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"One Too Many Mornings" is a song by Bob Dylan, released on his third studio album The Times They Are a-Changin' in 1964. [1] The chords and vocal melody are in some places very similar to the song "The Times They Are A-Changin'". "One Too Many Mornings" is in the key of C Major and is fingerpicked.
"Key West (Philosopher Pirate)" is a song written and performed by the American singer-songwriter Bob Dylan, released as the ninth track on his thirty-ninth studio album, Rough and Rowdy Ways (2020). The tracks for the album were written by Dylan at his home in Point Dume in late 2019 and early 2020.
In the 2022 edition of their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon claim that the song is "treading in the footsteps of Jimmy Reed and John Lee Hooker" but note that it has "quite unusual lyrics for this musical style". [7] The song is performed in the key of C major. [8]
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait. The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) [1] repeating the same two lines
"Silvio" is a folk rock song written by Bob Dylan and Robert Hunter and released by Dylan as the seventh track (or second song on Side 2) of his 1988 album Down in the Groove. Performed alongside the Grateful Dead , the song was released as the album's only single and spent eight weeks on Billboard 's Mainstream Rock chart , peaking at #5 on ...
Take 16, a complete version of the song with just Dylan on piano and vocals – which was highly praised by Paul Williams in Bob Dylan Performing Artist The Early Years 1960–1973 [4] – was released in 2015 on the deluxe and collector's editions of The Bootleg Series Vol. 12: The Cutting Edge 1965–1966, along with various other takes of ...
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Spectrum Culture included the song on a list of "Bob Dylan's 20 Best Songs of the '10s and Beyond". In an article accompanying the list, critic Jacob Nierenberg described the song thusly: "Waltzing and hymnlike, it sounds closer to the pop standards that Dylan spent much of this decade putting his spin on than it does his usual brew of blues ...