Mr. Tambourine Man (Live at the Newport Folk Festival. 1964)


Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle mornin’ I’ll come followin’ you

[Verse 1]
Though I know that evening’s empire has returned into sand
Vanished from my hand
Left me blindly here to stand, but still not sleeping
My weariness amazes me, I am branded on my feet
I have no one to meet
And the ancient empty street’s too dead for dreaming

Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle mornin’ I’ll come followin’ you

[Verse 2]
Take me on a trip upon your magic swirlin’ ship
My senses have been stripped, my hands can’t feel to grip
My toes too numb to step, wait only for my boot heels
To be wandering
I’m ready to go anywhere, I’m ready for to fade
Into my own parade, cast your dancin’ spell my way
I promise to go under it

Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle mornin’ I’ll come followin’ you

[Verse 3]
Though you might hear laughing, spinning, swinging madly across the sun
It’s not aimed at anyone, it’s just escaping on the run
And but for the sky there are no fences facing
And if you hear vague traces of skipping reels of rhyme
To your tambourine in time, it’s just a ragged clown behind
I wouldn’t pay it any mind, it’s just a shadow you’re
Seeing that he’s chasing

Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle mornin’ I’ll come followin’ you

[Verse 4]
And take me disappearing through the smoke rings of my mind
Down the foggy ruins of time, far past the frozen leaves
The haunted, frightened trees, out to the windy beach
Far from the twisted reach of crazy sorrow
Yes, to dance beneath the diamond sky with one hand waving free
Silhouetted by the sea, circled by the circus sands
With all memory and fate driven deep beneath the waves
Let me forget about today until tomorrow

Hey Mr. Tambourine Man, play a song for me
I’m not sleepy and there is no place I’m going to
Hey Mr. Tambourine Man, play a song for me
In the jingle jangle mornin’ I’ll come followin’ you

Image result for bob dylan Mr. Tambourine Man

“Mr. Tambourine Man” is a song written, composed, and performed by Bob Dylan, who released his original version of it on his 1965 album Bringing It All Back Home. The Byrds also recorded a version of the song that they released in the same year as their first single on Columbia Records, reaching number 1 on both the Billboard Hot 100 chart and the UK Singles Chart, as well as being the title track of their debut album, Mr. Tambourine Man. The Byrds’ recording of the song was influential in popularizing the musical subgenres of folk rock and jangle pop, leading many contemporary bands to mimic its fusion of jangly guitars and intellectual lyrics in the wake of the single’s success.

This song has been performed and recorded by many artists, including Judy CollinsOdettaMelanie, and William Shatner. The song’s popularity led to Dylan recording it live many times, and it has been included in multiple Dylan and Byrds compilation albums. It has been translated into other languages, and has been used or referenced in television shows, films, and books.

The song has a bright, expansive melody and has become famous in particular for its surrealistic imagery, influenced by artists as diverse as French poet Arthur Rimbaud and Italian filmmaker Federico Fellini. The lyrics call on the title character to play a song and the narrator will follow. Interpretations of the lyrics have included a paean to drugs such as LSD, a call to the singer’s muse, a reflection of the audience’s demands on the singer, and religious interpretations. Dylan’s song has four verses, of which The Byrds only used the second for their recording. Dylan’s and The Byrds’ versions have appeared on various lists ranking the greatest songs of all time, including an appearance by both on Rolling Stone‘s list of the 500 best songs ever. Both versions also received Grammy Hall of Fame Awards.

Image result for bob dylan Mr. Tambourine Man


“Mr. Tambourine Man” was written and composed in early 1964, at the same approximate time as “Chimes of Freedom,” which Dylan recorded later that spring for his album Another Side of Bob Dylan.[2][3] Dylan began writing and composing “Mr. Tambourine Man” in February 1964, after attending Mardi Gras in New Orleans during a cross-country road trip with several friends, and completed it sometime between the middle of March and late April of that year after he had returned to New York.[2] Nigel Williamson has suggested in The Rough Guide to Bob Dylan that the influence of Mardi Gras can be heard in the swirling and fanciful imagery of the song’s lyrics.[4] Journalist Al Aronowitz has claimed that Dylan completed the song at his home, but folk singer Judy Collins, who later recorded the song, has stated that Dylan completed the song at her home.[2] Dylan premiered the song the following month at a May 17 concert at London’s Royal Festival Hall.[2]


