the presence of fellow poet and songwriter leonard Cohen (Dylan dispatched me to pick up leonard in his montreal home to make sure he’d witness the concert). “Do a protest song!” “OK.” I’m sure the vibrations from this torrid performance worked their way all the way down to trenton state penitentiary where rubin was then confined. well after the first leg of rolling thunder had disbanded. sam Peckinpah. and the baez duet on “I shall be released.

both concerts to draw attention to rubin Carter’s plight. “Why tour? ‘Cause.” Dylan spit. It’s in my blood.” bob interrupted. “the electric-made rhythm is exact to actual american speech with no romantic distortion. mick ronson and Howie Wyeth’s musical contributions have been silenced forever. “He sounds like an emperor of sound. it didn’t take him too long to put together a second rolling thunder tour of the south in 1976.” as the band rolled through a rollicking version of “a Hard rain’s a-Gonna Fall. “Dylan comparisons make me emotional.” he told me at intermission. bouncing on one foot.” twenty-seven years later. right before rolling thunder hit the road. the second was a huge fundraiser. it seems to be an infectious disease. ratso. winning a Grammy® for the soundtrack to “Oh brother. It syncopates even more. heading for another joint. ‘Oh no. ratso. I read him some comments that a contemporary songwriter had made about him in the then-current issue of Newsweek. “Well. I asked bob why tour? the question seemed to take him by surprise. Ginsberg marveled. phrasings. really. “there’s nothing that goes back to the richest. “the staple of american popular music is all three or four-chord. baez told me that trying to follow Dylan’s lead was almost impossible.” allen Ginsberg pulled me aside and confessed during one rehearsal. t-bone burnett has gone on to find a niche as a producer.” “Oh.” In fact. but what he spawned is boring…. “there are lots of people who say that you’re a great lyricist but you just don’t understand music. if you ever heard me play the guitar you’d know that. I understand lightning Hopkins. as is the case with rick Danko and richard manuel of the band. and there’ll be no more poems or lyrical analysis from allen Ginsberg. He singlehandedly took the folkie emphasis on words and made it the predominant style of music in the seventies. I think that’s what I have to do. he’s not the only one. For many. He writes a lot of words. During our talk. slapping his thighs. Even during the rehearsals for the show everyone knew something special was about to transpire.…” “Hey. “It’s more like he’s actually pronouncing the words. You been On my mind” or their soulful cover of the traditional “the Water Is Wide.…’” “Hey lookit. ramblin’ Jack Elliott. Where art thou?” David mansfield is now composing scores for films. Woody Guthrie. almost reluctant to admit that the tour was over. openhearted.106 change—it’s like the difference between watching a movie on a many-times rented video versus watching it on a DVD on a high-definition tV. verses. “I’ve never heard Dylan sing so powerful before.” Ginsberg sung along. I don’t understand music.” the songwriter said. but somehow the magic that was generated in that brisk autumnal Northeastern air was missing the second time around. after that show.” at madison square Garden. the first was a concert at the Clinton Correctional Facility where rubin had been moved. after the tour was over and I was hounding Dylan for one last interview. he was constantly changing songs. stamping his foot. “It’s the vision of the ‘60’s becoming real. Kinky Friedman. Just listen to “love minus Zero/No limit” from the montreal show or “tangled up In blue” from boston. you know. baez still performs regularly as does roger mcGuinn. “You can play a song with one chord. He’s showing an elastic. ratso. albums 1 albums 2 albums 3 sONGs . allen was ecstatic. singing much more like he speaks. but it’s equally true for the stunning solo performances he did on the tour. but even after most of the performers dispersed back to their homes. he’s been on the road more often than he’s been home. “Dylan’s diction is real clear. “this song has become a dance of joy!” by opening night.” this recording artist said. playful. I write few words. seeing Dylan this powerful and this animated was a revelation. and Joni mitchell. Playfulness was certainly the note struck on the Dylan-baez collaborations contained herein. by the time these duets were recorded they were totally in synch—just listen to “mama.” that was certainly true on the Desire songs that were specially written as narratives and gave Dylan a chance to work out his acting chops. no more movie parts for David blue. Dylan lingered on in New York. uh. most original form of american popular music—broadway and tin Pan alley—in which sophisticated lyrics are matched with sophisticated melodies. When I listen to Dylan I think. rhythmic precision. Dylan’s still “on that road. after taking some years off to paint.” I argue. “the Night of the Hurricane. this is Dylan engaged.” bob again. No more movies for Howard alk and no more concerts for barry Imhoff. since rolling thunder. sadly enough.” the singer laughed. thanks to multi-track magnetic tape. For the first few nights. but if touring’s still in his blood. Neuwirth has recently released several fine albums. not the same three or four-chord melody again. I reached him at his uptown hotel. but. country or rock-oriented now.” and as Dylan boogied across the stage. “there’s hardly a point of comparison except we’re the same age.” I continued to read the Newsweek piece. John lee Hooker. there was a farewell party for the revue at an uptown restaurant where bob and sara circulated and gave each participant a beautiful silver medallion to commemorate the tour.” “Well. we have this record of those amazing performances in the fall of 1975.” after montreal the tour made two more stops. I understand leadbelly. “You can play a song with one note. I never claimed to understand music. a performer at the top of his game.” the poet shouted to me. she relied on reading his lips and keeping her guitar tuned so low that if Dylan changed keys or tunings she could follow.

” “OK. man. he never failed to elevate me. Portions of this essay appeared in a different form in On The Road With Bob Dylan. He never let me down onstage.” I promised. man. Ratso is best known as Howard Stern’s collaborator on Private Parts and Miss America. and now. he’ll never let you down either. 2002.” Dylan urged. hangers-on and groupies—all anxious not to miss a single note. It’s easy to get blasé on a tour after the first few days and hang out in backstage hospitality suites during the show. thanks to this two-CD set you have in your possession. film crew. He collaborated with the magician/mystifier David Blaine on his recent book. how many times? thirty? Forty? Have I ever let you down onstage?” I didn’t even have to think. “I will.107 “I’m an artist. ratso. Three Rivers Press. I will. taking the bait. there was a mass influx into the hall of fellow performers. never. “Never. albums 1 albums 2 albums 3 sONGs . techies and roadies. Dylan never let anybody down.” he added. Mysterious Stranger. “You’ve seen the show. but whenever it was time for Dylan to go onstage. his award-winning account of the Rolling Thunder tour which was just reissued by Three Rivers Press. I went into a spirited defense of his musicianship but he interrupted me again. september 2002 Larry “Ratso” Sloman’s first book was On The Road With Bob Dylan. In fact. so why don’t you tell them that. —larry “ratso” sloman New York City.

” throughout he is relaxed.” featured here in a duet with Joan baez. You been On my mind. It’s All Right The Lonesome Death Of Hattie Carroll Mama. until he upset everybody’s apple cart at the 1965 Newport Folk Festival by appearing with the electric Paul butterfield blues band. Ma (I’m Only Bleeding) I Don’t Believe You (She Acts Like We Never Have Met) Mr. this was Dylan at the top of his game as solo artist. 2004 . even cocky. Tambourine Man A Hard Rain’s A-Gonna Fall Talkin’ World War III Blues Don’t Think Twice. Go Now It’s Alright. Babe All I Really Want To Do 108 BOB DYLAN LIVE 1964 The Bootleg Series Vo l .” also showcased are the kinds of visionary work that was about to show up on Bringing It All Back Home – “Gates of Eden. including a great. Vol. ma (I’m Only bleeding)” and “mr. 6 bob Dylan live 1964: Concert at Philharmonic Hall OrIGINal lINEr NOtEs Produced by Jeff Rosen and Steve Berkowitz March 30. tambourine man. His voice was strong and confident. which had just been released two months before. You Been On My Mind Silver Dagger With God On Our Side It Ain’t Me. the borderline claimed and explored on Another Side of Bob Dylan.” “It’s alright. 6 this famous concert.The Times They Are A-Changin’ Spanish Harlem Incident Talkin’ John Birch Paranoid Blues To Ramona Who Killed Davey Moore? Gates Of Eden If You Gotta Go. playful version of “mama. recorded Halloween night 1964 at Philharmonic Hall. a role he would play for another eight months or so. able to switch from self-deprecating humor to intense lyric focus on a dime. funny. this set presents Dylan on the cusp between his folky days and his new-found land of imagist poetry. and charming. the program included “topical” songs like “talkin’ John birch Paranoid blues” and “With God On Our side. who joined him for four tunes. has been much bootlegged but never heard in its entirety or in such crisp and present sound. albums 1 albums 2 albums 3 sONGs C O N C E R T AT P H I L H A R M O N I C H A L L the bootleg series.

with Joan baez. as he did on the older ones. mr. singing and playing with nothing more than his guitar and his rackclamped harmonica. two weeks before Another Side appeared. when hipness still wore pressed slacks and light brown suede boots (as I remember he did that night). he thrust it back. tambourine man. off-the-cuff remarks about hypocrisy. 1964. the concert was in part a summation of past work and in part a summons to an explosion for which none of us. “motorpsycho Nitemare. he sang. Dylan had offended a leftist New York audience by accepting a free-speech award with some atrociously-wrought. some members of the older Popular Front folk establishment shook their heads in dismay at what was becoming of their new Woody Guthrie. by early autumn. Dylan had already moved on. before beginning the second public performance ever of “Gates Of Eden. was fully prepared. a new political cult hero. Dylan has since recalled how much the criticism of Another Side stung. In the wake of the beatles’ take-over of american top-40 radio. at Newport and elsewhere. whimsy. Dylan’s style and his art were changing too. Others were brand new and baffling. amid the English rock Invasion. but in august. “because Dickens and Dostoevsky and Woody Guthrie were telling their stories much better than I ever could. were so familiar that the crowd knew every word. and how he saw a bit of himself in lee Harvey Oswald. along with one as-yetunrecorded song that he introduced to an afternoon workshop session as “Hey. Kennedy’s assassination less than a year earlier had barely abated. many of the songs. but only after an introductory turn as the mischievous tease. a phenomenon like no other. Proclaimed by the leftists as the latest incarnation of Woody Guthrie. as in the joke-saga. Johnny Cash wrote a stern letter to Sing Out! in his defense. (to this day. he outwardly betrayed no injured feelings and kept on writing and performing in his new vein. Dylan played his heart out on these new compositions. this is called “a sacrilegious lullaby in D minor. no matter what he sang. Over the summer. and so. and a scarier phase loomed. One folk commissar. ambivalent and easily misunderstood. andrew Goodman and michael schwerner had created traumas anew. and containing instead songs of personal freedom.bOOtlEG sErIEs VOlumE 6 original liner notes 109 On Halloween night. I decided to stick to my own mind” — bob Dylan. plus one encore.” little did he know that Dylan was not simply becoming different. When he wasn’t alone. at the Newport Folk Festival in July.) but at the time. well beyond the most knowing New Yorkers in the hall. he sang seventeen songs. the world seemed increasingly out of joint during the weeks before the concert. especially his younger fans. soviet leader Nikita Khrushchev was overthrown and Communist China exploded its first atomic bomb. a hopeful phase of the decade was quickly winding down. the singer offended even more people the following summer with the release of Another Side of Bob Dylan—an album devoid of the fixed moral standpoint in his earlier protest self. pleased to be honored but unwilling to accept the heavy mantle that all of these old people for their own reasons. Dylan had seemed uncomfortable. the shifts in Dylan’s style (unlike in the rest of the world) were not disturbing. although less than two years old. Dylan still stood there on stage alone. but had only become less preachy and much funnier.” on Another Side. and wounded love. the trauma of John F. would sneer at Dylan as a political sell-out and try to force him into line. seemed to approve. In December 1963. he’s held on to his copy of the magazine with Cash’s letter in it.” the response was rapturous. with an accelerating and bewildering swiftness befitting the times. and he was singing about what he was finding. youthful alienation. Dylan was still the great folk-music star. the great majority of his fans. three of them with his guest Joan baez. a twenty-three-year old bob Dylan spellbound an adoring audience at Philharmonic Hall in New York. Yet hipness was transforming right on stage. writing in the respected Sing Out! magazine. he was also listening to the beatles. Dylan says. Dylan had always sung intensely personal songs. whose presence and endorsement of Dylan’s new songs eased our own transition. Play a song For me. out of the blue. and how proud he was when. His most powerful earlier political material often involved albums 1 albums 2 albums 3 sONGs . warning him not to turn into “a different bob Dylan than the one we knew. it seemed as if he would trounce the arch-conservative barry Goldwater in the coming election. President lyndon Johnson managed to push a Civil rights bill through the Congress in July 1964.” he announced. On a single day in mid-October. wanted to thrust upon him. not even he. he stuck almost entirely to playing new material. the murders in mississippi of the civil rights workers James Chaney. relaxed and highspirited. 1963.” He was the cynosure of hip. Dylan’s politics actually hadn’t disappeared. For most of the loyalists. Johnson received a congressional blank check to escalate american involvement in the Vietnam conflict.

the most prestigious auditorium in manhattan—or for that matter in the entire country. no announcement necessary. Dylan had been booked on the Ed sullivan show. old and young. interestingly.) upon hearing Dylan’s selection at the rehearsal. and the playing on the “darkness” song had been ominous and overpowering. for those of us who wanted to be as close to the blade’s edge of the avant-garde as possible—or as close as we dared—Dylan could do no wrong. vastly enlarging their following. who was to say that a turn to introspection was out of place? the beatles. with a fifteenminute intermission. take or shake or forsake you out. playing the sullivan program would mean huge exposure. but it had all moved so fast that comprehension was impossible. sullivan hosted the popular Chad mitchell trio. as “talkin’ John birch Paranoid blues”—a title that now seemed to cover the craven mainstream media as well as the right-wing extremists who were currently thumping their tubs for their favorite. Philharmonic Hall (now avery Fisher Hall) was. the show was divided in two. and ratified. When the expectant audience streamed out of the grungy old—mosaic-tiled Irt stop at 66th street. Dylan would not be censored and he refused to appear. with a mixture of defiance and good humor. but what was “she loves You” compared to the long-stemmed word images in “Chimes Of Freedom”? Who else but Dylan would be brainy enough and with-it enough to toss off allusions in his songs to Fellini films and Cassius Clay? to his fans. the belafonte Folk singers. ordered him to sing something less controversial. a man appeared on stage at show time to warn us that there would be no picture-taking or smoking allowed in the house. with “the times they are aChangin’. that Dylan’s management booked Philharmonic Hall for its star’s biggest New York show of the year was testimony to his allure. but so were we. to be shown performing only from the waist up. (they played the Philharmonic Hall a year before Dylan did. and in the amazing audible rapport he had with his audience. was notorious as a hardright political group that saw Communist conspiracies everywhere. back in may 1963. it must have looked to the uptowners (and the ushers) like a bizarre invasion of the hipster beatnik young. but also confused about the snatches of lines we’d gleaned from the strange new songs. then. and responded enthusiastically. but at the time. in march 1963. like “the lonesome Death of Hattie Carroll. unlike Presley. from the original version of Freewheelin’. getting to hear what Cbs had forbidden the nation to hear while also exulting in albums 1 albums 2 albums 3 sONGs . thanks to an excellent tape. It was a thrilling moment for us in the audience. we would leave the premises and head back underground to the Irt. and other folk acts had also performed on the sullivan program.” Here we all were. settling in—at a Dylan show like any other. He started the concert. he may have been evolving. For Dylan. the self-consciously sensitive and discerning. the two most pointedly political older songs. we probably had no more of a clue about where he was headed than the sing Out! writer did. from town Hall to Carnegie Hall and now to the sparkling new home of leonard bernstein and the New York Philharmonic. entertained. as if to make sure that we knew our place. senator Goldwater. where Elvis Presley had made three breakthrough appearances seven years earlier and had agreed. on the final show. like bernstein striding to his podium. whatever the plush surroundings. a fanfare of applause proclaiming who he was. see like me or be like me” — bob Dylan. presented here for the first time in its entirety. were great. looking back on it. had never been issued on record. over sullivan’s objections. along with three others. Word of his principled walk-out burnished Dylan’s reputation among his established fans.110 human-sized stories. the downtown Irish traditional folk group the Clancy brothers and tommy makem had appeared on sullivan twice. “the John birch society. just before airtime.” (For those too young to remember: the John birch society. an edgy topical singer. the premier sunday night television variety program. He chose as his number the satirical “talkin’ John birch society blues. a Cbs executive turned cold and. the first half was for innovation as well as some glances at where Dylan had already been. but the audience knew them anyway. introducing it. “I don’t want to fake you out. two hours later. with its imperial grandeur and bad acoustics. and then crammed into the cavernous gilded theater. It had turned into a Dylan show unlike any we’d ever heard. only better. Dylan’s New York venues had shot ever upward in cachet (and further uptown). with their odd chords and joyful harmonies.) the limelighters. and the bob Dylan we now heard and saw seemed basically the same as the bob Dylan we knew. which still exists. the lettermen. What was that weird lullaby in D minor? What in God’s name is a perfumed gull (or did he sing “curfewed gal”)? Had Dylan really written a ballad based on arthur Koestler’s Darkness At Noon? the melodies were strong. as he normally did. Opened only two years earlier as the first showcase of the neighborhood-killer robert moses’ new lincoln Center for the Performing arts. but in what he said. Within two years of releasing his first album.” in 1962. the mitchell trio had enjoyed a minor hit with its own mocking song. 1964. Dylan walked out of the wings.” and amid the disorientation of late 1963 and 1964. Dylan included the banned number on his 1964 Halloween program. little did we know that the song had also been dropped. exhilarated. it is now possible to appreciate what happened that night—not just in what Dylan sang. I ain’t lookin’ for you to feel like me.

