Dylan Covers: Clothes Line Saga/ Simple Twist of Fate

First of all, let me say that these two songs have two things in common: they are both by Dylan, and I wanted to post both. I put them together because I wasn’t sure I would have enough time for two posts.

Suzzy and Maggie Roche: Clothes Line Saga

[purchase]

Bob Dylan has an impish side. Some of his songs seem to have been written in response to his reputation as a profound songwriter; the attitude seems to be, “Let them try to find a profound meaning for this. Heh, heh.” I think Clothes Line Saga is one of these songs. It sort of tells a meandering story about a family waiting for their clothes to dry on the line in January, and goes a lot of places without getting anywhere. The playfulness of it appealed to the Roche sisters, Maggie and Suzzy in this case. Add the third sister Terri and you have The Roches. They have certainly shown a playful side of their own in their work. Incidentally, as far as I can tell, the Roche sisters are the only ones who have recorded a cover of this song.

Dave‘s True Story: Simple Twist of Fate

[purchase]

Bob Dylan, of course, emerged from the Greenwich Village folk scene of the 1960s, along with Joan Baez and many others. Dave’s True Story emerged from the Greenwich Village folk scene of the 1980s, which gave us Suzanne Vega and many others. The 80s scene was fueled by Fast Folk Musical Magazine. Fast Folk released albums on a regular schedule which collected folk artists who were active in the Village folk clubs at the time. For many, this was the artist’s first recorded work, and careers were built.

Dave’s True Story perform what might be called pop-folk, with a strong jazz flavor. They cite Cole Porter and George Gershwin as major influences. Their version of “Simple Twist of Fate” comes from the album Simple Twist of Fate: DTS Does Dylan, which is pretty much what it sounds like.

Dylan Covers: The Dylan Sound

Angel Snow: Meet Me In The Morning

[purchase]

Chris Smither: Visions of Johanna

[purchase]

Vic Chesnutt: Buckets of Rain

[purchase]

Ramblin' Jack Elliott: Don't Think Twice, It's Alright

[purchase]

I'm a relative newcomer to Bob Dylan fandom, having grown up immersed in a very different, more melodic branch of the folkworld. And I came to that fandom through covers, and thus have spent much more time considering the songbook than I have considering the particular vocal and guitar folkstyle which, love it or hate it, is inimitably unique and Dylanesque. So it's only very recently that I've started to appreciate that carefully constructed nasality, the broken-voiced rawness which Dylan chose to evolve in himself, the better to make meaning in song.

I'm not the best candidate to explain Dylan's particular sound, and I don't think I need to. A library of books and reviews and films have been written on the subject, and it's also true that the Dylan sound is so iconographic, both as sound and as influence, it kind of speaks for itself. But as this wonderful week's journey through the Dylan songbook has progressed, I've found myself thinking about how difficult it is to cover Dylan's tone successfully. I would even posit that the ragged musical trappings are one of the biggest reasons why Dylan songs are so universal and coverable, so much and so immediately a part of the folkways of the larger culture. Which is to say, just as the older folk of Robert Johnson and Blind Willie Johnson are so mutable in the hands of others due to their own stripped down, prototypical recorded form, one of the functions of Dylan's almost tuneless approach to song is to make those songs seem more available for others to finish in their own way.

As I came to understand the power of this deliberately fundamental, elemental nature of Dylan's performance, I have grown to appreciate Dylan for more than just his songwriting and composition. And so, though I used to lean towards fuller production in my own musical taste, I increasingly respect the rawer, more elemental folk musicians, like Nick Drake and Elliott Smith and, more recently, Denison Witmer and newcomer Angel Snow, who, with just guitar and slightly wobbly voice, seem to be working in that same space where Dylan worked.

So I thought it would be worth looking for Dylan covers which try to bring that same sense of rawness to the performance -- songs which, in their own way, seem to be covering both Dylan's song and Dylan's connection with the baseline of emotion and sound that make song so direct a connection between performer and culture. Here's a few of my favorites from that camp, as a kind of end-of-week celebration of Dylan's influence beyond song itself.

Dylan Covers: Byrds Play Dylan

Byrds: Positively 4th Street [Untitled 1970] [purchase]

Byrds: Mr. Tambourine Man [Royal Albert Hall 1971] [purchase CD] [purchase LP]

Byrds: Chimes Of Freedom [Fillmore West 1969] [purchase]

Byrds: You Ain't Goin' Nowhere [Untitled 1970] [purchase]

Byrds: This Wheel's On Fire [Fillmore West 1969] [purchase]

At Dean's request I put together a gaggle of Dylan covers performed by The Byrds. Since a few studio cuts have already been posted, I decided to stick with live versions. If nothing else, the entirety of the Byrds/Dylan catalog showcases the peculiar empathy Roger McGuinn had for Bob's work. But, these five songs also stand out for me ... and surely you saw this coming! ... because they highlight Clarence White's brilliance as a sideman. "Chimes Of Freedom" and "This Wheel's On Fire," in particular, have some incendiary guitar passages, but the stutters, filigrees, and flourishes throughout are typically genius.

Incidentally, way back in 1964, Clarence was given a demo of "Mr. Tambourine Man" by then-Byrds producer, Jim Dickson, for a possible solo release. This was about the time The Kentucky Colonels were slowing down and CW's interest in rock 'n' roll was perking up and a solo release made sense. Clarence passed on the song, so it went to the artist standing in the on-deck circle, The Byrds. Will the circle be unbroken ...

Dylan Covers: I'll Be Your Baby Tonight

(Note: Astute readers may recognize the material below; Star Maker Machine reader Duncan sent in this unusual entry via an earlier comment. It's not our usual fare, but given the high novelty value of the covers, we decided to accept it just this once...)

Goldie Hawn and the Buckaroos: I'll Be Your Baby Tonight

[purchase]

Emmylou Harris: I'll Be Your Baby Tonight

[purchase]

Burl Ives: I'll Be Your Baby Tonight

[purchase]

Ray Stevens: I'll Be Your Baby Tonight

[out of print]

From my obsession with the Highway 61 Revisited LP (at age 14 in 1965), which was literally a year long sentence (I renewed the mono copy on loan from the Rochester Public Library bi-weekly for a year) I struggled to get the same feeling with the two follow-up Dylan LPs.

Though I drank every drop from ‘Blonde on Blonde” and “Self Portrait” that I could, it wasn’t until “John Wesley Harding” that I found the same spirit again in Dylan’s records. The whole LP came back from the accident in a post-Great White Wonder world where there were Dylan songs all over the airwaves, satisfied by full radio station promo bins with overflowing with bad, good and great Dylan covers. Try looking for Stone Country (early Steve Young) on an RCA 45 doing the ironic ‘Million Dollar Bash’ or The Coven (yes, the same Black Mass group and ‘One Tin Soldier’ group) on S.G.C. (same label as The Nazz) doing a transcendent version of “I Shall Be Released” for two of the greatest (maybe for another post). Of course, there was The Band, The Byrds and Manfreds’ versions of any Dylan and Peter, Paul & Mary, a surprisingly okay version by Goldie Hawn & The Buckaroos, a predictably good version by Linda Ronstadt on ‘Home Grown, Hand Sown’, Rita Coolidge, other lost versions (The Hollies, The Walker Brothers) and an early embarrassing take by Emmylou Harris and a whole lot of crappy easy listening takes of “Lay Lady Lay” by singers like Jim Nabors and the either-you-like-it –or-you-don’t versions by Sebastian Cabot.

“I’ll Be Your Baby Tonight” was and has been one of Dylan’s most popular songs covered over many times, right up to the mid 1980s when Robert Palmer put his sophisticated stamp on a version and Kathy Mattea made her Mercury Record’s chart debut on 45 with her beautifully strong & stark country take. [I haven’t heard this one in ages and have never seen it on her Greatest Hits collections. Anyone got this somewhere?]. Maria Muldaur revisited it on her recent Dylan tribute. Can’t find my Judy (Collins) Does Dylan to check on there (a very disappointing project). I gotta believe there are a whole lot of versions I’ve never heard and a few more I’d like.

The earliest two covers I latched onto were done by pop music veterans seeking new acceptance in this hip cover sweepstakes. There was beginning to be a lot of attention given to the post-Dylan songwriting community and it was clear that it resided beyond the traditional folk circles centered mostly on the East Coast. Nashville was VERY accepting of Dylan’s songs, certainly in part to Johnny Cash’s embracing. SO it is very natural to see Burl Ives and Ray Stevens ply their creativity on this song.

Burl Ives’ take of “I’ll Be Your Baby Tonight” (the rip I have has to be taken from a Columbia white label promo 45 as I’ve never seen a stock or promo Columbia LP with this one on it…anyone else?) sounds like a classic Nashville late 1960s production, though I can’t be sure no longer owning the artifact itself. I like the instrumental backing mix: it was a good mixture between hip and NOT as cloying as many country-politan contemporary Nashville LP cover-stuffers could be. Burl’s voice is very appealing to me on this one…a little Jimmy Crack Corn & Blue Tail Fly memory, maybe? I’m pretty sure his last LP on Decca was cut in 1967 and released in 1968 so as far as I know, this 1968 Columbia 45 may have been his major label recording swansong or very near it. I know he toured through the 70s and 80s, probably doing some private releases. I would love to hear more of Burl from this era.

Ray Stevens’ version of “I’ll Be Your Baby Tonight” (it’s a vinyl rip with some ticks…sorry) comes from his 1969 Monument Records LP, ‘Have A Little Talk With Myself”. Jerry Kennedy on guitar and Norman Putnam on bass anchor this project, with an 18 piece orchestra of strings and horns under the direction of Mr. Stevens. Co-Producer & Co-Engineer Jim Malloy says in his Technical Notes:

“In addition to doing all the arrangements on this album, Ray Stevens … sings ALL the voices ... plays the piano, organ, bells and any other special effect instruments … and plays the trumpet solo on ‘Spinning Wheel’”

In re-listening to this version, I heard it first in MP3 form, then I dug out the vinyl I have and gave that a listen. I looked for Charlie McCoy (also signed at the time to Monument) in the credits on harmonica because I really love the multi-tracked harp on this cut. No Charlie. It’s RAY, simulating Charlie playing multiple lead harmonica lines with his voice into a harp horn section, a Harmony Vo-conica (my term) if you will. Its addition belies the years of schooling Ray received as a pop-novelty maestro tailoring arrangements to best sell the content of a song [think ‘Ahab’].

This is his LP follow up to the previous year’s breakthrough containing “Unwind” and “Mr. Businessman”, showing the ‘serious’ side of Ray Stevens. The LP contains 3 Beatle songs (Fool On The Hill, Help & Hey Jude), 2 from ‘Hair’ (Aquarius & Hair), Kris Kristofferson’s “Sunday Morning Coming Down”, Joe South’s “Games People Play”, Mike Settle’s “But You Know I Love You” Blood, Sweat & Tear’s “Spinning Wheel” and two from Stevens pen. “Have A Little Talk with Myself” is the single that made it, though I once owned white label promo 45s of “I’ll Be Your Baby…” and “Sunday…”. I’ve wonder if those 45 mixes were a little different. I sure listened to them a lot and played them when I could as a club DJ over the years. Ray really continues applying the same kind of unique audio trademark he leaves on this song throughout the whole LP. I wonder if it has been reissued…pairing it with the previous Monument LP would be ideal as a double and I think a lot of people would sure dig it.

Guest Post Submitted by Duncan

Dylan Covers: The Times They Are a-Changin'

The Beach Boys: The Times They Are a-Changin'
[purchase]

This protest song has been covered by a ton of artists including Simon and Garfunkel, Nina Simone, and Joan Baez, but I personally think the Beach Boys version has an interesting resonance. This cut is off the Beach Boys Party album, a contractual obligation but still a gem that musn't be overlooked. The change I think of when Al Jardine sings this song is not political, but cultural. Although they would release the best album of all time following Party, the Beach Boys would sadly become irrelevant and out of style. In this track, you can hear the naiveté and irreverence in the face of "important" music that would help the Boys become cultural dinosaurs.

