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Key developments
Rolling Thunder link to “Coyote” revisited
MusicRadar revisited the Dylan-adjacent origins of Joni Mitchell’s “Coyote,” reporting that the song was written after Mitchell joined Bob Dylan’s 57-date Rolling Thunder Revue in late 1975. The piece places the song’s development alongside Sam Shepard’s involvement in the tour film project that became Renaldo and Clara, before Mitchell recorded “Coyote” during the Hejira sessions at A&M Studios in Hollywood.
Why it matters
The article reinforces Rolling Thunder’s role as a creative crossroads for major 1970s songwriters beyond Dylan’s own catalog.
Sources & driving stories
MUSICRADAR
MusicRadar coveragePhil Spector’s Dion-Dylan criticism resurfaced
Far Out Magazine’s Matthew Ingate resurfaced Phil Spector’s 1968 Pop Chronicles criticism of Dion DiMucci, whom Spector accused of going “down the tubes” by moving toward a Dylan-like singer-songwriter style. The piece connects Dion’s Wonder Where I’m Bound, produced by Dylan-associated producer Tom Wilson, to Dion’s cover of “It’s All Over Now, Baby Blue,” while noting Dylan later praised Dion’s distinctive rhythmic voice in 2020 liner notes.
Why it matters
The item highlights how Dylan’s influence on 1960s peers was contested by major industry figures even as later reassessments became more favorable.
Sources & driving stories
FAR OUT MAGAZINE · Matthew Ingate
Far Out Magazine coverageWorth noting
WORTH NOTING
Jaco Pastorius’s “Coyote” role detailed
MusicRadar emphasizes that Pastorius overdubbed four Hejira tracks and treated bass as a melodic countervoice through glissandos, vibrato, harmonics, and vocal-like phrasing.
Still unclear
OPEN QUESTION
How much Rolling Thunder context remains underexamined?
The Mitchell piece suggests Dylan’s 1975 tour continued to generate important creative spillovers for collaborators and fellow travelers.
OPEN QUESTION
Will Dion’s Dylan-era pivot get further reassessment?
The contrast between Spector’s 1968 criticism and Dylan’s later praise points to a broader shift in how Dylan-influenced 1960s reinventions are evaluated.