Bob Dylan Discography Download

Dylan at Azkena Rock Festival in Vitoria-Gasteiz, Spain, in June 2010
Born
May 24, 1941 (age 78)
Duluth, Minnesota, U.S.
ResidenceMalibu, California, U.S.
Other namesShabtai Zissel (Hebrew name)[1]
Occupation
Years active1959–present[2]
Home townHibbing, Minnesota, U.S.
Spouse(s)
Sara Dylan
(m.1965; div.1977)

Children6, including Jesse and Jakob Dylan
AwardsNobel Prize in Literature (2016)
(For others, see List)
Musical career
Genres
Instruments
Labels
Associated acts
Websitebobdylan.com

Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, author, and visual artist who has been a major figure in popular culture for more than fifty years. Much of his most celebrated work dates from the 1960s, when songs such as 'Blowin' in the Wind' (1963) and 'The Times They Are a-Changin' (1964) became anthems for the civil rights movement and anti-war movement. His lyrics during this period incorporated a wide range of political, social, philosophical, and literary influences, defied pop-music conventions and appealed to the burgeoning counterculture.

Following his self-titled debut album in 1962, which mainly comprised traditional folk songs, Dylan made his breakthrough as a songwriter with the release of The Freewheelin' Bob Dylan the following year. The album featured 'Blowin' in the Wind' and the thematically complex 'A Hard Rain's a-Gonna Fall.' For many of these songs, he adapted the tunes and phraseology of older folk songs. He went on to release the politically charged The Times They Are a-Changin' and the more lyrically abstract and introspective Another Side of Bob Dylan in 1964. In 1965 and 1966, Dylan encountered controversy when he adopted electrically amplifiedrock instrumentation, and in the space of 15 months recorded three of the most important and influential rock albums of the 1960s: Bringing It All Back Home (1965), Highway 61 Revisited (1965) and Blonde on Blonde (1966). The six-minute single 'Like a Rolling Stone' (1965) has been described as challenging and transforming the 'artistic conventions of its time, for all time.'[3]

Artist: Bob Dylan Album: Studio Albums Year: 1962 - 2006 Genre: Country, Rock, Blues, Folk Bitrate: 320 Size, Gb: 3,5 Download Bob Dylan - Studio Albums parts: 1, 2. In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set that for the first time presented Dylan's eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), in their original mono mix in the CD format. The CDs were housed in miniature facsimiles of the original album covers, replete with.

In July 1966, Dylan withdrew from touring after being injured in a motorcycle accident. During this period, he recorded a large body of songs with members of the Band, who had previously backed him on tour. These recordings were released as the collaborative album The Basement Tapes in 1975. In the late 1960s and early 1970s, Dylan explored country music and rural themes in John Wesley Harding (1967), Nashville Skyline (1969), and New Morning (1970). In 1975, he released Blood on the Tracks, which many saw as a return to form. In the late 1970s, he became a born-again Christian and released a series of albums of contemporary gospel music before returning to his more familiar rock-based idiom in the early 1980s. The major works of his later career include Time Out of Mind (1997), 'Love and Theft' (2001), Modern Times (2006) and Tempest (2012). His most recent recordings have comprised versions of traditional American standards, especially songs recorded by Frank Sinatra. Backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour.

Since 1994, Dylan has published eight books of drawings and paintings, and his work has been exhibited in major art galleries. He has sold more than 100 million records, making him one of the best-selling music artists of all time. He has also received numerous awards, including the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award, and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Minnesota Music Hall of Fame, Nashville Songwriters Hall of Fame, and the Songwriters Hall of Fame. The Pulitzer Prize jury in 2008 awarded him a special citation for 'his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.' In 2016, Dylan was awarded the Nobel Prize in Literature 'for having created new poetic expressions within the great American song tradition.'[4]

  • 1Life and career
    • 1.21960s
    • 1.31970s
    • 1.62000s
    • 1.72010s
  • 6Personal life
    • 6.1Romantic relationships
  • 7Accolades
  • 8Legacy
  • 11References

Life and career[edit]

1941–1959: Origins and musical beginnings[edit]

The Zimmerman family home in Hibbing, Minnesota

Bob Dylan was born Robert Allen Zimmerman (Hebrew: שבתאי זיסל בן אברהםShabtai Zisl ben Avraham)[5][6][7] in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota,[8][9] and raised in Hibbing, Minnesota, on the Mesabi Range west of Lake Superior. He has a younger brother, David. Dylan's paternal grandparents, Zigman and Anna Zimmerman, emigrated from Odessa, in the Russian Empire (now Ukraine), to the United States following the anti-Semitic pogroms of 1905.[10][11] His maternal grandparents, Ben and Florence Stone, were Lithuanian Jews who arrived in the United States in 1902.[10][11] In his autobiography, Chronicles: Volume One, Dylan wrote that his paternal grandmother's maiden name was Kirghiz and her family originated from the Kağızman district of Kars Province in northeastern Turkey.[12]

Dylan's father, Abram Zimmerman – an electric-appliance shop owner – and mother, Beatrice 'Beatty' Stone, were part of a small, close-knit Jewish community.[13][14][15] They lived in Duluth until Dylan was six, when his father had polio and the family returned to his mother's hometown, Hibbing, where they lived for the rest of Dylan's childhood. In his early years he listened to the radio—first to blues and country stations from Shreveport, Louisiana, and later, when he was a teenager, to rock and roll.[16][17]

Dylan formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard[18] and Elvis Presley.[19] Their performance of Danny & the Juniors' 'Rock and Roll Is Here to Stay' at their high school talent show was so loud that the principal cut the microphone.[20] In 1959, Dylan's high school yearbook carried the caption 'Robert Zimmerman: to join 'Little Richard'.'[18][21] That year, as Elston Gunnn, he performed two dates with Bobby Vee, playing piano and clapping.[22][23][24] In September 1959, Dylan moved to Minneapolis and enrolled at the University of Minnesota.[25] His focus on rock and roll gave way to American folk music, as he explained in a 1985 interview:

The thing about rock'n'roll is that for me anyway it wasn't enough... There were great catch-phrases and driving pulse rhythms... but the songs weren't serious or didn't reflect life in a realistic way. I knew that when I got into folk music, it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings.[26]

Living at the Jewish-centric fraternity Sigma Alpha Mu house, Dylan began to perform at the Ten O'Clock Scholar, a coffeehouse a few blocks from campus, and became involved in the Dinkytownfolk music circuit.[27][28] During this period, he began introducing himself as 'Bob Dylan.'[29][a 1] In his memoir, he said he hit upon using this less common variant for Dillon – a surname he had considered adopting – when he unexpectedly saw poems by Dylan Thomas.[30] Explaining his change of name in a 2004 interview, he said, 'You're born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free.'[31]

1960s[edit]

Relocation to New York and record deal[edit]

In May 1960, Dylan dropped out of college at the end of his first year. In January 1961, he traveled to New York City to perform there and visit his musical idol Woody Guthrie,[32] who was seriously ill with Huntington's disease in Greystone Park Psychiatric Hospital.[33] Guthrie had been a revelation to Dylan and influenced his early performances. Describing Guthrie's impact, he wrote: 'The songs themselves had the infinite sweep of humanity in them... [He] was the true voice of the American spirit. I said to myself I was going to be Guthrie's greatest disciple.'[34] As well as visiting Guthrie in hospital, Dylan befriended Guthrie's protégé Ramblin' Jack Elliott. Much of Guthrie's repertoire was channeled through Elliott, and Dylan paid tribute to Elliott in Chronicles: Volume One.[35]

From February 1961, Dylan played at clubs around Greenwich Village, befriending and picking up material from folk singers there, including Dave Van Ronk, Fred Neil, Odetta, the New Lost City Ramblers and Irish musicians the Clancy Brothers and Tommy Makem.[36] On April 11, Dylan commenced a two-week engagement at Gerde's Folk City, supporting John Lee Hooker.[37]New York Times critic Robert Shelton first considered Dylan in a review of Izzy Young's production for WRVR of a live twelve-hour Hootenanny on July 29, 1961: 'Among the newer promising talents deserving mention are a 20-year-old latter-day Guthrie disciple named Bob Dylan, with a curiously arresting mumbling, country-steeped manner.' This was Dylan's first radio performance.[38] In September, Shelton boosted Dylan's career with an enthusiastic review of his performance at Gerde's Folk City.[39] That month, Dylan played harmonica on folk singer Carolyn Hester's third album. This brought him to the attention of the album's producer, John Hammond,[40] who signed Dylan to Columbia Records.[41]

Dylan's first album, Bob Dylan, released March 19, 1962,[42] consisted of familiar folk, blues and gospel with two original compositions. The album sold only 5,000 copies in its first year, just enough to break even.[43] Within Columbia Records, some referred to Dylan as 'Hammond's Folly'[44] and suggested dropping his contract, but Hammond defended him and was supported by songwriter Johnny Cash.[43] In March 1962, Dylan contributed harmonica and backup vocals to the album Three Kings and the Queen, accompanying Victoria Spivey and Big Joe Williams on a recording for Spivey Records.[45] While working for Columbia, Dylan recorded under the pseudonym Blind Boy Grunt[46] for Broadside, a folk magazine and record label.[47] Dylan used the pseudonym Bob Landy to record as a piano player on The Blues Project, a 1964 anthology album by Elektra Records.[46] As Tedham Porterhouse, Dylan played harmonica on Ramblin' Jack Elliott's 1964 album Jack Elliott.[46]

Dylan with Joan Baez during the civil rights 'March on Washington for Jobs and Freedom', August 28, 1963

Dylan made two important career moves in August 1962: he legally changed his name to Bob Dylan,[48][49] and signed a management contract with Albert Grossman.[50] (In June 1961, Dylan had signed an agreement with Roy Silver. In 1962, Grossman paid Silver $10,000 to become sole manager.)[51] Grossman remained Dylan's manager until 1970, and was known for his sometimes confrontational personality and protective loyalty.[52] Dylan said, 'He was kind of like a Colonel Tom Parker figure ... you could smell him coming.'[28] Tension between Grossman and John Hammond led to the latter suggesting Dylan work with the young African-American jazz producer, Tom Wilson, who produced several tracks for the second album without formal credit. Wilson produced the next three albums Dylan recorded.[53][54]

Dylan made his first trip to the United Kingdom from December 1962 to January 1963.[55] He had been invited by television director Philip Saville to appear in a drama, Madhouse on Castle Street, which Saville was directing for BBC Television.[56] At the end of the play, Dylan performed 'Blowin' in the Wind', one of its first public performances.[56] The film recording of Madhouse on Castle Street was discarded by the BBC in 1968.[56] While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies.[55] He also learned material from UK performers, including Martin Carthy.[56]

By the release of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on the album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's passion for topical songs.[57] 'Oxford Town', for example, was an account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi.[58] The first song on the album, 'Blowin' in the Wind', partly derived its melody from the traditional slave song, 'No More Auction Block',[59] while its lyrics questioned the social and political status quo. The song was widely recorded by other artists and became a hit for Peter, Paul and Mary.[60] Another song, 'A Hard Rain's a-Gonna Fall', was based on the folk ballad 'Lord Randall.' With veiled references to an impending apocalypse, it gained resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it.[61][a 2] Like 'Blowin' in the Wind', 'A Hard Rain's a-Gonna Fall' marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.[62]

Dylan's topical songs led to his being viewed as more than just a songwriter. Janet Maslin wrote in 1980[63] of Freewheelin': 'These were the songs that established [Dylan] as the voice of his generation—someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes.'[64][a 3]Freewheelin' also included love songs and surreal talking blues. Humor was an important part of Dylan's persona,[65] and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album: 'We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful.'[66]

The rough edge of Dylan's singing was unsettling to some but an attraction to others. Novelist Joyce Carol Oates wrote: 'When we first heard this raw, very young, and seemingly untrained voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and electrifying.'[67] Many early songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan's advocate and lover.[68] Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts.[69][70] 'It didn't take long before people got it, that he was pretty damned special,' says Baez.[71]

Others who had hits with Dylan's songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, Peter, Paul and Mary, the Association, Manfred Mann and the Turtles. Most attempted a pop feel and rhythm, while Dylan and Baez performed them mostly as sparse folk songs. The covers became so ubiquitous that CBS promoted him with the slogan 'Nobody Sings Dylan Like Dylan.'[72]

'Mixed-Up Confusion', recorded during the Freewheelin' sessions with a backing band, was released as a single but quickly withdrawn. In contrast to the mostly solo acoustic performances on the album, the single showed a willingness to experiment with a rockabilly sound. Cameron Crowe described it as 'a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records.'[73]

Protest and Another Side[edit]

Dylan said of 'The Times They Are a-Changin': 'This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time.'[26]
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In May 1963, Dylan's political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television's head of program practices that 'Talkin' John Birch Paranoid Blues' was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.[74]

By this time, Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963.[75] Dylan's third album, The Times They Are a-Changin', reflected a more politicized Dylan.[76] The songs often took as their subject matter contemporary stories, with 'Only a Pawn in Their Game' addressing the murder of civil rights worker Medgar Evers; and the Brechtian 'The Lonesome Death of Hattie Carroll' the death of black hotel barmaid Hattie Carroll, at the hands of young white socialite William Zantzinger.[77] On a more general theme, 'Ballad of Hollis Brown' and 'North Country Blues' addressed despair engendered by the breakdown of farming and mining communities. This political material was accompanied by two personal love songs, 'Boots of Spanish Leather' and 'One Too Many Mornings.'[78]

By the end of 1963, Dylan felt both manipulated and constrained by the folk and protest movements.[79] Accepting the 'Tom Paine Award' from the National Emergency Civil Liberties Committee shortly after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, Lee Harvey Oswald.[80]

Bobby Dylan, as the college yearbook lists him: St. Lawrence University, upstate New York, November 1963

Another Side of Bob Dylan, recorded in a single evening on June 9, 1964,[81] had a lighter mood. The humorous Dylan reemerged on 'I Shall Be Free No. 10' and 'Motorpsycho Nightmare.' 'Spanish Harlem Incident' and 'To Ramona' are passionate love songs, while 'Black Crow Blues' and 'I Don't Believe You (She Acts Like We Never Have Met)' suggest the rock and roll soon to dominate Dylan's music. 'It Ain't Me Babe,' on the surface a song about spurned love, has been described as a rejection of the role of political spokesman thrust upon him.[82] His newest direction was signaled by two lengthy songs: the impressionistic 'Chimes of Freedom', which sets social commentary against a metaphorical landscape in a style characterized by Allen Ginsberg as 'chains of flashing images,'[83] and 'My Back Pages', which attacks the simplistic and arch seriousness of his own earlier topical songs and seems to predict the backlash he was about to encounter from his former champions as he took a new direction.[84]

In the latter half of 1964 and into 1965, Dylan moved from folk songwriter to folk-rock pop-music star. His jeans and work shirts were replaced by a Carnaby Street wardrobe, sunglasses day or night, and pointed 'Beatle boots.' A London reporter wrote: 'Hair that would set the teeth of a comb on edge. A loud shirt that would dim the neon lights of Leicester Square. He looks like an undernourished cockatoo.'[85] Dylan began to spar with interviewers. Appearing on the Les Crane television show and asked about a movie he planned, he told Crane it would be a cowboy horror movie. Asked if he played the cowboy, Dylan replied, 'No, I play my mother.'[86]

Going electric[edit]

Dylan's late March 1965 album Bringing It All Back Home was another leap,[87] featuring his first recordings with electric instruments, under producer Tom Wilson's guidance.[88] The first single, 'Subterranean Homesick Blues', owed much to Chuck Berry's 'Too Much Monkey Business';[89] its free association lyrics described as harking back to the energy of beat poetry and as a forerunner of rap and hip-hop.[90] The song was provided with an early video, which opened D. A. Pennebaker's cinéma vérité presentation of Dylan's 1965 tour of Great Britain, Dont Look Back.[91] Instead of miming, Dylan illustrated the lyrics by throwing cue cards containing key words from the song on the ground. Pennebaker said the sequence was Dylan's idea, and it has been imitated in music videos and advertisements.[92]

The second side of Bringing It All Back Home contained four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.[93] 'Mr. Tambourine Man' became one of his best-known songs when the Byrds recorded an electric version that reached number one in the US and UK.[94][95] 'It's All Over Now, Baby Blue' and 'It's Alright Ma (I'm Only Bleeding)' were two of Dylan's most important compositions.[93][96]

In 1965, headlining the Newport Folk Festival, Dylan performed his first electric set since high school with a pickup group featuring Mike Bloomfield on guitar and Al Kooper on organ.[97] Dylan had appeared at Newport in 1963 and 1964, but in 1965 met with cheering and booing and left the stage after three songs. One version has it that the boos were from folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. Murray Lerner, who filmed the performance, said: 'I absolutely think that they were booing Dylan going electric.'[98] An alternative account claims audience members were upset by poor sound and a short set. This account is supported by Kooper and one of the directors of the festival, who reports his recording proves the only boos were in reaction to the MC's announcement that there was only enough time for a short set.[99][100]

Nevertheless, Dylan's performance provoked a hostile response from the folk music establishment.[101][102] In the September issue of Sing Out!, Ewan MacColl wrote: 'Our traditional songs and ballads are the creations of extraordinarily talented artists working inside disciplines formulated over time ...'But what of Bobby Dylan?' scream the outraged teenagers ... Only a completely non-critical audience, nourished on the watery pap of pop music, could have fallen for such tenth-rate drivel.'[103] On July 29, four days after Newport, Dylan was back in the studio in New York, recording 'Positively 4th Street.' The lyrics contained images of vengeance and paranoia,[104] and it has been interpreted as Dylan's put-down of former friends from the folk community—friends he had known in clubs along West 4th Street.[105]

Highway 61 Revisited and Blonde on Blonde[edit]

Dylan's 1965 hit single, which appeared on the album Highway 61 Revisited. In 2004, it was chosen as the greatest song of all time by Rolling Stone magazine.[106]
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In July 1965, Dylan's six-minute single 'Like a Rolling Stone' peaked at number two in the U.S. chart. In 2004 and in 2011, Rolling Stone listed it as number one of 'The 500 Greatest Songs of All Time.'[106][3] Commenting on both the length of the song and its unconventional theme, Rolling Stone wrote: 'No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time.' [3]Bruce Springsteen, in his speech for Dylan's inauguration into the Rock and Roll Hall of Fame, said that on first hearing the single, 'that snare shot sounded like somebody'd kicked open the door to your mind.'[107] The song opened Dylan's next album, Highway 61 Revisited, named after the road that led from Dylan's Minnesota to the musical hotbed of New Orleans.[108] The songs were in the same vein as the hit single, flavored by Mike Bloomfield's blues guitar and Al Kooper's organ riffs. 'Desolation Row', backed by acoustic guitar and understated bass,[109] offers the sole exception, with Dylan alluding to figures in Western culture in a song described by Andy Gill as 'an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of celebrated characters, some historical (Einstein, Nero), some biblical (Noah, Cain and Abel), some fictional (Ophelia, Romeo, Cinderella), some literary (T. S. Eliot and Ezra Pound), and some who fit into none of the above categories, notably Dr. Filth and his dubious nurse.'[110]

In support of the album, Dylan was booked for two U.S. concerts with Al Kooper and Harvey Brooks from his studio crew and Robbie Robertson and Levon Helm, former members of Ronnie Hawkins's backing band the Hawks.[111] On August 28 at Forest Hills Tennis Stadium, the group was heckled by an audience still annoyed by Dylan's electric sound. The band's reception on September 3 at the Hollywood Bowl was more favorable.[112]

From September 24, 1965, in Austin, Texas, Dylan toured the U.S. and Canada for six months, backed by the five musicians from the Hawks who became known as the Band.[113] While Dylan and the Hawks met increasingly receptive audiences, their studio efforts floundered. Producer Bob Johnston persuaded Dylan to record in Nashville in February 1966, and surrounded him with top-notch session men. At Dylan's insistence, Robertson and Kooper came from New York City to play on the sessions.[114] The Nashville sessions produced the double album Blonde on Blonde (1966), featuring what Dylan called 'that thin wild mercury sound.'[115] Kooper described it as 'taking two cultures and smashing them together with a huge explosion': the musical world of Nashville and the world of the 'quintessential New York hipster' Bob Dylan.[116]

On November 22, 1965, Dylan secretly married 25-year-old former model Sara Lownds.[117] Robertson writes in his memoir about receiving a phone call that morning to accompany the couple to the court, and then later to a reception hosted by Al Grossman at the Algonquin Hotel. Some of Dylan's friends, including Ramblin' Jack Elliott, say that, immediately after the event, Dylan denied he was married.[117] Journalist Nora Ephron made the news public in the New York Post in February 1966 with the headline 'Hush! Bob Dylan is wed.'[118]

Dylan toured Australia and Europe in April and May 1966. Each show was split in two. Dylan performed solo during the first half, accompanying himself on acoustic guitar and harmonica. In the second, backed by the Hawks, he played electrically amplified music. This contrast provoked many fans, who jeered and slow handclapped.[119] The tour culminated in a raucous confrontation between Dylan and his audience at the Manchester Free Trade Hall in England on May 17, 1966.[120] A recording of this concert was released in 1998: The Bootleg Series Vol. 4: Bob Dylan Live 1966. At the climax of the evening, a member of the audience, angered by Dylan's electric backing, shouted: 'Judas!' to which Dylan responded, 'I don't believe you ... You're a liar!' Dylan turned to his band and said, 'Play it fucking loud!'[121] as they launched into the final song of the night—'Like a Rolling Stone.'

During his 1966 tour, Dylan was described as exhausted and acting 'as if on a death trip.'[122]D. A. Pennebaker, the film maker accompanying the tour, described Dylan as 'taking a lot of amphetamine and who-knows-what-else.'[123] In a 1969 interview with Jann Wenner, Dylan said, 'I was on the road for almost five years. It wore me down. I was on drugs, a lot of things ... just to keep going, you know?'[124] In 2011, BBC Radio 4 reported that, in an interview that Robert Shelton taped in 1966, Dylan said he had kicked heroin in New York City: 'I got very, very strung out for a while ... I had about a $25-a-day habit and I kicked it.'[125] Some journalists questioned the validity of this confession, pointing out that Dylan had 'been telling journalists wild lies about his past since the earliest days of his career.'[126][127]

Motorcycle accident and reclusion[edit]

After his tour, Dylan returned to New York, but the pressures increased. ABC Television had paid an advance for a TV show.[128] His publisher, Macmillan, was demanding a manuscript of the poem/novel Tarantula. Manager Albert Grossman had scheduled a concert tour for the latter part of the year.

