| Name | Bob Dylan |
|---|---|
| Background | solo_singer |
| Birth name | Robert Allen Zimmerman |
| Alias | Elston Gunnn, Zimmy, Blind Boy Grunt, Bobby the Hobo, Bob Landy, Jack Frost |
| Genre | Rock, folk rock, folk, blues, country, gospel |
| Born | May 24, 1941Duluth, Minnesota, U.S. |
| Instrument | Vocals, guitar, bass, harmonica, keyboard, piano |
| Occupation | Singer-songwriter |
| Years active | 1959–present |
| Label | Columbia, Asylum |
| Associated acts | The BandTraveling WilburysGrateful DeadTom PettyJoan Baez |
| Url |
Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter who has been a major figure in music for five decades. and anti-war movements. His early lyrics incorporated a variety of political, social and philosophical, as well as literary influences. They defied existing pop music conventions and appealed hugely to the then burgeoning counterculture. Initially inspired by the songs of Woody Guthrie, Dylan has both amplified and personalized musical genres, exploring numerous distinct traditions in American song—from folk, blues and country to gospel, rock and roll, and rockabilly, to English, Scottish, and Irish folk music, embracing even jazz and swing.
Dylan performs with guitar, keyboards, and harmonica. Backed by a changing line-up of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but his greatest contribution is generally considered to be his songwriting.
Since 1994, Dylan has published three books of drawings and paintings, and his work has been exhibited in major art galleries. 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."
Dylan’s parents, Abram Zimmerman and Beatrice "Beatty" Stone, were part of the area's small but close-knit Jewish community. Robert Zimmerman lived in Duluth until age six, when his father was stricken with polio and the family returned to his mother's home town, Hibbing, where Zimmerman spent the rest of his childhood. Robert Zimmerman spent much of his youth listening to the radio—first to blues and country stations broadcasting from Shreveport, Louisiana and, later, to early rock and roll. Their performance of Danny and the Juniors' "Rock and Roll Is Here to Stay" at their high school talent show was so loud that the principal cut the microphone off. In his 1959 school yearbook, Robert Zimmerman listed as his ambition "To follow Little Richard."
Zimmerman moved to Minneapolis in September 1959 and enrolled at the University of Minnesota. His early focus on rock and roll gave way to an interest in American folk music. In 1985, Dylan explained the attraction that folk music had exerted on him: "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." He soon began to perform at the 10 O'clock Scholar, a coffee house a few blocks from campus, and became actively involved in the local Dinkytown folk music circuit.
During his Dinkytown days, Zimmerman began introducing himself as "Bob Dylan". In his autobiography, Dylan acknowledged that he had been influenced by the poetry of Dylan Thomas. Explaining his change of name in a 2004 interview, Dylan remarked: "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." Guthrie had been a revelation to Dylan and was the biggest influence on his early performances. Describing Guthrie's impact on him, Dylan later 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." As well as visiting Guthrie in the hospital, Dylan befriended Guthrie's acolyte Ramblin' Jack Elliott. Much of Guthrie's repertoire was actually channeled through Elliott, and Dylan paid tribute to Elliott in Chronicles (2004).
From February 1961, Dylan played at various clubs around Greenwich Village. In September, he eventually gained public recognition when Robert Shelton wrote a positive review in The New York Times of a show at Gerde's Folk City. The same month Dylan played harmonica on folk singer Carolyn Hester's eponymous third album, which brought his talents to the attention of the album's producer John Hammond. Hammond signed Dylan to Columbia Records in October. The performances on his first Columbia album, Bob Dylan (1962), consisted of familiar folk, blues and gospel material combined with two original compositions. The album made little impact, selling only 5,000 copies in its first year, just enough to break even. Within Columbia Records, some referred to the singer as "Hammond's Folly" and suggested dropping his contract. Hammond defended Dylan vigorously. While working for Columbia, Dylan also recorded several songs under the pseudonym Blind Boy Grunt, for Broadside Magazine, a folk music magazine and record label. 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, and signed a management contract with Albert Grossman. Grossman remained Dylan's manager until 1970, and was notable both for his sometimes confrontational personality, and for the fiercely protective loyalty he displayed towards his principal client. Dylan subsequently said of Grossman, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming."
