The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin'. The change prompted criticism from some influential figures in the folk community– Sing Out! editor Irwin Silber complained that Dylan had "somehow lost touch with people" and was caught up in "the paraphernalia of fame".[1]
Despite the album's thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records– solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one track, "Black Crow Blues". Another Side of Bob Dylan reached No. 43 in the United States[2] (although it eventually went gold), and peaked at No. 8 on the UK charts in 1965.
A high-definition 5.1 surround sound edition of the album was released on SACD by Columbia in 2003.[3]
Writing
Throughout 1963, Dylan worked on a novel and a play. A number of publishers were interested in signing Dylan to a contract, and at one point, City Lights (a small but prestigious company specializing in poetry) was strongly considered. However, as Dylan worked on his book at a casual pace, his manager, Albert Grossman, decided to make a deal with a major publisher.
Macmillan's senior editor, Bob Markel, said, "We gave [Dylan] an advance for an untitled book of writings … The publisher was taking a risk on a young, untested potential phenomenon." When Markel met with Dylan for the first time, "there was no book at the time … The material at that point was hazy, sketchy. The poetry editor called it 'inaccessible.' The symbolism was not easily understood, but on the other hand it was earthy, filled with obscure but marvelous imagery … I felt it had a lot of value and was very different from Dylan's output till then. [But] it was not a book."
It would be years before Dylan finished his book, but the free form poetry experiments that came from it eventually influenced his songwriting. The most notable example came in a six-line coda to a poem responding to President John F. Kennedy's assassination (which took place on November 22, 1963):
the colors of Friday were dull / as cathedral bells were gently burnin / strikin for the gentle / strikin for the kind / strikin for the crippled ones / an strikin for the blind
This refrain would soon appear in a very important composition, "Chimes of Freedom", and, as biographer Clinton Heylin writes, "with this sad refrain, Dylan would pass from topical troubadour to poet of the road."[4]
In February 1964, Dylan embarked on a 20-day trip across the United States. Riding in a station wagon with a few friends (Paul Clayton, Victor Maymudes, and Pete Karman), Dylan began the trip in New York, taking numerous detours through many states before ending the trip in California. (At one point, Dylan reportedly paid a visit to poet Carl Sandburg.) "We talked to people in bars, miners," Dylan would later say. "Talking to people– that's where it's at, man."[5]
According to Heylin, "the primary motivation for this trip was to find enough inspiration to step beyond the folk-song form, if not in the bars, or from the miners, then by peering deep into himself." Dylan spent much time in the back of the station wagon, working on songs and possibly poetry on a typewriter. It was during this trip that Dylan composed "Chimes of Freedom", finishing it in time to premiere at a Denver concert on the 15th. "Mr. Tambourine Man" was also composed during this trip.
It was also during this trip that the Beatles arrived in America. Their first visit to the United States remains a touchstone in American culture. Maymudes recalled how Dylan "nearly jumped out the car" when "I Wanna Hold Your Hand" came on the radio and his comments: "Did you hear that?..that was fuckin' great! Oh man.." and how Dylan seemed lost in thought replaying the record over in his head.[6] Dylan, however, had already been following the Beatles since 1963. There have been different accounts regarding Dylan's attitude towards the Beatles at this time, but it's known that Suze Rotolo and Al Aronowitz immediately took to them and championed their music to Dylan. Aronowitz later claimed that Dylan dismissed them as "bubblegum", but in an interview in 1971, Dylan recalls being impressed by their music. "We were driving through Colorado, we had the radio on, and eight of the Top 10 songs were Beatles songs … 'I Wanna Hold Your Hand,' all those early ones. They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid … I knew they were pointing the direction of where music had to go."
In January, while the Beatles were in France, George Harrison bought the French release of The Freewheelin' Bob Dylan, titled En Roue Libre, which they played repeatedly, impressed by the lyrics and "just the attitude!".[7] As the Beatles began to influence Dylan and vice versa, Dylan's personal life was undergoing a number of significant changes. When Dylan returned to New York in March, he rented an electric guitar.[7] He continued his romance with folksinger Joan Baez, though their stage appearances together began to dwindle. Dylan's girlfriend Suze Rotolo apparently had had enough of the affair. Soon after Dylan returned to New York, the two had an argument. At the time, Suze was staying with her sister Carla, and when Carla intervened, Dylan began screaming at Carla. Carla ordered Dylan to leave, but he refused to go. Carla Rotolo pushed Dylan, and he pushed her back. The two of them were soon practically fighting. Friends were called and Dylan had to be forcibly removed, effectively ending his relationship with Suze Rotolo.[8] In a 1966 interview, Dylan admitted that after their relationship ended, "I got very, very strung out for a while. I mean, really, very strung out."
One account of Dylan's first experience with psychedelics places it in April 1964; producer Paul Rothchild told Bob Spitz that he was present when Dylan took his first hit of LSD. By February 1964, Dylan was already telling his friends that "Rimbaud's where it's at. That's the kind of stuff means something. That's the kind of writing I'm gonna do." A nineteenth-century French poet, Rimbaud once wrote to his mentor Georges Izambard that "the poet makes himself a seer by a long, prodigious and rational disordering of the senses … He reaches [for] the unknown and even if, crazed, he ends up by losing the understanding of his visions, at least he has seen them." (Dated May 1871) Dylan's early experimentation with hallucinogens has often been connected with the dramatic development his songwriting would soon take, but Dylan himself has denied any connection.
Dylan later left for Europe, completing a few performances in England before traveling to Paris where he was introduced to a German model, Christa Paffgen, who went by the name of Nico. After treating Dylan to a meal at her flat, Nico accompanied Dylan across Europe, a trip that passed through Germany before ending in Vouliagmeni,[9] a small village outside of Athens, Greece. Dylan stayed at Vouliagmeni for more than a week, finishing many of the songs that would appear on his fourth and upcoming album. Nine songs of these would be recorded upon his return to New York: "All I Really Want to Do", "Spanish Harlem Incident", "To Ramona", "I Shall Be Free No. 10", "Ballad in Plain D", "It Ain't Me, Babe", "Mama, You Been on My Mind", "Denise Denise", and "Black Crow Blues". Dylan also completed another song called "I'll Keep It With Mine", which, according to Nico, was "about me and my little baby". Dylan gave the song to Nico, who would eventually record it for her own album, Chelsea Girl, released in 1967.
Recording
With Dylan's commercial profile on the rise, Columbia was now urging Dylan to release a steady stream of recordings. Upon Dylan's return to New York, studio time was quickly scheduled, with Tom Wilson back as producer.
The first (and only) recording session was held June 9 at Columbia's Studio A, located at 799 Seventh Avenue in New York City. According to Heylin, "while polishing off a couple of bottles of Beaujolais," Dylan recorded 14 original compositions, in a single three-hour session between 7pm and 10pm that night, 11 of which were chosen for the final album. The three that were ultimately rejected were "Denise Denise," "Mr. Tambourine Man," and "Mama, You Been on My Mind."[10]
Nat Hentoff's article on Dylan for The New Yorker, published in late October 1964, includes remarkable descriptions of the June 9 session. Hentoff describes in considerable detail the atmosphere in the CBS recording studio and Dylan's own asides and banter with his friends in the studio, with the session's producers, and Hentoff himself.[11]
Ramblin' Jack Elliott was present during part of this session, and Dylan asked him to perform on "Mr. Tambourine Man." "He invited me to sing on it with him," recalls Elliott, "but I didn't know the words 'cept for the chorus, so I just harmonized with him on the chorus." Only one complete take was recorded, with Dylan stumbling on some of the lyrics.[10] Though the recording was ultimately rejected, Dylan would return to the song for his next album.
By the time Dylan recorded what was ultimately the master take of "My Back Pages," it was 1:30 in the morning. Master takes were selected, and after some minor editing, a final album was soon sequenced.
Songs and themes
As Dylan told Nat Hentoff in The New Yorker, "there aren't any finger-pointin' songs" on Another Side of Bob Dylan, which was a significant step in a new direction.[11] Music critic Tim Riley writes, "As a set, the songs constitute a decisive act of noncommitment to issue-bound protest, to tradition-bound folk music and the possessive bonds of its audience [...] The love songs open up into indeterminate statements about the emotional orbits lovers take, and the topical themes pass over artificial moral boundaries and leap into wide-ranging social observation."[12]
"The compassion that laces all the complaints in 'All I Really Want to Do' and 'It Ain't Me, Babe' is round with idealism and humor," writes Riley. "That [both songs] work off a pure Jimmie Rodgers yodel only makes their ties to wide-open American optimism that much more enticing (even though they are both essentially reluctant good-byes)."[13]
"Black Crow Blues" is a traditional 12-bar blues arrangement with original lyrics.[14]
"'Spanish Harlem Incident' is a new romance that pretends to be short and sweet," writes Riley, "but it's an example of how Dylan begins using uncommon word couplings to evoke the mysteries of intimacy … her 'rattling drums' play off his 'restless palms'; her 'pearly eyes' and 'flashing diamond teeth' off his 'pale face.'"[15]
"Chimes of Freedom" can be traced to "Lay Down Your Weary Tune", an outtake from The Times They Are A-Changin'. "Its sense of the power of nature...closely mirrors 'Lay Down Your Weary Tune,'" writes Clinton Heylin. "Unashamedly apocalyptic … the composition of 'Chimes of Freedom' represented a leap in form that permitted even more intensely poetic songs to burst forth."
Described by Heylin as "the most realized song on Another Side", "To Ramona" is one of the most celebrated songs on the album. A soft, tender waltz, Riley writes that the song "extends the romance from ideals of emotional honesty out into issues of conditioned conformity ('From fixtures and forces and friends / That you gotta be just like them') … in 'Spanish Harlem Incident,' [Dylan's] using flattery as a front for the singer's own weak self-image; in 'To Ramona,' he's trying to save his lover from herself if only because he knows he may soon need the same comfort he's giving her."
Riley describes "My Back Pages" as "a thorough X-ray of Dylan's former social proselytizing … Dylan renounces his former over-serious messianic perch, and disowns false insights." ("I was so much older then / I'm younger than that now.")
According to Heylin, "Ballad in Plain D" takes its melody and refrain ("my friends say unto me …") from the Scottish folk song, "I Once Loved A Lass (The False Bride)".[20] "The song graphically details the night of his breakup with Suze," writes Heylin. "Dylan's portrayal of Carla as the 'parasite sister' remains a cruel and inaccurate portrait of a woman who had started out as one of [Dylan's] biggest fans, and changed only as she came to see the degrees of emotional blackmail he subjected her younger sister to." Asked in 1985 if there were any songs he regretted writing, Dylan singled out "Ballad in Plain D", saying "I look back at that particular one and say … maybe I could have left that alone."[21]
"It Ain't Me, Babe" also reworks the same "Scarborough Fair" arrangement that was written into Dylan's earlier compositions, "Girl from the North Country" and "Boots of Spanish Leather". Johnny Cash would record his own hit version of this song soon after Another Side of Bob Dylan was released, while The Turtles' version would chart even higher.
Four songs from Another Side of Bob Dylan were eventually recorded by The Byrds: "Chimes of Freedom", "My Back Pages", "Spanish Harlem Incident", and "All I Really Want to Do". In addition, they were introduced to their breakthrough hit single "Mr. Tambourine Man" through a copy of Dylan's unreleased recording from the June 9, 1964, album session. All received their share of critical acclaim.
As Another Side of Bob Dylan was prepared for release, Dylan premiered his new songs at the Newport Folk Festival in July 1964. The festival also marked Dylan's first meeting with Johnny Cash; Dylan was already an admirer of Cash's music, and vice versa. The two spent a night jamming together in Joan Baez's room at the Viking Motor Inn. According to Cash, "we were so happy to [finally] meet each other that we were jumping on the beds like kids." The next day, Cash performed Dylan's "Don't Think Twice, It's All Right" as part of his set, telling the audience that "we've been doing it on our shows all over the country, trying to tell the folks about Bob, that we think he's the best songwriter of the age since Pete Seeger...Sure do."
