Bob Dylan
Biography
Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream of conscious narratives. As a vocalist, he broke down the notion that a singer must have a conventionally good voice in order to perform, thereby redefining the vocalist's role in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that just touches on the tip of his achievements. Dylan's force was evident during his height of popularity in the '60s -- the Beatles' shift toward introspective songwriting in the mid-'60s never would have happened without him -- but his influence echoed throughout several subsequent generations, as many of his songs became popular standards and his best albums became undisputed classics of the rock & roll canon. Dylan's influence throughout folk music was equally powerful, and he marks a pivotal turning point in its 20th century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting. Even when his sales declined in the '80s and '90s, Dylan's presence rarely lagged, and his commercial revival in the 2000s proved his staying power.
For a figure of such substantial influence, Dylan came from humble beginnings. Born in Duluth, MN, Bob Dylan (b. Robert Allen Zimmerman, May 24, 1941) was raised in Hibbing, MN, from the age of six. As a child he learned how to play guitar and harmonica, forming a rock & roll band called the Golden Chords when he was in high school. Following his graduation in 1959, he began studying art at the University of Minnesota in Minneapolis. While at college, he began performing folk songs at coffeehouses under the name Bob Dylan, taking his last name from the poet Dylan Thomas. Already inspired by Hank Williams and Woody Guthrie, Dylan began listening to blues while at college, and the genre weaved its way into his music. He spent the summer of 1960 in Denver, where he met bluesman Jesse Fuller, the inspiration behind the songwriter's signature harmonica rack and guitar. By the time he returned to Minneapolis in the fall, he had grown substantially as a performer and was determined to become a professional musician.
Dylan made his way to New York City in January of 1961, immediately making a substantial impression on the folk community of Greenwich Village. He began visiting his idol Guthrie in the hospital, where he was slowly dying from Huntington's chorea. Dylan also began performing in coffeehouses, and his rough charisma won him a significant following. In April, he opened for John Lee Hooker at Gerde's Folk City. Five months later, Dylan performed another concert at the venue, which was reviewed positively by Robert Shelton in the New York Times. Columbia A&R man John Hammond sought out Dylan on the strength of the review, and signed the songwriter in the fall of 1961. Hammond produced Dylan's eponymous debut album (released in March 1962), a collection of folk and blues standards that boasted only two original songs. Over the course of 1962, Dylan began to write a large batch of original songs, many of which were political protest songs in the vein of his Greenwich contemporaries. These songs were showcased on his second album, The Freewheelin' Bob Dylan. Before its release, Freewheelin' went through several incarnations. Dylan had recorded a rock & roll single, "Mixed Up Confusion," at the end of 1962, but his manager, Albert Grossman, made sure the record was deleted because he wanted to present Dylan as an acoustic folky. Similarly, several tracks with a full backing band that were recorded for Freewheelin' were scrapped before the album's release. Furthermore, several tracks recorded for the album -- including "Talking John Birch Society Blues" -- were eliminated from the album before its release.
Comprised entirely of original songs, The Freewheelin' Bob Dylan made a huge impact in the U.S. folk community, and many performers began covering songs from the album. Of these, the most significant were Peter, Paul & Mary, who made "Blowin' in the Wind" into a huge pop hit in the summer of 1963 and thereby made Bob Dylan into a recognizable household name. On the strength of Peter, Paul & Mary's cover and his opening gigs for popular folky Joan Baez, Freewheelin' became a hit in the fall of 1963, climbing to number 23 on the charts. By that point, Baez and Dylan had become romantically involved, and she was beginning to record his songs frequently. Dylan was writing just as fast.
