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One of Dylan's first electric recordings, "Subterranean Homesick Blues" is also notable for its innovative music video, which first appeared in D. A. Pennebaker's documentary Dont Look Back. An acoustic version of the song, recorded the day before the single, was released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 .
The music video references the recording of Dylan's song, "Subterranean Homesick Blues" in the 1967 D. A. Pennebaker documentary Dont Look Back. [3] The video for "Bob" is similarly shot in black-and-white, and in the same back-alley setting, with Yankovic dressing as Dylan and dropping cue cards that have the song's lyrics on them, as Dylan did in the film.
Dont Look Back is a 1967 American documentary film directed by D. A. Pennebaker that covers Bob Dylan's 1965 concert tour in England.. In 1998, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being deemed "culturally, historically, or aesthetically significant".
Director D.A. Pennebaker's iconic "Don't Look Back," a 1967 documentary on Bob Dylan, ... Tap," "Documentary Now" and a host of music videos spring-boarding off the "Subterranean Homesick Blues ...
The album opens with "Subterranean Homesick Blues", heavily inspired by Chuck Berry's "Too Much Monkey Business". "Subterranean Homesick Blues" became a Top 40 hit for Dylan. "Snagged by a sour, pinched guitar riff, the song has an acerbic tinge … and Dylan sings the title rejoinders in mock self-pity," writes music critic Tim Riley. "It's ...
“Subterranean Homesick Blues 2022” is a starry reinterpretation of D.A. Pennebaker's original, this time with new cue card visuals dreamt up by a range of creators.
He began with the high-energy tune “Outlaw Blues” from the 1965 album “Bringing It All Back Home.” In addition to singing live, Chalamet played electric guitar with support from a full band.
An early music video for "Subterranean Homesick Blues" was used as the film's opening segment. Dylan's late March 1965 album, Bringing It All Back Home, was another leap, [89] featuring his first recordings with electric instruments, under producer Tom Wilson's guidance. [90]
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