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LIKE A ROLLING STONE
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1965
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2
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[Q]
Bob Dylan: "It was ten pages long. It wasn't called anything, just a rhythm thing on paper all about my steady hatred directed at some point that was honest. In the end it wasn't hatred, it was telling someone something they didn't know, telling them they were lucky. Revenge, that's a better word. I had never thought of it as a song, until one day I was at the piano, and on the paper it was singing, "How does it feel?" in a slow motion pace, in the utmost of slow motion." (1966:journalist Jules Siegel)
Bob Dylan: "Last spring, I guess I was going to quit singing. I was very drained, and the way things were going, it was a very draggy situation ... But 'Like a Rolling Stone' changed it all. I mean it was something that I myself could dig. It's very tiring having other people tell you how much they dig you if you yourself don't dig you." (1966:Playboy)
Bob Dylan: (found myself writing) "this long piece of vomit, 20 pages long, and out of it I took 'Like a Rolling Stone' and made it as a single. And I'd never written anything like that before and it suddenly came to me that was what I should do ... After writing that I wasn't interested in writing a novel, or a play. I just had too much, I want to write songs." (CBC Radio)
**KILL ME**
[I]
In the spring of 1965, after returning from the tour of England documented in the film Dont Look Back, Dylan was unhappy with the public's expectations of him, as well as the direction his career was taking, and seriously considered quitting the music business. During 1965, Dylan composed prose, poems, and songs by typing incessantly. Footage in Dont Look Back of Dylan in his suite at London's Savoy Hotel captures this process. However, Dylan told two interviewers that "Like a Rolling Stone" began as a long piece of "vomit" (10 pages long according to one account, 20 according to another) that later acquired musical form.[7] Dylan has never publicly spoken of writing any other major composition in this way. In an interview with CBC radio in Montreal, Dylan called the creation of the song a "breakthrough", explaining that it changed his perception of where he was going in his career. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan vocals, guitar, harmonica
Mike Bloomfield electric guitar
Charlie McCoy guitar
Al Kooper organ
Frank Owens piano
Harvey Brooks bass guitar
Bobby Gregg drums
Produced: Tom Wilson
Engineered: Roy Halee
Recorded at: Columbia Studio A, New York City, New York, USA, June 1516, 1965
**KILL ME**
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KNOCKIN' ON HEAVEN'S DOOR
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1973
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12
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[Q]
Bob Dylan: "Whenever anybody does something in a big way, it's always rejected at home and accepted someplace else. For instance, that could apply to Buddha. Who was Buddha? An Indian. Who are Buddhists? Chinese, Japanese, Asian people. They make up the big numbers in Buddhism. It's the same way with Jesus being a Jew. Who did he appeal to? He appeals to people who want to get into heaven in a big way. But some day the true story will reveal itself, and by that time, people will be ready for it, because it's just going in that direction. You can come out and say it all now, but what does it matter? It's going to happen anyway. Vanities of vanities, that's all it is." (1985:Spin)
**KILL ME**
[I]
"Knockin' on Heaven's Door" is a song written and sung by Bob Dylan, for the soundtrack of the 1973 film Pat Garrett and Billy the Kid. The song describes the collapse of a deputy sheriff; dying from a bullet wound, he tells his wife "Mama, take this badge off of me; I can't use it anymore." The song consists of four chords in the key of G major: G, D, Am7, and C. The basic pattern throughout the song is G-D-Am7-Am7 and then G-D-C-C, and this is repeated. Over the years, Dylan has changed the lyrics, as have others who have performed this song. (Wikipedia )
**KILL ME**
(Bob Dylan)
Bob Dylan - guitars, vocals, harmonica
Carol Hunter 12 string guitar, backing vocals
Roger McGuinn guitar
Terry Paul bass guitar and backing vocals
Jim Keltner drums
Carl Fortina harmonium
Brenda Patterson backing vocals
Donna Weiss backing vocals
Produced: Gordon Carroll
Engineered: Dan Wallin
Recorded at: Burbank Studios, Burbank, California, USA, February 1973
**KILL ME**
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BLOWIN' IN THE WIND
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1963
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[Q]
Bob Dylan: "There aint too much I can say about this song except that the answer is blowing in the wind. It aint in no book or movie or TV show or discussion group. Man, its in the wind and its blowing in the wind. Too many of these hip people are telling me where the answer is but oh I wont believe that. I still say its in the wind and just like a restless piece of paper its got to come down some ...But the only trouble is that no one picks up the answer when it comes down so not too many people get to see and know . . . and then it flies away. I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know its wrong. Im only 21 years old and I know that theres been too many . . . You people over 21, youre older and smarter." (1962:Sing Out!)