By the time The Times They Are A-Changin' was released in early 1964, Dylan's songwriting had developed far beyond that of his New York peers. Heavily inspired by poets like Arthur Rimbaud and John Keats, his writing took on a more literate and evocative quality. Around the same time, he began to expand his musical boundaries, adding more blues and R&B influences to his songs. Released in the summer of 1964, Another Side of Bob Dylan made these changes evident. However, Dylan was moving faster than his records could indicate. By the end of 1964, he had ended his romantic relationship with Baez and had begun dating a former model named Sara Lowndes, whom he subsequently married. Simultaneously, he gave the Byrds "Mr. Tambourine Man" to record for their debut album. The Byrds gave the song a ringing, electric arrangement, but by the time the single became a hit, Dylan was already exploring his own brand of folk-rock. Inspired by the British Invasion, particularly the Animals' version of "House of the Rising Sun," Dylan recorded a set of original songs backed by a loud rock & roll band for his next album. While Bringing It All Back Home (March 1965) still had a side of acoustic material, it made clear that Dylan had turned his back on folk music. For the folk audience, the true breaking point arrived a few months after the album's release, when he played the Newport Folk Festival supported by the Paul Butterfield Blues Band. The audience greeted him with vicious derision, but he had already been accepted by the growing rock & roll community. Dylan's spring tour of Britain was the basis for D.A. Pennebaker's documentary Don't Look Back, a film that captures the songwriter's edgy charisma and charm.
Dylan made his breakthrough to the pop audience in the summer of 1965, when "Like a Rolling Stone" became a number two hit. Driven by a circular organ riff and a steady beat, the six-minute single broke the barrier of the three-minute pop single. Dylan became the subject of innumerable articles, and his lyrics became the subject of literary analyses across the U.S. and U.K. Well over 100 artists covered his songs between 1964 and 1966; the Byrds and the Turtles, in particular, had big hits with his compositions. Highway 61 Revisited, his first full-fledged rock & roll album, became a Top Ten hit shortly after its summer 1965 release. "Positively 4th Street" and "Rainy Day Women #12 & 35" became Top Ten hits in the fall of 1965 and spring of 1966, respectively. Following the May 1966 release of the double-album Blonde on Blonde, he had sold over ten million records around the world.
During the fall of 1965, Dylan hired the Hawks, formerly Ronnie Hawkins' backing group, as his touring band. The Hawks, who changed their name to the Band in 1968, would become Dylan's most famous backing band, primarily because of their intuitive chemistry and "wild, thin mercury sound," but also because of their British tour in the spring of 1966. The tour was the first time Britain had heard the electric Dylan, and their reaction was disagreeable and violent. At the Manchester concert (long mistakenly identified as the show from London's Royal Albert Hall), an audience member called Dylan "Judas," inspiring a positively vicious version of "Like a Rolling Stone" from Dylan and the band. The performance was immortalized on countless bootleg albums (an official release finally surfaced in 1998), and it indicates the intensity of Dylan in the middle of 1966. He had assumed control of Pennebaker's second Dylan documentary, Eat the Document, and was under deadline to complete his book Tarantula, as well as record a new record. Following the British tour, he returned to America.
