Resound NYC is the 21st studio album by American musician Moby , released on May 12, 2023, by Deutsche Grammophon . It features orchestral arrangements of songs that were recorded in New York City between 1994 and 2010, where Moby was born and lived.
94-432: The album is a collaboration with various guest vocalists. It contains reworks of Moby songs and an additional cover song of Neil Young 's " Helpless ". All tracks are written by Moby , except where noted Notes This 2020s album–related article is a stub . You can help Misplaced Pages by expanding it . Cover version In popular music , a cover version , cover song , remake , revival , or simply cover
188-513: A cover medley . On occasion, a cover can become more popular than the original, for instance Jimi Hendrix ’s version of Bob Dylan ’s " All Along the Watchtower " became the standard, and Dylan even adjusted his performance style closer to the Hendrix version. Johnny Cash ’s 2002 cover of " Hurt " by Nine Inch Nails is another example of the cover version eclipsing the original. This is
282-594: A paean to drugs such as LSD , a call to the singer's muse , a reflection of the audience's demands on the singer, and religious interpretations. "Mr. Tambourine Man" was written and composed in early 1964, at the same approximate time as " Chimes of Freedom ", which Dylan recorded later that spring for his album Another Side of Bob Dylan . Dylan began writing and composing "Mr. Tambourine Man" in February 1964, after attending Mardi Gras in New Orleans during
376-641: A busy number with lots of echo. Lead voice tells the story and has vocal group backing in the attractive chorus. The melody sticks even after one play." Critic William Ruhlmann has argued that in the wake of "Mr. Tambourine Man", the influence of the Byrds could be heard in recordings by a number of other Los Angeles-based acts, including the Turtles , the Leaves , Barry McGuire , and Sonny & Cher . In addition, author and music historian Richie Unterberger sees
470-530: A composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to decide who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of " Mr. Tambourine Man ". Even with this, pre-release cover versions of songs can occasionally occur. Live performances of copyrighted songs are typically arranged through performing rights organizations such as ASCAP or BMI . Early in
564-533: A cross-country road trip with several friends, and completed it sometime between the middle of March and late April of that year after he had returned to New York. Nigel Williamson has suggested in The Rough Guide to Bob Dylan that the influence of Mardi Gras can be heard in the swirling and fanciful imagery of the song's lyrics. Journalist Al Aronowitz has stated that Dylan completed the song at his home, but folk singer Judy Collins , who later recorded
658-489: A fuller range of the artist's abilities and style. (See, for example, Please Please Me .) Artists might also perform interpretations ("covers") of a favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes. Today, three broad types of entertainers depend on cover versions for their principal repertoire: Since the Copyright Act of 1909 , United States musicians have had
752-437: A night when the narrator has not slept. Still unable to sleep, though amazed by his weariness, he is available and open to Mr. Tambourine Man's song, and says he will follow him. In the course of four verses studded with internal rhymes, he expounds on this situation, his meaning often heavily embroidered with imagery, though the desire to be freed by the tambourine man's song remains clear." While there has been speculation that
846-450: A publisher demo of the song at Witmark Music. More than six months passed before Dylan re-recorded the song, again with Wilson in the producer's chair, during the final Bringing It All Back Home session on January 15, 1965, the same day that " Gates of Eden ", " It's Alright, Ma (I'm Only Bleeding) ", and " It's All Over Now, Baby Blue " were recorded. It was long thought that the four songs were each recorded in one long take. However, in
940-418: A result, while Dylan's version is five-and-a-half minutes long, the Byrds' version runs just short of two-and-a-half minutes. The lead vocal on the Byrds' recording of "Mr. Tambourine Man" was sung by McGuinn, who attempted to modify his singing style to fill what he perceived as a gap in the popular music scene of the day, somewhere between the vocal sound of John Lennon and Bob Dylan. The song also took on
1034-558: A search for transcendence. In particular, biographer John Hinchey has suggested in his book Like a Complete Unknown that the singer is praying to his muse for inspiration; Hinchey notes that ironically the song itself is evidence the muse has already provided the sought-after inspiration. The figure of Mr. Tambourine Man has sometimes been interpreted as a symbol for Jesus or the Pied Piper of Hamelin . The song may also reference gospel music themes, with Mr. Tambourine Man being
