Two More for the Road: Bob Dylan’s 2025 Outlaw Music Festival Covers
#1 — “Share Your Love with Me” and the Mysterious Mr. Malone
The creation of “Share Your Love with Me” involves two primary figures: Alfred “TNT” Braggs, a musician and songwriter, and Deadric Malone, a pseudonym that veils a complex story.
The Songwriter
Alfred Daniel “Al ‘TNT’” Braggs (1938–2003) was an R&B singer, producer, and songwriter hailing from Dallas, Texas whose career began in the early 1950s as a member of The Five Notes. Braggs toured for many years as the opening act for Bobby “Blue” Bland, the artist who would first popularize “Share Your Love with Me.” While Braggs had his own recording career, his most widely recognized contribution to music history is as the co-writer of “Share Your Love with Me,” a song that, through Aretha Franklin’s later version, gained widespread fame.
And the “Co-Writer”
The name Deadric Malone, appearing as co-writer on “Share Your Love with Me” and numerous other blues and R&B hits, was a pseudonym for Don Robey (Don Deadric Robey, 1903–1975). On Theme Time Radio Hour, Dylan the DJ referred to Robey as “kind of like the Syd Nathan of Texas.” Like Nathan, Robey was an influential, and often feared, figure in the American music industry, the founder of Peacock Records and eventual owner of Duke Records. He was a pioneering African American record mogul, predating Berry Gordy’s Motown by a decade.
Robey’s business practices were notorious, allegedly bordering on the criminal. He frequently assigned songwriting credits to himself under the Deadric Malone pseudonym (derived from his own middle name and his wife’s maiden name) for songs recorded on his labels. Indeed, Robey was something of a pseudonymous factory, claiming songwriting credits not only as “Deadric” but also as B. Malone, Bass Thompson, CM Deadrick, D. Malone, D. Marlone, Dan Malone, Deadre Malone, Deadrick Malone, Deadrie Malone, Deadrie Malonel, Deadrio Malone, Deadris Malone, and Deardric Malone.
The tactic allowed him to collect publishing royalties, a common practice among label owners of the era. As one source notes, “Writers were the ones who got screwed… Most of those songs were written by other people. Don would give them 25 or 50 bucks and they’d let him have their songs.”
Robey’s control extended beyond publishing; he was rumored to use intimidation and even violence in his business dealings. Despite these methods, he was responsible for developing the careers of many significant R&B artists in the 1950s and 1960s, even though “Robey didn’t know a record from a hubcap,” according to one acquaintance.
Bobby “Blue” Bland’s Original Version
Blues singer Bobby “Blue” Bland originally recorded “Share Your Love with Me,” featured on his 1963 Duke Records album, Call on Me. Released as a single in May 1964, Bland’s rendition achieved considerable success, peaking at #42 on the Billboard Hot 100 and reaching #5 on the Hot Rhythm & Blues Singles chart. It also charted at #15 in Canada. The recording would have most likely taken place at Don Robey’s Duke Records studio, which was located at 2809 Erastus Street in Houston, Texas. Robey had earlier converted his Bronze Peacock night club at that location into a rehearsal and recording studio, which became the headquarters for Duke-Peacock Records.
Aretha Franklin’s Grammy-Winning Rendition
Perhaps the best known cover of “Share Your Love with Me” is Aretha Franklin’s version. Recorded for her 1970 album This Girl’s in Love with You, the single was released in July 1969 on Atlantic Records. Franklin’s cut spent five weeks at number one on the Billboard Best Selling Soul Singles chart and peaked at #13 on the Billboard Hot 100. In 1970, her interpretation earned Franklin a Grammy Award for Best R&B Vocal Performance, Female.
The Band’s Version
The Band also covered “Share Your Love with Me” in 1973, including it on their album Moondog Matinee, a collection of cover songs. Richard Manuel’s vocal performance on the track was praised for his ability to tackle such classics “without straining under the weight of the originals.”
