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To celebrate Bob Dylan\u2019s birthday, a galaxy of stars choose their favourite ever Dylan tracks.<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2024\/05\/GettyImages-517292968.jpg” title_text=”Bob Dylan Holding Bass Guitar” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n
Picking a favourite\u00a0<\/span>Bob Dylan<\/strong>\u00a0<\/span>song is in many ways an impossible task. This being Dylan, an artist who five decades in is still producing some of his finest work, a list of just 60 tracks means that some of the greatest songs ever composed might not be present (whaddayamean there\u2019s no Isis\/I Want You\/Mississippi?!?<\/em>). But by handing the choices over to Dylan\u2019s fellow musicians and songwriters, we feel we\u2019ve given a different perspective (another side of, if you will) on Dylan\u2019s craft and enduring genius. And these aren\u2019t just any musicians, either.\u00a0<\/p>\n Some of the names below played on and helped record many of the songs featured, while modern-day acolytes including\u00a0<\/span>Beck<\/strong>,\u00a0<\/span>Bono<\/strong>\u00a0<\/strong><\/span>and\u00a0<\/span>Lucinda Williams<\/strong>\u00a0<\/span>have lined up to pick their favourite Dylan numbers.\u00a0The closest we have to the heirs to his crown,\u00a0<\/span>Nick Cave<\/strong>\u00a0<\/span>and\u00a0<\/span>Patti Smith<\/strong>\u00a0<\/span>reveal a fresh perspective on his work, while Dylan\u2019s one-time mentor\u00a0<\/span>Pete Seeger<\/strong>\u00a0<\/strong><\/span>reveals the true story behind Dylan\u2019s decision to go electric.<\/p>\n Elsewhere, West Coast rapper\u00a0<\/span>Nas<\/strong>\u00a0<\/strong><\/span>recalls his teenage conversation with Bob, while contemporaries like the late\u00a0<\/span>David Crosby<\/strong>,\u00a0<\/span>Jimmy Webb<\/strong>\u00a0<\/span>and\u00a0<\/span>Paul McCartney<\/strong>\u00a0<\/span>(arguably the only serious challenger to Dylan\u2019s status as the world\u2019s greatest living songwriter) recall first-hand the seismic changes brought on by Dylan\u2019s songs.<\/p>\n Last year\u2019s\u00a0<\/span>Shadow Kingdom<\/em>\u00a0<\/span>showed that Dylan\u2019s mercurial magic is as potent as ever, so no doubt we\u2019ll be back here again soon with more revered artists waxing lyrical about their favourite song off his next masterpiece. Until then\u2026<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cIf Dylan had recorded this in the mid \u201870s when I longed above all things for his return to electric rock\u2019n\u2019roll, I\u2019d have been thrilled.\u00a0 But good things come to them what waits.\u00a0 I was just as thrilled when I heard it the day it came out in 2001, a teasingly mid-paced barnstormer with a killer blues riff both humorous and sombre that runs like a monolith through every line, and graced by the master\u2019s wittiest, dryest lyrics since Blonde On Blonde. I\u2019ve sung it live myself and it\u2019s a supreme joy the way the lines want to tumble off the tongue, so well-constructed, full of rhythm, sass and cunning.\u201d\u00a0\u00a0<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cIt\u2019s Bob Dylan\u2019s funniest song all about how he buys tickets to a picnic but ends up corralled into this ship, which sinks. He wakes up on the shore: \u2018My arms and legs were broken, my arms and legs were broken, my feet were splintered, my head was cracked, I couldn\u2019t walk, I couldn\u2019t talk, smell, feel, couldn\u2019t see, didn\u2019t know where I was. I was bald.\u2019 He was bald!\u00a0 <\/span>Dylan\u2019s great at going that one step further than anyone else. Like rhyming the same rhyme. \u2013 in The Lonesome Death Of Hattie Carroll, when he rhymes \u2018table\u2019 with \u2018table\u2019 twice in a row!