Dylan asked the audience to help him out. when Dylan comes to the line about boxing no longer being permitted in Fidel Castro’s Cuba. trying at first to catch the words.” the song. between these funny moments. the audience knew Dylan’s words better than he did. It’s life and life Only.”) Dylan. could have a song of his achieve wide currency without even putting it on a record. the audience was utterly silent. “I Don’t believe You (she acts like We Never Have met)” had appeared on another side less than three months earlier. and it had nothing to do with sermonizing. feeding the youth conspiracy of sons and daughters who were (or wanted to be) beyond their parents’ command. although Dylan had not recorded the song. ma” as if the song is a put-on. the repression surrounding this part of life has lifted. conversational. but hip comic relief.” it was a bit of comic relief. the incident sparked public debate about whether boxing should be banned in the united states. however. but I fit all these words together. and it did. at least this one. fell into a coma and died. Nearing the end of the show’s first half. but his fans knew it so well that it might as well have been “Pretty Peggy-O. at the time. proving once again that bob Dylan was leading us into new places. as soon as Dylan sings “Who killed…. and he pipes up. Dylan introduced his new masterpieces. some laughter greets Dylan’s announcement of “It’s all right.” he said before he began to sing it. after losing a title bout to sugar ramos in 1963. who still wanted to hold onto Dylan as the troubadour of the revolution. pointing out the many people who bore responsibility for moore’s death and reciting their lame excuses. but just momentarily. Coming after “Gates Of Eden. listen closely. encouraged. rollicking account of an.” the other older political song. Go Now (Or Else You Got to stay all Night)” and its sly. On the tape. at times merry mood was infectious. when a folk singer. “Who Killed Davey moore?. even though he muffed a line. picked up the line.” calling the latter. (Others in the audience did not. it’s just a song about a boxer really. (On the tape. Was he aglow from drinking beaujolais— we all knew Dylan drank beaujolais—or maybe. Dylan was doing with his words— coy. Certainly there were younger people there. the audience’s instant adulatory reaction stands out most of all. that’s all. the evening’s second half of the show brought albums 1 albums 2 albums 3 sONGs . and you will hear some scattered applause endorsing the sentiment. one rapidly following the other with the cue: “I can’t understand. did not miss a beat. and made that clear in their impromptu badinage with the singer. Dylan strummed his guitar but completely forgot the next song’s opening line.111 our own political righteousness against the forces of fear and blacklisting. was about the death of a young featherweight boxer who. Dylan.) Dylan’s laughter in the middle of his introduction even sounded a little intoxicated. “Yes. In the song. maybe some of the Sing Out! old guard was in the audience — momentarily. unmistakably New York voices. its not even having to do with a boxer really. carry above all the others. a master of timing. We would not get the chance to figure the songs out for another five months. It did have something to do with sex. Dylan knew that they were special. and comical. less than three weeks after Davey moore died. No matter: his mellow. one now remembers. another response to “Davey moore” also stands out on the tape.” (It may have even have been more familiar to most of the audience than “Pretty Peggy-O. and. the whereabouts unknown but deeply tempting.” the irreverent introduction undercut solemnity. uh. it’s a very funny song. and even his rendering of “Davey moore” tugged in other directions. their twisting images so much a part of a generation’s sub-conscious. and then sang the song flawlessly. Casual sex is no longer taboo. even cooler. it just sounded like demanding poetry. “It’s got nothing to do with boxing. On the concert tape. the red-diaper babies and other politicals. as if he were performing at the Gaslight down in Greenwich Village and not in Philharmonic Hall. What Presley had done with his pelvis. “It’s all right ma. He even joked about that on stage.. It’s got nothing to do with nothing. giddy from the hall and the affectionate crowd and the joy of being back in his adopted hometown after weeks of playing the college circuit. and in concert. Dylan’s musical take on the episode was at once simpler— a reworking of the ancient “Who Killed Cock robin?” theme—and more complex. “Gates Of Eden” and “It’s alright ma (I’m Only bleeding). but finally bowled over by the intensity of both the lyrics and Dylan’s playing.” these songs have become such iconic pieces over the intervening decades. “this is a song about a boxer. sometimes. even though some people wanted and expected solemnity. let alone getting it played on the radio. describing in detail the flying fists and pouring sweat inside the ring and the “money-chasing vultures” and blood-lusting fans outside it. he had been performing it in concert as early as his town Hall show in april 1963. It also inspired the political songwriter (and Dylan’s rival) Phil Ochs to compose a long narrative song. when they appeared on Bringing It All Back Home—and even then it would take repeated listenings for any of it to make sense. epic poetry (each went on for what seemed like Homeric length). two voices. and that they would fly over his listeners’ heads the first time around. It was a time.” the cheering starts. the singer knows very well that the object of his affections is no virgin. would not be type-cast as anything.”) During these performances. had Dylan been smoking pot? Perhaps he was intoxicated in a different way. it’s-now-or never seduction sent everybody into stitches. Nobody in the audience had yet heard “If You Gotta Go.. that it is difficult to recall what they sounded like when heard for the first time.

the joke was serious. too? I don’t recall hearing this at the time. less sung than recited.” for anything. anybody?” he asked—and E harmonicas came raining out from the crowd and thumped onstage.” a Chuck berryish rock number. One of the first songs they recorded was “subterranean Homesick blues. their harmony lines adding depth to the melodies. We wanted more. their harmonizing ragged in places. Plenty has been made since about Dylan and baez’s relationship in these years. the pleasant joker now wore sinister black leather boots and a shiny jacket to match. known to be lovers—had been performing together off and on for well over a year. for “Chimes Of Freedom. baby blue. after singing “Gates Of Eden. and bob would sometimes gently mock that earnestness. Don’t look back. “like a rolling stone” was all over the radio. shouted requests filled the air.112 us back to familiar ground: songs from Freewheelin’ and The Times They Are A-Changin’. that spring. a drummer and a piano player. né Zimmerman. a bit of the old rapport reappeared when Dylan was coaxed back onstage to play some of his old acoustic material.) Dylan and baez—the king and queen of the folk movement.” “God. “I’m masquerading!” he joked. listening to the tape. solo. He was telling us so. bob Dylan showed up at Columbia records’ studio a in manhattan for the second session of recording Bringing It All Back Home—and he brought with him three guitarists. including one at Forest Hills in august. but with an ease between them that further mellowed the mood even as it upped the star wattage on stage. Joan always seemed. recaptured now on The Bootleg Series Vol. a man behind a mask. and in late July came the famous all-electric set at Newport that sparked a civil war among Dylan’s fans. about lures. however—but captured on the Philharmonic tape. Live 1964 brings back a bob Dylan on the cusp of that turmoil. “Is that a protest song?” He chose “all I really Want to Do.” Dylan got into a little riff about how the song shouldn’t scare anybody. and conservative backlash coming on strong— Dylan would suffer his famous motorcycle crack-up. brilliantly cultivated his celebrity. It brings back a time between his scuffling sets at the downtown clubs and his arena- albums 1 albums 2 albums 3 sONGs . but Dylan was slipping the yoke. but now it sounds like another little portent of things to come. a political theorist. their sheer pleasure in each other’s company showing in their voices.” accompanied by Dylan on the harmonica. and that he had his bob Dylan mask on. No more Joan baez.” another crowd-pleaser from Another Side. overly so.” as he facetiously put it in an interview a few years ago—was too much to ask of anyone. in our own way. during one of the brief instrumental interludes. in the presence of the boy Genius. and now Dylan was returning the compliment. and an artist writing and singing his songs.” baez sings “Daddy” instead of “mama. snares. basking in the revelry. shook-shooka”—nothing one might expect from the Folk Queen. and not following leaders.” as well as “mr. a great entertainer. knockabout performances—have been the rich fruits of their singing collaborations. 1965. but he was really an entertainer. so the magical kingdom we conjured up around bob Dylan and Joan baez would come crashing down. even for “mary Had a little lamb. the burden of being something else—a guru. less than three months after the Philharmonic Hall concert. if possible. and wouldn’t let him leave it at that. something more pop or even rock ‘n’ roll than folk music. elongating the second word into a laugh. or the part of us that wanted to make of Dylan. they were quite a pair. but basically just that—someone who threw words together. some of it unflattering to one or the other or both of them. on stage. England. as Dylan serenaded the folkies with “It’s all Over Now. and three duets with Joan baez. Was this a secret sweet envoi to Joan baez? Was it a gentle envoi to us. as he does between songs here. Dylan closed. an E harmonica. something more than he could possibly be? During the first half of the concert. rejected desire. that it was only Halloween. (baez also sang “silver Dagger. “Does anybody have an E harmonica. with his encore. astounding as they were. the new halfelectric album appeared in march. but now the envoi was unmistakable. and american history. concluding the wild period when he pushed his innovations to the limit with Blonde On Blonde and with his astonishing concerts with the Hawks—not least the “Judas” show in manchester. much as the Kennedys’ Camelot would have its debunkers. “the voice of a generation. urban ghettos beset by arson and riots. shows him obviously bored with the material. baez had brought Dylan to the stage during several of her concerts. by mid-summer. baez interjects “shooka-shooka-shooka.” then. but the film made of that tour. though we didn’t want to believe it. all he really wanted to do was to be a friend. did I record that?” Dylan joked back. tambourine man. You been On my mind. Nearly forgotten. but when singing together. two bassists. they sang of desire. my favorite duet from the Philharmonic show is “mama. He was no longer standing alone with his guitar and harmonica. worshipful one. Dylan would tour England and return to his acoustic playlist. even in that night’s laid-back. 4: Live 1966. Was our Joan listening to the beatles. We in the audience were asking him to be all of that and more. his nasal harshness mingling wonderfully with her silken coloratura. the singer and audience were by now as one. bob Dylan.” a year after that—with the Vietnam war tearing the country apart. “Don’t follow leaders Watch the parking meters” — bob Dylan. chaos. maybe. the earnest.

in prose. is the author of several books. co-edited with Greil Marcus. Sean Wilentz. including Chants Democratic. The Rise Of American Democracy. and other publications. by Jack Kerouac—and by Dylan as well. it brings back a great concert by an artist performing at the peak of his powers— one who would climb many more peaks to come. December 2003. albums 1 albums 2 albums 3 sONGs . he attended the Halloween 1964 concert at Philharmonic Hall.113 rock tours of the 1970s and after. as well as. He also writes regularly for The New Republic. — sean Wilentz. not far from his family’s bookstore on 8th Street. It brings back a long gone era of intimacy between performer and audience. forthcoming. and destroyed an older america sung of by Guthrie and. his first Dylan show. and the last strains of a self-aware New York bohemia before bohemia became diluted and mass marketed. and a book about American ballads. Princeton. He has dim boyhood memories of Bob Dylan in and around the old Folklore Center on MacDougal Street in Greenwich Village. It brings back a Dylan moment just before something that Pete Hamill (on the liner notes to Blood On The Tracks) called “the plague” infected so many hopes. above all. At 13. the distinguished historian and writer. who somehow survived. The New York Times.

Gambler (Home Recording) This Land Is Your Land (Live) Song To Woody Dink’s Song (Home Recording) I Was Young When I Left Home (Home Recording) Sally Gal (Alternate Take) Don’t Think Twice. to the touching “rambler. and watch him become a powerfully original songwriter and performer in live versions and alternate takes of “blowin’ In the Wind. Baby Blue (Alternate Take) She Belongs To Me (Alternate Take) Maggie’s Farm (Live) It Takes A Lot To Laugh. Vol. Bootleg 7 is a stunning vision of the development of Dylan’s art in the time of its most staggering growth and change. performances from the period covered by martin scorsese’s landmark Dylan documentary No Direction Home. “When I Got troubles. and in most cases previously unheard. tambourine man.When I Got Troubles (1959) Rambler. Bruce Dickinson. which ends with Dylan’s 1966 motorcycle accident. in which Dylan’s involvement is so intense he seems almost to be writing the song on the spot. albums 1 albums 2 albums 3 sONGs the bootleg series.” the high point of these acoustic performances may well be the galvanic “Chimes Of Freedom” from the 1964 Newport Folk Festival. the first half of the set presents Dylan alone with his guitar and harmonica. there are fascinating alternate takes of five songs from the seminal album Highway 61 Revisited. 7 The Bootleg Series Volume 7 collects extremely rare. Gambler”). Tambourine Man (Alternate Take) Chimes Of Freedom (Live) It’s All Over Now. and Martin Scorsese August 30.” “When the ship Comes In. Steve Berkowitz. It Takes A Train To Cry (Alternate Take) Tombstone Blues (Alternate Take) Just Like Tom Thumb’s Blues (Alternate Take) Desolation Row (Alternate Take) Highway 61 Revisited (Alternate Take) Leopard-Skin Pill-Box Hat (Alternate Take) Stuck Inside Of Mobile With The Memphis Blues Again (Alternate Take) Visions Of Johanna (Alternate Take) Ballad Of A Thin Man (Live) Like A Rolling Stone (Live) 114 A MARTIN SCORSESE PICTURE THE BOOTLEG SERIES Vol.” We hear early live and home recordings that already show an extraordinary sensitivity to nuance (listen.” and “mr. 2005 OrIGINal lINEr NOtEs . the second half presents Dylan as he begins to fuse his deep knowledge of folk music with the edge and attitude – and instrumentation – of rock and roll. 7 No Direction Home: the soundtrack Produced by Jeff Rosen. and two flame-throwing performances from his historic European tour of 1966. three from Blonde On Blonde. It’s All Right (Demo) Man Of Constant Sorrow Blowin’ In The Wind (Live) Masters Of War (Live) A Hard Rain’s A-Gonna Fall (Live) When The Ship Comes In (Live) Mr. for just one example. taken all together.” “masters of War. beginning with a 1959 home recording of a Dylan original.

