Category Archives: Bob Dylan recording sessions

April 14: Bob Dylan – The 4th Infidels session, NYC 1983





Infidels

I’m usually either here or on the West Coast or down in the Caribbean. Me and another
guy have a boat down there. Jokerman kinda came to me in the islands. It’s very
mystical. The shapes there, and shadows, seem to be so ancient. The song was sorta
inspired by these spirits they call jumbis.
~Bob Dylan (to Kurt Loder, March 1984)

Studio A
Power Station
New York City, New York
14 April 1983
4th Infidels recording session. Produced by Mark Knopfler and Bob Dylan.

Continue reading April 14: Bob Dylan – The 4th Infidels session, NYC 1983

March 14: Bob Dylan recorded “Shooting Star” in 1989

bob dylan shooting star

Seen a shooting star tonight
And I thought of you
You were trying to break into another world
A world I never knew
I always kind of wondered
If you ever made it through
Seen a shooting star tonight
And I thought of you

“Shooting star” was his first album closer since “Every Grain of Sand” to share that slightly somnambulant feel, a gorgeous melody, caressed vocal and an abiding conviction that there are two kinds of people, good (i.e. saved) and lost people.
~Clinton Heylin (Still on the Road: The Songs of Bob Dylan Vol. 2, . 1974-2008)

This was the 6th “Oh Mercy” recording session, and Dylan also landed another master: “Everything Is Broken”.

The Studio
New Orleans, Louisiana
14 or 15 March 1989
6th Oh Mercy recording session, produced by Daniel Lanois

Continue reading March 14: Bob Dylan recorded “Shooting Star” in 1989

March 9: Bob Dylan’s 10th (and final) Blonde On Blonde recording session in 1966





blonde on blonde

The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up. That’s my particular sound.
~Bob Dylan (to Ron Rosenbaum – Nov 1977)

He had a piano in his room at the hotel and during the day I would go up there and he would teach me a song. I would be like a cassette machine. I would play the song over and over on the piano for him. This served a double purpose. One, he could concentrate on writing the lyrics and didn’t have to mess with playing the piano; two, I could go to the studio early that night and teach it to the band before he even got there, so they could be playing the song before he even walked through the door.
~Al Kooper (talking about BoB recording sessions)

bob dylan al kooper 1966

Columbia Music Row Studios
Nashville, Tennessee
9-10 March 1966

Produced by Bob Johnston

Songs:

Continue reading March 9: Bob Dylan’s 10th (and final) Blonde On Blonde recording session in 1966

March 8: Bob Dylan 9th recording session for Blonde On Blonde in 1966

blonde on blonde

The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up. That’s my particular sound.
~Bob Dylan (to Ron Rosenbaum – Nov 1977)

Well I cut it in between. I was touring and I was doing it whenever I got a chance to get into the studio. So it was in the works for a while. I could only do maybe two or three songs at a time.
~Bob Dylan (to Jan Wenner – Nov 1969)

Bob-Dylan 1966

Continue reading March 8: Bob Dylan 9th recording session for Blonde On Blonde in 1966

March 8: Bob Dylan’s third Oh Mercy recording session in 1989

bob dylan Oh-Mercy

Most of them are stream-of-consciousness songs, the kind that come to you in the middle of the night, when you just want to go back to bed. The harder you try to do something, the more it evades you. These weren’t like that.
~Bob Dylan (to Edna Gundersen, Sept 1989)

The Studio
New Orleans, Louisiana
8 March 1989
Third Oh Mercy recording session, produced by Daniel Lanois

Continue reading March 8: Bob Dylan’s third Oh Mercy recording session in 1989