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![]() Nashville Skyline was not played on country radio stations. Johnny Cash sang with Dylan on “Girl from the North Country” and won a Grammy for writing the album’s liner notes. The sessions, Daniels said, were “loose, free, and most of all, fun.” Nashville Skyline brought back Dylan stalwarts Kenny Buttrey, Charlie McCoy, and Pete Drake, and introduced acoustic guitarist Norman Blake, pianist Bob Wilson, and electric guitarist Charlie Daniels to Dylan recordings. His third straight release recorded at Columbia’s Nashville studios with Bob Johnston at the helm, Nashville Skyline marked a turning point in changing perceptions of the city from which it took its name. With Nashville Skyline, Bob Dylan made an unabashedly country album. Also joining Dylan for the Blonde on Blonde sessions were Nashville studio regulars Hargus “Pig” Robbins, Jerry Kennedy, Mac Gayden, Henry Strzelecki, Joe South, Bill Aikins, and Wayne Butler. His literary imagination is on full display in songs such as “Visions of Johanna” and the Nashville musicians-working with imported pickers Robbie Robertson (of the Hawks) and Al Kooper-perform masterfully.Ĭharlie McCoy, Kenny Buttrey, and Wayne Moss-members of McCoy’s crack Nashville band, the Escorts-were roughly Dylan’s age, and they understood instinctively the sound and feel of the R&B-based rock & roll that Dylan wanted. After many attempts, only one song, “One of Us Must Know,” was considered good enough to be included on Dylan’s next album.īob Dylan made his first trip to Nashville in 1966, to record his seventh album, Blonde on Blonde, at Nashville’s Columbia Recording Studios.ĭylan said that Blonde on Blonde was “the closest I ever got to the sound I hear in my mind.” The double LP is certainly one of the great achievements of Dylan’s long career and a benchmark of American popular music. Dylan tried using the Hawks for his next album, but the electricity they had created on stage proved elusive in the studio. ![]() He used McCoy’s brilliant performance to drive the point home.ĭylan hired Toronto-based bar band the Hawks to flesh out his new sound while on the road. Against the wishes of label and management executives, Johnston had been encouraging the singer to record in Nashville. ![]() Dylan told McCoy he owned Charlie’s record “Harpoon Man,” and he invited the Nashville musician to play guitar on “Desolation Row.” McCoy made an impression on Dylan. Johnston invited McCoy, who was visiting New York, to observe the Highway 61 Revisited sessions. Johnston had previously lived in Nashville, where he hired multi-instrumentalist Charlie McCoy to lead sessions for demo recordings that were used to pitch songs to Elvis Presley. After recording albums with East Coast producers John Hammond and Tom Wilson, Bob Dylan worked with brash Texas native Bob Johnston on most of Highway 61 Revisited, recorded in New York in 1965. ![]()
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