Bob Dylan – Blonde On Blonde and Some Bad Side Fours

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Reviews and Commentaries for the Music of Bob Dylan

It takes a well-mastered copy to get the vocals and the harmonica — key elements of course — to sound smooth, full-bodied and clear. Any pinched quality will be obvious to the listener. You lose a lot of points for that shortcoming here at Better Records.

We Noticed, But Has Anyone Else?

Here’s a little something that you may have come across on your own, but since we’ve never seen it mentioned anywhere else, perhaps this will come as news to you the way it came to us as news about ten years ago.

There is a stamper used on some Blonde on Blonde side fours that is so ridiculously bad, you might as well be listening to a warped cassette that’s playing underwater. I mean, we pick up mediocre copies all the time here, but these side fours are so beyond terrible it’s clear someone was asleep at the wheel. They’re almost fascinating to hear in a way, because it’s simply shocking that a good recording could sound THAT bad. Like the best pressings of our favorites (but in a VERY different way), words don’t do it justice. Its awfulness has to be heard to be believed.

TRACK LISTING

Side One

Rainy Day Women #12 & 35 
Pledging My Time 
Visions of Johanna 
One of Us Must Know (Sooner or Later)

Side Two

I Want You 
Stuck Inside of Mobile With the Memphis Blues Again 
Leopard-Skin Pill-Box Hat 
Just Like a Woman

Side Three

Most Likely You Go Your Way and I’ll Go Mine
Temporary Like Achilles
Absolutely Sweet Marie
4th Time Around
Obviously 5 Believers

Side Four

Sad Eyed Lady of the Lowlands

AMG 5 Star Rave Review!

Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like “Visions of Johanna,” “Just Like a Woman,” and “Sad Eyed Lady of the Lowlands.” Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands (“Rainy Day Women #12 & 35”). It’s the culmination of Dylan’s electric rock & roll period — he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.