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Highway 61 Revisited is the sixth studio album by Bob Dylan, released in August 1965 by Columbia Records. Dylan, a singer-songwriter famous for his compositions accompanied by acoustic guitar, used rock musicians as his backing band on every track, with the exception of the closing 11-minute ballad, "Desolation Row". Critics have written that his ability to combine driving, blues-based music with the subtlety of poetry results in Highway 61 Revisited's status as one of the most influential albums of the times, successfully capturing the political and cultural chaos of contemporary America. Author Michael Gray wrote that in an important sense the 1960s "started" with this album.[1]

Leading with the single "Like a Rolling Stone", the album features songs that Dylan has continued to perform live over his long career, including "Highway 61 Revisited" and "Ballad of a Thin Man". He named the album after the major North American highway connecting his birthplace, Duluth, Minnesota, to southern cities famed for their musical heritage, including St. Louis, Memphis, and New Orleans.

Highway 61 Revisited peaked at No. 3 in the United States charts and No. 4 in the United Kingdom. The album was ranked No. 4 on Rolling Stone's 500 Greatest Albums of All Time. "Like a Rolling Stone" was a top-10 hit in several countries. It has been described by critics as Dylan's magnum opus and was No. 1 on Rolling Stone's 500 Greatest Songs of All Time list. Two other songs, "Desolation Row", and "Highway 61 Revisited", were listed at No. 187 and No. 373 respectively.

Dylan and Highway 61

In his autobiography Chronicles, Dylan described the kinship he felt with the route that supplied the title of his sixth album: "Highway 61, the main thoroughfare of the country blues, begins about where I began. I always felt like I'd started on it, always had been on it and could go anywhere, even down in to the deep Delta country. It was the same road, full of the same contradictions, the same one-horse towns, the same spiritual ancestors ... It was my place in the universe, always felt like it was in my blood."[2]

While he was growing up in the 1950s, before the construction of the interstate highway system, Highway 61 stretched from Duluth, where he was born, through Minneapolis, where he went to college, down to the Mississippi delta. Along the way, the route passed close to the birthplaces and homes of influential musicians such as Muddy Waters, Son House, Elvis Presley, and Charley Patton. The "empress of the blues", Bessie Smith, died after sustaining serious injuries in an automobile accident on Highway 61. Critic Mark Polizzotti points out that blues legend Robert Johnson is alleged to have sold his soul to the devil at the highway's crossroads with Route 49.[3] The highway had also been the subject of several blues recordings, notably Roosevelt Sykes' "Highway 61 Blues" (1932) and Mississippi Fred McDowell's "61 Highway" (1964).[4]

Dylan has stated that he had to overcome considerable resistance at Columbia Records to give the album its title. He told biographer Robert Shelton: "I wanted to call that album Highway 61 Revisited. Nobody understood it. I had to go up the fucking ladder until finally the word came down and said: 'Let him call it what he wants to call it'."[5] Michael Gray has suggested that the very title of the album represents Dylan's insistence that his songs are rooted in the traditions of the blues: "Indeed the album title Highway 61 Revisited announces that we are in for a long revisit, since it is such a long, blues-travelled highway. Many bluesmen had been there before [Dylan], all recording versions of a blues called 'Highway 61'."[6]

Recording sessions

Background

In May 1965, Dylan returned from his tour of England feeling tired and dissatisfied with his material. He told journalist Nat Hentoff: "I was going to quit singing. I was very drained ... "It's very tiring having other people tell you how much they dig you if you yourself don't dig you."[7]

He said as a consequence of his dissatisfaction, he wrote 20 pages of verse he later described as a "long piece of vomit".[8] He reduced this to a song with four verses and a chorus—"Like a Rolling Stone".[9] He told Hentoff that writing and recording the song washed away his dissatisfaction, and restored his enthusiasm for creating music.[7] Discussing the experience, he told Robert Hilburn in 2004, nearly forty years later: "It's like a ghost is writing a song like that ... You don't know what it means except the ghost picked me to write the song."[10]

Highway 61 Revisited was recorded in two blocks of recording sessions that took place in Studio A of Columbia Records, located in Midtown Manhattan.[11] The first block, June 15 and June 16, was produced by Tom Wilson and resulted in the single "Like a Rolling Stone".[12] On July 25, Dylan performed his controversial electric set at the Newport Folk Festival, where some of the crowd booed his performance.[13] Four days after Newport, Dylan returned to the recording studio. From July 29 to August 4, he and his band completed recording Highway 61 Revisited, under the supervision of a new producer, Bob Johnston.[14]

Recording sessions, June 15–16

Main article: Like a Rolling Stone § Writing and recording
Al Kooper's improvised organ riff on "Like a Rolling Stone" has been described as "one of the great moments of pop music serendipity".[15]

Tom Wilson produced the initial recording sessions for Highway 61 Revisited on June 15–16, 1965. Dylan was backed by Bobby Gregg on drums, Joe Macho, Jr. on bass, Paul Griffin on piano, and Frank Owens on guitar.[16] On lead guitar, the singer recruited Michael Bloomfield of the Paul Butterfield Blues Band.[17] The musicians began the June 15 session by recording a fast version of "It Takes a Lot to Laugh, It Takes a Train to Cry" and the song "Sitting on a Barbed Wire Fence", which was omitted from the Highway 61 album. These outtakes were released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.[18] Dylan and his band next attempted to record "Like a Rolling Stone"; at this early stage the song was in 3/4 time with Dylan playing piano, and one of these takes was subsequently released on The Bootleg Series Volumes 1–3.[19]

The musicians returned to Studio A the following day, when they devoted almost the entire session to recording "Like a Rolling Stone". Present on this occasion was Al Kooper, a young musician invited by Wilson to observe, but who wanted to play on the session.[20] Kooper managed to sit in on the session, and he improvised an organ riff that, critics Greil Marcus and Mark Polizzotti argue, became a crucial element of the recording.[15][21] The fourth take was ultimately selected as the master, but Dylan and the band recorded eleven more takes.[22] After "Like a Rolling Stone" had been completed, he improvised a short unreleased song,[23] bootlegged under the title "Lunatic Princess Revisited",[22] but copyrighted as "Why Do You Have to Be So Frantic?".[24] Critic Clinton Heylin calls the song a "weird little one-verse fragment", but claims that the riff is the blueprint of the singer's 1979 evangelical composition, "Slow Train".[23]

Recording sessions, July 29 – August 4

To create the material for Highway 61 Revisited, Dylan spent a month writing songs in his new home in the Byrdcliffe artists' colony of Woodstock in upstate New York.[25] When he returned to Studio A on July 29, he was backed by the same musicians as the previous session, but his producer had changed from Wilson to Johnston.[26][a 1]

Nashville sessions musician Charlie McCoy's chance visit to New York resulted in the guitar flourishes accompanying "Desolation Row", the last track on the album.[27]

Their first session together was devoted to three songs. After recording several takes of each of "Tombstone Blues", "It Takes a Lot to Laugh" and "Positively 4th Street", master takes were successfully recorded.[28] "Tombstone Blues" and "It Takes a Lot to Laugh" were included in the final album, but "Positively 4th Street" was issued as a single-only release. At the close of the July 29 session, Dylan attempted to record "Desolation Row", accompanied by Al Kooper on electric guitar and Harvey Brooks on bass. There was no drummer, as the drummer had gone home.[29] This electric version was eventually released in 2005, on The Bootleg Series Vol. 7.[30]

On July 30, Dylan and his band returned to Studio A and recorded three songs. A master take of "From a Buick 6" was successfully recorded and later included on the final album, but most of the session was devoted to "Can You Please Crawl Out Your Window?" Dylan was unsatisfied with the results, and set the song aside for a later date; it was eventually re-recorded with the Hawks in October.[31]

