Music was so important to the culture when I was growing up in the Sixties and Seventies. We just expected that Bob Dylan was going to make a great record, and it was normal. It was like, 'Okay, here's another great record by Bob Dylan; here's another great record by Led Zeppelin.'
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
Well, I met Frank Sinatra and Bob Dylan in the space of 15 minutes. Frank Sinatra kissed me on the lips. He kissed me on the lips. And then he gave me a filterless cigarette. And then I met Bob Dylan. I came off all lightheaded and had to go sit on his dressing-room steps.
I've had mentors who were kind of the troubadour singer-songwriters, like Merle Haggard, Loretta Lynn, Joni Mitchell, Bob Dylan and Neil Young, and that's just what I've always liked - people who would talk real honestly about their lives and their circumstance.
If I wasn't Bob Dylan, I'd probably think that Bob Dylan has a lot of answers myself.
The more you know about Bob Dylan, the less you know. A truly enigmatic artist, Mr. Dylan's work and life offer vaporous handholds, explanations, and instructions. Attempt to grasp them, and they will only dissipate and re-form into another contexture or idea.
I open all my concerts with 'My Backpages,' written by Bob Dylan, and close them all with 'May the Road Rise to Meet You,' written by Roger McGuinn and Camilla McGuinn.
I was buying Bob Dylan mainly, everything I could get hold of by him.
People like Howlin' Wolf, Bob Dylan, The Rolling Stones, John Lee Hooker, Nina Simone, Captain Beefheart - all of these artists were what I grew up listening to every day of my life. And there's a very healthy music scene in the west country of England, where I grew up.
It's not name dropping, but not many people can say, like me, that they spent the day with the likes of Francis Bacon or that boring drunk Dylan Thomas. You don't forget things like that.
Albert Grossman called my office and spoke with my partner Richard Leacock and asked if we'd be interested in making a film with his client, Bob Dylan.
One of the autobiographies I really liked was Bob Dylan's. It was interesting because he didn't do it in a linear fashion.
The most memorable moment was playing drums with Bob Dylan.
I tell people I never got to hear Dylan Thomas read because my husband wouldn't let me, because he thought it would be a sort of bad influence. People say, 'And you didn't go?' They're so surprised because the me they know would have gone. And I say I was very much a 'yes, dear' wife.
Bob Dylan has a way with words that simply blows me away. When he forgets his lyrics he just makes up new ones on the spot, that is what I called talented!
I love that Euro-pop dance music, but with girl power. I also listen to Janis Joplin and Bob Dylan. I have a Beatles song tattooed on my foot. I'm all over the place.
The biggest influence? I've had several at different times - but the biggest for me was Bob Dylan, who was a guy that came along when I was twelve or thirteen and just changed all the rules about what it meant to write songs.
Dylan, myself and my father were in a two hour movie called The Sand Kings, which started off the Outer Limits series. It was sort of the two hour pilot movie.
I was one of those guys, you know, playing and singing, and there was no reason for me to write a song, because there were so many beautiful songs out. And Bob Dylan was always the ultimate songwriter, and nobody could ever write a song as good as him, and nobody ever has written a song as good as him.
And I don't expect anyone can bring about a revolution in the way that Bob Dylan did - and really didn't - in the 1960s.
In college, I would follow Bob Dylan around, and I would show up to a concert, and he would sing some song he hadn't sang in a long time, and it would speak to something, and I would think it had some great fateful implication.
My expectations for myself were never high. I had a very unusual way of writing songs and of thinking about music. I wasn't at all like Bob Dylan or Simon and Garfunkel. I was completely different - I didn't have a David Geffen at my side.
To us, there was Bob Dylan, and there was dad. As for what he meant to other people, that was never glorified in our house. There were no accolades there, no gold records.
Bob Dylan is quite a songwriter, and a great singer and musician. I won't bother with comparing myself to him, but I will say that I heard his records at a very young age and I still listen to all his records.
Well, I love Bob Dylan, let's make that clear. He's one of my musical heroes.
I love Bob Dylan. 'Blood on the Tracks' is one of my top five records.
My dad was a huge Bob Dylan fan, so we listened to his music, Cat Stevens, Simon & Garfunkel, and all that kind of stuff.
I thought he was the greatest thing. Bob Dylan.
I was pretty strict in high school about who I would listen to. Musicians like Neil Young, Cat Stevens, Bob Dylan, Joni Mitchell... who were, in my opinion, great writers. The music mattered, but it held hands with the lyrics, and the personality was, overall, unsullied.
We don't need another Woody. Even Bob Dylan knew he couldn't be Woody Guthrie... I like Woody Guthrie fine, but I don't need the 50th generation version of it.
We are at a crossroads in the music business: with the rise of the internet, the world we live in has changed, and the past is not coming back. But I see the glass as half-full: the internet and social networking are new avenues for the next Bob Dylan to be born on.
We didn't have the phrase 'style icon' when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets - I liked how they dressed - and Catholic school boys.
Joaquin Sabina is one of my favorites. He's like a legend. He's like our Bob Dylan, or our Bruce Springsteen. He's one of the most talented writers of our Latin music.
I think the height of ridiculousness was when I was playing Elizabeth in 'The Golden Age' while preparing to start shooting 'I'm Not There.' I literally finished filming Elizabethan grandeur on Friday, flew to Montreal, and started being Bob Dylan on Monday.
The people at Dylan's Candy Bar, they have to have an inner child and a sense of fun... and love the colors and the textures.
Before Dylan, before rock became art, it was a wonderful fusion of pop structure and personal statements.