The Times They Are a-Changin' is the third studio album by the American singer-songwriter Bob Dylan. It was released on February 10, 1964, through Columbia Records.[1][2] Whereas his previous albums, Bob Dylan and The Freewheelin' Bob Dylan, combined original material and cover songs, this was the first to feature only original compositions. The album consists mostly of stark, sparsely arranged ballads concerning issues such as racism, poverty, and social change. The title track is one of Dylan's most famous; many feel that it captures the spirit of social and political upheaval that characterized the 1960s.
Some critics and fans were not quite as taken with the album as a whole, relative to his previous work, for its lack of humor or musical diversity. Still, The Times They Are a-Changin' peaked at No. 20 on the US chart, eventually going gold, and belatedly reaching No. 4 in the UK in 1965.
Recording sessions
Dylan began work on his third album on August 6, 1963, at Columbia's Studio A, located at 799 Seventh Avenue in New York City. Once again, Tom Wilson was the producer for the entire album. Dylan had, by the time of recording, become a popular, influential cultural figure.
Eight songs were recorded during that first session, but only one recording of "North Country Blues" was ultimately deemed usable and set aside as the master take. A master take of "Seven Curses" was also recorded, but it was left out of the final album sequence.
Another session at Studio A was held the following day, this time yielding master takes for four songs: "Ballad of Hollis Brown", "With God on Our Side", "Only a Pawn in Their Game", and "Boots of Spanish Leather", all of which were later included on the final album sequence.
A third session was held in Studio A on August 12, but nothing from this session was deemed usable. However, three recordings taken from the third session eventually saw official release: "master" takes of "Paths of Victory," "Moonshine Blues," and "Only a Hobo" were all included on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 released in 1991. In 2013, "Eternal Circle" (Take 4), "Hero Blues" was included in the 1963 entry of The 50th Anniversary Collection 1963.
Sessions did not resume for more than two months. During the interim, Dylan toured briefly with Joan Baez, performing a number of key concerts that raised his profile in the media. When Dylan returned to Studio A on October 23, he had six more original compositions ready for recording. Master takes for "The Lonesome Death of Hattie Carroll" and "When the Ship Comes In" were both culled from the October 23 session. A master take for "Percy's Song" was also recorded, but it was ultimately set aside and was not officially released until Biograph in 1985. An alternate take on "Percy's Song," a "That's All Right" (Arthur Crudup)/"Sally Free and Easy" (Cyril Tawney) medley and "East Laredo Blues" were released in 2013 on the 1963 entry of The 50th Anniversary Collection.
Another session was held the following day, October 24. Master takes of "The Times They Are a-Changin'" and "One Too Many Mornings" were recorded and later included in the final album sequence. A master take for "Lay Down Your Weary Tune" was also recorded, but ultimately left out of the final album; it was eventually released on Biograph. Two more outtakes, "Eternal Circle" and "Suze (The Cough Song)", were later issued on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. A final outtake, "New Orleans Rag", was released in 2013 on "The 50th Anniversary Collection".
The sixth and final session for The Times They Are a-Changin' was held on October 31, 1963. The entire session focused on one song — "Restless Farewell"— whose melody is taken from an Irish-Scots folk song, "The Parting Glass", and it produced a master take that ultimately closed the album.
