The song ultimately benefited from two of the man’s best electric arrangements, on the highly charged 1966 and 1976 tours. On the latter tour it also acquired a brand-new coda that suggested faults on both sides: ‘You’ve no right to be here / And I’ve no right to stay / Until we’re both one too many mornings / And a thousand miles away.’ Its inclusion in the set, at a time when Dylan had reached much the same point in his relationship with wife Sara as he’d reached with Suze in October 1963, suggests its return to favour was no coincidence. Subsequent performances, which have tended to be (semi-)acoustic, suggest it is a song Dylan can plug his inspired self into at will, as anyone who caught performances at New York’s Beacon Theatre in October 1990, or at the second Supper Club show in 1993, can readily testify.
– Clinton Heylin – Revolution in the Air: The Songs of Bob Dylan, 1957-1973