\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cPo\u2019 Boy\u00a0is\u00a0<\/span>one of my favourite songs to lis<\/span>ten to with my family, everyone waiting for\u00a0the\u00a0<\/span>next punchline and\u00a0the<\/span>n loving it when he delivers. It\u2019s always great to hear Bob Dylan letting himself have fun with lyrics and rhyming and wit. It\u2019s what he does best. This\u00a0<\/span>song feels like an excellent exercis<\/span>e in storytelling, where you choose a word and\u00a0the<\/span>n build\u00a0the\u00a0<\/span>story up and around it to finis<\/span>h on\u00a0the\u00a0<\/span>rhyme you want to get.\u00a0The\u00a0<\/span>punchline. I of course have no idea how he really went about writing\u00a0this\u00a0<\/span>song, but I really love imagining it. It feels quite cosmic. A stream if narrative consciousness and two-liner dad jokes. The<\/span>re\u2019s such pleasure in\u00a0the\u00a0<\/span>lis<\/span>t like nature of\u00a0the\u00a0<\/span>way he rolls out all\u00a0the\u00a0<\/span>anecdotes in\u00a0the <\/span>song. The\u00a0<\/span>line about Othe<\/span>llo and\u00a0the\u00a0<\/span>pois<\/span>on wine has become something of a family catchphrase in our household.\u00a0It rolls along musically in such and easy going and amicable way that just goes so well with\u00a0the <\/span>irony of\u00a0the\u00a0<\/span>lyrics. The\u00a0<\/span>twinkle in his\u00a0<\/span>eye. The\u00a0<\/span>ever-present twinkle in his\u00a0<\/span>excellent eye.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cI chose this for our covers album [1987\u2019s Through The Looking Glass<\/em>] because I thought Julie Driscoll had written it. I\u2019d seen her perform it on Top Of Pops as a kid and I loved her Joan Of Arc look. Then I found out it was by fucking Bob Dylan! I liked the song so it stayed anyway.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cIt\u2019s just Bob on piano at first, then his band are trying to catch up. It comes off in such a great way. Lyrically there\u2019s a lot of reflection on city life. He\u2019s trying to figure out the world and ends. Up looking for he simple, things. \u201cBuild me a cabin in Utah \/ Marry me a wife, catch a rainbow trout\u2019. That\u2019s beautiful and concise but it has meaning on a greater level. Musically, it\u2019s textured to the point where it sounds like it had earth in it. I covered this song live when I did some solo touring and it made me thing that whatever artists you\u2019re talking about it\u2019s all about the subtleties. And Bob\u2019s music is full of subtlety.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cI particularly like this song because I was so influenced by Woody Guthrie before I heard Bob\u2019s first record. I was 16 and living rough on the road with my best friend Gypsy Dave. I went home for a bit and Gyp wrote to me and said he\u2019d found a record of a new American folk singer who was doing what I was doing, singing Woody Guthrie songs and wearing a cap and a harmonica harness. I was already kind of committed to the mission before I heard Bob, but Song To Woody confirmed to me that I was not alone in wanting to bring true poetry and new, meaningful, social lyrics back to popular culture. Joan Baez introduced me to Bob. The famous scene in Don\u2019t Look Back where we\u2019re both playing our songs, you\u2019ve got to look closely. There\u2019s a drunk in the room who\u2019s berating Bob about him stealing the tune for With God On Our Side from Dominic Behan. Then Bob turns to me and I sing To Sing For You. Notice he takes not one drag of his cigarette all the way through… he\u2019s listening. Then I ask him to sing a song for me and he does [It\u2019s All Over Now, Baby Blue]. What people miss is that he listens all the way through to my song, acknowledges that it\u2019s good, but not with too many words. He was a bit curious and a little amazed that there was another Guthrie disciple arising out of Europe. But we were no threat to each other. When they used to say I was the British Bob Dylan, I used to quip, \u2018No, I\u2019m the Scottish Woody Guthrie.