After Dylan and Kooper had spent the weekend in Woodstock, writing chord charts for the songs,[32] sessions resumed at Studio A on August 2.[33][34] "Highway 61 Revisited", "Just Like Tom Thumb's Blues", "Queen Jane Approximately", and "Ballad of a Thin Man" were all recorded successfully and master takes were selected for the album.[35][36][37]

One final session was held on August 4, again at Studio A. Most of the session was devoted to completing "Desolation Row". Johnston has related that Nashville musician Charlie McCoy happened to visit New York, and that he invited McCoy to play in the session.[27] According to some sources, seven takes of "Desolation Row" were recorded, and takes six and seven were spliced together for the master recording.[38]

The resulting album, Highway 61 Revisited, has been described as "Dylan's first purely 'rock' album",[39] a consequence of his wish to leave his old music format behind and move on from his all-acoustic first four albums and half-acoustic, half-electric fifth album, Bringing It All Back Home. Documentary director D. A. Pennebaker, who filmed Dylan on his acoustic UK tour in May 1965, has said: "I didn't know that he was going to leave acoustic. I did know that he was getting a little dragged by it."[40]

Songs

Side one

Like a Rolling Stone
In 2004, Rolling Stone magazine declared "Like a Rolling Stone" to be "the greatest song of all time", and noted "the impressionist voltage of Dylan's language, the intensely personal accusation in his voice ('Ho-o-o-ow does it fe-e-e-el?')" and "the apocalyptic charge of Kooper's garage-gospel organ".[41]
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Highway 61 Revisited commences with "Like a Rolling Stone", which has been described as revolutionary in its combination of electric guitar licks, organ chords, and Dylan's voice, "at once so young and so snarling ... and so cynical".[42] Michael Gray has characterized "Like a Rolling Stone" as "a chaotic amalgam of blues, impressionism, allegory, and an intense directness in the central chorus: 'How does it feel?'"[42] Polizzotti writes that the composition was notable for eschewing traditional themes of popular music, such as romance, and instead expressed resentment and a yearning for revenge.[43][44] Edie Sedgwick, a socialite and actress in the Factory scene of pop artist Andy Warhol, has been suggested as the basis of Miss Lonely, the song's central character.[45] Critic Mike Marqusee has written that this composition is "surely a Dylan cameo", and that its full poignancy becomes apparent when one realizes "it is sung, at least in part, to the singer himself: he's the one 'with no direction home'."[46] "Like A Rolling Stone" reached No. 2 in the Billboard Hot 100 in the summer of 1965,[47] and was a top-10 hit in Australia, Canada, the Netherlands, New Zealand, the United Kingdom and other countries.[48][49]

The fast-paced blues song "Tombstone Blues", driven by Michael Bloomfield's lead guitar, uses a parade of historical characters—outlaw Belle Starr, biblical temptress Delilah, Jack the Ripper (represented in this song as a successful businessman), John the Baptist (described here as a torturer), and blues singer Ma Rainey who Dylan humorously suggests shared a sleeping bag with composer Beethoven—to sketch an absurdist account of contemporary America.[50] For critics Mark Polizzotti and Andy Gill, the reality behind the song is the then-escalating Vietnam War; both writers hear the "king of the Philistines" who sends his slaves "out to the jungle" as a reference to President Lyndon B. Johnson.[50][51]