On July 29, 1966, Dylan crashed his 500cc Triumph Tiger 100 motorcycle near his home in Woodstock, New York, and was thrown to the ground. Though the extent of his injuries was never disclosed, Dylan said that he broke several vertebrae in his neck.[129] Mystery still surrounds the circumstances of the accident since no ambulance was called to the scene and Dylan was not hospitalized.[129][130] Dylan's biographers have written that the crash offered Dylan the chance to escape the pressures around him.[129][131] Dylan confirmed this interpretation in his autobiography: 'I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race.'[132] Dylan withdrew from public and, apart from a few appearances, did not tour again for almost eight years.[130][133]

Once Dylan was well enough to resume creative work, he began to edit D. A. Pennebaker's film of his 1966 tour. A rough cut was shown to ABC Television, which rejected it as incomprehensible to a mainstream audience.[134] The film was subsequently titled Eat the Document on bootleg copies, and it has been screened at a handful of film festivals.[135] In 1967 he began recording with the Hawks at his home and in the basement of the Hawks' nearby house, 'Big Pink.'[136] These songs, initially demos for other artists to record, provided hits for Julie Driscoll and the Brian Auger Trinity ('This Wheel's on Fire'), The Byrds ('You Ain't Goin' Nowhere', 'Nothing Was Delivered'), and Manfred Mann ('Mighty Quinn'). Columbia released selections in 1975 as The Basement Tapes. Over the years, more songs recorded by Dylan and his band in 1967 appeared on bootleg recordings, culminating in a five-CD set titled The Genuine Basement Tapes, containing 107 songs and alternative takes.[137] In the coming months, the Hawks recorded the album Music from Big Pink using songs they worked on in their basement in Woodstock, and renamed themselves the Band,[138] beginning a long recording and performing career of their own.

In October and November 1967, Dylan returned to Nashville.[139] Back in the studio after 19 months, he was accompanied by Charlie McCoy on bass,[139]Kenny Buttrey on drums,[139] and Pete Drake on steel guitar.[139] The result was John Wesley Harding, a contemplative record of shorter songs, set in a landscape that drew on the American West and the Bible. The sparse structure and instrumentation, with lyrics that took the Judeo-Christian tradition seriously, departed from Dylan's own work and from the psychedelic fervor of the 1960s.[140] It included 'All Along the Watchtower', with lyrics derived from the Book of Isaiah (21:5–9). The song was later recorded by Jimi Hendrix, whose version Dylan acknowledged as definitive.[26] Woody Guthrie died on October 3, 1967, and Dylan made his first live appearance in twenty months at a Guthrie memorial concert held at Carnegie Hall on January 20, 1968, where he was backed by the Band.[141]

'Lay Lady Lay', on the country album Nashville Skyline, has been one of Dylan's biggest hits, reaching No. 7 in the U.S.[142]
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Dylan's next release, Nashville Skyline (1969), was mainstream country featuring Nashville musicians, a mellow-voiced Dylan, a duet with Johnny Cash, and the hit single 'Lay Lady Lay.'[143]Variety wrote, 'Dylan is definitely doing something that can be called singing. Somehow he has managed to add an octave to his range.'[144] During one recording session, Dylan and Cash recorded a series of duets but only their version of Dylan's 'Girl from the North Country' was released on the album.[145][146]

In May 1969, Dylan appeared on the first episode of Johnny Cash's television show and sang a duet with Cash of 'Girl from the North Country', with solos of 'Living the Blues' and 'I Threw It All Away.'[147] Dylan next traveled to England to top the bill at the Isle of Wight festival on August 31, 1969, after rejecting overtures to appear at the Woodstock Festival closer to his home.[148]

1970s[edit]

In the early 1970s, critics charged that Dylan's output was varied and unpredictable. Rolling Stone writer Greil Marcus asked 'What is this shit?' on first listening to Self Portrait, released in June 1970.[149][150] It was a double LP including few original songs, and was poorly received.[151] In October 1970, Dylan released New Morning, considered a return to form.[152] This album included 'Day of the Locusts', a song in which Dylan gave an account of receiving an honorary degree from Princeton University on June 9, 1970.[153] In November 1968, Dylan had co-written 'I'd Have You Anytime' with George Harrison;[154] Harrison recorded 'I'd Have You Anytime' and Dylan's 'If Not for You' for his 1970 solo triple album All Things Must Pass. Dylan's surprise appearance at Harrison's 1971 Concert for Bangladesh attracted media coverage, reflecting that Dylan's live appearances had become rare.[155]

Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock, a small studio in Greenwich Village, to record with Leon Russell. These sessions resulted in 'Watching the River Flow' and a new recording of 'When I Paint My Masterpiece.'[156] On November 4, 1971, Dylan recorded 'George Jackson', which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of Black PantherGeorge Jackson in San Quentin State Prison that year.[157] Dylan contributed piano and harmony to Steve Goodman's album, Somebody Else's Troubles, under the pseudonym Robert Milkwood Thomas (referencing Under Milk Wood by Dylan Thomas and his own previous name) in September 1972.[158]

In 1972, Dylan signed to Sam Peckinpah's film Pat Garrett and Billy the Kid, providing songs and backing music for the movie, and playing 'Alias', a member of Billy's gang with some historical basis.[159] Despite the film's failure at the box office, the song 'Knockin' on Heaven's Door' became one of Dylan's most covered songs.[160][161]

Also in 1972, Dylan protested the move to deport John Lennon and Yoko Ono, who had been convicted of possessing cannabis, by sending a letter to the U.S. Immigration Service, in part: 'Hurray for John & Yoko. Let them stay and live here and breathe. The country's got plenty of room and space. Let John and Yoko stay!'[162]

Return to touring[edit]

Bob Dylan and the Band touring in Chicago, 1974

Dylan began 1973 by signing with a new label, David Geffen's Asylum Records (and Island in the UK), when his contract with Columbia Records expired. On his next album, Planet Waves, he used the Band as backing group, while rehearsing for a tour. The album included two versions of 'Forever Young', which became one of his most popular songs.[163] As one critic described it, the song projected 'something hymnal and heartfelt that spoke of the father in Dylan',[164] and Dylan himself commented: 'I wrote it thinking about one of my boys and not wanting to be too sentimental.'[26]

Columbia Records simultaneously released Dylan, a collection of studio outtakes (almost exclusively covers), widely interpreted as a churlish response to Dylan's signing with a rival record label.[165] In January 1974, Dylan returned to touring after seven years; backed by the Band, he embarked on a North American tour of 40 concerts. A live double album, Before the Flood, was on Asylum Records. Soon, according to Clive Davis, Columbia Records sent word they 'will spare nothing to bring Dylan back into the fold.'[166] Dylan had second thoughts about Asylum, miffed that while there had been millions of unfulfilled ticket requests for the 1974 tour, Geffen had sold only 700,000 copies of Planet Waves.[166] Dylan returned to Columbia Records, which reissued his two Asylum albums.

Dylan said of the opening song from Blood on the Tracks: 'I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you're never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn't matter.'[26]
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Bob Dylan Discography Download

After the tour, Dylan and his wife became estranged. He filled a small red notebook with songs about relationships and ruptures, and recorded an album entitled Blood on the Tracks in September 1974.[167] Dylan delayed the release and re-recorded half the songs at Sound 80 Studios in Minneapolis with production assistance from his brother, David Zimmerman.[168]

Bob Dylan Singles Discography

Released in early 1975, Blood on the Tracks received mixed reviews. In the NME, Nick Kent described 'the accompaniments [as] often so trashy they sound like mere practice takes.'[169] In Rolling Stone, Jon Landau wrote that 'the record has been made with typical shoddiness.'[169] Over the years critics came to see it as one of Dylan's greatest achievements. For the Salon website, journalist Bill Wyman wrote: 'Blood on the Tracks is his only flawless album and his best produced; the songs, each of them, are constructed in disciplined fashion. It is his kindest album and most dismayed, and seems in hindsight to have achieved a sublime balance between the logorrhea-plagued excesses of his mid-1960s output and the self-consciously simple compositions of his post-accident years.'[170] Novelist Rick Moody called it 'the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape.'[171]

Bob Dylan with Allen Ginsberg on the Rolling Thunder Revue in 1975. Photo: Elsa Dorfman

In the middle of that year, Dylan wrote a ballad championing boxer Rubin 'Hurricane' Carter, imprisoned for a triple murder in Paterson, New Jersey, in 1966. After visiting Carter in jail, Dylan wrote 'Hurricane', presenting the case for Carter's innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the U.S. Billboard chart, and performed at every 1975 date of Dylan's next tour, the Rolling Thunder Revue.[a 4][172] The tour featured about one hundred performers and supporters from the Greenwich Village folk scene, including T-Bone Burnett, Ramblin' Jack Elliott, Joni Mitchell,[173][174]David Mansfield, Roger McGuinn, Mick Ronson, Joan Baez, and Scarlet Rivera, whom Dylan discovered walking down the street, her violin case on her back.[175]Allen Ginsberg accompanied the troupe, staging scenes for the film Dylan was shooting. Sam Shepard was hired to write the screenplay, but ended up accompanying the tour as informal chronicler.[176]

Running through late 1975 and again through early 1976, the tour encompassed the release of the album Desire, with many of Dylan's new songs featuring a travelogue-like narrative style, showing the influence of his new collaborator, playwright Jacques Levy.[177][178] The 1976 half of the tour was documented by a TV concert special, Hard Rain, and the LP Hard Rain; no concert album from the better-received and better-known opening half of the tour was released until 2002's Live 1975.[179]

A documentary of the 1975 leg of the Rolling Thunder Revue, Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese was released by Netflix on June 12, 2019, with a fourteen-CD box set of rehearsals and five complete recordings of Dylan's performances from the Revue released on June 7, 2019, as The Rolling Thunder Revue: The 1975 Live Recordings. The documentary features participants interviewed by Jeff Rosen over decades and it was assembled by Martin Scorsese and editor David Tedeschi.[180]

Dylan performing in the Feyenoord Football Club Stadium, Rotterdam, June 23, 1978

The 1975 tour with the Revue provided the backdrop to Dylan's nearly four-hour film Renaldo and Clara, a sprawling narrative mixed with concert footage and reminiscences. Released in 1978, the movie received poor, sometimes scathing, reviews.[181][182] Later in that year, a two-hour edit, dominated by the concert performances, was more widely released.[183]

In November 1976, Dylan appeared at the Band's 'farewell' concert, with Eric Clapton, Joni Mitchell, Muddy Waters, Van Morrison and Neil Young. Martin Scorsese's cinematic chronicle, The Last Waltz, in 1978 included about half of Dylan's set.[184] In 1976, Dylan wrote and duetted on 'Sign Language' for Eric Clapton's No Reason To Cry.[185]

In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and the US, to a total audience of two million. Dylan assembled an eight-piece band and three backing singers. Concerts in Tokyo in February and March were released as the live double album, Bob Dylan At Budokan.[186] Reviews were mixed. Robert Christgau awarded the album a C+ rating, giving the album a derisory review,[187] while Janet Maslin defended it in Rolling Stone, writing: 'These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals.'[188] When Dylan brought the tour to the U.S. in September 1978, the press described the look and sound as a 'Las Vegas Tour'.[189] The 1978 tour grossed more than $20 million, and Dylan told the Los Angeles Times that he had debts because 'I had a couple of bad years. I put a lot of money into the movie, built a big house ... and it costs a lot to get divorced in California.'[186]

In April and May 1978, Dylan took the same band and vocalists into Rundown Studios in Santa Monica, California, to record an album of new material: Street-Legal.[190] It was described by Michael Gray as, 'after Blood On The Tracks, arguably Dylan's best record of the 1970s: a crucial album documenting a crucial period in Dylan's own life.'[191] However, it had poor sound and mixing (attributed to Dylan's studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs' strengths.[192]

Christian period[edit]

Dylan took five months off at the beginning of 1979 to attend Bible school.[26] His subsequent album Slow Train Coming reached No. 3 on the U.S. Billboard 200 chart and included this Grammy-winning song.
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In the late 1970s, Dylan converted to Evangelical Christianity,[193][194] undertaking a three-month discipleship course run by the Association of Vineyard Churches;[195][196] and released two albums of contemporary gospel music. Slow Train Coming (1979) featured the guitar accompaniment of Mark Knopfler (of Dire Straits) and was produced by veteran R&B producer Jerry Wexler. Wexler said that Dylan had tried to evangelize him during the recording. He replied: 'Bob, you're dealing with a 62-year-old Jewish atheist. Let's just make an album.'[197] Dylan won the Grammy Award for Best Male Rock Vocal Performance for the song 'Gotta Serve Somebody.' His second Christian-themed album, Saved (1980), received mixed reviews, described by Michael Gray as 'the nearest thing to a follow-up album Dylan has ever made, Slow Train Coming II and inferior'[198] When touring in late 1979 and early 1980, Dylan would not play his older, secular works, and he delivered declarations of his faith from the stage, such as:

Years ago they ... said I was a prophet. I used to say, 'No I'm not a prophet' they say 'Yes you are, you're a prophet.' I said, 'No it's not me.' They used to say 'You sure are a prophet.' They used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They say, 'Bob Dylan's no prophet.' They just can't handle it.[199]

Dylan's Christianity was unpopular with some fans and musicians.[200] Shortly before his murder, John Lennon recorded 'Serve Yourself' in response to Dylan's 'Gotta Serve Somebody.'[201] By 1981, Stephen Holden wrote in The New York Times that 'neither age (he's now 40) nor his much-publicized conversion to born-again Christianity has altered his essentially iconoclastic temperament.'[202]

1980s[edit]

Dylan in Toronto April 18, 1980

In late 1980, Dylan briefly played concerts billed as 'A Musical Retrospective', restoring popular 1960s songs to the repertoire. Shot of Love, recorded early the next year, featured his first secular compositions in more than two years, mixed with Christian songs. 'Every Grain of Sand' reminded some of William Blake's verses.[203]

In the 1980s, reception of Dylan's recordings varied, from the well-regarded Infidels in 1983 to the panned Down in the Groove in 1988. Michael Gray condemned Dylan's 1980s albums for carelessness in the studio and for failing to release his best songs.[204] As an example of the latter, the Infidels recording sessions, which again employed Knopfler on lead guitar and also as the album's producer, resulted in several notable songs that Dylan left off the album. Best regarded of these were 'Blind Willie McTell', a tribute to the dead blues musician and an evocation of African American history,[205] 'Foot of Pride' and 'Lord Protect My Child.' These three songs were released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.[206]

Between July 1984 and March 1985, Dylan recorded Empire Burlesque.[207]Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker said he felt he was hired to make Dylan's album sound 'a little bit more contemporary.'[207]

In 1985 Dylan sang on USA for Africa's famine relief single 'We Are the World.' He also joined Artists United Against Apartheid providing vocals for their single 'Sun City.'[208] On July 13, 1985, he appeared at the climax at the Live Aid concert at JFK Stadium, Philadelphia. Backed by Keith Richards and Ronnie Wood, he performed a ragged version of 'Hollis Brown', his ballad of rural poverty, and then said to the worldwide audience exceeding one billion people: 'I hope that some of the money ... maybe they can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the mortgages on some of the farms and, the farmers here, owe to the banks.'[209] His remarks were widely criticized as inappropriate, but they did inspire Willie Nelson to organize a series of events, Farm Aid, to benefit debt-ridden American farmers.[210]

In April 1986, Dylan made a foray into rap music when he added vocals to the opening verse of 'Street Rock', featured on Kurtis Blow's album Kingdom Blow.[211] Dylan's next studio album, Knocked Out Loaded, in July 1986 contained three covers (by Little Junior Parker, Kris Kristofferson and the gospel hymn 'Precious Memories'), plus three collaborations (with Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. One reviewer commented that 'the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating.'[212] It was the first Dylan album since Freewheelin' (1963) to fail to make the Top 50.[213] Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, 'Brownsville Girl', a work of genius.[214]

In 1986 and 1987, Dylan toured with Tom Petty and the Heartbreakers, sharing vocals with Petty on several songs each night. Dylan also toured with the Grateful Dead in 1987, resulting in a live album Dylan & The Dead. This received negative reviews; AllMusic said it was 'Quite possibly the worst album by either Bob Dylan or the Grateful Dead.'[215] Dylan then initiated what came to be called the Never Ending Tour on June 7, 1988, performing with a back-up band featuring guitarist G. E. Smith. Dylan continued to tour with a small, evolving band for the next 20 years.[216]

Dylan in Barcelona, Spain, 1984

In 1987, Dylan starred in Richard Marquand's movie Hearts of Fire, in which he played Billy Parker, a washed-up rock star turned chicken farmer whose teenage lover (Fiona) leaves him for a jaded English synth-pop sensation played by Rupert Everett.[217] Dylan also contributed two original songs to the soundtrack—'Night After Night', and 'I Had a Dream About You, Baby', as well as a cover of John Hiatt's 'The Usual.' The film was a critical and commercial flop.[218]

Dylan was inducted into the Rock and Roll Hall of Fame in January 1988, with Bruce Springsteen's introduction declaring, 'Bob freed your mind the way Elvis freed your body. He showed us that just because music was innately physical did not mean that it was anti-intellectual.'[219]

The album Down in the Groove in May 1988 sold even more unsuccessfully than his previous studio album.[220] Michael Gray wrote: 'The very title undercuts any idea that inspired work may lie within. Here was a further devaluing of the notion of a new Bob Dylan album as something significant.'[221] The critical and commercial disappointment of that album was swiftly followed by the success of the Traveling Wilburys. Dylan co-founded the band with George Harrison, Jeff Lynne, Roy Orbison, and Tom Petty, and in late 1988 their multi-platinum Traveling Wilburys Vol. 1 reached three on the US album chart,[220] featuring songs that were described as Dylan's most accessible compositions in years.[222] Despite Orbison's death in December 1988, the remaining four recorded a second album in May 1990 with the title Traveling Wilburys Vol. 3.[223]

Dylan finished the decade on a critical high note with Oh Mercy produced by Daniel Lanois. Michael Gray wrote that the album was: 'Attentively written, vocally distinctive, musically warm, and uncompromisingly professional, this cohesive whole is the nearest thing to a great Bob Dylan album in the 1980s.'[221][224] The track 'Most of the Time', a lost love composition, was later prominently featured in the film High Fidelity, while 'What Was It You Wanted?' has been interpreted both as a catechism and a wry comment on the expectations of critics and fans.[225] The religious imagery of 'Ring Them Bells' struck some critics as a re-affirmation of faith.[226]

1990s[edit]

Dylan's 1990s began with Under the Red Sky (1990), an about-face from the serious Oh Mercy. The album contained several apparently simple songs, including 'Under the Red Sky' and 'Wiggle Wiggle.' The album was dedicated to 'Gabby Goo Goo', a nickname for the daughter of Dylan and Carolyn Dennis, Desiree Gabrielle Dennis-Dylan, who was four.[227]Sidemen on the album included George Harrison, Slash from Guns N' Roses, David Crosby, Bruce Hornsby, Stevie Ray Vaughan, and Elton John. Despite the line-up, the record received bad reviews and sold poorly.[228]

In 1991, Dylan received a Grammy Lifetime Achievement Award from American actor Jack Nicholson.[229] The event coincided with the start of the Gulf War against Saddam Hussein, and Dylan performed 'Masters of War.' Dylan then made a short speech, saying 'My daddy once said to me, he said, 'Son, it is possible for you to become so defiled in this world that your own mother and father will abandon you. If that happens, God will believe in your ability to mend your own ways.'[229][230] This sentiment was subsequently revealed to be a quote from 19th-century German Jewish intellectual, Rabbi Samson Raphael Hirsch.[231]

Over the next few years Dylan returned to his roots with two albums covering folk and blues numbers: Good as I Been to You (1992) and World Gone Wrong (1993), featuring interpretations and acoustic guitar work. Many critics and fans commented on the quiet beauty of the song 'Lone Pilgrim',[232] written by a 19th-century teacher. In November 1994 Dylan recorded two live shows for MTV Unplugged. He said his wish to perform traditional songs was overruled by Sony executives who insisted on hits.[233] The album from it, MTV Unplugged, included 'John Brown', an unreleased 1962 song of how enthusiasm for war ends in mutilation and disillusionment.[234]

Dylan performs during the 1996 Lida Festival in Stockholm

Dylan's longtime road managerVictor Maymudes has claimed that the singer quit drinking alcohol in 1994.[235] Maymudes felt that Dylan sobering up made him 'more introverted and a little less social.'[235]

With a collection of songs reportedly written while snowed in on his Minnesota ranch,[236] Dylan booked recording time with Daniel Lanois at Miami's Criteria Studios in January 1997. The subsequent recording sessions were, by some accounts, fraught with musical tension.[237] Before the album's release Dylan was hospitalized with a life-threatening heart infection, pericarditis, brought on by histoplasmosis. His scheduled European tour was cancelled, but Dylan made a speedy recovery and left the hospital saying, 'I really thought I'd be seeing Elvis soon.'[238] He was back on the road by mid-year, and performed before Pope John Paul II at the World Eucharistic Conference in Bologna, Italy. The Pope treated the audience of 200,000 people to a homily based on Dylan's lyric 'Blowin' in the Wind.'[239]

In September Dylan released the new Lanois-produced album, Time Out of Mind. With its bitter assessment of love and morbid ruminations, Dylan's first collection of original songs in seven years was highly acclaimed. One critic wrote: 'the songs themselves are uniformly powerful, adding up to Dylan's best overall collection in years.'[240] This collection of complex songs won him his first solo 'Album of the Year' Grammy Award.[241]

In December 1997, U.S. President Bill Clinton presented Dylan with a Kennedy Center Honor in the East Room of the White House, paying this tribute: 'He probably had more impact on people of my generation than any other creative artist. His voice and lyrics haven't always been easy on the ear, but throughout his career Bob Dylan has never aimed to please. He's disturbed the peace and discomforted the powerful.'[242]

In 1999, Dylan embarked on a North American tour with Paul Simon, where each alternated as headline act with a 'middle' section where they performed together, starting on the first of June and ending September 18. The collaboration was generally well received.

