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Finally, he called the group together, counted off, and had them follow his lead, driving each chorus higher and higher. Dylan had spent the previous eight hours writing the tune, while the band played cards in the studio. Then there’s the sidelong 11-minute closer “Sad-Eyed Lady of the Lowlands,” recorded in just one take at 4 a.m. It’s the album’s poppiest and most surrealistic track. On “I Want You,” Dylan pairs a tightly-wound pop guitar lick with a repeated chorus of “I want you, I want you so bad.” Yet the song crams over 20 characters into three minutes, including a guilty undertaker, a lonesome organ grinder, a drunken politician, a chambermaid, the Queen of Spades, and a dancing child in a Chinese suit.
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He tells his story in colorful detail: “Lights flicker from the opposite loft / In this room the heat pipes just cough / The country music station plays soft.” It’s vivid and personal, yet listeners the globe across can place themselves right there in that apartment. On “Visions of Johanna,” one of his career masterstrokes, the troubadour compares two women and seeks an idealistic - and perhaps unattainable - true love. He vents his broken heart on the blasting brass kiss-off “Most Likely You Go Your Way (And I’ll Go Mine)”: “Time will tell just who fell / And who’s been left behind / When you go your way and I go mine.” Then there’s the scornful “Just Like a Woman,” including semi-veiled references of Sedgwick’s pearls and amphetamine, and “One of Us Must Go (Sooner or Later),” the only album track salvaged from the NYC sessions, which finds Dylan telling the story of a doomed relationship: “I really did try to get close to you,” he sings.
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In the searing Chicago blues of “Leopard-Skin Pill-Box Hat,” Dylan uses high (pill-box hats) and low fashion (leopard skin designs) to cheekily diss a lady thought to be his former lover and Andy Warhol muse Edie Sedgwick: “I see you got a new boyfriend / You know, I never seen him before / Well, I saw him makin’ love to you / You forgot to close the garage door.” Ouch.
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Its songs cover all shades of love, heartbreak, resentment, and discovery. The rest of the LP’s songs were recorded in just seven days total.įrom there, though, Blonde on Blonde gets straight to the point: Women. That something was in Music City.Īt producer Bob Johnston’s suggestion - and despite protests from Dylan’s manager, Albert Grossman - Dylan and two members of the Hawks (organist Al Kooper and guitarist Robbie Robertson) flew to Nashville for sessions in February and March of ’66. The sessions with his backing group, The Hawks - later to be known as The Band - were missing something. After five recording sessions - almost the entire time it took to record Highway 61 Revisited, and two days more than it took to record all of Bringing It All Back Home - Dylan had finished just one song. The young man who was the musical entertainment at Martin Luther King’s “I Have a Dream” speech three years earlier buried his folk singer beginnings with his electric debut at Newport Folk Fest, and he was amid a frenzied run of plugged-in breakthroughs.īut Blonde on Blonde started in New York City with a thud. Dylan was settling into his new identity as a bonafide rock star. As the first double LP in rock music, Blonde on Blonde is the finale for his trilogy of albums released over 15 months in ’65 and ’66, beginning with Bringing It All Back Home and Highway 61 Revisited.