Posts Tagged ‘Bob Dylan’

Chrissie Hynde (L) and James Walbourne from The Pretenders on stage at OverOslo on June 21, 2019 in Oslo, Norway.

When Chrissie Hynde heard Bob Dylan’s “Murder Most Foul,” the 17-minute elegy he had recorded about John F. Kennedy and surprise-released in late March, she was caught by surprise. “It really knocked me sideways,” she says “It’s so magnificent.”

Like everyone, she was in what she describes as an “odd frame of mind” due to the pandemic-related lockdowns that had gone into effect a few weeks earlier. So with no outside distractions, the song teleported her back to her youth. “It brought back my whole childhood and my past,” she says. “I remembered exactly where I was sitting in the sixth grade at my desk when the news [of JFK’s assassination] came over the Tannoy [P.A.] system. Then I was thinking about Bob and how significant he’s been throughout my lifetime — and everyone’s lives. I’ve gone to see shows of his and there are grown men, older than me, standing up, like, in tears just because he’s there.”

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. The First one is off the “Shot of Love” album, “In The Summertime”. We did it from home on our phones. I did the rhythm – sent it to James, he added guitar , sent it back to me, I then put on the vocal , sent it back to him, he put on some back up vocals and organ, then we sent it to Tchad Blake to tidy up. I know you don’t need the behind the scenes details so I won’t repeat myself on the next one. xch

Hynde had planned on hitting the road this spring with the Pretenders, in support of their hard-hitting new album, Hate for Sale, but now she had an empty diary. She’d seen Dylan live a few times with the band’s lead guitarist, James Walbourne, and had remarked to him she would love to cover some Dylan songs.

Hynde and Walbourne released the first installment of what they dubbed their “Dylan Lockdown Series,” “In the Summertime.” Dylan’s version of the track, which appeared on his 1981 LP Shot of Love, was a mid-tempo, harmonica-soaked nostalgia piece. Hynde and Walbourne toughened it up a little with some forceful acoustic guitar, a lusher chorus, and an organ replacing some of the harmonica, as she hung onto his words to fit them to her voice. “I sent James a rhythm track on my phone, he added to it, and I put a vocal to it,” she says, explaining their quarantine-era methodology. “Then we sent it to [engineer] Tchad Blake, who is out in the wilds of Wales, to mix it. I love working with him.”

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends. – chx

The third in the Dylan Lockdown Series: James & Chrissie’s reading of ‘Standing In The Doorway’ taken from the “Time Out Of Mind”, great album. After she was pleased with the finished product, she started picking more songs. They made Blood on the Tracks’ “You’re a Big Girl Now”sound a little more country and contemplative. They took the gospel-tingedTime Out of Mind number“Standing in the Doorway” and opened the windows on it, making it into something more uplifting. And they interpreted the gentle“Sweetheart Like You,”from Infidels— the album Dylan was touring on when Hynde joined him at Wembley — and made it sound sparse, with just guitar, piano, and Hynde’s voice.

The fourth in the Dylan lockdown series: Chrissie and James’ tender cover of Bob Dylan’s “Sweetheart Like You”

Number 5 of the Dylan Lockdown series: Chrissie and James’ cover of Bob Dylan’s Blind Willie McTell “Blind Willie McTell” is a song titled after the Piedmont blues and ragtime singer / guitarist Blind Willie McTell. It was recorded in the spring of 1983, during the sessions for Dylan’s album Infidels, but was left off the album and officially released only in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. “I just love always discovering new Dylan stuff and discovering old albums,” Walbourne says, on a break from learning the chords to the Infidels-era outtake “Blind Willie McTell” on the piano. “When I saw Martin Scorsese’s Rolling Thunder doc on Netflix, I had no idea [Dylan] was that crazy during that time.”


Hynde and Walbourne uploaded the final entry in their Dylan Lockdown Series, their rendition of “Tomorrow Is a Long Time,” a quiet acoustic folk number that debuted on Bob Dylan’s Greatest Hits, Vol. 2. Hynde and Walbourne kept it acoustic but made it more upbeat with organ and plinking cymbals, even when she sings, “If tomorrow wasn’t such a long time, then lonesome would mean nothing to you at all.” You can hear both her deference to Dylan and how the song is personal enough that she feels comfortable making it her own.

