Almanac Music: Dylan Cover Songs – Every Song Vol. 3: December 1962 – May 1963 PLUS The Freewheelin’ Bob Dylan album

 

The previous ‘Every Song Vol. 2’ article chronicled the 23 songs written by Dylan between April – December 1962 (i.e. from ‘Blowin In The Wind’ to ‘Hero Blues’).

 

In this third article in the ‘Every Song’ series, we begin in mid-December 1962 (as Dylan boards an aeroplane to London) and chronicle the next fifteen songs written by Dylan up to 27 May 1963 (the release of his 2^nd studio album The Freewheelin’ Bob Dylan).

 

This article will conclude with an extra special bonus – a cover song re-creation of the eleven original songs released on The Freewheelin’ Bob Dylan album.

 

 

So, let’s pick up the story where ‘Every Song Vol 2’ ends: dateline 17 December 1962…..

 

Dylan boards an aeroplane for the first time in his life and is flown across the Atlantic Ocean and lands in London, which is experiencing one of its coldest and most snowbound winters in recent memory. The primary purpose of this visit is for Dylan to perform a small paid role in a BBC serial – Madhouse on Castle Street – with filming to take place on 30 December.

 

Meanwhile, Suze Rotolo (Dylan’s 19 year-old girlfriend) is on board her vessel from Rome, after spending the past six months immersed in artistic pursuits, and will be disembarking in New York on 18 December.

 

There is some speculation about whether Dylan knew that Suze was returning the day after his departure to London. However, the evidence strongly suggests that Dylan was fully aware of Suze’s imminent return – after all, they had been in regular contact during her absence and Suze had a wide enough cohort of family and friends within the ‘Greenwich Village scene’ to be aware of her travel plans. It would not be too farfetched to suggest that Dylan’s sudden good fortune to be invited to London had more to do with Albert Grossman’s master plan and keeping Dylan and Suze apart from one another for another month would not be such a bad thing.

 

Professionally, there appeared to be no reason for Dylan to go to London.  His inclusion in the cast of Madhouse on Castle Street was purely speculative; the ‘pay’ was £500; the audience reach was minimal; Dylan’s status in the UK was ZERO; apart from the ‘bit role’, no other activity had been scheduled; in fact, the producer of Madhouse on Castle Street only became aware that Dylan couldn’t act (but could play guitar and sing) on the day of production and Dylan’s role of ‘Hobo Bob’ was split into two – calling in a professional actor at short notice to do Dylan’s speaking part. Very curious indeed.

 

Looking back at Dylan’s month in London (with a short side trip to Italy at the beginning of January), it can be summed up as follows:

 

• The Madhouse on Castle Street role had no impact on Dylan’s career or reputation; it is a peculiar footnote in Dylan’s story and apart from some third hand audio of Dylan singing ‘Blowin’ In The Wind’ and ‘The Ballad Of The Gliding Swan’, no recorded archive exists of the production (note: the episode was broadcast on BBC TV on 14 January 1963);

 

• Left to his own devices, as Dylan’s manager Albert Grossman was otherwise pre-occupied with promoting Odetta, Dylan explored the folk scene around London. Some folkies had recently become ‘somewhat’ aware of Dylan from a recent SingOut! Article but apart from that, Dylan was a complete unknown.

 

• Nevertheless, Dylan had the good fortune to befriend a couple of talented and knowledgeable English folksingers (Martin Carthy and Nigel Denver) and they kindly shared a number of traditional English folk tunes (‘Scarborough Fair’, ‘Lady Frankiln’s Lament’, ‘Leaving Of Liverpool’, ‘The Patriot Game’) – which, in Dylan’s inevitable way, he learnt and borrowed and converted into stunning and career defining original songs;

 

• Grossman eventually met up with Dylan in early January 1963 and together with Odetta spent a week in Italy. Dylan claims he was seeking out Suze, only to discover that Suze had returned to New York. Did this news have a grief-stricken Dylan scurrying back to his ‘one true love’? Well, not really.

 

• Dylan stayed in London for a further two weeks of January – absorbing more of the folk scene; creating enemies and proving what a difficult person he could be; as well as playing a sideman role (harmonica and backing vocals) for an insignificant recording by Richard Farina & Eric Von Schmidt on 14 and 15 January.

 

• On 16 January 1963, Dylan boarded a plane and headed back to New York.

 

 

Every Song Recap and New Songs Written While Overseas

In the previous two ‘Every Song’ articles, we have witnessed Dylan’s songwriting career from his 1^st original song ‘Song For Woody’ (written in February 1961); to his 15^th original song ‘Blowin’ In The Wind’ (written in May 1962); to more greatest hit songs such as ‘A Hard Rain’s A-Gonna Fall’ and ‘Don’t Think Twice It’s All Right’ (his 25^th & 28^th original songs, both written in September 1962). The final song written before we enter this article was in November 1962 with the unheralded ‘Hero Blues’ – which became Dylan’s 37^th original song.

 

The sequence of original songs Dylan penned during his time overseas, looks like this:

 

Track 38 – ‘Masters Of War’

Dylan began working on this song before he travelled to London.  The song is a response to the Cuban Missile Crisis. Dylan had unashamedly borrowed the tune from renowned US folk singer Jean Ritchie’s version of ‘Nottamun Town’.  Dylan completed the song, and performed it for the first time, during his time in London.

 

Track 39 – ‘Girl From The North Country’

Dylan wrote this song while travelling to Italy in early January 1963 ‘in search of Suze’.  The song’s melody is based on ‘Scarborough Fair’, a tune Dylan had recently learnt from Martin McCarthy. Interestingly, although Dylan is ‘searching for Suze’, ‘Girl From The North Country’ speaks of a place and a time and a girlfriend from Dylan’s pre-Suze past.

 

Track 40 – ‘Boots Of Spanish Leather’

Dylan also wrote this song while in Italy in early January 1963 and wishing to take full advantage of a delightful tune, Dylan once again borrowed the melody of ‘Scarborough Fair’. On this occasion, however, ‘Boots Of Spanish Leather’ is unmistakably written for Suze and reflects on the fracturing of their relationship by her extended absence in Italy.

 

Track 41 – Bob Dylan’s Dream

Dylan wrote this song while back in London around mid-January. The song is based on the theme, mood and melody of ‘Lady Franklin’s Lament’.

 

Of these four new songs, three of them (namely, ‘Masters Of War’; ‘Girl From The North Country’; and ‘Bob Dylan’s Dream’ would feature on The Freewheelin’ Bob Dylan album. ‘Boots Of Spanish Leather’ would be held back for The Times They Are A-Changin’ album.

 

 

The Freewheelin’ Bob Dylan album recap as at Dylan’s return to New York on 16 January

Dylan had entered Columbia recording studios on five occasions during 1962 to lay down the songs that would showcase his songwriting talent. On each occasion, John Hammond Snr was responsible for production.

 

On the first such occasion (24 & 25 April), nothing recorded would surface on the ‘Freewheelin’’ album.

 

The second recording session (9 June) resulted in three songs that would feature on the album: ‘Blowin’ In The Wind’; ‘Down The Highway’; and the Henry Thomas cover song ‘Honey, Just Allow Me One More Chance’.

 

The third recording session (26 October) provided one more song for the album – a cover of the traditional song ‘Corrina Corrina’.

 

The fourth recording session (14 November) produced the album recording of ‘Don’t Think Twice, It’s All Right’.

 

The fifth & final 1962 session (6 December) included album recordings of ‘A Hard Rain’s A-Gonna Fall’; ‘Oxford Town’; ‘Bob Dylan’s Blues’ and ‘I Shall Be Free’.

 

Although Dylan had more than enough material for his second studio album, his recent songwriting efforts demanded that he reconsider the final list of songs….and, of course, there was Albert Grossman and his master plan – one where timing was all important and for now, winter time in New York was not quite right to launch Dylan onto a largely unsuspecting public.

 

 

Mid/late January 1963 – back in New York

On returning to New York, Dylan convinced Suze to move back into his West 4^th Street apartment. Despite being apart for seven months, the commentary suggests that Dylan resumed his prior attitude by smothering Suze with his ego and Suze resented simply being ‘Dylan’s chick’ again and not being allowed to engage in her own creative interests. These tensions would continue to smoulder in the background regardless of Dylan’s creative output or professional performances.

 

February 1963

With winter still in the air and snow on the ground, Dylan settled into building up his collection of original songs and getting the songs published in Broadside magazine and recording demo tapes for Witmark & Sons.  The songs that flowed out of Dylan’s spiral notebook during February included:

 

Track 42 – Farewell

Although registered as a Dylan original, the song is as close as one can get to the traditional English folk song ‘The Leaving Of Liverpool’.  Dylan recorded the song in mid-February for Broadside Records, using his Blind Boy Grunt pseudonym.

