Stories In The Press

An introspective blog post surveys the many versions of Visions Of Johanna from Blonde On Blonde, arguing that a definitive version is elusive. It notes that nineteen acoustic takes come from a 1966 36-disc box set, with other versions appearing on The Cutting Edge and on the bootleg Thin Wild Mercury Music, including recordings with The Hawks in 1965. The piece weaves in Allen Ginsberg, Sara Dylan, Al Aronowitz and Jack Kerouac, and situates the song amid Dylan's habit of reimagining material.

March 2007 symposium at the University of Minnesota frames Visions of Johanna as a Zen inflected meditation. The author discusses how the song speaks of sesshin, the feminine, and ambiguous imagery, while acknowledging Dylan's influences from Judeo-Christian tradition and Buddhism. Yanagi Soetsu is cited on folk art to support Dylan as a true folk singer whose work carries meaning beyond the maker. The piece also notes Dylan's ties to Allen Ginsberg and other Buddhist practitioners.

This article is the first in a series comparing performances across the ages, focusing on Visions of Johanna. It discusses a 1966 acoustic live version from the Never Ending Tour, noting a slower tempo and deliberate word emphasis that create a sense of entrapment for Dylan, the song, and the silent audience. It also covers a 2011 rendition in which the melody shifts and Dylan emphasizes different words. A Sheffield 1966 mp3 recording is linked within the piece.

This article from bob-dylan.org.uk analyzes Bob Dylan's songwriting in 1965, tracing a sequence of increasingly dark, strophic compositions from Desolation Row through numerous singles and outtakes. The writer argues that the final song of the year, Visions of Johanna, represents a decisive formal breakthrough, replacing strict verse-verse-verse repetition with nine-line verses subdivided into asymmetric rhyme-group sections. By expanding the middle section in the final verse, Dylan is presented as stretching centuries-old popular-song structures into a newly expressive form.

The article examines Visions of Johanna, a standout track from Bob Dylan's 1966 double album Blonde on Blonde, arguing the song's surreal New York imagery and stream-of-consciousness lyrics reflect longing for Joan Baez and contrast with the presence of Sara Lownds; it cites Andrew Motion's high praise and notes Dylan's later ambivalence about verbose compositions.

Rhode Island Monthly interviews singer-songwriter Joan Osborne about Dylanology Live, a concert album drawn from her Dylan covers tour following a 2017 studio tribute. Osborne explains rediscovering the multitrack recordings in 2024, highlights contributions from guests Amy Helm, Jackie Greene and Robert Randolph, and recalls recording Chimes of Freedom with Bob Dylan in the mid-1990s. She discusses balancing admiration for Dylan's songwriting with discomfort at misogynistic lyrics, and previews upcoming stripped-down trio performances at The Odeum and in New York City.

In this Flagging Down the Double E's interview, singer Joan Osborne looks back on her long relationship with Bob Dylan, from discovering Oh Mercy in Paris to recording Man in the Long Black Coat for Relish, duetting on Chimes of Freedom, and joining Dylan and The Dead on their 2003 tour. Osborne also explains how a Cafe Carlyle residency led to her 2017 covers album Songs of Bob Dylan and discusses song selection, vocal approaches, and recommendations from Patti Smith.

Joan Osborne revisits Dylan's catalog through Dylanology Live and a forthcoming Relish re-recording, pairing with jazz players and planning a Natick Center for the Arts show on December 4. She emphasizes selecting songs for new interpretations rather than reproducing familiar versions, notes Rainy Day Women as a moody swamp-rock piece, and recalls a 1999 duet with Dylan on Chimes of Freedom for a TV soundtrack, illustrating a long-standing collaboration with Dylan's work.

In a 2024 interview, Joan Osborne recounts how discovering Bob Dylan's Oh Mercy in Paris led to covering Man in the Long Black Coat on Relish, later duetting with Bob Dylan on Chimes of Freedom and touring with The Dead in 2003. Osborne describes studio dynamics with Bob Dylan, reactions from Deadheads, and occasional shared performances of Tears of Rage. The conversation concludes with Osborne explaining the conception, song choices, and influences behind her 2017 covers album Songs of Bob Dylan.

Joan Osborne spoke with Jill Riley about Dylanology (Live), a spring 2025 live album of soulful Bob Dylan interpretations, and her October 3–4 shows at The Dakota in Minneapolis. Osborne described the project’s origins in a New York residency, the influence of Ella Fitzgerald’s songbook approach, and guest contributions from Robert Randolph, Jackie Greene, and Amy Helm, while noting prior Dylan-related releases including Songs of Bob Dylan (2017) and earlier connections to Oh Mercy-era material.

Bob Dylan's live concert recordings are being organized in a year by year index on the bob-dylan.org.uk site. The post identifies itself as the 51st entry in the ongoing project, which aims to assemble a usable recording for every year from 1961 onward. It notes that some years did not feature tours and invites readers to email URLs for missing years, along with permission to quote the contributor. The 2016 entry specifically lists a seven song set believed to be performed at that show.

The article presents a project to offer one full concert recording for every year Dylan performed live, prioritizing recordings of reasonable quality. It opens by citing Beijing in 2011 as a notable example and then provides a year by year list of concerts and venues from 1961 to 2025. The China setlist includes 17 songs, including Gonna Change My Way of Thinking and Like a Rolling Stone. The page functions as an archival reference rather than a critical review.

The Untold Dylan site’s June 2025 archive gathers posts by contributors including Jochen Markhorst and Jack Beam, featuring concert-series pages, multi-part analyses of songs like My Own Version Of You, commentary on The Philosophy of Modern Song, and reviews of covers and performances published throughout June 2025.

Bob Dylan's year by year concert series documents a living archive of complete shows, with the Toronto Sony Centre gig from 17 November 2014 highlighted as a representative entry. The post presents a two part set plus an encore, and then lists many earlier shows in the series, including notes on 2020 cancellations. The piece frames the project as an ongoing effort to publish full concert recordings for every year Dylan performed, compiling performances across multiple decades.

Tony Attwood documents a long running archival project that releases one Dylan concert recording per year dating back to 1961. The article centers on the 18 November 2005 show at the Birmingham NEC Arena, detailing the evening's set list including Maggie's Farm, Like a Rolling Stone, and All Along the Watchtower. It emphasizes audio quality over visual material and notes that the list of featured years spans from 1961 to 2025, with missing years invited for input.

The post outlines an ongoing project to locate a recording of a Dylan concert for each calendar year, intended to illustrate what Bob Dylan was doing and how his music sounded in that year. The author notes that selecting a single show to symbolize a year is imperfect but proceeds. The article points readers to a list of concerts at the bottom and mentions other series on the site home page.

Bob Dylan's November 19, 2001 performance in New York City is documented with a full show and a YouTube audio upgrade. The post is part of a Tony Attwood curated series that selects one concert for each year of Dylan's touring and provides references to other yearly entries and additional shows. The entry situates the show within the broader project, notes the linked YouTube audio upgrade, and mentions that the listing includes other yearly entries with links to more performances.

Bob Dylan performs in Killarney and Dublin, Ireland in late 2025, with Lakes of Ponchartrain as an encore in Killarney and Rainy Night in Soho in Dublin; Highway of Diamonds: Black America Sings Bob Dylan, a twenty track tribute album by Black American artists, is announced for January 30 2026; Record Store Day 2025 features The Original Freewheelin’ Bob Dylan reissue and a Masters of War seven inch with a Lomax interview.

Published in January 2026, this At The Barrier review examines Highway Of Diamonds, Ace Records' second Black America Sings Bob Dylan compilation. The 20-track album gathers soul, gospel, funk, jazz, and rock interpretations by artists including The Staple Singers, Nina Simone, Billy Preston, Sarah Vaughan, Cassandra Wilson, and Lizz Wright. The writer discusses individual vinyl sides, highlighting standout covers of songs such as A Hard Rain's A-Gonna Fall, The Times They Are A-Changin', George Jackson, and Every Grain Of Sand.

Bob Dylan's week on the road covers two nights in Glasgow and Belfast with two more shows in Killarney and Dublin, and notes that the band keeps improving and finding new arrangements such as My Own Version of You and It's All Over Now, Baby Blue. A Belfast surprise saw Going Down to Bangor by Van Morrison performed on stage, possibly with Morrison in attendance. New releases on November 18, 2025 include Point Blank, a drawing collection with prose, and Chronicles: Volume One, an audiobook read by Sean Penn. Trevor Gibb's Glasgow review and Vienna 1999 reflection are highlighted in recent posts.

