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Bob Dylan Revisited
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Dirty Lie

With thanks to EDLIS Café on Facebook. 

Dirty Lies / Bob Dylan
Recorded on the “Verona Rehearsal Tape”, May 1984

Dirty Lies
Sometime she said I'm slow
She said it about me but it's too soon to know
Don't mind leaving, wondering why
Whosoever told it, told a dirty lie
Well, I'll tell you one more to
Take what is you with you when you go
Now I'll tumble, tumble and die
Whosoever told it, told a dirty lie
Already seen your dirty mate
Sure find it harder to concentrate
I'll be beloved, times too slow
But make sure you take her with you when you go
I'll love it and leave it, the sun go down
Pray for the rain for miles around
I'll never leave it to wonder why
Whosoever told you, told a dirty lie
Oh, they time you and I'm telling you
I'd be watching, baby no matter what you do
And I'll leave alone, you're far too slow
Just make sure you take her with you when you go
I want to leave, my feet's soaking wet
I long to leave but I ain't found you yet
And I know baby, telling you why
Whosoever told me, told a dirty lie
[Source: The Wicked Messenger #1489]

Play along with dylanchords!


The Secret Sisters have just recorded a version of Dirty Lie:

The Secret Sisters - Dirty Lie

From Rolling Stone:

The singers credit legendary producer T Bone Burnett for what they deem the most surreal moment in making the album: finishing a song that Bob Dylan first started writing back in the mid-Eighties.

"We were in the middle of our recording session with T Bone and he said to us, 'Bob sent over some songs for you guys to listen to and choose one to finish,'" Laura recalls. "It was the weirdest thing ever to even be considered to finish it in a way that even remotely measures up to what he is known for. So we looked at four or five demos he’d sent, and ['Dirty Lie'] really spoke to us."

From the Secret Sisters' blog:

This is what the Secret Sisters said about this song:

“It is an old Bob Dylan song. Dylan started writing “Dirty Lie” back in the ’80s; bootleg copies exist of the tune in it’s unfinished form. When Dylan’s office heard that the Secret Sisters were recording a new album, his representative sent several demos to Laura and Lydia for their consideration.

They chose “Dirty Lie,” and Dylan gave the Sisters the nod to finish the song and record it. “Bob Dylan is one of those legends that doesn’t even seem real,” Laura Rogers tells American Songwriter. “He’s so important to music history that he becomes completely mythical, at least to the two of us. I remember the day that T Bone came into the studio to ask us if we’d like to finish a Dylan song. He sat down with us, and told us how Dylan’s camp had sent over some incomplete song demos for us to choose from. To hear songs in that state is always a fragile, intimate moment.

Each demo was magical — Bob was humming along in places where he didn’t have lyrics, almost making it up as he went along. It was a surreal moment, and one we felt humbled by and undeserving of.”

“We chose a saucy song of his to work on, one with a somewhat jazzy feel. All the credit must go to Bob. The skeleton of the song was brilliant, all it needed was a handful of lyrics. We took it to our hotel that night, and finished the song within a couple of hours. The next day we tracked it, and it’s actually the first song we’ve ever written, recorded and released in which we never once sang harmony.

The feel of the song is also very different from our normal sound, but somehow, in all of his brilliance, Bob created something that spoke to us, and the song truly feels as though it was meant to be on this record. We owe him so much gratitude and respect, and are humbled that he gave us such a gift.”

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As a longtime fan,I've never heard this song before but it is strangely appropriate for something that recently happened to me although not pertaining to a love relationship. That's synchronicity and I thank you for posting this.
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Charlie Daniels - Bob Dylan Tribute Album

Photograph: Charlie Daniels (right) with Bob Dylan in the studio during the Nashville Skyline recording sessions, February 1969. 

