By 1965, Bob Dylan was the leading songwriter of the American folk music revival . The response to his albums The Freewheelin' Bob Dylan and The Times They Are a-Changin' led the media to label him the "spokesman of a generation".
130-524: In March 1965, Dylan released his fifth album, Bringing It All Back Home . Side one features him backed by a rock band , while side two features him accompanying himself on acoustic guitar. On July 20, 1965, he released his single " Like a Rolling Stone " featuring a more fully integrated folk rock sound. On July 25, 1965, he performed his first concert with electric instruments at the Newport Folk Festival , joined by pianist Barry Goldberg and of
260-577: A Fender Telecaster , though he had also used a Fender Duo-Sonic while recording for Columbia following his 1964 signing to the label. During his tenure with the Butterfield Blues Band, he used that Telecaster on the first Butterfield album and on their earliest tours in the fall of 1965. By November he had swapped that guitar for International Submarine Band guitarist John Nuese ’s 1954 Gibson Les Paul Goldtop , acquired in Boston and used for some of
390-706: A 1986 interview, film director John Hughes cited it as so influential on him as an artist that upon its release (while Hughes was still in his teens), "Thursday I was one person, and Friday I was another." The album was included in Robert Christgau 's "Basic Record Library" of 1950s and 1960s recordings—published in Christgau's Record Guide: Rock Albums of the Seventies (1981) —and in Robert Dimery's music reference book 1001 Albums You Must Hear Before You Die (2010). It
520-594: A Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman , who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's " Like a Rolling Stone ", a single produced by Columbia Record's Tom Wilson . Bloomfield would play on most of the tracks on Dylan's 1965 Highway 61 Revisited album, and he appeared onstage with Dylan in July at
650-406: A Chicago photographer who became Bloomfield's de facto manager, he became a Columbia Records recording artist. In early 1964 Harlib took an audition tape by Bloomfield to Columbia producer and talent scout John Hammond , who signed him to Columbia's Epic Records label. Bloomfield recorded a few sessions for Columbia in 1964 that remained unreleased until after his death. In early 1965 he joined
780-428: A Lot to Laugh, It Takes a Train to Cry ". Dylan was said to have "electrified one half of his audience, and electrocuted the other". After "Phantom Engineer", Dylan and the band left the stage. Booing and clapping are in the background. When emcee Peter Yarrow returned to the microphone, he begged Dylan to continue performing. According to Robert Shelton , when Dylan returned to the stage, he discovered he did not have
910-455: A Newport workshop. According to Jonathan Taplin , a roadie at Newport (and later a road manager for the acts of Dylan's manager Albert Grossman ), Dylan decided on Saturday he would challenge the Festival by performing with a fully amplified band the following night. Taplin said Dylan had been irritated by what he considered condescending remarks festival organizer Alan Lomax had made introducing
1040-468: A black blues band in 1959, when he performed with Luther "Guitar Junior" Johnson at a Chicago club called the Place. He performed with Howlin' Wolf , Muddy Waters , and many other Chicago blues performers during the early 1960s. In 1962 he married Susan Smith. Writing in 2001, keyboardist, songwriter and record producer Al Kooper said Bloomfield's talent "was instantly obvious to his mentors. They knew this
1170-428: A broken wing") and the biblical Book of Daniel . Critics have also remarked that the style of the lyrics is reminiscent of William Blake 's poem " The Sick Rose ". " Outlaw Blues " is an electric blues song that lyrically follows a fugitive traveling through harsh conditions ("Ain't it hard to stumble and land in some muddy lagoon?/Especially when it's nine below zero and three o'clock in the afternoon") as he resents
1300-409: A group of ex-convicts. Since they had never performed together in front of an audience, much less a microphone, McCormick wanted to accustom them to the stage before the concert. "But Bob Dylan's electric band had been rehearsing for some time and refused to leave. 'I was trying to tell Dylan, we need the stage', McCormick said. 'He continued to ignore me. So I went over to the junction box and pulled out
1430-443: A hotel room late at night. She then tells Dylan, "If you finish it, I'll sing it on a record". Dylan never released a version of the song, and, according to his website, he has never performed the song live. "You Don't Have to Do That" is one of the great "what if" songs of Dylan's mid-1960s output. A very brief recording, under a minute long, it has Dylan playing a snippet of the song, which he abandoned midway through to begin playing
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#17330850992601560-535: A liar" before telling his band to "Play it fucking loud!" as they launch into " Like a Rolling Stone ". This incident was recorded, and the full concert was eventually released in 1998 as Live 1966: The "Royal Albert Hall" Concert in Dylan's Bootleg Series. One fan who claimed to have shouted "Judas!" was John Cordwell; when interviewed by Andy Kershaw he said: I think most of all I was angry that Dylan... not that he'd played electric, but that he'd played electric with
1690-460: A lot of ballparks. You used to get this confusion when Bill Skowron used to come up to the plate for the Yankees, 'cause his nickname was Moose. And everybody used to go, "MOOSE!" And it sounded like they were booing him. Because you don't get the articulation of the consonant, so that a crowd shouting "more, more, more" at the end of Dylan's three songs sounded very much like booing. I've heard recently
1820-536: A loud yet clean, almost chiming sound, with a healthy amount of reverb and vibrato ; this approach would strongly influence Jerry Garcia , who segued from a career in acoustic-based music to electric rock at the height of the Butterfield Band's influence in 1965. One of his amplifiers of choice was a 1965 Fender Twin Reverb . His solos, like those of most blues guitarists, were based in the minor pentatonic scale and
1950-460: A major transition from his earlier sound, it was Dylan's first album to incorporate electric instrumentation, which caused controversy and divided many in the contemporary folk scene. The album is split into two distinct halves; the first half of the album features electric instrumentation, in which on side one of the original LP, Dylan is backed by an electric rock and roll band. The second half features mainly acoustic songs. The album abandons
2080-559: A memorabilia collector. However, Dylan attorney Orin Snyder said that Dylan still had the guitar he played at Newport, and said: "He did own several other Stratocaster guitars that were stolen from him around that time, as were some handwritten lyrics." Dylan and Peterson settled a legal dispute over the guitar, and in December 2013 it was sold by Christie's auction house in New York for $ 965,000. It
