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[
"Boots of Spanish Leather",
"genre",
"contemporary folk music"
] |
"Boots of Spanish Leather" is a ballad written and performed by Bob Dylan, recorded in New York City on August 7, 1963, and released in 1964 on his album The Times They Are a-Changin'. It features Dylan solo on the acoustic guitar, playing the song using fingerpicking.
| 6
|
[
"Only a Pawn in Their Game",
"composer",
"Bob Dylan"
] |
"Only a Pawn in Their Game" is a song written by Bob Dylan about the assassination of civil rights activist Medgar Evers in Jackson, Mississippi, on June 12, 1963. Showing support for African-Americans during the American Civil Rights Movement, the song was released on Dylan's The Times They Are a-Changin' album in 1964.
| 0
|
[
"Only a Pawn in Their Game",
"performer",
"Bob Dylan"
] |
"Only a Pawn in Their Game" is a song written by Bob Dylan about the assassination of civil rights activist Medgar Evers in Jackson, Mississippi, on June 12, 1963. Showing support for African-Americans during the American Civil Rights Movement, the song was released on Dylan's The Times They Are a-Changin' album in 1964.Lyrics
The lyrics attribute blame for the killing and other racial violence to the rich white politicians and authorities who manipulated poor whites into directing their anger and hatred at black people. The song suggests that Evers's killer does not deserve to be remembered by name in the annals of history, unlike the man he murdered ("They lowered him down as a king"), because he was "only a pawn in their game."
| 1
|
[
"Only a Pawn in Their Game",
"lyrics by",
"Bob Dylan"
] |
"Only a Pawn in Their Game" is a song written by Bob Dylan about the assassination of civil rights activist Medgar Evers in Jackson, Mississippi, on June 12, 1963. Showing support for African-Americans during the American Civil Rights Movement, the song was released on Dylan's The Times They Are a-Changin' album in 1964.Lyrics
The lyrics attribute blame for the killing and other racial violence to the rich white politicians and authorities who manipulated poor whites into directing their anger and hatred at black people. The song suggests that Evers's killer does not deserve to be remembered by name in the annals of history, unlike the man he murdered ("They lowered him down as a king"), because he was "only a pawn in their game."
| 2
|
[
"Only a Pawn in Their Game",
"instance of",
"musical work/composition"
] |
"Only a Pawn in Their Game" is a song written by Bob Dylan about the assassination of civil rights activist Medgar Evers in Jackson, Mississippi, on June 12, 1963. Showing support for African-Americans during the American Civil Rights Movement, the song was released on Dylan's The Times They Are a-Changin' album in 1964.Lyrics
The lyrics attribute blame for the killing and other racial violence to the rich white politicians and authorities who manipulated poor whites into directing their anger and hatred at black people. The song suggests that Evers's killer does not deserve to be remembered by name in the annals of history, unlike the man he murdered ("They lowered him down as a king"), because he was "only a pawn in their game."
| 8
|
[
"With God on Our Side (song)",
"composer",
"Bob Dylan"
] |
"With God on Our Side" is a song by Bob Dylan, released as the third track on his 1964 album The Times They Are A-Changin'. Dylan first performed the song during his debut at The Town Hall in New York City on April 12, 1963.Lyrics
The lyrics address the tendency of Americans to believe that God will invariably side with them and oppose those with whom they disagree, thus leaving unquestioned the morality of wars fought and atrocities committed by their country. Dylan mentions several historical events, including the slaughter of Native Americans in the nineteenth century, the Spanish–American War, the American Civil War, World Wars I and II, The Holocaust, the Cold War and the betrayal of Jesus Christ by Judas Iscariot.Dylan added an additional verse about the Vietnam War for live versions in the 1980s (one which was recorded by The Neville Brothers) that ran thus:
| 0
|
[
"With God on Our Side (song)",
"performer",
"Bob Dylan"
] |
"With God on Our Side" is a song by Bob Dylan, released as the third track on his 1964 album The Times They Are A-Changin'. Dylan first performed the song during his debut at The Town Hall in New York City on April 12, 1963.Lyrics
The lyrics address the tendency of Americans to believe that God will invariably side with them and oppose those with whom they disagree, thus leaving unquestioned the morality of wars fought and atrocities committed by their country. Dylan mentions several historical events, including the slaughter of Native Americans in the nineteenth century, the Spanish–American War, the American Civil War, World Wars I and II, The Holocaust, the Cold War and the betrayal of Jesus Christ by Judas Iscariot.Dylan added an additional verse about the Vietnam War for live versions in the 1980s (one which was recorded by The Neville Brothers) that ran thus:
| 1
|
[
"With God on Our Side (song)",
"lyrics by",
"Bob Dylan"
] |
"With God on Our Side" is a song by Bob Dylan, released as the third track on his 1964 album The Times They Are A-Changin'. Dylan first performed the song during his debut at The Town Hall in New York City on April 12, 1963.Lyrics
The lyrics address the tendency of Americans to believe that God will invariably side with them and oppose those with whom they disagree, thus leaving unquestioned the morality of wars fought and atrocities committed by their country. Dylan mentions several historical events, including the slaughter of Native Americans in the nineteenth century, the Spanish–American War, the American Civil War, World Wars I and II, The Holocaust, the Cold War and the betrayal of Jesus Christ by Judas Iscariot.Dylan added an additional verse about the Vietnam War for live versions in the 1980s (one which was recorded by The Neville Brothers) that ran thus:
| 2
|
[
"With God on Our Side (song)",
"form of creative work",
"song"
] |
"With God on Our Side" is a song by Bob Dylan, released as the third track on his 1964 album The Times They Are A-Changin'. Dylan first performed the song during his debut at The Town Hall in New York City on April 12, 1963.Lyrics
The lyrics address the tendency of Americans to believe that God will invariably side with them and oppose those with whom they disagree, thus leaving unquestioned the morality of wars fought and atrocities committed by their country. Dylan mentions several historical events, including the slaughter of Native Americans in the nineteenth century, the Spanish–American War, the American Civil War, World Wars I and II, The Holocaust, the Cold War and the betrayal of Jesus Christ by Judas Iscariot.Dylan added an additional verse about the Vietnam War for live versions in the 1980s (one which was recorded by The Neville Brothers) that ran thus:
| 4
|
[
"With God on Our Side (song)",
"instance of",
"musical work/composition"
] |
"With God on Our Side" is a song by Bob Dylan, released as the third track on his 1964 album The Times They Are A-Changin'. Dylan first performed the song during his debut at The Town Hall in New York City on April 12, 1963.Lyrics
The lyrics address the tendency of Americans to believe that God will invariably side with them and oppose those with whom they disagree, thus leaving unquestioned the morality of wars fought and atrocities committed by their country. Dylan mentions several historical events, including the slaughter of Native Americans in the nineteenth century, the Spanish–American War, the American Civil War, World Wars I and II, The Holocaust, the Cold War and the betrayal of Jesus Christ by Judas Iscariot.Dylan added an additional verse about the Vietnam War for live versions in the 1980s (one which was recorded by The Neville Brothers) that ran thus:
| 7
|
[
"North Country Blues",
"composer",
"Bob Dylan"
] |
"North Country Blues" is a song by Bob Dylan, released on his third studio album The Times They Are a-Changin' in 1964. He also performed it at the 1963 Newport Folk Festival.
Its apparently simple format (ten verses of ABCB rhyme scheme), accompanied by only two chords (Cm & Bb) and subject matter (the perils of life in a mining community and its ultimate demise) appears to have been influenced by Woody Guthrie.
| 0
|
[
"North Country Blues",
"form of creative work",
"song"
] |
"North Country Blues" is a song by Bob Dylan, released on his third studio album The Times They Are a-Changin' in 1964. He also performed it at the 1963 Newport Folk Festival.
Its apparently simple format (ten verses of ABCB rhyme scheme), accompanied by only two chords (Cm & Bb) and subject matter (the perils of life in a mining community and its ultimate demise) appears to have been influenced by Woody Guthrie.
| 4
|
[
"North Country Blues",
"instance of",
"musical work/composition"
] |
"North Country Blues" is a song by Bob Dylan, released on his third studio album The Times They Are a-Changin' in 1964. He also performed it at the 1963 Newport Folk Festival.
Its apparently simple format (ten verses of ABCB rhyme scheme), accompanied by only two chords (Cm & Bb) and subject matter (the perils of life in a mining community and its ultimate demise) appears to have been influenced by Woody Guthrie.
| 5
|
[
"Restless Farewell",
"instance of",
"musical work/composition"
] |
"Restless Farewell" is a song by Bob Dylan, released as the final track on his third studio album The Times They Are a-Changin' in 1964. The melody is based on the Scottish folk song "The Parting Glass".Notable performances
In 1995, Dylan performed the song live as part of the Sinatra: 80 Years My Way television special, celebrating entertainer Frank Sinatra's 80th birthday, at the request of Sinatra himself. It was the only performance in the special of a song that Sinatra had not recorded.In 1968, Joan Baez covered it on her all-Dylan double album, Any Day Now.
De Dannan recorded it on their 1991 release Half Set in Harlem.
Robbie O'Connell performed the song as a member of Clancy, O'Connell, and Clancy on their 1997 self-titled album.
