Straighten out every burden. Let me put it another way. What can I do? This Maharishi, he thinks that— right? What do you feel about unwillingly occupying that position? I write songs. I have a certain balance about things, and I believe there should be an order to everything. I mean, there must be people trained to do this type of work. Phil Ochs, uh … was around the same time I was, I remember when he came to town. I mean, he had it then.
I think he made it, there being a certain amount of momentum — he pushed — from being on the scene. But he did bring his own thing in, when he came in. Do you see any influence in the Motown? All those things that the Motown records are doing now? Are they really sincere and all that kind of thing? I dig that. Do you like the Motown records? Well, yeah … I like them …. Do you like the ones today better than the ones that they were doing before? Oh I have always liked the Motown records.
But because I like them so much, I see that change. I hope not. Well, a lot of people say you have. Well …as far as I know, things will remain the same, until the length of our contract. That old story. You were supposed to leave Columbia and sign with MGM?
It … went up in smoke. Do you have any idea how many? Well, we try to use them all. There may be a few lying around. What do you think was the best song, popular song, to come out last year? Any others? Why would you think? Well, anyhow, it hurts. It hurts because you think you were just played for a fool. And the more hurts you get, the less you want to do it. Were there any writers that you met that you liked?
That you felt did good jobs? On you. I like that. Well, I try to get it when it comes. I play the guitar wherever I find one. But I try to write the song when it comes. So the best kinds of songs you can write are in motel rooms and cars. Rather, it lets you go into it. It just depends on … how you do it. Have you written any songs lately for any other artists to do, specifically for that artist? Or any of your old songs.
The one on Nashville Skyline. He was recording an album next door. He listened to it … I think we sent him a dub. Have you approached them yet? During what period of time did you write the songs on Nashville Skyline? Bound to get a record. I mean, how could you not? Have you ever thought about getting four- or eight-track equipment up where you live?
You can get violin players, cello players, you can get dramatic readers … you can get anybody at the drop of a hat, in New York City. Ummmm … for the spirit. I like to hear a good lick once in a while. There are certainly more people around making music than there was when I was growing up. I know that. As long as it sounds good ….
Do any particular one of those groups appeal to you? Their records knocked me out. Well, they had a distinctive sound, the Byrds … they usually were hanging in there …. Who else did it? What was the origin of that collection of songs, of that tape? The origin of it? What do you mean? Where was that done?
Just a basement tape. It was just for …. Did you do most, did you write most of those songs, those demos, for yourself? And then decide against them? I was being pushed again … into coming up with some songs. So, you know … you know how those things go.
Do you have any artists in mind for any of those particular songs? They were just fun to do. They were a kick to do. With the windows open … and a dog lying on the floor. Let me explain something about this interview. If you give one magazine an interview, then the other magazine wants an interview. If you give one to one, then the other one wants one. Well, as you know, this can really get you down. Doing nothing but giving interviews. So the only way you can do it is to give press conferences.
But you see, you have to have something to give a press conference about. Why have you chosen to do this interview? Why would I want to give an interview to Look magazine? Tell me, why? To sell records, I could do it. But I have a gold record without doing it, do you understand me?
Without giving one interview. Now you tell me, Jann, why am I going to go out and give an interview? Do you have any idea how much money your publishing has brought in over the last five years? So there you have it. There you have it right there. Which companies? So you see, my songs are divided up, so …. Do you own Big Sky Music wholly yourself? I chose to start this company. Yeah, but other than the Beatles? Not as much as those writers from Motown. What songwriters do you like?
What was that all about? He was a fine man. It just so happened that I had the dubs from my new album. So we went over and played it. I think he took a dub … that was the first and only time I ever met him. I take it that you dug Otis real well.
Are there any other soul singers that you dig as much as Otis? Have you heard their new Stax album? Yeah, I heard that, that one that Pop Staples did. On his own album? No, not on his own album. On the Jammed Together album. I find it interesting seeing … Mr. Do you like that? Ever since the first Booker T. I heard that back in the Midwest. Yeah, everybody was playing like him. What is your day-to-day life like? Every day is different. Do you paint a lot? Well, I may be fiddling around with the car or I may be painting a boat, or … possibly washing the windows.
I just do what has to be done. But I mean nothing happens to it. We could do anything with it, but I mean …. Boy, I hurried … I hurried for a long time. Going down to the store … going down to the corner to unload my head.
What do you think can happen with your career as a singer? What are the possibilities? Are you thinking of moving to Nashville? Can you see a time when you would stop making records? Not necessarily going into the studio for any other reason than to record a song. So, if I was to stop writing songs, I would stop recording. It was on Highway The changes. How has life changed for you? Doing the same old thing.
I hope so. I was going at a tremendous speed … at the time of my Blonde on Blonde album, I was going at a tremendous speed. How did you make the change? The motorcycle accident? I just took what came. I took what came. What do they come from? What was what coming from? Then Bloomfield picks up a theme from the piano -- he has lost his own hold on the song.
Budda bump, budda bump , say the drums, and by now that's all they say. The take breaks off two words into the last verse.
Wilson, sounding weary: "Ten. As the song starts, Dylan already seems tired of it, and the first line is sing-songy. Everything out of his mouth is forced, each word emptying itself of emotion as it passes. Bloomfield is there only for the lead-ins to the choruses; Kooper presses. Dylan's singing gains force, but the timing is still off, and the drummer is still dropping dead weight. Dylan sings more stridently; he's more effective.