2210-493: A nod of approval from Seeger. Boyd speculates that somehow those ingredients, "Seeger, axes, cables...got muddled up". Bruce Jackson, another director of the Newport Folk Festival, called the incident "the myth of Newport". Jackson was present at Dylan's 1965 performance and in 2002 reviewed an audio tape of it. Jackson contends that the booing was directed at Peter Yarrow (also a member of the Festival's Board), who upset
2340-470: A personal dimension to the very real rivalry that would endure for the remainder of a momentous decade." Dylan and producer Tom Wilson were soon experimenting with their own fusion of rock and folk music. The first unsuccessful test involved overdubbing a " Fats Domino early rock & roll thing" over Dylan's earlier, acoustic recording of " House of the Rising Sun ", according to Wilson. This took place in
2470-407: A really poor sound system. It was not like it is on the record [the official album]. It was a wall of mush. That, and it seemed like a cavalier performance, a throwaway performance compared with the intensity of the acoustic set earlier on. There were rumblings all around me and the people I was with were making noises and looking at each other. It was a build-up. Another claimant to the "Judas!" shout
2600-445: A recording of that night, and it doesn't sound to me like booing so much as a roar, just a kind of general hubbub between songs, and during Yarrow's attempt to get Dylan back on stage... I really wouldn't be prepared to say it was 50–50, or two thirds/one third, or whatever. But I think that there was a segment of the audience, somewhere between a quarter and a half, that was dismayed or horrified or varying degrees of unhappy about what he
2730-518: A strong composition from this period (Clinton Heylin called it "one of his finest songs"), a complete acoustic version, with Dylan playing piano and harmonica, was released on 1985's Biograph . An electric recording exists as well—not of an actual take but of a rehearsal from January 1966 (the sound of an engineer saying "what you were doing" through a control room mike briefly interrupts the recording)—was released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . "Farewell Angelina"
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#17330850992602860-628: A studio in Sausalito , to produce a one-off live album, Live at the Record Plant 1973 . In 1974, he rejoined the Electric Flag for an album titled The Band Kept Playing . In 1975 he recorded an album with the group KGB. The group's name is an acronym of the initials of singer and songwriter Ray Kennedy , Barry Goldberg and Bloomfield. The band also included Ric Grech and drummer Carmine Appice . Grech and Bloomfield quit shortly after its release. As
2990-600: A track from their 1968 Living with the Animals album, and on two albums by Texas-born soul singer Wayne Talbert. With Mark Naftalin, he produced the 1968 sessions for James Cotton's 1968 album Cotton in Your Ears . He released his first solo album, It's Not Killing Me , in 1969. Bloomfield also helped Janis Joplin assemble her Kozmic Blues Band (for the album I Got Dem Ol' Kozmic Blues, Again Mama! ) in 1969, co-wrote "Work Me, Lord" for
3120-412: A trumpet / And for Christmas, give her a drum.") " Maggie's Farm " contains themes of social, economic and political criticism, with lines such as "Well I try my best to be just like I am/But everybody wants you to be just like them" and "Well, I wake up in the morning, fold my hands and pray for rain/I got a head full of ideas that are drivin' me insane". It follows a straightforward blues structure, with
3250-460: A wealthy family, and received annual income from a trust created by his paternal grandfather, which gave him $ 50,000 each year. Bloomfield died in San Francisco on February 15, 1981. He was found seated behind the wheel of his car, with all four doors locked. According to police, an empty Valium bottle was found on the car seat, but no suicide note was found. The medical examiner who performed
3380-404: A wig and fake beard. Joe Boyd , who worked with Paul Rothchild on the sound mixing for the festival, described the audience reaction in his memoir, White Bicycles: Making Music in the 1960s . By today's standards, the volume wasn't particularly high, but in 1965 it was probably the loudest thing anyone in the audience had ever heard. A buzz of shock and amazement ran through the crowd. When
3510-501: Is a harmonica resting on a table with a fallout shelter (capacity 80) sign leaning against it. Above the fireplace on the mantle directly to the left of the painting is the Lord Buckley album The Best of Lord Buckley . Next to Lord Buckley is a copy of GNAOUA , a magazine devoted to exorcism and Beat poetry edited by poet Ira Cohen , and a glass collage by Dylan called "The Clown" made for Bernard Paturel from colored glass Bernard
3640-484: Is described by Dylan biographer Howard Sounes as a "grim masterpiece". The song features some of Dylan's most memorable lyrical images. Among the well-known lines sung in the song are "He not busy being born is busy dying," "Money doesn't talk, it swears," "Although the masters make the rules, for the wisemen and the fools" and "But even the president of the United States sometimes must have to stand naked." Musically, it
3770-514: Is similar to Dylan's cover of " Highway 51 Blues ", which he recorded four years earlier and released on his debut album, Bob Dylan . " It's All Over Now, Baby Blue " is the album's closing song. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. The album's cover, photographed by Daniel Kramer with an edge-softened lens, features Sally Grossman (wife of Dylan's manager Albert Grossman ) lounging in
3900-467: Is the longest song in the electric section of the album, starting out as an acoustic ballad before being interrupted by laughter, and then starting back up again with an electric blues rhythm. The music is so similar in places to Another Side of Bob Dylan 's " Motorpsycho Nitemare " as to be indistinguishable from it but for the electric instrumentation. The song can be best read as a highly sardonic, non-linear (historically) dreamscape parallel cataloguing of
4030-510: Is therefore the declaration of a freed slave. " Love Minus Zero/No Limit " is a love song. Its main musical hook is a series of three descending chords , while its lyrics articulate Dylan's feelings for his lover, and have been interpreted as describing how she brings a needed zen -like calm to his chaotic world. The song uses surreal imagery, which some authors and critics have suggested recalls Edgar Allan Poe 's " The Raven " (the final lines are "My love she’s like some raven / At my window with
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4160-485: The Bob Dylan Live 1966 album, quotes a contemporary account of the concert from Variety : "Bob Dylan split 15,000 of his fans down the middle at Forest Hills Tennis Stadium Sunday night... The most influential writer-performer on the pop music scene during the past decade, Dylan has apparently evolved too fast for some of his young followers, who are ready for radical changes in practically everything else... repeating
4290-637: The Blues Hall of Fame in 2012 and, as a member of the Paul Butterfield Blues Band , was inducted into the Rock and Roll Hall of Fame in 2015. Bloomfield was born in Chicago into a wealthy Jewish family. Bloomfield's father, Harold, was born there in 1914. Harold's father, Samuel Bloomfield, started Bloomfield Industries in the early 1930s. After Samuel passed away, Harold and his brother, Daniel, inherited
