Sometimes I do a Dylan song and it seems to fit me so right that I figure maybe I wrote it. Dylan didn’t always do it for me as a singer, not in the early days, but then I started listening to the lyrics. That sold me.
I love Dylan. I only met him once, about three years ago, back at the Kettle of Fish on MacDougal Street. That was before I went to England. I think both of us were pretty drunk at the time, so he probably doesn’t remember it.
I love Bob Dylan, I really do. I love his early work, I love the first time he plugged in electrically, I love his Christian albums, I love his other albums.
To us, there was Bob Dylan, and there was dad. As for what he meant to other people, that was never glorified in our house. There were no accolades there, no gold records.
Gordon Lightfoot has created some of the most beautiful and lasting music of our time. He is Bob Dylan's favorite singer/songwriter - high praise from the best of us, applauded by the rest of us.
Bob [Dylan] is not authentic at all. He's a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I.
My father had wanted to name me for Dylan Thomas. He had seen him speak on one of those drunken poetry tours he did.
I knew Bobby Dylan back in the days when he lived in the village. He used to come and see me and sing songs for me, saying they ought to go into my next collected book on American folk music.
He [Johnny Cash] always wanted to use his music to lift other people up, to say no matter how much trouble, there's hope. That was always his message in his songs. That's why he and [Bob] Dylan bonded so much, because they were both trying to do something meaningful.
The current tax code is harder to understand than Bob Dylan reading Finnegans Wake in a wind tunnel.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
When I was 12 years old, or however old I was when Bringing It All Back Home came out, I'd just skip back and forth endlessly between 'Subterranean Homesick Blues' and 'It's Alright, Ma' and 'Mr. Tambourine Man,' and now my Bob Dylan roots are showing big time.
Most of the artists were trying to make a living, trying to get laid, trying to figure out who they were. They weren't trying to change the world. That's what other people put on them. I knew all those people. I knew them all, intimately and well. Bob Dylan. I would say that Bob Dylan is as interested in money as any person I've known in my life. That's just the truth.
I've met Bob Dylan's bodyguards, and if Steve Earle thinks he can stand on Bob Dylan's coffee table, he's sadly mistaken.
I am like a chameleon, influenced by whatever's going on. If Elvis can do it, I can do it. If the Everly Brothers can do it, me and Paul can. Same with Dylan.
Listen, the story of the United States is this: One kid, without anything, walks out of his house, down the road, with nothing but a guitar and conquers the world. And we've done that again, and again, and again – Johnny Cash, Hank Williams, Bob Dylan, Bruce Springsteen, Jimmy Rogers, Howlin' Wolf, Muddy Waters.
Dylan is so brilliant. To me, he makes William Shakespeare look like Billy Joel.
But, in the end, even a song that's as politically bland as Blowin in the Wind, you probably wouldn't get up and sing that now, whereas some of Bob Dylan's love songs that were contemporary with that, like say Girl from the North Country, you can still get up an play now.
We enjoyed the fact that we were called to the folk festivals and we got to know Joan Baez, Dylan. We were singing strictly gospel, but then after we started hearing songs that they would sing, we saw that those songs were very fitting for us because they were singing the truth, and truth is gospel.
The drama teacher that I had in high school, back in Texas, was the only teacher who didn't kick me out of his class. He turned me on to 'The Freewheelin' Bob Dylan.' I had picked up Dylan with 'Bringing It All Back Home,' and he turned me on to the first couple of albums, which I hadn't heard.
Any real Bob Dylan fan would sleep with Jonah Lehrer.
Well, it seems that one day Dylan was drivin' up to San Francisco from New Orleans or somewhere, when our record [House of the Rising Sun] came over his radio. When it was announced he said to Joan Baez -- who was with him at the time -- 'This'll be the first time I've heard this version', although it was number one in the States. So he listened to it, stopped the car, ran round the car five times, banged his head on the bumper and began leapin' about shouting 'It's great! It's great!'
Anything but the void. And so we keep hoping to luck into a winning combination, to tap into a subtle harmony, trying like lock pickers to negotiate a compromise with the 'mystery tramp,' as Bob Dylan put it.
In other words, I'd say the whole story of Bob Dylan is one man's search for God. The turns and the steps he takes to find God are his business. I think he went to a study group at the Vineyard, and it created a lot of excitement.
To me, Godard did to movies what Bob Dylan did to music: they both revolutionized their forms.
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