Jerry Garcia Band – Simple Twist of Fate – The Best Dylan Covers
“Simple Twist of Fate” is a song by Bob Dylan, released on his 15th studio album Blood on the Tracks in 1975.
A live performance recorded on February 28, 1978 was included on At Budokan.
The song was first covered by Joan Baez on Diamonds & Rust (1975), and has been reinterpreted by several artists since: by the Jerry Garcia Band on their 2-disc live album Jerry Garcia Band (1991) and Run for the Roses (1982), by Concrete Blonde on their Still in Hollywood (1994) collection, by Sean Costello on his self-titled album (2005), by The Format on Listen to Bob Dylan: A Tribute (2005), by Bryan Ferry on Dylanesque (2007), by Jeff Tweedy (with altered lyrics taken from a live Dylan performance) on the soundtrack for the film I’m Not There (2007), by Stephen Fretwell on Man On the Roof (2007) as a bonus track, and by Sarah Jarosz on Build Me Up From Bones (2013). Diana Krall covered it on the 2012 charity tribute to Dylan, Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International.
Today we present the wonderful version by the Jerry Garcia Band.
Bob Dylan’s Highway 61 Revisited full album covered
It is not hard to find other artists covering Bob Dylan’s songs, but it is not so easy to find interesting and good interpretations. The originals are so strong that I wouldn’t expect anyone to top them, and noone does. Even if that is the case, I think I’ve found some of the best out there.
Highway 61 Revisited is one of the best albums in Rock’n Roll history, if you don’t have it, go buy it or buy it online or something…just get it, it’s a life changer!
A great blues singer, also a guitarist and composer, born on October 26, 1894 (given until recently as September 26, 1893) in Wortham, Texas, about 60 miles south of Dallas. Hugely influential because he shaped the Texas blues and put it on record, though his recording career was, typically, very short (1926-1929). He was the main blues influence on Leadbelly and, through Leadbelly, an important tutor to many, many others.
-Michale Gray (The Bob Dylan Encyclopedia)
Lemon Henry “Blind Lemon” Jefferson (September 24, 1894 – December 19, 1929) was an American blues and gospel singer-songwriter and musician. He was one of the most popular blues singers of the 1920s and has been called the “Father of the Texas Blues”.
There’s no way to measure his greatness or magnitude as a person or as a player. I don’t think eulogizing will do him justice. He was that great – much more than a superb musician with an uncanny ear and dexterity. He is the very spirit personified of whatever is Muddy River Country at its core and screams up into the spheres. He really had no equal. To me he wasn’t only a musician and friend, he was more like a big brother who taught and showed me more than he’ll ever know. There are a lot of spaces and advances between the Carter Family, Buddy Holly and, say, Ornette Coleman, a lot of universes, but he filled them all without being a member of any school. His playing was moody, awesome, sophisticated, hypnotic and subtle. There’s no way to convey the loss. It just digs down really deep.
~Bob Dylan (Jerry Garcia’s Obituary – 10 August 1995)
Bruce Hornsby inducts the Grateful Dead at the 1994 Hall of Fame Induction Ceremony:
With Bill Kreutzmann masterfully drumming alone following the resignation of Mickey Hart, and augmented the previous fall by Keith Godchaux’s elegant piano, the Dead leaned toward the pared-down sound they’d perfected on their previous studio albums, Workingman’s Dead and American Beauty. Indeed, Europe ’72 arguably completes an acid-Americana trilogy insofar as it features a handful of sepia-toned new tunes: “He’s Gone,” “Jack Straw,” “Brown-Eyed Women,” “Ramble on Rose,” and “Tennessee Jed.” It also eliminates nearly all crowd noise and contains enough post-tour overdubs (mainly in the vocals department) to suggest a live-studio hybrid, with Jerry Garcia’s joyously apocalyptic “Morning Dew” as its show-stopping closer. The Dead’s best-selling live album also marked the group’s final recording with singer-keyboardist Ron “Pigpen” McKernan, who died the following year.
~Richard Gehr (rollingstone.com)