2000s[edit]

Dylan's Oscar-winning song was featured in the movie Wonder Boys. The line 'sapphire-tinted skies' echoes the verse of Shelley[243] while 'forty miles of bad road' echoes Duane Eddy's hit single.
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Dylan commenced the 2000s by winning the Polar Music Prize in May 2000 and his first Oscar; his song 'Things Have Changed', written for the film Wonder Boys, won an Academy Award in March 2001.[244] The Oscar, by some reports a facsimile, tours with him, presiding over shows perched atop an amplifier.[245]

'Love and Theft' was released on September 11, 2001. Recorded with his touring band, Dylan produced the album himself under the pseudonym Jack Frost.[246] The album was critically well received and earned nominations for several Grammy awards.[247] Critics noted that Dylan was widening his musical palette to include rockabilly, Western swing, jazz, and even lounge ballads.[248]'Love and Theft' generated controversy when The Wall Street Journal pointed out similarities between the album's lyrics and Japanese author Junichi Saga's book Confessions of a Yakuza.[249][250]

In 2003, Dylan revisited the evangelical songs from his Christian period and participated in the CD project Gotta Serve Somebody: The Gospel Songs of Bob Dylan. That year Dylan also released the film Masked & Anonymous, which he co-wrote with director Larry Charles under the alias Sergei Petrov.[251] Dylan played the central character in the film, Jack Fate, alongside a cast that included Jeff Bridges, Penélope Cruz and John Goodman. The film polarised critics: many dismissed it as an 'incoherent mess';[252][253] a few treated it as a serious work of art.[254][255]

In October 2004, Dylan published the first part of his autobiography, Chronicles: Volume One. Confounding expectations,[256] Dylan devoted three chapters to his first year in New York City in 1961–1962, virtually ignoring the mid-1960s when his fame was at its height. He also devoted chapters to the albums New Morning (1970) and Oh Mercy (1989). The book reached number two on The New York Times' Hardcover Non-Fiction best seller list in December 2004 and was nominated for a National Book Award.[257]

No Direction Home, Martin Scorsese's acclaimed film biography of Dylan,[258] was first broadcast on September 26–27, 2005, on BBC Two in the UK and PBS in the US.[259] The documentary focuses on the period from Dylan's arrival in New York in 1961 to his motorcycle crash in 1966, featuring interviews with Suze Rotolo, Liam Clancy, Joan Baez, Allen Ginsberg, Pete Seeger, Mavis Staples, and Dylan himself. The film received a Peabody Award in April 2006[260] and a Columbia-duPont Award in January 2007.[261] The accompanying soundtrack featured unreleased songs from Dylan's early career.[262]

Dylan earned yet another distinction in a 2007 study of US legal opinions and briefs that found his lyrics were quoted by judges and lawyers more than those of any other songwriter, 186 times versus 74 by the Beatles, who were second. Among those quoting Dylan were US Supreme CourtChief Justice John Roberts and Justice Antonin Scalia, both conservatives. The most widely cited lines included 'you don't need a weatherman to know which way the wind blows' from 'Subterranean Homesick Blues' and 'when you ain't got nothing, you got nothing to lose' from 'Like a Rolling Stone.'[263][264]

Modern Times[edit]

May 3, 2006, was the premiere of Dylan's radio presenting career, hosting a weekly radio program, Theme Time Radio Hour, for XM Satellite Radio, with song selections revolving around a chosen theme.[265][266] Dylan played classic and obscure records from the 1930s to the present day, including contemporary artists as diverse as Blur, Prince, L.L. Cool J and the Streets. The show was praised by fans and critics as 'great radio,' as Dylan told stories and made eclectic references with his sardonic humor, while achieving a thematic beauty with his musical choices.[267][268] In April 2009, Dylan broadcast the 100th show in his radio series; the theme was 'Goodbye' and the final record played was Woody Guthrie's 'So Long, It's Been Good to Know Yuh.' This led to speculation that Dylan's radio excursion had ended.[269]

Dylan, the Spectrum, 2007

On August 29, 2006, Dylan released his Modern Times album. Despite some coarsening of Dylan's voice (a critic for The Guardian characterised his singing on the album as 'a catarrhal death rattle'[270]) most reviewers praised the album, and many described it as the final installment of a successful trilogy, embracing Time Out of Mind and 'Love and Theft'.[271]Modern Times entered the U.S. charts at number one, making it Dylan's first album to reach that position since 1976's Desire.[272]The New York Times published an article exploring similarities between some of Dylan's lyrics in Modern Times and the work of the Civil War poet Henry Timrod.[273]

Nominated for three Grammy Awards, Modern Times won Best Contemporary Folk/Americana Album and Bob Dylan also won Best Solo Rock Vocal Performance for 'Someday Baby.' Modern Times was named Album of the Year, 2006, by Rolling Stone magazine,[274] and by Uncut in the UK.[275] On the same day that Modern Times was released the iTunes Music Store released Bob Dylan: The Collection, a digital box set containing all of his albums (773 tracks in total), along with 42 rare and unreleased tracks.[276]

In August 2007, the award-winning film biography of Dylan I'm Not There, written and directed by Todd Haynes, was released—bearing the tagline 'inspired by the music and many lives of Bob Dylan.'[277][278] The movie used six different actors to represent different aspects of Dylan's life: Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw.[278][279] Dylan's previously unreleased 1967 recording from which the film takes its name[280] was released for the first time on the film's original soundtrack; all other tracks are covers of Dylan songs, specially recorded for the movie by a diverse range of artists, including Sonic Youth, Eddie Vedder, Mason Jennings, Stephen Malkmus, Jeff Tweedy, Karen O, Willie Nelson, Cat Power, Richie Havens, and Tom Verlaine.[281]

Bob Dylan performs at Air Canada Centre, Toronto, November 7, 2006

On October 1, 2007, Columbia Records released the triple CD retrospective album Dylan, anthologising his entire career under the Dylan 07 logo.[282] As part of this campaign, Mark Ronson produced a re-mix of Dylan's 1966 tune 'Most Likely You Go Your Way and I'll Go Mine', which was released as a maxi-single. This was the first time Dylan had sanctioned a re-mix of one of his classic recordings.[283]

The sophistication of the Dylan 07 marketing campaign was a reminder that Dylan's commercial profile had risen considerably since the 1990s. This first became evident in 2004, when Dylan appeared in a TV advertisement for Victoria's Secret lingerie.[284] Three years later, in October 2007, he participated in a multi-media campaign for the 2008 Cadillac Escalade.[285][286] Then, in 2009, he gave the highest profile endorsement of his career, appearing with rapper will.i.am in a Pepsi ad that debuted during the telecast of Super Bowl XLIII.[287] The ad, broadcast to a record audience of 98 million viewers, opened with Dylan singing the first verse of 'Forever Young' followed by will.i.am doing a hip hop version of the song's third and final verse.[288]

In October 2008, Columbia released The Bootleg Series Vol. 8 – Tell Tale Signs as both a two-CD set and a three-CD version with a 150-page hardcover book. The set contains live performances and outtakes from selected studio albums from Oh Mercy to Modern Times, as well as soundtrack contributions and collaborations with David Bromberg and Ralph Stanley.[289] The pricing of the album—the two-CD set went on sale for $18.99 and the three-CD version for $129.99—led to complaints about 'rip-off packaging' from some fans and commentators.[290][291] The release was widely acclaimed by critics.[292] The abundance of alternative takes and unreleased material suggested to one reviewer that this volume of old outtakes 'feels like a new Bob Dylan record, not only for the astonishing freshness of the material, but also for the incredible sound quality and organic feeling of everything here.'[293]

Together Through Life and Christmas in the Heart[edit]

Bob Dylan released his album Together Through Life on April 28, 2009. In a conversation with music journalist Bill Flanagan, published on Dylan's website, Dylan explained that the genesis of the record was when French film director Olivier Dahan asked him to supply a song for his new road movie, My Own Love Song; initially only intending to record a single track, 'Life Is Hard,' 'the record sort of took its own direction.'[294] Nine of the ten songs on the album are credited as co-written by Bob Dylan and Robert Hunter.[295]

The album received largely favorable reviews,[296] although several critics described it as a minor addition to Dylan's canon of work. Andy Gill wrote in The Independent that the record 'features Dylan in fairly relaxed, spontaneous mood, content to grab such grooves and sentiments as flit momentarily across his radar. So while it may not contain too many landmark tracks, it's one of the most naturally enjoyable albums you'll hear all year.'[297]

In its first week of release, the album reached number one in the Billboard 200 chart in the U.S.,[298] making Bob Dylan (67 years of age) the oldest artist to ever debut at number one on that chart.[298] It also reached number one on the UK album chart, 39 years after Dylan's previous UK album chart topper New Morning. This meant that Dylan currently holds the record for the longest gap between solo number one albums in the UK chart.[299]

On October 13, 2009, Dylan released a Christmas album, Christmas in the Heart, comprising such Christmas standards as 'Little Drummer Boy', 'Winter Wonderland' and 'Here Comes Santa Claus.'[300] Dylan's royalties from the sale of this album will benefit the charities Feeding America in the USA, Crisis in the UK, and the World Food Programme.[301]

The album received generally favorable reviews.[302]The New Yorker commented that Dylan had welded a pre-rock musical sound to 'some of his croakiest vocals in a while', and speculated that Dylan's intentions might be ironic: 'Dylan has a long and highly publicized history with Christianity; to claim there's not a wink in the childish optimism of 'Here Comes Santa Claus' or 'Winter Wonderland' is to ignore a half-century of biting satire.'[303] In USA Today, Edna Gundersen pointed out that Dylan was 'revisiting yuletide styles popularized by Nat King Cole, Mel Tormé, and the Ray Conniff Singers.' Gundersen concluded that Dylan 'couldn't sound more sentimental or sincere.'[304]

In an interview published in The Big Issue, journalist Bill Flanagan asked Dylan why he had performed the songs in a straightforward style, and Dylan responded: 'There wasn't any other way to play it. These songs are part of my life, just like folk songs. You have to play them straight too.'[305]

2010s[edit]

Tempest[edit]

On October 18, 2010, Dylan released Volume 9 of his Bootleg Series, The Witmark Demos. This comprised 47 demo recordings of songs taped between 1962 and 1964 for Dylan's earliest music publishers: Leeds Music in 1962, and Witmark Music from 1962 to 1964. One reviewer described the set as 'a hearty glimpse of young Bob Dylan changing the music business, and the world, one note at a time.'[306] The critical aggregator website Metacritic awarded the album a Metascore of 86, indicating 'universal acclaim.'[307] In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set that for the first time presented Dylan's eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), in their original mono mix in the CD format. The CDs were housed in miniature facsimiles of the original album covers, replete with original liner notes. The set was accompanied by a booklet featuring an essay by music critic Greil Marcus.[308][309]

On April 12, 2011, Legacy Recordings released Bob Dylan in Concert – Brandeis University 1963, taped at Brandeis University on May 10, 1963, two weeks prior to the release of The Freewheelin' Bob Dylan. The tape was discovered in the archive of music writer Ralph J. Gleason, and the recording carries liner notes by Michael Gray, who says it captures Dylan 'from way back when Kennedy was President and the Beatles hadn't yet reached America. It reveals him not at any Big Moment but giving a performance like his folk club sets of the period... This is the last live performance we have of Bob Dylan before he becomes a star.'[310]

The extent to which his work was studied at an academic level was demonstrated on Dylan's 70th birthday on May 24, 2011, when three universities organized symposia on his work. The University of Mainz,[311] the University of Vienna,[312] and the University of Bristol[313] invited literary critics and cultural historians to give papers on aspects of Dylan's work. Other events, including tribute bands, discussions and simple singalongs, took place around the world, as reported in The Guardian: 'From Moscow to Madrid, Norway to Northampton and Malaysia to his home state of Minnesota, self-confessed 'Bobcats' will gather today to celebrate the 70th birthday of a giant of popular music.'[314]

Dylan and the Obamas at the White House, after a performance celebrating music from the civil rights movement (February 9, 2010)

On October 4, 2011, Dylan's label, Egyptian Records, released an album of previously unheard Hank Williams songs, The Lost Notebooks of Hank Williams. Dylan had helped to curate this project, in which songs unfinished when Williams died in 1953 were completed and recorded by a variety of artists, including Dylan himself, his son Jakob Dylan, Levon Helm, Norah Jones, Jack White, and others.[315][316]

On May 29, 2012, U.S. President Barack Obama awarded Dylan a Presidential Medal of Freedom in the White House. At the ceremony, Obama praised Dylan's voice for its 'unique gravelly power that redefined not just what music sounded like but the message it carried and how it made people feel.'[317]

On September 11, 2012, Dylan released his 35th studio album, Tempest.[318] The album features a tribute to John Lennon, 'Roll On John', and the title track is a 14-minute song about the sinking of the Titanic.[319] Reviewing Tempest for Rolling Stone, Will Hermes gave the album five out of five stars, writing: 'Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire.' Hermes called Tempest 'one of [Dylan's] weirdest albums ever', and opined, 'It may also be the single darkest record in Dylan's catalog.'[320] The critical aggregator website Metacritic awarded the album a score of 83 out of 100, indicating 'universal acclaim.'[321]

On August 27, 2013, Columbia Records released Volume 10 of Dylan's Bootleg Series, Another Self Portrait (1969–1971).[322] The album contained 35 previously unreleased tracks, including alternative takes and demos from Dylan's 1969–1971 recording sessions during the making of the Self Portrait and New Morning albums. The box set also included a live recording of Dylan's performance with the Band at the Isle of Wight Festival in 1969. Another Self Portrait received favorable reviews, earning a score of 81 on the critical aggregator, Metacritic, indicating 'universal acclaim.'[323]AllMusic critic Thom Jurek wrote, 'For fans, this is more than a curiosity, it's an indispensable addition to the catalog.'[324]

On November 4, 2013, Columbia Records released Bob Dylan: Complete Album Collection: Vol. One, a boxed set containing all 35 of Dylan's studio albums, six albums of live recordings, and a collection, entitled Sidetracks, of singles, songs from films and non-album material.[325] The box includes new album-by-album liner notes written by Clinton Heylin with an introduction by Bill Flanagan. On the same date, Columbia released a compilation, The Very Best of Bob Dylan, which is available in both single CD and double CD formats.[326] To publicize the 35 album box set, an innovative video of the song 'Like a Rolling Stone' was released on Dylan's website. The interactive video, created by director Vania Heymann, allowed viewers to switch between 16 simulated TV channels, all featuring characters who are lip-synching the lyrics of the 48-year-old song.[327][328]

On February 2, 2014, Dylan appeared in a commercial for the Chrysler 200 car which was screened during the 2014 Super Bowl American football game. At the end of the commercial, Dylan says: 'So let Germany brew your beer, let Switzerland make your watch, let Asia assemble your phone. We will build your car.' Dylan's Super Bowl commercial generated controversy and op-ed pieces discussing the protectionist implications of his words, and whether the singer had 'sold out' to corporate interests.[329][330][331][332][333]

In 2013 and 2014, auction house sales demonstrated the high cultural value attached to Dylan's mid-1960s work, and the record prices that collectors were willing to pay for artefacts from this period. In December 2013, the Fender Stratocaster which Dylan had played at the 1965 Newport Folk Festival fetched $965,000, the second highest price paid for a guitar.[334][335] In June 2014, Dylan's hand-written lyrics of 'Like a Rolling Stone', his 1965 hit single, fetched $2 million dollars at auction, a record for a popular music manuscript.[336][337]

On October 28, 2014, Simon & Schuster published a massive 960 page, thirteen and a half pound edition of Dylan's lyrics, The Lyrics: Since 1962. The book was edited by literary critic Christopher Ricks, Julie Nemrow and Lisa Nemrow, to offer variant versions of Dylan's songs, sourced from out-takes and live performances. A limited edition of 50 books, signed by Dylan, was priced at $5,000. 'It's the biggest, most expensive book we've ever published, as far as I know,' said Jonathan Karp, Simon & Schuster's president and publisher.[338][339]

On November 4, 2014, Columbia Records/Legacy Recordings released The Basement Tapes Complete by Bob Dylan and the Band. These 138 tracks in a six-CD box form Volume 11 of Dylan's Bootleg Series. The 1975 album, The Basement Tapes, contained some of the songs which Dylan and the Band recorded in their homes in Woodstock, New York, in 1967. Subsequently, over 100 recordings and alternate takes have circulated on bootleg records. The sleeve notes for the new box set are by Sid Griffin, American musician and author of Million Dollar Bash: Bob Dylan, the Band, and the Basement Tapes.[340][341]

Shadows in the Night, Fallen Angels and Triplicate[edit]

On February 3, 2015, Dylan released Shadows in the Night, featuring ten songs written between 1923 and 1963,[342][343] which have been described as part of the Great American Songbook.[344] All the songs on the album were recorded by Frank Sinatra but both critics and Dylan himself cautioned against seeing the record as a collection of 'Sinatra covers.'[342][345] Dylan explained, 'I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day.'[346] In an interview, Dylan said he had been thinking about making this record since hearing Willie Nelson's 1978 album Stardust.[347] Dylan's first foray into this material was in 2001 when he recorded Dean Martin's 'Return to Me' for the third season of The Sopranos.[348]

Shadows In the Night received favorable reviews, scoring 82 on the critical aggregator Metacritic, which indicates 'universal acclaim.'[349] Critics praised the restrained instrumental backings and Dylan's singing, saying that the material had elicited his best vocal performances in recent years.[344][350] Bill Prince in GQ commented: 'A performer who's had to hear his influence in virtually every white pop recording made since he debuted his own self-titled album back in 1962 imagines himself into the songs of his pre-rock'n'roll early youth.'[345] In The Independent, Andy Gill wrote that the recordings 'have a lingering, languid charm, which... help to liberate the material from the rusting manacles of big-band and cabaret mannerisms.'[351] The album debuted at number one in the UK Albums Chart in its first week of release.[352]

On October 5, 2015, IBM launched a marketing campaign for its Watson computer system which featured Dylan. Dylan is seen conversing with the computer which says it has read all his lyrics and reports: 'My analysis shows that your major themes are that time passes and love fades.' Dylan replies: 'That sounds about right.'[353]

On November 6, 2015, Sony Music released The Bootleg Series Vol. 12: The Cutting Edge 1965–1966. This work consists of previously unreleased material from the three albums Dylan recorded between January 1965 and March 1966: Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. The records have been released in three formats: a 2-CD 'Best Of' version, a 6-CD 'Deluxe edition', and an 18-CD 'Collector's Edition' in a limited edition of 5,000 units. On Dylan's website the 'Collector's Edition' was described as containing 'every single note recorded by Bob Dylan in the studio in 1965/1966.'[354][355] The critical aggregator website Metacritic awarded Cutting Edge a score of 99, indicating universal acclaim.[356]The Best of the Cutting Edge entered the Billboard Top Rock Albums chart at number one on November 18, based on its first-week sales.[357]

On March 2, 2016, it was announced that Dylan had sold an extensive archive of about 6,000 items to the George Kaiser Family Foundation and the University of Tulsa. It was reported that the sale price was 'an estimated $15 million to $20 million', and the archive comprises notebooks, drafts of Dylan lyrics, recordings, and correspondence.[358] Filmed material in the collection includes 30 hours of outtakes from the 1965 tour documentary Dont Look Back, 30 hours of footage shot on Dylan's legendary 1966 electric tour, and 50 hours shot on the 1975 Rolling Thunder Revue. The archive will be housed at Helmerich Center for American Research, a facility at the Gilcrease Museum.[359]

On May 20, Dylan released Fallen Angels, which was described as 'a direct continuation of the work of 'uncovering' the Great Songbook that he began on last year's Shadows In the Night.'[360] The album contained twelve songs by classic songwriters such as Harold Arlen, Sammy Cahn and Johnny Mercer, eleven of which had been recorded by Sinatra.[360] Jim Farber wrote in Entertainment Weekly: 'Tellingly, [Dylan] delivers these songs of love lost and cherished not with a burning passion but with the wistfulness of experience. They're memory songs now, intoned with a present sense of commitment. Released just four days ahead of his 75th birthday, they couldn't be more age-appropriate.'[361] The album received a score of 79 on critical aggregator website Metacritic, denoting 'generally favorable reviews.'[362]

On October 13, the Nobel Prize committee announced it had awarded Dylan the Nobel Prize in Literature 'for having created new poetic expressions within the great American song tradition.'[4][363]

On November 11, 2016, Legacy Recordings released a 36-CD set, The 1966 Live Recordings, including every known recording of Bob Dylan's 1966 concert tour. Legacy Recordings President Adam Block said: 'While doing the archival research for The Cutting Edge 1965–1966, last year's box set of Dylan's mid-'60s studio sessions, we were continually struck by how great his 1966 live recordings really are.'[364] The recordings commence with the concert in White Plains New York on February 5, 1966, and end with the Royal Albert Hall concert in London on May 27,[365] whilst sequencing them differently in the CD package. The liner notes for the set are by Clinton Heylin, author of the book, Judas!: From Forest Hills to the Free Trade Hall: A Historical View of Dylan's Big Boo, a study of the 1966 tour.[366]The New York Times reported most of the concerts had 'never been heard in any form', and described the set as 'a monumental addition to the corpus.'[367]

On March 31, 2017, Dylan released his triple album, Triplicate, comprising 30 new recordings of classic American songs, including 'As Time Goes By' by Herman Hupfeld and 'Stormy Weather' by Harold Arlen and Ted Koehler. Dylan's 38th studio album was recorded in Hollywood's Capitol Studios and features his touring band.[368] Dylan posted a long interview on his website to promote the album, and was asked if this material was an exercise in nostalgia. 'Nostalgic? No I wouldn't say that. It's not taking a trip down memory lane or longing and yearning for the good old days or fond memories of what's no more. A song like 'Sentimental Journey' is not a way back when song, it doesn't emulate the past, it's attainable and down to earth, it's in the here and now.'[369] The album was awarded a score of 84 on critical aggregator website Metacritic, signifying 'universal acclaim.' Critics praised the thoroughness of Dylan's exploration of the great American songbook, though, in the opinion of Uncut: 'For all its easy charms, Triplicate labours its point to the brink of overkill. After five albums' worth of croon toons, this feels like a fat full stop on a fascinating chapter.'[370]

Conor McPherson's play Girl from the North Country, where dramatic action is broken up by 20 Dylan songs, opened in London's The Old Vic on July 26, 2017. The project began when Dylan's office approached McPherson and suggested creating a play using Dylan songs. The drama received favorable reviews.[371][372]

