"All I Really Want to Do" | |
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Song by Bob Dylan | |
from the album Another Side of Bob Dylan | |
Released | August 8, 1964 |
Recorded | June 9, 1964 |
Genre | Folk |
Length | 4:04 |
Label | Columbia |
Songwriter(s) | Bob Dylan |
Producer(s) | Tom Wilson |
"All I Really Want to Do" is a song written by Bob Dylan and featured on his Tom Wilson-produced 1964 album, Another Side of Bob Dylan . [1] [2] It is arguably one of the most popular songs that Dylan wrote in the period immediately after he abandoned topical songwriting. [3] Within a year of its release on Another Side of Bob Dylan, it had also become one of Dylan's most familiar songs to pop and rock audiences, due to hit cover versions by Cher and the Byrds. [3]
"All I Really Want to Do" was first released on Dylan's 1964 album Another Side of Bob Dylan . The song was also included on the Dylan compilations Bob Dylan's Greatest Hits Vol. II in 1971 and the 3-disc edition of Dylan in 2007. [4] In addition, two live versions of the song have been released: one, recorded in 1978, on Bob Dylan at Budokan and the other, recorded in 1964, on The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall . [4]
Dylan wrote the song in 1964 and recorded it in one take on June 9, 1964. [5] Like other songs on Another Side of Bob Dylan, "All I Really Want to Do" was inspired by Dylan's breakup with Suze Rotolo. [6] "All I Really Want to Do" opens the album with a different attitude than Dylan's previous album, The Times They Are a-Changin' ; a playful song about a relationship rather than a finger-pointing political song. [6] Musically simple, though playful, "All I Really Want to Do" is essentially a list of things, physical and psychological, that Dylan does not want to do or be to the listener [3] (perhaps a woman, but just as likely his audience as a whole).[ citation needed ] Dylan laughs at some of his own jokes in the song, as he parodies typical "boy meets girl" love songs. [7] One interpretation of the song is that it is a parody of male responses to early feminist conversations. [8] Along with another Another Side of Bob Dylan song, "It Ain't Me, Babe," "All I Really Want to Do" questioned the usual assumptions of relationships between men and women, rejecting possessiveness and machismo. [9] The song's chorus features Dylan singing in a high, keening yodel, likely inspired by Hank Williams or Ramblin' Jack Elliott, while disingenuously claiming that all he wants to do is to be friends. [3] "All I Really Want to Do" sees Dylan experimenting with the conventions of the romantic pop song by constructing rhymes within lines and also rhyming the end of every line with the end of the following line. [3]
The first known live concert performance of "All I Really Want to Do" was at the Newport Folk Festival on July 26, 1964. [5] It remained part of Dylan's concert set list for his all acoustic shows in 1965. [5] It returned to Dylan's concert sets in 1978, when Dylan sang it at the end of most shows to the melody of Simon and Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)". [5] [8] For those shows, he often revised the lyrics, incorporating mischievous verses such as: [5]
I ain't lookin' to make you fry
See you fly or watch you die
And I don't want to drag you down
Chain you down or be your clown
"All I Really Want to Do" | ||||
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Single by Cher | ||||
from the album All I Really Want to Do | ||||
B-side | "I'm Gonna Love You" | |||
Released | May 1965 | |||
Genre | Folk rock [10] [11] | |||
Length | 2:59 | |||
Label | Imperial | |||
Songwriter(s) | Bob Dylan | |||
Producer(s) | Sonny Bono | |||
Cher singles chronology | ||||
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Audio sample | ||||
"All I Really Want to Do" (Cher version) | ||||
Audio | ||||
"All I Really Want to Do - Cher" on YouTube |
"All I Really Want to Do" is Cher's debut single. Released in May 1965,it reached number 15 on the Billboard Hot 100 chart and number 9 on Record Retailer magazine's singles chart. [12] [13] [14] Cher's recording of the song also charted in several other countries during 1965. Cher's version was involved in a chart battle with the Byrds' recording of "All I Really Want to Do" when both versions entered the Billboard Hot 100 during the same week. [15]
The initial idea to cover the song came when Cher heard the Byrds perform it during their pre-fame residency at Ciro's nightclub on the Sunset Strip in March 1965. [15] [16] This caused a minor controversy when it was alleged by the Byrds and their management that Cher and her husband,Sonny Bono,had taped one of the Byrds' appearances at Ciro's without permission,in order to utilize some of the band's material for their own releases. [15] However,Cher's version is,in fact,quite different from the Byrds' recording and lacks the Beatlesque bridge that remained unique to their version. [17] In her version,Cher imitates Sonny on alternating lines of the song,to make it sound like a Sonny and Cher song. Ultimately,Cher's cover was the more successful in the U.S.,reaching the Billboard top 20,while the Byrds' single faltered at number 40. The reverse was true in the UK,where the Byrds' single reached number 4. [18]
Chart (1965) | Position |
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Canada (Canadian Hot 100) [19] | 11 |
Netherlands (Dutch Top 40) | 15 |
Quebec (ADISQ) [20] | 9 |
Sweden (Sverigetopplistan) | 13 |
U.K. (OCC) [21] | 9 |
U.S. Billboard Hot 100 [17] | 15 |
U.S. Cash Box Top 100 [22] | 9 |
Zimbabwe Singles Chart | 4 |
Chart (1965) | Position |
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Dutch Top 100 [23] | 95 |
U.S. Billboard Hot 100 [24] | 90 |
"All I Really Want to Do" | ||||
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Single by the Byrds | ||||
from the album Mr. Tambourine Man | ||||
B-side | "I'll Feel a Whole Lot Better" | |||
Released | June 14, 1965 | |||
Recorded | March 8 and April 14,1965 | |||
Studio | Columbia,Hollywood,California | |||
Genre | Folk rock | |||
Length | 2:02 | |||
Label | Columbia | |||
Songwriter(s) | Bob Dylan | |||
Producer(s) | Terry Melcher | |||
The Byrds singles chronology | ||||
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"All I Really Want to Do" was the second single by the American folk rock band the Byrds,and was released on June 14,1965,by Columbia Records. [25] The song was also included on the band's debut album, Mr. Tambourine Man ,which was released on June 21,1965. [25] The version of the song released as a single is a different vocal take to the version found on the Mr. Tambourine Man album,as evidenced by the slight lyrical variations in the song's first verse and the different running times the two versions have;the single is 2:02 minutes in length while the album version is slightly longer at 2:04. [26] The single reached #40 on the Billboard Hot 100 and #4 on the Record Retailer chart. [27] [28]
The single was rush-released by the band's record label,Columbia Records,when it transpired that Cher was about to issue a rival cover version of the song on the Imperial label (see above). [15] However,the Byrds and their management were largely unconcerned about Cher's imminent release,feeling that there was sufficient room in the charts for both versions. [15] In fact,the Byrds were reluctant to release another Dylan-penned single at all,feeling that it was somewhat formulaic. [17] However,Columbia was insistent,believing that in the wake of the Byrds' debut single,"Mr. Tambourine Man",another Dylan cover equaled an instant hit. [17] A chart battle ensued,largely instigated by the music press and Columbia (who were determined to bury Cher's release),but ultimately the single stalled at #40 on the U.S. charts,while Cher's cover reached #15. [15] The reverse was true in the UK,however,where the Byrds' version became the fastest selling single in CBS Records' history,finally reaching #4 while Cher's recording peaked at #9. [29] [18]
What really got me most was Dylan coming up to me and saying, "They beat you man," and he lost faith in me. He was shattered. His material had been bastardized. There we were, the defenders and protectors of his music, and we'd let Sonny & Cher get away with it.
— Roger McGuinn [15]
The Byrds' version of the song is noticeably different in structure to Dylan's. It begins with Jim McGuinn's jangling guitar introduction (played on a 12-string Rickenbacker guitar) and features a substantially changed, ascending melody progression in the chorus, made more attractive by the band's angelic harmonies. [3] In addition, the band completely changed the melody to one of the song's verses, in order to turn it into a Beatlesque, minor-key bridge. [3] Although McGuinn sang lead on most of the song, rhythm guitarist David Crosby sang lead on the middle eight.[ citation needed ]
Reaction to the single in the press was generally positive, with Billboard magazine commenting "another hot pop, folk-flavoured Bob Dylan tune is offered by the dynamic group." [17] Cash Box said that "the rousing, rhythmic Bob Dylan-penned romancer is given a funky soulful sendoff" and that it should become a hit similar to "Mr. Tambourine Man." [30] Record World felt it was a "fitting and proper sequel to 'Mr. Tambourine Man.'" [31] In the UK, Penny Valentine, writing in Disc , opined "I think this is a marvelous song, but, Byrds fan though I have always been, I prefer the Sonny & Cher [ sic ] recording." [18] In the NME , Derek Johnson also praised the single, predicting it would be a UK number one, and commenting "The pattern is much the same as before, with those familiar high-register harmonies – clearly influenced by the West Coast surf sound...coupled with strident twangs throughout, rattling tambourines, and crashing cymbals." [18]
In addition to appearing on the Byrds' debut album, the song is included on several Byrds' compilation albums, including The Byrds' Greatest Hits ; The Original Singles: 1965–1967, Volume 1 ; The Byrds ; The Essential Byrds ; The Byrds Play Dylan ; and There Is a Season . [12]
Chart (1965) | Peak position |
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U.K. ( Record Retailer ) [17] | 4 |
U.S. Billboard Hot 100 [17] | 40 |
The Byrds were an American rock band formed in Los Angeles, California, in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn remaining the sole consistent member. Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar was "absorbed into the vocabulary of rock" and has continued to be influential.
"My Back Pages" is a song written by Bob Dylan and included on his 1964 album Another Side of Bob Dylan. It is stylistically similar to his earlier folk protest songs and features Dylan's voice with an acoustic guitar accompaniment. However, its lyrics—in particular the refrain "Ah, but I was so much older then/I'm younger than that now"—have been interpreted as a rejection of Dylan's earlier personal and political idealism, illustrating his growing disillusionment with the 1960s folk protest movement with which he was associated, and his desire to move in a new direction. Although Dylan wrote the song in 1964, he did not perform it live until 1988.
Ballad of Easy Rider is the eighth album by the American rock band the Byrds and was released in November 1969 on Columbia Records. The album was named after the song "Ballad of Easy Rider", which had been written by the Byrds' guitarist and singer, Roger McGuinn, as the theme song for the 1969 film, Easy Rider. The title was also chosen in an attempt to capitalize on the commercial success of the film, although the majority of the music on the album had no connection with it. Nonetheless, the association with Easy Rider heightened the Byrds' public profile and resulted in Ballad of Easy Rider becoming the band's highest charting album for two years in the U.S.
Mr. Tambourine Man is the debut studio album by the American rock band the Byrds and was released on June 21, 1965, by Columbia Records. The album is characterized by the Byrds' signature sound of Jim McGuinn's 12-string Rickenbacker guitar and the band's complex harmony singing. The material on the album mostly consists of cover versions of folk songs, primarily composed by Bob Dylan, and originals written or co-written by singer Gene Clark. Along with the Dylan-penned single of the same name, Mr. Tambourine Man established the band as an internationally successful act and is widely regarded by critics as representing the first effective American challenge to the chart dominance of the Beatles and other British Invasion bands during the mid-1960s.
"Chestnut Mare" is a song by the American rock band the Byrds, written by Roger McGuinn and Jacques Levy during 1969 for a planned country rock musical named Gene Tryp. The musical was never staged and the song was instead released in September 1970 as part of the Byrds' (Untitled) album. It was later issued as a single, peaking at number 121 on the Billboard singles chart and number 19 on the UK Singles Chart.
Turn! Turn! Turn! is the second studio album by American rock band the Byrds, released on December 6, 1965, by Columbia Records. Like its predecessor, Mr. Tambourine Man, the album epitomized the folk rock genre and continued the band's successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar. The album's lead single and title track, "Turn! Turn! Turn!", which was adapted by Pete Seeger from text in the Book of Ecclesiastes, had previously been arranged in a chamber-folk style by the Byrd's lead guitarist Jim McGuinn for folk singer Judy Collins' third album, but the arrangement he used for the Byrds' recording of the song utilizes the same folk-rock style as the band's previous hit singles.
Fifth Dimension is the third album by the American rock band the Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby increased their songwriting output. In spite of this, the loss of Clark resulted in an album with four cover versions and an instrumental, which critics have described as "wildly uneven" and "awkward and scattered". However, it was the first Byrds album not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire.
The Byrds' Greatest Hits is the first greatest hits album by the American rock band the Byrds and was released in August 1967 on Columbia Records. It is the top-selling album in the Byrds' catalogue and reached number 6 on the Billboard Top LPs chart, but failed to chart in the UK.
Dr. Byrds & Mr. Hyde is the seventh studio album by the American rock band the Byrds and was released in March 1969 on Columbia Records. The album was produced by Bob Johnston and saw the band juxtaposing country rock material with psychedelic rock, giving the album a stylistic split-personality that was alluded to in its title. It was the first album to feature the new band line-up of Clarence White (guitar), Gene Parsons (drums), John York (bass), and founding member Roger McGuinn (guitar). Dr. Byrds & Mr. Hyde is unique within the band's discography for being the only album on which McGuinn sings the lead vocal on every track.
(Untitled) is the ninth album by the American rock band the Byrds and was released in September 1970 on Columbia Records. It is a double album, with the first LP featuring live concert recordings from early 1970, and a second disc consisting of new studio recordings. The album represented the first official release of any live recordings by the band, as well as the first appearance on a Byrds' record of new recruit Skip Battin, who had replaced the band's previous bass player, John York, in late 1969.
Byrdmaniax is the tenth album by the American rock band the Byrds. It was released in June 1971 on Columbia Records at a time of renewed commercial and critical success for the band, due to the positive reception that their two previous albums, Ballad of Easy Rider and (Untitled), had received. The album was the second by the Byrds to feature the Roger McGuinn, Clarence White, Gene Parsons, and Skip Battin line-up of the band and was mostly recorded in early 1971, while the band were in the midst of an exhausting tour schedule. As a result, the band had little time to hone their new songs before recording commenced and thus, much of the material on the album is underdeveloped. Byrdmaniax was poorly received upon release, particularly in the United States, and did much to undermine the Byrds' new-found popularity.
The Byrds is a four-CD box set by the American rock band the Byrds. It features music that had previously been released between the mid-1960s and early 1970s, along with a number of previously unreleased tracks and some new recordings from 1990. The box set was issued on October 19, 1990, by Columbia/Legacy and reached number 151 on the Billboard albums chart.
The Byrds Play Dylan is the name of two different compilation albums by the American rock band the Byrds, one released in 1979 and the other issued in 2002. As their titles suggest, each compilation consists of interpretations of Bob Dylan penned songs, which the Byrds recorded at different stages of their career.
All I Really Want to Do is the debut solo studio album by American singer-actress Cher and was released on August 16, 1965, by Imperial Records. The album was produced for Cher by her then husband and singing partner, Sonny Bono, with contributions from arranger Harold Battiste. The album is by-and-large a collection of cover versions but does contain three songs written by Bono. In 1992, All I Really Want to Do and Cher's follow-up solo album, The Sonny Side of Chér, were reissued on one CD by EMI Records. Later, in 1995, EMI released a collection titled The Originals, which included All I Really Want to Do, The Sonny Side of Chér, and Cher's third solo album, Chér. The album was again reissued on one CD with The Sonny Side of Chér by BGO Records in 2005 in the UK only. The original twelve track All I Really Want to Do album has never been issued on Compact Disc on its own. Upon its release, the album was well received by critics and garnered positive reviews.
"It's All Over Now, Baby Blue" is a song written and performed by Bob Dylan and featured on his Bringing It All Back Home album, released on March 22, 1965, by Columbia Records. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. The lyrics were heavily influenced by Symbolist poetry and bid farewell to the titular "Baby Blue". There has been much speculation about the real life identity of "Baby Blue", with possibilities including Joan Baez, David Blue, Paul Clayton, Dylan's folk music audience, and even Dylan himself.
"Ballad of Easy Rider" is a song written by Roger McGuinn, with input from Bob Dylan, for the 1969 film Easy Rider. The song was initially released in August 1969 on the Easy Rider soundtrack album as a Roger McGuinn solo performance. It was later issued in an alternate version as a single by McGuinn's band the Byrds on October 1, 1969. Senior editor for Rolling Stone magazine, David Fricke, has described the song as perfectly capturing the social mood of late 1969 and highlighting "the weary blues and dashed expectations of a decade's worth of social insurrection".
"The Bells of Rhymney" is a song by folk singer Pete Seeger, which consists of Seeger's own music accompanying words written by Welsh poet Idris Davies. Seeger first released a recording of the song on a live album in 1958, but it is the American folk rock band the Byrds' 1965 recording that is the best known version of the song.
"It Won't Be Wrong" is a song by the American folk rock band the Byrds, which appeared as the second track on their 1965 album, Turn! Turn! Turn! It was also coupled with the song "Set You Free This Time" for a single release in 1966, resulting in "It Won't Be Wrong" charting at number 63 on the Billboard Hot 100. The song was written by Byrds band member Jim McGuinn and his friend Harvey Gerst in 1964.
Preflyte is a compilation album by the American folk rock band the Byrds and was released in July 1969 on Together Records. The album is a collection of demos recorded by the Byrds at World Pacific Studios in Los Angeles during late 1964, before the band had signed to Columbia Records and become famous. It includes early demo versions of the songs "Here Without You", "You Won't Have to Cry", "I Knew I'd Want You", and "Mr. Tambourine Man", all of which appeared in re-recorded form on the band's 1965 debut album.
"Why" is a song by the American rock band the Byrds, written by David Crosby and Jim McGuinn and first released as the B-side of the band's "Eight Miles High" single in March 1966. The song was re-recorded in December 1966 and released for a second time as part of the band's Younger Than Yesterday album.