QUOTE
Before Dylan brought forth that song....pop music were songs with lightweight subject matter.
True or untrue? Ask The Seegers. What makes the Dylan song so serious? How can it's influence on other songs be measured?
Actually, I'd backdate this to
The Freewheelin' Bob DylanQUOTE("wikipedia")
In an interview taken in 2000, Van Morrison recalled The Freewheelin' Bob Dylan: "I think I heard it in a record shop in Smith Street. And I just thought it was incredible that this guy's not singing about 'moon in June' and he's getting away with it. That's what I thought at the time. The subject matter wasn't pop songs, ya know, and I thought this kind of opens the whole thing up...Dylan put it into the mainstream that this could be done."
"Blowin' in the Wind" is arguably Dylan's most famous composition, certainly the one composition that made him a household name. The song's melody is based on "No More Auction Block (Many Thousands Gone)," a traditional American folk song, dating as far back as 1867. Described by Clinton Heylin as "an anonymous slave's cry for emancipation," Dylan had performed "No More Auction Block" in concert, and a celebrated performance from the Gaslight Cafe was even issued on The Bootleg Series.
"Blowin' in the Wind" made a strong impression on the civil rights movement of the 1960's, but its impact had little to do with its musical roots, even though its lineage made its influence all the more appropriate. Most listeners were taken by its lyrics, which were Dylan's own words. African-American artists like Sam Cooke, Stevie Wonder, and The Staple Singers heard the songs as a clear expression of the civil rights movement ("How many roads must a man walk down / Before you call him a man?"), and artists like Cooke and Mavis Staples were surprised to hear that in "Blowin' in the Wind" because the song was written by a Caucasian man. Many artists, including Wonder and The Staple Singers, not only recorded their own cover versions of "Blowin' in the Wind" but were also inspired to explore similar ground in their own compositions. The most famous example is perhaps "A Change Is Gonna Come," written and recorded by Sam Cooke. One of Cooke's final recordings, "A Change Is Gonna Come" became a widely-known civil rights anthem and is now one of the most celebrated recordings in popular music.
....
It was also during March that The Beatles were in France, playing a week's worth of concerts. During their stay in France, George Harrison came back to the hotel with an album titled En Roue Libre, better known as The Freewheelin' Bob Dylan. According to Harrison, "we just played it, just wore it [out]. The content of the song lyrics and just the attitude!"
But still...
QUOTE("wikipedia")
"Like A Rolling Stone" is a song directed at a woman who once lived a life of privilege but has now experienced a reversal in fortune. Soon after recording the master, Dylan cut a test pressing for his music publisher and played it for several friends. It made an immediate, strong impression. One early listener was producer Paul Rothchild, who said "I knew the song was a smash, and yet I was consumed with envy because it was the best thing I'd heard any of our crowd do and knew it was going to turn the tables on our nice, comfortable lives." Dylan's friend, Paul Nelson, was recording a folk album at the time, and upon hearing it, he thought, "Oh boy, this just makes what we did obsolete."
When the single was released, Paul McCartney recalls hearing it at John Lennon's house: "It seemed to go on and on forever. It was just beautiful ... He showed all of us that it was possible to go a little further." A very young Bruce Springsteen would hear the recording on WMCA while driving in a car with his mother: "That snare shot that [kicked it off] sounded like somebody'd kicked open the door to your mind." Frank Zappa later recalled, "When I heard 'Like A Rolling Stone,' I wanted to quit the music business, because I felt: 'If this wins and it does what it's supposed to do, I don't need to do anything else.' ... It sold, but nobody responded to it the way that they should have."
QUOTE
That song was like nothing heard on top 40 before.
True or untrue?
It was a #2 hit clocking over 6 minutes, that along was huge in 1965.
If you want more on Dylan's influence (and not necessarily "Like A Rolling Stone"), well, other anecdotes off the top of my head:
Otis Redding met Dylan in 1966, and this was around Monterey, and Redding was interested in learning new music. He didn't get
Blonde on Blonde, but the earlier, less surreal work made more sense to him, and partially inspired his new direction (granted, he was killed soon after, but he recorded an ENORMOUS amount of material during this time, including "Sitting at the Dock of the Bay.")
Jimi Hendrix obviously was influenced, he covered some of Dylan's songs, appreciated the more surreal lyrics...he said he was inspired to front his own band because Dylan had so much success with a "terrible" voice, a mediocre voice like Hendrix's should do fine.
Lou Reed and the Velvet Underground were heavily influenced. (Lou of course showed up at the 30th anniversary concert.)
Neil worships Dylan and is heavily influenced by his writing, he's made that clear for 30 years.
Patti Smith obviously. They toured together.
A lot of Dylan's influence was filtered down through other artists to the next generation and the next, etc.
Even if you don't like Dylan or never hear his music, chances are, whatever you're listening to now bears his imprint in some way. His early social protest songs broke through in a way few before had (the Weavers were suppressed, labels were fearful of songs like "Strange Fruit"...Dylan didn't just record these songs, he wrote them, and lots of people covered them and gave them greater success). Then you look at "Chimes of Freedom," and the surreal imagery to paved the way for psychedelia, if not in sound than in spirit and words...to his trifecta of mid-60's classics...then the 180 where he went rural when everyone else was tripping...then a landmark confessional album that's probably more beloved than Joni Mitchell's
Blue...etc. You can overestimate anybody's influence, but with Dylan, it's pretty tough.