Like A Rolling Stone

"Like a Rolling Stone" is a 1965 song by American singer-songwriter Bob Dylan. Its confrontational lyrics originate in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England. After the lyrics were heavily edited, "Like a Rolling Stone" was recorded a few weeks later as part of the sessions for the forthcoming album Highway 61 Revisited. During a difficult two-day preproduction, Dylan struggled to find the essence of the song, which was demoed without success in 3/4 time. A breakthrough was made when it was tried in a rock music format, and rookie session musician Al Kooper improvised the organ riff for which the track is known. However, Columbia Records was unhappy with both the song's length at over six minutes and its heavy electric sound, and was hesitant to release it. It was only when a month later a copy was leaked to a new popular music club and heard by influential DJs that the song was put out as a single. Although radio stations were reluctant to play such a long track, "Like a Rolling Stone" reached number two in the US charts and became a worldwide hit.

The track has been described as revolutionary in its combination of different musical elements, the youthful, cynical sound of Dylan's voice, and the directness of the question in the chorus: "How does it feel?". "Like a Rolling Stone" transformed Dylan's career and is today considered one of the most influential compositions in post-war popular music and has since its release been both a music industry and popular culture milestone which elevated Dylan's image to iconic. The song has been covered by numerous artists, varying from The Jimi Hendrix Experience, The Rolling Stones, The Wailers to Green Day.

Read more about Like A Rolling Stone:  Writing and Recording, Release, Themes, Live Performances, Legacy, Accolades, Cover Versions, Charts

Famous quotes containing the words like a, rolling and/or stone:

    No parent should strive to be like another; just like our children, each of us is unique. And just as we love each of our children for being a special person, our children learn to love each of us for being a distinct parent and person.
    Saf Lerman (20th century)

    Look, we’re all the same; a man is a fourteen-room house—in the bedroom he’s asleep with his intelligent wife, in the living-room he’s rolling around with some bareass girl, in the library he’s paying his taxes, in the yard he’s raising tomatoes, and in the cellar he’s making a bomb to blow it all up.
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    The subject of the novel is reality liberated from soul. The reader in complete independence presented with a structured process: let him evaluate it, not the author. The façade of the novel cannot be other than stone or steel, flashing electrically or dark, but silent.
    Alfred Döblin (1878–1957)