The article traces Bob Dylan's relationship with Ireland from his controversial May 1966 electric concerts through a defining 1984 Slane Castle performance and decades of intermittent visits, noting promoters, recurring venues and the sold-out five-show visit in November 2025 supporting his Rough and Rowdy Ways tour with a fixed 17-song set list.

Ace Records will release Highway of Diamonds - Black America Sings Bob Dylan on January 30, 2026, as a follow up to 2010's How Many Roads. The collection gathers twenty newly performed versions of Dylan classics by prominent black American artists, including Bettye Lavette, Nina Simone, Natalie Cole, Solomon Burke, Merry Clayton, Cassandra Wilson, Harry Belafonte and Odetta. The set opens with Blowin In The Wind and will be issued on CD and 2LP gatefold, with several artists reprising beyond the earlier volume.

Two Dylan related Record Store Day offerings are described: a 7 inch containing Masters Of War performed in 1962 at Alan Lomax's New York apartment, with a post performance chat with Lomax on the flip side, and The Original Freewheelin' Bob Dylan, a 1963 album restoration that reinstates four tracks withdrawn from the original release. The release aims to present the album as it was conceived, restoring Rocks & Gravel, Let Me Die in My Footsteps, Rambling Gambling Willie, and Talkin' John Birch Paranoid Blues.

Bob Dylan performs in Killarney and Dublin, Ireland in late 2025, with Lakes of Ponchartrain as an encore in Killarney and Rainy Night in Soho in Dublin; Highway of Diamonds: Black America Sings Bob Dylan, a twenty track tribute album by Black American artists, is announced for January 30 2026; Record Store Day 2025 features The Original Freewheelin’ Bob Dylan reissue and a Masters of War seven inch with a Lomax interview.

Published in January 2026, this At The Barrier review examines Highway Of Diamonds, Ace Records' second Black America Sings Bob Dylan compilation. The 20-track album gathers soul, gospel, funk, jazz, and rock interpretations by artists including The Staple Singers, Nina Simone, Billy Preston, Sarah Vaughan, Cassandra Wilson, and Lizz Wright. The writer discusses individual vinyl sides, highlighting standout covers of songs such as A Hard Rain's A-Gonna Fall, The Times They Are A-Changin', George Jackson, and Every Grain Of Sand.

Bob Dylan's week on the road covers two nights in Glasgow and Belfast with two more shows in Killarney and Dublin, and notes that the band keeps improving and finding new arrangements such as My Own Version of You and It's All Over Now, Baby Blue. A Belfast surprise saw Going Down to Bangor by Van Morrison performed on stage, possibly with Morrison in attendance. New releases on November 18, 2025 include Point Blank, a drawing collection with prose, and Chronicles: Volume One, an audiobook read by Sean Penn. Trevor Gibb's Glasgow review and Vienna 1999 reflection are highlighted in recent posts.

The article traces Bob Dylan's relationship with Ireland from his controversial May 1966 electric concerts through a defining 1984 Slane Castle performance and decades of intermittent visits, noting promoters, recurring venues and the sold-out five-show visit in November 2025 supporting his Rough and Rowdy Ways tour with a fixed 17-song set list.

Ace Records will release Highway of Diamonds - Black America Sings Bob Dylan on January 30, 2026, as a follow up to 2010's How Many Roads. The collection gathers twenty newly performed versions of Dylan classics by prominent black American artists, including Bettye Lavette, Nina Simone, Natalie Cole, Solomon Burke, Merry Clayton, Cassandra Wilson, Harry Belafonte and Odetta. The set opens with Blowin In The Wind and will be issued on CD and 2LP gatefold, with several artists reprising beyond the earlier volume.

Two Dylan related Record Store Day offerings are described: a 7 inch containing Masters Of War performed in 1962 at Alan Lomax's New York apartment, with a post performance chat with Lomax on the flip side, and The Original Freewheelin' Bob Dylan, a 1963 album restoration that reinstates four tracks withdrawn from the original release. The release aims to present the album as it was conceived, restoring Rocks & Gravel, Let Me Die in My Footsteps, Rambling Gambling Willie, and Talkin' John Birch Paranoid Blues.