. gene vincent. little richard. england tried to compete with tennessee williams. as if that was not enough in itself. there was time to idea up. i’d left school at age 16 in 1960. the gym. at least in late britain where we war-babies grew up. i was more impressed by marlon brando in 1958’s “the young lions” because he dared to play a drop dead good looking blond tormented nazi. until a bit later when the fame and the drugs were not quite working and then they decided to give peace a chance. the joy of italians. america gave us rhythm and hope—eddie cochran.. dylan was bob dylan already. just as he’s bob dylan now. crooned and tinkled their way into female british hearts whilst fellows got by on skiffle king lonnie donegan . to the bbC. miles davis and lenny bruce protested by night . a journalist told me about this bob dylan being flown in from america to appear in a bbC drama called “madhouse on castle street”. by now my albums 1 albums 2 albums 3 sONGs . marlon brando and the french new wave which threw us a slew of angry young men. the beatles were honing their chops and loins comparatively anonymously in hamburg. even if it was. entertainment.. tony and burt kissed and kowtowed the “sweet smell of success “and we studied the scheme of america. america was a perfect audio and visual image as late britain stuttered and suppressed. but britain’s new affluence had a conscience—and this brave new world cried out for troubled troubadours and international anthems. something yer actual brit (o’toole thought he was irish) could never do. blacks. i was more impressed by america in general. i squired him around london. buddy holly. “strange fruit” . jews. the beatles and the stones handled the love and sex. we blanked albert finney and looked at the other side and got ernest borgnine’s “marty”. i agreed. distrust of structured politics created the new left and led to the campaign for nuclear disarmament. but not here ”. dylan was working at seizing the dayshift. americana controlled it’s lighting. i sat in bob’s room with the duo getting an idea of the world before i knew it. time to avoid the mundane promised picket fenced pre-fab future. britain’s exhausted mentalomics at that time were profoundly influential in shaping the cultural life of the late 50’s and early 60’s—john osborne’s 1956 play “look back in anger” is the most celebrated example.took three steps to heaven dying for us in an english taxi crash that also took the life of gene vincent’s right leg. there were things other than love and sex in the world to write and sing about and that he did. to max jones at the melody maker. tV stars and farmboys performing the soundtrack to our lives. i found out that bob and his manager were rooming at the cumberland hotel overlooking marble arch. recorded rock and celluloid cool defined our new regimen in 1960 austerity begot affluence and that became possible because of the birth pill. it wasn’t an act. by 1962 i was a press agent. colonel bogey and alec guinness’s stiff upper lip in “the bridge over the river kwai”. dialogue and sunsets. and by the mid 50’s the world was not a better place and our parents daily let us know this. i hustled myself for a fiver into press-repping dylan for a week. grossman was a calm above the norm. bobby d had pointed the way out in early1962. i made a point of bumping into the singer’s manager. whom with liberace . the still of the unspoken sacrifice our elders had made in our name begat the cloud that cried—it was more than johnnie ray. before too long we would be saved by the sneer of elvis and the fear tear of james dean.. disposable income could go to dressing up and not diaper rental and babyfood. antoine “fats” domino and young rick nelson.bOOtlEG sErIEs VOl. time not to panic. elvis was as good as and eddie cochran . as elvis disapeared through the paramount gates and into the army. london’s soho and fleet street my sidney falco beat.. hustled the south of france and sought a life wherein mine would not end up on the cutting room floor. johnny otis. who had inspired us with american words and action. and we called that. in the lobby of the hotel. the cloud was both suppressive and inspiring—our peers had withstood six years of 9/11 against the mighty kraut. 7 original liner notes 115 world war 2 hovered over us. the prince of wails . suddenly time was on our side and lying abed did not have to mean settling down and some of us still haven’t. so were all my rock’n beat pals. the rolling stones were still in art school. the new cold war ended the automatic connection between being a marxist and a member of the communist party. i ran errands in the fashion fracas. i scoured the melody maker and the other weakly musical rags looking for gigs. to dobell’s record store on charing cross road. james dean was dead . a strange new unspoken cameraderie joined all these world war 2 progeny together. albert grossman. the last school i’d attending stating “he may do well. and the richmond station hotel..

train was rollin’ , i had done Pr for the beatles, met the rolling stones, become their manager and said ta-ta to the rest of my life. in 1963 nat hentoff wrote the first most important sleeve notes for “the freewheelin’ bob dylan”. for us it said a lot, it meant a lot , it was saul bass in prose, and showed that the liner word can and should reflect the audio. the cover of this iconic album, which included “blowin’ in the wind” and “don’t think twice, it’s all right,” remains an example of rock art influencing popular culture as a whole. dylan would soon take over the liner notation himself and between that marvel and anthony burgess you had the birth of my own liner note style for the rolling stones. in england and france , better known as europe, there was dylan before there were beatles and stones. and just as the beatles were taking america and the stones were standing in the wings faking it, “freewheelin’ “was cracking the uK top 20 and dylan already knew how many holes it took in filling the festival hall. c’mon, cor blimey, england may have been swinging but dylan took us over with words. this was above cult, this was mass status, a strange merging of the two worlds of fame allowed in europe, but as apart in the us as two versions of the same song by fats domino/little richard and pat boone. so the beatles kicked in america with “i want to hold your hand” ; a year and some change later the stones got the job done with “satisfaction”, then mr z. changed all that with “like a rolling stone” ... brilliant nerve was what it was. check mate was the name of the game. dylan made us better and our world grew up to every competitive word. “the men who produce works of genius are not those who live in the most delicate atmosphere, whose conversation is the most brilliant or culture

the most extensive “wrote marcel proust,” but those who have had the power , ceasing suddenly to live only for themselves, to transform their personality into a sort of mirror”. 43 years later, dylan still moves the goalposts, sets the game and chronicles dem bells. our lives hath seen shakespeare again and dylan be his name. elvis gave us movement that we seized with every gland. the beatles held our hands and gave us something that was ours , something to fight for ; the rolling stones took to the streets and gave us something to fight against. and dylan ? he gave us the grace, the words and meaning, ripping our blinders off , dilating us pupils with the harsh light of the other way of looking at the looniverse. andrew loog oldham, bogota, colombia. june mm5 <andrew loog oldham managed and produced the rolling stones from 1963 to 1967. he is the author of two volumes of biography, stoned and 2stoned>.


Just when I thought I had dragged up all my Dylan memories for 2005 being extensively interviewed for Greil marcus’s book lIKE a rOllING stONE, and being interrogated thoroughly for martin scorsese’s documentary on bob, NOW I have been asked to contribute liner notes for the film’s soundtrack album. two weeks ago, I got an email from a fan reminding me that, June 16th, 2005, made it forty years since the recording of “like a rolling stone” in New York City back in 1965. that day changed my life forever and turned me from a guitar-owner into a rock organist, which I have remained for the last forty years. being onsite for the recording of two historical albums, Highway 61 revisited and blonde on blonde, and being able to contribute musically to these classics is still pretty unbelievable to me. most everybody knows how I scammed my way into playing on the “like a rolling stone” session. I was then invited to remain aboard and to play on the rest of the Highway 61 revisited album. the cast of backup players included mike bloomfield on guitar, Paul Griffin on keyboards, bobby Gregg on drums, first russ savakus on bass, and then Harvey Goldstein (soon to be Harvey brooks) on bass, bruce langhorne on percussion, the Chambers brothers on backup vocals, al Gorgoni on guitar, Frank Owens on keyboards, Charlie mcCoy on acoustic guitar and yours truly on keyboards and electric guitar. the final editing eliminated Gorgoni, Owens, the Chambers brothers, and my guitar playing but there are unearthly unearthings on this collection and it seems all personnel are now up for grabs. I once told one of the producers of the soundtrack about a version of “Desolation row,” cut quite early in the ayem when most musicians had packed it in for the night. Harvey brooks and I stayed on and I suggested to bob that he try a take with the three of us playing; bob on acoustic guitar and harmonica, Harvey on Fender bass, and myself on electric guitar. It probably has never been played back again since

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that night we cut it, but Columbia found it and thought it was good enough to include. It certainly marries that song with the punkness of the rest of the album. the version that was used, with Charlie mcCoy playing cool acoustic lines behind bob is much more wistful than punk. the included version here would make the sex Pistols or talking Heads proud. too bad the drummer had already gone home when we cut it. there was an afternoon where the Chambers brothers, who also played electric at the infamous ‘65 Newport Folk Festival, with no crowd objection, came by and sang backup vocals on “tombstone blues.” I thought it was amazing that day, but never heard it again after that. We originally played “It takes a lot to laugh,” back when it was called “Phantom Engineer,” as an up-tempo tune, in the style of “maggie’s Farm.” but when we tried it as a ballad, with bloomfield’s Corinna-like licks dancing around bob’s haunting vocal, the fast version died on the cutting room floor. I actually resurrected that arrangement on the super session album with stephen stills filling in for mike bloomfield. after the first complete take of “ballad of a thin man,” we all convened in the control room for a listen. at the conclusion of the playback, bobby Gregg said to Dylan, “I hope that’s the take, ‘cause I just heard all the words, and I don’t know if I can play behind that sort of sentiment anymore.” bob smiled at him, and then we all cracked up at Gregg’s attempt to put Dylan on. We did a better take on the next try which became the keeper without any more objections from mr. Gregg. In those days, I used to wear one of those blow-into police sirens around my neck to shed some humorous paranoia into various clandestine drug gatherings I might find myself attending. I wore it like a necklace and rarely took it off. When we were recording the title song for the album, I walked over to bob in between takes and suggested

he forego the harmonica and put the police siren in his harp holder. “a little variety for your album— suits the lyric better as well,” I suggested. suggestion taken, recorded, and archived forever. the take included here was the first time we tried the song, before the now famous ‘police siren’ was added. With the success of the Highway 61 album, the pressure was on. New producer bob Johnston suggested that bob record the follow-up in Nashville with players that Johnston would handpick. Dylan agreed to this gamble but insisted on bringing robbie robertson and myself along so that he would feel “comfortable” recording away from New York City. the three of us, an odd-looking trio to be walking around in redneck central, were put in the care of lamar Fike, one of Elvis’ most trusted and infamous bodyguards. lamar had to rescue both myself and robbie from solo journeys we took in downtown Nashville; me in a record shop, and robbie in a bar. People meant to do us harm just because of the way we looked. In the recording studio, it was a far different story. robbie and I were taken in as immediate friends and treated as equals from day one. the cast was mighty: Charlie mcCoy, ersatz leader, played bass, trumpet, guitar and harmonica—no mean feat on a Dylan session. Wayne moss played guitar, Kenny buttrey played drums, Hargus “Pig” robbins played piano, Jerry Kennedy played guitar, Joe south played guitar and bass, and Henry strzelecki played bass. I played organ and was ersatz music director. bob was still completing many of the songs when we arrived in tennessee. a piano was installed in his hotel room. During the days, I was summoned to bob’s room. bob would teach me the song he was trying to complete, and like a not-yet-invented cassette machine, I would sit at the piano and play the song over and over again, while he finished the lyrics. after a day of this, I made a suggestion to him: “bob, why don’t you come to the session an

hour late tonight? I will get there and teach the band this song and any others we worked on today. that way, you can just walk in, and we will know at least one or two songs that you won’t have to sit through while we learn them.” He assented; it worked out great that first night, and became the modus operandi of the rest of the sessions. However the reverse could and would happen from time to time. bob would arrive, go out into the piano in the studio and start changing a lyric. sometimes he would be in there for four or five hour stretches. the band took it in good humor and played pool and ping pong, watched tV and catnapped. One night a journalist slipped in with a friend, and was asked to come back later as bob was writing. He returned four hours later and bob appeared to be in the exact same position at the piano as when the journalist was originally expelled. “man..... what is he ON???” the reporter asked no one in particular in a loud voice. “Columbia records.” albert Grossman, bob’s manager, replied as he showed the gentleman to the door. Hargus “Pig” robbins was genial gent and played wonderful piano. He looked like a plumber or an electrician, except for the fact that he was completely blind. bob would whisper to me from time to time and say stuff like, “tell the piano player to come in on the first verse and not play in the intro.” at first I said to bob, “Why don’t YOu tell him? I’m sure he’d like to interact with you.” Dylan looked at me and whispered in my ear “You do it. I can’t call that guy ‘pig.’” and so, for the duration, I would relay bob’s requests to mr. robbins. to while away the hours while their talents were not specifically called upon, manager albert Grossman and producer bob Johnston would furiously chuck quarters in the direction of the white cork ceiling of the control room (what other named room could these two choose to quarter in?)

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attempting to make them stick in the cork based on the velocity of their initial thrusts. It became minorly dangerous to walk in there when the two were jousting, but as the week wore on, they truly got the hang of it and the ceiling was inundated with half-quarters sticking out. Nowadays, I would’ve snuck in there one morning, turned on the subwoofers, put on a hip-hop hit, and filled a garbage bag with currency. but back then, they were all still stuck in there at week’s end when I departed for New York. Just a few credits to pass out that have been hidden over the years. Joe south is playing the soul guitar on “stuck Inside Of mobile.” He is also playing the great bass line on “Visions of Johanna.” We, of course, all learned to treasure his talents on “Down in the boondocks,” “I Knew You When” and “the Games People Play.” Wayne moss plays the amazing 16th note guitar lick that recurs after each chorus in “I Want You.” the first time he came up with that, my jaw dropped—not only for the lick, but for the effortlessness he played it with. He also had one of my favorite lines at about 5 am one dreary morning as we sat in the control room waiting for bob to finish lyric writing in the studio: “Ya know, that one hour of sleep I got yesterday is startin’ to get real lonely about now...” that was topped only by a starving Kenny buttrey, as take after take rolled on one particular difficult tune. “man, I’m so hungry...” he moaned, “....I’m fartin’ fresh air!!” I still use that today. I hope this sheds some light on things for those of you perusing these notes. I must have spent close to a month working on those two albums, and it sure is a month I will never forget as long as I live. thanks for joining me in these remembrances. —al Kooper—somerville, ma July 4th, 2005

this volume of the bootleg series is a companion to the two- part documentary No Direction Home directed by martin scorsese which traces bob Dylan’s musical journey from Hibbing high school rock’n’roll enthusiast to electric barnstormer through Europe in 1966. Classic tracks and rarities illuminate a trajectory which was as fast and fraught with ramifications as a mercury space capsule or a Dallas bullet. this is not a soundtrack in the traditional sense. the film’s structure plays fast and loose with time, using a generous helping of unearthed footage from Dylan’s controversial 1966 tour of the british Isles as a centerpiece. the compilers of this collection used the songs in the film as a reference point, finding alternate takes, rare live performances and unreleased tracks that amplify the pivotal sequences in the film and avoid duplication with previously released tracks. WHEN I GOt trOublEs was recorded in 1959 by bob’s High school friend ric Kangas. It is a rare audio snapshot and most likely the first original song recorded by bob Dylan. In august of 1960, Cleve Patterson bought a new radio shack tape recorder in minneapolis. Eager to test it out, he recorded a dozen songs by a local folk singer and habitual truant at the nearby university. Here, in one of those twelve songs, Dylan sings the traditional, ramblEr GamblEr, a variant of the well known folk tune “Wagoner’s lad.” tHIs laND Is YOur laND finds bob Dylan at Carnegie Chapter Hall, a small intimate annex to the well known concert stage. this 1961 recording, when Dylan is still deeply under the spell of Woody Guthrie, beautifully captures this non-anthemic performance imbued with wistfulness. sONG tO WOODY is a pivotal moment in No Direction Home. In the film, Dylan says that he had to write it because he needed to express the sentiment. It is included here for much the same reason.