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#17328025007291128-534: A solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, perhaps the song's live debut, recorded at London's Royal Festival Hall on May 17, 1964, appeared on Live 1962-1966: Rare Performances From The Copyright Collections , while another early performance, recorded during a songs workshop at the Newport Folk Festival on July 24, 1964, was included in both Murray Lerner 's film The Other Side of
1222-659: A spiritual aspect for McGuinn during the recording sessions, as he told Rogan in 1997: "I was singing to God and I was saying that God was the Tambourine Man and I was saying to him, 'Hey, God, take me for a trip and I'll follow you.' It was a prayer of submission." The single reached number 1 on the Billboard Hot 100, and number 1 on the UK Singles Chart, making it the first recording of a Dylan song to reach number 1 on any pop music chart. In 2009,
1316-403: A tune recorded to compete with the recently released (original) version. Examples of records covered include Paul Williams ' 1949 hit tune " The Hucklebuck " and Hank Williams ' 1952 song " Jambalaya ". Both crossed over to the popular hit parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd –
1410-455: A weekly segment called Like a Version in which a band or musician performs one of their own songs as well as a song they love by another artist. Originating in 2004, the popularity of the performances have resulted in the release of annual compilation albums of selected covers and, more recently, votes in the annual Triple J Hottest 100 poll (which has even sparked its own controversy). Conjoined cover songs are collectively referred to as
1504-460: A widespread, common occurrence in the music industry. With advancements in artificial intelligence , internet users can create covers using RVC models. Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, " Singin' in the Rain " was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929 . The famous Gene Kelly version
1598-515: Is " Mack the Knife " ("Die Moritat von Mackie Messer"), originally from Bertolt Brecht's 1928 Die Dreigroschenoper . It was popularized by a 1956 hit parade instrumental tune, "Moritat", for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August , but a hit also for Louis Armstrong 1956/1959, Bobby Darin , 1959, and Ella Fitzgerald , 1960, as vocal versions of "Mack
1692-402: Is a new performance or recording by a musician other than the original performer or composer of the song . Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after the original. The term "cover" goes back decades when cover version originally described a rival version of
1786-534: Is surprising that neither Billboard or Cashbox magazines reviewed the single, considering the efforts Columbia put into promoting the record. In the UK, Record Mirror described the single as, "A Bob Dylan song of uncommon charm. Group is American, folksy and five-strong. Busy mandolin-style [ sic ] backing. Song is the big selling point, for sure." In his review for Music Echo , critic Brian Harvey described it as "a folksy, guitar twangy, medium tempo swinger. It's
1880-410: Is the only one that might currently get widespread airplay on most media. Similarly, " Unchained Melody " was originally performed by Todd Duncan , featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Young's cover version rival outdoing this in
1974-408: The 500 best songs ever . Both versions received Grammy Hall of Fame Awards . The song has a bright, expansive melody and has become famous for its surrealistic imagery, influenced by artists as diverse as French poet Arthur Rimbaud and Italian filmmaker Federico Fellini . The lyrics call on the title character to play a song and the narrator will follow. Interpretations of the lyrics have included
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#17328025007292068-473: The Bob Dylan track " Desolation Row ". This is more common with today's covers, taking older popular music and revamping it to compare with modern popular music. Aretha Franklin 's cover of Otis Redding 's " Respect " was voted the greatest cover song of all time, according to Forbes.com. Mr. Tambourine Man " Mr. Tambourine Man " is a song written by Bob Dylan , released as the first track of
2162-507: The Glenn Miller version (on RCA Victor's cheaper Bluebird label), not someone else's (sometimes presented on a more expensive record company's label). This trend was marked closely by the charting of record sales by the different artists, not just hit tunes, on the music industry's hit parades . However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well. Most audiences until
