Almanac Music: Dylan Cover Songs – Every Song Vol.6: November 1963 – January 1964 PLUS ‘The Times They Are A-Changin’ album

Dylan’s success, as evidenced by sales of his Freewheelin’ Bob Dylan album, his triumphant Carnegie Hall concert and his emergence as ‘the spokesman for the generation’, led to deeper interest and scrutiny by journalists into his back story – and an unravelling of the tales that Dylan had been spinning and cultivating since his arrival in New York as a complete unknown in late January 1961.

 

Within days of his 26 October 1963 Carnegie Hall concert, all Dylan’s storytelling began to unravel when Newsweek revealed, quite rightly, Dylan’s middle class roots, growing up as Robert Zimmerman in Hibbing, Minnesota, to parents Abe and Beatty – who happened to have been invited by Dylan to the Carnegie Hall concert to witness and celebrate the occasion.

 

For Dylan to believe that his falsely spun background of being abandoned at a young age in New Mexico and then hard travelin’ with carnivals and circuses would never be uncovered reveals a high degree of naivety; however, Newsweek did overstep the line when they also repeated a rumour that Dylan had bought the lyrics to ‘Blowin’ In The Wind’ from a New Jersey high school student.

 

Dylan was deeply hurt by the article (the truths and the lies) and within a couple of days responded in the best way he could by writing ‘Restless Farewell’ – a song he recorded at Columbia Studios on 31 October as the tenth and final track for his 3^rd studio album The Times They Are A-Changin’.

 

 

November 1963

 

We re-enter Dylan’s real-life story in November 1963. With the addition of the recently uncovered April 1963 ‘Hiding Too Long’ composition, the Dylan songbook now sits at sixty-six original songs (although finding an original tune continues to prove a challenge). After peaking at #23 in early October on the Billboard Top 200 album chart, Dylan’s Freewheelin’ album continues to maintain commercial interest and hovers around the top 40 mark for the rest of 1963.

 

As we scan the scene, Dylan is spending more time in the peace and serenity available 100 miles upstate at Woodstock, where manager Albert Grossman has acquired a large house, adjacent to the Bearsville art community. In this setting, Grossman surrounded Dylan with ‘staff’ who provide for his every need, including drugs of any description, and protect him from ‘groupies’ and those seeking to get a piece of the new ‘messiah’. We also find Dylan keeping busy with a series of concerts, hot on the heels of his successful Carnegie Hall performance. The concerts continue to showcase his Freewheelin’ Bob Dylan album and promote his upcoming The Times They Are A-Changin’ album in fairly equal proportions. These November concerts took place mostly at College/University campuses:

 

• 2^nd: New England Conservatory of Music, Jordan Hall, Boston, MA;
• 3^rd: University Regent Theatre, Syracuse NY;
• 16^th: Princeton University, McCarter Theatre, Princeton, NJ:
• 23^rd: Antioch College, Yellow Springs, OH;
• 26^th: St. Lawrence University, Noble Centre, Canton, NY; and
• 30^th: Salaam Temple, Mosque Theatre, Newark, NJ

 

This ‘work’ schedule was critical in keeping Dylan grounded as other aspects of Dylan’s world began to crumble like matchsticks into one another.

 

Although Suze had broken off the relationship with Dylan around September (due to ongoing heated arguments and his infidelity with Joan Baez) they remained friends. On those occasions that Dylan stayed in New York City, he would stay with the Rotolo’s (Carla & Suze) rather than spend the night at his own dingy West 4^th Street apartment. For the record, on the 20^th of the month, Suze turned 20.

 

Two days later (22 November 1963), Dylan was making his way to Albert Grossman’s New York office when US President John F. Kennedy was shot and killed in Dallas, Texas. There are various opinions on how the assassination affected Dylan – at both a personal and professional level. Being promoted by his manager, Albert Grossman, as ‘the spokesman for the generation’ carried unimaginable weight for the 22 year old Dylan at times like these.

 

My observation, for what it is worth, is that Dylan takes time out. Whereas Dylan has demonstrated an instinct to write songs about events contemporaneously (e.g. ‘Talkin’ Bear Mountain Picnic Massacre Blues’; ‘Who Killed Davey Moore?’; ‘Only A Pawn In Their Game’; ‘The Lonesome Death of Hattie Carroll’), in the matter of the President’s assassination, he remains silent.

