What was every song that was recorded in the desire sessions in 1975?

As a newer listener, it is all a wonderful explosion of discovery and when I come across a certain song, I will just play it back to back to back to back because I almost can't get enough of it. The most recent example is "I Was Young When I Left Home" which was preceded by "Blood in My Eyes" and before that "I Shall Be Released" from the Last Waltz. This has never happened to me before with any other music so I'm curious if other people experience this too and if so, with which song(s)?

https://www.frominsultstorespect.com/2015/06/07/bob-dylan-on-happiness/

1. Fresh on the scene (Woody Guthrie emulating)-

2. Early 60s "protest" music (Voice of a generation)-

3. Going electric (65 Royal Albert Hall culmination)-

4. 1st trio of post electric greatness (BOB, BIABH, Highway 61)-

5. Basement Tapes-

6. Crooner (Nashville Skyline)-

7. Best representative song from arguably his best album (BOTT)-

8. Ultimate frontman (RTR, Hard Rain)

9. Blatant Christian era (Slow Train, Saved, Shot of Love)-

10. Traveling Willburys-

11. 90s "Comeback" (TOOM)-

12. Christmas spirit (Christmas in the Heart)-

13. Frank Sinatra cover (Shadows in the Night)-

14. Later Years (RARW)-

BONUS TRACKS

* Best duet-

* Best song with a group-

* Someone else's cover of a Bob song-

* Bob's cover of someone else's song-

I'm sure this breakdown doesn't break it down perfectly, but it's a start and I'm open to suggestions. (And I fully recognize choosing one song from BOB, BIABH, and Highway 61 is an impossible choice). Thanks for playing along!

https://www.bobdylan.com/on-tour/?fbclid=IwY2xjawINrd1leHRuA2FlbQIxMQABHTKzLWvhC4aQxtKShH_fmG3mdWxI-jc94CCWjpDJ_8rzWTD7MSOHDFFlxg_aem_JvG5maWLT8QazuO3pvwQjw

Hey there.

What physical items do you all have of Bob? CD's, DVD's, VHS, Vynil, Books, Autographs (?), Pictures etc...

https://screenrant.com/im-not-there-movie-cate-blanchett-bob-dylan-timothee-chalamet-a-complete-unknown-op-ed/

The Bob Dylan biopic A Complete Unknown features a heartfelt central performance from Timothée Chalamet.Yet Chalamet’s turn as the young musician during his first electric period may well have been bested already, 17 years ago, by the unlikeliest of actors.

Blanchett’s depiction of Bob Dylan in the 2007 experimental film I’m Not There came straight out of left field, but leaves an indelible legacy that few other portrayals of the singer, including Chalamet’s, could ever live up to.

But unfortunately for Chalamet, there can only be one winner in this comparison. Blanchett’s Dylan is sublimely accurate, not so much in terms of surface-level mannerisms, but her overall manner of speaking and acting. She perfectly embodies the contrarian spirit and spiky demeanor of her character, casting Dylan’s languid shadow over New York’s underground music scene. Just as the man himself did, she spits reporters’ questions right back at them, with responses like, “How can I answer that if you've got the nerve to ask me?" No other actor has captured Bob Dylan’s 1960s zenith as a countercultural symbol quite so effectively.

Chalamet Does A Great Impression Whereas Blanchett Gives A Brilliant Performance. Blanchett's Dylan Feels More Like The Real Thing.

Blanchett digs deep into the well of the character’s emotional complexity and brings out his spirit.

Chalamet, for his part, does a very good impression of Dylan singing at Newport Folk Festival in A Complete Unknown, whereas Blanchett’s version of ‘Maggie’s Farm’ doesn’t sound quite as like the original. Yet her performance feels more like what Dylan was going for than Chalamet’s precise mimicry does.

Still, Blanchett's portrayal of Bob Dylan will likely never get the full credit it deserves. Timothée Chalamet might have to accept it on her behalf, if A Complete Unknown does win out at the Oscars.

EDIT: I’ve been informed I’m fucking illiterate and he actually passed away last January. However this makes the urgency to download any of these files that much stronger since it’s been a year since his passing.

Like I said in the post title, Pink Robert was an absolute titan of classic rock bootlegs. I don't know how he amassed such an enormous collection, but he was generous enough to digitize and share everything on his website. Thousands of rare and unreleased recordings from dozens of artists including the Beach Boys, Bob Dylan, Pink Floyd, the Beatles, Mountain, Moby Grape, and more.

But since his passing, it's not known how long the file hosting site he had been using will keep his files. It seems like the new host of the website it actively looking for other solutions, but if you want to play it safe, I'd download whatever interests you now, in case you don't get the chance to again.

https://preview.redd.it/ubf0lrlmpuge1.png?width=2234&format=png&auto=webp&s=715bdfe94c69b0abdf0cc0be55060356cbb6eeb7

Don't see this one around too much so thought I'd share. Love the 60s Village vibes.

Just came here to say that whole last waltz, rolling thunder, Before The Flood live era for me is where my heart is when it comes to Bob. Feels like he was singing his heart out, looked cool AF with a Stratocaster and painted face and tying it all up in 78 with my favourite studio album, Street Legal 👌🏻

Here's a playlist I compiled: Bob Dylan Chronology (Apple Music) has all of the Bob Dylan albums, outtakes, bootlegs, live albums, and 'best of' albums... listed in chronological order of recording (as best as possible). I list the 'best of' albums according to their release date. Bootleg albums are listed according to their recording date rather than their release date (unless they are more of a 'best of' album).It takes 5 days of continuous listening to listen to all 1,696 songs.

Where the way he sings his verses or choruses are unique and make you go, damn Bob.

Examples I can think of are One More Cup of Coffee, I Made Up My Mind to Give Myself to You, Cry A While, Man In The Long Black Coat, Ballad of A Thin Man, Standing In The Doorway. Oh yeah and Visions of Johanna duh

What other songs have a really good style of phasing and delivery?

Just wondering

Watching the 30 year anniversary concert and just noticed G.E Smith is wearing a cool Dylan T-shirt.

Anyone know where I could buy one ?

and replaced it with another film clip a little while ago 😭

did he plant an official looking post just to delete it as a bit or is he locked in a silent posting war with a social media manager? regardless im loving his active social media romp 🙏

I realized the songs (not limited to these only, but these were the ones that I realized I had been clearly mistaken on) Visions of Johanna, Girl From the North Country and Don’t Think Twice (though this one is more obvious) carried double meanings.

Obviously not all of his love-related songs have a double-meaning, at least in their attitude towards the person they were written for. I don’t think there’s anything extra going on in Sad-Eyed Lady for instance, he’s just crazy about his new girlfriend/wife. But I am pretty certain that Visions of Johanna is a trick song. It’s a trick on the public, but mainly it is a trick on Joan Baez, to make her think that he’s still “in love” with her, even though he pretty obviously is taken completely by Sara around this time (which ends the album both songs share). “I know the reason that you talk behind my back/I used to be among the crowd you’re in with” I believe is a line referring to Joan and the people she hung around with. I have no doubt Bob really left some deep and unpleasant marks on her, which would—if anyone here has ever been involved with a woman that they broke it up with knows—lead her to talk shit behind his back to put obstacles in his way and what have you. You might not agree with this part but just stick with me. Also if anyone has seen Don’t Look Back here you might’ve noticed that the way Joan is treated by Bob’s yes men isn’t exactly pleasant. So I believe VoJ is an apology, though done in a very Dylan sort of way.

I’ll start with the first verse which is interestingly not describing that desperate of a situation, “just Louise and her lover so entwined” sounds pretty comfy and lovely, except for the lines about him doing heroin of course, but that’s a given. It sounds like the last lines which tie it to Johanna are sarcastically forced there, to tell her “Hey, I’m actually doing pretty good, but here’s the chorus of the song—and I’m really fucking good at writing songs—where I profess my love to you again, you stupid scarecrow” (no offence to Joan). His delivery of those last lines are also incredibly sarcastic to my ears.

“Louise is delicate and seems like the mirror” he’s telling her this new girl is delicate, unlike the rather masculine Joan, and that she’s like himself in a way—this line really doesn’t make sense in the accepted context of the song, where Louise is supposed to be a bore and inspire nothing in him but yearning for this “Johanna”.

“Oh, how can I explain?/It’s so hard to get on” sounds like a cop-out line, almost like Dylan saying “hey, can you just buy this lie and leave me alone?” to Joan. It doesn’t even sound like he’s trying to convince her, he really can’t help himself putting her down subtly. “Past the dawn” also sounds so insanely drawn out and sarcastic, again.

“But Mona Lisa musta had the highway blues, you can tell by the way she smiles/See the primitive wallflower freeze/When the jelly-faced women all sneeze/Hear the one with the mustache say, ‘Jeez, I can't find my knees’/Oh, jewels and binoculars hang from the head of the mule” Mona Lisa is Joan, he’s making fun of her that she really doesn’t know real sadness and implying that’s why her music doesn’t have the effect Dylan’s has. The primitive wallflower is also Joan when she’s out touring with Dylan and not being able to handle the weirdness him and his crew were drawing to their direction. It’s his way of telling her “you can’t keep up with me or my people or the craziness that surrounds us, you really don’t belong here”. I think the mule is also Joan, he’s the jewels hanging around her head and she watches him from far away now that they’re separated so she needs binoculars.

The lines about parasites are pretty obviously calling her (and himself) a parasite. He took advantage of her to get real big, then she rode his wave—though much less successfully.

