All language subtitles for American.Masters.No.Direction.Home.Bob.Dylan.2005.480p.DVDRip.x264.AAC-[YTS.MX]

I'm looking for a place that will
"collect, clip, bath," and return my dog...

"KN1-7727, cigarettes and tobacco."

"Animals and birds bought
or sold on commission."

I want a dog that's gonna collect
and clean my bath, return my cigarette...

and give tobacco to my animals
and then give my birds a commission.

I'm looking for somebody to sell my dog...

collect my clip, buy my animal,
and straighten out my bird.

I'm looking for a place to bathe my bird...

buy my dog, collect my clip...

sell me cigarettes and commission my bath.

I'm looking for a place
that's going to collect my commission...

sell my dog, burn my bird,
and sell me to the cigarette.

Going to bird my buy, collect my will,
and bathe my commission.

I'm looking for a place
that's going to animal my soul...

knit my return, bathe my foot,
and collect my dog.

Commission me to sell my animals,
to the bird to clip and buy my bath...

and return me back to the cigarettes.

These are all protest songs. Now, come on.

This is not British music,
it's American music. Now, come on.

When you're lost in the rain in Juarez

And it's Eastertime too

When your gravity's down

And negativity don't get you through

Just don't put on any airs

When you're down on Rue Morgue Avenue

They got some hungry women there

And they really make a mess out of you

Sweet Melinda

The peasants call her the goddess of gloom

She speaks good English

My left fingertips?

- Yeah, let me feel them.
- Good God, man.

What?

And picking up Angel

Who just arrived here from the coast

Who looked so fine at first

But left looking just like a ghost

Bob!

Every single one of them. That's...

That's all I do, is protest.

The March on Washington was not only
a moment of extreme hopefulness...

it was a moment of the confirmation
of the possibility...

of that hope becoming a reality.

That was the moment of recognition...

of what people could do to change history.

I have a dream...

that one day...

this nation will rise up...

and live out the true meaning of its creed.;

"We hold these truths to be self-evident...

"that all men are created equal."

I was up close
when King was giving that speech.

To this day it still affects me
in a profound way.

I would like now to introduce
a young singer...

from New York, Bob Dylan.

I looked out the podium,
I looked out at the crowd...

and I remember thinking to myself.;

"Man, I've never seen such a large crowd."

Oh the time will come up
When the winds will stop

And the breeze will cease to be breathing

Like the stillness in the wind
Before the hurricane begins

The hour that the ship comes in

Free at last, free at last,
thank God Almighty.

We are free at last.

And the ship's wise men
Will remind you once again

That the whole wide world is watching

He would take individuals and infuse them
with life that you could understand.

So even if he never considered himself
a protest singer, he was a protest singer.

And he saw what was happening
all around him...

and everybody else saw
what was happening all around them...

but he voiced that for the first time.

"Hard rain's gonna fall"
means something's going to happen.

Oh, where have you been,
my blue-eyed son?

And where have you been,
my darling young one?

I've stumbled on the side
of 12 misty mountains

I've walked and I've crawled
on six crooked highways

I've stepped in the middle
of seven sad forests

And I've been out in front
of a dozen dead oceans

I've been 10,000 miles
in the mouth of a graveyard

And it's a hard and it's a hard

And it's a hard and it's a hard

And it's a

He's been shot! Oswald has been shot.

Rain's a-gonna fall

We were going to make this world
a decent, better place...

but that loss,
I think it traumatized the nation terribly.

The Emergency Civil Liberties Union...

was people who were really,
deeply involved...

in progressive politics, were idealists...

and had a dream about fairness and justice.

Well, here's Bobby, he's 21 years old
or whatever, he gets up there...

and they're giving him an award
and his discomfort was extraordinary.

And he pointed his finger at them
and he said...

"I haven't got any guitar. I can talk, though.

"I want to thank you
for the Tom Paine Award...

"on behalf of everybody
that went down to Cuba.

"First of all, because they're all young
and it took me a long time to get young...

"and now I consider myself young,
and I'm proud of it.

"I'm proud that I'm young.

"And I only wish that all you people
who are sitting out here tonight...

"weren't here, and I could see
all kinds of faces with hair on their head...

"and everything like that,
everything leading to youngness. "

You know, they were trying to build me up
as a topical songwriter.

I was never a topical songwriter
to begin with...

for whatever reason they were doing it...

was reasons not, really...
That didn't really apply to me.

"Old people, when their hair grows out,
they should go out.

"I look down to see the people
that are governing me...

"and making my rules,
and they haven't got any hair on their head.

"I get very uptight about it.

"There's no black and white,
left and right to me any more.

"There's only up and down,
and down is very close to the ground.

"And I'm trying to go up without thinking
about anything trivial, such as politics. "

The evening that Dylan
was given the Freedom Award...

from the Emergency Civil
Liberties Committee...

apparently he got up, stood on his hind legs
and said he was not a political poet...

and nobody's left wing servant...

but an independent minstrel or something.

And astonished and pissed everybody off...

by not being a nice trained seal.

People were expecting him to give
the same thing over and over again...

in a precise manner, and a precise theory,
in a precise way, and it got creepy...

because why should you have to
push yourself into a tunnel that isn't yours?

I mean, you're driving along
and all these roads are apparent.

Why do you have to take that tunnel,
and go in and it's literally a tunnel...

because it's political in its theory?

Whereas you're out there, driving around...

with all this other scenery going on,
and that's what you're bringing out.

I was like an outsider, anyway.

I'd come to town as an outsider,
and still, in a lot of ways...

I was still more outside
than I ever was, really.

They were trying to make me an insider
to some kind of trip they were on.

I don't think so.

Through the mad mystic hammering

of the wild ripping hail

The sky cracked its poems

in naked wonder

That the clinging of the church bells

blew far into the night

Leaving only bells of lightning

and its thunder

Striking for the gentle

striking for the kind

Striking for the guardians

and protectors of the mind

And the poet and the painter

who lights up his rightful time

And we gazed upon

The chimes of freedom flashing

Bob had a concert at
the Santa Monica Civic Auditorium...

where he told everybody how he
and Neuwirth and them had traveled...

across the country
and he sang Chimes of Freedom Flashing...

and it was incredible.

After the concert,
all of a sudden we found ourselves trapped.

There was a press of people outside.

We made it into the station wagon,
and then all the people came rushing over...

to the station wagon, and we slowly
started to move the station wagon out.

And I turned around and saw...
There was an amp and his guitars...

and their suitcases in the back with a little
tarp over it, and I saw the tarp moving.

Two young girls stowed away
under the tarp.

So we had to stop and gently eject them.

And of course,
then all the people were pressing around.

Bobby!

All of a sudden, he had become an idol.

That was the beginning of people
wanting more from him.