It Takes a Lot to Laugh, It Takes a Train to Cry
Critic Andy Gill wrote, "'It Takes A Lot To Laugh' provides a succinct illustration of Dylan's creativity, both in the way it adapts an old blues song, and in the way Dylan recorded two radically different versions of the song: the first, fast and guitar-driven; in his second version, released on Highway 61, Dylan transformed the song into a 'slow, loping, piano-based blues'."[52]
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On July 29, 1965, the singer and his band returned to recording "It Takes a Lot to Laugh, It Takes a Train to Cry".[53] Tony Glover, who observed the recording session, has recalled that Dylan re-worked on the song at the piano while the other musicians took a lunch break.[54] Critic Sean Egan writes that by slowing down the tempo, Dylan transformed the song from an "insufferably smart-alec number into a slow, tender, sensual anthem".[55] Gill points out that the lyrics reveal the singer's talent for borrowing from old blues numbers, adapting the lines "Don't the clouds look lonesome shining across the sea/ Don't my gal look good when she's coming after me" from "Solid Road" by Brownie McGhee and Leroy Carr.[52]

Allmusic critic Bill Janovitz describes "From a Buick 6" as "recklessly" played "raucous, up-tempo blues".[56] The song commences with a snare shot similar to the opening of "Like a Rolling Stone".[57] Partially based on Sleepy John Estes' 1930 song "Milk Cow Blues",[56] the guitar part is patterned after older blues riffs by Robert Johnson, Charlie Patton and Big Joe Williams.[58] Robert Shelton hears the song as "an earthy tribute to another funky earth-mother",[58] while for Heylin it is close to filler material, relying on the band's sound "to convince us he is doing more than just listing the ways in which this 'graveyard woman' is both a life-giver and a death-giver".[59]

Driven by a piano played by Dylan himself, contrasting with an organ part played by Al Kooper, Marqusee describes "Ballad of a Thin Man" as one of "the purest songs of protest ever sung", looking at the media and its inability to understand both the singer and his work. Marqusee writes that the song became the anthem of an in-group, "disgusted by the old, excited by the new ... elated by their discovery of others who shared their feelings", with its refrain "Something is happening here/ But you don't know what it is/ Do you, Mr Jones?" epitomizing the hip exclusivity of the burgeoning counterculture.[60] Robert Shelton describes the song's central character, Mr Jones, as "one of Dylan's greatest archetypes", characterizing him as "a Philistine ... superficially educated and well bred but not very smart about the things that count".[58]

Side two

Polizzotti, in his study of Highway 61 Revisited, writes that the opening track of Side Two, "Queen Jane Approximately" is in a similar vein to "Like a Rolling Stone", but the song offers "a touch of sympathy and even comfort in place of relentless mockery".[61] The song is structured as a series of ABAB quatrain verses, with each verse followed by a chorus that is simply a repeat of the last line of each verse: "Won't you come see me Queen Jane?".[62] Gill finds this song the least interesting track on the album, but praises the piano ascending the scale during the harmonica break, which "neatly evokes the stifling nature of an upper class existence".[63] "Queen Jane Approximately" was released as the B-side of Dylan's "One of Us Must Know (Sooner or Later)" single in early 1966.[64]

Dylan commences the title song of his album, "Highway 61 Revisited", with the words "Oh God said to Abraham, 'Kill me a son'/Abe says, 'Man, you must be puttin’ me on'”.[65] As Gill has pointed out, Abraham was the name of Dylan's father, which makes the singer the son whom God wants killed.[66] Gill comments that it is befitting that this song, celebrating a highway central to the history of the blues, is the fastest, most raucous blues boogie on the album.[66] He notes that the scope of the song broadens to make the highway a road of limitless possibilities, peopled by drifters and chancers, and culminating in a promoter who is trying to stage World War III on Highway 61.[66] The fast moving song is punctuated by the sound of a police siren. (On the album cover, Dylan is credited with playing "Police Car".)[67] Highway 61 Revisited" was released as the B-side of his "Can You Please Crawl Out Your Window?" single on November 30, 1965.[68]