On November 3, Sony Music released The Bootleg Series Vol. 13: Trouble No More 1979–1981, comprising 8 CDs and 1 DVD.[373]Trouble No More documents what Rolling Stone described as Dylan's 'Born Again Christian period of 1979 to 1981 – an intense, wildly controversial time that produced three albums and some of the most confrontational concerts of his long career.'[373] Reviewing the box set in The New York Times, Jon Pareles wrote, 'Decades later, what comes through these recordings above all is Mr. Dylan's unmistakable fervor, his sense of mission. The studio albums are subdued, even tentative, compared with what the songs became on the road. Mr. Dylan's voice is clear, cutting and ever improvisational; working the crowds, he was emphatic, committed, sometimes teasingly combative. And the band tears into the music.'[374]Trouble No More includes a DVD of a film directed by Jennifer Lebeau consisting of live footage of Dylan's gospel performances interspersed with sermons delivered by actor Michael Shannon. The box set album received an aggregate score of 84 on the critical website Metacritic, indicating 'universal acclaim.'[375]

On April 5, 2018, Dylan contributed to the compilation EP Universal Love, a collection of reimagined wedding songs for the LGBT community.[376] The album was funded by MGM Resorts International and the songs are intended to function as 'wedding anthems for same-sex couples.'[377] Dylan recorded the 1929 song 'She's Funny That Way', changing the gender pronoun to 'He's Funny That Way.' The song has previously been recorded by Billie Holiday and Frank Sinatra.[377][378]

Rolling Stones Discography

Also in April 2018, The New York Times announced that Dylan was launching Heaven's Door, a range of three whiskeys: a straight rye, a straight bourbon and a 'double-barreled' whiskey. Dylan has been involved in both the creation and the marketing of the range. The Times described the venture as 'Mr. Dylan's entry into the booming celebrity-branded spirits market, the latest career twist for an artist who has spent five decades confounding expectations.'[379]

On November 2, 2018, Dylan released More Blood, More Tracks as Volume 14 in the Bootleg Series. The set comprises all Dylan's recordings for his 1975 album Blood On the Tracks, and was issued as a single CD and also as a six-CD Deluxe Edition.[380] The box set album received an aggregate score of 93 on the critical website Metacritic, indicating 'universal acclaim.'[381]

On June 12, 2019, Netflix released 'Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, describing the film as 'Part documentary, part concert film, part fever dream.'[382][180] The documentary was released on Netflix with concurrent extended theatrical schedules in Los Angeles and New York so that the film will qualify for award consideration.[180] The Scorsese film received an aggregate score of 88 on critical website Metacritic, indicating 'universal acclaim.'[383] The film sparked controversy because of the way it deliberately mixed documentary footage filmed during the Rolling Thunder Revue in the fall of 1975 with fictitious characters and invented stories.[384]

Coinciding with the film release, a box set of 14 CDs, The Rolling Thunder Revue: The 1975 Live Recordings, was released by Columbia Records on June 7. The set comprises five full Dylan performances from the tour and recently discovered tapes from Dylan's tour rehearsals.[385] The box set received an aggregate score of 89 on the critical website Metacritic, indicating 'universal acclaim.'[386]

In September 2019, Columbia Records announced the release of Bob Dylan (featuring Johnny Cash) – Travelin’ Thru, 1967 – 1969: The Bootleg Series Vol. 15 on November 1. The 3-CD set will comprise outtakes from Dylan's albums John Wesley Harding and Nashville Skyline, and unreleased songs that Dylan recorded with Johnny Cash in Nashville in 1969.[387]

Never Ending Tour[edit]

Bob Dylan performing at Finsbury Park, London, June 18, 2011

The Never Ending Tour commenced on June 7, 1988,[388] and Dylan has played roughly 100 dates a year for the entirety of the 1990s and 2000s—a heavier schedule than most performers who started out in the 1960s.[389] By May 2013, Dylan and his band had played more than 2,500 shows,[390][391] anchored by long-time bassist Tony Garnier, drummer George Recile, multi-instrumentalist Donnie Herron, and guitarist Charlie Sexton.[392] To the dismay of some of his audience,[393] Dylan's performances remain unpredictable as he alters his arrangements and changes his vocal approach night after night.[394] Critical opinion about Dylan's shows remains divided. Critics such as Richard Williams and Andy Gill have argued that Dylan has found a successful way to present his rich legacy of material.[395][396] Others have criticized his live performances for mangling and spitting out 'the greatest lyrics ever written so that they are effectively unrecognisable', and giving so little to the audience that 'it is difficult to understand what he is doing on stage at all.'[397]

Dylan's performances in China in April 2011 generated controversy. Some criticised him for not making any explicit comment on the political situation in China, and for, allegedly, allowing the Chinese authorities to censor his set list.[398][399] Others defended Dylan's performances, arguing that such criticism represented a misunderstanding of Dylan's art, and that no evidence for the censorship of Dylan's set list existed.[400][401] In response to these allegations, Dylan posted a statement on his website: 'As far as censorship goes, the Chinese government had asked for the names of the songs that I would be playing. There's no logical answer to that, so we sent them the set lists from the previous 3 months. If there were any songs, verses or lines censored, nobody ever told me about it and we played all the songs that we intended to play.'[402]

In 2019, Dylan undertook two tours in Europe. The first commenced in Düsseldorf, Germany, on March 31, and ended in Valencia, Spain, on May 7. He played his 3000th show of the Never Ending Tour on April 19, 2019, in Innsbruck, Austria.[403] Dylan's second tour began in Bergen, Norway, on June 21, and ended in Kilkenny, Ireland, on July 14.[404][405] Dylan's touring company has announced he will tour the USA in the fall of 2019, commencing in Irvine, California on October 11, and ending in New York on December 6th.[406]

Visual art[edit]

The cover of Dylan's album Self Portrait (1970) is a reproduction of a painting of a face by Dylan.[407] Another of his paintings is reproduced on the cover of the 1974 album Planet Waves. In 1994 Random House published Drawn Blank, a book of Dylan's drawings.[408] In 2007, the first public exhibition of Dylan's paintings, The Drawn Blank Series, opened at the Kunstsammlungen in Chemnitz, Germany;[409] it showcased more than 200 watercolors and gouaches made from the original drawings. The exhibition coincided with the publication of Bob Dylan: The Drawn Blank Series, which includes 170 reproductions from the series.[409][410] From September 2010 until April 2011, the National Gallery of Denmark exhibited 40 large-scale acrylic paintings by Dylan, The Brazil Series.[411]

In July 2011, a leading contemporary art gallery, Gagosian Gallery, announced their representation of Dylan's paintings.[412] An exhibition of Dylan's art, The Asia Series, opened at the Gagosian Madison Avenue Gallery on September 20, displaying Dylan's paintings of scenes in China and the Far East.[413]The New York Times reported that 'some fans and Dylanologists have raised questions about whether some of these paintings are based on the singer's own experiences and observations, or on photographs that are widely available and were not taken by Mr. Dylan.' The Times pointed to close resemblances between Dylan's paintings and historic photos of Japan and China, and photos taken by Dmitri Kessel and Henri Cartier-Bresson.[414] Art critic Blake Gopnik has defended Dylan's artistic practice, arguing: 'Ever since the birth of photography, painters have used it as the basis for their works: Edgar Degas and Edouard Vuillard and other favorite artists—even Edvard Munch—all took or used photos as sources for their art, sometimes barely altering them.'[415] The Magnum photo agency confirmed that Dylan had licensed the reproduction rights of these photographs.[416]

Dylan's second show at the Gagosian Gallery, Revisionist Art, opened in November 2012. The show consisted of thirty paintings, transforming and satirizing popular magazines, including Playboy and Babytalk.[417][418] In February 2013, Dylan exhibited the New Orleans Series of paintings at the Palazzo Reale in Milan.[419] In August 2013, Britain's National Portrait Gallery in London hosted Dylan's first major UK exhibition, Face Value, featuring twelve pastel portraits.[420]

In November 2013, the Halcyon Gallery in London mounted Mood Swings, an exhibition in which Dylan displayed seven wrought iron gates he had made. In a statement released by the gallery, Dylan said, 'I've been around iron all my life ever since I was a kid. I was born and raised in iron ore country, where you could breathe it and smell it every day. Gates appeal to me because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.'[421][422]

In November 2016, the Halcyon Gallery featured a collection of drawings, watercolors and acrylic works by Dylan. The exhibition, The Beaten Path, depicted American landscapes and urban scenes, inspired by Dylan's travels across the USA.[423] The show was reviewed by Vanity Fair and Asia Times Online.[424][425][426] In October 2018, the Halcyon Gallery mounted an exhibition of Dylan's drawings, Mondo Scripto. The works consisted of Dylan hand-written lyrics of his songs, with each song illustrated by a drawing.[427]

Since 1994, Dylan has published eight books of paintings and drawings.[428]

Discography[edit]

  • Bob Dylan (1962)
  • The Freewheelin' Bob Dylan (1963)
  • The Times They Are a-Changin' (1964)
  • Another Side of Bob Dylan (1964)
  • Bringing It All Back Home (1965)
  • Highway 61 Revisited (1965)
  • Blonde on Blonde (1966)
  • John Wesley Harding (1967)
  • Nashville Skyline (1969)
  • Self Portrait (1970)
  • New Morning (1970)
  • Pat Garrett & Billy the Kid (1973)
  • Dylan (1973)
  • Planet Waves (1974)
  • Blood on the Tracks (1975)
  • The Basement Tapes (1975)
  • Desire (1976)
  • Street Legal (1978)
  • Slow Train Coming (1979)
  • Saved (1980)
  • Shot of Love (1981)
  • Infidels (1983)
  • Empire Burlesque (1985)
  • Knocked Out Loaded (1986)
  • Down in the Groove (1988)
  • Oh Mercy (1989)
  • Under the Red Sky (1990)
  • Good as I Been to You (1992)
  • World Gone Wrong (1993)
  • Time Out of Mind (1997)
  • 'Love and Theft' (2001)
  • Modern Times (2006)
  • Together Through Life (2009)
  • Christmas in the Heart (2009)
  • Tempest (2012)
  • Shadows in the Night (2015)
  • Fallen Angels (2016)
  • Triplicate (2017)

Bibliography[edit]

Dylan has published Tarantula, a work of prose poetry; Chronicles: Volume One, the first part of his memoirs; several books of the lyrics of his songs, and eight books of his art. He has also been the subject of numerous biographies and critical studies.

Personal life[edit]

Romantic relationships[edit]

Suze Rotolo[edit]

Dylan's first serious relationship was with artist Suze Rotolo, a daughter of American Communist Party radicals. According to Dylan, 'She was the most erotic thing I'd ever seen... The air was suddenly filled with banana leaves. We started talking and my head started to spin.'[429] Rotolo was photographed arm-in-arm with Dylan on the cover of his album The Freewheelin' Bob Dylan. Critics have connected Rotolo to some of Dylan's early love songs, including 'Don't Think Twice It's All Right.' The relationship ended in 1964.[430] In 2008, Rotolo published a memoir about her life in Greenwich Village and relationship with Dylan in the 1960s, A Freewheelin' Time.[431]

Joan Baez[edit]

When Joan Baez first met Dylan in April 1961, she had already released her first album and was acclaimed as the 'Queen of Folk.'[432] On hearing Dylan perform his song 'With God on Our Side,' Baez later said, 'I never thought anything so powerful could come out of that little toad.'[433] In July 1963, Baez invited Dylan to join her on stage at the Newport Folk Festival, setting the scene for similar duets over the next two years.[434] By the time of Dylan's 1965 tour of the U.K, their romantic relationship had begun to fizzle out, as captured in D. A. Pennebaker's documentary film Dont Look Back.[434] Baez later toured with Dylan as a performer on his Rolling Thunder Revue in 1975–76, and sang four songs with Dylan on the live album of the tour, Bob Dylan Live 1975, The Rolling Thunder Revue. Baez appeared with Dylan in the one-hour TV special Hard Rain, filmed at Fort Collins, Colorado, in May 1976. Baez also starred as 'The Woman In White' in the film Renaldo and Clara (1978), directed by Dylan and filmed during the Rolling Thunder Revue. Dylan and Baez toured together again in 1984 with Carlos Santana.[434]

Baez recalled her relationship with Dylan in Martin Scorsese's documentary film No Direction Home (2005). Baez wrote about Dylan in two autobiographies—admiringly in Daybreak (1968), and less admiringly in And A Voice to Sing With (1987). Baez's relationship with Dylan is the subject of her song 'Diamonds & Rust', which has been described as 'an acute portrait' of Dylan.[434]

Sara Dylan[edit]

Dylan married Sara Lownds, who had worked as a model and a secretary to Drew Associates, on November 22, 1965.[435] Their first child, Jesse Byron Dylan, was born on January 6, 1966, and they had three more children: Anna Lea (born July 11, 1967), Samuel Isaac Abram (born July 30, 1968), and Jakob Luke (born December 9, 1969). Dylan also adopted Sara's daughter from a prior marriage, Maria Lownds (later Dylan, born October 21, 1961). Sara Dylan played the role of Clara in Dylan's film Renaldo and Clara (1978). Bob and Sara Dylan were divorced on June 29, 1977.[435]

Maria married musician Peter Himmelman in 1988.[436] Jakob became well known as the lead singer of the band the Wallflowers in the 1990's. Jesse is a film director and a successful businessman.

Carolyn Dennis[edit]

Dylan married his backup singer Carolyn Dennis (often professionally known as Carol Dennis) on June 4, 1986. Desiree Gabrielle Dennis-Dylan, their daughter, was born on January 31, 1986.[437] The couple divorced in October 1992. Their marriage and child remained a closely guarded secret until the publication of Howard Sounes' biography Down the Highway: The Life of Bob Dylan, in 2001.[438]

Home[edit]

When not touring, Dylan is believed to live primarily in Point Dume, a promontory on the coast of Malibu, California, though he also owns property around the world.[439][440]

Religious beliefs[edit]

Growing up in Hibbing, Minnesota, Dylan and his family were part of the area's small but close-knit Jewish community, and in May 1954 Dylan had his Bar Mitzvah.[441][15] Around the time of his 30th birthday, in 1971, Dylan visited Israel, and also met Rabbi Meir Kahane, founder of the New York-based Jewish Defense League.[442]Time magazine quoted him saying about Kahane, 'He's a really sincere guy. He's really put it all together.'[443] Subsequently, Dylan downplayed the extent of his contact with Kahane.[444]

Dylan performs in Rotterdam Ahoy, the Netherlands, June 4, 1984

During the late 1970s, Dylan converted to Christianity. In November 1978, guided by his friend Mary Alice Artes, Dylan made contact with the Vineyard School of Discipleship.[194] Vineyard Pastor Kenn Gulliksen has recalled: 'Larry Myers and Paul Emond went over to Bob's house and ministered to him. He responded by saying, 'Yes he did in fact want Christ in his life.' And he prayed that day and received the Lord.'[445][446] From January to March 1979, Dylan attended the Vineyard Bible study classes in Reseda, California.[194][447]

By 1984, Dylan was distancing himself from the 'born again' label. He told Kurt Loder of Rolling Stone magazine: 'I've never said I'm born again. That's just a media term. I don't think I've been an agnostic. I've always thought there's a superior power, that this is not the real world and that there's a world to come.' In response to Loder's asking whether he belonged to any church or synagogue, Dylan laughingly replied, 'Not really. Uh, the Church of the Poison Mind.'[448]

When it was asked of Dylan in a 1986 press conference in Australia 'How much do you feel you are a vessel, a medium for a higher power, for God, that it [the music] flows through you... for Him?' Dylan replied, 'Well I feel that way about most of the stuff that I do.'[449]

In 1997, he told David Gates of Newsweek:

Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else. Songs like 'Let Me Rest on a Peaceful Mountain' or 'I Saw the Light'—that's my religion. I don't adhere to rabbis, preachers, evangelists, all of that. I've learned more from the songs than I've learned from any of this kind of entity. The songs are my lexicon. I believe the songs.[450]

In an interview published in The New York Times on September 28, 1997, journalist Jon Pareles reported that 'Dylan says he now subscribes to no organized religion.'[451]

Dylan has supported the Chabad Lubavitch movement,[452] and has privately participated in Jewish religious events, including the Bar Mitzvahs of his sons and attending Hadar Hatorah, a Chabad Lubavitchyeshiva. In September 1989 and September 1991, he appeared on the Chabad telethon.[453] On Yom Kippur in 2007 he attended Congregation Beth Tefillah, in Atlanta, Georgia, where he was called to the Torah for the sixth aliyah.[454]

Dylan has continued to perform songs from his gospel albums in concert, occasionally covering traditional religious songs. He has also made passing references to his religious faith—such as in a 2004 interview with 60 Minutes, when he told Ed Bradley that 'the only person you have to think twice about lying to is either yourself or to God.' He also explained his constant touring schedule as part of a bargain he made a long time ago with the 'chief commander—in this earth and in the world we can't see.'[31]

In a 2009 interview with Bill Flanagan promoting Dylan's Christmas LP, Christmas in the Heart, Flanagan commented on the 'heroic performance' Dylan gave of 'O Little Town of Bethlehem' and that he 'delivered the song like a true believer.' Dylan replied: 'Well, I am a true believer.'[305]

Accolades[edit]

President Obama presents Dylan with a Medal of Freedom, May 2012
Sara Danius announces the Nobel Prize in Literature 2016.

Dylan has won many awards throughout his career including the 2016 Nobel Prize in Literature, ten Grammy Awards,[455] one Academy Award and one Golden Globe Award. He has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame, and Songwriters Hall of Fame. In May 2000, Dylan received the Polar Music Prize from Sweden's King Carl XVI.[456]

In June 2007, Dylan received the Prince of Asturias Award in the Arts category.[457] Dylan received the Presidential Medal of Freedom in May 2012.[458][459] In February 2015, Dylan accepted the MusiCares Person of the Year award from the National Academy of Recording Arts and Sciences, in recognition of his philanthropic and artistic contributions to society.[460] In November 2013, Dylan received the accolade of Légion d'Honneur from the French education minister Aurélie Filippetti.[461]

Nobel Prize in Literature[edit]

The Nobel Prize committee announced on October 13, 2016, that it would be awarding Dylan the Nobel Prize in Literature 'for having created new poetic expressions within the great American song tradition.'[4][462]The New York Times reported: 'Mr. Dylan, 75, is the first musician to win the award, and his selection on Thursday is perhaps the most radical choice in a history stretching back to 1901.'[363] Dylan and George Bernard Shaw are the only two people who have received both a Nobel Prize and an Academy Award.[463]

On October 21, a member of the Swedish Academy, writer Per Wästberg, termed Dylan 'impolite and arrogant' for ignoring the Nobel Committee's attempts to contact him.[464] Academy permanent secretary Sara Danius answered, 'The Swedish Academy has never held a view on a prizewinner's decision in this context, neither will it now.'[465]

After two weeks of speculation about Dylan's silence concerning the Nobel Prize,[466] he said in an interview with Edna Gundersen that getting the award was: 'amazing, incredible. Whoever dreams about something like that?'[467]

Bob Dylan Album Discography

On November 17, 2016, the Swedish Academy announced that Dylan would not travel to Stockholm for the Nobel Prize Ceremony due to 'pre-existing commitments.'[468] At the Nobel Banquet in Stockholm on December 10, 2016, Dylan's banquet speech was given by Azita Raji, U.S. Ambassador to Sweden. The speech stated: 'From an early age, I've been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, Hemingway. These giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep impression. That I now join the names on such a list is truly beyond words.'[469]Patti Smith accepted Dylan's Nobel with a 'transcendent performance' of his song 'A Hard Rain's A-Gonna Fall' to orchestral accompaniment.[470]

On April 2, 2017, the Academy secretary Danius said: 'Earlier today the Swedish Academy met with Bob Dylan for a private ceremony [with no media present] in Stockholm, during which Dylan received his gold medal and diploma. Twelve members of the Academy were present. Spirits were high. Champagne was had. Quite a bit of time was spent looking closely at the gold medal, in particular the beautifully crafted back, an image of a young man sitting under a laurel tree who listens to the Muse. Taken from Virgil's Aeneid, the inscription reads: Inventas vitam iuvat excoluisse per artes, loosely translated as 'And they who bettered life on earth by their newly found mastery.'[471]

On June 5, 2017, Dylan's Nobel Lecture was posted on the Nobel prize website.[472]The New York Times pointed out that, in order to collect the prize's 8 million Swedish krona ($900,000), the Swedish Academy's rules stipulate the laureate 'must deliver a lecture within six months of the official ceremony, which would have made Mr. Dylan's deadline June 10.'[473] Academy secretary Danius commented: 'The speech is extraordinary and, as one might expect, eloquent. Now that the lecture has been delivered, the Dylan adventure is coming to a close.'[474] In his essay, Dylan writes about the impact that three important books made on him: Herman Melville's Moby-Dick, Erich Maria Remarque's All Quiet on the Western Front and Homer's The Odyssey. He concludes: 'Our songs are alive in the land of the living. But songs are unlike literature. They're meant to be sung, not read. The words in Shakespeare's plays were meant to be acted on the stage. Just as lyrics in songs are meant to be sung, not read on a page. And I hope some of you get the chance to listen to these lyrics the way they were intended to be heard: in concert or on record or however people are listening to songs these days. I return once again to Homer, who says, 'Sing in me, oh Muse, and through me tell the story'.'[475]Alan Pasqua provided the uncredited piano accompaniment for the recorded speech.[476]

Legacy[edit]

Dylan has been described as one of the most influential figures of the 20th century, musically and culturally. He was included in the Time 100: The Most Important People of the Century, where he was called 'master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation.'[477] In 2008, the Pulitzer Prize jury awarded him a special citation for 'his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.'[478]President Barack Obama said of Dylan in 2012, 'There is not a bigger giant in the history of American music.'[317] For 20 years, academics lobbied the Swedish Academy to give Dylan the Nobel Prize in Literature.[479][480][481][482] He received the award in 2016,[363] making Dylan the first musician to be awarded the Literature Prize.[363]Horace Engdahl, a member of the Nobel Committee, described Dylan's place in literary history:

...a singer worthy of a place beside the Greek bards, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the blues, beside the forgotten masters of brilliant standards.[483]

Rolling Stone has ranked Dylan at number one in its 2015 list of the 100 Greatest Songwriters of All Time,[484] and listed 'Like A Rolling Stone' as the 'Greatest Song of all Time' in their 2011 list.[485] In 2008, it was estimated that Dylan had sold about 120 million albums worldwide.[486]

I loved him because he wrote some beautiful stuff. I used to love his so-called protest things. But I like the sound of him. I didn't have to listen to his words. He used to come with his acetate and say, 'Listen to this, John. Did you hear the words?' And I said, 'That doesn't matter, just the sound is what counts.'...I respected him, I respected him a lot.

Bob Dylan Discography Allmusic

John Lennon, 1970[487]

Initially modeling his writing style on the songs of Woody Guthrie,[488] the blues of Robert Johnson,[489] and what he termed the 'architectural forms' of Hank Williams songs,[490] Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it 'with the intellectualism of classic literature and poetry.'[491]Paul Simon suggested that Dylan's early compositions virtually took over the folk genre: '[Dylan's] early songs were very rich ... with strong melodies. 'Blowin' in the Wind' has a really strong melody. He so enlarged himself through the folk background that he incorporated it for a while. He defined the genre for a while.'[492]

When Dylan made his move from acoustic folk and blues music to a rock backing, the mix became more complex. For many critics, his greatest achievement was the cultural synthesis exemplified by his mid-1960s trilogy of albums—Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. In Mike Marqusee's words:

Between late 1964 and the middle of 1966, Dylan created a body of work that remains unique. Drawing on folk, blues, country, R&B, rock'n'roll, gospel, British beat, symbolist, modernist and Beat poetry, surrealism and Dada, advertising jargon and social commentary, Fellini and Mad magazine, he forged a coherent and original artistic voice and vision. The beauty of these albums retains the power to shock and console.[493]

Dylan's lyrics began to receive detailed scrutiny from academics and poets as early as 1998, when Stanford University sponsored the first international academic conference on Bob Dylan to be held in the United States.[494] In 2004, Richard F. Thomas, Classics professor at Harvard University, created a freshman seminar titled 'Dylan' 'to put the artist in context of not just popular culture of the last half-century, but the tradition of classical poets like Virgil and Homer.'[495]

Literary critic Christopher Ricks published Dylan's Visions of Sin, a 500-page analysis of Dylan's work,[496] and has said: 'I'd not have written a book about Dylan, to stand alongside my books on Milton and Keats, Tennyson and T.S. Eliot, if I didn't think Dylan a genius of and with language.[497] Former British poet laureateAndrew Motion suggested his lyrics should be studied in schools.[498] The critical consensus that Dylan's song writing was his outstanding creative achievement was articulated by Encyclopædia Britannica where his entry stated: 'Hailed as the Shakespeare of his generation, Dylan... set the standard for lyric writing.'[499]

Dylan's voice also received critical attention. Robert Shelton described his early vocal style as 'a rusty voice suggesting Guthrie's old performances, etched in gravel like Dave Van Ronk's.'[500]David Bowie, in his tribute, 'Song for Bob Dylan', described Dylan's singing as 'a voice like sand and glue.' His voice continued to develop as he began to work with rock'n'roll backing bands; critic Michael Gray described the sound of Dylan's vocal work on 'Like a Rolling Stone' as 'at once young and jeeringly cynical.'[501] As Dylan's voice aged during the 1980s, for some critics, it became more expressive. Christophe Lebold writes in the journal Oral Tradition, 'Dylan's more recent broken voice enables him to present a world view at the sonic surface of the songs—this voice carries us across the landscape of a broken, fallen world. The anatomy of a broken world in 'Everything is Broken' (on the album Oh Mercy) is but an example of how the thematic concern with all things broken is grounded in a concrete sonic reality.'[502]

Dylan is considered a seminal influence on many musical genres. As Edna Gundersen stated in USA Today: 'Dylan's musical DNA has informed nearly every simple twist of pop since 1962.'[503] Punk musician Joe Strummer praised Dylan for having 'laid down the template for lyric, tune, seriousness, spirituality, depth of rock music.'[504] Other major musicians who acknowledged Dylan's importance include Johnny Cash,[505]Jerry Garcia,[506]John Lennon,[507]Paul McCartney,[508]Pete Townshend,[509]Neil Young,[510]Bruce Springsteen,[106]David Bowie,[511]Bryan Ferry,[512]Nick Cave,[513][514]Patti Smith,[515]Syd Barrett,[516]Joni Mitchell,[517]Tom Waits[518] and Leonard Cohen.[519] Dylan significantly contributed to the initial success of both the Byrds and the Band: the Byrds achieved chart success with their version of 'Mr. Tambourine Man' and the subsequent album, while the Band were Dylan's backing band on his 1966 tour, recorded The Basement Tapes with him in 1967,[520] and featured three previously unreleased Dylan songs on their debut album.[521]

Some critics have dissented from the view of Dylan as a visionary figure in popular music. In his book Awopbopaloobop Alopbamboom, Nik Cohn objected: 'I can't take the vision of Dylan as seer, as teenage messiah, as everything else he's been worshipped as. The way I see him, he's a minor talent with a major gift for self-hype.'[522] Australian critic Jack Marx credited Dylan with changing the persona of the rock star: 'What cannot be disputed is that Dylan invented the arrogant, faux-cerebral posturing that has been the dominant style in rock since, with everyone from Mick Jagger to Eminem educating themselves from the Dylan handbook.'[523]

Fellow musicians have also presented dissenting views. Joni Mitchell described Dylan as a 'plagiarist' and his voice as 'fake' in a 2010 interview in the Los Angeles Times, despite the fact that Mitchell had toured with Dylan in the past, and both artists have covered each others songs.[524][525] Mitchell's comment led to discussions of Dylan's use of other people's material, both supporting and criticizing him.[526] Talking to Mikal Gilmore in Rolling Stone in 2012, Dylan responded to the allegation of plagiarism, including his use of Henry Timrod's verse in his album Modern Times,[273] by saying that it was 'part of the tradition.'[527][a 5]

If Dylan's work in the 1960s was seen as bringing intellectual ambition to popular music,[493] critics in the 21st century described him as a figure who had greatly expanded the folk culture from which he initially emerged. Following the release of Todd Haynes' Dylan biopic I'm Not There, J. Hoberman wrote in his 2007 Village Voice review:

Elvis might never have been born, but someone else would surely have brought the world rock 'n' roll. No such logic accounts for Bob Dylan. No iron law of history demanded that a would-be Elvis from Hibbing, Minnesota, would swerve through the Greenwich Village folk revival to become the world's first and greatest rock 'n' roll beatnik bard and then—having achieved fame and adoration beyond reckoning—vanish into a folk tradition of his own making.[528]

When Dylan was awarded the Nobel Prize in Literature, The New York Times commented: 'In choosing a popular musician for the literary world's highest honor, the Swedish Academy, which awards the prize, dramatically redefined the boundaries of literature, setting off a debate about whether song lyrics have the same artistic value as poetry or novels.'[363] Responses varied from the sarcasm of Irvine Welsh, who described it as 'an ill conceived nostalgia award wrenched from the rancid prostates of senile, gibbering hippies',[529] to the enthusiasm of Salman Rushdie who tweeted: 'From Orpheus to Faiz, song & poetry have been closely linked. Dylan is the brilliant inheritor of the bardic tradition. Great choice.'[530]

Archives and tributes[edit]

Dylan's archive, comprising notebooks, song drafts, business contracts, recordings and movie out-takes, is held at the Gilcrease Museum's Helmerich Center for American Research in Tulsa, Oklahoma, which is also the home of the papers of Woody Guthrie.[358][531] In 2017, the George Kaiser Family Foundation announced a design competition for a major Bob Dylan Center in Tulsa's Arts District.[532][533] In 2018, the foundation announced that it had selected Olson Kundig Architects to design the building.[534] The center is expected to open in 2021, and be located next to the facility dedicated to Guthrie.[535]

In 2005, 7th Avenue East in Hibbing, Minnesota, the street on which Dylan lived from ages 6 to 18, received the honorary name Bob Dylan Drive.[536][537][538] In the town Hibbing, a walk of fame-styled 'star' is embedded in a sidewalk with the words Bob Dylan as well as a cursive-Z for Dylan's nickname Zimmy in youth.[539] In 2006 a cultural pathway, Bob Dylan Way, was inaugurated in Duluth, Minnesota, the city where Dylan was born. The 1.8 mile path links 'cultural and historically significant areas of downtown for the tourists.'[540][541]

In 2015, a massive Bob Dylan mural was unveiled in downtown Minneapolis, the city where Dylan attended university for a year. The mural was designed by Brazilian street artist Eduardo Kobra.[542]

See also[edit]

  • Bob Dylan – Wikipedia book

Notes[edit]

  1. ^According to Dylan biographer Robert Shelton, the singer first confided his change of name to his high school girlfriend, Echo Helstrom, in 1958, telling her that he had found a 'great name, Bob Dillon.' Shelton surmises that Dillon had two sources: Marshal Matt Dillon was the hero of the TV western Gunsmoke; Dillon was also the name of one of Hibbing's principal families. While Shelton was writing Dylan's biography in the 1960s, Dylan told him, 'Straighten out in your book that I did not take my name from Dylan Thomas. Dylan Thomas's poetry is for people that aren't really satisfied in their bed, for people who dig masculine romance.' At the University of Minnesota, the singer told a few friends that Dillon was his mother's maiden name, which was untrue. He later told reporters that he had an uncle named Dillon. Shelton added that only when he reached New York in 1961 did the singer begin to spell his name 'Dylan', by which time he was acquainted with the life and work of Dylan Thomas. Shelton (2011), pp. 44–45.
  2. ^In a May 1963 interview with Studs Terkel, Dylan broadened the meaning of the song, saying 'the pellets of poison flooding the waters' refers to 'the lies people are told on their radios and in their newspapers.' Cott (2006), p. 8.
  3. ^The title 'Spokesman of a Generation' was viewed by Dylan with disgust in later years. He came to feel it was a label the media had pinned on him, and in his autobiography, Chronicles, Dylan wrote: 'The press never let up. Once in a while I would have to rise up and offer myself for an interview so they wouldn't beat the door down. Later an article would hit the streets with the headline 'Spokesman Denies That He's A Spokesman.' I felt like a piece of meat that someone had thrown to the dogs.' Dylan (2004), p.119
  4. ^According to Shelton, Dylan named the tour Rolling Thunder and then 'appeared pleased when someone told him to native Americans, rolling thunder means speaking the truth.' A Cherokeemedicine man named Rolling Thunder appeared on stage at Providence, RI, 'stroking a feather in time to the music.' Shelton (2011), p. 310.
  5. ^Dylan told Gilmore: 'As far as Henry Timrod is concerned, have you even heard of him? Who's been reading him lately? And who's pushed him to the forefront?... And if you think it's so easy to quote him and it can help your work, do it yourself and see how far you can get. Wussies and pussies complain about that stuff. It's an old thing—it's part of the tradition.'

References[edit]

Footnotes[edit]

  1. ^Ktorza, Ari (November 2018). Ben Zvi, Shlomo (ed.). 'Gefilte Jazz'. Segula Magazine. 45 (45): 51.
  2. ^Bob Dylan. The Rock and Roll Hall of Fame and Museum
  3. ^ abc'500 Greatest Songs Of All Time'. Rolling Stone. April 7, 2011. Retrieved September 11, 2019.
  4. ^ abc'The Nobel Prize in Literature 2016'(PDF). Nobelprize.org. October 13, 2016. Archived from the original(PDF) on September 20, 2017. Retrieved October 13, 2016.
  5. ^Sounes, p. 14, gives his Hebrew name as Shabtai Zisel ben Avraham
  6. ^A Chabad news service gives the variant Zushe ben Avraham, which may be a Yiddish variant 'Singer/Songwriter Bob Dylan Joins Yom Kippur Services in Atlanta'. Chabad.org News. September 24, 2007. Retrieved September 11, 2008.
  7. ^Preskovsky, Ilan (March 12, 2016). 'Bob Dylan's Jewish Odyssey'. Aish.com. Retrieved May 20, 2018.
  8. ^Sounes, p. 14
  9. ^'Robert Allen Zimmerman'. Minnesota Birth Index, 1935–2002. Ancestry.com. Retrieved September 6, 2011. Name: Robert Allen Zimmerman; Birth Date: May 24, 1941; Birth County: Saint Louis; Father: Abram H. Zimmerman; Mother: Beatrice Stone(subscription required)
  10. ^ abSounes, pp. 12–13.
  11. ^ ab'Down the Highway – The Life of Bob Dylan'. The New York Times. Retrieved May 20, 2018.
  12. ^Dylan, pp. 92–93.
  13. ^Gluck, Robert (May 21, 2012). 'Bob Dylan: 'Prophet' and Medal of Freedom recipient'. Jewish Journal. Retrieved May 20, 2018.
  14. ^Kamin, Debra (April 13, 2016). 'Bob Dylan's life and work examined in new exhibit'. Jewish Telegraphic Agency. Retrieved May 20, 2018.
  15. ^ abGreen, David B. (May 21, 2015). 'This Day in Jewish History – 1954: Shabtai Zissel Is Bar Mitzvahed, and Turns Out to Be Bob Dylan'. Haaretz. Retrieved June 5, 2018.
  16. ^Shelton, pp. 38–40.
  17. ^'Hibbing'. hibbing.yolasite.com.
  18. ^ abGray, Michael (May 22, 2011). 'One of a kind: Bob Dylan at 70'. Japan Times. Retrieved December 30, 2011.
  19. ^Heylin (1996), pp. 4–5.
  20. ^Sounes, pp. 29–37.
  21. ^LIFE Books, 'Bob Dylan, Forever Young, 50 Years of Song', Time Home Entertainment, Vol. 2, No 2, February 10, 2012, p. 15.
  22. ^An interview with Vee suggests Zimmerman may have been eccentric in spelling his early pseudonym: '[Dylan] was in the Fargo/Moorhead area ... Bill [Velline] was in a record shop in Fargo, Sam's Record Land, and this guy came up to him and introduced himself as Elston Gunnn—with three n's, G-U-N-N-N.' Bobby Vee Interview, July 1999, Goldmine Reproduced online: 'Early alias for Robert Zimmerman'. Expecting Rain. August 11, 1999. Retrieved September 11, 2008.
  23. ^Sounes, pp. 41–42.
  24. ^Heylin (2000), pp. 26–27.
  25. ^'University of Minnesota Scholars Walk: Nobel Prize'. University of Minnesota. Retrieved December 15, 2016.
  26. ^ abcdefBiograph, 1985, Liner notes & text by Cameron Crowe.
  27. ^Shelton, pp. 65–82.
  28. ^ abThis is related in the documentary film No Direction Home, directed by Martin Scorsese. broadcast September 26, 2005, PBS & BBC Two.
  29. ^Heylin (1996), p. 7.
  30. ^Dylan, pp. 78–79.
  31. ^ abLeung, Rebecca (June 12, 2005). ' 'Dylan Looks Back'. CBS News. Retrieved February 25, 2009.
  32. ^Sounes, p. 72
  33. ^Dylan, p. 98.
  34. ^Dylan, pp. 244–246.
  35. ^Dylan, pp. 250–252.
  36. ^Shelton (2011), pp. 74–78.
  37. ^Heylin, 1996, Bob Dylan: A Life In Stolen Moments, p. 35.
  38. ^Shelton, Robert (July 29, 1961). 'Folk Music Heard on 12-Hour Show'. The New York Times. Retrieved April 3, 2017.
  39. ^Shelton, Robert (September 21, 1961). The New York Times, 'Bob Dylan: A Distinctive Stylist' reproduced online: Shelton, Robert (September 21, 1961). 'Bob Dylan: A Distinctive Stylist'. Bob Dylan Roots. Archived from the original on April 21, 2008. Retrieved September 11, 2008.
  40. ^Unterberger, Richie (October 8, 2003). 'Carolyn Hester biography'. AllMusic. Retrieved December 8, 2016.
  41. ^Shelton (2011), No Direction Home, p. 87
  42. ^Greene, Andy (March 19, 2012). '50 years ago today: Bob Dylan released his debut album'. CNN. Retrieved March 4, 2017.
  43. ^ abScaduto, p. 110.
  44. ^Gilliland 1969, show 31, track 3, 5:12.
  45. ^A photo of Dylan with Spivey at this session was on the cover of his 1970 album, New Morning. See Gray (2006), pp. 630–631.
  46. ^ abcUnterberger, Richie. 'Blind Boy Grunt'. AllMusic. Retrieved February 12, 2011.
  47. ^Shelton, pp. 157–158.
  48. ^Sounes, p. 121.
  49. ^Heylin (2011), p. 97.
  50. ^Sounes, p. 116.
  51. ^Sounes, pp. 94–95, 115. An interview with Silver on DVD, filmed for the documentary No Direction Home but not used, was included with the album Together Through Life.
  52. ^Gray (2006), pp. 283–284.
  53. ^Heylin (2000), pp. 115–116.
  54. ^Shelton (1986), p. 154.
  55. ^ abHeylin (1996), pp. 35–39.
  56. ^ abcdLlewellyn-Smith, Caspar (September 18, 2005). 'Flash-back'. The Observer. London. Retrieved June 17, 2012.
  57. ^Shelton, pp. 138–142.
  58. ^Shelton, p. 156.
  59. ^The booklet by John Bauldie accompanying Dylan's The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 (1991) says: 'Dylan acknowledged the debt in 1978 to journalist Marc Rowland: Blowin' In The Wind' has always been a spiritual. I took it off a song called 'No More Auction Block'—that's a spiritual and 'Blowin' In The Wind follows the same feeling.'' pp. 6–8.
  60. ^Eder, Bruce. 'Peter, Paul and Mary biography'. Billboard. Retrieved June 5, 2015.
  61. ^Heylin (2000), pp. 101–103.
  62. ^Ricks, pp. 329–344.
  63. ^'New &...'The Washington Post. December 23, 1980. Retrieved June 20, 2019.
  64. ^Maslin, Janet in Miller, Jim (ed.) (1981), The Rolling Stone History of Rock & Roll, 1981, p. 220
  65. ^Scaduto, p. 35.
  66. ^Mojo magazine, December 1993. p. 97
  67. ^Hedin, p. 259.
  68. ^Sounes, pp. 136–138.
  69. ^Joan Baez entry, Gray (2006), pp. 28–31.
  70. ^Prague36 (December 26, 2014). 'Joan Baez Discusses Bob Dylan / 2009' – via YouTube.
  71. ^Prague36 (December 26, 2014). 'Joan Baez Discusses Bob Dylan / 2009' – via YouTube.
  72. ^Meacham, Steve (August 15, 2007). 'It ain't me babe but I like how it sounds'. The Sydney Morning Herald. Retrieved September 24, 2008.
  73. ^Biograph, 1985, Liner notes & text by Cameron Crowe. Musicians on 'Mixed Up Confusion': George Barnes & Bruce Langhorne (guitars); Dick Wellstood (piano); Gene Ramey (bass); Herb Lovelle (drums)
  74. ^Dylan had recorded 'Talkin' John Birch Society Blues' for his Freewheelin album, but the song was replaced by later compositions, including 'Masters of War.' See Heylin (2000), pp. 114–115.
  75. ^Dylan performed 'Only a Pawn in Their Game' and 'When the Ship Comes In'; see Heylin (1996), p. 49.
  76. ^Gill, pp. 37–41.
  77. ^Ricks, pp. 221–233.
  78. ^Williams, p. 56.
  79. ^Shelton, pp. 200–205.
  80. ^Part of Dylan's speech went: 'There's no black and white, left and right to me any more; there's only up and down and down is very close to the ground. And I'm trying to go up without thinking of anything trivial such as politics.'; see, Shelton, pp. 200–205.
  81. ^Heylin (1996), p. 60.
  82. ^Shelton, p. 222.
  83. ^In an interview with Seth Goddard for Life (July 5, 2001) Ginsberg said Dylan's technique had been inspired by Jack Kerouac: '(Dylan) pulled Mexico City Blues from my hand and started reading it and I said, 'What do you know about that?' He said, 'Somebody handed it to me in '59 in St. Paul and it blew my mind.' So I said 'Why?' He said, 'It was the first poetry that spoke to me in my own language.' So those chains of flashing images you get in Dylan, like 'the motorcycle black Madonna two-wheeled gypsy queen and her silver studded phantom lover,' they're influenced by Kerouac's chains of flashing images and spontaneous writing, and that spreads out into the people.' Reproduced online: 'Online Interviews With Allen Ginsberg'. University of Illinois at Urbana Champaign. October 8, 2004. Retrieved September 11, 2008.
  84. ^Shelton, pp. 219–222.
  85. ^Shelton, pp. 267–271; pp. 288–291.
  86. ^Heylin (2000), pp. 178–181.
  87. ^Heylin (2000), pp. 181–182.
  88. ^Michael Hall (January 6, 2014). 'The Greatest Music Producer You've Never Heard of Is...'Texas Monthly. Retrieved May 17, 2019.
  89. ^Heylin (2009), pp. 220–222.
  90. ^Marqusee, p. 144.
  91. ^Gill, pp. 68–69.
  92. ^Lee, p. 18.
  93. ^ abSounes, pp. 168–169.
  94. ^Warwick, N.; Brown, T.; Kutner, J. (2004). The Complete Book of the British Charts (Third ed.). Omnibus Press. p. 6. ISBN978-1-84449-058-5.
  95. ^Whitburn, J. (2008). Top Pop Singles 1955–2006. Record Research Inc. p. 130. ISBN978-0-89820-172-7.
  96. ^Shelton, pp. 276–277.
  97. ^Heylin (2000), pp. 208–216.
  98. ^'Exclusive: Dylan at Newport—Who Booed?'. Mojo. October 25, 2007. Archived from the original on April 12, 2009. Retrieved September 7, 2008.
  99. ^'Al Kooper talks Dylan, Conan, Hendrix, and lifetime in the music business'. City Pages. Village Voice Media. April 28, 2010. p. 3. Archived from the original on April 29, 2010. Retrieved May 1, 2010.
  100. ^Jackson, Bruce (August 26, 2002). 'The myth of Newport '65: It wasn't Bob Dylan they were booing'. Buffalo Report. Archived from the original on February 23, 2008. Retrieved May 8, 2010.
  101. ^Shelton, pp. 305–314.
  102. ^A year earlier, Irwin Silber, editor of Sing Out!, had published an 'Open Letter to Bob Dylan', criticizing Dylan's stepping away from political songwriting: 'I saw at Newport how you had somehow lost contact with people. Some of the paraphernalia of fame were getting in your way.' Sing Out!, November 1964, quoted in Shelton, p. 313. This letter has been mistakenly described as a response to Dylan's 1965 Newport appearance.
  103. ^Sing Out!, September 1965, quoted in Shelton, p. 313.
  104. ^'You got a lotta nerve/To say you are my friend/When I was down/You just stood there grinning' Reproduced online:Dylan, Bob. 'Positively 4th Street'. bobdylan.com. Retrieved April 21, 2015.
  105. ^Sounes, p. 186.
  106. ^ abc'The Rolling Stone 500 Greatest Songs of All Time'. Rock List Music. Retrieved September 11, 2019.
  107. ^Springsteen's Speech during Dylan's induction into the Rock and Roll Hall of Fame, January 20, 1988 Quoted in Bauldie, p. 191.
  108. ^Gill, pp. 87–88.
  109. ^Polizzotti identifies Charlie McCoy on guitar and Russ Savakus on bass as the musicians, see Polizzotti, Highway 61 Revisited, p. 133
  110. ^Gill, p. 89.
  111. ^Heylin (1996), pp. 80–81
  112. ^Sounes, pp. 189–90.
  113. ^Heylin (1996), pp. 82–94
  114. ^Heylin (2000), pp. 238–243.
  115. ^'The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up.' Dylan Interview, Playboy, March 1978; reprinted in Cott, Dylan on Dylan: The Essential Interviews, p. 204.
  116. ^Gill, p. 95.
  117. ^ abSounes, p. 193.
  118. ^Shelton, p. 325.
  119. ^Heylin (2000), pp. 244–261.
  120. ^'Live 1966'. NME. UK. September 6, 1998. Retrieved May 2, 2010.
  121. ^Dylan's dialogue with the Manchester audience is recorded (with subtitles) in Martin Scorsese's documentary No Direction Home
  122. ^Heylin (2011), p. 251.
  123. ^Heylin (2011), p. 250.
  124. ^Rolling Stone, November 29, 1969. Reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, p. 140.
  125. ^Jones, Rebecca (May 23, 2011). 'Dylan tapes reveal heroin addiction'. BBC Radio 4. Retrieved May 26, 2011.
  126. ^Greene, Andy (May 23, 2011). 'Questions About Bob Dylan's Claim That He was Once a Heroin Addict'. Rolling Stone. Retrieved May 26, 2011.
  127. ^Brown, Mick (May 23, 2011). 'Bob Dylan: finally an admission about his heroin use, but is it the truth?'. The Daily Telegraph. London. Retrieved May 26, 2011.
  128. ^Sounes, p. 215.
  129. ^ abcSounes, pp. 217–219.
  130. ^ abScherman, Tony (July 29, 2006). 'The Bob Dylan Motorcycle-Crash Mystery'. American Heritage. Archived from the original on November 6, 2006. Retrieved June 18, 2014.
  131. ^Heylin (2000), p. 268.
  132. ^Dylan, p. 114.
  133. ^Heylin (1996), p. 143.
  134. ^Sounes, p. 216.
  135. ^Lee, pp. 39–63.
  136. ^Sounes, pp. 222–225.
  137. ^Marcus, pp. 236–265.
  138. ^Helm, Levon and Davis, This Wheel's on Fire, p. 164; p. 174.
  139. ^ abcd'Columbia Studio A, Nashville, Tennessee, John Wesley Harding sessions'. Bjorner's Still On the Road. Retrieved November 10, 2008.
  140. ^Heylin (2000), pp. 282–288.
  141. ^Heylin (2011), p. 289.
  142. ^Shelton, p. 463.
  143. ^Gill, p. 140.
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  • Shelton, Robert (1986). No Direction Home. New English Library. ISBN978-0-450-04843-2.
  • Shelton, Robert (2011). No Direction Home: The Life and Music of Bob Dylan, Revised and updated edition. Omnibus Press. ISBN978-1-84938-911-2.
  • Shepard, Sam (2004). Rolling Thunder Logbook (reissue ed.). Da Capo. ISBN978-0-306-81371-9.
  • Sounes, Howard (2001). Down The Highway: The Life Of Bob Dylan. Grove Press. ISBN978-0-8021-1686-4.
  • Williams, Richard (1992). Dylan: A Man Called Alias. Bloomsbury. ISBN978-0-7475-1084-0.
  • Williamson, Nigel (2004). The Rough Guide to Bob Dylan. Rough Guides. ISBN978-1-84353-139-5.