 

Furthermore, Dylan’s output over the past year has been extraordinary (42 songs between September 1962 – October 1963; or close to 3 songs per month), and yet, despite the extraordinary circumstances of the times, Dylan’s pen is silent for all of November, December and January. In other words, during the entire period covered by this article, Dylan does not add one single new song to his anthology.

 

And finally, with the stench of the Presidential assassination hanging heavy in the air, Dylan began to question his elevated status as ‘spokesman for the generation’ – even though the title was bestowed upon him by Albert Grossman for ‘promotional’ purposes, Dylan’s protest and finger pointing songs played into that ‘status’ perfectly and was one of the primary drivers behind Dylan moving from the shadows of the ‘complete unknown’ into the spotlight and becoming increasingly ‘better known’. The question that Dylan now pondered was whether or not he wished to be a ‘spokesman’ for anyone other than himself.

 

 

December 1963

 

Hot on the heels of the Newsweek revelations, another incident seriously unbalanced Dylan’s status in the wider community.

 

At the Emergency Civil Liberties Union’s (E.C.L.U.) annual Bill of Rights dinner held on 13 December at the Hotel Americana in New York City, Dylan was honoured for his work in the civil rights campaign with the prestigious Tom Paine award.

 

Dylan had only recently emerged as a minor voice in the black rights movement – as evidenced by his attendance and performances at the Mississippi Registration Rally (6 July 1963) and the March on Washington (28 August 1963) combined with his protest-style songs (e.g. ‘Blowin’ In The Wind’, ‘Oxford Town’). However, in retrospect, it seemed a premature choice for the 22 year old Dylan to be honoured with such a prestigious award. His contribution (to date) to civil and black rights had been relatively insignificant and his reputation beyond college campuses had been forged largely on the back of Peter, Paul & Mary and Joan Baez.

 

Although I have no direct evidence, I would offer the suggestion that Albert Grossman was pushing hard behind the scenes for his young and emerging client to be celebrated in this formal manner.

 

There has been plenty written about this event – suffice to say that Dylan was ill-prepared (physically, mentally, perhaps even spiritually) to accept the award in a manner befitting the formal occasion. Although Dylan could more than adequately ‘speak’ through his songs, he has shown throughout his career that formal speeches are not his forte – and this occasion proved to be the first of many ill-considered faux pas.

 

Without a prepared speech, Dylan simply responded to the situation as he saw it. Dylan’s opening comments disparaged those sitting before him – in formal gowns and suits, with diamonds and pearls, and grey thinning hair – exactly those who would feature in these soon to be released lyrics:

 

“Your old road is rapidly agin’/Please get out of the new one
If you can’t lend your hand/For the times they are a-changin’”

 

If these opening comments weren’t bad enough, for reasons known only to Dylan, the concluding part of his acceptance speech and the audience reaction follows:

 

“I’ll stand up and to get uncompromisable about it, which I have to be to be honest, I just got to be, as 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 but booing’s got nothing to do with it. It’s a – I just a – I’ve got to tell you, man, it’s Bill of Rights is free speech and I just want to admit that I accept this Tom Paine Award in behalf of James Forman of the Students Non-Violent Coordinating Committee and on behalf of the people who went to Cuba. (Boos and Applause)”

 

This is not the first, nor would it be the last, occasion that Dylan was booed by an audience. Dylan’s speech resulted in the E.C.L.U. fund raising dinner falling significantly short of expectations. Dylan subsequently felt remorse over the funding shortfall and agreed to make up the balance – however, an invoice of $6000 issued to Dylan in lieu of the funding shortfall was formally written off, several years later, as an unpaid bad debt.

 

On 14 December, the night following the E.C.L.U dinner, Dylan was back doing what he was able to do well – performing solo at his Washington DC concert.

 

While in New York, Dylan seemed to feel most comfortable in the company of selected long term NY friends – Dave & Terri Van Ronk, Carla & Suze Rotolo, Barry Kornfield, Paul Clayton, Robert Shelton – those that knew him before the fame came and who didn’t demand anything of him. And it was in this company that Dylan spent a quiet New Year’s Eve at the Van Ronk’s apartment to see out 1963 and welcome in 1964.

