BOB DYLAN : THROUGH THE OPEN WINDOW - THE BOOTLEG SERIES VOL. 18 1956-1963

Disc One (71:15)

1. Let The Good Times Roll
2. I Got A New Girl
3. San Francisco Bay Blues
4. Jesus Christ
5. East Virginia Blues
6. K.C. Moan
7. Hard Travelin'
8. Pastures Of Plenty
9. Remember Me
10. Song To Woody
11. Talkin' Bear Mountain Picnic Massacre Blues
12. Ain't No Grave
13. I Ain't Got No Home
14. Death Don't Have No Mercy
15. Devilish Mary
16. Introduction: Riverside Church
17. Handsome Molly
18. Introduction: See That My Grave Is Kept Clean
19. See That My Grave Is Kept Clean
20. The Girl I Left Behind
21. Introduction: Pretty Boy Floyd
22. Pretty Boy Floyd
23. Railroading On The Great Divide
24. Introduction: Fixin' To Die
25. Fixin' To Die 4:39
26. I'll Fly Away (Carolyn Hester)

Disc Two (77:13)

1. Introduction: In The Pines
2. In The Pines
3. Gospel Plow
4. Introduction: Young But Daily Growing
5. Young But Daily Growing
6. Man On The Street
7. This Land Is Your Land
8. Pretty Polly
9. Man Of Constant Sorrow
10. House Carpenter
11. You're No Good
12. He Was A Friend Of Mine
13. Ramblin' Round
14. Story: East Orange, New Jersey
15. Stealin'
16. Po' Lazarus
17. Dink's Song
18. I Was Young When I Left Home
19. In The Evening
20. Baby, Let Me Follow You Down
21. Cocaine

Disc Three (77:16)

1. The Death Of Emmett Till
2. Conversation: Folksinger's Choice
3. Roll On, John
4. Conversation: Folksinger's Choice
5. Hard Times In New York Town
6. Talkin' John Birch Paranoid Blues
7. Ballad Of Donald White
8. Midnight Special (Harry Belafonte)
9. Midnight Special (Harry Belafonte)
10. Wichita (Big Joe Williams)
11. It's Dangerous (Victoria Spivey)
12. Honey, Just Allow Me One More Chance
13. Talkin' New York
14. Corrina, Corrina
15. Deep Ellum Blues
16. Introduction: Blowin' In The Wind
17. Blowin' In The Wind
18. Rambling, Gambling Willie
19. (I Heard That) Lonesome Whistle
20. Rocks And Gravel
21. Paths Of Victory
22. Train A-Travelin'
23. Hiram Hubbard
24. Quit Your Low Down Ways
25. Let Me Die In My Footsteps
26. Ramblin' On My Mind
27. Blue Yodel No. 8 (Mule Skinner Blues)

Disc Four (63:41)

1. Baby, Please Don't Go
2. Worried Blues
3. Baby, I'm In The Mood For You
4. Bob Dylan's Blues
5. Introduction: Tomorrow Is A Long Time
6. Tomorrow Is A Long Time
7. This Land Is Your Land
8. Long Time Gone
9. A Hard Rain's A-Gonna Fall
10. Don't Think Twice, It's All Right
11. Barbara Allen
12. The Cuckoo
13. That's All Right
14. Mixed-Up Confusion
15. Ballad Of Hollis Brown
16. Kingsport Town
17. Whatcha Gonna Do?
18. Hero Blues
19. I Shall Be Free

Disc Five (69:29)

1. The Ballad Of The Gliding Swan
2. Only A Hobo
3. John Brown
4. All Over You
5. Oxford Town
6. Bob Dylan's Dream
7. Introduction: Walls Of Red Wing
8. Walls Of Red Wing
9. Introduction: Tomorrow Is A Long Time
10. Tomorrow Is A Long Time
11. Dusty Old Fairgrounds
12. Introduction: Pretty Peggy-O
13. Pretty Peggy-O
14. Who Killed Davey Moore?
15. Last Thoughts On Woody Guthrie
16. James Alley Blues
17. I Rode Out One Morning
18. House Of The Rising Sun
19. Talkin' World War III Blues
20. Masters Of War
21. Girl From The North Country

Disc Six (75:40)