Though the audience at Newport seemed to enjoy Dylan's new material, the folk press did not. Irwin Silber of Sing Out and David Horowitz criticized Dylan's direction and accused Dylan of succumbing to the pressures/temptations of fame. In an open letter to Dylan published in the November issue of Sing Out, Silber wrote "your new songs seem to be all inner-directed now, inner-probing, self-conscious" and, based on what he saw at Newport, "that some of the paraphernalia of fame [was] getting in your way." Horowitz called the songs an "unqualified failure of taste and self-critical awareness."
The album was a step back commercially, failing to make the Top 40, indicating that record consumers may have had a problem as well.
Dylan soon defended his work, writing that "the songs are insanely honest, not meanin t twist any heads an written only for the reason that i myself me alone wanted and needed t write them." (sic)
Years later, mixed reactions over Another Side of Bob Dylan remained but not for the same reasons. Critics later viewed it as a 'transitional' album. Clinton Heylin claimed that "Dylan was simply too close to the experiences he was drawing upon to translate them into art. He was also still experimenting with the imagery found on 'Chimes of Freedom' and 'Mr. Tambourine Man.' 'My Back Pages,' the least successful example of the new style, was replete with bizarre compound images ('corpse evangelists,' 'confusion boats,' etc.)." Salon.com critic Bill Wyman dismissed it as "a lesser, 'relationship' album", but conceded that "Chimes of Freedom" was a "lovely hymn to the 'countless confused, accused, misused, strung-out ones an' worse'."
However, Tim Riley called it "a bridge between folkie rhetoric (albeit superior) and his troika of electric rants...a rock album without electric guitars, a folk archetype that punches through the hardy, plainspoken mold. Built on repeated riffs and coaxed by the controlled anxiety of Dylan's voice, the songs work off one another with intellectually charged élan. It's a transition album with a mind of its own." It was voted number 133 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). [28]
A complete take of "Mama, You Been On My Mind" was recorded for the album, but for reasons unknown, it was rejected. Described by Tim Riley as "the echo of a left-behind affair that rebounds off a couple of self-aware curves ('I am not askin' you to say words like 'yes' or 'no,' / … I'm just breathin' to myself, pretendin' not that I don't know)", the song was soon covered by Joan Baez, as well as Judy Collins, who had a considerable amount of commercial success with it. Dylan's version would not see release until The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991. However, Dylan would periodically perform the song in concert, occasionally with Baez as his duet partner. Rod Stewart would later cover the song for his critically acclaimed album, Never a Dull Moment, and a version by Jeff Buckley appears as an out-take on the 2004 reissue of Grace. Johnny Cash covered the song on his album Orange Blossom Special. It was covered by Linda Ronstadt on her 1969 album Hand Sown ... Home Grown with altered lyrics as "Baby, You've Been On My Mind".
Though "Mr. Tambourine Man" would be re-recorded for Dylan's next album, Sony released the complete take recorded for Another Side of Bob Dylan on The Bootleg Series Vol. 7: No Direction Home: The Soundtrack in 2005. Unlike the familiar version recorded for Bringing It All Back Home, this early version has a harmonica intro as well as Ramblin' Jack Elliott singing harmony vocals on the chorus. It was an acetate copy of this version of the song that found its way to the newly formed Byrds in late 1964, leading to their breakthrough electrified recording of the song.
Dylan also recorded two additional songs that did not make the album. The first is "Denise Denise", a song which uses the same music as "Black Crow Blues" but with different lyrics. The second is "California", which again uses "Black Crow Blues"' music as the basic structure of the song. A small section of the "California" lyrics were reused in "Outlaw Blues", a song that appeared on Dylan's next album, Bringing It All Back Home. Both outtakes are circulating.
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.
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. 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.
Susan Elizabeth Rotolo, known as Suze Rotolo, was an American artist, and the girlfriend of Bob Dylan from 1961 to 1964. Dylan later acknowledged her strong influence on his music and art during that period. Rotolo is the woman walking with him on the cover of his 1963 album The Freewheelin' Bob Dylan, a photograph by the Columbia Records studio photographer Don Hunstein. In her book A Freewheelin' Time: A Memoir of Greenwich Village in the Sixties, Rotolo described her time with Dylan and other figures in the folk music and bohemian scene in Greenwich Village, New York. She discussed her upbringing as a "red diaper" baby; a child of Communist Party USA members during the McCarthy Era. As an artist, she specialized in artists' books and taught at the Parsons School of Design in New York City.