“Everyone goes back a long way with him because everyone has their own personal history [with his songs],” she says. “In his case, it’s very personal, because his songs are so personal. People who are fans of his really are fans. He’s not a lightweight; he’s a heavyweight. He’s been there for a longtime with us, so he’s seen us through many things, and we’ve seen him through.”

She pauses and considers just what it has meant to her to sing these songs. “It sounds like it’d be so easy, but first of all, you’re trying not to sing them the way you’ve heard them over the years because you get locked into that,” she says. “You can’t consciously sing them differently, so you just have to find your own thing. So it’s been an interesting and a fun thing to do. I’m very grateful to have the time to do this, because otherwise I’d be on a tour bus right now.”

she realized that now was the perfect time to pay tribute to a man who had inspired her for most of her life. She had grown up with Dylan’s music and has had the opportunity to pay tribute to him in the past — she joined him at Wembley Stadium for renditions of “Leopard-Skin Pill-Box Hat” and “It’s All Over Now, Baby Blue” in 1984, and she sang a stunning rendition of “I Shall Be Released” to him at his 1992 30th anniversary concert — but she has long wanted to do more. “Any singer-songwriter would like to do every Bob Dylan song they can get their hands on, and there’s thousands to choose from,” she says.

With a catalogue like Dylan’s, there’s so much there,” Hynde says. “I mean, I’m not one of these Dylan … … what do they call them … ‘Dylanologists’ to get on chat lines and discuss every lyric and everything. Although why not? But you know, I’m not into it from an academic, intellectual point of view. I wouldn’t take it in a college course. But if there’s songs I’ve lived through, such as when ‘Like A Rollin’ Stone’ and [similar songs] came on the radio back in the Sixties, they really changed the way songwriting was across the board. Probably even James Brown was affected by him; he started writing songs like ‘The Big Payback.’ And, I mean, Hendrix. Anyway, and so there’s this huge catalogue and you can dip in if you want.” She waits a beat. “And I want.”

That said, she admits that Dylanologists have been keeping her on her toes. “You don’t want to fuck up a Dylan song and have thousands of Dylanologists gunning for you,” she says. When she covered “Sweetheart Like You,” she struggled a little with how she wanted to sing some of Dylan’s words.

“These days, you don’t have to change the gender of a lyric because it doesn’t matter anymore,” Hynde says. “That was always a problem in the past, since sometimes it kind of compromises the song. Like if it didn’t sound right to change, ‘She loves me’ to ‘He loves me,’ let’s say. These days, you can do anything.

“But there was one second verse in ‘What’s a Sweetheart Like You’ that said, ‘She used to call me sweet daddy when I was only a child,’ and I thought ‘That’s gonna be really awkward,’” she continues. “I couldn’t figure out how to make that mine. So I went through the archives of different versions he’s done and found a Spanish translation that had a different verse, so I just used that one. I mean, he sang it in English, maybe it wasn’t the official, and then I thought, ‘Oh, these guys are gonna come after me now and say, “That’s not what he wrote.”‘ But it is what he wrote.”

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The story goes that when Bob Dylan heard Jimi Hendrix’s swirling cover of ‘All Along The Watchtower’ he said that the track no longer belonged to him, that Jimi had provided the essential version of the song. He clearly hadn’t heard XTC’s fresh take of the track on the TV show ‘So It Goes’.

While punk rock was sweeping the globe and the need to destroy the past to create a new future was an ethos that many bands latched on to, a rejection of rock ‘n’ roll’s past was a fashionable thing and most punks spent their time describing the acts that came before them with a snotty snort of derision. However, one band was happy to take a look back to the sixties and find themselves a gem, that band was XTC.

The group formed in Swindon in 1972 and quickly merged into an impressive unit. Fronted by Andy Partridge and Colin Moulding, they were creating avant-garde rock before punk was a murmur in the streets of London. But with the rise of punk, the band found themselves a home on Virgin Records and released their debut album, White Music.