1. Introduction By Cordell Reagon
2. Only A Pawn In Their Game
3. Blowin' In The Wind
4. Eternal Circle
5. Liverpool Gal
6. West Memphis
7. North Country Blues
8. With God On Our Side
9. Playboys And Playgirls
10. Blowin' In The Wind
11. Slate: Boots Of Spanish Leather
12. Boots Of Spanish Leather
13. Seven Curses
14. Farewell
15. Bob Dylan's New Orleans Rag
16. Moonshiner
17. Introduction By Joan Baez
18. Troubled And I Don't Know Why
19. Introduction By Ossie Davis
20. When The Ship Comes In
21. The Lonesome Death Of Hattie Carroll
22. The Times They Are A-Changin'
23. One Too Many Mornings
24. Key To The Highway

Disc Seven (64:27)

1. The Times They Are A-Changin'
2. Ballad Of Hollis Brown
3. Introduction: Who Killed Davey Moore?
4. Who Killed Davey Moore?
5. Boots Of Spanish Leather
6. Talkin' John Birch Paranoid Blues
7. Lay Down Your Weary Tune
8. Introduction: Blowin' In The Wind
9. Blowin' In The Wind
10. Introduction: Percy's Song
11. Percy's Song
12. Seven Curses
13. Walls Of Red Wing
14. Introduction: North Country Blues
15. North Country Blues
16. A Hard Rain's A-Gonna Fall

Disc Eight (39:39)

1. Talkin' World War III Blues
2. Don't Think Twice, It's All Right
3. Story: Hootenanny Hoot
4. With God On Our Side
5. Only A Pawn In Their Game
6. Introduction: Masters Of War
7. Masters Of War
8. Introduction: The Lonesome Death Of Hattie Carroll
9. The Lonesome Death Of Hattie Carroll
10. Introduction: When The Ship Comes In
11. When The Ship Comes In

Label : Columbia

Release Date : October 31, 2025

Review (AllMusic) : For many artists, popular music is a game of re-invention, as they periodically fashion new voices and public identities for themselves in the interest of challenging their audiences. Bob Dylan was doing this long before it was commonplace, and it's no secret that "Bob Dylan" was the product of a grand act of willful shape-shifting, as young Robert Zimmerman left Hibbing, Minnesota, for New York City, where he gave himself a more literary moniker and invented a backstory as a colorful drifter and former carney who resembled the second coming of Woody Guthrie. Dylan was able to get away with this bit of public theater because he was very good at it, and had the talent and ambition to make his fictions seem plausible. It didn't take long for him to blossom after he arrived in New York City, and over the course of two and a half years, he went from a scruffy oddball to the most celebrated songwriter from the suddenly exploding Greenwich Village folk scene. It would take a book to tell the full story Dylan's evolution and emergence in the early '60s (and several books have tried), but Through the Open Window: The Bootleg Series Vol. 18, 1956-1963 is a stunningly thorough eight-disc collection of recordings that allow listeners to hear his maturation as it happened. Beginning with an acetate of teenage Bobby Zimmerman playing "Let the Good Times Roll" with friends in a St. Paul music shop in 1956 and closing with Dylan's triumphant Carnegie Hall concert in October 1963, Through the Open Window brings together artifacts from most of the major events of his life in music. There are primal home recordings of Dylan playing for his friends, early New York gigs at the Gaslight Cafe and Gerde's Folk City, his first major concert at the Carnegie Chapter Hall in November 1961, outtakes from his first three albums, his session work as a harmonica player (including one track with Harry Belafonte), radio appearances, an intimate 1962 show at a Montreal coffeehouse, his participation in several political events (including the 1963 March on Washington), and highlights from fabled sets at the Newport Folk Festival and New York's Town Hall. It's a tremendous amount to wade through, but practically all of it tells us something about who Dylan was and what he would become, and his metamorphosis from a nervy kid who worshiped Woody Guthrie to a purposefully earthy but accomplished troubadour whose songwriting is growing by leaps and bounds and who can hold a packed Carnegie Hall audience in his hand is inarguably fascinating. Through the Open Window: The Bootleg Series Vol. 18, 1956-1963 is an epic-scale document on how Bob Dylan became Bob Dylan, both as a persona and an artist, and the abundant audience recordings of his early gigs that appear here are a vital reminder that bringing a recording device to a concert is never a bad idea.

