The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica
Reverend Gary Davis
Reverend Gary Davis Blind Gary Davis, was a blues and gospel singer, proficient on the banjo and harmonica. His fingerpicking guitar style influenced many other artists, his students include Stefan Grossman, David Bromberg, Steve Katz, Roy Book Binder, Larry Johnson, Nick Katzman, Dave Van Ronk, Rory Block, Ernie Hawkins, Larry Campbell, Bob Weir, Woody Mann, Tom Winslow. He influenced Bob Dylan, the Grateful Dead, Wizz Jones, Jorma Kaukonen, Keb' Mo', Resurrection Band, John Sebastian. Davis was born in South Carolina, in the Piedmont region. Of the eight children his mother bore, he was the only one, he became blind as an infant. He recalled being poorly treated by his mother and that his father placed him in the care of his paternal grandmother. Davis reported that when he was 10 years old his father was killed in Alabama, he sangs for the first time at Gray Court's Baptist church in South Carolina. He took to the guitar and assumed a unique multivoice style produced with his thumb and index finger, playing gospel and blues tunes along with traditional and original tunes in four-part harmony.
In the mid-1920s, Davis migrated to Durham, North Carolina, a major center of black culture at the time. There he taught Blind Boy Fuller and collaborated with a number of other artists in the Piedmont blues scene, including Bull City Red. In 1935, J. B. Long, a store manager with a reputation for supporting local artists, introduced Davis and Red to the American Record Company; the subsequent recording sessions marked the real beginning of Davis's career. During his time in Durham, he became a Christian. In 1933, Davis was ordained as a Baptist minister in Washington, North Carolina]. Following his conversion and his ordination, Davis began to prefer inspirational gospel music. In the 1940s, the blues scene in Durham began to decline, Davis moved to New York. In 1951, he recorded an oral history for the folklorist Elizabeth Lyttleton Harold. Who transcribed their conversations in a typescript more than 300 pages long; the folk revival of the 1960s invigorated Davis's career. He performed at the Newport Folk Festival.
Peter and Mary recorded his version of "Samson and Delilah" known as "If I Had My Way", a song by Blind Willie Johnson, which Davis had popularized. "Samson and Delilah" was covered and credited to Davis by the Grateful Dead on the album Terrapin Station. The Dead covered Davis' "Death Don't Have No Mercy". Eric Von Schmidt credited Davis with three-quarters of Schmidt's "Baby, Let Me Follow You Down", covered by Bob Dylan on his debut album for Columbia Records; the Blues Hall of Fame singer and harmonica player Darrell Mansfield has recorded several of Davis's songs. Davis died of a heart attack in Hammonton, New Jersey, he is buried in Lynbrook, Long Island, New York. Many of Davis' recordings were published posthumously. Cocaine Blues Gospel blues Mann, Woody; the Art of Acoustic Blues Guitar: Ragtime and Gospel. Oak Publications. Reevy, Tony. "Street Sessions, Piedmont Style". Our State. Stambler, Irwin. Folk and Blues, the Encyclopedia. New York: St. Martin's Press. Tilling, Robert. Oh, What a Beautiful City!
A Tribute to Rev. Gary Davis. Paul Mill Press. ISBN 9780786682584. Von Schmidt, Eric. "Remembering Reverend Gary Davis". Sing Out! 5167–73. Zack, Ian. Say No to the Devil: The Life and Musical Genius of Rev. Gary Davis. University of Chicago Press. ISBN 9780226234106. RevGaryDavis.com, a site devoted to Gary Davis. Harlem Street Singer, 2013 documentary film on the life and music of Reverend Gary Davis www.folkways.si.edu, Smithsonian Folkways recordings information. Reverend Gary Davis at Find a Grave Davis biography on AllMusic.com Biography of the Reverend Gary Davis from the Association of Cultural Equity The guitar students of Rev. Gary Davis with links to performances The Rev. Gary Davis performing on WNYC Radio, February 10, 1966
Virginia the Commonwealth of Virginia, is a state in the Southeastern and Mid-Atlantic regions of the United States located between the Atlantic Coast and the Appalachian Mountains. Virginia is nicknamed the "Old Dominion" due to its status as the first English colonial possession established in mainland North America and "Mother of Presidents" because eight U. S. presidents were born there, more than any other state. The geography and climate of the Commonwealth are shaped by the Blue Ridge Mountains and the Chesapeake Bay, which provide habitat for much of its flora and fauna; the capital of the Commonwealth is Richmond. The Commonwealth's estimated population as of 2018 is over 8.5 million. The area's history begins with several indigenous groups, including the Powhatan. In 1607 the London Company established the Colony of Virginia as the first permanent New World English colony. Slave labor and the land acquired from displaced Native American tribes each played a significant role in the colony's early politics and plantation economy.
Virginia was one of the 13 Colonies in the American Revolution. In the American Civil War, Virginia's Secession Convention resolved to join the Confederacy, Virginia's First Wheeling Convention resolved to remain in the Union. Although the Commonwealth was under one-party rule for nearly a century following Reconstruction, both major national parties are competitive in modern Virginia; the Virginia General Assembly is the oldest continuous law-making body in the New World. The state government was ranked most effective by the Pew Center on the States in both 2005 and 2008, it is unique in how it treats cities and counties manages local roads, prohibits its governors from serving consecutive terms. Virginia's economy has many sectors: agriculture in the Shenandoah Valley. S. Department of Defense and Central Intelligence Agency. Virginia has a total area of 42,774.2 square miles, including 3,180.13 square miles of water, making it the 35th-largest state by area. Virginia is bordered by Maryland and Washington, D.
C. to the north and east. Virginia's boundary with Maryland and Washington, D. C. extends to the low-water mark of the south shore of the Potomac River. The southern border is defined as the 36° 30′ parallel north, though surveyor error led to deviations of as much as three arcminutes; the border with Tennessee was not settled until 1893, when their dispute was brought to the U. S. Supreme Court; the Chesapeake Bay separates the contiguous portion of the Commonwealth from the two-county peninsula of Virginia's Eastern Shore. The bay was formed from the drowned river valleys of the James River. Many of Virginia's rivers flow into the Chesapeake Bay, including the Potomac, Rappahannock and James, which create three peninsulas in the bay; the Tidewater is a coastal plain between the fall line. It includes major estuaries of Chesapeake Bay; the Piedmont is a series of sedimentary and igneous rock-based foothills east of the mountains which were formed in the Mesozoic era. The region, known for its heavy clay soil, includes the Southwest Mountains around Charlottesville.
The Blue Ridge Mountains are a physiographic province of the Appalachian Mountains with the highest points in the state, the tallest being Mount Rogers at 5,729 feet. The Ridge and Valley region includes the Great Appalachian Valley; the region includes Massanutten Mountain. The Cumberland Plateau and the Cumberland Mountains are in the southwest corner of Virginia, south of the Allegheny Plateau. In this region, rivers flow northwest, into the Ohio River basin; the Virginia Seismic Zone has not had a history of regular earthquake activity. Earthquakes are above 4.5 in magnitude, because Virginia is located away from the edges of the North American Plate. The largest earthquake, at an estimated 5.9 magnitude, was in 1897 near Blacksburg. A 5.8 magnitude earthquake struck central Virginia on August 2011, near Mineral. The earthquake was felt as far away as Toronto and Florida. 35 million years ago, a bolide impacted. The resulting Chesapeake Bay impact crater may explain what earthquakes and subsidence the region does experience.
Coal mining takes place in the three mountainous regions at 45 distinct coal beds near Mesozoic basins. Over 64 million tons of other non-fuel resources, such as slate, sand, or gravel, were mined in Virginia in 2018; the state's carbonate rock is filled with more than 4,000 caves, ten of which are open for tourism, including the popular Luray Caverns and Skyline Caverns. The climate of Virginia is humid subtropical and becomes warmer and more humid farther south and east. Seasonal extremes vary from average lows of 26 °F in January to average highs of 86 °F in July; the Atlantic Ocean has a strong effect on southeastern coastal areas of the state. Influenced by the Gulf Stream, coastal weather is subject to hurricanes, most pronouncedly near the mouth of Chesapeake Bay. In spite of its position adjacent to the Atlantic Ocean the coastal areas have a significant continental influence with quite large temperature differences between summ
Live 1961–2000: Thirty-Nine Years of Great Concert Performances
Live 1961–2000: Thirty-Nine Years of Great Concert Performances is a live compilation album by Bob Dylan, released only in Japan on February 28, 2001. It was released in March of that year in the UK. All tracks written by Woody Guthrie.
