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From Wikipedia, the free encyclopedia

This article is about the musician. For his debut album, see Bob Dylan (album).

Bob Dylan
Dylan in 2019
Born	Robert Allen Zimmerman May 24, 1941 (age 84) Duluth, Minnesota, U.S.
Other names	Shabtai Zisel ben Avraham (Hebrew name)^[1]Elston GunnnBlind Boy GruntBob LandyRobert Milkwood ThomasTedham PorterhouseLucky Wilbury Boo WilburyJack FrostSergei PetrovZimmy
Occupations	Singer-songwriterpainterwriter
Years active	1957–present^[2]
Spouses	Sara Lownds(m.1965; div.1977)Carolyn Dennis(m.1986; div.1992)
Children	6, including Jesse and Jakob
Awards	2016 Nobel Prize in Literature(for others, see list)
Musical career
Genres	Folk blues rock gospel country traditional pop
Instruments	Vocalsguitarharmonicakeyboards
Works	Albums and singles songs bootleg recordings
Labels	Columbia Asylum
Formerly of	Traveling Wilburys
Website	bobdylan.com

Signature

Bob Dylan (legally Robert Dylan;^[3] born Robert Allen Zimmerman, May 24, 1941) is an American singer-songwriter. Described as one of the greatest songwriters of all time,^[4]^[5]^[6] Dylan has been a major figure in popular culture over his 68-year career. With an estimated 125 million records sold worldwide, he is one of the best-selling musicians.^[7] Dylan added increasingly sophisticated lyrical techniques to the folk music of the early 1960s, infusing it “with the intellectualism of classic literature and poetry”.^[6] His lyrics incorporated political, social, and philosophical influences, defying pop music conventions and appealing to the burgeoning counterculture.^[8]

Dylan was born in St. Louis County, Minnesota. He moved to New York City in 1961 to pursue a career in music. Following his 1962 debut album, Bob Dylan, featuring traditional folk and blues material, he released his breakthrough album The Freewheelin’ Bob Dylan (1963), which included “Girl from the North Country” and “A Hard Rain’s a-Gonna Fall“, adapting older folk songs. His songs “Blowin’ in the Wind” (1963) and “The Times They Are a-Changin’” (1964) became anthems for the civil rights and antiwar movements. In 1965 and 1966, Dylan created controversy among folk purists when he used electrically amplified rock instrumentation for his albums Bringing It All Back Home, Highway 61 Revisited (both 1965), and Blonde on Blonde (1966). His six-minute single “Like a Rolling Stone” (1965) expanded commercial and creative boundaries in popular music.^[9]^[10]

In July 1966, a motorcycle crash led Dylan to cease touring for seven years. During this period, he recorded a large body of songs with members of the Band which produced the album The Basement Tapes (1975). Dylan explored country music and rural themes on the albums John Wesley Harding (1967), Nashville Skyline (1969) and New Morning (1970). He gained critical acclaim for Blood on the Tracks (1975) and Time Out of Mind (1997), the latter of which earned him the Grammy Award for Album of the Year. Dylan still releases music and has toured continuously since the late 1980s on what has become known as the Never Ending Tour.^[11] Since 1994, Dylan has published ten books of paintings and drawings, and his work has been exhibited in major art galleries. His life has been profiled in several documentaries and the biopic A Complete Unknown (2024).

Dylan’s numerous accolades include an Academy Award, ten Grammy Awards and a Golden Globe Award. He was honored with the Kennedy Center Honors in 1997, National Medal of Arts in 2009, and the Presidential Medal of Freedom in 2012. Dylan has been inducted into the Rock and Roll Hall of Fame, the Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame. He was awarded a Pulitzer Prize special citation in 2008, and the 2016 Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”.^[12]

Early life and education

The Zimmerman family home in Hibbing, Minnesota

Bob Dylan was born Robert Allen Zimmerman (his Hebrew name is Shabtai Zisl ben Avraham)^[1]^[13]^[14] in St. Mary’s Hospital on May 24, 1941, in Duluth, Minnesota.^[15] Dylan’s paternal grandparents, Anna Kirghiz and Zigman Zimmerman, emigrated from Odessa in the Russian Empire (now Ukraine) to the United States, following the 1905 pogroms against Jews.^[16] His maternal grandparents, Florence and Ben Stone, were Lithuanian Jews who had arrived in the US in 1902.^[16] Dylan wrote that his paternal grandmother’s family was originally from the Kağızman District of Kars Province, northeastern Turkey.^[17]

Dylan’s father Abram Zimmerman and his mother Beatrice “Beatty” Stone were part of a small, close-knit Jewish community.^[18]^[19]^[20] They lived in Duluth until Dylan was six, when his father contracted polio and the family returned to his mother’s hometown of Hibbing, where they lived for the rest of Dylan’s childhood, and his father and paternal uncles ran a furniture and appliance store.^[20]^[21]

In the early 1950s, Dylan listened to the Grand Ole Opry radio show and heard the songs of Hank Williams. He later wrote: “The sound of his voice went through me like an electric rod.”^[22] Dylan was also impressed by the delivery of Johnnie Ray: “He was the first singer whose voice and style, I guess, I totally fell in love with…. I loved his style, wanted to dress like him too.”^[23] As a teenager, Dylan heard rock and roll on radio stations broadcasting from Shreveport and Little Rock.^[24]

Dylan formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard^[25] and Elvis Presley.^[26] Their performance of Danny & the Juniors‘ “Rock and Roll Is Here to Stay” at their high school talent show was so loud that the principal cut the microphone.^[27] On January 31, 1959, 17-year-old Dylan saw Buddy Holly perform at the Duluth Armory, four days before Holly’s fatal plane crash. Dylan was electrified and in his Nobel Prize lecture he explained: “Buddy wrote songs – songs that had beautiful melodies and imaginative verses. And he sang great – sang in more than a few voices. He was the archetype. Everything I wasn’t and wanted to be.”^[28]

In 1959, Dylan’s high school yearbook carried the caption “Robert Zimmerman: to join ‘Little Richard'”.^[25]^[29] That year, as Elston Gunnn, he performed twice with Bobby Vee, playing piano and clapping.^[30]^[31]^[32] In September 1959, Dylan enrolled at the University of Minnesota.^[33] Living at the Jewish-centric fraternity Sigma Alpha Mu house, Dylan began to perform at the Ten O’Clock Scholar, a coffeehouse near campus, and became involved in the Dinkytown folk music circuit.^[34]^[35] His focus on rock and roll gave way to American folk music, as he explained in a 1985 interview:

The thing about rock’n’roll is that for me anyway it wasn’t enough…. There were great catch-phrases and driving pulse rhythms … but the songs weren’t serious or didn’t reflect life in a realistic way. I knew that when I got into folk music, it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings.^[36]

During this period, he began to introduce himself as “Bob Dylan”.^[37] In his memoir, he wrote that he considered adopting the surname Dillon before unexpectedly seeing poems by Dylan Thomas, and deciding upon the given name spelling.^[38]^{[a 1]} In a 2004 interview, he said, “You’re born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free.”^[39]

Career

1960–1962: Move to New York and stardom

Dylan dropped out of college in May 1960 at the end of his first year. In January 1961, he traveled to New York City to perform and visit his musical idol Woody Guthrie^[40] at Greystone Park Psychiatric Hospital in New Jersey.^[41] Guthrie had been a revelation to Dylan and influenced his early performances. He wrote of Guthrie’s impact: “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”.^[42] In addition to Guthrie, Dylan wrote in Chronicles that major influences on his early song writing included Robert Johnson‘s blues^[43] and what he called the “architectural forms” of Hank Williams‘s country songs.^[22]

From February 1961, Dylan played at clubs around Greenwich Village, befriending and picking up material from folk singers, including Dave Van Ronk, Fred Neil, Odetta, the New Lost City Ramblers and Irish musicians the Clancy Brothers and Tommy Makem.^[44] In September, The New York Times critic Robert Shelton boosted Dylan’s career with a very enthusiastic review of his performance at Gerde’s Folk City: “Bob Dylan: A Distinctive Folk-Song Stylist”.^[45] That month, Dylan played harmonica on folk singer Carolyn Hester‘s third album, bringing him to the attention of the album’s producer John Hammond,^[46] who signed Dylan to Columbia Records.^[47] Dylan’s debut album, Bob Dylan, released March 19, 1962,^[48]^[49] consisted of traditional folk, blues and gospel material with just two original compositions, “Talkin’ New York” and “Song to Woody“. The album sold 5,000 copies in its first year, just breaking even.^[50]

On August 9, 1962, Dylan legally changed his name to Robert Dylan in the St. Louis County Court, Hibbing. His father, Abraham Zimmerman, was the witness.^[51] The same month, Dylan signed a management contract with Albert Grossman.^[52] Grossman remained Dylan’s manager until 1970, and was known for his sometimes confrontational personality and protective loyalty.^[53] Dylan said, “He was kind of like a Colonel Tom Parker figure … you could smell him coming.”^[35] Tension between Grossman and John Hammond led to the latter suggesting Dylan work with the jazz producer Tom Wilson, who produced several tracks for the second album without formal credit. Wilson produced the next three albums Dylan recorded.^[54]^[55]

Dylan made his first trip to the United Kingdom from December 1962 to January 1963.^[56] He had been invited by television director Philip Saville to appear in Madhouse on Castle Street, which Saville was directing for BBC Television.^[57] At the end of the play, Dylan performed “Blowin’ in the Wind“, one of its first public performances.^[57] While in London, Dylan performed at several folk clubs, including the Troubadour, Les Cousins, and Bunjies.^[56]^[58] He also learned material from UK performers, including Martin Carthy.^[57]

With the release of Dylan’s second album, The Freewheelin’ Bob Dylan, in May 1963, he began to make his name as a singer-songwriter. Many songs on the album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger‘s passion for topical songs.^[59] “Oxford Town” was an account of James Meredith‘s ordeal as the first Black student at the University of Mississippi.^[60] The first song on the album, “Blowin’ in the Wind”, partly derived its melody from the traditional slave song “No More Auction Block”,^[61] while its lyrics questioned the status quo. The song was widely recorded by other artists and became a hit for Peter, Paul, and Mary.^[62] “A Hard Rain’s a-Gonna Fall” was based on the folk ballad “Lord Randall“. With its apocalyptic premonitions, the song gained resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it.^[63]^{[a 2]} Both songs marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.^[64]

Dylan’s topical songs led to his being viewed as more than just a songwriter. Janet Maslin wrote of Freewheelin’:

These were the songs that established [Dylan] as the voice of his generation —someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing civil rights movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes.^[65]^{[a 3]}

Freewheelin’ also included love songs and surreal talking blues. Humor was an important part of Dylan’s persona,^[66] and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album: “We just played it, just wore it out. The content of the song lyrics and just the attitude — it was incredibly original and wonderful”.^[67]

The rough edge of Dylan’s singing unsettled some, but attracted others. Author 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”.^[68] Many early Dylan songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan’s advocate and lover.^[69] Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts.^[70] Others who had hits with Dylan’s songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, the Association, Manfred Mann, and the Turtles.

“Mixed-Up Confusion“, recorded during the Freewheelin’ sessions with a backing band, was released as Dylan’s first single in December 1962, but then swiftly 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“.^[71]

1963–1965: Protest music and Another Side

“The Times They Are a-Changin'”

Duration: 20 seconds.0:20

Dylan said of “The Times They Are a-Changin'”: “This was definitely a song with a purpose. I wanted to write a big song, some kind of theme song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close and allied together at that time.”^[36]

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In May 1963, Dylan’s political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television’s head of program practices that “Talkin’ John Birch Paranoid Blues” was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.^[72]

Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963. Dylan performed “Only a Pawn in Their Game” and “When the Ship Comes In“.^[73]

Dylan’s third album, The Times They Are a-Changin’, reflected a more politicized Dylan.^[74] The songs often took as their subject matter contemporary stories, with “Only a Pawn in Their Game” addressing the murder of civil rights worker Medgar Evers, and the Brechtian “The Lonesome Death of Hattie Carroll” the death of Black hotel barmaid Hattie Carroll at the hands of young White socialite William Zantzinger.^[75] “Ballad of Hollis Brown” and “North Country Blues” addressed despair engendered by the breakdown of farming and mining communities.^[76]

The final track on the album expressed Dylan’s angry response to a hostile profile published in Newsweek.^[77] As biographer Clinton Heylin puts it, the profile wrote about “the way the Bar Mitzvah boy from Hibbing, Minnesota, had reinvented himself as the prince of protest”, emphasising his birth name, his attendance at the University of Minnesota, and his close relationship with his parents from whom he claimed to be estranged.^[77]^[78] The day after the article appeared, Dylan returned to the studio to record “Restless Farewell” which ends with his vow to “make my stand/ And remain as I am/ And bid farewell and not give a damn”.^[79]

By the end of 1963, Dylan felt manipulated and constrained by the folk and protest movements.^[80] Accepting the “Tom Paine Award” from the Emergency Civil Liberties Committee three weeks after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy’s assassin, Lee Harvey Oswald.^[81]

Johnny Cash supported Dylan in his refusal to conform when he wrote a letter to Broadside magazine in March 1964, expressing admiration for Dylan’s writing and ending with the injunction: “Shut up! And let him sing!”^[82] When Cash died in 2003, Dylan remembered: “Johnny wrote the magazine saying to shut up and let me sing, that I knew what I was doing. This was before I had ever met him, and the letter meant the world to me.”^[83]^[84] Cash and Dylan met for the first time at the Newport Folk Festival in July 1964 and became friends.^[85]

Another Side of Bob Dylan, recorded in a single evening on June 9, 1964,^[86] had a lighter mood. The humorous Dylan reemerged on “I Shall Be Free No. 10” and “Motorpsycho Nightmare”. “Spanish Harlem Incident” and “To Ramona” are passionate love songs, while “Black Crow Blues” and “I Don’t Believe You (She Acts Like We Never Have Met)” suggest the rock and roll soon to dominate Dylan’s music. “It Ain’t Me Babe“, on the surface a song about spurned love, has been described as a rejection of the role of political spokesman thrust upon him.^[87] His new direction was signaled by two lengthy songs: the impressionistic “Chimes of Freedom“, which sets social commentary against a metaphorical landscape in a style characterized by Allen Ginsberg as “chains of flashing images,”^{[a 4]} and “My Back Pages“, which attacks the simplistic seriousness of his own earlier topical songs and seems to predict the backlash he was about to encounter from his former champions.^[88]

In late 1964 and early 1965, Dylan moved from folk songwriter to folk-rock pop-music star. His jeans and work shirts were replaced by a Carnaby Street wardrobe, sunglasses day and night, and pointed “Beatle boots“. A London reporter noted “Hair that would set the teeth of a comb on edge. A loud shirt that would dim the neon lights of Leicester Square. He looks like an undernourished cockatoo.”^[89] Dylan began to spar with interviewers. While on Les Crane‘s television show, asked about a movie he planned, he told Crane it would be a “cowboy horror movie”. Asked if he played the cowboy, Dylan replied, “No, I play my mother.”^[90]

1965–1969: Going electric and motorcycle accident

Main articles: Electric Dylan controversy and Folk rock

Dylan’s late March 1965 album, Bringing It All Back Home, was another leap,^[91] featuring his first recordings with electric instruments, under producer Tom Wilson’s guidance.^[92] The first single, “Subterranean Homesick Blues“, owed much to Chuck Berry‘s “Too Much Monkey Business“,^[93] its free-association lyrics described as harking back to the energy of beat poetry and as a forerunner of rap and hip-hop.^[94] The song was provided with an early music video, which opened D. A. Pennebaker‘s cinéma vérité presentation of Dylan’s 1965 British tour, Dont Look Back.^[95] Instead of miming, Dylan illustrated the lyrics by throwing cue cards containing key words on the ground. Pennebaker said the sequence was Dylan’s idea, and it has been imitated in music videos and advertisements.^[96]

The second side of Bringing It All Back Home contained four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.^[97] “Mr. Tambourine Man” became one of his best-known songs when The Byrds recorded an electric version, which reached number one in the US and UK.^[98]^[99] “It’s All Over Now, Baby Blue” and “It’s Alright, Ma (I’m Only Bleeding)” were two of Dylan’s most important compositions.^[97]^[100]

In 1965, headlining the Newport Folk Festival, Dylan performed his first electric set since high school with a pickup group featuring Mike Bloomfield on guitar and Al Kooper on organ.^[101] Dylan had appeared at Newport in 1963 and 1964, but in 1965 he was met with cheering and booing and left the stage after three songs. One version has it that the boos were from folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. Murray Lerner, who filmed the performance, said: “I absolutely think that they were booing Dylan going electric.”^[102] An alternative account claims audience members were upset by poor sound and a short set.^[103]^[104]

Dylan’s performance provoked a hostile response from the folk music establishment.^[105]^[106] In the September issue of Sing Out!, Ewan MacColl wrote: “Our traditional songs and ballads are the creations of extraordinarily talented artists working inside disciplines formulated over time…. ‘But what of Bobby Dylan?’ scream the outraged teenagers…. Only a completely non-critical audience, nourished on the watery pap of pop music, could have fallen for such tenth-rate drivel”.^[107] On July 29, four days after Newport, Dylan was back in the studio in New York, recording “Positively 4th Street“. The lyrics contained images of vengeance and paranoia,^[108] and have been interpreted as Dylan’s put-down of former friends from the folk community he had known in clubs along West 4th Street.^[109]

Highway 61 Revisited and Blonde on Blonde

“Like a Rolling Stone”

Duration: 30 seconds.0:30

Dylan’s 1965 hit single, which appeared on the album Highway 61 Revisited. In 2004, it was chosen as the greatest song of all time by Rolling Stone magazine.^[110]

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In July 1965, Dylan’s six-minute single “Like a Rolling Stone” peaked at number two in the US chart. In 2004 and in 2011, Rolling Stone listed it as number one on “The 500 Greatest Songs of All Time“.^[9]^[110] Bruce Springsteen recalled first hearing the song: “that snare shot sounded like somebody’d kicked open the door to your mind.”^[111] The song opened Dylan’s next album, Highway 61 Revisited, named after the road that led from Dylan’s Minnesota to the musical hotbed of New Orleans.^[112] The songs were in the same vein as the hit single, flavored by Mike Bloomfield’s blues guitar and Al Kooper’s organ riffs. “Desolation Row“, backed by acoustic guitar and understated bass,^[113] offers the sole exception, with Dylan alluding to figures in Western culture in a song described by Andy Gill as “an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of celebrated characters”.^[114] Poet Philip Larkin, who also reviewed jazz for The Daily Telegraph, wrote “I’m afraid I poached Bob Dylan’s Highway 61 Revisited (CBS) out of curiosity and found myself well rewarded.”^[115]

In support of the album, Dylan was booked for two US concerts with Al Kooper and Harvey Brooks from his studio crew and Robbie Robertson and Levon Helm, former members of Ronnie Hawkins‘s backing band the Hawks.^[116] On August 28 at Forest Hills Tennis Stadium, the group was heckled by an audience still annoyed by Dylan’s electric sound, though their reception on September 3 at the Hollywood Bowl was more favorable.^[117]

From September 24, 1965, in Austin, Texas, Dylan toured the US and Canada for six months, backed by the five musicians from the Hawks who became known as the Band.^[118] While Dylan and the Hawks met increasingly receptive audiences, their studio efforts floundered. Producer Bob Johnston persuaded Dylan to record in Nashville in February 1966, and surrounded him with top-notch session men. At Dylan’s insistence, Robertson and Kooper came from New York City to play on the sessions.^[119] The Nashville sessions produced the double album Blonde on Blonde (1966), featuring what Dylan called “that thin wild mercury sound”.^[120] Kooper described it as “taking two cultures and smashing them together with a huge explosion”: the musical worlds of Nashville and of the “quintessential New York hipster” Bob Dylan.^[121]

On November 22, 1965, Dylan quietly married 25-year-old former model Sara Lownds.^[122] Some of Dylan’s friends, including Ramblin’ Jack Elliott, say that, immediately after the event, Dylan denied he was married.^[122] Writer Nora Ephron made the news public in the New York Post in February 1966 with the headline “Hush! Bob Dylan is wed”.^[123]

Dylan toured Australia and Europe in April and May 1966. Each show was split in two. Dylan performed solo during the first half, accompanying himself on acoustic guitar and harmonica. In the second, backed by the Hawks, he played electrically amplified music. This contrast provoked many fans, who jeered and slow clapped.^[124] The tour culminated in a raucous confrontation between Dylan and his audience at the Manchester Free Trade Hall in England on May 17, 1966.^[125] A recording of this concert was released in 1998: The Bootleg Series Vol. 4: Bob Dylan Live 1966. At the climax of the evening, a member of the audience, angered by Dylan’s electric backing, shouted: “Judas!” to which Dylan responded, “I don’t believe you … You’re a liar!” Dylan turned to his band and said, “Play it fucking loud!”^[126]

During his 1966 tour, Dylan was described as exhausted and acting “as if on a death trip”.^[127] D. A. Pennebaker, the filmmaker accompanying the tour, described Dylan as “taking a lot of amphetamine and who-knows-what-else”.^[128] In a 1969 interview with Jann Wenner, Dylan said, “I was on the road for almost five years. It wore me down. I was on drugs, a lot of things … just to keep going, you know?”^[129]

On July 29, 1966, Dylan crashed his motorcycle, a Triumph Tiger 100, near his home in Woodstock, New York. Dylan said he broke several vertebrae in his neck.^[130] The circumstances of the accident are unclear since no ambulance was called to the scene and Dylan was not hospitalized.^[130]^[131] Dylan’s biographers have written that the crash offered him the chance to escape the pressures around him.^[130]^[132] Dylan concurred: “I had been in a motorcycle accident and I’d been hurt, but I recovered. Truth was that I wanted to get out of the rat race.”^[133] He made very few public appearances, and did not tour again for almost eight years.^[131]^[134]

Once Dylan was well enough to resume creative work, he began to edit D. A. Pennebaker’s film of his 1966 tour. A rough cut was shown to ABC Television, but they rejected it as incomprehensible to mainstream audiences.^[135] The film, titled Eat the Document on bootleg copies, has since been screened at a few film festivals.^[136] Secluded from public gaze, Dylan recorded over 100 songs during 1967 at his Woodstock home and in the basement of the Hawks’ nearby house, “Big Pink“.^[137] These songs were initially offered as demos for other artists to record and were hits for Julie Driscoll, the Byrds, and Manfred Mann. The public heard these recordings when Great White Wonder, the first “bootleg recording“, appeared in West Coast shops in July 1969, containing Dylan material recorded in Minneapolis in 1961 and seven Basement Tapes songs. This record gave birth to a minor industry in the illicit release of recordings by Dylan and other major rock artists.^[138] Columbia released a Basement selection in 1975 as The Basement Tapes.

In late 1967, Dylan returned to studio recording in Nashville,^[139] accompanied by Charlie McCoy on bass,^[139] Kenny Buttrey on drums^[139] and Pete Drake on steel guitar.^[139] The result was John Wesley Harding, a record of short songs thematically drawing on the American West and the Bible. The sparse structure and instrumentation, with lyrics that took the Judeo-Christian tradition seriously, was a departure from Dylan’s previous work.^[140] It included “All Along the Watchtower“, famously covered by Jimi Hendrix.^[36]^{[a 5]} Woody Guthrie died in October 1967, and Dylan made his first live appearance in twenty months at a memorial concert held at Carnegie Hall on January 20, 1968, where he was backed by the Band.^[141]

“Lay Lady Lay”

Duration: 21 seconds.0:21

“Lay Lady Lay“, on the country album Nashville Skyline, has been one of Dylan’s biggest hits, reaching No. 7 in the US.^[142]

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Nashville Skyline (1969), featured Nashville musicians, a mellow-voiced Dylan, a duet with Johnny Cash and the single “Lay Lady Lay“.^[143] Variety wrote, “Dylan is definitely doing something that can be called singing. Somehow he has managed to add an octave to his range.”^[144] During one recording session, Dylan and Cash recorded a series of duets, but only their version of “Girl from the North Country” appeared on the album.^[145]^[146] The album influenced the nascent genre of country rock.^[6]

In 1969, Dylan was asked to write songs for Scratch, Archibald MacLeish‘s musical adaptation of “The Devil and Daniel Webster“. MacLeish initially praised Dylan’s contributions, writing to him “Those songs of yours have been haunting me—and exciting me,” but creative differences led to Dylan leaving the project. Some of the songs were later recorded by Dylan in a revised form.^[147] In May 1969, Dylan appeared on the first episode of The Johnny Cash Show where he sang a duet with Cash on “Girl from the North Country” and played solos of “Living the Blues” and “I Threw It All Away“. Dylan traveled to England to top the bill at the Isle of Wight Festival on August 31, 1969, after rejecting overtures to appear at the Woodstock Festival closer to home.^[148]

1970–1979: Return to touring and Christian music

In the early 1970s, critics charged that Dylan’s output was varied and unpredictable. Greil Marcus asked “What is this shit?” upon first hearing Self Portrait, released in June 1970.^[149]^[150] It was a double LP including few original songs and was poorly received.^[151] In October 1970, Dylan released New Morning, considered a return to form.^[152] The title track was from Dylan’s ill-fated collaboration with MacLeish,^[147] and “Day of the Locusts” was his account of receiving an honorary degree from Princeton University on June 9, 1970.^[153] In November 1968, Dylan co-wrote “I’d Have You Anytime” with George Harrison;^[154] Harrison recorded that song and Dylan’s “If Not for You” for his album All Things Must Pass. Olivia Newton-John covered “If Not For You” on her debut album and “The Man in Me” was prominently featured in the film The Big Lebowski (1998).

Tarantula, a freeform book of prose-poetry, had been written by Dylan during a creative burst in 1964–65.^[155] Dylan shelved his book for several years, apparently uncertain of its status,^[156] until he suddenly informed Macmillan at the end of 1970 that the time had come to publish it.^[157] The book attracted negative reviews but later critics have suggested its affinities with Finnegans Wake and A Season in Hell.^[158]

Between March 16 and 19, 1971, Dylan recorded with Leon Russell at Blue Rock, a small studio in Greenwich Village. These sessions resulted in “Watching the River Flow” and a new recording of “When I Paint My Masterpiece“.^[159] On November 4, 1971, Dylan recorded “George Jackson“, which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of Black Panther George Jackson in San Quentin State Prison.^[160] Dylan’s surprise appearance at Harrison’s Concert for Bangladesh on August 1, 1971, attracted media coverage as his live appearances had become rare.^[161]

In 1972, Dylan joined Sam Peckinpah‘s film Pat Garrett and Billy the Kid, providing the soundtrack and playing “Alias”, a member of Billy’s gang.^[162] Despite the film’s failure at the box office, “Knockin’ on Heaven’s Door” became one of Dylan’s most covered songs.^[163]^[164] That same year, Dylan protested the move to deport John Lennon and Yoko Ono, who had been convicted for marijuana possession, by sending a letter to the US Immigration Service which read in part: “Hurray for John & Yoko. Let them stay and live here and breathe. The country’s got plenty of room and space. Let John and Yoko stay!”^[165]

Dylan began 1973 by signing with a new label, David Geffen‘s Asylum Records, when his contract with Columbia Records expired.^[167] His next album, Planet Waves, was recorded in the fall of 1973, using the Band as his backing group as they rehearsed for a major tour.^[168] The album included two versions of “Forever Young”, which became one of his most popular songs.^[169] As one critic described it, the song projected “something hymnal and heartfelt that spoke of the father in Dylan”,^[170] and Dylan said “I wrote it thinking about one of my boys and not wanting to be too sentimental”.^[36] Columbia Records simultaneously released Dylan, a collection of studio outtakes, widely interpreted as a churlish response to Dylan’s signing with a rival record label.^[171]

In January 1974, Dylan, backed by the Band, embarked on a North American tour of 40 concerts—his first tour for seven years. A live double album, Before the Flood, was released on Asylum Records. Soon, according to Clive Davis, Columbia Records sent word they “will spare nothing to bring Dylan back into the fold”.^[172] Dylan had second thoughts about Asylum, unhappy that Geffen had sold only 600,000 copies of Planet Waves despite millions of unfulfilled ticket requests for the 1974 tour;^[173] he returned to Columbia Records, which reissued his two Asylum albums.^[174]

“Tangled Up in Blue”

Duration: 28 seconds.0:28

Dylan said of the opening song from Blood on the Tracks: “I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you’re never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn’t matter.”^[36]

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After the tour, Dylan and his wife became estranged. He filled three small notebooks with songs about relationships and ruptures, and recorded the album Blood on the Tracks in September 1974.^[175]^[176] Dylan delayed the album’s release and re-recorded half the songs at Sound 80 Studios in Minneapolis with production assistance from his brother, David Zimmerman.^[177] Released in early 1975, Blood on the Tracks received mixed reviews. In NME, Nick Kent described the “accompaniments” as “often so trashy they sound like mere practice takes”.^[178] In Rolling Stone, Jon Landau wrote that “the record has been made with typical shoddiness”.^[178] Over the years critics came to see it as one of Dylan’s masterpieces. In Salon, journalist Bill Wyman wrote:

Blood on the Tracks is his only flawless album and his best produced; the songs, each of them, are constructed in disciplined fashion. It is his kindest album and most dismayed, and seems in hindsight to have achieved a sublime balance between the logorrhea-plagued excesses of his mid-1960s output and the self-consciously simple compositions of his post-accident years.^[179]

In the middle of 1975, Dylan championed boxer Rubin “Hurricane” Carter, imprisoned for triple murder, with his ballad “Hurricane” making the case for Carter’s innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the US Billboard chart, and performed at every 1975 date of Dylan’s next tour, the Rolling Thunder Revue.^{[a 6]}^[180] Running through late 1975 and again through early 1976, the tour featured about one hundred performers and supporters from the Greenwich Village folk scene, among them Ramblin’ Jack Elliott, T-Bone Burnett, Joni Mitchell,^[181]^[182] David Mansfield, Roger McGuinn, Mick Ronson, Ronee Blakely, Joan Baez and Scarlet Rivera, whom Dylan discovered walking down the street, her violin case on her back.^[183] The tour encompassed the January 1976 release of the album Desire. Many of Desire’s songs featuring a travelogue-like narrative style, influenced by Dylan’s new collaborator, playwright Jacques Levy.^[184]^[185] The 1976 half of the tour was documented by a TV concert special, Hard Rain, and the LP Hard Rain.

The 1975 tour with the Revue provided the backdrop to Dylan’s film Renaldo and Clara, a sprawling narrative mixed with concert footage and reminiscences. Actor and playwright Sam Shepard accompanied the Revue and was to serve as screenwriter, but much of the film was improvised. Released in 1978, it received negative, sometimes scathing, reviews.^[186]^[187] Later in the year, a two-hour edit, dominated by the concert performances, was more widely released.^[188] In November 1976, Dylan appeared at the Band’s farewell concert with Eric Clapton, Muddy Waters, Van Morrison, Neil Young and Joni Mitchell. Martin Scorsese‘s 1978 film of the concert, The Last Waltz, included most of Dylan’s set.^[189]

In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and North America, to a total audience of two million. Dylan assembled an eight-piece band and three backing singers. Concerts in Tokyo in February and March were released as the live double album Bob Dylan at Budokan.^[190] Reviews were mixed. Robert Christgau awarded the album a C+ rating,^[191] while Janet Maslin defended it: “These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals”.^[192] When Dylan brought the tour to the US in September 1978, the press described the look and sound as a “Las Vegas Tour”.^[193] The 1978 tour grossed more than $20 million, and Dylan told the Los Angeles Times that he had debts because “I had a couple of bad years. I put a lot of money into the movie, built a big house … and it costs a lot to get divorced in California.”^[190] In April and May 1978, Dylan took the same band and vocalists into Rundown Studios in Santa Monica, California, to record an album of new material, Street-Legal.^[194] 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”.^[195] However, it had poor sound and mixing (attributed to Dylan’s studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs’ strengths.^[196]^[197]

“Gotta Serve Somebody”

Duration: 31 seconds.0:31

Dylan took five months off at the beginning of 1979 to attend Bible school.^[36] His subsequent album Slow Train Coming reached No. 3 on the US Billboard 200 chart and included this Grammy-winning song.

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In the late 1970s, Dylan converted to Evangelical Christianity,^[198]^[199] undertaking a three-month discipleship course run by the Association of Vineyard Churches.^[200]^[201] He released three albums of contemporary gospel music. Slow Train Coming (1979) featured Dire Straits guitarist Mark Knopfler and was produced by veteran R&B producer Jerry Wexler. Wexler said that Dylan had tried to evangelize him during the recording. He replied: “Bob, you’re dealing with a 62-year-old Jewish atheist. Let’s just make an album.”^[202] Dylan won the Grammy Award for Best Male Rock Vocal Performance for the song “Gotta Serve Somebody“. When touring in late 1979 and early 1980, Dylan would not play his older, secular works, and he delivered declarations of his faith from the stage, such as:

Years ago they … said I was a prophet. I used to say, “No I’m not a prophet”, they say “Yes you are, you’re a prophet.” I said, “No it’s not me.” They used to say “You sure are a prophet.” They used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They say, “Bob Dylan’s no prophet.” They just can’t handle it.^[203]

Dylan’s Christianity was unpopular with some fans and musicians.^[204] John Lennon, shortly before being murdered, recorded “Serve Yourself” in response to “Gotta Serve Somebody”.^[205] In 1981, Stephen Holden wrote in The New York Times that “neither age (he’s now 40) nor his much-publicized conversion to born-again Christianity has altered his essentially iconoclastic temperament”.^[206]

1980–1989: Career fluctuations

In late 1980, Dylan briefly played concerts billed as “A Musical Retrospective”, restoring popular 1960s songs to the repertoire. His second Christian album, Saved (1980), received mixed reviews, described by Michael Gray as “the nearest thing to a follow-up album Dylan has ever made, Slow Train Coming II and inferior”.^[207] His third Christian album was Shot of Love (1981).^[208] The album featured his first secular compositions in more than two years, mixed with Christian songs. The lyrics of “Every Grain of Sand” recall William Blake‘s “Auguries of Innocence“.^[209] Elvis Costello wrote that “Shot of Love may not be your favorite Bob Dylan record, but it might contain his best song: ‘Every Grain of Sand’.”^[210]

Reception of Dylan’s 1980s recordings varied. Gray criticized Dylan’s 1980s albums for carelessness in the studio and for failing to release his best songs.^[211] Infidels (1983) employed Knopfler again as lead guitarist and also as producer; the sessions resulted in several songs that Dylan left off the album. Best regarded of these were “Blind Willie McTell“, which was both a tribute to the eponymous blues musician and an evocation of African American history,^[212] “Foot of Pride” and “Lord Protect My Child“. These three songs were later released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.^[213]

Between July 1984 and March 1985, Dylan recorded Empire Burlesque.^[214] Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker said he felt he was hired to make Dylan’s album sound “a little bit more contemporary”.^[214] In 1985 Dylan sang on USA for Africa‘s famine relief single “We Are the World“. He also joined Artists United Against Apartheid, providing vocals for their single “Sun City“.^[215] On July 13, 1985, he appeared at the Live Aid concert at JFK Stadium, Philadelphia. Backed by Keith Richards and Ronnie Wood, he performed a ragged version of “Ballad of Hollis Brown”, a tale of rural poverty, and then said to the worldwide audience: “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”.^[216] His remarks were widely criticized as inappropriate, but inspired Willie Nelson to organize a concert, Farm Aid, to benefit debt-ridden American farmers.^[217]

In October 1985, Dylan released Biograph, a box set featuring 53 tracks, 18 of them previously unreleased. Stephen Thomas Erlewine wrote: “Historically, Biograph is significant not for what it did for Dylan’s career, but for establishing the box set, complete with hits and rarities, as a viable part of rock history.”^[218] Biograph also contained liner notes by Cameron Crowe in which Dylan discussed the origins of some of his songs.^[219]

In April 1986, Dylan made a foray into rap when he added vocals to the opening verse of “Street Rock” on Kurtis Blow‘s album Kingdom Blow.^[220] Dylan’s next studio album, Knocked Out Loaded (1986), contained three covers (by Junior Parker, Kris Kristofferson and the gospel hymn “Precious Memories“), plus three collaborations (with Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. A reviewer wrote:

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.^[221]

It was the first Dylan album since his 1962 debut to fail to make the Top 50.^[222] Some critics have called the song Dylan co-wrote with Shepard, “Brownsville Girl“, a masterpiece.^[223]

In 1986 and 1987, Dylan toured with Tom Petty and the Heartbreakers, sharing vocals with Petty on several songs each night. Dylan also toured with the Grateful Dead in 1987, resulting in the live album Dylan & The Dead, which received negative reviews; Erlewine said it was “quite possibly the worst album by either Bob Dylan or the Grateful Dead”.^[224] Dylan initiated what came to be called the Never Ending Tour on June 7, 1988, performing with a back-up band featuring guitarist G. E. Smith. Dylan would continue to tour with a small, changing band for the next 30 years.^[225] In 1987, Dylan starred in Richard Marquand‘s movie Hearts of Fire, in which he played Billy Parker, a washed-up rock star turned chicken farmer whose teenage lover (Fiona) leaves him for a jaded English synth-pop sensation (Rupert Everett).^[226] Dylan also contributed two original songs to the soundtrack—”Night After Night”, and “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.^[227]

Dylan was inducted into the Rock and Roll Hall of Fame in January 1988. Bruce Springsteen, in his introduction, declared, “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”.^[111] Down in the Groove (1988) sold even more poorly than Knocked Out Loaded.^[228] 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.”^[229] The critical and commercial disappointment of that album was swiftly followed by the success of the Traveling Wilburys, a supergroup Dylan co-founded with George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. In late 1988, their Traveling Wilburys Vol. 1 reached number three on the US albums chart,^[228] featuring songs described as Dylan’s most accessible in years.^[230] Despite Orbison’s death in December 1988, the remaining four recorded a second album in May 1990, Traveling Wilburys Vol. 3.^[231]

Dylan finished the decade on a critical high note with Oh Mercy, produced by Daniel Lanois. Gray praised the album as “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.”^[229] “Most of the Time“, a lost-love composition, was prominently featured in the film High Fidelity (2000), while “What Was It You Wanted” has been interpreted both as a catechism and a wry comment on the expectations of critics and fans.^[232] The religious imagery of “Ring Them Bells” struck some critics as a re-affirmation of faith.^[233]

1990–1999: Return to Folk music and resurgence

Dylan’s 1990s began with Under the Red Sky (1990), an about-face from the serious Oh Mercy. It contained several apparently simple songs, including “Under the Red Sky” and “Wiggle Wiggle”. The album was dedicated to “Gabby Goo Goo”, a nickname for the daughter of Dylan and Carolyn Dennis, Desiree Gabrielle Dennis-Dylan, who was four.^[234] Musicians on the album included George Harrison, Slash, David Crosby, Bruce Hornsby, Stevie Ray Vaughan, and Elton John. The record received negative reviews and sold poorly.^[235] In 1990 and 1991 Dylan was described by his biographers as drinking heavily, impairing his performances on stage.^[236]^[237] In an interview with Rolling Stone, Dylan dismissed allegations that drinking was interfering with his music: “That’s completely inaccurate. I can drink or not drink. I don’t know why people would associate drinking with anything I do, really”.^[238]

Defilement and remorse were themes Dylan addressed when he received a Grammy Lifetime Achievement Award from Jack Nicholson in February 1991.^[239] The event coincided with the start of the Gulf War and Dylan played “Masters of War“; Rolling Stone called his performance “almost unintelligible”.^[240] He made a short speech: “My daddy once said to me, he said, ‘Son, it is possible for you to become so defiled in this world that your own mother and father will abandon you. If that happens, God will believe in your ability to mend your own ways'”.^[239]^[241] This was a paraphrase of 19th-century Orthodox Rabbi Samson Raphael Hirsch‘s commentary on Psalm 27.^[242] On October 16, 1992, the thirtieth anniversary of Dylan’s debut album was celebrated with a concert at Madison Square Garden, christened “Bobfest” by Neil Young and featuring John Mellencamp, Stevie Wonder, Lou Reed, Eddie Vedder, Dylan and others. It was recorded as the live album The 30th Anniversary Concert Celebration.^[240]

Over the next few years Dylan returned to his roots with two albums covering traditional folk and blues songs: Good as I Been to You (1992) and World Gone Wrong (1993), backed solely by his acoustic guitar.^[243] Many critics and fans noted the quiet beauty of the song “Lone Pilgrim”,^[244] written by a 19th-century teacher. In August 1994, he played at Woodstock ’94; Rolling Stone called his performance “triumphant”.^[240] In November, Dylan recorded two live shows for MTV Unplugged. He said his wish to perform traditional songs was overruled by Sony executives who insisted on hits.^[245] The resulting album, MTV Unplugged, included “John Brown”, an unreleased 1962 song about how enthusiasm for war ends in mutilation and disillusionment.^[246]

With a collection of songs reportedly written while snowed in on his Minnesota ranch,^[247] 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.^[248] Before the album’s release Dylan was hospitalized with life-threatening pericarditis, brought on by histoplasmosis. His scheduled European tour was canceled, but Dylan made a speedy recovery and left the hospital saying, “I really thought I’d be seeing Elvis soon”.^[249] He was back on the road by mid-year, and performed before Pope John Paul II at the World Eucharistic Conference in Bologna, Italy. The Pope treated the audience of 200,000 to a homily based on Dylan’s “Blowin’ in the Wind”.^[250]

In September, Dylan released the new Lanois-produced album, Time Out of Mind. With its bitter assessments of love and morbid ruminations, Dylan’s first collection of original songs in seven years was highly acclaimed. Alex Ross called it “a thrilling return to form”.^[251] “Cold Irons Bound” won Dylan another Grammy For Best Male Rock Vocal Performance, and the album won him his first Grammy Award for Album of the Year.^[252] The album’s first single, “Not Dark Yet“, has been called one of Dylan’s best songs^[253] and “Make You Feel My Love” was covered by Billy Joel, Garth Brooks, Adele and others. Elvis Costello said “I think it might be the best record he’s made.”^[254]

2000–2009: Oscar win, memoir, and Modern Times

“Things Have Changed”

Duration: 21 seconds.0:21

Dylan’s Oscar-winning song was featured in the movie Wonder Boys. The line “sapphire-tinted skies” echoes the verse of Shelley^[255] while “forty miles of bad road” echoes Duane Eddy‘s hit single.

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In 2001, Dylan won an Academy Award for Best Original Song for “Things Have Changed“, written for the film Wonder Boys.^[256] “Love and Theft” was released on September 11, 2001. Recorded with his touring band, Dylan produced the album under the alias Jack Frost.^[257] Critics noted that Dylan was widening his musical palette to include rockabilly, Western swing, jazz and lounge music.^[258] The album won the Grammy Award for Best Contemporary Folk Album.^[259] Controversy ensued when The Wall Street Journal pointed out similarities between the album’s lyrics and Junichi Saga‘s book Confessions of a Yakuza. Saga was not familiar with Dylan’s work, but said he was flattered. Upon hearing the album, Saga said of Dylan: “His lines flow from one image to the next and don’t always make sense. But they have a great atmosphere.”^[260]^[261]

In 2003, Dylan revisited the evangelical songs from his Christian period and participated in the project Gotta Serve Somebody: The Gospel Songs of Bob Dylan. That year, Dylan released Masked & Anonymous, which he co-wrote with director Larry Charles under the alias Sergei Petrov.^[262] Dylan starred as Jack Fate, alongside a cast that included Jeff Bridges, Penélope Cruz and John Goodman. The film polarized critics.^[263] In The New York Times, A. O. Scott called it as an “incoherent mess”;^[264] a few treated it as a serious work of art.^[265]^[266]

In 2004, Dylan published the first part of his memoir, Chronicles: Volume One. Confounding expectations,^[267] Dylan devoted three chapters to his first year in New York City in 1961–1962, virtually ignoring the mid-1960s when his fame was at its height, while devoting chapters to the albums New Morning (1970) and Oh Mercy (1989). The book reached number two on The New York Times’ Hardcover Non-Fiction bestseller list in December 2004 and was nominated for a National Book Award.^[268]

Critics noted that Chronicles contained many examples of pastiche and borrowing; sources included Time magazine^[269] and the novels of Jack London.^[270] Biographer Clinton Heylin queried the veracity of Dylan’s autobiography, noting “Not a single checkable story held water; not one anecdote couldn’t be shot full of holes by any half-decent researcher.”^[271]

Martin Scorsese’s Dylan documentary No Direction Home was broadcast on September 26–27, 2005, on BBC Two in the UK and as part of American Masters on PBS in the US.^[272] It covers 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 earned a Peabody Award^[273] and a Columbia-duPont Award.^[274] The accompanying soundtrack featured unreleased songs from Dylan’s early years.^[275]

Dylan’s career as a radio presenter began on May 3, 2006, with his weekly program, Theme Time Radio Hour, on XM Satellite Radio. He played songs with a common theme, such as “Weather”, “Weddings”, “Dance” and “Dreams”.^[276]^[277] Dylan’s records ranged from Muddy Waters to Prince, L.L. Cool J to the Streets. Dylan’s show was praised for the breadth of his musical selections^[278] and for his jokes, stories and eclectic references.^[279]^[280] In April 2009, Dylan broadcast the 100th show in his radio series; the theme was “Goodbye” and he signed off with Woody Guthrie’s “So Long, It’s Been Good to Know Yuh“.^[281]

Dylan released Modern Times in August 2006. Despite some coarsening of Dylan’s voice (a critic for The Guardian characterized his singing on the album as “a catarrhal death rattle”^[282]) most reviewers praised the album, and many described it as the final installment of a successful trilogy, encompassing Time Out of Mind and “Love and Theft”.^[283] Modern Times entered the US charts at number one, making it Dylan’s first album to reach that position since 1976’s Desire.^[284] The New York Times published an article exploring similarities between some of Dylan’s lyrics in Modern Times and the work of the Civil War poet Henry Timrod.^[285] Modern Times won the Grammy Award for Best Contemporary Folk Album and Dylan won Best Solo Rock Vocal Performance for “Someday Baby”.^[286] Modern Times was named Album of the Year by Rolling Stone^[287] and Uncut.^[288] On the same day that Modern Times was released, the iTunes Music Store released Bob Dylan: The Collection, a digital box set containing all of his albums (773 tracks), along with 42 rare and unreleased tracks.^[289]

On October 1, 2007, Columbia Records released the triple CD retrospective Dylan, anthologizing his entire career under the Dylan 07 logo.^[290] The sophistication of the Dylan 07 marketing campaign was a reminder that Dylan’s commercial profile had risen considerably since the 1990s. This became evident in 2004, when Dylan appeared in a TV advertisement for Victoria’s Secret.^[291] In October 2007, he participated in a multi-media campaign for the 2008 Cadillac Escalade.^[292]^[293] In 2009 he gave the highest profile endorsement of his career to date, appearing with rapper will.i.am in a Pepsi ad that debuted during Super Bowl XLIII. The ad opened with Dylan singing the first verse of “Forever Young” followed by will.i.am doing a hip hop version of the song’s final verse.^[294]

The Bootleg Series Vol. 8 – Tell Tale Signs was released in October 2008, 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.^[295] 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”.^[296]^[297] The release was widely acclaimed by critics.^[298] The abundance of alternative takes and unreleased material suggested to one reviewer that this volume of old outtakes “feels like a new Bob Dylan record, not only for the astonishing freshness of the material, but also for the incredible sound quality and organic feeling of everything here”.^[299]

Dylan released Together Through Life on April 28, 2009. In a conversation with music journalist Bill Flanagan, Dylan explained it originated when French director Olivier Dahan asked him to supply a song for his movie My Own Love Song. He initially intended to record a single track, “Life Is Hard”, but “the record sort of took its own direction”.^[300] Nine of the album’s ten songs are credited as co-written by Dylan and Robert Hunter.^[301] The album received largely favorable reviews,^[302] although several critics described it as a minor addition to Dylan’s canon.^[303] In its first week of release, the album reached number one on the Billboard 200 chart in the US, making Dylan, at 67 years of age, the oldest artist to ever debut at number one on that chart.^[304]

Dylan’s Christmas in the Heart was released in October 2009, comprising such Christmas standards as “Little Drummer Boy“, “Winter Wonderland” and “Here Comes Santa Claus“.^[305] Edna Gundersen wrote that Dylan was “revisiting yuletide styles popularized by Nat King Cole, Mel Tormé, and the Ray Conniff Singers“.^[306] Dylan’s royalties from the album were donated to the charities Feeding America in the US, Crisis in the UK, and the World Food Programme.^[307] The album received generally favorable reviews.^[308] In an interview published in The Big Issue, Flanagan asked Dylan why he had performed the songs in a straightforward style, and he replied: “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.”^[309]

2010–2019: Tempest and continued recordings

Volume 9 of Dylan’s Bootleg Series, The Witmark Demos, was issued in October 18, 2010. It comprised 47 demo recordings of songs taped between 1962 and 1964 for Dylan’s earliest music publishers: Leeds Music in 1962, and Witmark Music from 1962 to 1964. One reviewer described the set as “a hearty glimpse of young Bob Dylan changing the music business, and the world, one note at a time.”^[310] On the critical aggregator Metacritic, the album has a score of 86, indicating “universal acclaim”.^[311] In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set that presented Dylan’s eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), in their original mono mix in the CD format for the first time. The set was accompanied by a booklet featuring an essay by Greil Marcus.^[312]^[313]

On April 12, 2011, Legacy Recordings released Bob Dylan in Concert – Brandeis University 1963, taped at Brandeis University on May 10, 1963, two weeks before the release of The Freewheelin’ Bob Dylan. The tape was discovered in the archive of music writer Ralph J. Gleason, and the recording carries liner notes by Michael Gray, who says it captures Dylan

from way back when Kennedy was President and the Beatles hadn’t yet reached America. It reveals him not at any Big Moment but giving a performance like his folk club sets of the period … This is the last live performance we have of Bob Dylan before he becomes a star.^[314]

On Dylan’s 70th birthday, three universities organized symposia on his work: the University of Mainz,^[315] the University of Vienna,^[316] and the University of Bristol^[317] invited literary critics and cultural historians to give papers on aspects of Dylan’s work. Other events, including tribute bands, discussions and simple singalongs, took place around the world, as reported in The Guardian: “From Moscow to Madrid, Norway to Northampton and Malaysia to his home state of Minnesota, self-confessed ‘Bobcats’ will gather today to celebrate the 70th birthday of a giant of popular music.”^[318]

Dylan’s 35th studio album, Tempest, was released on September 11, 2012.^[319] The album features a tribute to John Lennon, “Roll On John“, and the title track is a 14-minute song about the sinking of the Titanic.^[320] In Rolling Stone, Will Hermes gave Tempest five out of five stars, writing: “Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks’ words like a freestyle rapper on fire”.^[321]

Volume 10 of Dylan’s Bootleg Series, Another Self Portrait (1969–1971), was released in August 2013.^[322] The album contained 35 previously unreleased tracks, including alternative takes and demos from Dylan’s 1969–1971 recording sessions during the making of the Self Portrait and New Morning albums. The box set also included a live recording of Dylan’s performance with the Band at the Isle of Wight Festival in 1969. Thom Jurek wrote, “For fans, this is more than a curiosity, it’s an indispensable addition to the catalog.”^[323] Columbia Records released a boxed set containing all 35 Dylan studio albums, six albums of live recordings and a collection of non-album material (Sidetracks) as Bob Dylan: Complete Album Collection: Vol. One, in November 2013.^[324]^[325] To publicize the box set, a video of “Like a Rolling Stone” was released on Dylan’s website. The interactive video, created by director Vania Heymann, allowed viewers to switch between 16 simulated TV channels, all featuring characters who are lip-synching the lyrics.^[326]^[327]

Dylan appeared in a commercial for the Chrysler 200 car which aired during the 2014 Super Bowl. In it, he says that “Detroit made cars and cars made America… So let Germany brew your beer, let Switzerland make your watch, let Asia assemble your phone. We will build your car.” Dylan’s ad was criticized for its protectionist implications, and people wondered whether he had “sold out“.^[328]^[329] The Lyrics: Since 1962 was published by Simon & Schuster in the fall of 2014. The book was edited by literary critic Christopher Ricks, Julie Nemrow and Lisa Nemrow and offered variant versions of Dylan’s songs, sourced from out-takes and live performances. A limited edition of 50 books, signed by Dylan, was priced at $5,000. “It’s the biggest, most expensive book we’ve ever published, as far as I know”, said Jonathan Karp, Simon & Schuster’s president and publisher.^[330]^[331] A comprehensive edition of the Basement Tapes, songs recorded by Dylan and the Band in 1967, was released as The Bootleg Series Vol. 11: The Basement Tapes Complete in November 2014. The album included 138 tracks in a six-CD box; the 1975 album The Basement Tapes contained just 24 tracks from the material which Dylan and the Band had recorded at their homes in Woodstock, New York in 1967. Subsequently, over 100 recordings and alternate takes had circulated on bootleg records. The sleeve notes are by author Sid Griffin.^[332]^[333] The Basement Tapes Complete won the Grammy Award for Best Historical Album.^[334] The box set earned a score of 99 on Metacritic.^[335]

In February 2015, Dylan released Shadows in the Night, featuring ten songs written between 1923 and 1963,^[336]^[337] which have been described as part of the Great American Songbook.^[338] All of the songs had been recorded by Frank Sinatra, but both critics and Dylan himself cautioned against seeing the record as a collection of “Sinatra covers”.^[336]^[339] Dylan explained: “I don’t see myself as covering these songs in any way. They’ve been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day”.^[340] Critics praised the restrained instrumental backings and the quality of Dylan’s singing.^[338]^[341] The album debuted at number one in the UK Albums Chart in its first week of release.^[342] The Bootleg Series Vol. 12: The Cutting Edge 1965–1966, consisting of previously unreleased material from the three albums Dylan recorded between January 1965 and March 1966 (Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde) was released in November 2015. The set was released in three formats: a 2-CD “Best Of” version, a 6-CD “Deluxe edition”, and an 18-CD “Collector’s Edition”. On Dylan’s website the “Collector’s Edition” was described as containing “every single note recorded by Bob Dylan in the studio in 1965/1966”.^[343]^[344] The Best of the Cutting Edge entered the Billboard Top Rock Albums chart at number one on November 18, based on its first-week sales.^[345]

Dylan released Fallen Angels, described as “a direct continuation of the work of ‘uncovering’ the Great Songbook that he began on Shadows In the Night“, in May.^[346] The album contained twelve songs by classic songwriters such as Harold Arlen, Sammy Cahn and Johnny Mercer, eleven of which had been recorded by Sinatra.^[346] Jim Farber wrote in Entertainment Weekly: “Tellingly, [Dylan] delivers these songs of love lost and cherished not with a burning passion but with the wistfulness of experience. They’re memory songs now, intoned with a present sense of commitment. Released just four days ahead of his 75th birthday, they couldn’t be more age-appropriate”.^[347] The 1966 Live Recordings, including every known recording of Dylan’s 1966 concert tour, was released in November 2016.^[348] The recordings commence with the concert in White Plains New York on February 5, 1966, and end with the Royal Albert Hall concert in London on May 27.^[349]^[350] The New York Times reported most of the concerts had “never been heard in any form”, and described the set as “a monumental addition to the corpus”.^[351]

In March 2017, Dylan released a triple album of 30 more recordings of classic American songs, Triplicate. Dylan’s 38th studio album was recorded in Hollywood’s Capitol Studios and features his touring band.^[352] Dylan posted a long interview on his website to promote the album, and was asked if this material was an exercise in nostalgia.

Nostalgic? No I wouldn’t say that. It’s not taking a trip down memory lane or longing and yearning for the good old days or fond memories of what’s no more. A song like ‘Sentimental Journey’ is not a way back when song, it doesn’t emulate the past, it’s attainable and down to earth, it’s in the here and now.^[353]

Critics praised the thoroughness of Dylan’s exploration of the Great American Songbook, though, in the opinion of Uncut, “For all its easy charms, Triplicate labours its point to the brink of overkill. After five albums’ worth of croon toons, this feels like a fat full stop on a fascinating chapter.”^[354] The next volume of Dylan’s Bootleg Series revisited his “Born Again” Christian period of 1979 to 1981, described by Rolling Stone as “an intense, wildly controversial time that produced three albums and some of the most confrontational concerts of his long career”.^[355] Reviewing the box set The Bootleg Series Vol. 13: Trouble No More 1979–1981, comprising 8 CDs and 1 DVD,^[355] Jon Pareles wrote in The New York Times:

Decades later, what comes through these recordings above all is Mr. Dylan’s unmistakable fervor, his sense of mission. The studio albums are subdued, even tentative, compared with what the songs became on the road. Mr. Dylan’s voice is clear, cutting and ever improvisational; working the crowds, he was emphatic, committed, sometimes teasingly combative. And the band tears into the music.^[356]

Trouble No More includes a DVD of a film directed by Jennifer Lebeau consisting of live footage of Dylan’s gospel performances interspersed with sermons delivered by actor Michael Shannon.

In April 2018, Dylan made a contribution to the compilation EP Universal Love, a collection of reimagined wedding songs for the LGBT community.^[357] The album was funded by MGM Resorts International and the songs are intended to function as “wedding anthems for same-sex couples”.^[358] Dylan recorded the 1929 song “She’s Funny That Way“, changing the gender pronoun to “He’s Funny That Way”. The song was previously recorded by Billie Holiday and Frank Sinatra.^[358]^[359] That same month, The New York Times reported that Dylan was launching Heaven’s Door, a range of three whiskeys. The Times described the venture as “Mr. Dylan’s entry into the booming celebrity-branded spirits market, the latest career twist for an artist who has spent five decades confounding expectations”.^[360] Dylan has been involved in both the creation and the marketing of the range; on September 21, 2020, Dylan resurrected Theme Time Radio Hour with a two-hour special with the theme of “Whiskey”.^[361] On November 2, 2018, Dylan released More Blood, More Tracks as Volume 14 in the Bootleg Series. The set comprises all Dylan’s recordings for Blood On the Tracks and was issued as a single CD and also as a six-CD Deluxe Edition.^[362]

In 2019, Netflix released Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, billed as “Part documentary, part concert film, part fever dream”.^[363]^[364] The film received largely positive reviews but also aroused controversy because it mixed documentary footage filmed during the Rolling Thunder Revue in the fall of 1975 with fictitious characters and stories.^[365]^[366] Coinciding with the film release, the box set The Rolling Thunder Revue: The 1975 Live Recordings, was released by Columbia Records. The set comprises five full Dylan performances from the tour and recently discovered tapes from Dylan’s tour rehearsals.^[367] The box set received an aggregate score of 89 on Metacritic, indicating “universal acclaim”.^[368] The next installment of Dylan’s Bootleg Series, Bob Dylan (featuring Johnny Cash) – Travelin’ Thru, 1967 – 1969: The Bootleg Series Vol. 15, was released on November 1. The set comprises outtakes from Dylan’s albums John Wesley Harding and Nashville Skyline, and songs that Dylan recorded with Johnny Cash in Nashville in 1969 and with Earl Scruggs in 1970.^[369]^[370]

2020–present

Rough and Rowdy Ways

Main article: Rough and Rowdy Ways

On March 26, 2020, Dylan released “Murder Most Foul“, a seventeen-minute song revolving around the Kennedy assassination, on his YouTube channel.^[371] Billboard reported on April 8 that “Murder Most Foul” had topped the Billboard Rock Digital Song Sales Chart, the first time that Dylan had scored a number one song on a pop chart under his own name.^[372] Three weeks later, on April 17, 2020, Dylan released another new song, “I Contain Multitudes“.^[373]^[374] The title is from Walt Whitman‘s poem “Song of Myself“.^[375] On May 7, Dylan released a third single, “False Prophet“, accompanied by the news that the three songs would all appear on a forthcoming double album.

Rough and Rowdy Ways, Dylan’s 39th studio album and his first album of original material since 2012, was released on June 19 to favorable reviews.^[376] Alexis Petridis wrote: “For all its bleakness, Rough and Rowdy Ways might well be Bob Dylan’s most consistently brilliant set of songs in years: the die-hards can spend months unravelling the knottier lyrics, but you don’t need a PhD in Dylanology to appreciate its singular quality and power.”^[377] Rob Sheffield wrote: “While the world keeps trying to celebrate him as an institution, pin him down, cast him in the Nobel Prize canon, embalm his past, this drifter always keeps on making his next escape. On Rough and Rowdy Ways, Dylan is exploring terrain nobody else has reached before—yet he just keeps pushing on into the future”.^[378] The album earned a score of 95 on Metacritic, indicating “universal acclaim”.^[376] In its first week of release Rough and Rowdy Ways reached number one on the UK album chart, making Dylan “the oldest artist to score a No. 1 of new, original material”.^[379]

In December 2020, it was announced that Dylan had sold his entire song catalog to Universal Music Publishing Group,^[380] including both the income he receives as a songwriter and his control of their copyright. Universal, a division of the French media conglomerate Vivendi, will collect all future income from the songs.^[381] The New York Times stated Universal had purchased the copyright to over 600 songs and the price was “estimated at more than $300 million”,^[381] although other reports suggested the figure was closer to $400 million.^[382]

In February 2021, Columbia Records released 1970, a three-CD set of recordings from the Self Portrait and New Morning sessions, including the entirety of the session Dylan recorded with George Harrison on May 1, 1970.^[383]^[384] Dylan’s 80th birthday was commemorated by a virtual conference, Dylan@80, organized by the University of Tulsa Institute for Bob Dylan Studies. The program featured seventeen sessions over three days delivered by over fifty international scholars, journalists and musicians.^[385] Several new biographies and studies of Dylan were published.^[386]^[387]

In July 2021, livestream platform Veeps presented a 50-minute performance by Dylan, Shadow Kingdom: The Early Songs of Bob Dylan.^[388] Filmed in black and white with a film noir look,^[389] Dylan performed 13 songs in a club setting with an audience.^[388]^[390] The performance was favorably reviewed,^[390]^[389] and one critic suggested the backing band resembled the style of the musical Girl from the North Country.^[391] The soundtrack to the film was released on 2 LP and CD formats in June 2023.^[392] In September, Dylan released Springtime in New York: The Bootleg Series Vol. 16 (1980–1985), issued in 2 LP, 2 CD and 5 CD formats. It comprised rehearsals, live recordings, out-takes and alternative takes from Shot of Love, Infidels and Empire Burlesque.^[393] In The Daily Telegraph, Neil McCormick wrote: “These bootleg sessions remind us that Dylan’s worst period is still more interesting than most artists’ purple patches”.^[394] Springtime in New York received an aggregate score of 85 on Metacritic.^[395]

On July 7, 2022, Christie’s, London, auctioned a 2021 recording of Dylan singing “Blowin’ in the Wind”. The record was in an innovative “one of one” recording medium, branded as Ionic Original, which producer T Bone Burnett claimed “surpasses the sonic excellence and depth for which analogue sound is renowned, while at the same time boasting the durability of a digital recording.”^[396]^[397] The recording fetched GBP £1,482,000—equivalent to $1,769,508.^[398]^[399] In November, Dylan published The Philosophy of Modern Song, a collection of 66 essays on songs by other artists. The New Yorker described it as “a rich, riffy, funny, and completely engaging book of essays”.^[400] Other reviewers praised the book’s eclectic outlook,^[401] while some questioned its variations in style and dearth of female songwriters.^[402]

In January 2023, Dylan released The Bootleg Series Vol. 17: Fragments – Time Out of Mind Sessions (1996–1997) in multiple formats. The 5-CD version comprised a re-mix of the 1997 album “to sound more like how the songs came across when the musicians originally played them in the room” without the effects and processing which producer Daniel Lanois applied later; 25 previously unreleased out-takes from the studio sessions; and a disc of live performances of each song on the album performed by Dylan and his band in concert.^[403] On November 17, 2023, Dylan released The Complete Budokan 1978, containing the full recordings of the February 28 and March 1 Tokyo concerts from his 1978 Tour.^[404]

Dylan contributed a cover version of Cole Porter‘s song “Don’t Fence Me In” to the soundtrack of the biographical film Reagan, which was released on August 30, 2024.^[405] On September 20, 2024, Dylan released The 1974 Live Recordings, a 27-disc CD boxset of recordings from the 1974 Bob Dylan & The Band tour, featuring 417 previously unreleased live tracks.^[406]

Never Ending Tour

Main article: Never Ending Tour

The Never Ending Tour commenced on June 7, 1988.^[407] Dylan has played roughly 100 dates a year since, a heavier schedule than most performers who started in the 1960s.^[408] By April 2019, Dylan and his band had played more than 3,000 shows,^[409] anchored by long-time bassist Tony Garnier.^[410]

To the dismay of some of his audience,^[411] Dylan’s performances are unpredictable as he often alters his arrangements and changes his vocal approach.^[412] These variable performances have divided critics. Richard Williams and Andy Gill argued that Dylan has found a successful way to present his rich legacy of material.^[413]^[414] Others have criticized his live performances for changing “the greatest lyrics ever written so that they are effectively unrecognisable”, and giving so little to the audience that “it is difficult to understand what he is doing on stage at all”.^[415]

In September 2021, Dylan’s touring company announced a series of tours which were billed as the “Rough and Rowdy Ways World Wide Tour, 2021–2024“. The Rough and Rowdy Ways World Tour replaced Dylan’s varied set lists with a more stable repertory, performing nine of the ten songs on his 2020 album.^[416] Nevertheless, the tour has been referred to by the media as an extension of his ongoing Never Ending Tour.^[417]

In February 2025, Dylan announced that he would take part in the Outlaw Music Festival 2025 Tour, appearing alongside Willie Nelson and other artists, beginning on May 13 in Phoenix, Arizona, and finishing on September 19 in East Troy, Wisconsin.^[418] In July 2025, Dylan’s touring company announced the latest leg of his Rough and Rowdy Ways world tour, starting on October 16 in Helsinki and ending in Dublin on November 25.^[419]

Alex Ross has summarised Dylan’s touring career: “his shows cause his songs to mutate, so that no definitive or ideal version exists. Dylan’s legacy will be the sum of thousands of performances, over many decades … Every night, whether he’s in good or bad form, he says, in effect, ‘Think again.'”^[251]

Personal life

Romantic relationships

Echo Helstrom

Echo Helstrom was Dylan’s high school girlfriend. The couple listened together to rhythm-and-blues on the radio, and her family exposed him to singers such as Jimmie Rodgers on 78 RPM records, and a range of folk music magazines, sheet music, and manuscripts.^[420] Helstrom is believed by some to be the inspiration for Dylan’s song “Girl from the North Country“, though this is disputed.^[421]

Suze Rotolo

Dylan’s first serious relationship was with artist Suze Rotolo, a daughter of Communist Party USA radicals. According to Dylan, “She was the most erotic thing I’d ever seen … The air was suddenly filled with banana leaves. We started talking and my head started to spin”.^[422] Rotolo was photographed arm-in-arm with Dylan on the cover of his album The Freewheelin’ Bob Dylan. Critics have connected Rotolo to some of Dylan’s early love songs, including “Don’t Think Twice It’s All Right“. The relationship ended in 1964.^[423] In 2008, Rotolo published a memoir about her life in Greenwich Village and relationship with Dylan in the 1960s, A Freewheelin’ Time.^[424]

