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Bob Dylan - The Complete Album Collection Someone already uploaded this, but it wasn't in lossless FLAC (there was some compression), so here it is. Montydog is correct: the problem is people aren't sharing.

• Blonde On Blonde Album Cover
• Blonde On Blonde Bob Dylan

Buttrey credited the distinctive sound of the album to Johnston's re-arrangement of the studio, 'as if we were on a tight stage, as opposed to playing in a big hall where you're ninety miles apart'. Dylan had a piano installed in his Nashville hotel room which Kooper would play to help Dylan write lyrics. Kooper would then teach the tunes to the musicians before Dylan arrived for the sessions. On the first Nashville session, on February 14, Dylan successfully recorded 'Visions of Johanna', which he had attempted several times in New York.

Blonde On Blonde Album Cover

Blonde on Blonde; Studio album by Bob Dylan; Released. Wilentz analyzed the recording of Blonde on Blonde in his book Bob Dylan In. Full of whispering and. Blonde on Blonde can be found on iTunes, on Amazon, on Bob Dylan’s website, and in your music collection (or at least it should be). Related Posts: Hear New Dylan Covers by Jim O’Rourke, Steve Gunn, Phosphorescent.

Despite nineteen takes, the session failed to yield any complete recordings. Dylan did not attempt the song again, but one of the outtakes from the January 21 session finally appeared 25 years later on. (Although the song breaks down at the start of the last verse, Columbia released it as the most complete take from the session. ) Around this time, Dylan became disillusioned about using the Hawks in the studio. He recorded more material at Studio A on January 25, backed by drummer Bobby Gregg, bassist Rick Danko (or ), guitarist Robbie Robertson, pianist, and organist Al Kooper.

I didn't mean to make you so sad. You just happened to be there, that's all.' 'One of Us Must Know' was the first recording completed for Blonde on Blonde and the only one selected from the New York sessions. The song was released as the first single from the album on February 14, the same day Dylan began to record in Nashville. It failed to appear on the American charts, but reached number 33 in the UK.

Dylan's manager,, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of from Arkansas and four Canadian musicians:,, and. They had come together as a band in Canada, backing American rocker. Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Albert Grossman, and blues singer, son of record producer, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads. Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in. Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. Their immediate task was to record a hit single as the follow-up to ', but Dylan was already shaping his next album, the third one that year backed by rock musicians.

Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of ' that Dylan selected for the album. Historian observed that 'with the sound of 'Sweet Marie', Blonde on Blonde entered fully and sublimely into what is now considered classic rock and roll'. The same day saw the successful takes of ', and ', the latter 'driven by Robertson's screaming guitar'. According to Wilentz the final recording session, on March 9–10, produced six songs in 13 hours of studio time. The first number to be recorded to Dylan's satisfaction was ', when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically. Dylan and his band then quickly recorded 'Temporary Like Achilles'.

'Rainy Day Women #12 & 35' 2. 'Pledging My Time' 3.

But you see, I didn't know that. I didn't want to think that'. Move to Nashville [ ] Recognizing Dylan's dissatisfaction with the progress of the recordings, producer Bob Johnston suggested that they move the sessions to. Johnston lived there and had extensive experience working with Nashville session musicians. He recalled how Dylan manager Albert Grossman, was hostile to the idea: 'Grossman came up to me and said 'If you ever mention Nashville to Dylan again, you're gone.'

Blonde On Blonde Bob Dylan

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”).

With Dylan piecing together the song's sections, and the chorus that gives the song its title only emerging on take five, the session stretched through the night and into the next morning. It was not until the fifteenth take that a full version was recorded. Dylan and the band persisted until they recorded take 24 which closed the session and made it onto the album four months later. Critic Jonathan Singer credits Griffin's piano for binding the song together: 'At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song's tension.'

Dylan himself has said of the title: 'Well, I don't even recall exactly how it came up, but I know it was all in good faith. I don't know who thought of that. I certainly didn't.'

Al Kooper has said that of all the songs that Dylan had outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, 'just to bug him'. Released as a single in June 1966, shortly before the album Blonde on Blonde, 'I Want You' reached number 20 in the USA, and number 16 in the UK. ' Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio.

Retrieved November 24, 2016. • ^, p. 41 •, p. 78 •, p. 46 • Egan, Bob.

Like the verses of 's ', Dylan asks a series of questions about the 'Sad Eyed Lady' but never supplies any answers. Outtakes and The Cutting Edge [ ] The following outtakes were recorded during the Blonde on Blonde sessions.

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'One of Us Must Know' is a straightforward account of a burned-out relationship. Dissecting what went wrong, the narrator takes a defensive attitude in a one-sided conversation with his former lover. As he presents his case in the opening verse, it appears he is incapable of either acknowledging his part or limiting the abuse: 'I didn't mean to treat you so bad. You don't have to take it so personal.

