Bob Dylan – Same (1962)

frontcover1Bob Dylan, regarded as the voice of a generation for his influential songs from the 1960s onwards, has won the Nobel Prize for Literature in a surprise decision that made him the only singer-songwriter to win the award.

The 75-year-old Dylan — who won the prize for “having created new poetic expressions within the great American song tradition” — now finds himself in the company of Winston Churchill, Thomas Mann and Rudyard Kipling as Nobel laureates.

The announcement was met with gasps in Stockholm’s stately Royal Academy hall, followed — unusually — by some laughter.

Dylan’s songs, such as “Blowin’ in the Wind,” “The Times They Are a-Changin’,” “Subterranean Homesick Blues,” and “Like a Rolling Stone” captured a spirit of rebellion, dissent and independence.

More than 50 years on, Dylan is still writing songs and is often on tour, performing his dense poetic lyrics, sung in a sometimes rasping voice that has been ridiculed by detractors.

Some lyrics have resonated for decades.

“Blowin’ in the Wind,” written in 1962, was considered one of the most eloquent folk songs of all time. “The Times They Are A-Changin’,” in which Dylan told Americans “your sons and your daughters are beyond your command,” was an anthem of the civil rights movement and Vietnam War protests.

bobdylan01Awarding the 8 million Swedish crown ($930,000) prize, the Swedish Academy said: “Dylan has the status of an icon. His influence on contemporary music is profound.”

Swedish Academy member Per Wastberg said: “He is probably the greatest living poet.”

Asked if he thought Dylan’s Nobel lecture – traditionally given by the laureate in Stockholm later in the year – would be a concert, replied: “Let’s hope so.”

Over the years, not everyone has agreed that Dylan was a poet of the first order. Novelist Norman Mailer countered: “If Dylan’s a poet, I’m a basketball player.”

Sara Danius, Permanent Secretary of the Nobel Academy, told a news conference there was “great unity” in the panel’s decision to give Dylan the prize.

Dylan has always been an enigmatic figure. He went into seclusion for months after a motorcycle crash in 1966, leading to stories that he had cracked under the pressure of his new celebrity.

He was born into a Jewish family but in the late 1970s converted to born-again Christianity and later said he followed no organized religion. At another point in his life, Dylan took up boxing.

Dylan’s spokesman, Elliott Mintz, declined immediate comment when reached by phone, citing the early hour in Los Angeles, where it was 3 a.m. at the time of the announcement. Dylan was due to give a concert in Las Vegas on Thursday evening.

Literature was the last of this year’s Nobel prizes to be awarded. The prize is named after dynamite inventor Alfred Nobel and has been awarded since 1901 for achievements in science, literature and peace in accordance with his will. (by Reuters)

And this was the start of a very unique career that leads to the nobel prize in 2016:


Bob Dylan’s first album is a lot like the debut albums by the Beatles and the Rolling Stones — a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist’s own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-’60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan’s release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over “Man of Constant Sorrow” and “Pretty Peggy-O,” as well as the two originals here, the savagely witty “Talkin’ New York” and the poignant “Song to Woody”; and it’s also hard to believe that he wasn’t aware of Jimmie Rodgers and Roy Acuff when he cut “Freight Train Blues.” But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan bobdylan03departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan’s presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There’s a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie’s classic ’40s and early-’50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist’s more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan’s stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here — his version of “House of the Rising Sun” here is worthwhile, but the version that was the inspiration for the Animals’ recording was the one by Josh White. (by Bruce Eder)


Bob Dylan (guitar, vocals, harmonica)


01. You’re No Good (Fuller) 1.37
02. Talkin’ New York (Dylan) 3.15
03. In My Time Of Dyin’ (Traditional) 2.37
04. Man Of Constant Sorrow (Traditional) 3.06
05. Fixin’ To Die (White) 2.17
06. Pretty Peggy-O (Traditional) 3.22
07. Highway 51 (Jones) 2.49
08. Gospel Plow (Traditional) 1.44
09. Baby, Let Me Follow You Down (v.Schmidt) 2.32
10. House Of The Risin’ Sun (Traditional) 5.15
11. Freight Train Blues (Traditional) 2.16
12. Song To Woody (Dylan) 2.39
13. See That My Grave Is Kept Clean (Jefferson) 2.40




Stuart Hoggard + Jim Shields – Bob Dylan – An Illustrated Discography (1978)

BobDylan_AnIllustratedDiscography_01AWhen Bo Dylan read this book in London on his European tour he was amazed at the amount pg work the authors put into tracking down the unofficially released recordings of his work. Even he didn´t know just how big a business bootlegging his songs had become.

