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There is uncertainty about exactly which "4th Street" the title refers to, with many scholars and fans speculating it refers to more than one. Inspiration and the significance of 4th Street Robert Christgau called the song "righteously nasty". Indeed, journalist Andy Gill described it as "simply the second wind of a one-sided argument, so closely did it follow its predecessor's formula, both musically and attitudinally". The lyrics of "Positively 4th Street" are bitter and derisive, which caused many, at the time of the song's release, to draw a comparison with Dylan's similarly toned previous single " Like a Rolling Stone". Thus, the song can be seen as something of an open letter to Dylan's intended target, with the Top 40 airwaves serving as Dylan's means of communication. Founder of Crawdaddy! magazine, Paul Williams, has noted that the song's lyrics are uncharacteristically straightforward and devoid of the rich, poetic imagery present in the majority of Dylan's contemporaneous material. Additionally, the song has no recognisable, repeating refrain, and does not feature its title anywhere in the song's lyrics. The melody is somewhat repetitive and does not deviate from the harmonic progression set up during the first four lines of the song.
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While the lyrics are distinctly negative, the organ-dominated backing music is that of carefree folk-rock. Dylan begins by telling the unspecified second-person target of the song that they have a lot of nerve to say that they are his friend and then goes on to list a multitude of examples of their backstabbing duplicity. The song, like most of Dylan's, is composed of a simple harmonic, or chordal, and melodic structure the verse has a I-ii-IV-I progression followed by I-V-IV-vi-V. As a result, the song appears on the John Lennon's Jukebox compilation album, which was released to coincide with the publicity surrounding the jukebox's unveiling and a South Bank Show documentary about the jukebox. A copy of Dylan's "Positively 4th Street" single was found among the 41 7" singles loaded onto the machine. In 1989 a Bristol music promoter purchased an old KB Discomatic jukebox that had once belonged to John Lennon during the mid-1960s. Joni Mitchell has cited the song as one of her biggest inspirations at the dawn of her career: "There came a point when I heard a Dylan song called 'Positively Fourth Street' and I thought 'oh my God, you can write about anything in songs'. It also was used in director Todd Haynes' 2007 film I'm Not There. version of Bob Dylan's Greatest Hits, as well as the compilation albums Masterpieces, Biograph, and The Essential Bob Dylan. Critic Dave Marsh praised the song as "an icy hipster bitch session" with "Dylan cutting loose his barbed-wire tongue at somebody luckless enough to have crossed the path of his desires." The song would later be included on the U.S. Some early copies of the "Positively 4th Street" single were mis-pressed, with an outtake version of " Can You Please Crawl Out Your Window?" (a song that Dylan would release as his next single) appearing on the A-side in place of "Positively 4th Street". Īlthough the song was recorded during the Highway 61 Revisited sessions, and shares much stylistically with the tracks on that album, it was saved for a single-only release, eventually charting in the top ten on both sides of the Atlantic. The studio band on "Positively 4th Street" featured Bobby Gregg (drums), Russ Savakus or Harvey Brooks ( bass), Frank Owens or Paul Griffin (piano), Al Kooper ( organ) and Mike Bloomfield (guitar), with the song initially being logged on the studio's official recording session documentation under the working title of "Black Dally Rue". The song was the last to be attempted that day, with Dylan and a variety of session musicians having already successfully recorded master takes of " It Takes a Lot to Laugh, It Takes a Train to Cry" and " Tombstone Blues".
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The master take of "Positively 4th Street" was recorded on July 29, 1965, during the mid-June to early August recording sessions that produced all of the material that appeared on Dylan's 1965 album, Highway 61 Revisited.