The album was full of fresh new sounds and, in a 2009 interview, Partridge said of the record which began with their song ‘Radios in Motion’: “We couldn’t think of any better way to start off our first album than with the ‘kick the door in’, breezy opener we used in our live set… the lyrics are very silly, picked for their sonic effect rather than meaning. The first refuge of an inexperienced songwriter, forgive me, but they do have a youthful scattergun energy.”

While the record was brimming with youthful exuberance, one moment on the album stands out among the rest though with their cover of Dylan’s ‘All Along The Watchtower’. The idea for a cover was a toss-up between the Dylan song and The Rolling Stones’ ‘Citadel’, as he explained: “I thought, ‘Wouldn’t it be great to cover one of these songs, because they’re both from people who represent the Old Guard,” remembered Partridge. “I think it would be mischievous to do either of these songs in a radically different way, and to show that we’re not in awe of the Old Guard, and that we can take something that they’ve done, smash it all up, and put it back together in our way.”

There was no better place to show of this newly smashed and glued back together track than Anthony Wilson’s ‘So It Goes’. The TV show was quickly becoming known for giving new punk talent a shot at a television spot, a coveted thing in the late seventies. XTC knew they had an opportunity to take and they certainly grabbed it with both hands.  That moment as XTC smash it all up and put it back together again with a smirk and a dubby rhythm which is truly intoxicating. It may not be Dylan’s favourite cover version but it’s right up there as the most unique seen on independent TV.


Gearing up for the release of Blonde on the Tracks, her album of Bob Dylan covers, Emma Swift has dropped a tender rendition of “Queen Jane Approximately.”

A highlight from 1965’s Highway 61 Revisited, Swift’s cover showcases her delicate vocals over a 12-string Rickenbacker guitar. The video, which features animation and photos by Hugh Hales-Tooke, contains imagery from Dylan’s 1975-1976 Rolling Thunder Revue tour. He appears as a full moon in his iconic whiteface makeup, as Swift views him through a telescope.

“The idea for the album came about during a long depressive phase,” Swift said of Blonde on the Tracks. “The kind where it’s hard to get out of bed and get dressed and present to the world as a high-functioning human. I was lost on all fronts no doubt, but especially creatively.”

“I’ve never been a prolific writer, but this period was especially wordless,” she continued.  “Sad, listless and desperate, I began singing Bob Dylan songs as a way to have something to wake up for. Interpreting other people’s emotions is how I learned to sing and I’ve always enjoyed hearing Dylan’s songs from a female perspective. You can learn a lot about melody and feeling by the way a singer chooses to interpret someone else’s song.”

“Queen Jane Approximately” follows Swift’s cover of “I Contain Multitudes,” the original of which appears on Dylan’s latest album, Rough and Rowdy Ways. Other songs on the LP include the Blonde on Blonde tracks “One of Us Must Know (Sooner or Later)” and “Sad Eyed Lady of the Lowlands,” as well as “Simple Twist of Fate” and “You’re a Big Girl Now” from Blood on the Tracks.

Blonde on the Tracks was first recorded at Nashville’s Magnetic Sound Studio in 2017. It was produced by Wilco’s Patrick Sansone and features Robyn Hitchcock on guitar, Thayer Serrano on pedal steel guitar, Jon Estes on bass and Jon Radford on drums.

From Emma’s forthcoming album “Blonde on the Tracks”: a reimagining of Bob Dylan songs out August 14 on Tiny Ghost Records.

Pretty Good Stuff: Dylan historian James Adams’ hour-long, monthly, program diving deep into the depths of all things Dwarf Music. Listen to the show below, and to explore further, support our Patreon for the individual tracks and more.

