Tomorrow Is A Long Time

[MikeFromHolland]

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Tomorrow Is A Long Time

Susan Elizabeth Rotolo (November 20, 1943 – February 25, 2011), known as Suze Rotolo, was an American artist, and the girlfriend of Bob Dylan from 1961 to 1964. Rotolo is the woman walking with him on the cover of his album The Freewheelin' Bob Dylan, a photograph by the CBS studio photographer, Don Hunstein.




Rotolo first met Dylan at a Riverside Church folk concert in July 1961. Describing their meeting in his memoir, Chronicles, Volume One, Dylan wrote:

Right from the start I couldn’t take my eyes off her. She was the most erotic thing I’d ever seen. She was fair skinned and golden haired, full-blood Italian. The air was suddenly filled with banana leaves. We started talking and my head started to spin. Cupid’s arrow had whistled past my ears before, but this time it hit me in the heart and the weight of it dragged me overboard... Meeting her was like stepping into the tales of 1001 Arabian Nights. She had a smile that could light up a street full of people and was extremely lively, had a kind of voluptuousness—a Rodin sculpture come to life.


It was not until they met that Dylan's writing began to address issues such as the civil rights movement and the threat of nuclear war. They started living together in early 1962, much to the disapproval of her family. As Dylan's fame grew, Rotolo found the relationship increasingly stressful. She wrote:

Bob was charismatic: he was a beacon, a lighthouse, he was also a black hole. He required committed backup and protection I was unable to provide consistently, probably because I needed them myself ... I could no longer cope with all the pressure, gossip, truth and lies that living with Bob entailed. I was unable to find solid ground. I was on quicksand and very vulnerable.


Rotolo left New York in June 1962, with her mother, to spend six months studying art at the University of Perugia in Italy. Dylan's separation from his girlfriend has been credited as the inspiration behind several of his finest love songs, including "Don't Think Twice, It's Alright" and "Tomorrow Is a Long Time". He recorded Tomorrow is A long Time originally in December 1962 as a demo for M. Witmark & Sons, his publishing company. It stayed in the can for a long long time. This early version was officially released on October 18, 2010 on "The Bootleg Series Vol. 9 - The Witmark Demos: 1962-1964". A later live recording of this song (made on April 12 1963) was released in 1971 on "Bob Dylan's Greatest Hits Vol. II".

A rehearsal:
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The first version of the song that was ever released was a version by Ian Tyson and Sylvia Fricker. They were Canadian folk singer/songwriters, who together formed the duo Ian & Sylvia. They began performing together in 1959, married in 1964, and divorced and stopped performing together in 1975. Their original recording of "Tomorrow Is A Long Time" appeared on their 1963 album, "Four Strong Winds" (Vanguard VRS-9133/VSD-2149). "Four Strong Winds" was a major hit in Canada and ensured their stardom.

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In April 1964 a version by The Brothers Four was released on single and on their album "Sing Of Our Times".
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A version by Hamilton Camp was released in October 1964 on his album "Paths Of Victory".
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More versions were released at the time:

Linda Mason (1964)
Bud and Travis (1964)
The Silkie (October 1965)
Judy Collins (November 1965)
Dorinda Duncan (1965)



And Odette Holmes released her version in 1965 on the album "Odetta Sings Dylan".It was this version that inspired Elvis to record it too:
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According to Ernst Jorgensen's' book "Elvis Presley: A Life In Music", Elvis first heard the song via Charlie McCoy, who had previously participated in Bob Dylan's Highway 61 Revisited and Blonde on Blonde sessions. McCoy played the album Odetta Sings Dylan before the Elvis session on May 26/26, 1966. Elvis recorded his version of "Tomorrow Is A Long Time" on May 26, 1966 during the "How Great Thou Art Sessions". It took him three takes to have a master. Take 1 was a false start.


Take 2:
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The master (take 3):
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According to Ernst Jorgensen in "Elvis Presley: A Life In Music", Dylan once said that Presley's cover of the song was "the one recording I treasure the most."



It was released in November 1966 as a bonus song on "Spinout" / "California Holiday".










