1941–1959: Origins and musical beginnings

Thumb — The Zimmerman family home in Hibbing, Minnesota

Bob Dylan was born Robert Allen Zimmerman (Hebrew: שבתאי זיסל בן אברהם Shabtai Zisl ben Avraham)^[1]^[16]^[17] in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota,^[18] and raised in Hibbing, Minnesota, on the Mesabi Range west of Lake Superior. Dylan's paternal grandparents, Anna Kirghiz and Zigman Zimmerman, emigrated from Odessa in the Russian Empire (now Odesa, Ukraine) to the United States, following the pogroms against Jews of 1905.^[19] His maternal grandparents, Florence and Ben Stone, were Lithuanian Jews who had arrived in the United States in 1902.^[19] Dylan wrote that his paternal grandmother's family was originally from the Kağızman district of Kars Province in northeastern Turkey.^[20]

Dylan's father Abram Zimmerman and his mother Beatrice "Beatty" Stone were part of a small, close-knit Jewish community.^[21]^[22]^[23] They lived in Duluth until Dylan was six, when his father contracted polio and the family returned to his mother's hometown of Hibbing, where they lived for the rest of Dylan's childhood, and his father and paternal uncles ran a furniture and appliance store.^[23]^[24]

In the early 1950s Dylan listened to the Grand Ole Opry radio show and heard the songs of Hank Williams. He later wrote: "The sound of his voice went through me like an electric rod."^[9] Dylan was also impressed by the delivery of Johnnie Ray: "He was the first singer whose voice and style, I guess, I totally fell in love with… I loved his style, wanted to dress like him too."^[25] As a teenager, Dylan heard rock and roll on radio stations broadcasting from Shreveport and Little Rock.^[26]

Dylan formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard^[27] and Elvis Presley.^[28] Their performance of Danny & the Juniors' "Rock and Roll Is Here to Stay" at their high school talent show was so loud that the principal cut the microphone.^[29] In 1959, Dylan's high school yearbook carried the caption "Robert Zimmerman: to join 'Little Richard'".^[27]^[30] That year, as Elston Gunnn, he performed two dates with Bobby Vee, playing piano and clapping.^[31]^[32]^[33] In September 1959, Dylan enrolled at the University of Minnesota.^[34] Living at the Jewish-centric fraternity Sigma Alpha Mu house, Dylan began to perform at the Ten O'Clock Scholar, a coffeehouse a few blocks from campus, and became involved in the Dinkytown folk music circuit.^[35]^[36] His focus on rock and roll gave way to American folk music, as he explained in a 1985 interview:

The thing about rock'n'roll is that for me anyway it wasn't enough ... There were great catch-phrases and driving pulse rhythms ... but the songs weren't serious or didn't reflect life in a realistic way. I knew that when I got into folk music, it was more of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the supernatural, much deeper feelings.^[37]

During this period, he began to introduce himself as "Bob Dylan".^[38] In his memoir, he wrote that he considered adopting the surname Dillon before unexpectedly seeing poems by Dylan Thomas, and deciding upon the given name spelling.^[39]^{[a 1]} In a 2004 interview, he said, "You're born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free."^[40]

1960s

Relocation to New York and record deal

In May 1960, Dylan dropped out of college at the end of his first year. In January 1961, he traveled to New York City to perform and visit his musical idol Woody Guthrie^[41] at Greystone Park Psychiatric Hospital.^[42] Guthrie had been a revelation to Dylan and influenced his early performances. He wrote of Guthrie's impact: "The songs themselves had the infinite sweep of humanity in them... [He] was the true voice of the American spirit. I said to myself I was going to be Guthrie's greatest disciple".^[43] In addition to visiting Guthrie, Dylan befriended his protégé Ramblin' Jack Elliott.^[44]

From February 1961, Dylan played at clubs around Greenwich Village, befriending and picking up material from folk singers, including Dave Van Ronk, Fred Neil, Odetta, the New Lost City Ramblers and Irish musicians the Clancy Brothers and Tommy Makem.^[45] In September, The New York Times critic Robert Shelton boosted Dylan's career with a very enthusiastic review of his performance at Gerde's Folk City: "Bob Dylan: A Distinctive Folk-Song Stylist".^[46] That month, Dylan played harmonica on folk singer Carolyn Hester's third album, bringing him to the attention of the album's producer John Hammond,^[47] who signed Dylan to Columbia Records.^[48] Dylan's debut album, Bob Dylan, released March 19, 1962,^[49]^[50] consisted of traditional folk, blues and gospel material with just two original compositions, "Talkin' New York" and "Song to Woody". The album sold 5,000 copies in its first year, just breaking even.^[51]

In August 1962, Dylan changed his name to Bob Dylan,^{[a 2]} and signed a management contract with Albert Grossman.^[52] Grossman remained Dylan's manager until 1970, and was known for his sometimes confrontational personality and protective loyalty.^[53] Dylan said, "He was kind of like a Colonel Tom Parker figure ... you could smell him coming."^[36] Tension between Grossman and John Hammond led to the latter suggesting Dylan work with the jazz producer Tom Wilson, who produced several tracks for the second album without formal credit. Wilson produced the next three albums Dylan recorded.^[54]^[55]

Dylan made his first trip to the United Kingdom from December 1962 to January 1963.^[56] He had been invited by television director Philip Saville to appear in Madhouse on Castle Street, which Saville was directing for BBC Television.^[57] At the end of the play, Dylan performed "Blowin' in the Wind", one of its first public performances.^[57] While in London, Dylan performed at London folk clubs, including the Troubadour, Les Cousins, and Bunjies.^[56]^[58] He also learned material from UK performers, including Martin Carthy.^[57]

By the release of Dylan's second album, The Freewheelin' Bob Dylan, in May 1963, he had begun to make his name as a singer-songwriter. Many songs on the album were labeled protest songs, inspired partly by Guthrie and influenced by Pete Seeger's topical songs.^[59] "Oxford Town" was an account of James Meredith's ordeal as the first Black student to enroll at the University of Mississippi.^[60] The first song on the album, "Blowin' in the Wind", partly derived its melody from the traditional slave song "No More Auction Block",^[61] while its lyrics questioned the social and political status quo. The song was widely recorded by other artists and became a hit for Peter, Paul and Mary.^[62] "A Hard Rain's a-Gonna Fall" was based on the folk ballad "Lord Randall". With its apocalyptic premonitions, the song gained resonance when the Cuban Missile Crisis developed a few weeks after Dylan began performing it.^[63]^{[a 3]} Both songs marked a new direction in songwriting, blending a stream-of-consciousness, imagist lyrical attack with traditional folk form.^[64]

Dylan's topical songs led to his being viewed as more than just a songwriter. Janet Maslin wrote of Freewheelin':

These were the songs that established [Dylan] as the voice of his generation—someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes.^[65]^{[a 4]}

Freewheelin' also included love songs and surreal talking blues. Humor was an important part of Dylan's persona,^[66] and the range of material on the album impressed listeners, including the Beatles. George Harrison said of the album: "We just played it, just wore it out. The content of the song lyrics and just the attitude—it was incredibly original and wonderful".^[67]

The rough edge of Dylan's singing unsettled some but attracted others. Author Joyce Carol Oates wrote: "When we first heard this raw, very young, and seemingly untrained voice, frankly nasal, as if sandpaper could sing, the effect was dramatic and electrifying".^[68] Many early songs reached the public through more palatable versions by other performers, such as Joan Baez, who became Dylan's advocate and lover.^[69] Baez was influential in bringing Dylan to prominence by recording several of his early songs and inviting him on stage during her concerts.^[70] Others who had hits with Dylan's songs in the early 1960s included the Byrds, Sonny & Cher, the Hollies, the Association, Manfred Mann and the Turtles.