'The Beach Boys,' under Mike Love and known as "America's Band," probably wouldn't have brought this cover out when they performed at the Republican National Convention.

Dylan Covers: Masters of War

In planning my posts for this week, I remembered that the blogosphere was all abuzz a while ago with Pearl Jam’s cover of Dylan’s “Masters of War." Here we had the meeting of two religions, the cults of Dylan and Vedder getting together for interfaith services. While I admire both, I don’t share the devotion of either group of fans, and I wound up not even playing the song when everybody was posting it. I had never even heard Dylan’s original until this week.

Now that I have, I must say that it is not Bob Dylan’s best work. The lyrics express a view that I absolutely agree with, but I find them angry and strident. The arrangement is simple, just a driving acoustic guitar and voice, but there is not much variety, and a song which is on the long side is made to feel even longer.

So why am I posting this? Given the simplicity of Dylan’s original, something remarkable happens when the song is covered. Some artists treat the song almost as an unfinished work, and feel free to fill out the arrangement and make it their own. And some of the results are amazing. And the words inspire some great impassioned vocal performances.

Martin Simpson: Masters of War

[purchase]

Martin Simpson is originally from England, where he started his career in folk music. Wanting to add some traditional American folk stylings to his guitar playing, Simpson came to the United States, and wound up staying. Simpson replaced Dylan’s guitar part with his own, to great affect. Simpson’s vocal style is very much in the English folk tradition, the song works very well delivered this way.

Bill Frisell: Masters of War

[purchase, available in mp3 format only]

Bill Frisell is one of the finest jazz guitar players working today, no wait! Bill Frisell is an Americana artist who specializes in instrumental numbers with a jazzy flavor... Perhaps it’s best just to say that Frisell’s music fits in the cracks between musical genres. I’ve often wondered what his music would sound like if he worked with a singer. It would have to be someone who could also straddle the line between jazz, blues, and country. Cassandra Wilson would be an obvious choice, and I would love to hear that, but I was actually thinking of...

Maria Muldaur: Masters of War

[purchase]

... Maria Muldaur. Now, if you’re thinking of “Midnight at the Oasis”, you must think I’m crazy. But as Maria Muldaur has aged, her voice has become richer and deeper, and she has learned to use it as a great jazz and blues instrument. Her take on “Masters of War” came out on her newest album this past July. This is her first album of all political material, which says a lot about the times we are living in.

Dylan Covers: This Wheel's On Fire

Julie Driscoll, Brian Auger & The Trinity: This Wheel's On Fire

[purchase]


This Wheel's On Fire was written by Bob Dylan and Rick Danko during the sessions for The Band's 1968 album, Music From Big Pink. Today's cover comes from Julie Driscoll, Brian Auger & The Trinity, whose psychedelia adaptation scored a hit, landing at #5 on the UK singles chart. Fan's of the comedy series Absolutely Fabulous will recognize Driscoll's early 90's remake, which was the show's theme song.

I prefer this to The Band & Dylan versions, I like the trippy flanger effect and the swirling Hammond B3 organ, it's a bit like being on a carousel. Check it out yourself and see what you think.

Dylan Covers: Mama, You Been On My Mind

The Beatles: Mama, You Been On My Mind (h/t BWF)

[purchase]


It's been a great week at Star Maker Machine because Bob Dylan's music crosses all boundaries - as he once said, he's never understood any kind of border patrol when it came to music. It's brought a special synergy, giving the bloggers here a chance to expose Bob's tunes as they've been performed in the different genres we specialize in.

The sign of a strong song is when it can be interpreted in many differing forms - as we've heard this week, Dylan's been covered across the board by musicians of every stripe and style. I feel it's especially interesting how many mega-superstars covered Bob's music, most of them with strong interpretations of their own.