"Just Like Tom Thumb's Blues" has six verses and no chorus.[69] The lyrics describe a nightmarish experiences in Juarez, Mexico, where, in Shelton's words, "our anti-hero stumbles amid sickness, despair, whores and saints."[70] He battles with corrupt authorities, alcohol and drugs before resolving to return to New York City.[70][71][72] In this song, critics have heard literary references to Malcolm Lowry's Under the Volcano, Edgar Allan Poe's "The Murders in the Rue Morgue" and Jack Kerouac's Desolation Angels.[70][73][74] The backing musicians, Bobby Gregg on drums, Mike Bloomfield on electric guitar, and two pianists, Paul Griffin on tack piano and Al Kooper on Hohner Pianet, produce a mood that, for Gill, perfectly complements the enervated tone of the lyrics.[35][75] Heylin notes that Dylan took great care—sixteen takes—to get the effect he was after, with lyrics that subtly "skirt the edge of reason".[76]

Desolation Row
Featuring a "courtly, flamenco-tinged guitar backing",[77] it has been suggested that in "Desolation Row", Dylan combined the cultural chaos of mid-1960s America with sepia-tinged TV westerns he remembered from his youth, such as Rawhide and Gunsmoke.[78]
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Dylan concludes Highway 61 Revisited with the sole acoustic exception to his rock album. Gill has characterized "Desolation Row" as "an 11-minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic characters, some historical (Einstein, Nero), some biblical (Noah, Cain and Abel), some fictional (Ophelia, Romeo, Cinderella), some literary (T.S. Eliot and Ezra Pound), and some who fit into none of the above categories, notably Dr. Filth and his dubious nurse."[77] The song opens with a report that "they're selling postcards of the hanging", and adds "the circus is in town".[79] Polizzotti, and other critics, have connected this song with the lynching of three black circus workers in Duluth, Minnesota, which was Dylan's birthplace. Polizzotti describes "Desolation Row" as a cowboy song, "the 'Home On The Range' of the frightening territory that was mid-sixties America".[78] In the penultimate verse, the passengers on the Titanic are shouting "Which side are you on?". Thus he ends his Highway 61 album by satirizing one of the most cherished slogans of the Left. As Robert Shelton asked, "What difference which side you're on if you're sailing on the Titanic?"[80]

Outtakes

Eleven outtakes from the Highway 61 Revisited sessions have subsequently been released on the Columbia and Legacy record labels. The first proper non-album release from the sessions was the single "Positively 4th Street",[81] although on an early pressing of the single Columbia used another Highway 61 outtake, "Can You Please Crawl Out Your Window?", by mistake.[82] "Crawl Out Your Window" was subsequently re-recorded with the Hawks in October, and released as a single in November 1965.[31] Columbia also accidentally released an alternate take of "From a Buick 6" on an early pressing of Highway 61 Revisited, and this version continued to appear on the Japanese release for several years.[59] Other officially released outtakes include alternate takes of "Like a Rolling Stone" and "It Takes a Lot to Laugh, It Takes a Train to Cry", and a previously unreleased song, "Sitting on a Barbed Wire Fence", on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.[83] Alternate takes of "Desolation Row", "Highway 61 Revisited", "Just Like Tom Thumb's Blues", "Tombstone Blues" and a still different take of "It Takes a Lot to Laugh, It Takes a Train to Cry" were released on The Bootleg Series Volume 7.[30] Excerpts from several different takes of "Like a Rolling Stone" appeared on the Highway 61 Interactive CD-ROM,[84] released in February 1995.[85] Several other alternate takes of various songs were recorded during the Highway 61 sessions but remain unreleased,[86] as does the composition "Why Do You Have to Be So Frantic?".[23]

Packaging

The cover photograph was taken by photographer Daniel Kramer several weeks before the recording sessions. Kramer captured Dylan sitting on the stoop of the apartment of his manager, Albert Grossman, located in Gramercy Park, New York, placing Dylan's friend Bob Neuwirth behind Dylan "to give it extra color". Dylan wears a Triumph motorcycle T-shirt under a blue and purple silk shirt, holding his Ray-Ban sunglasses in his right hand.[87] Photographer Kramer commented in 2010 on the singer's expression, "He's hostile, or it's a hostile moodiness. He's almost challenging me or you or whoever's looking at it: 'What are you gonna do about it, buster?'"[88]