Songs
The Times They Are a-Changin' opens with the title track, one of Dylan's most famous songs. Dylan's friend, Tony Glover, recalls visiting Dylan's apartment in September 1963, where he saw a number of song manuscripts and poems lying on a table. "The Times They Are a-Changin'" had yet to be recorded, but Glover saw its early manuscript. After reading the words "come senators, congressmen, please heed the call", Glover reportedly asked Dylan: "What is this shit, man?", to which Dylan responded, "Well, you know, it seems to be what the people like to hear".[4]
Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe: "This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads… 'Come All Ye Bold Highway Men', 'Come All Ye Tender Hearted Maidens'. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close for a while and allied together at that time."[5]
The climactic lines of the final verse: "The order is rapidly fadin'/ And the first one now/ Will later be last/ For the times they are a-changin'" have a Biblical ring, and several critics have connected them with lines in the Gospel of Mark, 10:31, "But many that are first shall be last, and the last first."[6]
A self-conscious protest song, it is often viewed as a reflection of the generation gap and of the political divide marking American culture in the 1960s. Dylan, however, disputed this interpretation in 1964, saying "Those were the only words I could find to separate aliveness from deadness. It had nothing to do with age." A year later, Dylan would say: "I can't really say that adults don't understand young people any more than you can say big fishes don't understand little fishes. I didn't mean "The Times They Are a-Changin'" as a statement … It's a feeling."[7]
"Ballad of Hollis Brown" was originally recorded for Dylan's previous album, The Freewheelin' Bob Dylan. That version was rejected and the song was eventually re-recorded for The Times They Are a-Changin'. Described by Clinton Heylin as a "'tragic tale of independence and free will' culled from the folk idiom", it is a grim, rural Gothic story of a father killing his starving family ("There's seven people dead on a South Dakota farm").
"With God on Our Side" was first performed at New York's Town Hall on April 12, 1963 (which also happened to be Dylan's debut appearance at that venue). Although Dylan claims it is an original composition, the melody to "With God on Our Side" bears a striking resemblance to "The Patriot Game", the lyrics of which were written by Dominic Behan and the melody borrowed from the traditional Irish folk song, "The Merry Month of May". Behan called Dylan a plagiarist and a thief, in an attempt to goad Dylan into a lawsuit; Dylan made no response. "The Patriot Game" was originally introduced to Dylan by Scottish folk singer Nigel Denver. Scottish songwriter Jim McLean recalls Dylan asking him in late 1962: "'What does it mean, 'Patriot Game'?'... I explained—probably lectured him—about Dr. Johnson, who's one of Dominic's favourite writers, and that's where Dominic picked up [the] saying: 'Patriotism is the last refuge of a scoundrel.'" Music critic Tim Riley writes: "'With God on Our Side" manages to voice political savvy mixed with generational naiveté" as it "draws the line for those born long enough after World War I to find its issues blurry ('the reasons for fightin'/I never did get') and who view the forgiveness of the World War II Germans as a farce."[8]
Dylan follows "With God on Our Side" with a soft, understated ballad: "One Too Many Mornings". "It's the sound of someone too smitten by love to harbor regrets, grown too independent to consider a reunion," writes Riley.[citation needed] One of the more celebrated songs on The Times They Are a-Changin', Dylan would dramatically rearrange it on his legendary 1966 concert tour for a full electric band.
"North Country Blues" tells the story of a mining company's decision to outsource its operations to countries where labor costs are cheaper than in the U.S.A. ("It's much cheaper down in the South American towns/Where the miners work almost for nothing".) The song marks the first time Dylan wrote a narrative from the point of view of a woman: the ex-wife of a miner whose work has disappeared. This song has been described by many critics as Dylan's portrait of his hometown, Hibbing, Minnesota.[9][10][11]
Dylan first performed "Only a Pawn in Their Game" at a voter registration rally in Greenwood, Mississippi. The song refers to the murder of Medgar Evers, who was the Mississippi leader of the NAACP. Civil rights activist Bernice Johnson would later tell critic Robert Shelton that "'Pawn' was the very first song that showed the poor white was as victimized by discrimination as the poor black. The Greenwood people didn't know that Pete [Seeger], Theo[dore Bikel] and Bobby [Dylan] were well known. (Seeger and Bikel were also present at the registration rally.) They were just happy to be getting support. But they really like Dylan down there in the cotton country."