 

Track 43 – All Over You

After all the heaviness of writing a series of protest songs and deeply personal love songs, Dylan allows himself the opportunity to play around with a 1930’s rag time tune and have some fun with ’I’d do it all over you’ lyrics. Over the following few months, Dylan showcased this song in various live performance settings before it vanished forever from Dylan set list.

 

Track 44 – Only A Hobo

In this song, Dylan returns to a theme previously explored in the 4^th song he ever wrote (‘Man In The Street’) – a simple song, based on a traditional tune and lyrics that shines a light on the homeless and less fortunate.  Dylan originally recorded the song for Broadside Records, using the Blind Boy Grunt pseudonym.

 

All three of the above ‘February 1963’ songs remained ‘demos for hire’ until released on the October 2010 The Bootleg Series Vol. 9: The Witmark Demos: 1962-1964 compilation album.

 

Around mid-February, Columbia Records decided that it was time to do a photoshoot for Dylan’s 2^nd studio album The Freewheelin’ Bob Dylan. CBS staff photographer Don Hunstein was assigned the task and on arriving at Dylan’s West 4^th Street apartment, the decision was made for Dylan and Suze to wander around the snow lined neighbourhood.  And so it came to be that about 400 metres down the road, on Jones Street Greenwich Village, that the photo of Dylan (hands in pocket) and Suze (clinging snugly into Dylan’s arm) was taken.

 

By the standards of the time, it was unusual to include a partner, friend, lover on a folk album cover. In terms of timing, it was probably quite a surprise to Columbia Records (and perhaps Dylan himself) that it would be a further three months until Freewheelin’ would be officially launched.

 

 

March 1963

There is nothing written about this ‘month in the life’ of Dylan.  I would suggest that Dylan, under the guidance of Grossman, was encouraged to take time out to perfect his ‘in concert’ performance and continue to write songs that would resonate with the new wave of protest movements throbbing across the USA.  Dylan was scheduled to perform his first major solo concert at New York Town Hall on 12 April 1963.

 

April 1963

Rested & revitalized, Dylan emerged into a mid-spring New York with a bunch of new songs. Surprisingly, at his solo concert at New York Town Hall on 12 April 1963, Dylan decided to premiere all six of these new songs, rather than any songs that would appear on his upcoming ‘Freewheelin’’ album. Even more surprisingly, only one of those songs (i.e. ‘With God On Our Side’) was ever recorded on a studio album. For the sake of maintaining the integrity of Dylan’s songwriting chronology, those new songs are listed below:

 

Track 45 – Ramblin Down Through The World

Track 46 – Who Killed Davey Moore

Track 47 – Dusty Old Fairgrounds

Track 48 – Walls Of Red Wing

Track 49 – Bob Dylan’s New Orlean’s Rag

Track 50 – With God On Our Side

 

Note: At one point, Columbia Records intended to release a Bob Dylan In Concert album, which would have included a number of the new songs listed above.  For reasons best known to Columbia Records, the album was never released. In the next ‘Every Song’ article, I will revisit and showcase the songs from that abandoned album.

 

While still in April, but post the Town Hall concert, Dylan had written two further songs:

 

Track 51 – Seven Curses

This song would feature at Dylan’s October 1963 Carnegie Hall concert and be included on the abandoned Bob Dylan In Concert album.

 

Track 52 – Talking World War III Blues

This talking blues song was recorded at Columbia Studios on 24 April 1963 and was included on The Freewheelin’ Bob Dylan album.

 

In late April, some strange ‘goings-on’ were happening in the offices of Columbia Records. Dylan was keen to do one final recording session – to lay down four new songs to be included on The Freewheelin’ Bob Dylan album.

 

Albert Grossman was also keen for Dylan to record the new songs, but on the condition that Tom Wilson occupy the ‘producer’ seat and that John Hammond Snr be ejected from the studio altogether. Columbia Records agreed to Grossman’s ‘condition’.