As he had on his previous three albums, Dylan contributed his own writing to the back cover of Highway 61 Revisited, in the shape of freeform, surrealist prose: "On the slow train time does not interfere & at the Arabian crossing waits White Heap, the man from the newspaper & behind him the hundred inevitable made of solid rock & stone."[67] One critic has pointed out the close similarity of these notes to the stream of consciousness, experimental novel Tarantula, which Dylan was writing during 1965 and 1966.[55]

Reception and legacy

Professional ratings
Review scores
SourceRating
AllMusic[89]
BBC(Favorable)[90]
Entertainment WeeklyA+[91]
PopMatters(Favorable)[92]
Rolling Stone[93]
Sputnikmusic[94]

In the British music press, initial reviews of Highway 61 expressed both bafflement and admiration for the record. New Musical Express critic Allen Evans wrote: "Another set of message songs and story songs sung in that monotonous and tuneless way by Dylan which becomes quite arresting as you listen."[95] The Melody Maker LP review section, by an anonymous critic, commented: "Bob Dylan's sixth LP, like all others, is fairly incomprehensible but nevertheless an absolute knock-out."[96] The English poet Philip Larkin, reviewing the album for The Daily Telegraph, wrote that he found himself "well rewarded" by the record: "Dylan's cawing, derisive voice is probably well suited to his material ... and his guitar adapts itself to rock ('Highway 61') and ballad ('Queen Jane'). There is a marathon 'Desolation Row' which has an enchanting tune and mysterious, possibly half-baked words."[97]

In September 1965, the US trade journal Billboard praised his "dynamic, deep-thinking delivery" and as being "in top form throughout his story-telling".[98] The magazine predicted big sales for the album: "Based upon his singles hit 'Like a Rolling Stone', Dylan has a top-of-the-chart-winner in this package of his off-beat, commercial material."[98] The album peaked at No. 3 on the US Billboard 200 chart of top albums,[47] and No. 4 on the UK albums charts.[99] In the US, Highway 61 was certificated as a gold record in August 1967,[100] and platinum in August 1997.[101]

Highway 61 Revisited has remained among the most highly acclaimed of Dylan's works. Biographer Anthony Scaduto writes that it may be "one of the most brilliant pop records ever made. As rock, it cuts through to the core of the music—a hard driving beat without frills, without self-consciousness."[102] Commenting on the singer's imagery, Scaduto argues: "Not since Rimbaud has a poet used all the language of the street to expose the horrors of the streets, to describe a state of the union that is ugly and absurd."[102] Michael Gray has called Highway 61 "revolutionary and stunning, not just for its energy and panache but in its vision: fusing radical, electrical music ... with lyrics that were light years ahead of anyone else's; Dylan here unites the force of blues-based rock'n'roll with the power of poetry. Rock culture, in an important sense, the 1960s, started here."[1] For Clinton Heylin, it was "an album that consolidated everything 'Like A Rolling Stone' (and Bringing It All Back Home) proffered ... an amalgamation of every strand in American popular music from 'Gypsy Davey' to the Philly Sound. The rich, textured sound was folk-rock realized."[54] Tim Riley writes that it was "the first Dylan record to posit protest as a way of life, a state of mind, something as psychologically bound as it is socially incumbent."[103] In 2003, Rolling Stone magazine described Highway 61 as "one of those albums that changed everything", and placed it at No. 4 in its list of the greatest albums of all time.[104] The Rolling Stone list of the 500 greatest songs of all time ranked "Highway 61 Revisited", "Desolation Row" and "Like a Rolling Stone" at No. 373,[105] No. 187,[106] and No. 1, respectively.[41]