Review (Pitchfork) : In 1956, Robert Zimmerman was a 15-year-old kid, a misfit in his small Midwestern town, and leader of a ragtag rock’n’roll combo who compensated for their lack of technique with boundless enthusiasm. In 1963, Bob Dylan was arguably the most celebrated pop artist in America, whose songs were hailed as standards before he could even record them and whose fans considered him to be a living, breathing manifestation of the American folk impulse. That kid wailing on his band’s cover of Shirley & Lee’s “Let the Good Times Roll” back in St. Paul, Minnesota, could never have predicted where he’d end up in seven years (he’d not even heard of Odetta or Woody Guthrie yet), and the conquering hero closing out his first sold-out Carnegie Hall performance with a spirited and weirdly prophetic “When the Ship Comes In” had already tried to erase his old self from his biography. He claimed to friends and interviewers and colleagues and onlookers that he was born and raised in New Mexico, ran off with the circus, toured with Conway Twitty, and any other fabulation that crossed his mind, so perhaps he thought those two versions of himself were incompatible. But there was always something of the rocker in the folkie and a bit of the folkie in the rocker. Through the Open Window, the 18th installment of Dylan’s never-ending reissue series, connects these two figures intimately, tracing the artist’s seven-year rise across 8 CDs, 165 tracks, and nearly nine hours. It’s not the largest Bootleg entry; the collector’s edition of The Cutting Edge beats all comers with 18 CDs, while Trouble No More sprawls to as many as 10 CDs. (You want that much mid-’60s electric Dylan, but who besides the most committed Bobophile needs that much born-again Dylan?) Regardless, nothing in the series has the same scope of this new set. Most Bootleg installments drop you into a pivotal moment in Dylan’s life, a meaningful year or two, but Through the Open Window covers almost a decade during which he made great strides. It plays less like a box set and more like the audiobook of a Great American Novel: a travelogue from the Midwest to Greenwich Village and a coming-of-age story of an artist hitting young adulthood amid the dreamers and schemers of New York City. It follows Dylan as he hangs out in shabby Manhattan apartments, as he lingers over coffee at Café Wha?, and as he tries out new songs and routines and personae onstage. It follows him into tiny Cue Recording Studio and historic Columbia Studio A, to a poorly attended show at the tiny Carnegie Chapter Hall, and finally to his climactic sold-out show at Carnegie Hall. Here’s a box set where the length is not only justified but an essential part of the experience. It’s made for total immersion; whether you’re a committed obsessive or merely curious, it’s meant to be lived with for a few weeks, part of your daily routine for a while, exactly like a good book. You won’t get that experience with the 2xCD highlights edition or even the 4xLP set, which are really just the CliffsNotes versions. So start with the first track and listen for a while. Mark your place and start again later. Ignore other people to keep listening. Imagine those apartments with their thin curtains and bare mattresses on the floor, those clubs with their cigarette smoke and lines of hopefuls waiting for their few minutes on a small stage, those studios with their pristine acoustic tiles and engineers in suits and ties. Listen as Bobby Zimmerman becomes Bob Dylan. You couldn’t write an opening chapter better than pimply Bobby leading his fellow teenagers through “Let the Good Times Roll.” The lo-est of fi, it is barely legible, and there is honestly nothing noteworthy in the performance beyond who is performing. It’s exactly the kind of track, however, that works well in the context of a sprawling box set, partly because it’s very short (37 seconds) and mostly because it so perfectly sets Zimmerman up as a nobody who becomes somebody. How many teenagers were obsessed with rock’n’roll in 1956? This kid was only one of a couple million. Later, you can hear the moment he learns about folk music and when he begins his defining obsession with Woody Guthrie: The guitars switch from electric to acoustic, there is more strain and gravity in his performances, the sound of