 

Robert Shelton, who wrote the 29 September 1961 article that helped launched Dylan’s career, writes the following with respect to that NYE gathering:

 

‘Bob looked haggard. Dylan and a half dozen friends in their twenties sat as if at a wake. Bob had started 1963 filled with hope and ambition, and had closed the year with fame and achievement, but he seemed a lot less happy’.

 

To sum up the status of Dylan’s professional career by the end of 1963, one would conclude that Dylan was doing very well financially. Sales of his May 1963 Freewheelin’ Bob Dylan album had exceeded 200,000 units; concert income, including Baez concerts where he joined her on stage had been profitable; and royalties from others performing his songs, especially Peter Paul & Mary’s one million+ sales of the ‘Blowin’ In the Wind’ single, were beyond Dylan’s wildest expectations.

 

The number of Dylan covers song in the public arena, even at this embryonic stage of Dylan’s career was somewhat impressive, particularly given that Dylan’s original songs had not aired on mainstream radio outlets. The credit must belong to the influence of the radio friendly versions filtered through Peter Paul & Mary – but then again, that was the foundational piece of Grossman master plan. Dylan songs, channelled through others, were yielding Grossman financial returns that must had exceeded even his wildest entrepreneurial expectations.

 

By the end of 1963, ‘Blowin’ In The Wind’ had been covered with:

 

• 18 English versions, including PP&M, The Kingston Trio, Jackie De Shannon, The Staple Singers, Bobby Darin, Lena Horne, Odetta;
• 6 instrumental versions, including Billy Strange, The Village Stompers; and
• 5 non-English speaking versions, including Marlene Deitrich.

 

‘Don’t Think Twice, It’s All Right’ had also been covered by seven singing artists and three instrumentalists.

 

 

January 1964

 

Mid-winter in New York, Dylan had no concert commitments, no recording commitments, no girlfriend and Joan Baez was 3000 miles away in Carmel, California.

 

From all accounts, Dylan laid low – writing prose poems and crafting written images that may or may not evolve into lyrics and song. Time would tell – but for now, Dylan was keen to emerge from his shell in February and undertake a Kerouac-style ‘On The Road’ adventure of his own – travelling from east to west across the USA by car, with three trusted companions, and a series of concert locations and dates to give focus and momentum to the adventurers.

 

We will pick up on this emerging chapter in Dylan’s life when ‘Every Song Vol.7’ is published around mid-December 2025.

 

For the time being, sit back, relax, switch on the turntable, clean the microscopic dust and debris from the stylus and enjoy a cover version style re-creation of The Times They Are A-Changin’ album.

 

The Times They Are A-Changin’

 

Dylan recorded the ten tracks that make up the album in six sessions held between 6 August – 31 October 1963. Dylan provided vocals, acoustic guitar and harmonica – no extras required!. Tom Wilson was retained as producer.

 

This was the first Dylan album to consist entirely of original songs – mostly stark, sparsely arranged ballads concerning issues such as racism, poverty and social change.

 

The album, the 3^rd in Dylan’s discography, was released on 10 February 1964.

 

The album entered the US Billboard Top 200 charts at #109 on 7 March 1964; peaked at #20 on 18 April 1964; and exited the chart, after 21 weeks, at #141 on 25 July 1964.

 

It is often said that ‘nobody sings Dylan like Dylan. I have listened to thousands of Dylan covers and I would concur with that sentiment (most of the time). Nevertheless, as this is a series on Dylan cover songs, I will endeavour to offer interesting, surprising and (at times) unusual cover versions of the songs that make up The Times They Are A-Changin’ album…and maybe, a cover emerges that might well challenge the ‘nobody sings Dylan like Dylan’ mantra.

 

 

Side 1:

 

Track 1 – ‘The Times They Are A-Changin’’

 

Dylan wrote this song, the 62^nd in his anthology, in the aftermath of the ‘March On Washington’ (i.e. September/early October 1963).

 

Dylan is noted as saying he wanted to create the song as an anthem of change for the moment and found inspiration from Irish and Scottish ballads such as ‘Come All Ye Bold Highway Men’.

 

The album version of the song was recorded on 24 October 1963.

 

The chosen cover of ‘The Times They Are A-Changin’’ is by Spokane, WA independent singer/songwriter Automatic Shoes (aka Matthew Joseph Hughes) from his 2020 Science Fiction Superstar album:

 

 

The song has been covered by 200 artists and is ranked as Dylan’s 9^th most covered song.