On July 29, 1966, he was injured in a motorcycle accident outside of his home in Woodstock, NY, suffering injuries to his neck vertebrae and a concussion. Details of the accident remain elusive -- he was reportedly in critical condition for a week and had amnesia -- and some biographers have questioned its severity, but the event was a pivotal turning point in his career. After the accident, Dylan became a recluse, disappearing into his home in Woodstock and raising his family with his wife, Sara. After a few months, he retreated with the Band to a rented house, subsequently dubbed Big Pink, in West Saugerties to record a number of demos. For several months, Dylan and the Band recorded an enormous amount of material, ranging from old folk, country, and blues songs to newly written originals. The songs indicated that Dylan's songwriting had undergone a metamorphosis, becoming streamlined and more direct. Similarly, his music had changed, owing less to traditional rock & roll, and demonstrating heavy country, blues, and traditional folk influences. None of the Big Pink recordings were intended to be released, but tapes from the sessions were circulated by Dylan's music publisher with the intent of generating cover versions. Copies of these tapes, as well as other songs, were available on illegal bootleg albums by the end of the '60s; it was the first time that bootleg copies of unreleased recordings became widely circulated. Portions of the tapes were officially released in 1975 as the double-album The Basement Tapes.
While Dylan was in seclusion, rock & roll had become heavier and artier in the wake of the psychedelic revolution. When Dylan returned with John Wesley Harding in December of 1967, its quiet, country ambience was a surprise to the general public, but it was a significant hit, peaking at number two in the U.S. and number one in the U.K. Furthermore, the record arguably became the first significant country-rock record to be released, setting the stage for efforts by the Byrds and the Flying Burrito Brothers later in 1969. Dylan followed his country inclinations on his next album, 1969's Nashville Skyline, which was recorded in Nashville with several of the country industry's top session men. While the album was a hit, spawning the Top Ten single "Lay Lady Lay," it was criticized in some quarters for uneven material. The mixed reception was the beginning of a full-blown backlash that arrived with the double-album Self Portrait. Released early in June of 1970, the album was a hodgepodge of covers, live tracks, re-interpretations, and new songs greeted with negative reviews from all quarters of the press. Dylan followed the album quickly with New Morning, which was hailed as a comeback.
Following the release of New Morning, Dylan began to wander restlessly. He moved back to Greenwich Village, he finally published Tarantula in November of 1970, and he performed at the Concert for Bangladesh in August 1971. During 1972, he began his acting career by playing Alias in Sam Peckinpah's Pat Garrett and Billy the Kid, which was released in 1973. He also wrote the soundtrack for the film, which featured "Knockin' on Heaven's Door," his biggest hit since "Lay Lady Lay." The Pat Garrett soundtrack was the final record released under his Columbia contract before he moved to David Geffen's fledgling Asylum Records. As retaliation, Columbia assembled Dylan, a collection of Self Portrait outtakes, for release at the end of 1973. Dylan only recorded two albums -- including 1974's Planet Waves, coincidentally his first number one album -- before he moved back to Columbia. The Band supported Dylan on Planet Waves and its accompanying tour, which became the most successful tour in rock & roll history; it was captured on 1974's double-live album Before the Flood.
Dylan's 1974 tour was the beginning of a comeback culminating with 1975's Blood on the Tracks. Largely inspired by the disintegration of his marriage, Blood on the Tracks was hailed as a return to form by critics and it became his second number one album. After jamming with folkies in Greenwich Village, Dylan decided to launch a gigantic tour, loosely based on traveling medicine shows. Lining up an extensive list of supporting musicians -- including Joan Baez, Joni Mitchell, Rambling Jack Elliott, Arlo Guthrie, Mick Ronson, Roger McGuinn, and poet Allen Ginsberg -- Dylan dubbed the tour the Rolling Thunder Revue and set out on the road in the fall of 1975. For the next year, the Rolling Thunder Revue toured on and off, with Dylan filming many of the concerts for a future film. During the tour, Desire was released to considerable acclaim and success, spending five weeks on the top of the charts. Throughout the Rolling Thunder Revue, Dylan showcased "Hurricane," a protest song he had written about boxer Rubin Carter, who had been unjustly imprisoned for murder. The live album Hard Rain was released at the end of the tour. Dylan released Renaldo and Clara, a four-hour film based on the Rolling Thunder tour, to poor reviews in early 1978.
