A Quote by Robbie Robertson

When I was playing with Bob Dylan in, like, 1966, I was, like, 20 years old. — © Robbie Robertson
When I was playing with Bob Dylan in, like, 1966, I was, like, 20 years old.
I have no doubt that if I met Bob Dylan, it would be disappointing - and annoying to him. But that's why I like Bob Dylan.
One month I'll be completely obsessed with Bob Dylan and the next Arcade Fire. I like early Elton John and David Bowie, Bob Dylan and Bruce Springsteen. I listen to a lot of American bands. But I like listening to new bands, too.
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.
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.
Bob Dylan had been a big sort of presence in my life but I'd never quite registered what he was trying to tell me. He was always this kind of figure, a sort of bear-like figure in the corner of the room. You know, every time I imagined what Bob Dylan looked like, he looked a bit like Steve Earl used to look - with the beard.
They were playing old Bob Dylan, more than perfect for narrow Village streets close to Christmas and the snow whirling down in big feathery flakes, the kind of winter where you want to be walking down a city street with your arm around a girl like on the old record cover.
I didn't sound anything like Capote at the screen test. It was more like Bob Dylan. In his early years. With the flu.
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.
When I see myself at 14 years old I can put my hands on my head and think: 'How could I have done that?' but at that time it had sense for me. You do the same when you're 20. And now, when you look at people who are 20 years old you ask yourself: 'Was I like that? Was I really like that?'
but right now it's Bob Dylan Bob Dylan Bob Dylan all the way.
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.
I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.
I've been playing music for over 20 years now. I started playing when I was 14 years old. To everyone who has said I was an overnight success... where have you been the last 20 years?
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.
I've met Bob Dylan's bodyguards, and if Steve Earle thinks he can stand on Bob Dylan's coffee table, he's sadly mistaken.
I timed my previous wife's pregnancy to the moment to have my son born on Bob Dylan's 50th birthday. There is no bigger Bob Dylan fan than me. You don't just time the day and impregnate your wife to get your kid to be born on Bob Dylan's 50th birthday.
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