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says, 'About this booing... I was sitting right in front of the stage, there was no booing in the audience whatsoever. There was booing from the performers'. So I said, Well, I don't think you're right. Then another kid gets up and says 'I was a little further back and it was the press section that was booing, not the audience', and I said, Well, I don't think you're right. A third guy gets up and says 'I was there, and there was no question, it was the audience that was booing and there was no booing from the stage'. It was fascinating. People remember hearing what they thought they should hear. I think they were definitely booing Dylan and a little bit Pete Yarrow because he was so flustered. He was not expecting that audience's reaction and he was concerned about Bob's image since they were part of the same family of artists through Al
Grossman. But I absolutely think that they were booing Dylan going electric."
572:. Dylan appears to have believed that the booing at Newport was a consequence of some fans disliking his electric sound. Photographer Daniel Kramer, who accompanied Dylan to the Forest Hills concert, wrote: "Dylan held a conference with the musicians who were going to accompany him in the second half of the concert. He told them that they should expect anything to happen—he probably was remembering what occurred at Newport. He told them that the audience might yell and boo and that they should not be bothered by it. Their job was to make the best music they were capable of, and let whatever happened happen."
591:: "Bob Dylan split 15,000 of his fans down the middle at Forest Hills Tennis Stadium Sunday night... The most influential writer-performer on the pop music scene during the past decade, Dylan has apparently evolved too fast for some of his young followers, who are ready for radical changes in practically everything else... repeating the same scene that occurred during his performance at the Newport Folk Festival, Dylan delivered a round of folk-rock songs but had to pound his material against a hostile wall of anti-claquers, some of whom berated him for betraying the cause of folk music."
503:, who was backstage, gave for disliking the performance: he says he told the audio technicians, "Get that distortion out of his voice ... It's terrible. If I had an axe, I'd chop the microphone cable right now." Seeger has also said, however, that he only wanted to cut the cables because he wanted the audience to hear Dylan's lyrics properly because he thought they were important. Rumors that Seeger actually had an axe, or that a festival board member pulled or wanted to pull out the entire electrical wiring system are
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much like booing. I've heard recently a recording of that night, and it doesn't sound to me like booing so much as a roar, just a kind of general hubbub between songs, and during Yarrow's attempt to get Dylan back on stage... I really wouldn't be prepared to say it was 50–50, or two thirds/one third, or whatever. But I think that there was a segment of the audience, somewhere between a quarter and a half, that was dismayed or horrified or varying degrees of unhappy about what he was doing."
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552:, who got permission to bring six of them to Newport. A tree stump was placed on the stage which they chopped with axes as they sang. During the performance, a mic cable disconnected. Boyd ducked in and reconnected it, earning a nod of approval from Seeger. Boyd speculates that somehow those ingredients, "Seeger, axes, cables...got muddled up".
353:, when Dylan returned to the stage, he discovered he did not have the right harmonica and said to Yarrow, "What are you doing to me?" Dylan then asked the audience for "an E harmonica". Within a few moments, a clatter of harmonicas hit the stage. Dylan performed two songs on acoustic guitar for the audience: "
169:(1969), and drifting through numerous styles throughout the rest of his career. Retrospectively, his electric period has come to be recognized by critics and fans as producing some of his best music, and his controversial performance at Newport has been considered a pivotal moment in the development of
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I think most of all I was angry that Dylan... not that he'd played electric, but that he'd played electric with a really poor sound system. It was not like it is on the record . It was a wall of mush. That, and it seemed like a cavalier performance, a throwaway performance compared with the intensity
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Bruce
Jackson, another director of the Newport Folk Festival, called the incident "the myth of Newport". Jackson was present at Dylan's 1965 performance and in 2002 reviewed an audio tape of it. Jackson contends that the booing was directed at Peter Yarrow (also a member of the Festival's Board), who
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magazine, Lerner was asked: "There's been a lot of debate over the years as to who exactly was doing the booing and who were they booing? Dylan? The organizers? The shortness of the set?" Lerner replied: "It's a good question. When we showed the film at The New York Film
Festival one kid gets up and
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used to come up to the plate for the
Yankees, 'cause his nickname was Moose. And everybody used to go, "MOOSE!" And it sounded like they were booing him. Because you don't get the articulation of the consonant, so that a crowd shouting "more, more, more" at the end of Dylan's three songs sounded very
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By today's standards, the volume wasn't particularly high, but in 1965 it was probably the loudest thing anyone in the audience had ever heard. A buzz of shock and amazement ran through the crowd. When the song finished, there was a roar that contained many sounds. Certainly boos were included, but
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in 2007: "I think there were a lot of people who were upset about the rock band, but I think it was pretty split. I think probably more people liked it than didn't. But there was certainly a lot of shouting and a lot of arguing, and a sound which, you can hear in a lot of ballparks. You used to get
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Interviewed in San
Francisco, on December 3, 1965, Dylan was asked whether he was "surprised the first time the boos came?" He responded: "That was at Newport. Well, I did this very crazy thing, I didn't know what was going to happen, but they certainly booed, I'll tell you that. You could hear it
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when Lomax introduced them for an earlier set at a festival workshop. Dylan's attitude, according to Taplin, was, "'Well, fuck them if they think they can keep electricity out of here, I'll do it.' On a whim, he said he wanted to play electric." Dylan assembled a band and rehearsed that night at a
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Wussies and pussies complain about that stuff. It's an old thing — it's part of the tradition. It goes way back. These are the same people that tried to pin the name Judas on me. Judas, the most hated name in human history! If you think you've been called a bad name, try to work your way out from
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would not allow it, so McCormick had rounded up a group of ex-convicts. Since they had never performed together in front of an audience, much less a microphone, McCormick wanted to accustom them to the stage before the concert. "But Bob Dylan's electric band had been rehearsing for some time and
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Dylan played at
Newport. She explained that Dylan had left the guitar on a plane piloted by her father, Victor Quinto, in 1965. An instrument specialist was convinced that the guitar was genuine, and lyrics of songs in the guitar case were identified as Dylan's work by a memorabilia collector.