DINK’s sONG and I Was YOuNG WHEN I lEFt HOmE were recorded in minneapolis three days before Christmas by tony Glover later of well known folk blues revivalists Koerner, ray and Glover. Often bootlegged as the minnesota Hotel tapes, this is the first time it has been made available directly from tony’s master tape. In “Dink’s song,” we can see how, even at this early date, Dylan was a wonderful interpretive singer of traditional songs, a fact he reminded us of in the early nineties with the albums Good as I Been to You and World Gone Wrong. “I Was Young When I left Home,” like “rambler Gambler,” shows the young Dylan collecting floating lyrics from traditional songs and reshaping them into personal statements. Performers in the competitive Greenwich Village club scene quickly learned an arsenal of tricks to hold the attention of often apathetic audiences. an exuberant romp like sallY Gal, slated but not used on The Freewheelin’ Bob Dylan, was the folkie equivalent of ending your set with “Not Fade away.” the locomotive percussion of the guitar playing against the harmonica must have kept the tip jar filled. In his recent memoir Chronicles, bob Dylan describes how he would regularly go the office of music publisher lou levy in the early sixties. lou would put him in a small room with just a tape recorder and Dylan would perform his recent compositions so they could be transcribed for copyright and used as sheet music. the process continued when Dylan signed his new music publishing deal with Witmark music. these songs were then pressed onto discs and sent to performers in the hope that they would record or ‘cover” the songs. the “Witmark Demos” capture the young artist in New York in a strikingly intimate setting as heard here in the evocative reading of DONt tHINK tWICE, It’s all rIGHt. Dylan’s performance of the traditional maN OF CONstaNt sOrrOW on the 1963 television program

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or transforming “If You see Her say Hello in myrtle beach” last night. until the song sounds less like a political anthem and more like a lover’s question. the sound of a man with lightening in his pocket. bob Dylan has constantly kept his songs alive by reshaping them. the first complete take of the song. this is the music that polarized Newport inspiring a full range of responses from cheers to boos to rumors of an ax-wielding Pete seeger ready to cut the power lines. the missing piece. there also exists a novelty version complete with buzzers and car horns. the second of which is a shout-out to blues great memphis minnie and her famous song “me & my Chauffeur” take 5 of stuCK INsIDE OF mObIlE WItH tHE mEmPHIs bluEs aGaIN shows how quickly the albums 1 albums 2 albums 3 sONGs . the first is Kooper’s inspired bo Diddley-esque riffing towards the end of the track. the next two songs come from that same year’s performance at Carnegie Hall. CD 2 starts with a lovely drum-less variation of a song originally called “Worse than money” but now better known as sHE bElONGs tO mE. tambOurINE maN at the Newport Folk Festival in 1964 is a high point of part one of No Direction Home and is available almost in its entirety as a bonus feature on the DVD. blasting “masters of War” at the Grammy awards in 1991. It taKEs traIN tO CrY was still an up-tempo shuffle here in take 8.119 Folk Songs and More Folk Songs shows how fully formed a performer he was even at this young age. a song with tremendous resonance then and. finding it difficult to get a hotel room because of his scruffy looks. at the end of this take. as a bittersweet goodbye to fans who were unwilling to embrace his forward motion. “they’re spoon-feeding Casanova the boiled guts of birds”. and. Introduced with a left handed comment about the song’s recent folk hit status. take 9 of tOmbstONE bluEs features more wild bloomfield guitar. this is the version of the song sent to the byrds though no one can remember for sure. there exists another version of the issued take with background vocal overdubbed by the Chambers brothers but the uniqueness of this version merited it’s inclusion here. Dylan has always found infinite shadings in the blues and this track with the beautifully liquid guitar of bruce langhorn is no exception. it also served. Which is probably why it is still a part of Dylan’s touring repertoire. blues-drenched take of lEOParD sKIN PIllbOx Hat. in this version. not necessarily the Cuban missile Crisis nuke fear expressed by Nat Hentoff in the otherwise spot-on Freewheelin’ liner notes. mike bloomfield has switched to slide guitar and has nailed down the signature riff. Dylan introduces a HarD raINs a-GONNa Fall by explaining that a hard rain means something big is going to happen. also from his april 1963 performance at town Hall comes the powerful mastErs OF War. radically different from the electrified stomp heard on Blonde on Blonde and introduced by Dylan as a folk song in No Direction Home. supposedly. Originally called “Phantom Engineer”. al Kooper takes off the siren whistle he is wearing around his neck and gives it to Dylan. secondly. first on harmonica and then with his voice. from June of 1964. Here. the first take of It’s all OVEr NOW babY bluE features a slight but sweet melodic variant. Here’s where it all changes. like many of the alternates. wholly appropriate for a song about a man who “started out on burgundy but soon hit the harder stuff”. in the role of acoustic encore after the much booed electric set at Newport. In the interest of added value. the performance of mr. after saying that the words are the important thing. is included here. Joan baez tells the story of bob Dylan. One of the most famous kiss-offs in popular music. tempo and texture as can be seen by this slow. the first moment from the famed three song electric set at Newport. Dylan then proceeds to caress the melody. heard in a newly found source tape revealing the full power of the recently co-opted butterfield blues band. Future legend guitarist mike bloomfield continues to turn the blues idiom upside down. is unique for containing two verses not heard in other versions. rhythm. Peter Yarrow introduces Dylan who launches into maGGIE’s Farm. Joining Dylan on this recording is fellow folk singer and Woody Guthrie co-hort ramblin’ Jack Elliot. al Kooper discusses this version of DEsOlatION rOW in his notes but two additional things must be pointed out. It taKEs a lOt tO lauGH. this version. this 1964 Newport recording of CHImEs OF FrEEDOm has the loose limbed enthusiasm of an artist at the top of his powers. Whether electrifying “baby let me Follow You Down” in 65. this earlier take of Just lIKE tOm tHumb bluEs. channeling his anger into the lyrics of WHEN tHE sHIP COmEs IN. experimenting with form. the performance here is a bit more focused lacking the smeared crayola bleary sunrise sound of the issued take. my favorite lyrical variant on the album as “they’re spoon-feeding Casanova to get him to feel more self-assured” is. Dylan presents his blOWIN’ IN tHE WIND with all the misdirection of a master magician. unfortunately. now. sweeping statement as can be seen in No Direction Home when Dylan and baez perform the song at the civil rights march on Washington on the same day as martin luther King Jr’s “I have a dream” speech. by take 6 of the title track from HIGHWaY 61 rEVIsItED. features slight lyrical changes that offer a fascinating glimpse inside the creative process. a galloping baritone sax and what sounds like background vocals from the band. the artist was able to turn his personal experience into a grand.

it seemed sacrilege to exclude it. it’s a great surprise to discover in the documentary’s final moments that footage actually exists of Dylan dressing down his most famous heckler before turning to the juggernaut that is his band and imploring them roll across the nay-sayers. but as the song frames No Direction Home as well as providing its title. Play it loud. One of the most exciting performances ever captured. What were those people complaining about? Finally. Live 1966 release. California albums 1 albums 2 albums 3 sONGs . ballaD OF a tHIN maN frames the widening schism between Dylan and his English folk acolytes in No Direction Home.120 magical Nashville sessions gelled. the compilers offer an electric attempt with al Kooper and the band. this is what it may have sounded like if it had joined “I Don’t believe You” and “One too many mornings” in the amplified portion of the European tour. the sound quality leaves something to be desired. the passion of the performance doesn’t. Live 1966. Instead of repeating it here. this song went through only minor changes before becoming one of the key tracks on Blonde on Blonde. the famous “Judas” version of lIKE a rOllING stONE has previously appeared on the Bootleg Series Volume 4. Except for the missing quarter note crescendos of drummer mickey Jones. — Eddie Gorodetsky. already better than most performers on their best day. los Feliz. the melancholy solo acoustic version of VIsIONs OF JOHaNNa seen in No Direction Home can already be found on Bootleg Series Volume 4.

Lay Knockin’ On Heaven’s Door Tangled Up In Blue Hurricane Forever Young Gotta Serve Somebody Jokerman Not Dark Yet Things Have Changed Summer Days 121 albums 1 albums 2 albums 3 sONGs the best Of bob Dylan November 15.Blowin’ In The Wind The Times They Are A-Changin’ Mr. 2005 . Lady. Tambourine Man Like A Rolling Stone Rainy Day Women # 12 & 35 All Along The Watchtower Lay.

mandolin. viola. percussion. harmonica. Receli – drums. violin. 2006 . Stu Kimball – guitar.Thunder on the Mountain Spirit on the Water Rollin’ and Tumblin’ When the Deal Goes Down Someday Baby Workingman’s Blues #2 Beyond the Horizon Nettie Moore The Levee’s Gonna Break Ain’t Talkin’ Musicians: Bob Dylan – vocals. Donnie Herron – steel guitar. George G. 122 albums 1 albums 2 albums 3 sONGs modern times Produced by Jack Frost August 29. Denny Freeman – guitar. piano. Tony Garnier – bass. guitar. cello.

City Hall. 7: No Direction Home.Released 2005 From: The promo CD Bob Dylan Live At Carnegie Columbia Legacy CSK 17254 Lay Down Your Weary Tune (Live) (Bob Dylan) Recorded 1963 .Released 2005 From: The promo CD Bob Dylan Live At Carnegie CarnHall Hall 1963. 6.Released 2005 Recorded during the sessions for The Freewheelin’ Bob Dylan. To Ramona (Live) (Bob Dylan) Recorded 1965. Columbia Legacy CSK 17254 egie 1963. I Was Young When I Left Home (Traditional) Arranged by Bob Dylan Recorded 1961 . Columbia Legacy CSK 17254 With God On Our Side (Live) (Bob Dylan) Recorded 1963 . England. Outlaw Blues (Acoustic Version) (Bob Dylan) Recorded 1965 .Released 2005. A. Handsome Molly (Live) (Traditional) Arranged by Bob Dylan Recorded 1962 .Released 2005 From: The promo CD Bob Dylan Live At Carnegie Columbia Legacy CSK 17254 Ballad Of Hollis Brown (Live) (Bob Dylan) Recorded 1963 . Columbia Legacy CSK 17254 egie 1963. England .Released 2005 From: The promo CD Bob Dylan Live At Carnegie Hall 1963. Pennebaker’s 1965 film Don’t Look Back. 13.Released 1972 From: Tribute To Woody Guthrie Columbia 31171 Produced by Harold Leventhal The Grand Coulee Dam (Woody Guthrie) Recorded 1968 . Produced by Tom Wilson Just Like Tom Thumb’s Blues (Bob Dylan) Recorded in Liverpool.Released 2005 From: Bob Dylan Live At The Gaslight 1962 Baby. 12. Columbia Legacy CSK 17254 Mr. 7: No Direction Home. May 1966.Released 2005 From: The promo CD Bob Dylan Live At Carnegie CarnHall Hall 1963. 5. rare tracks From the Vaults 8.Released 2000 From: DVD release of D. 11. 123 3. live at The Oval. From: Non-LP B-side of Columbia single # 43683 “I Want You” Produced by Bob Johnston I Ain’t Got No Home (Woody Guthrie) Recorded 1968 . albums 1 albums 2 albums 3 sONGs 4.Released 1994 From: “The Minnesota Hotel Tape. Previously available as iTunes bonus track for The Bootleg Series Vol. Previously available as iTunes bonus track for The Bootleg Series Vol. 15. Columbia 86076 Produced by Jack Frost Wade In The Water (Traditional) Arranged by Bob Dylan Recorded 1961 . Previously available as iTunes bonus track for The Bootleg Series Vol. North Country Blues (Live) (Bob Dylan) Recorded 1963 .Released 1972 From: Tribute To Woody Guthrie Columbia 31171 Produced by Harold Leventhal 10.Released 2005 From: The promo CD Bob Dylan Live At Carnegie Columbia Legacy CSK 17254 Boots Of Spanish Leather (Live) (Bob Dylan) Recorded 1963 . 14. Sheffield.1. Columbia Legacy CSK 17254 9. rarE traCKs 2 . live at The Newport Folk Festival . Tambourine Man (Live) (Bob Dylan) Recorded 1964.Released 2005 Recorded during the sessions for Bringing It All Back Home.Released 2001 From: Bonus disc for “Love and Theft”.” Previously released on Bakhalls Litterara Roster (The Ambush’s Literary Voices) compilation CD given away with an issue of the Swedish literary magazine Bakhall. Produced by John Hammond The Times They Are A-Changin’ (Live) (Bob Dylan) Recorded 1963 . 7. 2. 16. 7: No Direction Home. Please Don’t Go (Joe Williams) Recorded 1962 .