Kenny Rogers’ Crossover Hit
In 1981, country and pop superstar Kenny Rogers recorded “Share Your Love with Me” for his album of the same name, Share Your Love. Produced by Lionel Richie and featuring Gladys Knight & the Pips on backing vocals, Rogers’ version became a significant crossover hit. It reached #14 on the Billboard Hot 100, #5 on the Hot Country Singles chart, and #1 on the Adult Contemporary Singles chart.
Bob Dylan and “Share Your Love with Me”
Bob Dylan performed “Share Your Love with Me” at least once before it became a staple of his current Outlaw Music Festival tour. His official website, bobdylan.com, notes that the song was first performed by Dylan on January 3, 1974, and, as of this writing, last played on May 24, 2025.
Bob Dylan’s 2022 book, The Philosophy of Modern Song, mentions Bland in an essay (interestingly enough, an essay focused on Ricky Nelson, who Dylan has also covered) detailing the role “the Fool” has had in popular music, including Bland’s, “I Pity the Fool” but skips any reference to “Share Your Love with Me”
During his tenure as radio DJ on Theme Time Radio Hour, Bob Dylan played a number of songs credited to Robey under his various pseudonyms including “Dust Got into Daddy’s Eyes” (Fathers); “36–22–36” (Numbers 11 & Up); and “A Nickel and A Nail” (Clearance Sale). He also mentioned Don Robey several times, including on the Water and Texas episodes.
#2 — The Song He Never Recorded: Charlie Rich and “I’ll Make It All Up to You”
Penned by the versatile Charlie Rich, “I’ll Make It All Up to You” emerged from a period characterized by the fusion of country, blues, and nascent rock and roll. The song stands as a testament to the songwriting prowess of Charlie Rich, even though its public introduction came through another legendary figure of Sun Records.
In the `50s, Rich considered himself primarily a jazz musician, not a particularly good genre for landing a recording contract in the heart of Tennessee. After listening to some of Rich’s home-made demos, a Sun Records exec handed his wife a stack of Jerry Lee Lewis cuts and said, “go tell Charlie when he can play that bad, come see me.”
But Charlie kept writing and playing and eventually Sun owner Sam Phillips got interested enough in one demo (while still considering Rich a better songwriter than singer for Sun) that he released Rich’s first commercial recording, “Lonely Weekends” in 1960. Featuring Rich’s Presley-like vocals, the single sold more than one million copies and was awarded a gold disc by the Recording Industry Association of America.
But none of Rich’s seven follow-up Sun singles did anything more. Frustrated with the lack of promotional support from the struggling Sun, Rich wandered the wilderness of various record labels during the ’60s, following the pattern he had established at Sun —one minor hit and then records that sank like a stone before Rich moved on to other pastures which proved just as fallow.
Finally, after arriving at the Epic Records label, the title track from Rich’s 1973 album “Behind Closed Doors” became a number-one country hit early in that year, then crossed over into the top 20 on the pop charts. For once, his follow-up single soared, with “The Most Beautiful Girl” spending three weeks at the top of the country charts and two weeks at the top of the pop charts. “Behind Closed Doors” won three awards from the Country Music Association that year. Rich won a Grammy Award for Best Male Country Vocal Performance, and he took home four Academy of Country Music awards.
That’s the story of Charlie Rich. But what of “I’ll Make It All Up to You”?
Jerry Lee Lewis, the luminary of the Sun Records label, released “I’ll Make It All Up to You” as a single in August 1958, where it served as the B-side to the song “Break-Up.” Despite being a B-side, “I’ll Make It All Up to You” achieved a peak position of #85 on the US Billboard Hot 100, with “I’ll Make It All Up to You” specifically noted for this chart entry, while “Break-Up” reached #34 on the U.S. Cash Box Country Singles chart.
There’s no information on any commercially released studio version of “I’ll Make It All Up to You” by Charlie Rich himself during his Sun Records era or in the years following. It’s probable that Rich performed the song live in his early career and may even have recorded a demo of the song while at Sun, but, if so, no recordings have ever surfaced.
