FEATURE:
Ballad of a Thin Man
Bob Dylan's Highway 61 Revisited at Sixty
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IT is hard to believe that…
IN THIS PHOTO: Bob Dylan in 1965/PHOTO CREDIT: Fiona Adams/Redferns
this album turns sixty on 30th August. Bob Dylan’s sixth studio album was released on 30th August, 1965. Not only is it one of the best albums of the 1960s and Bob Dylan’s career. It is one of the greatest albums ever released. Ahead of the anniversary of Highway 61 Revisited, I am looking inside an album that pulled further away form his Folk routes – consider the epic closing track, Desolation Row – and included more Blues-Rock influences. A type of poetry perhaps less political. Fantastical in places but sharp and biting in others. More ambitious and bigger than his albums that came before, Highway 61 Revisited’s lead track, Like a Rolling Stone, is a song that could be considered the best ever. Definitely up there! So, because of all of this, there is a lot to say about the album. I will bring together a few features and reviews, so that we can get a clearer picture of why it is so important in terms of Dylan’s career and the music landscape of 1965. As I write this (3rd August) it is only a day until the sixtieth anniversary of the recording of Desolation Row. The swansong and this incredible piece of music, it followed two days after four other albums tracks were recorded – including the title cut. I want to get to some articles. Because Rolling Stone paywalls everything – and they do not offer people one free view a day, which is bad business -, I could only get a fraction of their 2015 celebration of Highway 61 Revisited on its fiftieth anniversary:
“Highway 61 is the middle album in the trilogy of Bringing It All Back Home and Blonde on Blonde—from that moment when Dylan flipped for the Beatles, went electric and banged out these three rock & roll albums in the space of 14 manic months, three albums everybody (including Dylan) has been trying to live up to (or just plain imitate) ever since. All three have different flavors — if Bringing It All Back Home takes off from the Beatles, Highway 61 is the Stones and Blonde on Blonde is Smokey Robinson — but unlike the other two, Highway 61 never lets up. This album has no “On the Road Again” or “Obviously Five Believers” — a moment of pleasant filler where you can catch your breath. Each of the nine songs tells its own immaculately frightful story.
And more than Bringing It All Back Home, Highway 61 is a band album, rather than a solo album. The songs are juiced with perfect moments of musical interaction — Charlie McCoy’s guitar on “Desolation Row,” Paul Griffin’s piano on “Just Like Tom Thumb’s Blues,” Bobby Gregg’s drums on “It Takes a Lot to Laugh, It Takes a Train to Cry,” Michael Bloomfield’s twang in “Tombstone Blues,” everybody and everything on “Ballad of a Thin Man.” Even the infamously out-of-tune guitar on “Queen Jane Approximately” adds to the spirit”.
It is interesting to start with that, though I need to access articles where I can see the whole thing and get more context and content. That takes me to The Bob Dylan Commentaries. They give us some background and lead-up to 1965’s Highway 61 Revisited. Why the album has the name it does, and how it was recorded pretty quickly. At least by today’s standards:
“Highway 61 was recorded over a two-month period, not including a failed attempt to record with John Mayall’s Blues Breakers (which featured a young Eric Clapton on guitar). The first sessions were done on June 15th and 16th, 1965, which yielded only one song, Like a Rolling Stone. The album was finished at the second set of recording sessions done that August. Between the two sets of sessions, Dylan switched producers, from Tom Wilson to Bob Johnston. Guitarist Mike Bloomfield claimed Dylan was not satisfied with Wilson’s work with a band, although others, including Dylan, claim to have no knowledge of why the change was made.
Great art is often a product of interesting historical periods, and 1965 was definitely a time of turmoil in America. The Vietnam War was quickly escalating, and the country’s unease with the strategy and the morality of the war was growing. The civil rights movement was in full swing, and violence in the streets was a regular event, with large riots occurring in Selma, Alabama, and in Los Angeles. Malcolm X, a black civil rights leader who promised to take the civil rights fight into white America, was shot and killed. In general, a new morality was taking hold of the younger generation. They questioned the authority and wisdom of the nation’s leaders and thinkers. There was a feeling of freedom, and also anger at an older generation that not only failed to see the possibilities of this new way of thinking, but actively tried to repress it. The revolutionary ideas, the angry tone in the lyrics, and the harshness of the music of Highway 61 undoubtedly were fed by the turmoil of the times.