Some other versions

Harry Belafonte - 1969
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Rod Stewart - 1971
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Nick Drake - 2007
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And a Dutch version from 2010: Ernst Jansz - Huiswaarts:
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sources
https://en.wikipedia.org/wiki/Suze_Rotolo
http://recordmecca.com/news/an-original-freewheelin-bob-dylan-with-withdrawn-tracks-surfaces/
https://en.wikipedia.org/wiki/Ian_%26_Sylvia
http://davidneale.eu/elvis/originals/list9.html
http://www.keithflynn.com/recording-sessions/660525.html
https://secondhandsongs.com/work/7329/versions#nav-entity

[Domino]

Didn't know this song had a Canadian connection with Ian & Sylvia doing the first released version.Cool.
When Elvis started doing these type songs,that's where I say he was starting on the road back and only 2 years away from the 68 Special.

[Juan Luis]

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

[jurasic1968]

Great version of Elvis.

[Juan Luis]

"Although Johnny Cash was an excellent songwriter, he often recorded material penned by other artists, and he was one of the first people to record and praise the work of Bob Dylan. Elvis also covered a couple of Dylan songs, and this May 1966 recording of “Tomorrow Is A Long Time” proved that whilst Elvis may have been tied to his Hollywood movie contracts at the time, he hadn’t lost sight of current trends. "


http://www.elvicities.com/~rockinrebel/American.htm

[MikeFromHolland]

"Although Johnny Cash was an excellent songwriter, he often recorded material penned by other artists, and he was one of the first people to record and praise the work of Bob Dylan. Elvis also covered a couple of Dylan songs, and this May 1966 recording of “Tomorrow Is A Long Time” proved that whilst Elvis may have been tied to his Hollywood movie contracts at the time, he hadn’t lost sight of current trends. "


http://www.elvicities.com/~rockinrebel/American.htm

True. And the way he sang at home was also an indication he was on his way back:

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[r&b]

Lost opportunity for a possible top 10 single in 1966 (edited of course). The promotion of Elvis singing Dylan would have been tremendous. The singles that were released that year just didnt measure up to Dylan material.

[drjohncarpenter]

Didn't know this song had a Canadian connection with Ian & Sylvia doing the first released version.Cool.
When Elvis started doing these type songs,that's where I say he was starting on the road back and only 2 years away from the 68 Special.

Yes, it was a start, but only the hardcore Presley fans that actually paid attention to what was going on in popular music noticed. The Dylan track was buried on a soundtrack LP in a year, 1966, of incredible releases by many terrific artists.

... it’s a year of such unbelievably bountiful riches that it’s frankly difficult for me to imagine living through it firsthand. What was it like to walk into a record store and see deathless warhorses like Pet Sounds, Blonde On Blonde, and Revolver in the new releases section? (Let’s not forget classics by The Stones, The Who, The Kinks, The Byrds, Otis Redding, The Animals, Cream, and Buffalo Springfield, as well as “second-tier” releases by The Yardbirds, Jefferson Airplane, Frank Zappa, and Love, to name just a dozen nuggets from ’66.) Those records were already so ingrained in the musical landscape by the time I was schooling myself in rock history 20 years ago that I felt like I already knew them before playing them for the first time. 1966 wasn’t a year of mere masterpieces; it was a time of records that birthed whole genres while also—and here’s the truly amazing part—fully engaging the mainstream, spawning radio hits and influencing pop culture in ways that still can be felt.

...

Turn on the radio at any time of the day and you could hear Four Tops’ “Reach Out I’ll Be There,” The Mamas And The Papas’ “California Dreamin’,” The Byrds’ “Eight Miles High,” Sam & Dave’s “Hold On, I’m Comin’,” Percy Sledge’s “When A Man Loves A Woman,” The Troggs’ “Wild Thing,” The Cyrkle’s “Red Rubber Ball,” Lee Dorsey’s “Working In The Coal Mine,” Eddie Floyd’s “Knock On Wood,” The Monkees’ “Last Train To Clarksville,” The Rolling Stones’ “19th Nervous Breakdown,” Count Five’s “Psychotic Reaction,” Simon And Garfunkel’s “Sounds Of Silence,” Stevie Wonder’s “Uptight (Everything’s Alright),” The Hollies’ “Bus Stop,” The Supremes’ “You Keep Me Hangin’ On,” Nancy Sinatra’s “These Boots Are Made For Walkin’,’” Tommy James’ “Hanky Panky,” and many, many, many more unbeatable favorites of shower singers and karaoke champions everywhere. I already love these songs, but I bet they’d really sing without the added baggage of all the commercials, movie trailers, and wedding receptions that have all but run them into the ground in the decades since.



http://www.avclub.com/article/1966-51531

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

[MikeFromHolland]

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What's your opinion on the Dutch version? To my Dutch ears it sounds very cool, it's translated almost one-on-one. But how does it sound to foreign ears? I really wonder...

