A Quote by Leo Sayer
One of the reasons I had moved to London to pursue my career was that I could go to the clubs in the evening and maybe meet my heroes, people like Donovan and Bert Jansch and Dylan. I actually did see Dylan in a club one night.
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Sometimes I wish I had taken the Bob Dylan route and sang songs where my voice would not go out on me every night, so I could have a career if I wanted.
Bob Dylan is my idol. Everybody has that person growing up that made them see things a little differently than they did before, Dylan is that guy for me. My dad gave me the 'Blonde on Blonde' album on cassette tape when I was seven or eight. It took me a while to get into Dylan's vibe, but once I did, I never looked back.
I moved to leave, and Dylan actually grabbed my shoulders. I was so surprised that i forgot to karate-chop his elbows and break his arms.' “I don’t want anything to happen to you,” he said urgently. “What you want does not matter here,” I said slowly and carefully. I hoped Dylan was sensitive enough to read between the lines, to the subtext of: Let go of me or I’ll kill you.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.
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.
While [Bob] Dylan's folk fans thought he was selling out [in 1965-67], actually Dylan was lodging a stronger, deeper critique of American hypocrisy.
I think that the reason my records are able to live forever in the club is because I actually like to be in the club. I don't go to the club to do VIP or get bottles or nothin' - I go to the club, I enjoy the people, I see what the people are vibin' off, and I see what makes me go crazy in the club also, and that has a lot of influence on what I bring to the table when I'm thinking of making a big club record.
When the American documentary filmmaker Donn Alan Pennebaker wanted to do a film on Dylan, Dylan asked him what he'd already done, and Pennebaker answered, Nothing except shots in the street. Dylan asked to see them, and he agreed to let him do the film.
In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record (The Freewheelin' Bob Dylan) from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan.
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.
Bob Dylan is great. I've been compared to him a lot. I think when people see a person on stage with a guitar they just think, 'Bob Dylan!'
Bob Dylan is great. Ive been compared to him a lot. I think when people see a person on stage with a guitar they just think, Bob Dylan!
My name is Dylan simply because my parents did not know before I was born if I would be a boy or a girl, and Dylan was a name that worked in both cases.
I was comparatively late in understanding Bob Dylan's overwhelming importance as a songwriter. Everybody who does my job exists in the shadow of Bob Dylan. There are two categories: Dylan and everybody else. It's as simple as that. And it's going to be that way until he dies.
Bob Dylan and Leonard Cohen. They're my biggest heroes. I love everything about Leonard Cohen: his lyrics and his voice. He seems like a really clever man, and Bob Dylan does as well. He's just really cool.
A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz's Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song.
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