I love that Bob Dylan asked me to be in the first movie he wrote.
We didn’t have the phrase ‘style icon’ when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets – I liked how they dressed – and Catholic school boys.
My heroes were Dylan, John Lennon and Picasso, because they each moved their particular medium forward, and when they got to the point where they were comfortable, they always moved on.
I’ve been really, really blessed. I got to perform on stage with Bob Dylan. I’ve gotten to sing with Mick Jagger.
We don’t need another Woody. Even Bob Dylan knew he couldn’t be Woody Guthrie… I like Woody Guthrie fine, but I don’t need the 50th generation version of it.
Bob Dylan is the Jew of all time.
I used to write on pads with a pen but had trouble reading the words the next day. Years later, Bob Dylan taught me to just write and write on a laptop computer. Then I’d print that out. When it was time to write a song, I’d go through the pages and sing melodies to words that moved me.
I couldn’t have asked for a better testimonial than Bob Dylan parting with his own cash for a pair of my shoes.
I was mainly influenced by the Carter Family, Jimmie Rodgers, Loretta Lynn, Merle Haggard, and others like Bob Dylan, Johnny Cash.
I never had this ego where I must write everything. I’m not Bob Dylan.
In other words, I’d say the whole story of Bob Dylan is one man’s search for God. The turns and the steps he takes to find God are his business. I think he went to a study group at the Vineyard, and it created a lot of excitement.
I have Bob Dylan lyrics on my ribs. I’m a diehard Dylan fan, and my dad and I joke that if I ever met him, I’d have him sign his name right under my tattoo and then I’d run to the parlor to get his signature tattooed.
‘The Big Lebowski”s soundtrack has had as much of an influence on me as the film itself. My favorite Bob Dylan song is ‘The Man in Me,’ which plays over the movie’s opening credits as well as during the first dream sequence.
The biggest influence? I’ve had several at different times – but the biggest for me was Bob Dylan, who was a guy that came along when I was twelve or thirteen and just changed all the rules about what it meant to write songs.
As a composer, Dylan now fits comfortably alongside George Gershwin or Irving Berlin, though he grumpily refuses to wear any man’s collar.
People like Howlin’ Wolf, Bob Dylan, The Rolling Stones, John Lee Hooker, Nina Simone, Captain Beefheart – all of these artists were what I grew up listening to every day of my life. And there’s a very healthy music scene in the west country of England, where I grew up.
When I met Bob Dylan, I was definitely impressed. This guy had come from the American folk world, but he was very schooled in poetry, too. He’d studied the Beat poets, of course. I grew up in the British bohemian scene. Dylan grew up in the American bohemian scene. So I was very pleased to meet such a guy.
It was my love for the guitar that first got me into music and singing. Growing up, I was inspired by The Beatles and Bob Dylan. Damian Rice was a huge influence for me musically.
I’m like, ‘Would you be the person in the room that would boo when Dylan went electric? I know I wouldn’t. Or are you the person that left The Beatles after ‘She Loves You,’ or ‘Drive My Car?’ You weren’t on board for ‘Revolution 9’ or ‘Day In The Life,’ were you?’
I have nothing against Dylan O’Brien! He’s one of my favorite people. I have so much respect for him and his work.
I think we have responsibilities to be active in the things we believe in, regardless of what our job is. At least in my lifetime, there has been a tremendous combining of activism and music, that came up in the era of Pete Seeger and the Weavers and Joan Baez and Bob Dylan and Peter Paul & Mary.
I’ve always loved Bob Dylan.
I met Dylan on ‘Pat Garrett and Billy the Kid.’ We buddied around for quite a while after that. We jammed together; he liked my Mexican songs.
My musical tastes go from Zeppelin to Bob Dylan to Kanye West and Lil’ Wayne. Anything modern and progressive.
Look at Bob Dylan: his voice is not a great sound, but it gets the idea across… and that is what’s really important.
One of the autobiographies I really liked was Bob Dylan’s. It was interesting because he didn’t do it in a linear fashion.