someone trying to live up to the songs he’s singing. This is when he breaks free of those millions of kids and becomes one of thousands besotted by folk. Where they might have seen the music’s history as something that would automatically justify their presence on any stage, Dylan saw that and much more. These are not lost years in Dylan’s life; in fact, they are among the most documented in his biography, thanks to Bootleg Series Vol. 9: The Witmark Demos: 1962-1964, Martin Scorsese’s No Direction Home, James Mangold’s A Complete Unknown, and even Dylan’s own Chronicles Volume One. It’s not the most glamorous era, lacking the prickly rebellion of going electric and the gleeful rowdiness of The Basement Tapes, nor is Dylan the most sympathetic of protagonists. His penchant for self-fictionalization during this period is notorious and at times obnoxious—he insisted on the three Ns in his early stage name, Elston Gunnn—but less well known is his wide-eyed wonder, his gawky attention-seeking. This is the guy who carried around The New York Times with Robert Shelton’s article about him, which Dylan would read aloud to anyone within earshot. There’s a bit of boastful self-regard there, but also a kind of dumbfounded amazement that he actually exists to other people. Inside of a song, he’s an even wilier character, and Through the Open Window reveals an artist trying to find his voice and then convincing others to listen to it. At first he sounds most purposeful when he’s playing with other people, such as Danny Kalb, a slightly more experienced musician who adds sharp guitar runs to “East Virginia Blues” and “K.C. Moan.” Even as a session player, he sounds like a perfectionist, always absorbing new tricks and techniques. More telling than his harmonica playing on Harry Belafonte’s 1962 cover of Lead Belly’s “The Midnight Special” is the tense exchange with producer Hugo Montenegro over a riff Dylan was asked to play on the intro. Belafonte, chill as ever, tells the kid to take his time. He tried so many different things during this era, even working with a jazz combo for a flop single (although their cover of “That’s All Right Mama” sounds like a test run for his thin-wild-mercury sound just a few years later). While very few of them stuck, you can hear him learning as he goes. Most Read Reviews The Return of the Durutti Column (Expanded & Remastered) The Return of the Durutti Column (Expanded & Remastered) The Durutti Column ATLiens ATLiens Outkast If You’re Feeling Sinister If You’re Feeling Sinister Belle and Sebastian As he hones his picking and strumming, Dylan gains confidence as a vocalist who knows when to howl or bleat or holler or croon or hang back and be quiet. The sheer force of his voice is no real revelation, but this compilation explores his developing technique in greater depth than any other Dylan set even attempts. Listen to his stark versions of Guthrie’s “Pastures of Plenty” and the country song “Remember Me,” both recorded at a friend’s home, and marvel at how he seems to be editing his vocals and guitar playing, removing every note but the most essential. Or cue up the various versions of “Blowin’ in the Wind,” regarded as his first masterpiece and a hit for Peter, Paul & Mary before he’d even released his own version, and hear how he lets the song be a little slippery, how he revels in what Sean Wilentz in his lengthy liner notes calls its “ambiguous indeterminacy.” Dylan always pushed against his reputation as a protest singer, despite writing some of the greatest protest songs of the rock era, and he sings this song like he’s trying to figure it out himself, finally realizing that it means something completely different depending on who’s singing it and in what context. Through the Open Window includes that and other songs from his first appearance at the Newport Folk Festival in 1963, back when he wouldn’t dare plug in. If he had divided feelings about the venue and his role there, it doesn’t come across in his performance, especially when he leads a choir of contemporaries—Joan Baez, Peter, Paul & Mary, the Freedom Singers, and others—in a rousing sing-along. They all sing “Blowin’ in the Wind” with a sense of destiny, as though they are making a new world just by singing this song together. In one of the finest moments of sequencing on this