Dylan has been the single most influential figure of an entire generation for the past two decades; yet his followers have access to only the tip of the iceberg, when it comes to his recordings.

More than 90 albums are available to collectors under the counter of bootlegs. They show Dylan practising songs, relaxing, and developing, allowing collectors to get closer to the man.

This book is not just a listing of of these 90 albums, his officially released albums, 17 films and interviews; it traces his career from his arrival in New York in 1961 to his European tour de force in 1978 showing what went on around the bare bones of the recording sessions and is set against a background of the music and politics of the time.

Cross referenced, fully indexed and illustrated with over 50 photographs.




Bob Dylan – Clean Cuts (1985)

FrontCover1After more than 20 years, opinion is still divided when it comes to Bob Dylan’s 23rd studio album, Empire Burlesque (1985). According to the wikipedia, “fans and critics continue to debate the album’s merits, especially when compared to Dylan’s classics of the 1960s, ’70s and 2000s.”

Kurt Loder, reviewing the album in Rolling Stone magazine, called the album “a blast of real rock & roll, funneled through a dense, roiling production – custom-chopped-and-channeled by remix wiz Arthur Baker – that affords Dylan more pure street-beat credibility than he has aspired to since… well, pick your favorite faraway year. Could there be actual hits hunkering here? Is Dylan “back”? Again? One is tempted to trumpet some such tidings.

“Because of the basic nature of its material, however elliptically presented, Empire Burlesque is bound to confound and exasperate many listeners. I continue to miss the emotional specificity of past Dylan masterworks, like “Tangled Up in Blue,” and grow weary of his woozier generalities (”Emotionally Yours” could be about a lover, or it could be about Jesus; it’s so lacking in detail, I can’t imagine how anyone could care). But I am heartened when he cranks up and rocks out, as he does here. Dylan may never resolve the tension between spiritual conviction and rock & roll kicks, but I like to think he’s straying in the right direction.”

BobDylan01In 1992, Sick Cat released Clean Cuts, a collection of Empire Burlesque outtakes. As pointed out: “The biggest problem with this release is in trying to put too many tracks on it! The technology of the day allowed 70 to 72 minutes recording time. This disc is 72:02. However, to achieve that time constraint of the CD, the songs were mastered about 10 per cent too fast.”

A Dylan fan took the trouble to speed-correct the tracks and these are offered here.

Empire Burlesque sessions, New York, NY and Hollywood, CA, July 1984-April 1985. Very good soundboard, speed-corrected version.


A. Power Station, NYC
Benmont Tench (organ)
Bob Dylan (vocals, guitar)
Marvin Ettioni (bass)
Don Heffington (drums)
Ronnie Wood (guitar)

B. Delta Sound Labs
John Davis (bass)
Bob Dylan – piano, syntheziser, guitar, vocals)
Anton Fig (drums)
Ronnie Wood (guitar)

C. Cherokee Studio
Bob Dylan (guitar, vocals)
Don Heffington (drums)
Ira Ingber (guitar)
Vince Melamed (keyboards
Madelyn Quebec (background vocals)
Carl Sealove (bass)

D. Shakedown Sound Studios
Sly Dunbar (drums)
Bob Dylan (keyboards, vocals)
Stuart Kimball (guitar)
Al Kooper (guitar)
Ted Pearlman (guitar)
Robbie Shakespear (bass)
Mick Taylor (guitar)

01. Go ‘Way Little Boy (A) (Dylan) 3.20
02. Driftin’ Too Far From Shore (B) (Dylan) 4.01
03. Who Loves You More (B) (Dylan) 6.21
04. New Danville Girl (Brownsville Girl) (C) (Dylan/Shepaard) 12.45
05. Something’s Burning Baby (C) (Dylan) 5.04
06. Tight Connection To My Heart (D) (Dylan) 5.30
07. Clean Cut Kid (B) (Dylan) 5.15
08. I’ll Remember You (C) (Dylan) 4.04
09. Seeing The Real You At Last (C) (Dylan) 4.55
10. Trust Yourself (C) (Dylan) 3.03
11. Emotionally Yours (C) (Dylan) 4.25
12. When The Night Comes Falling (D) (Dylan) 7.07
13. Waiting To Get Beat (D) (Dylan) 2.29
14. Straight A’s In Love (B) (Dylan/Knopfler) 3.45
15. The Very Thought Of You (B) (Dylan)
16. Never Gonna Be The Same Again (D) (Dylan) 3.04


Bob Dylan + The Band – Planet Waves (1974)

FrontCover1Planet Waves is the fourteenth studio album by American singer-songwriter Bob Dylan, released on January 17, 1974 by Asylum Records in the United States and Island Records in the United Kingdom.

