The Classic Record Review: Bob Dylan - Highway 61 Revisited
Posted by Rob Samuels on 11.14.2008
This week we look at the turn of the ultimate Folk man into the ultimate cynical Rock 'n' Roller... join me as we examine one of the greatest albums of all time!
The Introductory blurb bit
I extend a warm welcome to you, for you have entered The Classic Record Review - the column that is shattering down barriers and creating a new industry standard for averageness. Incase you don't know me, I am Rob Samuels - Music aficionado, writer spectacular, captain fantastic and man. I am renowned internationally for running this magnificent weekly-piece in conjunction with the much loved Ask 411 Music. If you would like to send me a question, query, quibble or quandary then please do so at: rob.samuels@yahoo.co.uk.
Seemingly, no one will leave me comments, which is something that has upset me a great deal. My therapist (who is also a "masseuse") has advised me that I should simply ‘review better albums'. I obviously tried telling her that it simply doesn't get any better than The Clash but she wouldn't listen. So based on her advise, this week is a real classic... and if you don't think so you should take your hat sir, and leave.
So what is it?
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Highway 61 Revisted - Bob Dylan
Arguably the greatest album of all time (it's not, that's why I typed arguably), Highway 61 Revisited was Bob Dylans first full soiree into the world of Rock ‘n' Roll. Accused of selling out, Dylan silenced the critics with some magnificent music and the usual excellent songwriting.
The stats
Release date: August 1965
Label: Columbia
Written by: Bob Dylan
Produced by: Bob Johnston
The line-up
Bob Dylan:
Bob Dylan: Vocals, Guitar, Harmonica and Piano.
Additional Personnel:
Mike Bloomfield: Guitar
Charlie McCoy: Guitar
Russ Savakus: Bass
Harvey Brooks: Bass
Paul Griffin: Organ, Piano
Al Kooper: Organ, Piano
Frank Owens: Piano
Sam Lay: Drums
Bobby Gregg: Drums
The background
Dylan was born Robert Zimmerman in 1941 to a Russian Jewish family in Minnesota. His family had emigrated in the early part of the century after a wave of anti-semitism across eastern Europe. Dylan began playing Folk music when he enrolled at Minnesota University in the late 50's. He quickly established himself on the local Folk scene, performing under the name ‘Bob Dylan'. He got the name ‘Dylan' from poet Dylan Thomas.
Dylan relocated to New York at the start of the 60's after leaving College in his first year. After performances around the city attracted the attention of The New York Times, Dylan was invited to play in a session for Carolyn Hester's third album. It was here that he was spotted by producer John Hammond, who signed him to Columbia Records. Dylan set about recording his first record, a mixture of Folk classics and originals, which was released in 1962. The record sold less than 5,000 copies.
It was all up hill from here as Dylan secured the services of confrontational manager Albert Grossman. A man who would back Dylan no matter what. Dylan became the forefront (somewhat unwittingly) of the rebellious political movement in the early 60's. His songs, such as ‘Blowin' in the Wind' caught the tone of the times perfectly. Dylan began to grow as an artist - his reputation as a musician and songwriter heightening with each album.
1965 saw a big change for Bob Dylan, whose fifth album ‘Bringing it all Back Home' experimented with an electric sound for the first time. the record contained half folk and half electric music - a move which seemed to alienate a lot of his original Folk fans. Later that year, Dylan took another step in a new direction with the release of Highway 61 Revisited - his first record to be accompanied in full by a Rock band. Despite being met with some jeers from his disenfranchised folk fans, the record was seen as a huge success - completing the transformation of Dylan from a Folk singer to a ‘New York Hipster'. The record has since been heralded as a classic, and even by Dylan as the best he has ever made.
Let's here it then.
The music
First, the track listing:
1. Like a Rolling Stone
2. Tombstone Blues
3. It Takes a lot to Laugh, It Takes a Train to Cry
4. From a Buick 6
5. Ballad of a Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited
8. Just Like Tom Thumb's Blues
9. Desolation Row
Now, the music!
The album kicks off in style with the infamous ‘Like a Rolling Stone' - a song that has been named as the ‘greatest of all time' (by Rolling Stone Magazine...hmmm). In all seriousness, this track is indeed a classic. It was the first single to smash the 3:30 barrier so convincingly at an impressive 6 minutes long. The song was a revelation to artists worldwide, re-shaping the music industry. From a music standpoint, the track is excellently layered, with Dylan's aggressive and accusing vocals lying nicely on top. Truly a masterful track, and one that is hard to top.
The up-beat and deeply sarcastic ‘Tombstone Blues' follows, kicking the album into fast Blues mode. The song is driven by the country style rhythm section - provided by some hillbilly drums and a walking upright bass. Dylan's fast paced almost ‘Subterranean Blues' style vocals stomp over the top whilst the wail of a distorted Strat punctuates the chorus. Great track.
‘It Takes a Lot to Laugh, It Takes a Train to Cry' is a honky-tonk style country romp, which contrasts with the first two tracks excellently. Highlighted by it's stylish country piano and some tasteful slide guitar work, this is an excellent example of Dylan's ability to transcend genres. This is a track that the Stones would have been proud to call their own during their country dabbling years. Quality stuff.
‘From a Buick 6' is a quick Blues stroll, with a Rock ‘n' Roll twist. The walking bass gives the song a solid spine, with the Organ floating in and out around it. Dylan's vocal performance is once again top notch - the aggression in his voice working extremely well with the raw ‘Rock ‘n' Roll' backing.
The downbeat and morbid tones of ‘Ballad of a Thin Man' follows next. A finger-pointing track that seems to poke holes in anyone with a snobbish mentality. The song is beautifully structured, hanging around a basic riff, which slowly builds throughout adding to the tension created by the vocals. The guitar sounds dirty, as does the rest if the song - a really grimy downtrodden track.
The much more jovial ‘Queen Jane Approximately' is a soulful, light-rock number. Dylan's sneering tones top the track nicely. His words highlight a fall from grace, with Dylan almost mocking the subject of the song. The contrast between the lyrics and the music is interesting - a good change of pace for the album.
‘Highway 61 Revisited' is a boogie-blues track, that lifts the album up in terms of dynamics, but takes a completely different direction vocally. The lyrics are edgy and aggressive - with Dylan snarling the lines down the mic. The track swings along in a danceable fashion, with the guitar evoking some traditional delta blues.
‘Just Like Tom Thumb's Blues' is a delicate country rock song, which floats gracefully through the speakers. The bass is warm and humbling, with the piano and guitar lines flowing nicely over the top providing a blues tone. Dylan's vocals sound worn and tired - the track sung with much less venom than previous numbers. An excellent, and soulful ballad.
The final track is the ambitious and epic ‘Desolation Row' which begins in a folksy fashion, with just guitar, bass and vocals - perhaps a throwback to his earlier work. The track remains acoustic, but the dynamics do increase throughout, slowly dragging the track up in energy levels - eventually becoming an aggressive rant. A fitting ending track, which sums up the albums tone extremely well - angry, edgy, judgmental and different.
The 411
Truly a classic album, and one that has since gone on to achieve the notoriety it deserves. The songwriting is top-notch, and it is surely the pinnacle of Dylan's career. Not only did it turn him from a talented folk revolutionist into a cynical New-York icon, but it demonstrated a change in the musical landscape. An absolute master-class in album perfection.
Here is a reminder of the ‘Bootsy Collins school of Funking good music' rating system:
Below 5 = Smells Funky.
5-7 = Funkin' good.
7-9 = We gotta have that Funk!
10 = Funk me mama! That shit be fly suck-ah!