Bob Dylan was the source of pop music’s unpredictability in the Sixties. Never as big a record-seller as commonly imagined, his importance was first aesthetic and social, and then as an influence.
I admire those old road dogs, Willie Nelson, Bob Dylan. That’s their life.
I wanted James Carville to never die. I wanted Dylan, the poet, to not die. I wanted to put these people in a place where they would be inviolate. It wasn’t enough to have a still life of them. I wanted to surround them with the lives they led.
I loved working with Bob Dylan.
It sounds lonely being Bob Dylan, because Bob Dylan likes being around other Bob Dylans, and there are not many other Bob Dylans around.
The only thing about rock n’ roll in my house is a couple of paintings of Jimi Hendrix and Bob Dylan – and they were expensive, too.
I’ll never be Bob Dylan. He’s the master.
Maybe high school would have been a good time to have a little Dylan McKay in my life.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
It seems like if they’d given Bob Dylan a pen and paper in the cradle that he would’ve come up with a great song. I’d love to write songs like that.
Dylan’s ‘Chronicles’ is easily the best rock n’ roll memoir ever written, as far as I’m concerned. There aren’t many stories in there, but if you want to know where an artist came from and why he thinks the way he does, then that’s the one.
I knew Bobby Dylan back in the days when he lived in the village. He used to come and see me and sing songs for me, saying they ought to go into my next collected book on American folk music.
In the ’60s, I used to love rock magazines; I’d cut out pictures of Bob Dylan and John Lennon.
Now that my kids are out of the house, I’m finally able to get to the classics I never read: Emily Bronte, Dylan Thomas, Joseph Heller’s ‘Catch-22.’ It’s endless. They’re all in this gigantic pile next to my bed.
When I was playing with Bob Dylan in, like, 1966, I was, like, 20 years old.
Bob Dylan’s first couple of records in the 60’s weren’t considered cover records, but he only wrote one or two original songs on each album.
Growing up, I was inspired by The Beatles and Bob Dylan. Damian Rice was a huge influence for me musically.
I had maybe heard ‘The Times Are A-Changing’ on the radio, but I had no idea who Dylan was. No idea.
I feel like we’re very lucky in the sense that Dawes can be the kind of band that plays with Bright Eyes or M. Ward but that also plays with Bob Dylan.
When I heard his first songs, Dylan was answering certain questions that I had all my life been asking myself.
Actually, I never liked Dylan’s kind of music before; I always thought he sounded just like Yogi Bear.
Townes Van Zandt is the best songwriter in the whole world, and I’ll stand on Bob Dylan’s coffee table in my cowboy boots and say that.
We are at a crossroads in the music business: with the rise of the internet, the world we live in has changed, and the past is not coming back. But I see the glass as half-full: the internet and social networking are new avenues for the next Bob Dylan to be born on.
My secret heroes were Joe Morello, Ray Charles – who is, in my opinion, the most dominant figure in musical history in the 21st century – and Frank Sinatra. Those are my heroes. And as a writer, when Bob Dylan came along, it was a miracle because he gave us all permission to say anything!
To distract myself from writing, I was singing Bob Dylan’s ‘My Back Pages.’ You know, ‘I was so much older then; I’m younger than that now.’ I thought, ‘I should write a character like that.’
Bob Dylan and John Lennon and Bruce Springsteen, these are soul guys. Bruce Springsteen might not sing like Otis Redding, but he sings with white soul. He’s singing and he’s writing songs from the bottom of his gut.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
Bob Dylan is someone that – I don’t care how long into the future it is – somebody will still play Bob Dylan. He will always survive.
I’ve always liked acoustic blues. I liked Bob Dylan a lot.
I’m a catalogue artist: I compete with Bob Dylan.
Lolita’ was written at a time when we were heavily listening to more dance, electronic, and trance, and then on the flip side we were writing country-pop songs like ‘Born Bob Dylan’ or our acoustic songs, or trip-hop.
My dad influenced my musical taste. I grew up listening to Bob Dylan and The Rolling Stones and a bunch of rock music from the ’60s. Now, instead of watching TV, I’ll play a record from start to finish.
