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Released on May 16th, 1966, rock’s first studio double LP by a major artist was, asDylandeclared 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. 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 Dylanblazed through the rest ofBlonde on Blonde’s14 tracks in one four-day run and one three-day run at Columbia’s Nashville studios in February and March 1966.
The pace of recording echoed the amphetamine velocity ofDylan’ssongwriting and touring schedule at the time. But the combined presence of trusted hands like organistAl Kooperand Hawks guitaristRobbie Robertsonwith expert local sessionmen including drummerKenneth Buttreyand pianist Hargus“Pig” Robbinscreated 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.
Amid the frenzy,Dylandelivered 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 whichDylanalmost used for the album.
Tracklisting
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