Released 1978 From: Columbia Promo EP 4 Songs From Renaldo & Clara. live in Portsmouth. Produced by Jeff Rosen Love Sick (Remix) (Bob Dylan) Recorded 1997 . CA. Sony Japan SRCS 2438 Return To Me (Daniel Di Minno-Carmen Lombardo) Released 2001 From: The Sopranos. live at the New Jersey Center For The Performing Arts. Victoria’s Secret exclusive promo CD Sony A72812 Produced by Daniel Lanois Tell ‘Ol Bill (Bob Dylan) Recorded 2005 . 1961-2000. Sony Music Soundtrax/ Columbia CK 97777 albums 1 albums 2 albums 3 sONGs 18.Released 2005 From: North Country. 34. Columbia/Sony Music Soundtrax CK 90536.Released 2004 Recorded during the sessions for New Morning.Released 2004 From: Is It Rolling Bob. Music From The Motion Picture. C2S 85453 Waitin’ For You (Bob Dylan) Recorded 2002 . 24. Went To See The Gypsy (Bob Dylan) Recorded 1970 .Released 1987 From: Soundtrack to the film Hearts Of Fire.Released 2002 From: The Grateful Dead. 30. 39. Columbia AS 422 Never Let Me Go (Live) (Joseph Wade Scott) Recorded 1975 . DMZ Records/ Columbia/Sony Music Soundtrax 86534 Produced by T Bone Burnett Man Of Peace (With The Grateful Dead) (Bob Dylan) Recorded 1987 .” Columbia single I And I (Reggae Mix) (Bob Dylan) Recorded 1981 .Released 2004 From: Lovesick.Released 1971 From: Columbia Single #45516 Produced by Bob Dylan People Get Ready (Curtis Mayfield) Recorded 1975 . live in Portsmouth.S. Produced by Bob Johnston George Jackson (Acoustic Version) (Bob Dylan) Recorded 1971 . 1961-2000. Live in New Orleans . Columbia 40870 Produced by Beau Hill Pretty Boy Floyd (Woody Guthrie) Recorded 1987 . Produced by Jeff Rosen 38. 36. Also released as a bonus track included with the Australian Time Out Of Mind. Newark. 21. Columbia 44034 Cold Irons Bound (Live) (Bob Dylan) Recorded 1997. Thirty-Nine Years Of Great Concert Performances. Sanctuary/RAS 06078-89914-2 Produced by Bob Dylan & Mark Knopfler. Things Have Changed (Live) (Bob Dylan) Recorded 2000. live soundstage recording. Produced by Jeff Rosen Cold Irons Bound (Live) (Bob Dylan) Recorded 2002 . Remixed by Doctor Dread 25. Columbia AS 422 Rita May (Bob Dylan-Jacques Levy) Recorded 1976 . England Previously unreleased in the U. live at the El Rey Theater.Released 2002 From: Music From The Motion Picture: Divine Secrets Of The Ya-Ya Sisterhood.S. 20. Thirty-Nine Years Of Great Concert Performances.Released 2003 From: Masked And Anonymous. 41.Released 2003 From: Gotta Serve Somebody – The Gospel Songs Of Bob Dylan Columbia/Legacy CK 89015 Executive Producer: Jeff Gaskill Down In The Flood (Live) (Bob Dylan) Recorded 2002 . Also released as a bonus track included with the Australian Time Out Of Mind. 23. Sony Japan SRCS 2438 Country Pie (Live) (Bob Dylan) Recorded 2000. Available on Bob Dylan Live.Released 2003 From: Masked And Anonymous.Released 2003 From: Masked And Anonymous. Columbia/Sony Music Soundtrax CK 90536. England. Sony Classical/Sony Music Soundtrax SK 87891 A Jack Frost Production Gonna Change My Way Of Thinking (Duet Version) Performed by Bob Dylan & Mavis Staples (Bob Dylan) Recorded 2002 . BMG/Arista 4069/7822-14069-2 ‘Cross The Green Mountain (Bob Dylan) Recorded 2002 . 22.Released 1989 From: Non LP B-side of “Everything Is Broken. 33. Somebody Touched Me (Live) (Traditional) Arranged by Bob Dylan Recorded 2000. NJ – Released 1998 From: B-side of various European CBS “Love Sick” singles. 124 40.Released 2003 From: Masked And Anonymous. 1961-2000.Released 1998 From: B-side of various European CBS “Love Sick” singles.Released 1971 From: Columbia Single #45516 Produced by Bob Dylan George Jackson (Big Band Version) (Bob Dylan) Recorded 1971 . Diamond Joe (Live) (Traditional) Recorded 2002 . Music From The Motion Picture.Released 2003 From: Gods and Generals Original Motion Picture Soundtrack. live soundstage recording. Columbia/Sony Music Soundtrax CK 90536. limited tour edition. Previously unreleased in the U. limited tour edition. 26. 37.Released 1988 From: Soundtrack to Folkways: A Vision Shared-Tribute To Woody Guthrie & Leadbelly.Released 1977 From: Non-LP B-side of Columbia Single # 10454. Los Angeles. Night After Night (Bob Dylan) Recorded 1986 . rarE traCKs 1 .17. Postcards Of The Hanging: The Grateful Dead Perform The Songs Of Bob Dylan. Columbia/Sony Music Soundtrax. 35.S. Music From The Motion Picture.Released 1978 From: Columbia Promo EP 4 Songs From Renaldo & Clara. 19. Columbia/Sony Music Soundtrax CK 90536. 32. Thirty-Nine Years Of Great Concert Performances. live in Portsmouth. Sony Japan SRCS 2438 31. England Previously unreleased in the U. Previously available as iTunes download single. Available on Bob Dylan Live. Available on Bob Dylan Live. 29. . Produced by Jeff Rosen Dixie (Live) (Traditional) (arranged by Bob Dylan) Recorded 2002 . Limited Edition Version. Music From The Motion Picture. live soundstage recording. 27. “Stuck Inside Of Mobile With The Memphis Blues Again” Produced by Don Devito & Bob Dylan Dead Man. Dead Man (Live) (Bob Dylan) Recorded 1981. Music From The Motion Picture. 42. live soundstage recording. 28. Born In Time (Live) (Bob Dylan) Recorded 1998.

Vol. 5: Live 1975) 5:16 a Hard rain’s a-Gonna Fall (Bootleg Series Vol. I’m In the mood For You [7/9/62] (Biograph) 2:55 baby. 6: Live 1964) 7:44 a Hard rain’s a-Gonna Fall (Bootleg Series Vol. 4: Live 1966) 4:07 baby. Vol. 6: Live 1964) 4:02 all the tired Horses (Self Portrait) 3:09 angelina [5/4/81] (Bootleg Series 1-3: Rare and Unreleased) 6:57 apple suckling tree (The Basement Tapes) 2:48 are You ready? (Saved) 4:41 arthur mcbride (Good As I Been To You) 6:22 as I Went Out One morning (John Wesley Harding) 2:50 baby. Please Don’t Go (Rare Tracks From The Vaults) 1:57 baby. 2) 6:52 a Hard rain’s a-Gonna Fall (Bootleg Series Vol. let me Follow You Down (Biograph) 2:33 baby. 4: Live 1966) 5:37 a Fool such as I (Dylan) 2:41 a Hard rain’s a-Gonna Fall (Bob Dylan’s Greatest Hits. stop Crying (Street-Legal) 5:19 ballad In Plain D (Another Side Of Bob Dylan) 8:16 ballad Of a thin man (Before The Flood) 3:29 ballad Of a thin man (Bob Dylan At Budokan) 4:47 .000 men (Under The Red Sky) 4:21 2 x 2 (Under The Red Sky) 3:36 4th time around (Blonde On Blonde) 4:33 4th time around (Bootleg Series Vol. let me Follow You Down (Bob Dylan)2:33 baby. 7: No Direction Home) 7:46 a Hard rain’s a-Gonna Fall (The Freewheelin’ Bob Dylan) 6:50 a satisfied mind (Saved) 1:57 abandoned love [July 1975] (Biograph) 4:27 absolutely sweet marie (Blonde On Blonde) 4:54 ain’t No more Cane (The Basement Tapes) 3:56 ain’t talkin’ (Modern Times) 8:48 alberta #1 (Self Portrait) 2:55 alberta #2 (Self Portrait) 3:11 all along the Watchtower (Before The Flood) 2:58 all along the Watchtower (Biograph) 3:02 all along the Watchtower (Bob Dylan At Budokan) 3:20 all along the Watchtower (Bob Dylan’s Greatest Hits.125 tHE sONGs albums 1 albums 2 albums 3 sONGs ‘Cross the Green mountain (Rare Tracks From The Vaults) 8:15 10. Vol. 2) 2:31 all along the Watchtower (Dylan & The Dead) 6:17 all along the Watchtower (John Wesley Harding) 2:32 all along the Watchtower (MTV Unplugged) 3:36 all along the Watchtower (The Best Of Bob Dylan) 2:32 all along the Watchtower (The Essential Bob Dylan) 2:31 all I really Want to Do (Another Side Of Bob Dylan) 4:02 all I really Want to Do (Bob Dylan At Budokan) 3:37 all I really Want to Do (Bob Dylan’s Greatest Hits. 2) 4:05 all I really Want to Do (Bootleg Series Vol. let me Follow You Down (Bootleg Series Vol.

3) 6:36 Changing Of the Guards (Street-Legal) 7:03 Chimes Of Freedom (Another Side Of Bob Dylan) 7:09 Chimes Of Freedom (Bootleg Series Vol. 3) 11:03 brownsville Girl (Knocked Out Loaded) 11:00 buckets Of rain (Blood On The Tracks) 3:24 bunkhouse theme (Pat Garrett & Billy The Kid) 2:13 bye and bye (“Love And Theft”) 3:16 Call letter blues [9/16/74] (Bootleg Series 1-3: Rare and Unreleased) 4:27 Can You Please Crawl Out Your Window? (Biograph) 3:33 Canadee-I-O (Good As I Been To You) 4:23 Can’t Help Falling In love (Dylan) 4:17 Can’t Wait (Time Out Of Mind) 5:46 Cantina theme (Workin’ For the law) (Pat Garrett & Billy The Kid) 2:54 Caribbean Wind [4/7/81] (Biograph) 5:52 Catfish [7/28/75] (Bootleg Series 1-3: Rare and Unreleased) 2:48 Cat’s In the Well (Under The Red Sky) 3:20 Changing Of the Guards (Bob Dylan’s Greatest Hits. 4: Live 1966) 8:00 ballad Of a thin man (Bootleg Series Vol. Vol. Corrina (The Freewheelin’ Bob Dylan) 2:42 Country Pie (Nashville Skyline) 1:37 Country Pie [Live Portsmouth 2000] (Rare Tracks From The Vaults) 2:47 Covenant Woman (Saved) 6:02 Cry a While (“Love And Theft”) 5:05 Dark Eyes (Empire Burlesque) 5:04 Day Of the locusts (New Morning) 3:58 Days Of 49 (Self Portrait) 5:25 Dead man. 7: No Direction Home) 7:45 ballad Of a thin man (Highway 61 Revisited) 5:56 ballad Of a thin man (Real Live) 4:05 ballad Of Hollis brown (The Times They Are A-Changin’) 5:03 ballad Of Hollis brown [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 6:02 belle Isle (Self Portrait) 2:27 bessie smith (The Basement Tapes) 4:17 beyond the Horizon (Modern Times) 5:36 big Yellow taxi (Dylan) 2:12 billy 1 (Pat Garrett & Billy The Kid) 3:53 billy 4 (Pat Garrett & Billy The Kid) 4:59 billy 7 (Pat Garrett & Billy The Kid) 2:08 black Crow blues (Another Side Of Bob Dylan) 3:12 black Diamond bay (Desire) 7:28 blackjack Davey (Good As I Been To You) 5:49 blind Willie mctell [5/5/83] (Bootleg Series 1-3: Rare and Unreleased) 5:52 blood In my Eyes (World Gone Wrong) 5:04 blowin’ In the Wind (Before The Flood) 3:46 blowin’ In the Wind (Biograph) 2:47 blowin’ In the Wind (Bob Dylan At Budokan) 4:25 blowin’ In the Wind (Bob Dylan’s Greatest Hits) 2:46 blowin’ In the Wind (Bootleg Series Vol. 7: No Direction Home) 11:44 Desolation row (Highway 61 Revisited) 11:20 Desolation row (MTV Unplugged) 8:22 Diamond Joe [Masked and Anonymous Soundtrack] (Good As I Been To You) 3:17 Diamond Joe (Rare Tracks From The Vaults) 2:33 Dignity (Bob Dylan’s Greatest Hits. 4: Live 1966) 12:11 Desolation row (Bootleg Series Vol. 3) 5:57 albums 1 albums 2 albums 3 sONGs . 7: No Direction Home) 4:03 blowin’ In the Wind (The Freewheelin’ Bob Dylan) 2:47 blowin’ In the Wind (The Best Of Bob Dylan) 2:47 blowin’ In the Wind (The Essential Bob Dylan) 2:46 blue moon (Self Portrait) 2:27 bob Dylan’s 115th Dream (Bringing It All Back Home) 6:31 bob Dylan’s blues (The Freewheelin’ Bob Dylan) 2:21 bob Dylan’s Dream (The Freewheelin’ Bob Dylan) 5:01 boots Of spanish leather (The Times They Are A-Changin’) 4:37 boots Of spanish leather [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 5:38 born In time (Under The Red Sky) 3:38 born In time [Live NJ 1998] (Rare Tracks From The Vaults) 5:19 broke Down Engine (World Gone Wrong) 3:20 brownsville Girl (Bob Dylan’s Greatest Hits. Dead man [Live New Orleans 1981] (Rare Tracks From The Vaults) 3:56 Dear landlord (Biograph) 3:15 Dear landlord (John Wesley Harding) 3:15 Death Is Not the End (Down In The Groove) 5:10 Delia (World Gone Wrong) 5:45 Desolation row (Bootleg Series Vol.126 ballad Of a thin man (Bootleg Series Vol. Dead man (Shot Of Love) 3:58 Dead man. Vol. 5: Live 1975) 2:43 blowin’ In the Wind (Bootleg Series Vol. 7: No Direction Home) 8:02 Clean-Cut Kid (Empire Burlesque) 4:14 Clothes line saga (The Basement Tapes) 2:56 Cold Irons bound (Time Out Of Mind) 7:14 Cold Irons bound [Live El Ray Theater 1997] (Rare Tracks From The Vaults) 6:49 Cold Irons bound (Rare Tracks From The Vaults) 5:43 Copper Kettle (Self Portrait) 3:32 Corrina. Vol.

baby (Down In The Groove) 2:51 Handsome molly [Live] (Rare Tracks From The Vaults) 2:47 Handy Dandy (Under The Red Sky) 4:01 . 3) 4:56 Forever Young (Planet Waves) 2:48 Forever Young (Planet Waves) 4:55 Forever Young (The Best Of Bob Dylan) 4:55 Forever Young (The Essential Bob Dylan) 4:56 Frankie & albert (Good As I Been To You) 3:50 Freight train blues (Bob Dylan)2:16 Froggie Went a Courtin’ (Good As I Been To You) 6:23 From a buick 6 (Highway 61 Revisited) 3:15 Gates Of Eden (Bootleg Series Vol. It’s all right (Bootleg Series Vol.127 Dignity (MTV Unplugged) 6:30 Dink’s song (Bootleg Series Vol. Vol. 6: Live 1964) 8:37 Gates Of Eden (Bringing It All Back Home) 5:41 George Jackson [Acoustic Version] (Rare Tracks From The Vaults) 3:37 George Jackson [Big Band Version] (Rare Tracks From The Vaults) 5:34 Girl From the North Country (Real Live) 4:25 Girl From the North Country (The 30th Anniversary Concert Celebration) 5:12 Girl From the North Country (The Freewheelin’ Bob Dylan) 3:20 Girl From the North Country [with Johnny Cash] (Nashville Skyline) 3:41 God Knows (Under The Red Sky) 3:02 Goin’ to acapulco (The Basement Tapes) 5:26 Going. 2) 2:49 Down In the Flood (The Basement Tapes) 2:03 Down In the Flood [Masked and Anonymous Soundtrack] (Rare Tracks From The Vaults) 3:36 Forever Young [June 1973] (Biograph) 2:02 Forever Young (Bob Dylan At Budokan) 5:38 Forever Young (Bob Dylan’s Greatest Hits. 2) 3:37 Don’t think twice. 3) 5:24 Gotta serve somebody (Dylan & The Dead) 5:42 Gotta serve somebody (Slow Train Coming) 5:23 Gotta serve somebody (The Best Of Bob Dylan) 5:23 Gotta serve somebody (The Essential Bob Dylan) 5:24 Gotta travel On (Self Portrait) 3:06 Had a Dream about You. Gone (Bob Dylan At Budokan) 4:22 Going. Going. It’s all right (The Freewheelin’ Bob Dylan) 3:39 Don’t Ya tell Henry (The Basement Tapes) 3:12 Down along the Cove (John Wesley Harding) 2:22 Down In the Flood (Bob Dylan’s Greatest Hits. Vol. 7: No Direction Home) 4:37 Dirge (Planet Waves) 5:34 Dirt road blues (Time Out Of Mind) 3:35 Disease Of Conceit (Oh Mercy) 3:43 Dixie (Rare Tracks From The Vaults) 2:13 Do right to me baby (Do unto Others) (Slow Train Coming) 3:52 Don’t think twice. Vol. Vol. 7: No Direction Home) 3:35 Don’t think twice. 6: Live 1964) 4:03 Don’t think twice. It’s all right (Before The Flood) 3:34 Don’t think twice. Gone (Planet Waves) 3:26 Golden loom [7/30/75] (Bootleg Series 1-3: Rare and Unreleased) 4:26 Gonna Change my Way Of thinking (Slow Train Coming) 5:27 Gonna Change my Way Of thinking [Duet with Mavis Staples] (Rare Tracks From The Vaults) 5:13 albums 1 albums 2 albums 3 sONGs Down the Highway (The Freewheelin’ Bob Dylan) 3:24 Drifter’s Escape (John Wesley Harding) 2:47 Driftin’ too Far From shore (Knocked Out Loaded) 3:39 Early mornin’ rain (Self Portrait) 3:32 Emotionally Yours (Empire Burlesque) 4:36 Endless Highway (Before The Flood) 4:45 Eternal Circle [10/24/63] (Bootleg Series 1-3: Rare and Unreleased) 2:37 Every Grain Of sand (Biograph) 6:14 Every Grain Of sand [9/23/80] (Bootleg Series 1-3: Rare and Unreleased) 3:37 Every Grain Of sand (Shot Of Love) 6:12 Everything Is broken (Oh Mercy) 3:13 Everything Is broken (The Essential Bob Dylan) 3:13 Farewell angelina [1/13/65] (Bootleg Series 1-3: Rare and Unreleased) 5:26 Father Of Night (New Morning) 1:28 Final theme (Pat Garrett & Billy The Kid) 5:21 Fixin’ to Die (Bob Dylan)2:18 Floater (too much to ask) (“Love And Theft”) 5:00 Foot Of Pride [4/25/83] (Bootleg Series 1-3: Rare and Unreleased) 5:56 Gospel Plow (Bob Dylan) 1:43 Got my mind made up (Knocked Out Loaded) 2:53 Gotta serve somebody (Biograph) 5:24 Gotta serve somebody (Bob Dylan’s Greatest Hits. It’s all right (Bootleg Series Vol. Going. It’s all right (Bob Dylan At Budokan) 4:55 Don’t think twice. It’s all right (The Essential Bob Dylan) 3:37 Don’t Fall apart On me tonight (Infidels) 5:54 Don’t think twice. It’s all right (Bob Dylan’s Greatest Hits.

