41 Years Ago, Bob Dylan Felt Uncomfortable Recording One of the Best-Selling Singles of All Time

Even legends get nervous sometimes — and 41 years ago, Bob Dylan proved exactly that. Back when he was only 19 years old, the aspiring star had the guts to move all the way from Missouri to New York City. Carrying nothing but his guitar and unpolished songs, it took Dylan approximately a year until he was signed by a proper label. The singer’s riskiness is what made him the superstar the world knows him as today.

And yet, for the 10-time Grammy-winning musician, he still gets the jitters when singing. When offered the chance to be involved in one of pop culture’s biggest charity songs, Dylan unexpectedly got his tongue all twisted as soon as the microphone turned on. Luckily, his equally famous friends were more than willing to get his voice back.

Bob Dylan Was One of the 45 Superstars Chosen to Record “We Are the World” in 1985

Having broken into the music industry in his early 20s, Dylan should be the last person to get stage fright. However, that’s apparently what happened when he was pulled into “The Greatest Night in Pop”: the 1985 recording of “We Are the World.” The song was created as a response to the devastating famine in Ethiopia. Inspired by the success of the UK charity single “Do They Know It’s Christmas?”, American music figures Harry Belafonte and Lionel Richie helped spearhead a U.S. equivalent.

Who’s Your Perfect Classic Rock Band?

Recorded in one marathon, all-nighter session after the American Music Awards, the track brought together more than 40 artists under the name USA for Africa. The lineup included everyone from Michael Jackson, Huey Lewis, to Bruce Springsteen. If there’s one thing from the experience, it’s that cramming together a majority of America’s star power, who were mostly sleep-deprived, is bound to result in unique experiences behind the scenes. From Jackson’s pet python interrupting their writing session to nervously waiting for Prince to confirm his participation, both the creative juices and nerves were at an all-time high. Even the more lax Dylan is no exception, having his own particular experience with a fellow celebrated musician.

Stevie Wonder and Lionel Richie Helped Bob Dylan Get Over His Stage Fright

Each pop star had their own solo part, and while that sounds like a dream for most singers, Dylan wasn’t exactly thrilled. Ken Kragen, the agent who organized the event, noted that “Bob Dylan, when he was recording his solo piece, stepped up to the microphone and sounded nothing like Bob Dylan.” In The Greatest Night in Pop, the documentary shows Dylan struggling at the vocal booth, barely able to mutter out a song lyric with confidence. It wasn’t that Dylan was against singing pop. On the contrary, Dylan had difficulty matching his rough vocal phrasing with the softer and more melodic “We Are the World.”

Fortunately, Richie, Quincy Jones, and most importantly, Stevie Wonder stepped in to help. Funnily enough, Wonder — who had been expected to help write “We Are the World” from the beginning — had been MIA, only to show up at exactly the right moment. Wonder guided Dylan on how to deliver his lyrics, even going above and beyond by impersonating Dylan’s voice so he could hear exactly how the line should sound. He didn’t leave Dylan’s side throughout the solo recording process, standing by the piano in case he needed help with the ad-libs.

Four Years Later, Bob Dylan Honored Rock and Roll Hall of Fame Inductee Stevie Wonder

Decades before “We Are the World,” Wonder took a spin on one of Dylan’s most successful and important tracks, “Blowin’ in the Wind.” Although the two singers have differing styles, the Dylan track was relevant to the Civil Rights movement of the time. Instead of staying true to its folksy roots, Wonder reimagined “Blowin’ in the Wind” as an upbeat, Motown sound, which is amplified by Wonder’s assertive, powerful voice. Some singers can be sensitive when it comes to creative changes. However, Dylan was positively floored by Wonder’s version.

“If anybody can be called a genius, Stevie Wonder can be. I think it has something to do with his ear, not being able to see or whatever. I go back with him to about the early Sixties, when he was playing at the Apollo with all that Motown stuff. If nothing else, he played the harmonica incredible, I mean truly incredible. Never knew what to think of him really until he cut “Blowin’ in the Wind.” That really blew my mind, and I figured I’d better pay attention. […] He is a great mimic, can imitate anybody, doesn’t take himself seriously and is a true roadhouse musician all the way, with classical overtones, and he does it all with drama and style. […]”