Early in 1978, Dylan set out on another extensive tour, this time backed by a band that resembled a Las Vegas lounge act. The group was featured on the 1978 album Street Legal and the 1979 live album At Budokan. At the conclusion of the tour in late 1978, Dylan announced that he was a born-again Christian, and he launched a series of Christian albums that following summer with Slow Train Coming. Though the reviews were mixed, the album was a success, peaking at number three and going platinum. His supporting tour for Slow Train Coming featured only his new religious material, much to the bafflement of his long-term fans. Two other religious albums -- Saved (1980) and Shot of Love (1981) -- followed, both to poor reviews. In 1982, Dylan traveled to Israel, sparking rumors that his conversion to Christianity was short-lived. He returned to secular recording with 1983's Infidels, which was greeted with favorable reviews.
Dylan returned to performing in 1984, releasing the live album Real Live at the end of the year. Empire Burlesque followed in 1985, but its odd mix of dance tracks and rock & roll won few fans. However, the five-album/triple-disc retrospective box set Biograph appeared that same year to great acclaim. In 1986, Dylan hit the road with Tom Petty & the Heartbreakers for a successful and acclaimed tour, but his album that year, Knocked Out Loaded, was received poorly. The following year, he toured with the Grateful Dead as his backing band; two years later, the souvenir album Dylan & the Dead appeared.
In 1988, Dylan embarked on what became known as "The Never-Ending Tour" -- a constant stream of shows that ran on and off into the late '90s. That same year, he released Down in the Groove, an album largely comprised of covers. The Never-Ending Tour received far stronger reviews than Down in the Groove, but 1989's Oh Mercy was his most acclaimed album since 1974's Blood on the Tracks, due in part to Daniel Lanois' strong production. However, Dylan's 1990 follow-up, Under the Red Sky, was received poorly, especially when compared to the enthusiastic reception for the 1991 box set The Bootleg Series, Vols. 1-3 (Rare & Unreleased), a collection of previously unreleased outtakes and rarities.
For the remainder of the '90s, Dylan divided his time between live concerts, painting, and studio projects. He returned to recording in 1992 with Good as I Been to You, an acoustic collection of traditional folk songs. It was followed in 1993 by another folk record, World Gone Wrong, which won the Grammy for Best Traditional Folk Album. After the release of World Gone Wrong, Dylan released a greatest-hits album and a live record.
Dylan released Time Out of Mind, his first album of original material in seven years, in the fall of 1997. Time Out of Mind received his strongest reviews in years and unexpectedly debuted in the Top Ten, eventually climbing to platinum certification. Such success sparked a revival of interest in Dylan, who appeared on the cover of Newsweek and began selling out concerts once again. Early in 1998, Time Out of Mind received three Grammy Awards -- Album of the Year, Best Contemporary Folk Album, and Best Male Rock Vocal. Another album of original material, Love and Theft, followed in 2001 and went gold. Soon after its release, Dylan announced that he was making his own film, to star Jeff Bridges, Penelope Cruz, John Goodman, Val Kilmer, and many more. The accompanying soundtrack, Masked and Anonymous, was released in July 2003. Dylan opted to self-produce his new studio album, Modern Times, which topped the Billboard charts and went platinum in both America and the U.K. It was Dylan's third consecutive album to receive praise from critics and support from consumers, and it was followed three years later in 2009 by Together Through Life, another self-produced effort (as Jack Frost) that also featured contributions from David Hidalgo of Los Lobos and Mike Campbell of Tom Petty & the Heartbreakers. He capped off the year with an old-fashioned holiday effort Christmas in the Heart. Proceeds from the album were donated to various charities around the world. ~ Stephen Thomas Erlewine, All Music Guide
Selected Discography