2) 2:39 I’ll be Your baby tonight (John Wesley Harding) 2:38 I’ll Keep It With mine [1/4/65] (Biograph) 3:44 I’ll Keep It With mine [1/27/66] (Bootleg Series 1-3: Rare and Unreleased) 3:38 I’ll remember You (Empire Burlesque) 4:12 In my time Of Dyin’ (Bob Dylan) 2:37 albums 1 albums 2 albums 3 sONGs . Go Now [1/15/65] (Bootleg Series 1-3: Rare and Unreleased) 2:54 If You Gotta Go.Hard times (Good As I Been To You) 4:34 Hard times In New York town [12/22/61] (Bootleg Series 1-3: Rare and Unreleased) 2:17 128 Hazel (Planet Waves) 2:48 He Was a Friend Of mine [11/20/61] (Bootleg Series 1-3: Rare and Unreleased) 4:02 Heart Of mine [Live August 1981] (Biograph) 3:42 Heart Of mine (Shot Of Love) 4:29 High Water (For Charley Patton) (“Love And Theft”) 4:05 Highlands (Time Out Of Mind) 16:32 Highway 51 blues(bob Dylan) 2:49 Highway 61 revisited (Before The Flood) 4:05 Highway 61 revisited (Bootleg Series Vol. Vol. 2) 2:40 If Not For You [5/1/70] (Bootleg Series 1-3: Rare and Unreleased) 3:32 If Not For You (New Morning) 2:39 If Not For You (The Essential Bob Dylan) 2:40 If You Gotta Go. 7: No Direction Home) 5:19 I Was Young When I left Home [1961] (Rare Tracks From The Vaults) 5:23 I’ll be Your baby tonight (The Essential Bob Dylan) 2:39 Idiot Wind (Blood On The Tracks) 7:49 Idiot Wind [9/19/74] (Bootleg Series 1-3: Rare and Unreleased) 8:52 Idiot Wind (Hard Rain) 10:12 If Dogs run Free (New Morning) 3:37 If Not For You (Biograph) 2:41 If Not For You (Bob Dylan’s Greatest Hits. 2) 3:02 I shall be released [Fall 1967] (Bootleg Series 1-3: Rare and Unreleased) 3:54 I shall be released (Bootleg Series Vol. Go Now (Bootleg Series Vol. 5: Live 1975) 8:15 Hurricane (The Best Of Bob Dylan) 8:32 Hurricane (The Essential Bob Dylan) 8:33 I ain’t Got No Home (Rare Tracks From The Vaults) 3:45 I am a lonesome Hobo (John Wesley Harding) 3:21 I and I (Infidels) 5:12 I and I (Real Live) 6:00 I and I [Reggae Mix] (Rare Tracks From The Vaults) 5:35 I believe In You (Biograph) 5:09 I believe In You (Slow Train Coming) 5:08 I Don’t believe You (she acts like We Never Have met) (Another Side Of Bob Dylan) 4:22 I Don’t believe You (she acts like We Never Have met) [Live 5/6/66] (Biograph) 5:18 I Don’t believe You (she acts like We Never Have met) (Bootleg Series Vol. Just allow me One more Chance (The Freewheelin’ Bob Dylan) 1:58 House Carpenter [3/19/62] (Bootleg Series 1-3: Rare and Unreleased) 4:07 House Of the risin’ sun (Bob Dylan) 5:16 Hurricane (Desire) 8 :32 Hurricane (Bob Dylan’s Greatest Hits. 3) 8:33 Hurricane (Bootleg Series Vol. 6: Live 1964) 4:06 If You see Her. say Hello [9/16/74] (Bootleg Series 1-3: Rare and Unreleased) 3:44 I’ll be Your baby tonight (Biograph) 2:45 I’ll be Your baby tonight (Bob Dylan’s Greatest Hits. Vol. Vol. 7: No Direction Home) 3:38 Highway 61 revisited (Highway 61 Revisited) 3:25 Highway 61 revisited (Real Live) 5:07 Honest With me (“Love And Theft”) 5:49 Honey. augustine (John Wesley Harding) 3:54 I Forgot more than You’ll Ever Know (Self Portrait) 2:21 I Pity the Poor Immigrant (John Wesley Harding) 4:13 I shall be Free (The Freewheelin’ Bob Dylan)4:47 I shall be Free No. 6: Live 1964) 5:19 I Dreamed I saw st. Vol. say Hello (Blood On The Tracks) 4:49 If You see Her. 4: Live 1966) 6:10 I Don’t believe You (she acts like We Never Have met) (Bootleg Series Vol. 5: Live 1975) 4:32 I shall be released (The Essential Bob Dylan) 3:02 I threw It all away (Hard Rain) 3:18 I threw It all away (Nashville Skyline) 2:23 I Wanna be Your lover [October 1965] (Biograph) 3:25 I Want You (Biograph) 3:05 I Want You (Blonde On Blonde) 3:05 I Want You (Bob Dylan At Budokan) 2:34 I Want You (Bob Dylan’s Greatest Hits) 3:09 I Want You (Dylan & The Dead) 3:59 I Was Young When I left Home (Bootleg Series Vol. 10 (Another Side Of Bob Dylan) 4:46 I shall be released (Biograph) 3:02 I shall be released (Before The Flood) 3:19 I shall be released (Bob Dylan At Budokan) 4:12 I shall be released (Bob Dylan’s Greatest Hits.

lady. lay (Bob Dylan’s Greatest Hits. It takes a train to Cry [6/15/65] (Bootleg Series 1-3: Rare and Unreleased) 3:20 It takes a lot to laugh. It takes a train to Cry (Highway 61 Revisited) 4:04 It’s all Over Now. babe (Real Live) 5:17 It Hurts me too (Self Portrait) 3:13 It takes a lot to laugh. It takes a train to Cry (Bootleg Series Vol. 7: No Direction Home) 3:33 It’s all Over Now. 2) 4:14 It’s all Over Now. lady. babe (The Essential Bob Dylan) 3:32 It ain’t me. Vol. ma (I’m Only bleeding) (Bob Dylan At Budokan) 6:04 It’s alright. 5: Live 1975) 4:21 Knockin’ On Heaven’s Door (Dylan & The Dead) 6:35 Knockin’ On Heaven’s Door (MTV Unplugged) 5:30 Knockin’ On Heaven’s Door (Pat Garrett & Billy The Kid) 2:30 Knockin’ On Heaven’s Door (The 30th Anniversary Concert Celebration) 5:38 Knockin’ On Heaven’s Door (The Best Of Bob Dylan) 2:30 Knockin’ On Heaven’s Door (The Essential Bob Dylan) 2:30 last thoughts On Woody Guthrie [4/12/63] (Bootleg Series 1-3: Rare and Unreleased) 7:08 lay Down Your Weary tune [10/24/63] (Biograph) 4:35 lay Down Your Weary tune [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 5:02 lay. 2) 3:17 albums 1 albums 2 albums 3 sONGs It takes a lot to laugh. baby blue (Bringing It All Back Home) 4:14 It’s alright. 4: Live 1966) 6:32 Just like a Woman (Bootleg Series Vol. 5: Live 1975) 5:11 Isis (Desire) 6 :58 It ain’t me. baby blue (Bootleg Series Vol. baby blue (The Essential Bob Dylan) 4:14 It’s all Over Now. 5: Live 1975) 4:33 It’s all Over Now. 6: Live 1964) 10:08 It’s alright. 3) 2:30 Knockin’ On Heaven’s Door (Bootleg Series Vol. baby blue (Bootleg Series Vol. Vol. babe (Before The Flood) 3:15 It ain’t me. 7: No Direction Home) 5:42 Just like tom thumb’s blues (Highway 61 Revisited) 5:27 Katie’s been Gone (The Basement Tapes) 2:43 Kingsport town [11/14/62] (Bootleg Series 1-3: Rare and Unreleased) 3:28 Knockin’ On Heaven’s Door (Before The Flood) 3:30 Knockin’ On Heaven’s Door (Biograph) 2:32 Knockin’ On Heaven’s Door (Bob Dylan At Budokan) 4:00 Knockin’ On Heaven’s Door (Bob Dylan’s Greatest Hits. ma (I’m Only bleeding) (Bootleg Series Vol. ma (I’m Only bleeding) (Before The Flood) 5:12 It’s alright. babe (Bootleg Series Vol. babe (Bob Dylan’s Greatest Hits) 3:32 It ain’t me. babe (Another Side Of Bob Dylan) 3:33 It ain’t me. 6: Live 1964) 5:11 It ain’t me. 5: Live 1975) 5:25 It ain’t me.129 In search Of little sadie (Self Portrait) 2:26 In the Garden (Saved) 5:58 In the summertime (Shot Of Love) 3:34 Is Your love In Vain? (Bob Dylan At Budokan) 4:02 Is Your love In Vain? (Street-Legal) 4:32 Isis [Live 12/4/75] (Biograph) 5:20 Isis (Bootleg Series Vol. 2) 5:28 Just like tom thumb’s blues (Bootleg Series Vol. 4: Live 1966) 6:35 It’s all Over Now. ma (I’m Only bleeding) (Bringing It All Back Home) 7:31 It’s alright. 7: No Direction Home) 3:33 It takes a lot to laugh. 5: Live 1975) 4:31 Just like a Woman (The Essential Bob Dylan) 4:50 Just like tom thumb’s blues (Rare Tracks From The Vaults) 5:37 Just like tom thumb’s blues (Bob Dylan’s Greatest Hits. 3) 6:15 Jokerman (Infidels) 6:15 Jokerman (The Best Of Bob Dylan) 6:15 Jokerman (The Essential Bob Dylan) 6:15 Just like a Woman (Before The Flood) 4:46 Just like a Woman (Biograph) 4:54 Just like a Woman (Blonde On Blonde) 4:50 Just like a Woman (Bob Dylan At Budokan) 5:03 Just like a Woman (Bob Dylan’s Greatest Hits) 4:50 Just like a Woman (Bootleg Series Vol. lady. 5: Live 1975) 3:12 Joey (Dylan & The Dead) 9:10 John brown (MTV Unplugged) 5:22 John Wesley Harding (John Wesley Harding) 2:57 Jokerman (Bob Dylan’s Greatest Hits. 4: Live 1966) 6:17 Just like tom thumb’s blues (Bootleg Series Vol. babe (Bootleg Series Vol. lay (Biograph) 3:17 lay. Vol. babe (Biograph) 3:33 It ain’t me. baby blue (Bob Dylan’s Greatest Hits. baby blue [Live 5/17/66] (Biograph) 5:39 It’s all Over Now. ma (I’m Only bleeding) (The 30th Anniversary Concert Celebration) 6:21 Jack-a-roe (World Gone Wrong) 4:59 Jet Pilot [October 1965] (Biograph) 0:49 Jim Jones (Good As I Been To You) 3:55 Joey (Desire) 11:04 . baby blue (Bootleg Series Vol. It takes a train to Cry (Bootleg Series Vol. lay (Before The Flood) 3:00 lay. Vol. Vol.

