Blonde on Blonde Studio Album by Bob Dylan released in 1982. Buy full album. High Quality 320Kb. Browse similar in: Folk Rock albums Blues Rock albums.
Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released on May 16, 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—'One of Us Must Know (Sooner or Later)'. At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. 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. All songs written by Bob Dylan. 'Rainy Day Women #12 & 35' 2.
'Pledging My Time' 3. 'Visions of Johanna' 4.
'One of Us Must Know (Sooner or Later)' Side two 1. 'I Want You' 2. 'Stuck Inside of Mobile with the Memphis Blues Again' 3. 'Leopard-Skin Pill-Box Hat' 4. 'Just Like a Woman' Side three 1. 'Most Likely You Go Your Way and I'll Go Mine' 2. 'Temporary Like Achilles' 3.
'Absolutely Sweet Marie' 4. '4th Time Around' 5. 'Obviously 5 Believers' Side four 1.
'Sad Eyed Lady of the Lowlands' น้อยลง.
Zimmerman is a trustafarian intelligence asset, note the duper's delight on his face on the first album cover in his be-a-communist hat. Leonard Cohen most likely wrote the lyrics at first which is why they're good, yet no one notices that they are surreptitiously pro-government. Zimmerman's late-period adoption of an insufferable vibrato vocal style is his way of lampooning the past-the-sell-by date of his assignment since the anti-war movement and msuical art at large, has already been eviscerated and emasculated and real artists are virtually voiceless while an army of mind comtrolled ass kissers fomenting manufactured production are lauded as rebels. A lot of listeners never liked Dylan's voice, I guess because it was so different from anything else they were used to hearing from someone capable of such songwriting brilliance, and popularity, and influence?
It was polarizing as I remember, but it's worth noting how annoyed Donovan Leitch has been over the years for being accused for imitating Dylan's sound as early as 'Catch the Wind' (1965) though he claimed that he didn't hear Dylan at all until after he'd recorded his first handful of tracks for Pye (believe it or not). But.does anyone remember or has ever read how a (admittedly great) Donovan recording as 'Season of the Witch' (IMO probably his finest single achievement) has Dylan's singing style of the time (stretching words and syllables, and singing loudly and archly to make sure the message sank in) all over it, it's so obvious? I think what Dylan did was be his own man (while borrowing as needed) and with support from Columbia records, his manager, and others, found his way to greatness. Yet if his voice sucked so much, why did 'Lay Lady Lay' or 'Knockin' on Heaven's Door' become hits beyond the fine songwriting and arrangements? Well.maybe that voice was 'just right' and perfect after all?
He used his limitations to his advantage as necessary, almost innately, and his remarkable songwriting abilities forced listeners to accept him as he was. There has always been a greatness in that, too.