I've always associated consciousness with artists like Bob Marley or Joni Mitchell or Bob Dylan. You know, artists that really talked about what was going on in the world and really artists that are timeless.
I listen to Radio 4 and put the iPod on shuffle. I like the randomness of, say, the Stones, then something from Nina Simone, Nick Drake or Bob Dylan.
I can't do that wonderful thing that Tom Waits and Bob Dylan do - to do imagery. I'm not good at that. I just write from the heart.
When I was very, very young, I decided that I was gonna catalogue my times because that's what other people who I admired did. That's what Bob Dylan did, that's what Frank Sinatra did, Hank Williams did, in very different ways.
Music television is all about the media-oriented version of what it is to be a rock star; it's not about what Bob Dylan or Jimi Hendrix were about - which included great images, sure, but they had spiritual and political and revolutionary content, too.
Growing up, I was inspired by The Beatles and Bob Dylan. Damian Rice was a huge influence for me musically.
My love was Bob Dylan, but as I got older I realized a good ballad was a good ballad.
Well, I met Frank Sinatra and Bob Dylan in the space of 15 minutes. Frank Sinatra kissed me on the lips. He kissed me on the lips. And then he gave me a filterless cigarette. And then I met Bob Dylan. I came off all lightheaded and had to go sit on his dressing-room steps.
I love Bob Dylan. Who doesn't? He tapped into some kind of vein and it keeps on keeping on. There's nobody like him. He's unique, and just... way out cool.
I'm like, 'Would you be the person in the room that would boo when Dylan went electric? I know I wouldn't. Or are you the person that left The Beatles after 'She Loves You,' or 'Drive My Car?' You weren't on board for 'Revolution 9' or 'Day In The Life,' were you?'
I was a huge Beatles fan. The Stones, Dylan. Later on, I got into Stevie Wonder, and Bill Withers - he's one of my heroes. Al Green, too.
Bob Dylan was the source of pop music's unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
Bob Dylan may be the Charlie Chaplin of rock n' roll. Both men are regarded as geniuses by their entire audience. Both were proclaimed revolutionaries for their early work and subjected to exhaustive attack when later works were thought to be inferior. Both developed their art without so much as a nodding glance toward their peers.
Bob Dylan has always sealed his decisions with the unexplainable. His motives for withholding the release of the magnificent 'Basement Tapes' will be as forever obscure as Brian Wilson's reasons for the destruction of the tapes for 'Smile.'
I learned how difficult it is to be an artist. There are always compromises. The record company wants you to do this, your fans want you to do this, your family, you can't concentrate on your work. It's a hard thing to be an artist and not give up. That's why I have so much respect for people like Dylan and Neil Young and Tom Waits, because they keep at it. I have a new respect for a true artist.
I admire those old road dogs, Willie Nelson, Bob Dylan. That's their life.
When I was playing with Bob Dylan in, like, 1966, I was, like, 20 years old.
Bob Dylan and John Lennon and Bruce Springsteen, these are soul guys. Bruce Springsteen might not sing like Otis Redding, but he sings with white soul. He's singing and he's writing songs from the bottom of his gut.
I'll never be Bob Dylan. He's the master.
Second records aren't usually very good. Even Bob Dylan's was a bit disappointing.
Whoa," Connor Stoll said. "Back up. Zoom in right there." "What?" Annabeth said nervously. "You see invaders?" "No, right there—Dylan's Candy Bar." Connor grinned at his brother. "Dude, it's open. And everyone is asleep. Are you thinking what I'm thinking?" "Connor!" Katie Gardner scolded. She sounded like her mother, Demeter. "This is serious. You are not going to loot a candy store in the middle of a war!" "Sorry," Connor muttered, but he didn't sound very ashamed.
Bob Dylan will be thirty years old this month..." "That's the most depressing thing I've ever heard.
The first thing I did when I got inside was turn on the kitchen light. Then I moved to the table, putting my dad's iPod on the speaker dock, and a Bob Dylan song came on, the notes familiar. I went into the living room, hitting the switch there, then down the hallway to my room, where I did the same. It was amazing what a little noise and brightness could do to a house and a life, how much the smallest bit of each could change everything. After all these years of just passing through, I was beginning to finally feel at home.
Jake La Botz is a creator of dark poetry and haunting song, the kind of music that gets in your bones and rides you for days, a sound and vision only those who've been to the bottom and clawed their way back up can generate. His midnight gifts evoke Hank Williams and Skip James as much as Tom Waits and Dylan. Not everybody will get this music - because not everybody is ready for the truth.
I tried to charm the pants off Bob Dylan, but everyone will be disappointed to learn that I was unsuccessful. I got close - a couple of fast feels in the front seat of a Cadillac.
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