Once a studio musician for Bob Dylan, playing on the New Morning, Nashville Skyline and Self Portrait albums, the country fiddle player Charlie Daniels pays tribute to the songwriter with a new album of Dylan covers called Off The Grid-Doin' It Dylan. (Available from April 1, 2014)

Watch clips of some of the recording session and an interview with Charlie Daniels here:

Charlie Daniels Pays Tribute to Dylan

Charlie Daniels, Off The Grid – Doin’ It Dylan Track Listing:

1. ‘Tangled Up in Blue’
2. ‘The Times They Are a Changin’’
3. ‘I’ll Be Your Baby Tonight’
4. ‘Gotta Serve Somebody’
5. ‘I Shall Be Released’
6. ’Country Pie’
7. ‘Mr. Tambourine Man’
8. ‘A Hard Rain’s a-Gonna Fall’
9. ‘Just Like a Woman’
10. ‘Quinn the Eskimo (The Mighty Quinn)’


Interview with Charlie Daniels for The Boot: 

“It was about 50 years ago when I first became aware of Bob Dylan — and no, I was not naive enough to think I could swim in the same stream, try to emulate what he had done, or cop his licks. Nobody could do that,” Daniels recalls. “My ambitions were to provoke some thought, to color the imagery of my songs, to think outside the box of conformity — in other words to be myself.”

The 77-year-old first became aware of the rock icon when he played on a few of Dylan’s early records, including ‘Nashville Skyline.’ He says that even then, he realized Dylan was changing the face of music.

“Whatever it was Bob Dylan meant by his lyrics, they grabbed the attention of the world and changed the face of music forever,” he explains. “He inspired musicians to knock down the restrictive, bubble gum, three minute a side, Tin Pan Alley world that set the parameters of popular music and turn their creative minds loose in a thousand new directions.”

The Grand Ole Opry member, who has released more than 50 of his own albums, says he is still in awe of Dylan’s creativity.

“Bob Dylan basically defies description and trying to figure out what he may do next is tantamount to trying to guess which number a roulette ball is going to land on,” he adds. “After 50 years he remains the unrivaled free thinker with the talent and the nerve to follow his musical star wherever it takes him.”

Read More: Charlie Daniels Pays Tribute to Bob Dylan With New Album |

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✦"•"♥•thx 4 this wonderful share ✦"•"♥
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♪ ♫ ♩ ♬ ♭ ~~ Handy Dandy Tour Guide, 2014 ~~ ♪ ♫ ♩ ♬ ♭ 

As we approach another leg of the Never Ending Tour, here is a guide to the planned shows so far for 2014.

If you are attending a concert, the first thing to do is to RSVP on the event so that you can follow along with information, pictures, videos, recordings, set lists and gatherings.

You will find the events listed on the 'Events' tab at the top of the Facebook group, or in the individual files.

March 2014:

April 2014:

June 2014:

July 2014:


So, you are attending a concert?

Once you have listed yourself as attending a show, contact others if you fancy a gathering to celebrate the occasion, or see our FAQ file with all of your questions answered! 

And our website: 

Have fun, and enjoy Mr. Bob! 


Photo credit - Bob Dylan in Bearsville, New York. August 27, 1964. Picture by Daniel Kramer. 
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Thankyou & much love to Bob & friends! <3
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Dick Campbell: Columbia had Dylan and Mercury didn't

Richard S. "Dick" Campbell (January 25, 1944 – April 25, 2002), was a US folk rock singer-songwriter and film producer. He is best known for his 1966 album Dick Campbell Sings Where It’s At, rated as "the sole masterpiece of the fake-Dylan field".

Website about Dick Campbell:

Expecting Rain discussion topic - Dick Campbell:


Dick Campbell's Mercury album

Dick Campbell Sings Where Its At.
Album Produced by Lou Reizner
Mercury Records SR 61060 (stereo)

Recorded in 1965 at Universal Recording Studios, Chicago, Illinois.

DICK CAMPBELL (vocals & acoustic guitar): I Had Written a couple of "Dylan-esque" songs which Mercury liked. Columbia had Dylan and Mercury didn't. They asked me to write ten more, Come back in two weeks, and make an album. So I did and this is it.