External links[edit]

Listen to this article (info/dl)


This audio file was created from a revision of the article 'Bob Dylan' dated November 6, 2008, and does not reflect subsequent edits to the article. (Audio help)
  • Official website
  • Quotations related to Bob Dylan at Wikiquote
  • Expecting Rain – Dylan news and events, updated daily
  • BobLinks – Comprehensive log of concerts and set lists
  • Bjorner's Still on the Road – Information on recording sessions and performances
  • Bob Dylan on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Bob_Dylan&oldid=919651804'
Bob Dylan discography
Studio albums38
Live albums13
Compilation albums19
Video albums11
Music videos40
EPs26
Singles91
Soundtrack albums7
Tribute albums29
Box sets13
Bootleg Series14

American singer-songwriter Bob Dylan has released 38 studio albums, 91 singles, 26 notable extended plays, 40 music videos, 13 live albums, 14 volumes comprising The Bootleg Series, 19 compilation albums, 13 box sets, 7 soundtracks as main contributor, 5 music home videos and 2 non-music home videos. Dylan has been the subject of 5 documentaries, starred in 3 theatrical films, appeared in an additional 8 films and 10 home videos, and is the subject of the biographical tribute film I'm Not There. He has written and published lyrics, artwork and memoirs in 11 books and 2 of his songs have been made into children's books. He has done numerous collaborations, appearances and tribute albums. The albums Planet Waves and Before the Flood were initially released on Asylum Records; reissues of those two and all others were on Columbia Records.

Dylan has won many awards for his songwriting and performances, including the 2016 Nobel Prize in Literature for his entire body of work.[1] For a list of these accolades, see List of Bob Dylan awards. Much of his music has been bootlegged; for an examination of this phenomenon, see Bob Dylan bootleg recordings.

  • 1Albums
  • 3Extended plays
  • 7Film

Albums[edit]

Studio albums[2][edit]

YearAlbum detailsPeak chart positionsCertifications
(sales thresholds)
USAUSUK
1962Bob Dylan
  • Release: March 19, 1962
  • Label/Catalog No.: Columbia CL-1779 (mono)/Columbia CS-8579 (stereo)
  • Format: vinyl (mono/stereo)
13UK: Silver[3]
1963The Freewheelin' Bob Dylan
  • Release: May 27, 1963
  • Label/Catalog No.: Columbia CL-1986 (mono)/Columbia CS-8786 (stereo)
  • Format: vinyl (mono/stereo)
221US: Platinum[4]
UK: Gold[3]
1964The Times They Are a-Changin'
  • Release: January 13, 1964
  • Label/Catalog No.: Columbia CL-2105 (mono)/Columbia CS-8905 (stereo)
  • Format: vinyl (mono/stereo)
204US: Gold[4]
UK: Gold[3]
Another Side of Bob Dylan
  • Release: August 8, 1964
  • Label/Catalog No.: Columbia CL-2193 (mono)/Columbia CS-8993 (stereo)
  • Format: vinyl (mono/stereo)
438US: Gold[4]
UK: Silver[3]
1965Bringing It All Back Home
  • Release: March 22, 1965
  • Label/Catalog No.: Columbia CL-2328 (mono)/Columbia CS-9128 (stereo)
  • Format: vinyl (mono/stereo)
61US: Platinum[4]
UK: Gold[3]
Highway 61 Revisited
  • Release: August 30, 1965
  • Label/Catalog No.: Columbia CL-2389 (mono)/Columbia CS-9189 (stereo)
  • Format: vinyl (mono/stereo)
34US: Platinum[4]
CAN: Gold[5]
UK: Gold[3]
1966Blonde on Blonde
  • Release: June 20, 1966[6][7]
  • Label/Catalog No.: Columbia C2L-41 (mono)/Columbia C2S-841 (stereo)
  • Label/Sub-Catalog Nos.: Record 1: Columbia CL-2516, Record 2: Columbia CL-2517 (mono)
    Record 1: Columbia CS-9316, Record 2: Columbia CS-9317 (stereo)
  • Format: double vinyl LP (mono/stereo)
943US: 2× Platinum[4]
UK: Platinum[3]
1967John Wesley Harding
  • Release: December 27, 1967
  • Label/Catalog No.: Columbia CL-2804 (mono)/Columbia CS-9604 (stereo)
  • Format: vinyl (mono/stereo)
211US: Platinum[4]
UK: Gold[3]
1969Nashville Skyline
  • Release: April 9, 1969
  • Label/Catalog No.: Columbia 9825
  • Format: vinyl
321US: Platinum[4]
CAN: Gold[5]
UK: Gold[3]
1970Self Portrait
  • Release: June 8, 1970
  • Label/Catalog No.: Columbia 30050
  • Format: double vinyl LP
431US: Gold[4]
New Morning
  • Release: October 19, 1970
  • Label/Catalog No.: Columbia 30290
  • Format: vinyl
741US: Gold[4]
1973Pat Garrett & Billy the Kid
  • Release: July 13, 1973
  • Label/Catalog No.: Columbia 32460
  • Format: vinyl/cassette
162829US: Gold[4]
1973Dylan
  • Release: November 16, 1973
  • Label/Catalog No.: Columbia 32747
  • Format: vinyl LP/cassette
17AUS: Gold[citation needed]

UK: Gold[8]

US: Gold[9]

1974Planet Waves
  • Release: January 17, 1974
  • Label/Catalog No.: Asylum 1003
  • Format: vinyl/cassette
  • Re-Release: 1982
  • Label/Catalog No.: Columbia PC/CK 37637
  • Format: PC-vinyl/CK-CD
1217US: Gold[4]
UK: Silver[3]
1975Blood on the Tracks
  • Release: January 17, 1975
  • Label/Catalog No.: Columbia 32235
  • Format: vinyl/cassette
144US: 2× Platinum[4]
CAN: Platinum[5]
UK: Platinum[3]
1975The Basement Tapes
  • Release: June 26, 1975
  • Label/Catalog No.: Columbia 33682
  • Format: double vinyl LP/cassette
78US: Gold[10]

UK: Gold[11]

1976Desire
  • Release: January 5, 1976
  • Label/Catalog No.: Columbia 33893
  • Format: vinyl/cassette
113US: 2× Platinum[4]
CAN: Platinum[5]
UK: Gold[3]
1978Street-Legal
  • Release: June 15, 1978
  • Label/Catalog No.: Columbia 35453
  • Format: vinyl/cassette
1152US: Gold[4]
CAN: Platinum[5]
UK: Platinum[3]
1979Slow Train Coming
  • Release: August 20, 1979
  • Label/Catalog No.: Columbia 36120
  • Format: vinyl/cassette
312US: Platinum[4]
CAN: 2× Platinum[5]
UK: Silver[3]
1980Saved
  • Release: June 20, 1980
  • Label/Catalog No.: Columbia 36553
  • Format: vinyl/cassette
24183UK: Silver[3]
1981Shot of Love
  • Release: August 12, 1981
  • Label/Catalog No.: Columbia 37496
  • Format: vinyl/cassette
33226UK: Silver[3]
1983Infidels
  • Release: October 27, 1983
  • Label/Catalog No.: Columbia 38819
  • Format: vinyl/cassette
2069US: Gold[4]
CAN: Gold[5]
UK: Silver
1985Empire Burlesque
  • Release: June 8, 1985
  • Label/Catalog No.: Columbia 40110
  • Format: vinyl/cassette/CD
33711CAN: Gold[5]
1986Knocked Out Loaded
  • Release: July 14, 1986
  • Label/Catalog No.: Columbia 40439
  • Format: vinyl/cassette/CD
542735
1988Down in the Groove
  • Release: May 31, 1988
  • Label/Catalog No.: Columbia 40957
  • Format: vinyl/cassette/CD
614132
1989Oh Mercy
  • Release: September 18, 1989
  • Label/Catalog No.: Columbia 45281
  • Format: vinyl/cassette/CD
30266US: Gold[4]
UK: Gold[3]
1990Under the Red Sky
  • Release: September 11, 1990
  • Label/Catalog No.: Columbia 46794
  • Format: CD/vinyl/cassette
383913UK: Silver[3]
1992Good as I Been to You
  • Release: October 27, 1992
  • Label/Catalog No.: Columbia 53200
  • Format: CD/vinyl/cassette
5118
1993World Gone Wrong
  • Release: October 26, 1993
  • Label/Catalog No.: Columbia 57590
  • Format: CD/vinyl/cassette
7035
1997Time Out of Mind
  • Release: September 30, 1997
  • Label/Catalog No.: Columbia 68556
  • Format: CD/cassette/double vinyl LP
102410US: Platinum[4]
AUS: Gold[12]
CAN: Gold[5]
UK: Gold[3]
2001'Love and Theft'
  • Release: September 11, 2001
  • Label/Catalog No.: Columbia 85975
  • Format: CD/cassette/double vinyl LP
563US: Gold[4]
UK: Gold[3]
2006Modern Times
  • Release: August 29, 2006
  • Label/Catalog No.: Columbia 87606
  • Format: CD/double vinyl LP
113US: Platinum[4]
AUS: Gold[13]
CAN: Platinum[5]
UK: Platinum[3]
2009Together Through Life
  • Release: April 28, 2009
  • Label/Catalog No.: Columbia 43893
  • Format: CD/vinyl
151UK: Gold[3]
Christmas in the Heart
  • Release: October 13, 2009
  • Label/Catalog No.: Columbia 57323
  • Format: CD/vinyl
2340UK: Silver[3]
2012Tempest
  • Release: September 11, 2012
  • Label/Catalog No.: Columbia
  • Format: CD/double vinyl LP
383UK: Silver[3]
2015Shadows in the Night
  • Release: February 3, 2015
  • Label/Catalog No.: Columbia
  • Format: CD/vinyl
781
2016Fallen Angels
  • Release: May 20, 2016
  • Label/Catalog No.: Columbia
  • Format: CD/vinyl
7
[14]
11
[15]
5
2017Triplicate
  • Release: March 31, 2017
  • Label/Catalog No.: Columbia
  • Format: triple CD/triple vinyl LP
3736
[16]
17
'—' denotes releases that did not chart.

Live albums[edit]

YearAlbum detailsPeak chart positionsCertifications
(sales thresholds)
USUK
1974Before the Flood
  • Released: June 20, 1974
  • Label: Asylum AB 201
  • Label: Columbia KG 37661 (1982 reissue)
  • Format: double vinyl LP/cassette
38US: Platinum[4]
UK: Silver[3]
1976Hard Rain
  • Released: September 13, 1976
  • Label: Columbia
  • Format: vinyl/cassette
173US: Gold[4]
UK: Gold[3]
1979Bob Dylan at Budokan
  • Released: April 23, 1979
  • Label: Columbia
  • Format: double vinyl LP/cassette
134US: Gold[4]
CAN: Gold[5]
UK: Gold[3]
1984Real Live
  • Released: November 29, 1984
  • Label: Columbia
  • Format: vinyl/cassette
11554
1989Dylan & the Dead
  • Released: February 6, 1989
  • Label: Columbia
  • Format: CD/vinyl/cassette
3738US: Gold[4]
1993The 30th Anniversary Concert Celebration
  • Released: August 24, 1993
  • Label: Columbia
  • Format: double CD/cassette
40US: Gold[4]
1995MTV Unplugged
  • Released: April 25, 1995
  • Label: Columbia
  • Format: CD/cassette
2310US: Gold[4]
UK: Gold[3]
2001Live 1961–2000: Thirty-Nine Years of Great Concert Performances(Japan)
  • Released: February 28, 2001 (Japan)
    March 2001 (UK Import)
  • Label: Columbia
  • Format: CD
140
2005Live at the Gaslight 1962
  • Released: August 30, 2005
  • Label: Columbia
  • Format: CD
Live at Carnegie Hall 1963
  • Released: November 15, 2005
  • Label: Columbia
  • Format: CD
2011In Concert – Brandeis University 1963
  • Released: April 11, 2011
  • Label: Columbia
  • Format: CD
12859
2016The Real Royal Albert Hall 1966 Concert
  • Released: December 2, 2016
  • Label: Sony Music
  • Format: double CD
11360
2018Live 1962–1966: Rare Performances from the Copyright Collections
  • Released: July 20, 2018
  • Label: Columbia/Sony Legacy
  • Format: double CD
49
'—' denotes releases that did not chart.

Compilation albums[edit]

YearAlbum detailsPeak chart positionsCertifications
(sales thresholds)
USUK
1967Bob Dylan's Greatest Hits
  • Release: March 27, 1967
  • Label: Columbia
  • Format: vinyl LP/cassette/CD
106US: 5× Platinum[4]
CAN: 2× Platinum[5]
1971Bob Dylan's Greatest Hits Vol. II
(a.k.a. More Bob Dylan Greatest Hits)
  • Release: November 17, 1971
  • Label: Columbia
  • Format: double vinyl LP/cassette/CD
1412US: 5× Platinum[4]
CAN: 2× Platinum[5]
1973Dylan
  • Release: November 16, 1973
  • Label/Catalog No.: Columbia 32747
  • Format: vinyl LP/cassette
17AUS: Gold[citation needed]
UK: Gold[3]
US: Gold[4]
1975The Basement Tapes
  • Release: June 26, 1975
  • Label/Catalog No.: Columbia 33682
  • Format: double vinyl LP/cassette
78US: Gold[4]
UK: Gold[3]
1978Masterpieces(Australia, New Zealand, Japan)
  • Release: March 12, 1978
  • Label: Columbia
  • Format: triple vinyl LP/cassette
1994Bob Dylan's Greatest Hits Volume 3
  • Release: November 15, 1994
  • Label: Columbia
  • Format: CD/cassette
126150US: Gold[4]
1997The Best of Bob Dylan(UK, Canada, Australia, New Zealand)
  • Release: June 2, 1997
  • Label: Columbia
  • Format: CD/cassette
6UK: Gold[3]
2000The Best of Bob Dylan, Vol. 2(UK, Canada, Australia, New Zealand)
  • Release: November 28, 2000
  • Label: Columbia
  • Format: CD/double vinyl LP
22
The Essential Bob Dylan
  • Release: October 31, 2000
  • Label: Columbia
  • Format: double CD
679US: Platinum[4]
UK: Platinum[3]

AUS: 2× Platinum[17]

2005The Best of Bob Dylan(US)
  • Release: November 15, 2005
  • Label: Columbia
  • Format: CD
53
2006Blues
  • Release: June 27, 2006
  • Label: Columbia
  • Format: Digital download
2007Dylan(single-disc version)
  • Release: October 2, 2007
  • Label: Columbia
  • Format: CD
3610US: Gold[4]
Dylan(deluxe version)
  • Release: October 2, 2007
  • Label: Columbia
  • Format: triple CD
93
2009The Collection
  • Release: July 27, 2009
  • Label: Sony Music CMG
  • Format: CD
UK: Gold[3]
2010The Best of The Original Mono Recordings(single-disc set)
  • Release: October 19, 2010
  • Label: Columbia
  • Format: CD
97107
2011All Time Best: Dylan
  • Release: March 29, 2011
  • Label: Sony UK
  • Format: CD
Pure Dylan
  • Release: October 21, 2011
  • Label: Columbia
  • Format: CD
Beyond Here Lies Nothin' – The Collection(two-disc set)
  • Release: October 24, 2011
  • Label: Legacy / Sony CMG/Legacy
  • Format: CD
156
2012The Real Bob Dylan(3-CD set)
  • Release: October 21, 2012
  • Label: Sony Music CMG
  • Format: CD
UK: Silver[3]
'—' denotes releases that did not chart.

Box sets[edit]

YearAlbum detailsPeak chart positionsCertifications
(sales thresholds)
USUK[18]
1985Biograph(5-LP vinyl set)
  • Release: November 7, 1985
  • Label: Columbia
  • Format: triple CD/vinyl/cassette
33US: Platinum[4]
UK: Silver[3]
2006Bob Dylan: The Collection(iTunes download only)
  • Release: August 29, 2006
  • Label: Columbia
  • Format: Digital download
2010The Original Mono Recordings(8 CD/vinyl set)
  • Release: October 19, 2010
  • Label: Columbia
  • Format: CD/vinyl
152157
2012The 50th Anniversary Collection(4-CD set; Europe only)
(a.k.a. The Copyright Extension Collection Vol. I)
  • Release: December 27, 2012
  • Label: Legacy
  • Format: CD
2013The Bootleg Series Vol. 10: Another Self Portrait (1969–1971)(limited deluxe version)
  • Released: August 23, 2013
  • Label: Columbia/Legacy
  • Format: 4×CD Deluxe Edition/Digital Deluxe Version
The Complete Album Collection Vol. 1(47-CD set)
(including Side Tracks)
  • Release: November 5, 2013
  • Label: Columbia
  • Format: CD/USB drive
The 50th Anniversary Collection 1963(6-LP set; Europe only)
  • Release: November 2013
  • Label: Sony Music
  • Format: Vinyl
2014The Bootleg Series Vol. 11: The Basement Tapes Complete(six-disc version)
  • Released: November 4, 2014
  • Label: Columbia/Legacy
  • Format: 6×CD Deluxe Edition/Digital Deluxe Version
4217
The 50th Anniversary Collection 1964(9-LP set; Europe only)
  • Release: December 2014
  • Label: Sony Music
  • Format: Vinyl
2015The Bootleg Series Vol. 12: The Cutting Edge 1965–1966(deluxe version)
  • Released: November 6, 2015
  • Label: Columbia/Legacy
  • Format: 6×CD Deluxe Edition/Digital Deluxe Version
The Bootleg Series Vol. 12: The Cutting Edge 1965–1966(collector's version)
  • Released: November 6, 2015
  • Label: Columbia/Legacy
  • Format: 18×CD Collector's Edition
2016The 1966 Live Recordings
  • Released: November 11, 2016
  • Label: Sony Music
  • Format: 36×CD
4 (Americana/Folk)
2017The Bootleg Series Vol. 13: Trouble No More 1979–1981(deluxe version)
  • Released: November 3, 2017
  • Label: Columbia/Legacy
  • Format: 8×CD Deluxe Edition/Digital Deluxe Version
4921
2019Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings
  • Released: June 7, 2019
  • Label: Columbia/Legacy
  • Format: 14×CD/Digital
100
[19]
20
'—' denotes releases that did not chart.