The melody for "Boots of Spanish Leather" was inspired by Martin Carthy's arrangement of the English folksong "Scarborough Fair" (also the melody of an earlier Dylan composition, "Girl from the North Country"). Dylan learned Carthy's arrangement during his first trip to England in late 1962. After finishing his obligations in England (including a brief appearance in a BBC drama, Madhouse on Castle Street), Dylan traveled to Italy looking for his girlfriend, Suze Rotolo, apparently unaware that she had already returned to America (reportedly the same time Dylan left for England). While in Italy, Dylan created an early draft of "Boots of Spanish Leather". Salon.com critic Bill Wyman called the song "an abstract classic and one of the purest, most confounding folk songs of the time".[12]
According to Dylan biographer Clinton Heylin, "When the Ship Comes In" was written in August 1963 "in a fit of pique, in a hotel room, after his unkempt appearance had led an impertinent hotel clerk to refuse him admission until his companion, Joan Baez, had vouched for his good character." Heylin speculates that "Jenny's Song" from Brecht and Weill's Threepenny Opera was also an inspiration: "As Pirate Jenny dreams of the destruction of all her enemies by a mysterious ship, so Dylan envisages the neophobes being swept aside in 'the hour when the ship comes in'."[13] Dylan's former girlfriend Suze Rotolo recalls that her "interest in Brecht was certainly an influence on him. I was working for the Circle in the Square Theatre and he came to listen all the time. He was very affected by the song that Lotte Lenya's known for, 'Pirate Jenny'."
"The Lonesome Death of Hattie Carroll" tells the story of a hotel barmaid who died after being struck by a wealthy white man. The song was inspired by Dylan's reading a newspaper account of the incident which took place in a hotel in Maryland, in February 1963.[14]
The closing song of the album, "Restless Farewell" takes its melody from the traditional Irish-Scots song "The Parting Glass". Dylan's lyrics have an edge due to the way that Newsweek had treated Dylan. In a profile of the singer, published in October 1963, Dylan was portrayed as someone who had lied about his middle-class origins. Furthermore, it was implied that Dylan had plagiarised the lyrics of his best-known composition, "Blowin' in the Wind". Stung by these untrue allegations, Dylan composed a song about the pain of having "the dust of rumor" flung in his eyes. He swiftly recorded the work a few days after the Newsweek profile appeared on October 31, 1963.[15] The album ends with Dylan's vow "I'll make my stand/ And remain as I am/ And bid farewell and not give a damn".
Outtakes
The sessions for The Times They Are a-Changin' produced a large surplus of songs, many of which were eventually issued on later compilations. According to Clinton Heylin, "perhaps the two best songs, 'Percy's Song' and 'Lay Down Your Weary Tune', would not make the final album, failing to fit within the narrow bounds Dylan had decided to impose on himself."
"'Lay Down Your Weary Tune' ... along with 'Eternal Circle' ... marked a new phase in Dylan's songwriting", writes Heylin. "It is the all-important link between the clipped symbolism of 'A Hard Rain's a-Gonna Fall' and the more self-conscious efforts to come the following year. A celebration of song itself, 'Lay Down Your Weary Tune' was also an admission that there were certain songs 'no voice can hope to hum'."
Riley describes "Lay Down Your Weary Tune" as "a hymn to music's instrumental spectrum ... it's about the heightened awareness of nature and reality available to performer and listener in the course of a highly charged musical experience". The song is also rich in natural imagery, often in surreal, musical terms ("The cryin' rain like a trumpet sang/And asked for no applause"). Steven Goldberg writes that the song depicts nature "not as a manifestation of God but as containing God within its every aspect". The Byrds released their own celebrated version of "Lay Down Your Weary Tune" in 1965 on their critically acclaimed second album, Turn! Turn! Turn!
"Percy's Song" is sung from the point of view of a man who visits a judge in a futile, last-ditch attempt to save his friend from a severe prison sentence. It is based on a tune taken from "The Wind and the Rain", a song introduced to Dylan by Paul Clayton. "'Percy's Song', along with ... 'Seven Curses' and 'Moonshine Blues', showed that Dylan's command of traditional themes, housed in traditional melodies, remained undiminished by the topicality of other efforts", writes Heylin. Fairport Convention recorded their own celebrated rendition of "Percy's Song" on their critically acclaimed third album, Unhalfbricking.
Written sometime in late 1962 or early 1963, "Only a Hobo" was also recorded during these sessions but ultimately set aside. Described by Heylin as "a superior reworking of [Dylan's earlier composition] 'Man on the Street' that took as its source the 'Poor Miner's Lament'", the song is sung from the point of view of a sympathetic narrator who stumbles upon a homeless man lying dead in a gutter. Rod Stewart later released his own celebrated version of "Only a Hobo" on the critically acclaimed Gasoline Alley in 1970. Dylan himself re-recorded "Only a Hobo" for Bob Dylan's Greatest Hits Vol. II, only to reject that version as well. He eventually released his own version in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.