The review describes Bob Dylan's Christmas in the Heart as a seasonal collection that treats traditional carols with direct, unornamented arrangements. It credits Dylan's voice and interpretive sensibility with carrying familiar melodies into moving territory, framing the project as a sincere communal offering rather than a novelty. The piece notes the album's enduring appeal for listeners seeking honesty and tenderness during the holidays, and it highlights the emphasis on warmth over irony.

Historian Sean Wilentz, speaking from Princeton in December 2009, analyzes Bob Dylan's Christmas album 'Christmas in the Heart' during a KPFK holiday broadcast. Wilentz describes Dylan's renditions of standards like 'Here Comes Santa Claus' and 'Must Be Santa' as sincere reflections on childhood in Hibbing, a tribute to Bing Crosby, and a spiritually Christian statement. The discussion also situates the album within Dylan's pattern of cover projects preceding creative shifts and highlights its royalties' permanent donation to hunger-relief charities.

Clash Music reports on Dylan's 2009 Christmas In The Heart, a record released under the Jack Frost pseudonym that collects straight, heartfelt renditions of well known carols and holiday tunes. The piece notes the album's simple arrangements, the singer's shift from time oriented improvisation to traditional song forms, and draws connections to Dylan's broader late career interest in pre rock era songwriting, including Shadows In The Night. It also recounts mixed critical reception and highlights tracks such as Here Comes Santa Claus and Have Yourself A Merry Little Christmas.

Bob Dylan releases Christmas In The Heart in 2009 under Columbia Records with production by Jack Frost. The album collects traditional Christmas songs performed in a sincere unironic style and features Dylan's gravelly voice suited to the holiday material. The songs include Here Comes Santa Claus, Little Drummer Boy, Hark the Herald Angels Sing, and Winter Wonderland, presented without irony or genre twists. The project achieved modest chart placements in the UK and US and conveys a cabin like nostalgic mood.

Bob Dylan's Christmas in the Heart presents traditional holiday tunes through a polka-influenced, festive lens. The review centers on Here Comes Santa Claus as an engaging opener that sets a warm mood and notes Dylan's raspy voice during this period. It acknowledges that Dylan largely preserves the originals, producing endearing, mid tempo performances and moments of pure joy, while some tracks feel casual or uneven beside seasonal standards. Overall, the album remains a charming, family friendly holiday detour.

In 2009 Dylan released Christmas in the Heart, a 15-song collection of Christmas standards produced by Dylan under the alias Jack Frost. Proceeds were donated to homelessness and hunger charities, including Feeding America, Crisis, and the World Food Programme. The project reflected a return to traditional material amid a period of media activity that included hosting Theme Time Radio Hour and later exploring standards after Tempest (2012). The album’s vintage arrangements and Dylan’s raspy vocal texture were central to its reception, and the music video for Must Be Santa accompanied the release.

The article celebrates the 50th anniversary of Bob Dylan's 1975 album Blood on the Tracks, reconsidering its reputation as a straightforward breakup record. The author summarizes Dylan's denial of autobiographical intent, the influence of Anton Chekhov and painter Norman Raeben, and the turbulent New York and Minnesota recording sessions. Key songs such as Tangled Up in Blue, Idiot Wind, and Simple Twist of Fate illustrate Dylan's narrative experimentation, emotional volatility, and enduring artistic resurgence.

In this MOJO feature from Bob Dylan Essentials, Victoria Segal revisits Bob Dylan's 1975 album Blood On The Tracks on its 50th anniversary, reconstructing the September 1974 A&R Recording Studios sessions with Eric Weissman, Phil Ramone, and Deliverance, and the later Minnesota re-recordings overseen by David Zimmerman. The article explores how marital tensions with Sara Lownds, Dylan's readings of Anton Chekhov, and painter Norman Raeben's lessons shaped the album's fractured narratives, emotional intensity, and enduring reputation.

Marking the album's fiftieth anniversary, the article revisits Bob Dylan's 1975 release Blood on the Tracks, situating it within Dylan's post-1966 career slump and early-1970s misfires. The writer details the New York and Minneapolis recording sessions, contrasts sparse acoustic arrangements with full-band performances, and closely describes key songs such as Tangled Up in Blue, Simple Twist of Fate, Idiot Wind, and If You See Her, Say Hello. The piece argues that the album redefined mature breakup songwriting and restored Dylan's critical stature.

