Bob Dylan - John Wesley Harding mp3 flac

John Wesley Harding is the eighth studio album by American singer-songwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music.

All Along the Watchtower Bob Dylan LIVE RARE PERFORMANCE BRILLIANT. Bob Dylan - Down Along the Cove Live John Wesley Harding (All Seeing Eye) including intro 4:59. Bob Dylan I'll be Your Baby Tonight 2000 UK Tour The Very Best Quality Rare Performance 5:37. se, Oedipus Recs, dagb, anssisal, chillyboy64.

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Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan's rock albums - even the then-unreleased Basement Tapes he made the previous year - but it isn't a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as "I'll Be Your Baby Tonight," are straight country songs.

John Wesley Harding As I Went Out One Morning I Dreamed I Saw St. Augustine All Along The Watchtower The Ballad Of Frankie Lee and Judas Priest Drifter's Escape Dear Landlord I Am A Lonesome Hobo I Pity The Poor Immigrant The Wicked Messanger Down Along The Cove I'll Be Your Baby Tonight. John Wesley Harding: Intro: D. D. John Wesley Harding. A. Was a friend to the poor

John Wesley Harding Was a friend to the poor He traveled a'with a gun in ev'ry hand All along this countryside He opened a'many a door But he was never known To hurt an honest man. ’Twas down in Chaynee County A time they talk about With his lady by his side He took a stand And soon the situation there Was all but straightened out For he was always known To lend a helping hand. The first song, and title track, of Bob Dylan’s supposed comeback album after the famed motorcycle crash 18 months earlier. Gone is the thin, wild mercury music of 1965-1966, gone is the wild-haired, shade-wearing rock star, gone is any hint at being the voice of a generation, replaced by a soft-spoken, acoustic folk singer both far more traditional and far more mystical than his original protest singer version, eschewing touring to stay home with his family in upstate New. York.

Instead, John Wesley Harding mixes tall tales and biblical allusions into its own cracked, cryptic mythology, one very much rooted in American folk traditions but sounding somehow ancient and otherworldly. In their way, these songs are as dense and disorienting as the ones on Blonde on Blonde, even if they’re paradoxically simpler in their arrangements and generally more economical in their verbiage. If all of that makes John Wesley Harding sound like a difficult album, that’s not quite the case. It can certainly be elusive, but the songwriting is evocative, the style is appealingly earthy, and its strange mystique is alluring rather than alienating.