On October 26, 1963, three days after recording the final song for The Times They Are a-Changin', Dylan held a concert at New York's Carnegie Hall. That night, he performed eight songs from his forthcoming third album, as well as several outtakes from the same album sessions (including "Percy's Song", "Seven Curses", and "Lay Down Your Weary Tune"). Columbia recorded the entire concert, but it was decades before a substantial portion of it was officially released (in fact to date the concert in its entirety has not been released). Nevertheless, the performance was well received by the press and audience alike.[17]
A month later, on November 22, 1963, President John F. Kennedy was assassinated in Dallas, Texas. Dylan's friend Bob Fass was sitting with Dylan in Carla Rotolo's apartment the day of the shooting. According to Fass, Dylan was deeply affected by it and said: "What it means is that they are trying to tell you 'Don't even hope to change things'." Dylan later claimed that Kennedy's death did not directly inspire any of his songs, but in a manuscript written shortly after the assassination, he wrote: "it is useless to recall the day once more." In another, he repeatedly wrote: "there is no right or left there is only up and down."
Three weeks to the day after Kennedy's assassination, the Emergency Civil Liberties Committee gave Dylan their annual Tom Paine award for his contribution to the civil rights movement. Dylan gave an acceptance speech at the awards ceremony held at Hotel Americana in New York. In his closing remarks, he stated the following: "I want to accept this award, the Tom Paine Award, from the Emergency Civil Liberties Committee. I want to accept it in my name but I'm not really accepting it in my name and I'm not accepting it in any kind of group's name, any Negro group or any other kind of group. There are Negroes - I was on the march on Washington up on the platform and I looked around at all the Negroes there and I didn't see any Negroes that looked like none of my friends. My friends don't wear suits. My friends don't have to wear suits. My friends don't have to wear any kind of thing to prove that they're respectable Negroes. My friends are my friends, and they're kind, gentle people if they're my friends. And I'm not going to try to push nothing over. So, I accept this reward - not reward, (Laughter) award in behalf of Phillip Luce who led the group to Cuba which all people should go down to Cuba. I don't see why anybody can't go to Cuba. I don't see what's going to hurt by going any place. I don't know what's going to hurt anybody's eyes to see anything. On the other hand, Phillip is a friend of mine who went to Cuba. I'll stand up and to get uncompromisable about it, which I have to be to be honest, I just got to be, as I got to admit that the man who shot President Kennedy, Lee Oswald, I don't know exactly where … what he thought he was doing, but I got to admit honestly that I too - I saw some of myself in him. I don't think it would have gone - I don't think it could go that far. But I got to stand up and say I saw things that he felt, in me - not to go that far and shoot. (Boos and hisses) You can boo but booing's got nothing to do with it. It's a - I just a - I've got to tell you, man, it's Bill of Rights is free speech and I just want to admit that I accept this Tom Paine Award in behalf of James Forman of the Students Non-Violent Coordinating Committee and on behalf of the people who went to Cuba." (Followed by applause and boos)[18]
Clinton Heylin wrote: "in less than six months [Dylan] had turned full circle from the protest singer who baited Paul Nelson into someone determined to write only songs that 'speak for me' … Dylan's ambitions as a writer for the page … may have been further fed at the end of December when he met renowned beat poet Allen Ginsberg, author of Howl and Kaddish." Dylan was already familiar with Ginsberg's work. By now, beat poetry and French symbolists had become an enormous influence on Dylan's work, as Dylan "passed from immediate folk sources to a polychrome of literary styles". In an interview taken in 1985, Dylan said that he didn't start writing poetry until he was out of high school: "I was eighteen or so when I discovered Ginsberg, Gary Snyder, Philip Whalen, Frank O'Hara and those guys. Then I went back and started reading the French guys, Rimbaud and François Villon."
Many critics took note of the stark pessimism on The Times They Are a-Changin', which NPR's Tim Riley later described as "'Masters of War' stretched out into a concept album" due to its "social preening and black-and-white moralism".
