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|  | |  | | | Highway 61 Revisited (Reis)
(Audio CD)
by Bob Dylan | | | | | SKU:
UB00026WU82 | | In Stock | | Availability:
Usually ships in 7-12 business days | | | | | | Highway 61 Revisited is a landmark -- recorded in 1965, during the same tumultuous summer that had seen him plugging in his electric guitar at the Newport Folk Festival, Highway 61 Revisited is Bob Dylan diving head-first into the rock and roll maelstrom, backed by the studio prowess of Al Kooper, Michael Bloomfield and others on such devastating classics as the epochal "Like A Rolling Stone." This Sundazed edition is an exact reproduction of the rare original 1965 mono album, featuring the original sleeve-notes and photos, and all-analog mastering from the absolute original source tapes. | | | |
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| | Product Details | | Audio CD Release Date: | June 01, 2004 | | Studio: | Sony | | Number Of Discs: | 1 | | Format: | Original recording remastered | | Average Customer Rating: |  based on 344 reviews |
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| | 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 | |
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| | Customer Reviews | Average Customer Review: ( 344 customer reviews )
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Most Helpful Customer Reviews
136 of 143 found the following review helpful:
 Dylan's Masterpiece Sep 22, 2004
By Michael J. Raymond
There are many dividing lines in rock and roll. Before Elvis and after Elvis, before The Beatles and after The Beatles, and so on. "Highway 61 Revisted" invites such a watershed moment in rock and roll. Prior to the release people such as Steve Allen would gather great laughs just from reciting the lyrics to rock and roll songs. For example, Steve Allen would read "Be bop a lu bop, she's my baby", and audiences would guffaw loudly. When "61" was released, it was evident that rock and roll had meaning, it was an viable art form. Dylan's fury and wounded ego can be heard throughout the album snarling and pleading to those seemingly unaffected by the times they lived in. "How does it feel", is rock and roll's preeminent and ultimate question. How DOES it feel? This album, in my humble opinion, is the greatest rock album ever produced. Dylan, Bloomfield, and Kooper on organ, transcend popular music and sent it spinning into areas artists are still exploring. Rock's first great masterpiece and Dylan's ticket to immortality.
38 of 39 found the following review helpful:
Not only important, but essential Jul 13, 2001
By Bill R. Moore
One of the records essential to understanding the genuis that is Bob Dylan. Not his best album, but one of his most defining. An epoch not just in the career of Dylan, but in rock itself. Highway 61 Revisited was a turning point, a defining moment; the point where Bob Dylan dropped the folk mystique and went straight-ahead into rock. The electric half of Bringing It All Back Home (and, in particular, Subeterranian Homesick Blues) took rock in another direction entirely, and this album is the logical extension of that. Backed by a full rock band, Dylan lifts off the album with one of his most instantly-recognizable songs, the epic Like A Rolling Stone (which, significantly, broke radio's "three minute" barrier.) Many people consider this the first actual "rock" song; and, though that is a bit of an exaggeration, it is definately an extremely important early icon of the rock generation. This song is followed by the pure garage rock of Tombstone Blues. Next up is the excellent slow blues, It Takes A Lot To Laugh, It Takes A Train To Cry. Other highlights of the album include the hilarously surreal Ballad of A Thin Man, the lyrically and musically avant-garde title track, and the closing, thoughtful, apocalyptic epic Desolation Row. It is obvious even from the titles of the songs that Dylan lyrically was here attempting something very avant-garde and impressionistic. Some of the lyrics are unquestionably profound (Rolling Stone, Desolation Row), others seemingly non-sensical (Thin Man), but all brilliant. The music here is rock rooted in blues, and we get more than a few fine blues licks here and there from guitarist Michael Bloomfield, and some fine acoustic playing on Desolation Row. On top of all this, Dylan would rarely play his harmonica this good again. An absolute must-own.
64 of 72 found the following review helpful:
Listen up, Abraham! Aug 11, 2005
By Preetam Datta
I started listening to Bob Dylan when I was eighteen years old and lived in Calcutta, India. This was before the 'glory' days of corporate globalization and the global brands hadn't painted the nation with its broad strokes of corporate colour. No MTV, just a state controlled basic TV for under 30 hours a week in all meant that we listened to good music and read good books. We realized early that good music, like good literature had no political boundaries, yet so much of it was pure politics.
Arindam Mitra, an old friend of mine, now settled in Mumbai, gave me the vinyl LP and swear to god, I probably listened to it a 100 times in a short span of time. It wasn't my first Dylan album, but it was one that would have an indelible mark on a young mind.
Music, as you know, in its best form, can change your life.
I wonder if there's one performer these days who even comes close to having the ability to make a record of this stature. The words are like burning coal, the music like rolling thunder and hits you like a jet plane.
I do not recommend that you go and buy this album unless you are exploring what real music is all about. On the other hand, if you do decide to listen to Highway 61 for the first time, it may well change your life.
If you do possess this album, go and listen to it again. Mr. Dylan may tell you something completely different this time.