Joan Baez

When Joan Baez met Dylan in April 1961, she had already released her first album and was acclaimed as the “Queen of Folk”.^[425] On hearing Dylan perform his song “With God on Our Side“, Baez later said, “I never thought anything so powerful could come out of that little toad”.^[426] In July 1963, Baez invited Dylan to join her on stage at the Newport Folk Festival, setting the scene for similar duets over the next two years.^[427] By the time of Dylan’s 1965 tour of the UK, their romantic relationship had begun to fizzle out, as captured in D. A. Pennebaker’s documentary film Dont Look Back.^[427] Baez later toured with Dylan as a performer on his Rolling Thunder Revue in 1975–76. Baez also starred as “The Woman In White” in the film Renaldo and Clara (1978), directed by Dylan.^[428] Dylan and Baez toured together again in 1984 with Carlos Santana.^[427]

Baez recalled her relationship with Dylan in Martin Scorsese‘s documentary film No Direction Home (2005). Baez wrote about Dylan in two autobiographies—admiringly in Daybreak (1968), and less admiringly in And A Voice to Sing With (1987). Her song “Diamonds & Rust” has been described as “an acute portrait” of Dylan.^[427]

Sara Lownds

Dylan married Sara Lownds, who had worked as a model and secretary at Drew Associates, on November 22, 1965.^[429] They had four children: Jesse Byron (born January 6, 1966), Anna Lea (born July 11, 1967), Samuel Isaac Abram (born July 30, 1968), and Jakob Luke (born December 9, 1969). Dylan also adopted Sara’s daughter from a prior marriage, Maria Lownds (later Dylan, born October 21, 1961). Sara Dylan played the role of Clara in Dylan’s film Renaldo and Clara (1978). Bob and Sara Dylan were divorced on June 29, 1977.^[429]

Carolyn Dennis

Dylan and his backing singer Carolyn Dennis (often professionally known as Carol Dennis) have a daughter, Desiree Gabrielle Dennis-Dylan, born on January 31, 1986.^[430] The couple were married on June 4, 1986, and divorced in October 1992. Their marriage and child remained a closely guarded secret until the publication of Howard Sounes‘s biography Down the Highway: The Life of Bob Dylan, in 2001.^[431]

Home

When not touring, Dylan is believed to live primarily in Point Dume, on the coast of Malibu, California, though he owns property around the world.^[432]^[433]

Religious beliefs

Growing up in Hibbing, Minnesota, Dylan and his family were part of the area’s small, close-knit Jewish community, and Dylan had his bar mitzvah in May 1954.^[434]^[20] Around the time of his 30th birthday, in 1971, Dylan visited Israel, and also met Rabbi Meir Kahane, founder of the New York-based Jewish Defense League.^[435]

In the late 1970s, Dylan converted to Christianity. In November 1978, guided by his friend Mary Alice Artes, Dylan made contact with the Vineyard School of Discipleship.^[199] Vineyard Pastor Kenn Gulliksen 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”.^[436]^[437] From January to March 1979, Dylan attended Vineyard’s Bible study classes in Reseda, California.^[199]^[438]

By 1984, Dylan was distancing himself from the “born again” label. He told Kurt Loder of Rolling Stone: “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.”^[439] In 1997, he told David Gates of Newsweek:

Here’s the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don’t find it anywhere else. Songs like “Let Me Rest on a Peaceful Mountain” or “I Saw the Light“—that’s my religion. I don’t adhere to rabbis, preachers, evangelists, all of that. I’ve learned more from the songs than I’ve learned from any of this kind of entity. The songs are my lexicon. I believe the songs.^[440]

Dylan has supported the Chabad Lubavitch movement,^[441] and has privately participated in Jewish religious events, including his sons’ bar mitzvahs and services at Hadar Hatorah, a Chabad Lubavitch yeshiva. In 1989 and 1991, he appeared on the Chabad telethon.^[442]

Dylan has continued to perform songs from his gospel albums in concert, occasionally covering traditional religious songs. He has made passing references to his religious faith, such as in a 2004 interview with 60 Minutes, when he told Ed Bradley, “the only person you have to think twice about lying to is either yourself or to God”. He 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”.^[39]

Speaking to Jeff Slate of The Wall Street Journal in December 2022, Dylan reaffirmed his religious outlook: “I read the scriptures a lot, meditate and pray, light candles in church. I believe in damnation and salvation as well as predestination. The Five Books of Moses, Pauline Epistles, Invocation of the Saints, all of it.”^[443]^[444]

Accolades and honors

Main article: List of awards and nominations received by Bob Dylan

Sara Danius announces the Nobel Prize in Literature 2016.

Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and Songwriters Hall of Fame. In 1997, US President Bill Clinton presented Dylan with a Kennedy Center Honor in the East Room of the White House, saying: “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”.^[445] In May 2000, Dylan received the Polar Music Prize from Sweden’s King Carl XVI.^[446] In June 2007, Dylan received the Prince of Asturias Award in the Arts category; the jury called him “a living myth in the history of popular music and a light for a generation that dreamed of changing the world.”^[6]^[447] In 2008, the Pulitzer Prize jury awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”.^[448]

Dylan received the Presidential Medal of Freedom in May 2012.^[449]^[450] President Barack Obama, presenting Dylan with the award, said “There is not a bigger giant in the history of American music.” Obama praised Dylan’s voice for its “unique gravelly power that redefined not just what music sounded like but the message it carried and how it made people feel”.^[451] In November 2013, Dylan was awarded France’s highest honor, the Légion d’Honneur,^[452] despite the misgiving of the grand chancellor of the Légion, who had declared him unworthy.^[452] In February 2015, Dylan accepted the MusiCares Person of the Year award from the National Academy of Recording Arts and Sciences, in recognition of his philanthropic and artistic contributions.^[453]

Nobel Prize in Literature

Main article: 2016 Nobel Prize in Literature

In 1996, Gordon Ball of the Virginia Military Institute nominated Dylan for the Nobel Prize in Literature,^[454]^[455] initiating a campaign that lasted for 20 years.^[456] On October 13, 2016, the Nobel committee announced that it would be awarding Dylan the prize “for having created new poetic expressions within the great American song tradition”.^[457] The New York Times reported: “Mr. Dylan, 75, is the first musician to win the award, and his selection was perhaps the most radical choice in a history stretching back to 1901.”^[457] Dylan remained silent for days after receiving the award,^[458] and then told journalist Edna Gundersen that it was “amazing, incredible. Whoever dreams about something like that?”^[459] Dylan’s Nobel Lecture was posted on the Nobel Prize website on June 5, 2017.^[460] Horace Engdahl, a member of the Nobel Committee, described Dylan’s place in literary history:

a singer worthy of a place beside the Greek bards, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the blues, beside the forgotten masters of brilliant standards.^[461]

Legacy

Dylan has been described as one of the most influential figures of the 20th century, musically and culturally. He was included in the Time 100: The Most Important People of the Century, where he was called “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation”.^[462] 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.”^[463]

For many critics, Dylan’s greatest achievement was the cultural synthesis exemplified by his mid-1960s trilogy of albums—Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. In Mike Marqusee‘s words:

Between late 1964 and the middle of 1966, Dylan created a body of work that remains unique. Drawing on folk, blues, country, R&B, rock’n’roll, gospel, British beat, symbolist, modernist and Beat poetry, surrealism and Dada, advertising jargon and social commentary, Fellini and Mad magazine, he forged a coherent and original artistic voice and vision. The beauty of these albums retains the power to shock and console.^[464]

Michael Gray initiated serious critical scrutiny when he published Song & Dance Man: The Art of Bob Dylan in 1972, situating Dylan’s work in the context of the English literary tradition, Donne, Browning and T. S. Eliot.^[465] Also in 1972, Craig McGregor published Bob Dylan: A Retrospective, an anthology containing critical essays about Dylan by Robert Shelton, Nat Hentoff, Ellen Willis and other contemporary cultural critics. In 1998, Stanford University sponsored the first international academic conference on Bob Dylan held in the United States.^[466] In 2004, Richard F. Thomas, Classics professor at Harvard University, created a freshman seminar titled “Dylan”, which aimed “to put the artist in context of not just popular culture of the last half-century, but the tradition of classical poets like Virgil and Homer.”^[467] Thomas went on to publish Why Bob Dylan Matters, exploring Dylan’s connections with Greco-Roman literature.^[468]

Literary critic Christopher Ricks published Dylan’s Visions of Sin, an appreciation of Dylan’s work.^[469] Following Dylan’s Nobel win, Ricks reflected: “I’d not have written a book about Dylan, to stand alongside my books on Milton and Keats, Tennyson and T.S. Eliot, if I didn’t think Dylan a genius of and with language.”^[470] The critical consensus that Dylan’s songwriting was his outstanding creative achievement was articulated by Encyclopædia Britannica: “Hailed as the Shakespeare of his generation, Dylan … set the standard for lyric writing.”^[6] Former British poet laureate Andrew Motion said Dylan’s lyrics should be studied in schools.^[471] His lyrics have entered the vernacular; Edna Gundersen notes that

Lines that branded Dylan a poet and counterculture valedictorian in the ’60s are imprinted on the culture: “When you got nothing, you got nothing to lose”; “a hard rain’s a-gonna fall”; “to live outside the law you must be honest.” Some lyrics — “you don’t need a weather man to know which way the wind blows” and “the times they are a-changin’ ” — appear in Bartlett’s Familiar Quotations.^[472]

Rolling Stone ranked Dylan first on its 2015 list of the 100 Greatest Songwriters of All Time,^[473] fifteenth on its 2023 list of the Greatest Singers of All Time,^[474] and placed “Like A Rolling Stone” first on their list of greatest songs in 2004 and 2011.^[9] He was listed second on the magazine’s list of the hundred greatest artists.^[475] The Rolling Stone Encyclopedia of Rock & Roll writes that “His lyrics—the first in rock to be seriously regarded as literature—became so well known that politicians from Jimmy Carter to Václav Havel have cited them as an influence.”^[240]

Dylan’s voice also received critical attention. Robert Shelton described his early vocal style as “a rusty voice suggesting Guthrie’s old performances, etched in gravel like Dave Van Ronk‘s”.^[476] His voice continued to develop as he began to work with rock’n’roll backing bands; Michael Gray described the sound of Dylan’s vocal work on “Like a Rolling Stone” as “at once young and jeeringly cynical”.^[477] 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.^[478]

Among musicians who have acknowledged his influence are John Lennon,^[479] Paul McCartney,^[480] Jerry Garcia,^[481] Pete Townshend,^[482] Syd Barrett,^[483] Tim Buckley,^[484] Joni Mitchell,^[485] Neil Young,^[486] Bruce Springsteen,^[111] David Bowie,^[487]^[472] Bryan Ferry,^[488] Patti Smith,^[489] Joe Strummer,^[490] Bono,^[491]^[472] Nick Cave,^[492] Leonard Cohen,^[493] Tom Waits,^[494] Ole Paus^[495] and Chuck D.^[496]^[472] Dylan significantly contributed to the initial success of both the Byrds and the Band: the Byrds achieved chart success with their version of “Mr. Tambourine Man” and the subsequent album, while the Band were Dylan’s backing band on his 1966 tour, recorded The Basement Tapes with him in 1967^[497] and featured three previously unreleased Dylan songs on their debut album.^[498] Johnny Cash, introducing “Wanted Man”, said “I don’t have to tell you who Bob Dylan is—the greatest writer of our time.”^[499]

Some critics have dissented from the view of Dylan as a visionary figure in popular music. In his book Awopbopaloobop Alopbamboom, Nik Cohn objected: “I can’t take the vision of Dylan as seer, as teenage messiah, as everything else he’s been worshipped as. The way I see him, he’s a minor talent with a major gift for self-hype”.^[500] 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”.^[501]

Fellow musicians have also expressed critical views. Joni Mitchell described Dylan as a “plagiarist” and his voice as “fake” in a 2010 interview in the Los Angeles Times.^[502]^[503]^[504] Mitchell’s comments led to discussions on Dylan’s use of other people’s material, both supporting and criticizing him.^[505] Talking to Mikal Gilmore in Rolling Stone in 2012, Dylan responded to the allegation of plagiarism, including his use of Henry Timrod’s verse in his album Modern Times,^[285] by saying that it was “part of the tradition”.^[506]^{[a 7]}

Dylan’s music has inspired artists in other fields. Dave Gibbons recalls how he and Alan Moore were inspired by the lines of “Desolation Row” beginning “At midnight, all the agents/ And the superhuman crew…”:

It was a glimpse, a mere fragment of something; something ominous, paranoid and threatening. But something that showed that comics, like poetry or rock and roll or Bob Dylan himself, might feasibly become part of the greater cultural continuum. The lines must have also lodged in Alan’s consciousness for, nearly twenty years later, Dylan’s words eventually provided the title of the first issue of our comic book series Watchmen.^[507]

In 2007, Todd Haynes released I’m Not There, “inspired by the music and many lives of Bob Dylan”.^[508] The movie used six actors, Christian Bale, Cate Blanchett, Marcus Carl Franklin, Richard Gere, Heath Ledger and Ben Whishaw, to explore different facets of Dylan’s life.^[508]^[509] Dylan’s previously unreleased 1967 song from which the film takes its name^[510] was included on the original soundtrack along with covers of Dylan songs by such diverse artists as Sonic Youth, Calexico and Yo La Tengo. Irish playwright Conor McPherson wrote and directed the musical Girl from the North Country, which used Dylan’s songs to tell the stories of characters during the Depression years, set in Dylan’s birthplace, Duluth, Minnesota. The play premiered in London in 2017.^[511]^[512]

If Dylan’s work in the 1960s was seen as bringing intellectual ambition to popular music,^[464] critics in the 21st century described him as a figure who had greatly expanded the folk culture from which he initially emerged. In his review of I’m Not There, J. Hoberman wrote:

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.^[513]

Dylan’s rise to stardom, from his arrival in New York in 1961 to his controversial performance at Newport in 1965, was portrayed by the feature film A Complete Unknown, which opened in the U.S. on December 25, 2024.^[514]^[515] The film garnered generally favorable reviews, with praise for actor Timothée Chalamet as Dylan.^[516]

Archives and recognition

The sale of Dylan’s archive of about 6,000 notebooks, drafts of lyrics, recordings, and correspondence to the George Kaiser Family Foundation and the University of Tulsa was announced in March 2016. The sale price was “an estimated $15 million to $20 million”.^[517]^[518] To house the archive, the Bob Dylan Center in Tulsa, Oklahoma opened on May 10, 2022.^[519]^[520]

In 2005, 7th Avenue East in Hibbing, Minnesota, where Dylan lived from ages 6 to 18, received the honorary name Bob Dylan Drive.^[521]^[522] In 2006, the 1.8 miles (2.9 km) Bob Dylan Way cultural path was inaugurated in Duluth, Minnesota; it links “cultural and historically significant areas of downtown for the tourists”.^[523]

In 2015, a 160-foot-wide Dylan mural by Brazilian street artist Eduardo Kobra was unveiled in downtown Minneapolis.^[524]

In December 2013, the Fender Stratocaster which Dylan had played at the 1965 Newport Folk Festival fetched $965,000, the second highest price paid for a guitar.^[525] In June 2014, Dylan’s hand-written lyrics of “Like a Rolling Stone” fetched $2 million at auction, a record for a popular music manuscript.^[526]^[527]

Visual arts

Painting

Dylan’s visual art was first seen by the public via a painting he contributed for the cover of the Band‘s Music from Big Pink album in 1968.^[528] The cover of Dylan’s own 1970 album Self Portrait features the painting of a human face by Dylan.^[529] More of Dylan’s artwork was revealed with the 1973 publication of his book Writings and Drawings.^[530] The cover of Dylan’s 1974 album Planet Waves again featured one of his paintings. In 1994 Random House published Drawn Blank, a book of Dylan’s drawings.^[531] In 2007, the first public exhibition of Dylan’s paintings, The Drawn Blank Series, opened at the Kunstsammlungen in Chemnitz, Germany;^[532] it showcased more than 200 watercolors and gouaches made from the original drawings. The exhibition coincided with the publication of Bob Dylan: The Drawn Blank Series, which includes 170 reproductions from the series.^[532]^[533] From September 2010 until April 2011, the National Gallery of Denmark exhibited 40 large-scale acrylic paintings by Dylan, The Brazil Series.^[534]

In July 2011, a leading contemporary art gallery, Gagosian Gallery, announced their representation of Dylan’s paintings.^[535] An exhibition of Dylan’s art, The Asia Series, opened at the Gagosian Madison Avenue Gallery on September 20, displaying Dylan’s paintings of scenes in China and the Far East.^[536] The New York Times reported that “some fans and Dylanologists have raised questions about whether some of these paintings are based on the singer’s own experiences and observations, or on photographs that are widely available and were not taken by Mr. Dylan”. The Times pointed to close resemblances between Dylan’s paintings and historic photos of Japan and China, and photos taken by Dmitri Kessel and Henri Cartier-Bresson.^[537] Art critic Blake Gopnik has defended Dylan’s artistic practice, arguing: “Ever since the birth of photography, painters have used it as the basis for their works: Edgar Degas and Édouard Vuillard and other favorite artists—even Edvard Munch—all took or used photos as sources for their art, sometimes barely altering them”.^[538] The Magnum photo agency confirmed that Dylan had licensed the reproduction rights of these photographs.^[539]