I would encourage you all to re-listen to this one again and let me know if you come up with any more lines that confirm this theory.

The second song, Girl From the North Country, is for Suze Rotolo and sounds like a pretty straightforward “missing you” kind of folk song on the surface. This is his most subtle one, though I believe he felt bad about it afterwards and wrote the words for Boots of Spanish Leather on top of the melody because of it.

The song doesn’t contain a lot of verses, but gets through a lot just by delivery. “Where the winds hit heavy on the borderline” is a very interesting line, as he very obviously cracks the signature Dylan smile as he sings “line”. It’s almost as if he means something else. To me, it sounds very much like sexual innuendo, she “lives” where the “winds” “hit” “heavy” on the “borderline”. I know there are way too many quotations there, but that’s just Dylan. I know it’s not the most gentlemanly thing to call your ex a whore, but I believe that’s exactly what he’s doing here. The second verse also talks about the “winds”, the men waiting for the moment when a girl is most vulnerable (“the rivers freeze and ‘summer’ ends”).

“Down her breast” he just cracks up while singing this, I don’t know about you guys, but I find most other love songs I’ve heard don’t have the singer snickering throughout the song like this one. He’s just making it about sex and sex only, almost telling the girl “that’s all you were to me”, though this obviously isn’t true—he’s a sensitive romantic, this is all just a defence mechanism. He also sets up “long hair” as hair that rolls and flows down a girl’s chest, which, if you look at pictures of Suze, was not the case. He then says the way he remembers her best was when her hair was hanging “long”, so he really doesn’t remember her fondly at all.

He then wonders if she remembers him at all, which obviously she does—she’s on the cover of his album, after all. He’s just calling her loose, again, implying that he was just a number to her. He says he often “prayed”, though I’m pretty sure he means jerked off, though you can disagree with this one if you’d like—but I think the tone he set up so far in the song is pretty obvious. He also seems the type of guy to worship the women he was with, so in his mind that could be like praying, in a way.

The last “clue” is not in the lyrics at all, but what he does with his harmonica at the end. He just draws that one note out until it starts sounding like screeching instead of music. I believe this is his way of telling her “Fuck you for all you’ve put me through”.

Don’t Think Twice is actually pretty straightforward compared to the previous two. The first verse and a half is him calling her dumb: the light bulb is her brightness, which he never knowed—and it’s no use for her to mull over it because she’s too dumb to grasp anything anyway. The chorus is also incredibly sarcastic, it’s obviously not alright—but he’s moving on, so it is alright.

He wishes there was something she would “do” or say to change his mind, and this line—especially with the way he sings ‘do’—implies that the only thing she can use to hold them together is/was sex. “We never did too much talking anyway” if we are to believe Suze was as dumb as he makes her out to be, then they probably were fucking more than they were talking. He also starts the next verse with her calling out his name during sex but giving it more oomph this time around to get him more into it.

I think the rest of the song is pretty self-explanatory, but do let me know if there is anything there I might’ve missed.

I know this was a long one and it might seem obvious to long-time Dylan fans but I’m pretty young so realizing this blew my head and gave me new appreciation for the man.

This was posted on youtube yesterday. Incredible.

And not to harp on Tim-Bob, but this one concert demonstrates the depth of Dylan that's entirely missing from the recent biopic.

"On April 12, 1963 at Town Hall, Bob Dylan played his first major concert. Over a thousand people attended and Dylan played mostly original and unknown songs from his forthcoming album, songs like "Blowin in the Wind" and "Don't Think Twice, It's Alright." The New York Times reviewed the concert, and Robert Shelton wrote "Mr. Dylan is 21 years old, hails from Hibbing, Minnesota, wears blue jeans, presumably has little to do with barbers, and resembles a Holden Caulfield who got lost in the Dust Bowl." He concluded by thanking legendary promoter Harold Leventhal "for straying from the sure box-office attractions to present a young giant." (Quote from https://www.facebook.com/TownHallNYC/posts...)

Set list:
1 audience
2 Ramblin' Down Thru The World
3 Bob Dylan's Dream
4 Talkin' New York
5 Ballad Of Hollis Brown
6 Walls Of Red Wing
7 All Over You
8 Talking John Birch Paranoid Blues
9 Boots Of Spanish Leather
10 Hero Blues
11 Blowin' In The Wind
12 John Brown
13 Tomorrow Is A Long Time
14 A Hard Rain's A-Gonna Fall

1 Dusty Old Fairgrounds
2 Who Killed Davey Moore?
3 Seven Curses
4 Highway 51 (Curtis Jones)
5 Pretty Peggy-O (trad., arranged by Bob Dylan)
6 Bob Dylan's New Orleans Rag
7 Don't Think Twice, It's All Right
8 Hiding Too Long
9 With God On Our Side
10 Masters Of War
11 Last Thoughts On Woody Guthrie