Pretty Good Stuff: Ep. 7

Bob Dylan :: Pretty Good Stuff | Episode 7

Opening: DJ talk over theme: What Can I Do For You? 19980-01-15 – Seattle, WA)
01:17: Shelter From The Storm (1995-04-09 Glasgow, Scotland)
07:53: The Ballad of the Gliding Swan (1962-12-30 London, England – Madhouse on Castle Street)
08:54: The Man In Me (1978-06-01 Los Angeles, CA)
12:37: Bob Dylan – Excerpt from Interview with Jann Wenner – 2007
13:13: God Knows (2006-04-08 Sun City West, AZ)
18:44: Scarlet Town (2018-11-20 Waterbury, CT)
23:56: Come Together (1985-00-00 Unknown)
27:39: Lady Came From Baltimore (1994-04-06 Davenport, IA)
30:30: DJ talk over Born In Time (1998-11-02 Syracuse, NY)
33:20: Watching The River Flow (1987-10-05 Locarno, Switzerland)
37:12: Bob Dylan – Excerpt from NPR Interview – 2004
38:19: Tryin’ to Get to Heaven (2000-09-27 Rotterdam, The Netherlands)
43:15: Maggie’s Farm (1976-05-18 Oklahoma City, OK)
48:14: One Too Many Mornings (1989-06-07 Birmingham, England)
52:28: DJ talk over Stay With Me (2015-04-24 Atlanta, GA)
54:28: Love Sick (11-22-15 Milan, Italy)
59:25: Out

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In recent weeks, musicians have come up with an impressive variety of ways to keep their fans amused during lockdown. There have been online listening parties and Q&As, free guitar lessons via Instagram, live performances beamed direct from bedrooms, DJ sets and kitchen discos. But no artist has risen to the task of keeping their audience occupied quite like Bob Dylan. A crowdpleaser only in sofar as the crowd he attracts would be pleased whatever he did – a significant proportion of his latter-day audience are so partisan you get the feeling they’d be sent into paroxysms of ecstasy if he stood on stage with a comb and paper for two hours, he simply released three new songs. An artist who’s quite literally said nothing new for the last eight years (his last three albums have been comprised entirely of covers from the Great American Songbook, the rest of his release schedule made up of archival recordings).

The first, “Murder Most Foul”, went on for 17 minutes and sounded unlike anything he had previously recorded, a recitation set to a haze of piano, violin and lightly struck drums. The second, “I Contain Multitudes”, was significantly shorter and more conventional – a delicate, percussion-free ballad – but still contained enough lyrical heft to provoke news stories: within a week of its release, the British press was triumphantly reporting that someone had cracked the mention of the Irish village of Ballinalee in its first verse, tapping a Harvard professor to attest that it was a reference to the work of a blind 18th-century poet called Antoine Ó Raifteirí. The third, “False Prophet”, was a ferocious blues song, the latest in a series of adaptations of other artists’ material that stretches back to the dawn of Dylan’s career: this time a 1954 B-side by Billy “The Kid” Emerson, an obscure R&B singer-songwriter once signed to Sun Records. In the lyrics, meanwhile, the search for the Holy Grail jostled for space with characters from old rock’n’roll songs – Ricky Nelson’s Mary Lou, Jimmy Wages’ Miss Pearl – recast in the role that Virgil played in Dante’s Inferno: “fleet-footed guides from the underworld”. Clearly, the task of unpicking everything that was going on in the lyrics would keep Dylanologists indoors long after lockdown ended.
Perhaps more importantly, they were the kind of Dylan songs that brooked very little argument about their quality, the kind of Dylan song you could play to a Dylan agnostic as testament to his continued greatness. This is a category of material that’s been a little thinner on the ground on his latest albums than their more hysterical reviews would suggest: for all the hosannahs thrown in its direction, it was entirely possible to listen to 2012’s Tempest and be alternately thrilled by the furious power of Pay in Blood and faintly mortified by Roll on John, a Lennon tribute that strung Beatles lyrics together in a way that would make Noel Gallagher blush.

Happily, the standard set by the three tracks that heralded its arrival is kept up all the way through Rough and Rowdy Ways. The musical abstraction of Murder Most Foul turns out to be a feint: tellingly it occupies a separate disc to the rest of the album when the whole thing could easily have fitted on one CD. The rest almost exclusively deals in music that hails from the era before Dylan showed up and changed everything: with the possible exception of the lambent penultimate track, Key West (Philosopher Pirate), which carries a faint hint of The Basement Tapes about its sound – albeit with an accordion filling the space Garth Hudson’s organ would have done – everything else feels directly rooted in the 50s or earlier.

