[singlepic id=254 w=320 h=240 float=left]
Preceded by: Highway 61 Revisited (1965)
Followed by: John Wesley Harding (1967)
1963, Bob Dylan is being proclaimed as the artistic leader of the protest movement that stands up against the establishment. From that moment on, he and his music have showed a tendency of not wanting to be understood any longer. Tired of being launched as the pioneer of a social movement or musical trend every time people thought they had comprehended Dylan and his songs. The faith of an artist who is assigned with visionary powers by his followers.
No matter whether it was his role as protest singer in the early sixties or his innovative contributions to the so called genre of folk rock a few years later, Dylan always seemed to have the feeling that others wanted to make a stooge of him and started to agitate against this in an almost paranoid way. This side of Dylan was magnificently illustrated by Cate Blanchett in the film I’m Not There. It was this Dylan that released an enigmatic album in 1966 on which he did everything not to be understood for one time. But even if you don’t try to decipher everything The Singer tries to tell you in mysterious ways, there still remains a lot of beauty on Blonde on Blonde.
Only 54 years after being founded in the state of Minnesota, Hibbing already welcomed its most prominent resident to date: Robert Zimmerman. As the descendant of Jewish immigrants from Ukraine and Lithuania he entertained his local high school by playing rock ‘n roll covers before moving to the states’ capital (Minneapolis) to subscribe to university. Folk music entered his life, and it must have generated more attention than his classes at that point, as he quit university toward the end of his first year (May 1960) to move to New York. There, in the neighborhood of Greenwich Village, he performs in some local clubs before being picked up by a record label. A self-eponymous debut album (1962) follows, containing mainly folk traditionals and not having a lot of success.
Dylan crosses the Atlantic for the first time to visit London before his second album follows in 1963: The Freewheelin’. Writing his own compositions now and many of his songs being interpreted as protest songs, it brings him his first success in times of the Cuban missile crisis and the civil rights movement. Especially his performance (with Joan Baez) during the Great March on Washington (with Martin Luther King speaking his famous words) delivered him his status as the guy with the scruffy jeans who kicked against the establishment. This already changes after the murder of John F. Kennedy and his 1964 release The Times They Are a-Changin’ and definitely on his fourth album later that year, with the meaningful title Another Side of Bob Dylan. Dylan’s star rises fast subsequently, when he transforms from a protest songwriter to the absolute folk rock star.
This of course starts with the release of Bringing It All Back Home (1965), on which Dylan goes electric on side 1, and was immediately fortified with his performance that summer at the Newport Folk Festival, backed by the electric sound of the Paul Butterfield Blues Band members. Only one month later Dylan presents the world his next album, the legendary Highway 61 Revisited (1965) , featuring the same ‘electric crew’. Problem for Dylan was that some of those guys preferred to stay with the Blues Band instead of touring to promote this new album. So Dylan searched for other musicians and ended up with guys from Ronnie Hawkins’ backing band The Hawks. Those guys would later form some kind of genius group called The Band, after some of them contributed to Dylans’ brilliant seventh: Blonde on Blonde, one of the first double albums in rock history.
Recordings for the album started in New York, where Hawks drummer Levon Helm already dropped out as he was tired of playing in a backing group. With Helm replaced by Bobby Gregg (responsible for the opening snare drum on ‘Like A Rolling Stone’) and with amongst others Robbie Robertson and Rick Danko in support, the recordings proceeded but none of the recorded material could count on Dylans’ satisfaction. It was only after moving to a studio in Nashville and adding some local session musicians that the album started to grow towards its ultimate versatility.
When you start playing the album, you may wonder how the faces of music critics must have looked like while listening to the first song, ‘Rainy Day Women #12 & 35’. The former ‘protest songwriter’ states he wouldn’t feel so all alone if everybody would get stoned, supported by a brass band going berserk. The song was avoided by a number of radio stations and you can hear Dylan having a laugh about it on the song itself. The other enigmatic track on side 1 is ‘Visions of Johanna’, which is generally highly praised by those same critics. This song doesn’t really stand out in my opinion, but of course I didn’t spend hours of research to decipher its lyrics. The third song that perfectly fits into this category is the closing song of the album: ‘Sad Eyed Lady of the Lowlands’. This track entirely fills up side 4 and seems to be about his wife Sara, which was confirmed by Dylan on the Desire song ‘Sara’ 10 years later. What Dylan could not have presumed, is that the track ultimately convinced Roger Waters that it’s possible to fill entire LP sides with only one song.
Did folk (rock) disappear on Dylans’ seventh? Not completely, as at least 1,5 of such songs can be found. ‘4th Time Around’ definitely is one. Although the lyrics are again slightly drenched in absurdity, the classic finger-picking guitar sounds familiar. Decide for yourself whether this familiarity stems from Dylans’ earlier works or from The Beatles’ ‘Norwegian Wood’. The other track is ‘One of Us Must Know (Sooner or Later)’, which was the first song being recorded for the album. It’s a very good one, with recognizable lyrics and a prominent role for the keyboards-guitar combo, leading the great crescendos every time the chorus is about to set in.
The album however never lets itself categorize in some kind of subgenre. This is immediately clear on track two (‘Pledging My Time’), with the pure blues kicking in. The harmonica almost sounds as plaintive as Dylans’ voice here and Robertson does a great job here by adding his bluesy guitar sound. ‘Temporary Like Achilles’ is another great blues song, with typical lyrics about some guy being left behind by his lover. However, it’s the piano here (played by Hargus Robbins) that claims his role as guide of Dylan’s excellent wailing throughout the song. Also on side 3 is ‘Obviously 5 Believers’, an awesome song on which Robertson really shines. It sticks out compared to the two aforementioned songs because of its uptempo style but it finds its match in two other uptempo songs on the album: ‘Absolutely Sweet Marie’ and ‘Most Likely You Go Your Way (And I’ll Go Mine)’.
The first one serves another portion of prosaic lyrics with several sexual references, driven by a repeating keyboard riff. However, this song lasts a little too long in my opinion. The second one certainly does not suffer from this handicap. It was used a lot of times by Dylan as the opening song on live gigs, for example on Before The Flood together with The Band. Problem here: once you’ve heard one of those live versions with a screaming Dylan, the studio version doesn’t suffice anymore.
The remaining four songs are all to be found on the second side of the album, together forming the core of Blonde on Blonde. We might even go one step further and call this one of the best vinyl sides ever made, close to The Beatles’ Abbey Road Side 2. It opens with ‘I Want You’, by far the most poppy song out there. This is due to the fact that the music as well as the lyrics both outshine in simplicity, in deep contrast with the rest of the album. Although Dylan summons an elaborate list of characters during the song, similar to a light version of The Band’s ‘The Weight’, he addresses himself to the simple ‘you-person’ during the chorus, contributing to the songs accessibility. What follows is ‘Stuck Inside of Mobile with the Memphis Blues Again’, the absolute highlight of the album. This track was rearranged numerous times (musically as well as lyrically) by Dylan during the recordings, till obtaining this optimal result. The chorus becomes a real earwig after hearing it a few times and the flawless guitar playing makes you forget about the tracks’ seven minutes length. Amazing.
The party continues on the next track (‘Leopard-Skin Pill-Box Hat’), without any doubt the best guitar song on the album. Although Dylan plays the intro, it’s Robertson taking over after that. On top of that the lyrics are kind of hilarious and will pop into your head again whenever you notice another fashion victim on the streets. Side two concludes with one of Dylans’ best known songs: ‘Just Like a Woman’. This track is also closely investigated by a number of music professors and according to their research this song is about Edie Sedgwick. Or Joan Baez. Or maybe another woman. In this way it’s kind of representative for the entire album: unsolvable and inexhaustibly intriguing.
A concert tour to promote the album followed after its release, where Dylan was backed by The Hawks. Deeply exhausted by this tour, Dylan finally found some rest after his motorcycle accident by withdrawing to the basement of Big Pink with The Hawks. This accident was also surrounded by rumours and theories, as it would have been made up to escape from the music scene for a while. Like with so many other things, probably nobody except Dylan can ever confirm this. Let’s keep it that way.