Dylan first recorded “Mr. Tambourine Man” a few weeks later, on June 9, with Tom Wilson producing, during the Another Side of Bob Dylan session.[2][5] The take, recorded with Ramblin’ Jack Elliott, was cut from the album because Dylan felt the song was special and their performance did not do it justice.[2] Sometime that month he also recorded a publisher demo of the song at Witmark Music.[6] More than six months passed before Dylan re-recorded the song, again with Wilson in the producer’s chair, during the final Bringing It All Back Home session on January 15, 1965, the same day that “Gates of Eden,” “It’s Alright, Ma (I’m Only Bleeding),” and “It’s All Over Now, Baby Blue” were recorded.[2][7] It was long thought that the four songs were each recorded in one long take.[8] However, in the biography Bob Dylan: Behind the Shades, Clinton Heylin relates that the song required six attempts, possibly because of difficulties in working out the playoffs between Dylan’s acoustic guitar and Bruce Langhorne‘s electric lead.[2] The final take was selected for the album, which was released on March 22, 1965.[2][8]

In his book Keys to the Rain: The Definitive Bob Dylan Encyclopedia, Oliver Trager describes “Mr. Tambourine Man” as having a bright, expansive melody,[9] with Langhorne’s electric guitar accompaniment, which provides a countermelody to the vocals, being the only instrumentation besides Dylan’s acoustic guitar and harmonica.[10] Author Wilfred Mellers has noted that although the song is in the key of D major, it is harmonized as if it were in a Lydian G major, giving the song a tonal ambiguity that enhances the dreamy quality of the melody.[11] Unusually, rather than beginning with the first verse, the song begins with an iteration of the chorus:[9]

Hey! Mr. Tambourine Man, play a song for me,
I’m not sleepy and there is no place I’m going to.
Hey! Mr. Tambourine Man, play a song for me,
In the jingle-jangle morning I’ll come following you.[12]


William Ruhlmann, writing for the AllMusic Web site, has suggested the following interpretation of the song’s lyrics: “The time seems to be early morning following a night when the narrator has not slept. Still unable to sleep, though amazed by his weariness, he is available and open to Mr. Tambourine Man’s song, and says he will follow him. In the course of four verses studded with internal rhymes, he expounds on this situation, his meaning often heavily embroidered with imagery, though the desire to be freed by the tambourine man’s song remains clear.”[13]

While there has been speculation that the song is about drugs such as LSD or marijuana, particularly with lines such as “take me on a trip upon your magic swirling ship” and “the smoke rings of my mind”,[2][3][10] Dylan has always denied the song is about drugs.[14] Though he was using marijuana at the time the song was written, Dylan was not introduced to LSD until a few months later.[2][3][15] Other commentators have interpreted the song as a call to the singer’s spirit or muse, or the singer’s search for transcendence.[3][15][16][17][18] In particular, biographer John Hinchey has suggested in his book Like a Complete Unknown that the singer is praying to his muse for inspiration; Hinchey notes that ironically the song itself is evidence the muse has already provided the sought-after inspiration.[16] Mr. Tambourine Man has also been interpreted as a symbol for Jesus Christ and for the Pied Piper of Hamelin.[13] The song may also reference gospel music, with Mr. Tambourine Man being the bringer of religious salvation.[18]

Dylan has cited the influence of Federico Fellini‘s movie La Strada on the song,[9][19] while other commentators have found echoes of the poetry of Arthur Rimbaud.[2][20][21] Author Howard Sounes has identified the lyrics “in the jingle jangle morning I’ll come following you” as having been taken from a Lord Buckleyrecording.[19] Bruce Langhorne, who performs guitar on the track, has been cited by Dylan as the inspiration for the tambourine man image in the song.[9] Langhorne used to play a giant, four-inch-deep “tambourine” (actually a Turkish frame drum), and had brought the instrument to a previous Dylan recording session.[2][10][22][23]

Other Dylan releases

Bob Dylan has often played “Mr. Tambourine Man” in live concerts.