From December 1962 to January 1963, Dylan made his first trip to the United Kingdom. He had been invited by TV director Philip Saville to appear in a drama, The Madhouse on Castle Street, which Saville was directing for BBC Television. At the end of the play, Dylan performed "Blowin' in the Wind", one of the first major public performances of the song. While in London, Dylan performed at several London folk clubs, including Les Cousins, The Pinder of Wakefield, and Bunjies. "Oxford Town", for example, was a sardonic account of James Meredith's ordeal as the first black student to risk enrollment at the University of Mississippi. His most famous song at this time, "Blowin' in the Wind", partially derived its melody from the traditional slave song "No More Auction Block", while its lyrics questioned the social and political status quo. The song was widely recorded and became an international hit for Peter, Paul and Mary, setting a precedent for many other artists who had hits with Dylan's songs. "A Hard Rain's a-Gonna Fall" was based on the tune of the folk ballad "Lord Randall". With its veiled references to nuclear apocalypse, it gained even more resonance when the Cuban missile crisis developed only a few weeks after Dylan began performing it. Like "Blowin' in the Wind", "A Hard Rain's a-Gonna Fall" marked an important new direction in modern songwriting, blending a stream-of-consciousness, imagist lyrical attack with a traditional folk form.
While Dylan's topical songs solidified his early reputation, Freewheelin' also included a mixture of love songs and jokey, surreal talking blues. Humor was a large part of Dylan's persona, and the range of material on the album impressed many listeners, including The Beatles. George Harrison said, "We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful."
The rough edge of Dylan's singing was unsettling to some early listeners but an attraction to others. Describing the impact that Dylan had on her and her husband, 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." Many of his most famous early songs first reached the public through more immediately palatable versions by other performers, such as Joan Baez, who became Dylan's advocate, as well as his lover. Baez was influential in bringing Dylan to national and international prominence by recording several of his early songs and inviting him onstage during her own concerts.
Others who recorded and had hits with Dylan's songs in the early and mid-1960s included The Byrds, Sonny and Cher, The Hollies, Peter, Paul and Mary, The Association, Manfred Mann, and The Turtles. Most attempted to impart a pop feel and rhythm to the songs, while Dylan and Baez performed them mostly as sparse folk pieces. The cover versions became so ubiquitous that CBS started to promote him with the tag "Nobody Sings Dylan Like Dylan."
"Mixed Up Confusion", recorded during the Freewheelin' sessions with a backing band, was released as a single and then 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."
Dylan's next release, Nashville Skyline (1969), was virtually a mainstream country record featuring instrumental backing by Nashville musicians, a mellow-voiced Dylan, a duet with Johnny Cash, and the hit single "Lay Lady Lay," which he originally wrote for the Midnight Cowboy soundtrack, but did not submit in time to make the final cut. In May 1969, Dylan appeared on the first episode of Johnny Cash's new television show, duetting with Cash on "Girl from the North Country", "I Threw It All Away" and "Living the Blues". Dylan next travelled to England to top the bill at the Isle of Wight rock festival on August 31, 1969, after rejecting overtures to appear at the Woodstock Festival far closer to his home.
Between March 16 and 19, 1971, Dylan reserved three days at Blue Rock Studios, a small studio in New York's Greenwich Village. These sessions resulted in one single, "Watching The River Flow", and a new recording of "When I Paint My Masterpiece". On November 4, 1971 Dylan recorded "George Jackson," which he released a week later.
In 1972, Dylan signed onto Sam Peckinpah's film Pat Garrett and Billy the Kid, providing songs and backing music for the movie, and playing the role of "Alias," a member of Billy's of some historical basis. Despite the film's failure at the box office, the song "Knockin' on Heaven's Door" has proven its durability as one of Dylan's most extensively covered songs.