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cI first heard this when I was making my first solo album [1974\u2019s I\u2019ve Got My Own Album To Do<\/em>] and it strikes me now as. It did then \u2013 strong mini-novel with twists and dark turns like something Ray Bradbury would have written. I love that it gathers momentum and the lyric makes you picture mysterious mining town incidents, bank robbers and hookers. Dylan\u2019s very impressionistic as a painter as well as a songwriter, and fun to play with live. You never quite know where you are \u2013 which suits me fine! His band rocks and before going on stage, he always says to the MD, \u2018Just give Woody the keys to the songs and once he\u2019s on stage he stays \u2018til we finish\u2019. He gave me a cowboy hat, thrown on stage when we played Kilkenny, and he said to me, \u2018Every<\/em> time you play with me you get a free hat.\u2019\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cI got into Dylan when I was 13, and I loved the early, simple stuff best. By the time of Oh Mercy <\/em>in 1989, I\u2019d stopped buying Dylan albums and I only got it on a friend\u2019s recommendation but, as soon as I heard everything Is Broken, I knew he was back. Most Of The Time is a beautifully simple song. You get this central idea that most of the time he\u2019s on the case, stronger than all that bullshit he has to deal with, but then it becomes a love song and you get this sense of a man with deep sense of longing, thinking of someone he lost long ago. I\u2019s not a pop song, but it\u2019s getting that way. I talked Daniel Lanois about making that alum and he said Dylan spooked him, he felt Dylan was inhabiting him like some ghost.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cIt speaks of the wicked ness of the strong against the weak, of powerful nations and what they do \u2013 what the American settlers did to the Indian, the Spanish-American war, the American Civil War and First World War. It goes. To the heart of how little we value human life, how we kill for power, for greed, and invoke the name of God while doing so. In a way the song explores a kind of helplessness in the face of evil. It\u2019s the voice of the weak. He\u2019s obviously faced with a conundrum at the end and that\u2019s part of the song\u2019s power, that paradox \u2013 \u2018If God\u2019s on our side \/ he\u2019ll stop the next war\u2019. You have to see. It against the backdrop of a world in turmoil \u2013 the proliferation of nuclear weapons, anti-colonial struggles going on in Africa and elsewhere, and the Cold War at its height \u2013 but the strength of the song is that it\u2019s relevant and still speaks to the conflicts of our time. For me, that\u2019s why Dylan is the greatest protest lyricist ever.\u201d<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2024\/05\/Screenshot-2024-05-24-at-13.09.39.png” title_text=”Screenshot 2024-05-24 at 13.09.39″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n \u201cThere are some moments here \u2013 like where the guy is sitting on the park bench having these weird realisations \u2013 that you can actually feel them as he\u2019s having them. The way he sings the lines \u2013 \u2018She looked at him and he felt a spark tingle to his bones \/ \u2018Twas then he felt alone and wished that he\u2019d gone straight\u2019 \u2013 it\u2019s just devastating. There\u2019s so many moments like that which are so painful, but they\u2019re really honest and they\u2019re said in a way that I don\u2019t think anyone had said before\u2026 or since. I don\u2019t think Dylan even knows where songs like that come from. A lot of his songs seem born of that spirit.