But there is no whole -- there is barely a song. So much is missing you can think that if everything hadn't come together seven takes back, they could reach forever and miss by more every time.
They're into the fourth verse, for only the second time, and Griffin is playing like Floyd Cramer on "Last Date. The entire take was a screwup, but there were moments only chaos could bring. There is a strange, mysterious underwater sound from the piano. After a verse and a chorus they stop. Kooper tries out a few lines -- in an ice-skating rink. Gregg has lost the song entirely; everything he plays is decoration, but he is decorating something that isn't there.
Dylan's voice is full but his singing has no focus. He rushes the chorus, even as Griffin and Bloomfield lock into the cadence the song wants. They get the chorus. The organ gets bigger with every line. And, in a way that pushes him forward, scrambling his timing but allowing him to barrel through anything in his way, his words dissolving and distant spirits handing them back deformed, now Dylan is singing off of Gregg's martial beat.
After "tricks for you" they lose the beat, and they stumble out of the song. That was the end of the session. It's a timeless record -- so is 'Heartbreak Hotel. And because they were recognized, it's become ageless.
Which is great. We hear music that was done by people who died before we had a chance to pick up on it -- for instance, Robert Johnson. It's a good feeling. No matter how timeless "Like a Rolling Stone" might turn out to be, what happened over the two days of recording sessions makes it clear that had circumstances been even slightly different -- different people present, a different mood in the studio, different weather in the streets outside, a different headline in the morning paper -- the song might never have entered time at all, or interrupted it.
He had the vision and talent to make a pop song so that it contained the whole world. He invented a new way a pop singer could sound, broke through the limitations of what a recording could achieve, and he changed the face of rock'n'roll for ever and ever "  . Dylan's contemporaries in were both startled and challenged by the single.
According to McCartney, "It seemed to go on and on forever. It was just beautiful He showed all of us that it was possible to go a little further. It sold but nobody responded to it in the way that they should have. Although CBS tried to make the record more "radio friendly" by cutting it in half and spreading it over both sides of the vinyl, both Dylan and fans demanded that the full duration of the recording should be placed on one side and that radio stations play the song in its entirety.
In the words of Rolling Stone magazine, "No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time. By defying convention with six and a half minutes of dark, brooding poetry, Dylan rewrote the rules for pop music. You don't know what it means. Except that the ghost picked me to write the song. More than 50 years since its release, "Like a Rolling Stone" remains highly regarded, as measured by polls of reviewers and fellow songwriters.
A ranking by Uncut and a poll in Mojo both rated it as Dylan's number one song. Five years later, the magazine named it his number one song. Hendrix played the electric guitar, and music critic Greil Marcus described the atmosphere of the Hendrix recording thus:. Huge chords ride over the beginning of each verse like rain clouds; the tune is taken very slowly, with Hendrix's thick, street-talk drawl sounding nothing at all like Dylan's Midwestern dust storm.
The song has also been covered in various languages. This version contains only three verses and is four and a half minutes long. From Wikipedia, the free encyclopedia. This article is about the Bob Dylan song. For the Japanese film, see Like a Rolling Stone film. The 3 4 "waltz" version of "Like a Rolling Stone", recorded on June Jimi Hendrix's cover of "Like a Rolling Stone". Jones argues that in footage of the performance, the movement of Dylan's lips does not match the utterance, and that the words were spoken in a British accent see Jones, Mickey in Down in the Flood.
Retrieved Acclaimed Music. Archived from the original on 10 July Retrieved 29 June Rolling Stone. Retrieved January 3, Retrieved 1 July Playboy , March , reprinted in Cott , p. Dylan biographer Clinton Heylin speculates that Dylan typed a long piece of "vomit" as "quite possibly a conscious imitation of Kerouac's fabled 'scroll' version of On the Road.
The New York Times. Retrieved April 30, Paramount Pictures. Bob Dylan Studio A Revisited. Retrieved August 23, American Heritage. Archived from the original on February 5, Retrieved January 9, Archived from the original on May 15, Retrieved May 3, Retrieved October 24, American Songwriter.
Retrieved May 10, August 31, Archived from the original on November 28, Retrieved January 13, Irish Recorded Music Association. Retrieved October 27, Radio Archived from the original PDF on Archived from the original on March 19, Retrieved February 5, Bob Dylan Lyrics — Eagle Rock Entertainment. June 20, Retrieved June 7, Gabriel April 20, More Intelligent Life. Retrieved April 21, Retrieved May 2, Retrieved November 19, Retrieved 27 May The A.
Tuesday 4 February Wednesday 5 February Thursday 6 February Friday 7 February Saturday 8 February Sunday 9 February Tuesday 11 February Wednesday 12 February Thursday 13 February Friday 14 February Saturday 15 February Sunday 16 February Monday 17 February Tuesday 18 February Wednesday 19 February Thursday 20 February Friday 21 February Saturday 22 February Sunday 23 February Monday 24 February Tuesday 25 February Wednesday 26 February Thursday 27 February Friday 28 February Saturday 29 February Sunday 1 March Monday 2 March Tuesday 3 March Wednesday 4 March Thursday 5 March Friday 6 March Saturday 7 March Sunday 8 March Monday 9 March Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 MarchDylan’s single “Like a Rolling Stone” is widely considered one of the greatest songs ever recorded. In the critics at Rolling Stone magazine (whose name was partly Dylan-inspired.