I Pity the Poor Immigrant

Last updated

"I Pity the Poor Immigrant"
Song by Bob Dylan
from the album John Wesley Harding
ReleasedDecember 27, 1967
RecordedNovember 6, 1967
Studio Columbia Studio A (Nashville, Tennessee) [1]
VenueNashville
Length4:16 [2]
Label Columbia Records
Songwriter(s) Bob Dylan
Producer(s) Bob Johnston

"I Pity the Poor Immigrant" is a song by American singer-songwriter Bob Dylan. It was recorded on November 6, 1967, at Columbia Studio A in Nashville, Tennessee, produced by Bob Johnston. The song was released on Dylan's eighth studio album John Wesley Harding on December 27, 1967.

Contents

The song's lyrics reference the Biblical Book of Leviticus. The track has been interpreted as empathetic to the plight of immigrants, despite what appear to be some unsympathetic lyrics. The song, and in particular Dylan's delivery of the vocals, received a mixed critical reception.

Background and recording

Charlie McCoy (pictured in 1990) played bass on the track. Charlie McCoy03.JPG
Charlie McCoy (pictured in 1990) played bass on the track.

Following a motorcycle accident in July 1966, Dylan spent the next 18 months recuperating at his home in Woodstock and writing songs. [3] According to Dylan biographer Clinton Heylin, all the songs for John Wesley Harding , Dylan's eighth studio album, were written and recorded during a six-week period at the end of 1967. [4] [5] With one child born in early 1966 and another in mid-1967, Dylan had settled into family life. [6]

He recorded ten takes of "I Pity the Poor Immigrant" on November 6, 1967, at Columbia Studio A in Nashville, Tennessee, [7] the same studio where he had completed Blonde on Blonde the previous year. [8] Accompanying Dylan, who played acoustic guitar and harmonica, were two Nashville veterans from the Blonde on Blonde sessions: Charlie McCoy on bass guitar and Kenneth Buttrey on drums. The producer was Bob Johnston, who produced Dylan's two previous albums, Highway 61 Revisited in 1965 and Blonde on Blonde in 1966, [9] and the sound engineer was Charlie Bragg. [2] The last of the ten takes was released as the third track on side two of John Wesley Harding on December 27, 1967. [7] [10]

Composition and lyrical interpretation

Dylan visited London from December 1962 to January 1963, [11] where he heard folk singers including Martin Carthy and learned tunes, including "Come All Ye Tramps And Hawkers" and "Paddy West" which he adapted in composing "I Pity the Poor Immigrant". [12] The Sunday Herald's Ron McKay referred to Dylan's song as "a straight pinch, with Dylan variations, of course, from 'Come All Ye Tramps and Hawkers', a traditional song performed by Jimmy MacBeath, a Scottish traveller from Portsoy, who probably pinched it from someone else." [13] John Boland of the Irish Independent noted that the same tune was also used in "The Homes of Donegal", which pre-dated Dylan's song. [14]

Asked by interviewer John Cohen in 1968 whether there was a "germ that started" the song, Dylan replied "Yes, the first line." [15] Cohen followed up by asking what the trigger might have been, to which Dylan responded "To tell the truth, I have no idea how it comes into my mind." [15] Critic Andy Gill calls the song "confusing", finding it unclear whether it is a literal immigrant, or a person who lives like an immigrant, with Dylan's "gentle and piteous delivery bely[ing] his tough attitude." [16] Across three verses, Dylan outlines what Gill describes as the subject's "propensity to strive for evil ... lying, cheating, greed, self-loathing, uncharitableness and ruthlessness", possibly satirically. [16] The song ends with "I pity the poor immigrant / When his gladness comes to pass". [17] [18]

The lyrics feature phrases such as "strength spent in vain" "heaven [as] iron" and "eats but is not satisfied" which closely match the Book of Leviticus, Chapter 26, verses 20, 19, and 26. [19] Critic Oliver Trager believes that "essence of [the Biblical] references is that God punishes those who do not obey the Ten Commandments by turning them into immigrants and casting them into a threatening environment", and that the lyrics "finds Dylan playing with the conflicting instincts driving his song's title character". [20] Journalist Paul Williams wrote that Dylan's delivery and music show him as an "empathetic (human) observer" rather than the voice of the Old Testament version of God, [21] but Harvey Kubernik concluded in Goldmine that "the 'speaker' of the song likely is Christ" [22]