rosemary and the Jack Of Hearts (Blood On The Tracks) 8:51 little maggie (Good As I Been To You) 4:30 little sadie (Self Portrait) 1:58 living the blues (Self Portrait) 2:40 lo and behold! (The Basement Tapes) 2:45 lone Pilgrim (World Gone Wrong) 2:39 lonesome Day blues (“Love And Theft”) 6:05 long Distance Operator (The Basement Tapes) 3:38 lord Protect my Child [5/3/83] (Bootleg Series 1-3: Rare and Unreleased) 3:57 love Henry (World Gone Wrong) 4:23 love minus Zero/No limit (Bob Dylan At Budokan) 3:52 love minus Zero/No limit (Bootleg Series Vol. 5: Live 1975) 3:13 love minus Zero/No limit (Bringing It All Back Home) 2:49 love sick (Time Out Of Mind) 5:20 love sick [Remix] (Rare Tracks From The Vaults) 5:25 maggie’s Farm (The Essential Bob Dylan) 3:51 maggie’s Farm (Bob Dylan At Budokan) 5:06 maggie’s Farm (Bob Dylan’s Greatest Hits. 6: Live 1964) 3:36 man Gave Names to all the animals (Slow Train Coming) 4:25 man In the long black Coat (Oh Mercy) 4:33 man Of Constant sorrow (Bootleg Series Vol. lay (The Best Of Bob Dylan) 3:18 lay. 4: Live 1966) 8:12 like a rolling stone (Bootleg Series Vol. lady. lay (Nashville Skyline) 3:18 lay. lay (Hard Rain) 4:47 lay. Vol. You been On my mind (Bootleg Series Vol. lady. 7: No Direction Home) 6:23 let It be me (Self Portrait) 2:59 let me Die In my Footsteps [4/25/62] (Bootleg Series 1-3: Rare and Unreleased) 3:32 let’s stick together (Down In The Groove) 3:09 license to Kill (Infidels) 3:33 license to Kill (Real Live) 3:26 like a rolling stone (Before The Flood) 6:06 like a rolling stone (Biograph) 6:08 like a rolling stone (Bob Dylan At Budokan) 6:31 like a rolling stone (Bob Dylan’s Greatest Hits) 6:07 like a rolling stone [6/15/65] (Bootleg Series 1-3: Rare and Unreleased) 1:34 like a rolling stone (Bootleg Series Vol. 5: Live 1975) 3:11 mama. 7: No Direction Home) 4:41 masters Of War (Real Live) 6:35 masters Of War (The Freewheelin’ Bob Dylan) 4:32 maybe someday (Knocked Out Loaded) 3:17 meet me In the morning (Blood On The Tracks) 4:21 million Dollar bash (Biograph) 2:32 million Dollar bash (The Basement Tapes) 2:31 million miles (Time Out Of Mind) 5:52 minstrel boy (Self Portrait) 3:30 mississippi (“Love And Theft”) 5:21 mixed up Confusion (Biograph) 2:28 moonlight (“Love And Theft”) 3:23 moonshiner [8/12/63] (Bootleg Series 1-3: Rare and Unreleased) 5:05 most likely You Go Your Way and I’ll Go mine (Biograph) 3:27 most likely You Go Your Way and I’ll Go mine (Before The Flood) 3:16 most likely You Go Your Way and I’ll Go mine (Blonde On Blonde) 3:27 most Of the time (Oh Mercy) 5:03 motorpsycho Nitemare (Another Side Of Bob Dylan) 4:32 mozambique (Desire) 3 :00 mr.130 lay. You been On my mind [6/9/64] (Bootleg Series 1-3: Rare and Unreleased) 2:55 mama. lady. 7: No Direction Home) 8:12 like a rolling stone (Highway 61 Revisited) 6:09 like a rolling stone (MTV Unplugged) 9:09 like a rolling stone (Self Portrait) 5:15 like a rolling stone (The Best Of Bob Dylan) 6:09 like a rolling stone (The Essential Bob Dylan) 6:07 lily Of the West (Dylan) 3:44 lily. 4: Live 1966) 4:01 leopard-skin Pill-box Hat (Bootleg Series Vol. 7: No Direction Home) 3:03 man Of Constant sorrow (Bob Dylan) 3:05 man Of Peace (Infidels) 6:30 man Of Peace [with The Grateful Dead] (Rare Tracks From The Vaults) 4:20 man On the street [11/22/61] (Bootleg Series 1-3: Rare and Unreleased) 1:55 mary ann (Dylan) 2:40 masters Of War (Biograph) 4:31 masters Of War (Bootleg Series Vol. 7: No Direction Home) 5:53 maggie’s Farm (Bringing It All Back Home) 3:55 maggie’s Farm (Hard Rain) 5:23 maggie’s Farm (Real Live) 4:54 main title theme (billy) (Pat Garrett & Billy The Kid) 6:03 make You Feel my love (Time Out Of Mind) 3:31 mama. bojangles (Dylan) 5:31 albums 1 albums 2 albums 3 sONGs . You been On my mind (Bootleg Series Vol. lady. lay (The Essential Bob Dylan) 3:17 lenny bruce (Shot Of Love) 4:32 leopard-skin Pill-box Hat (Blonde On Blonde) 3:56 leopard-skin Pill-box Hat (Bootleg Series Vol. 2) 3:51 maggie’s Farm (Bootleg Series Vol.

5: Live 1975) 4:04 Oh. sister (Bootleg Series Vol.131 mr. sister (Desire) 4:01 Oh. Homer (The Basement Tapes) 2:49 Orange Juice blues (The Basement Tapes) 3:37 Outlaw blues (Bringing It All Back Home) 3:02 Outlaw blues [Acoustic Version] (Rare Tracks From The Vaults) 2:16 Oxford town (The Freewheelin’ Bob Dylan) 1:48 Paths Of Victory [8/12/63] (Bootleg Series 1-3: Rare and Unreleased) 3:17 Peggy Day (Nashville Skyline) 2:00 People Get ready (Rare Tracks From The Vaults) 2:50 Percy’s song [10/23/63] (Biograph) 7:40 Please. tambourine man (Bob Dylan At Budokan) 4:54 mr. 5: Live 1975) 4:14 One more Night (Nashville Skyline) 2:22 One more Weekend (New Morning) 3:08 One Of us must Know (sooner Or later) (Blonde On Blonde) 4:52 One too many mornings (Bootleg Series Vol. tambourine man (Bootleg Series Vol. tambourine man (The Best Of Bob Dylan) 5:25 mr. tambourine man (Bringing It All Back Home) 5:25 mr. tambourine man (Bootleg Series Vol. tambourine man (Bob Dylan’s Greatest Hits) 5:26 mr. tambourine man (The Essential Bob Dylan) 5:26 mr. 4: Live 1966) 4:08 One too many mornings (Hard Rain) 3:47 One too many mornings (The Times They Are A-Changin’) 2:37 Only a Hobo [8/12/63] (Bootleg Series 1-3: Rare and Unreleased) 3:28 Only a Pawn In their Game (The Times They Are A-Changin’) 3:30 Open the Door. 5: Live 1975) 5:39 mr. mrs. tambourine man [Newport Folk Festival 1964] (Rare Tracks From The Vaults) 7:22 my back Pages (Another Side Of Bob Dylan) 4:22 my back Pages (Bob Dylan’s Greatest Hits. 7: No Direction Home) 6:42 mr. tambourine man (Biograph) 5:28 mr. tambourine man (Bootleg Series Vol. sister (Hard Rain) 5:08 On a Night like this (Biograph) 2:57 On a Night like this (Planet Waves) 2:57 On the road again (Bringing It All Back Home) 2:35 One more Cup Of Coffee (Desire) 3:44 One more Cup Of Coffee (Valley below) (Bob Dylan At Budokan) 3:19 One more Cup Of Coffee (Valley below) (Bootleg Series Vol. Vol. 2) 4:23 my back Pages (The 30th Anniversary Concert Celebration) 4:40 Nashville skyline rag (Nashville Skyline) 3 :11 Need a Woman [5/4/81] (Bootleg Series 1-3: Rare and Unreleased) 5:42 Neighborhood bully (Infidels) 4:35 Nettie moore (Modern Times) 6:52 Never Gonna be the same again (Empire Burlesque) 3:06 Never let me Go [Live] (Rare Tracks From The Vaults) 2:49 Never say Goodbye (Planet Waves) 2:51 New morning (New Morning) 3:58 New Pony (Street-Legal) 4:39 Night after Night (Rare Tracks From The Vaults) 2:50 Ninety miles an Hour (Down a Dead End street) (Down In The Groove) 2:55 No more auction block [Late 1962] (Bootleg Series 1-3: Rare and Unreleased) 3:02 No time to think (Street-Legal) 8:22 Nobody ‘Cept You [11/2/73] (Bootleg Series 1-3: Rare and Unreleased) 2:40 North Country blues (The Times They Are A-Changin’) 4:31 North Country blues [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 4:15 Not Dark Yet (The Best Of Bob Dylan) 6:28 Not Dark Yet (The Essential Bob Dylan) 6:28 Not Dark Yet (Time Out Of Mind) 6:28 Nothing Was Delivered (The Basement Tapes) 4:22 Obviously 5 believers (Blonde On Blonde) 3:33 Odds and Ends (The Basement Tapes) 1:46 Oh. tambourine man (Bootleg Series Vol. sister (Bob Dylan At Budokan) 4:44 Oh. 4: Live 1966) 8:52 mr. 6: Live 1964) 6:34 mr. Henry (The Basement Tapes) 2:31 Pledging my time (Blonde On Blonde) 3:48 Po’ boy (“Love And Theft”) 3:06 Political World (Oh Mercy) 3:48 Positively 4th street (Biograph) 3:52 Positively 4th street (Bob Dylan’s Greatest Hits) 3:53 Positively 4th street (The Essential Bob Dylan) 3:53 Precious angel (Slow Train Coming) 6:29 Precious memories (Knocked Out Loaded) 3:13 Pressing On (Saved) 5:11 Pretty boy Floyd (Rare Tracks From The Vaults) 4:24 Pretty Peggy-O (Bob Dylan) 3:21 Property Of Jesus (Shot Of Love) 4:33 Queen Jane approximately (Dylan & The Dead) 6:30 Queen Jane approximately (Highway 61 Revisited) 5:27 albums 1 albums 2 albums 3 sONGs .

3) 5:53 series Of Dreams [3/23/89] (Bootleg Series 1-3: Rare and Unreleased) 5:52 seven Curses [8/6/63] (Bootleg Series 1-3: Rare and Unreleased) 3:47 132 seven Days [4/21/76] (Bootleg Series 1-3: Rare and Unreleased) 3:59 she belongs to me (Self Portrait) 2:41 she belongs to me (Bob Dylan’s Greatest Hits.40 seeing the real You at last (Empire Burlesque) 4:18 senor (tales Of Yankee Power) (Biograph) 5:40 senor (tales Of Yankee Power) (Street-Legal) 5:42 series Of Dreams (Bob Dylan’s Greatest Hits. 6: Live 1964) 3:47 silvio (Bob Dylan’s Greatest Hits. Vol. Vol. 5: Live 1975) 4:16 sittin’ On top Of the World (Good As I Been To You) 4:30 sitting On a barbed-Wire Fence [6/15/65] (Bootleg Series 1-3: Rare and Unreleased) 3:52 slow train (Dylan & The Dead) 4:54 slow train (Slow Train Coming) 5:56 solid rock (Biograph) 3:56 solid rock (Saved) 3:55 somebody touched me [Live] (Rare Tracks From The Vaults) 2:42 someday baby (Modern Times) 4:55 someone’s Got a Hold Of my Heart [4/25/83] (Bootleg Series 1-3: Rare and Unreleased) 4:32 something there Is about You (Planet Waves) 4:42 something’s burning. Vol. 5: Live 1975) 5:22 romance In Durango (Desire) 5:44 ruben remus (The Basement Tapes) 3:13 sad-Eyed lady Of the lowlands (Blonde On Blonde) 11:19 sally Gal (Bootleg Series Vol. 3) 3:06 silvio (Down In The Groove) 3:06 silvio (The Essential Bob Dylan) 3:06 simple twist Of Fate (Blood On The Tracks) 4:17 simple twist Of Fate (Bob Dylan At Budokan) 4:15 simple twist Of Fate (Bootleg Series Vol. 4: Live 1966) 4:07 she belongs to me (Bootleg Series Vol. 2) 2:49 she belongs to me (Bootleg Series Vol. 7: No Direction Home) 2:41 spanish Harlem Incident (Another Side Of Bob Dylan) 2:25 spanish Harlem Incident (Bootleg Series Vol. 3) 3:01 ring them bells (Oh Mercy) 3:00 rita may (Rare Tracks From The Vaults) 3:09 river theme (Pat Garrett & Billy The Kid) 1:26 rollin’ and tumblin’ (Modern Times) 6:01 romance In Durango [Live 12/4/75] (Biograph) 4:38 romance In Durango (Bootleg Series Vol. Gambling Willie [4/24/62] (Bootleg Series 1-3: Rare and Unreleased) 4:12 rank strangers to me (Down In The Groove) 2:57 restless Farewell (The Times They Are A-Changin’) 5:33 return to me (Rare Tracks From The Vaults) 2:20 ring them bells (Bob Dylan’s Greatest Hits. Vol. 5: Live 1975) 4:29 sara (Desire) 5:30 sarah Jane (Dylan) 2:43 saved (Saved) 4:00 saving Grace (Saved) 5:01 see that my Grave Is Kept Clean (Bob Dylan)2.34 rainy Day Women #12 & 35 (Bob Dylan’s Greatest Hits) 4:34 rainy Day Women #12 & 35 (MTV Unplugged) 3:31 rainy Day Women #12 & 35 (The Essential Bob Dylan) 4:34 rambler. 6: Live 1964) 2:51 spanish Is the loving tongue (Dylan) 4:13 spirit on the Water (Modern Times) 7:42 stack a lee (World Gone Wrong) 3:51 albums 1 albums 2 albums 3 sONGs .Quinn the Eskimo (the mighty Quinn) [July 1967] (Biograph) 2:18 Quit Your low Down Ways [7/9/62] (Bootleg Series 1-3: Rare and Unreleased) 2:39 ragged & Dirty (World Gone Wrong) 4:07 rainy Day Women # 12 & 35 (The Best Of Bob Dylan) 4:34 rainy Day Women #12 & 35 (Before The Flood) 3:09 rainy Day Women #12 & 35 (Blonde On Blonde)4. 7: No Direction Home) 2:16 rambling. Gambler (Bootleg Series Vol. baby (Empire Burlesque) 4:57 song to Woody (Bob Dylan) 2:41 song to Woody (Bootleg Series Vol. 7: No Direction Home) 3:18 she belongs to me (Bringing It All Back Home) 2:46 shelter From the storm (Blood On The Tracks) 5:02 shelter From the storm (Bob Dylan At Budokan) 4:30 shelter From the storm (Hard Rain) 5:29 shelter From the storm (The Essential Bob Dylan) 5:02 shenandoah (Down In The Groove) 3:38 she’s Your lover Now [1/21/66] (Bootleg Series 1-3: Rare and Unreleased) 6:08 shooting star (MTV Unplugged) 4:06 shooting star (Oh Mercy) 3:11 shot Of love (Shot Of Love) 4:18 sign On the Window (New Morning) 3:45 silver Dagger (Bootleg Series Vol. 7: No Direction Home) 2:37 sally sue brown (Down In The Groove) 2:28 santa Fe [Fall 1967] (Bootleg Series 1-3: Rare and Unreleased) 2:08 sara (Bootleg Series Vol.

