"The War and Peace of Rock and Roll." -Bob Dylan In 1975, as Bob Dylan emerged from eight years of seclusion, he dreamed of putting together a traveling music showthat would trek across the country like a psychedelic carnival. The dream became reality, and On the Road with Bob Dylan is the ultimate behind-the-scenes look at what happened when Dylan and the RollingThunder Revue took to the streets of America. With the intimate detail of a diary, Larry "Ratso" Sloman's mesmerizing description of the legendary tour both transports us toa celebrated period in rock history and provides us with a vivid snapshot of Dylan during this extraordinary time. This reissue of the 1978 classic resonates more than ever as it chronicles one of the most glittering rockcircuses ever assembled, with a cast that includes Joan Baez, Robbie Robertson, Joni Mitchell, Allen Ginsberg, Ramblin' Jack Elliott, and a wild entourage of groupies, misfits, sinners, and saints who trailedalong for the ride. Sloman candidly captures the all-night revelry and musical prowess-from the backstage antics to impromptu jams--that made the tour a nearly mystical experience. Complete with vintage photos and a new introduction by renowned Texas musician, mystery writer, and Revue member Kinky Friedman, this is an unparalleled treat for Dylan fans old and new. Withoutquestion, On the Road with Bob Dylan is a remarkable, revealing piece of writing and a rare up-close and personal view of Dylan on tour. "From the Trade Paperback edition."

Greil Marcus has been one of the most distinctive voices in American music criticism for over forty years. His books, including Mystery Train and The Shape of Things to Come, traverse soundscapes of folk and blues, rock and punk, attuning readers to the surprising, often hidden affinities between the music and broader streams of American politics and culture. Drawn from Marcus’s 2013 Massey Lectures at Harvard, his new work delves into three episodes in the history of American commonplace song: Bascom Lamar Lunsford’s 1928 “I Wish I Was a Mole in the Ground,” Geeshie Wiley’s 1930 “Last Kind Words Blues,” and Bob Dylan’s 1964 “Ballad of Hollis Brown.” How each of these songs manages to convey the uncanny sense that it was written by no one illuminates different aspects of the commonplace song tradition. Some songs truly did come together over time without an identifiable author. Others draw melodies and motifs from obscure sources but, in the hands of a particular artist, take a final, indelible shape. And, as in the case of Dylan’s “Hollis Brown,” there are songs that were written by a single author but that communicate as anonymous productions, as if they were folk songs passed down over many generations.