Produced without any pre-planning, running on spuriously generatedĬharges of inspiration, electric fields that condensed around Dylan andĭrew in all the musicians in the studio. Would be the peak of Dylan's spontaneity - a double album recorded and Whereas absolutely nothing in the world has ever sounded like Blonde On Blonde, just because nobody would know where to begin. Have been understood and at least partially mimicked many times since, Together with Pet Sounds and Revolver, Blonde On Blonde completes the holy trilogy of 1966, but in a way, it's far more enigmatic than the other two, because the formula of Pet Sounds and that of Revolver Realize, support, and develop this kind of thing, because it's here That would transcend all stereotypes - and you cannot consciously plan, Is that (unlike some of Bob's post-motorcycle albums) it was neverĪbout "country-rock" as such it was all about creating a completelyĭifferent, new, unpredictable, spontaneously generated kind of sound Nashville (in fact, Albert Grossman, Dylan's manager, was vehementlyĪgainst the move to Nashville at first, probably for that very reason). Just about all of the progressive genres of the time than the sounds of Years, and in 1966, few things could seem more "square" to people in
The "country-rock" fusion, usually associated with the likes of Theīyrds and Gram Parsons, would not take place for another couple of The folk and rock components that he'd already assimilated. Nashville, which would allow him to add a strong country component to
Who suggested exactly what Bob needed at the time - a move to Salvation came from producer Bob Johnston, In New York, trying to record his third "rock'n'roll album", using The Throughout late '65 and early '66, he was wasting session after session Himself, in fact, but this is precisely what was happening to him as, If necessary, but totally not obligatory. And so, by the time 1966 rolledĪlong, the "screechy rock'n'roll thing" was already a thing of the pastįor him - mastered, assessed, inventarized, marked for potential usage Stones, and everybody else took their cues and accelerated theirĮvolution on those Dylan steroids. Invasion suckers the proper way to go from here, as the Beatles, the Of "nobody tells Bob Dylan what to do", and showed all those British Goals - pissed off enough of his folkie followers to establish an image Of that year, though, he'd achieved what were probably his two major Suitably aggressive vocal attitude were his primary concern. His live shows, but 1965 was really the only year when loud,Īggressive, distorted guitar playing, a heavy rhythm section and a Riffage on his later albums from time to time, and even more of that in That is to say, obviously there would be plenty of electric guitar History in which Dylan actually played rock music, with a huge, focused emphasis on the "rock" part: 1965, namely, the electric side of Bringing It All Back Home and more or less the entirety of Highway 61 Revisited. Serious art genre, it is curious that there was only one year in Dylan Thin wild mercury sound: New York roughness tempered with Nashville smoothness.Īll of Bob Dylan's importance to the emergence of rock music as a 1) Rainy Day Women #12 & 35 2) Pledging My Time 3) Visions Of Johanna 4) One Of Us Must Know (Sooner Or Later) 5) I Want You 6) Stuck Inside Of Mobile With The Memphis Blues Again 7) Leopard-Skin Pill-Box Hat 8) Just Like A Woman 9) Most Likely You Go Your Way And I'll Go Mine 10) Temporary Like Achilles 11) Absolutely Sweet Marie 12) 4th Time Around 13) Obviously 5 Believers 14) Sad-Eyed Lady Of The Lowlands.
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