"Mixed-Up Confusion", recorded during the Freewheelin' sessions with a backing band, was released as Dylan's first single in December 1962, but then swiftly withdrawn. In contrast to the mostly solo acoustic performances on the album, the single showed a willingness to experiment with a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records".^[71]

Protest and Another Side

"The Times They Are a-Changin'"

Dylan said of "The Times They Are a-Changin'": "This was definitely a song with a purpose. I wanted to write a big song, some kind of theme 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 and allied together at that time."^[37]

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In May 1963, Dylan's political profile rose when he walked out of The Ed Sullivan Show. During rehearsals, Dylan had been told by CBS television's head of program practices that "Talkin' John Birch Paranoid Blues" was potentially libelous to the John Birch Society. Rather than comply with censorship, Dylan refused to appear.^[72]

Dylan and Baez were prominent in the civil rights movement, singing together at the March on Washington on August 28, 1963. Dylan performed "Only a Pawn in Their Game" and "When the Ship Comes In".^[73]

Dylan's third album, The Times They Are a-Changin', reflected a more politicized Dylan.^[74] The songs often took as their subject matter contemporary stories, with "Only a Pawn in Their Game" addressing the murder of civil rights worker Medgar Evers, and the Brechtian "The Lonesome Death of Hattie Carroll" the death of Black hotel barmaid Hattie Carroll at the hands of young White socialite William Zantzinger.^[75] "Ballad of Hollis Brown" and "North Country Blues" addressed despair engendered by the breakdown of farming and mining communities.

The final track on the album contained Dylan's angry response to a hostile profile of the singer that had appeared in Newsweek magazine.^[76] As biographer Clinton Heylin puts it, the Newsweek journalist wrote a story about "the way the Bar Mitzvah boy from Hibbing, Minnesota, had reinvented himself as the prince of protest", emphasising his birth name Robert Zimmerman, his attendance at the University of Minnesota and his close relationship with his parents whom he claimed to be estranged from.^[76]^[77] The day after the article appeared, Dylan returned to the studio to record "Restless Farewell" which ends with his vow to "make my stand/ And remain as I am/ And bid farewell and not give a damn".^[78]

By the end of 1963, Dylan felt manipulated and constrained by the folk and protest movements.^[79] Accepting the "Tom Paine Award" from the Emergency Civil Liberties Committee shortly after the assassination of John F. Kennedy, an intoxicated Dylan questioned the role of the committee, characterized the members as old and balding, and claimed to see something of himself and of every man in Kennedy's assassin, Lee Harvey Oswald.^[80]

Another Side of Bob Dylan, recorded in a single evening on June 9, 1964,^[81] had a lighter mood. The humorous Dylan reemerged on "I Shall Be Free No. 10" and "Motorpsycho Nightmare". "Spanish Harlem Incident" and "To Ramona" are passionate love songs, while "Black Crow Blues" and "I Don't Believe You (She Acts Like We Never Have Met)" suggest the rock and roll soon to dominate Dylan's music. "It Ain't Me Babe", on the surface a song about spurned love, has been described as a rejection of the role of political spokesman thrust upon him.^[82] His new direction was signaled by two lengthy songs: the impressionistic "Chimes of Freedom", which sets social commentary against a metaphorical landscape in a style characterized by Allen Ginsberg as "chains of flashing images,"^{[a 5]} and "My Back Pages", which attacks the simplistic and arch seriousness of his own earlier topical songs and seems to predict the backlash he was about to encounter from his former champions.^[83]

In the latter half of 1964 and into 1965, Dylan moved from folk songwriter to folk-rock pop-music star. His jeans and work shirts were replaced by a Carnaby Street wardrobe, sunglasses day or night, and pointed "Beatle boots". A London reporter noted "Hair that would set the teeth of a comb on edge. A loud shirt that would dim the neon lights of Leicester Square. He looks like an undernourished cockatoo."^[84] Dylan began to spar with interviewers. Asked about a movie he planned while on Les Crane's television show, he told Crane it would be a "cowboy horror movie." Asked if he played the cowboy, Dylan replied, "No, I play my mother."^[85]

Going electric

Dylan's late March 1965 album Bringing It All Back Home was another leap,^[86] featuring his first recordings with electric instruments, under producer Tom Wilson's guidance.^[87] The first single, "Subterranean Homesick Blues", owed much to Chuck Berry's "Too Much Monkey Business";^[88] its free-association lyrics described as harking back to the energy of beat poetry and as a forerunner of rap and hip-hop.^[89] The song was provided with an early music video, which opened D. A. Pennebaker's cinéma vérité presentation of Dylan's 1965 British tour, Dont Look Back.^[90] Instead of miming, Dylan illustrated the lyrics by throwing cue cards containing key words on the ground. Pennebaker said the sequence was Dylan's idea, and it has been imitated in music videos and advertisements.^[91]

The second side of Bringing It All Back Home contained four long songs on which Dylan accompanied himself on acoustic guitar and harmonica.^[92] "Mr. Tambourine Man" became one of his best-known songs when The Byrds recorded an electric version that reached number one in the US and UK.^[93]^[94] "It's All Over Now, Baby Blue" and "It's Alright Ma (I'm Only Bleeding)" were two of Dylan's most important compositions.^[92]^[95]

In 1965, headlining the Newport Folk Festival, Dylan performed his first electric set since high school with a pickup group featuring Mike Bloomfield on guitar and Al Kooper on organ.^[96] Dylan had appeared at Newport in 1963 and 1964, but in 1965 was met with cheering and booing and left the stage after three songs. One version has it that the boos were from folk fans whom Dylan had alienated by appearing, unexpectedly, with an electric guitar. Murray Lerner, who filmed the performance, said: "I absolutely think that they were booing Dylan going electric."^[97] An alternative account claims audience members were upset by poor sound and a short set.^[98]^[99]

Dylan's performance provoked a hostile response from the folk music establishment.^[100]^[101] In the September issue of Sing Out!, Ewan MacColl wrote: "Our traditional songs and ballads are the creations of extraordinarily talented artists working inside disciplines formulated over time ...'But what of Bobby Dylan?' scream the outraged teenagers ... Only a completely non-critical audience, nourished on the watery pap of pop music, could have fallen for such tenth-rate drivel".^[102] On July 29, four days after Newport, Dylan was back in the studio in New York, recording "Positively 4th Street". The lyrics contained images of vengeance and paranoia,^[103] and have been interpreted as Dylan's put-down of former friends from the folk community he had known in clubs along West 4th Street.^[104]

Highway 61 Revisited and Blonde on Blonde

"Like a Rolling Stone"

Dylan's 1965 hit single, which appeared on the album Highway 61 Revisited. In 2004, it was chosen as the greatest song of all time by Rolling Stone magazine.^[105]

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In July 1965, Dylan's six-minute single "Like a Rolling Stone" peaked at number two in the US chart. In 2004 and in 2011, Rolling Stone listed it as number one on "The 500 Greatest Songs of All Time".^[11]^[105] Bruce Springsteen recalled first hearing the song: "that snare shot sounded like somebody'd kicked open the door to your mind."^[106] The song opened Dylan's next album, Highway 61 Revisited, named after the road that led from Dylan's Minnesota to the musical hotbed of New Orleans.^[107] The songs were in the same vein as the hit single, flavored by Mike Bloomfield's blues guitar and Al Kooper's organ riffs. "Desolation Row", backed by acoustic guitar and understated bass,^[108] offers the sole exception, with Dylan alluding to figures in Western culture in a song described by Andy Gill as "an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of celebrated characters".^[109] Poet Philip Larkin, who also reviewed jazz for The Daily Telegraph, wrote "I'm afraid I poached Bob Dylan's Highway 61 Revisited (CBS) out of curiosity and found myself well rewarded."^[110]

In support of the album, Dylan was booked for two US concerts with Al Kooper and Harvey Brooks from his studio crew and Robbie Robertson and Levon Helm, former members of Ronnie Hawkins's backing band the Hawks.^[111] On August 28 at Forest Hills Tennis Stadium, the group was heckled by an audience still annoyed by Dylan's electric sound. The band's reception on September 3 at the Hollywood Bowl was more favorable.^[112]