The Bringing it All Back Home version of “Mr. Tambourine Man” was included on Bob Dylan’s Greatest Hits in 1967 and several later Dylan compilation albums, including Biograph, Masterpieces, and The Essential Bob Dylan.[13][24] The two June 1964 recordings, one with Ramblin’ Jack Elliott and the other at Witmark Music, have been released on The Bootleg Series Vol. 7: No Direction Home and The Bootleg Series Vol. 9: The Witmark Demos 1962–1964, respectively.[13][25] Outtakes from the January 15, 1965 recording session were released on The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 in 2015.

The song has been in Dylan’s live concert repertoire ever since it was written,[9] usually as a solo acoustic song, and live performances have appeared on various concert albums and DVDs. An early performance, recorded during a songs workshop at the Newport Folk Festival on July 24, 1964 is included in both Murray Lerner‘s film The Other Side of the Mirror[26] and the DVD release of Martin Scorsese‘s documentary No Direction Home.[27] A live performance at New York’s Philharmonic Halldating from October 31, 1964, appeared on The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall.[13]During his appearance at the Newport Folk Festival on July 25, 1965, after he was heckled by acoustic folk music fans during his electric set, Dylan returned to play acoustic versions of “Mr. Tambourine Man” and “It’s All Over Now, Baby Blue“;[28][29] this performance of “Mr. Tambourine Man” is also included in The Other Side of the Mirror.[26]

A live version from Dylan’s famous May 17, 1966, concert in Manchester, England (popularly but mistakenly known as the Royal Albert Hall Concert) is included on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The “Royal Albert Hall” Concert.[30] Dylan’s August 31, 1969 performance of the song at the Isle of Wight Festival appears on Isle of Wight Live, part of the 4-CD deluxe edition of The Bootleg Series Vol. 10: Another Self Portrait (1969–1971). Dylan also played the song as part of his evening set at the August 1, 1971, Concert for Bangladesh, a benefit concert organized by George Harrison and Ravi Shankar. That performance is included on The Concert For Bangladesh album, although it was excluded from the film of the concert.[31] Another live version, from the Rolling Thunder Revue tour of 1975, is on The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue, while electric band versions from 1978 and 1981 appear, respectively, on Bob Dylan at Budokan and the Deluxe Edition of The Bootleg Series Vol. 13: Trouble No More 1979–1981.[32][33]

The Byrds’ version

Release and the birth of folk rock

The Byrds performing “Mr. Tambourine Man” on The Ed Sullivan Show, December 12, 1965.

“Mr. Tambourine Man” was the debut single by the American band The Byrds and was released on April 12, 1965 by Columbia Records.[34] The song was also the title track of the band’s debut album, Mr. Tambourine Man, which was released on June 21, 1965.[35] The Byrds’ version is abridged and in a different key from Dylan’s original.

The single’s success initiated the folk rock boom of 1965 and 1966, many acts imitating the band’s hybrid of rock beat, jangly guitar, and poetic or socially conscious lyrics.[13][36] The single, the “first folk rock smash hit”,[37][38]gave rise to the very term “folk rock” in the U.S music press to describe the band’s sound.[39][40]

This hybrid had its antecedents in the American folk revival of the early 1960s,[41] The Animals‘s rock-oriented recording of the folk song “The House of the Rising Sun,”[42] the folk-influences present in the songwriting of The Beatles,[43] and the twelve-string guitar jangle of The Searchers and The Beatles’s George Harrison.[44][45]However, the success of The Byrds’ debut created a template for folk rock that proved successful for many acts during the mid-1960s.[13][46]