Dick Campbell writes:

In 1965 I played in a band in Massachusetts, Dick Campbell and the Scarlets, as a guitarist, lead singer and writer. We cut a demo album in Boston. A friend of mine had once met Gary Usher at WORC radio when he visited Worcester. Through him I sent a copy of the demo tape to Gary in California and he liked it. He called me to say he thought he could use some of the songs I'd written with other artists and that I should come to L.A. to write and work with him. That summer I started out by car for California, but stopped in Chicago to see what reaction I might get to the album from the labels there. Vee Jay wasn't interested, and Chess was into black artists, but Mercury liked some of the tunes and wanted to publish them.

To make a long story short, Mercury particularly liked a couple of my folk rock type tunes, and moreover, since Columbia had Dylan and they didn't, couldn't I write ten more and they'd cut an album of me singing them? Now, in hind sight, I probably should have continued on out to the coast and gone to work for Usher then and there since most of his happening stuff occurred in the '60s. But instead, I signed a deal with Mercury Records and recorded "Dick Campbell Sings Where It's At" which was pretty much a blatant rip off of Bob Dylan. To be sure, I was backed up by some very good musicians, in fact, artists who have gone on to much bigger things since this project.

There was Mike Bloomfield on lead guitar, just fresh from recording with Dylan on the "Highway 61 Revisited" LP. Marty Grebb of the Buckinghams also played guitar and Paul Butterfield was on harmonica. Mark Naftalin played organ and Sam Lay was on drums. A kid from a local group called the Exceptions played bass and he later had a brilliant career as the lead singer for Chicago -- Peter Cetera. To shorten this story even further, by the time I got done spinning my wheels in the Midwest (including a tour with the Guess Who, an appearance at The Bitter End, and marriage plus three children) it was 1969 before I got out to L.A. and went to work for Gary Usher.


Review by Richie Unterberger

Mercury put out a bunch of under-promoted, awkward commercial folk and early folk-rock LPs in the mid-'60s, but this one really takes the cake for sheer ill-conceived weirdness. Campbell was the most blatant early-electric-period Dylan imitator this side of David Blue, except he was notably inferior as a singer and songwriter even to Blue. It really is difficult to tell whether this was intended as a Dylan satire or a Dylan homage, particularly when the lyrics contain such gems as "Well, the girls all love me, I have to beat 'em away with a club" and "Hey Mr. Unrefined, lower class hoodlum kind, trying to beat my head 'cause he don't like how I act, well, don't do it." They're all delivered with Dylan's sing-speak vocal style, of course. Campbell is not a good singer, though, and a contrived songwriter, though it's sometimes evident he's trying to match Dylan's internal rhyming schemes. It gets even more curious when a couple of songs bear the influence of groups like the Four Seasons in the vocal harmonies. For all that, the instrumental backing has its appeal for those who like the early Dylanesque folk-rock sound, particularly in Mark Naftalin's organ and Mike Bloomfield's 12-string guitar

YouTube playlist for the album:

Where were you 

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When the last rays of daylight go down, 
Buddy, you’ll roll no more…

                              Bob Dylan / Standing in the Doorway

On the anniversary of Buddy Holly's death, February 3 1959, let's take a moment to consider the connection, and the effect Buddy Holly had on Bob Dylan.

On Saturday, January 31 1959, Buddy Holly's final tour made its second-longest haul -- 368 miles from Fort Dodge, Iowa, to Duluth, where they played the Duluth Armory as part of the 'Winter Dance Party'. In attendance was Bob Dylan, then a young high schooler from Hibbing named Robert Zimmerman.

Dylan has told the story of how he made eye contact with Holly that night, feeling like a torch was being passed to the next generation.

"He was great. He was incredible. I mean, I'll never forget the image of seeing Buddy Holly up on the bandstand," Bob Dylan - The Rolling Stone Interview (by Kurt Loder - 1984).

In Chronicles, Volume One, Dylan wrote about meeting Carolyn Hester at a recording session soon after he arrived in New York:

Carolyn was eye catching, down-home and double barrel beautiful. That she had known and worked with Buddy Holly left no small impression on me and I liked being around her. Buddy was royalty, and I felt like she was my connection to it, to the rock-and-roll music that I'd played earlier, to that spirit.