4420-530: The Columbia 30th Street Studio in December 1964. It was quickly discarded, though Wilson would more famously use the same technique of overdubbing an electric backing track to an existing acoustic recording with Simon & Garfunkel 's " The Sound of Silence ". In the meantime, Dylan turned his attention to another folk-rock experiment conducted by John P. Hammond , an old friend and musician whose father, John H. Hammond , originally signed Dylan to Columbia. Hammond
4550-658: The East-West sessions. In 1967, Bloomfield swapped the Goldtop for guitar repairman/musician Dan Erlewine's 1959 Les Paul Standard and $ 100. The Standard had proven unpopular in the late 1950s because it was deemed too heavy and expensive by rock and roll guitarists. Gibson discontinued manufacturing the model in 1960. Bloomfield used the Standard in the Electric Flag and on the Super Session album and concerts. He later switched between
4680-477: The New Lost City Ramblers , who is Pete Seeger's brother-in-law, states that Seeger wanted to lower the volume of the band because the noise was upsetting his elderly father Charles , who wore a hearing aid. In the same film, Dylan claimed that Seeger's unenthusiastic response to his set was like a "dagger in his heart" and made him "want to go out and get drunk". According to jazz historian John Szwed ,
4810-513: The Newport Folk Festival , where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's " Maggie's Farm " is considered a landmark electric-guitar performance. After the Newport Folk Festival ended, Bloomfield helped Dylan complete
4940-522: The PBS series History Detectives recounted the story of New Jersey resident Dawn Peterson, who said she had the Fender Stratocaster Dylan played at Newport. She explained that Dylan had left the guitar on a plane piloted by her father, Victor Quinto, in 1965. An instrument specialist was convinced that the guitar was genuine, and lyrics of songs in the guitar case were identified as Dylan's work by
5070-469: The Paul Butterfield Blues Band for an earlier set. Dylan's attitude, according to Taplin, was, "'Well, fuck them if they think they can keep electricity out of here, I'll do it.' On a whim, he said he wanted to play electric." Dylan assembled a band and rehearsed that night at a mansion being used by festival organizer George Wein . On the night of Sunday, July 25, Dylan's appearance was between Cousin Emmy and
5200-537: The Sea Island singers , two traditional acts. Dylan's band included two musicians who had played on his recently released single " Like a Rolling Stone ": Mike Bloomfield on lead guitar and Al Kooper on organ . Two of Bloomfield's bandmates from the Paul Butterfield Blues Band, bassist Jerome Arnold and drummer Sam Lay , also appeared at Newport, as well as Barry Goldberg on piano . Footage of
5330-400: The blues scale . However, he liberally used chromatic notes within the pentatonic framework, and integrated Indian and Eastern influences in his solos. Gibson has since released a Michael Bloomfield Les Paul, replicating his 1959 Standard—in recognition of his impact on the electric blues, his role in the revived production of the guitar, and his influence on many other guitarists. Because
Electric Dylan controversy - Misplaced Pages Continue
5460-574: The protest music of Dylan's previous records in favor of more surreal, complex lyrics. The album reached No. 6 on Billboard ' s Pop Albums chart, the first of Dylan's LPs to break into the US Top 10. It also topped the UK charts later that spring. The first track, " Subterranean Homesick Blues ", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of
5590-452: The "magic swirlin' ship" evoked in the lyrics). " Gates of Eden " is the only song on the album that is mono on the stereo release and all subsequent reissues. Dylan plays the song solo, accompanying himself on acoustic guitar and harmonica. It is considered one of Dylan's most surreal songs. " It's Alright Ma (I'm Only Bleeding) " was written in the summer of 1964, first performed live on October 10, 1964, and recorded on January 15, 1965. It
5720-425: The 16th. The band played the first night but the next day Bloomfield boarded a plane and flew home to San Francisco with virtually no notice to the club, hotel, or band members; his friend Mark Naftalin found a note on a torn piece of paper in the hotel room that read, "bye bye, sorry". Unlike contemporaries such as Jimi Hendrix and Jeff Beck , Bloomfield rarely experimented with feedback and distortion, preferring
5850-501: The 1964 Newport Folk Festival, Dylan performed " With God on Our Side " and " Mr. Tambourine Man ". Positive reviews of Dylan's 1964 performance were accompanied by criticisms of his antics and dismissive nature; one critic wrote that "being stoned had rarely prevented his giving winning performances, but he was clearly out of control". On Saturday, July 24, 1965, Dylan performed three acoustic songs, " All I Really Want to Do ", " If You Gotta Go, Go Now ", and " Love Minus Zero/No Limit " at
5980-461: The 1965 single My Generation . In the Beatles' case, the results of this innovation, namely the albums Help! and Rubber Soul , would help push folk rock into the mainstream . The album opens with " Subterranean Homesick Blues ", heavily inspired by Chuck Berry 's " Too Much Monkey Business ". "Subterranean Homesick Blues" became a Top 40 hit for Dylan. "Snagged by a sour, pinched guitar riff,
6110-503: The Blues Project . The groups were well received and received no pushback over their appearance. In an article recounting the festival for The New York Times , the critic Robert Shelton suggested that the Lovin' Spoonful's warm reception "reflected the growing acceptance of folk-rock and other amalgamations of contemporary folk songs with electric instruments". In July 2012, an episode of
6240-738: The Butterfield Band's rigorous touring schedule, relocated to San Francisco, and sought to create his own group. He formed the short-lived Electric Flag in 1967, with two longtime Chicago collaborators, Barry Goldberg and vocalist Nick Gravenites. The band featured a horn section. The band's rhythm section was composed of bassist Harvey Brooks and drummer Buddy Miles . Miles had previously played in Wilson Pickett 's touring band, while Brooks had performed with Al Kooper in bands in New York City, and had played with both Kooper and Bloomfield on Bob Dylan 's Highway 61 Revisited . The group's first effort
6370-545: The Forest Hills concert, wrote: "Dylan held a conference with the musicians who were going to accompany him in the second half of the concert. He told them that they should expect anything to happen—he probably was remembering what occurred at Newport. He told them that the audience might yell and boo and that they should not be bothered by it. Their job was to make the best music they were capable of, and let whatever happened happen." Musician Tony Glover , in his liner notes for
6500-598: The Hawks ) were often met with derision from the audience. Crowds became particularly acrimonious during a British tour, including an oft-cited incident in Manchester , where a member of the crowd shouted " Judas !" at Dylan. Shows from this tour have been documented in several Dylan documentaries, including 2005's No Direction Home . Over time, Dylan continued to evolve musically, turning to country music on Nashville Skyline (1969), and drifting through numerous styles throughout
