Bob Dylan's 'Highway 61 Revisited'

Bob Dylan‘s ‘Highway 61 Revisited’ is his sixth studio album released on August 30, 1965 by Columbia.

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1 . (“Late Night With David Letterman 10Th Anniversary Special” 1992)

2 . Like A Rolling Stone (Live, 1978

3 . Tombstone Blues (w/ Carlos Santana

4 . Just Like Tom Thumb’ Blues

5 . Just Like Tom Thumb’s Blues (Official Video)

6 . Just Like Tom Thumb’s Blues (19 Nov 2001, Madison Square Garden

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Track listing : 1.Like a Rolling Stone (Bob Dylan) – 06:13 . 2.Tombstone Blues (Bob Dylan) – 06:00 . 3.It Takes a Lot to Laugh, It Takes a Train to Cry (Bob Dylan) – 04:09 . 4.From a Buick 6 (Bob Dylan) – 03:19 . 5.Ballad of a Thin Man (Bob Dylan) – 05:58 . 6.Queen Jane Approximately (Bob Dylan) – 05:31 . 7.Highway 61 Revisited (Bob Dylan) – 03:30 . 8.Just Like Tom Thumb’s Blues (Bob Dylan) – 05:32 . 9.Desolation Row (Bob Dylan) – 11:21 .

Musicians : . Bob Dylan – Guitar, Harmonica, Piano, Vocals, Police Car Noises . Mike Bloomfield – Guitar . Harvey Brooks – Bass Guitar . Bobby Gregg – Drums . Paul Griffin – Organ, Piano . Al Kooper – Organ, Piano . Sam Lay – Drums . Charlie Mccoy – Guitar . Frank Owens – Piano . Russ Savakus – Bass Guitar .

Production . Produced by Bob Johnston .

Package : Bob Dylan – Liner Notes . Daniel Kramer – Photography

Recorded June 15 – August 4, 1965 at Columbia Studio A, 799 Seventh Avenue, New York .

Released on August 30, 1965 by Columbia.

(Source Bob Dylan – Highway 61 Revisited | The Official Bob Dylan Site)

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Treble
The song is the one acoustic track on the entire album, which can be seen as either a prize for the fans of his previous work who hung in there, or as a spit in the eye to those who thought he shouldn’t have gone electric in the first place. […]

BBC
Shows a newly liberated Dylan.There’s been so much written and said about each and every one of Bob Dylan’s albums that it’s all too easy to wind-up lost in the vast, labyrinthine myths surrounding them. […]

PopMatters
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., with Altamont and the deaths of Janis Joplin, Jimi Hendrix, Jim Morrison and others as the ‘60s turned to the ‘70s. […]

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