244:), Dylan made a spontaneous decision on Saturday that he would challenge the Festival by performing with a fully amplified band the following evening. Taplin said that Dylan had been irritated by what he considered condescending remarks which festival organiser
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361:", his farewell to the Newport Folk Festival. The crowd exploded with applause, calling for more. Dylan did not return to the Newport festival for 37 years. In an enigmatic gesture, Dylan performed at Newport in 2002, sporting a wig and fake beard.
221:". Positive reviews of Dylan's 1964 performance were accompanied by criticisms of Dylan's antics and dismissive nature; one critic wrote that "being stoned had rarely prevented his giving winning performances, but he was clearly out of control".
532:, the legend about Pete Seeger cutting the cable or pulling the cords of the acoustic system may have arisen from an actual incident from earlier that afternoon. Szwed writes that Festival organizer Alan Lomax had asked Texas folklorist
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football team. On July 26, 2015, the guitar was publicly played for the first time in 50 years during a tribute set at the
Newport Folk Festival honoring the 50th anniversary of Dylan's performance at Newport. The tribute set included
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However, Dylan attorney Orin Snyder said that Dylan still had the guitar he played at
Newport, and said: "He did own several other Stratocaster guitars that were stolen from him around that time, as were some handwritten lyrics."
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334:: "Ladies and gentlemen, the person that's going to come up now has a limited amount of time ... His name is Bob Dylan." In the documentary footage, both boos and cheers are heard a few bars into Dylan's first song, "
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under that. Yeah, and for what? For playing an electric guitar? As if that is in some kind of way equatable to betraying our Lord and delivering him up to be crucified. All those evil motherfuckers can rot in hell.
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they weren't in a majority. There were shouts of delight and triumph and also of derision and outrage. The musicians didn't wait to interpret it, they just plunged straight into the second song.
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refused to leave. 'I was trying to tell Dylan, we need the stage', McCormick said. 'He continued to ignore me. So I went over to the junction box and pulled out the cords. Then he listened'."
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525:, who wore a hearing aid. In the same film, Dylan claimed that Seeger's unenthusiastic response to his set was like a "dagger in his heart" and made him "want to go out and get drunk".
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suggested that the Lovin' Spoonful's warm reception "reflected the growing acceptance of folk-rock and other amalgamations of contemporary folk songs with electric instruments".
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upset the crowd when he attempted to keep Dylan's spot to its proper length; Jackson maintains there's nothing to indicate the crowd disliked Dylan's music, electrified or not.
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Joe Boyd recounted events differently in his memoir, "White
Bicycles: Making Music in the 1960s". The Texas Prisoners Worksong group had been discovered by musicologist
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808:, and several others. Isbell played Dylan's guitar during the tribute set and Newport Folk Festival producer Jay Sweet was quoted as saying "Dylan's guitar is home".
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and others present at
Newport argued that the boos were from outraged folk fans who disliked Dylan playing an electric guitar. Others present, including musician
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playing organ on "Like a Rolling Stone". Some sections of the audience booed the performance. Members of the folk movement criticized him for moving away from
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of the acoustic set earlier on. There were rumblings all around me and the people I was with were making noises and looking at each other. It was a build-up.
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Despite the mixed reaction afforded to Dylan at the 1965 Newport festival, several electric bands appeared at the following year's event, including
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concert, at the end of that film, includes the "Judas" heckling incident. During a quiet moment in between songs an audience member shouts loudly: "
521:, who is Pete Seeger's brother-in-law, states that Seeger wanted to lower the volume of the band because the noise was upsetting his elderly father
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In 2012, Dylan referred to the incident while addressing criticism that he had not clearly acknowledged his lyrical sources for his new album
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all over the place.... I mean, they must be pretty rich, to be able to go some place and boo. I couldn't afford it if I was in their shoes."
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338:", and continue throughout his second, "Like a Rolling Stone". Dylan and his band then performed "Phantom Engineer", an early version of "
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641:!" Dylan replies: "I don't believe you, you're a liar" before telling his band to "Play it fucking loud!" as they launch into "
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145:) were often met with derisiveness from the audience. Crowds became particularly acrimonious during a British tour, including
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Tyson, it was "an angry, startled reaction" but that "it was a hostile audience" that year for other performers also.
