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Margotin Philippe - Bob Dylan All the Songs: The Story Behind Every Track

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NEW YORK TIMES BESTSELLER


This is the most comprehensive account of Bob Dylans work yet published with the full story of every recording session, every album, and every single released during his remarkable and illustrious 53-year career.


Please note that the ebook does not contain images.


Bob Dylan: All the Songs focuses on Dylans creative process and his organic, unencumbered style of recording. It is the only book to tell the stories, many unfamiliar even to his most fervent fans, behind all the 492 songs he released. Organized chronologically by album, Margotin and Guesdon recount the details that led to the composition of Dylans recorded songs, what went on in the recording studio, what instruments he used, and behind-the-scenes account of the great artists that Dylan worked with.

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In accordance with the US Copyright Act of 1976 the scanning uploading and - photo 1

In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the authors intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the authors rights.

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Copyright 2015, dition du Chene/EPAHachette Livre

Translation copyright 2015 Black Dog and Leventhal Publishers

Cover design by Christopher Lin

Cover copyright 2015 Hachette Book Group, Inc.

Cover image : Front: Jan Persson/Getty Images

Back: Michael Ochs Archives/Stringer

All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the authors intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@hbgusa.com. Thank you for your support of the authors rights.

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First ebook edition: Oct. 2015

Black Dog & Leventhal Publishers is an imprint of Hachette Book Group, Inc.

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The publisher is not responsible for websites (or their content) that are not owned by the publisher.

ISBN 978-0-316-35353-3

E3

On a cold day in January 1961, Bob Dylan, like one of Jack Kerouacs characters, arrived in New York City and headed straight to the clubs of Greenwich Village. Eight months later, he was discovered by John Hammond and signed a contract with Columbia Records. The folksingers first album, simply titled Bob Dylan, was recorded in two three-hour sessions on November 20 and 22, 1961, and released a few months later on March 19, 1962. That marks the beginning of one of the most astonishing and exciting chapters in the history of popular music.

Bob Dylan has long been a mythical figure, a guide, and a reference point. The public knows multiple facets of Dylan: poet, songwriter, musician, singer, actor, and author. The labels are as numerous as they are narrow. It would be pointless to pigeonhole the creator of Blowin in the Wind, Like a Rolling Stone, and Idiot Wind in a particular role. He is at once Woody Guthrie, Leadbelly, Robert Johnson, Hank Williams, Buddy Holly, and Little Richard, and he draws poetic and philosophical inspiration from William Blake, Allen Ginsberg, and Arthur Rimbaud, as well as biblical texts. He revisits and then transcends the great maelstrom of musical and artistic sensibilities. It speaks to me as I listen to some of the political rhetoric, Barack Obama once said of Maggies Farm. That is also Dylans genius. Everyone finds in his extensive repertoire a song that touches, speaks to, and moves him.

More than half a century has passed since Bob Dylan, a debut album that sounded like a poignant tribute to the pioneers of the blues. Thirty-six studio albums have been released in addition to singles, compilations, soundtracks, and the famous Bootleg Series. After all these years of enchanting and transforming the world, the artists popularity is undiminished. Therefore, today, it seems appropriate to go back over his career from the songs first recorded in Minneapolis, well before John Hammond took Dylan under his wing at Columbia, to Shadows in the Night, released in February 2015. This last album is at once an appreciation of Frank Sinatra and a tribute to the Great American Songbook.

Bob Dylan: All the Songs focuses on Dylans studio songs, album after album, single after single, outtake after outtake. Indeed, to embrace the totality of his work, albums and singles are not enough. Dylan often recorded many more titles than required for the final track listing on an album. Unsuccessful recordings, designated by the term outtakes, have been released since 1991 in a collection of official records called The Bootleg Series, with the latest installment to date appearing in November 2014. In this book we present the outtakes from each album, indicated by the series number of the corresponding bootleg and a small icon just after the official song. For these outtakes, we omit only unpublished takes of the songs that are not on official albums. It has not been possible for us to write about all 138 takes on The Basement Tapes Complete, released at the end of 2014. However, we do discuss all the songs on The Basement Tapes issued in 1975, except those not performed by Dylan himself. We also present the early songs, written before Dylan signed with Columbia.

A total of 492 songs are discussed. After a chronological presentation of the albums, singles, and compilations to which the songs belongrecording circumstances, technical details, cover design, instrumentseach song is analyzed from two perspectives: genesis and lyrics (inspiration and delivered messages) and production (Dylans musical approach and recording techniques, including the contributions of musicians, producers, and sound engineers).

For this long journey through Dylans galaxy, we relied on interviews with the songwriter himself and his numerous collaborators (musicians, producers, sound engineers, etc.), relatives, and friends, as well as on a large number of books, articles, and websites. Footnotes document each source.

We have undertaken this long exploration keeping objectivity in mind. Information is sometimes unverifiable, especially about the presence and absence of particular musicians, the exact instrument played, what producer or sound engineer worked on which recording session, and the dates of certain recordings. In these cases, we have used a question mark in parentheses (?).

Time to raise the curtain on the theater of Dylans worka theater of emotions constantly transformed, a deeply human drama.

From Little Richard to Woody Guthrie

Bob Dylan was born Robert Allen Zimmerman on May 24, 1941, in Duluth, Minnesota. He grew up in Hibbing, a small mining town near the Canadian border. At 10, he learned to play the family piano, and a couple of years later he had taught himself guitar and harmonica. He also spent a lot of time listening to the radio or hanging out in a record store on Howard Street. He absorbed everything he heard. I was always fishing for something on the radio. Just like trains and bells, it was part of the soundtrack of my life.1 Hank Williams, one of the founding fathers of country music, was one among Dylans favorite songwriters early on. There were also all those Southern bluesmen he heard on the radioMuddy Waters, Jimmy Reed, Howlin Wolf, and B. B. Kingas well as the pioneers of rock n roll, Elvis Presley, Chuck Berry, and Little Richard. All influenced him greatly.

In late 1955, along with two classmates, LeRoy Hoikkala on drums and Monte Edwardson on guitar, Bob formed his first band, the Golden Chords. The band took its name from Bobs ability to find chords that sounded good on the piano. The trio performed covers of songs by Little Richard and various blues musicians. The Golden Chords rehearsed in Dylans parents garage and sometimes in the living room, where the piano was located, before performing at various high school events and participating in amateur competitions.

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