Bob Dylan Album #7, Blonde on Blonde

Bob Dylan Reviews
Album #7, Blonde on Blonde
Columbia Records, 1966

Blonde on Blonde has often been called the first truly great double LP. The album (and its subsequent tour) marked the arrival of Robbie Robertson and The Hawks, later to be appropriately named The Band, Dylan’s most fruitful backing band. It also was the culmination of an incredible progression of records in Dylan’s career before his infamous motorcycle accident triggered change, once again.

Still while it’s widely considered one of the greatest albums of all time it is hindered by quite possibly the most jaded and out of place opening tracks in rock and roll history.

“Rainy Day Women #12 & 35,” with its funeral procession horns, mournful piano rolls, silly background shrieks and tired “Stone You” chorus, might have worked well tacked on towards the end of Highway 61 Revisited or merely as a B-Side or single but on Blonde feels terribly misplaced. For an album showcasing some of Dylan’s finest moments of musical genius, it’s a shame that this remains one of his easiest to skip over.

Musically the song is straightforward blues, in the same vein as many of the other tracks on Blonde. Lyrically the song was controversial for its intentional and fairly playful embracement of drug use. Add to this background laughs and Dylan’s giggling interruptions, and “Rainy Day Women” is a bizarre departure from the tightly woven songs that follow.

“Pledging My Time” features a funkier side to Dylan’s ever-improving harmonica chops (he’s always been a terribly understated harp player) and is a more refined blues ode to drug use than its predecessor, detailing the hangover aftermath, meeting with the dealer and an eventual overdose.

“Visions of Johanna” belongs on the short list of Dylan’s greatest songs. It’s a forlorn tribute to true love and the pains of knowing that these feeling are no longer mutual. It’s difficult to say who or what the song is referencing, however, its surreal lyrics and mysterious duo of lovers–tempting Louise; absent Johanna–are Dylan at his poetic best. Despite all temptations and desires to rid the mind of a past love, “these visions of Johanna are now all that remain.”

Side one of Blonde on Blonde is closed out with “One Of Us Must Know (Sooner or Later)” a fairly literal open letter to a former fling (once again, quite possibly addressed to Edie Sedgwick of “Like A Rolling Stone” fame). Lyrically the song doesn’t leave many mysteries to ponder but musically the song is one of few on Blonde recorded with The Band, the troupe that would help take Dylan in a different direction musically during the Basement Tape years. Robbie Robertson taking helm of lead guitar is one of the great musical collaborations and is rooted in this album.

The back-to-back duo of “Leopard Skin Pill-Box Hat” and “Just Like a Woman” are also allegedly aimed at Edie Sedgwick and on a grander scale, the materialistic and shallow New York City socialite scene. The former remains one of Dylan’s finest live tunes and continues in set rotations to this day. The latter’s infamous line, “You break just like a little girl,” set to lulling classical guitar picking and Dylan’s almost satirical crooning vocal style, is one hell of a sting from a former lover. When Dylan later sings, “Till she sees finally that she’s like all the rest” it can be assumed that “Just Like A Woman” also aims to debunk the notion that the elite is any different than the majority. Without her “her ribbons and her bows” the starlit at hand is a naïve child, alone in the world.

The up-tempo, organ drenched “Absolutely Sweet Marie” and the blues ramblings of “Obviously 5 Believers” are snippets of the type of musical arrangements that Dylan would later craft with The Band. Sandwiched between the aforementioned tracks is “4th Time Around,” the unofficial ode to The Beatles (inferred from its similarities to “Norwegian Wood”), which could just as easily be viewed as a satirical parody to Dylan’s Liverpool contemporaries. Genius.

Along with “Visions of Johanna,” “Sad Eyed Lady from the Lowlands” is Dylan at the pinnacle of his songwriting. Covering the entirety of side four upon its original LP release and clocking in at 11:20 this is one of Dylan’s epic compositions, a love song waltz for the ages. It is also the perfect closing track.

During this time few of Dylan’s songs were referencing his then wife Sara, the woman who would truly give Dylan a glimpse into heartbreak and who would ultimately trigger the recording of his other masterpiece, Blood on the Tracks. “Sad Eyed of the Lowlands” is far too surreal to be officially about Sara, however, Dylan hints later in the remorseful breakup song “Sara” that he was: Stayin’ up for days in the Chelsea Hotel / Writin’ “Sad-Eyed Lady of the Lowlands” for you.

Whoever the song is intended for, the song’s beautiful imagery idolizes the subject at hand. It does so in an appropriately unsappy manner, paying homage to the complexities of his adoration for her. The details, it’s all about the details in this song. 

You don’t get much more romantic than: “your silhouette when the sunlight dims / Into your eyes where the moonlight swims” and “your eyes like smoke and your prayers like rhymes.”

Blonde on Blonde is a near flawless album. If you take into account its length it’s hands down one of Dylan’s most ambitious LPs. Even the outtakes during its recording–most notably “I Wanna Be Your Lover”–remain highlights in his massive bootleg catalogue.

As a single “Rainy Day Women #12 & 35” is not a horrible song but as the opener to one of Dylan’s finest albums it falls short of properly setting the stage. Controversy sells but it doesn’t always warrant praise. The whimsical side of Dylan has always been present throughout his records and Blonde is hardly the exception, however, there’s a fine line between whimsical (see “All I Really Want To Do”) and stoner stupid.

In a perfect world “Most Likely You Go Your Way (And I’ll Go Mine),” which opens side three and would later be used to open Dylan’s legendary tour with The Band (see Before the Flood), would have trumped “Rainy Day Women” as the album’s true opener. Still it’s unfair to fault Dylan for something as simple as a mediocre opening track since the collection of songs featured on Blonde on Blonde are among the best in rock and roll history. There is a short, short list of ambitious double albums that truly work and this towers above the rest.

The album completed one of finest recording runs, ever (unprecedented at the time, save The Beatles), and its musical diversity sums up perfectly the breadth of Dylan’s career thus far. Its Nashville roots (the album was recorded in the musically rich city) would enable Dylan to later branch out to the country realm (see John Wesley Harding and Nashville Skyline). It gave listeners the first glimpse at his musical possibilities with The Band. To bring it all back home, Blonde on Blonde, along with Highway 61 Revisited, The Basement Tapes, and Blood on the Tracks, is a must own album for anyone even remotely interested in Dylan or rock and roll in general.


Essential Tracks: “Visions of Johanna,” “One of Us Must Know (Sooner or Later),” “Just Like a Woman,” “Sad Eyed Lady of the Lowlands”

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