You know,
as if just the songs weren't enough.

Everybody wanted to sleep with Bobby...

to get high with Bobby.

The reverence was for Bobby,
but it was also for what he had created...

and everybody wanted to get close to it.

The desire to be next to him produced
a huge magnet which drew everybody.

Young and old.

Genius makes its own rules,
and Dylan is a genius.

A singing conscience and moral referee,
as well as a preacher.

He's also a very embarrassed
young man now, because...

It's always embarrassing to sit there
with your feet in cement...

while somebody compliments you
either casually or lavishly.

But, I've been reading a number of stories
about Bob this afternoon...

and they are all of that order.

A comment in Billboard,
the trade publication, says:

"Dylan's poetry is born
of a painful awareness...

"of the tragedy that underlies
the contemporary human condition."

Bob, do you sing partly your own songs...

and partly other people's,
or where do you get your material?

- Well, they're all mine, now.
- You sing all your own material?

And how long have you been writing
your own music?

For about two years.

He came to be as he is
because things needed saying...

and the young people were the ones
who wanted to say them.

He somehow had an ear on his generation.

I don't have to tell you.
You know him, he's yours, Bob Dylan.

I ain't looking to compete with you

Beat or cheat or mistreat you

Simplify you, classify you

Deny, defy or crucify you

All I really want to do

Is, baby, be friends with you

I want to say thank you.

I want to say thank you.
I want to say thank you, I love you.

Well, it ain't no use
to sit and wonder why, baby

If you don't know by now

Johnny Cash was more like
a religious figure to me.

And there he was at Newport,
you know, standing side by side.

Meeting him was the high thrill of a lifetime.

And, just the fact
that he had sung one of my songs...

was just unthinkable.

Johnny Cash and June Carter came by
after Bob had put a couple...

three tunes on tape for him,
this little portable machine.

Johnny called him out in the hall...

and Bob came back in a few minutes later,
he was holding this guitar and he says:

"He gave me his guitar."

Neuwirth was saying,
"Wow, that's an old country tradition.

"If somebody gives you a guitar,
that's a big honor, you know?"

This is called Hey, Mr. Tambourine Man.

"Please play a song for me."

Hey! Mr. Tambourine Man,
play a song for me

I'm not sleepy
and there is no place I'm going to

Hey! Mr. Tambourine Man,
play a song for me

In the jingle jangle morning

I'll come following you

Though I know that evening's empire

has returned into sand

Vanished from my hand
left me blindly here to stand

but still not sleeping

My weariness amazes me

I'm branded on my feet

I have no one to meet

And the ancient empty streets
too dead for dreaming

When Bob began to ignore topical material,
it bothered me...

'cause he wrote such marvelous material,
you know?

And suddenly to have stopped that
meant that he was going away...

from a political consciousness
that we felt we all had.

One can attribute that
as going commercial...

as getting away from this,
and that bothered us.

Then take me disappearing

through the smoke rings of my mind

Down the foggy ruins of time

far past the frozen leaves

The haunted, frightened trees

out to the windy beach

Far from the twisted reach of crazy sorrow

Yes, to dance beneath the diamond sky

with one hand waving free

Silhouetted by the sea

circled by the circus sands

With all memory and fate

driven deep beneath the waves

Let me forget about today

until tomorrow

An artist has got to be careful
never really to arrive at a place...

where he thinks he's "at" somewhere.

You always have to realize
that you're constantly...

in the state of becoming, you know?

And, as long as you can stay in that realm,
you'll sort of be all right.

I can't self-analyze my own work,
and I wasn't going to cater to the crowd...

because I knew certain people would like it,
and certain people didn't like it.

I had gotten in the door
when no one was looking.

I was in there now,
and there was nothing anybody...

from then on, could ever do about it.

There's a time when the operation
of the machine becomes so odious...

makes you so sick at heart
that you can't take part.

You can't even passively take part,
and you've got to put your bodies...

upon the gears and upon the wheels,
upon the levers, upon all the apparatus...

and you've got to make it stop,
and you've got to indicate to the people...

who run it, to the people who own it,
that unless you're free...

the machine will be prevented
from working at all.

The police have got Mario,
they are pulling him away.

The police have pulled Mario away...

All of us felt that those folks
before didn't get it.

We were surrounded...

by people who were insensitive
to the need for change.

And that's why Peter, Paul and Mary,
and Bob Dylan, Joan Baez...

all of whom were about the same age,
were put in positions of leadership...

because there was an identification
amongst the college students.

I felt it all over America.

You know, wherever in America you went,
you felt that things were happening...

in an Olympian type of way...

in which children were beyond
their parents' command.

He tried to exercise free speech...

Sometime around that period of time
I was painting in Berkeley...

and the phone rang,
and I think this was 1964.

The phone rang, it was Bob and he said:

"I have to do these shows,
you want to come?"

I said, "Well, I'm painting pictures."

He said, "I'll buy you a leather jacket,"
and he said, "all the paint you need."

The next thing I knew, you know,
I got on a plane...

and I flew to New York.

In those days, artistic success...

was not dollar-driven.

It was, you know...
Those were simpler times.

If you had something to say,
which was the...

Basically, the way people were rated...

you know, they'd say:
"Have you seen Ornette Coleman?

"Does he have anything to say?"

And it was the same with, like...
With Bob or anybody else.

Do they have anything to say or not?

Darkness at the break of noon
Shadows even the silver spoon

The handmade blade, the child's balloon

Eclipses both the sun and moon
To understand you know too soon

There is no sense in trying

As pointed threats, they bluff with scorn

Suicide remarks are torn
From the fool's gold mouthpiece

The hollow horn plays wasted words
Proves to warn

That he not busy being born
Is busy dying

Nobody had heard anything like this before.

No one had heard anything like this before.

There was a word of mouth.

And by the way, a crowd of 1,200 people
isn't that big a crowd...

if you stop and think about it.

That's about how many people
are waiting for the D train...

at Sheridan Square right now.

While preachers preach of evil fates

Teachers teach that knowledge waits
Can lead to hundred-dollar plates

Goodness hides behind its gates
But even the President of the United States

Sometimes must have to stand naked

Around that time he asked me
if I wanted to go with him to...

You know, he had a date in Chicago.

Did I want to come along?

What struck me was that he was at one...

or he became identical with his breath.

And Dylan had become a column of air,
so to speak, at certain moments...

where his total physical
and mental focus was...

this single breath coming out of his body.

He had a found a way in public
to be almost like a shaman...

with all of his intelligence
and consciousness...

focused on his breath.

So don't fear if you hear

A foreign sound to your ear

It's alright, Ma

I'm only sighing

He was doing more and more
prose writing, I think, at the time, too.