An article from Muddy Water Magazine made the connection between Bob Dylan and Buddy Holly's influence during the recording of Time Out Of Mind

During the recording of Time Out of Mind, Dylan seems to have been haunted once again by Holly’s spirit. Or even, as he tells it, his presence, as if it were more than coincidence that Dylan was thinking of Holly while making the album.   

“While we were recording, every place I turned there was Buddy Holly. You know what I mean? It was one of those things. Every place you turned. You walked down a hallway and you heard Buddy Holly records like “That'll Be the Day.” Then you'd get in the car to go over to the studio and “Rave On” would be playing. Then you'd walk into this studio and someone's playing a cassette of “It's So Easy.” And this would happen day after day after day. Phrases of Buddy Holly songs would just come out of nowhere. It was spooky. (laughs) But after we recorded and left, you know, it stayed in our minds. Well, Buddy Holly's spirit must have been someplace, hastening this record."

- Bob Dylan, Chronicles Volume One.

In 1998, Bob Dylan was at the Grammy awards, February 25, Radio City Music Hall, New York City.

He won the award for Album Of The Year and in his acceptance speech, Dylan again mentioned seeing Buddy Holly:

"And I just want to say that when I was sixteen or seventeen years old, I went to see Buddy Holly play at Duluth National Guard Armory and I was three feet away from him...and he looked at me. And I just have some sort of feeling that he was — I don't know how or why — but I know he was with us all the time we were making this record in some kind of way." 

In a 1999 interview for the magazine Guitar World, Dylan said:

You know, I don't really recall exactly what I said about Buddy Holly, but while we were recording, every place I turned there was Buddy Holly. You know what I mean? It was one of those things. Every place you turned. You walked down a hallway and you heard Buddy Holly records like "That'll Be the Day." Then you'd get in the car to go over to the studio and "Rave On" would be playing. Then you'd walk into this studio and someone's playing a cassette of "It's So Easy." And this would happen day after day after day. Phrases of Buddy Holly songs would just come out of nowhere. It was spooky. [laughs] But after we recorded and left, you know, it stayed in our minds. Well, Buddy Holly's spirit must have been someplace, hastening this record.

The day the music died...
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Thanks for sharing, two great artists.
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Have them in circles
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Bob Dylan Revisited

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Premiere of Huck's Tune

Huck's Tune - Tokyo, April 4th:

Other tracks and video available here (Facebook link):
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☆ ♥everytime i hear bob sing HUCK's TUNE it's a Joy ☆great treasure ♥
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Bob Dylan and Etta James 

Live at Marriot Hotel, Providence Rhode Island
July 10th, 1986

Listen to the complete 30 minute set here:


1. You Win Again (Hank Williams)
2. I'm A King Bee (James Moore)
3. Call It Stormy Monday But Tuesday Is Just As Bad (T-Bone Walker)
4. Let The Good Times Roll (Leonard Lee)
5. Earth Angel Curtis Williams)
6. Goodnight, Sweetheart, Goodnight (Calvin Carter, James “Pookie” Hudson)


Bob Dylan (vocals, guitar)
Etta James (vocals)
Jack McDuff (keyboards)
Shuggie Otis (guitar)
Richard Reid (bass)
Paul Humphrey (drums)

Available on Bootlegs:

Charlie's Choice. RR 101 .
Dreams. Kink Kong LP.
What’s Happening Here? Bullshit LP.
Zim Zim Zabob. Rockwell & Good LP.

Charlie's Choice:

Long available on tape and vinyl since 1986, the Marriott Lounge gig is presented here in exceptionally good soundboard quality. A very enjoyable 30 minute "mini blues- fest," with BD handling most of the lead vocals and playing guitar on all 4 trax. Some serious playing by Etta James' blues band of obviously seasoned veterans, too. A great chance to hear BD sing the blues and a fun 30 minutes.

