….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
~Greil Marcus
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)
“The ghost of ’lectricity howls in the bones of her face
Where these visions of Johanna have now taken my place”
— from “Visions of Johanna”
In 1982 readers of ‘The Telegraph” voted ‘Visions of Johanna’ their “favourite Dylan Song” by a wide margin (‘Like A Rolling Stone’ & ‘It’s Alrght, Ma’ tied for second). Why? There is a depth in this song, an intimate bond created between the singer and the listener, that defies analysis & explanation
~Paul Williams (Bob Dylan: Performing Artist 1960-73)
I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know it’s wrong. I’m only 21 years old and I know that there’s been too many wars… You people over 21 should know better. The first way to answer these questions in the song is by asking them. But lots of people have to first find the wind.
~Bob Dylan (The Freewheelin’ Bob Dylan Liner Notes – 1963)
The version of “Blowin’ in the Wind” that eventually appeared on The Freewheelin’ Bob Dylan was recorded at this July 9 session. Of all the available performances of this song from 1962 and 1963, this “official” recording is my favorite. It has a presence, a magic, as if Dylan took a deep breath and thought, “Okay, this one’s for posterity.” I don’t think Dylan ever put quite as much of himself into the song again. He didn’t have to. The song itself was in the wind at that point.
~Paul Williams (Bob Dylan: Performing Artist 1960-1973 The Early Years)
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
–
A lot of people 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.
-Bob Dylan (The Freewheelin’ Bob Dylan – Liner Notes)
Well, I’m livin’ in a foreign country but I’m bound to cross the line
Beauty walks a razor’s edge, someday I’ll make it mine
If I could only turn back the clock to when God and her were born
Come in, she said, I’ll give you shelter from the storm
Thank you! This is the story of my life, this next song.
~Bob Dylan (before Shelter From The Storm – Earls Court, London, England – 20 June 1978)
“Shelter from the Storm” on Blood on the Tracks is a beautiful performance-and a very intimate one, relying on the closeness of the studio microphone (picking up subtleties of guitar playing as well as voice) and the passionate commitment of the singer to create a delicate framework of call and response around a tune that would otherwise be rather monotonous in terms of melodic and verbal structure.
~Paul Williams (Bob Dylan: Performing Artist, Vol 2: The Middle Years 1974-1986)
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