Dylan was also experiencing a good bit of turmoil in his own life. Personally, he had just recently parted with long-time friend and lover Joan Baez. He had met Sara Lownds, who would eventually become his first wife. Professionally, Dylan was experiencing a strong, and what must have been completely baffling to him, backlash from critics and friends concerning his move to rock ‘n’ roll. Irwin Silber, editor of the influential Sing Out! Magazine wrote an article with the title “Open Letter to Bob Dylan” in which he bitterly criticized Dylan for abandoning protest songs and folk music. Although Like a Rolling Stone was making its way up the singles charts quickly, his electric performance at the Newport Folk Festival received mixed reviews from his fans, and the same was true of his subsequent US tour.
The title of the album refers to a highway that runs from Thunder Bay, Ontario through Dylan’s birthplace, Duluth, Minnesota (which is close to his childhood home of Hibbing) all way through the middle of the country, ending in New Orleans. This highway is well-known for being a route that hundreds of southern blues and jazz musicians traveled in search of northern factory jobs during the early parts of the 20th century. Many of the most influential blues musicians traveled this route, including Muddy Waters, and Howlin’ Wolf. Along the way, they spread the southern blues into other parts of the country.
Certainly, Dylan was using the album’s title as an allusion to the influence the blues had on his music. Why he tacked on “Revisited” is less clear. Perhaps he is referring to his return to the blues-based rock music that had influenced him as a teenager when he listened to blues stations on AM radio and played Little Richard and Elvis Presley covers in his early bands.
The cover photo was taken by Daniel Kramer, also the photographer for the Bringing It All Back Home cover. The photo shows Dylan with a semi-scowl on his face, wearing some kind of weird blue shirt with an orange butterfly-like pattern, and a t-shirt underneath with an advertisement for Triumph motorcycles. Sidekick Bob Neuwirth stands behind him, his camera dangling from his hand. I imagine this photo was selected to emphasize the rebellious lyrics and music of the album.
Dylan’s liner notes consist of several rambling paragraphs of unintelligible drivel. The notes were written in a style similar to that used in his book, Tarantula, which was written in 1965/66 but not released until 1971. As the liner notes, it is mostly unreadable.
Dylan and producer Tom Wilson recruited a formidable group of musicians to play on the record. Dylan asked Mike Bloomfield, the guitarist for the Paul Butterfield Blues Band, to play guitar. Bloomfield had never recorded in a studio before and said he didn’t even own a case for his guitar when he showed up at the studio. It turned out to be a wise choice, as Bloomfield’s fierce sound with a heavy blues-influenced style gave the album much of its musical identity. Al Kooper was invited by Wilson to play guitar on the record but ended up playing the famous organ part on Like a Rolling Stone. Other key players included Paul Griffin on piano and Bobby Gregg on drums.
Highway 61 is really a monumental achievement, arguably the high-water mark for the art form. It influenced an entire generation of artists, and continues to influence rock musicians today”.
I am going to end soon with a review of perhaps Bob Dylan’s most important album. In terms of the sound of it and how it took his career to a new level. Beginning a classic trilogy classic of Dylan albums – 1965’s Bringing It All Back Home preceded Highway 61 Revisited and Blonde on Blonde arrived in 1966 -, it is no wonder that we continue to praise the songwriting and the impact of Highway 61 Revisited six decades after it release. Five years ago, Albumism providing a detailed and really interesting retrospective. One that makes me look at Highway 61 Revisited in a new light. An album that I absolutely love and feel is the pinnacle of Dylan’s lyrical genius:
“Given Highway 61’s hallowed status over a half a century later, it gets lost what a legitimate artistic risk it was for Dylan at the time. Dylan made the conscious choice to take actions to potentially piss off his core audience by going full electric. And he didn’t even wait for Highway 61 Revisited to be released to drop this bomb; in the midst of recording the album, he gave his infamous performance at the Newport Folk Festival. He took to the stage, Fender Stratocaster in hand, dressed like a rock star, only to meet a cascade of boos.