Having toured continuously since the inception of his Never Ending Tour in June 1988,[107] Dylan has performed "Like a Rolling Stone" more than 2,000 times in concert.[108]

Most of the songs on Highway 61 Revisited have remained important, in varying degrees, to Dylan's live performances since 1965. According to his official website, he has played "Like a Rolling Stone" over 2,000 times, "Highway 61 Revisited" more than 1,700 times, "Ballad of a Thin Man" over 1,000 times, and most of the other songs between 150 and 500 times.[108]

Track listing

All tracks are written by Bob Dylan

Side one
No.TitleLength
1."Like a Rolling Stone"6:09
2."Tombstone Blues"5:58
3."It Takes a Lot to Laugh, It Takes a Train to Cry"4:09
4."From a Buick 6"3:19
5."Ballad of a Thin Man"5:58
Side two
No.TitleLength
6."Queen Jane Approximately"5:31
7."Highway 61 Revisited"3:30
8."Just Like Tom Thumb's Blues"5:31
9."Desolation Row"11:21

Personnel

Additional musicians
Technical personnel
  • Bob Johnston – production
  • Daniel Kramer – cover photographer
  • Tom Wilson – production on "Like a Rolling Stone"

Notes

  1. ^ Polizzotti describes Wilson and Dylan falling out during the recording of "Like A Rolling Stone", perhaps over the prominence of Kooper's organ in the mix. (Polizzotti 2006, p. 78) When questioned by Jann Wenner in 1969 about the switch in producers, Dylan gave a deadpan answer: "All I know is that I was out recording one day, and Tom had always been there—I had no reason to think he wasn't going to be there—and I looked up one day, and Bob was there [laughs]." (Wenner, Jann. "Interview with Jann S. Wenner," Rolling Stone, November 29, 1969, in Cott 2006, p. 142)

