Knockin' on Heaven's Door
"Knockin' on Heaven's Door" is a song by Bob Dylan, written for the soundtrack of the 1973 film Pat Garrett and Billy the Kid. Released as a single two months after the film's release, it became a worldwide hit, reaching the Top 10 in several countries; the song has became one of Dylan's most popular and most covered post-1960s compositions, spawning covers from Guns N' Roses, Eric Clapton, Randy Crawford, many more. Described by Dylan biographer, Clinton Heylin, as "an exercise in splendid simplicity", the song features two verses, each of which represent the film's title characters and American frontier legends Pat Garrett and Billy the Kid; the song has featured on many of Dylan's Bootleg albums including. After the recording sessions with Louis, Clapton recorded his version of the song, released as a single in August 1975 two weeks after Louis's version; this single was less successful in the U. S where it reached #09 in Cash Box. Clapton's 1996 boxed set Crossroads 2: Live in the Seventies features a performance of the song recorded in London in April 1977.
There were performances of the song included on the Journeyman and the One More Car, One More Rider world tours. Several Clapton compilation albums feature the song. In 1987, Guns N' Roses started performing the song. A live version of the song was released on the maxi-single of "Welcome to the Jungle" the same year, they recorded and released a studio version in 1990 for the soundtrack of the film Days of Thunder that reached No. 18 on the US Billboard Album Rock Tracks chart and No. 3 on Poland's LP3 chart. This version was modified for the 1991 album Use Your Illusion II, discarding the responses in the second verse. Released as the fourth single from the album, it reached No. 2 on the UK Singles Chart and the New Zealand Singles Chart. Elsewhere, the single topped the charts of Belgium and the Netherlands. In Ireland, where the song reached No. 1, it became Guns N' Roses' third number-one single as well as their ninth consecutive top-five hit. Their performance of the song at the Freddie Mercury Tribute Concert in 1992 was used as the B-side for the single release and was included on their Live Era:'87–'93 album, released in 1999.
The music video for this version of the song was directed by Andy Morahan. In 1996 and with the consent of Dylan, Scottish musician Ted Christopher wrote a new verse for "Knockin' on Heaven's Door" in memory of the schoolchildren and teacher killed in the Dunblane school massacre; this has been, according to some sources, one of the few times Dylan has authorized anybody to add or change the lyrics to one of his songs. This version of the song, including children from the village singing the chorus with guitarist and producer of Dylan's album Infidels, Mark Knopfler, was released on December 9 in the United Kingdom and reached No. 1 on the UK Singles Chart and Scottish Singles Chart, as well as number six in Ireland. The proceeds went to charities for children; the song was featured on the compilation album Hits 97, where all royalties from the song were given to three separate charities. Gabrielle's single "Rise" sampled from this song
Hurricane (Bob Dylan song)
"Hurricane" is a protest song by Bob Dylan co-written with Jacques Levy, about the imprisonment of Rubin "Hurricane" Carter. It compiles acts of racism and profiling against Carter, which Dylan describes as leading to a false trial and conviction. Carter and a man named John Artis had been charged with a triple murder at the Lafayette Grill in Paterson, New Jersey, in 1966; the following year Carter and Artis were found guilty of the murders, which were reported as racially motivated. In the years that followed, a substantial amount of controversy emerged over the case, ranging from allegations of faulty evidence and questionable eyewitness testimony to an unfair trial. In his autobiography, Carter maintained his innocence, after reading it, Dylan visited him in Rahway State Prison in Woodbridge Township, New Jersey."Dylan had written topical ballads such as'The Lonesome Death of Hattie Carroll' and Bob wasn't sure that he could write a song... He was just filled with all these feelings about Hurricane.