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By the way, Ernst Jansz was a real pop-idol in the 80's in Holland with his group "Doe Maar".










A part of my youth. Fun times

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[TINML]

An essential Elvis recording imo. A favorite of mine and I doubt I'll ever get sick of it.

[drjohncarpenter]

An essential Elvis recording imo. A favorite of mine and I doubt I'll ever get sick of it.

Have you ever heard Odetta's 1965 RCA recording?

[Juan Luis]

Didn't know this song had a Canadian connection with Ian & Sylvia doing the first released version.Cool.
When Elvis started doing these type songs,that's where I say he was starting on the road back and only 2 years away from the 68 Special.

Yes, it was a start, but only the hardcore Presley fans that actually paid attention to what was going on in popular music noticed. The Dylan track was buried on a soundtrack LP in a year, 1966, of incredible releases by many terrific artists.

... it’s a year of such unbelievably bountiful riches that it’s frankly difficult for me to imagine living through it firsthand. What was it like to walk into a record store and see deathless warhorses like Pet Sounds, Blonde On Blonde, and Revolver in the new releases section? (Let’s not forget classics by The Stones, The Who, The Kinks, The Byrds, Otis Redding, The Animals, Cream, and Buffalo Springfield, as well as “second-tier” releases by The Yardbirds, Jefferson Airplane, Frank Zappa, and Love, to name just a dozen nuggets from ’66.) Those records were already so ingrained in the musical landscape by the time I was schooling myself in rock history 20 years ago that I felt like I already knew them before playing them for the first time. 1966 wasn’t a year of mere masterpieces; it was a time of records that birthed whole genres while also—and here’s the truly amazing part—fully engaging the mainstream, spawning radio hits and influencing pop culture in ways that still can be felt.

...

Turn on the radio at any time of the day and you could hear Four Tops’ “Reach Out I’ll Be There,” The Mamas And The Papas’ “California Dreamin’,” The Byrds’ “Eight Miles High,” Sam & Dave’s “Hold On, I’m Comin’,” Percy Sledge’s “When A Man Loves A Woman,” The Troggs’ “Wild Thing,” The Cyrkle’s “Red Rubber Ball,” Lee Dorsey’s “Working In The Coal Mine,” Eddie Floyd’s “Knock On Wood,” The Monkees’ “Last Train To Clarksville,” The Rolling Stones’ “19th Nervous Breakdown,” Count Five’s “Psychotic Reaction,” Simon And Garfunkel’s “Sounds Of Silence,” Stevie Wonder’s “Uptight (Everything’s Alright),” The Hollies’ “Bus Stop,” The Supremes’ “You Keep Me Hangin’ On,” Nancy Sinatra’s “These Boots Are Made For Walkin’,’” Tommy James’ “Hanky Panky,” and many, many, many more unbeatable favorites of shower singers and karaoke champions everywhere. I already love these songs, but I bet they’d really sing without the added baggage of all the commercials, movie trailers, and wedding receptions that have all but run them into the ground in the decades since.



http://www.avclub.com/article/1966-51531

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

Oh yes it did change. For the better. And elvis was the boss at the Leiber-Stoller sessions as well. Research that a bit.

[King Volcano]

Odetta, awesome. Thanks to a guy I used to work with I had a couple of her albums before I was an Elvis fan.

[drjohncarpenter]

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

Oh yes it did change. For the better. And elvis was the boss at the Leiber-Stoller sessions as well. Research that a bit.

So rude.

There is no claim made that Leiber and Stoller ran the sessions from 1957-1958, but there was definitely collaboration of like minds. You missed it, making your pronouncement wrong.

And Fel-tone Jarvis was never in charge of Elvis' sessions, research that a bit.

[TINML]

Indeed I have Doc, iirc you posted somewhere on another thread. It's a basically a carbon copy (arrangement) from Odetta's version which came first.

[Juan Luis]

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

Oh yes it did change. For the better. And elvis was the boss at the Leiber-Stoller sessions as well. Research that a bit.

So rude.

There is no claim made that Leiber and Stoller ran the sessions from 1957-1958, but there was definitely collaboration of like minds. You missed it, making your pronouncement wrong.