Dylan is supported on the album by longtime collaborators The Band, with whom he embarked on a major reunion tour following its release (documented on the live album Before the Flood) (the tour started a couple weeks before release—though Asylum did want the album out first). With a successful tour and a host of publicity, Planet Waves was a hit, enjoying a brief stay at #1 on the US Billboard charts—a first for the artist—and #7 in the UK. Critics were not as negative as they had been with some then-recent Bob Dylan albums (namely Self Portrait and Dylan), but still not enthusiastic for the album’s brand of laid-back roots rock.

The album was originally set to be titled Ceremonies of the Horsemen, a reference to the song “Love Minus Zero/No Limit”, from the 1965 album Bringing It All Back Home; the release was delayed two weeks when Dylan decided to change the title at the last minute. Another, earlier working title was Wedding Song.

The cover art is drawn by Dylan himself. Written on the right side of the cover image is the phrase, “Cast-iron songs & torch ballads,” apparently signaling Dylan’s own conception of the album. On the left side is written “Moonglow”, which is sometimes interpreted as a subtitle. The initial release also included an insert which reportedly set out excerpts from Dylan’s personal journals. (by wikipedia)

BobDylanTheBand1974Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone — all the more appropriate for a collection of modest songs about domestic life. As such, it may seem a little anticlimactic since it has none of the wildness of the best Dylan and Band music of the ’60s — just an approximation of the homespun rusticness. Considering that the record was knocked out in the course of three days, its unassuming nature shouldn’t be a surprise, and sometimes it’s as much a flaw as a virtue, since there are several cuts that float into the ether. Still, it is a virtue in places, as there are moments — “On a Night Like This,” “Something There Is About You,” the lovely “Forever Young” — where it just gels, almost making the diffuse nature of the rest of the record acceptable. (by Stephen Thomas Erlewine)

Bob Dylan (guitar, piano, harmonica, vocals)
The Band:
Rick Danko (bass)
Levon Helm (drums)
Garth Hudson (organ)
Richard Manuel (piano, drums)
Robbie Robertson (guitar)

01. On A Night Like This 2.57
02. Going, Going, Gone 3-27
03. Tough Mama 4.17
04. Hazel 2.50
05. Something There Is About You 4.45
06. Forever Young  4.57
07. Forever Young 2.49
08. Dirge 5.36
09. You Angel You 2.54
10. Never Say Goodbye 2.56
11. Wedding Song 4.42

All songs written by Bob Dylan


Bob Dylan – Now Ain’t The Time For Your Tears (1990)

FrontCover1This is a near perfect soundboard  recording that is good enough quality to be an official release. The show is amazing and deserves a place in even the smallest Dylan collection. If one should pick it apart for the minor irregularities, it would be that the cover photo could have been color corrected a little better.

It’s washed out in yellow. Also, Swingin’ Pig used the digital filtering NoNoise system to produce this ‘pin-drop’ quiet recording. To some trained ears, there is the ‘something’s missing in the high-end’ feeling.

BobDylan1964This is one of many Free Trade Hall Bootlegs of excellent sound quality and, most important to me, this is Dylan at his very very best.
I cannot get enough of his stuff from back in the day when he really put some effort into his gigs (It is arguable he no longer does according to my very reliable sources!)
This disc will wow you.
It will send you into silence from the moment the opening track begins until you find yourself in awe and stunned when it ends!
Believe me, you haven’t heard Bob Dylan if you haven’t got much experience of his pre- electric 1965 shows.
He sometimes sounds like a totally different artist on some of the tracks.
Something I always notice on discs like this is the way he sings so tunefully(something he later lost in my opinion) and also the way he prolongs certain harmonica sections to show just how well he can play the thing.

Recorded live at theFree Trade Hall, Manchester, 1965

Bob Dylan (guitar, vocals, harmonica)

AlternateFrontCoversAlternate frontcovers

1. The Times They Are A Changin 3.31
2. To Ramona 4.56
3. Gates Of Eden 6.52
4. If You Gotta Go Go Now 2.56
5. It’s Alright Ma (I’m Only Bleeding) 8.24
6. Love Minus Zero 4.22
7. Mr. Tambourine Man 6.12
8. Talkin’ World War III Blues 4.10
9. Don’t Think Twice, It’s Alright 3.45
10. With God On Our Side 5.09
11. She Belongs To Me 4.13)
12. It Ain’t Me Babe 4.39
13. Lonesome Death Of Hattie Carroll 6.07
14. All I Really Want To Do 3.30
15. It’s All Over Now, Baby Blue 5.32

All songs written by Bob Dylan