set, the next song up is “Boots of Spanish Leather,” an outtake from the Freewheelin’ sessions with Tom Wilson (Dylan would eventually re-record it for The Times They Are A-Changin’ in 1964). The contrast between the rousing chorus of “Blowin’ in the Wind” and the stillness of “Boots” is jarring enough to bring out new aspects of each song, with “Boots” sounding even lonelier, even more despairing. Written during a trip to Italy as his relationship with Suze Rotolo appeared to be crumbling, it sounds intimate and unguarded, intensely private rather than public; he needs a quiet moment to himself in order to rouse an audience with his friends. Though known in folk circles, Dylan was still struggling to find a larger audience and break through to the pop market. He signed with Columbia in late 1961, which is roughly where Act II begins. He recorded his self-titled debut with John Hammond producing, but it was not the breakout anyone expected. Here’s where you might want to place your bookmark and give that album another listen, just to get a feel for how this young man presented himself to the world; unexpectedly, Bob Dylan might work better as an addendum to this bulky novel than as a standalone release. Even Dylan considered it a failure, both commercially and creatively, and he was moving so fast that these traditional tunes and talking blues were old news by the time it was released. Most Read Reviews The Return of the Durutti Column (Expanded & Remastered) The Return of the Durutti Column (Expanded & Remastered) The Durutti Column ATLiens ATLiens Outkast If You’re Feeling Sinister If You’re Feeling Sinister Belle and Sebastian His follow-up, The Freewheelin’ Bob Dylan, did not come easy. He worked through a series of aimless sessions over several months, finally piecemealing an album that wasn’t too dissimilar from his debut. At the last minute Columbia decided that “Talkin’ John Birch Society Paranoid Blues” was potentially libelous and removed it from the album. Dylan was irate, but it worked out in his favor, as it gave him a chance to quickly record several new songs and redo about half the album, including “Girl from the North Country” and “Masters of War”—two of his best compositions from the era. The new tracklist sharpened his Cold War fears while also introducing more intimate struggles, in particular his insecurities about Rotolo. The album toggles gracefully between the public and the private, each lending weight to the other, which contributes to its status as Dylan’s breakthrough as well as just one of the best folk albums ever made. Through the Open Window could end there, with Freewheelin’ hailed as a masterpiece that sealed his reputation with the folkies while bringing folk music to a larger audience. But that album is merely the set-up for the set’s cinematic climax at Carnegie Hall, which takes up the last two discs. The crowd sounds rowdier than expected, bringing their basket-house manners to this grander venue and seemingly cutting short his introduction to “A Hard Rain’s Gonna Fall” with their applause. He brings so many different Dylans to the stage: the outraged protest singer (“The Times They Are A-Changin’”), the lovelorn poet (“Boots of Spanish Leather”), the talkin’ bluesman (“Talkin’ World War III Blues”), the guy scared of nuclear annihilation (“Masters of War”), and the artist who’s over it all (a rambling story about the film Hootenanny Hoot and the commercialization of the folk movement). This Bootleg installment ends with Dylan triumphant, hailed as a hero and a new kind of pop star: not merely an entertainer but an artist. Of course, it wouldn’t be long before many of his applauding fans were jeering at him, calling him a traitor for plugging in and writing such inscrutable lyrics. Through the Open Window gestures toward the rest of the story, toward everything that has happened in the past 62 years. Dylan has always had a strained relationship with this early material, especially those topical songs, and sometimes he kicks against them and sometimes he embraces their possibilities. During these seven years Robert Zimmerman discovered he could be Bob Dylan and Bob Dylan discovered he could be just about anybody. Anything was possible and nothing was certain, and this might be the only time in his life when that was true.