Now, it’s never been clear whether the audience booed him during this performance because they thought he was a “sell-out” or because of the overall quality of the sound (either too loud or too soft, depending who you ask). But the legend endures the crowd rejected Dylan’s rock star aspirations. But Dylan was undeterred, soon returning to the studio to record the rest of the in-progress album. Still, it added an urgency to the sessions. If you’re going to give your fans the proverbial middle finger, the gamble had better pay off.
And, well, here we are, over a half century later, and Highway 61 remains one of Dylan’s most beloved releases. And it’s remembered for both its musical and lyrical innovation.
Besides being nearly fully electric, none of the songs on Highway 61 Revisited featured just Dylan and his guitar. Eight of the album’s nine tracks feature full electric band, some of whom were session musicians that he worked with before, while others were new faces like Al Kooper and Mike Bloomfield, who would go on to join the Paul Butterfield Blues Band.
Together, Dylan and the session musicians created a vibrant sound that built on honoring Dylan’s blues influences. The 1,400 mile stretch of road known as Highway 61 begins in Minnesota, following the Mississippi River throughout its length. It winds past Duluth, the place of Dylan’s birth, and runs south through St. Louis, Memphis, before ending in New Orleans, all cities intrinsic to Dylan’s personal and musical identity.
In terms of lyrical subject matter and approach, Highway 61 Revisited strikes a pair of distinctive notes. On one hand, it’s a bitter and at times outright mean album. Dylan is an artist, so he’s sensitive about his shit, and held his critics in complete contempt. Through swaths of the album, he questions their intelligence, sincerity, and overall value to society.
“Ballad of a Thin Man” may sound mourning and sorrowful, but it’s the angriest on Highway 61. The song radiates bile as Dylan chronicles the misbegotten adventures of Mr. Jones, a dullard who fancies himself as an educated and sophisticated individual of great influence, oblivious to the fact he’s in way over his head. On some level, the song seems to be about Dylan’s increasingly difficult relationship with the music press. Or the song could reflect Dylan’s disdain towards outsiders who attempted to glom onto ’60s counterculture without an understanding of the circumstances that spawned it. Numerous journalists with the surname of Jones have claimed to be the source of inspiration for the “Mr. Jones” character. Aside from a glib answer he gave Nora Ephron and Susan Adminson in an interview back in 1965, Dylan has remained mum about Mr. Jones’ true identity (if there even is one).
One of my favorite stories about “Ballad of a Thin Man” (and Highway 61 Revisited in general) is that it became a source of inspiration for the Black Panther Party. According to Black Panthers co-founder Bobby Seale in his book Seize the Time, both he and Huey Newton were obsessed with the song, believing that Dylan was speaking to the plight of Blacks in the United States through the lyrics, as he speaks of “tourists” being attracted to the “freak shows” of the ghettos across the country.
Highway 61 Revisited is still considered Dylan’s most towering achievement, and a complete and unabashed success. It set the tone for rock album moving forward in the 1960s, influencing countless musicians, writers, and poets. Of course, Dylan continued to evolve over the 50-plus years since its arrival, so much so that his legacy as both a folk hero and rocker can co-exist.
The success of Highway 61 goes to the core of whether it’s better to stick with providing your loyal fans with what they want, or to take the high risk/high reward plunge. Highway 61 doesn’t definitively answer that question. Instead, the lesson seems to be that quality music trumps everything else. But it’s still a bit astonishing that a sense of restlessness is what helped secure Dylan’s immortality”.