A fun aspect of being a Dylan fan is all the great mythology that surrounds him - a bit of it true, a whole lot of it exaggerated. But it all fits the man who's loomed larger than life in pop culture for the last half-century. On that note, one of my favorite stories is from 1964, how Bob introduced The Beatles to marijuana for the first time - for better or worse, think of how big a part that played in the band's future songwriting process. I also wonder if they had the munchies - did John order some Sicilian pizza pies to be delivered to the Hotel Delmonico? Anywhos, it was the beginning of a long, fruitful association with the Liverpoolians. At one point, George Harrison started recording an album of Dylan covers that he never finished.

Here's George in the studio during the Let It Be sessions covering Mama, You Been On My Mind. Get a little taste of what could have been.

Dylan Covers: If Not For You, Too

Derek Webb and Sanda McKracken: If Not For You

[purchase]

We've gotten into the habit of leaving also-rans in the comments here at Star Maker Machine, but I couldn't resist following up on Paul's previous post on Olivia Newton John's surprisingly amazing cover by offering this very recent recording of the same song by married Christian singer-songwriters Derek Webb and Sandra McKracken as a full-fledged post. Contemporary Christian music isn't my thing either, but I claim awesomeness: warm voices, delicate, sparse harmonies, acoustic strings, and the perfect hint of imperfection in the performance, just like Dylan would have wanted it. Now that's folk music.

Dylan Covers: If Not For You

Olivia Newton John: If Not For You

[purchase]

This one goes out to the one I loved.

It’s not the definitive cover version of this song (see George Harrison for that), but it’s not bad. I include it here because I had a mad crush on Olivia back in the 1970’s when I was just a little toeheaded kid and she was an Aussie mega-star. Those were happy times. . .

Dylan Covers: With God on Our Side

Buddy Miller: With God on Our Side

[purchase]

I will never forget the first time I heard this song. It was one of the most moving musical experiences of my life.

In 2004, I was attending the American Music Conference in Nashville, TN. It was my first time at the conference, and there were many "Wow!" moments that took place that week. I met Steve Earle at the bar at The Mercy Lounge, discussed politics and The Dixie Chicks with Chuck Meade from BR549, and watched in awe as Michelle Shocked and Adrienne Young square danced with each other at The Station Inn as The Avett Brothers stomped and screamed their way around the stage. It was a magical weekend of music to be sure.

The absolute highlight of the weekend, however, was hearing Buddy Miller sing "With God on Our Side" at the Mercy Lounge. I'm not a Dylan historian like some, so I had never heard the song before. I didn't know that it was written over forty years ago... it sounded as though it was ripped from the headlines of the day.

The song is simple in concept... a contemplation on the Glory of God and the atrocities of war and the idea the belief in one somehow justifies the other. In 2004, a time of escalating aggression in Iraq, the topics of God and government, religion and war, were once again heavy points of discussion. This song captures the essence of that debate eloquently and succinctly and forces the listener to ask some tough questions.

Miller's performance of this song on that night came out of the blue and held a room full of artists, industry insiders, and just plain old music fans in rapt attention. It was as powerful a performance as I have ever been witness to. Many in the room were in tears at the end of the song.

I returned home from the conference to find the copy of Miller's Universal United House of Prayer album that had been delivered to the station during the conference. Wisely, Miller included his cover of "With God on Our Side." It was another excellent release from Buddy Miller, and the centerpiece of the album was that song. It came as no surprise to me when Buddy Miller won both Artist of the Year and Album of the Year at the 2005 Americana Music Awards and Honors Show. Nobody who was at the Mercy Lounge the year previous could have voted for anyone else.

Dylan Covers: Rock Me Mama becomes Wagon Wheel

Old Crow Medicine Show - Wagon Wheel

[purchase]

Bob Dylan - Rock Me Mama

[from Genuine Bootleg Series Vol. 1...out of print?]

Today I am gonna mix it up a little. I originally posted the below back in May of 2007 on ninebullets.net. I got so many emails about it that I reposted it in October of last year. It has easily been the most popular post on the site so I decided to post it over here. I hope y'all enjoy it even though it's on the fringes of this weeks theme.