Bob Dylan's Tangled Up in Blue, the opening track on Blood on the Tracks released January 20, 1975, is described as a key example of narrative experimentation that defies a fixed timeline. The song moves through present and past across seven stanzas, with shifting perspectives between I and he. The article notes Norman Raeben's influence at Carnegie Hall and cites an interview with Bill Flanagan; Jakob Dylan weighs in on interpretations, and the album's breakup theme is discussed in relation to Dylan's marriage to Sara Dylan.

The article traces Tangled Up In Blue from its origins during Bob Dylan's separation from Sara Lowndes, through years of studio experimentation and multiple lyric and arrangement variants prior to Blood on the Tracks' 1975 release. It notes Dylan's continual reinvention in concerts, including a 1978 tour line hinting at Christianity, and highlights the song's enduring status despite modest chart performance. The piece underlines the song's time and perspective as a key element of Dylan's storytelling.

The piece centers on Blood on the Tracks (1975) as one of Dylan's most personal and emotionally charged albums, produced during a turbulent period in his marriage to Sara Noznisky. It notes that tracks such as You're A Big Girl Now and Meet Me In The Morning invite connections to Dylan's lived experiences, while Idiot Wind is described as a painting-like concept. The article acknowledges Dylan's public denial of direct personal references, yet argues the record remains heartfelt and open to interpretation.

This article explores Bob Dylan's song 'Tangled Up in Blue' from the 1975 album Blood on the Tracks, tracing influences to Jack Kerouac's On the Road, noting literary references and fragmented, time-shifting vignettes, and linking Dylan's touring practice to his memory-driven songwriting.

In 1975, Bob Dylan released Blood on the Tracks, with Tangled Up in Blue as a leading single, cementing his return after a period of quiet. The article situates 1975 as a pivotal year in rock history, noting Queen’s Bohemian Rhapsody, Patti Smith’s Horses, Fleetwood Mac’s emergence, and War’s Low Rider as part of broader shifts in genre fusion and storytelling. It highlights studio experimentation and cross-genre influence that shaped later artists.

Released on June 30, 1965, Bob Dylan’s Highway 61 Revisited followed the single Like A Rolling Stone and continued the electric folk-rock direction begun on Bringing It All Back Home; sessions featured Michael Bloomfield, Paul Griffin, Harvey Brooks, and Al Kooper, with production by Bob Johnston after Tom Wilson, and the album helped define Dylan’s most prolific mid 1960s period.

This retrospective feature by biographer David Dalton explores Bob Dylan's mid-1960s Holy Trinity of Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde, alongside the related Bootleg Series Vol. 12 sessions. Dalton recalls first hearing Like A Rolling Stone, describes Dylan's charged electric appearance at the 1965 Newport Folk Festival, and analyzes Dylan's evolving persona, image, and songwriting. The essay links Dylan's electric period to beat literature, blues traditions, and a series of self-mythologizing characters that effectively turned the albums into novels.

In 1965, Dylan released Highway 61 Revisited, a landmark album that casts US Route 61 as a moving stage for social observation and myth. The songs move through portraits, allegory, and surreal images—from Tombstone Blues to Desolation Row—addressing science, religion, culture, and politics while presenting travel as a catalyst for self-reflection. The work is described as a cohesive concept record that translates folklore, literature, and rumor into a unified musical narrative.

In June–July 1965 Bob Dylan recorded songs that became Highway 61 Revisited, completing the album in under a week at Columbia Studios following an electric appearance at the Newport Folk Festival. Produced by Bob Johnston with notable contributions from Al Kooper and session players, the LP paired fiery tracks like the title song and Tombstone Blues with melancholic numbers such as Just Like Tom Thumb's Blues, and its songs formed the core of Dylan's transformative tour repertoire.

Classical-Music.com reviews landmark albums of 1965, highlighting Bob Dylan’s Highway 61 Revisited as the pivotal electric-rock record while contextualizing other key releases across blues, soul, folk, and British rock that shaped that year.

Columbia Records released Highway 61 Revisited in August 1965 as Dylan moved from folk to electric rock. The lead track Like a Rolling Stone began as an extended rhythm idea and evolved into a six minute song whose length almost prevented its release. Leaks and audience demand forced an official single release, and the track reached high on the Billboard charts. The song is widely regarded as a defining moment in Dylan’s career and a landmark in 1960s popular music.

George Harrison led the Traveling Wilburys in the late 1980s, coordinating a collaboration with Roy Orbison, Jeff Lynne, Tom Petty, and Bob Dylan. The piece notes how the sessions emphasized listening to each other’s strengths, avoiding ego, and matching voices to songs. It highlights Handle With Care, written around a cardboard box label, and Orbison’s towering presence as a unifying core, with Dylan and Petty contributing to the shared vocal and lyrical approach.

Roy Orbison, along with Jeff Lynne, George Harrison, Tom Petty, and Bob Dylan, formed the Traveling Wilburys and are discussed as a group whose success depended on compatible songwriting. The article emphasizes Orbison as a guiding light who helped Dylan and Lynne improve their craft, cites Jeff Lynne’s 2019 Forbes interview about Orbison's influence, and references Bob Dylan’s Chronicles Volume 1 describing Orbison's stylistic versatility. It also notes Orbison's death after the first Wilburys album and the lasting impact on Harrison and Petty.

The article recounts how the Traveling Wilburys assembled as an informal collaboration among Dylan, Tom Petty, Jeff Lynne, George Harrison, and Roy Orbison. They focused on camaraderie and playful experimentation, with Dylan contributing to songs such as Tweeter and the Monkey Man and the project that would become Handle with Care. Petty admired Harrison's humor and artistry, while Harrison appeared in the I Won't Back Down video, illustrating the cross generational partnerships that defined the project.

George Harrison forms the Traveling Wilburys with Dylan, Orbison, Petty, and Lynne in 1988, emphasizing spontaneity and humor over grand aims. The sessions unfold more by magic than design, with Handle With Care catalyzing a full group collaboration. The resulting album Traveling Wilburys Vol. 1 blends goofy humor and lighthearted performances with occasional serious moments, creating one of the era's most organically derived supergroup projects.

Bob Dylan and fellow rock stars formed the Traveling Wilburys in 1988 in Los Angeles, releasing Traveling Wilburys Vol. 1. The article recounts a plan to add Elvis Presley posthumously by retracking an Elvis recording with the Wilburys, with Harrison noting the nickname Aaron Wilbury. After Roy Orbison died two months after the debut, the group abandoned the idea, choosing to maintain the integrity of the original lineup.

Timothee Chalamet discusses his strategy of presenting jackets bearing the Marty Supreme title to notable figures in Britain as part of promoting the film. The five Brit picks include Lewis Hamilton, David and Victoria Beckham, and Susan Boyle, the latter cited as an inspiration after her 2009 Britain’s Got Talent moment. The film, based on post-war table tennis star Marty Reisman, is produced by A24 and is slated for a wide cinema release on Boxing Day, with Chalamet seeking a strong awards run.

Set in 1952, Marty Supreme follows Marty Mauser, a New York shoe salesman who pursues a world table tennis championship while funding trips to Tokyo. Director Josh Safdie co-wrote the script with Ronald Bronstein, pairing a brisk sports frame with a rogues gallery of associates and underworld figures. Timothee Chalamet delivers intense energy as Marty, whose motto ask forgiveness not permission drives a plot that blends Rocky style hustle with Pulp Fiction style detours, before returning to the sport and social critique.

The Cineworld blog reports that Timothee Chalamet stars in Marty Supreme, a faux biopic about a 1950s table tennis player modeled on Marty Reisman. The film opens in the United Kingdom on 26 December at Cineworld locations, with Gwyneth Paltrow, Tyler the Creator, Odessa A'zion, Fran Drescher and others in the cast. Chalamet trained for authenticity, and discussions touch on social media speculation about a rapper EsDeeKid; the piece also references the Bob Dylan movie as an example of performance fidelity.

Timothee Chalamet is highlighted for promoting Marty Supreme, a film by Josh Safdie about an aspiring table tennis champion, through a series of promotional efforts coordinated with the film's distributor A24. The piece notes an extended Instagram live style Zoom session with A24 staff, a push into menswear collaborations with Nahmias, and celebrity endorsements by Tom Brady, Misty Copeland, Kid Cudi, and Kylie Jenner. It also recalls Dylan's biopic A Complete Unknown starring Chalamet and a 13-minute livestream featuring Dylan material, with release scheduled for December 26.