Bob Dylan: "Politics have changed. The subject matter has changed. In the '60s there was a lot of people coming out of schools who were taught politics by professors who were political thinkers, and those people spilled over into the streets. What politics I ever learned, I learned in the streets, because it was part of the environment. I don't know where somebody would hear that now. Now everybody wants their own thing. There's no unity. There's the Puerto Rican Day parade, Polish Day, German Week, the Mexican parades. You have all these different types of people all waving their own flags, and there's no unity between all these people. In the '60s, there wasn't any separation. That's the difference between then and now that I can see. Everybody now is out for their own people and their own selves, and they should be 'cause they look around and see everything's unbalanced." (1985:Spin)
**KILL ME**
[I]
"Blowin' in the Wind" is a song written by Bob Dylan in 1962 and released as a single and on his album The Freewheelin' Bob Dylan in 1963. Although it has been described as a protest song, it poses a series of rhetorical questions about peace, war and freedom. ..... Dylan originally wrote and performed a two-verse version of the song; its first public performance, at Gerde's Folk City on April 16, 1962, was recorded and circulates among Dylan collectors. Shortly after this performance, he added the middle verse to the song. Some published versions of the lyrics reverse the order of the second and third verses, apparently because Dylan simply appended the middle verse to his original manuscript, rather than writing out a new copy with the verses in proper order. The song was published for the first time in May 1962, in the sixth issue of Broadside, the magazine founded by Pete Seeger and devoted to topical songs. The theme may have been taken from a passage in Woody Guthrie's autobiography, Bound for Glory, in which Guthrie compared his political sensibility to newspapers blowing in the winds of New York City streets and alleys. Dylan was certainly familiar with Guthrie's work; his reading of it had been a major turning point in his intellectual and political development. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan lead vocals, guitar, harmonica
Produced: John H. Hammond
Recorded at: Columbia Recording Studios, New York, New York, USA, July 9, 1962
**KILL ME**
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LAY LADY LAY
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1969
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7
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[Q]
Bob Dylan: "The song came out of those first four chords. I filled it up with the lyrics then, the la la la type thing, well that turned into Lay, Lady, Lay.Ή² As for the lyrics, they are unusually suggestive, even erotic, describing a night of love, full of promises and desires."
Bob Dylan: "I never thought it was representative of anything I do."
Bob Dylan: "I (later) rewrote Lay, Lady, Lay, too. No one ever mentioned that
A lot of words to that song have changed. I
always had a feeling there was more to the song than that." (1978)
**KILL ME**
[I]
"Lay Lady Lay" was originally written for the soundtrack of the movie Midnight Cowboy, but wasn't submitted in time to be included in the finished film. Like many of the tracks on Nashville Skyline, the song is sung by Dylan in a warm, relatively low sounding voice, rather than the more abrasive nasal singing style with which he had become famous. Dylan attributed his "new" voice to having quit smoking before recording the album, but some unreleased bootleg recordings from the early 1960s reveal that, in fact, Dylan had used a similar singing style before. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan - lead vocals, guitar, harmonica, keyboards
Pete Drake - pedal steel guitar
Charlie Daniels - guitar
Charlie McCoy - bass
Kenny Buttrey - drums
Bob Wilson - organ, piano
Produced: Bob Johnston
Engineered: Charlie Bragg, Neil Wilburn
Recorded at: Columbia Recording Studios, Studio A, Nashville, Tenn., USA, Feb. 20, 1969
**KILL ME**
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HURRICANE
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1975
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33
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[Q]
Bob Dylan: I realized that the mans philosophy and my philosophy were running down the same road, and you dont meet too many people like that."
Jacques Levy: "Dylan had written topical ballads such as "The Lonesome Death of Hattie Carroll" and Bob wasn't sure that he could write a song [about Carter]... He was just filled with all these feelings about Hurricane. He couldn't make the first step. I think the first step was putting the song in a total storytelling mode. I don't remember whose idea it was to do that. But really, 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, and he can write these movies that take place in eight to ten minutes, yet seem as full or fuller than regular movies"
**KILL ME**
[I]
"Hurricane" is a protest song by Bob Dylan co-written with Jacques Levy, about the imprisonment of Rubin "Hurricane" Carter. It compiles alleged 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 widely 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. After meeting with Carter in prison and later with a group of his supporters, Dylan began to write "Hurricane". The song was one of his few "protest songs" during the 1970s. ..... Dylan first recorded the song in late July 1975; it featured Scarlet Rivera on violin and Vinnie Bell on Danelectro Bellzouki 12-string guitar. 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 (the two star witnesses of the case) as having "robbed the bodies" could result in a lawsuit. (Wikipedia)
**KILL ME**
(Bob Dylan, Jacques Levy)
Bob Dylan vocals, rhythm guitar, harmonica
Rob Stoner bass guitar, background vocals
Howard Wyeth drums, piano
Scarlet Rivera violin
Dominic Cortese accordion, mandolin
Vincent Bell bouzouki
Luther Rix congas
Emmylou Harris background vocals
Ronee Blakley background vocals
Steven Soles background vocals
Produced: Don DeVito
Engineered: Don Meehan
Recorded at: Columbia Studios, New York, New York, October 24, 1975
**KILL ME**
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THE TIMES' THEY ARE A-CHANGIN'
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1965
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--
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[Q]
Bob Dylan: "This was definitely 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." (1985:Cameron Crowe interview)
Bob Dylan: "The times still are a-changing, every day. I'm trying to slow down every day, because the times may be a-changing, but they're going by awfully fast. "When I was a child, I spoke as a child, I thought as a child. When I became a man, I put away childish things." " (1985:Spin)
**KILL ME**
[I]
Dylan wrote the song as a deliberate attempt to create an anthem of change for the time, influenced by Irish and Scottish ballads. Dylan appears to have written the song in September and October 1963. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan vocals, acoustic guitar, harmonica
Produced: Tom Wilson
Recorded at: Columbia Studios, New York, New York, USA, October 24, 1963
**KILL ME**
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ALL ALONG THE WATCHTOWER
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1968
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[Q]
Bob Dylan: "I haven't fulfilled the balladeers's job. A balladeer can sit down and sing three songs for an hour and a half... it can all unfold to you. These melodies on John Wesley Harding lack this traditional sense of time. As with the third verse of "The Wicked Messenger", which opens it up, and then the time schedule takes a jump and soon the song becomes wider... The same thing is true of the song "All Along the Watchtower", which opens up in a slightly different way, in a stranger way, for we have the cycle of events working in a rather reverse order." (1968:Sing Out!)
Bob Dylan: "There weren't too many Jews in Hibbing, Minnesota. Most of them I was related to. The town didn't have a rabbi, and it was time for me to be bar mitzvahed. Suddenly a rabbi showed up under strange circumstances for only a year. He and his wife got off the bus in the middle of winter. He showed up just in time for me to learn this stuff. He was an old man from Brooklyn who had a white beard and wore a black hat and black clothes. They put him upstairs of the cafe, which was the local hangout. It was a rock 'n' roll cafe where I used to hang out, too. I used to go up there every day to learn this stuff, either after school or after dinner. After studying with him an hour or so, I'd come down and boogie. The rabbi taught me what I had to learn, and after he conducted this bar mitzvah, he just disappeared. The people didn't want him. He didn't look like anybody's idea of a rabbi. He was an embarrassment. All the Jews up there shaved their heads and, I think, worked on Saturday. And I never saw him again. It's like he came and went like a ghost. Later I found out he was Orthodox. Jews separate themselves like that. Orthodox, Conservative, Reform, as if God calls them that. Christians, too. Baptists, Assembly of God, Methodists, Calvinists. God has no respect for a person's title. He don't care what you call yourself. " (1985:Spin)
**KILL ME**
[I]
The final version of "All Along the Watchtower" resulted from two different takes during the second of three John Wesley Harding sessions. The session opened with five takes of the song, the third and fifth of which were spliced to create the album track.[5] As with most of the album's selections, the song is a dark, sparse work that stands in stark contrast with Dylan's previous recordings of the mid-1960s. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan - acoustic guitar and harmonica
Charlie McCoy - bass
Kenneth Buttrey - drums
Produced: Bob Johnston
Recorded at: Columbia Studio A, Nashville, Tennessee, USA, Nov. 6, 1967
**KILL ME**
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RAINY DAY WOMEN #12 & 35"
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1966
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2
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[Q]
Bob Dylan: "I have never and never will write a 'drug song."
Bob Dylan: (interpreting this song to be about getting high) "These are people that aren't familiar with the Book of Acts. Stephen, full of the Holy Spirit, looked up to heaven and saw the glory of God, and Jesus standing at the right hand of God... And when they had driven him out of the city, they began stoning him, and the witnesses laid aside their robes at the feet of a young man named Saul." (2012:Rolling Stone)
Bob Dylan: "I've always been drawn to a certain kind of woman. It's the voice more than anything else. I listen to the voice first. It's that sound I heard when I was growing up. It was calling out to me. When everything was blank and void, I would listen for hours to the Staple Singers. It's that sort of gospel singing sound. Or that voice on the Crystal's record, "The He Kissed Me," Clydie King, Memphis Minnie, that type of thing. There's something in that voice, that whenever I hear it, I drop everything, whatever it is." (1985:Spin)
**KILL ME**
[I]
The song's title does not appear anywhere in the lyrics and there has been much debate over the meaning of the recurrent chorus, "Everybody must get stoned". This has made the song controversial, being labelled by some commentators as "a drug song". The song is notable for its brass band arrangement and the controversial chorus "Everybody must get stoned". Al Kooper, who played keyboards on Blonde on Blonde, recalled that when Dylan initially demoed the song to the backing musicians in Columbia's Nashville studio, producer Bob Johnston suggested that "it would sound great Salvation Army style. When Dylan queried how they would find horn players in the middle of the night, Charlie McCoy, who played trumpet, made a phone call and summoned a trombone player. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan - lead vocals
Robbie Robertson - guitar
Wayne Moss - guitar
Charlie McCoy - guitar
Joseph A. Souter Jr. - guitar
Henry Strzelecki - bass
Kenneth Buttrey - drums
Al Kooper - organ
Hargus Robbins - piano
Wayne Butler - trumpet
Produced: Bob Johnston
Engineered: ??
Recorded at: Columbia Music Row Studios Nashville, Tennessee, USA, March 10, 1966
**KILL ME**
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MR. TAMBOURINE MAN
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1965
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W
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JUST LIKE A WOMEN
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1966
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33
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[I]
This exploration of female wiles and feminine vulnerability was widely rumored"not least by her acquaintances among Andy Warhol's Factory retinue"to be about Edie Sedgwick. The reference to Baby's penchant for "fog, amphetamine and pearls" suggests Sedgwick or some similar debutante, according to Heylin. "Just Like a Woman" has also been rumored to have been written about Dylan's relationship with fellow folk singer Joan Baez. In particular, it has been suggested that the lines "Please don't let on that you knew me when/I was hungry and it was your world" may refer to the early days of their relationship, when Baez was more famous than Dylan.