"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.
No Direction Home: Bob Dylan is a 2005 documentary film by Martin Scorsese that traces the life of Bob Dylan, and his impact on 20th-century American popular music and culture. The film focuses on the period between Dylan's arrival in New York in January 1961 and his "retirement" from touring following his motorcycle accident in July 1966. This period encapsulates Dylan's rise to fame as a folk singer and songwriter where he became the center of a cultural and musical upheaval, and continues through the electric controversy surrounding his move to a rock style of music.
Sara Dylan is an American former actress and model who was the first wife of singer-songwriter Bob Dylan. In 1959, Noznisky married magazine photographer Hans Lownds; during their marriage, she was known as Sara Lownds.
"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.
"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.
"She Belongs to Me" is a song by Bob Dylan, and was first released as the second track on his 1965 album Bringing It All Back Home. The song may be about a former girlfriend, Suze Rotolo, or fellow folk singer Joan Baez, contemporary siren Nico, or Sara Lownds, the woman that Dylan would wed in November 1965.
"To Ramona" is a song by American singer-songwriter Bob Dylan, first released on his fourth studio album, Another Side of Bob Dylan (1964). The song was written by Dylan, and produced by Tom Wilson. The lyrics were started at the May Fair Hotel in London in May 1964, and finished during a week-long stay in the Greek village of Vernilya later that month. Dylan recorded all the tracks for the album, including the song, in a single three-hour session on June 9, 1964, at Studio A, Columbia Recording Studios, New York. Its narrator advises Ramona, who is preparing to return to "the South", not to follow the advice of others. Critics have suggested several different people as inspirations for the song, including Joan Baez, Suze Rotolo, and Sara Lownds.
"Simple Twist of Fate", a song by American singer-songwriter Bob Dylan, was recorded on September 19, 1974, and was released in 1975 as the second song on his 15th studio album Blood on the Tracks.
"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.
"Ballad in Plain D" is the tenth track of Bob Dylan's fourth album, Another Side of Bob Dylan, and—at 8 minutes, 18 seconds—the longest song on the album. The song recounts the circumstances surrounding the disintegration of Dylan's relationship with Suze Rotolo.
"I Threw It All Away" is a song by American singer-songwriter Bob Dylan. The track appeared on Dylan's album Nashville Skyline in 1969, and was released as its first single later that year, where it reached number 85 on the Billboard Hot 100, and number 30 on the UK Singles Chart. It is considered to be one of the best and most popular songs on the album.
"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.
Carla Rotolo was an American artist, folk singer and folk music researcher.
"Down the Highway" is a song by American singer-songwriter Bob Dylan. It was recorded on July 9, 1962 at Studio A, Columbia Recording Studios, New York, produced by John Hammond. The song was released on The Freewheelin' Bob Dylan on May 27, 1963. It is a twelve-bar blues love song, which Dylan told his girlfriend Suze Rotolo he had written about her.
"I Shall Be Free No. 10" is a song by American singer-songwriter Bob Dylan, which was released as the fifth track on his fourth studio album Another Side of Bob Dylan (1964). The song was written by Dylan and produced by Tom Wilson. The song is a humorous talking blues, indebted to earlier songs including Lead Belly's "We Shall Be Free". Dylan opens the song by proclaiming that he is normal and average, but then acknowledges his reputation by singing the self-aware doggerel "Yippee! I'm a poet, and I know it/ Hope I don't blow it".
↑ Heylin, Clinton (2003). Bob Dylan: behind the shades revisited: the biography (1st U.S. pbk.ed.). New York, NY: HarperEntertainment. p.143. ISBN0-06-052569-X.
↑ Heylin, Clinton (2003). Bob Dylan: behind the shades revisited: the biography (1st U.S. pbk.ed.). New York, NY: HarperEntertainment. p.146. ISBN0-06-052569-X.
↑ Hajdu, David (2001). Positively 4th Street: the lives and times of Joan Baez, Bob Dylan, Mimi Baez Fariña, and Richard Fariña. London: Bloomsbury. p.197. ISBN0-7475-5414-5.
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