On the 2012 compilation album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International, the song was covered by Mark Knopfler.
| 5
|
[
"Restless Farewell",
"genre",
"contemporary folk music"
] |
"Restless Farewell" is a song by Bob Dylan, released as the final track on his third studio album The Times They Are a-Changin' in 1964. The melody is based on the Scottish folk song "The Parting Glass".
| 6
|
[
"Tangled Up in Blue",
"lyrics by",
"Bob Dylan"
] |
Background and recording
The song was written in the summer of 1974, after Dylan's comeback tour with The Band that year and his separation from Sara Dylan, whom he had married in 1965. Dylan had moved to a farm in Minnesota with his brother, David Zimmerman, and there started to write the songs that were recorded for his album Blood on the Tracks. In the spring of 1974, Dylan had taken art classes at Carnegie Hall and was influenced by his tutor Norman Raeben, and in particular Raeben's view of time, when writing the lyrics.: 160 In a 1978 interview Dylan explained this style of songwriting: "What's different about it is that there's a code in the lyrics, and there's also no sense of time. There's no respect for it. You've got yesterday, today, and tomorrow all in the same room, and there's very little you can't imagine not happening". Richard F. Thomas, Professor of the Classics at Harvard University, has written that Dylan has been "characteristically vague" on the use of any specific painting techniques emulated while he was writing the words for the songs on Blood On The Tracks. According to novelist Ron Rosenbaum, Dylan told him that he'd written "Tangled Up in Blue" after spending a weekend listening to Joni Mitchell's 1971 album Blue.Dylan first recorded "Tangled Up in Blue" in New York City on 16 September 1974 during the initial Blood on the Tracks sessions at A&R Studios. Eight takes were recorded in New York from 16 to 19 September, mostly featuring Tony Brown on bass alongside Dylan on guitar and harmonica, and containing some minor variations in lyrics, as well as differences in vocal delivery, and tempo. Two of the versions later released on The Bootleg Series Vol. 14: More Blood, More Tracks (Deluxe edition) also include Paul Griffin on organ. That December, working from a suggestion from his brother that the album should have a more commercial sound, Dylan re-recorded half the songs on Blood on the Tracks, including "Tangled Up in Blue" on 30 December at Sound 80 in Minneapolis, Minnesota.David Zimmerman was the producer for the Minneapolis Blood on the Tracks recordings, but was not credited on the album. The re-recorded versions were radical departures from the original recordings, and each new recording included changes to the lyrics from the earlier versions. This recording featured a full band: Kevin Odegard (guitar), Chris Weber (guitar) Gregg Inhofer (keyboards), Billy Peterson (bass), and Bill Berg (drums), with Dylan singing, and on guitar and harmonica. These musicians were based locally and had arrived at Zimmerman's invitation, and Dylan had not met them before they started working together on 27 December.The Minneapolis version was included as the opening track on Blood on the Tracks, released on 20 January 1975, and in February as a single backed with "If You See Her, Say Hello". The single reached number 31 on the Hot 100 chart. Outtakes of "Tangled Up in Blue" from the New York sessions were released in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 and in 2018 on the single-CD and 2-LP versions of The Bootleg Series Vol. 14: More Blood, More Tracks, while the complete New York sessions were released on the deluxe edition of the latter album. The deluxe version of The Bootleg Series Vol. 14 also included a remix of the December 1974 master issued on Blood on the Tracks.
| 2
|
[
"Tomorrow Is a Long Time",
"performer",
"Bob Dylan"
] |
"Tomorrow Is a Long Time" is a song written and recorded by Bob Dylan. Dylan's version first appeared on the album Bob Dylan's Greatest Hits Vol. II compilation, released in 1971. It was subsequently included in the triple LP compilation Masterpieces.Dylan's versions
Dylan's officially released version of the song is a live recording from his April 12, 1963, concert at New York's Town Hall. Dylan had recorded the song in December 1962 as a demo for M. Witmark & Sons, his publishing company. This particular recording, long available as a bootleg, was released by Columbia in 2010 on The Bootleg Series Vol. 9: The Witmark Demos: 1962-1964. A studio version of the song, an outtake from the June 1970 sessions for New Morning, has also been bootlegged.
The song was featured in the first-season finale of The Walking Dead.In the 2017 film The Vanishing of Sidney Hall the song appears twice: once sung by Logan Lerman and again by Bob Dylan in the closing scene.
| 1
|
[
"I'll Be Your Baby Tonight",
"performer",
"Bob Dylan"
] |
"I'll Be Your Baby Tonight" is a 1967 song by Bob Dylan first released on John Wesley Harding. It features Pete Drake on pedal steel guitar, and two other Nashville musicians, Charlie McCoy on bass guitar and Kenneth Buttrey on drums, both of whom had appeared on Dylan's previous album, Blonde on Blonde.Dylan first performed the song in concert at the Isle of Wight Festival with the Band on August 31, 1969. Since then, he has included it in more than 400 live performances. "I'll Be Your Baby Tonight" has been covered by many artists, including Robert Palmer with UB40 in 1990.
| 1
|
[
"When I Paint My Masterpiece",
"lyrics by",
"Bob Dylan"
] |
"When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971.Background
Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar. The recording sessions lasted from March 16 to 19, 1971, and also saw the recording of the 45 RPM single "Watching the River Flow", released by CBS Records on June 3, 1971. Both songs appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer of the two songs.
During the March 1971 sessions at Blue Rock Studio, Dylan also recorded a solo version with slightly different lyrics, accompanying himself on piano. This version was released in 2013 on The Bootleg Series Vol. 10: Another Self Portrait (1969–1971).Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages.
| 1
|
[
"When I Paint My Masterpiece",
"form of creative work",
"song"
] |
"When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971.Background
Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar. The recording sessions lasted from March 16 to 19, 1971, and also saw the recording of the 45 RPM single "Watching the River Flow", released by CBS Records on June 3, 1971. Both songs appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer of the two songs.
During the March 1971 sessions at Blue Rock Studio, Dylan also recorded a solo version with slightly different lyrics, accompanying himself on piano. This version was released in 2013 on The Bootleg Series Vol. 10: Another Self Portrait (1969–1971).Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages.
| 2
|
[
"When I Paint My Masterpiece",
"producer",
"Leon Russell"
] |
Background
Dylan himself first recorded the song at New York's Blue Rock Studio when he was backed by Leon Russell and session musicians, including Jesse Ed Davis on lead guitar. The recording sessions lasted from March 16 to 19, 1971, and also saw the recording of the 45 RPM single "Watching the River Flow", released by CBS Records on June 3, 1971. Both songs appeared on Bob Dylan's Greatest Hits Vol. II, released November 17, 1971, with Russell credited as the producer of the two songs.
During the March 1971 sessions at Blue Rock Studio, Dylan also recorded a solo version with slightly different lyrics, accompanying himself on piano. This version was released in 2013 on The Bootleg Series Vol. 10: Another Self Portrait (1969–1971).Dylan and The Band performed the song together live, in the early hours of January 1, 1972, at a New Year's Eve concert by The Band; a recording was released as a bonus track on the 2001 CD reissue of The Band's live album Rock of Ages.
| 5
|
[
"When I Paint My Masterpiece",
"performer",
"The Band"
] |
"When I Paint My Masterpiece" is a 1971 song written by Bob Dylan. It was first released by The Band, who recorded the song for their album Cahoots, released on September 15, 1971.
| 6
|
[
"I Don't Want to Do It",
"lyrics by",
"Bob Dylan"
] |
I Don't Want to Do It is a song written by Bob Dylan and performed by George Harrison for the Porky's Revenge! soundtrack, released in 1985. It was issued as a single in the United States and some other countries, but failed to chart.History
"I Don't Want to Do It" was written by Bob Dylan in 1968 and was little known until George Harrison's version first appeared in March 1985. The song marked the first new release from Harrison in over two years, since his Gone Troppo album in November 1982. Harrison recorded the song in Los Angeles in November 1984, with producer Dave Edmunds, who was overseeing musical contributions from a number of different artists for the Porky's Revenge! soundtrack. The soundtrack album was issued on Columbia Records in America on 18 March 1985, with a British release following on 28 June. As a US single from the album, released on 22 April, Columbia selected "I Don't Want to Do It", backed by Edmunds' "Queen of the Hop". The single version is distinguished by a guitar solo in the middle, while the mix chosen for the film instead features an organ solo from Chuck Leavell.
A demo of the song, recorded before the main sessions for Harrison's 1970 triple album All Things Must Pass, can be found on bootlegs such as Beware of ABKCO! and 12 Arnold Grove. This early version had remained officially unreleased until its appearance on the 50th Anniversary box set of “All Things Must Pass” on 6 August 2021.
In 2009 the Porky's Revenge version of the song was remastered by Giles Martin and Dave Edmunds for inclusion on the compilation album Let It Roll: Songs by George Harrison.
| 0
|
[
"I Don't Want to Do It",
"record label",
"Columbia Records"
] |
History
"I Don't Want to Do It" was written by Bob Dylan in 1968 and was little known until George Harrison's version first appeared in March 1985. The song marked the first new release from Harrison in over two years, since his Gone Troppo album in November 1982. Harrison recorded the song in Los Angeles in November 1984, with producer Dave Edmunds, who was overseeing musical contributions from a number of different artists for the Porky's Revenge! soundtrack. The soundtrack album was issued on Columbia Records in America on 18 March 1985, with a British release following on 28 June. As a US single from the album, released on 22 April, Columbia selected "I Don't Want to Do It", backed by Edmunds' "Queen of the Hop". The single version is distinguished by a guitar solo in the middle, while the mix chosen for the film instead features an organ solo from Chuck Leavell.
A demo of the song, recorded before the main sessions for Harrison's 1970 triple album All Things Must Pass, can be found on bootlegs such as Beware of ABKCO! and 12 Arnold Grove. This early version had remained officially unreleased until its appearance on the 50th Anniversary box set of “All Things Must Pass” on 6 August 2021.
In 2009 the Porky's Revenge version of the song was remastered by Giles Martin and Dave Edmunds for inclusion on the compilation album Let It Roll: Songs by George Harrison.
| 7
|
[
"I Don't Want to Do It",
"producer",
"Dave Edmunds"
] |
History
"I Don't Want to Do It" was written by Bob Dylan in 1968 and was little known until George Harrison's version first appeared in March 1985. The song marked the first new release from Harrison in over two years, since his Gone Troppo album in November 1982. Harrison recorded the song in Los Angeles in November 1984, with producer Dave Edmunds, who was overseeing musical contributions from a number of different artists for the Porky's Revenge! soundtrack. The soundtrack album was issued on Columbia Records in America on 18 March 1985, with a British release following on 28 June. As a US single from the album, released on 22 April, Columbia selected "I Don't Want to Do It", backed by Edmunds' "Queen of the Hop". The single version is distinguished by a guitar solo in the middle, while the mix chosen for the film instead features an organ solo from Chuck Leavell.