He couldn't make the first step. I think. I don't remember, but the beginning of the song is like stage directions, like what you would read in a script:'Pistol shots ring out in a barroom night.... Here comes the story of the Hurricane.' Boom! Titles. You know, Bob loves movies, he can write these movies that take place in eight to ten minutes, yet seem as full or fuller than regular movies". After meeting with Carter in prison and with a group of his supporters, Dylan began to write "Hurricane"; the song was one of his few "protest songs" during the 1970s and proved to be his fourth most successful single of the decade, reaching #33 on the Billboard Hot 100. Dylan first recorded the song in late July 1975. Dylan was forced to re-record the song, with altered lyrics, in October 1975 after concerns were raised by Columbia's lawyers that references to Alfred Bello and Arthur Dexter Bradley as having "robbed the bodies" could result in a lawsuit. Bello and Bradley had never been accused of such acts.
Because there was too much leakage on the multitracks to make a vocal "punch in," Dylan decided to re-record the entire song. At this time, he was rehearsing for his upcoming tour, the musicians from the Rolling Thunder Revue were still at his disposal. Dylan took violinist Rivera, guitarist Steven Soles, bassist Rob Rothstein, drummer Howie Wyeth, percussionist Luther Rix back into the studio, a new, faster version of "Hurricane" was recorded with Don DeVito again producing, Ronee Blakley providing a harmony vocal; the final version of the song, which runs over eight minutes, was spliced together from two separate takes completed on October 24, 1975. Though some offending lyrics were removed, the song still drew legal action from eyewitness Patricia Graham Valentine, who believed that it portrayed her as part of a conspiracy to frame Carter. However, her lawsuit was dismissed by a federal district court, the United States Court of Appeals for the Eleventh Circuit affirmed the dismissal. More even with the revised lyrics, "Hurricane" was accused of factual errors.
The song included a description of Carter as the "number one contender". Reporters for the Herald News, a New Jersey newspaper published not far from the scene of the crime, questioned Dylan's objectivity at the time of the song's release and accused him of excessive poetic license. Dylan biographer Howard Sounes praised the song but noted "there was no reference to his antagonistic rhetoric, criminal history, or violent temper." The song was released on the album Desire in January 1976, making the Carter case known to a broader public. "Hurricane" is credited with harnessing popular support to Carter's defense. During the fall tour preceding Desire's release and the Rolling Thunder Revue played a benefit concert for Carter in New York City's Madison Square Garden, raising $100,000; the following year, they played another benefit at the Houston Astrodome. Dylan met with managers Richard Flanzer and Roy Silver, who provided Stevie Wonder, Ringo Starr and Dr. John for the concert. After expenses were paid, the Houston event failed to raise any money.
Despite winning the right to a new trial and Artis were once again found guilty when the prosecution argued that the defendants committed triple murder at the Lafayette Grill in revenge for the killing of an African-American tavern owner earlier during the same night. In 1976, Carter was sentenced to two consecutive life terms. Dylan, the other high-profile supporters, did not attend the trial. Artis was paroled five years later. In 1985 Federal Judge H. Lee Sarokin of the United States District Court for the District of New Jersey, who declined to hear the song when it was offered to him by his family, ruled that Carter had not received a fair trial and overturned the conviction, resulting in Carter's release and the granting of a writ of habeas corpus to Carter, commenting that the prosecution had been "based on racism rather than reason and concealment rather than disclosure". In 1988, after the prosecution said they would not seek a third trial and filed a motion to dismiss, following their failed appeal to the Supreme Court which declined to hear the case and upheld Sarokin's ruling, a Superior Court judge dropped all charge
Bill Flanagan is an American author, television executive and radio host. He was born in Rhode Island in 1955 and graduated from Brown University in 1977, his books include Written in My Soul, Last of the Moe Haircuts, U2 at the End of the World, the novels A&R, New Bedlam and Evening's Empire. From 1995 until 2015 he was an executive at MTV Networks, retiring as Executive Vice President of the Viacom Music Group; as EVP/Editorial Director of MTV Networks, Flanagan oversaw the series VH1 Storytellers and CMT Crossroads. He has worked on VH1's Legends, VH1 Archives, Hotel MTV, many other series and specials, he was one of the producers of The Concert for New York City after the September 11 attacks and has produced, co-produced, or executive produced two televised concerts from the White House. Flanagan hosts four series on Sirius XM Radio Channels - Flanagan's Wake on Tom Petty Radio, Written In My Soul on Volume, The Fab Fourum and Northern Songs on the Beatles Channel. Flanagan acts as Ombudsman of the Sundance Channel series Spectacle: Elvis Costello with....