I think he was spending more time...

actually sitting down and writing stuff...

that he wasn't necessarily going to sing.

And then finding out
that some of that could be sung as well.

Of war and peace the truth just twists

lts curfew gull just glides

Upon four-legged forest clouds

The cowboy angel rides

The ideal performances of the songs...

would then come on stages
throughout the world.

Very few could be found
on any of my records.

Every second, every... You know...

Reaching the audience is what it's all about.

All except when 'neath the trees of Eden

There are no veils, curtains, doors, walls...

anything between
what pours out of Bob's hand...

onto the page...

and what is somehow available
to the core of people...

who are believers in him.

There's some people who'd say...
You know, not interested.

But if you're interested,
he goes way, way deep.

Go away from my window

Leave at your own chosen speed

A typical evening.

I guess there would be soundcheck.

And there would be me
dealing with what kind of mood...

Bob was going to be in.

I was already doing that, you know.

And when he was cheerful and up,
it was just spectacular.

And if he was dark,
there wasn't any way to reach him.

But always strong

Bob seemed to ignore
whatever was coming towards him.

He could literally, and I'd seen him do it...

turn his back and play a whole song,
play two songs.

Fiddling around with the equipment
on the stage.

And never even look at the public...

and it doesn't make the slightest bit
of difference in the magnetic draw.

It's as though the public wasn't even there...

he's just going to do what he's going to do,
and he has to change.

And he has to keep moving, and he has to
add this and he has to crank the sound.

If you ever work with him, if he did
this song the night before as a waltz...

tonight he's gonna do it in 2/4 time,
just to fuck you up, you know?

And so,
with somebody who moves like that...

I now see it, that it's very unique...

and it's admirable, and it's a pain in the ass
if you're trying to work with him.

Or it's a pain in the ass if you were
expecting something else from him.

If everybody really listened
to his own conscience...

and really acted upon what he thought
was right and wrong...

rather than being so hopelessly passive...

which I think just about everybody is.

I think it's probably the main disease...

is the passivity, where we will listen
to whatever anybody else says.

It's Daddy, and Mommy, and schoolteacher,
and Sunday school teacher, and President.

This is what the war in Vietnam is all about.

The old and the very young.

The Marines have burned
this old couple's cottage...

because fire was coming from here.

The day's operation burned down
150 houses...

wounded three women, killed one baby...

wounded one Marine,
and netted these four prisoners.

Four old men who could not answer
questions put to them in English.

I was feeling this political pull very strongly.

And I was thinking what the two of us
could do together, you know...

as far as any kind of movement, and that...

And so, we...
Our tour had come to an end...

and Bob said something like:
"Hey, we ought to do Carnegie Hall...

"or some big place like that."

And I said,
"What are we going to do with it?"

And... It was a pretty cold thing to say.

But then we did talk about...

you know, that he wanted to do his music
and I wanted to do all this other stuff...

and he said he didn't want to do
all that other stuff...

you know, so that was pretty clear.

And yeah, I was disappointed.

Oh my name it is nothing

My age it means less

I mean, he'd given us, by that point,
the greatest songs...

in our anti-war, civil rights arsenals.

Thirty-some years, whenever I go
to a march or a sit-in, or a lie-in...

or a be-in, or a jail-in,
people'd say, "Is Bob coming?"

I'd say, "He never comes, you moron!"

You know, "When are you going to get it?
Never did, probably never will."

And so I think he...

I think he couldn't have written songs
like the ones he wrote...

if he didn't feel generally,
I think, sort of, for the underdog.

But I think that he didn't want to have
to be the guy people were going to go to.

I mean, the times then were cut and dry.

You were either for the war
or you were against it.

You either hated niggers or, you know,
you supported King.

And you were forced to take a side.

Johnny's in a basement
Mixing up the medicine

I'm on the pavement
Thinking about the government

The man in the trench coat
badge out, laid off

Says he's got a bad cough
Wants to get it paid off

Look out kid
It's something you did

God knows when
But you're doing it again

You better duck down the alleyway

Looking for a new friend

The man in the coon-skin cap
In a pig pen

Wants eleven dollar bills
You only got ten

Maggie comes fleet foot
Face full of black soot

Talking that the heat put
plants in the bed but

The phone's tapped anyway
Maggie says that many say

They must bust in early May
Orders from the D.A.

Look out kid
Don't matter what you did

Walk on your tiptoes
Don't tie no dose

Better stay away from those
That carry around a fire hose

Keep a clean nose
Watch the plain clothes

You don't need a weather man
to know which way the wind blows

Words have their own meaning,
or they have different meanings...

and words change their meaning.

Words that meant something
10 years ago don't mean that now.

They mean something else.

Don't steal, don't lift
Twenty years of schooling

And they put you on the day shift

Look out kid
They keep it all hid

Better jump down a manhole
Light yourself a candle

Don't wear sandals
Try to avoid the scandals

Don't want to be a bum
You better chew gum

The pump don't work
'Cause the vandals took the handles

Subterranean Homesick Blues.
I mean...

I don't think I would have wanted to do it
all by myself.

I thought I'd get more power out of it,
you know, with a small group in back of me.

It was electric,
but doesn't necessarily mean...

that it's modernized
just because it's electric, you know?

It was, you know, like a...

Country music was electric, too.

I ain't gonna work

on Maggie's farm no more

The Bringing It All Back Home
session was really fun because...

it was this sort of spontaneous,
telepathic thing, you know?

Like he might have, you know,
played through a song very briefly...

and that was all the rehearsal or preparation
that anyone had for the songs.

Everyone was really good,
everyone was really funky, you know...

everyone had great time.

And everyone really
got behind Bobby's songs.

It was almost like just getting
together and jamming...

without any mandate
or any charts or anything.

I was riding on the Mayflower
when I thought I spied some land

He was playing all by himself, at first.

And then he stopped
and everybody laughed...

and then two seconds later,
he started it again...

and everybody came in just "bang,"
like gangbusters.

I was riding on the Mayflower
when I thought I spied some land

I yelled for Captain Arab
I have you understand

Who came running to the deck
Said, "Boys forget the whale

"Look on over yonder
Cut the engines change the sail

Haul on the bowline"
We sang that melody

Like all tough sailors do
When they're far away at sea

I mean, the whole culture
has moved and changed.

This is really what we're announcing.

The entire culture, both in America
and England has changed.

There's a whole new generation
that's grown up, everybody.

Do people at the Museum of Modern Art...

and the Metropolitan know about this,
do you think?

Do they know that culture has changed,
that there's a new generation?

Well, they have been in the foreground...

of showing all this new pop art themselves,
you know.

Warhol will be there in Albert Hall,
and Warhol's on the walls...

of the Museum of Modern Art
for the last five years.

There were signs of new life,
of another generation picking up...

a revolution in consciousness.
A bloodless revolution.