Together Through Life
2009

Tell Tale Signs: The Bootleg Series Vol. 8
2008

Mtv Unplugged
2007

Dylan
2007

The Bootleg Series, Vol. 7: No Direction Home
2005

Live 1964: The Bootleg Series Vol. 6
2004

Another Side Of Bob Dylan
2003

Infidels
2003

Street Legal
2003

Slow Train Coming
2003

The Bootleg Series Vol. 5, Live 1975: The Rolling Thunder Revue
2002

Love And Theft
2001

Essential Bob Dylan
2000

Bob Dylan: Live 1966
1998

Time Out Of Mind
1997

Greatest Hits Volume 3
1994

The Bootleg Series Volumes 1-3 (Rare & Unreleased): 1961-1991
1991

Oh Mercy
1989

Shot Of Love
1981

Saved
1980

Desire
1976

Blood On The Tracks
1975

The Basement Tapes
1975

Planet Waves
1974

Bob Dylan's Greatest Hits, Volume II
1971

Self Portrait
1970

New Morning
1970

Nashville Skyline
1969

John Wesley Harding
1967

Bob Dylan's Greatest Hits
1967

Blonde On Blonde
1966

Highway 61 Revisited
1965

Bringing It All Back Home
1965

The Times They Are A-Changin'
1964

The Freewheelin' Bob Dylan
1963
Saw Zimmerman last month at the Hollywood Palladium and it was one of the top 5 show experiences I've ever had. I agree; you either get Dylan or you do not. If you do not, there's is no shame in that. However, if you do get his artistry I think you genuinely feel bad for those that do not. PS - I aint no Fu*%ing Hippie!
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Got no problem with the man or his music..as for singing voice...at least he has USED his voice while so many have sat on their backsides. Just heaven help you if you ever have to deal with any of his "people" when he's on tour. Complete group of A-holes!
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As a "baby-boomer " he is supposed to be the spokesman of my generation. I personally feel much more of a connection to the poetry of Paul Simon. I guess what Bob Dylan once said about himself is true "Hey, I'm just a song and dance man". But his cult will continue. Stay forever young, Bobby Z.
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Saw Dylan in 1965 at Baltimore Convention Center, our Mom's drove us to concert from the Eastern Shore since we were <16 yrs old. Highway 61 Revisited had just come out so first half of concert was all acoustical, the second half electronic. He got booed by the die hard beatniks in the audience for the amplified electrical guitars. He told the audience to F**K off, it was his music. Same thing happened to Springsteen when he put together the E Street Band back in the early 70's at a park in Ric
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Ain't it great that two people who couldn't sing that well appeared on each others albums, Cash and Dillon recorded together
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So what, he can't sing that good. His music makes up for everything else. Johnny Cash wasn't that great a singer either, but look what it got him. CHARACTER>
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He is a poet that will sing his own songs, not a song bird like Whitney Houston. It's no mistake that the most influential musicians put Dylan up on a pedestal because he was the top prolific songwriter behind Kris Kristofferso n at that time.
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i've seen many concerts, always had music playing ,named my 1st son Dylan, had a second son,we moved to the mts. i had the chance to take my youngest son to see bob dylan, it gave me so much pleasure hearing and seeing my son sing about every song he played. we had a wonderful time at his concert in 2002.
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hi. i just saw bob and willy nelson at south lake tahoe... harveys,,,, they were fantastic... bruce
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user gov-love is a f**king moron from the planet IDIOT. STFU and get back to milking the cows a**hole. Swallow a bunch of rusty nails then recite the Pledge of Allegiance backwards before returning to the message borads you f**king jackASS! Every one who has a brain knows that Dylan is the king!
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He was brilliant... too bad he couldn't sing. Makes me wonder what could be if modern music were not so much about image and more about skill? Makes me lament how shallow and vapid modern music is, when I listen to the complex depth of his mind. So he couldn't sing... he let his light shine & it lit up more than his generation. Rock on!
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what a grat artist, active, extremely intellegent, tallented, and all around awaeome
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b. s.
. . . "that little F**OT -- jew freeek -- LOL THE DYLAN TILLK ACCIDENT -- THEN ;LIKE j> CASH WENT over edge to seudo lew RELIGIOUS FREEK NO CO,,ENT, 'CEPT NO THING WEORSE THAN US OLD ones who fantasy still fyfteen. |
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i don't go to that many shows but the best i ever saw was Dylan at The Riviera in Chicago. He rocked! What a tight sound! At times, in the mosh pit, I was swept to within spittin' distance of the legend.
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I'm thrilled Pandora makes this timeless musician's influence still available to us many years after his debut. Looking for a music idol? Dylan's your man. Crafty, skilled, forward-look i n g , even subversive, he spoke the words of his generation others only dreamed of - and accomplished it with panasch. His raggy, New York voice is only slightly less well known than that of Coca Cola's. Rag on, Bobby - we love ya!