Most of the members of The Byrds had a background in folk music,[38] since Jim McGuinnGene Clark, and David Crosby had all worked as folk singers during the early 1960s.[47][48] They had also spent time, independently of each other, in various folk groups, including The New Christy MinstrelsThe LimelitersThe Chad Mitchell Trio, and Les Baxter’s Balladeers.[47][49][50][51] In early 1964, McGuinn, Clark, and Crosby formed The Jet Set and started developing a fusion of folk-based lyrics and melodies, with arrangements in the style of The Beatles.[48][52] In August 1964, the band’s manager Jim Dickson acquired an acetate disc of “Mr. Tambourine Man” from Dylan’s publisher, featuring a performance by Dylan and Ramblin’ Jack Elliott.[2][48][53][54] Although the band members were initially unimpressed with the song, they eventually agreed to begin rehearsing and demoing it.[55][56] In an attempt to make it sound more like The Beatles, the band and Dickson elected to give the song a full, electric rock band treatment, effectively creating the musical subgenre of folk rock.[38][54][55] To further bolster the group’s confidence in the song, Dickson invited Dylan to hear the band’s rendition.[57] Dylan was impressed, enthusiastically commenting, “Wow, you can dance to that!” His endorsement erased any lingering doubts the band had about the song.[57] During this period, drummer Michael Clarke and bass player Chris Hillman joined,[48] and the band changed their name to The Byrds over Thanksgiving 1964.[54] The two surviving demos of “Mr. Tambourine Man” dating from this period feature an incongruous marching band drum part from Clarke but overall the arrangement, which utilized a 4/4 time signature instead of Dylan’s 2/4 configuration, is very close to the later single version.[58][59]

Image result for bob dylan Mr. Tambourine Man


The master take of “Mr. Tambourine Man” was recorded on January 20, 1965, at Columbia Studios in Hollywood, prior to the release of Dylan’s own version.[60] The song’s jangling, melodic guitar playing (performed by McGuinn on a 12-string Rickenbacker guitar) was immediately influential and has remained so to the present day.[54] The group’s complex harmony work, as featured on “Mr. Tambourine Man,” became another major characteristic of their sound.[61] Due to producer Terry Melcher‘s[53] initial lack of confidence in The Byrds’ musicianship, McGuinn was the only Byrd to play on both “Mr. Tambourine Man” and its B-side, “I Knew I’d Want You.”[54] Rather than using band members, Melcher hired The Wrecking Crew, a collection of top L.A. session musicians, who (with McGuinn on guitar) provided the backing track over which McGuinn, Crosby, and Clark sang.[62] By the time the sessions for their debut album began in March 1965, however, Melcher was satisfied that the band was competent enough to record its own musical backing.[38] Much of the track’s arrangement and final mixdown was modeled after Brian Wilson‘s production work for the Beach Boys‘ “Don’t Worry Baby“.[63][64][65]

The Byrds’ recording of the song opens with a distinctive, Bach-inspired guitar introduction played by McGuinn and then, like Dylan’s version, goes into the song’s chorus.[54] Although Dylan’s version contains four verses, The Byrds only perform the song’s second verse and two repeats of the chorus, followed by a variation on the song’s introduction, which then fades out.[13] The Byrds’ arrangement of the song had been shortened during the band’s rehearsals at World Pacific Studios in 1964, at the suggestion of Jim Dickson, in order to accommodate commercial radio stations, which were reluctant to play songs that were over two-and-a-half minutes long.[54][55] Thus, while Dylan’s version is five-and-a-half minutes long, The Byrds’ runs just short of two-and-a-half minutes.[13] The lead vocal on The Byrds’ version of “Mr. Tambourine Man” was sung by McGuinn, who attempted to modify his singing style to fill what he perceived as a gap in the popular music scene of the day, somewhere between the vocal sound of John Lennon and Bob Dylan.[54] The song also took on a spiritual aspect for McGuinn during the recording sessions, as he told The Byrds’ biographer Johnny Rogan in 1997: “I was singing to God and I was saying that God was the Tambourine Man and I was saying to him, ‘Hey, God, take me for a trip and I’ll follow you.’ It was a prayer of submission.”[54]


