Bruce Springsteen has described the beginning of “Like a Rolling Stone,” the opening song on Bob Dylan’s Highway 61 Revisited, as the “snare shot that sounded like somebody’d kicked open the door to your mind.” In and of itself, “Like a Rolling Stone,” which was rumored to be about Andy Warhol acolyte Edie Sedgwick, forever altered the landscape of popular music — its “vomitific” lyrics (in Dylan’s memorable term), literary ambition, and sheer length (6:13) shattered limitations of every kind. But that was literally only the beginning.

The rest of the album, recorded in a shocking six days, was just as revelatory. If anyone questioned whether or not Dylan had truly “gone electric,” the roaring rock & roll of “From a Buick 6” and “Tombstone Blues” — both powered by legendary guitarist Mike Bloomfield of the Paul Butterfield Blues Band — left no doubt. The album ends with “Desolation Row,” a swirling 11-minute surrealist night journey of indescribable power, a Hieronymus Bosch-like season in hell that, in retrospect, seems to foretell all the Sixties cataclysms to come. Not that Dylan wasn’t having fun all the while as well. The toy siren that opens the album’s title track was keyboardist’s Al Kooper’s playful way of policing the recording sessions for Highway 61 Revisited. “If anybody started using drugs anywhere,” he explained, “I’d walk into the opposite corner of the room and just go whooooooooo.” - RollingStone.com