Here you go:

This morning I was sitting here listening to the new cd, Two Bottles Of Wine by Jason Webley and Reverend Peyton. At the end of the cd is a cover song that I instantly recognized as Old Crow Medicine Show’s, Wagon Wheel. Only, it’s labeled as Rock Me Mama (Bob Dylan Cover).

huh?

I am no Dylan expert but I thought if Wagon Wheel was actually a Dylan cover I would have known by now. This seemed like a job for Google. After a little looking I found this explination from OCMS’s Keith Secor:

“It’d be my pleasure to dispel the myth and rumor about the song Wagon Wheel, or “Rock Me Mama” as Bob Dylan himself called the song when he recorded it down in Mexico in 1972 for the soundtrack of Pat Garrett and Billy the Kid. This song was not released, and it was not finished either, this is a demo of a practice session of him, Rob Stoner, and a couple of gals doing the chorus over and over again while the bass player learns the bass line. That’s what I heard on a German bootleg about nine years ago in high school. And I wrote the lyrics to the song because I loved the chorus so much and I sung it in my head for maybe a year straight, and then just penned what I penned, which is something of an autobiographical story about just wanting to get outta town, gettin outta school, and just wanting to go play music. It’s sort of autobiographical like that. But yeah, it’s sort of a Bob Dylan co-write with about 25 years inbetween.”

Well there you go. As the late great Chris Thomas used to say, “That’s why you get up in the mornings. You never know what you might learn.”

Jason Webley and The Reverend Peyton - Rock Me Mama

[Out of Print]

Dylan Covers: Going, Going, Gone

Son Volt: Going, Going, Gone [purchase downloadable EP]

The original "Going, Going, Gone" comes from the surprisingly lackluster Dylan/Band reunion album, Planet Waves (1974). Son Volt's cover was included on their promotional Switchback EP, which was released to radio simultaneous with their second album, Straightaways (1997). However, prior to this recording "Going, Going, Gone" was a staple on the band's first tour, way back when Jay Farrar was still tearing up his Gibson SG, Mike Heidorn was drumming, and Uncle Tupelo songs were a regular part of Son Volt's setlists. When I saw them play The Backstage in Seattle (12/11/95) they encored with this obscure Dylan number , The Stanley Brothers' harmony-riffic "She's More To Be Pitied," and Merle Haggard's prison anthem, "Sing Me Back Home." If you can find a better trifecta of roots music consciousness, I'd like to hear it.

Dylan Covers: Like A Rolling Stone

Mystery Tramps: Like A Rolling Stone

[purchase]

A whole book on one song sounds a bit rich, even if the song in question is Like A Rolling Stone. But in Like A Rolling Stone - Bob Dylan At The Crossroads, author Greil Marcus showed it could be done. Easily. Anyway, this post is not about that book, it´s about a ´93 cover version of Dylan´s masterpiece that Marcus mentions quite enthousiastically. About an outfit called the Mystery Tramps and their hiphop-stylee cover version of Like A Rolling Stone. Since I´m both a Bobcat and a sucker for curios, I just had to check it out. And yo, it´s not bad at all. 

Funny enough it starts with a sample of the original intro: that masterly organ riff by Al Kooper. The - white - rapper is hamming it up just a bit too much for my liking, but the talking girl ("spare change, anybody?" and "hey! where´s my stuff") cracks me up every time. Plus it´s rather alienating to hear such a familiar song in such a completely different musical setting. "This is a story about a girl who goes from riches to rags, and it´s a drag, so check it ouuuut."

PS: This post appeared in a slightly different form on my own blog when I was just starting out. The possibility to repost it here seemed too good to be true as 1. it´s a Dylan cover you don´t hear everyday and 2. it gives me the opportunity to tell you that - after a long summer break -  For The Sake Of The Song is back. 