The single reached number 1 on the Billboard Hot 100, and number 1 on the UK Singles Chart, making it the first recording of a Dylan song to reach number 1 on any pop music chart.[66][67][68] Critic William Ruhlmann has argued that in the wake of “Mr. Tambourine Man”, the influence of The Byrds could be heard in recordings by a number of other Los Angeles-based acts, including The TurtlesThe LeavesBarry McGuire, and Sonny & Cher.[13] In addition, author and music historian Richie Unterberger sees the influence of The Byrds in recordings by The Lovin’ SpoonfulThe Mamas & the PapasSimon & Garfunkel, and Love,[46][69] while author John Einarson has noted that both The Grass Roots and We Five enjoyed commercial success by emulating The Byrds’ folk rock sound.[70] Furthermore, a number of commentators, including Richie Unterberger, Scott Plangenhoef, and Ian MacDonald have noted that by late 1965, The Beatles themselves were assimilating the sound of folk rock, and in particular The Byrds, into the material found on their Rubber Soul album, most notably on the songs “Nowhere Man” and “If I Needed Someone“.[71][72][73]

As the 1960s came to a close, folk rock changed and evolved away from the jangly template pioneered by The Byrds,[36] but, Unterberger argues, the band’s influence could still be heard in the music of Fairport Convention.[74] Since the 1960s, The Byrds’ jangly, folk rock sound has continued to influence popular music up to the present day, with authors Chris Smith, Johnny Rogan, Mark Deming, and Stephen Thomas Erlewine all noting the band’s influence on such acts as Big StarTom Petty and the HeartbreakersR.E.M.The Long RydersThe SmithsThe BanglesThe Stone RosesTeenage Fanclub, and The La’s.[75][76][77][78]

In addition to appearing on The Byrds’ debut album, “Mr. Tambourine Man” is included on several Byrds’ compilation and live albums, including The Byrds Greatest HitsLive at Royal Albert Hall 1971The Very Best of The ByrdsThe Essential ByrdsThe Byrds Play Dylan, and the live disc of The Byrds’ (Untitled) album.[79] The Byrds’ version of the song also appears on compilation albums that include hit songs by multiple artists.[79] Two earlier demo recordings of “Mr. Tambourine Man”, dating from the World Pacific rehearsal sessions, can be heard on The Byrds’ archival albums PreflyteIn the Beginning, and The Preflyte Sessions.[80]

Other recordings and references

Folk singer Judy Collins covered “Mr. Tambourine Man” in 1965.

“Mr. Tambourine Man” has been performed and recorded by many artists over the years, including at least thirteen versions recorded in 1965 alone.[9] The Brothers Four recorded a commercial version before the Byrds, but were unable to release it due to licensing issues.[81] In addition, notable recordings of the song have been made by OdettaJudy CollinsStevie WonderThe Four SeasonsThe Barbarians, and Chad and Jeremy.[13] Other artists who have recorded the song include Glen Campbell (1965), The Beau Brummels (1966), The Lettermen (1966), Kenny Rankin (1967), Melanie (1968), Gene Clark(1984), Les Fradkin (2007), Bob Sinclar (2009), Jack’s Mannequin (2012), and The Flowers of Hell (2012).[9][82] William Shatner also recorded the song in a spoken-word recitation on his 1968 album, The Transformed Man.[9][82]

The song was recorded by the fictitious group, The Termites, in an episode of the 1960s TV comedy, F Troop. Major cast members pose as “hippie” musicians in a send-up of British Invasion groups in the 1967 episode “That’s Show Biz”, written by Austin and Irma Kalish.

A reunited line-up of The Byrds, featuring Roger McGuinn, Chris Hillman, and David Crosby, performed “Mr. Tambourine Man” with Dylan at a Roy Orbison tribute concert on February 24, 1990. This live performance of the song was included on the 1990 box setThe Byrds.[83] At the October 1992 Bob Dylan 30th anniversary tribute concert at Madison Square Garden, McGuinn performed the song, backed by Tom PettyMike Campbell, and Benmont Tench, among others.[9][82][84]

The song has been translated and recorded in a number of languages. Müslüm Gürses recorded the song with different lyrics written in Turkish. The Turkish version of the song was called Hayat Berbat.[85] It was translated into Romanian by Florian Pittiş, and sung by Pasărea Colibri on their 1995 album În căutarea cuibului pierdut.[86]There are also at least two Brazilian Portuguese versions of the song, covered by Zé Ramalho and Zé Geraldo on their Zé Ramalho canta Bob Dylan and Catadô de Bromélias albums respectively.[87][88] Austrian band S.T.S. translated the song into Austrian German, calling it “Hey, alter Liedersänger”.

“Mr. Tambourine Man” has also been referenced in books and film, including Tom Wolfe‘s nonfiction novel The Electric Kool-Aid Acid Test,[89] Stephen King‘s book Carrie,[90] the film Dangerous Minds,[91][92][93] and the documentary film Gonzo: The Life and Work of Dr. Hunter S. Thompson. The subject of the latter film, journalist Hunter S. Thompson, had “Mr. Tambourine Man” played at his funeral and dedicated his novel Fear and Loathing in Las Vegas to Dylan because of the song.[94][95]The song was also performed by Pete Townshend at the funeral of Neil AspinallThe Beatles‘ road manager and personal assistant.[96][97]

The 2013 John Craigie song, “I Wrote Mr. Tambourine Man”, is about a person that Craigie met in New Orleans who claimed to have written the original lyrics to “Mr. Tambourine Man”.[98]

“Mr. Tambourine Man” is one of seven Dylan songs whose lyrics were reset for soprano and piano (or orchestra) by John Corigliano for his song cycle Mr. Tambourine Man: Seven Poems of Bob Dylan.[99]

Slovenian singer-songwriter Matej Krajnc recorded his own translation of the song for his album of Dylan translations “Pot skoz kamnolom – pesmi Boba Dylana” (Nika Records, 2017).

In the run-up to the 2016 US Presidential elections various artists, like Wesley Stace for 30 Days, 50 Songs,[100][101] released their versions of the song adapted to ”Mr. Tangerine Man” as parodies about Donald Trump.[102][103]

Image result for bob dylan Mr. Tambourine Man


The Byrds’ version of “Mr. Tambourine Man” was listed as the number 79 song on Rolling Stones list of the 500 Greatest Songs of All Time, and Dylan’s version was ranked number 106.[104] It is one of three songs to place twice, along with “Walk This Way” by both Aerosmith and Run-DMC with Perry and Tyler, and “Blue Suede Shoes” by both Carl Perkins and Elvis Presley.[104] The Byrds’ version was honored with a Grammy Hall of Fame Award in 1998, and Dylan’s version was honored with the same award in 2002.[105]

In 1989 Rolling Stone ranked The Byrds’ version of “Mr. Tambourine Man” as the number 86 single of the prior 25 years.[106] That same year, music critic Dave Marshlisted it as number 207 in his list of the top 1001 singles ever made.[107] In 1999, National Public Radio in the United States listed this version as one of the 300 most important American records of the 20th century.[108] In the UK, music critic Colin Larkin listed The Byrds’ version as the number 1 single of all time.[109] Other UK publishers that have listed this song as one of the top songs or singles include MojoNew Musical Express, and Sounds.[110][111][112] Australian music critic Toby Creswell included the song in his book 1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them.[55]

In a 2005 reader’s poll reported in Mojo, Dylan’s version of “Mr. Tambourine Man” was listed as the number 4 all-time greatest Bob Dylan song, and a similar poll of artists ranked the song number 14.[113] In 2002, Uncut listed it as the number 15 all-time Dylan song.[114]


  1. Jump up^ The Byrds’ recording of “Mr. Tambourine Man” was originally released as a 45 rpm 7″ gramophone record, which was the dominant format for single releases during the 1960s (Shuker 2007, p. 56).


  1. Jump up^ LaBate, Steve (December 18, 2009). “Jangle Bell Rock: A Chronological (Non-Holiday) Anthology… from The Beatles and Byrds to R.E.M. and Beyond”

    Paste. Retrieved July 24, 2016.

  2. Jump up to:a b c d e f g h i j k l m n Heylin 2009, pp. 181–186
  3. Jump up to:a b c d Williamson 2006, pp. 223–224
  4. Jump up^ Williamson 2006, p. 268
  5. Jump up^ Heylin 1995, p. 29
  6. Jump up^ Heylin 1995, pp. 20, 29
  7. Jump up^ Heylin 2002, pp. 104–106
  8. Jump up to:a b Varesi 2002, pp. 51–53
  9. Jump up to:a b c d e f g h i Trager 2004, pp. 438–441
  10. Jump up to:a b c Gill 1998, pp. 74–75
  11. Jump up^ Mellers 1984, pp. 136–138
  12. Jump up^ Dylan 2006, pp. 152–153
  13. Jump up to:a b c d e f g h i j k Ruhlmann
  14. Jump up^ Gilliland 1969, show 32, track 2.
  15. Jump up to:a b Rogovoy 2009, pp. 81–82
  16. Jump up to:a b Hinchey 2002, pp. 94–99
  17. Jump up^ Williams 1990, pp. 128–133
  18. Jump up to:a b Shelton 1997, pp. 274–275
  19. Jump up to:a b Sounes 2001, p. 182
  20. Jump up^ Tamarin, Jean, “Bringing It All Back Home”, in Dettmar 2009, p. 135
  21. Jump up^ Heylin 2002, p. 151
  22. Jump up^ Unterberger (1)
  23. Jump up^ Unterberger (2)
  24. Jump up^ Erlewine (1)
  25. Jump up^ The Witmark Demos
  26. Jump up to:a b Deming (1)
  27. Jump up^ Sutton
  28. Jump up^ Williams 1990, pp. 156–163
  29. Jump up^ Santelli 2005, pp. 49–50
  30. Jump up^ Unterberger (3)
  31. Jump up^ Ginell
  32. Jump up^ Erlewine (2)
  33. Jump up^ Erlewine (3)
  34. Jump up^ Eder 1990
  35. Jump up^ Rogan 1998, p. 545
  36. Jump up to:a b Folk-Rock
  37. Jump up^ Rogan 1996
  38. Jump up to:a b c d Unterberger (4)
  39. Jump up^ Rogan 1998, pp. 81–83
  40. Jump up^ Unterberger 2002, p. 133
  41. Jump up^ 1962-66: American Folk-Rock vs. The British Invasion
  42. Jump up^ Unterberger 2002, pp. 93–96
  43. Jump up^ Unterberger 2002, p. 88
  44. Jump up^ Wadhams 2001, p. 194
  45. Jump up^ Eder
  46. Jump up to:a b Unterberger (5)
  47. Jump up to:a b Hjort 2008, p. 11
  48. Jump up to:a b c d Hjort 2008, pp. 14–21
  49. Jump up^ Russel
  50. Jump up^ Musicians Associated With The Byrds: The New Christy Minstrels
  51. Jump up^ David Crosby
  52. Jump up^ Rogan 1998, pp. 31, 35–36
  53. Jump up to:a b Gilliland 1969, show 33, track 2.
  54. Jump up to:a b c d e f g h i Rogan 1998, pp. 49–63
  55. Jump up to:a b c d Creswell 2006, p. 59
  56. Jump up^ Fricke 2001
  57. Jump up to:a b Rogan 1998, pp. 54–56
  58. Jump up^ Rogan 1998, p. 52
  59. Jump up^ McGuinn
  60. Jump up^ Hjort 2008, p. 24
  61. Jump up^ Mr. Tambourine Man
  62. Jump up^ Fricke 1996
  63. Jump up^ Beckwith, Harry (January 15, 2001). The Invisible Touch: The Four Keys to Modern Marketing

    . Grand Central Publishing. pp. 55–. ISBN 978-0-7595-2094-3.

  64. Jump up^ Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings

    . Hal Leonard Corporation. pp. 61–. ISBN 978-0-634-05560-7.

  65. Jump up^ Dillon, Mark (January 1, 2012). Fifty Sides of the Beach Boys: The Songs That Tell Their Story

    . ECW Press. pp. 83–. ISBN 978-1-77090-198-8.

