"Blind Willie McTell" | |
---|---|
Song by Bob Dylan | |
from the album The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 | |
Released | March 26, 1991 |
Recorded | May 5, 1983 |
Studio | Power Station, New York City |
Genre | (acoustic version) |
Length | 5:52 |
Label | Columbia Records |
Songwriter(s) | Bob Dylan |
Producer(s) | Mark Knopfler |
"Blind Willie McTell" is a song written and performed by American singer-songwriter Bob Dylan. Named for the blues singer of the same name, the song was recorded in the spring of 1983, during the sessions for Dylan's album Infidels ; however, it was ultimately left off the album and did not receive an official release until 1991, when it appeared on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . It was also later anthologized on Dylan (2007). [3]
The song's melody is loosely based on the jazz standard "St. James Infirmary Blues". [4] For the version included on The Bootleg Series Volumes 1–3 , Dylan plays piano and is accompanied only by Mark Knopfler on acoustic guitar. The lyrics are comparable to later Dylan songs "High Water (For Charley Patton)" [5] and "Goodbye Jimmy Reed" [6] in that they pay tribute to the titular blues singer indirectly. Dylan sings a series of plaintive verses depicting allegorical scenes which reflect on the history of American music and slavery. Each verse ends with the same refrain: "Nobody can sing the blues like Blind Willie McTell". There was also an electric version of the song recorded with Mick Taylor playing slide guitar.
Following three albums with overt Christian themes, Infidels struck most major rock critics as dealing largely with secular concerns, and they hailed it as a comeback. When bootleggers released the outtakes from Infidels, the song was recognized as a composition approaching the quality of such classics as "Tangled Up in Blue", "Like a Rolling Stone" and "All Along the Watchtower". According to Dylan biographer Clinton Heylin, the song is regarded by many as "Dylan's one indisputable masterpiece of the early eighties". [7]
Spectrum Culture included the song on a list of "Bob Dylan's 20 Best Songs of the 1980s". In an article accompanying the list, critic Peter Tabakis describes it as "a six-minute repudiation of any argument that somehow insists Dylan's '80s output was fallow. The song, with its spare and dramatic piano backbone by Dylan himself, accented with Knopfler's haunting guitar notes, seems performed in an open field at midnight. The tableau is as cinematic as Dylan gets. An arrow swings on a doorpost. An owl hoots. Feathered maidens strut. Martyrs fall. A canopy of stars hovering over 'barren trees' transforms into an uproarious crowd". [8]
Greil Marcus, from the vantage point of 2021, wrote of the song: "Over three decades, that little rehearsal has emerged as one of Dylan's greatest songs—or even, perhaps, in the right mood, his greatest recording. From the start, it had a burgeoning charisma: the more you played it, the more it demanded that the volume go up, a fraction every time, until you hit the limit and realized it still wasn't loud enough". [9]
Drive-By Truckers' Patterson Hood cited it as his favorite Dylan song in a 2021 Stereogum article, writing, "With McTell as a starting point, Dylan constructed a time travel from slave days through the Jim Crow South with a kitchen sink full of delta imagery, Bible scripture, and vaudevillian shuck and jive. Yet, as it goes with the best of songs, it also remains elusive and mysterious, benefitting as much from what it leaves out as for what it actually says". [10]
Michael Gray's book Song and Dance Man III: The Art of Bob Dylan (2000) includes a chapter on this song and its musical and historical background. [11]
The Guardian in one of its article from 2021 included the song on a list of "80 Bob Dylan songs everyone should know". [12]
"Blind Willie McTell" was a concert staple for the Band throughout the 1990s. [13] They also recorded it for their 1993 album Jericho . Dylan later claimed in a Rolling Stone interview that hearing the Band's version of the song inspired him to begin performing it at his own concerts:
Dylan can't possibly be sorry that the world has had the benefit of hearing, for instance, "Blind Willie McTell", – an outtake from 1983's Infidels that has subsequently risen as high in most people's Dylan pantheon as a song can rise, and that he himself has played live since. Can he? Bob Dylan – "I started playing it live because I heard the Band doing it. Most likely it was a demo, probably showing the musicians how it should go. It was never developed fully, I never got around to completing it. There wouldn't have been any other reason for leaving it off the record. It's like taking a painting by Monet or Picasso – goin' to his house and lookin' at a half-finished painting and grabbing it and selling it to people who are 'Picasso fans.'"
According to his official website, Dylan performed the song 226 times on the Never Ending Tour between 1997 and 2017. [3] An August 17, 1997 concert performance appeared on various releases of his "Love Sick" single in June 1998. [14] Dylan also performed a version of the song, hailed as "absolutely stellar" by Rolling Stone , for a televised tribute to Martin Scorsese at the Critics' Choice Movie Awards in 2012. [15]
Two different full-band versions from the Infidels sessions in 1983 were officially released in 2021, one on The Bootleg Series Vol. 16: Springtime in New York 1980–1985 , [16] and another on a vinyl single released by Third Man Records. [17]
This song has been covered by various artists, including: the Band, Chrissie Hynde and Mick Taylor. [18]
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.
Infidels is the twenty-second studio album by American singer-songwriter Bob Dylan, released on October 27, 1983, by Columbia Records.
"Tangled Up in Blue" is a song by American singer-songwriter Bob Dylan, which was released as the opening track of his 15th studio album Blood on the Tracks (1975). The song was written by Dylan and produced by David Zimmerman, Dylan's brother. Released as a single, it reached No. 31 on the Billboard Hot 100. The song concerns relationships and contains different narrative perspectives. Dylan has altered the lyrics in subsequent performances, changing the point of view and details in the song.
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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 songs such as "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 burgeoning counterculture.
"Love Sick" is a minor-key love song by American musician and Nobel laureate Bob Dylan. It was recorded in January 1997 and appears as the opening track on his 30th studio album Time Out of Mind (1997). It was released as the second single from the album in June 1998 in multiple CD versions, some of which featured Dylan's live performance of the song at the 1998 Grammy Awards. The song was produced by Daniel Lanois.
"Someday Baby" is a Grammy Award-winning blues song written and performed by American singer-songwriter Bob Dylan, released as the fifth track on his 2006 album Modern Times. The song had considerable success, garnering more airtime on U.S. radio than any other track on the album. It spent twenty weeks on Billboard's Adult Alternative Songs chart, peaking at #3 in November 2006. It was also anthologized on the compilation album Dylan in 2007.
"I Shall Be Released" is a 1967 song written by Bob Dylan.
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"Things Have Changed" is a song from the film Wonder Boys, written and performed by Bob Dylan and released as a single on May 1, 2000, that won both the Academy Award for Best Original Song and the Golden Globe Award for Best Original Song. It was also anthologized on the compilation albums The Essential Bob Dylan in 2000, The Best of Bob Dylan in 2005 and Dylan in 2007.
"Meet Me in the Morning" is a blues song written by Bob Dylan, recorded in New York City on September 16, 1974, and released on his 15th studio album, Blood on the Tracks, in 1975.
"It Takes a Lot to Laugh, It Takes a Train to Cry" is a song written by Bob Dylan, that was originally released on his album Highway 61 Revisited. It was recorded on July 29, 1965. The song was also included on an early, European Dylan compilation album entitled Bob Dylan's Greatest Hits 2.
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"I and I" is a song by Bob Dylan that appears as the seventh track of his 1983 album Infidels. Recorded on April 27, 1983, it was released as a single in Europe in November of that year, featuring a version of Willie Nelson's "Angel Flying Too Close to the Ground" as its B-side. The song was produced by Dylan and Dire Straits frontman Mark Knopfler.
"Tight Connection to My Heart (Has Anybody Seen My Love)" is a song by Bob Dylan that was released on his 1985 album Empire Burlesque. As a single, it was a Top 40 Hit in New Zealand and Belgium. An earlier version of the song, entitled "Someone's Got a Hold of My Heart", was recorded for Dylan's 1983 LP Infidels, but was not included on that album; it later appeared on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.
"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.
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Bob Dylan's 1983 'Blind Willie McTell' (unreleased till 1991) was his own greatest blues song...