Dylan Covers: Man Gave Names to All the Animals

So far this week, we have already seen some of Bob Dylan’s remarkable range as a songwriter. He is equally adept at love songs, political songs that become generational anthems, and who-knows-whats that nevertheless resonate with people. But something interesting happens with “Man Gave Names to All the Animals”. The song was originally included on Slow Train Coming, Dylan’s somewhat notorious album where he embraced born-again Christianity; as such, the song is part of a suite of songs which function as an eloquent expression of faith. Dylan’s arrangement of the song was a rock-reggae hybrid.

But the covers of “Man Gave Names to All the Animals” are mostly by folk artists. Taken out of its original context, and given a softer arrangement, the truth is revealed: “Man Gave Names to All the Animals” is a great kid’s song. Not what you usually think of from Dylan.

Townes Van Zandt: Man Gave Names to All the Animals

[purchase]

Townes Van Zandt is one of those tragic figures who litter the pop music landscape. Mostly known during his lifetime to other musicians, it was only after his death at age 52 that his music began to reach a wider audience. “Pancho and Lefty” is probably his best known song. As can be heard here, he was also a fine singer and guitar player.

Tim O‘Brien: Man Gave Names to All the Animals

[purchase]

Tim O’Brien first gained attention as the leader of the bluegrass band Hot Rize in the 1980s. (If you like bluegrass, and have never heard them, do seek them out.) As a solo artist, and in a duo with his sister Mollie, O’Brien has expanded his sound. His version of ”Man Gave...” is from an album of Dylan covers called Red on Blond.

Dylan Covers: Tomorrow Is A Long Time

Nickel Creek: Tomorrow Is A Long Time

[purchase]

Tomorrow is a Long Time was first recorded for the famous (and permanently bootlegged) Witmark Demos in 1963, but the only officially released version is a live recording on Dylan's 1971 Greatest Hits Vol II collection; by then, thanks to early distribution of the Witmark Demos, the song had already been turned from its original delicate campfire ballad to something with a little too much saccharine by such mid-sixties unlikelies as Odetta, Elvis, and Ian and Sylvia. As such there is no real definitive version, and -- since by definition originals are usually considered to be the first official recording -- some confusion in my mind over whether or not this is a cover at all.

Happily, not all "covers" of this song misunderstand its intent so badly. Something about the odd extra-measured trope and rhythm of this older Dylan song has attracted some of my favorite folk artists at their best, from Nick Drake to Sandy Denny to Rosalie Sorrels. And, as with so many Dylan covers, there's still more to discover -- for example, I've recently encountered the below version by the Greek folk-pop singer Nana Mouskouri, and think the light freakfolk touch and etherial, high-vibrato vocals are worth passing along, especially for those who have yet to encounter her work.

But going back through the forty-odd years of this song's existence, none of the covers i have heard hold a candle to the delicate newgrass ballad that Nickel Creek makes of it.

Cover or not, this may be one of my favorite Nickel Creek songs ever. It demonstrates effortlessly just how mature and tightly delivered their sound became in the end, before they decided they were ready to move on. Sara Watkins' fragile, breathy voice on lead is perfect for the sentiment; the mandolin and guitar mix is ringing and airy; make sure you stick around for the lovely fiddle and mando duet.

More, however, I think the song actually speaks to the kind of regret and readiness that the band members, who formed their band in their teens, must have been feeling as they saw the horizon of solo projects and self-reliance approaching. Placed at the very heart of Why Should The Fire Die, their final album before breaking up to pursue solo projects, the song is a perfect bittersweet harbinger of their impending dissipation, and an equally powerful reminder of why their star shot so high, and so quickly, before choosing to go out in that blaze of glory.