A demo of the song, recorded before the main sessions for Harrison's 1970 triple album All Things Must Pass, can be found on bootlegs such as Beware of ABKCO! and 12 Arnold Grove. This early version had remained officially unreleased until its appearance on the 50th Anniversary box set of “All Things Must Pass” on 6 August 2021.
In 2009 the Porky's Revenge version of the song was remastered by Giles Martin and Dave Edmunds for inclusion on the compilation album Let It Roll: Songs by George Harrison.
| 8
|
[
"I'd Have You Anytime",
"lyrics by",
"George Harrison"
] |
"I'd Have You Anytime" is a song written by George Harrison and Bob Dylan, released in 1970 as the opening track of Harrison's first post-Beatles solo album, All Things Must Pass. The pair wrote the song at Dylan's home in Bearsville, near Woodstock in upstate New York, in November 1968. Its creation occurred during a period when Harrison had outgrown his role in the Beatles and Dylan had withdrawn from the pressures of fame to raise a family. "I'd Have You Anytime" is recognised as a statement of friendship between the two musicians, whose meetings from 1964 onwards resulted in changes in musical direction for both Dylan and the Beatles. The song reflects the environment in which it was written, as Harrison's verses urge the shy and elusive Dylan to let down his guard, and the Dylan-composed choruses respond with a message of welcome.
As a gentle ballad, "I'd Have You Anytime" went against pop-music convention of the time for an album opener. The recording was co-produced by Phil Spector in London and features a lead guitar part by Eric Clapton. With the strong public association that existed between Harrison and Dylan by 1970, some music critics remarked on the American singer's presence on All Things Must Pass, even though he did not contribute to the album. Harrison and Dylan went on to enjoy further collaborations after writing the song, culminating in their recording together as members of the Traveling Wilburys in 1988–90.
An alternate take of "I'd Have You Anytime", recorded during the All Things Must Pass sessions, appears on the 2012 Harrison compilation Early Takes: Volume 1. Harrison and Dylan's demo of the song circulates on bootleg compilations, but it has never received an official release. Ralfi Pagán and Evan Rachel Wood are among the artists who have covered "I'd Have You Anytime".
| 2
|
[
"I'd Have You Anytime",
"performer",
"George Harrison"
] |
The released recording of "I'd Have You Anytime" features a sparse musical arrangement, in what Leng terms the "minimalist" tradition of Dylan and the Band, similar to the treatment given to "Behind That Locked Door", "Run of the Mill" and "If Not for You". Harrison played acoustic guitar on the song, while Eric Clapton contributed an electric guitar part that author Bruce Spizer describes as "exquisite". Leng views Clapton's solos as "all but mimicking" Harrison's playing on the Beatles' "Something".As with several of the tracks on All Things Must Pass, the remaining musician credits have traditionally been the subject of some conjecture. After consulting German musician Klaus Voormann and orchestral arranger John Barham, Leng credits the rhythm section on "I'd Have You Anytime" as being Voormann (on bass) and Alan White (drums). According to Spizer also, the overdubbed vibraphone (often referred to as a xylophone) was played by either White or Barham, who had first collaborated with Harrison on the latter's Wonderwall Music film soundtrack (1968). While Leng and Spizer credit Barham with a string arrangement on "I'd Have You Anytime", American musician Bobby Whitlock writes in his 2010 autobiography that the sound was a harmonium, which he himself often played during sessions for the album. In Whitlock's recollection, the personnel supporting Harrison on the recording were the future line-up of Derek and the Dominos: Clapton, Carl Radle on bass, Jim Gordon on drums, and Whitlock on harmonium.Personnel
The musicians who performed on "I'd Have You Anytime" are believed to be as follows:
George Harrison – vocals, acoustic guitars, backing vocals
Eric Clapton – electric guitar
Klaus Voormann – bass
Alan White – drums
uncredited – harmonium
uncredited – vibraphone
John Barham – orchestral arrangement
| 4
|
[
"Watching the River Flow",
"genre",
"blues"
] |
The music of "Watching the River Flow"—whose feel the journalist Bob Spitz has likened to Dylan's "Leopard-Skin Pill-Box Hat" (1966)—has been described by different critics as a "[b]lues-powered sound [that cascades] like clumps of flotsam and jetsam", as "featur[ing] some blistering guitar work ... and rollicking piano work from Russell", and as "an energetic, funky-gospel rocker". The recording has been praised for the dynamic way in which Dylan's vocal mannerisms bounce off Russell's characteristic stride piano playing. Biographer Clinton Heylin has pointed out that Dylan borrowed the line "If I had wings and I could fly" from the song "The Water is Wide" and words from "Old Man River" for his composition.Four and a half months after the recording session, on August 1, Russell backed Dylan on bass at the Concert for Bangladesh, organized by George Harrison. In November 1971, Russell accompanied Dylan into a studio again to record Dylan's next single, "George Jackson". At this session, Russell once more played bass. Joe Schick, the manager of Blue Rock in 1971, has commented that although Dylan and Russell had a reasonably friendly relationship, their rapport was not strong enough to record an album together. Indeed, Heylin noted in 2009 that Russell had not recorded with Dylan again; however, they did tour together in 2011. Russell died in 2016.The B-side of "Watching the River Flow" was "Spanish is the Loving Tongue" (written by Charles Badger Clark–Billy Simon). Dylan used the second of two takes of the song recorded during the New Morning sessions on June 2, 1970, in Columbia Studios in New York City. Musicians at these sessions included Bob Dylan, vocal, guitar, harmonica, and piano; Al Kooper, organ; Charlie Daniels, bass; David Bromberg, guitar, dobro; Russ Kunkel, drums; Ron Cornelius, guitar.
| 3
|
[
"Watching the River Flow",
"genre",
"rock music"
] |
The music of "Watching the River Flow"—whose feel the journalist Bob Spitz has likened to Dylan's "Leopard-Skin Pill-Box Hat" (1966)—has been described by different critics as a "[b]lues-powered sound [that cascades] like clumps of flotsam and jetsam", as "featur[ing] some blistering guitar work ... and rollicking piano work from Russell", and as "an energetic, funky-gospel rocker". The recording has been praised for the dynamic way in which Dylan's vocal mannerisms bounce off Russell's characteristic stride piano playing. Biographer Clinton Heylin has pointed out that Dylan borrowed the line "If I had wings and I could fly" from the song "The Water is Wide" and words from "Old Man River" for his composition.Four and a half months after the recording session, on August 1, Russell backed Dylan on bass at the Concert for Bangladesh, organized by George Harrison. In November 1971, Russell accompanied Dylan into a studio again to record Dylan's next single, "George Jackson". At this session, Russell once more played bass. Joe Schick, the manager of Blue Rock in 1971, has commented that although Dylan and Russell had a reasonably friendly relationship, their rapport was not strong enough to record an album together. Indeed, Heylin noted in 2009 that Russell had not recorded with Dylan again; however, they did tour together in 2011. Russell died in 2016.The B-side of "Watching the River Flow" was "Spanish is the Loving Tongue" (written by Charles Badger Clark–Billy Simon). Dylan used the second of two takes of the song recorded during the New Morning sessions on June 2, 1970, in Columbia Studios in New York City. Musicians at these sessions included Bob Dylan, vocal, guitar, harmonica, and piano; Al Kooper, organ; Charlie Daniels, bass; David Bromberg, guitar, dobro; Russ Kunkel, drums; Ron Cornelius, guitar.
| 4
|
[
"Highway 61 Revisited (song)",
"performer",
"Bob Dylan"
] |
"Highway 61 Revisited" is the title track of Bob Dylan's 1965 album Highway 61 Revisited. It was also released as the B-side to the single "Can You Please Crawl Out Your Window?" later the same year. In 2004, Rolling Stone magazine ranked the song as number 364 in their 500 Greatest Songs of All Time.Background
Highway 61 runs from Duluth, Minnesota, where Bob Dylan grew up in the 1940s and 1950s down to New Orleans, Louisiana. It was a major transit route out of the Deep South particularly for African Americans traveling north to Chicago, St Louis and Memphis, following the Mississippi River valley for most of its 1,400 miles (2,300 km).
| 1
|
[
"Highway 61 Revisited (song)",
"lyrics by",
"Bob Dylan"
] |
Background
Highway 61 runs from Duluth, Minnesota, where Bob Dylan grew up in the 1940s and 1950s down to New Orleans, Louisiana. It was a major transit route out of the Deep South particularly for African Americans traveling north to Chicago, St Louis and Memphis, following the Mississippi River valley for most of its 1,400 miles (2,300 km).Lyrics
The song has five stanzas. In each stanza, someone describes an unusual problem that is ultimately resolved on Highway 61. In Verse 1, God tells Abraham to "kill me a son". God wants the killing done on Highway 61. This stanza refers to Genesis 22, in which God commands Abraham to kill one of his two sons, Isaac. Abram, the original name of the biblical Abraham, is the name of Dylan's own father. Verse 2 describes a poor fellow, Georgia Sam, who is beyond the helping of the welfare department. He is told to go down Highway 61. Georgia Sam may be a reference to Piedmont blues musician Blind Willie McTell, who occasionally went by Georgia Sam when recording.In the third verse, "Mack the Finger" has the problem of getting rid of particular absurd things: "I got forty red white and blue shoe strings / And a thousand telephones that don't ring". "Louie the King" solves the problem with Highway 61. Verse 4 is about the "fifth daughter" who on the "twelfth night" told the "first father" that her complexion is too pale. Agreeing, the father seeks to tell the "second mother," but she is with the "seventh son," on Highway 61. The inspiration for this verse may be drawn from the enumeration pattern at the beginning of the Old Testament book of Ezekiel.The fifth and last verse is the story of a bored gambler, trying "to create the next world war." His promoter tells him to "put some bleachers out in the sun / And have it on Highway 61." There is an evident political undertone in this absurd tale. There is a pause in each verse while Dylan waits for some event in the story to finish; in the third verse, for example, the pause occurs while Louie the King attempts to resolve the shoestring-and-telephones problem.
| 2
|
[
"Highway 61 Revisited (song)",
"named after",
"U.S. Route 61"
] |
"Highway 61 Revisited" is the title track of Bob Dylan's 1965 album Highway 61 Revisited. It was also released as the B-side to the single "Can You Please Crawl Out Your Window?" later the same year. In 2004, Rolling Stone magazine ranked the song as number 364 in their 500 Greatest Songs of All Time.Background
Highway 61 runs from Duluth, Minnesota, where Bob Dylan grew up in the 1940s and 1950s down to New Orleans, Louisiana. It was a major transit route out of the Deep South particularly for African Americans traveling north to Chicago, St Louis and Memphis, following the Mississippi River valley for most of its 1,400 miles (2,300 km).
| 7
|
[
"Simple Twist of Fate",
"performer",
"Bob Dylan"
] |
"Simple Twist of Fate", a song by American singer-songwriter Bob Dylan, was recorded on September 19, 1974, and was released in 1975 as the second song on his 15th studio album Blood on the Tracks.Background and composition
"Simple Twist of Fate" is a narrative song about a romantic relationship destined not to work out. It is unusual in that it begins in the third person before shifting into the first. The song has been interpreted variously as being inspired by Suze Rotolo, Joan Baez and Sara Dylan. Dylan has continually revised the lyrics in live performance over the decades (through to its most recent outing in 2021 on the Rough and Rowdy Ways World Wide Tour).The song was written in the key of E major and features a descending melody line, with a chord structure almost identical to the verses of "Can't Take My Eyes Off You", Frankie Valli's 1967 hit by Bob Crewe and Bob Gaudio. Dylan scholar Jochen Markhorst has described as "brilliant" the purposeful way Dylan fused the music to the lyrics: "It gives a magical sparkle to the rhyme scheme that on paper almost looks like an everyday rhyme (a a a b b c c). The sparse use of the minor chord is masterful too. Everyone else would, given the melancholic lyrics, play the entire song in minor. Song Maestro Dylan senses that he adds to the fascination when he plays in the major, briefly slipping to minor in every fourth line – when the main character feels alone, when he gets hit by the heat of the night, when he feels empty inside, when he is despairing if she would ever pick him again".
| 1
|
[
"Simple Twist of Fate",
"instance of",
"musical work/composition"
] |
Background and composition
"Simple Twist of Fate" is a narrative song about a romantic relationship destined not to work out. It is unusual in that it begins in the third person before shifting into the first. The song has been interpreted variously as being inspired by Suze Rotolo, Joan Baez and Sara Dylan. Dylan has continually revised the lyrics in live performance over the decades (through to its most recent outing in 2021 on the Rough and Rowdy Ways World Wide Tour).The song was written in the key of E major and features a descending melody line, with a chord structure almost identical to the verses of "Can't Take My Eyes Off You", Frankie Valli's 1967 hit by Bob Crewe and Bob Gaudio. Dylan scholar Jochen Markhorst has described as "brilliant" the purposeful way Dylan fused the music to the lyrics: "It gives a magical sparkle to the rhyme scheme that on paper almost looks like an everyday rhyme (a a a b b c c). The sparse use of the minor chord is masterful too. Everyone else would, given the melancholic lyrics, play the entire song in minor. Song Maestro Dylan senses that he adds to the fascination when he plays in the major, briefly slipping to minor in every fourth line – when the main character feels alone, when he gets hit by the heat of the night, when he feels empty inside, when he is despairing if she would ever pick him again".
| 7
|
[
"Mixed-Up Confusion",
"instance of",
"musical work/composition"
] |
"Mixed-Up Confusion" is a song written and recorded by Bob Dylan and released as his first single.The song was recorded with an electric band on November 14, 1962, during the sessions for The Freewheelin' Bob Dylan but was not used on that album, which, aside from "Corrina, Corrina", was entirely acoustic. Instead the song, backed with "Corrina, Corrina" (a different take from the Freewheelin' one), a traditional blues song, appeared as Dylan's first single, released in the United States on December 14, 1962, as Columbia 4-42656. According to legend, Dylan wrote the song in a cab on the way to the Columbia studios for the recording session.A different version of the song, recorded on November 1, 1962, with later overdubbing, was released on the compilation album Masterpieces in 1978 and on the original 1985 issue of the Biograph box set; the 1997 reissue of Biograph includes a stereo version of the released single, recorded on November 14, 1962, in place of this alternative version. Olof Björner's website lists all the different takes of this song, recorded by Dylan in October and November 1962.
| 6
|
[
"Mixed-Up Confusion",
"genre",
"rock music"
] |
"Mixed-Up Confusion" is a song written and recorded by Bob Dylan and released as his first single.The song was recorded with an electric band on November 14, 1962, during the sessions for The Freewheelin' Bob Dylan but was not used on that album, which, aside from "Corrina, Corrina", was entirely acoustic. Instead the song, backed with "Corrina, Corrina" (a different take from the Freewheelin' one), a traditional blues song, appeared as Dylan's first single, released in the United States on December 14, 1962, as Columbia 4-42656. According to legend, Dylan wrote the song in a cab on the way to the Columbia studios for the recording session.A different version of the song, recorded on November 1, 1962, with later overdubbing, was released on the compilation album Masterpieces in 1978 and on the original 1985 issue of the Biograph box set; the 1997 reissue of Biograph includes a stereo version of the released single, recorded on November 14, 1962, in place of this alternative version. Olof Björner's website lists all the different takes of this song, recorded by Dylan in October and November 1962.
| 7
|
[
"All the Tired Horses",
"composer",
"Bob Dylan"
] |
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait.
The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) repeating the same two lines
| 0
|
[
"All the Tired Horses",
"performer",
"Bob Dylan"
] |
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait.
The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) repeating the same two lines
| 1
|
[
"All the Tired Horses",
"lyrics by",
"Bob Dylan"
] |
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait.
The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) repeating the same two linesAll the tired horses in the sun
How'm I s'posed to get any ridin' done? Hmm.to the same melody for 3 minutes and 14 seconds, with varying instrumental accompaniment. In the key of C major, this song consists musically of the chord structure I-vi-iii-V, repeated throughout. This translates in the given key to C-Am-Em-G.
All the Tired Horses was used in the 2001 film Blow.
| 2
|
[
"All the Tired Horses",
"form of creative work",
"song"
] |
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait.
The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) repeating the same two linesAll the tired horses in the sun
How'm I s'posed to get any ridin' done? Hmm.to the same melody for 3 minutes and 14 seconds, with varying instrumental accompaniment. In the key of C major, this song consists musically of the chord structure I-vi-iii-V, repeated throughout. This translates in the given key to C-Am-Em-G.
All the Tired Horses was used in the 2001 film Blow.
| 4
|
[
"All the Tired Horses",
"instance of",
"musical work/composition"
] |
"All the Tired Horses" is a song written by Bob Dylan, released on his 1970 double album Self Portrait.
The song is the first track on the album. It is most notable for its absence of Dylan's singing. It consists of a small choir of female voices (Hilda Harris, Albertine Robinson, and Maeretha Stewart) repeating the same two lines
| 6
|
[
"Thunder on the Mountain",
"genre",
"folk rock"
] |
"Thunder on the Mountain" is a song written and performed by American singer-songwriter Bob Dylan, released in 2006 as the first track on his album Modern Times. Like much of Dylan's 21st century output, he produced the song himself under the pseudonym Jack Frost.
The song had considerable success, garnering more airtime on U.S. radio than any track on the album next to "Someday Baby". Even though it was not released as a single in America, it still managed to spend nine weeks on Billboard's Adult Alternative Songs chart, peaking at #22 in January 2007. It was released as a single in various European countries in late 2006 and early 2007.
| 6
|
[
"Sara (Bob Dylan song)",
"composer",
"Bob Dylan"
] |
"Sara" is a song from Bob Dylan's 1976 album Desire. It is the closing song on the album. Unlike many of the songs on the album, which were written by Dylan and Jacques Levy, "Sara" was written solely by Dylan, as an autobiographical account of his estrangement from then-wife Sara Dylan. It was recorded on July 31, 1975.Background and recording
The song is named after Dylan's wife at the time, and the song alludes to their earlier relationship, including the couple's children together. In his book Down The Highway: The Life of Bob Dylan, Howard Sounes quoted Jacques Levy's account of the recording of the song, stating that Sara was present at the studio and listened "from the other side of the glass" as Dylan played the song. According to Larry Sloman, Dylan turned to Sara just before beginning the song, and stated, "This one's for you."The song contains the line "Staying up for days in the Chelsea hotel / Writing 'Sad Eyed Lady of the Lowlands' for you," a reference to the Hotel Chelsea, where Dylan had resided in the 1960s. It is also the only instance of Dylan deliberately quoting one of his own song titles in the lyrics of another song.
That first take of the song, recorded on July 31, 1975 in New York City, at Columbia Recording Studios, Studio E., is reportedly the one featured on the album. Bob and Sara reconciled after the recording of the song but would divorce in 1977.
| 0
|
[
"Sara (Bob Dylan song)",
"performer",
"Bob Dylan"
] |
Other versions
In 2002, a live version of the song from the 1975 Rolling Thunder Revue tour was featured on The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue. In 2019, that recording and four other live performances of the song from the tour were released on the box set The Rolling Thunder Revue: The 1975 Live Recordings.
In 2004 researcher Kim Beissel claimed that "Sara" was the basis for Nick Cave’s 1997 song "Where Do We Go Now, But Nowhere?"Personnel
Bob Dylan – vocals, guitar, harmonica
Scarlet Rivera – violin
Rob Stoner – bass
Howard Wyeth – drums
| 1
|
[
"Sara (Bob Dylan song)",
"lyrics by",
"Bob Dylan"
] |
"Sara" is a song from Bob Dylan's 1976 album Desire. It is the closing song on the album. Unlike many of the songs on the album, which were written by Dylan and Jacques Levy, "Sara" was written solely by Dylan, as an autobiographical account of his estrangement from then-wife Sara Dylan. It was recorded on July 31, 1975.Background and recording
The song is named after Dylan's wife at the time, and the song alludes to their earlier relationship, including the couple's children together. In his book Down The Highway: The Life of Bob Dylan, Howard Sounes quoted Jacques Levy's account of the recording of the song, stating that Sara was present at the studio and listened "from the other side of the glass" as Dylan played the song. According to Larry Sloman, Dylan turned to Sara just before beginning the song, and stated, "This one's for you."The song contains the line "Staying up for days in the Chelsea hotel / Writing 'Sad Eyed Lady of the Lowlands' for you," a reference to the Hotel Chelsea, where Dylan had resided in the 1960s. It is also the only instance of Dylan deliberately quoting one of his own song titles in the lyrics of another song.
That first take of the song, recorded on July 31, 1975 in New York City, at Columbia Recording Studios, Studio E., is reportedly the one featured on the album. Bob and Sara reconciled after the recording of the song but would divorce in 1977.
| 2
|
[
"Sara (Bob Dylan song)",
"genre",
"folk rock"
] |
"Sara" is a song from Bob Dylan's 1976 album Desire. It is the closing song on the album. Unlike many of the songs on the album, which were written by Dylan and Jacques Levy, "Sara" was written solely by Dylan, as an autobiographical account of his estrangement from then-wife Sara Dylan. It was recorded on July 31, 1975.
| 4
|
[
"Sara (Bob Dylan song)",
"named after",
"Sara Dylan"
] |
"Sara" is a song from Bob Dylan's 1976 album Desire. It is the closing song on the album. Unlike many of the songs on the album, which were written by Dylan and Jacques Levy, "Sara" was written solely by Dylan, as an autobiographical account of his estrangement from then-wife Sara Dylan. It was recorded on July 31, 1975.
| 5
|
[
"Sara (Bob Dylan song)",
"dedicated to",
"Sara Dylan"
] |
"Sara" is a song from Bob Dylan's 1976 album Desire. It is the closing song on the album. Unlike many of the songs on the album, which were written by Dylan and Jacques Levy, "Sara" was written solely by Dylan, as an autobiographical account of his estrangement from then-wife Sara Dylan. It was recorded on July 31, 1975.
| 6
|
[
"Sara (Bob Dylan song)",
"instance of",
"musical work/composition"
] |
Background and recording
The song is named after Dylan's wife at the time, and the song alludes to their earlier relationship, including the couple's children together. In his book Down The Highway: The Life of Bob Dylan, Howard Sounes quoted Jacques Levy's account of the recording of the song, stating that Sara was present at the studio and listened "from the other side of the glass" as Dylan played the song. According to Larry Sloman, Dylan turned to Sara just before beginning the song, and stated, "This one's for you."The song contains the line "Staying up for days in the Chelsea hotel / Writing 'Sad Eyed Lady of the Lowlands' for you," a reference to the Hotel Chelsea, where Dylan had resided in the 1960s. It is also the only instance of Dylan deliberately quoting one of his own song titles in the lyrics of another song.
That first take of the song, recorded on July 31, 1975 in New York City, at Columbia Recording Studios, Studio E., is reportedly the one featured on the album. Bob and Sara reconciled after the recording of the song but would divorce in 1977.
| 9
|
[
"From a Buick 6",
"composer",
"Bob Dylan"
] |
"From a Buick 6" is a song by Bob Dylan from his album Highway 61 Revisited, which was also released as a single on the B-side of "Positively 4th Street". It was recorded on July 30, 1965.
| 0
|
[
"From a Buick 6",
"performer",
"Bob Dylan"
] |
"From a Buick 6" is a song by Bob Dylan from his album Highway 61 Revisited, which was also released as a single on the B-side of "Positively 4th Street". It was recorded on July 30, 1965.
| 1
|
[
"From a Buick 6",
"form of creative work",
"song"
] |
"From a Buick 6" is a song by Bob Dylan from his album Highway 61 Revisited, which was also released as a single on the B-side of "Positively 4th Street". It was recorded on July 30, 1965.
| 4
|
[
"From a Buick 6",
"genre",
"folk rock"
] |
"From a Buick 6" is a song by Bob Dylan from his album Highway 61 Revisited, which was also released as a single on the B-side of "Positively 4th Street". It was recorded on July 30, 1965.Musical style
The song is a raucous blues song played recklessly by a band that included Al Kooper on organ and Mike Bloomfield on guitar. The guitar part is patterned after older blues riffs by Robert Johnson, Charlie Patton and Big Joe Williams. It also features a backbeat from drummer Bobby Gregg, a bass line from Harvey Brooks, and a soaring harmonica break. The song starts with a snare shot that is similar to the opening song of Highway 61 Revisited, "Like a Rolling Stone". It is essentially a 12-bar blues pattern, played with power chords, and is notable for Brooks' almost indiscernible substitution of an F in the tenth bar of all but the first verses, while the guitar and organ play the G-chord.
The song is partially based on Sleepy John Estes' 1930 song "Milk Cow Blues", even taking a few lyrics from the older song, but its approach is more similar to The Kinks' version of a Kokomo Arnold song that was also called "Milk Cow Blues".Cash Box described it as a "rollicking, fast-moving blues-drenched folk rocker."
| 5
|
[
"From a Buick 6",
"instance of",
"musical work/composition"
] |
"From a Buick 6" is a song by Bob Dylan from his album Highway 61 Revisited, which was also released as a single on the B-side of "Positively 4th Street". It was recorded on July 30, 1965.
| 7
|
[
"As I Went Out One Morning",
"composer",
"Bob Dylan"
] |
"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.
| 0
|
[
"As I Went Out One Morning",
"performer",
"Bob Dylan"
] |
"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.Lyrical interpretation and reception
"As I Went Out One Morning" is a narrative song about a man who offers a hand to a woman in chains, but realizes that she wants more than he is offering, and that "she meant to do [him] harm." A character identified as Tom Paine then appears, "command[s] her to yield," and apologizes to the narrator for the woman's actions.Tom Paine as a figure may represent common sense or civil liberties, which the historical Tom Paine championed. However, it is also likely that this song references the prestigious Tom Paine Award that Dylan received in 1963 from the National Emergency Civil Liberties Committee. Dylan delivered an acceptance speech and was booed and rushed from the stage when he claimed to have empathy for some of Lee Harvey Oswald's feelings. This was followed by a letter from the ECLC and then a poem/letter from Dylan explaining his speech.In their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon praise Dylan's vocal performance for "expressing a new maturity" not found in his earlier recordings and note that it is also "one of the first times he sings with vibrato".The song bears a resemblance to, and is perhaps influenced by, the W. H. Auden poem As I Walked Out One Evening, including sharing the same iambic meter and quatrain form.
| 1
|
[
"As I Went Out One Morning",
"lyrics by",
"Bob Dylan"
] |
"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.Lyrical interpretation and reception
"As I Went Out One Morning" is a narrative song about a man who offers a hand to a woman in chains, but realizes that she wants more than he is offering, and that "she meant to do [him] harm." A character identified as Tom Paine then appears, "command[s] her to yield," and apologizes to the narrator for the woman's actions.Tom Paine as a figure may represent common sense or civil liberties, which the historical Tom Paine championed. However, it is also likely that this song references the prestigious Tom Paine Award that Dylan received in 1963 from the National Emergency Civil Liberties Committee. Dylan delivered an acceptance speech and was booed and rushed from the stage when he claimed to have empathy for some of Lee Harvey Oswald's feelings. This was followed by a letter from the ECLC and then a poem/letter from Dylan explaining his speech.In their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon praise Dylan's vocal performance for "expressing a new maturity" not found in his earlier recordings and note that it is also "one of the first times he sings with vibrato".The song bears a resemblance to, and is perhaps influenced by, the W. H. Auden poem As I Walked Out One Evening, including sharing the same iambic meter and quatrain form.
| 2
|
[
"As I Went Out One Morning",
"form of creative work",
"song"
] |
"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.Lyrical interpretation and reception
"As I Went Out One Morning" is a narrative song about a man who offers a hand to a woman in chains, but realizes that she wants more than he is offering, and that "she meant to do [him] harm." A character identified as Tom Paine then appears, "command[s] her to yield," and apologizes to the narrator for the woman's actions.Tom Paine as a figure may represent common sense or civil liberties, which the historical Tom Paine championed. However, it is also likely that this song references the prestigious Tom Paine Award that Dylan received in 1963 from the National Emergency Civil Liberties Committee. Dylan delivered an acceptance speech and was booed and rushed from the stage when he claimed to have empathy for some of Lee Harvey Oswald's feelings. This was followed by a letter from the ECLC and then a poem/letter from Dylan explaining his speech.In their book Bob Dylan All the Songs: The Story Behind Every Track, authors Philippe Margotin and Jean-Michel Guesdon praise Dylan's vocal performance for "expressing a new maturity" not found in his earlier recordings and note that it is also "one of the first times he sings with vibrato".The song bears a resemblance to, and is perhaps influenced by, the W. H. Auden poem As I Walked Out One Evening, including sharing the same iambic meter and quatrain form.
| 4
|
[
"As I Went Out One Morning",
"instance of",
"musical work/composition"
] |
"As I Went Out One Morning" is a song written and performed by American singer-songwriter Bob Dylan, released as the second song on his 1967 album John Wesley Harding.
| 7
|
[
"Down Along the Cove",
"composer",
"Bob Dylan"
] |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding. Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967.Structure and instrumentation
"Down Along the Cove" features minimal instrumentation and a 12-bar country blues style. The song includes Bob Dylan on piano and Peter Drake on pedal steel guitar.Live performances
Dylan debuted this song at the EMU Ballroom on the University of Oregon campus in Eugene, Oregon, on June 14, 1999. Dylan played the song with some regularity beginning in 2003 until the song's last live performance to date in Rome, Italy on June 16, 2006, performing it a total of 83 times. A live version performed at the Bonnaroo Music Festival in 2004 was the b-side to Dylan's 2009 single "Beyond Here Lies Nothin'".
| 0
|
[
"Down Along the Cove",
"performer",
"Bob Dylan"
] |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding. Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967.Structure and instrumentation
"Down Along the Cove" features minimal instrumentation and a 12-bar country blues style. The song includes Bob Dylan on piano and Peter Drake on pedal steel guitar.
| 1
|
[
"Down Along the Cove",
"lyrics by",
"Bob Dylan"
] |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding. Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967.
| 2
|
[
"Down Along the Cove",
"form of creative work",
"song"
] |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding. Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967.Structure and instrumentation
"Down Along the Cove" features minimal instrumentation and a 12-bar country blues style. The song includes Bob Dylan on piano and Peter Drake on pedal steel guitar.Live performances
Dylan debuted this song at the EMU Ballroom on the University of Oregon campus in Eugene, Oregon, on June 14, 1999. Dylan played the song with some regularity beginning in 2003 until the song's last live performance to date in Rome, Italy on June 16, 2006, performing it a total of 83 times. A live version performed at the Bonnaroo Music Festival in 2004 was the b-side to Dylan's 2009 single "Beyond Here Lies Nothin'".
| 4
|
[
"Down Along the Cove",
"instance of",
"musical work/composition"
] |
"Down Along the Cove" is a song written and originally performed by Bob Dylan for his album John Wesley Harding. Dylan recorded the song in one take at Columbia's Studio A, Nashville, on November 29, 1967.Structure and instrumentation
"Down Along the Cove" features minimal instrumentation and a 12-bar country blues style. The song includes Bob Dylan on piano and Peter Drake on pedal steel guitar.Live performances
Dylan debuted this song at the EMU Ballroom on the University of Oregon campus in Eugene, Oregon, on June 14, 1999. Dylan played the song with some regularity beginning in 2003 until the song's last live performance to date in Rome, Italy on June 16, 2006, performing it a total of 83 times. A live version performed at the Bonnaroo Music Festival in 2004 was the b-side to Dylan's 2009 single "Beyond Here Lies Nothin'".
| 7
|
[
"Treaty of Portsmouth",
"country",
"United States of America"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.
| 0
|
[
"Treaty of Portsmouth",
"participant",
"Russian Empire"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.Background
The war of 1904–1905 was fought between the Russian Empire, an international power with one of the largest armies in the world, and the Empire of Japan, a nation that had only recently industrialized after two-and-a-half centuries of isolation. A series of battles in the Liaodong Peninsula had resulted in Russian armies being driven from southern Manchuria, and the Battle of Tsushima had resulted in a cataclysm for the Imperial Russian Navy. The war was unpopular in Russia, whose government was under increasing threat of revolution at home. On the other hand, the Japanese economy was severely strained by the war, with rapidly mounting foreign debts, and Japanese forces in Manchuria faced the problem of ever-extending supply lines. No Russian territory had been seized, and the Russians continued to build up reinforcements via the Trans-Siberian Railway. Recognizing that a long war was not to Japan's advantage, the Japanese government as early as July 1904 had begun seeking out intermediaries to assist in bringing the war to a negotiated conclusion.The intermediary approached by the Japanese was U.S. President Theodore Roosevelt, who had publicly expressed a pro-Japanese stance at the beginning of the war. However, as the war progressed, Roosevelt had begun to show concerns on the strengthening military power of Japan and its long-term impact on U.S. interests in Asia. In February 1905, Roosevelt sent messages to the Russian government via the U.S. ambassador in Saint Petersburg. Initially, the Russians were unresponsive, with Tsar Nicholas II still adamant that Russia would eventually prove victorious. The Japanese government was also lukewarm to a peace treaty, as Japanese armies were enjoying an unbroken string of victories. However, after the Battle of Mukden, which was extremely costly to both sides in terms of manpower and resources, Japanese Foreign Minister Komura Jutarō judged that it was now critical for Japan to push for a settlement.On March 8, 1905, Japanese Army Minister Terauchi Masatake met with the American Minister to Japan, Lloyd Griscom, to tell Roosevelt that Japan was ready to negotiate. However, a positive response did not come from Russia until after the loss of the Russian fleet at the Battle of Tsushima. Two days later, Nicholas met with his grand dukes and military leadership and agreed to discuss peace. On June 7, 1905, Roosevelt met with Kaneko Kentarō, a Japanese diplomat, and on June 8, he received a positive reply from Russia. Roosevelt chose Portsmouth, New Hampshire, as the site for the negotiations, primarily because the talks were to begin in August, and the cooler climate in Portsmouth would avoid subjecting the parties to the sweltering Washington summer.
| 3
|
[
"Treaty of Portsmouth",
"located in the administrative territorial entity",
"Portsmouth"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.
| 4
|
[
"Treaty of Portsmouth",
"follows",
"Russo-Japanese War"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.
| 7
|
[
"Treaty of Portsmouth",
"participant",
"Empire of Japan"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.Background
The war of 1904–1905 was fought between the Russian Empire, an international power with one of the largest armies in the world, and the Empire of Japan, a nation that had only recently industrialized after two-and-a-half centuries of isolation. A series of battles in the Liaodong Peninsula had resulted in Russian armies being driven from southern Manchuria, and the Battle of Tsushima had resulted in a cataclysm for the Imperial Russian Navy. The war was unpopular in Russia, whose government was under increasing threat of revolution at home. On the other hand, the Japanese economy was severely strained by the war, with rapidly mounting foreign debts, and Japanese forces in Manchuria faced the problem of ever-extending supply lines. No Russian territory had been seized, and the Russians continued to build up reinforcements via the Trans-Siberian Railway. Recognizing that a long war was not to Japan's advantage, the Japanese government as early as July 1904 had begun seeking out intermediaries to assist in bringing the war to a negotiated conclusion.The intermediary approached by the Japanese was U.S. President Theodore Roosevelt, who had publicly expressed a pro-Japanese stance at the beginning of the war. However, as the war progressed, Roosevelt had begun to show concerns on the strengthening military power of Japan and its long-term impact on U.S. interests in Asia. In February 1905, Roosevelt sent messages to the Russian government via the U.S. ambassador in Saint Petersburg. Initially, the Russians were unresponsive, with Tsar Nicholas II still adamant that Russia would eventually prove victorious. The Japanese government was also lukewarm to a peace treaty, as Japanese armies were enjoying an unbroken string of victories. However, after the Battle of Mukden, which was extremely costly to both sides in terms of manpower and resources, Japanese Foreign Minister Komura Jutarō judged that it was now critical for Japan to push for a settlement.On March 8, 1905, Japanese Army Minister Terauchi Masatake met with the American Minister to Japan, Lloyd Griscom, to tell Roosevelt that Japan was ready to negotiate. However, a positive response did not come from Russia until after the loss of the Russian fleet at the Battle of Tsushima. Two days later, Nicholas met with his grand dukes and military leadership and agreed to discuss peace. On June 7, 1905, Roosevelt met with Kaneko Kentarō, a Japanese diplomat, and on June 8, he received a positive reply from Russia. Roosevelt chose Portsmouth, New Hampshire, as the site for the negotiations, primarily because the talks were to begin in August, and the cooler climate in Portsmouth would avoid subjecting the parties to the sweltering Washington summer.
| 8
|
[
"Treaty of Portsmouth",
"instance of",
"peace treaty"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.
| 9
|
[
"Treaty of Portsmouth",
"location",
"Portsmouth Naval Shipyard"
] |
The Treaty of Portsmouth is a treaty that formally ended the 1904–1905 Russo-Japanese War. It was signed on September 5, 1905, after negotiations from August 6 to August 30, at the Portsmouth Naval Shipyard in Kittery, Maine, United States (at the time considered part of Portsmouth, New Hampshire, however). U.S. President Theodore Roosevelt was instrumental in the negotiations and won the Nobel Peace Prize for his efforts.
| 12
|
[
"Railway Nationalization Act",
"language of work or name",
"Japanese"
] |
The Railway Nationalization Act (鉄道国有法, Tetsudō Kokuyū-hō, Act No. 17 of 1906) brought many of Japan's private railway lines under national control. The 22nd Diet of Japan passed the bill on March 27, 1906 and Emperor Meiji signed on March 30, 1906. The promulgation of the act on the Official Gazette occurred the next day. The Act was repealed by Article 110 of the Act for Enforcement of Japanese National Railways Reform Act Etc. (Act No. 93 of 1986).
The original bill which passed the House of Representatives on March 16, 1906 listed 32 private railways to be nationalized, but the House of Peers amended the bill removing 15 companies from the list on March 27, 1906 and the House of Representatives accepted this amendment the same day.Between 1906 and 1907, 2,812 miles (4,525 km) of track were purchased from 17 private railway companies. The national railway network grew to about 4,400 miles (7,100 km) of track, and private railways were relegated to providing local and regional services.
| 0
|
[
"Railway Nationalization Act",
"published in",
"Official Gazette"
] |
The Railway Nationalization Act (鉄道国有法, Tetsudō Kokuyū-hō, Act No. 17 of 1906) brought many of Japan's private railway lines under national control. The 22nd Diet of Japan passed the bill on March 27, 1906 and Emperor Meiji signed on March 30, 1906. The promulgation of the act on the Official Gazette occurred the next day. The Act was repealed by Article 110 of the Act for Enforcement of Japanese National Railways Reform Act Etc. (Act No. 93 of 1986).
The original bill which passed the House of Representatives on March 16, 1906 listed 32 private railways to be nationalized, but the House of Peers amended the bill removing 15 companies from the list on March 27, 1906 and the House of Representatives accepted this amendment the same day.Between 1906 and 1907, 2,812 miles (4,525 km) of track were purchased from 17 private railway companies. The national railway network grew to about 4,400 miles (7,100 km) of track, and private railways were relegated to providing local and regional services.
| 6
|
[
"Railway Nationalization Act",
"legislated by",
"Imperial Diet"
] |
The Railway Nationalization Act (鉄道国有法, Tetsudō Kokuyū-hō, Act No. 17 of 1906) brought many of Japan's private railway lines under national control. The 22nd Diet of Japan passed the bill on March 27, 1906 and Emperor Meiji signed on March 30, 1906. The promulgation of the act on the Official Gazette occurred the next day. The Act was repealed by Article 110 of the Act for Enforcement of Japanese National Railways Reform Act Etc. (Act No. 93 of 1986).
The original bill which passed the House of Representatives on March 16, 1906 listed 32 private railways to be nationalized, but the House of Peers amended the bill removing 15 companies from the list on March 27, 1906 and the House of Representatives accepted this amendment the same day.Between 1906 and 1907, 2,812 miles (4,525 km) of track were purchased from 17 private railway companies. The national railway network grew to about 4,400 miles (7,100 km) of track, and private railways were relegated to providing local and regional services.
| 7
|
[
"Constitution of the Cretan State",
"instance of",
"constitution"
] |
The Constitution of the Cretan State (Greek: Σύνταγμα της Κρητικής Πολιτείας) was the constitution of the Cretan State, an autonomous state under Ottoman suzerainty and guaranteed by the Great Powers, encompassing the island of Crete (now in Greece). It came into effect on 8 February 1907. It remained in force until 1908, when the Cretans unilaterally proclaimed the island's union with Greece during the Bosnian Crisis. Although this act was not internationally recognized, Crete was governed thereafter according to the laws of the Kingdom of Greece, until it was formally united with Greece in December 1913, following the Balkan Wars.
| 0
|
[
"Constitution of the Cretan State",
"applies to jurisdiction",
"Cretan State"
] |
The Constitution of the Cretan State (Greek: Σύνταγμα της Κρητικής Πολιτείας) was the constitution of the Cretan State, an autonomous state under Ottoman suzerainty and guaranteed by the Great Powers, encompassing the island of Crete (now in Greece). It came into effect on 8 February 1907. It remained in force until 1908, when the Cretans unilaterally proclaimed the island's union with Greece during the Bosnian Crisis. Although this act was not internationally recognized, Crete was governed thereafter according to the laws of the Kingdom of Greece, until it was formally united with Greece in December 1913, following the Balkan Wars.
| 1
|
[
"Penal Code of Japan",
"country",
"Japan"
] |
The Penal Code (刑法 Keihō) of Japan was passed in 1907 as Law No. 45. It is one of six Codes that form the foundation of modern Japanese law. The penal code is also called “ordinary criminal law” or “general criminal law” as it relates to general crimes. Criminal law in the practical sense refers not only to the content of the criminal code, but also to all legal norms that specify the requirements for the consequences of a crime and the content of the penalty as a legal effect imposed on a person. It may also include a law regarding security measures, which is a supplementary system.
| 0
|
[
"Penal Code of Japan",
"part of",
"Six Codes"
] |
The Penal Code (刑法 Keihō) of Japan was passed in 1907 as Law No. 45. It is one of six Codes that form the foundation of modern Japanese law. The penal code is also called “ordinary criminal law” or “general criminal law” as it relates to general crimes. Criminal law in the practical sense refers not only to the content of the criminal code, but also to all legal norms that specify the requirements for the consequences of a crime and the content of the penalty as a legal effect imposed on a person. It may also include a law regarding security measures, which is a supplementary system.
| 3
|
[
"Penal Code of Japan",
"instance of",
"criminal code"
] |
The Penal Code (刑法 Keihō) of Japan was passed in 1907 as Law No. 45. It is one of six Codes that form the foundation of modern Japanese law. The penal code is also called “ordinary criminal law” or “general criminal law” as it relates to general crimes. Criminal law in the practical sense refers not only to the content of the criminal code, but also to all legal norms that specify the requirements for the consequences of a crime and the content of the penalty as a legal effect imposed on a person. It may also include a law regarding security measures, which is a supplementary system.The legal nature of criminal law
The criminal law is classified as substantive law as it defines the contents of crimes and penalties and clarifies the conditions under which a country can carry out a punishment. On the other hand, it is mainly the Criminal Procedure Code that stipulates how an investigation/trial should actually be carried out when a crime in the Criminal Code is committed. Furthermore, it is the Criminal Treatment Law that defines the method of actually executing a punishment. These fields of law are collectively referred to as "criminal law," but criminal law is positioned as the central law of criminal law.
Also, when the legal system is divided into public law and private law, it is understood that it belongs to public law in Japan.
| 5
|
[
"Copyright Act of 1909",
"country",
"United States of America"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 0
|
[
"Copyright Act of 1909",
"applies to jurisdiction",
"United States of America"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 1
|
[
"Copyright Act of 1909",
"instance of",
"Act of Congress in the United States"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 5
|
[
"Copyright Act of 1909",
"part of",
"copyright law of the United States"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 6
|
[
"Copyright Act of 1909",
"legislated by",
"60th United States Congress"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 7
|
[
"Copyright Act of 1909",
"repealed by",
"Title 17 of the United States Code"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 9
|
[
"Copyright Act of 1909",
"instance of",
"work of the federal government of the United States"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 10
|
[
"Copyright Act of 1909",
"instance of",
"copyright act"
] |
The Copyright Act of 1909 (Pub. L. 60–349, 35 Stat. 1075, enacted March 4, 1909) was a landmark statute in United States statutory copyright law. It went into effect on July 1, 1909. The 1909 Act was repealed and superseded by the Copyright Act of 1976, which went into effect on January 1, 1978; but some of 1909 Act's provisions continue to apply to copyrighted works created before 1978. It allowed for works to be copyrighted for a period of 28 years from the date of publication and extended the renewal term from 14 years (effective as of the Copyright Act of 1831) to 28 years, for a maximum of 56 years (in place of the former 42 years).
| 11
|
[
"South Africa Act 1909",
"applies to jurisdiction",
"South Africa"
] |
The South Africa Act 1909 was an Act of the Parliament of the United Kingdom, which created the Union of South Africa from the British Cape Colony, Colony of Natal, Orange River Colony, and Transvaal Colony. The Act also made provisions for potentially admitting Rhodesia as a fifth province of the Union, but Rhodesian colonists rejected this option in a referendum held in 1922. The Act was the third major piece of legislation passed by the British Parliament with the intent of uniting various British colonies and granting them some degree of autonomy. Earlier, the British North America Act, 1867 had united three colonies (the Province of Canada (which was split into Ontario and Quebec) Nova Scotia, and New Brunswick) and the Commonwealth of Australia Constitution Act, 1900 had united the Australian colonies.
| 0
|
[
"South Africa Act 1909",
"repealed by",
"Republic of South Africa Constitution Act, 1961"
] |
Background
In the aftermath of the Anglo-Boer War (1899–1902), Britain re-annexed the South African Republic and the Orange Free State, two hitherto independent Boer republics. These new territories, renamed the Transvaal Colony and the Orange River Colony respectively, were added to Britain's existing South African territories, the Cape Colony and Colony of Natal. It was British government policy to encourage these four colonies to come together in closer union; after the grant of responsible government to the Transvaal Colony and Orange River Colony in 1907, this aspiration was one that was also increasingly held by the Afrikaner population.
These political forces resulted in the 1908 National Convention, which met on 12 October 1908 and completed its work on 11 May 1909. This convention settled on the terms and constitution of a governmental, legislative, and economic Union. These proposals were transmitted to the British government, which duly prepared a bill to give effect to these wishes. The bill was passed by Parliament on 20 September 1909 and on 20 September 1909 King Edward VII of the United Kingdom proclaimed that the Union of South Africa would be established on 31 May 1910. This Act, which essentially brought into being the South African state as it is known today, served as the South African constitution for over fifty years, during which time the Statute of Westminster greatly increased South Africa's sovereignty from Britain. Although South Africa became a republic in 1961 and left the Commonwealth, the basic structure of the 1909 Act continued to live on in its replacement, the Republic of South Africa Constitution Act (32 of 1961). However, the last vestiges of the 1909 Act finally disappeared in 1983 when the apartheid-era government enacted a new constitution, the Constitution of the Republic of South Africa Act (110 of 1983).The Act
Government structure
The structure of the government of the Union of South Africa was similar to the government of other British Dominions. A Governor-General of South Africa was appointed to represent the British Monarch, who was also the Monarch of South Africa. Executive power was vested in the Monarch/Governor-General and was exercised on the advice of the Executive Council. Though not explicitly provided for by the South Africa Act, the office of Prime Minister of South Africa was quickly established as the head of government and, like other government ministers, the Prime Minister was required to be a Member of either House of Parliament. As in other British Dominions, the Governor-General appointed the leader of the largest political party in the lower house of Parliament as Prime Minister. Prime Ministers were also sworn in as Executive Councilors if they were not already members of the Executive Council.
Legislative power was vested in a Parliament consisting of the Monarch, a Senate, and a House of Assembly. For most of the Union's existence, the South Africa Act provided for each Province to have equal representation in the upper house, the Senate, and Senators were chosen by an electoral college made up of the Province's members in the House of Assembly and the members of the provincial legislature. The composition and election of the Senate would later be modified as part of the move towards apartheid and the establishment of the Republic of South Africa. In the lower house of Parliament, the House of Assembly, each Province was represented proportionally according to their respective populations and members were elected from individual districts within a Province. The House of Assembly had more power than the Senate, much like the relationship between the House of Commons and House of Lords. In the case of a disagreement between the Senate and House of Assembly, the Governor-General could convene a joint sitting of the two houses to review the legislation, make amendments, and vote on the bill. Because the House of Assembly was much larger than the Senate, the system was designed to protect the stronger position of the House in any joint sitting. A similar method of resolving disagreements exists in the Australian Parliament and the Indian Parliament, but the Australian Senate and the Rajya Sabha are each half the size of the Australian House of Representatives and the Lok Sabha, respectively, whereas the South African Senate was only one-third the size of the South African House of Assembly. Unlike the Australian model (but like the Indian one), no double dissolution election occurred before a joint sitting, further strengthening the position of the House of Assembly and the Prime Minister over the Senate.
The Act also established a Supreme Court of South Africa, which served as a unified court system for the Union and consisted of local, provincial, and appellate divisions. The old supreme courts of the provinces became the provincial divisions of the new Supreme Court of South Africa. The appellate division, which was the highest court in the land, was seated at Bloemfontein. There was a further appeal to the Privy Council, particularly in Admiralty cases. The power judicial review of Parliamentary legislation and administrative acts was the same as in the United Kingdom. In addition, the Supreme Court could review Parliamentary amendments of the entrenched clauses of the South Africa Act of 1909.
Each province was governed by an Administrator, appointed by the central government, and had a legislature in the form of a unicameral Provincial Council; four members of the Council joined with the Administrator to form a five-member executive committee that acted as the Province's Cabinet. Unlike Canada and Australia, which became dominions through the Federation of British colonies, the South Africa Act created a centralized, unitary state. Each of the four provinces became subordinate entities and had far fewer powers than the Canadian provinces or Australian states. As such, the government of South Africa was quite similar—from a constitutional standpoint—to the government of the United Kingdom.
| 4
|
[
"South Africa Act 1909",
"instance of",
"Act of the Parliament of the United Kingdom"
] |
The South Africa Act 1909 was an Act of the Parliament of the United Kingdom, which created the Union of South Africa from the British Cape Colony, Colony of Natal, Orange River Colony, and Transvaal Colony. The Act also made provisions for potentially admitting Rhodesia as a fifth province of the Union, but Rhodesian colonists rejected this option in a referendum held in 1922. The Act was the third major piece of legislation passed by the British Parliament with the intent of uniting various British colonies and granting them some degree of autonomy. Earlier, the British North America Act, 1867 had united three colonies (the Province of Canada (which was split into Ontario and Quebec) Nova Scotia, and New Brunswick) and the Commonwealth of Australia Constitution Act, 1900 had united the Australian colonies.
| 5
|
[
"South Africa Act 1909",
"legislated by",
"28th Parliament of the United Kingdom"
] |
The South Africa Act 1909 was an Act of the Parliament of the United Kingdom, which created the Union of South Africa from the British Cape Colony, Colony of Natal, Orange River Colony, and Transvaal Colony. The Act also made provisions for potentially admitting Rhodesia as a fifth province of the Union, but Rhodesian colonists rejected this option in a referendum held in 1922. The Act was the third major piece of legislation passed by the British Parliament with the intent of uniting various British colonies and granting them some degree of autonomy. Earlier, the British North America Act, 1867 had united three colonies (the Province of Canada (which was split into Ontario and Quebec) Nova Scotia, and New Brunswick) and the Commonwealth of Australia Constitution Act, 1900 had united the Australian colonies.Background
In the aftermath of the Anglo-Boer War (1899–1902), Britain re-annexed the South African Republic and the Orange Free State, two hitherto independent Boer republics. These new territories, renamed the Transvaal Colony and the Orange River Colony respectively, were added to Britain's existing South African territories, the Cape Colony and Colony of Natal. It was British government policy to encourage these four colonies to come together in closer union; after the grant of responsible government to the Transvaal Colony and Orange River Colony in 1907, this aspiration was one that was also increasingly held by the Afrikaner population.
These political forces resulted in the 1908 National Convention, which met on 12 October 1908 and completed its work on 11 May 1909. This convention settled on the terms and constitution of a governmental, legislative, and economic Union. These proposals were transmitted to the British government, which duly prepared a bill to give effect to these wishes. The bill was passed by Parliament on 20 September 1909 and on 20 September 1909 King Edward VII of the United Kingdom proclaimed that the Union of South Africa would be established on 31 May 1910. This Act, which essentially brought into being the South African state as it is known today, served as the South African constitution for over fifty years, during which time the Statute of Westminster greatly increased South Africa's sovereignty from Britain. Although South Africa became a republic in 1961 and left the Commonwealth, the basic structure of the 1909 Act continued to live on in its replacement, the Republic of South Africa Constitution Act (32 of 1961). However, the last vestiges of the 1909 Act finally disappeared in 1983 when the apartheid-era government enacted a new constitution, the Constitution of the Republic of South Africa Act (110 of 1983).
| 41
|
[
"Japan–Korea Treaty of 1910",
"applies to jurisdiction",
"Korean Empire"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".History
The treaty was proclaimed to the public (and became effective) on 29 August 1910, officially starting the period of Japanese rule in Korea. The treaty had eight articles, the first being: "His Majesty the Emperor of Korea makes the complete and permanent cession to His Majesty the Emperor of Japan of all rights of sovereignty over the whole of Korea".Gojong of the Korean Empire later called the treaty a neugyak (늑약 勒約). The alternative term used in lieu of joyak (조약 條約) implies the Koreans were coerced into accepting the treaty by the Japanese. Gyeongsul Gukchi (경술국치 庚戌國恥, National humiliation of the year of Gyeongsul)" and Gukchi-il (국치일 國恥日, National humiliation day)" are alternative terms for the year and date the treaty was signed, respectively.The United Kingdom had already acquiesced to the annexation of Korea by Japan, via the British connection to Imperial Japan via the Anglo-Japanese Alliance of 1902; and the United States had also sanctioned the annexation, as per the Taft-Katsura Agreement.
| 4
|
[
"Japan–Korea Treaty of 1910",
"country",
"Empire of Japan"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".
| 6
|
[
"Japan–Korea Treaty of 1910",
"participant",
"Empire of Japan"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".
| 7
|
[
"Japan–Korea Treaty of 1910",
"applies to jurisdiction",
"Empire of Japan"
] |
History
The treaty was proclaimed to the public (and became effective) on 29 August 1910, officially starting the period of Japanese rule in Korea. The treaty had eight articles, the first being: "His Majesty the Emperor of Korea makes the complete and permanent cession to His Majesty the Emperor of Japan of all rights of sovereignty over the whole of Korea".Gojong of the Korean Empire later called the treaty a neugyak (늑약 勒約). The alternative term used in lieu of joyak (조약 條約) implies the Koreans were coerced into accepting the treaty by the Japanese. Gyeongsul Gukchi (경술국치 庚戌國恥, National humiliation of the year of Gyeongsul)" and Gukchi-il (국치일 國恥日, National humiliation day)" are alternative terms for the year and date the treaty was signed, respectively.The United Kingdom had already acquiesced to the annexation of Korea by Japan, via the British connection to Imperial Japan via the Anglo-Japanese Alliance of 1902; and the United States had also sanctioned the annexation, as per the Taft-Katsura Agreement.
| 8
|
[
"Japan–Korea Treaty of 1910",
"part of",
"history of Japan–Korea relations"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".
| 11
|
[
"Japan–Korea Treaty of 1910",
"time period",
"Meiji period"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".
| 16
|
[
"Japan–Korea Treaty of 1910",
"main subject",
"Japanese annexation of Korea"
] |
The Japan–Korea Treaty of 1910, also known as the Japan–Korea Annexation Treaty, was made by representatives of the Empire of Japan and the Korean Empire on 22 August 1910. In this treaty, Korea formally became a part of Japan (Korea was de facto annexed) following the Japan–Korea Treaty of 1905 (by which Korea became a protectorate of Japan) and the Japan–Korea Treaty of 1907 (by which Korea was deprived of the administration of internal affairs).
Japanese commentators predicted that Koreans would easily assimilate into the Japanese Empire.In 1965, the Treaty of Basic Relations between South Korea and Japan confirmed this treaty is "already null and void".History
The treaty was proclaimed to the public (and became effective) on 29 August 1910, officially starting the period of Japanese rule in Korea. The treaty had eight articles, the first being: "His Majesty the Emperor of Korea makes the complete and permanent cession to His Majesty the Emperor of Japan of all rights of sovereignty over the whole of Korea".Gojong of the Korean Empire later called the treaty a neugyak (늑약 勒約). The alternative term used in lieu of joyak (조약 條約) implies the Koreans were coerced into accepting the treaty by the Japanese. Gyeongsul Gukchi (경술국치 庚戌國恥, National humiliation of the year of Gyeongsul)" and Gukchi-il (국치일 國恥日, National humiliation day)" are alternative terms for the year and date the treaty was signed, respectively.The United Kingdom had already acquiesced to the annexation of Korea by Japan, via the British connection to Imperial Japan via the Anglo-Japanese Alliance of 1902; and the United States had also sanctioned the annexation, as per the Taft-Katsura Agreement.
| 17
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[
"Mines and Works Act",
"country",
"South Africa"
] |
The Mines and Work Act was a piece of legislation in South Africa, originally passed in 1911, amended in 1912 and 1926 before undergoing further changes in 1956 and 1959. This act legally established South Africa's employment "colour bar." and was enacted to establish the duties and responsibilities of workers in Mines and Works in South Africa.
| 0
|
[
"Mines and Works Act",
"applies to jurisdiction",
"South Africa"
] |
The Mines and Work Act was a piece of legislation in South Africa, originally passed in 1911, amended in 1912 and 1926 before undergoing further changes in 1956 and 1959. This act legally established South Africa's employment "colour bar." and was enacted to establish the duties and responsibilities of workers in Mines and Works in South Africa.
| 1
|
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