Dylan was virtually gushing great songs when this masterpiece arrived in the summer of 1965. For the epochal opening of "Like a Rolling Stone" through the absurdly apocalyptic closer, "Desolation Row", his command of surrealistic language was daring and amazing. As a vocalist, he was rewriting the rules of the game. Jimi Hendrix made note of Mr Z's technically suspect pitch and decided that he, too was a singer. And the backing, though ragged, is precisely right. Is this the essential Dylan album? It's certainly one of them. --Steven Stolder

This is a highly significant album in terms of the history of musical development. It was released in 1965, and along with The Beatles, really did shape and change music forever. These sounds were pretty radical at the time and sound just as fresh and new now as they ever did.

In terms of this album itself, I love it. I like intelligent and interesting lyrics, and these are present here in abundance. Some people may dislike political or social commentaries but I think that whatever your personal stance on such matters, you cannot ignore such musical masterpieces as this.

The instrumentals were eons ahead of their time and are well delivered; in some more modern recordings, you cannot always pick apart this section and distinguish individual instruments whereas it's easy to do so here; in my opinion a sign of fine musicianship.

An essential addition to the collection of any serious music lover.

I remember this album when it came out in 1965. I wasn't interested in the controversy - the music just sounded great. I had never heard anything like it...... I still don't know exactly how you would describe this style. Anyway , when it came out it became iconic for some people, which includes me.
Although it's of it's time it's still unquestionably listenable today - interpret the lyrics if that is your whim - you don't have to, in my opinion, to merely enjoy the album at first listening.

I know this is supposed to be one of Dylan's best albums... but I don't think it is. Since I was born in 1978, I can't really comment on how revolutionary this record was, and I can't comment on Dylan's abandonment of folk for the new rock n' roll sound. Unlike Dylan's audience in 1965, I am unhampered by any anti rock n' roll prejudices, but I'm afraid that for me it's just a fact that Dylan's early folk albums are better than his mid 60s rock n' roll albums. I say it's a fact, but of course you know that I mean it's just my opinion. It's not a case of whether he betrayed his fans, folk music or the civil rights movement. It's just that I don't respond emotionally to the tunes on Highway 61 Revisited. I've always thought that Like A Rolling Stone was bland, and the rest of the album strikes me that way too. Just Like Tom Thumb's Blues is the one bright spot - I like the bass line. Elsewhere these tunes are plodding and overlong, with seldom more than one musical idea, the "free association" lyrics are inventive but lack much of a discernable meaning and as a result fail to engage the attention and even tracks I used to like, such as Ballad of a Thin Man sink into anonymity amongst such repetitively turgid fare.

So... I think I've pretty much summed up my feelings about the record in one paragraph there! Just a couple of other things: the cover is dreadful and so is the out of tune guitar on Queen Jane Approximately.

This is truly Dylans greatest album bar none, their is not a duff track on this album!!!!!
In fact its probably the greatest rock album ever made in the history of music. Dylan is at the top of his game here, spouting super hip New York poetry with a tip of the hat to the Beat Generation poets.
Sure, it contains one of Dylans most loved songs...Like a Rolling stone but it contains sooooo much more!
It climaxes with the astonishing Desolation row, and where Dylan has been known to occasionally pick the wrong take for release anyone who has heard the outtake of this song will know he got it dead right here.
The interraction between the two acoustic/Flamenco style guitars has to be heard to be believed, I cant throw at it enough superlatives.
If you are doubtful about buying this album dont be, it will change your life forever.
This album I would take to a Desert Island if I only had one choice of anything on Earth. Truly Awesome. Steve Vallely...Middlesbrough

Arguably the single most important record released in the 60s, even moreso than that other cultural icon SGT PEPPER - although my personal opinion is divided on the matter (I lean more toward The Beatles on these two albums, though overall The Beatles and Dylan are equal for their body of work in the 1960s.).
You cannot discuss Bob Dylan without his only artistic contemporaries, The Beatles. Both started in relatively the same time, but Dylan sung fold and The Beatles bubble-gum pop. In this manner, Dylan has a much more satisfying early start than does The Beatles. You don't have to wade thru a pop phase like with The Beatles. But The Beatles, of course, are the single most important band in rock'n'roll, and Bob Dylan the single most important artist other than The Beatles.

