| "Down Along the Cove" | |
|---|---|
| Song by Bob Dylan | |
| from the album John Wesley Harding | |
| Released | December 27, 1967 |
| Recorded | November 29, 1967 |
| Genre | Country rock |
| Length | 2:23 |
| Label | Columbia |
| Songwriter(s) | Bob Dylan |
| Producer(s) | Bob Johnston |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding . Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967. [1]
"Down Along the Cove" features minimal instrumentation and a 12-bar country blues style. The song includes Bob Dylan on piano and Peter Drake on pedal steel guitar. [2]
Dylan debuted this song at the EMU Ballroom on the University of Oregon campus in Eugene, Oregon, on June 14, 1999. [3] Dylan played the song with some regularity beginning in 2003 until the song's last live performance to date in Rome, Italy on June 16, 2006, performing it a total of 83 times. [4] A live version performed at the Bonnaroo Music Festival in 2004 was the b-side to Dylan's 2009 single "Beyond Here Lies Nothin'". [5]
"Down Along the Cove" has been covered several times. British folk artist Davey Graham covered the song on his 1969 album, Hat, Epic recording artists West covered it on their 1969 album "Bridges", and Georgie Fame also recorded the song in late 1970s. His version appears on the compilation record Somebody Stole My Summer. The song was also covered by Johnny Jenkins on his critically acclaimed and influential electric blues album Ton-Ton Macoute! in 1970. [6]
Highway 61 Revisited is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, 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 chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album.
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