6630-796: The Hurricanes, named after Ohio rock band Johnny and the Hurricanes . New Trier expelled Bloomfield after his band performed a raucous rock and roll song at a 1959 school gathering. He attended Cornwall Academy in Massachusetts for one year and then returned to Chicago, where he spent his last year of education at a local Central YMCA High School. Bloomfield had attended a 1957 Chicago performance by blues singer Josh White , and began spending time in Chicago's South Side blues clubs and playing guitar with such black bluesmen as Sleepy John Estes , Yank Rachell , and Little Brother Montgomery . He first sat in with
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#17330850992606760-766: The Los Angeles area due to the storied two-week run at the Golden Bear in Huntington Beach. He became a mentor and inspiration for many guitarists, especially in the SF Bay Area. He did a 1965 date with Peter, Paul and Mary that resulted in a song called "The King of Names", and he recorded in 1966 with pop group Chicago Loop, whose "When She Wants Good Lovin' (My Baby Comes to Me)" made Billboard Magazine ' s chart that year. He also played guitar on recordings by Chuck Berry , Mitch Ryder and James Cotton . Bloomfield tired of
6890-552: The Newport performance appears in the documentary films Festival (1967), No Direction Home (2005) and The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965 (2007). Both boos and cheers are heard a few bars into Dylan's first song, " Maggie's Farm " and continue throughout his second, "Like a Rolling Stone". Dylan and his band then performed "Phantom Engineer", an early version of " It Takes
7020-660: The Paul Butterfield Blues Band , guitarist Mike Bloomfield , bassist Jerome Arnold and drummer Sam Lay , and with Al Kooper playing organ on "Like a Rolling Stone". Some sections of the audience booed the performance. Members of the folk movement criticized him for moving away from political songwriting and for performing with a rock band, including Irwin Silber and Ewan MacColl . Dylan continued his trend towards rock music on his next two albums, Highway 61 Revisited (1965) and Blonde on Blonde (1966). On subsequent tours throughout 1965 and 1966, his electric sets (now backed by
7150-651: The Paul Butterfield Blues Band . He also began friendships and professional associations with fellow Chicagoan Nick Gravenites and Bronx -born record producer Norman Dayron , who was attending the University of Chicago . He developed a friendship with blues singer Big Joe Williams . In 1963 Bloomfield and his two friends George Mitchell and Pete Welding ran a weekly blues showcase at the Fickle Pickle. He subsequently built up his reputation in two Chicago clubs, Big John's and Magoo's. With help from his friend Joel Harlib,
7280-524: The Paul Butterfield Blues Band, which included Elvin Bishop and keyboardist Mark Naftalin , along with drummer Sam Lay and bassist Jerome Arnold , who had previously worked in Howlin' Wolf's band. Elektra Records producer Paul Rothchild recorded the band in spring 1965, but the majority of the tracks were not released until the 1990s. However, one of the tracks Rothchild recorded during his first pass at producing
7410-566: The Road Again", "If You Gotta Go, Go Now", "You Don't Have to Do That", "California," and "Outlaw Blues", all of which were original compositions. Dylan and Wilson held another session at Studio A the following day, this time with a full, electric band. Guitarists Al Gorgoni , Kenny Rankin , and Bruce Langhorne were recruited, as were pianist Paul Griffin , bassists Joseph Macho Jr. and William E. Lee , and drummer Bobby Gregg . The day's work focused on eight songs, all of which had been attempted
7540-675: The US, peaking at #39. Bringing It All Back Home is regarded as one of the greatest albums in rock history. In 1979 Rolling Stone Record Guide critic Dave Marsh wrote: "By fusing the Chuck Berry beat of the Rolling Stones and the Beatles with the leftist, folk tradition of the folk revival, Dylan really had brought it back home, creating a new kind of rock & roll [...] that made every type of artistic tradition available to rock." Clinton Heylin later wrote that Bringing It All Back Home
7670-526: The [first] song finished, there was a roar that contained many sounds. Certainly boos were included, but they weren't in a majority. There were shouts of delight and triumph and also of derision and outrage. The musicians didn't wait to interpret it, they just plunged straight into the second song. Filmmaker Murray Lerner and others present at Newport argued that the boos were from outraged folk fans who disliked Dylan playing an electric guitar. Others present, including musician Al Kooper , disagreed, arguing that
7800-471: The actual guitar had been unaccounted for so many years, Gibson relied on hundreds of photographs provided by Bloomfield's family to reproduce it. The model comes in two configurations—a Vintage Original Specifications (VOS), modified by Bloomfield's mismatched volume and tone control knobs, missing toggle switch cover, and kidney-shaped tuners replacing the Gibson original, and a faithful process-aged reproduction of
7930-575: The album was released on SACD by Columbia in 2003. The release of Bringing It All Back Home coincided with the final show of a joint tour with Joan Baez . By this time, Dylan had grown far more popular and acclaimed than Baez, and his music had radically evolved from their former shared folk style in a totally unique direction. It would be the last time they would perform extensively together until 1975. (She would accompany him on another tour in May 1965, but Dylan would not ask her to perform with him.) The timing
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#17330850992608060-562: The album, and played the guitar solo on Joplin's blues composition "One Good Man". Columbia released another 1969 album, a live concert jam, Live at Bill Graham's Fillmore West , including Mark Naftalin, former Electric Flag bandmates Marcus Doubleday and Snooky Flowers, and a guest appearance by Taj Mahal . In the same year he reunited with Paul Butterfield and Sam Lay for the Chess Records album Fathers and Sons , featuring Muddy Waters and pianist Otis Spann . Bloomfield composed and recorded
8190-407: The audience were upset by poor sound quality and the short duration of the set. "The reason they booed is that he only played for fifteen minutes when everybody else played for forty-five minutes or an hour," Kooper would later recall. "They were feeling ripped off. Wouldn't you? They didn't give a shit about us being electric. They just wanted more." According to performers Ian & Sylvia Tyson, it
8320-578: The autopsy ruled the death accidental overdose, due to cocaine and methamphetamine poisoning. Bloomfield's last album, Cruisin' for a Bruisin' , was released the day his death was announced. His remains are interred in a crypt at Hillside Memorial Park Cemetery , in Culver City , near Los Angeles. Bloomfield's musical influences include Scotty Moore , Chuck Berry , Little Richard , B.B. King , Big Joe Williams , Otis Rush , Albert King , Freddie King and Ray Charles . Bloomfield originally used