2256-539: The Harry Fox Agency , and is safe under copyright law even if they do not have any permission from the original author. A similar service was provided by Limelight by RightsFlow , until January 2015, when they announced they will be closing their service. The U.S. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market. Although
2350-424: The 1950s, musicians now play what they call "cover versions" (the reworking, updating, or interpretation) of songs as a tribute to the original performer or group. Using familiar material (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s most albums, or long playing records , contained a large number of evergreens or standards to present
2444-532: The 20th century it became common for phonograph record labels to have singers or musicians "cover" a commercially successful "hit" tune by recording a version for their own label in hopes of cashing in on the tune's success. For example, Ain't She Sweet was popularized in 1927 by Eddie Cantor (on stage) and by Ben Bernie and Gene Austin (on record), was repopularized through popular recordings by Mr. Goon Bones & Mr. Ford and Pearl Bailey in 1949, and later still revived as 33 1/3 and 45 RPM records by
2538-411: The 4-CD deluxe edition of The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) . Dylan played the song as part of his evening set at the 1971, Concert for Bangladesh , organized by George Harrison and Ravi Shankar , featuring Harrison on electric guitar, Leon Russell on bass, and Ringo Starr on tambourine. That performance was included on The Concert For Bangladesh album, although it
2632-684: The Air" occur in Strictly Ballroom , Candi Staton 's "Young Hearts Run Free" appear in Romeo + Juliet , and adaptations of artists such as Nat King Cole , Nirvana , Kiss , Elton John , Thelma Houston , Marilyn Monroe , Madonna , T. Rex , David Bowie , Queen , and the Police are used in Moulin Rouge! . The covers are carefully designed to fit into the structure of each film and suit
2726-455: The American record market. Numerable English-language covers exist of " 99 Luftballons " by German singer Nena (notably one by punk band Goldfinger ), one having been recorded by Nena herself following the success of her original German version. " Popcorn ", a song that was originally completely instrumental, has had lyrics added in at least six different languages in various covers. During
2820-525: The Anglo-Saxon markets was once a popular part of the music business. For example, the 1954 worldwide hit " The Happy Wanderer " was originally " Der fröhliche Wanderer ", to this must be added " Hymne à l'amour ", " Mütterlein ", " Volare ", " Seeman ", " Quando, Quando, Quando ", " L'amour est bleu ", etc. Cover versions of many popular songs have been recorded, sometimes with a radically different style, sometimes virtually unrecognizable from
2914-681: The Barbarians , and Chad and Jeremy . Other artists who have recorded the song include Alvin and the Chipmunks (1965), Glen Campbell (1965), the Beau Brummels (1966), the Lettermen (1966), Kenny Rankin (1967), Melanie (1968), Joni Mitchell (1970), Gene Clark (1984) and Crowded House (1989). William Shatner recorded a spoken-word cover of the song for his 1968 album The Transformed Man . A reunited line-up of
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3008-467: The Beatles in 1964. Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area and reach an audience before
3102-466: The Byrds over Thanksgiving 1964. Band biographer Johnny Rogan has remarked that the two surviving demos of "Mr. Tambourine Man" dating from this period feature an incongruous marching band drum part from Clarke, but overall the arrangement is very close to the later single version. The master take of "Mr. Tambourine Man" was recorded on January 20, 1965, at Columbia Studios in Hollywood, before
3196-481: The Byrds' musicianship, as a result of them not having gelled musically yet, McGuinn was the only Byrd to play on both "Mr. Tambourine Man" and its B-side , " I Knew I'd Want You ". Rather than using band members, Melcher hired the Wrecking Crew , a collection of top L.A. session musicians (listed here ), who (with McGuinn on guitar) provided the backing track over which McGuinn, Crosby, and Clark sang. By
3290-530: The Byrds, but, Unterberger argues, the band's influence could still be heard in the music of Fairport Convention . Since the 1960s, the Byrds' jangly, folk rock sound has continued to influence popular music, with authors such as Chris Smith, Johnny Rogan, and Mark Deming, noting the band's influence on various acts including Big Star , Tom Petty and the Heartbreakers , R.E.M. , the Long Ryders ,
3384-682: The Byrds, featuring Roger McGuinn , Chris Hillman, and David Crosby, performed "Mr. Tambourine Man" with Dylan at a Roy Orbison tribute concert on February 24, 1990. This live performance of the song was included on the 1990 box set The Byrds . At the October 1992 Bob Dylan 30th anniversary tribute concert at Madison Square Garden , McGuinn performed the song, backed by Tom Petty , Mike Campbell , and Benmont Tench , among others. "Mr. Tambourine Man" has been referenced in books and film, including Tom Wolfe 's non-fiction novel The Electric Kool-Aid Acid Test , Stephen King 's novel Carrie ,
