'Freight Train Blues' is a funny tune, Dylan sounding somewhat like a mountain goat, yet he does try to stretch those notes, yodel those words and more besides. His introduction to 'Baby Let Me Follow You Down' reveals where he borrowed the tune from, but these traditional tunes and covers are always given a Dylan twist through the performance and arrangements. Dylan's reading of the same tune is really good actually, he captures the songs seriousness and gives it a fitting bluesy vocal. 'House Of The Rising Son' was already circulating well in folk circles, Baez having covered it on her debut LP in 1960. 'Bob Dylan' was recorded live in two days and Dylan picks some interesting material. The young Dylan travelled up to the hospital the dying Guthrie was staying at and played him the tune by his bedside. Only two originals here, the talking blues of 'Talkin' New York' which humorously yet somewhat bitterly tells the tale of Dylan first arriving in New York and 'Song To Woody', which is self explanatory. He was at odds with the smooth likes of Joan Baez right from the start, Dylan going for the Guthrie, lived-in sound. This gets him into trouble here and there, and elsewhere, he has fun with his voice as if he's almost embarrassed by it. Well, his voice sounds older than it was, Dylan going for an authentic sound. Switching back to 'Bob Dylan', he demonstrates his skill at the harmonica and acoustic guitar. His new songs kept being demonstrated at concerts and clubs and Dylan was growing in confidence about being a singer/songwriter rather than just a folk/blues performer. You're No Good / Talkin' New York / In My Time Of Dyin' / Man Of Constant Sorrow / Fixin' To Die / Pretty Peggy-O / Highway 51 Blues / Gospel Plow / Baby, Let Me Follow You Down / House Of The Risin' Son / Freight Train Blues / Song To Woody / See That My Grave Is Kept Cleanīob had already moved beyond this album by the time Columbia released it.
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