That being said, Dylan began rocking in a much more satisfying manner than when The Beatles began. Their influence over each other is amazing, and because of this both owe a great debt to one another. Dylan got The Beatles doing much more interesting things than the bubble-gum pop of "I Want to Hold Your Hand," and their first four albums. On Help! they had three or four songs more introverted. Then, the full-fledged effect of Dylan over them became apparent when they released RUBBER SOUL in December 3 (they also released the single Day Tripper/We Can Work It Out the same day). Yet the effects of The Beatles, who encouraged Dylan to move beyond folk into rock'n'roll on this album, which is his first full-fledged rock album. (Some will say that title belongs to BRINGING IT ALL BACK HOME, but that is only half - it straddles his folk and rock, whilst this falls into the rock). This album Bob Dylan released August 30, 1965 - and without The Beatles this might not have happened. Both of them show their influences on the other within a mere four months (although both HELP! and BRINGING IT ALL BACK HOME points to the direction both are moving, though Dylan's moreso. Dylan's record beats HELP! in quality by a long shot, although the two or three best songs on HELP! give the Dylan songs a run for their money - and that is primarily because they are like Dylan.)

As for his voice, it is one of those things that it actually is a part of his quality that Bob Dylan can't sing at all. That is one of the things that adds to his charm and importance, because it proved that a singer with an unconventional voice can make it. Dylan obviously gave no import to music theory, and with this further defiance he helped pave the way for other singers who have good voices, though not in a technical sense. (Really, who could sing "Like a Rolling Stone" or his smash single "Positively Fourth Strength"?) Its like a Faulkner novel - it just wouldn't be what it was without Faulkner's style - in this case, Dylan's voice.

The songs are absolutely fantastic. The ride starts on the epic "Like a Rolling Stone", the first six minute single to hit number one, breaking the code of three minute songs. In length, this would be the necessary forerunner to Don McClean's number one hit "American Pie", which have numerous references to Dylan (most notable when the jester takes the crown, and he sings with a voice that comes from me and you - Dylan's voice is notorious). Then it travels onto "Tombstone Blues", flat-out garage rock, "It Takes A Lot to Laugh, It Takes a Train to Cry" bluesy material. "Like Tomb Thumb's Blues" and "Queen Jane Approximately" absolutely brilliant songs. "Ballad of a Thin Man" is one of my favorite Dylan songs (it earning an honourable mention in "Yer Blues" off THE WHITE ALBUM). The two weakest songs, in my opinion, are the title track and "From a Buick Six". They seem forgetable to me, at least Buick does. "Highway 61 Revisted" is, like "Tombstone Blues", flat-out garage rock, but is not as good. But it does contribute to the overall feel to the album.

The one song I have left out would be the last - Desolation Row. HIGHWAY 61 REVISTED begins with an epic and ends likewise. An eleven minute closer that is folk rock, a surrealistic poem with nonsense imagery, and an incredibly addicting tune.

"Einstein, disguised as Robin Hood -- With his memories in a trunk -- Passed this way an hour ago -- With his friend, a jealous monk -- He looked so immaculately frightful -- As he bummed a cigarette -- Then he went off sniffing drainpipes -- And reciting the alphabet -- Now you would not think to look at him -- But he was famous long ago -- For playing the electric violin -- On Desolation Row"

This song will be with me for a very long time. It blows anything that Morrison wrote away. The sense of rhythm Bob Dylan carries with this song is incredible, allowing his outstanding song-writing abilities to shine.

If you want to discover the history of our culture during the sixties, this is one record you need to buy, along with SGT PEPPER and several others. Excellent music.


Originally issued on Amazon.com August 1, 2000