拍品专文
Bob Dylan said of his music in the context of the Blonde On Blonde album ...I always hear other instruments, how they should sound. The closest I ever got to the sound I hear in my mind was on individual bands in the 'Blonde On Blonde' album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up. That's my particular sound...
Just Like A Woman proved to be one of the most popular Dylan compositions of the 1960s, being covered by artists like The Byrds, Joe Cocker, the Hollies and Manfred Mann. A regular inclusion on Dylan's 1966 world tour, the song has continued to feature in his repertoire ever since.
Like many of his songs on the Blonde On Blonde album, Just Like A Woman was composed during Dylan's early 1966 sessions at the Columbia Recording Studios in Nashville, Tennessee. He'd teach me a tune, remembers his keyboard player Al Kooper, and I'd play it over and over again and he'd write the lyrics. Then I'd go to the session an hour before him and teach the band the songs.
This very important manuscript is one of only a handful to have surfaced which illustrate Dylan's working methods. The handwritten notation shows him finalising the lyrics for the song's bridge section. The typewritten lyrics, laid out in a fashion identical to the Dylan manuscripts published in his 1973 collection, Writings And Drawings, features a number of lines that were rejected for the final draft of the song - notably, the section he never said he'd live forever...I wonder where you might be.
Just Like A Woman proved to be one of the most popular Dylan compositions of the 1960s, being covered by artists like The Byrds, Joe Cocker, the Hollies and Manfred Mann. A regular inclusion on Dylan's 1966 world tour, the song has continued to feature in his repertoire ever since.
Like many of his songs on the Blonde On Blonde album, Just Like A Woman was composed during Dylan's early 1966 sessions at the Columbia Recording Studios in Nashville, Tennessee. He'd teach me a tune, remembers his keyboard player Al Kooper, and I'd play it over and over again and he'd write the lyrics. Then I'd go to the session an hour before him and teach the band the songs.
This very important manuscript is one of only a handful to have surfaced which illustrate Dylan's working methods. The handwritten notation shows him finalising the lyrics for the song's bridge section. The typewritten lyrics, laid out in a fashion identical to the Dylan manuscripts published in his 1973 collection, Writings And Drawings, features a number of lines that were rejected for the final draft of the song - notably, the section he never said he'd live forever...I wonder where you might be.