  66. Jump up^ The Byrds: Billboard Singles
  67. Jump up^ Warwick 2004, p. 6
  68. Jump up^ Shumway, David R., “Bob Dylan as a Cultural Icon”, in Dettmar 2009, p. 114
  69. Jump up^ Unterberger (6)
  70. Jump up^ Einarson 2005, p. 62
  71. Jump up^ Unterberger (7)
  72. Jump up^ Plangenhoef 2009
  73. Jump up^ MacDonald 1995, p. 135
  74. Jump up^ Unterberger (8)
  75. Jump up^ Smith 2009, p. 32
  76. Jump up^ Rogan 1998, p. 417
  77. Jump up^ Deming (2)
  78. Jump up^ Thomas Erlewine
  79. Jump up to:a b Mr. Tambourine Man: The Byrds
  80. Jump up^ Rogan 1998, pp. 548–549
  81. Jump up^ Adams, Cecil (April 21, 1978). “Must you get permission to record someone else’s song?”

    The Straight Dope. Retrieved October 1, 2010.

  82. Jump up to:a b c Song Search Results for: Mr. Tambourine Man
  83. Jump up^ Rogan, J. (1998). The Byrds: Timeless Flight Revisited. Rogan House. p. 440. ISBN 0-9529540-1-X.
  84. Jump up^ Adams, Gregory (September 7, 2012). “Flowers Of Hell Reveal Odes Details”

    Exclaim!. Retrieved September 9, 2012.

  85. Jump up^ Mungan
  86. Jump up^ Pasarea Colibri
  87. Jump up^ Zé Ramalho: Disco
  88. Jump up^ Zé Geraldo: Discografia–Oficial
  89. Jump up^ Wolfe 1969, p. 171
  90. Jump up^ King 1974
  91. Jump up^ Maslin 1995
  92. Jump up^ Gleiberman 1995
  93. Jump up^ McCarthy 1995
  94. Jump up^ Hunter S. Thompson Funeral
  95. Jump up^ Thompson, p. (Dedication page)
  96. Jump up^ Singh 2008
  97. Jump up^ Simpson 2008
  98. Jump up^ Tuckman, Andrew (July 28, 2013). “John Craigie Has A New Album Out “The Apocalypse Is Over””

    . Archived from the original

     on December 2, 2014.

  99. Jump up^ Mr. Tambourine Man: Seven Poems of Bob Dylan


  100. Jump up^ “Mr. Tangerine Man [live]”

    30 Days, 30 Songs. Retrieved 2016-10-30.

  101. Jump up^ Wesley Stace – Mr. Tangerine Man (Live)

    , retrieved 2016-10-30 (lyrics)

  102. Jump up^ Mr. Tangerine Man

    , retrieved 2016-10-30

  103. Jump up^ “Mr Tangerine Man, Parody Song Lyrics of Bob Dylan, Mr Tambourine Man”

    amIright. Retrieved 2016-10-30.

  104. Jump up to:a b The Rolling Stone 500 Greatest Songs of All Time
  105. Jump up^ Grammy Hall of Fame Award
  106. Jump up^ Rolling Stone: The 100 Best Singles of the Last 25 Years
  107. Jump up^ Marsh 1999, p. 145
  108. Jump up^ The Original NPR 300
  109. Jump up^ Larkin
  110. Jump up^ Mojo: The 100 Greatest Singles of All Time
  111. Jump up^ NME’s 100 Greatest Singles of All Time
  112. Jump up^ Sounds All Time Top 100 Albums & Singles
  113. Jump up^ Mojo: 100 Greatest Dylan Songs
  114. Jump up^ Uncut: Top 40 Dylan Tracks


External links

Preceded by
I Can’t Help Myself (Sugar Pie Honey Bunch)” by The Four Tops
Billboard Hot 100 number-one single
(The Byrds version)

June 26, 1965 (one week)
Succeeded by
(I Can’t Get No) Satisfaction” by The Rolling Stones
Preceded by
I’m Alive
by The Hollies
UK number one single
(The Byrds version)

July 22, 1965 (two weeks)
Succeeded by
Help!” by The Beatles




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