He appears on air as an essayist on CBS News Sunday Morning. "A conversation with author Bill Flanagan". Charlie Rose. August 28, 2007 Evening's Empire: A Novel. Amazon.com. "A conversation between Bill Flanagan and Bob Dylan". March 22, 2017 "MTV's Bill Flanagan On Jackson's Music". CBS News. June 30, 2009 Smith, Ethan. "Day in the Life: Behind the Music". New York. June 26, 2000 Sisario, Ben. "The Day the Music Died". The New York Times. February 25, 2010 "Bill Flanagan". Slate. June 5, 2000 Flanagan, Bill. "Up Close & Personal with GRAMMY Winning Producer Steve Lillywhite". Grammy365. January 19, 2010
Donald William'Bob' Johnston was an American record producer, best known for his work with Bob Dylan, Johnny Cash, Leonard Cohen, Simon & Garfunkel. Johnston was born into a professional musical family, his grandmother Mamie Jo Adams was a songwriter. Diane had written songs for Gene Autry in the'50s and scored a hit in 1976 when Asleep at the Wheel covered her 1950 demo "Miles and Miles of Texas". After a stint in the Navy, Bob returned to Fort Worth he and Diane Johnston collaborated on songwriting for rockabilly artist Mac Curtis, others. From 1956 to 1961 Bob recorded a few rockabilly singles under the name Don Johnston. By 1964 he had moved into production work at Kapp Records in New York, freelance arranging for Dot Records and signed as a songwriter to music publisher Hill and Range, he married songwriter Joy Byers with whom he began to collaborate. In years Bob Johnston claimed that songs still credited to his wife Joy Byers were co-written, or written by himself, he has cited old "contractual reasons" for this situation.
The songs in question include Timi Yuro's 1962 hit "What's A Matter Baby", plus at least 16 songs for Elvis Presley's films between 1964 and 1968, including "It Hurts Me", "Let Yourself Go" and "Stop and Listen". Two songs credited to Byers, the aforementioned "Stop and Listen" and "Yeah, She's Evil!" were recorded by Bill Haley & His Comets. Presley recorded "The Meanest Girl in Town" on June 10, 1964, while Bill Haley recorded his version a week on June 16, 1964. Johnston worked as a staff producer for Kapp Records for Columbia Records in New York, where he began producing a string of notable and influential albums, he was producing Patti Page when in 1965 he was successful in gaining the assignment to produce Bob Dylan, followed by Simon & Garfunkel, the Pozo-Seco Singers, Johnny Cash, Flatt & Scruggs, Leonard Cohen. His style of production varied from a'documentary' approach capturing a fleeting moment to providing subtle arrangements with strings, background vocals and seasoned session musicians.
After a couple of years in New York, Johnston became head of Columbia in Nashville, where he had known many of the session musicians, such as Charlie Daniels, for years. He produced three of Cohen's albums, toured with him and composed music to the Cohen lyric "Come Spend the Morning", recorded by both Lee Hazlewood and Engelbert Humperdinck. Bob Johnston was sophisticated, his hospitality was refined. It wasn't just a matter of turning on the machines, he created an atmosphere in the studio that invited you to do your best, stretch out, do another take, an atmosphere, free from judgment, free from criticism, full of invitation, full of affirmation. Just the way he'd move while you were singing: He'd dance for you. So, it wasn't all just as laissezfaire as that. Just as art is the concealment of art, laissezfaire is the concealment of tremendous generosity that he was sponsoring in the studio. At the beginning of "To Be Alone with You" on Nashville Skyline, Bob Dylan asks Johnston "Is it rolling, Bob?"
Dissatisfied with his salary earnings as a Columbia staff producer after several hit albums which earned him no royalties, Johnston became an independent producer, most with Lindisfarne on Fog on the Tyne, which topped the British album chart in 1972. In 1972 he toured with Leonard Cohen as a keyboard player, produced the resulting live album Live Songs. In 1978 he produced Jimmy Cliff's Give Thankx album, featuring "Bongo Man". In 1979, Johnston produced an album with the San Francisco band Reggae Jackson, titled Smash Hits that featured Jimmy Foot, Cheryl Lynn, Kenneth Nash, Wayne Bidgell. In 1985, Johnston produced an album Walking In The Shadow by the San Francisco band The Rhyth-O-Matics, for engineer Fred Catero's newly formed Catero label. Billboard magazine's "Pop Pick of The Week", the album's release was plagued with distribution difficulties. During a period of financial difficulty, when he was under scrutiny from the IRS, Johnston moved to Austin and did no record production for some time.
He returned with work on Willie Nelson's 1992 album The IRS Tapes: Who'll Buy My Memories?. In the mid 1990s, Johnston produced Carl Perkins' album Go Cat Go! which featured numerous guest stars including Paul Simon, George Harrison and Ringo Starr, as well as unreleased recordings of Perkins' "Blue Suede Shoes" by John Lennon and Jimi Hendrix. This album's release was delayed until 1996. Towards the end of his life Johnston returned to working with fresh talent including singer-songwriters Natalie Pinkis, Eron Falbo and indie rock band Friday's Child. Falbo's album 73 was released in 2013. Johnston was in a memory facility and a hospice in Nashville for the last week of his life before dying on August 14, 2015, his wife Joyce Johnston died in May 2017. Patti Page: "Hush, Hush Sweet Charlotte" US #8, Patti Page Sings America's Favorite Hymns Bob Dylan: Highway 61 Revisited, Blonde on Blonde, John Wesley Harding, Nashville Skyline, Self Portrait, New Morning Simon & Garfunkel: Sounds of Silence, Sage and Thyme Marty Robbins: Tonight Carmen, Christmas with Marty Robbins, By the time I get to Phoenix, I Walk Alone, I
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Leon Russell was an American musician and songwriter, involved with numerous bestselling pop music records during his 60-year career. His genres included pop, rock, gospel, bluegrass and blues, folk rock, blues rock, surf and Tulsa Sound, his collaborations rank as some of the most successful in music history, as a touring musician he performed with hundreds of notable artists. He recorded at least 430 songs, he wrote "Delta Lady", recorded by Joe Cocker, organized and performed with Cocker's Mad Dogs and Englishmen tour in 1970. His "A Song for You", added to the Grammy Hall of Fame in 2018, has been recorded by more than 200 artists, his "This Masquerade" by more than 75; as a pianist, he played in his early years on albums by Dick Dale and Jan and Dean. On his first album, Leon Russell, in 1970, the musicians included Eric Clapton, Ringo Starr, George Harrison. One of his biggest early fans, Elton John, said Russell was a "mentor" and an "inspiration", they recorded their album The Union in 2010.