From September 24, 1965, in Austin, Texas, Dylan toured the US and Canada for six months, backed by the five musicians from the Hawks who became known as The Band.^[113] While Dylan and the Hawks met increasingly receptive audiences, their studio efforts foundered. Producer Bob Johnston persuaded Dylan to record in Nashville in February 1966, and surrounded him with top-notch session men. At Dylan's insistence, Robertson and Kooper came from New York City to play on the sessions.^[114] The Nashville sessions produced the double album Blonde on Blonde (1966), featuring what Dylan called "that thin wild mercury sound".^[115] Kooper described it as "taking two cultures and smashing them together with a huge explosion": the musical worlds of Nashville and of the "quintessential New York hipster" Bob Dylan.^[116]

On November 22, 1965, Dylan quietly married 25-year-old former model Sara Lownds.^[117] Some of Dylan's friends, including Ramblin' Jack Elliott, say that, immediately after the event, Dylan denied he was married.^[117] Writer Nora Ephron made the news public in the New York Post in February 1966 with the headline "Hush! Bob Dylan is wed".^[118]

Dylan toured Australia and Europe in April and May 1966. Each show was split in two. Dylan performed solo during the first half, accompanying himself on acoustic guitar and harmonica. In the second, backed by the Hawks, he played electrically amplified music. This contrast provoked many fans, who jeered and slow clapped.^[119] The tour culminated in a raucous confrontation between Dylan and his audience at the Manchester Free Trade Hall in England on May 17, 1966.^[120] A recording of this concert was released in 1998: The Bootleg Series Vol. 4: Bob Dylan Live 1966. At the climax of the evening, a member of the audience, angered by Dylan's electric backing, shouted: "Judas!" to which Dylan responded, "I don't believe you ... You're a liar!" Dylan turned to his band and said, "Play it fucking loud!"^[121]

During his 1966 tour, Dylan was described as exhausted and acting "as if on a death trip".^[122] D. A. Pennebaker, the filmmaker accompanying the tour, described Dylan as "taking a lot of amphetamine and who-knows-what-else".^[123] In a 1969 interview with Jann Wenner, Dylan said, "I was on the road for almost five years. It wore me down. I was on drugs, a lot of things ... just to keep going, you know?"^[124]

Motorcycle accident and reclusion

On July 29, 1966, Dylan crashed his motorcycle, a Triumph Tiger 100, near his home in Woodstock, New York. Dylan said he broke several vertebrae in his neck.^[125] The circumstances of the accident are unclear since no ambulance was called to the scene and Dylan was not hospitalized.^[125]^[126] Dylan's biographers have written that the crash offered him the chance to escape the pressures around him.^[125]^[127] Dylan concurred: "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race."^[128] He made very few public appearances, and did not tour again for almost eight years.^[126]^[129]

Once Dylan was well enough to resume creative work, he began to edit D. A. Pennebaker's film of his 1966 tour. A rough cut was shown to ABC Television, but they rejected it as incomprehensible to mainstream audiences.^[130] The film, titled Eat the Document on bootleg copies, has since been screened at a few film festivals.^[131] Secluded from public gaze, Dylan recorded over 100 songs during 1967 at his Woodstock home and in the basement of the Hawks' nearby house, "Big Pink".^[132] These songs were initially offered as demos for other artists to record and were hits for Julie Driscoll, the Byrds, and Manfred Mann. The public heard these recordings when Great White Wonder, the first "bootleg recording", appeared in West Coast shops in July 1969, containing Dylan material recorded in Minneapolis in 1961 and seven Basement Tapes songs. This record gave birth to a minor industry in the illicit release of recordings by Dylan and other major rock artists.^[133] Columbia released a Basement selection in 1975 as The Basement Tapes.

In late 1967, Dylan returned to studio recording in Nashville,^[134] accompanied by Charlie McCoy on bass,^[134] Kenny Buttrey on drums^[134] and Pete Drake on steel guitar.^[134] The result was John Wesley Harding, a record of short songs thematically drawing on the American West and the Bible. The sparse structure and instrumentation, with lyrics that took the Judeo-Christian tradition seriously, was a departure from Dylan's previous work.^[135] It included "All Along the Watchtower", famously covered by Jimi Hendrix.^[37]^{[a 6]} Woody Guthrie died in October 1967, and Dylan made his first live appearance in twenty months at a memorial concert held at Carnegie Hall on January 20, 1968, where he was backed by the Band.^[136]

"Lay Lady Lay"

"Lay Lady Lay", on the country album Nashville Skyline, has been one of Dylan's biggest hits, reaching No. 7 in the US.^[137]

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Nashville Skyline (1969), featured Nashville musicians, a mellow-voiced Dylan, a duet with Johnny Cash and the single "Lay Lady Lay".^[138] Variety wrote, "Dylan is definitely doing something that can be called singing. Somehow he has managed to add an octave to his range."^[139] During one recording session, Dylan and Cash recorded a series of duets, but only their version of "Girl from the North Country" appeared on the album.^[140]^[141] The album influenced the nascent genre of country rock.^[4]

In 1969, Dylan was asked to write songs for Scratch, Archibald MacLeish's musical adaptation of "The Devil and Daniel Webster". MacLeish initially praised Dylan's contributions, writing to him "Those songs of yours have been haunting me—and exciting me," but creative differences led to Dylan leaving the project. Some of the songs were later recorded by Dylan in a revised form.^[142] In May 1969, Dylan appeared on the first episode of The Johnny Cash Show where he sang a duet with Cash on "Girl from the North Country" and played solos of "Living the Blues" and "I Threw It All Away". Dylan traveled to England to top the bill at the Isle of Wight Festival on August 31, 1969, after rejecting overtures to appear at the Woodstock Festival closer to home.^[143]

1970s

In the early 1970s, critics charged that Dylan's output was varied and unpredictable. Greil Marcus asked "What is this shit?" upon first hearing Self Portrait, released in June 1970.^[144]^[145] It was a double LP including few original songs and was poorly received.^[146] In October 1970, Dylan released New Morning, considered a return to form.^[147] The title track was from Dylan's ill-fated collaboration with MacLeish,^[142] and "Day of the Locusts" was his account of receiving an honorary degree from Princeton University on June 9, 1970.^[148] In November 1968, Dylan co-wrote "I'd Have You Anytime" with George Harrison;^[149] Harrison recorded that song and Dylan's "If Not for You" for his album All Things Must Pass. Olivia Newton-John covered "If Not For You" on her debut album and "The Man in Me" was prominently featured in the film The Big Lebowski (1998).

Tarantula, a freeform book of prose-poetry, had been written by Dylan during a creative burst in 1964–65.^[150] Dylan shelved his book for several years, apparently uncertain of its status,^[151] until he suddenly informed Macmillan at the end of 1970 that the time had come to publish it.^[152] The book attracted negative reviews but later critics have suggested its affinities with Finnegans Wake and A Season In Hell.^[153]

Between March 16 and 19, 1971, Dylan recorded with Leon Russell at Blue Rock, a small studio in Greenwich Village. These sessions resulted in "Watching the River Flow" and a new recording of "When I Paint My Masterpiece".^[154] On November 4, 1971, Dylan recorded "George Jackson", which he released a week later. For many, the single was a surprising return to protest material, mourning the killing of Black Panther George Jackson in San Quentin State Prison.^[155] Dylan's surprise appearance at Harrison's Concert for Bangladesh on August 1, 1971, attracted media coverage as his live appearances had become rare.^[156]

In 1972, Dylan joined Sam Peckinpah's film Pat Garrett and Billy the Kid, providing the soundtrack and playing "Alias", a member of Billy's gang.^[157] Despite the film's failure at the box office, "Knockin' on Heaven's Door" became one of Dylan's most covered songs.^[158]^[159] That same year, Dylan protested the move to deport John Lennon and Yoko Ono, who had been convicted for marijuana possession, by sending a letter to the US Immigration Service which read in part: "Hurray for John & Yoko. Let them stay and live here and breathe. The country's got plenty of room and space. Let John and Yoko stay!"^[160]