Bonus:

Nana Mouskouri: Tomorrow Is A Long Time

[purchase]

Dylan Covers: Rainy Day Women #12 & 35

Cross Canadian Ragweed: Rainy Day Women #12 & 35

[purchase]

Admittedly, this song is nowhere near one of Dylan’s best. But it is undeniably one of the most fun. The lead-off track from the seminal Blonde On Blonde is a raucous barroom ballad full of jangly instruments, huge sing along lines, and off-stage banter. What makes Rainy Day Women so intriguing, however, is the mystique behind it. The song’s meaning has been examined and scrutinized for years. On the surface, the casual listener will undoubtedly hear the persuasion to partake in illegal activity. Upon further review, one may realize that Dylan means “stoned” in the proverbial sense. But to take the song into any further consideration will only confuse the listener more. Dylan, in one of many slaps-in-the-face to interviewers, once described the song like this:

“Rainy Day Women #12 & 35 happens to deal with a minority of, you know, cripples and Orientals and, uh, you know, and the world in which they live,.... It’s another sort of a North Mexican kind of a thing, uh, very protesty. Very, very protesty. And, uh, one of the protestiest of all things I ever protested against in my protest years.”

Cross Canadian Ragweed covered the song on their 2001 release Live and Loud at the Wormy Dog. The Wormy Dog Saloon in Stillwater was the home venue for the Oklahoma band (among many others) in their early years. Because of the song’s live setting in a small bar, this cut contains many similarities to Dylan’s version – and it is just as fun.

As far as the meaning behind the song – I believe Dylan achieved his goal – to create a tune that people would be talking about for years, with no answer as to the writer’s intentions. Why is this the only song on the album to feature a full horn section? Why did he choose to lead off album with it? And what’s with the numbers 12 and 35? I have no answers for you, but just for fun, multiply them together…..

Dylan Covers: You Ain't Goin' Nowhere

Glen Hansard & Marketa Irglova: You Ain’t Goin’ Nowhere

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I know it’s way too easy to pick a song off the I’m Not There Soundtrack – but this one is worth the simplicity. You all know Glen Hansard & Marketa Irglova, their love affair, their movie, and their various awards. But if for some reason you don’t, I’ll enlighten you.

Glen Hansard is an Irish singer/songwriter and frontman of the Irish rock group The Frames. In 2006, he teamed up with a classically-trained, Czech multi-instrumentalist Marketa Irglova to make the music-inspired indie film Once. It follows the paths of two struggling musicians that fall in love while making music together in Dublin. The film – which is a must-see for any fan of good music – won the World Cinema Audience Award at the 2007 Sundance Film Festival. The duo’s song Falling Slowly won the Academy Award for Best Original Song in 2007. As fate would have it, the two began dating while filming the movie. Together, they are known as The Swell Season and put out a self-titled album following the release of the movie.

You Ain’t Goin’ Nowhere appeared first on Dylan's Greatest Hits, Vol. 2 in 1971. For some reason this song always inspires visions of folks sittin’ around in a picking circle playing the most appropriate tune to fit the mood – one of pure jubilation. No matter who’s doing the song, that feeling emanates through thanks to the power of Dylan's words.

"Whoo-ee, ride me high
Tomorrow's the day
My bride's gonna come
Oh, ho, are we gonna fly
Down in the easy chair."

Dylan Covers: Absolutely Sweet Marie

Jason & The Scorchers: Absolutely Sweet Marie

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"Well I don’t know how it happened, but the river boat captain, he knows my fate...”

This is not a well-known Dylan cover, but I think it's one of the greats. Jason & The Scorchers take the song in the same direction Dylan was going, but a step farther.

Because of exciting songs like this, Jason and Scorchers embodied 1980's cowpunk. (Now that's sayin' something!) If you're the slightest bit intrigued, the two-fer CD featuring the Fervor EP and Lost & Found LP is a must own document.

Miscellaneous Info/Personal Touch: This song provided the inspiration for my daughter's middle name. (My son is Hank. Are you surprised?)

Dylan Covers: Highway '61 Revisited

PJ Harvey: Highway '61 Revisited

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Highway 61 was famous for being the highway of the blues, as it led to New Orleans. Many blues songs mention it, and Dylan's song certainly is a homage to those roots.

I can't say it's her best work, or even that she should be covering the song at all, despite being a big fan of her work, the angry prototypical early PJ Harvey style seems to be an odd fit. The toe-tapping bluesy quality Dylan gives the song seems to fit, and her more angry, though unique, version is an odd take on the classic. But it's worth a listen all the same as it gives it a whole new flavor.