24 of 25 found the following review helpful:
"She walks like Bo Diddley, and she don't need no crutch" Feb 10, 2008
By finulanu
""the mysterious""
Bob Dylan is a frustratingly inconsistent artist. The worst albums in his catalog - and there are a lot of those - are pretty much insufferable. But if you catch Dylan on a good day, when his creative powers are at their height and his lyrics are some of the best known to man - and there are a lot of those, too - every good word you've heard about the guy suddenly turns true. This is definitely one such album, and his most famous, acclaimed work. It may not be as revolutionary as Bringing it All Back Home or as personal as Blood on the Tracks, but the lyrics here are better than on ANY other Dylan album, or any other album, period.
So, right. It's Dylan vs. the establishment here. And if you aren't betting on Dylan, you're betting on the wrong horse. The most fierce attack on the "straight" (in more senses than one, if you're reading between the lines) culture is on "Ballad of a Thin Man", a creepy, organ-driven track with Dylan's sneering at its best. And the lyrics are brilliant, as usual. Another favorite of mine is the resident classic, "Like a Rolling Stone", which was later covered by everyone from Bob Marley to the Replacements to Jimi Hendrix. In other words, it's an across-the-board standard, and it just might be Dylan's signature song. It's not just the infamously nasty lyrics that make it the masterpiece it is, either (though that sure is part of it), but the melody, the triumphant organ part, and the little guitar fills, provided by Al Kooper and Mike Bloomfield, respectively. In short, it's Dylan at his peak as a songwriter, lyricist, and arranger. It's more or less as good as a song can get. Sharply contrasting this carefully arranged song are the several literally offbeat (as in, the bass and drums aren't even together) garage-rockers: "Tombstone Blues" is a propulsive, ramshackle rant against everything, taking "Subterranean Homesick Blues" to a new level; "From a Buick 6" is a funny blues rave-up parody with a great bass line and several great lyrics such as "I need a steam shovel mama to keep away the dead, I need a dump truck mama to unload my head" and various others that only Dylan could come up with. The title track is hilarious - the satirical lyrics ("God said to Abraham, 'Kill me a son', Abe said, 'Man, you must be puttin' me on'") are gutbusters, and who doesn't love that little toy police siren? "Just Like Tom Thumb's Blues" is more of Dylan at his finest, a witty travelogue with several sly, subtle references to prostitution, drugs, corrupt authorities, and general decadence. Let us not forget Dylan's sarcastic, satirical love song "Queen Jane Approximately" either, or the gentle majesty of the straightforward blues "It Takes a Lot to Laugh, It Takes a Train to Cry".
And then there's "Desolation Row", arguably the most cryptic piece in Dylan's discography. It's more than eleven minutes long, and the entirety of it is played on an acoustic guitar with Dylan calmly intoning downright apocalyptic lyrics. It's certainly an ambitious piece, namechecking Ophelia, the Phantom of the Opera, Casanova (in the same verse!), Quasimodo, Cain & Abel, Ezra Pound, T.S. Eliot, and containing more than one reference to genocide. By anyone else it would fall apart, but there's something about Dylan's presence here that makes it arguably the best song on the album. I myself haven't the faintest idea of what he's getting at here - I suspect that "desolation row" itself is an afterlife of sorts - but the words sure do sound good together, whatever they're supposed to convey.
In conclusion, this was probably the album that gave the name "Bob Dylan" the messianic undertone it conveys. But here's what separates Bob from his many imitators. It's clear that he wasn't even TRYING to be the voice of his generation here - if he was, he probably would've put a lot more care into producing this album and DEFINITELY would've fixed all those little mistakes the band makes that just add to how GOOD this record is - but he succeeded in it just the same. Everyone else who tries it fails. See? That's what's so good about him.
20 of 21 found the following review helpful:
Don't underestimate its importance Jul 02, 2000
By Jai
Dylan's first all-electric album may have dated somewhat, but it remains a fascinating and extremely powerful symbol of the 60s counterculture. With his extraordinary surreal imagery and literary references, the greatest songwriter of this century brought to rock music an intellect and respectability no one had thought it capable of possessing. This album is raw, unfinished; admittedly, it lacks the formal perfection of its great successor `Blonde on Blonde'- but that doesn't make it any the less impressive or significant. The album opener `Like a Rolling Stone' holds a unique place in rock history, and is even considered by many to be THE defining rock song (I personally admire the track more than I actually enjoy listening to it); the closer, `Desolation Row' is a sparsely arranged, musically economical 11-minute long number that breaks new ground in surrealistic poetry (`Einstein disguised as Robin Hood....') Whether or not one reads any actual deep-rooted meaning in these lyrics, the fact remains (though this may sound hypocritical) that such songs were absolutely essential at the time, for popular music to acquire the much-needed respect that had hitherto been denied it. Stacked between these two bookends are gems like the haunting `Ballad of a Thin Man', `Just like Tom Thumb's Blues', the wickedly funny title track, and the absolutely superb `Tombstone Blues'. Decidedly an album that changed the course of popular music forever.
See all 344 customer reviews on Amazon.com
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