Blonde On Blonde - Bob Dylan - album review

It is often said that the series of albums recorded and released by Bob Dylan in the period 1965-66 represents one of the most fertile bursts of creativity of any artist, ushering in the "rock" era by making mainstream popular music socially relevant and worthy of critical and erudite analysis. I too subscribe to these theories, but in recent times the worthiness of Blonde On Blonde to belong in the same company as its two predecessors has become questionable to me. I sense a propensity to bracket the record with those which went immediately before it, simply because it was Bob Dylan, and that it must be similarly wonderful because to say otherwise would spoil the narrative...

The two albums which came before, Bringing It All Back Home and Highway 61 Revisited, were effervescent efforts, brimming with creativity, bearing all the hallmarks of a man with lots to say, and who was eager to express himself. There was a breathlessness, spontaneity and urgency about the songs, which must have seemed at the time to form an inexhaustible reserve.

It is curious that Dylan himself has been quoted as saying that Blonde On Blonde constituted the "sound" which he had been aiming for all along.  There is certainly a "progression" of sorts in the character and ambience of the three albums, from the vitality, energy and bite of Bringing It All Back Home to the jaded cloudiness and ennui of Blonde On Blonde. The fact that the great man's career took a dramatic detour immediately afterwards may or may not be instructive....

There is a deceptive listlessness to many of the songs, particularly the longer "epics" such as "Visions of Johanna" and "Sad Eyed Lady of the Lowlands". On the other side of the coin, I have come to regard many of the tracks as bordering on "comedy songs" ("Rainy Day Women #12 & 35, "Just Like A Woman", "Leopard Skin Pill-Box Hat"). This may indicate that my hipster antennae are insufficiently developed. Their exuberance does at least balance out and alleviate some of the gloominess which otherwise pervades the work.

When saying that on close inspection the songs are not as instantly and spectacularly memorable as those on the two earlier records, it is also true to say that Blonde On Blonde hangs together very well as a mood piece, the kind of album to immerse oneself in on a rainy Sunday afternoon. The lack of immediate accessibility demands a patience which not everyone possesses!

The lyrics are less cryptic and oblique than on earlier records, but in their own way just as enigmatic and impenetrable, if less conventionally evocative.  Equally, the soundscapes are more murky and nebulous. These factors do contribute to the album's relative absence of overt sparkle and immediacy, but they also imbue it with its distinctive quality.

Although it is commonly asserted that the "turning point" in Dylan's career occurred shortly after this album was released, it might be more accurate to state that Blonde On Blonde itself signals a new beginning. Despite all all my caveats, provisos and reservations, it is still a rewarding and ultimately enjoyable listen, and essential to an understanding of the Dylan mystique....

My blog posts about other Bob Dylan albums:

Blood On The Tracks

Highway 61 Revisited

Bringing It All Back Home

Highway 61 Revisited - Bob Dylan - album review

There are many debates, and much conjecture, about when the modern "rock" era truly began, but there is an argument for citing Bob Dylan's 1965 album Highway 61 Revisited as one of the key staging posts.

It is often taken for granted, or taken as a given, that Highway 61 Revisited is Dylan's greatest achievement, and in historical and critical terms it probably is. It contains some of his most famous songs, and has an ambition and grandeur absent from much of his other work.

Personally, I have always found Bringing It All Back Home, released earlier in 1965, to be a more organic, rounded and likeable record, and in some respects it can be argued that it was more ground-breaking and important than the album which succeeded it.

For all its many strengths and virtues, I have somehow never fully warmed to Highway 61 Revisited. I respect and appreciate its sweep and its audacity, but I don't always find it a comfortable listen.  It feels a little over-earnest in places, and I sense that it exudes a certain smugness.  Admittedly, when the songs are this dramatic and startling, such smugness can be excused!

Dramatic and startling the songs may be, but to me they lack the fluidity and verve of those on Bringing It All Back Home.  It is possible that Dylan was aiming for something different on "Highway 61".  The tracks don't feel as tied together seamlessly, and I would describe this more as a collection of disparate, if mighty, songs than a integrated, cohesive album.

This album may not have some of the homely charm of those which preceded and followed it, but there is no disputing its overall majesty, and it does definitely possess that "wow" factor.

The opening track, "Like A Rolling Stone", is one of the landmarks of 60s rock, although it is probably no more famous than one or two of his folk "protest" songs of earlier years.  It is still astonishing to think that this song almost reached the top of the Billboard singles charts.  Driven by rhythm guitar (possibly played by Dylan himself?) and the organ of Al Kooper, it develops an irresistible momentum, as the wordplay and vocal delivery become more emphatic and daring. Each new verse adds a new dimension, and additional interest.

Just recently I heard "Tombstone Blues" described as "punk music", and I can see why.  Frantic and almost minimalist, with lyrics seemingly speaking of general disaffection and despair. After the exhilarating opening, the level drops with two less inspired tracks, "It Takes A Lot To Laugh, It Takes A Train To Cry", and "From a Buick 6".

"Ballad Of A Thin Man" is something else entirely. One of the most dramatic and intense songs on the album, different in tempo and atmosphere to the others.  Was this a message to Brian Jones of the Rolling Stones?

"Queen Jane Approximately" is an appealing if ultimately minor song, with a pleasing melody, and it is followed by the title track. These two numbers prepare the ground for a momentous conclusion to the work.

Containing some of the most entertaining lyrics on the album, "Just Like Tom Thumb's Blues" has a distinctive backing track, and a real impishness about it, which is difficult to dislike.  I have some theories about some of the words, which need not detain us here!

On to the closing number, "Desolation Row".  It can seem lyrically almost like stereotypical Dylan, with the invoking of historical characters and so forth.  However, if one really listens to it, its power really emerges.  Some might argue that it actually says little which is different from several of Bob's other compostions, but its concentrated intensity wins out. The intricate guitar backing also sets it apart.

In the end, the various minor misgivings about Highway 61 Revisited do not detract from its quality and its importance.  A superb album.

Bringing It All Back Home - Bob Dylan - album review

Of Bob Dylan's much revered "trilogy" of classic mid-1960s albums, it is Bringing It All Back Home which I find myself returning to most of all. The first of the threesome to be released, it is still my favourite, for several reasons.

First, it exudes an aura of restrained cool and quality, with an immediacy and confidence which is rare indeed. Secondly, it represents a perfect mixture of styles and themes, creating a richness of texture absent from the other two of the aforementioned trilogy. Thirdly, it contains more genuinely memorable and substantial songs than the other two.

It is all here - the beginnings of folk-rock, the lingering elements of protest, oblique lyrics, inspiring imagery. The profound, the amusing, the angry, the inspiring and the touching all within these eleven compositions. The fact that the album encompasses so many directions, from the "hipster" appeal of "Subterranean Homesick Blues" to the languid charm of "She Belongs To Me", to the revelation of "Mr Tambourine Man", is part of its impact, in addition to the quality of the execution.

There are still clear remnants of Dylan's "folk-protest" past on songs such as "Gates of Eden" and "It's Alright Ma (I'm Only Bleeding)", and if anything these tracks assume a greater resonance, power and venom, surrounded as they are here by numbers with very different subject matter and agendas. I am sometimes tempted to regard "It's All Over Now Baby Blue" as a kind of hinge in Dylan's career, closing the door on one era, and peering into another.  I may be incorrect in this assessment!

The sound on Bringing It All Back Home has an uncluttered, clear quality which gives it part of its accessibility. The more dense, murky feel of later albums is thankfully not evident here. Dylan's vocals are projected quite forcefully on many songs.  This was also the stage at which the "bluesy" songs still sounded original and distinctive, and not samey and stodgy.

It is some measure of the standard set by Bringing It All Back Home that it could be argued that Dylan tried too hard in struggling to surpass it.  I feel that Highway 61 Revisited, excellent though it is, sounds over-earnest and contrived in comparison. Was Bob hamstrung by the artistic brilliance and spontaneity of his first album of 1965?  Did the pressures, personal and professional, which caught up with him not long afterwards partially stem from this?

In addition to its other properties, I also find Bringing It All Back Home the most enjoyable of Dylan's classic albums.  It is an accomplishment indeed to be able to combine the cerebral with a pure entertainment value with this facility. The albums which followed never quite managed to achieve the same balance to this extent.

Listen to this album.  You will be entertained, amused, challenged and inspired.....