When Dylan arrived at the studio on January 25, 1966, he had yet to work out the lyrics and title for what was to become the closing track on "Blonde on Blonde"s first side. With Dylan piecing together the song's sections, and the chorus that gives the song its title only emerging on take five, the session stretched through the night and into the next morning. Only on the 15th take was a full version recorded. Dylan and the band persisted until they recorded take 24, which closed the session and made it onto the album four months later. Critic Jonathan Singer credits Griffin's piano for binding the song together: "At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half Gershwin, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song's tension."