8 amazing Bob Dylan covers from the 20th century

As a devoted admirer, I want to clarify something straight away: what follows isn’t aimed at being the ultimate or definitive list. However, when it comes to Bob Dylan, such a quest would be futile. His music is vast and diverse, with an abundance of songs and interpretations that make it challenging to narrow down. In fact, you could compile a “ten best” list just for covers of a single song like ‘Gotta Serve Someone.’ After all, there’s so much depth and richness in his work that it warrants exploration from numerous angles.

And that’s from a period in his career that most people don’t think is particularly good.

This isn’t a “top” list, but rather an “extremely intriguing” one. The diverse mix of songs from various sources hints at the incredible range, adaptability, and truly global appeal that Bob Dylan’s compositions possess. To be clear, a Nobel Prize is not awarded for writing “Johnny B Goode” or “I Want to Hold Your Hand,” no matter how influential they might have been on popular music. Instead, the Nobel in Literature is given for an extensive collection of work that transcends genre boundaries and permeates the entire cultural consciousness.

20th century covers of Bob Dylan songs that are absolutely fantastic

In a career spanning over six decades, starting from 1962, Bob Dylan has released numerous albums. His latest collection of original music came out in 2023. This extensive period of time equates to more than sixty years filled with songs. He has produced approximately 40 studio albums, and if you factor in live performances, EPs, and bootlegs, the number doubles. It’s easier to name the notable artists who haven’t covered at least one Bob Dylan song rather than listing all those who have.

It’s worth noting that ever since the mid-1960s, musicians across various genres and hailing from all around the world have been performing Bob Dylan’s songs.

It’s interesting that both Dylan and Shakespeare spanned two centuries. However, Shakespeare had a shorter lifespan, which means his works were concentrated within those years. Approximately half of Shakespeare’s plays were written before the year 1600, while the remaining half were penned afterwards.

Dylan primarily released his initial albums before the year 2000, yet he remains prolific, unveiling ten fresh albums in the 21st century, together with numerous other creations – live recordings, bootlegs, and anthologies.

Let’s break down our exploration of fascinating song covers into two segments for today. We’ll start by examining eight covers spanning the 20th century. These selections include tracks from a period when Dylan was gaining recognition, as well as times when he was already established in the industry. Some originate from legendary artists, while others come from lesser-known individuals. All in all, they offer unique and captivating interpretations of great tunes.

Today, we’ll discuss eight covers from the 20th century.

“Don’t Think Twice, It’s All Right” by Odetta (1965)

Odetta was among the early enthusiasts who gave significant focus to the gravel-voiced poet from Greenwich Village. Known for her pioneering work as a folk/blues singer, her powerful and commanding voice became one of the defining audio symbols of the Civil Rights era. Her career began with performances alongside Harry Belafonte in the 1950s, which makes it understandable that she took up Bob Dylan’s protest songs during the ’60s.

However, the voice wasn’t like Bob Dylan’s typical one. Instead, it imbued Dylan’s songs with a weightiness surpassing their original versions, allowing listeners to appreciate the richness hidden within each track. In 1965, Odetta even released an entire album covering Dylan’s songs.

On the album “Odetta Sings Dylan“, she skillfully performs the politically charged songs such as “Masters of War”, “With God on Our Side”, and “The Times They Are a-Changin'”. However, what stands out most to me is her jazzy interpretation of Dylan’s subtly aggressive love song from “The Freewheelin’ Bob Dylan (1962)”. This rendition showcases a lighter, more playful side of Odetta that isn’t always evident.

“(It’s All Over Now) Baby Blue” by the 13th Floor Elevators (1967)

13th Floor Elevators, known for challenging Dylan’s revered status since their early days, rework another breakup song from the iconic 1965 album “Bringing It All Back Home,” transforming it into a trippy, psychedelic journey.

Roky Erickson’s emotional singing is a defining feature across every Elevators track, yet what truly sets them apart is Tommy Hall’s unique use of the electric jug, producing strange yet captivating soundscapes that other artists wouldn’t explore with synthesizers until much later. Stacy Sutherland’s distinctive wandering guitar riffs further propel the songs into increasingly spacey realms. Despite their brief existence, The Elevators rarely covered songs, but when they did, they always made it memorable.

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“Drifter’s Escape” by Joan Baez (1968)

It could be said that perhaps no one else had as deep an understanding of Bob Dylan’s early music as Joan Baez did. This was partly due to their close bond, both personally and professionally. She often recorded duets with Dylan, and their performances were always a fascinating blend of contrasting styles. Joan’s clear voice provided a soothing balance to Dylan’s rugged, energetic style.

1968 saw Joan Baez releasing an entire album, titled “Any Day Now“, which drew inspiration from a line in “I Shall Be Released”. Unlike the original folk pieces, this album leaned more towards folk-pop. The arrangement that proved most effective was on “Drifter’s Escape”, a song previously featured on Bob Dylan’s “John Wesley Harding” LP from the year prior.