In the album notes of his 1985 compilation, Biograph, Dylan claimed that he wrote the lyrics of this song in Kansas City on Thanksgiving Day, November 25, 1965, while on tour. However, after listening to the recording session tapes of Dylan at work on this song in the Nashville studio, historian Sean Wilentz has written that Dylan improvised the lyrics in the studio, by singing "disconnected lines and semi-gibberish". Dylan was initially unsure what the person described in the song does that is just like a woman, rejecting "shakes", "wakes", and "makes mistakes". The improvisational spirit extends to the band attempting, in their fourth take, a "weird, double-time version", somewhere between Jamaican ska and Bo Diddley. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan lead vocals, guitar
Joseph A. Souter Jr guitar
Charlie McCoy guitar
Wayne Moss guitar, vocals
Henry Strzelecki bass
Kenneth Buttrey drums
Al Kooper organ
Hargus "Pig" Robbins piano
Produced: Bob Johnston
Engineered: ??
Recorded at: Columbia Studios, Nashville, Tennessee, USA, March 8, 1966
**KILL ME**
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POSITIVELY 4TH STREET
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1965
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7
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[I]
Dylan begins by telling the unspecified second-person target of the song that they have a lot of nerve to say that they are his friend and then goes on to list a multitude of examples of their backstabbing duplicity. While the lyrics are distinctly negative, the organ-dominated backing music is that of care-free folk-rock. The melody is somewhat repetitive and does not deviate from the harmonic progression set up during the first four lines of the song. Additionally, the song has no recognisable, repeating refrain, and does not feature its title anywhere in the song's lyrics. Founder of Crawdaddy! magazine, Paul Williams, has noted that the song's lyrics are uncharacteristically straightforward and devoid of the rich, poetic imagery present in the majority of Dylan's contemporaneous material. Thus, the song can be seen as something of an open letter to Dylan's intended target, with the Top 40 airwaves serving as Dylan's means of communication. The lyrics of "Positively 4th Street" are bitter and derisive, which caused many, at the time of the song's release, to draw a comparison with Dylan's similarly toned previous single "Like a Rolling Stone". (Wikipedia )
**KILL ME**
(Bob Dylan)
Bob Dylan - lead vocals
Mike Bloomfield - guitar
Russ Savakus - bass
Robert Gregg - drums
Frank Owens - piano
Al Kooper - organ
Produced: Bob Johnston
Engineered: Frank Laico, Ted Brosnan
Recorded at: Columbia Studio A, New York, New York, USA, July 29, 1965
**KILL ME**
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IT AIN'T ME, BABE
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1964
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--
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W
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GEORGE JACKSON
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1971
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33
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[I]
"George Jackson" is a song by Bob Dylan, written in 1971, in tribute to the Black Panther leader, George Jackson, who had been shot and killed by guards at San Quentin Prison on August 21, 1971, during an attempted escape from prison. The event indirectly provoked the Attica Prison riot. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan - lead vocals, guitar, harmonica
Ben Keith - steel guitar
Leon Russell - bass
Kenneth Buttrey - drums
Joshie Armstead - backing vocals
Rosie Hicks - backing vocals
Produced: Bob Dylan
Recorded at: Columbia Studio B, New York, New York, USA, November 4, 1971
**KILL ME**
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I WANT YOU
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1966
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20
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[Q]
Bob Dylan: "It's not just pretty words to a tune or putting tunes to words... [It's] the words and the music [together]I can hear the sound of what I want to say." (1966)
