Hadju's premise is sound - that the early years of Bob Dylan's career in the folk-music scene give an interesting insight into what he wanted to be and do, and the perils he faced along the way. But Dylan's three other protagonists in the story, Joan and Mimi Baez (later Farina) and Richard Farina only serve as cardboard props against which Dylan's genius shines out more strongly, despite Hadju's labouring to portray Farina as the dynamic heart of the group. The women especially are so two-dimensional as to be laughably dull, and the space given over to them hangs like dead wood. Joan Baez comes across as being simplistic and naive, the men around her manipulating her lack of understanding of what was really going on. There are some excellently detailed scenes, with information which has not surfaced before - I particularly liked Hadju's descriptions of Dylan, von Schmidt and Farina in London's narrow-minded folk "scene" - and throughout, the book has well-meaning journalistic intent. But, however hard he tries, Hadju is not convincing in his casting of Farina as the "hero" of the hour. Farina was only ever a bit player, despite his pretensions and ambitions, and the reader's knowledge of what Dylan was, in embryo, and would later become, flavour the whole reading of the book. In short, a must-read for Dylan fans, but it will not change how history views the events of this period's contributions to cultural change.