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78:, while side two features him accompanying himself on acoustic guitar. On July 20, 1965, he released his single "
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in Dylan's Bootleg Series. One fan who claimed to have shouted "Judas!" was John Cordwell; when interviewed by
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After "Phantom Engineer", Dylan and the band left the stage. Booing and clapping are in the background. When
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268:, two traditional acts. Dylan's band included two musicians who had played on his recently released single "
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853:, published an "Open Letter to Bob Dylan" criticizing him for stepping away from political song writing (
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153:!" at Dylan. Shows from this tour have been documented in several Dylan documentaries, including 2005's
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Dylan and Peterson settled a legal dispute over the guitar, and in December 2013 it was sold by
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342:". Dylan was said to have "electrified one half of his audience, and electrocuted the other".
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1576:"Experts: Bob Dylan's Long-Lost Newport Folk Festival Electric Guitar Found In New Jersey"
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609:; the first half would be 'folk,' Dylan solo accompanying himself on acoustic guitar and
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sound. On July 25, 1965, he performed his first concert with electric instruments at the
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645:". This incident was recorded, and the full concert was eventually released in 1998 as
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The next concert Dylan played after his Newport performance was on August 28, 1965, at
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on the sound mixing for the festival, described the audience reaction in his memoir,
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213:; and other Festival performers. At the 1964 Newport Folk Festival, Dylan performed "
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The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965
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The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965
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The Other Side of the Mirror: Bob Dylan Live at the Newport Folk Festival 1963–1965
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1947:
Dylan Goes Electric!: Newport, Seeger, Dylan, and the Night that Split the Sixties
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540:, to find a Texas prison gang to bring up to Newport to sing work songs, but the
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returned to the microphone, he begged Dylan to continue performing. According to
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240:, a roadie at Newport (and later a road manager for the acts of Dylan's manager
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recounted the story of New Jersey resident Dawn Peterson, who said she had the
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On subsequent tours throughout 1965 and 1966, his electric sets (now backed by
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1976:
Guardian.co.uk: "Bob Dylan's return to the scene of the crime", August 2, 2002
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Egan, Sean (November 2010). "The Making of Bob Dylan's Highway 61 Revisited".
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suggested that Dylan's early compositions virtually took over the folk genre.
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Another claimant to the "Judas!" shout was Keith Butler, who was a student at
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combo. The rock segment was often greeted with hostility, as seen in shows in
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released on DVD his complete footage of Dylan's three appearances at Newport:
245:
1631:"Bob Dylan's Electric Guitar Returns to Newport Folk Festival After 50 Years"
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The polarised responses of Dylan's fans were exacerbated by the structure of
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The guitar Dylan played at the 1965 Newport Folk Festival on display at the
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1311:(New York: Viking, 2010), p. 354. The story also appears in Michael Hall's
1426:(CD booklet). Bob Dylan. New York, New York: Columbia Records. p. 28.
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Dylan's performances were filmed by Murray Lerner and included in the DVD
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2253:
1441:(CD booklet). Bob Dylan. New York, New York: Columbia Records. p. 7.
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126:. Dylan continued his trend towards rock music on his next two albums,
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284:. Two of Bloomfield's bandmates from the Paul Butterfield Blues Band,
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Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock
309:
Footage of the Newport performance appears in the documentary films
224:
On Saturday, July 24, 1965, Dylan performed three acoustic songs, "
745:
303:
180:
29:
903:
Hippie Dictionary: A Cultural Encyclopedia of the 1960s and 1970s
1096:"Bob Dylan concert review – Newport Folk Festival, Aug. 3, 2002"
260:
On the night of Sunday, July 25, Dylan's appearance was between
2472:
Bob Dylan – The Rolling Thunder Revue: The 1975 Live Recordings
2437:
Live 1961–2000: Thirty-Nine Years of Great Concert Performances
1993:
1348:"The myth of Newport '65: It wasn't Bob Dylan they were booing"
1239:
Television Press Conference, KQED, San Francisco, reprinted in
1167:(Updated ed.). New York: Backbeat Books. pp. 38–39.
758:
368:
201:, Dylan had been received enthusiastically when he performed "
1981:
Queens University of Charlotte: Extract from Robert Shelton,
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779:
auction house in New York for $ 965,000. It was purchased by
159:. Over time, Dylan continued to evolve musically, turning to
1989:
65:
led the media to label him the "spokesman of a generation".
2785:
Vol. 17: Fragments – Time Out of Mind Sessions (1996–1997)
327:(2007). The footage begins with Dylan being introduced by
2708:
Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall
1776:
Bob Dylan: A Life in Stolen Moments: Day by Day 1941–1995
1733:"Ballad in Plain D: An introduction to the Bob Dylan era"
585:
album, quotes a contemporary account of the concert from
400:
396:
1601:"Bob Dylan's Fender Stratocaster sells for nearly $ 1m"
392:
2722:
Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006
2701:
Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue
1815:
Classic Keys: Keyboard Sounds That Launched Rock Music
1454:"Bob Dylan: How I found the man who shouted 'Judas'"
3439:
Gotta Serve Somebody: The Gospel Songs of Bob Dylan
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1858:
Dylan at Newport, 1965: Music, Myth, and Un-Meaning
185:Fans were used to seeing Dylan perform alone, with
1983:No Direction Home: The Life and Music of Bob Dylan
1919:
1877:No Direction Home: The Life and Music of Bob Dylan
1082:No Direction Home: The Life and Music of Bob Dylan
1000:No Direction Home: The Life and Music of Bob Dylan
927:
2644:Bob Dylan: The Complete Album Collection Vol. One
1795:Bob Dylan: A Portrait of the Artist's Early Years
594:
2805:From Newport to the Ancient Empty Street in L.A.
