Highway 61 Revisited
by Bob Dylan

People underestimate the musical quality of Dylan's albums because of how great he is lyrically. There is nothing further I can add on the subject of lyrics, but for such a big artist to release a record that was this raw and urgent without sacrificing any of its immediate accessibility is stunning. This record is a speeding train, each song chugging along at an alarming rate, with so much going lyrically that it's easy to miss some of the musical nuances. I honestly don't think keyboards have ever been put to better use in pop music, and some of the melodies are astonishingly complex for somebody who is supposedly lacking musically. But yeah, whatever. His voice is shit or something. (Edited)

From DriftingOrpheus 05/28/2020 23:06 | #252438 | TOP COMMENT Vote up your preferred comments and the comments with the most votes will be flagged.

Bob Dylan's 1965 output could account for what is possibly the finest calendar year any artist has ever experienced. His catalogue now brandishes two landmark records that elevated him from folk-raconteur royal to undefinable social enigma. Dylan's ability to rhapsodize was already at such an advanced level prior to these releases that advancement to his songwriting would just brand his ability as an embarrassment of riches. An exceptional place to window-shop for those riches would be Highway 61 Revisited. Kicking off the album with a well-documented contender for finest track ever recorded and closing it with one of Dylan's most labyrinthian, heart-rending lyrical voyages, the album boasts one of the most cherished collection of tunes in the discography.

Like a Rolling Stone's jangly electric guitar, amalgamated with Dylan's hypnotizing harmonica, ooze a vivid sensation of perpetual motion, both sonically and thematically. Seemingly quasi-reflectory of Dylan's decision to head in a different auditory direction but also a stern statement on his abnegation at the prospect of staying stagnant in a creative sense as well as a philosophical one. It's clear he didn't want to focus on sociological objection any further, trading in his picket sign for a collection of metaphysical and mythological texts. Now, less Woody Guthrie and more Friedrich Nietzsche, Dylan's work seems somehow more focused but less categorical, as if such a thing was even possible. During Ballad of a Thin Man, the character of 'Mr. Jones' is taken apart piece by piece. Speculation of the persona in question is often believed to be a real-life journalist determined to peel back Dylan's characteristic layers and inspirations. The enigmatic nature of the track and its scathing lyrical dissection have left the truth still uncovered. Lines such as, "Aw, you've been with the professors and they've all liked your looks, With great lawyers you have discussed lepers and crooks, You've been through all of F. Scott Fitzgerald's books, You are very well read, It's well known" seem to point to a learned individual trying to validate his judgements by flourishing his academic excursions. It's likely the most hazy track on the LP, but it may have the most to say bubbling under the surface.

The album ends with ten minute soul excursion, Desolation Row, a locale reserved for the downtrodden and those down on their luck. Often seen as a reflection of the turbulent state of the nation at the time, however, given Dylan's newfound disposition to avoid current affairs, it's very possible it could just be a fictional tale of woe. Regardless, the song burrows its way into the company of his most impressive artistic statements. The depressionist atmosphere on the track is typified by the line, "Cinderella, she seems so easy, "It takes one to know one, " she smiles, And puts her hands in her back pockets, Bette Davis style, And in comes Romeo, he's moaning. "You Belong to Me I Believe", And someone says, "You're in the wrong place, my friend, you'd better leave". The exclusively acoustic track conveys that Dylan's poetry is unaltered by the musical manner in which he chooses to propel it, rather, it just provides him with more sonic flexibility.

Highway 61 Revisited is routinely touted as Bob Dylan's crowning achievement. Released at a such chaotic chapter in his career, the record features angst, sorrow and beauty in equal measure. Certainly more musically polished than his previous work but simultaneously less tangible. 1965 was a year of immense evolution for the bard from Minnesota and he left two gargantuan records in his wake. Highway 61 Revisited is repeatedly used as the entry point for listeners to start enjoying Dylan and it's likely the sound that is most identifiable when people think of music's poet laureate.

"The Commander-in-Chief answers him while chasing a fly
Saying, "Death to all those who would whimper and cry"
And, dropping a barbell, he points to the sky
Saying, "The sun's not yellow, it's chicken"

-Tombstone Blues

Standout Tracks:

1. Like a Rolling Stone
2. Desolation Row
3. Tombstone Blues

97.4 (Edited)

Probably Dylan's most important and significant artistic statement. Highway 61, is where he goes completely electric. Even though, blonde on blonde, is my personal favourite Dylan album, this record is surely his most influential. The opening track off course is one of the greatest songs in popular music, a strawberry fields forever, a, bohemian rhapsody, a, smells like teen spirit, where nothing would ever be the same again. It's stunning. Tombstone blues, is another favourite of mine, 'the Sun's not yellow, it's chicken ', fantastic. You can't really say there's a weak track here, although if I had to be picky, I would say, queen Jane approximately, is not quite up there with the rest of the songs, and yes, I do think, desolation row, is one of those tracks I have to be in the right mood to completely enjoy. But these are just minor personal quibbles, it takes nothing away from the genius of this album. Lyrically, he is way ahead of his contemporaries. The Beatles released the, help!, album, at the same time as Dylan released highway 61, and although the rolling stones were starting to use social commentary in their songs with their, satisfaction, single, they're still light years behind Dylan. In reality, did anyone really catch up? Highway 61 revisited, excellent. (Edited)

I'm a late arrival to Bob Dylan's music. Like a lot of people my age, I couldn't get past his style and never gave him a chance. That all has changed, and now that I actually listen to what he is saying, I am flat out blown away. To say this record is genius would be putting it mildly, and that's already been said by millions who've had the privilege of listening to it for decades. I envy them. (Edited)

This is essential listening with Dylan creating one of the greatest records of his career on here. It is consistent in style and tone leading to a cohesive listen that feels extremely fulfilling by the time you reach the end of the masterpiece that is Desolation Row. This isn't the only masterpiece that is present on this record either with Ballad Of A Thin Man and Like A Rolling Stone comfortably slotting into that category as well with the rest of the tracks being of a decent quality or better. The result of this is one of Dylan's most consistent records with there not really being a single weak track on here. Dylan himself is what propels this release to the levels it has reached with his guitar, piano and harmonica performances being of an incredible standard. He also conveys his personality and emotion through the instruments brilliantly making it so easy for us to connect to his music. Then there is the lyrics which are sensational and I am not surprised they have been analysed and dissected for over 50 years as they are that good. Overall, this is one of the most important albums in the history of music and the quality it has still holds up today making it a must listen. (Edited)