8450-774: The background. There are also artifacts scattered around the room, including LPs by the Impressions ( Keep on Pushing ), Robert Johnson ( King of the Delta Blues Singers ), Ravi Shankar ( India's Master Musician ), Lotte Lenya ( Sings Berlin Theatre Songs by Kurt Weill ) and Eric Von Schmidt ( The Folk Blues of Eric Von Schmidt ). Dylan had "met" Schmidt "one day in the green pastures of Harvard University" and would later mimic his album cover pose (tipping his hat) for his own Nashville Skyline four years later. A further record, Françoise Hardy 's EP J'suis D'accord,
8580-501: The band exploring modal music, and it was based upon a song Gravenites and Bloomfield had been playing since 1965, "It's About Time". Bloomfield played on recording sessions between 1965 and 1967. His guitar playing had a huge impact on San Francisco Bay Area musicians after playing with the Butterfield band at Bill Graham's Fillmore in March 1966, San Francisco's Avalon Ballroom and also in
8710-588: The band was already disintegrating, with rivalries between members, shortsighted management, and heroin abuse all taking their toll. Shortly after the release of that album, Bloomfield left the band, with Gravenites, Goldberg, and bassist Harvey Brooks following. Bloomfield also made an impact through his work with Al Kooper , who had played with Bloomfield on Dylan's " Like a Rolling Stone ". Kooper had become an A&R man for Columbia Records, and Bloomfield and Kooper had played piano on Moby Grape 's 1968 Grape Jam , an instrumental album that had been packaged with
8840-441: The certainty of what he wanted, kept things moving. The session began with "Maggie's Farm": only one take was recorded, and it was the only one they'd ever need. From there, Dylan successfully recorded master takes of "On the Road Again", "It's Alright, Ma (I'm Only Bleeding)", "Gates of Eden", "Mr. Tambourine Man", and "It's All Over Now, Baby Blue", all of which were set aside for the album. A master take of "If You Gotta Go, Go Now"
8970-575: The company. Bloomfield's mother, Dorothy Klein, was born in Chicago in 1918 and married Harold in 1940. She came from an artistic, musical family, and worked as an actress and model before marrying. Bloomfield's family lived in various locations around Chicago before settling at 424 West Melrose Street on the North Side. When he was twelve his family moved to suburban Glencoe , where he attended New Trier High School for two years. During this time, he began playing in local bands, then put together one called
9100-443: The cords. Then he listened'." Joe Boyd recounted events differently in his memoir, "White Bicycles: Making Music in the 1960s". The Texas Prisoners Worksong group had been discovered by musicologist Bruce Jackson , who got permission to bring six of them to Newport. A tree stump was placed on the stage which they chopped with axes as they sang. During the performance, a mic cable disconnected. Boyd ducked in and reconnected it, earning
9230-526: The crowd when he attempted to keep Dylan's spot to its proper length; Jackson maintains there's nothing to indicate the crowd disliked Dylan's music, electrified or not. The next concert Dylan played after his Newport performance was on August 28, 1965, at Forest Hills Stadium , in Queens, New York . Dylan appears to have believed that the booing at Newport was a consequence of some fans disliking his electric sound. Photographer Daniel Kramer, who accompanied Dylan to
9360-422: The discovery, creation and merits (or lack thereof) of the United States. " Mr. Tambourine Man " is the first track on side 2 of the album. It was written and composed in early 1964, at the same approximate time as " Chimes of Freedom ", which Dylan recorded later that spring for his album Another Side of Bob Dylan . The lyrics are surrealist and may be influenced by the work of Arthur Rimbaud (most notably for
9490-459: The film Caged Heat . In 1976 he recorded an instructional album for guitarists, If You Love These Blues, Play 'Em as You Please , which was financed through Guitar Player magazine. In the 1970s Bloomfield played in local San Francisco Bay area clubs, including the Keystone Korner , and sat in with other bands. In 1977, Bloomfield was selected by Andy Warhol to do the soundtrack for
9620-435: The final album. Sometime after dinner, Dylan reportedly continued recording with a different set of musicians, including John P. Hammond and John Sebastian (only Langhorne returned from earlier that day). They recorded six songs, but the results were deemed unsatisfactory and ultimately rejected. Another session was held at Studio A the next day, and it would be the last one needed. Once again, Dylan kept at his disposal
9750-417: The fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield's recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?" The result
9880-552: The genre, influencing American folk acts such as Buffalo Springfield and Simon and Garfunkel as well as British Invasion bands like the Beatles and the Rolling Stones to innovate, producing more introspective lyrics and allowing the latter two groups to expand out of the confines of their pop rock roots. According to Pete Townshend of the Who , Dylan's folk attitude also influenced the writing of one of their most successful songs,
10010-523: The greatest albums of all time by multiple publications. In 2003, it was ranked number 31 on Rolling Stone ' s list of the " 500 Greatest Albums of All Time ", later repositioned to number 181 in the 2020 edition. Dylan spent much of the summer of 1964 in Woodstock , a small town in upstate New York where his manager, Albert Grossman , had a place. When Joan Baez went to see Dylan that August, they stayed at Grossman's house. Baez recalls that "most of
10140-408: The group's Wow collection. "Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don't Say That I Ain't Your Man: Essential Blues, 1964–1969 . "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on
10270-562: The group, a Nick Gravenites song titled "Born in Chicago", was included on the Elektra album Folksong '65 , which sold two hundred thousand copies when it was released in September 1965. "Born in Chicago" became an underground hit for the Butterfield Band. Their debut album, The Paul Butterfield Blues Band , was recorded in September and released the following month. In June 1965, Bloomfield had recorded with Bob Dylan , whom he had met in 1963 at
10400-470: The guitar down – didn't touch it. Shooting junk made everything else unimportant, null and void, nolo contendere . My playing fell apart. I just didn't want to play. He recorded his second solo album, Try It Before You Buy It , in 1973. Columbia rejected it; the complete version of the record would not appear until 1990. Also in 1973, he cut Triumvirate with Dr. John and guitarist and singer John Hammond Jr. In 1973 he teamed up with Mark Naftalin, at
10530-725: The it and the Telecaster, but his use of the Les Paul inspired other guitarists to use the model and spurred Gibson to reintroduce the Standard in 1968. Bloomfield eventually lost the guitar in Canada when a club owner kept two he had left behind as partial compensation after Bloomfield cut short a round of appearances. He had been booked at the Cave in Vancouver, from Tue. Nov. 12th, 1974, for five days, until Sat.
10660-503: The legend about Pete Seeger cutting the cable or pulling the cords of the acoustic system may have arisen from an actual incident from earlier that afternoon. Szwed writes that Festival organizer Alan Lomax had asked Texas folklorist Mack McCormick , discoverer of Lightnin' Hopkins , to find a Texas prison gang to bring up to Newport to sing work songs, but the Texas Attorney General would not allow it, so McCormick had rounded up
10790-519: The life of being on the run. " On the Road Again " catalogs the absurd affectations and degenerate living conditions of bohemia. The song concludes: "Then you ask why I don't live here / Honey, how come you don't move?" " Bob Dylan's 115th Dream " narrates a surreal experience involving the discovery of America, "Captain Arab" (a clear reference to Captain Ahab of Moby Dick ), and numerous bizarre encounters. It
10920-410: The microphone cable right now." Seeger has also said, however, that he only wanted to cut the cables because he wanted the audience to hear Dylan's lyrics properly because he thought they were important. Rumors that Seeger actually had an axe, or that a festival board member pulled or wanted to pull out the entire electrical wiring system are apocryphal . In the film No Direction Home , John Cohen of
11050-505: The month or so we were there, Bob stood at the typewriter in the corner of his room, drinking red wine and smoking and tapping away relentlessly for hours. And in the dead of night, he would wake up, grunt, grab a cigarette, and stumble over to the typewriter again." Dylan already had one song ready for his next album: " Mr. Tambourine Man " was written in February 1964 but omitted from Another Side of Bob Dylan . Another song, " Gates of Eden ",
11180-440: The musicians from the previous day (that is, those that participated in the 2:30 pm to 6:00 pm session); the one exception was pianist Paul Griffin, who was unable to attend and replaced by Frank Owens. Daniel Kramer recalls: The musicians were enthusiastic. They conferred with one another to work out the problems as they arose. Dylan bounced around from one man to another, explaining what he wanted, often showing them on
11310-402: The opening line of each verse ("I ain't gonna work...") sung twice, then repeated at the end of the verse. The third to fifth lines of each verse elaborate on and explain the sentiment expressed in the verse's opening/closing lines. With its references to working for Maggie, her father, her mother, and her brother on a farm, the song obviously references plantation life; not working there any more
11440-483: The other half consisted of solo acoustic performances, sometimes accompanied by Langhorne, who would embellish Dylan's acoustic performance with a countermelody on his electric guitar. Bringing It All Back Home consists mainly of blues and folk and, as a result of Dylan's adoption of a more electric sound, is considered to have been instrumental in the birth of folk rock. On his following albums, Highway 61 Revisited and Blonde on Blonde , he would further develop
11570-504: The photograph. On the back cover (also by Kramer), the woman massaging Dylan's scalp is the filmmaker and performance artist Barbara Rubin . Bringing It All Back Home was released in April 1965 by Columbia Records . The mono version of Bringing It All Back Home was re-released in 2010 on The Original Mono Recordings , accompanied by a booklet containing a critical essay by Greil Marcus . A high-definition 5.1 surround sound edition of
11700-412: The piano what was needed until, like a giant puzzle, the pieces would fit and the picture emerged whole … Most of the songs went down easily and needed only three or four takes … In some cases, the first take sounded completely different from the final one because the material was played at a different tempo, perhaps, or a different chord was chosen, or solos may have been rearranged...His method of working,
11830-559: The piano. All tracks are written by Bob Dylan. Shipments figures based on certification alone. Mike Bloomfield Michael Bernard Bloomfield (July 28, 1943 – February 15, 1981) was an American blues guitarist and composer. Born in Chicago , he became one of the first popular music stars of the 1960s to earn his reputation almost entirely on his instrumental prowess, as he rarely sang before 1969. Respected for his guitar playing, Bloomfield knew and played with many of Chicago's blues musicians before achieving his own fame and
11960-517: The pop artist's last film, Andy Warhol's Bad (also known as BAD). An unreleased single, "Andy's Bad", was also produced for the project. During 1979–1981 he performed often with the King Perkoff Band, sometimes introducing them as the "Michael Bloomfield and Friends" outfit. Bloomfield recorded "Hustlin' Queen", written by John Isabeau and Perkoff in 1979. He toured Italy and Sweden with guitarist Woody Harris and cellist Maggie Edmondson in
12090-478: The previous day. According to Langhorne, there was no rehearsal, "we just did first takes and I remember that, for what it was, it was amazingly intuitive and successful." Few takes were required of each song, and after three and a half hours of recording (lasting from 2:30 pm to 6:00 pm), master takes of "Love Minus Zero/No Limit", "Subterranean Homesick Blues", "Outlaw Blues", "She Belongs to Me", and "Bob Dylan's 115th Dream" were all recorded and selected for
12220-434: The record hit stores in 1976, Bloomfield told journalists that the group had been an ill-conceived moneymaking project. The album was not well received by critics, but it did contain the standout track "Sail On, Sailor". Its authorship was credited to "Wilson-Kennedy", and had a bluesy, darker feel, along with Ray Kennedy's original cocaine-related lyrics. In the same year, he performed with John Cale on Cale's soundtrack for
12350-496: The rest of his career. Retrospectively, his electric period has come to be recognized by critics and fans as producing some of his best music, and his controversial performance at Newport has been considered a pivotal moment in the development of folk rock . At the 1963 Newport Folk Festival , Dylan had been received enthusiastically when he performed " Blowin' in the Wind " with Joan Baez ; Peter, Paul and Mary ; and other performers. At
12480-493: The right harmonica and said to Yarrow, "What are you doing to me?" Dylan then asked the audience for "an E harmonica". Within a few moments, a clatter of harmonicas hit the stage. Dylan performed two songs on acoustic guitar for the audience: " Mr Tambourine Man " followed by " It's All Over Now, Baby Blue .” The crowd exploded with applause, calling for more. Dylan did not return to the Newport festival for 37 years. In an enigmatic gesture, Dylan performed at Newport in 2002, sporting
12610-483: The same scene that occurred during his performance at the Newport Folk Festival, Dylan delivered a round of folk-rock songs but had to pound his material against a hostile wall of anti-claquers, some of whom berated him for betraying the cause of folk music." The polarised responses of Dylan's fans were exacerbated by the structure of his concerts in late 1965 and 1966 ; the first half would be 'folk,' Dylan solo accompanying himself on acoustic guitar and harmonica ; with
12740-628: The second half 'rock,' Dylan and the Hawks with electric guitars and a full rock and roll combo. The rock segment was often greeted with hostility, as seen in shows in Sheffield and Newcastle upon Tyne in No Direction Home . Footage from the Manchester concert, at the end of that film, includes the "Judas" heckling incident. During a quiet moment in between songs an audience member shouts loudly: " Judas !" Dylan replies: "I don't believe you, you're
12870-587: The sessions for Highway 61 Revisited , and Dylan asked Bloomfield to join his touring band. Bloomfield demurred, preferring to continue playing with the Butterfield Band. When Sam Lay fell ill after a series of dates in November 1965, the Butterfield Band brought Chicago-born drummer Billy Davenport into the group. During the first part of 1966, the band played in California, and they recorded their second album, East-West , that summer. The record's title track found
13000-463: The set?" Lerner replied: "It's a good question. When we showed the film at The New York Film Festival [in October 2007] one kid gets up and says, 'About this booing... I was sitting right in front of the stage, there was no booing in the audience whatsoever. There was booing from the performers'. So I said, Well, I don't think you're right. Then another kid gets up and says 'I was a little further back and it
13130-463: The song has an acerbic tinge … and Dylan sings the title rejoinders in mock self-pity," writes music critic Tim Riley . "It's less an indictment of the system than a coil of imagery that spells out how the system hangs itself with the rope it's so proud of." " She Belongs to Me " extols the bohemian virtues of an artistic lover whose creativity must be constantly fed ("Bow down to her on Sunday / Salute her when her birthday comes. / For Halloween buy her
13260-645: The soundtrack for the film Medium Cool , directed by his second cousin, Haskell Wexler . The film includes footage shot in Chicago during the 1968 Democratic National Convention. With Nick Gravenites, he produced blues guitarist Otis Rush 's 1969 album Mourning in the Morning , recorded at FAME Studios in Muscle Shoals, Alabama with a band that included keyboardists Mark Naftalin and Barry Beckett , along with guitarist Duane Allman . During 1970 Bloomfield gave up playing because of his heroin addiction: ...and I put
13390-518: The summer of 1980. He sat in with Bob Dylan at San Francisco's Warfield Theatre on November 15, 1980. Bloomfield played on Dylan's "Like a Rolling Stone" and "The Groom's Still Waiting at the Altar". He continued to play live dates, with his performance at San Francisco State College on February 7, 1981, being his penultimate appearance. His final performance was at Mission Ranch , Carmel, CA , approximately 48 hours before his death. Bloomfield came from
13520-430: The time, he replied, "I kind of think: 'You silly young bugger.'" In 2012, Dylan referred to the incident while addressing criticism that he had not clearly acknowledged his lyrical sources for his new album Tempest : Despite the mixed reaction afforded to Dylan at the 1965 Newport festival, several electric bands appeared at the following year's event, including the Lovin' Spoonful , Howlin' Wolf , Chuck Berry and
13650-485: The tribute set and Newport Folk Festival producer Jay Sweet was quoted as saying "Dylan's guitar is home". Bringing It All Back Home Bringing It All Back Home (known as Subterranean Homesick Blues in some European countries; sometimes also spelled Bringin' It All Back Home ) is the fifth studio album by the American singer-songwriter Bob Dylan , released in March 1965 by Columbia Records . In
13780-448: The year wore on. Dylan returned to the city, and on August 28, he met the Beatles for the first time in their New York hotel. In retrospect, this meeting with the Beatles would prove to be influential to the direction of Dylan's music, as he would soon record music invoking a rock sound for at least the next three albums. Dylan would remain on good terms with the Beatles, and as biographer Clinton Heylin writes, "the evening established
13910-633: Was Super Session , a jam album that spotlighted Bloomfield's guitar skills on one side. Bloomfield, who suffered from insomnia, left the sessions after the first day. Guitarist Stephen Stills completed the album with Kooper. It received excellent reviews and became the best-selling album of Bloomfield's career. Its success led to a live sequel, The Live Adventures of Mike Bloomfield and Al Kooper , recorded over three nights at Fillmore West in September 1968. Bloomfield continued with solo, session and back-up work from 1968 to 1980. He played guitar on Mother Earth 's cover of Memphis Slim's "Mother Earth",
14040-425: Was "an angry, startled reaction" but that "it was a hostile audience" that year for other performers also. Boyd said in an interview with Richie Unterberger in 2007: "I think there were a lot of people who were upset about the rock band, but I think it was pretty split. I think probably more people liked it than didn't. But there was certainly a lot of shouting and a lot of arguing, and a sound which, you can hear in
14170-527: Was Keith Butler, who was a student at Keele University . Butler's presence was documented in the film Eat the Document , when the 21-year-old was filmed leaving the Manchester Free Trade Hall , saying "Any pop group could produce better rubbish than that! It was a bloody disgrace! He's a traitor!" In 1999, he took part in a BBC Radio documentary about Live 1966 , and asked about his reaction at
14300-435: Was about to discard. Dylan sits forward holding his cat (named Rolling Stone) and has an opened magazine featuring an advertisement on Jean Harlow 's Life Story by the columnist Louella Parsons resting on his crossed leg. The cufflinks Dylan wore in the picture were a gift from Joan Baez , as she later referenced in her 1975 song " Diamonds & Rust ". Daniel Kramer received a Grammy nomination for best album cover for
14430-487: Was also selected, but it would not be included on the album; instead, it was issued as a single-only release in Europe, but not in the US or the UK. Though Dylan was able to record electric versions of virtually every song included on the final album, he apparently never intended Bringing It All Back Home to be completely electric. As a result, roughly half of the finished album would feature full electric band arrangements while
14560-617: Was also written earlier that year, appearing in the original manuscripts to Another Side of Bob Dylan ; a few lyrical changes were eventually made, but it's unclear if these were made that August in Woodstock. At least two songs were written that month: " If You Gotta Go, Go Now " and " It's Alright Ma (I'm Only Bleeding) ". During this time, Dylan's lyrics became increasingly surreal , and his prose grew more stylistic, often resembling stream-of-consciousness writing with published letters dating from 1964 becoming increasingly intense and dreamlike as
14690-472: Was appropriate as Bringing It All Back Home signaled a new era. Dylan was backed by an electric rock and roll band—a move that further alienated him from some of his former peers in the folk music community. The album reached No. 6 on Billboard ' s Pop Albums chart, the first of Dylan's LPs to break into the US top 10. It also topped the UK charts later that spring. The first track, " Subterranean Homesick Blues ", became Dylan's first single to chart in