Classics scholar Richard F. Thomas interprets "I Pity the Poor Immigrant" as a "plaintive song of empathy, for the poor immigrant who just doesn't fit, and whose preoccupations – that man 'who falls in love with wealth itself and turns his back on me' —keep him from joining the world of the singer." [23] Time called it a melancholy portrait of a misanthropic, malcontented wanderer", citing the lyric "who passionately hates his life and likewise fears his death." [24] In The Guardian , Neil Spencer felt that it has an "enigmatic mix of empathy and judgment" [25] Gordon Mills wrote in Rolling Stone that Dylan

"suggests the immense sympathy he has for those who have dared to cut the rope and be free from the life of being one, 'who lies with every breath, who passionately hates himself, and likewise fears his death.' ... The immigrant, having seen through the enormous paradox of wealth and poverty on this earth, seeks another way. The song ends with open tenderness for those who have made the journey." [26]

Scholar of English David Punter wrote that it is unclear who the audience that the narrator of the song addresses are, but that the lyrics seem to be "less about a concern for the immigrant himself than about the plight into which his situation places all of us". [27] He suggested that the opening verse, which says that the "poor immigrant ... uses all his power to do evil "is indicative of "depthless irony". [27] According to Punter:

"we are not, surely, supposed to mistake the immigrant for a terrorist, but instead to sense the interior struggle of resentment, and hence a questioning of what this 'evil' might actually be: an evil emanating from the immigrant, or more probably the impossibility of escaping from prejudice, of always being 'pre-judged' and feeling the distorted need to live up to these negative expectations." [27]

Punter considers that the verse which contains "fills his mouth with laughing / And who builds his town with blood" relates to the trope of the immigrant rather than a more literal interpretation, and that it serves to uncover "a whole series of associations which remind us of a complex history of violence, of defamiliarization". [27]

Critical reception

Record Mirror reviewer Norman Jopling described the track as "draggy with tremendous atmosphere and an unusually different vocal sound", saying "you could almost fall asleep to this one." [28] Pete Johnson of the Los Angeles Times called the track "as maudlin and gummy as it sounds" and added that "Dylan's voice may be parodying Dylan's voice deliberately." [29] David Yaffe described the vocal as "morose, almost a parody of self-righteous liberal guilt." [30] Greil Marcus wrote that Dylan sounded ill, "his voice curled up in his throat, will and desire collapsed under leaden vowels." [31] Trager wrote that Dylan's singing was "in top form." [20]

The song was awarded a maximum rating of 5 stars by Allan Jones in Uncut's Bob Dylan supplement in 2015. [32] It was in 20th place on Thomas's 2017 list of the best Bob Dylan songs in Maxim . [23] Matthew Greenwald of AllMusic thought that "the song works on several levels and portrays an illustration of people who can't help but use others." [33]

Live performances

According to his official website, Dylan has played the song in concert 17 times. [34] The live debut was on August 31, 1969, at the Isle of Wight Festival, following which he did not perform it live again until the Rolling Thunder Revue in 1976. [34] [35] One of the 1976 performances, with Joan Baez, was included in the Hard Rain television special. [36] Williams regarded "I Pity the Poor Immigrant" as the highlight of the TV special, highlighting Howie Wyeth's piano playing, [37] Dylan's "masterful vocal performance", and Baez's "good-humoured warrior harmonies." [38] Dylan's most recent concert performance of the song was on May 25, 1976, in Salt Lake City. [34] Heylin felt that the song was "redeemed by the glorious honky-tonk arrangement" on the Rolling Thunder tour. [39]

An out-take from the original sessions was included on The Bootleg Series Vol. 15: Travelin' Thru, 1967–1969 (2019). Jamie Atkins of Record Collector magazine wrote that this version "gallops along – compared to the original it's practically a head-shaking beat group rave-up." [40] The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) (2013), includes "I Pity the Poor Immigrant" from the Isle of Wight concert, August 31, 1969. [41]

Credits

Personnel for the November 6, 1967, recordings at Columbia's Nashville studios: [2]

Musicians

Technical

Official releases

A duet with Joan Baez from the 1976 Hard Rain TV Special was released on Baez's CD and DVD How Sweet The Sound in 2009. [42] [43]

Cover versions

Thea Gilmore (pictured in 2004) covered the whole John Wesley Harding album in 2011. Thea Gilmore - Cambridge Festivals 2001-2014 (239249232).jpg
Thea Gilmore (pictured in 2004) covered the whole John Wesley Harding album in 2011.