The Bootleg Series[edit]

YearAlbum detailsPeak chart positionsCertifications
(sales thresholds)
US[20]UK[18]
1991The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991
  • Released: March 26, 1991
  • Label: Columbia
  • Format: 3×CD/3×Cassette/5×Vinyl/Digital/3×CD Remastered (1997)
4932US: Gold[4]
UK: Silver[3]
1998The Bootleg Series Vol. 4: Bob Dylan Live 1966, The 'Royal Albert Hall' Concert
  • Released: October 13, 1998
  • Label: Columbia/Legacy
  • Format: 2×CD/2×Vinyl/Digital
3119US: Gold[4]
UK: Silver[3]
2002The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue
  • Released: November 26, 2002
  • Label: Columbia/Legacy
  • Format: 2×CD/2×CD+DVD/3×Vinyl+7'/Digital
5669US: Gold[4]
2004The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall
  • Released: March 30, 2004
  • Label: Columbia/Legacy
  • Format: 2×CD/2×SACD/3×Vinyl/Digital
2833
2005The Bootleg Series Vol. 7: No Direction Home: The Soundtrack
  • Released: August 30, 2005
  • Label: Columbia/Legacy
  • Format: 2×CD/4×Vinyl/Digital
1621US: Gold[4]
UK: Silver[3]
2008The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006(two-disc version)
  • Released: October 6, 2008
  • Label: Columbia/Legacy
  • Format: 2×CD/4×Vinyl/Digital
69UK: Silver[3]
The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006(deluxe version)
  • Released: October 7, 2008
  • Label: Columbia/Legacy
  • Format: 3×CD+7' Deluxe Edition
2010The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964
  • Released: October 19, 2010
  • Label: Columbia/Legacy
  • Format: 2×CD/4×Vinyl/Digital
1218
2013The Bootleg Series Vol. 10: Another Self Portrait (1969–1971)(two-disc version)
  • Released: August 27, 2013
  • Label: Columbia/Legacy
  • Format: 2×CD/3×Vinyl+2×CD/Digital
215
2014The Bootleg Series Vol. 11: The Basement Tapes Raw(two-disc/three-LP version)
  • Released: November 4, 2014
  • Label: Columbia/Legacy
  • Format: 2×CD/3×Vinyl+2×CD/Digital
4117
2015The Bootleg Series Vol. 12: The Best of the Cutting Edge 1965–1966(two-disc version)
  • Released: November 6, 2015
  • Label: Columbia/Legacy
  • Format: 2×CD/3×Vinyl+2×CD/Digital/Digital Sampler
3312
2017The Bootleg Series Vol. 13: Trouble No More 1979–1981(two-disc version)
  • Released: November 3, 2017
  • Label: Columbia/Legacy
  • Format: 2×CD/4×Vinyl+2×CD/Digital/Digital Sampler
4921
2018The Bootleg Series Vol. 14: More Blood, More Tracks
  • Released: November 2, 2018[21]
  • Label: Columbia/Legacy
  • Format: CD/6×CD Deluxe Edition/2×vinyl
259
2019The Bootleg Series Vol. 15: Travelin' Thru, 1967–1969
  • Released: November 1, 2019
  • Label: Sony Legacy
  • Format: 3×CD/3×Vinyl/Digital
'—' denotes releases that did not chart.

Singles[edit]

YearTitle (A-side, B-side)
Both sides from same album except where indicated
Peak chart positions
[22][23][24][25][26]
Album
USUS
Main
US CashUKNLIREAUS
1962'Mixed-Up Confusion'
b/w 'Corrina Corrina' (different take than the one from The Freewheelin' Bob Dylan)
Non-album tracks / Side Tracks
1963'Blowin' in the Wind'
b/w 'Don't Think Twice, It's Alright'
The Freewheelin' Bob Dylan
1965'The Times They Are a-Changin'
b/w 'Honey, Just Allow Me One More Chance' (from The Freewheelin' Bob Dylan)
926The Times They Are A-Changin'
'Maggie's Farm'
b/w 'On the Road Again'
22Bringing It All Back Home
'Subterranean Homesick Blues'
b/w 'She Belongs to Me'
3952926
'Like a Rolling Stone'
b/w 'Gates of Eden' (from Bringing It All Back Home)
214797Highway 61 Revisited
'Positively 4th Street'
b/w 'From a Buick 6' (from Highway 61 Revisited)
7981335Bob Dylan's Greatest Hits
'Can You Please Crawl Out Your Window?'
b/w 'Highway 61 Revisited' (from Highway 61 Revisited)
58581798Non-album track / Biograph / Side Tracks
1966'One of Us Must Know (Sooner or Later)'
b/w 'Queen Jane Approximately' (from Highway 61 Revisited)
11933Blonde On Blonde
'Rainy Day Women ♯12 & 35'
b/w 'Pledging My Time'
227917
'I Want You'
b/w 'Just Like Tom Thumb's Blues' (recorded live in Liverpool, England, May 14, 1966)
2025161972
'Just Like a Woman'
b/w 'Obviously 5 Believers'
3328308
1967'Leopard-Skin Pill-Box Hat'
b/w 'Most Likely You Go Your Way and I'll Go Mine'
81
'If You Gotta Go, Go Now'
b/w 'To Ramona' (from Another Side of Bob Dylan)
Non-album single released in Benelux countries only / The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991
1968'All Along the Watchtower'
b/w 'I'll Be Your Baby Tonight'
John Wesley Harding
1969'I Threw It All Away'
b/w 'Drifter's Escape' (from John Wesley Harding)
8560301764Nashville Skyline
'Lay Lady Lay'
b/w 'Peggy Day'
7851320
'Tonight I'll Be Staying Here with You'
b/w 'Country Pie'
504553
1970'Wigwam'
b/w 'Copper Kettle (The Pale Moonlight)'
4128324Self Portrait
1971'If Not for You'
b/w 'Tomorrow Is a Long Time' (from Bob Dylan's Greatest Hits Volume II)
30New Morning
'Watching the River Flow'
b/w 'Spanish is the Loving Tongue' (different take than the one from Dylan)
4131241863Bob Dylan's Greatest Hits Vol. II
'George Jackson' (big band version)
b/w 'George Jackson' (acoustic version)
333011Non-album tracks / Side Tracks
1973'Knockin' on Heaven's Door'
b/w 'Turkey Chase'
12101451910Pat Garrett & Billy the Kid
'A Fool Such as I'
b/w 'Lily of the West'
554751Dylan
1974'On a Night Like This' (with The Band)
b/w 'You Angel You' (with The Band)
44304366Planet Waves
'Something There Is About You' (with The Band)
b/w 'Tough Mama' (with The Band)
10776
'Most Likely You Go Your Way (And I'll Go Mine)' (with The Band)
b/w 'Stage Fright' (by The Band)
6647Before the Flood
'It Ain't Me Babe' (with The Band)
b/w'All Along the Watchtower' (with The Band)
1975'Tangled Up in Blue'
b/w 'If You See Her, Say Hello'
3143Blood on the Tracks
'Million Dollar Bash' (with The Band)
b/w Tears of Rage (with The Band)
The Basement Tapes
'Hurricane'
b/w 'Hurricane Part II'
3327437Desire
1976'Mozambique'
b/w 'Oh, Sister'
5449
'Stuck Inside of Mobile with the Memphis Blues Again (Live)'
b/w 'Rita May' (non-album track)
110Hard Rain / (b/w non-album track / Masterpieces)
1978'Is Your Love in Vain?'
b/w 'We Better Talk This Over'
5620Street Legal
'Baby, Stop Crying'
b/w 'New Pony'
13570
'Changing of the Guards'
b/w 'Señor (Tales of Yankee Power)'
1979'Love Minus Zero/No Limit'
b/w 'Is Your Love in Vain'
98Bob Dylan at Budokan
'Gotta Serve Somebody'
b/w 'Trouble in Mind' (non-album track)
243796Slow Train Coming
'Precious Angel'
b/w 'Trouble in Mind' (non-album track)
1980'Man Gave Names to All the Animals'
b/w 'When You Gonna Wake Up'
'Slow Train'
b/w 'Do Right to Me Baby (Do Unto Others)'
'Solid Rock'
b/w 'Covenant Woman'
Saved
'Saved'
b/w 'Are You Ready'
1981'Shot of Love'
b/w 'Heart of Mine' (see below)
38Shot of Love
'Heart of Mine'
b/w 'The Groom's Still Waiting at the Altar'
1983'Union Sundown'
b/w 'Angel Flying Too Close to the Ground' (non-album track)
90Infidels
1984'Sweetheart Like You'
b/w 'Union Sundown'
556074
'Jokerman'
b/w 'Isis'
1985'Tight Connection to My Heart (Has Anybody Seen My Love)'
b/w 'We Better Talk This Over' (from Street Legal)
1031965Empire Burlesque
'Emotionally Yours'
b/w 'When the Night Comes Falling from the Sky'
1986'Band of the Hand' (with The Heartbreakers)
b/w 'Theme from Joe's Death' (by Michel Rubini)
2896Band of the Hand (Soundtrack)
'Got My Mind Made Up'
b/w 'Brownsville Girl'
23Knocked Out Loaded
1987'The Usual'
b/w 'Got My Mind Made Up' (from Knocked Out Loaded)
25Hearts of Fire (soundtrack)
1988'Silvio'
b/w 'Driftin' Too Far from Shore' (from Knocked Out Loaded)
5Down in the Groove
1989'Slow Train' (with The Grateful Dead)
CD single
8Dylan & The Dead
'Everything Is Broken'
CD single
898Oh Mercy
1990'Most of the Time'
CD single
'Unbelievable'
CD single
2193Under the Red Sky
1991'Series of Dreams'
CD single
The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991
1992'Step It Up and Go'
CD single
Good as I Been to You
1993'My Back Pages'
CD single also includes 'Knockin' on Heaven's Door' and
'My Back Pages' (original version from Another Side of Bob Dylan)
26The 30th Anniversary Concert Celebration
1994'Dignity'
CD single
33Bob Dylan's Greatest Hits Volume 3
1995'Dignity (Live)'
CD single also includes:
Edited Unplugged version of title track
'John Brown',
'It Ain't Me Babe' (from 'Renaldo & Clara' soundtrack)
33MTV Unplugged
1998'Not Dark Yet'
CD single p/w 'Tombstone Blues' (Live, non-album track)
Time out of Mind
'Love Sick'
CD single p/w 'Love Sick' (Live from the Grammy Awards, non-album track)
64
2000'Things Have Changed'
b/w 'Blind Willie McTell' (Live version, non-album track)
58Wonder Boys
2001'Tweedle Dee & Tweedle Dum'
b/w 'Bye and Bye' (Special Limited Edition 7')
Love and Theft
2006'Someday Baby'
CD single
120[27]Modern Times
2007'Most Likely You Go Your Way (And I'll Go Mine)' (Mark Ronson Re-Version)
b/w Original Version (from Blonde on Blonde)
51Non-album track
2008'Dreamin' of You'
b/w 'Down Along the Cove' (from Bonnaroo 2004, various artists)
The Bootleg Series Volume 8: Tell Tale Signs
2009'Blowin' in the Wind' (download-only)93Dylan
'Discover Bob Dylan EP'
('The Times They Are A-Changin' / 'Mr. Tambourine Man' / 'Tangled Up in Blue' / 'Ring Them Bells' / 'Thunder on the Mountain') (download-only)
172
'Beyond Here Lies Nothin'
b/w 'Down Along the Cove' (from Bonnaroo 2004, various artists)
Together Through Life
'I Feel a Change Comin' On'
CD single with edited and album versions
'Must Be Santa'
b/w 'Twas the Night Before Christmas' (originally broadcast on 12/20/2006 on
'Theme Time Radio Hour, hosted by Dylan)
41Christmas in the Heart
2010'Make You Feel My Love' (download-only)152Dylan
2012'Early Roman Kings' (download-only)Tempest
'Duquesne Whistle'
b/w 'Meet Me in the Morning' (alternate take, non-album track)
2013'Wigwam' (unreleased demo)
b/w 'Thirsty Boots' (unreleased demo)
Record Store Day exclusive / The Bootleg Series Vol. 10: Another Self Portrait
'Motherless Children (Live at The Gaslight Café, NYC, 1962)' (download-only)Non-album track (celebrating the remastering and reissuing of Dylan’s catalog)
2014'Odds and Ends' (alternate version)The Bootleg Series Vol. 11: The Basement Tapes Raw
'Full Moon and Empty Arms'Shadows in the Night
2015'Stay with Me' (download-only)
'The Night We Called It a Day'
b/w 'Stay with Me' (Record Store Day exclusive: Limited Edition, Blue Vinyl)
2016'All the Way'Fallen Angels, download-only
'Melancholy Mood'
2017'I Could Have Told You'Triplicate, download-only
'My One and Only Love'
'Stardust'
'Things We Said Today'The Art of McCartney, download-only
'When You Gonna Wake Up (Oslo, Norway – July 9, 1981)'The Bootleg Series Vol. 13: Trouble No More 1979–1981, download-only
2018'Masters of War' (The Avener Rework)Non-album track, download-only

Extended plays[edit]

These are notable EP releases, mostly containing exclusive non-album tracks. See discogs.com for more foreign EPs that mostly contain just album version tracks or are just domestic promotional album samplers.

YearEP# of TracksCountryFormat
1997Live '964USPromo CD
1998Love Sick (live)EUMaxi CD
1999Million Miles (Live Recordings 1997–1999)USPromo CD
2001Things Have Changed Live and UnreleasedUSPromo CD

Compilation EPs[edit]

YearEP# of TracksCountryFormat
19784 Songs From 'Renaldo and Clara'4USPromo 12'
1982Electric Lunch6
2004Chronicles Volume One6USLtd. Ed. Promo CD
2005Exclusive Outtakes from No Direction Home3Download Bonus
2007Dylan Live4EUPromo CD
2008Discover Bob Dylan6US
2016Melancholy Mood4Record Store Day exclusive Limited Edition red translucent 7'

Music videos[edit]

YearVideoDirectorOther CreditsAlbum
1965Positively 4th StreetUnknownUnreleased Promo Spot, Special Feature on No Direction Home DVDSingle / Bob Dylan's Greatest Hits
Maggie's Farm (The Speek) (Live)Murray LernerAt the Newport Folk Festival, 2009 iTunes releaseThe Other Side of the Mirror (film)
1967Subterranean Homesick BluesD. A. PennebakerFrom Dont Look Back, featuring Allen Ginsberg and Bob NeuwirthBringing It All Back Home
Subterranean Homesick Blues (Alternate Take)From 65 Revisited (2007), featuring Tom Wilson and Bob Neuwirth, 2000 DVD bonus
1978Tangled Up in Blue (Live 1975)Bob DylanFrom Renaldo and Clara and 2002 Bonus DVDThe Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue
Isis (Live 1975)Biograph
1983Sweetheart Like YouMark RobinsonFeaturing Steve Ripley and Carla OlsonInfidels
1984JokermanLarry Sloman / George LoisFeatures lyrics
1985Tight Connection to My Heart (Has Anybody Seen My Love)Paul SchraderTakes place in JapanEmpire Burlesque
Emotionally YoursDavid A. StewartFeaturing Mike Campbell
When the Night Comes Falling from the SkyEddie Arno / Markus InnocentiFeaturing David A. Stewart
1986Band of the Hand (It’s Hell Time Man!)Paul Michael GlaserProduced by Michael Mann and featuring Tom Petty and the Heartbreakers, Stevie Nicks on backing vocalsBand of the Hand Soundtrack
1989Political WorldJohn MellencampFeaturing Mason RuffnerOh Mercy
1990Most of the TimeJesse DylanLive version recorded at the Record Plant, Hollywood, CA on March 16, 1990 featuring Malcolm Burn, Willie Green and Tony Hall
UnbelievableParis BarclayStarring Molly RingwaldUnder the Red Sky
1991Series of DreamsMeiert AvisArchive FootageThe Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 (Oh Mercy outtake)
1993Blood in My EyesDavid A. StewartBlack and WhiteWorld Gone Wrong
My Back Pages (Live)Gavin TaylorFeaturing Roger McGuinn, Tom Petty, Neil Young, Eric Clapton and George HarrisonThe 30th Anniversary Concert Celebration
1995Knockin' on Heaven's Door (Live)Milton LageFeaturing Bucky Baxter, Tony Garnier, John Jackson, Brendan O'Brien and Winston WatsonMTV Unplugged
Dignity (Live)
1997Not Dark YetMichael BorofskyFeaturing Bucky Baxter, Brian Blade, Robert Britt, Cindy Cashdollar, Jim Dickinson, Tony Garnier and Jim KeltnerTime Out of Mind
1998Love Sick (Live)Walter C. MillerAt the 40th Annual Grammy AwardsLove Sick Single
2000Things Have ChangedCurtis HansonFeaturing Michael Douglas, Robert Downey Jr., Tobey Maguire and Katie HolmesWonder Boys (Music from the Motion Picture)
2003'Cross the Green MountainTom KruegerFeaturing Robert Duvall, Jeff Daniels and Stephen Lang from Gods and Generals (film)Gods and Generals (Original Motion Picture Soundtrack)
Cold Irons Bound (Live)Larry CharlesFeaturing Charlie Sexton, Larry Campbell, Tony Garnier and George ReceliMasked and Anonymous (Music from the Motion Picture)
2006When the Deal Goes DownBennett MillerStarring Scarlett JohanssonModern Times
Thunder on the MountainArchive Footage
2007Most Likely You Go Your Way (And I'll Go Mine) (Mark Ronson Re-Version)Rupert JonesFeaturing Wyclef JeanSingle (original from Blonde On Blonde)
2008Dreamin' of YouStarring Harry Dean StantonThe Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006 (Time Out of Mind outtake)
Mississippi (Alternate Version)Archive Footage
2009Beyond Here Lies Nothin'Nash EdgertonStarring Joel Stoffer and Amanda AardsmaTogether Through Life
Must Be SantaFeaturing Tony Garnier, George Receli, Donnie Herron, David Hidalgo, Phil Upchurch and Patrick WarrenChristmas in the Heart
Little Drummer BoyJeff ScherAnimated rotoscoping over classic cinema scenes
2010Guess I'm Doing FineJennifer LebeauProduced by Jennifer LeBeauThe Bootleg Series Vol. 9: The Witmark Demos: 1962–1964
2012Duquesne WhistleNash EdgertonFeaturing Daniel Campos (Cloud (dancer)) and Joel EdgertonTempest
2013Pretty SaroJennifer LebeauImages from the Farm Security Administration stored at the Library of CongressThe Bootleg Series Vol. 10: Another Self Portrait (1969–1971)
Like a Rolling StoneVania Heymann16 interactive channels featuring Marc Maron, Drew Carey and The HawksHighway 61 Revisited / Bob Dylan: The Complete Album Collection Vol. One
2015The Night We Called It a DayNash EdgertonFeaturing Robert Davi and Tracy PhillipsShadows in the Night
Visions of Johanna (Take 5, Rehearsal)John HillcoatProduced by Jonathan Pavesi and Cinematography by Dimitri KarakatsanisThe Bootleg Series Vol. 12: The Cutting Edge 1965–1966
Just Like Tom Thumb's Blues (Take 3, Rehearsal)Pennebaker / DylanProduced/edited by Damian Rodriguez from Dont Look Back / Eat the Document outtakes

Bob Dylan Discography Wikipedia

[30][31][32][33][34]

Collaborations and other appearances[edit]

YearAlbum/SingleCollaboratorComment
1962The Midnight SpecialHarry BelafonteHarmonica on 'Midnight Special'
Carolyn HesterCarolyn HesterHarmonica on 'I'll Fly Away,' 'Swing and Turn Jubilee' and 'Come Back, Baby'
Three Kings and a Queen – Victoria SpiveyBig Joe Williams'Sitting on Top of the World,' and 'Wichita'
Kings and The Queen – Volume 2 Victoria SpiveyBig Joe Williams, Victoria Spivey'It's Dangerous'
Broadside Ballads Vol.1Various artistsCredited as 'Blind Boy Grunt'; appeared on 'John Brown,' 'I Will Not Go Down Under the Ground (Let Me Die in My Footsteps) with Happy Traum,' 'Only A Hobo' and 'Talking Devil'
Broadside Ballads Vol.6: Broadside ReunionCredited as 'Blind Boy Grunt'; appeared on 'Train A-Travelin',' 'Dreadful Day,' 'The Ballad of Emmett Till' and 'The Ballad of Donald White'
1964The Blues ProjectCredited as 'Bob Landy'; played treble piano on 'Downtown Blues'[35]
1971The Concert for BangladeshGeorge Harrison & FriendsVocals and Guitar on 5 Songs
Earl Scruggs Performing With His Family And FriendsEarl ScruggsGuitar on 'Nashville Skyline Rag' single (1970), Album (1971) and Documentary also with 'East Virginia Blues' (1972)
1972Rock of AgesThe BandVocals on Bonus Material on 2001 Re-release
A Tribute to Woody GuthrieVarious ArtistsVocals on 3 Songs
David BrombergDavid BrombergHarmonica on 'Sammy's Song'
Somebody Else's TroublesSteve GoodmanPiano & Harmony Vocals as Robert Milkwood Thomas on 'Somebody Else's Troubles'
1973Roger McGuinnRoger McGuinnHarmonica on 'I'm So Restless'
Doug Sahm and BandDoug SahmGuitar and Vocals on '(Is Anybody Going To) San Antone,' 'Wallflower,' 'Blues Stay Away From Me' and Harp on 'Me And Paul'
1976Songs for the New DepressionBette MidlerDuet with Midler on 'Buckets of Rain'
No Reason to CryEric ClaptonDuet with Clapton on 'Sign Language', which he also wrote
1977Death of a Ladies' ManLeonard CohenBacking Vocals on 'Don't Go Home With Your Hard-On'
1978The Last WaltzThe BandVocals and Rhythm Guitar on 5 songs
1982First BluesAllen GinsbergGuitar and Vocals on 'Going To San Diego', 'Vomit Express' and 'Jimmy Berman Rag'
1985'Sweet, Sweet Baby (I'm Falling)' UK SingleLone JusticeWriter and Harmonica on 'Go Away Little Boy'
We Are the WorldUSA for AfricaVocals
Sun CityArtists United Against ApartheidVocals
1986Kingdom BlowKurtis BlowVocals on 'Street Rock'
Band of the Hand (Original Motion Picture Soundtrack)Various ArtistsWriter & Performer 'Band of the Hand' with 'The Heartbreakers', produced by Tom Petty
1987Hearts of Fire SoundtrackVarious ArtistsWriter and Vocals on 3 Songs
1988Folkways: A Vision Shared – A Tribute to Woody Guthrie & LeadbellyVarious ArtistsVocals on 'Pretty Boy Floyd'
Rattle and HumU2Vocals and Co-writer on 'Love Rescue Me'
Traveling Wilburys Vol. 1Traveling WilburysWriter, Vocals and Rhythm Guitar on Various Songs
1990Traveling Wilburys Vol. 3
1991Disney: For Our ChildrenVarious ArtistsVocals on 'This Old Man'
1993Across the BorderlineWillie NelsonDuet with Nelson on 'Heartland', which he also Co-wrote with Nelson
Other Voices, Other RoomsNanci Griffithharmonica on 'Boots of Spanish Leather'
1994Street AngelStevie NicksGuitar and Harmonica on 'Just Like a Woman'
1995Till the Night Is Gone: A Tribute to Doc PomusVarious ArtistsVocals on 'Boogie Woogie Country Girl'
1996Hindsight 20/20Carlene CarterVocals on 'Trust Yourself'
1997The Songs of Jimmie Rodgers: A TributeVarious ArtistsVocals on 'My Blue Eyed Jane'
1998Clinch Mountain CountryRalph Stanley & FriendsDuet with Ralph Stanley on 'The Lonesome River'
2001The Sopranos: Peppers & Eggs (Music From the HBO Original Series)Various ArtistsVocals on 'Return to Me'
Timeless: Tribute to Hank WilliamsVocals on 'I Can't Get You Off of My Mind'
Good Rockin' Tonight: The Legacy of Sun RecordsVocals on 'Red Cadillac and a Black Moustache'
Not for BeginnersRon WoodGuitar on 'Interfere' and 'King of Kings'
2002Kindred Spirits: A Tribute to the Songs of Johnny CashVarious ArtistsVocals on 'Train of Love'
Postcards of the HangingGrateful DeadVocals on 'Man of Peace'
2003Gotta Serve Somebody: The Gospel Songs of Bob DylanVarious ArtistsDuet with Mavis Staples on 'Gonna Change My Way of Thinking'
2004Enjoy Every Sandwich: The Songs of Warren ZevonVarious ArtistsVocals on 'Mutineer'
2007The Traveling Wilburys CollectionTraveling WilburysWriter, Vocals and Rhythm Guitar on 2 Previously Unreleased Songs and a New Documentary (See Performer Films Below)
2011The Lost Notebooks of Hank WilliamsVarious ArtistsVocals on 'The Love that Faded'
2014Lost on the River: The New Basement TapesLyricist on 20 Songs from The Basement Tape Sessions of 1967 that were never recorded
The Art of McCartneyVocals on 'Things We Said Today'
2015Dylan, Cash, and The Nashville Cats: A New Music CityFour songs, including a previously-unreleased version of 'If Not for You'
2018Universal Love – Wedding Songs ReimaginedRerecording of 'She's Funny That Way' on the 'Universal Love' EP, funded by MGM Resorts International[36]
Bear and a BanjoJared GutstadtLyrics for 'Gone But Not Forgotten'[37]

