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| "Meet Me in the Morning" | |
|---|---|
| Song by Bob Dylan | |
| from the album Blood on the Tracks | |
| Released | January 1975 |
| Recorded | September 16, 1974 |
| Studio | A&R Recording, New York City |
| Genre | Blues rock [1] |
| Length | 4:22 |
| Label | Columbia |
| Songwriter(s) | Bob Dylan |
| Producer(s) | Bob Dylan |
| Blood on the Tracks track listing | |
"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.
"Meet Me in the Morning" is an acoustic blues performed with a full band and the only blues song on Blood on the Tracks . It is musically identical to another song, "Call Letter Blues", that Dylan had recorded earlier in the Blood on the Tracks sessions before rewriting the lyrics entirely. "Call Letter Blues" was eventually released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 in 1991. [2]
The intersection mentioned in the song's first line, 56th and Wabasha, apparently does not exist. However, Minnesota Highway 56 and Wabasha Street in Saint Paul, Minnesota did intersect in 1974, [3] when the song was recorded. This suggests that the lyric is "56 and Wabasha" rather than "56th and Wabasha" as the official Dylan website states. [4]
A September 19, 1974, outtake of "Meet Me in the Morning" was released on the B-side of the Record Store Day 2012 release of Dylan's single "Duquesne Whistle" and on the single-CD and 2-LP versions of The Bootleg Series Vol. 14: More Blood, More Tracks in 2018, with the complete recording sessions of the song included on the deluxe edition of that album. [5]
On September 19, 2007, Dylan played the song live in concert for the first and, to date, only time, during a show in Nashville, Tennessee. He was joined onstage for the performance by Jack White of The White Stripes. [6]
American heavy metal artist Jason Becker recorded a cover of the song and released it on his album Perspective (1995).
Russian rock musician Mike Naumenko wrote a song "Позвони мне рано утром" (lit. Call me early in the morning) inspired by the Dylan song. [7]
Freddie King recorded Meet Me In The Morning on the 1975 album Larger Than Life
"Meet Me in the Morning" is prominently featured in Sam Mendes' 2009 movie Away We Go . [8]
The song can be heard in the background in the 2015 film Steve Jobs, during a scene where Jobs talks to his daughter. [9]
The song can be heard in the 2014 climbing documentary 'Valley Uprising'. [10]
The song is used in the fourth episode of the 2024 Netflix miniseries, Eric. [11]
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Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after a two-album stint with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The album's songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, has described the songs as "my parents talking." In interviews, Dylan has denied that the songs on the album are autobiographical.
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.
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.
"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 1961–1991. It was also later anthologized on Dylan (2007).
Pat Garrett & Billy the Kid is the twelfth studio album and first soundtrack album by American singer-songwriter Bob Dylan, released on July 13, 1973, by Columbia Records for the Sam Peckinpah film of the same name. Dylan himself appeared in the film as the character "Alias". The soundtrack consists mainly of instrumental music and was inspired by the movie itself. The album includes "Knockin' on Heaven's Door", which became a trans-Atlantic Top 20 hit.
"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.
World Gone Wrong is the twenty-ninth studio album by American singer-songwriter Bob Dylan, released on October 26, 1993, by Columbia Records.
"Lily, Rosemary and the Jack of Hearts" is an epic narrative ballad by the American singer-songwriter Bob Dylan released as the seventh song on his 1975 album Blood on the Tracks. It is known for its complex plot and nearly nine-minute running time. It is one of five songs on Blood on the Tracks that Dylan initially recorded in New York City in September 1974 and then re-recorded in Minneapolis in December that year; the latter version became the album track.
"Shelter from the Storm" is a song by Bob Dylan, recorded on September 17, 1974, and released on his 15th studio album, Blood on the Tracks, in 1975. It was later anthologized on the compilation album The Essential Bob Dylan in 2000.
"Idiot Wind" is a song by Bob Dylan, which appeared on his 1975 album Blood on the Tracks. He began writing it in the summer of 1974, after his comeback tour with The Band. Dylan recorded the song in September 1974 and re-recorded it in December 1974 along with other songs on his album Blood on the Tracks. Between the recordings, he often reworked the lyrics. A live version of the song was released on Dylan's 1976 album Hard Rain, and all of the studio outtakes from the September sessions were released on the deluxe edition of The Bootleg Series Vol. 14: More Blood, More Tracks in 2018.
"Buckets of Rain" is a song by Bob Dylan, recorded on September 19, 1974, in New York City and released in 1975 on Dylan's critically acclaimed album Blood on the Tracks.
"Bob Dylan's Blues" is a song written and performed by the American singer-songwriter Bob Dylan, that was first released as the fifth track on his 1963 album, The Freewheelin' Bob Dylan.
"You're a Big Girl Now" is a song by Bob Dylan, released on his 15th studio album, Blood on the Tracks, in 1975. It is one of five songs on the album that Dylan initially recorded in New York City in September 1974 and then re-recorded in Minneapolis in December that year. The latter recording, made on December 27, 1974, became the album track.
"If You See Her, Say Hello" is a song by American singer-songwriter Bob Dylan from his 15th studio album, Blood on the Tracks (1975). The song is one of five on the album that Dylan initially recorded in New York City in September 1974 and then re-recorded in Minneapolis. The later recording, made on December 30, 1974, was produced by Dylan's brother David Zimmerman, who was not credited. The recording later became the album track and the B-side of the "Tangled Up in Blue" single, released in February 1975.
"When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971.
"Watching the River Flow" is a song by American singer Bob Dylan. Produced by Leon Russell, it was written and recorded during a session in March 1971 at the Blue Rock Studio in New York City. The collaboration with Russell formed in part through Dylan's desire for a new sound—after a period of immersion in country rock music—and for a change from his previous producer.
"Silvio" is a folk rock song written by Bob Dylan and Robert Hunter and released by Dylan as the seventh track of his 1988 album Down in the Groove. Performed alongside the Grateful Dead, the song was released as the album's only single and spent eight weeks on Billboard's Mainstream Rock chart, peaking at #5 on July 1, 1988.
"You're Gonna Make Me Lonesome When You Go" is a song by Bob Dylan. Recorded in September 1974, it appeared as the fifth track on Dylan's album Blood on the Tracks, released in January 1975.
The Bootleg Series Vol. 14: More Blood, More Tracks is a compilation album by American singer-songwriter Bob Dylan. The 12th installment in the ongoing Bob Dylan Bootleg Series, it was released by Legacy Records on November 2, 2018. The compilation focuses on recordings Dylan made in September and December 1974 for his 1975 album Blood on the Tracks. The release comes in both a one-disc standard edition and a six-disc deluxe edition. It is the first volume since the third where the standard edition is not a double disc.
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