“Charlie Rich, he’s a Good Poet”
Decades after its initial release, “I’ll Make It All Up to You” found a new interpreter in Bob Dylan. Dylan first performed “I’ll Make It All Up to You” live during his appearance at the Outlaw Music Festival in Phoenix on May 13, 2025. Together with with George “Wild Child” Butler’s “Axe and the Wind” it’s become a regular part of Dylan’s Outlaw Tour set. The choice to play two covers of relatively obscure singles — one from 1958, one from 1968 — suggests a specific resonance for Dylan, perhaps a nod to his formative influences or simply a desire to introduce music he values to a new audience.
Dylan’s decision to cover “Axe and the Wind,” “Share Your Love with Me,” and “I’ll Make It All Up to You” on tour can be viewed through the lens of his lifelong engagement with the foundational elements of American popular music — a passion evident in his own songwriting, his extensive catalog of covers, and projects like his Theme Time Radio Hour radio show. By covering “deep cuts” like these three songs, Dylan shines a light on a piece he deems worthy of attention, effectively reintroducing it to contemporary listeners and connecting his own artistic lineage to the broader tradition from which it sprang.
The timing of these covers, coinciding with reports that a Chronicles Volume 2 might be forthcoming, could suggest a period of personal reflection for Dylan on the artists who shaped his path. However, irrespective of such connections, the covers themselves stand as a tribute. Dylan, a connoisseur of American song, often uses his platform to honor underappreciated songwriters or to offer fresh perspectives on familiar and less-familiar material. His choice of a Charlie Rich composition aligns with this pattern, acknowledging Rich’s place within the pantheon of influential American songwriters.
While Rich may not be featured prominently in Dylan’s published books, a significant earlier acknowledgment exists. During a San Francisco Press Conference in 1965, when asked about his favorite poets, Bob Dylan included Charlie Rich in his response, stating, “Charlie Rich — he’s a good poet”.
This comment is significant for several reasons. First, even if intended ironically, it is still a direct and positive assessment of Rich’s songwriting abilities from Dylan himself. Second, the timing is interesting: 1965 predates Charlie Rich’s period of greatest commercial success in the 1970s with hits like “Behind Closed Doors” and “The Most Beautiful Girl.” Dylan’s recognition of Rich’s talent at this earlier stage demonstrates an appreciation that was not dependent on mainstream popularity. The comment establishes a long-standing respect for Rich’s craft, providing important context for Dylan’s later decision to feature his music on Theme Time Radio Hour.
Rich’s “Tears A Go-Go” and “Who Will The Next Fool Be” were played on Season 1 of Dylan’s TTRH ;“Lonely Weekends” was played on Season 2; and “When Something Is Wrong With My Baby” was played on Season 3, making Rich one of the few artists whose music was featured on all three seasons of the show.
The journey of “I’ll Make It All Up To You” and the broader musical legacy of Charlie Rich intersect with Bob Dylan’s artistic world in multiple, revealing ways. Penned by Rich and first brought to public attention by Jerry Lee Lewis in 1958, the song exemplifies the soulful songwriting that characterized Rich’s work even in his early career.
Decades later, Bob Dylan’s 2025 live cover of “I’ll Make It All Up To You” serves as a potent acknowledgment of the song’s enduring appeal and Rich’s compositional skill. Collectively, these instances — the early praise, the inclusion of his songs on a curated radio show, and the recent live cover — paint a clear picture. Bob Dylan holds Charlie Rich’s work in high regard. His engagement with Rich’s music, culminating in the performance of “I’ll Make It All Up to You,” reflects Dylan’s enduring role as not only as songwriter and performer but also as a historian and curator of American popular music, consistently shining a light on the artists and songs that form its rich tapestry. Through these acknowledgments, Dylan helps to ensure that the legacy of gifted songwriters like Charlie Rich continues to resonate with contemporary audiences.
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