Return to touring

Dylan began 1973 by signing with a new label, David Geffen's Asylum Records, when his contract with Columbia Records expired.^[162] His next album, Planet Waves, was recorded in the fall of 1973, using the Band as his backing group as they rehearsed for a major tour.^[163] The album included two versions of "Forever Young", which became one of his most popular songs.^[164] As one critic described it, the song projected "something hymnal and heartfelt that spoke of the father in Dylan",^[165] and Dylan said "I wrote it thinking about one of my boys and not wanting to be too sentimental".^[37] Columbia Records simultaneously released Dylan, a collection of studio outtakes, widely interpreted as a churlish response to Dylan's signing with a rival record label.^[166]

In January 1974, Dylan, backed by the Band, embarked on a North American tour of 40 concerts—his first tour for seven years. A live double album, Before the Flood, was released on Asylum Records. Soon, according to Clive Davis, Columbia Records sent word they "will spare nothing to bring Dylan back into the fold".^[167] Dylan had second thoughts about Asylum, unhappy that Geffen had sold only 600,000 copies of Planet Waves despite millions of unfulfilled ticket requests for the 1974 tour;^[168] he returned to Columbia Records, which reissued his two Asylum albums.^[169]

"Tangled Up in Blue"

Dylan said of the opening song from Blood on the Tracks: "I was trying to deal with the concept of time, and the way the characters change from the first person to the third person, and you're never sure if the first person is talking or the third person. But as you look at the whole thing it really doesn't matter."^[37]

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After the tour, Dylan and his wife became estranged. He filled three small notebooks with songs about relationships and ruptures, and recorded the album Blood on the Tracks in September 1974.^[170]^[171] Dylan delayed the album's release and re-recorded half the songs at Sound 80 Studios in Minneapolis with production assistance from his brother, David Zimmerman.^[172] Released in early 1975, Blood on the Tracks received mixed reviews. In NME, Nick Kent described the "accompaniments" as "often so trashy they sound like mere practice takes".^[173] In Rolling Stone, Jon Landau wrote that "the record has been made with typical shoddiness".^[173] Over the years critics came to see it as one of Dylan's masterpieces. In Salon, journalist Bill Wyman wrote:

Blood on the Tracks is his only flawless album and his best produced; the songs, each of them, are constructed in disciplined fashion. It is his kindest album and most dismayed, and seems in hindsight to have achieved a sublime balance between the logorrhea-plagued excesses of his mid-1960s output and the self-consciously simple compositions of his post-accident years.^[174]

In the middle of 1975, Dylan championed boxer Rubin "Hurricane" Carter, imprisoned for triple murder, with his ballad "Hurricane" making the case for Carter's innocence. Despite its length—over eight minutes—the song was released as a single, peaking at 33 on the US Billboard chart, and performed at every 1975 date of Dylan's next tour, the Rolling Thunder Revue.^{[a 7]}^[175] Running through late 1975 and again through early 1976, the tour featured about one hundred performers and supporters from the Greenwich Village folk scene, among them Ramblin' Jack Elliott, T-Bone Burnett, Joni Mitchell,^[176]^[177] David Mansfield, Roger McGuinn, Mick Ronson, Ronee Blakely, Joan Baez and Scarlet Rivera, whom Dylan discovered walking down the street, her violin case on her back.^[178] The tour encompassed the January 1976 release of the album Desire. Many of Desire's songs featuring a travelogue-like narrative style, influenced by Dylan's new collaborator, playwright Jacques Levy.^[179]^[180] The 1976 half of the tour was documented by a TV concert special, Hard Rain, and the LP Hard Rain.

The 1975 tour with the Revue provided the backdrop to Dylan's film Renaldo and Clara, a sprawling narrative mixed with concert footage and reminiscences. Actor and playwright Sam Shepard accompanied the Revue and was to serve as screenwriter, but much of the film was improvised. Released in 1978, it received negative, sometimes scathing, reviews.^[181]^[182] Later in the year, a two-hour edit, dominated by the concert performances, was more widely released.^[183] In November 1976, Dylan appeared at the Band's farewell concert with Eric Clapton, Muddy Waters, Van Morrison, Neil Young and Joni Mitchell. Martin Scorsese's 1978 film of the concert, The Last Waltz, included most of Dylan's set.^[184]

In 1978, Dylan embarked on a year-long world tour, performing 114 shows in Japan, the Far East, Europe and North America, to a total audience of two million. Dylan assembled an eight-piece band and three backing singers. Concerts in Tokyo in February and March were released as the live double album Bob Dylan at Budokan.^[185] Reviews were mixed. Robert Christgau awarded the album a C+ rating,^[186] while Janet Maslin defended it: "These latest live versions of his old songs have the effect of liberating Bob Dylan from the originals".^[187] When Dylan brought the tour to the US in September 1978, the press described the look and sound as a "Las Vegas Tour".^[188] The 1978 tour grossed more than $20 million, and Dylan told the Los Angeles Times that he had debts because "I had a couple of bad years. I put a lot of money into the movie, built a big house ... and it costs a lot to get divorced in California."^[185] In April and May 1978, Dylan took the same band and vocalists into Rundown Studios in Santa Monica, California, to record an album of new material, Street-Legal.^[189] It was described by Michael Gray as "after Blood On The Tracks, arguably Dylan's best record of the 1970s: a crucial album documenting a crucial period in Dylan's own life".^[190] However, it had poor sound and mixing (attributed to Dylan's studio practices), muddying the instrumental detail until a remastered CD release in 1999 restored some of the songs' strengths.^[191]^[192]

Christian period

"Gotta Serve Somebody"

Dylan took five months off at the beginning of 1979 to attend Bible school.^[37] His subsequent album Slow Train Coming reached No. 3 on the US Billboard 200 chart and included this Grammy-winning song.

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In the late 1970s, Dylan converted to Evangelical Christianity,^[193]^[194] undertaking a three-month discipleship course run by the Association of Vineyard Churches.^[195]^[196] He released three albums of contemporary gospel music. Slow Train Coming (1979) featured Dire Straits guitarist Mark Knopfler and was produced by veteran R&B producer Jerry Wexler. Wexler said that Dylan had tried to evangelize him during the recording. He replied: "Bob, you're dealing with a 62-year-old Jewish atheist. Let's just make an album."^[197] Dylan won the Grammy Award for Best Male Rock Vocal Performance for the song "Gotta Serve Somebody". When touring in late 1979 and early 1980, Dylan would not play his older, secular works, and he delivered declarations of his faith from the stage, such as:

Years ago they ... said I was a prophet. I used to say, "No I'm not a prophet", they say "Yes you are, you're a prophet." I said, "No it's not me." They used to say "You sure are a prophet." They used to convince me I was a prophet. Now I come out and say Jesus Christ is the answer. They say, "Bob Dylan's no prophet." They just can't handle it.^[198]

Dylan's Christianity was unpopular with some fans and musicians.^[199] John Lennon, shortly before being murdered, recorded "Serve Yourself" in response to "Gotta Serve Somebody".^[200] In 1981, Stephen Holden wrote in The New York Times that "neither age (he's now 40) nor his much-publicized conversion to born-again Christianity has altered his essentially iconoclastic temperament".^[201]

1980s

In late 1980, Dylan briefly played concerts billed as "A Musical Retrospective", restoring popular 1960s songs to the repertoire. His second Christian album, Saved (1980), received mixed reviews, described by Michael Gray as "the nearest thing to a follow-up album Dylan has ever made, Slow Train Coming II and inferior".^[202] His third Christian album was Shot of Love (1981).^[203] The album featured his first secular compositions in more than two years, mixed with Christian songs. The lyrics of "Every Grain of Sand" recall William Blake's "Auguries of Innocence".^[204] Elvis Costello wrote that "Shot of Love may not be your favorite Bob Dylan record, but it might contain his best song: 'Every Grain of Sand'."^[205]

Reception of Dylan's 1980s recordings varied. Gray criticized Dylan's 1980s albums for carelessness in the studio and for failing to release his best songs.^[206] Infidels (1983) employed Knopfler again as lead guitarist and also as producer; the sessions resulted in several songs that Dylan left off the album. Best regarded of these were "Blind Willie McTell", which was both a tribute to the eponymous blues musician and an evocation of African American history,^[207] "Foot of Pride" and "Lord Protect My Child". These three songs were later released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.^[208]

