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Credit: Far Out \/ Magnolia Pictures<\/p>\n
Sun 4 October 2026 22:45, UK <\/p>\n
Ever since he was young, Robbie Robertson<\/a> was something of an outlier. <\/p>\n From getting his first job at a freak show carnival to backing legendary songwriter Bob Dylan, Robertson knew what it was like to wade through one unbelievable situation to the next, living by the general mantra that the best music comes from putting different styles in \u201cthis big pot and mixing up a new gumbo\u201d. <\/p>\n In fact, while Robertson grew up around the same influences as many of his contemporaries, from Buddy Holly to Bo Diddley, he always kept his eyes open to other types of sounds and styles that inspired him, knowing that, to stumble upon real greatness, you often have to venture a little further out of your immediate vicinity to find it.<\/p>\n As he once said, \u201cI wanted to develop a guitar style where phrases and lines get there just in the nick of time, like with Curtis Mayfield and Steve Cropper. Subtleties mean so much, and there is a stunning beauty in them.\u201d<\/p>\n Even when he aspired to play as well as rock \u2018n\u2019 roll guitar gods like Chuck Berry<\/a>, Robertson dug a little deeper beneath the surface, recognising that those sounds weren\u2019t just magical manifestations of complete originality, but instead they were \u201chand-me-downs\u201d from other pioneers across jazz and classical music.\u00a0<\/p>\n And eventually, Robertson found his own groove, earning a name for himself in association with his trusty Fender Telecaster that he played alongside Bob Dylan, supporting the brooding troubadour during one of the most controversial transitions of his entire career in the mid-1960s. Back then, Robertson learned quickly that his guitar wasn\u2019t just an instrument but a \u201cweapon\u201d.<\/p>\n As he put it, the shows with Dylan were becoming that \u201cunpredictable\u201d \u2013 with audience members both delighted and appalled at Dylan\u2019s sudden manoeuvre into electronic arrangements<\/a> \u2013 that Robertson\u2019s Fender became his wall of protection. \u201cI adjusted the strap on my Telecaster so I could release it with a quick thumb movement and use the guitar as a weapon,\u201d he recalled in his memoir, Testimony.<\/p>\n Further reading: From The Vault<\/p>\n Still, any other musician would have likely been tested during this phase, especially when Robertson could have just as easily opted out and ventured back to what he knew; back to safety. But being on Dylan\u2019s side meant being close to the definitive compass of musical genius \u2013 it might\u2019ve been tough, but it was the right call, through and through.<\/p>\n And Robertson knew that to be true simply because his belief in the Blonde on Blonde singer never wavered. Given his extensive experience and proximity to music\u2019s greatest stars, Robertson knew authenticity the minute it stepped through the door, and Dylan, to him, was the ultimate standard<\/a> for musical brilliance.<\/p>\n In his words, \u201cBob is a great barometer for young singers and songwriters. As soon as they think they\u2019ve written something good \u2013 \u201cI\u2019m pushing the envelope here, I\u2019ve made a breakthrough\u201d \u2013 they should listen to one of his songs. He will always stand as the one to measure good work by. That\u2019s one of the greatest accomplishments of all.\u201d<\/p>\n<\/p>\n
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<\/a> The Far Out Bob Dylan Newsletter<\/p>\n