 

Major artists who have covered the song include: Peter Paul & Mary, Simon & Garfunkel, The Byrds; The Beach Boys; Cher; The Hollies; Billy Joel; Tracy Chapman; Phil Collins; Bryan Ferry.

 

The song has also been covered by the following Australian artists: The Idlers Five (1964); The Seekers (June 1965); Lyn & Graham McCarthey (October 1965); Sister Janet Mead (1999); Damien Leith (2008); The Maes (2012); Jess & Matt (2018).

 

In terms of Dylan concerts, it has been performed 597 times and is ranked as the 29^th most played song in concert.

 

 

Track 2 – The Ballad Of Hollis Brown

 

Dylan wrote this song, the 26^th in his anthology, in September 1962. The song ‘borrows’ the chords, tune and verse structure from the English folk song ‘Pretty Polly’.

 

Dylan sets the scene for the song in South Dakota – a state bordering his ‘early life’ home state of Minnesota. The song recounts the desperation of poverty confronting rural farming communities – a desperation that results in the farmer killing his wife, his five children and himself.

 

Originally recorded in November 1962 and earmarked for the Freewheelin’ Bob Dylan album, the song was given ‘outtake’ status. A further version of the song was recorded on 7 August 1963 and included on The Times They Are A-Changin’ album.

 

The chosen cover of ‘The Ballad Of Hollis Brown’ is by Australian singer/songwriter Louis Tillett from his 2011 Learning To Die album – (note: this YouTube clip is incorrectly titled ‘Ride The Tiger’ – however, it is definitely ‘The Ballad Of Hollis Brown’:

 

 

The song has been covered by 38 artists and is ranked as Dylan’s 60^th most covered song.

 

Major artists who have covered the song include: Nina Simone; Leon Russell; Stephen Stills.

 

Australian artists, other than Louis Tillett, to cover the song are: Jeff Lang (2000); Backsliders (2009).

 

In terms of Dylan concerts, it has been performed 180 times and is ranked as the 100^th most played song in concert.

 

 

Track 3 – With God On Our Side

 

Dylan wrote this song, the 52^nd in his anthology, in March 1963.

 

The melody of the song derives from the traditional Irish folk song ‘The Merry Month Of May’, which was also the melodic foundation to Dominic Behan’s ‘The Patriot Game’. Dylan first heard ‘The Patriot Game’ while in London in December 1962. Perhaps more concerning than using the melody without attribution, Dylan also used Behan’s lyrics to structure the opening verse of the song.

 

The album version of the song was recorded on 7 August 1963.

 

The chosen cover of ‘With God On Our Side’ is by the San Francisco-based alternative rock band Wire Train from their 1985 Between Two Worlds album:

 

 

 

The song has been covered by 41 artists and is ranked as Dylan’s 54^th most covered song.

 

Major artists who have covered the song include: Joan Baez, Manfred Mann, Judy Collins.

 

Due to its highly specific USA-centric theme, no Australian artists have covered the song.

 

In terms of Dylan concerts, it has been performed 47 times and is ranked as the 193^rd most played song in concert. It is interesting to note that Joan Baez has performed ‘With God On Our Side’ in concert on 46 occasions, including on the first few occasions in 1963/1964 with Dylan being invited onstage to duet with her.

 

 

Track 4 – One Too Many Mornings

 

Dylan wrote this song, the 57^th in his anthology, in August 1963 – around the time that Suze, fed up with constant arguments and Dylan’s infidelity, moved out of Dylan’s apartment for good.

 

The album version of the song was recorded on 24 October 1963

 

The chosen cover of ‘One Too Many Mornings’ is by English singer/songwriter Ralph McTell from his 2006 Gates Of Eden album:

 

 

The song has been covered by 92 artists and is ranked as Dylan’s 24^th most covered song.

 

Major artists who have covered the song include: Joan Baez, Jerry Jeff Walker, Johnny Cash, The Kingston Trio.

 

Surprisingly, no Australian artists have covered the song.

 

In terms of Dylan concerts, it has been performed 219 times and is ranked as the 90^rd most played song in concert. Although written in 1963, it wasn’t until his 1966 world tour that Dylan saw fit to feature the song in concert. The song then lay in abeyance until it returned to the concert schedule in 1976 – around the time Dylan was separating from his wife Sara. Once again, the song lay dormant until the late 80’s when it remained a feature of the set list for the next 15 years, clocking up 177 of its 219 performances.

