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Liner Notes – Bill Flanagan (2), Sean Wilentz.Stuck Inside Of Mobile With The Memphis Blues Again - Take 13 One Of Us Must Know (Sooner Or Later) - Take 19 It Takes A Lot To Laugh, It Takes A Train To Cry - Take 8Ĭan You Please Crawl Out Your Window? - Take 1 On they go, through the song, for a disc and a half of The Cutting Edge.Vocals, Guitar, Slide Whistle – Bob Dylan "My voice is gone, man, you wanna try it again?" That's the spirit. "You used to make fun about / everybody that was hanging out." He coughs. "Didn't youuuuu" - Dylan strains for it, clears his throat, lets the harmonica come in for him. Dylan has to laugh on a subsequent try when he flubs a line, "threw the dumbs a dime, ha ha, let's take it again." On, and on.
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Though this would be the album version, Dylan keeps on, with an edgier, snarkier version, slower he punches out, and makes more nasal the "Now you don'ts," almost speaking them as if he's Rex Harrison, then stops abruptly. It fades into a jungly drumbeat and guitars turning plunky, being picked, it sounds like, as if they're banjos. This is the version we know best: the Woodyesque, folky pronounciation - "stone" as "stawne" - the line "no direction home " and, in the last refrain, the magnificent second of silence, after Bob's first "how does it feel?," between the crash of the drum and Kooper's replying organ line. He called it "the mathematical sound." This makes perfect sense as you listen to the takes of "Like A Rolling Stone." Dylan is looking for a rhythm, a meter, a pattern - the shape of how the song, with words and music, could look on a page or a canvas, like a poem or a painting.įinally, a complete take kick-starts with the drum alone, and the rest of the band following. As Dylan said repeatedly at the time to people who tried to tag Highway 61 Revisited as "folk-rock," it isn't. "You used to make fun about everybody that was hangin' out." "To be out on your own, so unknown, like a rolling stone." The take fades, and so does the folky sound, permanently. There's no "complete unknown" - Dylan sings "sooooo unknown," before stopping the take coughing/ The song rolls out, slowly. Dylan begins his tale as tales all used to begin, with "Once upon a time." The words, though, are still in progress. The second take begins with his Dylan's voice, strong and barely accompanied with strumming strings, piano and touches of harmonica and organ. Paul Griffin starts a rising line on his clattery tack piano, and they're onto something. You try hard to figure out the voices, apart from Dylan's. They all talk, and play, in the background, trying to figure out why. Bob's presence is here in a plaintive, sweet harmonica, and his voice never comes in with a lyric, just the question, "It didn't get lost?" and the take ends. Wilson even counts it out, like a dancing master: one-two-three, two-two three. With amazement you realize you're listening to a waltz. The first take of this song is almost a folk ballad, quiet and gentle - Tom Wilson slates it as "CO86446, Like a Rolling Stone, One." Slow motion it surely is I don't want to imagine swimming in lava, but that too must be doomfully slow. The many takes of "Like a Rolling Stone" show its remarkable evolution from folk to rock to something far beyond. Dylan's work-in-progress on this song is flat-out wondrous to hear. You may only think you don't need to hear every single take of "Like A Rolling Stone," but you are quite mistaken.