 

In what might have been John Hammond’s final ‘up yours’ to Grossman, in late April 1963 Columbia Records released a ‘promotional edition’ of The Freewheelin’ Bob Dylan album. Among the album’s thirteen song were four songs – ‘Rocks And Gravel’; ‘Let Me Die In My Footsteps’; ‘Ramblin’ Gamblin’ Willie’; and ‘Talkin’ John Birch Society Paranoid Blues’ – that John Hammond had produced with Dylan in the studio way way back on 24 & 25 April 1962.

 

Nevertheless, Dylan returned to Columbia Studios on 24 April 1963 for the sixth time to record the final songs for the officially released The Freewheelin’ Bob Dylan album – but, for the first time, with Tom Wilson in the producer’s chair. The session would result in four new songs to be included on the album in lieu of the four Hammond produced songs listed above. Those four new songs were: ‘Girl From The North Country’; ‘Masters Of War’; ‘Bob Dylan’s Dream’; and ‘Talking World War III Blues’.

 

May

Despite all we now know about Dylan and the impact The Freewheelin’ Bob Dylan album would have on the world of modern music, the reality was that Dylan at the time (early May 1963) remained a complete unknown other than to a small circle of folk artists in the bubble known as Greenwich Village, New York. No-one was more aware of this reality than Albert Grossman. Still, his master plan to expose Dylan, and Dylan’s songs, to the world at large was taking shape.

 

With Dylan’s second studio album being pressed and due to hit the stores in late May, Grossman sent Dylan to Chicago to do some self-promotion. This included a solo concert at the Grossman owned ‘The Bear’ nightclub and an interview mixed with song recordings on WFMT-Radio.

 

On 10 May, Dylan performed at Brandeis Folk Festival in Massachusetts. A recording of Dylan’s performance was discovered in 2010 and officially released on 11 April 2011. As the liner notes state: ‘this is the last live performance we have of Bob Dylan before he became a star’.

 

On 12 May, the final pre-album self-promotion activity was an appearance on the nationally televised The Ed Sullivan Show.  For reasons only known to Dylan (and perhaps Grossman), Dylan was adamant that he wanted to go back to his February 1962 songbook and perform the 12th song from his anthology ‘Talkin’ John Birch Society Paranoid Blues’.  In many ways, this choice seems strange, given that by May 1963 Dylan had shifted so far beyond the Woody Guthrie style talking blues genre and could have easily selected an original song (e.g. ‘Blowin In The Wind’) that would resonate with a national audience.

 

Perhaps not so surprisingly, Ed Sullivan’s CBS TV legal team refused to allow Dylan to perform the song on the grounds that the lyrics could defame members of the John Birch Society. Dylan held his ground and decided to walk out on the show rather than select and perform a substitute song. The publicity surrounding the walk out of a ‘complete unknown Bob Dylan’ from the nationally renowned Ed Sullivan show probably generated more interest in Dylan than any 3-minute song performance. To be fair, Dylan was no Elvis or (a future) The Beatles – and both Dylan and Grossman were fully aware of that fact and accordingly one should not be surprised about how this entire episode, walkout included, unfolded.

 

On 27 May 1963 (three days after his Dylan’s 22^nd birthday), The Freewheelin’ Bob Dylan album was released.

It is hard to reconcile how a 22 year-old from Hibbing, Minnesota would be capable of writing the collection of songs on the ‘Freewheelin’’ album.  The fact that Dylan was able to do so, makes the other fact that each and every tune on the album had been borrowed or stolen a little easier to accept.

 

Of the eleven original songs on the album, one was written prior to Suze’s journey to Italy; six were written while Suze was in Italy; three were written while Dylan was in London; and one was written just prior to the final recording session for the album.

 

For now, here is the entire album (less the two cover songs – ‘Corinna Corrina’ and ‘Honey Just Allow Me One More Chance’) done in cover song style:

 

 

Side 1:

 

‘Blowin’ In The Wind’

Although written in April 1962 as Dylan’s 15^th original song, it took a further 13 months until it was officially released by Dylan. During that time, there appeared to be a deliberate attempt to minimize the exposure of the song, especially in concert settings leading up to the launch of the album.

 

With over 450 covers (including the cover by Peter Paul & Mary that sold over a million units), this is by far Dylan’s most covered song.  In fact, with so many covers to select from, the choice for this article has proven a challenge but … the winner is …..

 

Willie Nile’s cover from his 2017 Positively Bob: Willie Nile Sings Bob Dylan tribute album.

 

 

 

 

‘Girl From The North Country’

This is Dylan’s 39^th original song, written while in London in January 1963 and based on a traditional English folk tune. One can only imagine Suze’s thinking when Dylan returned from London and began singing this song about a past love.