Between July 1984 and March 1985, Dylan recorded Empire Burlesque.^[209] Arthur Baker, who had remixed hits for Bruce Springsteen and Cyndi Lauper, was asked to engineer and mix the album. Baker said he felt he was hired to make Dylan's album sound "a little bit more contemporary".^[209] In 1985 Dylan sang on USA for Africa's famine relief single "We Are the World". He also joined Artists United Against Apartheid, providing vocals for their single "Sun City".^[210] On July 13, 1985, he appeared at the Live Aid concert at JFK Stadium, Philadelphia. Backed by Keith Richards and Ronnie Wood, he performed a ragged version of "Ballad of Hollis Brown", a tale of rural poverty, and then said to the worldwide audience: "I hope that some of the money ... maybe they can just take a little bit of it, maybe ... one or two million, maybe ... and use it to pay the mortgages on some of the farms and, the farmers here, owe to the banks".^[211] His remarks were widely criticized as inappropriate, but inspired Willie Nelson to organize a concert, Farm Aid, to benefit debt-ridden American farmers.^[212]

In October 1985, Dylan released Biograph, a box set featuring 53 tracks, 18 of them previously unreleased. Stephen Thomas Erlewine wrote: "Historically, Biograph is significant not for what it did for Dylan's career, but for establishing the box set, complete with hits and rarities, as a viable part of rock history."^[213] Biograph also contained liner notes by Cameron Crowe in which Dylan discussed the origins of some of his songs.^[214]

In April 1986, Dylan made a foray into rap when he added vocals to the opening verse of "Street Rock" on Kurtis Blow's album Kingdom Blow.^[215] Dylan's next studio album, Knocked Out Loaded (1986), contained three covers (by Junior Parker, Kris Kristofferson and the gospel hymn "Precious Memories"), plus three collaborations (with Tom Petty, Sam Shepard and Carole Bayer Sager), and two solo compositions by Dylan. A reviewer wrote that "the record follows too many detours to be consistently compelling, and some of those detours wind down roads that are indisputably dead ends. By 1986, such uneven records weren't entirely unexpected by Dylan, but that didn't make them any less frustrating."^[216] It was the first Dylan album since his 1962 debut to fail to make the Top 50.^[217] Some critics have called the song Dylan co-wrote with Shepard, "Brownsville Girl", a masterpiece.^[218]

In 1986 and 1987, Dylan toured with Tom Petty and the Heartbreakers, sharing vocals with Petty on several songs each night. Dylan also toured with the Grateful Dead in 1987, resulting in the live album Dylan & The Dead, which received negative reviews; Erlewine said it was "quite possibly the worst album by either Bob Dylan or the Grateful Dead".^[219] Dylan initiated what came to be called the Never Ending Tour on June 7, 1988, performing with a back-up band featuring guitarist G. E. Smith. Dylan would continue to tour with a small, changing band for the next 30 years.^[220] In 1987, Dylan starred in Richard Marquand's movie Hearts of Fire, in which he played Billy Parker, a washed-up rock star turned chicken farmer whose teenage lover (Fiona) leaves him for a jaded English synth-pop sensation (Rupert Everett).^[221] Dylan also contributed two original songs to the soundtrack—"Night After Night", and "Had a Dream About You, Baby", as well as a cover of John Hiatt's "The Usual". The film was a critical and commercial flop.^[222]

Dylan was inducted into the Rock and Roll Hall of Fame in January 1988. Bruce Springsteen, in his introduction, declared, "Bob freed your mind the way Elvis freed your body. He showed us that just because music was innately physical did not mean that it was anti-intellectual".^[106] Down in the Groove (1988) sold even more poorly than Knocked Out Loaded.^[223] Gray wrote: "The very title undercuts any idea that inspired work may lie within. Here was a further devaluing of the notion of a new Bob Dylan album as something significant."^[224] The critical and commercial disappointment of that album was swiftly followed by the success of the Traveling Wilburys, a supergroup Dylan co-founded with George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. In late 1988, their Traveling Wilburys Vol. 1 reached number three on the US albums chart,^[223] featuring songs described as Dylan's most accessible compositions in years.^[225] Despite Orbison's death in December 1988, the remaining four recorded a second album in May 1990, Traveling Wilburys Vol. 3.^[226]

Dylan finished the decade on a critical high note with Oh Mercy, produced by Daniel Lanois. Gray praised the album as "Attentively written, vocally distinctive, musically warm, and uncompromisingly professional, this cohesive whole is the nearest thing to a great Bob Dylan album in the 1980s."^[224] "Most of the Time", a lost-love composition, was prominently featured in the film High Fidelity (2000), while "What Was It You Wanted" has been interpreted both as a catechism and a wry comment on the expectations of critics and fans.^[227] The religious imagery of "Ring Them Bells" struck some critics as a re-affirmation of faith.^[228]

1990s

Dylan's 1990s began with Under the Red Sky (1990), an about-face from the serious Oh Mercy. It contained several apparently simple songs, including "Under the Red Sky" and "Wiggle Wiggle". The album was dedicated to "Gabby Goo Goo", a nickname for the daughter of Dylan and Carolyn Dennis, Desiree Gabrielle Dennis-Dylan, who was four.^[229] Musicians on the album included George Harrison, Slash, David Crosby, Bruce Hornsby, Stevie Ray Vaughan, and Elton John. The record received negative reviews and sold poorly.^[230] In 1990 and 1991 Dylan was described by his biographers as drinking heavily, impairing his performances on stage.^[231]^[232] In an interview with Rolling Stone, Dylan dismissed allegations that drinking was interfering with his music: "That's completely inaccurate. I can drink or not drink. I don't know why people would associate drinking with anything I do, really".^[233]

Defilement and remorse were themes Dylan addressed when he received a Grammy Lifetime Achievement Award from Jack Nicholson in February 1991.^[234] The event coincided with the start of the Gulf War and Dylan played "Masters of War"; Rolling Stone called his performance "almost unintelligible".^[235] He made a short speech: "My daddy once said to me, he said, 'Son, it is possible for you to become so defiled in this world that your own mother and father will abandon you. If that happens, God will believe in your ability to mend your own ways'".^[234]^[236] This was a paraphrase of 19th-century Orthodox Rabbi Samson Raphael Hirsch's commentary on Psalm 27.^[237] On October 16, 1992, the thirtieth anniversary of Dylan's debut album was celebrated with a concert at Madison Square Garden, christened "Bobfest" by Neil Young and featuring John Mellencamp, Stevie Wonder, Lou Reed, Eddie Vedder, Dylan and others. It was recorded as the live album The 30th Anniversary Concert Celebration.^[235]

Over the next few years Dylan returned to his roots with two albums covering traditional folk and blues songs: Good as I Been to You (1992) and World Gone Wrong (1993), backed solely by his acoustic guitar.^[238] Many critics and fans noted the quiet beauty of the song "Lone Pilgrim",^[239] written by a 19th-century teacher. In August 1994, he played at Woodstock '94; Rolling Stone called his performance "triumphant".^[235] In November, Dylan recorded two live shows for MTV Unplugged. He said his wish to perform traditional songs was overruled by Sony executives who insisted on hits.^[240] The resulting album, MTV Unplugged, included "John Brown", an unreleased 1962 song about how enthusiasm for war ends in mutilation and disillusionment.^[241]

With a collection of songs reportedly written while snowed in on his Minnesota ranch,^[242] Dylan booked recording time with Daniel Lanois at Miami's Criteria Studios in January 1997. The subsequent recording sessions were, by some accounts, fraught with musical tension.^[243] Before the album's release Dylan was hospitalized with life-threatening pericarditis, brought on by histoplasmosis. His scheduled European tour was canceled, but Dylan made a speedy recovery and left the hospital saying, "I really thought I'd be seeing Elvis soon".^[244] He was back on the road by mid-year, and performed before Pope John Paul II at the World Eucharistic Conference in Bologna, Italy. The Pope treated the audience of 200,000 to a homily based on Dylan's "Blowin' in the Wind".^[245]

In September, Dylan released the new Lanois-produced album, Time Out of Mind. With its bitter assessments of love and morbid ruminations, Dylan's first collection of original songs in seven years was highly acclaimed. Alex Ross called it "a thrilling return to form."^[246] "Cold Irons Bound" won Dylan another Grammy For Best Male Rock Vocal Performance, and the album won him his first Grammy Award for Album of the Year.^[247] The album's first single, "Not Dark Yet", has been called one of Dylan's best songs^[248] and "Make You Feel My Love" was covered by Billy Joel, Garth Brooks, Adele and others. Elvis Costello said "I think it might be the best record he's made."^[249]

2000s

"Things Have Changed"

Dylan's Oscar-winning song was featured in the movie Wonder Boys. The line "sapphire-tinted skies" echoes the verse of Shelley^[250] while "forty miles of bad road" echoes Duane Eddy's hit single.

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In 2001, Dylan won an Academy Award for Best Original Song for "Things Have Changed", written for the film Wonder Boys.^[251] "Love and Theft" was released on September 11, 2001. Recorded with his touring band, Dylan produced the album under the alias Jack Frost.^[252] Critics noted that Dylan was widening his musical palette to include rockabilly, Western swing, jazz and lounge music.^[253] The album won the Grammy Award for Best Contemporary Folk Album.^[254] Controversy ensued when The Wall Street Journal pointed out similarities between the album's lyrics and Junichi Saga's book Confessions of a Yakuza. Saga was not familiar with Dylan's work, but said he was flattered. Upon hearing the album, Saga said of Dylan: "His lines flow from one image to the next and don't always make sense. But they have a great atmosphere."^[255]^[256]

In 2003, Dylan revisited the evangelical songs from his Christian period and participated in the project Gotta Serve Somebody: The Gospel Songs of Bob Dylan. That year, Dylan released Masked & Anonymous, which he co-wrote with director Larry Charles under the alias Sergei Petrov.^[257] Dylan starred as Jack Fate, alongside a cast that included Jeff Bridges, Penélope Cruz and John Goodman. The film polarized critics.^[258] In The New York Times, A. O. Scott called it as an "incoherent mess";^[259] a few treated it as a serious work of art.^[260]^[261]

In 2004, Dylan published the first part of his memoir, Chronicles: Volume One. Confounding expectations,^[262] Dylan devoted three chapters to his first year in New York City in 1961–1962, virtually ignoring the mid-1960s when his fame was at its height, while devoting chapters to the albums New Morning (1970) and Oh Mercy (1989). The book reached number two on The New York Times' Hardcover Non-Fiction bestseller list in December 2004 and was nominated for a National Book Award.^[263]

Critics noted that Chronicles contained many examples of pastiche and borrowing; sources included Time magazine^[264] and the novels of Jack London.^[265] Biographer Clinton Heylin queried the veracity of Dylan's autobiography, noting "Not a single checkable story held water; not one anecdote couldn't be shot full of holes by any half-decent researcher."^[266]

Martin Scorsese's Dylan documentary No Direction Home was broadcast on September 26–27, 2005, on BBC Two in the UK and as part of American Masters on PBS in the US.^[267] It covers the period from Dylan's arrival in New York in 1961 to his motorcycle crash in 1966, featuring interviews with Suze Rotolo, Liam Clancy, Joan Baez, Allen Ginsberg, Pete Seeger, Mavis Staples and Dylan himself. The film earned a Peabody Award^[268] and a Columbia-duPont Award.^[269] The accompanying soundtrack featured unreleased songs from Dylan's early years.^[270]

Modern Times

Dylan's career as a radio presenter began on May 3, 2006, with his weekly program, Theme Time Radio Hour, on XM Satellite Radio. He played songs with a common theme, such as "Weather", "Weddings", "Dance" and "Dreams".^[271]^[272] Dylan's records ranged from Muddy Waters to Prince, L.L. Cool J to the Streets. Dylan's show was praised for the breadth of his musical selections^[273] and for his jokes, stories and eclectic references.^[274]^[275] In April 2009, Dylan broadcast the 100th show in his radio series; the theme was "Goodbye" and he signed off with Woody Guthrie's "So Long, It's Been Good to Know Yuh".^[276]

Dylan released Modern Times in August 2006. Despite some coarsening of Dylan's voice (a critic for The Guardian characterized his singing on the album as "a catarrhal death rattle"^[277]) most reviewers praised the album, and many described it as the final installment of a successful trilogy, encompassing Time Out of Mind and "Love and Theft".^[278] Modern Times entered the US charts at number one, making it Dylan's first album to reach that position since 1976's Desire.^[279] The New York Times published an article exploring similarities between some of Dylan's lyrics in Modern Times and the work of the Civil War poet Henry Timrod.^[280] Modern Times won the Grammy Award for Best Contemporary Folk Album and Dylan won Best Solo Rock Vocal Performance for "Someday Baby".^[281] Modern Times was named Album of the Year by Rolling Stone^[282] and Uncut.^[283] On the same day that Modern Times was released, the iTunes Music Store released Bob Dylan: The Collection, a digital box set containing all of his albums (773 tracks), along with 42 rare and unreleased tracks.^[284]

On October 1, 2007, Columbia Records released the triple CD retrospective Dylan, anthologizing his entire career under the Dylan 07 logo.^[285] The sophistication of the Dylan 07 marketing campaign was a reminder that Dylan's commercial profile had risen considerably since the 1990s. This became evident in 2004, when Dylan appeared in a TV advertisement for Victoria's Secret.^[286] In October 2007, he participated in a multi-media campaign for the 2008 Cadillac Escalade.^[287]^[288] In 2009 he gave the highest profile endorsement of his career to date, appearing with rapper will.i.am in a Pepsi ad that debuted during Super Bowl XLIII. The ad opened with Dylan singing the first verse of "Forever Young" followed by will.i.am doing a hip hop version of the song's third and final verse.^[289]

The Bootleg Series Vol. 8 – Tell Tale Signs was released in October 2008, as both a two-CD set and a three-CD version with a 150-page hardcover book. The set contains live performances and outtakes from selected studio albums from Oh Mercy to Modern Times, as well as soundtrack contributions and collaborations with David Bromberg and Ralph Stanley.^[290] The pricing of the album—the two-CD set went on sale for $18.99 and the three-CD version for $129.99—led to complaints about "rip-off packaging".^[291]^[292] The release was widely acclaimed by critics.^[293] The abundance of alternative takes and unreleased material suggested to one reviewer that this volume of old outtakes "feels like a new Bob Dylan record, not only for the astonishing freshness of the material, but also for the incredible sound quality and organic feeling of everything here".^[294]

Together Through Life and Christmas in the Heart

Dylan released Together Through Life on April 28, 2009. In a conversation with music journalist Bill Flanagan, Dylan explained it originated when French director Olivier Dahan asked him to supply a song for his movie My Own Love Song. He initially intended to record a single track, "Life Is Hard", but "the record sort of took its own direction".^[295] Nine of the album's ten songs are credited as co-written by Dylan and Robert Hunter.^[296] The album received largely favorable reviews,^[297] although several critics described it as a minor addition to Dylan's canon.^[298] In its first week of release, the album reached number one on the Billboard 200 chart in the US, making Dylan, at 67 years of age, the oldest artist to ever debut at number one on that chart.^[299]

Dylan's Christmas in the Heart was released in October 2009, comprising such Christmas standards as "Little Drummer Boy", "Winter Wonderland" and "Here Comes Santa Claus".^[300] Edna Gundersen wrote that Dylan was "revisiting yuletide styles popularized by Nat King Cole, Mel Tormé, and the Ray Conniff Singers".^[301] Dylan's royalties from the album were donated to the charities Feeding America in the US, Crisis in the UK, and the World Food Programme.^[302] The album received generally favorable reviews.^[303] In an interview published in The Big Issue, Flanagan asked Dylan why he had performed the songs in a straightforward style, and he replied: "There wasn't any other way to play it. These songs are part of my life, just like folk songs. You have to play them straight too."^[304]

