the next two weeks in New York's Greenwich Village and The Other End in particular, eventually meeting Rob Stoner and reacquainting himself with Bob Neuwirth. Stoner would later join his Rolling Thunder Revue, and Dylan would meet the remaining members through Neuwirth. According to Smith, he was thinking about improvisation and extending himself "language-wise". The album's cover is an homage to John Phillips' 1970 album John Phillips (John, the Wolf King of L.A.) as well as being inspired by imagery from Tarot card decks. Recording sessions Around the time of his first meetings with Smith and Stoner, Dylan began work on several new songs, finishing at least one song called "Abandoned Love". Then, sometime in late June, while traveling in a car around the Village, Dylan spotted Scarlet Rivera walking with her violin in the case. Dylan stopped to converse with Rivera and invited her to his rehearsal studio where she spent the afternoon playing along with several of the new songs. "If I had crossed the street seconds earlier," said Rivera in 2012, "it never would have happened." According to Rivera, "One More Cup of Coffee (Valley Below)"," "Isis" and "Mozambique" were all rehearsed with Dylan on guitar and Rivera accompanying on violin. As the rehearsals progressed, Dylan attempted some of the same songs on piano, experimenting with different keys in the process. Soon after, Dylan would ask Rivera to join him for his next album. As early as mid-July, the concept of the Rolling Thunder Revue was beginning to solidify. According to Don DeVito, a representative for Columbia Records, the possibility of forming a band and touring the United States playing unannounced concerts was already being discussed at this point. Meanwhile, Dylan's songwriting partnership with Jacques Levy continued to grow. Jacques Levy was then best known for "Chestnut Mare", a collaboration with Roger McGuinn that ultimately became one of The Byrds' last hits. Dylan had met Levy the previous spring, but they became reacquainted at The Other End. One night, Dylan met Levy at his loft and showed him an early draft of "Isis." According to Levy, "Isis" began life as a "slow dirge", unlike anything he had ever heard before, which he felt gave the appearance of setting the listener up "for a long story". When Dylan first played this embryonic version for him, the two of them started working together. According to Levy, it was an