1546:
930:Turn! Turn! Turn!: The '60s Folk-Rock Revolution
340:It Takes a Lot to Laugh, It Takes a Train to Cry
668:. Butler's presence was documented in the film
657:
435:
118:and for performing with a rock band, including
68:In March 1965, Dylan released his fifth album,
1812:Lenhoff, Alan S.; Robertson, David E. (2019).
742:Rediscovery and sale of Dylan's Newport guitar
674:, when the 21-year-old was filmed leaving the
2687:Volumes 1–3 (Rare & Unreleased) 1961–1991
2005:
1335:. Serpents Tail Classics. pp. 95–6, 101.
395:. Consider transferring direct quotations to
8:
1839:The Rolling Stone History of Rock & Roll
1165:Backstage Passes & Backstabbing Bastards
1561:
827:
499:Poor sound quality was the reason musician
2736:Vol. 10: Another Self Portrait (1969–1971)
2496:
2365:
2012:
1998:
1990:
1354:. Archived from the original on 2008-01-06
1212:"Exclusive: Dylan at Newport – Who Booed?"
1076:
1074:
648:Live 1966: The "Royal Albert Hall" Concert
3461:Lost on the River: The New Basement Tapes
2778:Vol. 16: Springtime in New York 1980–1985
2715:Vol. 7: No Direction Home: The Soundtrack
1333:White Bicycles: Making Music in the 1960s
1251:
1249:
1188:Unterberger, Richie (February 26, 2007).
1122:White Bicycles: Making Music in the 1960s
1065:
613:; with the second half 'rock,' Dylan and
495:Controversy around Pete Seeger's reaction
430:White Bicycles: Making Music in the 1960s
253:mansion being used by festival organizer
3531:1960s controversies in the United States
3125:The 30th Anniversary Concert Celebration
2412:The 30th Anniversary Concert Celebration
1683:Dylan on Dylan: The Essential Interviews
3284:Down the Highway: The Life of Bob Dylan
1897:Down the Highway: The Life of Bob Dylan
1624:
1622:
1051:
1039:
888:
869:
854:
816:
298:, also appeared at Newport, as well as
236:", at a Newport workshop. According to
149:, where a member of the crowd shouted "
2052:Bob Dylan songs based on earlier tunes
1409:
1385:
1364:
1124:. Serpents Tail Classics. p. 102.
1027:
970:
958:
876:
560:New York City concert, August 28, 1965
2694:Vol. 4: The Royal Albert Hall Concert
2458:In Concert – Brandeis University 1963
1667:"Newport, Rhode Island, 25 July 1965"
985:Invisible Now: Bob Dylan in the 1960s
386:too many or overly lengthy quotations
7:
3370:Artists who have covered Dylan songs
3291:The Cambridge Companion to Bob Dylan
3079:Rough and Rowdy Ways World Wide Tour
2743:Vol. 11: The Basement Tapes Complete
2729:Vol. 9: The Witmark Demos: 1962–1964
2658:The 50th Anniversary Collection 1964
2651:The 50th Anniversary Collection 1963
1711:The Rolling Stone Interviews, Vol. 2
1534:
1470:
1397:
1313:"Mack McCormick Still has the Blues"
1240:
1098:. berkshirelinks.com. Archived from
82:" featuring a more fully integrated
74:. Side one features him backed by a
3454:The Lost Notebooks of Hank Williams
2750:Vol. 12: The Cutting Edge 1965–1966
1746:University of North Texas Libraries
1512:. 12 September 2012. Archived from
1504:"Bob Dylan Strikes Back at Critics"
147:an oft-cited incident in Manchester
2771:Vol. 15: Travelin' Thru, 1967–1969
2757:Vol. 13: Trouble No More 1979–1981
2529:Bob Dylan's Greatest Hits Volume 3
1860:. New Street Communications, LLC.
607:his concerts in late 1965 and 1966
49:was the leading songwriter of the
38:" with a backing band at the 1965
25:
3298:Bob Dylan: Mixing Up the Medicine
2515:Bob Dylan's Greatest Hits Vol. II
1926:. San Francisco: Backbeat Books.
617:with electric guitars and a full
3480:
3479:
3181:Trouble No More – A Musical Film
2764:Vol. 14: More Blood, More Tracks
1629:Grebey , James (July 25, 2015).
905:. Ten Speed Press. p. 186.
757:In July 2012, an episode of the
373:
2637:The 50th Anniversary Collection
2156:Pat Garrett & Billy the Kid
1820:University of North Texas Press
901:McCleary, John Bassett (2004).
595:Dylan's "World Tour", 1965–1966
457:Boyd said in an interview with
96:the Paul Butterfield Blues Band
2062:2016 Nobel Prize in Literature
1709:Fong-Torres, Ben, ed. (1973).
1574:Greene, Andy (July 11, 2012).
1309:The Man Who Recorded the World
1002:. Backbeat Books. p. 181.
741:
470:In 2007, documentary director
1:
3411:Pat Garrett and Billy the Kid
3243:The Philosophy of Modern Song
2817:List of Basement Tapes songs
2544:The Best of Bob Dylan, Vol. 2
2093:The Times They Are a-Changin'
1346:Jackson, Bruce (2002-08-26).
1084:, New York, 1986, pp. 301–304
579:, in his liner notes for the
62:The Times They Are a-Changin'
53:. The response to his albums
3270:Bob Dylan, Performing Artist
2630:The Original Mono Recordings
1713:. Warner Paperback Library.
1681:Cott, Jonathan, ed. (2006).
1547:Lenhoff & Robertson 2019
1484:The Rough Guide to Bob Dylan
1452:Kershaw, Andy (2005-09-22).
1218:. 2007-10-25. Archived from
1151:The Rough Guide to Bob Dylan
1015:The Other Side of the Mirror
926:Unterberger, Richie (2002).
528:According to jazz historian
359:It's All Over Now, Baby Blue
2900:Tour with the Grateful Dead
1759:. Continuum International.
802:Preservation Hall Jazz Band
250:Paul Butterfield Blues Band
51:American folk music revival
3557:
3405:The Concert for Bangladesh
3365:Electric Dylan controversy
3263:The Bob Dylan Encyclopedia
2451:Live at Carnegie Hall 1963
2086:The Freewheelin' Bob Dylan
1756:The Bob Dylan Encyclopedia
1685:. Hodder & Stoughton.
1294:(DVD). Paramount Pictures.
1279:(DVD). Paramount Pictures.
1139:(DVD). Paramount Pictures.
934:. Backbeat Books. p.
752:Metropolitan Museum of Art
598:
56:The Freewheelin' Bob Dylan
3516:1965 in the United States
3475:
2623:Bob Dylan: The Collection
2508:Bob Dylan's Greatest Hits
2479:The Complete Budokan 1978
2444:Live at The Gaslight 1962
2107:Bringing It All Back Home
2100:Another Side of Bob Dylan
2027:
1704:. Diamond Publishing Ltd.
1371:: CS1 maint: unfit URL (
1190:"Interview with Joe Boyd"
1094:Read, Dave (2008-08-30).
601:Bob Dylan World Tour 1966
71:Bringing It All Back Home
2465:The 1966 Live Recordings
1875:Shelton, Robert (2003).
1856:Renehan, Edward (2015).
1774:Heylin, Clinton (1996).
1486:(1st ed., 2004), p. 69,
1153:, (1st ed., 2004), p. 54
494:
393:summarize the quotations
234:Love Minus Zero/No Limit
2551:The Essential Bob Dylan
1894:Sounes, Howard (2001).
1793:Kramer, Daniel (1991).
1192:. richieunterberger.com
230:If You Gotta Go, Go Now
226:All I Really Want to Do
3521:American music history
3511:1965 in American music
3425:Highway 61 Interactive
3236:Chronicles: Volume One
2906:Temples in Flames Tour
2858:Isle of Wight Festival
2310:Christmas in the Heart
2047:Songs written by Dylan
1753:Gray, Michael (2006).
754:
662:
542:Texas Attorney General
519:New Lost City Ramblers
480:. When interviewed by
440:
194:
42:
27:1965 music controversy
3432:Theme Time Radio Hour
3229:Writings and Drawings
3188:Rolling Thunder Revue
2894:True Confessions Tour
2870:Rolling Thunder Revue
2558:The Best of Bob Dylan
2536:The Best of Bob Dylan
2303:Together Through Life
2268:Good as I Been to You
2057:Bob Dylan cover songs
1797:. Plexus Publishing.
1516:on September 13, 2012
1437:Glover, Tony (1998).
1422:Glover, Tony (1998).
1256:Seeger, Pete (2005).
983:Hughes, John (2013).
749:
199:Newport Folk Festival
184:
116:political songwriting
88:Newport Folk Festival
40:Newport Folk Festival
33:
3139:Masked and Anonymous
2405:Dylan & the Dead
2391:Bob Dylan at Budokan
2345:Rough and Rowdy Ways
2324:Shadows in the Night
2114:Highway 61 Revisited
1837:Miller, Jim (1981).
1275:Cohen, John (2005).
643:Like a Rolling Stone
566:Forest Hills Stadium
462:this confusion when
329:Master of Ceremonies
270:Like a Rolling Stone
215:With God on Our Side
211:Peter, Paul and Mary
129:Highway 61 Revisited
90:, joined by pianist
80:Like a Rolling Stone
36:Like a Rolling Stone
3541:Music controversies
2177:Blood on the Tracks
2128:John Wesley Harding
1916:Unterberger, Richie
1290:Dylan, Bob (2005).
1163:Kooper, Al (2008).
1135:Kooper, Al (2005).
1068:, show 32, track 1.
769:Fender Stratocaster
714:the Lovin' Spoonful
633:. Footage from the
627:Newcastle upon Tyne
582:Bob Dylan Live 1966
276:on lead guitar and
248:had made about the
203:Blowin' in the Wind
3506:1965 controversies
3360:Traveling Wilburys
3350:Recording Sessions
3277:Invisible Republic
3202:A Complete Unknown
2864:Tour with the Band
2812:Great White Wonder
2679:The Bootleg Series
2591:The Basement Tapes
2247:Down in the Groove
2240:Knocked Out Loaded
2184:The Basement Tapes
1778:. Schirmer Books.
1607:. December 6, 2013
1473:, pp. 365–366
1331:Boyd, Joe (2007).
1262:Paramount Pictures
1120:Boyd, Joe (2007).
1030:, pp. 180–181
800:, the New Orleans
785:Indianapolis Colts
764:History Detectives
755:
731:The New York Times
685:documentary about
459:Richie Unterberger
423:, who worked with
266:Sea Island singers
219:Mr. Tambourine Man
195:
43:
34:Dylan performing "
3493:
3492:
3446:Chimes of Freedom
3254:Books about Dylan
3146:No Direction Home
3111:Renaldo and Clara
2912:Never Ending Tour
2674:
2673:
2488:
2487:
2261:Under the Red Sky
2205:Slow Train Coming
2135:Nashville Skyline
1961:978-0-06-236670-2
1950:. New York City:
1879:. Da Capo Press.
1829:978-1-57441-786-9
1818:. Denton, Texas:
1292:No Direction Home
1277:No Direction Home
1258:No Direction Home
1174:978-0-87930-922-0
1137:No Direction Home
998:Shelton, Robert.
726:the Blues Project
631:No Direction Home
538:Lightnin' Hopkins
510:No Direction Home
418:
417:
365:Audience reaction
355:Mr Tambourine Man
318:No Direction Home
166:Nashville Skyline
156:No Direction Home
16:(Redirected from
3548:
3483:
3482:
3467:Bob Dylan Center
3104:Eat the Document
2497:
2377:Before the Flood
2366:
2289:"Love and Theft"
2282:Time Out of Mind
2275:World Gone Wrong
2233:Empire Burlesque
2121:Blonde on Blonde
2014:
2007:
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1985:, New York, 1986
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671:Eat the Document
666:Keele University
570:Queens, New York
536:, discoverer of
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135:Blonde on Blonde
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399:or excerpts to
390:
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357:" followed by "
274:Mike Bloomfield
242:Albert Grossman
238:Jonathan Taplin
187:acoustic guitar
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2419:MTV Unplugged
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2331:Fallen Angels
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2143:
2142:Self Portrait
2139:
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2076:
2075:
2073:
2071:Studio albums
2069:
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2026:
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2015:
2010:
2008:
2003:
2001:
1996:
1995:
1992:
1986:
1984:
1979:
1977:
1974:
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1969:
1963:
1957:
1953:
1952:HarperCollins
1949:
1948:
1943:
1939:
1935:
1933:0-87930-743-9
1929:
1924:
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1907:0-8021-1686-8
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1886:0-306-81287-8
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1848:0-330-26568-7
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1804:0-85965-188-6
1800:
1796:
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1787:
1785:0-7119-5669-3
1781:
1777:
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1766:0-8264-6933-7
1762:
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1720:9780446591362
1716:
1712:
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1703:
1698:
1694:
1692:0-340-92312-1
1688:
1684:
1679:
1669:. Bjorner.com
1668:
1664:
1663:Björner, Olof
1660:
1659:
1655:
1639:
1637:
1632:
1625:
1623:
1619:
1606:
1602:
1596:
1593:
1581:
1580:Rolling Stone
1577:
1570:
1567:
1563:
1558:
1556:
1552:
1548:
1543:
1540:
1536:
1531:
1528:
1515:
1511:
1510:
1509:Rolling Stone
1505:
1499:
1496:
1493:
1492:1-84353-139-9
1489:
1485:
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1476:
1472:
1467:
1464:
1459:
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1445:
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1425:
1418:
1415:
1412:, p. 130
1411:
1406:
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1399:
1394:
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1387:
1382:
1379:
1374:
1368:
1353:
1349:
1342:
1339:
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1320:
1319:
1318:Texas Monthly
1314:
1310:
1306:
1301:
1298:
1293:
1286:
1283:
1278:
1271:
1268:
1263:
1259:
1252:
1250:
1246:
1242:
1236:
1233:
1222:on 2009-04-12
1221:
1217:
1213:
1207:
1204:
1191:
1184:
1181:
1176:
1170:
1166:
1159:
1156:
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1146:
1143:
1138:
1131:
1128:
1123:
1116:
1113:
1102:on 2019-08-02
1101:
1097:
1090:
1087:
1083:
1077:
1075:
1071:
1067:
1062:
1060:
1056:
1053:
1048:
1045:
1042:, p. 302
1041:
1036:
1033:
1029:
1024:
1021:
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1016:
1009:
1006:
1001:
994:
991:
986:
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952:
947:
945:0-87930-703-X
941:
937:
932:
931:
922:
919:
914:
912:1-58008-547-4
908:
904:
897:
894:
891:, p. 313
890:
885:
882:
879:, p. 220
878:
873:
870:
863:
856:
852:
851:
846:
836:
833:
830:, p. 424
829:
825:
820:
817:
811:
809:
807:
803:
799:
798:Willie Watson
795:
794:Dave Rawlings
791:
790:Gillian Welch
786:
782:
778:
773:
770:
766:
765:
760:
753:
748:
739:
737:
734:, the critic
733:
732:
727:
723:
719:
715:
707:
701:
700:
699:
697:
696:
690:
688:
684:
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677:
673:
672:
667:
661:
656:
654:
650:
649:
644:
640:
636:
632:
628:
624:
620:
619:rock and roll
616:
612:
608:
602:
592:
590:
589:
584:
583:
578:
573:
571:
567:
559:
557:
553:
551:
550:Bruce Jackson
546:
543:
539:
535:
531:
526:
524:
520:
516:
512:
511:
506:
502:
492:
488:
485:
484:
479:
478:
473:
472:Murray Lerner
468:
465:
460:
455:
453:
449:
445:
444:Murray Lerner
439:
434:
432:
431:
426:
422:
412:
402:
398:
394:
388:
387:
382:This section
380:
371:
370:
364:
362:
360:
356:
352:
348:
343:
341:
337:
336:Maggie's Farm
333:
330:
326:
325:
320:
319:
314:
313:
307:
305:
301:
297:
294:
290:
289:Jerome Arnold
287:
283:
279:
275:
271:
267:
263:
258:
256:
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247:
243:
239:
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231:
227:
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220:
216:
212:
208:
204:
200:
192:
188:
183:
176:
174:
172:
168:
167:
162:
161:country music
158:
157:
152:
148:
144:
139:
137:
136:
131:
130:
125:
121:
117:
113:
109:
105:
104:Jerome Arnold
101:
97:
93:
89:
85:
81:
77:
73:
72:
66:
64:
63:
58:
57:
52:
48:
41:
37:
32:
19:
18:John Cordwell
3459:
3452:
3445:
3437:
3430:
3423:
3416:
3409:
3397:
3390:
3364:
3317:(first wife)
3296:
3289:
3282:
3275:
3268:
3261:
3241:
3234:
3227:
3220:
3200:
3193:
3186:
3179:
3172:
3167:65 Revisited
3165:
3151:
3144:
3137:
3130:
3123:
3116:
3109:
3102:
3095:
2846:England Tour
2810:
2803:
2783:
2776:
2769:
2762:
2755:
2748:
2741:
2734:
2727:
2720:
2713:
2706:
2699:
2692:
2685:
2663:
2656:
2649:
2642:
2635:
2628:
2621:
2614:
2596:
2589:
2582:
2564:
2557:
2549:
2542:
2535:
2527:
2522:Masterpieces
2520:
2513:
2506:
2493:Compilations
2477:
2470:
2463:
2456:
2449:
2442:
2435:
2417:
2410:
2403:
2396:
2389:
2382:
2375:
2369:Contemporary
2350:
2343:
2336:
2329:
2322:
2315:
2308:
2301:
2296:Modern Times
2294:
2287:
2280:
2273:
2266:
2259:
2252:
2245:
2238:
2231:
2224:
2219:Shot of Love
2217:
2210:
2203:
2198:Street-Legal
2196:
2189:
2182:
2175:
2170:Planet Waves
2168:
2161:
2154:
2147:
2140:
2133:
2126:
2119:
2112:
2105:
2098:
2091:
2084:
2077:
2042:Bibliography
1982:
1946:
1942:Wald, Elijah
1921:
1896:
1876:
1857:
1838:
1814:
1794:
1775:
1755:
1739:
1710:
1701:
1682:
1671:. Retrieved
1641:. Retrieved
1634:
1609:. Retrieved
1604:
1595:
1583:. Retrieved
1579:
1569:
1542:
1530:
1520:14 September
1518:. Retrieved
1514:the original
1507:
1498:
1483:
1478:
1466:
1457:
1447:
1438:
1432:
1423:
1417:
1405:
1400:, p. 57
1393:
1381:
1356:. Retrieved
1351:
1341:
1332:
1326:
1316:
1308:
1300:
1291:
1285:
1276:
1270:
1257:
1243:, p. 73
1235:
1224:. Retrieved
1220:the original
1215:
1206:
1194:. Retrieved
1183:
1164:
1158:
1150:
1145:
1136:
1130:
1121:
1115:
1104:. Retrieved
1100:the original
1089:
1081:
1052:Bjorner 2012
1047:
1040:Shelton 2003
1035:
1023:
1013:
1008:
999:
993:
984:
978:
973:, p. 62
966:
961:, p. 46
954:
929:
921:
902:
896:
889:Shelton 2003
884:
872:
855:Shelton 2003
848:
845:Irwin Silber
835:
819:
806:Jason Isbell
774:
762:
756:
729:
718:Howlin' Wolf
711:
708:Newport 1966
694:
691:
686:
669:
663:
658:
653:Andy Kershaw
646:
630:
604:
586:
580:
574:
563:
554:
547:
527:
508:
498:
489:
481:
475:
469:
464:Bill Skowron
456:
441:
436:
428:
419:
406:
391:Please help
383:
347:Peter Yarrow
344:
332:Peter Yarrow
322:
316:
310:
308:
259:
223:
197:At the 1963
196:
164:
154:
140:
133:
127:
124:Ewan MacColl
120:Irwin Silber
106:and drummer
98:, guitarist
69:
67:
60:
54:
44:
3380:Suze Rotolo
3333:Jakob Dylan
3327:Jesse Dylan
3081:(2021–2024)
2882:Gospel Tour
2872:(1975–1976)
2362:Live albums
2149:New Morning
2032:Discography
1841:. Picador.
