Background: On May 22, 1964, President Lyndon Baines Johnson chose Ann Arbor, Michigan as the site at which to unveil his grand vision for the United States: The Great Society. His social plan would improve education, launch a War on Poverty, jumpstart urban renewal, the development of depressed regions, conservation efforts and institute the Medicare system—broad, sweeping, industrious goals all. In January, 1965, Johnson formally presented his plan to Congress, a tool, he, if anyone, knew how to manipulate and utilise. Soon the distinguished representatives on both sides of the aisle were working toward his objectives. Meanwhile, Dylan, whose cross-country road trip in 1964 had given him time to listen to the moptops from Liverpool, had adopted a new vision as well. Like Johnson, he was ready to produce concrete evidence of that vision in January.
The Recording: Subterranean Homesick Blues, Maggie’s Farm, Love Minus Zero/No Limit, Mr. Tambourine Man, Gates of Eden, It’s Alright, Ma (I’m Only Bleeding), It’s All Over Now, Baby Blue and MORE! Although the arrangements are still simple and include his acoustic guitar and harmonica, percussion and electric guitar are heard on several tracks. Social injustices are still a theme, particularly in Gates of Eden and It’s All Right, Ma. The liner notes track Dylan's thoughts, but in a more subdued form than for the past two releases. Tom Wilson is once again producing—and can be heard laughing at the gaff at the beginning of Take 1 of 115th Dream. Arrangements are tight and energetic. Humour is more prevalent. (Even without If You Gotta Go, Go Now which was recorded in these sessions but not released.) You cannot listen to this album without tapping your foot or without a smile coming to your lips and you cannot look at its cover without knowing that the times are truly a-changin’ for Dylan. A chic dark-haired female (Albert Grossman’s wife) has replaced the innocent-looking Rotolo and trappings of modern affluence have taken over for snow-covered New York streets as a setting. (Is this to be the face of the Great Society?)
Conclusion: The next phase of Dylan’s career begins here. The stage is being set for Newport. If the Greenwich Village enclave did not know it before, they know it now: their Guthrie-would-be has found more modern influences. The only question that remains is how far will those influences take him? And the answer, this time, will not be blowin’ in the wind.
The Recording: Subterranean Homesick Blues, Maggie’s Farm, Love Minus Zero/No Limit, Mr. Tambourine Man, Gates of Eden, It’s Alright, Ma (I’m Only Bleeding), It’s All Over Now, Baby Blue and MORE! Although the arrangements are still simple and include his acoustic guitar and harmonica, percussion and electric guitar are heard on several tracks. Social injustices are still a theme, particularly in Gates of Eden and It’s All Right, Ma. The liner notes track Dylan's thoughts, but in a more subdued form than for the past two releases. Tom Wilson is once again producing—and can be heard laughing at the gaff at the beginning of Take 1 of 115th Dream. Arrangements are tight and energetic. Humour is more prevalent. (Even without If You Gotta Go, Go Now which was recorded in these sessions but not released.) You cannot listen to this album without tapping your foot or without a smile coming to your lips and you cannot look at its cover without knowing that the times are truly a-changin’ for Dylan. A chic dark-haired female (Albert Grossman’s wife) has replaced the innocent-looking Rotolo and trappings of modern affluence have taken over for snow-covered New York streets as a setting. (Is this to be the face of the Great Society?)
Conclusion: The next phase of Dylan’s career begins here. The stage is being set for Newport. If the Greenwich Village enclave did not know it before, they know it now: their Guthrie-would-be has found more modern influences. The only question that remains is how far will those influences take him? And the answer, this time, will not be blowin’ in the wind.