Alanis Nadine Morissette is a Canadian singer, record producer, actress. Known for her emotive mezzo-soprano voice, Morissette began her career in Canada in the early 1990s with two mildly successful dance-pop albums. Afterwards, as part of a recording deal, she moved to Holmby Hills, Los Angeles and in 1995 released Jagged Little Pill, a more rock-oriented album which sold more than 33 million copies globally and is her most critically acclaimed work, her follow-up album, Supposed Former Infatuation Junkie, was released in 1998. Morissette assumed creative control and producing duties for her subsequent studio albums, including Under Rug Swept, So-Called Chaos, Flavors of Entanglement, her eighth studio album and most recent to date and Bright Lights, was released in 2012. Morissette has sold more than 75 million records worldwide and has been dubbed the "Queen of Alt-Rock Angst" by Rolling Stone. Morissette was born June 1, 1974, in Ottawa, Canada, to teacher Georgia Mary Ann and high-school principal and French teacher Alan Richard Morissette.
She has two siblings: older brother Chad is a business entrepreneur, twin brother Wade is a musician. Her father is of French and Irish descent and her mother has Hungarian ancestry, her parents were teachers in a military school and due to their work had to move. From 1977 to 1980 Morissette spent three years of her childhood in West Germany; when she was six years old, she started to play the piano. In 1981, at age seven, she began dance lessons. Morissette had a Catholic upbringing, she attended Holy Family Catholic School for elementary school and Immaculata High School for Grades 7 and 8 before completing the rest of her high school at Glebe Collegiate Institute. She appeared on the children's television show You Can't Do That on Television for five episodes when she was in junior high school. Morissette recorded her first demo called Fate Stay with Me, produced by Lindsay Thomas Morgan at Marigold Studios in Toronto, engineered by Rich Dodson of Canadian classic rock band The Stampeders. In 1991 MCA Records Canada released Alanis, in Canada only.
Morissette co-wrote every track on the album with Leslie Howe. The dance-pop album went platinum, its first single, "Too Hot", reached the top 20 on the RPM singles chart. Subsequent singles "Walk Away" and "Feel Your Love" reached the top 40. Morissette's popularity, style of music and appearance that of her hair, led her to become known as the Debbie Gibson of Canada. During the same period, she was a concert opening act for rapper Vanilla Ice. Morissette was nominated for three 1992 Juno Awards: Most Promising Female Vocalist of the Year, Single of the Year and Best Dance Recording. In 1992, she released her second album, Now Is the Time, a ballad-driven record that featured less glitzy production than Alanis and contained more thoughtful lyrics. Morissette wrote the songs with the album's producer, Leslie Howe, Serge Côté, she said of the album, "People could go,'Boo, hiss, this girl's like another Tiffany or whatever.' But the way I look at it... people will like your next album if it's a suck-ass one."
As with Alanis, Now Is the Time was released only in Canada and produced three top 40 singles—"An Emotion Away", the minor adult contemporary hit "No Apologies" as well as " Never a Waste of Time". The industry considered it a commercial failure, since it sold only a little more than half the copies of her first album. With her two-album deal with MCA Records Canada complete, Morissette was left without a major label contract. In 1993, Morissette's publisher Leeds Levy at MCA Music Publishing introduced her to manager Scott Welch. Welch told HitQuarters he was impressed by her character and her lyrics. At the time she was still living at home with her parents. Together they decided it would be best for her career to move to Toronto and start writing with other people. After graduating from high school, Morissette moved from Ottawa to Toronto, her publisher funded part of her development and when she met producer and songwriter Glen Ballard, he believed in her talent enough to let her use his studio.
The two wrote and recorded Morissette's first internationally released album, Jagged Little Pill, by the spring of 1995, she had signed a deal with Maverick Records. In the same year she learned. According to manager Welch every label they had approached, apart from Maverick, declined to sign Morissette. Maverick Records released Jagged Little Pill internationally in 1995; the album was expected only to sell enough for Morissette to make a follow-up, but the situation improved when KROQ-FM, an influential Los Angeles modern rock radio station, began playing "You Oughta Know", the album's first single. The song garnered attention for its scathing, explicit lyrics, a subsequent music video went into heavy rotation on MTV and MuchMusic. After the success of "You Oughta Know", the album's other hit singles helped send Jagged Little Pill to the top of the charts. "All I Really Want" and "Hand in My Pocket" followed, but the fourth U. S. single, "Ironic", became Morissette's biggest hit. "You Learn" and "Head over Feet", the fifth and sixth singles kept Jagged Little Pill in the top 20 on the Billboard 200 albums chart for more than a year.
According to the RIAA, Jagged Little Pill sold more than 16 million copies in the U. S..
Another Side of Bob Dylan
Another Side of Bob Dylan is the fourth studio album by American singer and songwriter Bob Dylan, released on August 8, 1964 by Columbia Records. The album deviates from the more conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin'; the change prompted criticism from some influential figures in the folk community – Sing Out! Editor Irwin Silber complained that Dylan had "somehow lost touch with people" and was caught up in "the paraphernalia of fame". Despite the album's thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records – solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one selection, "Black Crow Blues". Another Side of Bob Dylan reached No. 43 in the US, peaked at No. 8 on the UK charts in 1965. Throughout 1963, Dylan worked on a play. A number of publishers were interested in signing Dylan to a contract, at one point, City Lights was considered. However, as Dylan worked on his book at a casual pace, his manager, Albert Grossman, decided to make a deal with a major publisher.
Macmillan's senior editor, Bob Markel, said, "We gave an advance for an untitled book of writings … The publisher was taking a risk on a young, untested potential phenomenon." When Markel met with Dylan for the first time, "there was no book at the time … The material at that point was hazy, sketchy. The poetry editor called it'inaccessible.' The symbolism was not understood, but on the other hand it was earthy, filled with obscure but marvelous imagery … I felt it had a lot of value and was different from Dylan's output till then. It was not a book." It would be years before Dylan finished his book, but the free form poetry experiments that came from it influenced his songwriting. The most notable example came in a six-line coda to a poem responding to President John F. Kennedy's assassination: the colors of Friday were dull / as cathedral bells were burnin / strikin for the gentle / strikin for the kind / strikin for the crippled ones / an strikin for the blind This refrain would soon appear in a important composition, "Chimes of Freedom", and, as biographer Clinton Heylin writes, "with this sad refrain, Dylan would pass from topical troubadour to poet of the road."In February 1964, Dylan embarked on a twenty-day trip across the United States.
Riding in a station wagon with a few friends, Dylan began the trip in New York, taking numerous detours through many states before ending the trip in California. "We talked to people in bars, miners," Dylan would say. "Talking to people – that's where it's at, man."According to Heylin, "the primary motivation for this trip was to find enough inspiration to step beyond the folk-song form, if not in the bars, or from the miners by peering deep into himself." Dylan spent much time in the back of the station wagon, working on songs and poetry on a typewriter. It was during this trip that Dylan composed "Chimes of Freedom", finishing it in time to premiere at a Denver concert on the 15th. "Mr. Tambourine Man" was composed during this trip, it was during this trip that the Beatles arrived in America. Their first visit to the United States remains a touchstone in American culture. Maymudes recalled how Dylan "nearly jumped out the car" when "I Wanna Hold Your Hand" came on the radio and his comments: "Did you hear that?..that was fuckin' great!
Oh man.." and how Dylan seemed lost in thought replaying the record over in his head. Dylan, had been following the Beatles since 1963. There have been different accounts regarding Dylan's attitude towards the Beatles at this time, but it's known that Suze Rotolo and Al Aronowitz took to them and championed their music to Dylan. Aronowitz claimed that Dylan dismissed them as "bubblegum", but in an interview in 1971, Dylan recalls being impressed by their music. "We were driving through Colorado, we had the radio on, eight of the Top 10 songs were Beatles songs …'I Wanna Hold Your Hand,' all those early ones. They were doing things, their chords were outrageous, just outrageous, their harmonies made it all valid … I knew they were pointing the direction of where music had to go." In January, while the Beatles were in France, George Harrison bought the French release of The Freewheelin' Bob Dylan, titled En Roue Libre, which they played impressed by the lyrics and "just the attitude!". As the Beatles began to influence Dylan and vice versa, Dylan's personal life was undergoing a number of significant changes.
When Dylan returned to New York in March, he rented an electric guitar. He continued his romance with folksinger Joan Baez, though their stage appearances together began to dwindle. Dylan's girlfriend Suze Rotolo had had enough of the affair. Soon after Dylan returned to New York, the two had an argument. At the time, Suze was staying with her sister Carla, when Carla intervened, Dylan began screaming at Carla. Carla ordered Dylan to leave. Carla Rotolo pushed Dylan, he pushed her back; the two of them were soon fighting. Friends were called and Dylan had to be forcibly removed ending his relationship with Suze Rotolo. In a 1966 interview, Dylan admitted that after their relationship ended, "I got very strung out for a while. I mean very strung out." One account of Dylan's first experience with psychedelics places it in April 1964.
The Times They Are a-Changin' (album)
The Times They Are a-Changin' is the third studio album by American singer-songwriter Bob Dylan, released on January 13, 1964 by Columbia Records. Whereas his previous albums Bob Dylan and The Freewheelin' Bob Dylan consisted of original material among cover songs, Dylan's third album was the first to feature only original compositions; the album consists of stark, sparsely arranged ballads concerning issues such as racism and social change. The title track is one of Dylan's most famous; some critics and fans were not quite as taken with the album as a whole, relative to his previous work, for its lack of humor or musical diversity. Still, The Times They Are a-Changin' peaked at No. 20 on the US chart going gold, belatedly reaching No. 4 in the UK in 1965. Dylan began work on his third album on August 1963, at Columbia's Studio A in New York City. Once again, Tom Wilson was the producer for the entire album. Dylan had, by the time of recording, become a influential cultural figure. Eight songs were recorded during that first session, but only one recording of "North Country Blues" was deemed usable and set aside as the master take.
A master take of "Seven Curses" was recorded, but it was left out of the final album sequence. Another session at Studio A was held the following day, this time yielding master takes for four songs: "Ballad of Hollis Brown", "With God on Our Side", "Only a Pawn in Their Game", "Boots of Spanish Leather", all of which were included on the final album sequence. A third session was held in Studio A on August 12. However, three recordings are taken from the third session saw official release: "master" takes of "Paths of Victory", "Moonshine Blues" and "Only a Hobo" were all included on The Bootleg Series Volumes 1–3 1961–1991 released in 1991. In 2013, "Eternal Circle" and "Hero Blues" were included in the 1963 entry of The 50th Anniversary Collection 1963. Sessions did not resume for more than two months. During the interim, Dylan toured with Joan Baez, performing a number of key concerts that raised his profile in the media; when Dylan returned to Studio A on October 23, he had six more original compositions ready for recording.
Master takes for "The Lonesome Death of Hattie Carroll" and "When the Ship Comes In" were both culled from the October 23 session. A master take for "Percy's Song" was recorded, but it was set aside and was not released until Biograph in 1985. An alternate take on "Percy's Song", a "That's All Right" /"Sally Free and Easy" medley and "East Laredo Blues" were released in 2013 on the 1963 entry of The 50th Anniversary Collection. Another session was held the following day, October 24. Master takes of "The Times They Are a-Changin'" and "One Too Many Mornings" were recorded and included in the final album sequence. A master take for "Lay Down Your Weary Tune" was recorded, but left out of the final album. Two more outtakes, "Eternal Circle" and "Suze", were issued on The Bootleg Series Volumes 1-3 1961-1991. A final outtake, "New Orleans Rag", was released in 2013 on "The 50th Anniversary Collection"; the sixth and final session for The Times They Are a-Changin' was held on October 31, 1963. The entire session focused on one song—"Restless Farewell"—whose melody is taken from an Irish-Scots folk song, "The Parting Glass", it produced a master take that closed the album.
The Times They Are a-Changin' opens with one of Dylan's most famous songs. Dylan's friend, Tony Glover, recalls visiting Dylan's apartment in September 1963, where he saw a number of song manuscripts and poems lying on a table. "The Times They Are a-Changin"' had yet to be recorded. After reading the words "come senators, please heed the call", Glover asked Dylan: "What is this shit, man?", to which Dylan responded, "Well, you know, it seems to be what the people like to hear". Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe: ""This was a song with a purpose, it was influenced of course by the Irish and Scottish ballads …'Come All Ye Bold Highway Men','Come All Ye Tender Hearted Maidens'. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way; the civil rights movement and the folk music movement were pretty close for a while and allied together at that time."The climactic lines of the final verse: ""The order is fadin'/ And the first one now/ Will be last/ For the times they are a-changin'" have a Biblical ring, several critics have connected them with lines in the Gospel of Mark, 10:31, ""But many that are first shall be last, the last first."A self-conscious protest song, it is viewed as a reflection of the generation gap and of the political divide marking American culture in the 1960s.
Dylan, disputed this interpretation in 1964, saying "Those were the only words I could find to separate aliveness from deadness. It had nothing to do with age." A year Dylan would say: "I can't say that adults don't understand young people any more than you can say big fishes don't understand little fishes. I didn't mean "The Times They Are a-Changin'" as a statement … It's a feeling.""Ballad of Hollis Brown" was recorded for Dylan's previous album, The Freewheelin' Bob Dylan. That version was rejected and the song was re-recorded for The Times They Are a-Changin'. Descr