Bob Dylan 7: Blonde On Blonde

Blonde On Blonde was the first major double LP by an established rock artist, and also one of the best. It was the pinnacle of Dylan’s electric period, taking the New York white blues influence to Nashville for a change of scenery, ending up with a mix he later dubbed “that thin, wild mercury sound”.

Right off the bat it offers something different. Punctuated by a drunken brass band encouraging choruses of “everybody must get stoned”, “Rainy Day Women #12 & 35” is still a great recording, and one that doesn’t sound right any other way. “Pledging My Time” is a plodding rewrite of “It Hurts Me Too”, featuring lots of harmonica. One of his absolute best, “Visions Of Johanna” is a wonderful late night portrait. While still something of a journey into the absurd, it seems more real than most somehow. “One Of Us Must Know (Sooner Or Later)” is a single that sounds like it was recorded with most of what would become The Band, and winds the side down to nothing.

Side two starts with another hit single in “I Want You”, which spits out a lot of lines before resting on the repetition of the title. “Stuck Inside Of Mobile With The Memphis Blues Again” is another lengthy trip to Desolation Row, but with more humor and first-person involvement. “Leopard-Skin Pill-Box Hat” picks on Miss Lonely some more, and doesn’t let her get away with anything. (The sleeve credits Bob with lead guitar, and it must have been him, since it’s not very good.) “Just Like A Woman” is a deceptively kinder sounding reflection, but we’re convinced he shortened the line from “takes drugs”, which rhymes with “makes love”, to the less controversial “takes”.

That’s a lot of great music already, but side three is just as strong. “Most Likely You Go Your Way (And I’ll Go Mine)” brings a trumpet back alongside the harmonica. “Temporary Like Achilles” is another sleepy tune with some subtle dynamics, while its sister “Absolutely Sweet Marie” is more of a country song with an equally effective bridge. “4th Time Around” is something of a hash of “Norwegian Wood” sans sitar, only funnier. (The repartee is nastier, and instead of being abandoned, the singer gets kicked out, though he has to go back for his shirt.) “Obviously 5 Believers” probably didn’t take long to write, but it’s still a great side-closer with a driving arrangement.

Side four is pointedly devoted to a single song, “Sad Eyed Lady Of The Lowlands”. Exactly two seconds longer than the previous album’s 11-minute closer, it probably didn’t need to take up all of one side, but it’s still a good one, and must have meant a lot to its author. Now we can look back and realize that the bulk of the album has to do with women, either goddess figures or spent jet-trash. At any rate, that’s where he was spending his language.

Released in the midst of Dylan’s tumultuous British tour, Blonde On Blonde is an undisputed classic, and some of its fans are still waiting for him to get that magical sound back. The record company thought well enough of it to keep releasing singles from it, particularly after the motorcycle accident that put him onto the sabbatical that probably saved his life.

Bob Dylan Blonde On Blonde (1966)—5