3478-703: The Chipmunks , and Stevie Wonder among others. The Byrds' version was released in April 1965 as their first single on Columbia Records , reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart , as well as being the title track of their debut album, Mr. Tambourine Man . The Byrds' recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop , leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in
3572-683: The Fire , although the German title was retained. The English version, which was not a direct translation of Falco's original but retained much of its spirit, reached the Top 5 on the US charts. " The Lion Sleeps Tonight " evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan 's 1980s hits were English-language covers of songs already successful in Europe, for
3666-433: The Knife". Europe's Radio Luxembourg , like many commercial stations, also sold "air time"; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available. Add to this the fact that many radio stations were limited in their permitted " needle time " (the amount of recorded music they were allowed to play), or were regulated on
3760-640: The Limeliters , the Chad Mitchell Trio , and Les Baxter's Balladeers . In early 1964, McGuinn, Clark, and Crosby formed the Jet Set and started developing a fusion of folk-based lyrics and melodies, with arrangements in the style of the Beatles. In August 1964, the band's manager Jim Dickson acquired an acetate disc of "Mr. Tambourine Man" from Dylan's publisher , featuring a performance by Dylan and Ramblin' Jack Elliott. Although
3854-793: The Mirror and the DVD release of Martin Scorsese 's documentary No Direction Home . A live performance at New York's Philharmonic Hall dating from October 31, 1964, appeared on The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall . During his appearance at the Newport Folk Festival on July 25, 1965, after he was heckled by acoustic folk music fans during his electric set, Dylan returned to play acoustic versions of "Mr. Tambourine Man" and " It's All Over Now, Baby Blue "; this performance of "Mr. Tambourine Man"
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3948-519: The Rain" has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen . Another example of this, from a different angle, is the tune " Blueberry Hill ", many mistakenly believe the Fats Domino 1956 release to be the original recording and artist. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and roll version
4042-669: The Smiths , the Bangles , the Stone Roses , Teenage Fanclub , and the La's . In addition to appearing on the Byrds' debut album, "Mr. Tambourine Man" is included on several Byrds' compilation and live albums, including The Byrds Greatest Hits , Live at Royal Albert Hall 1971 , The Very Best of The Byrds , The Essential Byrds , The Byrds Play Dylan , and the live disc of The Byrds' (Untitled) album. The Byrds' version of
4136-961: The UK, Les Baxter's Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number one spot in May 1955, but the Righteous Brothers ' later version (top five on the US Hit Parade of September 1965 stalling at number 14 in the UK in August) is by far the wider known version, and especially so following its appearance in the 1990 film Ghost . " House of the Rising Sun " has hundreds of versions and in many genres such as folk , blues rock and punk as well as dance and dubstep . Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young 's "Love Is in
4230-440: The acoustic side of his March 1965 album Bringing It All Back Home . The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages and has been used or referenced in television shows, films, and books. The song has been performed and recorded by many artists, including the Byrds , Judy Collins , Melanie , Odetta , Alvin and
4324-575: The amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the UK. In the US, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in different genres. For example, King Records frequently cut both rhythm and blues and country and western versions of novelty songs like "Good Morning, Judge" and "Don't Roll those Bloodshot Eyes at Me". This tradition
4418-430: The band members were initially unimpressed with the song, after McGuinn changed the time signature from Dylan's 4 configuration to 4 time, they began rehearsing and demoing it. In an attempt to make it sound more like the Beatles, the band and Dickson elected to give the song a full, electric rock band treatment, effectively creating the musical subgenre of folk rock. To further bolster
4512-555: The band's bassist Chris Hillman gave Bob Eubanks , a DJ on KRLA and later the host of The Newlywed Game , credit for originally breaking the song on the radio in L.A. Upon release, Record World picked it as its "Sleeper of the Week" and called it a "funky and slow treatment of the Bob Dylan tune that has a lot to say. Moody and different treatment from a group going places." Band biographer Christopher Hjort has remarked that it
4606-431: The band's debut album , which was released on June 21, 1965. The Byrds' version is abridged and in a different key from Dylan's original. The single's success initiated the folk rock boom of 1965 and 1966, with a number of American and British acts imitating the band's hybrid of a rock beat, jangly guitar playing , and poetic or socially conscious lyrics. The single was the "first folk rock smash hit", and gave rise to
4700-573: The biography Bob Dylan: Behind the Shades , Clinton Heylin relates that the song required six attempts, possibly because of difficulties in working out the playoffs between Dylan's acoustic guitar and Bruce Langhorne 's electric lead. Alternate takes released on Dylan's Cutting Edge collection also reveal that early takes include drummer Bobby Gregg playing a tambourine-heavy 4 rhythm, but Dylan found this too distracting and opted to continue recording with Langhorne alone. The final take
4794-444: The bowdlerized popular cover versions more palatable for the mass audience of parents and their children. Artists targeting the white-majority family audience were more acceptable to programmers at most radio and TV stations. Singer-songwriter Don McLean called the cover version a "racist tool". Many parents in the 1950s - 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for
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#17328025007294888-409: The bringer of religious salvation. Dylan has cited the influence of Federico Fellini 's movie La Strada on the song, while other commentators have found echoes of the poetry of Arthur Rimbaud . Author Howard Sounes has identified the lyrics "in the jingle jangle morning I'll come following you" as having been taken from a Lord Buckley recording. Bruce Langhorne , who performs guitar on
4982-406: The disingenuous spirit of early cover versions remain. In the album-buying heyday of the 1970s, albums of sound-alike covers were created, commonly released to fill bargain bins in the music section of supermarkets and even specialized music stores , where uninformed customers might easily confuse them with original recordings. The packaging of such discs was often intentionally confusing, combining
5076-516: The film Dangerous Minds , and the documentary film Gonzo: The Life and Work of Dr. Hunter S. Thompson . The subject of the latter film, journalist Hunter S. Thompson , had "Mr. Tambourine Man" played at his funeral and dedicated his novel Fear and Loathing in Las Vegas to Dylan and the song. Ann Hui 's 1990 film Song of the Exile begins with Maggie Cheung riding a bicycle through
5170-408: The group's confidence in the song, Dickson invited Dylan to a band rehearsal at World Pacific Studios to hear their rendition. Dylan was impressed, enthusiastically commenting, "Wow, you can dance to that!" His endorsement erased any lingering doubts the band had about the song. During this period, drummer Michael Clarke and bass player Chris Hillman joined, and the band changed their name to
5264-475: The heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame but with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics often chide the music industry of shorting the tune-composing process. Although modern cover versions are often produced for artistic reasons, some aspects of
5358-643: The influence of the Byrds in recordings by the Lovin' Spoonful , the Mamas & the Papas , Simon & Garfunkel , and Love , while author John Einarson has said that both the Grass Roots and We Five enjoyed commercial success by emulating the Byrds' folk rock sound. Unterberger also feels that, by late 1965, the Beatles were assimilating the sound of the Byrds into their Rubber Soul album, most notably on
5452-517: The mid-1950s still heard their favorite artists playing live music on stage or via the radio . And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience. Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz , country and western or rhythm and blues tunes, and vice versa, were frequent. An example
5546-483: The most part, shared entertainment with their parents in ways their children had become reluctant to do. The jukebox and the personal record disc player were still relatively expensive pieces of machinery — and the portable radio a great novelty, allowing truculent teenagers to shut themselves off. Tunes by introducing or "original" niche market artists that became successful on the mass audience hit parade charts are called crossovers as they "crossed over" from
5640-517: The most popular style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore popular recording artists sought that format. For many purists these popular versions lacked the raw earthiness of the original introducing artists. Most did not have the kudos that rebellious teenagers craved, the street credibility — of rock and roll music; most were performed, and some were written, by black artists not heard in popular mass entertainment markets. Most parents considered
5734-520: The name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular by . More recently, albums such as the Kidz Bop series of compact discs , featuring versions of contemporary songs sung by children, have sold successfully. In 2009, the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by
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#17328025007295828-579: The number 86 single of the prior 25 years. That same year, music critic Dave Marsh listed it as number 207 in his list of the top 1001 singles ever made. In 1999, National Public Radio in the United States listed this version as one of the 300 most important American records of the 20th century. In the UK, music critic Colin Larkin listed the Byrds' version as the number 1 single of all time. Other UK publishers that have listed this song as one of
5922-409: The original sound electronically; cover versions give a performer the ability to adapt music to their own style, typically allowing them to change the genre of a song and recreating it to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson 's hit song " Beat It ", changing the genre from pop rock to a more punk rock feel. Another example is when My Chemical Romance covered
6016-403: The original. For example, Sir Mix-a-Lot 's 1992 rap " Baby Got Back " was covered by indie rock singer Jonathan Coulton in 2005, in an acoustic soft rock style. Coulton's cover was then covered, without attribution, in 2013 by the show Glee , and was so similar that Coulton, among others, alleged plagiarism of his arrangement and melody. Some producers or recording artists may also enlist
6110-513: The other at Witmark Music, have been released on The Bootleg Series Vol. 7: No Direction Home and The Bootleg Series Vol. 9: The Witmark Demos 1962–1964 , respectively. Outtakes from the January 15, 1965, recording session were released on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 in 2015. The song has been in Dylan's live concert repertoire since it was written, usually as
6204-645: The production of musical entertainment was seen as a live event , even if it was reproduced at home via a copy of the sheet music , learned by heart or captured on a gramophone record . In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. This made the song more important than the performing artist and rival cover or 'copycat' versions would vie for success. In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-popular tunes, even out of doing contemporary cover versions of current hits. Since
6298-408: The release of Dylan's own version. The song's jangling, melodic guitar playing (performed by McGuinn on a 12-string Rickenbacker guitar) was immediately influential and has remained so to the present day. The group's complex vocal harmony work, as featured on "Mr. Tambourine Man", became another major characteristic of their sound. Due to producer Terry Melcher 's initial lack of confidence in
6392-432: The right to record a version of someone else's previously recorded and released tune, whether it is music alone or music with lyrics. A license can be negotiated between representatives of the interpreting artist and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording artist pays a standard royalty to the original author/copyright holder through an organization such as
6486-504: The series' titular glee club until near the end of its second season with the episode " Original Song ". The series still primarily uses cover songs of both chart hits and show tunes, occasionally as mashups or distinct variations. The show's musical performances have been a commercial success, with over twenty-one million copies of Glee cast single releases purchased digitally, and over nine million albums purchased worldwide. Australian alternative/indie radio station Triple J presents
6580-530: The services of a sample replay company such as Titan Tribute Media or Scorccio, in order to replicate an original recording with precision detail and accuracy. A song may be covered into another language. For example, in the 1930s, a recording of " Isle of Capri " in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco 's 1982 German-language hit " Der Kommissar " was covered in English by After
6674-671: The song appears on compilation albums that include hit songs by multiple artists. Two earlier demo recordings of "Mr. Tambourine Man", dating from the World Pacific rehearsal sessions, can be heard on the Byrds' archival albums Preflyte , In the Beginning , and The Preflyte Sessions . According to Christopher Hjort: The Byrds Additional musicians Note Sales+streaming figures based on certification alone. "Mr. Tambourine Man" has been performed and recorded by many artists and in different languages over
6768-410: The song from 1966 were released in the boxed set The 1966 Live Recordings , with the May 26, 1966, performance released separately on the album The Real Royal Albert Hall 1966 Concert . "Mr. Tambourine Man" was the debut single by the American rock band the Byrds and was released on April 12, 1965 by Columbia Records, less than a month after Dylan's original. The song was also the title track of
6862-426: The song is about drugs, particularly with lines such as "take me on a trip upon your magic swirling ship" and "the smoke rings of my mind", Dylan has denied the song is about drugs. Though he was smoking marijuana at the time the song was written, Dylan was not introduced to LSD until a few months later. Outside of drug speculation, the song has been interpreted as a call to the singer's spirit or muse , or as
6956-500: The song is in the key of D major , it is harmonized as if it were in a Lydian G major , giving the song a tonal ambiguity that enhances the dreamy quality of the melody. Unusually, rather than beginning with the first verse, the song begins with an iteration of the chorus: William Ruhlmann, writing for the AllMusic web site, has suggested the following outline of the song's lyrics: "The time seems to be early morning following
7050-483: The song's chorus . Although Dylan's version contains four verses, the Byrds perform only the song's second verse and two repeats of the chorus, followed by a variation on the song's introduction, which then fades out . The Byrds' arrangement of the song had been shortened during the band's rehearsals, at the suggestion of Jim Dickson, in order to accommodate commercial radio stations, which were reluctant to play songs that were more than two-and-a-half minutes long. As
7144-492: The song, has stated that Dylan completed the song at her home. Dylan premiered the song the following month at a May 17 concert at London's Royal Festival Hall . During the sessions for Another Side of Bob Dylan , in June 1964, with Tom Wilson producing, Dylan recorded "Mr. Tambourine Man" with Ramblin' Jack Elliott singing harmony. As Elliott was slightly off key, that recording was not used. Later that month he recorded
7238-420: The songs " Nowhere Man " and " If I Needed Someone ". Both Unterberger and author Peter Lavezzoli have commented that Dylan himself decided to record with electric instrumentation on his 1965 album Bringing It All Back Home in part due to the influence of the Byrds' rock adaptation of "Mr. Tambourine Man". As the 1960s came to a close, folk rock changed and evolved away from the jangly template pioneered by
7332-481: The streets of London while a street performer plays the song. The 2013 John Craigie song, "I Wrote Mr. Tambourine Man", is about a person that Craigie met in New Orleans who claimed to have written the original lyrics to "Mr. Tambourine Man". The Byrds' version of "Mr. Tambourine Man" was listed as the number 79 song on Rolling Stone ' s list of the 500 Greatest Songs of All Time , and Dylan's version
7426-494: The success of the Byrds' debut created a template for folk rock that proved successful for many acts during the mid-1960s. Most of the members of the Byrds had a background in folk music, since Jim McGuinn , Gene Clark , and David Crosby had all worked as folk singers during the early 1960s. They had all spent time, independently of each other, in various folk groups, including the New Christy Minstrels ,
7520-430: The targeted country, jazz or rhythm audience. Also, many songs originally recorded by male artists were rerecorded by female artists, and vice versa. Such a cover version is also sometimes called a cross cover version , male cover , or female cover . Some songs such as "If Only for One Night" were originally recorded by female artists but covered by mostly male artists. Reworking non-English language tunes and lyrics for
7614-405: The taste of the intended audience. Other artists release new versions of their own songs, like German singer Nena who recorded an entire album with great success, with new versions of older hits. Cover songs can be used to display creativity of a performers work through the talent of another artist's previous production. Not to be confused with a remix , which is defined as altering or distorting
7708-592: The term "folk rock" in the U.S music press to describe the band's sound. This hybrid had its antecedents in the American folk revival of the early 1960s, the Animals ' rock-oriented recording of the folk song " The House of the Rising Sun ", the folk influences present in the songwriting of the Beatles , and the twelve-string guitar jangle of the Searchers and the Beatles' George Harrison . However,
7802-578: The time that sessions for their debut album began in March 1965, Melcher was satisfied that the band was competent enough to record its own musical backing. Much of the track's arrangement and final mixdown was modeled after Brian Wilson 's production work for the Beach Boys ' " Don't Worry Baby ". The Byrds' recording of the song opens with a distinctive, Bach -inspired guitar introduction played by McGuinn and then, like Dylan's version, goes into
7896-509: The top songs or singles include Mojo , New Musical Express , and Sounds . Australian music critic Toby Creswell included the song in his book 1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them . In a 2005 readers' poll reported in Mojo , Dylan's version of "Mr. Tambourine Man" was listed as the number four all-time greatest Bob Dylan song, and
7990-573: The track, has been cited by Dylan as the inspiration for the tambourine man image in the song. Langhorne used to play a giant, four-inch-deep " tambourine " (actually a Turkish frame drum ), and had brought the instrument to a previous Dylan recording session. The Bringing it All Back Home version of "Mr. Tambourine Man" was included on Bob Dylan's Greatest Hits in 1967 and several later Dylan compilation albums, including Biograph , Masterpieces , and The Essential Bob Dylan . The two June 1964 recordings, one with Ramblin' Jack Elliott and
8084-482: The version by the artist(s) who first introduced the tune, and highly competitive record companies were quick to take advantage of this. This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the swing era , when a bobby soxer went looking for a recorded tune, say " In the Mood ", typically she wanted the version popularized by her favorite artist(s), e.g.
8178-495: The wake of the single's success. Dylan himself was partly influenced to record with electric instrumentation after hearing the Byrds' reworking of his song during one of their rehearsals at World Pacific Studios in late 1964. Dylan's song has four verses, of which the Byrds only used the second for their recording. Dylan's and the Byrds' versions have appeared on various lists ranking the greatest songs of all time, including an appearance by both on Rolling Stone ' s list of
8272-470: The years, including at least thirteen versions recorded in 1965 alone. The Brothers Four recorded a commercial version before the Byrds , but were unable to release it due to licensing issues. Odetta included her version of the song on her album Odetta Sings Dylan , released early March 1965. Notable recordings of the song have been made by Judy Collins , Stevie Wonder , the Four Seasons ,
8366-426: Was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin' in the Rain . In 1978, it was covered by French singer Sheila , accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently "Singin' in
8460-652: Was excluded from the film of the concert. Another live version, from the Rolling Thunder Revue tour of 1975, was included on The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue and The Rolling Thunder Revue: The 1975 Live Recordings , while electric band versions from 1978 and 1981 appeared, respectively, on Bob Dylan at Budokan and the Deluxe Edition of The Bootleg Series Vol. 13: Trouble No More 1979–1981 . In November 2016, all Dylan's recorded live performances of
8554-427: Was expanded when rhythm and blues songs began appearing on pop music charts. In the early days of rock and roll , many tunes originally recorded by R&B and country musicians were still being re-recorded in a more popular vein by other artists with a more toned-down style or professional polish. This was inevitable because radio stations were reluctant to play formats outside their target audience's taste. By far
8648-674: Was included in The Other Side of the Mirror . A live version from Dylan's famous May 17, 1966, concert in Manchester, England (popularly but mistakenly known as the Royal Albert Hall Concert) was included on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert . Dylan's August 31, 1969, performance of the song at the Isle of Wight Festival appeared on Isle of Wight Live , part of
8742-439: Was ranked number 106. It is one of three songs to place twice, along with " Walk This Way " by both Aerosmith and Run-DMC with Perry and Tyler , and " Blue Suede Shoes " by both Carl Perkins and Elvis Presley . The Byrds' version was honored with a Grammy Hall of Fame Award in 1998, and Dylan's version was honored with the same award in 2002. In 1989 Rolling Stone ranked the Byrds' version of "Mr. Tambourine Man" as
8836-555: Was selected for the album, which was released on March 22, 1965. In his book Keys to the Rain: The Definitive Bob Dylan Encyclopedia , Oliver Trager describes "Mr. Tambourine Man" as having a bright, expansive melody, with Langhorne's electric guitar accompaniment, which provides a countermelody to the vocals, being the only instrumentation besides Dylan's acoustic guitar and harmonica . Author Wilfrid Mellers has written that although
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