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cIt\u2019s my favourite Dylan vocal. Anyone who says he can\u2019t sing, listen to Pretty Saro. It\u2019s like Percy Sledge crossed with Hank Williams. It\u2019s got all the mystery that you want from Dylan, you can\u2019t quite figure about what it\u2019s about. Either the girl is from a higher social class or aspires to be, and he knows that he can never give her the security that she wants. And then at the end he says if I was the dream version of myself, the poet, I\u2019d be eloquent enough to explain it to you, but he fact that he got close enough to touch the dream was enough and that\u2019s what he\u2019ll take away with him. I don\u2019t know how much of the lyrics are his and how much are from the traditional version but it\u2019s got that romantic and mysterious thing from Dylan which is what I like, it means you get to project your own version onto it. Self Portrait<\/em> was slated at the time, but it\u2019s all part of it. Real greats can see 30, 40 years ahead. You throw this curveball, but then that\u2019s what gets you to Blood On The Tracks<\/em> or whatever. Sometimes you\u2019ve got to write and you\u2019ve got to move three moves to get to where you want to.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cBack in 1963 I got together with Bob and Theodore Bikel for a voter registration rally in Greenwood, Mississippi. A friend of mine was making a little documentary film there and the mayor told him, We never had a nigger problem here, it\u2019s outside agitators cause the trouble. Well, we had a little song festival in a cotton field and Bob sang Only A Pawn In Their Game which he\u2019d just written about Medgar Evers, the Mississippi Civil Rights activist who was murdered three weeks earlier. The song says just putting the murderers in jail wasn\u2019t enough, It was about ending the whole game of segregation. It was the first song I heard that connected the position of the black field hands with that of the poor whites in the South: \u2018He\u2019s taught in his school \/From the start by the rule \/That the laws are with him \/To protecthis white skin \/To keep up his hate \/So he never thinks straight \/ \u2018bout the shape that he\u2019s in.<\/p>\n Generally, Bob wanted to make a record that would make people think. He was very curious and quick to learn. He told me he\u2019d seen me singing when he was at university [University Of Minnesota, 1959-1960]. I remember that was a night when we were picketed by the American Legion – which got us a lot of free publicity. But I must have first met him in New York up in the Broadside magazine\u2019s office [Dylan\u2019s Talkin\u2019 John Birch Paranoid Blues appeared in the first edition, Feb, 1962]. I remember sitting there and Bob and Phil Ochs played their songs and I was thinking, I\u2019m in the same room as two of the greatest songwriters in the world! Two weeks later I had Bob on at a Carnegie Hall Hootenanny and there were so many artists on I had to tell everyone they were limited to 10 minutes and he smiled and said, I\u2019ve got one song that lasts 10 minutes\u2019- and he did A Hard Rain\u2019s A-Gonna Fall.<\/p>\n I was always impressed by his independence. He wasn\u2019t going to be any child of the lefties. One night someone introduced him saying, \u2018He\u2019s one of ours, and Bob got up and said, \u2018I don\u2019t belong to anyone.\u2019 I realised he was a genius turning out one great song after another. Blowin\u2019 In The Wind is still one of the greatest songs of the 20th century. I used to sing Masters Of War occasionally myself and Hard Rain. Bob had drawn lessons from Woody, he knew a good song tells a story or paints a picture and, like Woody, he could combine tragedy and humour. And he didn\u2019t try to be too specific or too clear. I have a little skating rink in my yard and when John Wesley Harding<\/em> came out I remember skating around listening to it over and over on the outdoor speakers thinking, What does this mean? A good song is like a basketball backboard, you bounce your life against it and you catch new ideas rebounding back at you.<\/p>\n There are a lot of reports of me being against him going electric at the \u201865 Newport Folk festival, but that\u2019s wrong. I was the MC that night. He was singing Maggie\u2019s Farm and you couldn\u2019t understand a single word because the mike was distorting his voice. I ran over to the mixing desk and said, Fix the sound, it\u2019s terrible! The guy said, \u2018No, that\u2019s how they want it.