I don't think [Dylan and the Beatles] influenced me a lot. I think it was inevitable; they were so powerful that you couldn't really escape the influence.
Any real Bob Dylan fan would sleep with Jonah Lehrer.
[Bob] Dylan may, for whatever reasons of his own, do nothing of the sort with the Nobel committee. Up there on Parnassus, that is his unquestionable prerogative. But here on my anthill, it's mine to say: oh, do piss off, you ineffable snobs.
When I started Dylan's Candy Bar in 2001, I wanted it to be a place that merged my love of pop culture, fashion, art and music with candy. Since then, we have been fortunate to pioneer artistic partnerships with many legends.
I think people are just creative, and this can be expressed in a number of ways. Bob Dylan and David Bowie create both music and art.
There were times in my career when I would try to write songs like Bob Dylan... Artists get hooked up in that. To be a follower, you lose.
I always believed a singer should be able to sing any kind of song. If I wanted to sing a Cole Porter song, I should be able to do that. Or Sherry, I should be able to do that. Or a Dylan song.
"Masters of War" [of Bob Dylan] wasn't peacenik, anti-war stuff. With its minor key and uncompromising final lines ("And I hope that you die/And your death'll come soon/ I will follow your casket/ In the pale afternoon...") this was a previously unknown hybrid of caustic political commentary and punk rock, which itself wouldn't be invented for another decade or so.
I'm always looking for overlooked post-Dylan singer-songwriter records from the '70s.
I would say, from an all-around point of view, Bruce Springsteen is one of the two great poet lords of America, Bob Dylan, coming out of the music world, the two of them.
Bob Dylan is great. Ive been compared to him a lot. I think when people see a person on stage with a guitar they just think, Bob Dylan!
...You couldn't help being influenced by Dylan.
I started being me about the songs, not writing objectively, but subjectively. I think it was Dylan who helped me realize that - not by any discussion or anything, but by hearing his work.
In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (The Freewheelin' Bob Dylan) from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan.
We're often afraid to do anything unless we know we can do it extremely well. But we get to Carnegie Hall by practicing. I remember how freeing it was several years ago to read in an interview with Joan Baez that some of Bob Dylan's early songs weren't so wonderful. We have this image of genius springing fully grown out of Zeus' forehead.
I think I'm the oldest new Bob Dylan around. I predate Bruce Springsteen, Steve Forbat and John Prine. I was probably the first of the new Bob Dylans.
If poetry were nothing but texture, [Dylan] Thomas would be as good as any poet alive. The what of his poems is hardly essential to their success, and the best and most brilliantly written pieces usually say less than the worst.
I think that's what Dylan's trying to do: to create a space artistically where something else can take shape, can take life - where there's hope.
If Bob Dylan really is an historian in and of himself in his work, in his performances, he is also an historian with a unique sense of humor. There's always been a bit of a stand-up comic in him.
I first met (Bob Dylan) in '65. We've had a friendship for a long time. He decided to play on a record I was making in New York. We were just friends playing together.
After an initial solo album in which the young [Bob] Dylan was just finding his voice (i.e., reinventing himself from the middle-class Robert Zimmerman into a pseudo-hobo Woody Guthrie), Dylan put out two acoustic albums that forever changed popular music.
I'd been going though his trash. He knocked me down. I was glad to see him, even though he was banging my head against the sidewalk. Afterwards these bums come over and say, 'Did he get much money?' I say, 'Money'? That was Bob Dylan.
In the meantime [1963-65], [Bob] Dylan was writing some of the best love songs in the genre, like "Girl From the North Country," "Don't Think Twice, It's Alright," and "It Ain't Me, Babe."
He [Johnny Cash] always wanted to use his music to lift other people up, to say no matter how much trouble, there's hope. That was always his message in his songs. That's why he and [Bob] Dylan bonded so much, because they were both trying to do something meaningful.
Probably the high-watermark of [Bob] Dylan's career came after he plugged in his guitar ("Judas!" one fan shouted during a concert) and exploded American poetry, combining Beat aesthetics, psychedelic imagery, collage techniques.
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