Problems playing this file? 'Obviously 5 Believers', Blonde on Blonde's second-to-last track, is a roadhouse blues love song similar in melody and structure to 's ', and was described by Robert Shelton as 'the best song on the album'. Recorded in the early morning hours of the March 9–10 Nashville session under the working title 'Black Dog Blues', the song is driven by Robertson's guitar, Charlie McCoy's harmonica and 's drumming. After an initial breakdown, Dylan complained to the band that the song was 'very easy, man' and that he didn't want to spend much time on it. Within four takes, the recording was done.

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The narrator has tired of carrying his lover and is going to let her 'pass'. As in 'Just Like a Woman' and 'Absolutely Sweet Marie', he waits until the end of each verse to deliver the punch line, which in this case comes from the title. 'Most Likely You Go Your Way' was issued as a single a year later, in March 1967, on the B-side of 'Leopard-Skin Pill-Box Hat'. 'Temporary Like Achilles' This slow-moving blues number is highlighted by Hargus 'Pig' Robbins's 'dusky barrelhouse piano' and Dylan's 'brief wheeze of harmonica'. In the song, the narrator has been spurned by his lover, who has already taken up with her latest boyfriend.

Songs [ ] '. Described the opening song on Blonde on Blonde as 'Dylan at his most truculent—toying with the title, the raggle-taggle ensemble singing, the giggling, the manic instrumentation, and a variety of implied games about liquor or dope.' Problems playing this file? According to author Andy Gill, by starting his new album with what sounded like 'a demented marching-band. Staffed by crazy people out of their mind on loco-weed', Dylan delivered his biggest shock yet for his former folkie fans. The elaborate puns on getting stoned combine a sense of paranoiac persecution with 'nudge-nudge wink-wink bohemian hedonism'.

Gray suggests that 'the gulping movements of the melodic phrases' derive from the melody of ', recorded by the in 1930. The couplet at the end of each verse expresses the theme: a pledge made to a prospective lover in hopes she 'will come through, too'.

• ' Released: February 14, 1966 • ' / ' Released: April 1966 • ' Released: June 1966 • ' / 'Obviously 5 Believers' Released: September 1966 • ' / ' Released: April 1967 Blonde on Blonde is the seventh studio album by American, released in mid 1966, on. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band,. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—'. At producer 's suggestion, Dylan, keyboardist, and guitarist moved to the studios in.

Bob Dylan – Blonde On Blonde (1966/2014) FLAC (tracks) 24 bit/96 kHz Time – 73:02 minutes 1,61 GB Official Digital Download – Source: HDTracks.com Front cover 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. The album is the final of a trilogy of rock albums recorded by Dylan between 1965 and 1966 (the other two being Bringing It All Back Home and Highway 61 Revisited). Blonde on Blonde has been consistently ranked by critics as one of the greatest albums of all time.

In quick succession Dylan and the musicians then recorded ' and a final take of 'Leopard-Skin Pill-Box Hat' powered by Robertson's lead guitar. The session concluded with ' on which, as Wilentz notes, 'Wayne Moss's rapid-fire on the guitar' are an impressive element of the recording. Disagreement over Nashville recording dates [ ] Al Kooper, who played keyboards on every track of Blonde on Blonde, has contested the conventional account that there were two blocks of recording sessions in Nashville. In comments on Michael Gray's website, Kooper wrote: 'There was only ONE trip to Nashville for Robbie and I, and ALL THE TRACKS were cut in that one visit', stating that Dylan merely broke for an outstanding concert. Agreed with Kooper's version.

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• The booklet accompanying The Original Mono Recordings re-issue of Blonde on Blonde gives recording dates for each track of the double album, confirming the Nashville recording sessions were in two blocks (, pp. 48–49). • Johnston said: 'We mixed that mono probably for three or four days, then I said, 'Oh shit, man, we gotta do stereo.' So me and a coupla guys put our hands on the board, we mixed that son of a bitch in about four hours!. So my point is, it took a long time to do the mono, and then it was, 'Oh, yeah, we gotta do stereo' (, p. 3). • Gill reports that 'the dancing child' was rumored to be a reference to of (, p. 142). Heylin agrees there may be substance to this because the dancing child claims that 'time was on his side', perhaps a reference to ', the Rolling Stones' first US hit (, p. 312). • Bob Dylan married Sara Lownds on November 22, 1965, at a judge's office on.

Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus 'Pig' Robbins's blues piano and Ken Buttrey's snare drum rolls. The song was released in edited form as the B-side of 'Rainy Day Women #12 & 35' in March. