Bob dylan airline guitar
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He had bought it from Marc Silber who ran the shop Fretted Instruments in NYC: This was the main acoustic guitar that he used in concert from late '63 through '66, and which can be heard on Another Side of Bob Dylan and Bringing it All Back Home. The J-50 “went missing” some time in 1963, and the replacement was what has become his most famous guitar: the Gibson Nick Lucas Special. It was also used at the Freewheelin' sessions, along with some Martins. It is the guitar Dylan is holding on the cover of "Bob Dylan" (photo negative reversed). it was a great guitar," interview in The Telegraph). The next regular guitar was an old Gibson, according to John Hammond Jr a J50 model (". The guitar later ended up in Paul Allen's Experience Museum Project in Seattle, where it can be seen online.
BOB DYLAN AIRLINE GUITAR MAC
When Krown died in 1992, the guitar was passed on to Peter MacKenzie, the son in the house of Mac and Eve MacKenzie, where Dylan used to play (and sleep) occasionally in his early NY days. In 1961, Dylan gave the guitar to Kevin Krown, who was then working as his manager. This 'couple of years' happens to be before his official recording days, but the guitar can be heard on the Minnesota tapes and some other early tapes, including ‘Wade in the Water’, from the Minnesota Hotel Tape, which was released on Live 1961–2000. I would play this guitar for the next couple of years or so (p. The man at the store traded me even and I left carrying the guitar in its case. He writes about this in Chronicles:įirst thing I did was go trade in my electric guitar, which would have been useless for me, for a double-O Martin acoustic. He acquired it in 1959, when he first moved to Minneapolis. His first guitar, which he played in his coffeehouse days, was a Martin 1949 00-17. When he first came to New York, he was carrying a Martin, and his acoustic guitars have, with a few exceptions, been Gibsons and Martins all along the way. Some of them may have been beat up, and most were old, but cheap? He has had guitars in the top league for as long as there are specific records of it. I figured it took us thirty-nine-and-a-half hours to record Blonde On Blonde with Dylan and it took us nine-and-a-half hours to record J ohn Wesley Harding with him here.D id you ever think of the early Dylan as the scruffy little guy who came into town with a cheap and beat-up old guitar over his shoulder? Forget it. None of us had encountered anything like it before. Taking this approach to recording was unheard of in Nashville. Everyone was in that studio saying, "God! Please don't allow me to make a mistake." It was tough because we had been waiting for so long and had been up all night waiting. We started with 'Sad-Eyed Lady Of The Lowlands'. Then we waited some more.įinally at 4 a.m., the next morning he was ready to start. So just hang loose." It was us, the usual Nashville rhythm section and also Al Kooper and Robbie Robertson there. He and Bob Johnston walked in and Bob said, "he's not done writing the first song yet. We were booked into the studio for 2 p.m and Dylan's flight came in late from wherever he was coming in from and he didn't make it into the studio until well past 6 p.m.
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McCOY: Well, I can remember the first day of recording.