Review (Blues Magazine) : Terwijl Bob Dylan zijn Europese tour afrondt, duikt ‘Through The Open Window’ diep in de jonge jaren van de bard. Deel 18 van de Bootleg Series laat een vijftienjarige Dylan horen die al kraakt, knettert en vlamt met zijn eerste opnamen uit 1956. Een fascinerende muzikale tijdreis die de oorsprong blootlegt van zijn nooit eindigende zoektocht en een onmisbare schat is voor iedere Dylan-liefhebber. Op het moment dat Bob Dylan het Europese deel van zijn ‘Rough and Rowdy Ways-World Tour’ afwerkt, hij is komende week voor twee optredens in ons land, verschijnt 31 oktober een nieuw deel van zijn omvangrijke ‘Bootleg Series’. Het is ‘Through The Open Window’, alweer het 18e deel van de verzamelingen dat uit het enorme archief van de meester is samengesteld. Nadat op ‘Fragments: Time Out of Mind Sessions 1996-1997’ alles draaide rondom het indertijd door Daniel Lanois (over)geproduceerde album, wordt er deze keer een reis terug in de tijd gemaakt. Het is de periode waarin een jonge Dylan, op dat moment vijftien jaar, nog deel uitmaakte van een bandje maar ook al druk bezig was om zijn eigen muziek solo uit te voeren. Zonder het toen nog te beseffen hoe een grote impact hij op de muziekwereld zou afdwingen, heeft Dylan hier de basis gelegd voor wat uiteindelijk als een ‘never ending’-proces zou kunnen worden gezien. Een proces dat zelfs nu, bijna zeven decennia verder, nog altijd de interesse van zijn publiek wekt zoals blijkt uit de belangstelling voor zijn concerten van dit jaar die allemaal zijn uitverkocht. Het is de eerste keer dat de Bootleg Series zich nu heeft gericht op de allereerste vastgelegde opnamen, die van de Telinde Music Shop, St. Paul in Minnesota op Kerstavond 1956. Via Het begin van de de 139 tracks-durende luistersessie, een digitale stream voorzien van watermarked-veiligheidscode in verband met vroegtijdig uitlekken, is kwalitatief gezien te vergelijken met het niveau van een gemiddeld maar zeer enthousiast schoolbandje, en verklaart al meteen de term ‘Bootleg Serie’, oftewel niet geschikt voor officiële uitgave. De jonge gasten spelen ‘Let The Good Times Roll’ en het plezier spat en knettert letterlijk van de 78-rpm-acetate. Vanuit historisch muzikaal perspectief gezien zijn deze opnamen echter absoluut de moeite waard. De liefde voor de folkmuziek, en dan voornamelijk die van Woody Guthrie, zou zich snel openbaren maar de R&B, Doo-Wop en muziek van Hank Williams en Little Richard spraken aanvankelijk nog veel meer tot de verbeelding. Toch zou Dylan al snel aansluiting vinden bij de folk-beweging in New York en daar al het nodige respect afdwingen. Van deze kleinschalige optredens in 1960 en ’61 zijn diverse interessante momenten vastgelegd. Zo is daar ‘Song to Woody’ in The Gaslight Cafe en ook het bekende ‘I Ain’t Got No Home’ dat opgenomen is op de universiteit van Minnesota. Het is uitermate obscuur en de geluidskwaliteit maakt beluistering niet gemakkelijk voor de neutrale luisteraar. Dit is slechts interessant voor de die-hard fans die deze periode in zijn carrière beter kunnen overzien. Vanaf 1961 begint het werk soms al een diep donker randje te krijgen met als uitschieters uitvoeringen van ‘Death Don’t Have No Mercy’, ‘Fixin’ To Die’ en ‘See That My Grave Is Kept Clean’. Naast heel veel zelfgeschreven materiaal gebruikt hij veelvuldig andermans werk om daar een geheel eigen interpretatie op los te laten. Dylan klinkt nog vaak onzeker, is nog heel erg zoekende maar ontwikkelt zich tegelijkertijd stormachtig. John H. Hammond heeft dit al in een vroeg stadium gezien, regelt een contract om vervolgens snel het debuut te produceren, en het lijkt een positieve invloed te hebben op zijn zelfvertrouwen. Waar het debuutalbum slechts twee eigen composities bevat, zal ‘The Freewheelin’ Bob Dylan’ voornamelijk, dat wil zeggen elf van de dertien tracks, uit eigen schrijfwerk bestaan. De eerste probeersels van wat uiteindelijk het album zullen halen, klinken veelbelovend en geven aan hoe creatief, produktief en gedreven hij in deze tijd bezig is. Zelfs de basis voor het derde album is al in deze fase ontstaan. Veel outtakes van dit album zijn al eerder uitgebracht, bijvoorbeeld ‘The Ballad of Hollis Brown’ die al op ‘Bootleg Series Vol.9’ te horen was. We horen de artiest tijdens een rehearsal voor zijn optreden in 1961 een geïnteresseerde maar onwetende geluidsman na afloop van ‘Man of Constant Sorrow’ uitleg geven over de oorsprong van dat liedje. “Is het al eens eerder opgenomen?”, vraagt de man. “Niet op de manier zoals ik het speel”, is het antwoord van de eigenzinnige singer/songwriter. Het is een werkwijze die we vaker terughoren. Dylan beheerst namelijk al in een vroeg stadium de kunst om traditionals van een briljant arrangement te voorzien en de composities volledig ‘eigen’ te maken. Het is uitermate interessant om de ontwikkeling van Dylan in deze tijd te onderzoeken door beluistering van deze veelomvattende verzameling. Toch is de aanschaf van ‘Through The Open Window’ vooral de moeite waard vanwege de registratie van het optreden dat plaatsvond in de Carnegie Hall, New York in oktober 1963. Waarom dit zo lang is blijven liggen is een raadsel. Vermoedelijk omdat het beste voor het laatste is bewaard. Deel 18 zou namelijk best eens het slotstuk kunnen betekenen. Het is de registratie van een gebeurtenis waar Dylan niet alleen al een voorschot nam op zijn nog te verschijnen ‘Times They Are a-Changin’ dat een paar maanden later zou verschijnen, maar waarin hij hoogstpersoonlijk verantwoordelijk kan worden gesteld voor een nieuw hoofdstuk van de Amerikaanse muziekgeschiedenis.