“Not to overlook the volume of poetic lyrics, the likes of which had never been heard in a love song on AM radio. I learned that Dylan had moved his recording from New York City to Nashville and had the services of studio hotshots in that town, the clean but driving guitar fills on ‘I Want You’ hit me immediately.
When I waded into the following electric albums, I was grabbed by the tastier guitar playing that first showed up on Blonde on Blonde. “I was an aspiring folkie living in New Jersey in very early ‘70s when I worked my way through Dylan’s first acoustic albums with a special fascination for The Freewheeling Bob Dylan. Guitarist, Alverno College music professor “I Want You” My two favorites are the one where his paramour is cheating on him with the garage door open and his surreal idea of perfect balance: a mattress on a bottle of wine.” Peter Roller
#BOB DYLAN BLONDE ON BLONDE ALBUM COVERS FULL#
Talk about overkill! The song itself is chock full of comedy gold. You have a Jackie O reference that uses the word ‘pill-box,’ not to mention the savvy choice of fabric, leopard skin. Singer-songwriter, guitarist for Semi-Twang, The R&B Cadets, The Subcontinentals “Leopard-Skin Pill-Box Hat” In advance of the tribute show, we asked the performers which Blonde on Blonde track most resonates with them. All proceeds go towards the Alzheimer’s Association. But the combined presence of trusted hands like organist Al Kooper and Hawks guitarist Robbie Robertson with expert local sessionmen including drummer Kenneth Buttrey and pianist Hargus "Pig" Robbins created an almost contradictory magnificence: a tightly wound tension around Dylan's quicksilver language and incisive singing in barrelhouse surrealism such as "Rainy Day Women #12 & 35" and "Stuck Inside of Mobile With the Memphis Blues Again," the hilarious Chicago-style blues "Leopard-Skin Pill-Box Hat" and the scornful, fragile "Just Like a Woman," still his greatest ballad.Īmid the frenzy, Dylan delivered some of his finest, clearest songs of comfort and desire: the sidelong beauty of the 11-minute "Sad Eyed Lady of the Lowlands," recorded in just one take at four in the morning after an eight-hour session, and "I Want You," the title of which Dylan almost used for the album.The show will feature performances by John Sieger, Peter Roller, Chrissy Dzioba, Matt Davies, Devil Met Contention, Alex Ballard, Jack Juraska and The Blinding Lights. The pace of recording echoed the amphetamine velocity of Dylan's songwriting and touring schedule at the time. After several false-start sessions in New York in the fall of 1965 and January 1966 with his killer road band the Hawks – "One of Us Must Know (Sooner or Later)" was the only keeper – Dylan blazed through the rest of Blonde on Blonde's 14 tracks in one four-day run and one three-day run at Columbia's Nashville studios in February and March 1966. Released on May 16th, 1966, rock's first studio double LP by a major artist was, as Dylan declared in 1978, "the closest I ever got to the sound I hear in my mind… that thin, that wild-mercury sound." There is no better description of the album's manic brilliance.
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