May 16, 2016 Blonde on Blonde is full of that “not around” chill – Dylan mixes up the Texas medicine and the railroad gin for a whole album of high-lonesome late-night dread, blues hallucinations and his.
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. 'Released: February 14, 1966. ' / 'Released: April 1966.
'Released: June 1966. ' / 'Obviously 5 Believers'Released: September 1966. ' / 'Released: April 1967Blonde on Blonde is the seventh studio album by American, released on June 20, 1966. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band,. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—'. At producer 's suggestion, Dylan, keyboardist, and guitarist moved to the studios in. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.Blonde on Blonde completed the trilogy of albums that Dylan recorded in 1965 and 1966, starting with.
Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called 'a unique mixture of the visionary and the colloquial'. It was one of the first in rock music.The album peaked at number nine on the chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: ' and '. Two additional songs—' and '—have been named as among Dylan's greatest compositions and were featured in list. Contents.Recording sessions Background After the release of in August 1965, Dylan set about hiring a touring band. Guitarist and keyboard player had backed Dylan on the album and at.
However, Bloomfield chose not to tour with Dylan, preferring to remain with the. After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. Dylan's manager, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of from Arkansas and four Canadian musicians:,.
They had come together as a band in Canada, backing American rocker. Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer, son of record producer, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads.Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in. Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. Their immediate task was to record a hit single as the follow-up to ', but Dylan was already shaping his next album, the third one that year backed by rock musicians. New York sessions Producer, who had overseen the recording of Highway 61 Revisited, started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5.
They concentrated on a new arrangement of ', a song recorded during the Highway 61 Revisited sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs.
Both the fragmentary 'Jet Pilot' and 'I Wanna Be Your Lover', a quasi-parody of ' ', finally appeared on the 1985 box set retrospective,. Also attempted were two takes of 'Medicine Sunday', a song that later evolved into '.On November 30, the Hawks joined Dylan again at Studio A, but drummer replaced Levon Helm, who had tired of playing in a backing band and quit. They began work on a new composition, 'Freeze Out', which was later retitled ', but Dylan wasn't satisfied with the results. One of the November 30 recordings was eventually released on in 2005. At this session, they completed 'Can You Please Crawl Out Your Window?' The song was released as a single in December, but only reached number 58 on the American charts.Dylan spent most of December in California, performing a dozen concerts with his band, and then took a break through the third week in January following the birth of his son. On January 21, 1966, he returned to Columbia's Studio A to record another long composition, ', accompanied by the Hawks (this time with Sandy Konikoff on drums).
Despite nineteen takes, the session failed to yield any complete recordings. Dylan did not attempt the song again, but one of the outtakes from the January 21 session finally appeared 25 years later on. (Although the song breaks down at the start of the last verse, Columbia released it as the most complete take from the session. )Around this time, Dylan became disillusioned about using the Hawks in the studio. He recorded more material at Studio A on January 25, backed by drummer Bobby Gregg, bassist Rick Danko (or ), guitarist Robbie Robertson, pianist, and organist Al Kooper. Two more new compositions were attempted: ' and '. Dylan was satisfied with 'One of Us Must Know'; the January 25 take was released as a a few weeks later and was subsequently selected for the album.Another session took place on January 27, this time with Robertson, Danko, Kooper and Gregg.
Dylan and his band recorded 'Leopard-Skin Pill-Box Hat' and 'One of Us Must Know (Sooner or Later)' again, but Dylan was not satisfied with the recorded performance of either song. Also at this session Dylan attempted a rough performance of ', a song which he had already recorded twice as a. The musicians added some tentative backing in a rendering biographer described as 'cursory'. The recording was ultimately released on The Bootleg Series Volumes 1–3 in 1991.A shortage of new material and the slow progress of the sessions contributed to Dylan's decision to cancel three additional recording dates. Six weeks later Dylan confided to critic, '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'. Move to Nashville Recognizing Dylan's dissatisfaction with the progress of the recordings, producer Bob Johnston suggested that they move the sessions to. Johnston lived there and had extensive experience working with Nashville session musicians. He recalled how Dylan's manager, Albert Grossman, was hostile to the idea: 'Grossman came up to me and said 'If you ever mention Nashville to Dylan again, you're gone.'
I said, 'What do you mean?' He said, 'You heard me. We got a thing going here'. Despite Grossman's opposition, Dylan agreed to Johnston's suggestion, and preparations were made to record the album at Columbia's A Studio on Nashville's in February 1966.In addition to Kooper and Robertson, who accompanied Dylan from New York, Johnston recruited player, guitarist and bassist, guitarist, guitarist and bassist, and drummer. At Dylan's request, Johnston removed the baffles—partitions separating the musicians so that there was 'an ambience fit for an ensemble'. Buttrey credited the distinctive sound of the album to Johnston's re-arrangement of the studio, 'as if we were on a tight stage, as opposed to playing in a big hall where you're ninety miles apart'. Dylan had a piano installed in his Nashville hotel room which Kooper would play to help Dylan write lyrics.
Kooper would then teach the tunes to the musicians before Dylan arrived for the sessions.On the first Nashville session, on February 14, Dylan successfully recorded 'Visions of Johanna', which he had attempted several times in New York. Also recorded was a take of ' which made it onto the album and a take of 'Leopard-Skin Pill-Box Hat' which did not.On February 15 the session began at 6 p.m. But Dylan simply sat in the studio working on his lyrics while the musicians played cards, napped and chatted. Finally, at 4 a.m., Dylan called the musicians in and outlined the structure of the song.
Dylan counted off and the musicians fell in, as he attempted his epic composition '. Kenny Buttrey recalled, '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?' The finished song clocked in at 11 minutes, 23 seconds, and would occupy the entire fourth side of the album.The next session began similarly—Dylan spent the afternoon writing lyrics, and the session continued into the early hours of February 17, when the musicians began to record '. After several musical revisions and false starts, the fourteenth take was the version selected for the album. Recording sessions in Nashville Most accounts of recording Blonde on Blonde, including those by Dylan scholars and, agree that there were two blocks of recording sessions: February 14–17 and March 8–10, 1966. This chronology is based on the logs and files kept by Columbia Records.Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8.
On that date, Dylan and the musicians recorded the take of ' that Dylan selected for the album. Historian observed that 'with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll'. The same day saw the successful takes of ', and ', the latter 'driven by Robertson's screaming guitar'.According to Wilentz the final recording session, on March 9–10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was ', when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded 'Temporary Like Achilles'. The session atmosphere began to 'get giddy' around midnight when Dylan roughed out 'Rainy Day Women #12 & 35' on the piano.
Johnston recalled commenting; 'That sounds like the damn band'. Dylan replied; 'Can you get one?' Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.In quick succession Dylan and the musicians then recorded ' and a final take of 'Leopard-Skin Pill-Box Hat' powered by Robertson's lead guitar. The session concluded with ' on which, as Wilentz notes, 'Wayne Moss's rapid-fire on the guitar' are an impressive element of the recording.
Disagreement over Nashville recording dates Al Kooper, who played keyboards on every track of Blonde on Blonde, has contested the conventional account that there were two blocks of recording sessions in Nashville. In comments on Michael Gray's website, Kooper wrote: 'There was only ONE trip to Nashville for Robbie and I, and ALL THE TRACKS were cut in that one visit', stating that Dylan merely broke for an outstanding concert. Agreed with Kooper's version. Wilentz analyzed the recording of Blonde on Blonde in his book Bob Dylan In America, concluding that the 'official' documented version fits Dylan's known touring schedule, and notes that five of the eight songs first recorded after 'Stuck Inside of Mobile With The Memphis Blues Again', but none of those recorded earlier, include a section—Dylan's first extensive foray as a writer into that conventional structure'. Mixing and album title Dylan mixed the album in Los Angeles in early April, before he departed on the Australian leg of his. Wilentz writes that it was at this point it became 'obvious that the riches of the Nashville sessions could not fit onto a ', and they had 'produced enough solid material to demand an oddly configured double album, the first of its kind in contemporary popular music'. According to producer Steve Berkowitz, who supervised the reissue of Dylan's LPs in as in 2010, Johnston told him that they carefully worked on the mono mix for about three or four days whereas the stereo mix was finished in about four hours.Al Kooper recalled that both the album title, Blonde on Blonde, and song titles arrived during the mixing sessions.
'When they were mixing it, we were sitting around and Bob Johnston came in and said, 'What do you want to call this?' And Bob just like said them out one at a time. Free association and silliness, I'm sure, played a big role.' Another Dylan chronicler, Oliver Trager, notes that besides spelling out the initials of Dylan's first name, the album title is also a riff on Brecht on Brecht, a stage production based on works by German playwright that had influenced his early songwriting. Dylan himself has said of the title: 'Well, I don't even recall exactly how it came up, but I know it was all in good faith.
I don't know who thought of that. I certainly didn't.'
Songs '. Described the opening song on Blonde on Blonde as 'Dylan at his most truculent—toying with the title, the raggle-taggle ensemble singing, the giggling, the manic instrumentation, and a variety of implied games about liquor or dope.' Problems playing this file? See.According to author Andy Gill, by starting his new album with what sounded like 'a demented marching-band.
Staffed by crazy people out of their mind on loco-weed', Dylan delivered his biggest shock yet for his former folkie fans. The elaborate puns on getting stoned combine a sense of paranoiac persecution with 'nudge-nudge wink-wink bohemian hedonism'. Heylin points out that the connotations of getting stoned made the Salvation Army-style musical backing seem like a good joke. The enigmatic title came about, Heylin suggests, because Dylan knew a song entitled 'everybody must get stoned' would be kept off the airwaves.
Heylin links the title to the, chapter 27, verse 15: 'A continual dropping in a very rainy day and a contentious woman are alike.' Released as a single on March 22, 1966, 'Rainy Day Women' reached number two on the Billboard singles chart, and number seven in the UK. 'Following the good-time fun of 'Rainy Day Women #12 & 35', the -influenced 'Pledging My Time' sets the somber tone that runs through the album. It draws on several traditional blues songs, including ' recording of '. For critic, the lines 'Somebody got lucky but it was an accident' echo the lines 'Some joker got lucky, stole her back again' from 's ', which is itself an echo of the 1931 recording 'Devil Got My Woman'. Gray suggests that 'the gulping movements of the melodic phrases' derive from the melody of ', recorded by the in 1930.
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The couplet at the end of each verse expresses the theme: a pledge made to a prospective lover in hopes she 'will come through, too'. Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus 'Pig' Robbins's blues piano and Ken Buttrey's snare drum rolls. The song was released in edited form as the B-side of 'Rainy Day Women #12 & 35' in March. Describes 'Visions of Johanna' as one of Dylan's finest songs poetically. For Mellers, 'The blurring of time and consciousness is marvelously realized. When Johanna becomes a mythic as well as a real woman, floating in and out of the 'museums where infinity goes up on trial'.' Problems playing this file?
See.Considered by many critics as one of Dylan's masterpieces, 'Visions of Johanna' proved difficult to capture on tape. Heylin places the writing in the fall of 1965, when Dylan was living in the with his wife. In the New York recording studio, on November 30, Dylan announced his epic composition: 'This is called 'Freeze Out'.' Gill notes that this working title captures the 'air of nocturnal suspension in which the verse tableaux are sketched.
Full of whispering and muttering.' Wilentz relates how Dylan guided his backing musicians through fourteen takes, trying to sketch out how he wanted it played, saying at one point, 'it's not hard rock, The only thing in it that's hard is Robbie.' Wilentz notes that, as Dylan quiets things down, he inches closer to what will appear on the album.Ten weeks later, 'Visions of Johanna' fell into place quickly in the Nashville studio. Kooper recalled that he and Robertson had become adept at responding to Dylan's vocal and also singled out Joe South's contribution of 'this throbbing. Rhythmically amazing bass part'. Gill comments that the song begins by contrasting two lovers, the carnal Louise, and 'the more spiritual but unattainable' Johanna.
Ultimately, for Gill, the song seeks to convey how the artist is compelled to keep striving to pursue some elusive vision of perfection. For Heylin, the triumph of the song is in 'the way Dylan manages to write about the most inchoate feelings in such a vivid, immediate way.'
'When Dylan arrived at the studio on January 25, 1966, he had yet to work out the lyrics and title for what was to become the closing track on Blonde on Blonde 's first side. With Dylan piecing together the song's sections, and the chorus that gives the song its title only emerging on take five, the session stretched through the night and into the next morning. It was not until the fifteenth take that a full version was recorded. Dylan and the band persisted until they recorded take 24 which closed the session and made it onto the album four months later. Critic Jonathan Singer credits Griffin's piano for binding the song together: 'At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song's tension.' 'One of Us Must Know' is a straightforward account of a burned-out relationship.
Dissecting what went wrong, the narrator takes a defensive attitude in a one-sided conversation with his former lover. As he presents his case in the opening verse, it appears he is incapable of either acknowledging his part or limiting the abuse: 'I didn't mean to treat you so bad. You don't have to take it so personal. I didn't mean to make you so sad. You just happened to be there, that's all.' 'One of Us Must Know' was the first recording completed for Blonde on Blonde and the only one selected from the New York sessions. The song was released as the first single from the album on February 14, the same day Dylan began to record in Nashville.
It failed to appear on the American charts, but reached number 33 in the UK. 'Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase 'I want you', and a weird and complex cast of characters, 'too numerous to inhabit the song's three minutes comfortably', including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the 'dancing child with his Chinese suit'. Analyzing the evolution of the lyrics through successive drafts, Wilentz writes that there are numerous failures, 'about deputies asking him his name. Lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother'. Finally Dylan arrives at the right formula.Heylin points out that the 'gorgeous' tune illustrates what Dylan explained to a reporter in 1966: 'It's not just pretty words to a tune or putting tunes to words.
It's the words and the music together—I can hear the sound of what I want to say.' Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, 'just to bug him'. Released as a single in June 1966, shortly before the album Blonde on Blonde, 'I Want You' reached number 20 in the US, and number 16 in the UK. 'Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, 'which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks).
Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN MOBILE ALABAMA with the Memphis blues again'.' Inside the studio, the song evolved through several musical revisions. Heylin writes, 'It is the song's arrangement, and not its lyrics, that occupies the musicians through the wee small hours.' On the fifth take, released in 2005 on the, midtake Dylan stumbles on the formula 'Stuck inside of Mobile' on the fourth verse, and never goes back.
The song contains two oft-quoted pieces of Dylan's philosophy: 'Your debutante just knows what you need/ But I know what you want' and 'here I sit so patiently/ Waiting to find out what price/ You have to pay to get out of/ Going through all these things twice'. 'Leopard-Skin Pill-Box Hat' is a sarcastic satire on, fashion. Done in Chicago-blues style, the song derives its melody and part of its lyrics from 's 'Automobile (Blues)'.
Writes that its caustic attitude is 'moderated slightly when one realizes that jealous pique is the underlying emotion'. In the lyrics, the narrator observes his former lover in various situations wearing her 'brand new leopard-skin ', at one point finding his doctor with her and later spying her making love with a new boyfriend because she 'forgot to close the garage door'. In the closing lines, the narrator says he knows what her boyfriend really loves her for—her hat.The song evolved over the course of six takes in New York, 13 in the first Nashville session, and then one try on March 10, the take used for the album.
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Dylan, who gets credit on the liner notes as lead guitarist, opens the song playing lead (on the center-right stereo channel); however, Robertson handles the solos with a 'searing' performance (on the left stereo channel). A year following the recording, 'Leopard-Skin Pill-Box Hat' became the fifth single released from Blonde on Blonde, making it to number 81 on the. 'According to Wilentz's analysis of the session's tapes, Dylan felt his way into the lyrics of one of his most popular songs, singing 'disconnected lines and semi-gibberish' during the earlier takes. He was unsure what the person described in the song does that is just like a woman, rejecting 'shakes', 'wakes', and 'makes mistakes'. This exploration of female wiles and feminine vulnerability was widely rumored—'not least by her acquaintances among 's retinue'—to be about. The reference to Baby's penchant for 'fog.
Pearls' suggests Sedgwick or some similar debutante, according to Heylin.Discussing the lyrics, literary critic detects a 'note of social exclusion' in the line 'I was hungry and it was your world'. In response to the accusation that Dylan's depiction of female strategies is misogynistic, Ricks asks, 'Could there ever be any challenging art about men and women where the accusation just didn't arise?'
The song reached number 33 in the US. 'A bright blues 'stomper' about lovers parting, 'Most Likely You Go Your Way And I'll Go Mine' is one of the more literal songs Dylan recorded in his 1965–66 period. The narrator has tired of carrying his lover and is going to let her 'pass'. As in 'Just Like a Woman' and 'Absolutely Sweet Marie', he waits until the end of each verse to deliver the punch line, which in this case comes from the title. 'Most Likely You Go Your Way' was issued as a single a year later, in March 1967, on the B-side of 'Leopard-Skin Pill-Box Hat'. 'Temporary Like Achilles'This slow-moving blues number is highlighted by Hargus 'Pig' Robbins's 'dusky barrelhouse piano' and Dylan's 'brief wheeze of harmonica'.
In the song, the narrator has been spurned by his lover, who has already taken up with her latest boyfriend. Referring to his rival as ', the narrator senses the new suitor may end up being discarded as quickly as he was. The refrain that ends each of the main verses—'Honey, why are you so hard?' —is a Dylan had been wanting to work into a song. 'This song, described as 'up-tempo blues shuffle, pure ' and an example of 'obvious pop sensibility and compulsive melody', was recorded in four takes on March 7, 1966.
Gill sees the lyrics as a series of sexual metaphors, including 'beating on my trumpet' and keys to locked gates, many deriving from traditional blues. Nonetheless, the song contains what has been termed 'one of the most oft-repeated of Dylan's life lessons', the thought that 'to live outside the law you must be honest', which was later invoked in many bohemian and contexts. 'When released their sixth studio album, in December 1965, 's song ' attracted attention for the way in which Lennon disguised his account of an illicit affair in cryptic, Dylanesque language.
Dylan sketched out a response to the song, also in 3/4 time, copying the tune and circular structure, but taking Lennon's tale in a darker direction. Wilentz describes the result as sounding 'like Bob Dylan impersonating John Lennon impersonating Bob Dylan'.
'Obviously 5 Believers'. Critic Andy Gill describes this blues song as steaming along like 'a basic love moan', except for its apparently arbitrary references to fifteen jugglers and five believers. Clinton Heylin notes that every song Dylan recorded in Nashville was reliant on the caliber of the backing musicians, but this song was 'entirely dependent on them.'
Problems playing this file? Obviously 5 Believers', Blonde on Blonde's second-to-last track, is a roadhouse blues love song similar in melody and structure to 's ', and was described by Robert Shelton as 'the best song on the album'. Recorded in the early morning hours of the March 9–10 Nashville session under the working title 'Black Dog Blues', the song is driven by Robertson's guitar, Charlie McCoy's harmonica and 's drumming. After an initial breakdown, Dylan complained to the band that the song was 'very easy, man' and that he didn't want to spend much time on it. Within four takes, the recording was done.
'Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, 'Sad Eyed Lady' eventually occupied the whole of side four of Blonde On Blonde. Critics have observed that 'Lowlands' hints at 'Lownds', and Dylan biographer wrote that this was a 'wedding song' for, whom Dylan had married just three months earlier. In his to his wife, ', written in 1975, Dylan amends history slightly to claim that he stayed 'up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you'.When Dylan played Shelton the song, shortly after recording it, he claimed, 'This is the best song I've ever written.' Around the same time, Dylan enthused to journalist, 'Just listen to that! That's old-time religious carnival music!'
However, in 1969, Dylan confessed to 's editor, 'I just sat down at a table and started writing. And I just got carried away with the whole thing.
I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning laughs.' Heard by some listeners as a hymn to an other-worldly woman, for Shelton 'her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic.' Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers.
Like the verses of 's ', Dylan asks a series of questions about the 'Sad Eyed Lady' but never supplies any answers. Outtakes and The Cutting Edge The following outtakes were recorded during the Blonde on Blonde sessions.TitleStatus'Released on'I Wanna Be Your Lover'Released on'Jet Pilot'Released on Biograph'Medicine Sunday'Released on CD-ROM'Number One'Unreleased track copyrighted in July 1971'Released on The Bootleg Series Volumes 1–3In 2015, Dylan released Volume 12 of his Bootleg Series, in three different formats.
The 18-disc Collector's Edition was described as including 'every note recorded during the 1965–1966 sessions, every alternate take and alternate lyric.' The 18 CDs contain every take of every song recorded in the studio during the Blonde on Blonde sessions, from October 5, 1965, to March 10, 1966.The New York sessions comprise: two takes of 'Medicine Sunday', one take of 'Jet Pilot', twelve takes of 'Can You Please Crawl Out Your Window?'
. The booklet accompanying re-issue of Blonde on Blonde lists Will Lee as the bass player (, p. 47). Wilentz insists that 'the playing and talk on the session tape show conclusively that was the bassist on 'One of Us Must Know' (, p. 113). The booklet accompanying The Original Mono Recordings re-issue of Blonde on Blonde gives recording dates for each track of the double album, confirming the Nashville recording sessions were in two blocks (, pp. 48–49). Johnston said: 'We mixed that mono probably for three or four days, then I said, 'Oh shit, man, we gotta do stereo.' So me and a coupla guys put our hands on the board, we mixed that son of a bitch in about four hours!.
So my point is, it took a long time to do the mono, and then it was, 'Oh, yeah, we gotta do stereo' (, p. 3). Gill reports that 'the dancing child' was rumored to be a reference to of (, p. 142). Heylin agrees there may be substance to this because the dancing child claims that 'time was on his side', perhaps a reference to ', the Rolling Stones' first US hit (, p. 312). Bob Dylan married Sara Lownds on November 22, 1965, at a judge's office on.
The only guests were Albert Grossman and a maid of honor for Sara; there was no publicity (, p. 193).Footnotes. ^, p. 288.
Lawrence, Jack (February 6, 2017). Archived from on 2017-03-31.
Retrieved 2017-03-30. ^, p. 5., p. 62.
^, p. 235., p. 33., p. 292. ^, p. 82. ^, pp. 83–84., pp. 109–110.
^, pp. 110–113., p. 197. ^, pp. 282–284. ^. ^, pp. 47–51. ^, pp. 285–286., p. 205., p. 248., p. 194., p. 200. ^, p. 117., p. 134. ^, pp. 118–119., p. 241.
^, pp. 119–120. ^, p. 59. ^, pp. 90–92. ^, pp. 122–124.
^., p. 94., p. 205. ^, pp. 51–52. Wenner, Jann. 'Interview with Jann S. Wenner', Rolling Stone, November 29, 1969, in, p. 158.
^, p. 224. ^, pp. 135–136., pp. 309–310. ^, p. 53. ^.
^. ^, p. 492., p. 193., p. 308., p. 345., p. 192., p. 138., p. 146. ^, pp. 138–139. ^, pp. 273–279., p. 741. ^, pp. 113–114. ^. November 10, 2015.
From the original on May 2, 2016. Retrieved May 2, 2016. ^, pp. 470–471. ^, pp. 140–141., p. 195., p. 142., show 40, track 1., pp. 312–313.
^, pp. 297–298., pp. 143–144. ^, pp. 144–145. ^, pp. 368–369., p. 113., p. 406., p. 195., p. 201., p. 287., pp. 146–149., p. 304. Ricks, Christopher, in. ^, pp. 148–149.
^, p. 226., pp. 203–204., pp. 307–308. ^, p. 609., p. 308., p. 205., pp. 302–303. ^, pp. 149–150. ^, pp. 292–293. ^, p. 152., p. 311., p. 461.
^, p. 227., pp. 150–151. ^, pp. 310–311., show 40, track 2., p. 369., p. 249., p. 296., p. 158., p. 126.
^., pp. 45–46., p. 321., p. 361. September 24, 2015. Archived from on 2016-02-07. Retrieved May 2, 2016. McCormick, Neil (November 11, 2015). From the original on February 16, 2017. Retrieved November 24, 2016.
^, p. 41., p. 78., p. 46. Egan, Bob. From the original on May 15, 2016. Retrieved May 17, 2016.
^, p. 53., p. 222. Williams, Paul. 'Tom Paine Himself: Understanding Dylan', Crawdaddy!, July 1966, in, p. 33.
Nelson, Paul. Bob Dylan Approximately, 1966, reprinted in, pp. 171–172., p. 19., p. 36., p. 264., p. 54., p. 195. ^. ^., p. 117.
^. From the original on October 6, 2018. Retrieved August 22, 2019., p. 262. Dylan Interview, Playboy, March 1978, reprinted in, p. 204., p. 225., p. 139., p. 55., pp. 128–130., p. 208. Taylor, Jonathan (March 25, 1987).
From the original on November 11, 2019. Retrieved November 12, 2019 – via.
From the original on December 10, 2019. Retrieved September 23, 2019. (1981). Retrieved March 16, 2019 – via robertchristgau.com., p. 87., ed. P. 50., pp. 105–128. Wilentz, Sean. 2011-07-23 at the, Oxford American Magazine #58, 2007.
Select albums in the Format field. Select Platinum in the Certification field. Type The Freewheelin Bob Dylan in the 'Search BPI Awards' field and then press Enter. If necessary, click Advanced, then click Format, then select Album, then click SEARCH.References.
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