1410:Kramer 1991
1386:Heylin 1996
1028:Sounes 2001
971:Heylin 1996
959:Heylin 1996
877:Miller 1981
839:In November
722:Chuck Berry
577:Tony Glover
501:Pete Seeger
321:(2005) and
262:Cousin Emmy
255:George Wein
132:(1965) and
110:, and with
3536:Live music
3500:Categories
3315:Sara Dylan
3159:Soundtrack
2876:World Tour
2852:World Tour
2338:Triplicate
1673:2014-06-14
1656:References
1358:2007-01-25
1305:John Szwed
1226:2011-01-03
1106:2018-07-27
987:. Ashgate.
824:Paul Simon
777:Christie's
676:Manchester
635:Manchester
530:John Szwed
515:John Cohen
505:apocryphal
442:Filmmaker
409:April 2021
401:Wikisource
246:Alan Lomax
102:, bassist
3526:Bob Dylan
3375:Joan Baez
3222:Tarantula
2884:(1979–80)
2398:Real Live
2384:Hard Rain
2079:Bob Dylan
2021:Bob Dylan
1535:Wald 2015
1471:Gray 2006
1439:Live 1966
1424:Live 1966
1398:Egan 2010
1241:Cott 2006
864:Footnotes
850:Sing Out!
781:Jim Irsay
687:Live 1966
683:BBC Radio
655:he said:
623:Sheffield
615:the Hawks
611:harmonica
575:Musician
448:Al Kooper
397:Wikiquote
384:contains
278:Al Kooper
207:Joan Baez
191:harmonica
171:folk rock
143:the Hawks
112:Al Kooper
84:folk rock
76:rock band
47:Bob Dylan
45:By 1965,
3485:Category
3399:Festival
3393:magazine
3355:The Band
3213:Writings
2796:Bootlegs
2616:Biograph
2608:Box sets
2429:Archival
2254:Oh Mercy
2226:Infidels
1944:(2015).
1918:(2003).
1731:(1969).
1643:July 28,
1611:June 15,
1605:BBC News
1585:July 12,
1367:cite web
1196:April 4,
421:Joe Boyd
315:(1967),
312:Festival
264:and the
232:", and "
138:(1966).
3448:(album)
3343:Related
2317:Tempest
1736:(audio)
1260:(DVD).
761:series
695:Tempest
588:Variety
523:Charles
517:of the
296:Sam Lay
293:drummer
286:bassist
217:" and "
205:" with
108:Sam Lay
94:and of
3308:Family
2908:(1987)
2902:(1987)
2896:(1986)
2890:(1984)
2878:(1978)
2866:(1974)
2860:(1969)
2854:(1966)
2848:(1965)
2576:Themed
2560:(2005)
2538:(1997)
2191:Desire
2037:Awards
1958:
1930:
1904:
1883:
1864:
1845:
1826:
1801:
1782:
1763:
1717:
1689:
1490:
1171:
942:
909:
843:1964,
841:
193:(1963)
3335:(son)
3329:(son)
3089:Films
2598:Blues
2584:Dylan
2566:Dylan
2212:Saved
2163:Dylan
812:Notes
639:Judas
568:, in
304:piano
282:organ
151:Judas
3072:2019
3067:2018
3062:2017
3057:2016
3052:2015
3047:2014
3042:2013
3037:2012
3032:2011
3027:2010
3022:2009
3017:2008
3012:2007
3007:2006
3002:2005
2997:2004
2992:2003
2987:2002
2982:2001
2977:2000
2972:1999
2967:1998
2962:1997
2957:1996
2952:1995
2947:1994
2942:1993
2937:1992
2932:1991
2927:1990
2922:1989
2917:1988
2826:1975
2821:1967
2665:1970
2500:Hits
1956:ISBN
1928:ISBN
1902:ISBN
1881:ISBN
1862:ISBN
1843:ISBN
1824:ISBN
1799:ISBN
1780:ISBN
1761:ISBN
1715:ISBN
1687:ISBN
1645:2015
1638:.com
1636:Spin
1613:2014
1587:2012
1522:2012
1488:ISBN
1373:link
1216:Mojo
1198:2012
1169:ISBN
940:ISBN
907:ISBN
724:and
625:and
483:Mojo
291:and
228:", "
189:and
122:and
59:and
759:PBS
629:in
302:on
280:on
272:":
163:on
3502::
1954:.
1822:.
1744:.
1738:.
1633:.
1621:^
1603:.
1578:.
1554:^
1506:.
1456:.
1369:}}
1365:{{
1350:.
1315:,
1248:^
1214:.
1073:^
1058:^
938:.
804:,
796:,
792:,
720:,
716:,
698::
513:,
433:.
306:.
257:.
209:;
173:.
2013:e
2006:t
1999:v
1964:.
1936:.
1910:.
1889:.
1870:.
1851:.
1832:.
1807:.
1788:.
1769:.
1748:.
1723:.
1695:.
1676:.
1647:.
1615:.
1589:.
1524:.
1460:.
1375:)
1361:.
1264:.
1229:.
1200:.
1177:.
1109:.
1017:.
948:.
936:1
915:.
411:)
407:(
403:.
389:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