 

 

Track 5 – North Country Blues

 

Dylan wrote this song, the 56^th in his anthology, in August 1963. It represents the first song that Dylan composed where the narrative is from a female point of view.

 

The events canvassed by the song – the closure of iron ore mining operations in rural USA due to being able to source cheaper products from less advanced/lower paying South American economies – suggest a connection to Dylan’s ‘early life’ observations around Hibbing, Minnesota.

 

The album version of the song was recorded on 6 August 1963.

 

The chosen cover of ‘North Country Blues’ is by English avant-garde new wave singer/songwriter Frank Tovey from his 1989 Tyranny And The Hired Hand album:

 

 

The song has been covered by 11 artists.

 

The only major artist to cover the song is Joan Baez.

 

No Australian artists have covered the song.

 

In terms of Dylan concerts, it has only been performed 3 times – twice in 1963 and once in 1964.

 

 

Side 2

 

Track 1 – Only A Pawn In Their Game

 

On 12 June 1963, Medgar Evers (the Mississippi leader of the ‘National Association for the Advancement of Coloured People’) was shot in the back, outside his house, by Byron De La Beckwith (a member of the Ku Klux Klan).

 

Within several weeks of this murder, Dylan wrote ‘Only A Pawn In Their Game’ – the 54^th song in his anthology.

 

The album version of the song was recorded on 7 August 1963.

 

The chosen cover of ‘Only A Pawn In Their Game’ is by Atlanta, Georgia musician and founding member of The Black Crowes, Rich Robinson from his 2009 The People Speak album:

 

 

The song has been covered by 9 artists.

 

Major artists who have covered the song include: Fairport Convention; Morrissey.

 

No Australian artists have covered the song.

 

In terms of Dylan concerts, it has only been performed 12 times – 8 times in 1963 and 4 times in 1964.

 

 

Track 2 – Boots Of Spanish Leather

 

Dylan wrote this song, the 40^th in his anthology, in January 1963 while spending a few days travelling through Italy with Albert Grossman and Odetta.

 

The melody and lyrical elements (e.g. alternating male and female narration) closely reflect those of ‘Scarborough Fair’ – a song Dylan learnt a few weeks earlier in London from English folksinger Martin Carthy.

 

In the song, Dylan engages in a conversation with his then girlfriend Suze who had actually sailed away to Italy in mid-July for a 7-month artist retreat and (in the song) Dylan expresses his doubt that she will ever return to him.

 

The album version of the song was recorded on 7 August 1963.

 

The chosen cover of ‘Boots Of Spanish Leather’ is by American alternative rock guitarist, singer/songwriter and member of Buffalo Tom, Bill Janovitz and Chris Toppin:

 

 

The song has been covered by 70 artists and is ranked as Dylan’s 29^th most covered song.

 

Major artists who have covered the song include: Richie Havens, Joan Baez, Nanci Griffiths.

 

Australian artists that have covered the song are: Ruth Hazelton & Kate Burke (2000), Rebecca Barnard (2006)

 

In terms of Dylan concerts, it has been performed 306 times and is ranked as the 59^th most played song in concert.

 

 

Track 3 – When The Ship Comes In

 

Dylan wrote this song, the 58^th in his anthology, around mid-August 1963 and debuted the song at the 28 August 1963 ‘March On Washington’.

 

The song was written during a period when Dylan was linked to Joan Baez romantically and professionally on stage. Baez recounts that ‘When The Ship Comes In’ was inspired by a hotel clerk who refused to allow Dylan a room due to his unkempt appearance, until Baez came to his rescue and secured the room that they would share that night. Dylan and Baez were on the road together between 10-17 August 1963 – travelling to four concerts between New Jersey, Connecticut, Massachusetts and New York. The incident in question occurred during this period.

 

The album version of the song was recorded on 23 October 1963.

 

The chosen cover of ‘When The Ship Comes In’ is by Billy Bragg. This is a live recording taken at The Barbican in September 2005 and reproduced on the 2023 14-CD 324 track compilation titled The Roaring Forty / 1983 – 2023:

 

 

The song has been covered by 53 artists and is ranked as Dylan’s 41^st most covered song.

