Dylan's finds himself in a universe crueler, stupider, more self-seeking than when he first started, and finds himself spoken of as deity, philosopher, poet, all manner of seer, sage and prophet who is supposed tell what to do and how to think about a reality does not yield its activities to the dictates to personal whim or the mythology of immutable laws of history. The only law of history is that there is no law of history. The undercurrent in Murder Most Foul's seventeen minute reach is that for Dylan, a man who has been alive long enough to see the major movements of American life, that nothing has changed in terms of what American feels it needs, which is the belief that we as a Nation are number one in the history of all things, that we are a nation of men with unlimited liberty , that self-seeking is a virtue that cures every perceived ailment; we find that the passage of time has changed the fashions , the furniture, the architecture of appearances, but the stupidity remains. This stupidity is not an element that goes deep but rather THE WHOLE THING we base all we tell ourselves on. Murder most foul is loopy, long, prolix, an overstuffed set of luggage filled with name checks and the like, and likely could have benefited had it been cut to , say, ten minutes, but it is the work of a fine poetic mind that has woken up, or at least discerned a way to discuss what's been brewing in that brain these so many years.