There’s a lot of rhythm and blues, while I’ve Made Up My Mind to Give Myself to You sets its utterly beautiful descending melody to a sound that carries traces of both small-hours doo-wop and pre-rock’n’roll pop. The musical inspiration behind Goodbye Jimmy Reed is obvious from its title, but by the third verse, Dylan doesn’t seem to be talking about the titular bluesman so much as himself when forced to face down the various expectations that audiences have attached to him virtually from the moment he first appeared: “They threw everything at me, everything in the book … they had no pity, they wouldn’t lend a hand, I can’t sing a song I don’t understand.”

These are musical areas in which Dylan has worked for years. What sets Rough and Rowdy Ways apart from Tempest or 2006’s Modern Times is the sheer consistency of the songwriting; there’s nothing here that sounds like dashed-off filler, nothing that doesn’t hit home. Dylan nuts have a great line in telling you how hilarious lyrics that seem capable of raising at best a wry smile are – “Freddie or not, here I come”, “I’m not dead yet, my bell still rings” etc – but My Own Version, in which the protagonist turns Frankenstein and builds himself a lover out of bits of corpses, is packed with genuinely funny lines amid the references to Shakespeare, Homer’s Iliad, Bo Diddley and Martin Scorsese, as well as a curious interlude during which Freud and Marx are depicted as “enemies of mankind” burning in hell: “All through the summers into January, I’ve been visiting morgues and monasteries … if I do it right and put the head on straight, I’ll be saved by the creature that I create.”

This is obviously humour of a dark hue: if Tempest’s prevalent mood was one of murderous fury, then here it’s brooding menace and imminent doom. It’s there in the music – the weird tension in Crossing the Rubicon’s muted R&B shuffle and the way the backing on Black Rider keeps lapsing into ominous silence. You lose count of the lyrical references to judgment day and Armageddon, of the mysterious characters that keep cropping up with malevolence on their minds: “I can feel the bones beneath my skin and they’re trembling with rage, I’ll make your wife a widow, you’ll never see middle age,” he sings on Crossing the Rubicon. Of course, grouchily informing the world that everything is turning to shit has been one of Dylan’s prevalent songwriting modes for a quarter of a century – it’s the thread that binds Not Dark Yet, Things Have Changed, Ain’t Talkin’ and Early Roman Kings, among others – but this time the message seems to have shifted slightly: if you think everything has turned to shit now, Rough and Rowdy Ways keeps insisting, just you wait.

This isn’t perhaps the most comforting communique to issue in the middle of a global pandemic, but then the man behind it has seldom dealt in soothing reassurance. And besides, it doesn’t matter. For all its bleakness, Rough and Rowdy Ways might well be Bob Dylan’s most consistently brilliant set of songs in years: the die-hards can spend months unravelling the knottier lyrics, but you don’t need a PhD in Dylanology to appreciate its singular quality and power.

Rough and Rowdy Ways is released on Columbia on 19th June.

“For this series of paintings the idea was to create pictures that would not be misinterpreted or misunderstood by me or anybody else.” – Bob Dylan about The Beaten Path

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The Pretenders’ Chrissie Hynde and James Walbourne recorded an atmospheric version of Bob Dylan’s “Standing in the Doorway” for the latest installment of their “Dylan Lockdown Series.”. Chrissie Hynde is keeping busy during this pandemic. She’s a got a Lockdown Series of Bob Dylan covers she’s recorded with Pretenders guitarist James Walborne. This is all in anticipation of the new Pretenders record coming in July. Since I can listen to Chrissie sing the phone book, here are the three covers they’ve done so far.

Like the original version on 1997’s “Time Out of Mind”, the revamped take stretches out past seven minutes, with Hynde softly singing over airy piano, organ, electric guitar and distant percussion. They paired the song with a video full of vivid shots of farmland, train tracks and raindrops trickling down window panes.