 

There are a very respectable 150 covers of this song, which got an added boost from the C&W market following Dylan’s duet with Johnny Cash on the Nashville Skyline album.

 

The selected cover version is from The Waterboys off their Fisherman’s Box: The Complete Fisherman’s Blues Sessions (1986-1988) album.

 

 

 

 

‘Masters Of War’

Dylan made no excuses about ‘borrowing’ traditional folk tunes as well as contemporary modified tunes to provide the melodic backdrop to his lyrics.  By the time of the release of The Freewheelin’ Bob Dylan album, Dylan had written and recorded 52 original songs, although none of them would contain an original melody line.

 

The melody line for ‘Masters Of War’ (in my opinion) bears the closest uncanniest resemblance to an existing tune – that of Jean Ritchie’s ‘Nottamun Town’. After an objection from Jean, it was agreed that Dylan would pay her $5000 and she would not pursue breach of copyright.  This action led to Dylan being less cavalier about ‘borrowing’ others tunes without given due recognition to the owner of the tune.

 

‘Masters Of War’ is Dylan’s 38^th original song, written at age 21years and 7 months, and was completed during his time in London in late 1962/early 1963. If ever a song has been relevant to the ages, including right now, this is it!

 

There have been some 100 covers of the song and in some cases, the singer covering the song has deliberately excluded recording the last verse – believing that the lyrics were too harsh.  For the record, here is the final verse:

 

And I hope that you die/And your death will come soon
I’ll follow your casket/By the pale afternoon
And I’ll watch while you’re lowered/Down to your deathbed
And I’ll stand over your grave/’Til I’m sure that you’re dead

 

I never had any doubt that I would select Eddie Vedder’s cover from the 1993 Bob Dylan 30^th Anniversary Concert Celebration. I have admired Eddie’s interpretation from the first time I saw it in 1993. He had no objection to singing the final verse and with appropriate hand gestures.

 

 

 

 

‘Down The Highway’

Written in June 1962 while Suze was in Italy, this is Dylan’s 18^th original song.

 

This song may well be considered as one of a few ‘filler’ songs amongst the multiple of classic songs on the album.  This is evidenced by the fact that the first cover of this song, performed by the unknown Sheffield-based Julie Matthews, appeared on a UK-based ‘Freewheelin’’ tribute album released in 2011 – almost 50 years after the original release.

 

There have only been two covers of this song and the only other known cover is by George Thorogood – off his 2017 Highway For One album.

 

 

 

 

‘Bob Dylan’s Blues’

This song was also written in June 1962 – Dylan’s 19^th original song – and another ‘filler’ song.  As a consequence, no-one has been bothered to do a cover version…..at least not until 2011 when some thoughtful kind soul decided that there should be a UK-based ‘Freewheelin Bob Dylan Tribute’ album.

 

Scottish folksinger Ewan McLellan was invited to contribute his cover of ‘Bob Dylan’s Blues’ and personally, I think he does a superb job.

 

 

 

 

‘A Hard Rain’s A-Gonna Fall’

One of Dylan’s greatest hits – and only the 25^th song in his 600+ song repertoire. This song was written in September 1962 when Suze was in Italy and the USA was facing protest and turmoil on multiple fronts.

 

There have been close to 100 covers of this song, and its appeal has been fairly evenly distributed over the six decades since its release.

 

Bryan Ferry’s 1973 cover will be familiar with Australian readers and featured in the first article of my Dylan Cover Songs – International Series.

 

In 1971, Dylan turned to Leon Russell to add some spark into his career (notably, ‘Watching The River Flow’; and ‘When I Paint My Masterpiece’) as well as play a pivotal on-stage role at Concert For Bangla Desh.  Meanwhile, Leon recorded a convincing cover of ‘A Hard Rain’s A-Gonna Fall’ on his 1971 Leon Russell And The Shelter People album.

 

 

 

 

Side 2:

 

‘Don’t Think Twice It’s All Right’

This song was written in September 1962, shortly after Dylan was advised by Suze that she would be staying in Italy with a return date of ‘to be advised’.  Dylan’s grief, anger, ego seeps off every line, every verse of his 26^th song – perhaps too honestly, too hurtfully, too immaturely. The alternative view is that it is ‘just a song’ – take it, use it as you wish – but don’t shoot the messenger. One can hardly imagine how Suze felt in hearing the song played to her over the Christmas/New Year period by a Greenwich Village local while awaiting Dylan’s return from London.