Dylan’s second show at the Gagosian Gallery, Revisionist Art, opened in November 2012. The show consisted of thirty paintings, transforming and satirizing popular magazines, including Playboy and Babytalk.^[540]^[541] In February 2013, Dylan exhibited the New Orleans Series of paintings at the Palazzo Reale in Milan.^[542] In August 2013, Britain’s National Portrait Gallery, London hosted Dylan’s first major UK exhibition, Face Value, featuring twelve pastel portraits.^[543]

In November 2016, the Halcyon Gallery featured a collection of artworks by Dylan. The exhibition, The Beaten Path, depicted American landscapes and urban scenes, inspired by Dylan’s travels across the US.^[544] The show was reviewed by Vanity Fair and Asia Times Online.^[545]^[546]^[547] In October 2018, the Halcyon Gallery mounted an exhibition of Dylan’s drawings, Mondo Scripto. The works consisted of Dylan hand-written lyrics of his songs, with each song illustrated by a drawing.^[548]

Retrospectrum, the largest retrospective of Dylan’s visual art to date, consisting of over 250 works in various media, debuted at the Modern Art Museum in Shanghai in 2019.^[549] Building on the exhibition in China, a version of Retrospectrum, which includes a new series of paintings, “Deep Focus”, drawn from film imagery,^[550] opened at the Frost Art Museum in Miami on November 30, 2021,^[551] while from December 16, 2022, to April 30, 2023, the MAXXI Museum in Rome hosted the retrospective which was the first European monographic exhibition dedicated to Dylan’s visual art.^[552]

Also in 2022, Drawn Blank in Provence, his first painting exhibition in France, opened at Château Lacoste,^[553] a contemporary art center in Provence that combines a vineyard, a luxury hotel, several restaurants, and an open-air sculpture park, offering an experience where art, architecture, gastronomy, and nature come together.^[554]^[555] The exhibition took place alongside his first permanent sculpture installation in the country, titled Rail Car.^[556]

Since 1994, Dylan has published ten books of paintings and drawings.^[557] In November 2022, Dylan apologized for using an autopen to sign books and artwork which were subsequently sold as “hand-signed” since 2019.^[558]^[559]

Sculpture

Bob Dylan has also been active as a sculptor, specialising in work with iron.^[560] For thirty years, he crafted metal sculptures for family and friends before showcasing his work publicly in November 2013 with Mood Swings, an exhibition of seven wrought iron gates at London’s Halcyon Gallery. In a statement released by the gallery, Dylan said :

I’ve been around iron all my life ever since I was a kid. I was born and raised in iron ore country, where you could breathe it and smell it every day. Gates appeal to me because of the negative space they allow. They can be closed but at the same time they allow the seasons and breezes to enter and flow. They can shut you out or shut you in. And in some ways there is no difference.^[561]

Dylan collects metal objects, including farm tools, antique firearms, gears, chains, and axes, and welds them together to create sculptural pieces. One of his most prominent installations in the United States is Portal, a monumental iron archway permanently displayed at the entrance of the MGM National Harbor resort in Maryland.^[560] Created in 2016, this sculpture was welded by Dylan and comprises repurposed metal objects including tools and machine parts, reflecting a fascination with Americana and industrial materials.^[562]

In 2022, his first permanent sculpture installation in France, titled Rail Car, was inaugurated at Château Lacoste in Provence. This immersive work, made up of a wrought-iron freight car set on rails, evokes both industrial history and Dylan’s personal history. It is displayed alongside works by leading contemporary artists and architects such as Ai Weiwei, Louise Bourgeois, Tracy Emin and Tadao Ando and was accompanied for a while by an exhibition of 24 paintings by Dylan, Drawn blank in Provence (his first painting exhibition in France), shedding light on previously unseen aspects of his artistic practice.^[556]

Written works

Main article: Bob Dylan bibliography

Dylan has published Tarantula, a work of prose poetry; Chronicles: Volume One, the first part of his memoirs; several books of the lyrics of his songs, and ten books of his art. Dylan’s third full length book, The Philosophy of Modern Song, which contains 66 essays on songs by other artists, was published on November 1, 2022. Dylan has also been the subject of numerous biographies and critical studies.

Discography

Main articles: Bob Dylan discography and List of songs written by Bob Dylan

Bob Dylan (1962)
The Freewheelin’ Bob Dylan (1963)
The Times They Are a-Changin’ (1964)
Another Side of Bob Dylan (1964)
Bringing It All Back Home (1965)
Highway 61 Revisited (1965)
Blonde on Blonde (1966)
John Wesley Harding (1967)
Nashville Skyline (1969)
Self Portrait (1970)
New Morning (1970)
Pat Garrett & Billy the Kid (1973)
Dylan (1973)
Planet Waves (1974)
Blood on the Tracks (1975)
The Basement Tapes (1975)
Desire (1976)
Street-Legal (1978)
Slow Train Coming (1979)
Saved (1980)
Shot of Love (1981)
Infidels (1983)
Empire Burlesque (1985)
Knocked Out Loaded (1986)
Down in the Groove (1988)
Oh Mercy (1989)
Under the Red Sky (1990)
Good as I Been to You (1992)
World Gone Wrong (1993)
Time Out of Mind (1997)
“Love and Theft” (2001)
Modern Times (2006)
Together Through Life (2009)
Christmas in the Heart (2009)
Tempest (2012)
Shadows in the Night (2015)
Fallen Angels (2016)
Triplicate (2017)
Rough and Rowdy Ways (2020)
Shadow Kingdom (2023)

Notes

According to Dylan biographer Robert Shelton, Dylan first confided his change of name to his high school girlfriend, Echo Helstrom, in 1958, telling her that he had found a “great name, Bob Dillon”. Shelton surmises that Dillon had two sources: Marshal Matt Dillon was the hero of the TV western Gunsmoke; Dillon was also the name of one of Hibbing’s principal families. While Shelton was writing Dylan’s biography in the 1960s, Dylan told him, “Straighten out in your book that I did not take my name from Dylan Thomas. Dylan Thomas’s poetry is for people that aren’t really satisfied in their bed, for people who dig masculine romance.” At the University of Minnesota, Dylan told a few friends that Dillon was his mother’s maiden name, which was untrue. He later told reporters that he had an uncle named Dillon. Shelton added that only when he reached New York in 1961 did he begin to spell his name “Dylan”, by which time he was acquainted with the life and work of Dylan Thomas. Shelton (2011), pp. 44–45.
In a May 1963 interview with Studs Terkel, Dylan broadened the meaning of the song, saying “the pellets of poison flooding the waters” refers to “the lies people are told on their radios and in their newspapers.” Cott (2006), p. 8.
The title “Spokesman of a Generation” was viewed by Dylan with disgust in later years. He came to feel it was a label the media had pinned on him, and in his autobiography, Chronicles, Dylan wrote: “The press never let up. Once in a while I would have to rise up and offer myself for an interview so they wouldn’t beat the door down. Later an article would hit the streets with the headline ‘Spokesman Denies That He’s A Spokesman.’ I felt like a piece of meat that someone had thrown to the dogs.” Dylan (2004), p.119
In an interview with Seth Goddard for Life (July 5, 2001) Ginsberg said Dylan’s technique had been inspired by Jack Kerouac: “(Dylan) pulled Mexico City Blues from my hand and started reading it and I said, ‘What do you know about that?’ He said, ‘Somebody handed it to me in ’59 in St. Paul and it blew my mind.’ So I said ‘Why?’ He said, ‘It was the first poetry that spoke to me in my own language.’ So those chains of flashing images you get in Dylan, like ‘the motorcycle black Madonna two-wheeled gypsy queen and her silver- studded phantom lover,’ they’re influenced by Kerouac’s chains of flashing images and spontaneous writing, and that spreads out into the people”. Schumacher, Michael, ed. (2017). First Thought: Conversations with Allen Ginsberg. U of Minnesota Press. pp. 322–. ISBN 978-1-4529-4995-6.
Later recorded by Jimi Hendrix, whose version Dylan acknowledged as definitive.
According to Shelton, Dylan named the tour Rolling Thunder and then “appeared pleased when someone told him to native Americans, rolling thunder means speaking the truth.” A Cherokee medicine man named Rolling Thunder appeared on stage at Providence, RI, “stroking a feather in time to the music.” Shelton (2011), p. 310.
Dylan told Gilmore: “As far as Henry Timrod is concerned, have you even heard of him? Who’s been reading him lately? And who’s pushed him to the forefront? … And if you think it’s so easy to quote him and it can help your work, do it yourself and see how far you can get. Wussies and pussies complain about that stuff. It’s an old thing—it’s part of the tradition.”

References

Citations

Sounes, p. 14, gives his Hebrew name as Shabtai Zisel ben Avraham
Erlewine, Stephen Thomas (December 12, 2019). “Bob Dylan biography”. AllMusic. Retrieved January 6, 2020.
His legal name, Robert Dylan, is enumerated in the following sources:
- Dunn, Tim (2008). The Bob Dylan Copyright Files 1962–2007. AuthorHouse. ISBN 9781438915890.
- Bell, Ian (2013). Once Upon a Time: The Lives of Bob Dylan. Open Road Media. ISBN 9781480447509. Bob Dylan—as a matter of legal record, ‘Robert Dylan’ …
- Rowley, Chris (1984). Blood on the Tracks: The Story of Bob Dylan. London: Proteus Books. p. 136. ISBN 9780862761271. The petition for divorce stated that the ‘respondent, Robert Dylan … ‘
“Dylan ‘the greatest songwriter'”. BBC News. May 23, 2001. Retrieved January 1, 2022.
“No. 1 Bob Dylan”. Rolling Stone. April 10, 2020. Retrieved January 29, 2021.
Al Kooper. “Bob Dylan: American musician”. Encyclopædia Britannica. Retrieved November 5, 2016.
Lenthang, Marlene (January 25, 2022). “Bob Dylan sells his entire catalog of recorded music to Sony”. NBC News. Retrieved June 11, 2024.
“The Counterculture” by Michael J. Kramer in Latham, Sean (ed.), 2021, The World of Bob Dylan, pp. 251–263.
“500 Greatest Songs Of All Time”. Rolling Stone. April 7, 2011. Archived from the original on October 31, 2019. Retrieved January 6, 2020.
Rogovoy, Seth (September 27, 2021). “How Bob Dylan’s greatest song changed music history—a deep-dive into an accidental masterpiece”. The Forward. Archived from the original on September 28, 2021. Retrieved September 30, 2021. Bruce Springsteen, who was originally touted as a ‘new Dylan’ when he was signed to Columbia Records, Dylan’s label, by the same label honcho, John Hammond, who signed Dylan, said this about ‘Like a Rolling Stone’:
‘Dylan freed your mind and showed us that because the music was physical did not mean it was anti-intellect. He had the vision and talent to make a pop song so that it contained the whole world. He invented a new way a pop singer could sound, broke through the limitations of what a recording could achieve, and he changed the face of rock ‘n’ roll for ever and ever.’
Heylin, Clinton, 2011, Bob Dylan: Behind The Shades, The 20th Anniversary Edition, pp. 646–652.
“The Nobel Prize in Literature 2016”. nobelprize.org. October 13, 2016. Retrieved January 1, 2025.
A Chabad news service gives the variant Zushe ben Avraham “Singer/Songwriter Bob Dylan Joins Yom Kippur Services in Atlanta”. Chabad.org. September 24, 2007. Archived from the original on July 28, 2019. Retrieved January 6, 2020.
Preskovsky, Ilan (March 12, 2016). “Bob Dylan’s Jewish Odyssey”. Aish.com. Archived from the original on July 28, 2019. Retrieved January 7, 2020.
Sounes, p. 14
Sounes, pp. 12–13.
Dylan, pp. 92–93.
Gluck, Robert (May 21, 2012). “Bob Dylan: ‘Prophet’ and Medal of Freedom recipient”. Jewish Journal. Retrieved May 20, 2018.
Kamin, Debra (April 13, 2016). “Bob Dylan’s life and work examined in new exhibit”. Jewish Telegraphic Agency. Retrieved May 20, 2018.
Green, David B. (May 21, 2015). “This Day in Jewish History – 1954: Shabtai Zissel Is Bar Mitzvahed, and Turns Out to Be Bob Dylan”. Haaretz. Archived from the original on August 20, 2022. Retrieved May 16, 2020.
Bob Dylan’s Hibbing. Hibbing, Minnesota: EDLIS Café Press. 2019. ISBN 9781091782891.
Dylan, pp. 95–97.
Williams, Christian (1993). Bob Dylan In His Own Words. New York: Omnibus Press. p. 7. ISBN 0711932190.
Shelton, pp. 38–39.
Gray, Michael (May 22, 2011). “One of a kind: Bob Dylan at 70”. Japan Times. Archived from the original on June 12, 2018. Retrieved December 30, 2011.
Heylin (1996), pp. 4–5.
Sounes, pp. 29–37.
Dylan, Bob (June 5, 2017). “Bob Dylan, Nobel lecture”. nobelprize.org. Retrieved February 2, 2025.
LIFE Books, “Bob Dylan, Forever Young, 50 Years of Song”, Time Home Entertainment, Vol. 2, No 2, February 10, 2012, p. 15.
“Bobby Vee wouldn’t change a thing Part 3”. Goldmine Magazine: Record Collector & Music Memorabilia. May 7, 2009. Retrieved January 7, 2020.
Sounes, pp. 41–42.
Heylin (2000), pp. 26–27.
“University of Minnesota Scholars Walk: Nobel Prize”. University of Minnesota. Archived from the original on September 8, 2018. Retrieved December 15, 2016.
Shelton, pp. 65–82.
This is related in Martin Scorsese‘s documentary No Direction Home. broadcast September 26, 2005, PBS & BBC Two.
Biograph, 1985, Liner notes & text by Cameron Crowe.
Heylin (1996), p. 7.
Dylan, pp. 78–79.
Leung, Rebecca (June 12, 2005). “Dylan Looks Back”. CBS News. Retrieved February 25, 2009.
Sounes, p. 72
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Dylan, pp. 244–246.
Dylan, pp. 281–288.
Shelton (2011), pp. 74–78.
Bulik, Mark (September 2, 2015). “1961: Bob Dylan Takes the Stage”. The New York Times. Archived from the original on September 2, 2015. Retrieved January 19, 2020.
Unterberger, Richie (October 8, 2003). “Carolyn Hester biography”. AllMusic. Retrieved December 8, 2016.
Shelton (2011), No Direction Home, p. 87
Vulliamy, Ed (March 17, 2012). “How Bob Dylan, music’s great enigma first revealed his talent to the world 50 years ago”. The Guardian. Retrieved March 19, 2020.
Greene, Andy (March 19, 2012). “50 years ago today: Bob Dylan released his debut album”. CNN. Retrieved March 4, 2017.
Scaduto, p. 110.
Heylin 2021, p. 138
Sounes, p. 116.
Gray (2006), pp. 283–284.
Heylin (2000), pp. 115–116.
Shelton (1986), p. 154.
Heylin (1996), pp. 35–39.
Llewellyn-Smith, Caspar (September 18, 2005). “Flash-back”. The Observer. London. Retrieved June 17, 2012.
“The day Bob Dylan dropped by for coffee”. HuffPost. October 7, 2016.
Shelton, pp. 138–142.
Shelton, p. 156.
The booklet by John Bauldie accompanying Dylan’s The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 (1991) says: “Dylan acknowledged the debt in 1978 to journalist Marc Rowland: Blowin’ In The Wind’ has always been a spiritual. I took it off a song called ‘No More Auction Block’ — that’s a spiritual — and ‘Blowin’ In The Wind follows the same feeling.'” pp. 6–8.
Eder, Bruce. “Peter, Paul and Mary biography”. Billboard. Archived from the original on November 1, 2015. Retrieved June 5, 2015.
Heylin (2000), pp. 101–103.
Ricks, pp. 329–344.
Maslin, Janet in Miller, Jim (ed.) (1981), The Rolling Stone History of Rock & Roll, 1981, p. 220
Scaduto, p. 35.
Mojo magazine, December 1993. p. 97
Hedin, p. 259.
Sounes, pp. 136–138.
Joan Baez entry, Gray (2006), pp. 28–31.
Biograph, 1985, Liner notes & text by Cameron Crowe. Musicians on “Mixed Up Confusion”: George Barnes & Bruce Langhorne (guitars); Dick Wellstood (piano); Gene Ramey (bass); Herb Lovelle (drums)
Dylan had recorded “Talkin’ John Birch Society Blues” for his Freewheelin album, but the song was replaced by later compositions, including “Masters of War“. See Heylin (2000), pp. 114–115.
Heylin (1996), p. 49.
Gill, pp. 37–41.
Ricks, pp. 221–233.
Gill, Andy, 1999, Classic Bob Dylan: My Back Pages, pp. 43–48.
Svedberg, Andrea (October 13, 2016). “Revisit Our Infamous 1963 Profile of Bob Dylan”. Newsweek. Retrieved October 18, 2024.
Heylin, 2009, Revolution in the Air, The Songs of Bob Dylan: Volume One, pp. 170–172.
Dylan, Bob. “Restless Farewell”. bobdylan.com. Retrieved October 18, 2024.
Shelton, pp. 200–205.
Part of Dylan’s speech went: “There’s no black and white, left and right to me any more; there’s only up and down, and down is very close to the ground. And I’m trying to go up without thinking of anything trivial such as politics…I got to admit that the man who shot President Kennedy, Lee Oswald, I don’t know exactly where…what he thought he was doing, but I got to admit honestly that I too – I saw some of myself in him. I don’t think it would have gone – I don’t think it could go that far. But I got to stand up and say I saw things that he felt, in me – not to go that far and shoot. (Boos and hisses) You can boo…”; see, Shelton, pp. 200–205.
Johnny Cash (March 10, 1964). “A Letter from Johnny Cash, page 10” (PDF). singout.org. Retrieved January 17, 2025.
Bob Dylan (September 28, 2003). “Bob Dylan on Johnny Cash”. forums.Steve Hoffman. Retrieved January 17, 2025.
Wardle, Drew (February 17, 2021). “Inside the friendship of Bob Dylan and Johnny Cash”. Far Out Magazine. Retrieved January 16, 2025.
Shelton, No Direction Home, 1986, pp. 260–261.
Heylin (1996), p. 60.
Shelton, p. 222.
Shelton, pp. 219–222.
Shelton, pp. 267–271, 288–291.
Heylin (2000), pp. 178–181.
Heylin (2000), pp. 181–182.
Michael Hall (January 6, 2014). “The Greatest Music Producer You’ve Never Heard of Is…” Texas Monthly. Retrieved May 17, 2019.
Heylin (2009), pp. 220–222.
Marqusee, p. 144.
Gill, pp. 68–69.
Lee, p. 18.
Sounes, pp. 168–169.
Warwick, N.; Brown, T.; Kutner, J. (2004). The Complete Book of the British Charts (Third ed.). Omnibus Press. p. 6. ISBN 978-1-84449-058-5.
Whitburn, J. (2008). Top Pop Singles 1955–2006. Record Research Inc. p. 130. ISBN 978-0-89820-172-7.
Shelton, pp. 276–277.
Heylin (2000), pp. 208–216.
“Exclusive: Dylan at Newport—Who Booed?”. Mojo. October 25, 2007. Archived from the original on April 12, 2009. Retrieved September 7, 2008.
“Al Kooper talks Dylan, Conan, Hendrix, and lifetime in the music business”. City Pages. Village Voice Media. April 28, 2010. p. 3. Archived from the original on April 29, 2010. Retrieved May 1, 2010.
Jackson, Bruce (August 26, 2002). “The myth of Newport ’65: It wasn’t Bob Dylan they were booing”. Buffalo Report. Archived from the original on February 23, 2008. Retrieved May 8, 2010.
Shelton, pp. 305–314.
A year earlier, Irwin Silber, editor of Sing Out!, had published an “Open Letter to Bob Dylan”, criticizing Dylan’s stepping away from political songwriting: “I saw at Newport how you had somehow lost contact with people. Some of the paraphernalia of fame were getting in your way.” Sing Out!, November 1964, quoted in Shelton, p. 313. This letter has been mistakenly described as a response to Dylan’s 1965 Newport appearance.
Sing Out!, September 1965, quoted in Shelton, p. 313.
“You got a lotta nerve/To say you are my friend/When I was down/You just stood there grinning” Reproduced online: “Positively 4th Street | The Official Bob Dylan Site”. bobdylan.com. Retrieved February 12, 2023.
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Polizzotti identifies Charlie McCoy on guitar and Russ Savakus on bass as the musicians, see Polizzotti, Highway 61 Revisited, p. 133
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Larkin, 1985, All What Jazz: A Record Diary, p. 151.
Heylin (1996), pp. 80–81
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Heylin (1996), pp. 82–94
Heylin (2000), pp. 238–243.
“The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up.” Dylan Interview, Playboy, March 1978; reprinted in Cott, Dylan on Dylan: The Essential Interviews, p. 204.
Gill, p. 95.
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Heylin (2000), pp. 244–261.
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Dylan’s dialogue with the Manchester audience is recorded (with subtitles) in Martin Scorsese’s documentary No Direction Home
Heylin (2011), p. 251.
Heylin (2011), p. 250.
Rolling Stone, November 29, 1969. Reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, p. 140.
Sounes, pp. 217–219.
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Heylin (2000), p. 268.
Dylan, Chronicles: Volume One p. 114.
Heylin (1996), p. 143.
Sounes, p. 216.
Lee, pp. 39–63.
Sounes, pp. 222–225.
Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, p. 280.
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Heylin (2011), p. 289.
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Sounes, pp. 248–253.
Marcus, Greil (June 8, 1970). “Self Portrait”. Rolling Stone.
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Christgau, Robert. “Self Portrait”. robertchristgau.com. Retrieved May 2, 2010.
Shelton, p. 482.
Heylin, 2009, Revolution in the Air, The Songs of Bob Dylan: Volume One, pp. 414–415.
Heylin (2009), pp. 391–392.
Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, pp. 195–198.
Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, pp. 264–6.
Heylin, 2011, Bob Dylan: Behind the Shades: The 20th Anniversary Edition, p. 325.
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Heylin (1996), p. 128.
Gray (2006), pp. 342–343.
Heylin (2000), pp. 328–331.
C. P. Lee wrote: “In Garrett’s ghost-written memoir, The Authentic Life of Billy, the Kid, published within a year of Billy’s death, he wrote that ‘Billy’s partner doubtless had a name which was his legal property, but he was so given to changing it that it is impossible to fix on the right one. Billy always called him Alias.'” Lee, pp. 66–67.
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Artists to have covered the song include Bryan Ferry, Wyclef Jean and Guns N’ Roses. “Dylan’s Legacy Keeps Growing, Cover By Cover”. NPR Music. June 26, 2007. Retrieved October 1, 2008.
“Letters of Note” Archived October 31, 2016, at the Wayback Machine, November 18, 2010
Heylin (2011), p. 360
Heylin (2011), pp. 352–354
Heylin (2011), pp. 354–360
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Heylin (2000), p. 354.
Heylin (2000), p. 358.
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Heylin (2011), p. 358
Shelton (1986), p. 436
Heylin (2000), pp. 368–383.
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Sloman, Larry (2002). On The Road with Bob Dylan. Three Rivers Press. ISBN 978-1-4000-4596-9.
Gray (2006), p. 579.
Heylin (2000), pp. 386–401.
Gray (2006), p. 408.
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Heylin (2011), pp. 479–481.
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Heylin (2000), pp. 480–481.
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According to Robert Shelton, Dylan’s teacher was “Rabbi Reuben Maier of the only synagogue on the Iron Range, Hibbing’s Agudath Achim Synagogue”. See Shelton, pp. 35–36.
Heylin (2000), p. 328.
Heylin (2000), Bob Dylan: Behind the Shades Revisited, p. 494.
Gray, 2006, The Bob Dylan Encyclopedia, pp. 76–80.
Heylin, 1996, Bob Dylan: A Life In Stolen Moments, p. 206.
Rolling Stone, June 21, 1984, reprinted in Cott (ed.), Dylan on Dylan: The Essential Interviews, p. 288.
Gates, David (October 6, 1997). “Dylan Revisited”. Newsweek. Retrieved June 8, 2010.
Fishkoff, p. 167.
Heylin (1996), pp. 317, 343.
Slate, Jeff (December 20, 2022). “Bob Dylan Q&A about “The Philosophy of Modern Song””. bobdylan.com. Retrieved December 22, 2022.
Slate, Jeff (December 19, 2022). “Bob Dylan on Music’s Golden Era vs Streaming: ‘Everything’s Too Easy'”. The Wall Street Journal. Retrieved December 22, 2022.
“Remarks by the President at Kennedy Center Honors Reception”. Clinton White House. December 8, 1997. Archived from the original on April 25, 2015. Retrieved September 7, 2008.
“Dylan awarded Polar Music Prize”. MTV. December 1, 2000. Archived from the original on October 5, 2016. Retrieved October 3, 2016.
“Bob Dylan, Prince Of Asturias Award For The Arts 2007”. Fundación Princesa de Asturias. 2016. Archived from the original on December 20, 2016. Retrieved October 18, 2016.
“The 2008 Pulitzer Prize Winners Special Awards and Citations”. pulitzer.org. November 10, 2008. Retrieved May 13, 2014.
“President Obama Names Presidential Medal of Freedom Recipients”. whitehouse.gov. April 26, 2012. Retrieved April 27, 2012 – via National Archives.
“Bob Dylan Awarded Presidential Medal of Freedom”. Rolling Stone. May 29, 2012. Retrieved October 19, 2016.
Itzkoff, Dave (May 29, 2012). “Bob Dylan Among Recipients of Presidential Medal of Freedom”. The New York Times. Retrieved May 30, 2012.
Kozinn, Allan (November 14, 2013). “Dylan Joins France’s Legion of Honor”. The New York Times. Retrieved February 22, 2024.
Sisario, Ben (February 7, 2015). “At Grammys Event, Bob Dylan Speech Steals the Show”. The New York Times (ArtsBeat Blog). Retrieved February 8, 2015.
“Finally and Formally Launched as a Candidate for the Nobel Prize for Literature, 1997”. expectingrain.com. May 24, 2002. Retrieved September 7, 2008.
Ball, Gordon (March 7, 2007). “Dylan and the Nobel” (PDF). Oral Tradition. Archived from the original (PDF) on August 8, 2007. Retrieved September 7, 2008.
Flood, Alison (September 19, 2012). “Bob Dylan’s Nobel odds rise, but not his chances”. The Guardian. London. Retrieved September 20, 2012.
Sisario, Ben (October 13, 2016). “Bob Dylan Wins Nobel Prize, Redefining Boundaries of Literature”. The New York Times. Retrieved October 14, 2016.
“Bob Dylan criticised as ‘impolite and arrogant’ by Nobel academy member”. The Guardian. Agence France-Presse. October 22, 2016. Retrieved October 22, 2016.
Gundersen, Enda (October 28, 2016). “World exclusive: Bob Dylan – I’ll be at the Nobel Prize ceremony… if I can”. The Daily Telegraph. Retrieved October 29, 2016.
Bob, Dylan. “Bob Dylan – Nobel Lecture”. Nobelprize.org.
Coscarelli, Joe (December 10, 2016). “Bob Dylan Sends Warm Words but Skips Nobel Prize Ceremonies”. The New York Times. ISSN 0362-4331. Retrieved February 12, 2023.
Cocks, Jay (June 14, 1999). “The Time 100: Bob Dylan”. shrout.co.uk/TIME. Retrieved October 5, 2008.
Fong-Torres, The Rolling Stone Interviews, Vol. 2, p. 424. Reproduced online:“Rolling Stone interview (1972)”. Bob Dylan Roots. June 6, 1972. Archived from the original on April 21, 2008. Retrieved September 8, 2009.
Marqusee, p. 139.
Gray, 1972, Song & Dance Man, pp. 55–104.
“Dylan Conference”. tinomarkworth.com. March 7, 2017. Retrieved February 12, 2023.
Schuessler, Jennifer (October 14, 2016). “Bob Dylan 101: A Harvard Professor Has the Coolest Class on Campus”. The New York Times. Retrieved February 13, 2024.
Heller, Jason (November 21, 2017). “A Classics Professor Explains ‘Why Bob Dylan Matters'”. npr.org. Retrieved February 13, 2024.
Lethem, Jonathan (June 13, 2004). “Alfred Tennyson, A. E. Housman. Now This”. The New York Times.
Doyle, Martin (October 13, 2016). “Bob Dylan’s Nobel Prize divides Irish writers and literary critics”. The Irish Times. Retrieved December 15, 2016.
Motion, Andrew (September 22, 2007). “Andrew Motion explains why Bob Dylan’s lyrics should be studied in schools”. The Times. London. Archived from the original on May 30, 2010. Retrieved October 10, 2008.
Gundersen, Edna (May 17, 2001). “Times change, but Dylan leaves a lasting imprint”. USA Today.
“Bob Dylan – 100 Greatest Songwriters of All Time”. Rolling Stone. Retrieved November 1, 2016.
“The 200 Greatest Singers of All Time”. Rolling Stone. January 1, 2023. Retrieved October 13, 2023.
Robertson, Robbie. “100 Greatest Artists: Bob Dylan”. Rolling Stone.
Shelton, pp. 108–111.
Gray (2006), p. 413.
Lebold, Christophe (March 1, 2007). “A Face like a Mask and a Voice that Croaks: An Integrated Poetics of Bob Dylan’s Voice, Personae, and Lyrics” (PDF). Oral Tradition. Retrieved May 3, 2010.
Lennon: “In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (The Freewheelin’ Bob Dylan) from a French DJ. For three weeks in Paris we didn’t stop playing it. We all went potty about Dylan.”: Beatles, (2000), The Beatles Anthology, pp. 112–114.
McCartney: “I’m in awe of Bob … He hit a period where people went, ‘Oh, I don’t like him now.’ And I said, ‘No. It’s Bob Dylan.’ To me, it’s like Picasso, where people discuss his various periods, ‘This was better than this, was better than this.’ But I go, ‘No. It’s Picasso. It’s all good.’ “Siegel, Robert (June 27, 2007). “Paul McCartney interview”. A.V. Club. Archived from the original on August 25, 2017. Retrieved August 25, 2015.
Richardson, P. (2015). No Simple Highway. St. Martin’s Press. p. 150. ISBN 978-1-250-01062-9. Retrieved May 13, 2016. Dylan’s influence on Garcia and Hunter was a given; both admired his songwriting and thought he gave rock music a modicum of respectability and authority. “He took [rock music] out of the realm of ignorant guys banging away on electrical instruments and put it somewhere else altogether,” Garcia said later.
“They asked me what effect Bob Dylan had on me,” Townshend said. “That’s like asking how I was influenced by being born.” Flanagan, (1990), Written In My Soul, p. 88.
Barrett, Syd. “Bob Dylan Blues”. pink floyd.org. Retrieved May 4, 2010.
Kukic, Adam (November 15, 2014). “Jeff Buckley’s Influences and Inspirations”. No Depression. Retrieved March 21, 2025.
Mitchell: “I can’t really pick just one because I like so many, but the Dylan song that really grabbed me was ‘Positively Fourth Street’ and the reason for that was the subject matter seemed at the time so unique. What it said to me, not only is this a good song, but it means that we can now sing about any kind of emotion. I don’t think there was a song before that that defined the kind of hurt expressed in that song. It widened the scope of possibilities for songwriters.”Hilburn, Robert (May 19, 1991). “The Impact of Dylan’s Music ‘Widened the Scope of Possibilities'”. Los Angeles Times. Retrieved August 18, 2011.
“Bob Dylan, I’ll never be Bob Dylan. He’s the master. If I’d like to be anyone, it’s him. And he’s a great writer, true to his music and done what he feels is the right thing to do for years and years and years. He’s great. He’s the one I look to.” Time interview with Neil Young, September 28, 2005. Reproduced online : Tyrangiel, Josh (September 28, 2005). “Resurrection of Neil Young”. Time. Archived from the original on December 10, 2005. Retrieved September 15, 2008.
Bowie: “Dylan taught my generation that it was OK to write pop songs about your worst nightmares.” Bowie paid homage with “Song for Bob Dylan” on the album Hunky Dory, 1971.
In 2007, Ferry released an album of his versions of Dylan songs, Dylanesque
Time Out interview with Patti Smith, May 16, 2007: “The people I revered in the late ’60s and the early ’70s, their motivation was to do great work and great work creates revolution. The motivation of Jimi Hendrix, Bob Dylan or The Who wasn’t marketing, to get rich, or be a celebrity.”“Patti Smith: interview”. Time Out. May 16, 2007. Archived from the original on May 15, 2013. Retrieved September 8, 2008.
“Dylan laid down the template for lyric, tune, seriousness, spirituality, depth of rock music”.“Bob Dylan: His Legacy to Music”. BBC News. May 29, 2001. Retrieved October 5, 2008.
Bono: His voice has been a bee buzzing around my ear since I can remember being conscious. It’s an unusual voice, not always soothing, sometimes nagging, but it reminds us of the possibilities for music and its place in the world…U2 kind of came from outer space, where punk was ground zero and you didn’t admit to having roots. Bob scolded me, “You’re sitting on all this stuff. You should check it out.” As we fall over ourselves toward the fast and furious future, Dylan feels like the brakes, reminding us of stuff we might have lost, like our dignity.
Mojo: What, if push comes to shove, is your all-time favourite album? Nick Cave: “I guess it’s Slow Train Coming by Bob Dylan. That’s a great record, full of mean-spirited spirituality. It’s a genuinely nasty record, certainly the nastiest ‘Christian’ album I’ve ever come across.” Mojo, January 1997
Willman, Chris (October 14, 2016). “Leonard Cohen Corrects Himself”. Billboard. Retrieved November 13, 2016.
Waits: “For a songwriter, Dylan is as essential as a hammer and nails and saw are to a carpenter.” “It’s Perfect Madness”. The Guardian. March 20, 2005.
Paus, Ole; Bakke, Asbjørn (2024). For en mann. Kagge forlag. ISBN 9788248928508.
Chuck D, in conversation with Edna Gundersen in USA Today, said of Dylan, “He is stencilled on a lot of aspects of my career. His ability to paint pictures with words and his concerns for society. He taught me to go against the grain.”
Marcus, Greil (April 10, 2010). “The Basement Tapes (1975)”. bobdylan.com. Retrieved July 1, 2017.
Hoskyns, pp. 153–157.
“Johnny Cash, from the intro to “Wanted Man”, At San Quentin, recorded February 24, 1969.
Cohn, pp. 164–165.
Marx, Jack (September 2, 2008). “Tangled Up In Blah”. The Australian. Archived from the original on May 23, 2013. Retrieved October 5, 2008.
Diehl, Matt (April 22, 2010). “It’s a Joni Mitchell concert, sans Joni”. Los Angeles Times. Retrieved May 24, 2021.
Larson, Bethany (April 23, 2010). “Folk Face-Off: Joni Mitchell vs. Bob Dylan”. Flavorwire.com. Retrieved August 4, 2011.
“Joni Mitchell Library – The interviewer was an a**hole’: Joni Mitchell clarifies her infamous ‘plagiarist’ charge against Bob Dylan: Something Else! (Website), June 29, 2013”. jonimitchell.com. Retrieved April 23, 2021.
Wilentz, Sean (April 30, 2010). “Is Bob Dylan a Phony?”. The Daily Beast. Retrieved May 2, 2010.
Gilmore, Mikal (September 27, 2012). “Bob Dylan Unleashed”. Rolling Stone. Archived from the original on September 2, 2017. Retrieved January 11, 2013.
Gibbons, Dave; Moore, Alan (2013) [1986]. “Introduction”. Watchmen. DC Comics. ISBN 9781401238964.
McCarthy, Todd (September 4, 2007). “I’m Not There“. Variety. Archived from the original on August 20, 2013. Retrieved September 10, 2009.
A. O. Scott (November 7, 2007). “I’m Not There (2007)”. The New York Times. Retrieved September 10, 2009.
Greil Marcus wrote: “There is nothing like ‘I’m Not There’ in the rest of the basement recordings, or anywhere else in Bob Dylan’s career … Very quickly the listener is drawn into the sickly embrace of the music, its wash of half-heard, half-formed words and the increasing bitterness and despair behind them. Words are floated together in a dyslexia that is music itself – a dyslexia that seems to prove the claims of music over words, to see just how little words can achieve.” See Marcus, p. 198.
Billinngton, Michael (July 26, 2017). “Girl from the North Country review: Bob Dylan’s songs are Depression-era dynamite”. The Guardian.
Brantley, Ben (March 6, 2020). “‘Girl From the North Country’ Review: Bob Dylan’s Amazing Grace”. The New York Times.
Hoberman, J. (November 20, 2007). “Like A Complete Unknown”. The Village Voice. Archived from the original on September 21, 2008. Retrieved October 5, 2008.
Ntim, Zac (July 24, 2024). “‘A Complete Unknown’ Trailer: Timothée Chalamet Is A Singing, Smoking Bob Dylan In First Look At James Mangold’s Musical Biopic”. Deadline. Archived from the original on July 24, 2024. Retrieved November 28, 2024.
Grein, Paul (January 3, 2025). “Bob Dylan Biopic ‘A Complete Unknown’ Already Ranks Among the All-Time Top-Grossing Music Biopics: Here’s the Top 25”. billboard.com. Retrieved January 5, 2025.
“A Complete Unknown, Critic Reviews”. metacritic.com. December 26, 2024. Retrieved December 28, 2024.
Sisario, Ben (March 2, 2016). “Bob Dylan’s Secret Archive”. The New York Times. Retrieved March 30, 2017.
Greene, Andy (March 3, 2016). “Inside Bob Dylan’s Historic New Tulsa Archive: ‘It’s an Endless Ocean'”. Rolling Stone. Retrieved March 4, 2016.
Smith, RJ (May 11, 2022). “In Tulsa, the new Bob Dylan museum reconsiders the legacies of an icon and a city”. Los Angeles Times. Retrieved May 15, 2022.
Gunts, Edward (May 18, 2022). “Simple Twist of Tulsa”. The Architect’s newspaper. Retrieved May 19, 2022.
Buncombe, Andrew (June 3, 2005). “Bob Dylan finally honoured by his home town”. The Independent. Retrieved March 30, 2017.
“Bob Dylan’s hometown of Hibbing struggles with how to honor its most famous son”. Mprnews.org. December 9, 2016. Retrieved March 30, 2017.
“Bob Dylan Way”. bobdylanway.com. June 1, 2006. Archived from the original on March 30, 2017. Retrieved March 30, 2017.
Kerr, Euan (September 8, 2015). “Towering, kaleidoscopic Dylan mural is now complete”. mprnews.org. Retrieved March 30, 2017.
“Bob Dylan’s Fender Stratocaster sells for nearly $1m”. BBC News. December 6, 2013. Retrieved June 24, 2014.
“Dylan’s Like a Rolling Stone lyrics fetch $2m record”. BBC News. June 24, 2014. Retrieved June 24, 2014.
Kozinn, Allan (April 30, 2014). “Dylan’s Handwritten Lyrics to ‘Like a Rolling Stone’ to Be Auctioned”. The New York Times. Retrieved June 24, 2014.
Sutherland, Sam (July 5, 2020). “The Band’s Pioneering ‘Music From Big Pink'”. Best Classic Bands. Retrieved June 8, 2021.
Bell, 2012, Once Upon a Time: The Lives of Bob Dylan. p. 524.
“Writings And Drawings by Bob Dylan”. www.bobdylan-comewritersandcritics.com. Retrieved June 8, 2021.
Dylan, Bob (1994). Drawn Blank. Random House. ISBN 978-0-679-41788-0.
Gray, Michael. “Dylan’s Drawn Blank Paintings Exhibition”. BobDylanEncyclopediablogspot.com. Retrieved June 11, 2012.
Pessl, Marsha (June 1, 2008). “When I Paint My Masterpiece”. The New York Times Book Review. Retrieved October 20, 2010.
Battersby, Matilda (September 2, 2010). “Bob Dylan paintings at Danish National Gallery”. The Independent. London. Retrieved September 9, 2010.
Corbett, Rachel (July 27, 2011). “Dylan at Gagosian Gallery”. artnet.com. Retrieved July 31, 2011.
“Bob Dylan: The Asia Series”. gagosian.com. September 10, 2011. Archived from the original on September 15, 2017. Retrieved December 12, 2012.
Itzkoff, Dave (September 26, 2011). “Questions Raised About Dylan Show at Gagosian”. The New York Times. Retrieved September 27, 2011.
Gopnik, Blake (September 28, 2011). “Bob Dylan Accused of Plagiarizing Famous Photos in His New Art Show”. The Daily Beast. thedailybeast.com. Retrieved April 13, 2018.
“Bob Dylan Paid to License Asia Series Photos, Magnum Says”. Art+Auction. October 1, 2011. Archived from the original on October 7, 2011. Retrieved October 4, 2011.
“Gagosian Gallery artists: Bob Dylan”. gagosian.com. November 20, 2012. Archived from the original on March 15, 2018. Retrieved December 12, 2012.
Smith, Roberta (December 13, 2012). “Revisionist Art: Thirty Works by Bob Dylan”. The New York Times. Retrieved December 14, 2012.
Parker, Sam (February 6, 2013). “Bob Dylan’s ‘New Orleans Series’ Goes On Display In Milan”. HuffPost. Retrieved February 9, 2013.
Güner, Fisun (August 24, 2013). “Bob Dylan: Face Value, National Portrait Gallery”. TheArtsDesk.com. Retrieved August 26, 2013.
Dylan, Bob (November 5, 2016). “The Beaten Path“. Halcyon Gallery. Retrieved December 2, 2016.
Wilentz, Sean (November 5, 2016). “Bob Dylan’s visual art is an important ode to America”. Asia Times Online. Retrieved November 16, 2016.
“Bob Dylan is headed back to China – on canvas”. Asia Times Online. November 5, 2016. Retrieved November 16, 2016.
Dylan, Bob (November 2, 2016). “In His Own Words: Why Bob Dylan Paints”. Vanity Fair. Retrieved November 16, 2016.
“Bob Dylan, Mondo Scripto, 09 Oct 2018 – 23 Dec 2018”. halcyongallery.com. September 10, 2018. Retrieved December 1, 2021.
“Bob Dylan’s ‘Retrospectrum’ debuts at the Modern Art Museum, Shanghai”. Halcyon Gallery. Retrieved June 8, 2021.
Richard F. Thomas (December 21, 2021). “Dylan Transfigured: Deep Focus”. artreview.com. Retrieved December 24, 2021.
Licon, Adriana (November 27, 2021). “Bob Dylan artwork show opens in Miami, new cinema paintings”. The Washington Post. Retrieved December 1, 2021.
Rome, MAXXI dedicates an exhibition to Bob Dylan (who is also a painter and sculptor), Finestresullarte.info, November 7, 2022.
Vineyard, Art Center and Restaurants, Château Lacoste official site.
Château Lacoste, Beauxarts.com, 2022.
Château Lacoste, Actes-Sud.fr.
Bob Dylan: Rail Car at Château Lacoste, Halcyongallery.com, May 9, 2022.
Drawn Blank, Random House (November 15, 1994); Bob Dylan: The Drawn Blank Series, Prestel (March 31, 2008); Bob Dylan: The Brazil Series, Prestel (October 25, 2010); Bob Dylan: The Asia Series, Gagosian Gallery (October 12, 2011); Revisionist Art: Thirty Works by Bob Dylan, Harry N. Abrams (March 26, 2013); Bob Dylan: Face Value, National Portrait Gallery (February 28, 2014); The Beaten Path, Halcyon Gallery (November 5, 2016); Mondo Scripto, Halcyon Gallery, (October 1, 2018); Bob Dylan: Retrospectrum, Skira Editore, (March 1, 2023); Point Blank (Quick Studies) (May 9, 2025), Halcyon Galleru
Dylan, Bob (November 26, 2022). “To my fans and followers”. Facebook. Retrieved November 29, 2022.
“Bob Dylan apologises for machine-printed ‘signatures'”. BBC News. November 28, 2022. Retrieved November 28, 2022.
Cold Iron Bound: Bob Dylan’s Metal Work, Whitehotmagazine.com, May 2021.
“The Legendary Bob Dylan Unveils Seven Iron Gates Sculpture”. artlyst.com. September 24, 2013. Retrieved November 16, 2013.
Bob Dylan Unveils Enormous Metal Sculpture To Adorn Entrance To A $1.3 Billion Resort Casino, Forbes , September 7, 2016.