5: Live 1975) 5:16 the Weight (Before The Flood) 4:20 the Wicked messenger (John Wesley Harding) 2:03 they Killed Him (Knocked Out Loaded) 4:00 things Have Changed (The Best Of Bob Dylan) 5:08 things Have Changed (The Essential Bob Dylan) 5:08 things Have Changed [Live Portsmouth 2000] (Rare Tracks From The Vaults) 5:52 this land Is Your land (Bootleg Series Vol. Vol.V. Vol. 6: Live 1964) 5:53 talkin’ World War III blues (The Freewheelin’ Bob Dylan) 6:25 tangled up In blue (Blood On The Tracks) 5:42 tangled up In blue [9/16/74] Bootleg Series 1-3: Rare and Unreleased) 6:50 tangled up In blue (Bob Dylan’s Greatest Hits. Vol. 5: Live 1975) 5:25 the lonesome Death Of Hattie Carroll (Bootleg Series Vol. 7: No Direction Home) 5:44 133 stuck Inside Of mobile With the memphis blues again (Hard Rain) 6:01 subterranean Homesick blues (Biograph) 2:19 subterranean Homesick blues (Bob Dylan’s Greatest Hits) 2:17 subterranean Homesick blues [1/13/65] (Bootleg Series 1-3: Rare and Unreleased) 2:17 subterranean Homesick blues (Bringing It All Back Home) 2:18 subterranean Homesick blues (The Essential Bob Dylan) 2:17 sugar baby (“Love And Theft”) 6:41 summer Days (“Love And Theft”) 4:53 summer Days (The Best Of Bob Dylan) 4:53 suze (the Cough song) [10/24/63] (Bootleg Series 1-3: Rare and Unreleased) 1:57 sweetheart like You (Infidels) 4:33 t. 2) 7:08 stuck Inside Of mobile With the memphis blues again (Bootleg Series Vol. 7: No Direction Home) 5:57 albums 1 albums 2 albums 3 sONGs . 3) 4:03 the Groom’s still Waiting at the altar (Shot Of Love) 4:02 the levee’s Gonna break (Modern Times) 5:43 the lonesome Death Of Hattie Carroll (Biograph) 5:45 the lonesome Death Of Hattie Carroll (Bootleg Series Vol. 4: Live 1966) 5:39 temporary like achilles (Blonde On Blonde) 5:00 the ballad Of Frankie lee and Judas Priest (John Wesley Harding) 5:33 the ballad Of Ira Hayes (Dylan) 5:08 the boxer (Self Portrait) 2:45 the Grand Coulee Dam (Rare Tracks From The Vaults) 2:56 the Groom’s still Waiting at the altar (Biograph) 4:03 the Groom’s still Waiting at the altar (Bob Dylan’s Greatest Hits. 3) 5:41 tangled up In blue (Biograph) 5:44 tangled up In blue (Bootleg Series Vol. Vol.stage Fright (Before The Flood) 4:22 standing In the Doorway (Time Out Of Mind) 7:42 step It up and Go (Good As I Been To You) 2:57 stuck Inside Of mobile With the memphis blues again (Blonde On Blonde) 7:04 stuck Inside Of mobile With the memphis blues again (Bob Dylan’s Greatest Hits. 6: Live 1964) 7:29 the lonesome Death Of Hattie Carroll (The Times They Are A-Changin’) 5:44 the man In me (New Morning) 3:05 the mighty Quinn (Quinn the Eskimo) (Bob Dylan’s Greatest Hits. talkin’ song (Under The Red Sky) 3:01 take a message to mary (Self Portrait) 2:45 take me as I am (Self Portrait) 3:01 talkin’ bear mountain Picnic massacre blues [4/25/62] (Bootleg Series 1-3: Rare and Unreleased) 3:44 talkin’ Hava Negeilah blues [4/25/62] (Bootleg Series 1-3: Rare and Unreleased) 0:51 talkin’ John birch Paranoid blues [10/26/63] (Bootleg Series 1-3: Rare and Unreleased) 4:25 talkin’ John birch Paranoid blues (Bootleg Series Vol. 5: Live 1975) 4:41 tangled up In blue (Real Live) 6:54 tangled up In blue (The Best Of Bob Dylan) 5:42 tangled up In blue (The Essential Bob Dylan) 5:41 tears Of rage (The Basement Tapes) 4:11 tell ‘Ol bill (Rare Tracks From The Vaults) 5:09 tell me [4/21/83] (Bootleg Series 1-3: Rare and Unreleased) 4:24 tell me that It Isn’t true (Nashville Skyline) 2:40 tell me. 2) 2:47 the mighty Quinn (Quinn the Eskimo) (Self Portrait) 2:45 the mighty Quinn (Quinn the Eskimo) (The Essential Bob Dylan) 2:18 the Night they Drove Old Dixie Down (Before The Flood) 4:05 the shape I’m In (Before The Flood) 3:33 the times they are a-Changin’ (Biograph) 3:13 the times they are a-Changin’ (Bob Dylan At Budokan) 5:31 the times they are a-Changin’ (Bob Dylan’s Greatest Hits) 3:11 the times they are a-Changin’ [1963] (Bootleg Series 1-3: Rare and Unreleased) 2:58 the times they are a-Changin’ (Bootleg Series Vol. 6: Live 1964) 3:30 the times they are a-Changin’ (MTV Unplugged) 5:48 the times they are a-Changin’ (The Times They Are A-Changin’) 3:11 the times they are a-Changin’ (The Best Of Bob Dylan) 3:11 the times they are a-Changin’ (The Essential Bob Dylan) 3:11 the times they are a-Changin’ [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 4:03 the Water Is Wide (Bootleg Series Vol. 6: Live 1964) 4:22 talkin’ New York (Bob Dylan) 3:17 talkin’ World War III blues (Bootleg Series Vol. momma (Bootleg Series Vol.

7: When I Got troubles (Bootleg Series Vol. 2) 3:24 tonight I’ll be staying Here With You (Bootleg Series Vol. 7: No Direction Home) 2) 3:21 Paint my masterpiece (Bob Dylan’s Greatest Hits. Vol. Vol. 7:31 Visions Of Johanna (Bootleg Series Vol. 2) 3:21 the Deal Goes Down (Modern Dylan’s Greatest When the Deal Goes Down (Modern Times) sky [2/19/85] Night Comes Falling From the 5:04 (Bootleg Night Comes Falling From 5:37 When theSeries 1-3: Rare and Unreleased)the sky [2/19/85] (Bootleg Night Comes Falling From 5:37 When theSeries 1-3: Rare and Unreleased) the sky (Empire Burlesque) 7:18 When the NightComes In [1962] From the sky1-3: RareBurlesque) 7:18 2:54 ship Comes Falling (Bootleg Series (Empire and Unreleased) When the ship Comes In [1962] (BootlegVol. Vol. Vol. 4: Live 1966) 8:48 6:36 7: No Direction Home) Visions Of Johanna (Bootleg Series Vol. 2) 3:36 WatchingDownriver Flow Of Love) 4:10 We better talk this (Shot Of Love) 4:10 Watered Down love Over (Street-Legal) 4:03 Wedding song this Over (Street-Legal) 4:03 We better talk (Planet Waves) 4:41 Went to song (Planet Waves) 4:41 Weddingsee the Gypsy (New Morning) 2:47 Went to see the Gypsy (New Morning) 2:47Sessions] (Rare Tracks From The Vaults) 3:32 [1970 New Morning What Can I Do For You? (Saved) 5:54 Went to see the Gypsy [1970 New Morning Sessions] (Rare Tracks From The Vaults) 3:32 What Can I am For You? (Saved) 5:54 Good Do I? (Oh Mercy) 4:44 What GoodIt You Wanted (Oh4:44 5:02 Was am I? (Oh Mercy) Mercy) When Did It You Wanted (Oh Mercy) In The What Was You leave Heaven? (Down 5:02 Groove) 2:15 When Didreturns (Slow Train Coming) In The Groove) 2:15 He You leave Heaven? (Down 4:30 When He returns (Slow Train Coming) 4:30No Direction Home) 1:28 I Got troubles (Bootleg Series Vol. 3) 4:09 under Your spell (Knocked Out Loaded) 4:55 union sundown (Infidels) 5:22 up On Cripple Creek (Before The Flood) 4:57 up to me [9/25/74] (Biograph) 6:18 Visions Of Johanna [Live 5/26/66] (Biograph) 7:31 Visions Of Johanna [Live 5/26/66] (Biograph) 7:31 (Blonde On Blonde) 7:31 Visions Of Johanna (Blonde On Blonde) 4: Live 1966) 8:48 (Bootleg Series Vol. 7: No Direction Home) 3:34 tombstone blues (Highway 61 Revisited) 5:55 tombstone blues (MTV Unplugged) 4:54 tombstone blues (Real Live) 4:32 tomorrow Is a long time (Bob Dylan’s Greatest Hits. Vol. 2) 3:36 Watered the love (Shot (Bob Dylan’s Greatest Hits. Vol. 7: No Direction Home) 6:36 Wade In the Water (Rare Tracks From The Vaults) 2:59 Waiting the Water (Rare Tracks From Vaults) 3:36 Wade InFor You (Rare Tracks From The The Vaults) 2:59 Walkin’ For You (Rare Tracks From The Vaults) 3:36 Waiting Down the line [1963] (Bootleg Series 1-3: Rare and Unreleased) 2:52 Wallflower [11/4/71] (Bootleg Series 1-3: Series 1-3: Rare and Unreleased) 2:52 Walkin’ Down the line [1963] (Bootleg Rare and Unreleased) 2:48 Walls Of red Wing [4/24/63] Series 1-3: Rare1-3: Rare and Unreleased) 5:03 Wallflower [11/4/71] (Bootleg (Bootleg Series and Unreleased) 2:48 Watching the river Flow (Bob Dylan’s Greatest Rare and Unreleased) 5:03 Walls Of red Wing [4/24/63] (Bootleg Series 1-3:Hits. 6: Live 1964) 6:18 With God On Our side (Bootleg With God On Our side (Bootleg Series Vol. 1:28 When I Paint my masterpiece (Bob Times) 5:04 Hits.7:16 1964) 6:18 (MTV Unplugged) 6: Live albums 1 albums 2 albums 3 sONGs . 6: Live 1964) 4:42 Who Killed Davey moore? (Bootleg2:09 Vol. 2) 3:03 tomorrow Night (Good As I Been To You) 3:43 tonight I’ll be staying Here With You (Bob Dylan’s Greatest Hits. 7: No Direction Home) 3:05 2:54 (Bootleg Series Series 1-3: Rare and Unreleased) When the ship Comes In (Bootleg Series Vol. 6: Live 1964) 4:42 Wiggle Wiggle (Under The Red Sky) Series Wiggle Wiggle (Under The Red Sky) 2:09 Wigwam (Self Portrait) 3:07 Wigwam (Self Portrait) 3:072:22 Winterlude (New Morning) Winterlude (New Morning) 2:22 Series Vol. 5: Live 1975) 3:55 tonight I’ll be staying Here With You (Nashville Skyline) 3:22 too much Of Nothing (The Basement Tapes) 3:01 tough mama (Planet Waves) 4:14 trouble (Shot Of Love) 4:32 true love tends to Forget (Street-Legal) 4:14 trust Yourself (Empire Burlesque) 3:26 tryin’ to Get to Heaven (Time Out Of Mind) 5:21 turkey Chase (Pat Garrett & Billy The Kid) 3:30 tweedle Dee & tweedle Dum (“Love And Theft”) 4:46 two soldiers (World Gone Wrong) 5:44 ugliest Girl In the World (Down In The Groove) 3:31 unbelievable (Under The Red Sky) 4:05 under the red sky (Under The Red Sky) 4:08 under the red sky (Bob Dylan’s Greatest Hits. Vol. 7: No Direction Home) 3:05 (The Times They Are A-Changin’) 3:15 When the ship Comes In (The Times2:54 Are A-Changin’) 3:15 You awake (Before The Flood) They When You awake Wake up? Flood) Train Coming) 5:28 Gonna (Before The (Slow 2:54 When You Gonna Wake up? (Slow Train6:15 Where are You tonight? (Street-Legal) Coming) 5:28 Where are You tonight? (Street-Legal) 6:15 teardrops Fall (Oh Mercy) 2:32 Where teardrops moore? Mercy) 2:32 Who Killed Davey Fall (Oh [10/26/63] (Bootleg Series 1-3: Rare and Unreleased) 3:08 Who Killed Davey moore? [10/26/63] (Bootleg Series 1-3: Rare and Unreleased) 3:08 (Bootleg Series Vol. 6: Live 1964) 6:02 to ramona [Live Sheffield England 1965] (Rare Tracks From The Vaults) 4:28 tombstone blues (Biograph) 5:56 tombstone blues (Bootleg Series Vol.134 this Wheel’s On Fire (The Basement Tapes) 3:45 three angels (New Morning) 2:05 thunder on the mountain (Modern Times) 5:55 tight Connection to my Heart (Has anybody seen my love) (Empire Burlesque) 5:19 til I Fell In love With You (Time Out Of Mind) 5:15 time Passes slowly (Biograph) 2:35 time Passes slowly (New Morning) 2:35 tiny montgomery (The Basement Tapes) 2:45 to be alone With You (Nashville Skyline) 2:08 to ramona (Another Side Of Bob Dylan) 3:51 to ramona (Biograph) 3:52 to ramona (Bootleg Series Vol.

Robert Bower. Art Kane. Paul Oswald. John Cohen. Sandy Speiser. Stacey Boyle. Gary Stewart. Zak Profera. Dan Kramer. Adam Farber. David Gahr.135 With God On Our side (MTVTimes They Are A-Changin’) 7:05 (The Unplugged) 7:16 With God On Our side (The Times They Are1963] (Rare Tracks From The Vaults) 6:50 [Live Carnegie Hall A-Changin’) 7:05 Woogie boogie (Self Portrait) 2:05 With God On Our side [Live Carnegie Hall 1963] (Rare Tracks From The Vaults) 6:50 Workingman’s (Self #2 (Modern Woogie boogiebluesPortrait) 2:05Times) 6:07 World Gone Wrong (World Gone Wrong) 6:07 Workingman’s blues #2 (Modern Times)3:53 Worried blues [7/9/62] (Bootleg Wrong) 3:53 World Gone Wrong (World Gone Series 1-3: Rare and Unreleased) 2:38 Worried blues [7/9/62] (Bootleg Series 1-3: Rare and Unreleased) 2:38 Yazoo street scandal (The Basement Tapes) 3:27 Ye shall be Changed (The Basement Tapes) 1-3: Yazoo street scandal[5/27/79] (Bootleg Series3:27 Rare and Unreleased) 4:07 Yea! Heavy Changed [5/27/79] (Bootleg Basement Tapes) 2:13 Ye shall be and a bottle Of bread (TheSeries 1-3: Rare and Unreleased) 4:07 You Heavy and a bottle Of bread (The Basement 2:44 Yea!ain’t Goin’ Nowhere (The Essential Bob Dylan) Tapes) 2:13 You ain’t Goin’ Nowhere (Bob Essential Bob Dylan) 2:442) 2:44 (The Dylan’s Greatest Hits. Barry Feinstein. Danny Clinch. You ain’t Goin’ Nowhere (The Basement Tapes)Hits. Jimmy Dixon. Debbie Sweeney. Reid Miles. Arthur Rosato. Joel Bernstein. Diane Lapson. Jeff Jones. Al Clayton. Don Hunstein. Morgan Renard. Sam Gomez. Randee St. Susie-Q albums 1 albums 2 albums 3 sONGs l © 2006 SONY BMG MUSIC ENTERTAINMENT . Glenn Frese. Adrienne Lalla. Jerry Schatzberg. Vol. Lynne Sheridan. Bruce Dickinson. Nicholas. Lisa Buckler. Greg Linn. Carlos Fernandez. Patti Matheny. Kevin Mazur. Vol. 2) 2:44 (Bob Dylan’s Greatest 2:42 You ain’t Goin’ (Biograph) (The Basement Tapes) 2:42 angel You Nowhere 2:52 You angel You (Planet Waves) 2:52 (Biograph) 2:52 You angel Youmy life Waves) 2:52 Changed (Planet [4/23/81] (Bootleg Series 1-3: Rare and Unreleased) 5:13 You Changed my life [4/23/81] (Bootleg Series 1-3: Rare and Unreleased) 5:13 Wanna ramble (Knocked Out Loaded) 3:14 You’re a big Girl Now [9/25/74] (Biograph) 4:21 You Wanna ramble (Knocked Out Loaded) 3:14 You’re a big Girl Now [9/25/74] (Biograph) 4:21 (Blood On The Tracks) 4:31 You’re a big Girl Now (BloodRain) 7:01 (Hard On The Tracks) 4:31 You’re a big Girl Now (Hard Rain) 7:01 Gonna make me lonesome When You Go (Blood On The Tracks) 2:53 You’re Gonna make me lonesome When You Go (Blood On The Tracks) 2:53 Quit me (Good As I Been To You) 2:48 You’re Gonna Quit me (Good1:36 Been To You) 2:48 No Good (Bob Dylan) As I You’re No Good (Bob Dylan) 1:36 CREDITS: Executive Producer: Jeff Rosen Product Manager: Lisa Buckler Digital book design: Chika Azuma Liner Notes: Tom Piazza Special Thanks: Steve Berkowitz. Marc Zbyszynski Cover photo: Danny Clinch Original album photography: Howard Alk. Mark Seliger. Ralph Capasso.