Tribute albums[edit]

  • The 4 Seasons: The 4 Seasons Sing Big Hits By Burt Bacharach... Hal David... Bob Dylan (1965)
  • Odetta: Odetta Sings Dylan (1965)
  • Joan Baez: Any Day Now (1968)
  • The Hollies: Hollies Sing Dylan (1969)
  • Brothers and Sisters – 'Dylan's Gospel' (1969)
  • The Byrds: The Byrds Play Dylan (1979/2002)
  • Judy Collins: Judy Sings Dylan – Just Like a Woman (1993)
  • Various artists: The 30th Anniversary Concert Celebration (Live) (1993)
  • Wolfgang Niedecken: Leopardefell (Dylan songs with German lyrics, 1995)
  • Various artists: May Your Song Always Be Sung: The Songs of Bob Dylan (1997)
  • Steve Howe: Portraits of Bob Dylan (1999)
  • Various artists: A Nod to Bob: An Artists' Tribute to Bob Dylan on His 60th Birthday (2001)
  • Various artists: May Your Song Always Be Sung Again: The Songs of Bob Dylan Vol. 2 (2001)
  • Robyn Hitchcock: Robyn Sings (2002)
  • Various artists: May Your Song Always Be Sung: The Songs of Bob Dylan Vol. 3 (2003)
  • Various artists: Gotta Serve Somebody: The Gospel Songs of Bob Dylan (2003)
  • Various artists: A Reggae Tribute To Bob Dylan: Is It Rolling Bob? (2004)[38]
  • Various artists: Dylan Country (2004)
  • Martyna Jakubowicz & Voo Voo: Tylko Dylan (2005) (in Polish)
  • Les Fradkin: If Your Memory Serves You Well (2006)
  • Various artists: Timeless Flyte-The Byrds Dylan Connection (2007)
  • Bryan Ferry: Dylanesque (2007)
  • Ben SidranDylan Different (2009)
  • Various artists: Subterranean Home Sick Blues: A Tribute to Bob Dylan's Bringing It All Back Home (2010)
  • Various artists: Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International (2012)
  • The Charlie Daniels Band: Off the Grid: Doin' It Dylan (2014)
  • Various artists: Girl from the North Country (Original London Cast Recording, 2017)
  • Willie Nile: Positively Bob: Willie Niles sings Bob Dylan (2017)
  • Joan Osborne: Songs of Bob Dylan (2017)

Film[edit]

Documentaries[edit]

  • Dont Look Back (1967)
  • Eat the Document (1972)
  • No Direction Home (2005)
  • 65 Revisited (2007)
  • Trouble No More: A Musical Film (2017)
  • Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019)

Actor[edit]

  • BBC Sunday-Night Play: The Madhouse on Castle Street (1963) (partial audio only, film lost)
  • Pat Garrett & Billy the Kid (1973)
  • Renaldo and Clara (1978)
  • Hearts of Fire (1987)
  • Backtrack a.k.a. Catchfire (1990)
  • Paradise Cove (1999)
  • Masked and Anonymous (2003)

Home videos[edit]

  • Hard to Handle: Bob Dylan with Tom Petty and the Heartbreakers Laserdisc/VHS (1986)
  • Bob Dylan: The 30th Anniversary Concert Celebration Laserdisc/VHS/DVD/Blu-ray (1993) #40 U.S.
  • MTV Unplugged: Bob Dylan Laserdisc/VHS/DVD (1995)
  • Gotta Serve Somebody: The Gospel Songs of Bob Dylan DVD (2006)
  • The Other Side of the Mirror: Bob Dylan at the Newport Folk Festival DVD/Blu-ray (2007)

Performer[edit]

Bob Dylan Discography List

  • Festival (1967)
  • Johnny Cash! The Man, His World, His Music (1969)
  • The Concert for Bangladesh (1972)
  • Earl Scruggs: The Bluegrass Legend – Family & Friends (1972)
  • The Last Waltz (1978)
  • USA For Africa: We Are the World: The Video Event (1985)
  • Live Aid (1985)
  • Willie Nelson: The Big Six-0 (1993)
  • Woodstock '94 (1995)
  • Eric Clapton & Friends In Concert: A Benefit for the Crossroads Centre at Antigua (1999)
  • Willie Nelson and Friends – Outlaws & Angels (2004)
  • The True History of the Traveling Wilburys DVD (2007)

Biographical[edit]

  • Dylan Speaks: The Legendary Press Conference in San Francisco (1965) (DVD 2006)
  • Biography: Bob Dylan: The American Troubadour (August 2000), directed by Stephen Crisman
  • American Masters: No Direction Home (July 2005), directed by Martin Scorsese
  • I'm Not There (November 2007), directed by Todd Haynes

TV performances[edit]

  • Folk Songs and More Folk Songs (1963) (Westinghouse TV special) (two songs are on the special features of the No Direction Home DVD)
  • March on Washington Broadcast (1963)
  • Quest: The Times They Are A-Changin' (1964) (Canada, CBC TV special) (one song is on the special features of the No Direction Home DVD)
  • The New Steve Allen Show (1964) (a.k.a. The Steve Allen Westinghouse Show)
  • Tonight (1964) (BBC TV)
  • Bob Dylan: Elston Gunn Live In Concert (1965) (BBC TV special) (audio only, video lost)
  • The Johnny Cash Show (1969) (Episode 1: June 7) (DVD 2007)
  • Soundstage: The World of John Hammond (1975)
  • Hard Rain (1976) (TV Special with Joan Baez)
  • Saturday Night Live (1979) (DVD 2009)
  • 22nd Annual Grammy Awards (1980)
  • Late Night with David Letterman (1984)
  • An All-Star Celebration Honoring Martin Luther King Jr. (1986)
  • 33rd Annual Grammy Awards (1991)
  • Late Show with David Letterman (1993)
  • Mastercard Masters of Music Concert for the Prince's Trust (1996)
  • 40th Annual Grammy Awards (1998)
  • 73rd Academy Awards (2001)
  • 53rd Annual Grammy Awards (2011)
  • Late Show with David Letterman (2015)

Documentary appearances[edit]

  • John & Yoko in Syracuse, New York (1972)
  • Runaway America (1982)
  • March on Washington: Commemoration of Martin Luther King's '63 March (1983)
  • We Are The World: The Story Behind The Song (1985)
  • Sun City: Artists United Against Apartheid (1985)
  • Great Performances: Celebrating Gershwin: 'S Wonderful (1987)
  • A Vision Shared – A Tribute to Woody Guthrie & Leadbelly (voice) (1988)
  • Robbie Robertson: Going Home (1995)
  • We Are the World: A 10th Anniversary Tribute (1995)
  • The History of Rock 'n' Roll (1995)
  • Biography: Richard Pryor: Comic on the Edge (1996)
  • World Tour 1966: The Home Movies (2003)
  • Apollo at 70: A Hot Night in Harlem (2004)
  • Concert For Bangladesh Revisited with George Harrison and Friends (2005)
  • Bob Dylan 1975–1981: Rolling Thunder and the Gospel Years (2006)
  • The Legend of Liam Clancy (2006)
  • American Masters: Andy Warhol: A Documentary Film (2006)
  • Pete Seeger: The Power of Song (2007)
  • Tom Petty and the Heartbreakers: Runnin' Down a Dream (2007)
  • Inside Bob Dylan's Jesus Years: Busy Being Born... Again! (2008)
  • The Power of Their Song: The Untold Story of Latin America's New Song Movement (2008)
  • Patti Smith: Dream of Life (2008)
  • Johnny Cash's America (2008)
  • Bob Dylan Never Ending Tour Diaries: Drummer Winston Watson's Incredible Journey (2009)
  • American Masters: Joan Baez: How Sweet the Sound (2009)
  • The People Speak (2009)
  • Phil Ochs: There but for Fortune (2010)
  • Bob Dylan Revealed (2011)
  • Down in the Flood: Bob Dylan, The Band & The Basement Tapes (2012)
  • The March (2013)
  • Sweet Blues: A Film About Mike Bloomfield (2013)
  • Born in Chicago (2014)
  • Lost Songs: The Basement Tapes Continued (voice-over interview) (2014)
  • The Basement Tapes: The Legendary Tale (2014)
  • Mavis! (2015)
  • Dylan on 'Dont Look Back' (2015)

Original soundtrack[edit]

Note: This section lists only the films for which Dylan made new recordings, or films which use Dylan's previously unreleased material.
  • Pat Garrett and Billy the Kid (1973); wrote soundtrack
  • Band of the Hand (1986); contributed 'Band of the Hand'
  • Hearts of Fire (1987); contributed three songs
  • Flashback (1990); contributed cover of 'People Get Ready'
  • Natural Born Killers (1994); unreleased outtake of 'You Belong to Me'
  • Feeling Minnesota (1996); contributed cover of 'Ring of Fire'
  • Jerry Maguire (1996); contributed 'Shelter from the Storm (Alternate Version)'
  • The '60s (TV movie) (1999); contributed duet with Joan Osborne of 'Chimes of Freedom'
  • The Ballad of Ramblin' Jack (2000); contributed duet with Ramblin' Jack Elliott of 'Acne'
  • Wonder Boys (2000); contributed with 'Things Have Changed' and three other songs
  • The Sopranos – Peppers and Eggs (various artists, 2001) – contributed with a version of Dean Martin's 'Return to Me'
  • Divine Secrets of the Ya-Ya Sisterhood (2002); contributed with 'Waitin' for You'
  • Masked and Anonymous (2003); contributed with new recordings of three of his own songs and a cover of 'Dixie'
  • Gods and Generals (2003); contributed with 'Cross the Green Mountain'
  • North Country (2005); contributed with 'Tell Ol' Bill' and three other songs
  • I'm Not There (2007); unreleased song from the 1967 Basement Tapes, 'I'm Not There'
  • Lucky You (2007); contributed with 'Huck's Tune' and one other song
  • The People Speak (TV documentary, 2009) – contributed with Woody Guthrie's Do Re Mi
  • NCIS: The Official TV Soundtrack – Vol. 2 (2009); unreleased song from the 1965 Bringing It All Back Home sessions, 'California'
  • Hawaii Five-0 (TV series, 2011); unreleased song from the 1981 Shot of Love sessions, 'Don't Ever Take Yourself Away'
  • Inside Llewyn Davis (2013); contributed 'Farewell' (unreleased studio version)

Soundtrack[edit]

Note: This section lists notable uses of Dylan's previously recorded material in films.
  • More American Graffiti (1979); 'Just Like a Woman' and 'Like a Rolling Stone'
  • Where The Buffalo Roam (1980); 'Highway 61 Revisited'
  • New York Stories (1989); 'Like a Rolling Stone' (live with The Band)
  • Forrest Gump (1994); 'Rainy Day Women #12 & 35'
  • The Big Lebowski (1998); 'The Man in Me'
  • Fear and Loathing in Las Vegas (1998); 'Stuck Inside of Mobile with the Memphis Blues Again'
  • Touched By An Angel (1998); 'Dignity' (alternate version)
  • Another Day in Paradise (1998); 'Every Grain of Sand'
  • The Sopranos (1999); 'Gotta Serve Somebody'
  • The Hurricane (1999); 'Hurricane'
  • American Beauty (1999); 'All Along The Watchtower' (film only, not on the soundtrack release)
  • High Fidelity (2000); 'Most of the Time'
  • Blow (2001); 'All the Tired Horses'
  • American Roots Music (2001); 'The Times They Are a-Changin'
  • Bandits (2001); 'Tweedle Dee & Tweedle Dum'
  • The Royal Tenenbaums (2001); 'Wigwam'
  • Vanilla Sky (2001); '4th Time Around'
  • Moonlight Mile (2002); 'Buckets of Rain'
  • Wonderland (2003); 'Quinn the Eskimo (The Mighty Quinn)'
  • Martin Scorsese Presents – The Blues: A Musical Journey (2003); 'Highway 61 Revisited'
  • Martin Scorsese Presents – The Blues: Godfathers And Sons (2003); 'Maggie's Farm'
  • Songs And Artists That Inspired Fahrenheit 9/11 (2004); 'With God on Our Side'
  • Songs Inspired By The Passion Of The Christ (2004); '4th Time Around'
  • Joe Strummer: The Future Is Unwritten (2007); 'Corrina, Corrina'
  • Gonzo: The Life and Work of Dr. Hunter S. Thompson (2008); 'Maggie's Farm' (live at the Newport Folk Festival) and 'Mr. Tambourine Man'
  • Watchmen (2009); 'The Times They Are a-Changin'
  • Away We Go (2009); 'Meet Me in the Morning'
  • True Blood Vol. 2 (2010); 'Beyond Here Lies Nothin'
  • The Help (2011); 'Don't Think Twice, It's All Right'
  • Silver Linings Playbook (2012); 'Girl from the North Country' (duet with Johnny Cash)
  • Savages (2012); 'Romance in Durango'
  • Not Fade Away (2012); 'She Belongs to Me'
  • Boyhood (2014); 'Beyond the Horizon'
  • St. Vincent (2014); 'Shelter from the Storm'
  • Rock the Kasbah (2015); 'Romance in Durango'
  • Mad Men (2015); 'Don't Think Twice, It's All Right'
  • Steve Jobs (2015); 'Rainy Day Women #12 & 35' and 'Shelter from the Storm'
  • True Detective (2015); 'Rocks and Gravel'
  • Bad Santa 2 (2016); 'Winter Wonderland'
  • Passengers (2016); 'Like a Rolling Stone' (film only)
  • Manchester by the Sea (2016); 'Lily, Rosemary and the Jack of Hearts' (film only)

Books[edit]

  • Tarantula (1971)
  • Writings and Drawings (1972)
  • Lyrics: 1962–1985 (1985)
  • Drawn Blank (1994)
  • The Definitive Bob Dylan Songbook (2003)
  • Chronicles: Volume One (2004)
  • Lyrics: 1962–2001 (2004)
  • The Bob Dylan Scrapbook, 1956–1966 (2005) (credited to Dylan, although the text was written by Robert Santelli of the Experience Music Project)
  • The Lyrics: Since 1962 (2014)[39]

Notes[edit]

  • Album Chart History: Bob DylanBillboard 200
  • Bjoerner, Olof, 'Bob Dylan: Still On The Road: Recording SESSIONS'
  • Heylin, Clinton, Bob Dylan: The Recording Sessions 1960–94. Penguin. UK; St Martin’s Press, US, 1995. ISBN0-312-13439-8
  • Krogsgaard, Michael. Positively Bob Dylan: A Thirty Year Discography, Concert, and Recording Session Guide, 1960–1991. Ann Arbor: Popular Culture, Ink., 1991. ISBN1560750006 (previously published in Europe by Scandinavian Society for Rock Research)

References[edit]

  1. ^Sisario, Ben (October 13, 2016). 'Bob Dylan Wins Nobel Prize, Redefining Boundaries of Literature'. The New York Times. Retrieved November 29, 2016.
  2. ^'Albums | The Official Bob Dylan Site'. www.bobdylan.com. Retrieved 2019-07-27.
  3. ^ abcdefghijklmnopqrstuvwxyzaaabacadaeafagahaiajakalam'British certifications – Bob Dylan'. British Phonographic Industry. Retrieved 2011-11-28.Type Bob Dylan in the 'Search BPI Awards' field and then press Enter.
  4. ^ abcdefghijklmnopqrstuvwxyzaaabacadaeafagahaiajakalam'American album certifications – 'Bob Dylan''. Recording Industry Association of America.If necessary, click Advanced, then click Format, then select Album, then click SEARCH.
  5. ^ abcdefghijklm'Canadian album certifications – Bob Dylan'. Music Canada. Retrieved 2011-11-28.
  6. ^Heylin, Clinton (2017). Judas!. Lesser Gods. p. 288. ISBN978-1-944713-30-0.
  7. ^Columbia cites May 16, 1966 as the 'official' release date, but many reliable sources, including Heylin, dispute this.
  8. ^Citation error. See inline comment how to fix.[verification needed]
  9. ^Citation error. See inline comment how to fix.[verification needed]
  10. ^Citation error. See inline comment how to fix.[verification needed]
  11. ^Citation error. See inline comment how to fix.[verification needed]
  12. ^'ARIA Charts – Accreditations – 1998 Albums'. Australian Recording Industry Association. Retrieved 2011-11-28.
  13. ^'ARIA Charts – Accreditations – 2006 Albums'. Australian Recording Industry Association. Retrieved 2011-11-28.
  14. ^'Drake's 'Views' Still No. 1 on Billboard 200, Ariana Grande and Blake Shelton Debut at Nos. 2 & 3'.
  15. ^'ARIA Australian Top 50 Albums'. Australian Recording Industry Association. May 30, 2016. Retrieved May 28, 2016.
  16. ^'ARIA Australian Top 50 Albums'. Australian Recording Industry Association. April 10, 2017. Retrieved April 8, 2017.
  17. ^'ARIA Charts – Accreditations – 2009 Albums'. Australian Recording Industry Association. Retrieved 2013-06-25.
  18. ^ ab'Bob Dylan | full Official Chart history'. Official Charts Company. Retrieved November 10, 2018.
  19. ^https://twitter.com/billboardcharts/status/1140715605126983685
  20. ^'Bob Dylan Chart History'. billboard.com. Retrieved March 16, 2018.
  21. ^Sodomsky, Sam (September 20, 2018). 'Bob Dylan Announces New Blood on the Tracks Box Set'. Pitchfork. Retrieved September 21, 2018.
  22. ^allmusic ((( Bob Dylan > Charts & Awards > Billboard Singles)))
  23. ^'UK Top 40 Chart Archive, British Singles & Album Charts'. everyHit.com. 2000-03-16. Retrieved 2011-11-28.
  24. ^'Bob Dylan Singles Chart History'. Billboard.com. Nielsen Business Media, Inc. Retrieved 2008-03-17.
  25. ^'Dutch charts portal'. dutchcharts.nl. Retrieved 2010-02-02.
  26. ^'The Irish Charts'. irishcharts.ie. Archived from the original on 2010-01-05. Retrieved 2010-02-03.
  27. ^http://www.billboard.biz/bbbiz/charts/chart-search-results/singles/3078147(subscription required)
  28. ^'Bob Dylan'. discogs.com. Retrieved 11 March 2017.
  29. ^'Bob Dylan'. discogs.com. Retrieved 11 March 2017.
  30. ^'BobDylanVEVO'. youtube.com. Retrieved 11 March 2017.
  31. ^'Bob Dylan'. rollingstone.com. Retrieved 11 March 2017.
  32. ^'mvdbase.com – Bob Dylan artist videography'. mvdbase.com. Retrieved 11 March 2017.
  33. ^'Bob Dylan'. imdb.com. Retrieved 11 March 2017.
  34. ^'Jennifer Lebeau'. imdb.com. Retrieved 11 March 2017.
  35. ^'Elektra Album Discography, Part 2: EKL-100/EKS-7100 Series (1956–1967)'. Both Sides Now Publications. Retrieved March 24, 2013.
  36. ^'Bob Dylan Sings About Gay Love'. nytimes.com.
  37. ^Parisi, Paula (December 17, 2018). 'Bob Dylan, T Bone Burnett Feature on Album by Americana Duo Bear and a Banjo (EXCLUSIVE)'. Variety. variety.com.
  38. ^'Is It Rolling Bob? A Reggae Tribute to Bob Dylan CD Album'.
  39. ^Kozinn, Alann (October 7, 2014). 'The Most of Bob Dylan'. The New York Times. Retrieved November 29, 2016.
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