Al Kooper: "When we finally did 'I Want You,' I had these parts that I gave everybody because I had this arrangement of it. Right at [the end of the chorus], Wayne [Moss] played a sixteenth-note run and I'd never heard anybody play that fast before. So I stopped, we were just running it over, and said, 'Can you play that each time?' and he said, 'Sure.' I said, 'That would be great, Wayne.' And I was just thinking to myself, 'Boy, they can't do this in New York.' I couldn't believe he played that." (2011:Nashville Scene)
**KILL ME**
[I]
Sean Wilentz sees numerous failures documented in early drafts for the lyrics; "deputies asking him his name... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula. ..... Andy Gill observed that the song's tension is achieved through the balance of the "direct address" of the chorus, the repeated phrase "I want you," and a weird cast of characters "too numerous to inhabit the song's three minutes comfortably", including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviours, the Queen of Spades, and "a dancing child with his Chinese suit". Gill reports that "the dancing child" has been interpreted as a reference to Brian Jones of The Rolling Stones, and his then girlfriend Anita Pallenberg. Clinton Heylin agrees there may be substance to this because the dancing child claims that "time was on his side", as a reference to "Time Is On My Side", the Stones' first U.S. hit. (Wikipedia)
**KILL ME**
(Bob Dylan)
Bob Dylan lead vocals, guitar, piano, harmonica
Wayne Moss guitar, backing vocals
Robbie Robertson guitar, backing vocals
Al Kooper organ, guitar
Charlie McCoy bass, trumpet
Kenneth A. Buttrey drums
Produced: Bob Johnston
Recorded at: Columbia Music Row Studios, Nashville, Tenn., USA, March 10, 1966
(primary musicans on Blond on Blonde, no track breakdown)
**KILL ME**
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IF NOT FOR YOU
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1971
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--
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[Q]
Bob Dylan: (written) "thinking about my wife" ()
Bob Dylan: "It seemed simple enough, a sort of tex-mex. I would never explore all the possibilities of instrumentation in the studio, add parts and so forth, change the beat around, so it came out kind of folky." (1970)
**KILL ME**
[P]
(Bob Dylan)
Bob Dylan - vocals, guitar, harmonica
David Bromberg - guitar (?)
Ron Cornelius - guitar
Buzzy Feiten - guitar
Charlie Daniels - bass (?), guitar (?)
Charlie McCoy - bass (?)
Harvey Brooks - bass (?)
Russ Kunkel - drums (?), percussion (?)
Billy Mundi - drums (?), percussion (?)
Al Kooper: organ
Norman Keith - violin
(?) - glockenspiel
Produced: Bob Johnston
Engineered: Don Puluse, Ted Brosnan, Neil Wilburn ? (Nashville)
Recorded at: Columbia Recording Studios, Studio E, New York, New York, USA, Jun 2/Aug 12, 1970
..... and Columbia Recording Studios, Nashville: July 23, 1970 (?)
**KILL ME**
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GOTTA SERVE SOMEBODY
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1979
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24
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[Q]
Bob Dylan: I dont sing any song which hasnt been
given to me by the Lord to sing." (1979)
Bob Dylan: I had to fight to get it on the album, it was ridiculous.
**KILL ME**
[I]
This song is about finding meaning in life through serving God. At the time of writing, Bob Dylan was a born-again Christian, hence the song's religious message. (Songfacts)
**KILL ME**
(Bob Dylan)
Bob Dylan lead vocals, guitar
Mark Knopfler lead guitar
Tim Drummond bass
Pick Withers drums
Mickey Buckins percussion
Barry Beckett keyboards, percussion
Muscle Shoals Sound Studio horns
Regina Havis background vocals
Helena Springs background vocals
Carolyn Dennis background vocals
Produced: Jerry Wexler, Barry Beckett
Engineered: Gregg Hamm
Recorded at: Muscle Shoals Sound Studios, Sheffield, Alabama, USA, May 4, 1979
**KILL ME**
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MOZAMBIQUE
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1976
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54
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[I]
At the time of the song's release, the titular country of Mozambique had just emerged from a ten-year insurgency war against Portugal which led to Mozambique's independence. As a result, some left wing supporters wanted to see the song as lending support to the newly independent country. However, the lyrics of the song don't support such an interpretation, being slight and treating the country as merely a place for a romantic getaway in the sun, apart from a fleeting reference to "people living free". This angered some of Dylan's fans. Music critic Paul Williams suggests that "Mozambique" may have had its genesis in Dylan's desire to write a song about Marseilles. (Wikipedia)
**KILL ME**
(Bob Dylan, Jacques Levy)
Bob Dylan vocals, rhythm guitar, harmonica
Rob Stoner bass guitar, background vocals
Howard Wyeth drums, piano
Scarlet Rivera violin
Dominic Cortese accordion, mandolin
Vincent Bell bouzouki
Emmylou Harris background vocals
Produced: Don DeVito
Engineered: Don Meehan
Recorded at: Columbia Studios, New York, New York, USA, July 30, 1975
**KILL ME**
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DON'T THINK TWICE, IT'S ALL RIGHT
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1962
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--
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[Q]
Bob Dylan: "It isn't a love song. It's a statement that maybe you can say to make yourself feel better. It's as if you were talking to yourself." (Freewheelin' sleeve notes)
**KILL ME**
[I]
Dylan wrote this song on hearing from Suze Rotolo that she was considering staying in Italy indefinitely, and he used a melody he adapted from Paul Clayton's song "Who's Gonna Buy You Ribbons (When I'm Gone)" (Wikipeidia)
**KILL ME**
(Bob Dylan)
Bob Dylan lead vocals, guitar, harmonica, keyboards
Howie Collins guitar
Leonard Gaskin bass
Bruce Langhorne guitar
Herb Lovelle drums
Dick Wellstood piano
Produced: John Hammond
Recorded at: Columbia Records Studio A, New York, New York, USA
**KILL ME**
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EVERYTHING IS BROKEN
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1989
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(8m)
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[Q]
Daniel Lanois: "I sat next to him for two months while he wrote [Oh Mercy] and it was extraordinary. Bob overwrites. He keeps chipping away at his verses. He has a place for all his favorite couplets, and those couplets can be interchangeable. I've seen the same lyrics show up in two or three different songs as he cuts and pastes them around, so it's not quite as sacred ground as you might think." (Nigel Williamson interview)
**KILL ME**
[I]
Originally recorded as "Broken Days" in March 1989, Dylan had rewritten the song entirely by April, giving it its current name. (Nigel Williamson interview)
**KILL ME**
(Bob Dylan)
Bob Dylan vocals, guitar, piano, harmonica, 12-string guitar, organ
Brian Stoltz guitar
Malcolm Burn bass
Tony Hall bass
Willie Green drums
Daryl Johnson percussion
Produced: Daniel Lanois
Recorded at: ??
**KILL ME**
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TANGLED UP IN BLUE
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1975
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31
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[Q]
Bob Dylan: "Theres a code in the lyrics and there's also no sense of time. there's no respect for it. You've got yesterday, today and tomorrow all in the same room. and there's very little you can't imagine not happening" (1978)
Bob Dylan: (it took) "10 years to live and 2 years to write."
Bob Dylan: (the lyrics) "I lived with them on Montague Street, In a basement down the stairs."
**KILL ME**
[I]
"Tangled Up in Blue" is one of the clearest examples of Dylan's attempts to write "multi-dimensional" songs which defied a fixed notion of time and space. Dylan was influenced by his recent study of painting and the Cubist school of artists, who sought to incorporate multiple perspectives within a single plane of view. ..... The lyrics are at times opaque, but the song seems to be (like most of the songs on the album) the tale of a love that has, for the time being, ended, although not by choice. (Wikipedia)
It deals with the changes he was going through, including his marriage falling apart. (Songfacts)
**KILL ME**
(Bob Dylan)
Bob Dylan - lead vocals, guitar, harmonica
Kevin Odegard - guitar
Chris Weber - guitar
Gregg Inhofer keyboards
Billy Peterson bass
Bill Berg drums
Produced: Bob Dylan
Engineered: Phil Ramone, Paul Markinson
Recorded at: Sound 80, Minneapolis, Minnesota, USA, Dec 1974
**KILL ME**
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