Russell produced and played in recording sessions for, among others Bob Dylan, Frank Sinatra, Ike & Tina Turner, The Rolling Stones. He wrote and recorded the hits "Tight Rope" and "Lady Blue", he performed at The Concert for Bangladesh in 1971 along with Harrison and Clapton, for which he earned a Grammy Award. His recordings earned six gold records, he received two Grammy awards from seven nominations. In 2011, he was inducted into both the Roll Hall of Fame and the Songwriters Hall of Fame. Russell was born in Lawton and began playing the piano at the age of four. Russell attended Will Rogers High School in Tulsa, alongside Anita Bryant, two years older, in the same 1959 class as power-pop musician David Gates. Russell and Gates recorded together as the Fencemen. Attending Will Rogers at that time was guitarist and singer-songwriter Elvin Bishop. During this time, Russell was performing at Tulsa nightclubs, he took the name Leon from a friend who lent him a fake ID to get into clubs he was too young to perform in.
After moving to Los Angeles in 1958, Russell became a session musician, working as a pianist on the recordings of many notable 1960s musical artists. By the late 1960s, he had diversified, becoming successful as an songwriter. By 1970, he had become a solo recording artist, but he never relinquished his other roles in the music industry. After performing country music under the name Hank Wilson in the 1970s and 1980s, he faded into obscurity. Russell re-emerged in 2010; the album, which included contributions from Brian Wilson and Neil Young, brought renewed popularity to Russell, who released a solo album and toured around the world. Russell was inducted into the Rock and Roll Hall of Fame on March 14, 2011, he was inducted into the Songwriters Hall of Fame in June 2011. According to his wife, Jan Bridges, Russell died in his sleep at his suburban Nashville home on the morning of November 13, 2016, at the age of 74, he had had a heart attack the previous July, followed by coronary bypass surgery, after which he postponed shows while convalescing at home.
He had hoped to return to his concert schedule in January 2017. Russell began his musical career at the age of 14 in the nightclubs of Oklahoma, he and his group, the Starlighters, which included J. J. Cale, Leo Feathers, Chuck Blackwell, Johnny Williams, were instrumental in creating the style of music known as the Tulsa Sound. After settling in Los Angeles in 1958, he studied guitar with James Burton, he was known as a session musician early in his career. As a solo artist he crossed genres to include rock and roll and gospel music, playing with artists as varied as Jan and Dean, Gary Lewis, George Harrison, Delaney Bramlett, Freddy Cannon, Ringo Starr, Doris Day, Elton John, Ray Charles, Eric Clapton, The Byrds, Barbra Streisand, The Beach Boys, The Ventures, Willie Nelson, the Tijuana Brass, Frank Sinatra, The Band, Bob Dylan, J. J. Cale, B. B. King, Dave Mason, Glen Campbell, Joe Cocker, The Rolling Stones, The Flying Burrito Brothers. In Los Angeles, Russell played as a first-call studio musician on many of the most popular songs of the 1960s, including some by The Byrds, Gary Lewis & the Playboys, Bobby Pickett, Herb Alpert.
He played piano on many Phil Spector productions, including recordings by The Ronettes, The Crystals, Darlene Love and in the 1963 A Christmas Gift for You from Phil Spector album. He can be seen in the 1964 concert film T. A. M. I. Show playing piano with The Wrecking Crew, sporting short, slicked-back hair, in contrast to his look. Soon after, he was hired as Snuff Garrett's assistant and creative developer, playing on numerous number-one singles, including "This Diamond Ring" by Gary Lewis & the Playboys. In the mid-1960s, he wrote or co-wrote songs, including two hits for Gary Lewis and the Playboys: "Everybody Loves a Clown" and "She's Just My Style". In 1964, he appeared on various TV shows, performing songs by others, he played xylophone and bells on the 1966 single "The Joker Went Wild", sung by Brian Hyland and written by Bobby Russell. He contributed to recording sessions with Dorsey Burnette and with Glen Campbell, whose 1967 album Gentle on My Mind c
The Times They Are a-Changin' (song)
"The Times They Are a-Changin'" is a song written by Bob Dylan and released as the title track of his 1964 album of the same name. Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Released as a 45-rpm single in Britain in 1965, it reached number 9 in the British top ten. Since its release the song has been influential to people's views on society, with critics noting the general yet universal lyrics as contributing to the song's lasting message of change. Dylan has performed it in concert; the song has been covered by many different artists, including Nina Simone, the Byrds, the Seekers, Peter and Mary, Simon & Garfunkel, the Beach Boys, Joan Baez, Phil Collins, Billy Joel, Bruce Springsteen and Burl Ives. The song was ranked number 59 on Rolling Stone's 2004 list of the "500 Greatest Songs of All Time". Dylan appears to have written the song in September and October 1963, he recorded it as a Witmark publishing demo at that time, a version, released on The Bootleg Series Volumes 1–3 1961–1991.
The song was recorded at the Columbia studios in New York on October 23 and 24. The a- in the song title is an archaic intensifying prefix, as in the British songs "A-Hunting We Will Go" and "Here We Come a-Wassailing", from the 18th and 19th century. 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."Dylan biographer Clinton Heylin recounts how Tony Glover stopped by Dylan's apartment in September 1963, picked up a page of the song Dylan was working on, read a line from it: "Come senators, please heed the call." "Turning to Dylan, Glover said,'What is this shit, man?'
Dylan shrugged his shoulders and replied,'Well, you know, it seems to be what the people want to hear.'"The critic Michael Gray called it "the archetypal protest song." Gray commented, "Dylan's aim was to ride upon the unvoiced sentiment of a mass public—to give that inchoate sentiment an anthem and give its clamour an outlet. He succeeded, but the language of the song is imprecisely and generally directed." Gray suggested that the song has been outdated by the changes that it gleefully predicted and hence was politically out of date as soon as it was written. The lyrics reflected his views on social injustices and the government’s unhelpful attitude towards change; the literary critic Christopher Ricks suggested that the song transcends the political preoccupations of the time in which it was written. Ricks argued that Dylan is still performing the song, when he sings "Your sons and your daughters / Are beyond your command", he sings inescapably with the accents not of a son, no longer primarily a parent, but with the attitude of a grandfather.
Ricks concluded, "Once upon a time it may have been a matter of urging square people to accept the fact that their children were, you know, hippies. But the capacious urging could come to mean that ex-hippie parents had better accept that their children look like becoming yuppies, and Republicans..."Critic Andy Gill points out that the song's lyrics echo lines from the Book of Ecclesiastes, which Pete Seeger adapted to create his anthem "Turn, Turn!". The climactic line about the first being last is a direct scriptural reference to Mark 10:31: "But many that are first shall be last, the last first."Less than a month after Dylan recorded the song, President Kennedy was assassinated in Dallas, Texas, on November 22, 1963. The next night, Dylan opened a concert with "The Times They Are a-Changin'". I'll get rocks thrown at me.' But I had to sing it, my whole concert takes off from there. I know. Something had just gone haywire in the country and they were applauding the song, and I couldn't understand why I wrote the song.
I couldn't understand anything. For me, it was just insane." "The Times They Are a-Changin'" was one of two Dylan covers that the Byrds included on their second album, Turn! Turn! Turn!, with "Lay Down Your Weary Tune" being the other. Like other Dylan compositions that the band had covered, such as "Mr. Tambourine Man" and "All I Really Want to Do", the song was intended to be the A-side of a single, it was sung by bandleader Jim McGuinn and prominently features his signature twelve-string Rickenbacker guitar. The song was played at concerts surrounding its release; the recording sessions have been noted for the surprise appearances made by George Harrison and Paul McCartney in the control booth, which according to Byrd members prevented them from completing the session and the track effectively. Columbia Records pressed thousands of cover sleeves for the intended single, but the Byrds' manager, Jim Dickson, asked for the release to be dropped because of the group's dissatisfaction, most vocally expressed by David Crosby.
In a 2004 interview, Chris Hillman stated his dislike for the song, suggesting that "we shouldn't have bothered with that song". Another version of the song, recorded in June, is a bonus track on the 1996 reissue. "Turn! T