Let’s wrap up things with a review from Audioxide. Actually, it is two-third of the review. However, there are two interesting interpretations and opinions proffered. Both reviewers including Ballad of a Thin Man, Tombstone Blues and Like a Rolling Stone in their top three from Highway 61 Revisited:
“Fred
Bob Dylan has a gift for making you feel like you’re sharing in a dark, beautiful secret in the same breath that he’s telling you to go take a hike. He has no shortage of seminal works, but Highway 61 Revisited is probably the finest meeting of his anger and his clarity. The record is almost everything it’s cracked up to be, and that amounts to something pretty special — especially where side one is concerned.
The no bullshit drum intro to “Like a Rolling Stone” is classic Dylan, smashing the door in with a straight-to-business thud, and the record continues in kind. The opener’s a masterpiece. Not much I can add there. The guitar motif on “Tombstone Blues” is perfect. Thank god he went electric. The instrumentals are given some space to breathe between there and “Ballad of a Thin Man”, which is absolutely ghastly. I love it. Side one of Highway 61 Revisited is as good as it gets, frankly. Epiphanic and livid in equal measure, it’s like being bludgeoned with The Complete Works of William Shakespeare by the man himself. Marvellous.
Side two doesn’t quite sustain that level, at times bordering even on pedestrian, but in the context of the album that works rather well. After the onslaught of the first 20 minutes, it’s nice to have some time to nurse one’s wounds. You get to “Desolation Row” which strips things back and plays the record off and it all winds up being a bit of a Journey. Bob Johnston’s production enables the sense of intimacy the music deserves; the sound is raucous, but always sat just behind Dylan. He speaks and the band shakes. It really is quite an exquisite balance.
You can hear the record's age, but the record isn’t old. Like Dylan himself, there’s something mythical about it, its plane high above any one time or place. He sings and we listen, the instrumentation hanging on his every word along with the rest of us. It’s one of those things that reassures you with how expressive and beautiful people are capable of being. (Or at least that Bob’s capable of being, and we of understanding.) One for the ages, and an endless pleasure.
Favourite tracks //
Ballad of a Thin Man
Like a Rolling Stone
Tombstone Blues
9 /10
Andrew
Highway 61 Revisited manages to do a lot with seemingly little. At first glance, Bob Dylan uses simple chord structures, down to earth vocals and story-driven lyrics which puts him alongside an overwhelming sea of other artists. But what sets this album apart from a majority of other albums is the sheer character and hidden intricacy of the whole tracklist.
Front-loaded with a stonking opening combination, “Like a Rolling Stone” hollers and quivers out during its chorus, and instantly grabs the listeners attention with its memorable hook and some wonderful instrumentation across the board. “Tombstone Blues” is quite the opposite, cantering along for six minutes. Folksy without being twee, and poignant without being preachy, this is a track with substance that you can still have a lot of fun with. Songs like “Ballad of a Thin Man” and the title track of the album have similarly little for me to complain about, with more to enjoy each time I return. The former drapes a moody, smoky atmosphere across the mid-section of the album, while the latter spins and whirrs along the titular highway.
The few tracks that are less memorable are more than made up for by the rest, and where I initially felt as though all the best material was up front on side one, further listens have warmed me to the second side. I feel as though this is an album I want to start each Sunday with, with its laid-back tone lasting throughout its near hour play time. It’s been a pleasure to listen to Dylan’s characterful vocals and memorable hooks, and Highway 61 Revisited will certainly be going into my favourites list.
Favourite tracks //
Like a Rolling Stone
Tombstone Blues
Ballad of a Thin Man
9 /10”.
On 30th August, Bob Dylan’s extraordinary masterpiece, Highway 61 Revisited, turns sixty. Its legacy is enormous. How pioneering the album was. I want to crib a bit from Wikipedia and what they have collated regarding the legacy of a 1965 work of genius: “Highway 61 Revisited has remained among the most highly acclaimed of Dylan's works. Biographer Anthony Scaduto praises its rich imagery, and describes it as "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." Michael Gray calls 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. The whole rock culture, the whole post-Beatle pop-rock world, and so in an important sense the 1960s started here”. Few people in 1965 who heard Highway 61 Revisited would know where Dylan would head and how long he would continue! As it is, he went on to release thirty-four studio albums (and he is not done yet let’s hope!) and inspire musicians the world over…
SIXTY years later.