14820-433: Was doing." In 2007, documentary director Murray Lerner released on DVD his complete footage of Dylan's three appearances at Newport: The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965 . When interviewed by Mojo magazine, Lerner was asked: "There's been a lot of debate over the years as to who exactly was doing the booing and who were they booing? Dylan? The organizers? The shortness of
14950-462: Was going to happen, but they certainly booed, I'll tell you that. You could hear it all over the place.... I mean, they must be pretty rich, to be able to go some place and boo. I couldn't afford it if I was in their shoes." Poor sound quality was the reason musician Pete Seeger , who was backstage, gave for disliking the performance: he says he told the audio technicians, "Get that distortion out of his voice ... It's terrible. If I had an axe, I'd chop
15080-410: Was instrumental in popularizing blues music in the mid-1960s. In 1965, he played on Bob Dylan's Highway 61 Revisited , including the single " Like a Rolling Stone ", and performed with Dylan at that year's Newport Folk Festival . Bloomfield was ranked No. 22 on Rolling Stone 's list of "100 Greatest Guitarists of All Time" in 2003 and No. 42 by the same magazine in 2011. He was inducted into
15210-569: Was issued as a single in Benelux. A different version of the song appears on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . An upbeat, electric performance, the song is relatively straightforward, with the title providing much of the subtext. Manfred Mann took the song to #2 in the UK in September 1965. Fairport Convention recorded a tongue-in-cheek, acoustic French-language version, "Si Tu Dois Partir", for their celebrated third album, Unhalfbricking . " I'll Keep It with Mine "
15340-501: Was not just another white boy; this was someone who truly understood what the blues were all about." Among his early supporters were B.B. King , Muddy Waters, Bob Dylan and Buddy Guy . "Michael used to say, 'It's a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mutual fulcrum for the blues.'" In the early 1960s he met harmonica player and singer Paul Butterfield and guitarist Elvin Bishop , with whom he would later play in
15470-571: Was on the floor near Dylan's feet but can only be seen in other shots from the same photo session, as well as a copy of the Wilhelm/Baynes version of I Ching . Visible behind Grossman is the top of Dylan's head from the cover of Another Side of Bob Dylan ; under her right arm is the magazine Time with President Lyndon B. Johnson as " Man of the Year " on the cover of the January 1, 1965 issue. There
15600-501: Was planning an electric album around the blues songs that framed his acoustic live performances of the time. To do this, he recruited three members of an American/Canadian bar band he met sometime in 1963: guitarist Robbie Robertson , drummer Levon Helm , and organist Garth Hudson (members of the Hawks, who would go on to become the Band ). Dylan was very aware of the resulting album, So Many Roads ; according to his friend, Danny Kalb, "Bob
15730-467: Was possibly "the most influential album of its era. Almost everything to come in contemporary popular song can be found therein." In 2003, the album was ranked number 31 on Rolling Stone magazine's list of the " 500 Greatest Albums of All Time ", maintaining the rating in a 2012 revised list. It moved down to number 181 on the 2020 list. The album was inducted into the Grammy Hall of Fame in 2006. In
15860-610: Was purchased by Jim Irsay , owner of the Indianapolis Colts football team. On July 26, 2015, the guitar was publicly played for the first time in 50 years during a tribute set at the Newport Folk Festival honoring the 50th anniversary of Dylan's performance at Newport. The tribute set included Gillian Welch , Dave Rawlings , Willie Watson , the New Orleans Preservation Hall Jazz Band , Jason Isbell , and several others. Isbell played Dylan's guitar during
15990-470: Was really excited about what John Hammond was doing with electric blues. I talked to him in the Figaro in 1964 and he was telling me about John and his going to Chicago and playing with a band and so on …" However, when Dylan and Wilson began work on the next album, they temporarily refrained from their own electric experimentation. The first session, held on January 13, 1965, in Columbia's Studio A in New York,
16120-617: Was recorded solo, with Dylan playing piano or acoustic guitar. Ten complete songs and several song sketches were produced, nearly all of which were discarded. Take one of "Bob Dylan's 115th Dream" would be used for the album, but three would eventually be released: "I'll Keep It With Mine" on 1985's Biograph , and " Farewell Angelina " and an acoustic version of "Subterranean Homesick Blues" on 1991's The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 . Other songs and sketches recorded at this session: "Love Minus Zero/No Limit", "It's All Over Now, Baby Blue", "She Belongs to Me", "On
16250-458: Was so flustered. He was not expecting that audience's reaction and he was concerned about Bob's image since they were part of the same family of artists through Al Grossman. But I absolutely think that they were booing Dylan going electric." Interviewed in San Francisco, on December 3, 1965, Dylan was asked whether he was "surprised the first time the boos came?" He responded: "That was at Newport. Well, I did this very crazy thing, I didn't know what
16380-412: Was the press section that was booing, not the audience', and I said, Well, I don't think you're right. A third guy gets up and says 'I was there, and there was no question, it was the audience that was booing and there was no booing from the stage'. It was fascinating. People remember hearing what they thought they should hear. I think they were definitely booing Dylan and a little bit Pete Yarrow because he
16510-406: Was the soundtrack for director-producer Roger Corman 's 1967 movie The Trip , which was recorded in the spring of that year. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, A Long Time Comin' , in April 1968 on Columbia Records . Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven. By that time, however,
16640-575: Was ultimately given to Joan Baez , who released it in 1965 as the title track of her album, Farewell, Angelina . The Greek singer Nana Mouskouri recorded her own versions of this song in French ("Adieu Angelina") in 1967 and German ("Schlaf-ein Angelina") in 1975. In the film Dont Look Back , a documentary of Dylan's 1965 tour of the UK, Baez is shown in one scene singing a fragment of the then apparently still unfinished song "Love Is Just A Four Letter Word" in
16770-529: Was voted number 189 in the third edition of Colin Larkin 's book All Time Top 1000 Albums (2000). Hip hop group Public Enemy reference it in their 2007 Dylan tribute song " Long and Whining Road ": "It's been a long and whining road, even though time keeps a-changin' / I'm a bring it all back home". The following outtakes were recorded for possible inclusion to Bringing It All Back Home . The raunchy "If You Gotta Go, Go Now (Or Else You Got To Stay All Night)"
16900-429: Was written before Another Side of Bob Dylan and was given to Nico in 1964. Nico was not yet a recording artist at the time, and she would eventually record the song for Chelsea Girl (released in 1967), but not before Judy Collins recorded her own version in 1965. Fairport Convention would also record their own version on their critically acclaimed second album, What We Did on Our Holidays . Widely considered
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