Covers of the song include versions by Judy Collins on Who Knows Where The Time Goes (1967), Joan Baez on Any Day Now (1968), and Richie Havens on Richard P. Havens, 1983 (1969). [44] Marion Williams released the song on a single in 1969. [44] Sidney Nelson of Nottingham Evening Post praised Collins's' version, describing it as better than Dylan's. [45] Baez's version was described as "mediocre" by Robb Baker of the Chicago Tribune , [46] and as "shrill and strained" by Ralph J. Gleason in The San Francisco Examiner . [47]

Planxty's cover on their album Words & Music was described by Steven X. Rea of the Philadelphia Inquirer as "lethargic". [48] Marty Ehrlich's 2001 version on his album Song was called "a slow bluesy meander that grows gently funkier" by John Fordham in The Guardian . [49] Thea Gilmore covered the whole John Wesley Harding album in 2011. Patrick Humphries, writing for BBC Music, described her version of "I Pity the Poor Immigrant" as "a poignant testament to the untold millions who passed through Ellis Island". [50]

Related Research Articles

<i>Blonde on Blonde</i> 1966 studio album by Bob Dylan

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.

<span class="mw-page-title-main">All Along the Watchtower</span> 1967 song by Bob Dylan

"All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston. The song's lyrics, which in its original version contain twelve lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5–9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations.

<i>John Wesley Harding</i> 1967 studio album by Bob Dylan

John Wesley Harding is the eighth studio album by the American singer-songwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. John Wesley Harding was recorded around the same time as the home recording sessions with the Band known as The Basement Tapes.

"Sad Eyed Lady of the Lowlands" is a song by the American singer-songwriter Bob Dylan. First released as the final track on Dylan's seventh studio album, Blonde on Blonde (1966), the song lasts 11 minutes and 23 seconds, and occupies the entire fourth side of the double album. The song was written by Dylan and produced by Bob Johnston. The recording session began at 6 pm on February 15, 1966, at Columbia Studio A, Nashville, Tennessee, but Dylan worked on the lyrics for several hours while the experienced Nashville session musicians hired to accompany him stood by. Four takes were recorded in the early hours of February 16; the final recording was released on Blonde on Blonde. The music is a waltz in 6
8 time.

"Absolutely Sweet Marie" is a song by American singer-songwriter Bob Dylan, which was released on the third side of the double album and Dylan's seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It was recorded at around 1:00 am on March 8, 1966, at Columbia Studio A, Nashville. Some commentators have interpreted the song as being about sexual frustration.

<span class="mw-page-title-main">The Ballad of Frankie Lee and Judas Priest</span> 1967 song by Bob Dylan

"The Ballad of Frankie Lee and Judas Priest" is a song by American singer-songwriter Bob Dylan. It was released as the fifth track on his eighth studio album John Wesley Harding (1967). The track was written by Dylan and produced by Bob Johnston. It was recorded in one take on October 17, 1967, at Columbia Studio A in Nashville. The song's lyrics refer to two friends, Frankie Lee and Judas Priest. Lee asks Priest for a loan of money and Priest offers it freely. Lee spends it in a brothel over 16 days, then dies of thirst in Priest's arms. It has been suggested by commentators that the song refers to Dylan's relationship with his manager Albert Grossman or to his contractual negotiations with his record company. The song received a mixed critical reception. Dylan performed the song live in concert 20 times, from 1987 to 2000.

<span class="mw-page-title-main">Leopard-Skin Pill-Box Hat</span> 1967 song by Bob Dylan

"Leopard-Skin Pill-Box Hat" is a song by the American singer-songwriter Bob Dylan, which was released on the second side of his seventh studio album Blonde on Blonde (1966). The song was written by Dylan, and produced by Bob Johnston. Dylan has denied that the song references any specific individual, although critics have speculated that it refers to Edie Sedgwick, whom Dylan had spent time with in December 1965.