2010s

Tempest

Volume 9 of Dylan's Bootleg Series, The Witmark Demos, was issued in October 18, 2010. It comprised 47 demo recordings of songs taped between 1962 and 1964 for Dylan's earliest music publishers: Leeds Music in 1962, and Witmark Music from 1962 to 1964. One reviewer described the set as "a hearty glimpse of young Bob Dylan changing the music business, and the world, one note at a time."^[305] On the critical aggregator Metacritic, the album has a score of 86, indicating "universal acclaim".^[306] In the same week, Sony Legacy released Bob Dylan: The Original Mono Recordings, a box set that presented Dylan's eight earliest albums, from Bob Dylan (1962) to John Wesley Harding (1967), in their original mono mix in the CD format for the first time. The set was accompanied by a booklet featuring an essay by Greil Marcus.^[307]^[308]

On April 12, 2011, Legacy Recordings released Bob Dylan in Concert – Brandeis University 1963, taped at Brandeis University on May 10, 1963, two weeks before the release of The Freewheelin' Bob Dylan. The tape was discovered in the archive of music writer Ralph J. Gleason, and the recording carries liner notes by Michael Gray, who says it captures Dylan "from way back when Kennedy was President and the Beatles hadn't yet reached America. It reveals him not at any Big Moment but giving a performance like his folk club sets of the period ... This is the last live performance we have of Bob Dylan before he becomes a star."^[309]

On Dylan's 70th birthday, three universities organized symposia on his work: the University of Mainz,^[310] the University of Vienna,^[311] and the University of Bristol^[312] invited literary critics and cultural historians to give papers on aspects of Dylan's work. Other events, including tribute bands, discussions and simple singalongs, took place around the world, as reported in The Guardian: "From Moscow to Madrid, Norway to Northampton and Malaysia to his home state of Minnesota, self-confessed 'Bobcats' will gather today to celebrate the 70th birthday of a giant of popular music."^[313]

Dylan's 35th studio album, Tempest, was released on September 11, 2012.^[314] The album features a tribute to John Lennon, "Roll On John", and the title track is a 14-minute song about the sinking of the Titanic.^[315] In Rolling Stone, Will Hermes gave Tempest five out of five stars, writing: "Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks' words like a freestyle rapper on fire".^[316]

Volume 10 of Dylan's Bootleg Series, Another Self Portrait (1969–1971), was released in August 2013.^[317] The album contained 35 previously unreleased tracks, including alternative takes and demos from Dylan's 1969–1971 recording sessions during the making of the Self Portrait and New Morning albums. The box set also included a live recording of Dylan's performance with the Band at the Isle of Wight Festival in 1969. Thom Jurek wrote, "For fans, this is more than a curiosity, it's an indispensable addition to the catalog."^[318] Columbia Records released a boxed set containing all 35 Dylan studio albums, six albums of live recordings and a collection of non-album material (Sidetracks) as Bob Dylan: Complete Album Collection: Vol. One, in November 2013.^[319]^[320] To publicize the box set, an innovative video of "Like a Rolling Stone" was released on Dylan's website. The interactive video, created by director Vania Heymann, allowed viewers to switch between 16 simulated TV channels, all featuring characters who are lip-synching the lyrics.^[321]^[322]

Dylan appeared in a commercial for the Chrysler 200 car which aired during the 2014 Super Bowl. In it, he says that "Detroit made cars and cars made America... So let Germany brew your beer, let Switzerland make your watch, let Asia assemble your phone. We will build your car." Dylan's ad was criticized for its protectionist implications, and people wondered whether he had "sold out".^[323]^[324] The Lyrics: Since 1962 was published by Simon & Schuster in the fall of 2014. The book was edited by literary critic Christopher Ricks, Julie Nemrow and Lisa Nemrow and offered variant versions of Dylan's songs, sourced from out-takes and live performances. A limited edition of 50 books, signed by Dylan, was priced at $5,000. "It's the biggest, most expensive book we've ever published, as far as I know", said Jonathan Karp, Simon & Schuster's president and publisher.^[325]^[326] A comprehensive edition of the Basement Tapes, songs recorded by Dylan and the Band in 1967, was released as The Bootleg Series Vol. 11: The Basement Tapes Complete in November 2014. The album included 138 tracks in a six-CD box; the 1975 album The Basement Tapes contained just 24 tracks from the material which Dylan and the Band had recorded at their homes in Woodstock, New York in 1967. Subsequently, over 100 recordings and alternate takes had circulated on bootleg records. The sleeve notes are by author Sid Griffin.^[327]^[328] The Basement Tapes Complete won the Grammy Award for Best Historical Album.^[329] The box set earned a score of 99 on Metacritic.^[330]

Shadows in the Night, Fallen Angels and Triplicate

In February 2015, Dylan released Shadows in the Night, featuring ten songs written between 1923 and 1963,^[331]^[332] which have been described as part of the Great American Songbook.^[333] All of the songs had been recorded by Frank Sinatra, but both critics and Dylan himself cautioned against seeing the record as a collection of "Sinatra covers".^[331]^[334] Dylan explained: "I don't see myself as covering these songs in any way. They've been covered enough. Buried, as a matter a fact. What me and my band are basically doing is uncovering them. Lifting them out of the grave and bringing them into the light of day".^[335] Critics praised the restrained instrumental backings and the quality of Dylan's singing.^[333]^[336] The album debuted at number one in the UK Albums Chart in its first week of release.^[337] The Bootleg Series Vol. 12: The Cutting Edge 1965–1966, consisting of previously unreleased material from the three albums Dylan recorded between January 1965 and March 1966 (Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde) was released in November 2015. The set was released in three formats: a 2-CD "Best Of" version, a 6-CD "Deluxe edition", and an 18-CD limited "Collector's Edition". On Dylan's website the "Collector's Edition" was described as containing "every single note recorded by Bob Dylan in the studio in 1965/1966".^[338]^[339] The Best of the Cutting Edge entered the Billboard Top Rock Albums chart at number one on November 18, based on its first-week sales.^[340]

Dylan released Fallen Angels, described as "a direct continuation of the work of 'uncovering' the Great Songbook that he began on Shadows In the Night", in May.^[341] The album contained twelve songs by classic songwriters such as Harold Arlen, Sammy Cahn and Johnny Mercer, eleven of which had been recorded by Sinatra.^[341] Jim Farber wrote in Entertainment Weekly: "Tellingly, [Dylan] delivers these songs of love lost and cherished not with a burning passion but with the wistfulness of experience. They're memory songs now, intoned with a present sense of commitment. Released just four days ahead of his 75th birthday, they couldn't be more age-appropriate".^[342] The 1966 Live Recordings, including every known recording of Dylan's 1966 concert tour, was released in November 2016.^[343] The recordings commence with the concert in White Plains New York on February 5, 1966, and end with the Royal Albert Hall concert in London on May 27.^[344]^[345] The New York Times reported most of the concerts had "never been heard in any form", and described the set as "a monumental addition to the corpus".^[346]

In March 2017, Dylan released a triple album of 30 more recordings of classic American songs, Triplicate. Dylan's 38th studio album was recorded in Hollywood's Capitol Studios and features his touring band.^[347] Dylan posted a long interview on his website to promote the album, and was asked if this material was an exercise in nostalgia.

Nostalgic? No I wouldn't say that. It's not taking a trip down memory lane or longing and yearning for the good old days or fond memories of what's no more. A song like 'Sentimental Journey' is not a way back when song, it doesn't emulate the past, it's attainable and down to earth, it's in the here and now.^[348]

Critics praised the thoroughness of Dylan's exploration of the Great American Songbook, though, in the opinion of Uncut, "For all its easy charms, Triplicate labours its point to the brink of overkill. After five albums' worth of croon toons, this feels like a fat full stop on a fascinating chapter."^[349] The next volume of Dylan's Bootleg Series revisited his "Born Again" Christian period of 1979 to 1981, described by Rolling Stone as "an intense, wildly controversial time that produced three albums and some of the most confrontational concerts of his long career".^[350] Reviewing the box set The Bootleg Series Vol. 13: Trouble No More 1979–1981, comprising 8 CDs and 1 DVD,^[350] Jon Pareles wrote in The New York Times:

Decades later, what comes through these recordings above all is Mr. Dylan's unmistakable fervor, his sense of mission. The studio albums are subdued, even tentative, compared with what the songs became on the road. Mr. Dylan's voice is clear, cutting and ever improvisational; working the crowds, he was emphatic, committed, sometimes teasingly combative. And the band tears into the music.^[351]

Trouble No More includes a DVD of a film directed by Jennifer Lebeau consisting of live footage of Dylan's gospel performances interspersed with sermons delivered by actor Michael Shannon.

In April 2018, Dylan made a contribution to the compilation EP Universal Love, a collection of reimagined wedding songs for the LGBT community.^[352] The album was funded by MGM Resorts International and the songs are intended to function as "wedding anthems for same-sex couples".^[353] Dylan recorded the 1929 song "She's Funny That Way", changing the gender pronoun to "He's Funny That Way". The song was previously recorded by Billie Holiday and Frank Sinatra.^[353]^[354] That same month, The New York Times reported that Dylan was launching Heaven's Door, a range of three whiskeys. The Times described the venture as "Mr. Dylan's entry into the booming celebrity-branded spirits market, the latest career twist for an artist who has spent five decades confounding expectations".^[355] Dylan has been involved in both the creation and the marketing of the range; on September 21, 2020, Dylan resurrected Theme Time Radio Hour with a two-hour special with the theme of "Whiskey".^[356] On November 2, 2018, Dylan released More Blood, More Tracks as Volume 14 in the Bootleg Series. The set comprises all Dylan's recordings for Blood On the Tracks and was issued as a single CD and also as a six-CD Deluxe Edition.^[357]

In 2019, Netflix released Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, billed as "Part documentary, part concert film, part fever dream".^[358]^[359] The film received largely positive reviews but also aroused controversy because it mixed documentary footage filmed during the Rolling Thunder Revue in the fall of 1975 with fictitious characters and stories.^[360]^[361] Coinciding with the film release, the box set The Rolling Thunder Revue: The 1975 Live Recordings, was released by Columbia Records. The set comprises five full Dylan performances from the tour and recently discovered tapes from Dylan's tour rehearsals.^[362] The box set received an aggregate score of 89 on Metacritic, indicating "universal acclaim".^[363] The next installment of Dylan's Bootleg Series, Bob Dylan (featuring Johnny Cash) – Travelin' Thru, 1967 – 1969: The Bootleg Series Vol. 15, was released on November 1. The set comprises outtakes from Dylan's albums John Wesley Harding and Nashville Skyline, and songs that Dylan recorded with Johnny Cash in Nashville in 1969 and with Earl Scruggs in 1970.^[364]^[365]

2020s

Rough and Rowdy Ways

On March 26, 2020, Dylan released "Murder Most Foul", a seventeen-minute song revolving around the Kennedy assassination, on his YouTube channel.^[366] Billboard reported on April 8 that "Murder Most Foul" had topped the Billboard Rock Digital Song Sales Chart, the first time that Dylan had scored a number one song on a pop chart under his own name.^[367] Three weeks later, on April 17, 2020, Dylan released another new song, "I Contain Multitudes".^[368]^[369] The title is from Walt Whitman's poem "Song of Myself".^[370] On May 7, Dylan released a third single, "False Prophet", accompanied by the news that the three songs would all appear on a forthcoming double album.

Rough and Rowdy Ways, Dylan's 39th studio album and his first album of original material since 2012, was released on June 19 to favorable reviews.^[371] Alexis Petridis wrote: "For all its bleakness, Rough and Rowdy Ways might well be Bob Dylan's most consistently brilliant set of songs in years: the die-hards can spend months unravelling the knottier lyrics, but you don't need a PhD in Dylanology to appreciate its singular quality and power."^[372] Rob Sheffield wrote: "While the world keeps trying to celebrate him as an institution, pin him down, cast him in the Nobel Prize canon, embalm his past, this drifter always keeps on making his next escape. On Rough and Rowdy Ways, Dylan is exploring terrain nobody else has reached before—yet he just keeps pushing on into the future".^[373] The album earned a score of 95 on Metacritic, indicating "universal acclaim".^[371] In its first week of release Rough and Rowdy Ways reached number one on the UK album chart, making Dylan "the oldest artist to score a No. 1 of new, original material".^[374]

In December 2020, it was announced that Dylan had sold his entire song catalog to Universal Music Publishing Group,^[375] including both the income he receives as a songwriter and his control of their copyright. Universal, a division of the French media conglomerate Vivendi, will collect all future income from the songs.^[376] The New York Times stated Universal had purchased the copyright to over 600 songs and the price was "estimated at more than $300 million",^[376] although other reports suggested the figure was closer to $400 million.^[377]

In February 2021, Columbia Records released 1970, a three-CD set of recordings from the Self Portrait and New Morning sessions, including the entirety of the session Dylan recorded with George Harrison on May 1, 1970.^[378]^[379] Dylan's 80th birthday was commemorated by a virtual conference, Dylan@80, organized by the University of Tulsa Institute for Bob Dylan Studies. The program featured seventeen sessions over three days delivered by over fifty international scholars, journalists and musicians.^[380] Several new biographies and studies of Dylan were published.^[381]^[382]

In July 2021, livestream platform Veeps presented a 50-minute performance by Dylan, Shadow Kingdom: The Early Songs of Bob Dylan.^[383] Filmed in black and white with a film noir look,^[384] Dylan performed 13 songs in a club setting with an audience.^[383]^[385] The performance was favorably reviewed,^[385]^[384] and one critic suggested the backing band resembled the style of the musical Girl from the North Country.^[386] The soundtrack to the film was released on 2 LP and CD formats in June 2023.^[387] In September, Dylan released Springtime in New York: The Bootleg Series Vol. 16 (1980–1985), issued in 2 LP, 2 CD and 5 CD formats. It comprised rehearsals, live recordings, out-takes and alternative takes from Shot of Love, Infidels and Empire Burlesque.^[388] In The Daily Telegraph, Neil McCormick wrote: "These bootleg sessions remind us that Dylan's worst period is still more interesting than most artists' purple patches".^[389] Springtime in New York received an aggregate score of 85 on Metacritic.^[390]

On July 7, 2022, Christie's, London, auctioned a 2021 recording of Dylan singing "Blowin' in the Wind". The record was in an innovative "one of one" recording medium, branded as Ionic Original, which producer T Bone Burnett claimed "surpasses the sonic excellence and depth for which analogue sound is renowned, while at the same time boasting the durability of a digital recording."^[391]^[392] The recording fetched GBP £1,482,000—equivalent to $1,769,508.^[393]^[394] In November, Dylan published The Philosophy of Modern Song, a collection of 66 essays on songs by other artists. The New Yorker described it as "a rich, riffy, funny, and completely engaging book of essays".^[395] Other reviewers praised the book's eclectic outlook,^[396] while some questioned its variations in style and dearth of female songwriters.^[397]

In January 2023, Dylan released The Bootleg Series Vol. 17: Fragments – Time Out of Mind Sessions (1996–1997) in multiple formats. The 5-CD version comprised a re-mix of the 1997 album "to sound more like how the songs came across when the musicians originally played them in the room" without the effects and processing which producer Daniel Lanois applied later; 25 previously unreleased out-takes from the studio sessions; and a disc of live performances of each song on the album performed by Dylan and his band in concert.^[398] On November 17, 2023, Dylan released The Complete Budokan 1978, containing the full recordings of the February 28 and March 1 Tokyo concerts from his 1978 Tour.^[399]

Dylan contributed a cover version of Cole Porter's song "Don't Fence Me In" to the soundtrack of the biographical film Reagan, which was released on August 30, 2024.^[400] On September 20, 2024, Dylan released The 1974 Live Recordings, a 27-disc CD boxset of recordings from the 1974 Bob Dylan & The Band tour, featuring 417 previously unreleased live tracks.^[401]