Highway 61 Revisited

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He then went into the studio to record what was to become Highway 61 Revisited -- and it seems clear from the finished product, at least, that Dylan was affected by what went down at Newport. Much of the album was recorded and finished in the wake of Newport and some of the disc seems in some ways a rebuke to those who had created an image of Dylan that Dylan had no interest in living up to. The brutal "Positively Fourth Street" was recorded during these sessions, though not included on the album.

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The result is Dylan's hardest rocking album, an album of biting satire and vituperation, of fevered playing and controlled aggression. There are the brutal recriminations of "Like a Rolling Stone", a song so pointedly nasty, so harsh and unforgiving, that it is almost scary.

The key here is the mix -- somehow producer Bob Johnston allows each of the players their own space, allows us to hear each instrument as it weaves its musical line in and around the others, with Michael Bloomfield's biting guitar and Al Kooper's rambling piano charging up the entire effort.

Jones, lost in the modern world, Mr.

Highway 61 Revisited

Jones wandering lost in the wilderness: But it also is Dylan's response to the changing times, a coda to "The Times They Are A-Changin'" in which he derides the comfortable and the would-be opinion makers and trendsetters He is "well read" and has "many contacts". There is the chuckle at the end of the first verse that lets you know Dylan has no sympathy for Mr. Jones, the song tracing with a growing derision Mr. With "Queen Jane Approximately", Dylan leaves the door open, saying that there might be some relief from the alienation and dislocation -- "Won't you come see me, Queen Jane?

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Then comes the title cut, which kicks off what I've always thought of as a three-song nightmare suite: The songs pile up a series of incongruous images, from the demanding god of Highway 61 , where the good, the bad, and the horrid are all quite at home, to the story of Tom Thumb kicking around Juarez. It is on "Desolation Row" that Dylan brings this nightmare to its logical and illogical conclusion, with a host of unlikely characters -- Cinderella, Ezra Pound and T.

Filth and Nero -- casting about in a world that seems to jump off a Brueghel canvas, or maybe out of a William S. The lyrics are a thick jumble of images, much of them contradictory, leaving us to wonder whether "Desolation Row" is heaven or hell.

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The Good Samaritan is heading to the carnival, but Casanova is punished for going there. And it's not as if the singer knows the answer either -- or that we are asking the right questions: Highway 61 Revisited does not fit in comfortably with the other trends of its time.

It was one of a handful of albums including the Beatles' Rubber Soul and Revolver that gave literate rockers the green light to create a kind of intelligent, probing rock music that had not existed before. But it also was, in many ways, the first punk-rock album -- it has the same sense of antagonistic glee that the Sex Pistols brought to their songs -- and hinted at the dissolution and discontent that would come only a few years later, with the assassinations of Bobby Kennedy and Martin Luther King Jr. As he was receiving it, he transferred it right into his chords.

Highway 61 was the beginning of me thinking about all those kinds of things. By August, the majority of the record had been wrapped and recorded, but there was one glaring omission. He wanted to get Dylan to come to Nashville to record, which the singer refused to do. Not to be deterred, Johnston brought a little bit of Nashville to New York.

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He called up Charlie McCoy , a young, budding session player he met in Nashville while pitching songs for Elvis Presley films. The offer came with a certain amount of self-induced pressure, McCoy said. He could play, but he was a harmonica player first and foremost, not a guitarist. If there was pressure, it was me putting it on myself. But I was struggling that day, no doubt about it.

For all the consternation and worry, the song, and the record as a whole, resonated with a whole generation of fans and bands upon its release on August 30, McCoy, now 74, went on to work with Johnny Cash, Chet Atkins, and even pop rock satirists Ween in addition to undertaking a successful solo career of his own. A trip to New York for a Broadway show, the ring of a telephone.

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