“Mystery Train” is one of Presley’s most haunting songs, a stark blues number that sounds ancient but was actually first cut only two years before by Memphis blues singer Junior Parker. Presley recorded it with the groove from the flip side of the same Parker single, “Love My Baby,” and Sun producer Phillips’ taut, rubbery echo effect made guitarist Scotty Moore’s every note sound doubled. Presley added a final verse — “Train . . . took my baby, but it never will again” — capped by a celebratory falsetto whoop that transformed a pastoral about death into a song about the power to overcome it.
~rollingstone.com
Train arrive, sixteen coaches long
Train arrive, sixteen coaches long
Well that long black train got my baby and gone
Train train, comin’ ’round, ’round the bend
Train train, comin’ ’round the bend
Well it took my baby, but it never will again (no, not again)
Train train, comin’ down, down the line
Train train, comin’ down the line
Well it’s bringin’ my baby, ’cause she’s mine all, all mine
(She’s mine, all, all mine)
“..easily the best of [Dylan’s] acoustic albums and a quantum leap from his debut—which shows the frantic pace at which Dylan’s mind was moving.You can see why this album got the Beatles listening. The songs at its core must have sounded like communiques from another plane.”
~John Harris (Q Magazine, 2000)
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” I think it was the first time I ever heard Dylan at all… And for the rest of our three weeks in Paris, we didn’t stop playing it.”
– John Lennon (about The Freewheelin’ Bob Dylan)
“That’ll Be the Day” is a song written by Buddy Holly and Jerry Allison and recorded by various artists including The Crickets and Linda Ronstadt. It was also the first song to be recorded (just as a demonstration disc) by The Quarrymen, the skiffle group that subsequently became The Beatles. Although Norman Petty was given a co-writing credit on it, he was not actually involved in the composition, but only in the production of this well-known recording.The re-recorded version of “That’ll Be the Day” was released by Brunswick Records on May 27, 1957, and is featured on the debut album by the Crickets, The “Chirping” Crickets, which was issued on November 27, 1957. The song is considered a classic in the rock and roll genre and is listed at #39 on Rolling Stone’s list of The 500 Greatest Songs of All Time.
Neil Mullane Finn OBE (born 27 May 1958) is a New Zealand recording artist. Along with his brother Tim Finn, he was the co-frontman for Split Enz and is now frontman for Crowded House. He has also recorded several successful solo albums and assembled diverse musicians for the 7 Worlds Collide projects.
Junior Parker (May 27, 1932 – November 18, 1971) was an American Memphis blues singer and musician. He is best remembered for his unique voice which has been described as “honeyed,” and “velvet-smooth”. He was posthumously inducted into the Blues Hall of Fame in 2001.
Don Williams (born May 27, 1939, Floydada, Texas, United States), is an American country singer, songwriter and a 2010 inductee to the Country Music Hall of Fame. He grew up in Portland, Texas, and graduated in 1958 from Gregory-Portland High School. After seven years with the folk-pop group Pozo-Seco Singers, he began his solo career in 1971, singing popular ballads and amassing 17 No. 1 hits.
” I think it was the first time I ever heard Dylan at all… And for the rest of our three weeks in Paris, we didn’t stop playing it.” – John Lennon
Dylan had already moved on to other songs when his first masterpiece was released. Contrary to his first album, this album mostly has songs penned by the man himself. With songs like Blowin’ in the Wind, Girl From The North Country, Masters Of War, and Don’t Think Twice, It’s All Right that are still a big part of Dylan’s concerts half a century later, Freewheelin’ is an album whose music will live long after anyone who is reading this post is gone.
April 24–25, July 9, October 26, November 1 and 15, December 6, 1962, and April 24, 1963 at Columbia Records Studio A, 799 Seventh Avenue, New York City
Genre
Folk
Length
50:04
Label
Columbia
Producer
John Hammond, Tom Wilson
The Freewheelin’ Bob Dylan is the second studio album by American singer-songwriter Bob Dylan, released in May 1963 by Columbia Records. Whereas his debut album Bob Dylan had contained only two original songs, Freewheelin’ initiated the process of writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are original compositions by Dylan. The album kicks off with “Blowin’ in the Wind”, which would become one of the anthems of the 1960s, and an international hit for folk trio Peter, Paul & Mary soon after the release of Freewheelin’. The album featured several other songs which came to be regarded as amongst Dylan’s best compositions and classics of the 1960s folk scene: “Girl from the North Country”, “Masters of War”, “A Hard Rain’s a-Gonna Fall” and “Don’t Think Twice, It’s All Right”.
A Hard Rain’s Gonna Fall:
Dylan’s lyrics embraced stories ripped from the headlines about civil rights and he articulated anxieties about the fear of nuclear warfare. Balancing this political material were love songs, sometimes bitter and accusatory, and material that features surreal humor. Freewheelin’ showcased Dylan’s songwriting talent for the first time, propelling him to national and international fame. The success of the album and Dylan’s subsequent recognition led to his being named as “Spokesman of a Generation”, a label Dylan came to resent.
The Freewheelin’ Bob Dylan reached number 22 in the US (eventually going platinum), and later became a number one hit in the UK in 1964. In 2003, the album was ranked number 97 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2002, Freewheelin’ was one of the first 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.
Girl from the North Country:
Even if you were among the handful of people who bought Bob Dylan’s 1962 self-titled debut, you couldn’t have predicted The Freewheelin’ Bob Dylan, the 1963 folkie touchstone where Dylan transformed American songwriting and blew the minds of everyone from his coffeehouse compatriots to the Beatles.