Footnotes

  1. ^ a b Gray 2006, p. 321
  2. ^ Dylan 2004, pp. 240–241
  3. ^ Polizzotti 2006, pp. 24–25
  4. ^ Gray 2006, pp. 318–319
  5. ^ Shelton 1986, p. 360
  6. ^ Gray 2006, p. 66
  7. ^ a b Hentoff, Nat. Playboy, March 1966, reprinted in Cott 2006, p. 97
  8. ^ Dylan interviewed by Marvin Bronstein, CBC, Montreal, February 20, 1966. Quoted by Marcus & 2005 (1), p. 70
  9. ^ Shelton 1986, pp. 319–320
  10. ^ Hilburn, Robert. Guitar World Acoustic, February 2006, quoted in Polizzotti 2006, pp. 32–33
  11. ^ Polizzotti 2006, p. 45
  12. ^ Heylin 1996, pp. 75–77
  13. ^ Heylin 1996, pp. 77–78
  14. ^ Heylin 1996, pp. 78–80
  15. ^ a b Polizzotti 2006, p. 50
  16. ^ Marcus & 2005 (2)
  17. ^ Marcus & 2005 (1), p. 110
  18. ^ Bjorner 2010
  19. ^ Marcus & 2005 (1), p. 234
  20. ^ Marcus & 2005 (1), p. 104
  21. ^ Marcus & 2005 (1), pp. 215–218
  22. ^ a b Bjorner & 2012 (1)
  23. ^ a b c Heylin 2009, p. 245
  24. ^ Dunn 2008, pp. 5–7, 533
  25. ^ Heylin 2003, p. 206
  26. ^ Polizzotti 2006, p. 78
  27. ^ a b Polizzotti 2006, pp. 141–142
  28. ^ Bjorner & 2012 (2)
  29. ^ Polizzotti 2006, p. 140
  30. ^ a b Gorodetsky 2005
  31. ^ a b Gray 2006, pp. 117–118
  32. ^ Heylin 1996, p. 79
  33. ^ Heylin 2009, p. 259
  34. ^ Irwin 2008, p. 178
  35. ^ a b Polizzotti 2006, p. 145
  36. ^ Irwin 2008, pp. 163–190
  37. ^ Heylin 1995, p. 40
  38. ^ Bjorner & 2012 (3)
  39. ^ Bell 2012, p. 412
  40. ^ Bell 2012, p. 400
  41. ^ a b Rolling Stone 500 Greatest Songs: "Like a Rolling Stone"
  42. ^ a b Gray 2006, p. 413
  43. ^ Polizzotti 2006, p. 33
  44. ^ Trager 2004, pp. 378–379
  45. ^ Bell 2012, pp. 384–385
  46. ^ Marqusee 2005, p. 165
  47. ^ a b Highway 61 Revisited: Awards
  48. ^ Hits of the World (1965-10-09), p. 36
  49. ^ Hits of the World (1965-12-25), p. 34
  50. ^ a b Gill 1998, pp. 84–85
  51. ^ Polizzotti 2006, pp. 67–68
  52. ^ a b Gill 1998, p. 85
  53. ^ Williams 1990, pp. 156–163
  54. ^ a b Heylin 2003, p. 221
  55. ^ a b Egan 2010, p. 60
  56. ^ a b Janovitz
  57. ^ Gill 1998, p. 86
  58. ^ a b c Shelton 1986, p. 280
  59. ^ a b Heylin 2009, p. 252
  60. ^ Marqusee 2005, pp. 169–171
  61. ^ Polizzotti 2006, pp. 113–118
  62. ^ Williams 1990, pp. 166–167
  63. ^ Gill 1998, p. 87
  64. ^ Krogsgaard 1991, p. 51
  65. ^ Highway 61 Revisited by Bob Dylan
  66. ^ a b c Gill 1998, pp. 87–88
  67. ^ a b Highway 61 Revisited—Discover: Liner Notes
  68. ^ Krogsgaard 1991, p. 49
  69. ^ Williams 1990, pp. 160, 167
  70. ^ a b c Shelton 1986, p. 282
  71. ^ Marqusee 2005, p. 204
  72. ^ Ruhlmann
  73. ^ Irwin 2008, pp. 165–170
  74. ^ Trager 2004, pp. 348–350
  75. ^ Gill 1998, p. 88
  76. ^ Heylin 2009, pp. 256–260
  77. ^ a b Gill 1998, p. 89
  78. ^ a b Polizzotti 2006, pp. 139–141
  79. ^ Desolation Row by Bob Dylan
  80. ^ Shelton 1986, p. 283
  81. ^ Williams 1990, pp. 158–159
  82. ^ Heylin 2009, p. 253
  83. ^ Bauldie 1991
  84. ^ Heylin 1995, p. 39
  85. ^ Willman 1995
  86. ^ Heylin 1995, pp. 39–40
  87. ^ Polizzotti 2006, pp. 5–7
  88. ^ Egan 2010, p. 56
  89. ^ Erlewine
  90. ^ Smith 2007
  91. ^ Flanagan 1991
  92. ^ Kalet 2004
  93. ^ Brackett 2004, pp. 262–263
  94. ^ Emeritus 2006
  95. ^ Evans 1965, p. 8
  96. ^ LP Reviews (Melody Maker), p. 12
  97. ^ Larkin 1985, p. 151
  98. ^ a b Album Reviews, p. 76
  99. ^ Bob Dylan: Top 75 Releases—Albums
  100. ^ Marqusee 2005, p. 222
  101. ^ RIIA August Certifications, p. 44
  102. ^ a b Scaduto 2001, pp. 221–222
  103. ^ Riley 1999, p. 119
  104. ^ Rolling Stone 500 Greatest Albums
  105. ^ Rolling Stone 500 Greatest Songs: "Highway 61 Revisited"
  106. ^ Rolling Stone 500 Greatest Songs: "Desolation Row"
  107. ^ Heylin 1996, p. 297
  108. ^ a b Songs (Bobdylan.com)

References

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