….would be Like A Rolling Stone because I wrote that after I’d quit. I’d literally quit singing and playing, and I found myself writing this song, this story, this long piece of vomit about twenty pages long, and out of it I took Like A Rolling Stone and made it as a single. And I’d never written anything like that before and it suddenly came to me that that was what I should do, you know. I mean, nobody had ever done that before.
~Bob Dylan (to Martin Bronstein – Feb 1966)
.. The sound is so rich the song never plays the same way twice
The first time I heard Bob Dylan, I was in the car with my mother listening to WMCA, and on came that snare shot that sounded like somebody had kicked open the door to your mind
~Bruce Springsteen (Jan 1988)
“I wrote my fourth album [“Another Side of Bob Dylan”] in Greece, but that was still an American album.”
~Bob Dylan (to Robert Shelton June 1978)
“Tom Wilson, the producer, titled it that,” [Another Side of Bob Dylan] “I begged and pleaded with him not to do it. You know, I thought it was overstating the obvious. 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’, it just wasn’t right. It seemed like a negation of the past which in no way was true. I know that Tom didn’t mean it that way, but that’s what I figured that people would take it to mean, but Tom meant well and he had control, so he had it his way. I guess in the long run, he might have been right to do what he did. It doesn’t matter now.”
~Bob Dylan (to Cameron Crowe Sept. 1985)
In May Dylan went to London for a concert at the Royal Festival Hall. Afterwards he and Victor Maimudes visited Paris and a small town in Greece, where Dylan worked on songs for his next album. Back in New York, June· 9, 1964, Dylan went into the recording studio with Tom Wilson, a couple of bottles of wine, and a small crowd of friends, and recorded his entire fourth album, Another Side of Bob Dylan, in a single evening.
~Paul Williams (Bob Dylan Performing Artist I: The Early Years 1960-1973)
“The reaction on the (U.S.) Slow Train tour was disheartening at times. But it doesn’t wound you because you get used to the ups and downs. You get to where the praise doesn’t mean anything because it’s often for the wrong reason, and it’s the same with the criticism. Besides, I don’t think I’ll be perceived properly till 100 years after I’m gone. I really believe that. I don’t think anybody has really caught on to Blonde On Blonde yet.”
~Bob Dylan (to Robert Hilburn – June 1984)
…. Musically, this is probably Dylan’s finest record, a rare coming together of inspiration, desire and talent that completely fuse strength, vision and art. Bob Dylan is the greatest singer of our times. No one is better. No one, in objective fact, is even very close. His versatility and vocal skills are unmatched. His resonance and feeling are beyond those of any of his contemporaries. More than his ability with words, and more than his insight, his voice is God’s greatest gift to him. So when I listen to “When He Returns,” the words finally don’t matter at all. They are as good as they ever were, maybe even better. … I am hearing a voice.
~Jann Wenner (the famous “Slow Train Coming” review Sept 1979)
The last recording session brought us 4 masters: Gotta Serve Somebody, Do Right To Me Baby (Do Unto Others), When He Returns & Man Gave Names To All The Animals.
Today I’m accused of being a follower of religion. But I’ve always been a follower! My thoughts, my personal needs have always been expressed through my songs; you can feel them there even in ‘Mr Tambourine Man’. When I write a song, when I make a record, I don’t think about whether it’ll sell millions of copies. I only think about making it, the musical end-product, the sound, and the rhythmic effect of the words. It’s purely a technical piece of work because the most important thing is to come out with something that’s perfect artistically. Even Charlie Chaplin used to say that and I respect him for that judgment.
~Bob Dylan (to Sandra Jones – June 1981)
And it’s this dishonesty, this unhelpful concealment of the soul when we most needed to know what was going [on] inside the man, which hurts the hardest… …. His handling of matters spiritual is bad enough, but when he applies himself to more worldly topics he’s frighteningly inflammatory and positively dangerous..
~Chris Bohn (review – Slow Train Coming, Melody Maker – 26 Aug. 1979)
On the 4th recording session we got 2 new master versions… one of them “Slow Train” is i fact the best song from the album. The other is also among the best: “I Believe in You“.
May 2: Bob Dylan 3rd Slow Train Coming Recording Session 1979
It’s in my system. I don’t really have enough time to talk about it. If someone really wants to know, I can explain it to them, but there are other people who can do it just as well. I don’t feel compelled to do it. I was doing a bit of that last year on the stage. I was saying stuff I figured people needed to know. I thought I was giving people an idea of what was behind the songs. I don’t think it’s necessary any more. When I walk around some of the towns we go to, however, I’m totally convinced people need Jesus. Look at the junkies and the winos and the troubled people. It’s all a sickness which can be healed in an instant. The powers that be won’t let that happen. The powers that be say it has to be healed politically.
~Bob Dylan (to Robert Hilburn – Nov 1980)
Slow Train Coming was a collection of songs Dylan had originally intended to donate to backing singer Carolyn Dennis.
~Clinton Heylin (The Recording Sessions)
The first 2 recording sessions for “Slow Train Coming” had only resulted one master take for the album – Precious Angel (recorded the previous day).