Dylan began 1973 by signing with a new record label, David Geffen's Asylum Records, when his contract with Columbia Records expired. On his next album, Planet Waves, he used The Band as backing group, while rehearsing for a major tour. The album included two versions of "Forever Young," which became one of his most popular songs. As one critic described it, the song projected "something hymnal and heartfelt that spoke of the father in Dylan", and Dylan himself commented: "I wrote it thinking about one of my boys and not wanting to be too sentimental." Biographer Howard Sounes noted that Jakob Dylan believed the song was about him. In January 1974, Dylan returned to live touring after a break of seven years; backed by The Band, he embarked on a high-profile, coast-to-coast North American tour, playing 40 concerts. A live double album of the tour, Before the Flood, was released on Asylum Records. Soon, Columbia Records sent word that they "will spare nothing to bring Dylan back into the fold". Dylan had second thoughts about Asylum, apparently miffed that while there had been millions of unfulfilled ticket requests for the 1974 tour, Geffen had managed to sell only 700,000 copies of Planet Waves. Dylan delayed the album's release, however, and re-recorded half of the songs at Sound 80 Studios in Minneapolis with production assistance from his brother David Zimmerman.
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 practise takes." In Rolling Stone, reviewer Jon Landau wrote that "the record has been made with typical shoddiness." Novelist Rick Moody called it "the truest, most honest account of a love affair from tip to stern ever put down on magnetic tape." with Allen Ginsberg, on the Rolling Thunder Revue in 1975]]
That summer Dylan wrote a lengthy ballad championing the cause of boxer Rubin "Hurricane" Carter, who had been imprisoned for a triple murder committed in Paterson, New Jersey in 1966. After visiting Carter in jail, Dylan wrote "Hurricane", presenting the case for Carter's innocence. Despite its 8:32 minute length, 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. The tour was a varied evening of entertainment featuring about one hundred performers and supporters drawn from the resurgent Greenwich Village folk scene, including T-Bone Burnett, Ramblin' Jack Elliott, Joni Mitchell. David Mansfield, Roger McGuinn, Mick Ronson, Joan Baez, and violinist Scarlet Rivera, whom Dylan discovered while she was walking down the street, her violin case hanging on her back. Allen Ginsberg accompanied the troupe, staging scenes for the film Dylan was simultaneously shooting. Sam Shepard was initially hired to write the film's screenplay, but ended up accompanying the tour as informal chronicler.
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 an almost travelogue-like narrative style, showing the influence of his new collaborator, playwright Jacques Levy. The spring 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 .
The fall 1975 tour with the Revue also provided the backdrop to Dylan's nearly four-hour film Renaldo and Clara, a sprawling and improvised narrative, mixed with concert footage and reminiscences. Released in 1978, the movie received generally poor, sometimes scathing, reviews and had a very brief theatrical run. Later in that year, Dylan allowed a two-hour edit, dominated by the concert performances, to be more widely released.
In November 1976, Dylan appeared at The Band's "farewell" concert, along with other guests including Joni Mitchell, Muddy Waters, Van Morrison and Neil Young. Martin Scorsese's acclaimed cinematic chronicle of this show, The Last Waltz, was released in 1978 and included about half of Dylan's set. In 1976, Dylan also wrote and duetted on the song "Sign Language" for Eric Clapton's No Reason To Cry.
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 people. For the tour, Dylan assembled an eight piece band, and was also accompanied by three backing singers. Concerts in Tokyo in February and March were recorded and released as the live double album, Bob Dylan At Budokan. Reviews were mixed. Robert Christgau awarded the album a C+ rating, giving the album a derisory review, 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." When Dylan brought the tour to the US in September 1978, he was dismayed the press described the look and sound of the show as a 'Las Vegas Tour'. The 1978 tour grossed more than $20 million, and Dylan acknowledged to the Los Angeles Times that he had some debts to pay off 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." 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". However, it suffered from poor sound recording 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.
In the 1980s the quality of Dylan's recorded work varied, from the well-regarded Infidels in 1983 to the panned Down in the Groove in 1988. Critics such as Michael Gray condemned Dylan's 1980s albums both for showing an extraordinary carelessness in the studio and for failing to release his best songs. The Infidels recording sessions, for example, produced several notable songs that Dylan left off the album. Most well regarded of these were "Blind Willie McTell" (a tribute to the dead blues singer and an evocation of African American history), "Foot of Pride" and "Lord Protect My Child". These songs were later released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.
Between July 1984 and March 1985, Dylan recorded his next studio album, Empire Burlesque. Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker has said he felt he was hired to make Dylan's album sound "a little bit more contemporary".
Dylan sang on USA for Africa's famine relief fundraising single "We Are the World". 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, Dylan 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." 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.
In April 1986, Dylan made a brief foray into the world of rap music when he added vocals to the opening verse of "Street Rock", a song featured on Kurtis Blow's album Kingdom Blow. Dylan's next studio album, Knocked Out Loaded, was released in July 1986 and contained three cover songs (by Little Junior Parker, Kris Kristofferson and the traditional gospel hymn "Precious Memories"), plus three collaborations with other writers (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." It was the first Dylan album since Freewheelin' (1963) to fail to make the Top 50. Since then, some critics have called the 11-minute epic that Dylan co-wrote with Sam Shepard, 'Brownsville Girl', a work of genius.
In 1986 and 1987, Dylan toured extensively 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 album received some very negative reviews: Allmusic said, "Quite possibly the worst album by either Bob Dylan or the Grateful Dead." After performing with these musical permutations, Dylan initiated what came to be called The Never Ending Tour on June 7, 1988, performing with a tight back-up band featuring guitarist G. E. Smith. Dylan continued to tour with this small but constantly evolving band for the next 20 years. 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. Dylan was inducted into the Rock and Roll Hall of Fame in January 1988, with Bruce Springsteen's introductory speech 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.
When Dylan released the album Down in the Groove in May 1988, it was even more unsuccessful in its sales than his previous studio album. 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." 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 the fall of 1988 their multi-platinum Traveling Wilburys Vol. 1 reached number three on the US album chart, Despite Orbison's death in December 1988, the remaining four recorded a second album in May 1990, which they released with the unexpected title Traveling Wilburys Vol. 3.
Dylan finished the decade on a critical high note with Oh Mercy produced by Daniel Lanois. Dylan critic 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." 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. The religious imagery of "Ring Them Bells" struck some critics as a re-affirmation of faith.
In 1991, Dylan was honored by the recording industry with a Grammy Lifetime Achievement Award from American actor Jack Nicholson. The event coincided with the start of the Gulf War against Saddam Hussein, and Dylan performed his song "Masters of War".
The next few years saw Dylan returning to his roots with two albums covering old 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", penned by a 19th century teacher and sung by Dylan with a haunting reverence. In November 1994 Dylan recorded two live shows for MTV Unplugged. He claimed his wish to perform a set of traditional songs for the show was overruled by Sony executives who insisted on a greatest hits package. The album produced from it, MTV Unplugged, included "John Brown", an unreleased 1963 song detailing the ravages of both war and jingoism.
With a collection of songs reportedly written while snowed-in on his Minnesota ranch, 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. Late that spring, 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." He was back on the road by midsummer, and in early fall 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".
September saw the release of 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." This collection of complex songs won him his first solo "Album of the Year" Grammy Award.
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."
Dylan commenced the new millennium by winning his first Oscar; his song "Things Have Changed", penned for the film Wonder Boys, won an Academy Award in March 2001. The Oscar (by some reports a facsimile) tours with him, presiding over shows perched atop an amplifier.
"Love and Theft" was released on September 11, 2001. Recorded with his touring band, Dylan produced the album himself under the pseudonym Jack Frost. The album was critically well-received and earned nominations for several Grammy awards. Critics noted that Dylan was widening his musical palette to include rockabilly, Western swing, jazz, and even lounge ballads.
In 2003, Dylan revisited the evangelical songs from his "born again" period and participated in the CD project . That year also saw the release of the film Masked & Anonymous, a collaboration with TV producer Larry Charles that had Dylan appearing in a cast of well-knowns, including Jeff Bridges, Penelope Cruz and John Goodman. The film polarised critics: many dismissed it as an "incoherent mess"; a few treated it as a serious work of art.
, November 2005]]In October 2004, Dylan published the first part of his autobiography, . The book confounded expectations. Dylan devoted three chapters to his first year in New York City in 1961–1962, virtually ignoring the mid-'60s 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.
Martin Scorsese's acclaimed film biography No Direction Home was broadcast in September 2005. It was shown on September 26–27, 2005, on BBC Two in the UK and PBS in the US. 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 and a Columbia-duPont Award in January 2007. The featured unreleased songs from Dylan's early career.
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") 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". Modern Times entered the U.S. charts at number one, making it Dylan's first album to reach that position since 1976's Desire.
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, and by Uncut in the UK. On the same day that Modern Times was released the iTunes Music Store released , a digital box set containing all of his albums (773 tracks in total), along with 42 rare and unreleased tracks.
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". The movie uses six distinct characters to represent different aspects of Dylan's life, played by Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw. Dylan's previously unreleased 1967 recording from which the film takes its name 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 Eddie Vedder, Mason Jennings, Stephen Malkmus, Jeff Tweedy, Karen O, Willie Nelson, Cat Power, Richie Havens, and Tom Verlaine.
On October 1, 2007, Columbia Records released the triple CD retrospective album Dylan, anthologising his entire career under the Dylan 07 logo. 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.
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 evidenced in 2004, when Dylan appeared in a TV advertisement for Victoria’s Secret lingerie. Three years later, in October 2007, he participated in a multi-media campaign for the 2008 Cadillac Escalade. 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. 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.
In October 2008, Columbia released Volume 8 of Dylan's Bootleg Series, 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. 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. The release was widely acclaimed by critics. The plethora of alternative takes and unreleased material suggested to Uncut's reviewer: "Tell Tale Signs is awash with evidence of (Dylan's) staggering mercuriality, his evident determination even in the studio to repeat himself as little as possible."
The album received largely favorable reviews, 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."
, April 28, 2006]]
In its first week of release, the album reached number one in the Billboard 200 chart in the U.S., making Bob Dylan (67 years of age) the oldest artist to ever debut at number one on that chart.
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". 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.
The album received generally favorable reviews.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." 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".
In an interview published by Street News Service, 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." The critical aggregator website Metacritic awarded the album a Metascore of 86, indicating "universal acclaim". In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set which 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, accompanied by new liner notes by Dylan critic Greil Marcus.
At the end of 2010, Dylan's organization released details of Dylan performances scheduled to take place in Australia in April 2011.
From September 2010 until January 2011, the National Gallery of Denmark is exhibiting 40 large-scale acrylic paintings by Dylan, The Brazil Series.
In June 1986, Dylan married his longtime backup singer Carolyn Dennis (often professionally known as Carol Dennis). Their daughter, Desiree Gabrielle Dennis-Dylan, was born on January 31, 1986. The couple divorced in October 1992. Their marriage and child remained a closely guarded secret until the publication of Howard Sounes' Dylan biography, Down the Highway: The Life Of Bob Dylan in 2001. Dylan now lives in Malibu, California, when not on the road.
For a period during the late 1970s and early 1980s, Bob Dylan publicly converted to Christianity. From January to April 1979, Dylan participated in Bible study classes at the Vineyard School of Discipleship in Reseda, California. 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."
By 1984, Dylan was deliberately 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." In 1997 he told David Gates of Newsweek:
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."
Dylan has been described, in the last 20 years, as a supporter of the Chabad Lubavitch movement and has privately participated in Jewish religious events, including the bar mitzvahs of his sons and attending Hadar Hatorah, a Chabad Lubavitch yeshiva. Subsequently, Jewish news services have reported that Dylan has "shown up" a few times at various High Holy Days for services at various Chabad synagogues. For example, he attended Congregation Beth Tefillah, in Atlanta, Georgia on September 22, 2007 (Yom Kippur), where he was called to the Torah for the sixth aliyah.
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."
In a 2009 interview with Bill Flanagan promoting his Christmas LP, Christmas in the Heart, Flanagan commented on the "heroic performance" Dylan gave of "O Little Town of Bethlehem" and that Dylan "delivered the song like a true believer". Dylan replied: "Well, I am a true believer."
Initially modeling his style on the songs of Woody Guthrie, and lessons learned from the blues of Robert Johnson, Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 60s, infusing it "with the intellectualism of classic literature and poetry". 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."
When Dylan made his move from acoustic music to a rock backing, the mix became more complex. For many critics, Dylan's greatest achievement was the cultural synthesis exemplified by his mid-'60s 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 summer 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."
One legacy of Dylan’s verbal sophistication was the increasing attention paid by literary critics to his lyrics. Professor Christopher Ricks published a 500 page analysis of Dylan’s work, placing him in the context of Eliot, Keats and Tennyson, and claiming that Dylan was a poet worthy of the same close and painstaking analysis. Former British poet laureate, Andrew Motion, argued that Bob Dylan’s lyrics should be studied in schools. Since 1996, academics have lobbied the Swedish Academy to award Dylan the Nobel Prize in Literature.
Dylan’s voice was, in some ways, as startling as his lyrics. New York Times critic Robert Shelton described Dylan's early vocal style as "a rusty voice suggesting Guthrie's old performances, etched in gravel like Dave Van Ronk's." David Bowie, in his tribute, "Song for Bob Dylan", described Dylan's singing as "a voice of sand and glue". Dylan's 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 on his hit single, "Like a Rolling Stone", as "at once young and jeeringly cynical". 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."
Dylan's influence has been felt in several musical genres. As Edna Gundersen stated in USA Today: "Dylan's musical DNA has informed nearly every simple twist of pop since 1962." Many musicians have testified to Dylan's influence, such as Joe Strummer, who praised Dylan as having "laid down the template for lyric, tune, seriousness, spirituality, depth of rock music." Other major musicians to have acknowledged Dylan's importance include John Lennon, Paul McCartney, Neil Young, Bruce Springsteen, Bryan Ferry, Nick Cave, Patti Smith, Syd Barrett, Cat Stevens, and Tom Waits. More directly, both The Byrds and The Band, two 1960s contemporary groups with some measure of influence on popular music themselves, largely owed their initial success to Dylan: the Byrds with their hit of "Mr. Tambourine Man" and subsequent album; and the Band for their association with him on tour in 1966, on retreat in Woodstock, and on their debut album featuring three previously unreleased Dylan songs.
There have been dissenters. Because Dylan was widely credited with imbuing pop culture with a new seriousness, the critic 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." Similarly, 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." In 2010, Joni Mitchell described Dylan as a "plagiarist" and a "fake" in an interview in the Los Angeles Times. Mitchell's comments led to discussions of Dylan's use of other people's material, both supporting and criticising Dylan.
If Dylan’s legacy in the 1960s was seen as bringing intellectual ambition to popular music, as Dylan approaches the age of 70, he is today described as a figure who has greatly expanded the folk culture from which he initially emerged. As J. Hoberman wrote in The Village Voice, "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."
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| Name | Leo Kottke |
|---|---|
| Background | non_vocal_instrumentalist |
| Birth name | Leo Kottke |
| Born | September 11, 1945Athens, Georgia |
| Instrument | Guitar |
| Genre | Folk |
| Occupation | Guitarist |
| Years active | 1966–present |
| Label | Capitol, Private Music, Oblivion Records |
| Associated acts | Mike Gordon, John Fahey |
| Url | Official website |
| Notable instruments | Gibson, Taylor, Bozo |
Focusing primarily on instrumental composition and playing, Kottke has sporadically moved in a vocal direction, singing in an unconventional yet expressive baritone famously self-described as sounding like "geese farts on a muggy day". In concert, Kottke intersperses humorous and often bizarre monologues with vocal and instrumental selections from throughout his career, played solo on his signature 6- and 12-string guitars.
After being discharged from the Naval Reserve due to his partial loss of hearing, Kottke attended St. Cloud State University in central Minnesota but left before completing his studies, choosing instead to hitchhike around the country, busking for a living, before finally settling in the Twin Cities, Minnesota. He arrived at the Scholar Coffeehouse in the Cedar-Riverside, Minneapolis area in the autumn of 1966 and soon was a regular performer. There, he recorded his debut album, 12-String Blues, which was released on the independent Oblivion record label. He recorded 6- and 12-String Guitar (also known as the "Armadillo album" after the animal pictured on its cover) for John Fahey's Takoma Records. It remains one of the works most associated with Kottke and has been re-released many times on various record labels.
Fahey's agent Denny Bruce signed Kottke to Capitol Records and in 1971, Capitol released Kottke's first major label record, Mudlark. As a result, he changed his picking style to a classical style, using the flesh of his fingertips and increasingly small amounts of fingernail rather than fingerpicks, and changing the positioning of the right hand to place less stress on the tendons. He also studied more classical and jazz-oriented compositional and playing techniques. He took a long break from recording and performing and simultaneously moved from his relationship with major labels to the smaller Private Music label. Private Music was considered a New Age music label in the Windham Hill style, and Kottke often found his music categorized as such during this period. After 1986's reflective A Shout Toward Noon, he took a brief break from recording before returning with Regards from Chuck Pink in 1988.
In 2002, Kottke and Mike Gordon (the bassist from the band Phish, which was on an extended hiatus) collaborated on Clone, an album featuring instrumental work and vocals from both musicians. A second album from the pair, Sixty Six Steps, followed in 2005. The duo has toured in support of both albums. In between these two duet albums, Kottke released a solo album, 2004's Try and Stop Me.
Leo Kottke received an honorary Doctorate in Music Performance from the University of Wisconsin–Milwaukee on May 18, 2008, where he gave the commencement address.
In the later part of his career Kottke has begun reworking and re-recording tunes he wrote and recorded in the early 1970s. Kottke has also combined previously-recorded tunes into new compositions, notably the mini-suite "Bigger Situation", also released on One Guitar No Vocals.
In 1990 Kottke and composer Stephen Paulus created Ice Fields, a work for amplified acoustic guitar and orchestra in a concerto format. Ice Fields featured five movements, each based on an existing Kottke composition, with orchestral backing and interlude sections. It was premiered by Paulus' Atlanta Symphony Orchestra and has been performed occasionally since but has not been released on record, partly due to the high cost of producing a recording with a full orchestra.
Kottke has also collaborated on his records with his mentor John Fahey, as well as with Chet Atkins, Lyle Lovett, Margo Timmins, Mike Gordon, and Rickie Lee Jones. He has recorded tunes by Tom T. Hall, Johnny Cash, Carla Bley, Fleetwood Mac, The Byrds, Jorma Kaukonen, Kris Kristofferson, Randall Hylton, and many others.
He has toured with other guitarists playing both solo and ensemble pieces; notably he toured as part of the "Guitar Summit" with jazz guitarist Joe Pass, flamenco guitarist Paco Peña, and classical guitarist Pepe Romero. He is also a frequent guest on the radio variety program A Prairie Home Companion.
Category:1945 births Category:Living people Category:American folk guitarists Category:American blues guitarists Category:Fingerstyle guitarists Category:Slide guitarists Category:St. Cloud State University alumni Category:People from Athens, Georgia Category:People from Muskogee, Oklahoma Category:Musicians from Oklahoma Category:Private Music artists Category:Windham Hill Records artists
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
