from the album
Bringing It All Back Home
"Mr. Tambourine Man" is a song written and performed by Bob
Dylan and featured on his 1965 album
Bringing It All Back Home, produced by Tom Wilson (
see1965 in music). The Byrds also recorded a version
that was their first single on Columbia Records and the title
track of their first album, and which reached #1 on both the
Hot 100 chart and the UK Singles Chart. The Byrds had access to
a recording of the song by Dylan and Ramblin' Jack Elliot, from
when Dylan attempted to record it during the session for his
Another Side of Bob Dylanalbum, before it was released
on
Bringing It All Back Home. As a result, The Byrds were
able to release their own version just two weeks after Dylan's.
The Byrds' recording of the song was influential in initiating
the musical subgenre of folk rock, leading many contemporary
bands to mimic its fusion of jangly guitars and intellectual
lyrics in the wake of the single's success.
The song has also been covered by many other artists,
including Judy Collins, Odetta, Melanie, and William Shatner.
The song's popularity led to Dylan recording it live many
times, and it has been included in multiple Dylan and Byrds
compilation albums. It has been translated into several
languages, and has also been used in television shows and
films, and referenced in several books.
The song has a bright, expansive melody and has become
famous in particular for its surrealistic imagery, influenced
by artists as diverse as French poet Arthur Rimbaud and Italian
filmmaker Federico Fellini. The lyrics call on the title
character to play a song and the narrator will follow.
Interpretations of the lyrics have included a paean to drugs
such as LSD, a call to the singer's muse, a reflection of the
audience's demands on the singer, and religious
interpretations. Dylan sings the song in four verses, but only
one of these was recorded by The Byrds. The song is one of just
three that was included twice in
Rolling Stone's list of the 500 Greatest Songs of All
Time, since both The Byrds' version and Dylan's own version are
included. Both versions also received Grammy Hall of Fame
Awards.
"Mr. Tambourine Man" was written in early 1964, about the
same time as "Chimes of Freedom", which Dylan recorded later
that spring for his last acoustic album,
Another Side of Bob Dylan. Dylan began writing "Mr.
Tambourine Man" in February 1964, after partying in New Orleans
during Mardi Gras while on a cross-country road trip with
several friends, completing it sometime between mid-March and
late April after returning to New York. Journalist Al Aronowitz
claimed that Dylan completed the song at his home but folk
singer Judy Collins (who later covered the song) has also
claimed that Dylan completed the song at her home. Dylan
premiered the song the following month during a visit to
England in what is considered one of the landmark concerts of
the 1960s, his solo May 17 appearance at London's Royal
Festival Hall.
Dylan first recorded "Mr. Tambourine Man" a few weeks later,
on June 9, with Tom Wilson producing, during the
Another Side of Bob Dylansession. The take, recorded
with Ramblin' Jack Elliott, was cut from the album because
Dylan felt the song was special and their performance did not
do it justice. More than six months passed before Dylan
re-recorded the song, again with Tom Wilson in the producer's
chair, during the final
Bringing It All Back Homesession on January 15, 1965,
the same day as "Gates of Eden", "It's Alright, Ma (I'm Only
Bleeding)", and "It's All Over Now, Baby Blue" were recorded.
It was long thought that the four songs were all recorded in
one long take. However, in the biography
Bob Dylan: Behind the Shades, Clinton Heylin relates
that the song required six attempts, possibly because of
difficulties in working out the playoffs between Dylan's
acoustic guitar and Bruce Langhorne's electric lead. The final
take was selected for the album which was released on March 22,
1965.
The song has a bright, expansive melody, with Langhorne's
electric guitar accompaniment, which provides a countermelody
to the vocals, being the only instrument besides Dylan's
acoustic guitar. Dylan plays a harmonica solo that evokes the
narrator's internal daydream. Unusually, rather than beginning
with the first verse, the song begins with an iteration of the
chorus:
The four verses expand on the narrator's situation using
heavily embroidered imagery. Though weary, the narrator is
unable to sleep and wants to hear Mr. Tambourine Man's song,
believing that the song will fulfill his desire to be set
free.
There has always been speculation that the song is about
drugs such as LSD or marijuana, particularly with lines such as
"take me on a trip upon your magic swirling ship" and "the
smoke rings of my mind." However, Dylan always denied the song
is about drugs, and though he was using marijuana at the time
the song was written, he was not introduced to LSD until a few
months later. Other commentators have interpreted the song as a
call to the singer's spirit or muse, or the singer's search for
transcendence. The singer is praying to his muse for
inspiration; ironically the song itself is evidence that the
muse has already provided the sought-after inspiration. Mr.