By the time the album was released in February 1964,[1] Dylan was already entering a new phase in his career, pulling further away from his popular image as a protest singer.
The album was re-released in 2010 with new liner notes by Greil Marcus.[28]
In popular culture
In 1994, Dylan licensed "The Times They Are a-Changin'" to be used in an advertisement for the auditing and accountancy firm Coopers & Lybrand, as performed by Richie Havens. Two years later, in 1996, a version of the song by Pete Seeger was used in a TV advertisement for the Bank of Montreal.[29] This song was also used as the background track to the opening montage in the movie Watchmen.
The album and the song are mentioned in writer Walter Isaacson's biography of Steve Jobs, as works of Dylan that were particularly meaningful to Jobs, the song is also referenced in the movie, where Jobs and John Sculley debate what lyrics of the song to use in the unveiling of the Macintosh.[30]
Track listing
All tracks are written by Bob Dylan. The melody of "Restless Farewell" is from the traditional Irish-Scots song "The Parting Glass". The melody of "With God on Our Side" resembles the traditional Irish folk song "The Merry Month of May".[31]
Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Dylan continued the musical approach of his previous album Bringing It All Back Home (1965), using rock musicians as his backing band on every track of the album in a further departure from his primarily acoustic folk sound, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural climate of contemporary America. Author Michael Gray argued that, in an important sense, the 1960s "started" with this album.
"Desolation Row" is a 1965 song by the American singer-songwriter Bob Dylan. It was recorded on August 4, 1965, and released as the closing track of Dylan's sixth studio album, Highway 61 Revisited. The song has been noted for its length (11:21) and surreal lyrics in which Dylan weaves characters into a series of vignettes that suggest entropy and urban chaos.
Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know ". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
Bringing It All Back Home is the fifth studio album by the American singer-songwriter Bob Dylan, released in March1965 by Columbia Records. In a major transition from his earlier sound, it was Dylan's first album to incorporate electric instrumentation, which caused controversy and divided many in the contemporary folk scene.
The Freewheelin' Bob Dylan is the second studio album by the American singer-songwriter Bob Dylan, released on May 27, 1963, by Columbia Records. Whereas his self-titled debut album Bob Dylan had contained only two original songs, this album represented the beginning of Dylan's writing contemporary lyrics to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions. It opens with "Blowin' in the Wind", which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul and Mary soon after the release of the album. The album featured several other songs which came to be regarded as among 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".
Bob Dylan is the debut studio album by the American singer-songwriter Bob Dylan, released on March 19, 1962, by Columbia Records. The album was produced by Columbia talent scout John H. Hammond, who had earlier signed Dylan to the label, a controversial decision at the time. The album primarily features folk standards but also includes two original compositions, "Talkin' New York" and "Song to Woody". The latter was an ode to Woody Guthrie, a significant influence in Dylan's early career.
Another Side of Bob Dylan is the fourth studio album by the American singer and songwriter Bob Dylan, released on August 8, 1964, by Columbia Records.
"It Ain't Me Babe" is a song by Bob Dylan that originally appeared on his fourth album Another Side of Bob Dylan, which was released in 1964 by Columbia Records. According to music critic Oliver Trager, this song, along with others on the album, marked a departure for Dylan as he began to explore the possibilities of language and deeper levels of the human experience. Within a year of its release, the song was picked up as a single by folk rock act the Turtles and country artist Johnny Cash. Jan & Dean also covered the track on their "Folk 'N Roll" LP in 1965.
"Don't Think Twice, It's All Right" is a song written by Bob Dylan in 1962 and released the following year on his album The Freewheelin' Bob Dylan and as the B-side of the single "Blowin' in the Wind". The song was covered by several other artists, including Waylon Jennings in 1964, Emilie-Claire Barlow in her 2010 album The Beat Goes On and Peter, Paul and Mary, who released it as a single, which reached the Top 10 of the Billboard Hot 100.
"Masters of War" is a song by Bob Dylan, written over the winter of 1962–63 and released on the album The Freewheelin' Bob Dylan in the spring of 1963. The song's melody was adapted from the traditional "Nottamun Town." Dylan's lyrics are a protest against the Cold War nuclear arms build-up of the early 1960s.
Bob Dylan is an American singer-songwriter. Often considered to be one of the greatest songwriters in history, Dylan has been a major figure in popular culture over his 60-year career. He rose to prominence in the 1960s, when his songs "Blowin' in the Wind" (1963) and "The Times They Are a-Changin'" (1964) became anthems for the civil rights and antiwar movements. Initially modeling his style on Woody Guthrie's folk songs, Robert Johnson's blues, and what he called the "architectural forms" of Hank Williams's country songs, Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it "with the intellectualism of classic literature and poetry". His lyrics incorporated political, social, and philosophical influences, defying pop music conventions and appealing to the decade's burgeoning counterculture.
"The Times They Are a-Changin'" is a song written by Bob Dylan and released as the title track of his 1964 album of the same name. Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Released as a 45-rpm single in Britain in 1965, it reached number 9 on the UK Singles Chart. The song was not released as a single in the U.S. In 2019 it was certified Silver by BPI.
"Bob Dylan's Dream" is a song written by Bob Dylan in 1963. It was recorded by Dylan on April 24, 1963, and was released by Columbia Records a month later on the album The Freewheelin' Bob Dylan.
"Let Me Die in My Footsteps" is a song written by American singer-songwriter Bob Dylan in February 1962. The song was selected for the original sequence of Dylan's 1963 album The Freewheelin' Bob Dylan, but was replaced by "A Hard Rain's a-Gonna Fall". This version was recorded at Columbia studios on April 25, 1962, during the first Freewheelin' session, and was subsequently released in March 1991 on The Bootleg Series Volumes 1–3 1961–1991.
"When the Ship Comes In" is a folk music song by Bob Dylan, released on his third album, The Times They Are a-Changin', in 1964.
The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964 is a compilation album by American singer-songwriter Bob Dylan, containing demo recordings he made for his first two publishing companies, Leeds Music and M. Witmark & Sons, from 1962 to 1964. The seventh installment of the ongoing Bob Dylan Bootleg Series, it was released on October 19, 2010 on Legacy Records.
"Lay Down Your Weary Tune" is a song written by Bob Dylan in 1963. Dylan originally recorded it for his album The Times They Are a-Changin', but his version of the song was not officially released until 1985 on the Biograph box set. In the album liner notes, Dylan claims that in the song he was trying to capture the feeling of a Scottish ballad he had just heard on a 78 rpm record. The specific ballad Dylan was referring to has not been identified, but speculation includes "The Water Is Wide", "O Waly, Waly" and "I Wish, I Wish".
"John Brown" is a song by American singer-songwriter Bob Dylan. The song, written in October 1962 was released under his pseudonym "Blind Boy Grunt" on the Folkways Records compilation album Broadside Ballads, Vol. 1 (1963). Live performances have been officially released on MTV Unplugged (1995), Live at The Gaslight 1962 (2005), and Live 1962–1966 – Rare Performances From The Copyright Collections (2018). A demo version was issued on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964 (2010).
"Farewell", also known as "Fare Thee Well", is a song by American singer-songwriter Bob Dylan. Dylan wrote the song in January 1963. He considered it for his third album, The Times They Are a-Changin', but only attempted a few takes during the album's first studio session. Dylan's earlier recordings of "Farewell" found their way onto various bootlegs, and a collection of demos that included the song was released in October 2010 on The Bootleg Series Vol. 9 – The Witmark Demos: 1962–1964.
"Mama, You Been on My Mind" is a song by American singer-songwriter Bob Dylan. Written in 1964 during a trip to Europe, the song dealt with his recent breakup with his girlfriend, Suze Rotolo. Dylan first recorded the song in June of that year during a session for his album Another Side of Bob Dylan. However, the song was not included on the album, and Dylan's version remained unreleased until 1991. In total, in the 1990s and 2000s four versions were put out on Dylan's Bootleg Series of releases, including two live performances with Joan Baez from 1964 and 1975.
↑ "Bob Dylan and the NECLC". www.corliss-lamont.org. Corliss-Lamont. January 7, 2012. Archived from the original on September 11, 2014. Retrieved December 6, 2014.
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