Like A Rolling Stone
Producer – Tom Wilson (2)
6:13
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
6 Queen Jane Approximately 5:31
7 Highway 61 Revisited 3:30
8 Just Like Tom Thumb's Blues 5:31
9 Desolation Row 11:20
Credits:
Bass – Harvey Goldstein, Russ Savakus
Drums – Bobby Gregg
Guitar – Charley McCoy*, Michael Bloomfield*
Guitar, Harmonica, Piano, Sounds [Police Car] – Bob Dylan
Liner Notes – Bob Dylan
Organ, Piano – Alan Kooper*
Piano – Frank Owens
Piano, Organ – Paul Griffin
Producer [Original Recordings] – Bob Johnston (tracks: 2 to 9)

www.bobdylan.com

On the slow train time does not interfere & at the Arabian crossing waits White Heap, the man from the newspaper & behind him the hundred Inevitables made of solid rock & stone -- the Cream Judge & the Clown -- the doll house where Savage Rose & Fixable live simply in their wild animal luxury . . . . Autumn, with two zeros above her nose arguing over the sun being dark or Bach is as famous as its commotion & that she herself -- not Orpheus -- is the logical poet "I am the logical poet" she screams "Spring? Spring is only the beginning!" she attempts to make Cream Judge jealous by telling him of down-to-earth people & while the universe is erupting, she points to the slow train & prays for rain and for time to interfere -- she is not extremely fat but rather progressively unhappy . . . . the hundred Inevitables hide their predictions & go to bars & drink & get drunk in their very special conscious way & when tom dooley, the kind of person you think you've seen before, comes strolling in with White Heap, the hundred Inevitables all say "who's that man who looks so white?" & the bartender, a good boy & one who keeps the buffalo in his mind, says, "I don't know, but I'm sure I've seen the other fellow someplace" & when Paul Sargent, a plainclothes man from 4th street, comes in at three in the morning & busts everybody for being incredible, nobody really gets angry -- just a little illiterate most people get & Rome, one of the hundred Inevitables whispers "I told you so" to Madam John . . . Savage Rose & Fixable are bravely blowing kisses to the Jade Hexagram Carnaby Street & to all the mysterious juveniles & the Cream Judge is writing a book on the true meaning of a pear -- last year. he wrote one on famous dogs of the civil war & now he has false teeth & no children . . . . when the Cream met Savage Rose & Fixable, he was introduced to them by none other than Lifelessness -- Lifelessness is the Great Enemy & always wears a hip guard -- he is very hipguard . . . . Lifelessness said when introducing everybody "go save the world" & "involvement! that's the issue" & things like that & Savage Rose winked at Fixable & the Cream went off with his arm in a sling singing "summertime & the livin is easy" . . . . the Clown appears -- puts a gag over Autumn's mouth and says "there are two kinds of people -- simple people & normal people" this usually gets a big laugh from the sandpit & White Heap sneezes -- passes out & rips open Autumn's gag & says "What do you mean you're Autumn and without you there'd be no spring! you fool! without spring, there'd be no you! what do you think of that???." then Savage Rose & Fixable come by & kick him in the brains & color him pink for being a phony philosopher -- then the Clown comes by and screams "You phony philosopher!" & jumps on his head -- Paul Sargent comes by again in an umpire's suit & some college kid who's read all about Nietzsche comes by & says "Neitzsche never wore an umpire's suit" & Paul says "You wanna buy some cloths, kid?" & then Rome & John come out of the bar & they're going up to Harlem . . . . we are singing today of the WIPE-OUT GANG -- the WIPE-OUT GANG buys, owns & operates the Insanity Factory -- if you do not know where the Insanity Factory is located, you should hereby take two steps to the right, paint your teeth & go to sleep . . . . the songs on this specific record are not so much songs but rather exercises in tonal breath control. . . . the subject matter -- though meaningless as it is -- has something to do with the beautiful strangers . . . . the beautiful strangers, Vivaldi's green jacket & the holy slow train

you are right john cohen -- quazimodo was right -- mozart was right. . . . I cannot say the word eye any more . . . . when I speak this word eye, it is as if I am speaking of somebody's eye that I faintly remember . . . . there is no eye -- there is only a series of mouths -- long live the mouths -- your rooftop -- if you don't already know -- has been demolished . . . . eye is plasma & you are right about that too -- you are lucky -- you don't have to think about such things as eye & rooftops & quazimodo.

Notes By Bob Dylan

Bob Dylan -- Guitar, Harmonica, Piano and Police Car
Michael Bloomfield -- Guitar
Alan Kooper -- Organ and Piano
Paul Griffin -- Piano and Organ
Bobby Gregg -- Drums
Harvey Goldstein -- Bass
Charley McCoy -- Guitar
Frank Owens -- Piano
Russ Savakus -- Bass

Highway 61 Revisited es el sexto álbum de estudio del músico estadounidense Bob Dylan, publicado por la compañía discográfica Columbia Records en agosto de 1965. Después de comenzar su carrera tocando música folk y de grabar en acústico —a excepción de la segunda cara de Bringing It All Back Home—, Dylan utilizó por primera vez una banda de acompañamiento en todas las canciones de Highway 61 Revisited, grabadas en Nueva York entre junio y agosto de 1965. El álbum, cuyo título hace referencia a la autopista que conecta su lugar de nacimiento, Duluth con ciudades sureñas famosas por su patrimonio musical como St. Louis, Memphis y Nueva Orleans y también al autor portugués Fernando Pessoa y su poema "Lisbon Revisited", estuvo encabezado por el sencillo «Like a Rolling Stone» e incluyó canciones frecuentemente interpretadas en directo en sucesivos años como «Highway 61 Revisited», «Just Like Tom Thumb's Blues» y «Ballad of a Thin Man».

La prensa musical destacó la innovación de Dylan a la hora de combinar la música blues con la sutileza de la poesía para crear canciones que capturaron la situación sociopolítica de los Estados Unidos en la década de 1960. En este contexto, el autor Michael Gray argumentó que, en un sentido importante, los años 60 «empezaron con este álbum». Desde el punto de vista comercial, Highway 61 Revisited alcanzó la tercera posición en la lista estadounidense Billboard 200 y la cuarta en la lista británica UK Albums Chart, países donde fue certificado disco de platino y oro respectivamente.

De forma retrospectiva, Highway 61 Revisited ha sido considerado uno de los trabajos discográficos más importantes de la música popular del siglo XX por gran parte de la prensa musical. La revista Rolling Stone lo situó en el puesto cuatro de la lista de los 500 mejores álbumes de todos los tiempos, por detrás de Pet Sounds de The Beach Boys y de los discos de The Beatles Sgt. Pepper's Lonely Hearts Club Band y Revolver.4​ Por otra parte, la misma revista clasificó a «Like a Rolling Stone» en la primera posición de la lista de las 500 mejores canciones de todos los tiempos.