Bob Dylan Blonde ON Blonde

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist 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 double albums in rock music. The album peaked at number nine on the Billboard 200 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: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist 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 double albums in rock music. The album peaked at number nine on the Billboard 200 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: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released in mid 1966, on Columbia Records. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist 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 double albums in rock music.

"Blonde on Blonde" is Bob Dylan's seventh studio album and was released on May 16, 1966 on Columbia Records. Recorded in New York and Nashville, the album features Dylan's live backing band, The Hawks, and was one of the first double albums of rock music. The final recording sessions were done at CBS studios in Nashville and included some of Nashville's top session musicians.

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist 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 double albums in rock music.

One of the most famous Dylanisms arose from a conversation with director Sam Peckinpah on the set of the 1973 movie Pat Garrett and Billy the Kid. “Just be yourself,” Peckinpah suggested to a 32-year-old Bob Dylan who, by this point, had already been everything from folk messiah to rock Judas, who had received glowing reviews and miserable ones, who once stood as a pillar of New York authenticity and was now struggling to play the role of a mysterious stranger in a Western movie filmed in Durango, Mexico. Fittingly, Dylan snapped back to Peckinpah: “Which one?”

The sessions that changed the world - "The Cutting Edge 1965-1966: The Bootleg Series Vol. 12" collects outakes, rehearsals and alternate versions of songs that would later be heard on "Bringing It All Back Home", "Highway 61 Revisited" and "Blonde on Blonde". 3 albums that would go on to change the face of rock and roll forever. The Bootleg Series combs the Dylan vaults for unreleased and live recordings, and this may be the very best yet showing Dylan at his "electric" period. Importantly, "The Cutting Edge 1965-1966: The Bootleg Series Vol. 12" provides a rare exploration into Dylan's creative process in the studio, allowing fans to experience another side of Bob Dylan through the evolution of his songs and recordings from this truly groundbreaking period. This Deluxe edition is 111 tracks in six sets.

The Basement Tapes is the sixteenth album by American singer-songwriter Bob Dylan and his second with the Band. It was released on June 26, 1975, by Columbia Records. Two-thirds of the album's 24 tracks feature Dylan on lead vocals backed by the Band, and were recorded in 1967, eight years before the album's release, in the lapse between the recording and subsequent release of Blonde on Blonde and John Wesley Harding, during sessions that began at Dylan's house in Woodstock, New York, then moved to the basement of Big Pink. While most of these had appeared on bootleg albums, The Basement Tapes marked their first official release. The remaining eight songs, all previously unavailable, feature the Band without Dylan and were recorded between 1967 and 1975.