<span class="mw-page-title-main">Stuck Inside of Mobile with the Memphis Blues Again</span> 1966 song by Bob Dylan

"Stuck Inside of Mobile with the Memphis Blues Again" is a song by American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. It has nine verses, each featuring a distinct set of characters and circumstances. All 20 takes of "Stuck Inside of Mobile with the Memphis Blues Again" were recorded in the early hours of February 17, 1966, at Columbia Records's A Studio in Nashville, Tennessee, with the last take selected for the album. This version also appears on Dylan's second compilation album, Bob Dylan's Greatest Hits Vol. II (1971).

<span class="mw-page-title-main">Bob Dylan</span> American singer-songwriter (born 1941)

Bob Dylan is an American singer-songwriter. Considered one of the greatest songwriters of all time, Dylan has been a major figure in popular culture over his 60-year career. With an estimated figure of more than 125 million records sold worldwide, he is one of the best-selling musicians of all-time. 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.

<span class="mw-page-title-main">Just Like a Woman</span> 1966 song by Bob Dylan

"Just Like a Woman" is a song by the American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song was written by Dylan and produced by Bob Johnston. Dylan allegedly wrote it on Thanksgiving Day in 1965, though some biographers doubt this, concluding that he most likely improvised the lyrics in the studio. Dylan recorded the song at Columbia Studio A in Nashville, Tennessee in March 1966. The song has been criticized for sexism or misogyny in its lyrics, and has received a mixed critical reaction. Some critics have suggested that the song was inspired by Edie Sedgwick, while other consider that it refers to Dylan's relationship with fellow folk singer Joan Baez. Retrospectively, the song has received renewed praise, and in 2011, Rolling Stone magazine ranked Dylan's version at number 232 in their list of the 500 Greatest Songs of All Time. A shorter edit was released as a single in the United States during August 1966 and peaked at number 33 on the Billboard Hot 100. The single also reached 8th place in the Australian charts, 12th place on the Belgium Ultratop Wallonia listing, 30th in the Dutch Top 40, and 38th on the RPM listing in Canada.

<span class="mw-page-title-main">Rainy Day Women Nos. 12 & 35</span> Song by Bob Dylan

"Rainy Day Women #12 & 35" is a song written and recorded by the American singer-songwriter Bob Dylan. Columbia Records first released an edited version as a single in March 1966, which reached numbers two and seven in the US and UK charts respectively. A longer version appears as the opening track of Dylan's seventh studio album, Blonde on Blonde (1966), and has been included on several compilation albums.

<span class="mw-page-title-main">Pledging My Time</span> 1966 single by Bob Dylan

"Pledging My Time" is a blues song by the American singer-songwriter Bob Dylan from his seventh studio album, Blonde on Blonde (1966). The song, written by Dylan and produced by Bob Johnston, was recorded on March 8, 1966 in Nashville, Tennessee. Dylan is featured on lead vocals, harmonica, and guitar, backed by guitarist Robbie Robertson and an ensemble of veteran Nashville session men.

"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.

<i>The Basement Tapes</i> 1975 studio album by Bob Dylan and the Band

The Basement Tapes is the sixteenth album by the American singer-songwriter Bob Dylan and his second with the Band. It was released on June 26, 1975, by Columbia Records. Two-thirds of the album's 24 tracks feature Dylan on lead vocals backed by the Band, and were recorded in 1967, eight years before the album's release, in the lapse between the release of Blonde on Blonde and the subsequent recording and release of John Wesley Harding, during sessions that began at Dylan's house in Woodstock, New York, then moved to the basement of Big Pink. While most of these had appeared on bootleg albums, The Basement Tapes marked their first official release. The remaining eight songs, all previously unavailable, feature the Band without Dylan and were recorded between 1967 and 1975.

<span class="mw-page-title-main">Isle of Wight Festival 1969</span> Music festival

The 1969 Isle of Wight Festival was held on 29–31 August 1969 at Wootton Creek, on the Isle of Wight. The festival attracted an audience of approximately 150,000 to see acts including Bob Dylan, the Band, the Who, Free, Joe Cocker, the Bonzo Dog Band and the Moody Blues. It was the second of three music festivals held on the island between 1968 and 1970. Organised by Rikki Farr, Ronnie and Ray Foulk's Fiery Creations, it became a legendary event, largely owing to the participation of Dylan, who had spent the previous three years in semi-retirement. The event was well managed, in comparison to the recent Woodstock Festival, and trouble-free.