 

With 350 covers, this clearly ranks as Dylan 2^nd most covered song.

 

The chosen cover song is by English singer/songwriter John Martyn from his debut 1967 London Conversations album.

 

 

 

‘Bob Dylan’s Dream’

This song was written by Dylan while still in London in January 1963.  It was his 41^st original song – although the tune is unashamedly taken from a traditional English folk song.

 

There have been around 25 covers over the years, but my latest favourite cover comes from Ed Fram – an English based singer/songwriter and included on his 2025 In Your Picture Frame album.

 

 

 

 

‘Oxford Town’

Responding to a Broadside Magazine songwriting challenge, Dylan wrote this song, his 33^rd original, in October 1962 while Suze was in Italy and the events happening at University of Mississippi were unfolding in real time. Certainly a song for its time, it has been overshadowed by the half dozen classic songs that precede it.

 

Of the 17 covers of this song, fellow Grossman stable singer/songwriter Richie Havens’ version from his 1968 Electric Havens album is the stand out.

 

 

 

 

‘Talkin’ World War III Blues’

This is the last of the original Dylan songs to make the cut for the album (his 52nd original, written April 1963) and the only song on the album written back in New York following Dylan’s London trip – although, in all honesty, it could have been replaced by any number of songs written by Dylan in the previous six months.

 

Nevertheless, it does give us the classic ‘pick up’ line: ‘I’ll let you be in my dreams if I can be in yours’.

 

Not surprisingly, there have only been 7 covers of the song, including the first ever cover by Australian Trevor Lucas from his ‘hard to find’ 1964 See That My Grave Is Kept Clean album.

 

The only other cover, sung in English during the 20^th Century, is by Swiss blues rock band Krokodil – from their 1973 Sweat Or Swim album.

 

 

 

 

‘I Shall Be Free’

The final track on the ‘Freewheelin’ album is another filler song – perhaps something ‘unheavy’ to fade the album out.  It was Dylan’s 36^th song, written in November 1962, while Suze was in Italy.

 

Once again, not surprisingly, there have only been four covers of the song. The best cover is by Canadian Paul James, and  that version featured in a recent Canadian Males Do Dylan article.

 

For this article, I am compelled to return to the old faithful UK based 2011 Freewheelin tribute album. This cover is by Rab Noakes & Fraser Spiers (respectively, a Scottish based singer & a harmonica player).

 

 

 

 

‘Looking Back’

Partly inspired by traditional English folk tunes learnt during his one-month trip to London, Dylan wrote fifteen new songs in the first half of 1963, including several that would reshape the heart and soul of The Freewheelin’ Bob Dylan album and several that would qualify for inclusion on his Greatest Hits albums.

 

Although it took six recording sessions over the course of 12-months and a change of producer, the landmark The Freewheelin’ Bob Dylan album was completed and released on 27 May 1963.

 

The cover of The Freewheelin’ Bob Dylan album shows Dylan and Suze clinging together – however, the undercurrents of their strained relationship remain just out of the camera’s reach.

 

The Grossman factor hangs large over Dylan’s career.  Dylan is still to generate any ongoing income – but Grossman remains steadfast in his opinion that Dylan is a cash cow ready for milking. The time is nigh.

 

 

Looking Forward

As The Freewheelin’ Bob Dylan album is being shipped out to record stores across the USA and to lands beyond the Atlantic & Pacific Oceans, the big issues emerging are:

 

• What impact will The Freewheelin’ Bob Dylan album have on Dylan ‘the songwriter’ and on the world of modern music;
• How will Grossman’s master plan to promote Dylan and to exploit his songwriting for every dollar it can generate play out (Is it payback time yet!);
• What tensions will arise as Joan Baez enters stage right into Dylan’s world and Suze is forced to take a back seat with the rest of the audience;
• What new songs will flow from Dylan’s notebook during the remainder of 1963 and how many recording sessions will he need before he is ready to release his 3^rd studio album; and
• Whatever happened to the proposed Bob Dylan In Concert album?

 

These events will be the headline acts when Dylan Covers Songs – Every Song Vol.4: June – December 1963 is published around mid-August 2025.

 

 

More from Karl Dubravs can be read Here.

 

 

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