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+Pam P I know what you mean Pam, I wish I could have seen Bob in the village anytime around 1961-1963 . That would have been a classic and memorable performance. At least we have all his recordings plus these wonderdul videos and other sound recordings posted here. Enjoy !
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Get your shades ready: Bob Dylan announces two shows in Hawaii

Maui, Hawaii, 26 April 2014:


Honolulu, Hawaii, 29 April 2014:


Photograph: Bob Dylan, Hyde Park, London, UK, 1996
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•*Great pic  • •♥& Love Bob's shirt˚ •
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What Is It That Makes a Dylan Performance Special? My #1 Reason.

Bob Dylan 

Jackson County Fairgrounds
Medford, Oregon
9 October 2001

I'll tell you a story about this song. Here we have Dylan's first live performance of the song. It is not often that you can watch a World Premier of a Dylan song with a video this good, in spite of its brief dropout in the middle of the video. 

My Dylan buddy, Shasta Bates, posted this performance on his Facebook wall on 7 May 2011, saying "Gotta post this again! So cool!" It was the last Dylan song he ever posted. On 19 May 2011 he posted, "I'll be playing at Bobby's Idle Hour tonight around 10 pm with Tom Rogers." Eight days later he had a heart attack after performing at a club in Nashville that night and we lost him. Now he lives in our hearts and our memories.
Shasta had excellent taste in music, a longtime Bobcat and taper. When he said a performance was cool, he was usually right!!

"Every step of the way we walk the line
Your days are numbered, so are mine
Time is pilin’ up, we struggle and we scrape
We’re all boxed in, nowhere to escape"

Back in the day, I would go visit Shasta and as soon as I walked in the door, he'd say, "Oh great, hey you gotta hear this. I just got it!" And he'd proceed to play some new cool Bob performance he had received. He always had something he was excited about. Or I'd call him on the phone and tell him about something I just discovered.

So I'm gonna write what I would be telling him tonight, if he were still around. . . 

Here's how I rediscovered this cool Dylan performance of "Mississippi."

A blogger had posted about a collection of women who had done some Dylan covers. I thought Susan Tedeschi was the best of the lot. Patti Smith, one of my favorites, was also there, but the article featured the wrong one of her performances of "Changing of the Guard." 

There were also two performances of "Mississippi," one by Sheryl Crow, which she introduced by telling the story of Dylan sending her the song, then she sang it along with a large string section. Another was by the Dixie Chicks with a total of 26 musicians playing it.

Both Crow and the DC did the song well, no big complaints, all the notes in the right place, polished, enjoyable.

The next night it occurred to me that I should compare their performances to one by Bob. That's because in her introduction, Crow told about running into Dylan a few years after she had recorded the song and she said, "So Bob, how'd you like my version? and he like..., How'd you like mine??"

So he didn't answer her question directly, he just asked her how she liked his version! So I started poking around on my computer to see what I might have with Dylan doing the song. I wanted a live version to compare to the other two live versions. That led me to this version that Shasta had posted on FB. So I listened to it again.

The difference was apparent to me right away, summed up in my mind with one word: authentic. Dylan's performance immediately sounded authentic to me. When I was listening to the other two performances it didn't occur to me that they didn't sound authentic, but when I played Dylan, it immediately sounded authentic to me, much more than their versions did.

He was singing about big life issues, mortality and accountability. He sounded like he was very interested in those issues and he meant every single word he sang about them, right there in that moment. He wanted us to know what he had to say about them.

I went back and listened to the ladies again. As I listened to one of them, I thought, "Well now, this is a jaunty little tune!" I was tapping along with my toe. The lyrics all came rolling off their tongues, smooth and clear. All the performers seemed to be enjoying themselves, and why not, they were performing a great Bob Dylan tune. I was listening to the music, rolling along with them, kinda happy, but not taking the lyrics very seriously. 

They were not authentic. They were not delivering the message of the song. They were performing the song (all the notes) and doing it well, but I was not drawn into considering the words they were singing that much. It was clear those weren't their words. 

Back to Bob. Of course he has an advantage right out of the box. They really ARE his words. But I don't think it's as simple as that. It is more than that. He is just soooo skilled in his singing. His pacing and tone is appropriate to what he is singing about at every point.

"Every step of the way we walk the line
Your days are numbered, so are mine"

There's some meat to this stuff and he sings it that way. His spirit elevates as he sings, he gets stronger, and he delivers each line like the thought just came to him, it interests him and he wants us to know about it. He's not trying to impress anyone, to win us over, to be a star. He's just teling us how he sees it, take it or leave it.

The ladies and their bands are trying to be as interesting as possible, to wow us, impress us, to do a good job. And they do, but not in the way that Dylan does.

This is the crux of Nobody Sings Dylan Like Dylan! 

That's what it is to me. Dylan is authentic.

I believe him when he sings one of his songs. When others sing his songs, I might believe that they're doing their best to do a good job, but rarely have they made it their own song. There are exceptions, such as Nina Simone doing a riveting performance of "Ballad of Hollis Brown" in Holland in 1965. She meant every word she sang in that performance. Not so for the ladies singing "Mississippi."

As often happens, Dylan's performance got me to open the lyrics to follow along, to really get as much as I could. And then to be fair, I did the same with the ladies. Sheryl Crow changed Rosie to You, okay I don't really object to that. Maybe that made it more her own. 

But something else jumped out at me in the third verse.

"Got nothin' for you, I had nothin' before
Don’t even have anything for myself anymore
Sky full of fire, pain pourin’ down
Nothing you can sell me, I’ll see you around"

That's how Dylan's website has it and how he sang it in this performance. But Crow sang "rain pourin' down"!

Did she think she was correcting a typo? Dylan clearly sings pain. And pain is more true to the serious issues he is addressing in the song. Rain seems to make some sense, to fit right in, but it doesn't seem to be what Dylan wrote, and it is not as intense as pain. It's more like Fred Astaire singin' in the rain.

In fact, Fred Astaire singin' in the rain fits right in to the jaunty feeling I had been having listening to the ladies. But Dylan didn't write a jaunty little tune for Fred Astaire to sing!

Dylan has performed this song 75 times. Do me a favor and listen to some of the live Dylan performances of the song that you have. Is there any where Dylan sings "rain?"
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Brilliant writing and sang with clarity and emotion. Wonderful performance. Thanks for posting this great song.
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Bob Dylan's Superbowl adverts - February 2, 2014

Bob Dylan was featured in two commercials during the 2014 Superbowl. 

The most prominent was the advert for Chrysler cars (the YouTube video is featured in this post). It included the song Things Have Changed on the soundtrack, along with a rejuvenated Mr. Dylan providing the narration, perusing guitars, and playing pool. 

The link attached to this post has been removed. Click here for a working link to the commercial:

OFFICIAL Chrysler and Bob Dylan Super Bowl Commercial 2014 - America's Import

Full transcript of the Chrysler commercial narration by Bob Dylan:

Is there anything more American than America?

‘Cause you can’t import original.

You can’t fake true cool.

You can’t duplicate legacy.

Because what Detroit created was a first

and became an inspiration to the… rest of the world.

Yeah…Detroit made cars. And cars made America

Making the best, making the finest, takes conviction.

And you can't import, the heart and soul,

of every man and woman working on the line.

You can search the world over for the finer things,

but you won’t find a match for the American road

and the creatures that live on it.

Because we believe in the zoom,

and the roar, and the thrust.

And when it’s made here, it’s made with the one thing

you can’t import from anywhere else. American…Pride.

So let Germany brew your beer,

Let Switzerland make your watch,

Let Asia assemble your phone.

We…will build…your car.


This advert can be found on the home page, and video archive, of the website After A War about Bob Dylan's enduring relationship with the good ol' American combustion engine:

Which is also at the URL:

The other, more minor, advert is for Chobani Yoghurt, and features a marauding bear and the song I Want You on the soundtrack.

Chobani Super Bowl Commercial 2014 - Yougart Bear (FULL VIDEO)


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And when it's made here, it's made with the one thing

you can't import from anywhere else, American . . . Pride.

So let Germany brew your beer,

Let Switzerland make your watch,

Let Asia assemble your phone,

Italy will build your Chrysler.
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Bob Dylan information, discussion and events
Bob Dylan information, discussion and events. 

Follow the link for a full index of the most interesting posts on Bob Dylan Revisited: