Blonde on Blonde is American
singer-songwriter Bob
Dylan's seventh
studio album,
released May 1966 by
Columbia
Records.
The album is believed to be the first significant
double album in
rock
music, its length forcing it to two
LP. It is notable for injecting Dylan's
brand of
blues rock, fully established on
Highway 61 Revisited,
with a more eclectic sound and even more surreal lyrics. It also
marked the end of an era for Dylan, who would soon be involved in a
motorcycle accident, significantly changing his musical
approach.
Recorded
in Nashville
, the album was produced by Bob Johnston. It peaked at #9 on
Billboard's Pop Albums chart
in the US, eventually going double-platinum, while it reached #3 in
the UK. It is ranked as the ninth greatest album of all time by
both
VH1 and
Rolling Stone.
Recording sessions
Background
Dylan's appearance at Newport
Folk Festival in July 1965 marked his first attempt to
replicate his new sound in concert. His next attempt would come at
two concerts scheduled at the end of August.
Al Kooper and bassist
Harvey Brooks, both of whom played on
Highway 61 Revisited,
were hired for these performances, but guitarist
Michael Bloomfield and drummer Bobby Gregg
were unable to attend due to prior obligations. In their place,
Dylan recruited
Robbie Robertson
and
Levon Helm, both of whom were members
of the Hawks (who would later be known as
The
Band).
It is unclear how Dylan came to this decision; he was familiar with
the Hawks through
John Hammond,
Jr.'s
So Many Roads, but it is possible his manager's
secretary, Mary Martin, suggested their hiring, as well. (Martin
was an avid fan of the Hawks.) Dylan actually auditioned and hired
Robertson first, and backed by a preliminary four-piece band, began
rehearsals at Carroll's Rehearsal Hall without Helm. After two
weeks of rehearsing, "Robbie [wasn't] impressed with the drummer
Bob was using and suggested he hire me instead," recalls Helm, who
ultimately rehearsed with the band before securing his place as the
new drummer.
The first concert was held on August 28 in New York's Forest Hills
Stadium. The first half of the show was dedicated to a 45-minute
solo acoustic set, which seemed to placate his older fans, but only
"To Ramona" (from
Another
Side of Bob Dylan) predated his "newer" work. One song,
the epic "
Desolation Row", was taken
from
Highway 61
Revisited, which was not due to hit stores until two days
later. After the set was over, Dylan had a brief talk with the band
before beginning the second, full electric band set. According to
Brooks, "We talked about just remembering the music and having a
good time with it. Bob said, '...If they don't like it, too bad.
They'll have to learn to like it.'"
With the exception of "Maggie's Farm" and "Like a Rolling Stone",
the electric set was mostly unfamiliar to the audience; four songs
had yet to see release on
Highway 61 Revisited while new
renditions of "It Ain't Me, Babe" and "I Don't Believe You" were
radically changed, electrified versions of two songs better known
in their acoustic renditions.
Though it is unclear what proportion of the audience was booing,
they were fairly vocal. Dylan's friend
Paul Nelson recalls, "There were very
few people applauding the electric set. Some woman walked up to me
and said, '
Joan Baez wouldn't sell out
like this,' and I thought, 'Joan Baez? What's she got to sell
out?'" (Baez herself would soon release her own records featuring
electric accompaniment.)
Several
days later, before flying to Los Angeles
for the second concert, then-journalist Nora Ephron asked Dylan to respond to the
audience's reaction at Forest Hills. "I thought it was
great," said Dylan, "I really did. If I said anything else I'd be a
liar."
On
September 3, Dylan and the band played an identical set at the
Hollywood
Bowl
. The audience was considerably more
friendly, and when
Levon Helm expressed
his relief, Dylan replied, "I wish they had booed. It's good
publicity. Sells tickets."
The Hollywood Bowl performance did get considerably less news coverage
than the Forest Hills performance, which made The Village Voice's front page
("Mods, rockers fight over new thing called 'Dylan'").
In fact, Dylan held his first real American press conference the
day after the Hollywood Bowl performance, giving a preview of the
unpredictable press conferences and interviews that would be
conducted over the next year.
Meanwhile, Dylan had three more shows scheduled later in the fall,
and
Al Kooper suddenly informed Dylan that
he would not participate as the negative reaction from previous
performances proved too much for him. Upon hearing this decision,
Levon Helm approached Dylan's manager
with a surprising ultimatum: "Take us all, or don't take anybody."
Helm was
more interested in reuniting his band, the Hawks, than touring with
Dylan, but as it was, Dylan accepted Helm's proposal, and two
all-night rehearsals were held before Dylan and the Hawks traveled
to Texas
for two
concerts at the end of September. Those shows, as well
as an October 1st show at New York
's Carnegie Hall
, were all well-received, but they were not without
controversy. At the Carnegie Hall show, Dylan's friend Paul Nelson recalls that "most
of the people from Sing Out made
a point to leave at intermission." However, Helm adds
that "at Carnegie
Hall a couple of hundred people rushed the stage at the
end, shouting for more ... [Dylan was] really beaming.
'Thank you,' he mumbled. 'I didn't think you'd feel that
way.'"
New York
Perhaps as a result of these performances, Dylan decided to take
the Hawks into the studio.
A session produced by Bob Johnston was held
on October 5 and 6, at Columbia's Studio A in New York City
. The session focused on two songs: "I Wanna
Be Your Lover" and "Can You Please Crawl Out Your Window?" The
former was ultimately shelved and would later see release on 1985's
boxed-set retrospective,
Biograph, while the latter was a new
arrangement of a song recorded but rejected during sessions for
Highway 61 Revisited.
This new version of "Can You Please Crawl Out Your Window?" was
soon issued as a single-only release, reaching #58 on the singles
charts.
As Dylan became more confident about the Hawks, the nay-sayers grew
more hostile.
More shows were scheduled in October, and
they attracted a number of hecklers, shouting "Go back to England
!" and "Get
rid of the band!" It eventually took its toll on Helm, who
soon left the band, citing the booing as the main reason. By then,
drummer
Bobby Gregg was available, and
he was recruited as a replacement.
Even without Helm, Dylan still felt he had a potential band for his
next album. On November 30, the Hawks (with Gregg still sitting in
for Helm) accompanied Dylan at Columbia's Studio A to record
Dylan's latest composition, "Freeze Out". Later retitled "Visions
of Johanna," "Freeze Out" was an ambitious composition, a surreal
epic approaching ten-minutes in some performances. Even with
session players like guitarist
Bruce
Langhorne, keyboardist Paul Griffin, and
Al Kooper standing by at the November 30 session,
Dylan was unable to record a satisfactory performance of his new
song.
Dylan would not hold another session until after New Year's; on
January 21, 1966, he returned to Columbia's Studio A to record
another long composition, "She's Your Lover Now." Accompanied by
the Hawks (this time with Sandy Konikoff sitting in on drums), the
session failed to yield a single complete take of "She's Your Lover
Now"; Dylan would not attempt to record this song again, but a
recording from the January 21 session would ultimately appear on
The Bootleg Series Volumes 1-3 1961-1991. (Columbia
reportedly issued the most 'complete' take from that session, as it
breaks down at the start of the very last verse.)
Failing to realize two potential songs for his planned album, Dylan
grew disillusioned about using the Hawks for studio recording. He
held another session at Studio A on January 25, but this time he
was backed by drummer Bobby Gregg, bassist William E. Lee, pianist
Paul Griffin, and Al Kooper on organ;
Robbie Robertson also played at this
session, and several members of the Hawks may have been present
too, but their presence is uncertain due to the lack of
documentation. Regardless, two more new compositions were recorded
on January 25: "Leopard-Skin Pill-Box Hat" and "One of Us Must Know
(Sooner or Later)." Only "One of Us Must Know" was successfully
realized, and a master take was later selected for the final
album.
Another session was held on the 27th, this time with guitarist
Robbie Robertson, bassist
Rick Danko,
Al Kooper,
and drummer Bobby Gregg. "Leopard-Skin Pill-Box Hat" and "One of Us
Must Know" were recorded again, but Dylan was still unable to
realize the former and performances of the latter did not supplant
the master take that was ultimately taken from January 25. A rough
performance of "I'll Keep It With Mine" was also recorded at this
session; though it doesn't appear to be a serious attempt at
realizing the song, the recording was ultimately released on
The Bootleg Series Volumes 1-3 1961-1991.
Meanwhile, the shortage of new songs and the sessions' slow
progress contributed to Dylan's decision to cancel three more
recording sessions he had already scheduled. Dylan would later meet
with critic
Robert Shelton in March
and admit that "Oh, I was really down. I mean, in ten recording
sessions, man, we didn't get one song ... It was the band. But you
see, I didn't know that. I didn't want to think that."
Nashville
Around this time, Dylan decided a change in scenery would help his
situation.
Producer Bob
Johnston had some experience recording at Columbia's studios in
Nashville,
Tennessee, working with seasoned veterans like Grady Martin
and Floyd Cramer. "They were
great musicians, but they were used to working a certain way,"
Johnston recalls. "I'd ask them to play this or that part, and
they'd say, 'Nope, don't want to play that.' They wouldn't play
anything they didn't want to play." Johnston was also familiar with
a number of musicians, including Jerry Kennedy, Wayne Moss, and
Kenny Buttrey, who had moved up to
Nashville from Florida and other parts of the South. "I started
using them on demo sessions [in Nashville] and liked them." During
sessions for
Highway 61
Revisited, Johnston flew one of these musicians,
Charlie McCoy, into New York to accompany
Dylan on "Desolation Row." It was during those sessions that
Johnston told Dylan he should try recording in Nashville. "I said,
'You outta come on down to Nashville sometime. They got no clocks
down there, and they've really got a bunch [of] great musicians —
everybody really cares ... Bob just kind of said, 'Hmm,' and put
his hand to his chin, looking like
Jack
Benny" recalls Johnston. "That's how he always was with a new
idea — everything you ever said to him he always heard, but he
never reacted right away. He'd just file it away, and it would come
out later if he liked it." Dylan's manager,
Albert Grossman, and Columbia Records
president Bill Gallagher, were present during this exchange, and
according to Johnston, "a little later, [they] came to me and said,
'If you ever mention anything about Nashville again to Dylan, we'll
fire you. The reason being, we're having too much success the way
we're doing it now.' I said, 'Okay, you're the boss.'"
However, Dylan never forgot Johnston's suggestion. A session was
actually scheduled for November 1965, but it was cancelled at the
last minute. With his current situation, Dylan decided to give
Nashville a try. "It wasn't me pressuring him in any way," recalls
Johnston. "I took him to Nashville later because he'd said, 'Let's
go down there.'"
On
February 14,
1966, Dylan held his first recording session at
Columbia's Music Row Studios in Nashville, Tennessee. In addition
to
Al Kooper, Dylan and Johnston recruited
noted
harmonica player, guitarist and
bassist
Charlie McCoy, guitarist Wayne
Moss, guitarist and bassist
Joe South, and
drummer Kenny Buttrey. Charlie McCoy recalls, "When [Dylan] first
came in ... he asked us if we'd mind waiting a while. They had
stopped at an airport in Richmond and he didn't have a chance to
finish his material. ... So we all went out and let him have the
studio to himself. He ended up staying in there [writing] for six
hours."
Three songs were recorded at that first Nashville session, with
"Fourth Time Around" and "Visions of Johanna" receiving successful
renditions that were ultimately chosen for the album. Further
attempts at "Leopard-Skin Pill-Box Hat," however, were deemed
unsatisfactory. (Guitarist Jerry Kennedy and pianist
Hargus "Pig" Robbins attended this session, playing
only on "Leopard-Skin Pill-Box Hat.")
The next day, Dylan held an extended session that lasted through
the early morning hours of February 16. However, studio logs
indicate that no actual songs were recorded until 4 a.m. on the
morning of February 16. It was during this session that Dylan
recorded another epic composition, "Sad-Eyed Lady of the Lowlands."
Ken Buttrey recalls, "[Dylan] ran down a verse and a chorus and he
just quit and said, 'We'll do a verse and a chorus then I'll play
my harmonica thing. Then we'll do another verse and a chorus then
I'll play some more harmonica, and we'll see how it goes from
there.' ... we were preparing ourselves dynamically for a basic
two- to three- minute record because records just didn't go over
three minutes ... If you notice that record, that thing after like
the second chorus starts building and building like crazy, and
everybody's just peaking it up 'cause we thought, Man, this is it
... This is gonna be the last chorus and we've gotta put everything
into it we can. And he played another harmonica solo and went back
down to another verse and the dynamics had to drop back down to a
verse kind of feel ... After about ten minutes of this thing we're
cracking up at each other, at what we were doing. I mean, we peaked
five minutes ago. Where do we go from here?"
Another session, held at 6 p.m. on February 17, was dedicated to
yet another epic composition, "Stuck Inside of Mobile with the
Memphis Blues Again". A master take was successfully recorded and
later included on the final album.
Dylan left Nashville to play a handful of concerts, backed by the
Hawks, but he returned in March to resume sessions at Columbia's
Music Row Studios. This time, he came prepared with eight songs to
record. According to Al Kooper, Dylan would spend much of his spare
time in his hotel room, refining these compositions. "He had a
piano in his room at the hotel and during the day I would go up
there and he would teach me the song," recalls Kooper. "I would
play the song over and over on the piano for him. This served a
double purpose. One, he could concentrate on writing lyrics and
didn't have to mess with playing the piano; two, I could go to the
studio early that night and teach it to the band before he even got
there, so they could be playing the song before he even walked
through the door."
On March 8, master takes of "Absolutely Sweet Marie," "Just Like A
Woman," and "Pledging My Time" were all recorded. A final,
all-night session ran through the evening of March 9 into the early
morning hours of March 10, producing master takes of "Most Likely
You Go Your Way (And I'll Go Mine)," "Temporary Like Achilles,"
"
Rainy Day Women #12 &
35," "Obviously Five Believers," "I Want You," and
"Leopard-Skin Pill-Box Hat," all of which would be included on the
final album.
Dylan was very pleased with the Nashville sessions, and when he
supervised the final mix of
Blonde on Blonde in April in
Los Angeles, he had enough material for a double-album.
"The closest I ever got to the sound I hear in my mind was on
individual bands in the
Blonde on Blonde album," Dylan
would later say in 1978. "It's that thin, that wild mercury sound.
It's metallic and bright gold, with whatever that conjures up.
That's my particular sound. I haven't been able to succeed in
getting it all the time. Mostly I've been driving at a combination
of guitar, harmonica, and organ."
Inspirations and song analysis
At least some of the tracks that make up
Blonde on Blonde
are known to be about Dylan's then-wife,
Sara Lownds, and other tracks on the record are
widely believed to have been influenced by his relationships with
Warhol model
Edie
Sedgwick and musician
Joan Baez. Dylan
was romantically involved with all three women until just before
his secret marriage to Lownds in November 1965.
The track
"Sara" from Dylan's
1976 album Desire
features the line, "Staying up for days in The Chelsea Hotel
/Writing 'Sad-Eyed Lady of the Lowlands'
for you". In addition to the similarity between the word
"Lowlands" and his wife's previous married name Lownds, it seems
that the final track on
Blonde on Blonde was inspired by
his Sara.
During an impromptu performance in a
Denver
hotel room
in 1966, Dylan called the track "the best song I ever
wrote." "Sad Eyed Lady of the Lowlands" remains one of the
few songs from Dylan's early period never to have been played in
concert. However, the song was played at at least one rehearsal for
his mid-1970s
Rolling Thunder
Revue Tour.
Salon.com critic Bill Wyman
praised
Blonde on Blonde for its songs and performances,
writing that "[Dylan's] singing alone is a catalog of the human
emotion genome, excepting perhaps mercy. Dylan swaggers, brags,
sighs, loves, loses, smiles, grieves, pleads, lusts, swoons and
trips — and that's just on 'Pledging My Time' and 'Visions of
Johanna.' The album contains 'Just Like a Woman', a love song so
elegant and confused it's not clear today, nearly 35 years later,
whether it is insufferably condescending or startlingly loving. The
album ends with a song that took up an entire album side back in
the vinyl days, a love song to Sara Dylan, 'Sad-Eyed Lady of the
Lowlands', more feverish and disturbed than even
Van Morrison's
Astral Weeks."
"Rainy Day Women #12 & 35" opens
Blonde on Blonde with
"a Salvation Army sound," as Dylan describes it. Wyman referred to
it as a "
stoner anthem" due to
its drunk atmosphere and the continual use of the words "stone" and
"stoned" ("They'll stone you when they say that it's the end ...
But I would not feel so all alone / Everybody must get stoned"),
but as Clinton Heylin writes, the song generated "some controversy
among those unconversant with
Proverbs 27:15" ("A continual dropping in a
very rainy day and a contentious woman are alike").
Heylin wrote that "Visions of Johanna" was perhaps "his most
perfect composition. The song's imagery is bone-chillingly precise,
even as its subject matter, the omnipresent yet physically absent
Johanna, hovers nebulously out of reach."
NPR's
Tim Riley writes that "'Stuck Inside of Mobile with the Memphis
Blues Again' may be rock's grandest costume piece, balancing
displacement and alienation with the offhand hatchet job
(Shakespeare hitting on a French girl, the preacher 'dressed / With
twenty pounds of headlines / Stapled to his chest')."
Saturday Evening Post writer
Jules Siegel (who was traveling with
Dylan while writing a cover story on him) was present in Dylan's
hotel room in Vancouver, British Columbia, when
Albert Grossman brought him what was
probably the first acetate dub of
Blonde on Blonde.
According to Siegel, after playing "Sad-Eyed Lady of the Lowlands",
Dylan said, "Now that is
religious
music! That is religious
carnival
music. I just got that real old-time religious carnival sound
there, didn't I?"
Album cover and packaging
The cover of
Blonde on Blonde features Dylan before a
brick building, wearing a heavy button-up winter
coat along with a black and white checkered
scarf. He appears to be wearing a very simliar coat on
the covers of his next two records,
John Wesley Harding and
Nashville Skyline.
AllMusic writer
Bill Janovitz notes though the picture is
extremely blurred, Dylan appears to be scowling at the camera,
seemingly asking, "You think you have a clear picture of who I
am?"
The original inside gatefold featured a photograph of the Italian
Tunisian-born actress
Claudia
Cardinale that was used without her permission. Some critics at
the time questioned if the photo was of Dylan himself in
drag. From 1968 onward, Cardinale's photo was
removed from all American pressings of the album, making copies of
the record sleeve featuring the actress a collector's item.
However, some non-U.S. pressings of the album continue to use
Cardinale's picture.
Other people featured in the photos on the inner gatefold include
Dylan, his manager
Albert Grossman,
photographer
Jerry Schatzberg, and
Lady Sandra Suffolk. There is also a photo of an unidentified young
woman whispering into Dylan's ear; some fans believed for a while
that the woman was Edie Sedgwick, but recent research has suggested
that it is most likely not the Factory actress.
Release formats and variations between pressings
Blonde on Blonde has been released on nearly every music
format in existence, including
vinyl,
8 track,
cassette,
compact
disc, and
MP3. However, there are many
different mixes of the album (no fewer than eleven), with marked
differences in sound mixes and track times. In addition, at least
one European market saw the album originally released as two single
LPs. To date, no single version has been cited by Dylan as
canonical.
Even the album's original release date remains in doubt; while
Columbia reports an official date of May 16, 1966, several Dylan
discographers have challenged the date, seeing as the album only
charted on the
Billboard 200
for the week ending
July 23, a full two
months after the May release date.
In 1974, an 8-track version of the album was released. In order to
fit on the cartridge, the first 8 bars of the instrumental intro to
"Sad-Eyed Lady of the Lowlands" were cropped. Around the same time
period, Columbia released a cassette tape version.
Blonde on Blonde debuted on CD in 1987 (albeit in abridged
form), and since then has seen at least six unique compact disc
pressings. At least two abridged
compact
disc versions are known to exist -- due to the limited time
restraints of early CDs, some of the songs were prematurely faded
out, cropped, or sped up. In 1989,
Blonde on Blonde was
finally presented by Columbia in unedited form on CD for the first
time. It was also released as a MasterSound
Gold
CD and as an
SACD (in both a
stereo and a
5.1 Surround Sound
mix).
The record was first made available in the digital MP3 format in
online music stores on June 1, 2004.
Outtakes
The following outtakes were recorded during the
Blonde on
Blonde sessions. "Tell Me Momma" also was played live during
the 1966 concerts.
- "I Wanna Be Your Lover" (a.k.a. "I Don't Want to be Your
Partner")
- "I'll Keep It With Mine"
- "Jet Pilot"
- "Medicine Sunday" (which later evolved into "Temporary Like
Achilles")
- "Number One" (instrumental)
- "She's Your Lover Now" (a.k.a. "Just a Little Glass of
Water")
- Untitled Instrumental
The following songs were also recorded in a hotel room around the
time
Blonde on Blonde was being recorded.
- "Don't Tell Him, Tell Me"
- "If You Want My Love"
- "Just Like a Woman"
- "Positively Van Gogh"
- "Sad Eyed Lady of the Lowlands"
- "What Kind of Friend is This?"
- "On A Rainy Afternoon"
- "I Can't Leave Her Behind"
Aftermath
Soon after handing the final mixes of
Blonde on Blonde
over to Columbia Records, Dylan flew to Hawaii for the first of
many concerts scheduled in a two-month tour. The album would not be
released until mid-May 1966, and until then Dylan had a series of
concert engagements to attend.
Despite their disappointing performances in the studio, the Hawks
were far more successful on-stage. Though some fans remained
unsatisfied with Dylan's new musical direction, the Hawks would
eventually become Dylan's most celebrated touring band. That
reputation would be secured with the upcoming tour and eventually
documented in
The Bootleg
Series Vol. 4: Bob
Dylan Live 1966, The "Royal Albert Hall" Concert.
Following his motorcycle accident and withdrawal from public life
in June 1966, Dylan worked with the Hawks again the following year
in upstate New York, recording and developing songs which would
eventually be released as the
Basement Tapes.
Critical reception
Blonde on Blonde was a commercial success; it even spawned
several hit singles that restored Dylan to the upper echelons of
the singles chart. However, it was an even greater critical
success. As critic
Dave Marsh wrote in
the
Rolling Stone Record
Guide,
Blonde on Blonde is widely regarded as one
of Dylan's "best albums, and [one] of the greatest in the history
of rock & roll."
"A sprawling abstraction of eccentric blues revisionism,
Blonde
on Blonde confirms Dylan's stature as the greatest American
rock presence since
Elvis Presley,"
writes Tim Riley. Critic
Greil Marcus
wrote that
Blonde on Blonde is "the sound of a man trying
to stand up in a drunken boat, and, for the moment, succeeding. His
tone was sardonic, scared, threatening, as if he'd awakened after
paying all his debts to find that nothing was settled."
In 1974,
NME's writers rated
Blonde
on Blonde as the #2 album of all time. In August 1995
Blonde on Blonde placed number 8 as the greatest album of
all time in a poll conducted by
Mojo Magazine. In 1997, it placed at
number 16 in a "Music of the Millennium" poll conducted by
HMV,
Channel 4,
The Guardian and
Classic FM. In 1998,
Q magazine readers placed it at number
47.In 2003, the album was ranked number 9 on
Rolling Stone magazine's list of
the 500 greatest albums of
all time. In 2006,
TIME
magazine included the record on their 100 All-TIME Albums
list.
Martin Scorsese's 2005 documentary
No Direction Home (which
covers Dylan's life from birth to 1966, with an emphasis on Dylan's
metamorphosis from smalltown youth to folk sensation to
world-renowned folk-rock popstar) offers virtually no specific
insight into either the making of
Blonde on Blonde, or its
contents. Furthermore, there is apparently no visual record of the
actual
Blonde on Blonde recording sessions themselves,
with no extant photographs or film directly attributable.
Track listing
All songs written by Bob Dylan.
Side One
- "Rainy Day Women #12
& 35" – 4:36
- "Pledging My Time" – 3:50
- "Visions of Johanna" –
7:33
- "One of Us
Must Know " – 4:54
Side Two
- "I Want You" –
3:07
- "Stuck Inside
of Mobile with the Memphis Blues Again" – 7:05
- "Leopard-Skin Pill-Box
Hat" – 3:58
- "Just Like a Woman" –
4:52
Side Three
- "Most
Likely You Go Your Way " – 3:30
- "Temporary Like
Achilles" – 5:02
- "Absolutely Sweet Marie"
– 4:57
- "4th Time Around" – 4:35
- "Obviously 5 Believers" –
3:35
Side Four
- "Sad Eyed Lady of the
Lowlands" – 11:23
Personnel
- Bob Dylan – Vocals, guitar, harmonica, piano
- Robbie Robertson – guitar, Vocals
- Rick Danko – bass, violin, Vocals (not on final album)
- Garth Hudson – keyboards, saxophone (not on final album)
- Richard Manuel – drums, keyboards, Vocals
(not on final album)
- Charlie McCoy – bass, guitar, harmonica, trumpet
- Al Kooper – organ, guitar, horn, keyboards
- Hargus "Pig" Robbins – piano, keyboards
- Bill Atkins – keyboards
- Paul Griffin – piano
- Kenneth A. Buttrey – drums
- Sanford Konikoff – drums
- Joe South – guitar
- Jerry Kennedy – guitar
- Wayne Moss – guitar, Vocals
- Henry Strzelecki – bass
- Wayne Butler – trombone
- Bob Johnston – producer
- Mark Wilder – remixing, remastering
- Amy Herot – reissue producer
References
- Alan Light, "The All-TIME 100 Albums", Time, November
13, 2006
- Heylin, Clinton (2003). Bob Dylan: Behind the Shades
Revisited, pp. 228-43. HarperCollins. ISBN 006052569X.
- Edie Sedgwick Biography
- http://www.youtube.com/watch?v=CqdpJKRwNVk
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http://books.google.com/books?id=6vFnVz3IaZwC&pg=PA533&lpg=PA533&dq=dylan+%22the+best+song+i+ever+wrote%22+sad+eyed&source=bl&ots=zJUZorDDQ8&sig=qKwRyFc_8onEtV6adD6wFyTEAhA&hl=en&ei=7PqYSqDOC4-Btwf2-ay7BA&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=dylan%20%22the%20best%20song%20i%20ever%20wrote%22%20sad%20eyed&f=false
-
http://books.google.com/books?id=6vFnVz3IaZwC&pg=PA533&lpg=PA533&dq=dylan+%22the+best+song+i+ever+wrote%22+sad+eyed&source=bl&ots=zJUZorDDQ8&sig=qKwRyFc_8onEtV6adD6wFyTEAhA&hl=en&ei=7PqYSqDOC4-Btwf2-ay7BA&sa=X&oi=book_result&ct=result&resnum=1#v=onepage&q=dylan%20%22the%20best%20song%20i%20ever%20wrote%22%20sad%20eyed&f=false
- Riley, Tim (1999). Hard Rain: A Dylan Commentary, pp.
128-30. Da Capo Press. ISBN 0306809079.
- Quoted in Heylin (2003), p. 243.
-
http://allmusic.com/cg/amg.dll?p=amg&sql=33:3xfrxzerldke
- http://www.searchingforagem.com/1960s/blonde.htm
- http://www.searchingforagem.com/1960s/blonde.htm
- http://www.searchingforagem.com/1960s/1966Blonde.htm
- http://www.searchingforagem.com/1970s/1974.htm
- http://www.searchingforagem.com/1960s/International007.htm
- Blonde on Blonde: The Record That Can't Be Set
Straight - part II
- http://www.two-riders.co.uk/bobpt1c.html
-
http://www.amazon.com/Blonde-On/dp/B00136NYY4/ref=sr_1_2?ie=UTF8&s=dmusic&qid=1243900141&sr=8-2
- http://www.rocklistmusic.co.uk/nme_writers.htm#100_74
- http://www.time.com/time/2006/100albums/
- Barney
Hoskyns, Across The Great Divide: The Band & America (UK:
Viking; US: Hyperion, 1993) and the
Bob Dylan recording sessions
See also
Charts
Album
| Year |
Chart |
Position |
| 1966 |
Billboard 200 |
9 |
| 1966 |
UK Top 75 |
3 |
|
Singles
Wikis
Quiz
Map
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