<span class="mw-page-title-main">Drifter's Escape</span> 1967 single by Bob Dylan

"Drifter's Escape" is a song written by Bob Dylan that he recorded for his 1967 album John Wesley Harding. Columbia Records released it as a single in the US and the UK in 1969 as the B-side to "I Threw It All Away". The song was recorded in four takes on October 17, 1967. CBS Records International also issued the song paired with "John Wesley Harding" in some markets.

"John Wesley Harding" is a song by American singer-songwriter Bob Dylan that appears as the opening track on his 1967 album of the same name.

<span class="mw-page-title-main">Obviously 5 Believers</span> 1966 song by Bob Dylan

"Obviously 5 Believers" is a song by the American singer-songwriter Bob Dylan, which was released as the last track of side three of his double album Blonde on Blonde (1966), and was the B-side to the single release of "Just Like a Woman" for releases in America and some other countries. The song was written by Dylan and produced by Bob Johnston. It was recorded at Columbia Music Row Studios, in the early morning hours of a March 9–10, 1966 session. Four takes were recorded, although the first two were incomplete. It has been interpreted as a blues song about loneliness, with critics noting similarities in melody and structure to Memphis Minnie's "Chauffeur Blues". Dylan's vocals and the musicianship of the band on the track have both received critical acclaim, although the track has been regarded as insubstantial by some commentators.

"Temporary Like Achilles" is a song by American singer-songwriter Bob Dylan that was released on side three of his double album, Blonde on Blonde (1966). The song was written by Dylan, and produced by Bob Johnston. It was recorded at Columbia Studio A, Nashville, Tennessee on March 9, 1966. The song is a blues number that incorporates elements of Dylan's incomplete "Medicine Sunday", which he had recorded with members of the Band in New York in October 1965. The song describes a narrator's frustration at being kept waiting by a woman that he wishes to be romantically involved with, who is guarded by "Achilles". Some critics have suggested that the song references the Iliad.

"Dear Landlord" is a song by American singer-songwriter Bob Dylan. It was recorded on November 29, 1967, at Columbia Recording Studios, Nashville, produced by Bob Johnston. The song was released on Dylan's album John Wesley Harding on December 27, 1967. It is a piano blues that has been interpreted as an address to his then-manager Albert Grossman.