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External links

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v t e Bob Dylan
Discography Awards Bibliography Songs written by Dylan Bob Dylan songs based on earlier tunes Bob Dylan cover songs 2016 Nobel Prize in Literature
Studio albums	Bob DylanThe Freewheelin’ Bob DylanThe Times They Are a-Changin’Another Side of Bob DylanBringing It All Back HomeHighway 61 RevisitedBlonde on BlondeJohn Wesley HardingNashville SkylineSelf PortraitNew MorningPat Garrett & Billy the KidDylanPlanet WavesBlood on the TracksThe Basement TapesDesireStreet-LegalSlow Train ComingSavedShot of LoveInfidelsEmpire BurlesqueKnocked Out LoadedDown in the GrooveOh MercyUnder the Red SkyGood as I Been to YouWorld Gone WrongTime Out of Mind“Love and Theft”Modern TimesTogether Through LifeChristmas in the HeartTempestShadows in the NightFallen AngelsTriplicateRough and Rowdy WaysShadow Kingdom
Live albums	ContemporaryBefore the FloodHard RainBob Dylan at BudokanReal LiveDylan & the DeadThe 30th Anniversary Concert CelebrationMTV UnpluggedArchivalLive 1961–2000: Thirty-Nine Years of Great Concert PerformancesLive at The Gaslight 1962Live at Carnegie Hall 1963In Concert – Brandeis University 1963The 1966 Live RecordingsBob Dylan – The Rolling Thunder Revue: The 1975 Live RecordingsThe Complete Budokan 1978The 1974 Live Recordings
Compilations	HitsBob Dylan’s Greatest HitsBob Dylan’s Greatest Hits Vol. IIMasterpiecesBob Dylan’s Greatest Hits Volume 3The Best of Bob Dylan (1997)The Best of Bob Dylan, Vol. 2The Essential Bob DylanThe Best of Bob Dylan (2005)DylanThe Very Best of Bob DylanThemedDylanThe Basement TapesBluesBox setsBiographBob Dylan: The CollectionThe Original Mono RecordingsThe 50th Anniversary CollectionBob Dylan: The Complete Album Collection Vol. OneThe 50th Anniversary Collection 1963The 50th Anniversary Collection 19641970
The Bootleg Series	Volumes 1–3 (Rare & Unreleased) 1961–1991Vol. 4: The Royal Albert Hall ConcertVol. 5: Bob Dylan Live 1975, The Rolling Thunder RevueVol. 6: Bob Dylan Live 1964, Concert at Philharmonic HallVol. 7: No Direction Home: The SoundtrackVol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006Vol. 9: The Witmark Demos: 1962–1964Vol. 10: Another Self Portrait (1969–1971)Vol. 11: The Basement Tapes CompleteVol. 12: The Cutting Edge 1965–1966Vol. 13: Trouble No More 1979–1981Vol. 14: More Blood, More TracksVol. 15: Travelin’ Thru, 1967–1969Vol. 16: Springtime in New York 1980–1985Vol. 17: Fragments – Time Out of Mind Sessions (1996–1997)
Bootlegs	From Newport to the Ancient Empty Street in L.A.Great White WonderList of Basement Tapes songs 1967 1975
Concert tours	England Tour (1965)World Tour (1966)Isle of Wight Festival (1969)Tour with the Band (1974)Rolling Thunder Revue (1975–1976)World Tour (1978)Gospel Tour (1979–80)European Tour (1984)True Confessions Tour (1986)Tour with the Grateful Dead (1987)Temples in Flames Tour (1987)Never Ending Tour 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 Rough and Rowdy Ways World Wide Tour (2021–2024)
Films	Dont Look BackEat the DocumentRenaldo and ClaraHard to HandleThe 30th Anniversary Concert CelebrationMTV UnpluggedMasked and AnonymousNo Direction HomeI’m Not There soundtrack65 RevisitedThe Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965Trouble No More – A Musical FilmRolling Thunder RevueShadow KingdomA Complete Unknown (soundtrack)
Writings	TarantulaWritings and DrawingsChronicles: Volume OneThe Philosophy of Modern Song
Books about Dylan	The Bob Dylan EncyclopediaBob Dylan, Performing ArtistInvisible RepublicDown the Highway: The Life of Bob DylanThe Cambridge Companion to Bob DylanBob Dylan: Mixing Up the MedicineDylan Goes Electric!
Family	Sara Dylan (first wife)Carolyn Dennis (second wife)Jesse Dylan (son)Jakob Dylan (son)
Related	Recording Sessions The Band Traveling Wilburys Electric Dylan controversy Artists who have covered Dylan songs Joan Baez Suze Rotolo Helena Springs The Telegraph magazineFestivalThe Concert for BangladeshPat Garrett and Billy the KidHearts of FireHighway 61 InteractiveTheme Time Radio HourGotta Serve Somebody: The Gospel Songs of Bob DylanChimes of Freedom (album)The Lost Notebooks of Hank WilliamsLost on the River: The New Basement TapesBob Dylan Center
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Articles, books and commentary by Joel Snell

BOB DYLAN

Contents

Bob Dylan

Early life and education

Career

1960–1962: Move to New York and stardom

1963–1965: Protest music and Another Side

1965–1969: Going electric and motorcycle accident

1970–1979: Return to touring and Christian music

1980–1989: Career fluctuations

1990–1999: Return to Folk music and resurgence

2000–2009: Oscar win, memoir, and Modern Times

2010–2019: Tempest and continued recordings

2020–present

Never Ending Tour

Personal life

Romantic relationships

Echo Helstrom

Suze Rotolo

Joan Baez

Sara Lownds

Carolyn Dennis

Home

Religious beliefs

Accolades and honors

Nobel Prize in Literature

Legacy

Archives and recognition

Visual arts

Painting

Sculpture

Written works

Discography

Notes

References

Citations

Sources

External links