And Fel-tone Jarvis was never in charge of Elvis' sessions, research that a bit.

I did much more than you. But he did produce them instructing band sometimes in tempo and gave good direction to Elvis when needed. Elvis was always the boss, no exceptions...

[poormadpeter2]

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

Oh yes it did change. For the better. And elvis was the boss at the Leiber-Stoller sessions as well. Research that a bit.

So rude.

There is no claim made that Leiber and Stoller ran the sessions from 1957-1958, but there was definitely collaboration of like minds. You missed it, making your pronouncement wrong.

And Fel-tone Jarvis was never in charge of Elvis' sessions, research that a bit.

In that case, why the obsession with blaming him for everything?!

[Davelee]

One of the lost Presley gems, a real fine performance of a Dylan song. Dylan was a great lyricist and this is just one of his great lyrics.

When I first heard this by Elvis the first thing that struck me about the performance is how upfront his vocals were....

[poormadpeter2]

While Elvis's vocal is sublime, the arrangement is a copycat, note for note, version of Odetta's, which is something of a shame - and probably something not noticed as much by fans at the time of release as Odetta was hardly a mainstream artist. Now we have the wonders of Youtube etc to work out where Elvis's arrangements come from.

[Juan Luis]

And for the first time since 1956, he had a producer that was his age and had his same tastes in music, including the blues. "Tomorrow Is A Long time" is sublime.

After April 1956, Elvis, in essence, produced his studio sessions. This did not change when RCA inserted Felton Jarvis into the mix ten years later. And you also forget the collaborations with Leiber and Stoller in sessions from 1957-1958. They were the same age and shared the same tastes in music, including the blues.

Oh yes it did change. For the better. And elvis was the boss at the Leiber-Stoller sessions as well. Research that a bit.

So rude.

There is no claim made that Leiber and Stoller ran the sessions from 1957-1958, but there was definitely collaboration of like minds. You missed it, making your pronouncement wrong.

And Fel-tone Jarvis was never in charge of Elvis' sessions, research that a bit.

In that case, why the obsession with blaming him for everything?!

The double standard. Bad it wasn't Elvis.

[Hard Rocker]

In that case, why the obsession with blaming him for everything?!

Exactly. You have asked the obvious question.

[Eggrert]

I suppose this is as good a time as any to confess...that...I'm not a big fan of Elvis' version of this song. I certainly don't dislike it, but it's never been a track that I've said, "Hey, I really feel like listening to this right now"...

For me, nothing can top the Dylan versions; the live Town Hall version is the best-known, and the Witmark demo is lovely, but the 1978 rehearsal version is my favourite by far. Ironically, it's more Presley-like than the actual Elvis version, what with the over-the-top background singers and all.

[skatterbrane]

Odetta's version and Dylan's are the only other two I like besides Elvis'. It is a great song. Spinout and Clambake each greatly benefitted from their bonus songs. I bought both of them on the same day at Target for around $2.49 each. They were featured in a newspaper ad when I was visiting my Aunt in Minneapolis in 1968 and I begged her to drive me there so I could by them. Her name is Jayne (Janie) and when I played Down In The Alley it was a bit embarrassing for me!

[Dan_T]

I love Elvis' version... and I prefer his "Endless Highway Vs Crooked" line

[drjohncarpenter]

Indeed I have Doc, iirc you posted somewhere on another thread. It's a basically a carbon copy (arrangement) from Odetta's version which came first.

What is intriguing is the likelihood that Elvis had a copy of her RCA LP, and enjoyed it. Like many, it's apparent his appreciation for Bob Dylan came through other people's interpretations of his songs.

650403_RCA LSP 3324_01.jpg

650403_RCA LSP 3324_02.jpg

Odetta Sings Dylan (RCA LPM/LSP 3324, April 3, 1965)

Side 1
1. Baby, I'm in the Mood for You
2. Long Ago, Far Away
3. Don't Think Twice, It's All Right
4. Tomorrow is a Long Time
5. Masters of War
6. Walkin' Down the Line

Side 2
1. The Times They Are A-Changin'
2. With God on Our Side
3. Long Time Gone
4. Mr. Tambourine Man
5. Blowin' in the Wind
6. Paths of Victory



Too bad his first stab at Dylan, in the heady year of 1966, was buried by his record label.





Billboard - October 29, 1966