Blonde On Blonde

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album on 20 June 1966 by Columbia Records. Recording commenced in New York in October 1965 with various backing musicians, including members of Dylan’s live backing band, the Hawks. Although sessions continued until January 1966, only one track from this period—”One of Us Must Know (Sooner or Later)”—was included on the final album. At producer Bob Johnston’s suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to CBS studios in Nashville, Tennessee. These sessions, which included some of Nashville’s top session musicians, proved more productive, resulting in the completion of the remaining tracks in February and March.

Blonde on Blonde marked the conclusion of Dylan’s rock album trilogy, following Bringing It All Back Home and Highway 61 Revisited, both released in 1965. The album is often cited as one of the greatest albums of all time, noted for its grand musical scale and lyrics that blend visionary and colloquial elements. It was one of the first double albums in rock music.

The album reached number nine on the Billboard Top LPs chart in the US and achieved double platinum status, while reaching number three in the UK. Two singles from the album, “Rainy Day Women #12 & 35” and “I Want You”, became top-twenty hits in the US. Additionally, “Just Like a Woman” and “Visions of Johanna” are recognised among Dylan’s greatest compositions and were included in Rolling Stone’s “The 500 Greatest Songs of All Time” list in 2003. In 1999, the album was inducted into the Grammy Hall of Fame, and it was ranked number 38 in Rolling Stone’s list of the “500 Greatest Albums of All Time” in 2020.

Following the release of Highway 61 Revisited in August 1965, Dylan began assembling a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper, who had supported Dylan on the album and at his controversial electric debut at the 1965 Newport Folk Festival, were initially considered. However, Bloomfield chose to stay with the Paul Butterfield Blues Band, and Kooper decided against continuing the tour. Dylan’s manager, Albert Grossman, planned a demanding concert schedule, leading Dylan to contact Levon and the Hawks—a band consisting of Levon Helm and four Canadian musicians: Robbie Robertson, Rick Danko, Richard Manuel, and Garth Hudson. They had previously supported American rocker Ronnie Hawkins and were recommended to Dylan by Mary Martin and blues singer John Hammond Jr.

Dylan rehearsed with the Hawks in Toronto on 15 September and they performed together for the first time in Austin, Texas, on 24 September. The positive response led Dylan to bring the Hawks into Columbia Records’ Studio A in New York on 8 October. Although the initial aim was to record a hit single, Dylan was also preparing his next album.

Producer Bob Johnston, who had worked on Highway 61 Revisited, began collaborating with Dylan and the Hawks on 5 October. They focused on reworking “Can You Please Crawl Out Your Window?”, a song from the Highway 61 Revisited sessions. Several other tracks were attempted but none were completed. By 30 November, Bobby Gregg had replaced Levon Helm on drums, and work commenced on “Freeze Out”, later retitled “Visions of Johanna”. Dylan was dissatisfied with the session, and “Can You Please Crawl Out Your Window?” was eventually released as a single in December.

Dylan spent most of December performing in California before taking a break for the birth of his son Jesse. On 21 January 1966, he returned to Columbia Studio A to record “She’s Your Lover Now” with the Hawks. Despite numerous takes, the session did not produce a satisfactory recording. Dylan did not attempt the song again, though one outtake was released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. During this period, Dylan became frustrated with the Hawks in the studio, leading him to record additional material on 25 January with a new group of musicians, including drummer Bobby Gregg, bassist Rick Danko, guitarist Robbie Robertson, pianist Paul Griffin, and organist Al Kooper. Two new compositions, “Leopard-Skin Pill-Box Hat” and “One of Us Must Know (Sooner or Later)”, were attempted, with the latter being selected for the album.

Sessions continued on 27 January with Robertson, Danko, Kooper, and Gregg. Dylan recorded “Leopard-Skin Pill-Box Hat” and “One of Us Must Know (Sooner or Later)” again, but was dissatisfied with the results. Additional attempts at “I’ll Keep It with Mine” were made but not completed. Frustration over the slow progress and lack of new material led Dylan to cancel further recording dates. He later expressed disappointment with the sessions, noting that the band was not meeting his expectations.

To address these issues, Johnston suggested relocating the sessions to Nashville, where he had extensive experience with local session musicians. Despite initial resistance from Grossman, Dylan agreed to the move. In February 1966, sessions were held at Columbia’s A Studio in Nashville, featuring Kooper, Robertson, and additional musicians including harmonica player, guitarist, and bassist Charlie McCoy, guitarist Wayne Moss, guitarist and bassist Joe South, and drummer Kenny Buttrey. Johnston rearranged the studio to enhance the ensemble sound, and Dylan had a piano installed in his Nashville hotel room to aid in lyric writing.

On 14 February, the first Nashville session recorded “Visions of Johanna” and a version of “4th Time Around”. The next session on 15 February was marked by Dylan’s late arrival and extended work on “Sad Eyed Lady of the Lowlands”, which ultimately became an 11-minute track on the fourth side of the album. The subsequent session on 16 February recorded “Stuck Inside of Mobile with the Memphis Blues Again”, with the final version selected from the fourteenth take.

Recording resumed on 8 March with successful takes of “Absolutely Sweet Marie”, “Just Like a Woman”, and “Pledging My Time”. The final session on 9–10 March produced six songs, including “Most Likely You Go Your Way and I’ll Go Mine”, “Temporary Like Achilles”, “Rainy Day Women #12 & 35”, “Obviously 5 Believers”, and “I Want You”.

Dylan mixed the album in Los Angeles in early April before departing for his Australian tour. The album’s content necessitated a double album format, a first for contemporary popular music. The mono mix was worked on for several days, while the stereo mix was completed in a few hours.

Blonde on Blonde includes several notable tracks. “Rainy Day Women #12 & 35” opens the album with a distinctive sound, while “Pledging My Time” adopts a Chicago blues influence. “Visions of Johanna” is widely regarded as one of Dylan’s masterpieces, praised for its poetic quality. “One of Us Must Know (Sooner or Later)” is a straightforward narrative of a failed relationship. “I Want You” combines direct lyrical tone with complex characters. “Stuck Inside of Mobile with the Memphis Blues Again” features evolving lyrics and musical revisions, and “Leopard-Skin Pill-Box Hat” satirises materialism. “Just Like a Woman” explores female vulnerability, and “Most Likely You Go Your Way and I’ll Go Mine” addresses parting lovers.