I can't understand, She let go of my hand An' left me here facing the wall. I'd sure like t' know Why she did go, But I can't get close t' her at all. Though we kissed through the wild blazing nighttime, She said she would never forget. But now mornin's clear, It's like I ain't here, She just acts like we never have met. It's all new t' me, Like some mystery, It could even be like a myth. Yet it's hard t' think on, That she's the same one That last night I was with. From darkness, dreams're deserted, Am I still dreamin' yet? I wish she'd unlock Her voice once an' talk, 'Stead of acting like we never have met. If she ain't feelin' well, Then why don't she tell 'Stead of turnin' her back t' my face? Without any doubt, She seems too far out For me t' return t' her chase. Though the night ran swirling an' whirling, I remember her whispering yet. But evidently she don't An' evidently she won't, She just acts like we never have met. If I didn't have t' guess, I'd gladly confess T' anything I might've tried. If I was with 'er too long Or have done something wrong, I wish she'd tell me what it is, I'll run an' hide. Though her skirt it swayed as a guitar played, Her mouth was watery and wet. But now something has changed For she ain't the same, She just acts like we never have met. I'm leavin' today, I'll be on my way Of this I can't say very much. But if you want me to, I can be just like you An' pretend that we never have touched. An' if anybody asks me, "Is it easy to forget?" I'll say, "It's easily done, You just pick anyone, An' pretend that you never have met!"

PRODUCERS' NOTE About the audio: The producers have collected every known recording made during Bob Dylan's 1966 tour. The tour began on February 4th, 1966 in the U.S. and continued in North America until the beginning of April. Thereafter, the show moved to Australia, the Nordic countries and the British Isles. None of the shows were professionally recorded during the early months of the tour. What survives and what is represented here are roughly made audience recordings. Starting on May 1st, Dylan's sound engineer, Richard Alderson, recorded large parts of every show on a carefully adjusted, portable tape recorder. Although the quality is quite good, these recordings are taken directly from the mixing board - the same audio mix that would be played over the PA system in the local venues. Consequently, those tapes will have louder vocals and sound drier, with less hall ambiance than a live recording made for record release. Columbia Records recorded 4 shows: Sheffield, Manchester and London (2 shows) for the purpose of a live album. Recording rock 'n' roll live was brand new for the Columbia engineers and the resulting recordings vary greatly in sound quality. The vocals on the lectric set of the Sheffield recordings are so distorted that the producers of this release decided to use the audio from the mixing board instead. About the sequencing: The shows here are presented in chronological order, with the exception of those recordings in which the audio quality is so degraded that the sound detracts from the overall listening experience. These five shows (White Plains, Pittsburgh, Hempstead, Melbourne, Stockholm) are presented at the very end of this collection.