Tambourine Man has also been interpreted as a symbol for Jesus
Christ and for the Pied Piper of Hamelin. The song may also
reference gospel music, with Mr. Tambourine Man being the
bringer of religious salvation.
Dylan cited the influence of Federico Fellini's movie La
strada on the song, while other commentators found echoes of
the poetry of Arthur Rimbaud. The lyrics "in the jingle jangle
morning I'll come following you" are taken from a Lord Buckley
recording. In addition to providing the electric guitar
accompaniment for the song, Dylan has said that Bruce Langhorne
was the inspiration for the tambourine man image in the song.
Langhorne used to play a giant, four-inch-deep Turkish
tambourine, and had brought it to a previous Dylan recording
session.
"Mr. Tambourine Man" was included on
Bob Dylan's Greatest Hitsin 1967 and several later Dylan
compilation albums, including
Biograph,
Masterpieces, and
The Essential Bob Dylan. The song has always been a
personal favorite of Dylan's, and he has said that "it's the
only song I tried to write 'another one'", although he did not
succeed.
The song has been in Dylan's live concert repertoire ever
since it was written. At Dylan's appearance at the Newport Folk
Festival on July 25, 1965, after he was heckled by acoustic
folk music fans during his electric set, Dylan returned to play
acoustic versions of "Mr. Tambourine Man" and "It's All Over
Now, Baby Blue". That performance of "Mr. Tambourine Man" is
included in Murray Lerner's film
The Other Side of the Mirror., and in Martin Scorsese's
documentary
No Direction Home. Dylan also played it as part of his
evening set at the August 1, 1971, Concert for Bangladesh, a
benefit concert organized by George Harrison and Ravi Shankar.
That performance is included on
The Concert for Bangladeshalbum, although it was
excluded from the film of the concert. A live version from
Dylan's famous May 17, 1966, concert in Manchester, England
(popularly but mistakenly known as the Royal Albert Hall
Concert) is included on
The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal
Albert Hall" Concert. Another live version from the Rolling
Thunder Revue tour of 1975 is on
The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling
Thunder Revue, and yet another live version from 1978 is on
Bob Dylan at Budokan.
Two 1964 recordings of the song by Dylan have been made
available on compact disc. A live performance at New York's
Philharmonic Hall dating from October 31, 1964, was released on
The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at
Philharmonic Hall. A version recorded with Ramblin' Jack
Elliott on backing vocals during sessions for
Another Side of Bob Dylanwas included on
The Bootleg Series Vol. 7: No Direction Home.
"Mr. Tambourine Man" was the debut single by the American
folk rock band The Byrds, released on April 12, 1965 by
Columbia Records. The song was included on the band's debut
album,
Mr. Tambourine Man, released on June 21, 1965. The
single, along with the album of the same name, was influential
in originating the musical style known as folk rock, with the
single becoming the first folk rock smash hit. Indeed, the term
"folk rock" was first coined by the U.S music press to describe
the band's sound at the same time as "Mr. Tambourine Man"
peaked at #1 on the
Billboardchart.
The single initiated the folk rock explosion of 1965 and
1966, with many acts imitating the band's hybrid of a rock
beat, jangly guitar playing and poetic or socially conscious
lyrics. This hybrid had its antecedents in the folk revival of
the early 1960s, The Animals' recording of "The House of the
Rising Sun", the folk-influenced songwriting of The Beau
Brummels, and the twelve-string guitar jangle of The Searchers
and The Beatles. However, it was The Byrds who first melded
these disparate elements into a unified whole, creating the
template for folk rock heard around the globe during the
mid-1960s. Although Dylan's recording of "Mr. Tambourine Man"
was not itself a direct influence on the genre, his recordings
with an electric rock backing on the albums
Bringing It All Back Homeand
Highway 61 Revisitedcertainly were.
Most of the members of The Byrds had a background in folk
music, since Jim McGuinn, Gene Clark, and David Crosby had all
worked as folk singers during the early 1960s. They had also
spent time, independently of each other, in various folk
groups, including The New Christy Minstrels, The Limeliters,
The Chad Mitchell Trio, and Les Baxter's Balladeers. In early
1964, McGuinn, Clark and Crosby formed The Jet Set and started
developing a fusion of folk-based lyrics and melodies with
arrangements in the style of The Beatles. While the band
rehearsed at World Pacific Studios, their manager Jim Dickson
acquired an acetate disc of "Mr. Tambourine Man" from Dylan's
publisher, featuring a performance by Dylan and Ramblin' Jack
Elliott. Although the band were initially unimpressed with the
song, they eventually agreed to begin rehearsing and demoing
it. In an attempt to make it sound more like The Beatles, the
band and Dickson elected to give the song a full, electric rock
band treatment, effectively creating the musical subgenre of
folk rock. To further bolster the group's confidence in the
song, Dickson invited Dylan to hear the band's rendition at
World Pacific. Dylan was impressed, enthusiastically commenting
"Wow, You can dance to that!" and his endorsement erased any
lingering doubts the band had about the song. During this
period, drummer Michael Clarke and bass player Chris Hillman
joined and the band changed their name to The Byrds over
Thanksgiving 1964. The two surviving demos of "Mr. Tambourine
Man" recorded at World Pacific feature an incongruous marching
band drum part from Clarke but overall the arrangement, which
utilized a 4/4 time signature instead of Dylan's 2/4
configuration, is very close to the later single version.
The master take of "Mr. Tambourine Man" was recorded on
January 20, 1965, at Columbia Studios in Hollywood, prior to
the release of Dylan's own version. The song's jangling,
melodic guitar playing (played by McGuinn on a 12-string
Rickenbacker guitar) was immediately influential and has
remained so to the present day. The group's complex harmony
work, as featured on "Mr. Tambourine Man", became another major
characteristic of their sound. Due to producer Terry Melcher's
initial lack of confidence in The Byrds' musicianship, McGuinn
was the only Byrd to play on "Mr. Tambourine Man" and its
B-side, "I Knew I'd Want You". Rather than using band members,
Melcher hired The Wrecking Crew, a collection of top L.A.
session musicians, who (with McGuinn on guitar) provided the
backing track over which McGuinn, Crosby, and Clark sang. By
the time the sessions for their debut album began in March
1965, however, Melcher was satisfied that the band was
competent enough to record its own musical backing.
The Byrds' recording of the song opens with a distinctive,
Bach-inspired guitar introduction played by McGuinn and then,
like Dylan's version, goes into the song's chorus. Although
Dylan's version contains four verses, The Byrds only perform
the song's second verse, before repeating the chorus, followed
by a variation on the song's introduction which then fades out.
The Byrds' arrangement of the song had been shortened during
rehearsals at World Pacific in 1964, at the suggestion of Jim
Dickson, in order to accommodate commercial radio stations
which did not want to play songs that were over two-and-a-half
minutes long. Thus, while Dylan's version is five-and-a-half
minutes long, The Byrds' runs just short of two-and-a-half
minutes. The lead vocal on The Byrds' version of "Mr.
Tambourine Man" was sung by McGuinn, who attempted to modify
his singing style to fill what he perceived as a gap in the
popular music scene of the day, somewhere between the vocal
sound of John Lennon and Bob Dylan. The song also took on a
spiritual aspect for McGuinn during the recording sessions, as
he told The Byrds' biographer Johnny Rogan in 1997: "I was
singing to God and I was saying that God was the Tambourine Man
and I was saying to him, 'Hey, God, take me for a trip and I'll
follow you.' It was a prayer of submission."
The single reached #1 on the
BillboardHot 100, and #1 on the UK Singles Chart. "Mr.
Tambourine Man" thus became the first recording of a Dylan song
to reach #1 on any pop music chart. In the wake of "Mr.
Tambourine Man" the influence of The Byrds could be heard in
many recordings released by American acts, including The
Turtles, Simon & Garfunkel, The Lovin' Spoonful, Barry
McGuire, The Mamas & the Papas, Jefferson Airplane, We
Five, Love, and Sonny & Cher. In addition, by late 1965 The
Beatles themselves were assimilating the sound of folk rock,
and in particular The Byrds, into the material found on their
Rubber Soulalbum, most notably on the songs "Nowhere
Man" and "If I Needed Someone". As the 1960s came to a close,
folk rock changed and evolved away from this jangly template
but the influence of The Byrds could still be heard in the
early 70's music of bands like Fairport Convention and
Pentangle. The Byrds folk rock sound has continued to influence
bands from the 1970s through to the present day, including Big
Star, Tom Petty and the Heartbreakers, R.E.M., The Long Ryders,
The Smiths, The Bangles, The Stone Roses, Teenage Fanclub, The
Bluetones, and Delays.
In addition to appearing on The Byrds' debut album, the song
is included on several Byrds' compilation and live albums,
including
The Byrds Greatest Hits,
Live at Royal Albert Hall 1971,
The Original Singles: 1965–1967, Volume 1,
The Very Best of The Byrds,
The Essential Byrds,
The Byrds Play Dylan, and the live disc of The Byrds'
(Untitled)album. The Byrds' version of the song also
appears on compilation albums that include hit songs by
multiple artists. Two earlier demo recordings of the song, from
the World Pacific sessions, can be heard on The Byrds' archival
albums
Preflyte,
In the Beginning, and
The Preflyte Sessions.
"Mr. Tambourine Man" has been covered by many artists, and
at least 13 times in 1965 alone, including versions by Odetta,
Judy Collins, The Four Seasons, The Barbarians, and Chad and
Jeremy. Other artists who have covered the song include The
Beau Brummels (1966), The Lettermen (1966), Kenny Rankin
(1967), Melanie (1969), Gene Clark (1984), Les Fradkin (2007),
and Bob Sinclar (2009). William Shatner also covered the song
in a spoken-word recitation on his 1968 album,
The Transformed Man. Indie bands, such as Cloud Cult,
have also covered the song. A reunited line-up of The Byrds,
featuring Roger McGuinn, Chris Hillman, and David Crosby,
performed "Mr. Tambourine Man" with Dylan at a Roy Orbison
tribute concert on February 24, 1990. This live performance of
the song was included on the 1990 box set,
The Byrds. At the October 1992 Bob Dylan 30th
anniversary tribute concert at Madison Square Garden, McGuinn
performed the song, backed by Tom Petty, Mike Campbell, and
Benmont Tench, among others.
The song has been translated and recorded in several
languages. Müslüm Gürses has covered the song with different
lyrics written in Turkish. The Turkish version of the song was
called
Hayat Berbat. It was translated into Romanian by Florian
Pittiş, and sung by Pasărea Colibri on their 1995 album "În
căutarea cuibului pierdut".
The song has appeared in films and television shows. Former
American Idolcontestant Jason Castro covered this song
on the show in 2008, forgetting one line. He later mentioned in
an interview that, "Someone told me I Shot the Tambourine Man";
a reference to him also singing "I Shot the Sheriff" by Bob
Marley that same week. The students in the movie
Dangerous Mindsstudy the poetry of "Mr. Tambourine Man",
and possible drug-related meanings are discussed.
"Mr. Tambourine Man" has also been referenced in books. In
Tom Wolfe's non-fiction novel
The Electric Kool-Aid Acid Test, "Mr. Tambourine Man" is
referenced regarding Dylan's "raunching and rheuming." In
Stephen King's book
Carrie, the song is mentioned as one of the songs to be
sung as the entertainment portion of the famous prom scene
alongside "500 Miles", "Cabaret", "Lemon Tree", "Raindrops Keep
Fallin' on My Head", and "Bridge over Troubled Waters".
The song has been played at funerals. Journalist Hunter S.
Thompson requested the song be played at his funeral while his
ashes were shot out of a cannon, and also dedicated his novel
Fear and Loathing in Las Vegasto Dylan because of the
song. And Pete Townshend played this song at the funeral of
Neil Aspinall, The Beatles' road manager and personal
assistant.
The Byrds' version of "Mr. Tambourine Man" was listed as the
#79 song on
Rolling Stone's list of the 500 Greatest Songs of All
Time, and Dylan's version was ranked #106. It is one of three
songs to place twice, along with "Walk This Way" by both
Aerosmith and Run-DMC with Perry and Tyler, and "Blue Suede
Shoes" by both Carl Perkins and Elvis Presley. The Byrds
version was honored with a Grammy Hall of Fame Award in 1998,
and Dylan's version was honored with the same award in
2002.
In 1989
Rolling Stonelisted The Byrds' version of "Mr.
Tambourine Man" as the #86 single of the prior 25 years. That
same year, music critic Dave Marsh listed it as #207 in his
list of the top 1001 singles ever made. In 1999, National
Public Radio in the United States listed this version as one of
the 300 most important American records of the 20th century. In
the UK, music critic Colin Larkin listed The Byrds' version as
the #1 single of all time. Other UK publishers that have listed
this song as one of the top songs or singles include
Mojo,
New Musical Express, and
Sounds. Australian music critic Toby Creswell included
the song in his book
1001 Songs: The Great Songs of All Time and the Artists,
Stories and Secrets Behind Them.
In a 2005 reader's poll reported in
Mojo, Dylan's version of "Mr. Tambourine Man" was listed
as the #4 all-time greatest Bob Dylan song, and a similar poll
of artists ranked the song #14. In 2002,
Uncutlisted it as the #15 all-time Dylan song.