References

Books

Journal Articles

Citations

  1. ↑ Kosser, Michael (2006). How Nashville Became Music City, U.S.A.: A History Of Music Row. Lanham, Maryland, US: Backbeat Books. pp. 149–150. ISBN   978-1-49306-512-7.
  2. 1 2 3 4 Margotin & Guesdon 2022, p. 296.
  3. ↑ Sounes 2011, pp. 219–225.
  4. ↑ Heylin 2010, pp. 434.
  5. ↑ Irvine, Troy (January 14, 1968). "Record swing: Dylan's back". The Arizona Republic . p. 4-N.
  6. ↑ Sounes 2011, pp. 224–225.
  7. 1 2 Bjorner, Olof (October 18, 2020). "2nd John Wesley Harding session, 6 November 1967". Still on the Road. Archived from the original on June 23, 2017. Retrieved December 2, 2020.
  8. ↑ Bjorner, Olof (February 28, 2017). "The 13th and last Blonde On Blonde session, 10 March 1966". Still on the Road. Archived from the original on October 26, 2019. Retrieved December 2, 2020.
  9. ↑ Gray 2008, pp. 361–362.
  10. ↑ Williams 2004a, p. 310.
  11. ↑ Heylin 1996, pp. 35–39.
  12. ↑ Cooney, Michael (Fall 2001). "Hard reign: Bob Dylan's song borrowing. (Behind the song: a closer look at some of the music we love)". Sing Out!. Vol. 45, no. 3. pp. 30+.
  13. ↑ McKay, Ron (May 16, 2021). "Bard debt: Bob Dylan and Scotland". Sunday Herald. p. 27. Archived from the original on June 13, 2021.
  14. ↑ Boland, John (September 23, 2006). "Bookworm". Irish Independent. p. 72.
  15. 1 2 Cohen & Traum 2017, p. 136.
  16. 1 2 Gill 2011, p. 190.
  17. 1 2 "I Pity the Poor Immigrant". Bob Dylan's official website. Retrieved May 24, 2022.
  18. ↑ Gill 2011, pp. 190–191.
  19. ↑ Williams 2004, pp. 245–246.
  20. 1 2 Trager 2004, p. 308.
  21. ↑ Williams 2004, p. 46.
  22. ↑ Kubernik, Harvey (April 11, 2008). "Going deeper into 'John Wesley Harding'". Goldmine. Vol. 34, no. 8. pp. 42–43.
  23. 1 2 "These are the 20 best Bob Dylan songs, ranked". Maxim. November 21, 2017. Retrieved July 20, 2022.
  24. ↑ "Basic Dylan". Time. Vol. 91, no. 2. January 1, 1968. p. 50.
  25. ↑ Spence, Neil (November 20, 2021). "Christy Moore: Flying Into Mystery review – a storytelling masterclass". The Guardian. Archived from the original on July 20, 2022. Retrieved July 20, 2022.
  26. ↑ Mills, Gordon (February 24, 1968). "John Wesley Harding". Rolling Stone. Archived from the original on July 20, 2022. Retrieved July 20, 2022.
  27. 1 2 3 4 Punter 2013, p. 145.
  28. ↑ Jopling, Norman (January 27, 1968). "A different brand of Dylan". Record Mirror. pp. 3, 12.
  29. ↑ Johnson, Pete (January 18, 1968). "Album reveals yet another Dylan to replace the last one". Los Angeles Times. p. IV.1, IV.14.
  30. ↑ Yaffe 2011, p. 18.
  31. ↑ Marcus 2011, p. 122.
  32. ↑ Jones, Allan (2015). "John Wesley Harding". Uncut: Bob Dylan. pp. 26–27.
  33. ↑ Greenwald, Matthew. "I Pity the Poor Immigrant by Bob Dylan". AllMusic. Archived from the original on July 19, 2022. Retrieved July 20, 2022.
  34. 1 2 3 "Setlists that contain I Pity the Poor Immigrant". Bob Dylan's official website. Archived from the original on April 4, 2022. Retrieved May 24, 2022.
  35. ↑ Williams 2004a, pp. 79–80.
  36. ↑ Williams 2004a, pp. 82–88.
  37. ↑ Williams 2004a, p. 88.
  38. ↑ Williams 2004a, p. 89.
  39. ↑ Heylin 2010, p. 453.
  40. 1 2 Atkins, Jamie (October 28, 2019). "Travelin' Thru, 1967–1969: The Bootleg Series Vol 15 – Bob Dylan". Record Colletor. Archived from the original on August 7, 2021. Retrieved July 19, 2022.
  41. 1 2 "The Bootleg Series, Vol. 10: *Another Self Portrait (2013)". Bob Dylan's official website. Archived from the original on April 13, 2022. Retrieved July 18, 2022.
  42. ↑ "Bob Dylan's Duets". searchingforagem.com. Archived from the original on July 19, 2022. Retrieved July 19, 2022.
  43. ↑ "Joan Baez: How Sweet the Sound | CD review". The Guardian. December 11, 2009. Archived from the original on July 19, 2022. Retrieved July 20, 2022.
  44. 1 2 "It Aint'Me Babe". Olof Bjorner. Archived from the original on July 26, 2021. Retrieved May 24, 2022.
  45. ↑ Nelson, Sidney (November 20, 1970). "The twin-sided gifts of that Cat man". Evening Post. Nottingham. p. 20.
  46. ↑ Baker, Robb (January 21, 1969). "The sound". Chicago Tribune. p. 2A.5.
  47. ↑ Gleason, Ralph (January 26, 1969). "Baez, Dylan and the Nashville cats". The San Francisco Examiner. p. TW.43.
  48. ↑ Rea, Steven X. (September 11, 1983). "Ireland's Planxty returns". Philadelphia Inquirer. p. R11.
  49. ↑ Fordham, John (September 14, 2001). "A simple song". The Guardian. Archived from the original on July 20, 2022. Retrieved July 20, 2022.
  50. ↑ Humphries, Patrick (2011). "Thea Gilmore John Wesley Harding Review". BBC Music. Archived from the original on July 20, 2022. Retrieved July 20, 2022.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.