Bob Dylan wrote this song and recorded it in 1970 on his New Morning
album. Ron Cornelius is a producer, songwriter and publisher who has played on albums by Dylan, Leonard Cohen, Loudon Wainwright III
and many others. He told Songfacts about the Nashville sessions that produced the album: "I always wanted to cut an album with him not as an ongoing thing, just saddle up with five or six guys, go for what you know right on the spot, and it was a series of sessions known as The New Morning Sessions that my wish came true.
Dylan played his own acoustic guitar and sang, we had Charlie Daniels on bass and Al Kooper
on keys and Russ Kunkel on drums and me playing lead guitar. It was just a handful of guys going for what we know. He did something in those sessions that in all my work I've never seen anybody do - he would say, 'OK, here's the song that we're going to do,' and he would go ahead and sing it down for us. While he's singing it down for you, you need to chart the song so at least you know the lay of the land. He'd say 'Has everybody got it, need me to play it again?' then he'd say, 'Let's cut it once and see what happens.'
Well, as soon as the red lights come on to record, he'd take off playing the song in a completely different tempo than he had just played it. Everybody now is really off base, and you have to just go for what you know. If you'd get three-quarters of the way though it and it fell apart and we had to stop and do it again, we'd go back and red light the song, this time, completely different tempo. I mean way
off, drastic changes. Not just fast or slow, he might flip into a reggae type feel or something. If anybody fell off bad enough to stop that one, he'd say, 'Let's try it one more time.' The third time he'd take off in a completely different area. I know he was doing that to keep you off base, so that you had to be able to accommodate what was in front of you right now for the first time. If anybody fell off that time bad enough to stop the song, he'd say, 'next song.'
We cut for 21 days doing that and New Morning
came out of those sessions. For a session player that was very weird because you're used to somebody singing their song, and you grasp what they're doing and hopefully everybody in the room does, and you get a magical take of it, and if you don't you try it again until everybody feels 'there it is.' Then you can move on to the next song."