“Thanks one more to Tchad Blake on mixing duties and the whole Blake family for the video,” Hynde wrote on Instagram of the release, the third in their series following “In the Summertime” and “You’re a Big Girl Now.”

The Dylan covers precede the Pretenders’ upcoming 11th studio LP, “Hate for Sale”, out July 17th. The album features the previously issued title-track, “You Can’t Hurt a Fool” and “The Buzz,” the latter of which they paired with a surreal video.

I was so buoyed up by the new Dylan songs that I talked to Pretenders Guitar playing hot-shot James Walbourne and we decided it’s a good time to do those Dylan songs we’ve always talked about doing. Every singer-songwriter in the world covers the master’s songs and there is an endless supply of them. So we’ve started, and will do one a week until lockdown ends.

The First was off the Shot of Love album, In The Summertime. We did it from home on our phones. I did the rhythm – sent it to James, he added guitar , sent it back to me, i put on the vocal , sent it back to him, he put on some back up vocals and organ, then we sent it to Tchad Blake to tidy up. I know you don’t need the behind the scenes details so I won’t repeat myself on the next one.

Hynde and Walbourne co-wrote all the songs on Hate for Sale, the Pretenders record in over 21 years to feature founding drummer Martin Chambers.

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Hello, and welcome to Sunday Series No. 5!
I’ve been reading a lot of Wallace Stevens in the past few days, and I keep coming back to a poem called The House Was Quiet and The World Was Calm (opposite to current experience) and this bit in particular:  “The words were spoken as if there was no book, Except that the reader leaned above the page,

Wanted to lean, wanted much most to be The scholar to whom his book is true, to whom,The summer night is like a perfection of thought. The house was quiet because it had to be.”

I love this image of leaning into something that you know will lead to growth, something true. I won’t wax on about Bob Dylan’s impact on my love for lyrics — endless others have expressed what he’s given to us far more eloquently than I ever could — but the leaning reader in this poem pretty well describes how I have always listened to him. Like reading a great book — that rush of receiving a perfect string of words. I always lean in.

Released May 17th, 2020

“Knockin‘ On Heaven’s Door” (Written by Dylan)

Tanya: vocal, guitar
Russell Chudnofsky: acoustic guitar
Joe McMahon: piano
Dean Fisher: snare, tambourine
Lilia Halpern: vocals, guitar


This Japanese original compilation release of Bob Dylan Japanese released single features the high fidelity Blu-spec CD2 format. Includes 31 songs from his singles originally released as vinyl format from 1965 through 1985, and they are included in this compilation in release date order. Single version(s) becomes available as CD format for the first time in the world. Comes with a booklet with photos of vinyl discs of 31 songs

Late April 2020, Bob Dylan is embarking on his ninth tour of Japan.  Sony Japan commemorated the event on March 25th with a new 2-CD set, “Japanese Single Collection”.  It brings together 20 years’ worth of A-sides released from 1965 to 1985, presented in the order they were released in Japan, including the rarity “George Jackson (Big Band Version).”

As far as packaging, the album cover was newly designed in Japan and the illustrated booklet includes discographical information and scans of the original Japanese picture sleeves.  The music is pressed on the Japanese Blu-Spec CD2 format, compatible with standard CD players.

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Disc: 1

1. Subterranean Homesick Blues (CBS LL-764-C, 1965)
2. Like a Rolling Stone (CBS LL-821-C, 1965)
3. Positively 4th Street (CBS LL-847-C, 1965)
4. Can You Please Crawl Out Your Window? (CBS LL-882-C, 1966)
5. One of Us Must Know (Sooner or Later) (CBS LL-919-C, 1966)
6. Rainy Day Women #12 & 35 (CBS LL-928-C, 1966)
7. I Want You (CBS LL-956-C, 1966)
8. Just Like a Woman (CBS LL-987-C, 1966)
9. Blowin’ in the Wind (CBS LSS-434-C, 1966)
10. The Times They Are A-Changin’ (CBS LSS-434-C, 1966)
11. Lay, Lady, Lay (Cbs/Sony Cbsa 82001, 1969)
12. Take a Message to Mary (Cbs/Sony Cbsa 82070, 1970)
13. Watching the River Flow (Cbs/Sony Cbsa 82116, 1971)
14. When I Paint My Masterpiece (Cbs/Sony Cbsa 82132, 1971)
15. George Jackson (Big Band Version) (Cbs/Sony Sopa 1,1972)
16. Knockin’ on Heaven’s Door (Cbs/Sony Sopb 257, 1973)
17. A Fool Such As I (Cbs/Sony Sopb 269, 1973)















To tie-in with the new set, Sony Japan will also release a pink vinyl reissue of “Subterranean Homesick Blues” b/w “She Belongs To Me,” utilizing the 2010 mono remasters.

Though Amazon U.S. links are not available at the time of writing, fans can order the single and the 2-CD set from Amazon Japan, HMV, CDJapan, or Tower Records (still big in Japan!)  CDJapan buyers will receive a postcard with the Japanese Single Collection album artwork while supplies last.

So, Dylan collectors, get ready to place those pre-orders.

Bob Dylan, Japanese Single Collection (Sony Japan, 2020) (Amazon U.S. [not live] / Amazon Japan / HMV Japan / CDJapan [with bonus postcard] / Tower Records Japan)

Disc: 2

1. On a Night Like This (Asylum/Warner-Pioneer P-1293 y, 1974)
2. Something There Is About You (Asylum/Warner-Pioneer P-1315 y, 1974)
3. Most Likely You Go Your Way (And I’ll Go Mine) (From Before the Flood) (Asylum/Warner-Pioneer P-1330Y, 1974)
4. Tangled Up in Blue (Cbs/Sony Sopb 307, 1975)
5. Mr. Tambourine Man (Cbs/Sony Sopb 321, 1975)
6. Hurricane (Part 1) (Cbs/Sony Sopb 349, 1975)
7. Mozambique (Cbs/Sony Sopb 360, 1976)
8. One More Cup of Coffee (Valley Below) (Cbs/Sony 06SP 1,1976)
9. Stuck Inside of Mobile with the Memphis Blues Again (From Hard Rain) (Cbs/Sony 06SP 126, 1976)*
10. Baby Stop Crying (Cbs/Sony 06SP 241, 1978)
11. Gotta Serve Somebody (Cbs/Sony 06SP 410, 1979)
12. Man Gave Names to All the Animals (Cbs/Sony 06SP 433, 1979)
13. Sweetheart Like You (Cbs/Sony 07SP 765, 1983)
14. Tight Connection to My Heart (Cbs/Sony 07SP 901, 1985)


BobDylan FalseProphet Spotify

Bob Dylan has been on a roll, getting us through lockdown with new singles that find him as clever and compelling as ever. On Thursday evening, May 7th, the Bob Dylan Twitter account posted another cryptic tweet – complete with a pulp book-inspired illustration and a lyric quote – which had fans everywhere wondering if we might get another treat to tide us over.

Well, come midnight, we got our answer as another new song “False Prophet” was released on digital streaming services. The third surprise single in what’s become a triweekly tradition, “False Prophet” is a departure from the more atmospheric “Murder Most Foul” and “I Contain Multitudes.”  The new track is a rollicking and bluesy, guitar-heavy track with intense and growling vocals from Dylan. As if a new single weren’t enough, Dylan also announced his first album of new original material in eight years.  Due out June 19th on Columbia Records, Rough and Rowdy Ways will be a ten-song, two-CD affair.

The album opens with “I Contain Multitudes,” followed by “False Prophet,” then by seven as-yet-unknown tracks.  The epic “Murder Most Foul” will be included on its own on CD 2.  The two discs will be housed in a 4-panel, 2-pocket gatefold digipak. A 2-LP edition will also be pressed up, boasting 180-gram vinyl, gatefold packaging, and printed inner sleeves.  That configuration is set to arrive July 17th.  And for those readers who may have ventured into streaming during lockdown, the album will be released across digital platforms, too, on the same day as the CD.

So mark your calendars for June 19th for this much-welcome gift from Bob Dylan, Rough and Rowdy Ways.