You know, like the first revolution
that never shed any blood.

That was the important thing.

I had just been kicked out of Cuba...

for just talking privately...

about Castro's persecution of gay people.

Then went to Czechoslovakia,
was elected King of May on May Day.

A week later was kicked out by the Minister
of Education and deported to London...

and then I landed around the time
of Dylan's concerts at Albert Hall.

There was a very exciting scene,
back at the hotel...

and Dylan was down the hall
with the Beatles.

Then a message came
that I was supposed to come in there.

So I came into the room
and everybody was sitting there...

totally stone-cold silent, frozen, paranoid.

Not quite knowing my place, knowing Bob...

I sat down on the side of his armchair.

John Lennon said snidely,
"Why don't you sit a little closer?"

I suddenly realized they were just so naive,
they were young.

So I actually, I fell over laughing
on to John's lap...

Iooking up at him and asked him,
"Do you ever read William Blake?"

He said, "Never heard of him."
And his wife said, "Oh, John, stop lying."

Then everybody began laughing,
and then the scene sort of broke up.

You know, the ice was broken.

It stuck me as funny
that these guys at the summit of power...

spiritual power, musical power,
world fame...

'65, May... June...

were so unsure...

of their minds and speech.

It interested me just to watch Dylan.

I could sort of see
that things that he did and said...

were interesting to me.

And I didn't know why, and so that got me
hooked on making a movie.

- Do you really like that song?
- Yeah, it's fantastic.

- What do you like about it?
- I just...

I don't like any of the
Subterranean Homesick Blues.

Oh, you're that kind of...
Okay, see, I understand right now.

When we'd go into a town,
there would be no sign...

and there would be people,
kind of, just hanging out at the steps...

waiting for him to...

And not waiting to crowd around
or see him or get his autograph.

Just waiting for him.

And it gave you a feeling that there
was some substance that you had to really...

see through, that you weren't
going to find out about this quickly.

But you had to kind of see it
the way they did.

In the dime stores and bus stations

People talk over situations

Read books and repeat quotations

Draw conclusions on the wall

Some speak of the future

My love she speaks softly

She knows there's no success like failure

And that failure's no success at all

Do you care about what you sing?

How could I answer that
if you got the nerve to ask me?

Well, then you have...

I mean, you've got a lot of nerve
asking me a question like that.

Do you ask the Beatles that?

I have to ask you that, because you have
the nerve to question whether I can...

I'm not questioning you,
because I don't expect any answer from you.

But do you think somebody wouldn't go see
somebody if they didn't want entertainment?

In the dime stores and bus stations

We showed him the first rough cut.

What he saw must have made him look like
he was bare bones...

and I think that was a big shock to him.

But then he saw, I think the second night,
he saw that it was total theater.

It didn't matter.

He was like an actor,
and he suddenly had reinvented himself...

as the actor within this movie,
and then it was okay.

That's what he's good at,
is getting used to the way things are.

I mean, he understands
that time changes everything.

They didn't light places,
they didn't have to stop filming.

If you ran, they ran.

If you went in a room,
they went into the room.

And you know, at a certain point,
you just became oblivious to that.

I was young, and I had expectations.

And wanted to be where the action was...

and I should not have been there
at that time.

Everybody was having a wonderful time
and they were all smashing things up...

in the hotel room, and I was
this weird square over in my room...

who didn't do all that stuff.

I was very critical of everybody who did,
and wanted my time with Bob...

because I thought he was a special friend,
and he had moved on.

And it was awful.
I mean, it just hurt like hell.

I thought, I assumed, that since
I'd invited him on the stage in the States...

he would invite me on the stage there.
He had no intention of doing that.

- Bob?
- Bob?

He was ready to have that whole stage
all to himself, that's what I'd say.

He didn't want anybody competing with it.

That's as close as I can get.

You know,
it was probably a stupid thing to do...

not letting her play, but you can't be wise
and in love at the same time, so...

I hope she'd see the light
sooner or later on that.

Bob is one of the most complex
human beings I've ever met...

I think at first I really tried
to figure this guy out. No.

I gave it up, and so I don't know.

I don't know what he thought about,
all I know is what he gave us.

The crash on the highway
threw the car into a field

Turn, turn, turn again

Four people killed with him at the wheel

Turn, turn to the rain
And the wind

The poetry, it tumbles out.
And I watched him write...

at the typewriter or writing... It's done.

Do you remember that goddamn song?

That love is just a four-letter word

I never finished that song. Did I?
No, I never finished it.

Oh, God!

- You finished it about eight different ways.
- Did I?

I stole Four Letter Word, I took that
and disappeared with it, and sang it...

and I think the next Bob knew about it,
he heard it on the radio.

I was with him when he heard it
on the radio and he was listening, he said:

"That's a great song."

That's a great song.
He didn't remember he had written it.

I said, "You wrote it, you dope."

Strange it is to be beside you

Strange it is to be beside you

Many years of tables turned

You'd probably not believe me
if I told you all I've learned

And it is very very weird indeed

To hear words like forever and free

So ships run through my mind
I cannot cheat

It's like looking
in the teacher's face complete

I can say nothing to you but repeat

What I heard

That love is just a four-letter

Love is just a four-letter

Love is just a four-letter word

Hey Mr. Tambourine Man

Hey Mr. Tambourine Man

Play a song for me

I'm not sleepy

And there ain't no place I'm going to

A lot of my songs, they were becoming
hits for other people.

There was, the Byrds had a big hit.

Some group called the Turtles had some hit.

Sonny and Cher had a hit
with a song of mine.

People were sort of writing
a jingly-jangly kind of song...

which seemed to have something to do
with me, I, you know, like, "okay..."

You know, I Got Me, Babe, is some kind of
take-off of me, something I wrote.

Well, I don't know what it was a take-off
on that I wrote, you know?

I didn't really like that sound...

or folk-rock, whatever that was, I didn't feel
that had anything to do with me.

It got me thinking about the
Billboard charts and the songs...

which become popular,
which I hadn't thought of that before.

Once upon a time you dressed so fine

You threw the bums a dime
in your prime, didn't you?

I found myself writing this song, this story...

this long piece of vomit,
20 pages long, and out of it...

I took Like A Rolling Stone,
and made it as a single...

and I'd never written
anything like that before.

And it suddenly came to me
that was what I should do.

After writing that, I wasn't interested
in writing a novel or a play or anything.

Like I knew I just had too much,
I wanted to write songs.

About having to scrounge

Your next meal

Mike Bloomfield said he had heard
my first record...

and said he wanted to show me
how the blues were played...

and I didn't feel much competitive...

I didn't feel much competitive with him,
he could outplay anybody, even at that...

at that point, you know.

But when it was time
to bring in a guitar player on my record...

I couldn't think of anybody but him.

I mean, he just was the best guitar player
I ever heard.

Okay, Bob. We've got everybody here,
let's do one. And then...

A producer named Tom Wilson
invited me to a recording session.

And me being 21 years old
and incredibly ambitious...

and a big Bob Dylan fan, I decided
I was going to play on that session.

There was another guitar player
who sat down, and was warming up...

and just was playing far beyond my abilities.

And he turned out to be Mike Bloomfield.

I packed up my guitar, and I went into
the control room where I belonged.

After the first couple of hours
of the session, they moved...

the organ player over to piano.

And I said,
"Well, here's another chance for me."

So I said to Tom Wilson:

"Why don't you let me play the organ?

"I got a great part for this,"
which was total bullshit.

And Tom Wilson said,
"Oh, man, you don't play the organ.

"You're a guitar player."

I said, "I got a really good part for this,
I can play it."

He said, "Al."

And just then someone came and got him...

to take a phone call that came in for him.

So he didn't say no.

Like a Rolling Stone, remake, Take One.

What are you doing there?

At that point,
he really could have just busted me...

and got me back in the control room.

But he was a very gracious man.
And so he let it go.

And so I began to play.

In the verses, in the beginning,
you hear me come in...

always an eighth note behind the band.

To make sure that I played the right chord...

the band would go... And I'd go like that.

Like that.

They started playing it back.

After about a verse or two,
Bob said to Tom Wilson.;

"Hey, turn the organ up."

And Tom Wilson said to Bob,
"Oh, man, that guy's not an organ player.

"He's just..."

And then Bob said,
"I don't care, turn the organ up."

Once upon a time you dressed so fine
threw the bums a dime in your prime

didn't you?

People'd call, say,
"Beware doll, you're bound to fall"

You thought they were all kidding you

You used to laugh about

Everybody that was hanging out

Now you don't talk so loud

Now you don't seem so proud

About having to be scrounging

your next meal

How does it feel

How does it feel

To be without a home

Like a complete unknown

Like a rolling stone

Like a Rolling Stone
definitely broke through somewhere.

I didn't feel like radio had ever played
a song like that before.

I know I'd never heard
a song like that before.

So...

And everything I'd done up to that
point had led up to...

writing a song like that, just effortlessly.

Like a Rolling Stone originally had
about 50-some verses, as I recall.

And people who think it's long now,
you know...

should have had a look at it
when it was raw.

I think he always made exactly the works
that he wanted to make...

At the time he wanted to make it.
The audience came to Bob.

And that's one of the things
that makes him so unique...

in the history of American music,
is the audience came to Bob Dylan.

I've never been that kind of performer...

that wants to be one of them, you know,
like one of the crowd.

I don't try to endear myself that way.

Now, do performers look for applause?
Yeah, yes and no.

It really depends
what kind of performer you are.

Like the story of Billie Holiday, you know...

when she sang Strange Fruit
for the first time, nobody applauded.

You know, you could leave somebody
kind of in a spellbound way and...

I don't know.
There's a lot of things going on...

when there's a performer on stage
and there's an audience out there.

That weekend, my daughter had been born.

Pete Seeger had made a recording of her.
And he played it.

He opened the night on Sunday night
at Newport...

and he played this little recording
of a new baby, he says.;

"Here's the first folk song, the first voice...

"and we're dedicating this festival
and this music and our purposes..."

"to this new child, and the new world
that she's going to grow up in."

And that was kind of, you know...
That's the way the evening began.

I was walking around in the afternoon
and Albert Grossman took me aside...

and said, "Bob is looking for you."

And he took me to Bob and Bob said,
"I want to play Sunday night...

"and try and reproduce
what we did on the album. "

And I said:

"Okay. Sounds great."

Ladies and gentlemen...

the person that's going to come up now...

has a limited amount of time.

His name is Bob Dylan.

I ain't gonna work
on Maggie's farm no more

No, I ain't gonna work
on Maggie's farm no more

Well, I try my best to be just like I am

But everybody wants you to be
just like them

They say sing while you slave
I just get bored

I ain't gonna work
on Maggie's farm no more

He sang that song, "I ain't going to work
on Maggie's farm no more. "

I said, "Hey look,
he's taking that old Penny's Farm...

"and putting it somewhere else.
That's terrific."

I thought that was interesting.

But the volume of the blues band
was kind of wild...

and you couldn't get the words too clearly.

I ain't gonna work for Maggie's ma no more

No, I ain't gonna work
for Maggie's ma no more

Well, she talks to all the servants
about man and God and law

Everybody says she's the brains behind pa

She's 72 but she says she's 24

I ain't gonna work for Maggie's ma no more

It was not possible
to share the kind of intimacy...

that we were sharing with folk music...

when you've got
those electric instruments going.

The moment you've got drums there,
everything has got to come up in level.

The sound was a bit harsh.

But we thought it was way cool.

And what we noticed was...

about a third of the audience
was booing, which was unheard of...

not in all our days of seeing...

whatever kind of show
had we ever seen that.

I remember understanding
that drugs were bad and alcohol was bad...

and rock 'n' roll was wicked
and sex was bad.

And so I thought, "Oh, my goodness,
how depraved this is all getting."

All right!

I was thinking that somebody was shouting,
"Are you with us? Are you with us?"

And, you know,
I don't know what that, you know, like...

What was that supposed to mean?

I had no idea why they were booing.

I don't think anybody was there
having a negative response to those...

songs, though.

I mean, whatever it was about,
it wasn't about...

anything that they were hearing.

Well, he hands you a nickel
Hands you a dime

Asks you with a grin
if you're having a good time

And he fines you every time
you slam the door

I ain't gonna work
for Maggie's brother no more

You could not understand the words.

And I was frantic.
I said, "Get that distortion out."

It was so raspy,
you could not understand a word.

And I ran over to the sound system,
"Get that distortion out of Bob's voice."

"No, this is the way they want to have it."

I said, "God damn it, it's terrible.
You can't understand it.

"If I had an axe,
I'd chop the mike cable right now."

Oh, you've gone to the finest school
all right, Miss Lonely

but you know you only used to get
juiced in it

Nobody's ever taught you how to live
out on the street

And now you're gonna have to get used to it

We ran backstage and there was
mayhem going on.

Pete Seeger and Theodore Bikel
and all the old guard...

the old leftist, protest-singing factions...

were horrified and thought:
"This is pop music, this isn't folk music."

And there was just a big battle
raging backstage and...

Pete, I understand Pete Seeger had an axe...

and was going to go cut the electric cables
and had to be...

you know, subdued...

and Theodore Bikel was saying,
"This is what the young people want!

"We have to go with the change,
this is what's happening now."

So they were all arguing among themselves.

Seeger...

from all reports, was very upset by this.

And I had heard that he tried to cut
the wires and that he'd gone into a car...

and wouldn't come out
after this whole thing.

That's not my interpretation. You see...

Pete's father was there, Charlie Seeger...

and he had a hearing aid,
and Charlie was very distressed...

when he couldn't hear things clearly.

And with all this sound coming
from the speakers...

Charlie Seeger was quite upset.
And I think that affected Pete.

You used to ride the chrome horse
with your diplomat

Who carried on his shoulder a Siamese cat

Ain't it hard when you discover that

He really wasn't where it's at

After he's taken from you

everything he could steal

How does it feel?

Rock 'n' roll was considered
a real sellout music for a lot of folk fans...

and Like a Rolling Stone seemed like
the direct slap in the face...

to everything that topical songs represented.

"How does it feel to be on your own."
And they took it as this most...

extremely negative...

you know...

selfish statement, basically,
and it was, you know, it was not...

Better World A-Coming, you know,
it was not that.

Let's go, man. That's all.

I thought he would go out and play
some other stuff by himself and then...

we'd come out and play these three songs.

But we just came out
and played these three songs and then...

he said, "Goodnight."

And we'd been out there
for a total of 15 minutes...

and everybody else had played for an hour.

So that was pretty weird.
And he was the headliner.

Bobby, can you do another song, please?

He's going to get his axe.

He's coming.

Bobby was terribly shaken
and I ran backstage...

and he said to me,
"What have you done to me?"

Peter Yarrow came out and said,
"Okay, everybody calm down...

"Bob's gone to get his acoustic guitar."

And everybody...

The highway is for gamblers

better use your sense

Take what you have gathered

from coincidence

The empty-handed painter from your streets

Is drawing crazy patterns

on your sheets

The sky, too, is folding over you

And it's all over now

Baby Blue

I'd heard a rumor that
Pete was going to cut the cable.

And I heard it later, you know.
And it was like, it didn't make sense to me.

Like, Pete Seeger, like someone
whose music I cherish, you know.

Like someone who I highly respect
is going to cut the cable.

It was like, "Oh, God." It was like...

It was like a dagger, you know, it was...

Just the thought of it was, you know...

made me go out and get drunk.

Strike another match

Go start anew

And it's all over now

Baby Blue

I remember seeing Bob
later on that evening...

Iooking kind of blue, as though he hadn't...

Hadn't made the point
that he wanted to make properly.

He didn't want to feel that he was
limited here or limited there.

He wanted to do something
with the Butterfield Blues Band.

And it was great.

Every night, after the concerts,
the festival people would have a party.

And Bob was sitting in the corner,
I guess, thinking about what had happened.

I said, "Hey, Bob. Do you want to dance?"
And he looked up at me and said:

"I'd dance with you, Maria,
but my hands are on fire."

And it's sort of like... That was
a cryptic remark, but I kind of knew...

exactly what he meant, you know. So I said,
"Okay, man," and I just left him alone.

We want Dylan!

A couple of months later,
he played Forest Hills.

There, the first half was acoustic,
the second half was rock 'n' roll.

The electric half.; silence, booing.

At least 15, 20 kids ran on the stage
through the whole electric set.

There would be somebody,
two, three times during a number...

actually jumping on the stage
and running around amongst the musicians.

And an incredible animosity in the audience.

I think it was the only concert
I have ever been at where...

that animosity was that strong
and you actually felt a little threatened...

if you applauded during this, which I did.

When we played Forest Hills,
Like a Rolling Stone was number one.

And so when we played
Like a Rolling Stone...

they stopped booing and sang along.

And then when we finished
they started booing again.

I thought that was great.

I enjoyed that.
But at the party after the show...

Bob came running up to us
and gave us big hugs, he said.;

"That was fabulous. It was great.
It was like a carnival. "

It was fantastic. He really enjoyed the show.

The booing didn't really, you know...
I had a perspective on the booing.

Because you got to realize
you can kill somebody with kindness, too.

God said to Abraham, "Kill me a son"

Abe said, "Man, you must be putting me on"

God say, "No" Abe say, "What?"

God say,
"You can do what you want, Abe, but

"Next time you see me coming
you better run"

Well, Abe says,
"Where do you want this killing done?"

God says, "Out on Highway 61"

I walked in the studio
and he was out there in a corner...

and I walked up and I said,
"Bob, I'm Bob Johnston."

He said, "How you doing?"
And he smiled at me.

All I remember is Dylan doing that
and starting in...

and from that moment,
I really have no memory.

Nobody ever counted off for Dylan...

he always did what the fuck he wanted to.

And I always just got the sound pretty well.
And he seemed to love the sound.

You walk into the room
With your pencil in your hand

You see somebody naked
And you say, "Who is that man?"

I was just caught in this whirlwind of...

You know, of being tacked on to this music
that was going to be forever...

and being involved in it.
And knowing that it was going to be forever.

Because something is happening here

But you don't know what it is

The music actually changed by,
I think, the word is freedom.

Everything was changing.
It wasn't like four songs a session.

There wasn't any clock.
I took all the clocks down.

Nobody had a fucking clock in there.

It's just like, "Play some music."
"What about this thing? What about this?"

We're recording 86845. Number one.

Einstein, disguised as Robin Hood

With his memories in his trunk

Passed this way an hour ago

With his friend, a jealous monk

I believe in giving credit where credit's due.

I don't think Dylan had a lot to do with it.

I think God,
instead of touching him on the shoulder...

he kicked him in the ass. Really!

And that's where all that came from.
He can't help what he's doing.

I mean, he's got the Holy Spirit about him.

You can look at him and tell that.

Well, I ride a mailtrain, baby

Can't buy no thrill

It Takes a Lot to Laugh,
It Takes a Train to Cry.

In fact, there was two versions of that cut.
The first version...

which turned up on bootlegs,
it was like a fast...

It was a much faster
and much more jivey version...

that sounded kind of a lot
like the other things that had been done.

What the fuck
are we doing with this song, man?

It's not such a terrible song to do.

Then he said, "Let's take a break."

And he sent everybody off. And he said
it was a lunch break or whatever.

People went out for an hour.

He was sitting alone
at the piano working over...

just play a few chords
and he'd scribble something down.

And they came back
and they did that other take...

after the lunch break and it was,
like the much slower, bluesier version...

you hear on the album,
and it's really changed the whole character...

and the feel of the song.
It was really, really nice.

Well, I ride on a mailtrain, baby

Can't buy a thrill

I'd like to know about
the cover of your album.

I'd like to know about...

the meaning of the photograph of you
and the wearing of the Triumph t-shirt.

What did you want to know about it?

Well, I'd like to know if
that's an equivalent photograph...

it means something.
It's got a philosophy in it.

And I'd like to know,
visually, what it represents to you.

Because you're a part of that.

I haven't really looked at it that much.
I don't really...

I've thought about it a great deal.

It was just taken one day,
when I was sitting on the steps, you know.

I don't really remember.

I don't worry too much about it.

But what about the motorcycle
as an image in your songwriting?

You seem to like that.

- Oh, we all like motorcycles to some degree.
- I do.

Do you prefer songs with a subtle
or obvious message?

- With a what?
- A subtle or obvious message.

With a message, you mean like...
What song with a message?

Well like Eve of Destruction
and things like that.

Do I prefer that to what?

I don't know, but your songs
are supposed to have a subtle message.

- A subtle message?
- Well, they're supposed to.

Where'd you hear that?

- In a movie magazine.
- Oh, my God!

Do you think of yourself primarily
as a singer or as a poet?

I think of myself more
as a song-and-dance man, you know.

Mr. Dylan, I know you dislike labels
and probably rightly so...

but for those of us who are well over 30...

could you label yourself
and perhaps tell us what your role is?

Well, I sort of label myself as well under 30.

And my role is to, you know,
to just stay here as long as I can.

You're considered by many people to be...

symbolic of the protest movement
in the country...

for the young people.

For the young people.

Are you going to participate in...

the Vietnam Day Committee demonstration in
front of the Paramount Hotel tonight?

I'll be busy tonight.

Things had gotten out of hand.

You know, it fell into the...

You know,
you ask me why I write surreal songs...

or whatever,
I mean that type of activity is surreal.

I had no answers
to any of those questions...

any more than
any other performer did, really.

But, you know, that didn't stop...

the press or people or whoever they were...

from asking these questions.
They, for some reason the press thought...

that performers had the answers
to all these...

problems in the society and...

you know, like what can...

What can you say to something like that?
I mean, it's just kind of absurd.

Phil Ochs wrote something
in a recent Broadside Magazine...

to the effect that...

you have twisted so many people's wigs
that he feels that it becomes...

increasingly dangerous for you
to perform in public before an audience.

Well, that's the way it goes, you know.

I can't apologize, certainly.

Do you feel that part of the popularity
is because of an identification...

of your audience with you or with...

what you're saying
or what you've been writing about?

I have no idea.

Mr. Dylan, you seem very reluctant
to talk about the fact...

that you're a popular entertainer,
and you're a most popular entertainer.

- What do you want me to say?
- Well, I don't understand why you...

Well, what do you want me to say about it?

Well, you seem almost embarrassed
to admit that you're... To talk about...

Well, I'm not embarrassed,
I mean, you know.

What do you want exactly for me to say?

Do you want me to jump up and say,
"Hallelujah" and crash the cameras...

and do something weird? Tell me.

I'll go along with you.

If I can't go along with you,
I'll find somebody to go along with you.

No, but I find that...
You really have no idea...

as to why,
or no thoughts on why you're popular?

- That's what interests me.
- I just have...

I haven't really struggled for that. I don't...

It happened, you know.

It happened like anything else happens.

How many people who labor...

in the same musical vineyard
in which you toil...

how many are protest singers?

That is, people who use their music
and use the songs...

to protest the social state
in which we live today.

The matter of war, the matter of crime,
or whatever it might be.

- How many?
- Yes.

- Are there many who...
- Yeah.

I think there's about 136.

- You say, "about 136"?
- Yeah.

Or do you mean exactly 136?

It's either 136 or 142.

At a certain point, people seemed to have
a distorted, warped view of me...

for some reason,
and those people were usually...

outside of the musical community.

"The spokesman of the generation."

"The conscience of a..."
This, and that and the other.

That I could not relate to.
I just couldn't relate to it.

As long as I could continue doing
what it is that I loved to do...

I didn't care
what kinds of labels were put on me...

or how I was perceived in the press
because I was playing to people every night.

I played at the Hollywood Bowl.

Then I left the organization.

I actually was frightened
when I got the tour itinerary...

to see that we were
going to play Dallas where...

they had just killed the President.

And I thought, you know:
"If they didn't like that guy...

"what are they going to think of this guy?"

And I didn't want to,
you know, I didn't want to be...

the analogy to John Connally.

I didn't want to be the guy next to him.

I started out on Burgundy
But soon hit the harder stuff

Everybody said they'd stand behind me

When the game got rough

The guys that were with me on that tour,
which later became The Band...

you know, we were all in it together.

We were putting our heads
in the lion's mouth and...

I had to admire them for
sticking it out with me.

Just for doing it, in my book, they were,
you know, gallant knights for even...

you know, standing behind me.

By the time we got to England,
it was out of control.

And I don't know if word of mouth...

preceded our concert tour...

but it really was pretty revolutionary,
in the fact that...

here was someone who everyone loved...

and they didn't like what he was doing.

And they were showing it.

These stages were created for people
who stood on stage...

and recited Shakespearean plays.

They weren't made for this kind of music
we were playing.

The sound was pretty archaic, really.

The sound really hadn't been perfected.
The sound quality hadn't been perfected...

many years after that.

The first half of the concert
was Bob Dylan alone...

acoustic and harmonica.

When we kicked off the second half,
I mean, we did kick ass and take names.

And we got everyone in there's attention.

They knew that we had arrived.

Because they were such fans of his
acoustic set...

that when we came in
and did the electric set...

people have said the word to me that...

he was a traitor to folk music.
The pure music.

And I'd just about had it, though.
I'd had it with the...

with the whole scene.

And I was... Whether I knew it
or didn't know it, I was looking...

to just quit for a while.

What about the scene?
What had you had it with?

What about the scene were you sick of?

Well, you know, people like you.
People like, you know...

like, just, you know,
like just being pressed...

and hammered and, you know,
expected to answer questions. You know...

What can I... You know, like...
It was enough to make anybody sick, really.

OI' black Bascom, don't break no mirrors

Cold black water dog, make no tears

You say you love me with what may be love

Don't you remember making baby love?

Got your steam drill now you're

lookin' for some kid to get it to work for you

like your nine-pound hammer did

But I know that you know that

I know that you show something is

tearing up your mind

Tell me, momma

Tell me, momma

Tell me, momma, what is it?

What's wrong with you this time?

He's cheap!

And having a half concert.
Half one and half the other.

Fake, hypocrite!

That's what he is.

Everybody's wondering when your

friendship's gonna end but

Come on, baby, I'm your friend

And I know that you know that I know

that you show something

Is tearing up your mind

- Crap.
- Crap. Rubbish.

- Complete rubbish.
- Pathetic.

Moronic.

We paid to see a flipping folk singer,
not a big group.

- Didn't you boo me last night?
- I didn't.

- Oh?
- We didn't boo you, Bob.

