On July 29, 1966, he was injured in a motorcycle accident outside of his home in Woodstock, NY, suffering injuries to his neck vertebrae and a concussion. Details of the accident remain elusive — he was reportedly in critical condition for a week and had amnesia — and some biographers have questioned its severity, but the event was a pivotal turning point in his career. After the accident, Dylan became a recluse, disappearing into his home in Woodstock and raising his family with his wife, Sara. After a few months, he retreated with the Band to a rented house, subsequently dubbed Big Pink, in West Saugerties to record a number of demos.
For several months, Dylan and the Band recorded an enormous amount of material, ranging from old folk, country, and blues songs to newly written originals. The songs indicated that Dylan’s songwriting had undergone a metamorphosis, becoming streamlined and more direct. Similarly, his music had changed, owing less to traditional rock & roll, and demonstrating heavy country, blues, and traditional folk influences. None of the Big Pink recordings was intended to be released, but tapes from the sessions were circulated by Dylan’s music publisher with the intent of generating cover versions. Copies of these tapes, as well as other songs, were available on illegal bootleg albums by the end of the ’60s; it was the first time that bootleg copies of unreleased recordings became widely circulated. Portions of the tapes were officially released in 1975 as the double album The Basement Tapes.
While Dylan was in seclusion, rock & roll had become heavier and artier in the wake of the psychedelic revolution. When Dylan returned with John Wesley Harding in December of 1967, its quiet, country ambience was a surprise to the general public, but it was a significant hit, peaking at number two in the U.S. and number one in the U.K. Furthermore, the record arguably became the first significant country-rock record to be released, setting the stage for efforts by the Byrds and the Flying Burrito Brothers later in 1969.
Dylan followed his country inclinations on his next album, 1969’s Nashville Skyline, which was recorded in Nashville with several of the country industry’s top session men. While the album was a hit, spawning the Top Ten single “Lay Lady Lay,” it was criticized in some quarters for uneven material. The mixed reception was the beginning of a full-blown backlash that arrived with the double-album Self Portrait. Released early in June of 1970, the album was a hodgepodge of covers, live tracks, re-interpretations, and new songs greeted with negative reviews from all quarters of the press. Dylan followed the album quickly with New Morning, which was hailed as a comeback.
(Part Three to follow)
Reposted from other sources in appreciation of a living legend