….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)
Dylan records two 35-minute TV programs for the BBC, which had outbid Granada for a Dylan TV special, only to then have a delay brought on by Dylan’s illness. During the rehearsals for the show, he tries an acoustic “Maggie’s Farm,” but decides not to attempt it for the shows. The BBC film one of the songs at rehearsal, “Mr. Tambourine Man,” but the footage is later destroyed. The two programs feature 12 songs, including three not featured in the then-current repertoire: “Ballad of Hollis Brown,” “One Too Many Mornings,” and “Boots of Spanish Leather.” Except for these three songs, the shows concentrate on newer material, featuring only “The Lonesome Death of Hattie Carroll” and “It Ain’t Me, Babe” from the first four albums.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)
..recording two half-hour TV shows for the BBC on June I; the twelve acoustic performances survive on audio but not videotape. The performances are fairly routine, uninspired, with the exception of “One Too Many Mornings” which is fresh and passionate. Dylan must have really felt a thousand miles behind by this point.
In hindsight, the BBC-TV filming was the last stand of Bob Dylan, folk star. When he arrived back in the States the Byrds’ version of “Mr. Tambourine Man” was at the top of the charts.
~Paul Williams (Bob Dylan Performing Artist I: The Early Years 1960-1973)
1 June 1965
In the course of a remarkable interview with Horace Judson, from Time magazine, given at the Royal Albert Hall, London, May 9, 1965, Dylan, wired up with youth’s impatience (at least), and moving among lumpen dullards like some beautiful alien from superior space, can say to the 40-something reporter..
-Michael gray (The Bob Dylan Encyclopedia)
Bob was being absolutely appalling, but so brilliant. By this time I’d learnt that he could pull strips of skin off people, verbally … [ButJudson] was quite abusive as well. He was extremely upset, he really was; and in a way I suppose it was not really his fault-not properly briefed, treating Bob as some sort of curiosity, not as a serious artist.
Royal Albert Hall
9 May 1965
Interview by Horace Judson.
Go ’way from my window
Leave at your own chosen speed
I’m not the one you want, babe
I’m not the one you need
You say you’re lookin’ for someone
Never weak but always strong
To protect you an’ defend you
Whether you are right or wrong
Someone to open each and every door
But it ain’t me, babe
No, no, no, it ain’t me, babe
It ain’t me you’re lookin’ for, babe
6 May 1965
It ain’t no use to sit and wonder why, babe
It don’t matter, anyhow
An’ it ain’t no use to sit and wonder why, babe
If you don’t know by now
When your rooster crows at the break of dawn
Look out your window and I’ll be gone
You’re the reason I’m trav’lin’ on
Don’t think twice, it’s all right
5 May 1965
- Bob Dylan (guitar, harmonica & vocal)