 

Major artists who have covered the song include: Peter, Paul & Mary, The Hollies, Arlo Guthrie, The Pogues, The Clancy Brothers, The Waterboys.

 

No Australian artist has covered the song.

 

In terms of Dylan concerts, it has (surprisingly) only been performed 6 times. Three times in 1963, twice in 1964 and once on 13 July 1985 – at ‘Live Aid’.

 

 

Track 4 – The Lonesome Death Of Hattie Carroll

 

Dylan wrote this song, the 64^th in his anthology in early October 1963.

 

The briefest of backstories follows: William Zantzinger hit Hattie Carroll on the shoulder with a decorative cane on 6 February 1963. Shortly afterwards, Hattie most likely suffered a heart attack and died on the following day at Mercy Hospital without gaining consciousness. Zantzinger was arrested for murder, was bailed and released pending his trial.

 

A three-judge panel considered the evidence for three days in June 1963. On 29 August 1963 (the day after the March on Washington) the trial judge sentenced Zantzinger to 6 months imprisonment, commencing after the tobacco harvest on his farm. Zantzinger served his sentence from 15 September 1963 – 16 March 1964.

 

In early September 1963, Dylan read the newspaper article detailing the court case. He subsequently borrowed the tune to ‘Mary Hamilton’ and over the ensuring month he composed the song, with the album version recorded on 23 October 1963.

 

For Zantzinger, he was serving his sentence at the time that Dylan wrote ‘The Lonesome Death of Hattie Carroll’ and was within one month of being released from prison when the song, via The Times They Are A-Changin’ album, was released to the public.

 

The chosen cover of ‘The Lonesome Death Of Hattie Carroll’ is by Seattle-based singer/songwriter Rusty Willoughby from his 2008 Filament Dust album:

 

 

The song has been covered by 32 artists and is ranked as Dylan’s 70^th most covered song.

 

Major artists who have covered the song include: Judy Collins, Country Joe McDonald, The 13^th Floor Elevators.

 

The only Australian artist to have covered the song is Tess McKenna (2019).

 

In terms of Dylan concerts, it has been performed 298 times and is ranked as the 61^st most played song in concert.

 

 

Track 5 – Restless Farewell

 

Dylan wrote this song, the 66^th in his anthology, as a direct and immediate response to the late October 1963 Newsweek article referred to at the beginning of this article.

 

By borrowing the melody to the tune of ‘The Parting Glass’, Dylan was able to fast-track the songwriting process – with the album version of the song recorded on 31 October 1963.

 

The chosen cover of ‘Restless Farewell’ is by Mark Knopfler. This cover version was Mark’s contribution to the 2012 4CD, 73 track Dylan tribute compilation titled Chimes Of Freedom: The Songs Of Bob Dylan Honoring 50 Years Of Amnesty International:

 

 

‘Restless Farewell’ has been covered by only 10 artists.

 

The only other major artist to have covered this song is Joan Baez.

 

No Australian artist has covered this song.

 

In terms of Dylan concerts, this song has been performed 6 times – once in 1963, thrice in 1964 and once each in 1995 and 1998. The 1995 performance by Dylan was at the multi-artist ‘Sinatra: 80 Years My Way’ tribute concert at Shrine Auditorium, Los Angeles.

 

 

Final comment:

 

Despite not adding a single new song to his songbook during November 1963 – January 1964, Dylan did turn his written talents to a series of poems, including ’11 Outlined Epitaphs’ that would grace the back of the Times They Are A-Changin’ album, and the first drafts of what would eventually become his first book Tarantula.

 

In many ways, the changes he was going through and the turmoil surfacing within the USA, led Dylan to a time of serious reflection and a re-evaluation of his unwanted role as a ‘spokesman for the generation’.

 

For Dylan ‘researchers’, 24 January 1964 marks three years to the day since Dylan set foot in a blistery cold and snow bound New York as a ‘complete unknown’. By late January 1964, Dylan had transformed from that ‘complete unknown’ to a ‘spokesman for the (younger) generation’ and now he was ready to move on and simply take on the everyday mantle of a singer/songwriter and let his songs do his talking for him. All that – and Dylan was still four months shy of his 23^rd birthday……

 

 

More from Karl Dubravs can be read HERE.

 

 

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