\u2019 And I did say, If I had an axe I\u2019d cut the cable! But they didn\u2019t understand me. I wanted to hear the words. I didn\u2019t mind him going electric.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cI didn\u2019t get too deep into his music until I got into the Nashville records. Those are the ones that really got to me, because I was so into country music when I was younger and hearing those records for the first time… I always liked his kind of throwaway love songs. For somebody who\u2019s a giant like him, who writes those great cinematic songs like Visions Of Johanna that draw you into a strange world, to just toss out a good little tune…that\u2019s an aspect of Dylan I always really appreciated.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n \u201cBob Dylan always do songs in different keys, like he\u2019ll change three, four different keys in a song, and he will change the lyrics on the fly, so when we cut Jokerman, we recorded it and then we had a break overnight. He came in the morning and said, \u2018Oh, gentlemen, could you just run Jokerman for me again?\u2019 Nobody know the tape was spinning; we were just running down the music and he said, \u2018OK, that\u2019s it\u2019 – it was the take we didn\u2019t know we were taking that he used. It was a surprise; I think we were playing the run-down a bit looser, \u2018cos it was just a run-through, but he probably liked something about it.\u201d<\/p>\n [\/et_pb_text][et_pb_text module_class=”ss-custom-header” _builder_version=”4.20.4″ _module_preset=”default” text_font=”Cabin|700|||||||” text_font_size=”35px” header_2_font=”Cabin|700|||||||” header_2_font_size=”35px” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n 47.<\/strong><\/p>\n Jokerman<\/strong><\/p>\n (Infidels, 1983)<\/p>\n As selected by legendary reggae drummer Sly Dunbar<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2024\/02\/36.-Barrington-Levy-Shaolin-Temple.png” title_text=”36. Barrington Levy – Shaolin Temple” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n A 16-year-old Levy unleashes fruity dancehall cornerstone, with dub-happy wizard Scientist manning the desk. <\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n60. <\/strong>Lonesome Day Blues
<\/strong>(Love And Theft<\/em>, 2001)
As selected by The Waterboys\u2019 Mike Scott<\/h2>\n59. <\/strong>Talkin\u2019 Bear Mountain Picnic Massacre Blues
<\/strong>(Time Out Of Mind<\/em>, 1997)
As selected by Badly Drawn Boy<\/h2>\n58. <\/strong>Po\u2019 Boy
<\/strong>(Love And Theft<\/em>, 2001)
As selected by This Is The Kit\u2019s Katie Stables<\/h2>\n57. <\/strong>This Wheel\u2019s On Fire
<\/strong>(The Basement Tapes<\/em>, 1975)
As selected by Siouxsie Sioux<\/h2>\n56. <\/strong>Sign On The Window
<\/strong>(New Morning<\/em>, 1970)
As selected by The Black Crowes\u2019 Rich Robinson<\/h2>\n55. <\/strong>Song To Woody
<\/strong>(Bob Dylan<\/em>, 1962)
As selected by Donovan<\/h2>\n54. <\/strong>Lily Rosemary And the Jack Of Hearts
<\/strong>(Blood On The Tracks<\/em>, 1975)
As selected by Ronnie Wood<\/h2>\n53. <\/strong>Most Of The Time
<\/strong>(Oh Mercy<\/em>, 1989)
As selected by David Gray<\/h2>\n52. <\/strong>With God On Our Side
<\/strong>(The Times They Are A-Changin\u2019<\/em>, 1964)
As selected by Linton Kwesi Johnson<\/h2>\n51. <\/strong>Simple Twist Of Fate
<\/strong>(Blood On The Tracks<\/em>, 1975)
As selected by Neko Case<\/h2>\n50. <\/strong>Pretty Saro
<\/strong>(Another Self Portrait: The Bootleg Series Vol. 10<\/em>, 2013)
As selected by The Coral\u2019s Jame Skelly<\/h2>\n49. <\/b>Only A Pawn In Their Game<\/strong>
(The Times They Are A-Changin\u2019<\/em>, 1964)
As selected by Pete Seeger<\/h2>\n48. <\/strong>I\u2019ll Be Here Staying Here With You
<\/strong>(Nashville Skyline<\/em>, 1969)
As selected by Beck<\/h2>\n47. Jokerman
(Infidels<\/em>, 1983)
As selected by legendary reggae drummer Sly Dunbar<\/h2>\n48. <\/strong>I\u2019ll Be Here Staying Here With You
<\/strong>(Nashville Skyline<\/em>, 1969)
As selected by Beck<\/h2>\n