- Please, just a minute.
- Well.

I want the names
of all the people that booed me.

We didn't boo you! Come back soon.

Okay. I'll... I'll be back in a month or two.

- We'll wait ya!
- So long, cheerio!

All you sweet, lovely people.

- Hello, Bob!
- So long, sweet...

For the first half,
when they're all so quiet, I'll just...

I'll play four or five songs
and they just don't make a sound.

All of a sudden, "Boo."

And then Albert will come out
and they go, "Boo."

And I loved the description
in the paper last night.

What they said, that was classic.

There wasn't one truth in the entire article.

It was all the most fantastic lies...

- they could concoct.
- From what town, man?

From the last town, Edinburgh.
"Another night of catcalls for Dylan."

- Oh, I didn't see that.
- "Many of the audience walked out."

I saw one, man.
Did you see one paper that said...

- everybody walked out?
- I haven't seen that one.

Everybody walked out.
Saw a paper it said, "Everybody walked out."

- In Liverpool, I saw it.
- They're really losing their minds.

- Totally insane.
- I'm going to walk out.

"We want the real Dylan."

"Will the real Dylan stand up?"

I've decided just to tell them, man,
that Dylan got sick.

What do you think? Just...

I won't tell anybody what you say.
What do you think?

- Not your personal comment.
- Yeah. What do you think?

I have no opinion about that.

Well, why?

Because I haven't heard you sing, actually.

You've never heard me sing?

And here you are sitting here
and you're asking me all these questions.

- Well, this is my job.
- Yeah, well.

- Suck them?
- Put them in your mouth for one second.

Put the corner of your glasses
in your mouth. That's it.

Just suck your glasses.

No, I don't want to suck them.

- Does anybody want to suck my glasses?
- Yeah.

Who said that?

- This one here. This fellow here.
- You? Ask him if he's American.

- Are you American?
- I'm French.

Well, that's why you probably think
the first records are better.

This is called...

This is a folk song.
I want to sing a folk song now.

I knew that would make you happy.

This is called Yes, I See You've Got Your
Brand-New Leopard-Skin Pill-Box Hat.

- Sign it!
- You're so miserable.

- It won't take...
- It won't take half an hour just to sign it.

They don't ask me, those other two people
don't ask me. Why do you?

- Why shouldn't you give it?
- You're so miserable?

Why do we come out to see you for?

- Because they like me they said...
- We don't like you anymore.

She called me a bum.

- I'll tell you why!
- May I have your autograph, please?

He'll call you a bum
you don't sign the autograph.

- Come on, Bob.
- Oh, come on!

You don't need my autograph.
If you needed it, I'd give it to you.

- Just give up your autograph, will you?
- What's wrong with him today, eh?

Ain't it just like the night

to play tricks
when you're trying to be so quiet?

We sit here stranded

though we all do our best to deny it

And Louise holds a handful of rain

tempting you to defy it

Lights flicker from the opposite loft

In this room the heat pipes just cough

The country music station plays soft

But there's nothing,
really nothing to turn off

Just Louise

and her lover so entwined

And these visions of Johanna

that conquer my mind

Hey, we've been on the road
a long time, right?

I don't know. I don't remember.

- I guess maybe we have.
- We've been on the road a very long time.

Man, I can't make it tonight.
I don't know how to cover up for it.

It's something I never figured out.

There's nothing I can do about it.
I just shouldn't be singing.

I think I'm gonna get me a new Bob Dylan
next week.

Get me a new Bob Dylan and use him.

Use the new Bob Dylan,
see how long he lasts!

He brags of his misery

he likes to live dangerously

And when bringing her name up

he speaks of her farewell kiss to me

He's sure got a lot of gall

to be so useless and all

Muttering small talk at the wall

while I'm in the hall

Oh, how can I explain?

It's so hard to get on

And these visions of Johanna

they kept me up past the dawn

I want to go home.
You know what home is?

I don't want to go to Italy no more.
I don't want to go nowhere no more.

You end up crashing in a private airplane...

in the mountains of Tennessee.

Or Sicily.

When you stay in the States,
I mean, when you come back?

I don't know. I just want to go home.

- Are you in the controls at all?
- Yeah.

What does it sound like?

Like you're in
a recording studio downstairs...

the son of a bitch picks up great here.

The acoustics are fantastic.
I don't know what they'll be like...

Fellas, can we have you, please?
In about two minutes.

Okay, two minutes.

No. I mean by the time you get down there
it'll be two minutes...

not, "In two minutes,
we start to go down there. "

- Yeah, two minutes.
- Hey, two minutes, man.

Last on the bill.
Not least, ladies and gentlemen...

here he is, back from the grave.

Right, straight from the grave.

I don't believe you.

You're a liar!

Once upon a time you dressed so fine

Threw the bums a dime in your prime

didn't you?

People'd call, say, "Beware, doll
You're bound to fall"

You thought that they were all

Kidding you

You used to

laugh about

Everybody that was hangin' out

Now you don't talk so loud

Now you don't seem so proud

About having to be scrounging around

for your next meal

How does it feel

How does it feel

To be on your own

No direction home

Like a complete unknown

Like a rolling stone?

You've gone to the finest school

All right, Miss Lonely
But you only used to get

juiced in it

Nobody's ever taught you how
to live out on the street

But now

you're gonna have to get used to it

You said you'd never compromise

With the mystery tramp,
but now you realize

He's not selling any alibis

As you stare into the vacuum of his eyes

And say

do you want to make a deal?

How does it feel

How does it feel

To be on your own

With no direction home

Like a complete unknown

Like a rolling stone?

Thank you.

Lay down your weary tune

Lay down

Lay down the song you strum

And rest yourself

'neath the strength of strings

No voice can hope

to hum

Struck by the sounds before the sun

I knew the night had gone

The morning breeze

like a bugle blew

Against the drums of dawn

Lay down your weary tune

Lay down

Lay down the song you strum

And rest yourself

'neath the strength of strings

No voice can hope

to hum

The ocean wild

like an organ played

The seaweed's wove its strands

The crashin' waves

like cymbals clashed

Against the rocks

and sands

Lay down your weary tune

Lay down

Lay down the song you strum

And rest yourself

'neath the strength of strings

No voice can hope

to hum

I stood unwound beneath the skies

And clouds unbound by laws

The cryin' rain

like a trumpet sang

And asked for no applause

Lay down your weary tune

Lay down

Lay down the song you strum

And rest yourself

'neath the strength of strings

No voice can hope

to hum

The last of leave fell from the trees

And clung to a new love's breast

The branches bare like a banjo moaned

To the winds that listened best

Lay down your weary tune
Lay down

Lay down the song you strum

And rest yourself

'neath the strength of strings

No voice can hope to hum