In a way that’s reminiscent of Jerry Reed’s style, she strongly emphasizes the lively rock beat of the tune with a prominent lead guitar performance. However, I can’t confirm it’s him; it doesn’t make much difference either way. It’s an impressive rendition nonetheless. (By the way, Patti Smith also delivers a stellar version of this song, from a Dylan tribute album released in 2012.)

“All Along the Watchtower” by The Brothers & Sisters of L.A. (1969)

Among all covers of Bob Dylan’s songs, Jimi Hendrix’s powerful rendition of “All Along the Watchtower” from 1969 is arguably the most renowned. Similar to the original, Dylan first introduced the song on his John Wesley Harding album in 1968. It was a spooky and enigmatic folk piece that touched upon themes of destiny and time. Hendrix replaced Dylan’s harmonica with his guitar, transforming it into a grandiose masterpiece.

Instead, let me rephrase it for you: The song still had a lot of energy and vitality. Producer Lou Adler gathered a talented ensemble of L.A.-based singers and musicians to infuse some of Dylan’s songs with a gospel vibe. Notably, the incredible Merry Clayton, who was contributing her voice to the Rolling Stones’ “Gimme Shelter” at around the same period, performs the lead vocals on this rendition of “Watchtower.” She skillfully delivers an easy-to-listen-to, jazzy interpretation without diminishing any of the song’s enigmatic and mystical quality. When the organ and backup choir join in, this version of “Watchtower” truly takes flight.

“Absolutely Sweet Marie” by Jason & the Scorchers (1983)

By 1983, there were numerous rock & roll covers of Dylan’s songs, but none matched the intensity and fiery heat of this electrifying cowpunk rendition of a track from his iconic “Blonde on Blonde” album from 1966. This version was a bonus track on the Scorchers’ second EP, which helped them gain recognition. They covered artists ranging from Hank Williams to Iggy Pop, and infused their versions with a gritty Nashville sound.

Back in the day, as a die-hard music fan and avid concert-goer, I’ve always admired the raw energy of The Scorchers and their unique blend of rockabilly. This band has been keeping the flame alive well into the 21st century, leaving an indelible mark on the music scene. In fact, they shared stages with legends like Bob Dylan himself during the late ’80s.

Fast forward a few years, and Old Crow Medicine Show paid tribute to Dylan’s iconic album “Blonde on Blonde” by releasing a live album in celebration of its 50th anniversary. Each track on the album was beautifully reinterpreted, and their rendition of “Sweet Marie” is simply magnificent. However, as much as I respect their work, The Scorchers’ take on these tunes was nothing short of exceptional.

“Highway 61 Revisited” by Johnny Winter (1992)

Did I mention that there were rock covers of Dylan’s songs before The Scorchers did “Sweet Marie”? You recall, right? Well, one of the earliest and best rock interpretations of a Dylan song was by blues guitarist Johnny Winter. He recorded a studio version of “Highway 61 Revisited” for his second album, which came out in 1969 – titled “Second Winter“.

To fully appreciate it, listen to this rendition from the 30th Anniversary Concert held in Madison Square Garden thirty years post Dylan’s debut release. Many rock legends graced the stage for the event – Petty, Clapton, Reed, Vedder, Young, and Harrison. Notably present were Johnny Cash and Stevie Wonder! However, it was Johnny Winter who truly stole the show.

Following a brief, spirited guitar solo and a modest comment, “It’s great to be here,” he delivers an electrifying five-minute performance of bluesy rock ecstasy. The song “Highway 61 Revisited” is one of Dylan’s finest compositions from the 1965 album bearing the same name, which revolutionized the guidelines for contemporary rock. In its hard-hitting intensity, “Winter” rocks as powerfully as a song can.

“Highway 61 Revisited” by PJ Harvey (1993)

Afterwards, PJ Harvey took on this track. It’s the sole selection in this lineup that I find myself revisiting. This repetition stems from both the extraordinary quality of the song itself and the exceptional performances delivered by Winter and Harvey.

If Winter’s blues rock performance reached its zenith, Harvey takes the song to the next level with an astonishingly contemporary cover that remains rocky while incorporating a unique blend of blues and psychedelia in an impressive way. With Steve Albini as the producer, PJ Harvey’s second album, Rid of Me, was a game-changer for the emerging alternative rock genre. However, she later decided to part ways with her band and continue as a solo artist on her subsequent album.

“Lay Lady Lay” by Ministry (1995)

As we travel from simple folk tunes to hard-hitting rock ‘n’ roll acts, we arrive at the closing years of the 20th century where Ministry delivers raw metal. Despite the chaos and intense vocals, the sweet melody that debuted on Bob Dylan’s peaceful “Nashville Skyline” album in 1969 continues to be significant.

The track ‘Lay Lady Lay’ harmoniously aligned with Ministry’s Al Jourgensen’s intended direction for the Filth Pig album, offering a blend of slow, heavy tones yet embodying a core of beauty. Initially, fans expressed disapproval, particularly towards this specific song. However, subsequent reviews have been more favorable.

Jourgensen recorded ‘Lay Lady Lay’ as he found Paul Barker unwilling to participate in its recording, making it a standout among various interpretations of Bob Dylan’s songs throughout history due to their complex dynamic.

2025-02-04 14:01