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rebellious lyrics and sounds that resist time and tradition, still young
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dylan is truly an icon in my eyes and i really appreciate pandora. this is stuff i've never seen! i would not have seen it without ya. don't go no where. i need ya bad! PANDORA ROCKS!
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surely this man is in a genere all his own with the lyrics and timely sounds of a turmutous time in history
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There are good ones,OK ones and great ones,Mr Dylan is suburb,he is way,way ahead of so many good ones,thank you Pandora..
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This is all US centric, with brief mention of tours in the UK. Add to his accomplishme n t s the influence Dylan has had (and the following) around the world and it is truly astounding, unparalleled .
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dylan is f**king bad a**. and i agree, any man that gets an honorary degree from Harvard for music is a genius in my book!!
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Dylan is a poet, not a singer-songw r i t e r . Too bad his live performances recently don't do his work justice. I thought they were going to have to get a stage hand to hold him up. Nevertheless , he's a proven poet and songwriter. and has influenced many. I just hope he gets his life together so he can enjoy the fruits of his work, which is great.
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Pretty goofy (though definitely not bad) voice, but A++ lyrics for sure.
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I believe he will come to be recognized not only as the greatest musical artist of his generation but as its greatest artist. There is something about him that is timeless and trancendant that connects him to the minstrelsy of the ages and something that is at the same time utterly modern and relevant to immediate experience of the listener. If you don't "get him" I hope for your sake that you will keep trying until you do. But you probably won't. Sad.
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Dylan puts out so much material he is hard to ignore. Back in the 60's he was a voice that was way ahead of his time. He was recognized as much more then an artist. However, no matter what generation you are from you either get him or you don't. I get him...Dylan is a legend no matter what you say about him
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Dylan is a talented artist. His poetry makes you think. I enjoy a lot of his early song writing and admire anyone who can stand on stage and deliver. For my tastes, be burned-out early and I haven't enjoyed his work since the 60's. As far as being a "hippie with a gripe," if one wants everbody to conform, go live in China.
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I think you guys miss the point, it's not that he has a great voice or the best songwriting skills, it's that America NEEDED a Bob Dylan, someone to observe and document where his country was headed, the images, and sounds of a turbulent time in history. Dylan encapsulated that vibe in his music, and influenced a lot of artists in the process. Love him or hate him, you cannot deny he MATTERS. 40 years later. How many artists can we say that about? Just an observation not meant to start a fight.
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Although artisticshel l ' s comment is a little harsh (p.s. the word is "deign" not "dain"), I sorta agree with him. I've been listening to Dylan since the very early 60s and never really "got" all the hype. He's got a lot of style, but the voice really is unmusical and a large portion of his lyrics are incomprehens i b l e (unless, like we did, you were listening to them stoned out of your mind). He looks good in a hat, though. But what do I know: I'm just another hippie with a gripe.
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Bob Dylan popped up on my Tom Waits station. Something has gone terribly wrong.
Dylan is one of the most overrated artists to ever foul the airwaves. A horrible writer and an even worse vocalist (I can't even dain to call him a singer without feeling like a liar). I only ever found his harmonica playing to be worth anything, and sure as hell wasn't enough to make him a 'legend' in my eyes. If anything, he's just another hippie with a gripe. |
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Can't blame him for having such a gigantic discography. If I had his talent, I would make as much as possible out of it. Anyways, a legend.
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This man's discography is colossal. My god! Bob Dylan is great, though!
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In the Cafe Espresso, in Woodstock, NY, there was a working clock, made from the album cover of Bob Dylan's "The Times They Are A Changin"
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He was interviewed after Ronald Reagan called him a "national treasure". He said "all I ever wanted to do was make it rhyme".
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Just because he's a Zimmerman doesn't make him Jewish. My name is Adolf, does that make me a Nazi? OK, my name isn't really Adolf, does that make me not a Nazi?. Hmm?
My point is pointless. I like ladies in dresses. Who cares what totem he imagines to be real? I don't care. |
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he was born Robert Allen Zimmerman in Duluth Minnesota May 24th 1941.
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