Bob Dylan — Like A Rolling Stone

From Wiki:

The basis of “Like a Rolling Stone” was a twenty-page story written by Dylan. It was, according to him, “just a rhythm thing on paper all about my steady hatred, directed at some point that was honest.”^[2] From the story, Dylan wrote four verses and one chorus in Woodstock, New York.^[3] The song was written on an upright piano in the key of G sharp; it was changed to C on the guitar while recording.^[4] The song was originally written in 3/4 (waltz) time, and with a length of 1:36, was much shorter than the released 4/4 version.^[5] The song was recorded by Dylan on June 15, 1965, and concluded the next day.^[6] The recording took place in Studio A of Columbia Records in New York City and was produced by Tom Wilson.^[7][8]

The musicians included Mike Bloomfield on guitar, Al Kooper on organ, Paul Griffin on piano, Josef Mack on bass, and Bobby Gregg on drums.^[8] Kooper, a teenage guitarist at that time, was originally not supposed to play at all, but was a guest of Tom Wilson.^[9] However, as Wilson was not present at the time, Kooper sat down with his guitar with the other musicians. By the time Wilson returned, Kooper was away in the control room. Wilson moved Griffin from hammond organ to piano. Kooper then went to Wilson, saying that he had a good part for the organ. Wilson belittled Kooper’s organ abilities but, as Kooper later said, “He just sort of scoffed at me….He didn’t say no—so I went out there.” Wilson agreed when he saw Kooper on the organ.^[10]

On the first day of recording, five takes of the song were done; however, the song was never completed in its entirety. There was no sheet music and the recording was utter chaos.^[2] Instead, the song was played by ear; its essence was found as it went along. In its fourth take, the chorus was reached. This take would appear on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991 in 1991 and in James Marshs’s film Highway 61 Revisited. During this take, Dylan reached the chorus and played a harmonica, after which he interrupts the take.^[11]

On the second day of recording, two rehearsal takes and fifteen takes were completed. The fourth take was the master take, which would later appear on the Highway 61 Revisited album. After this take was completed, Wilson said happily, “That sounds good to me.”^[12]

From 1966: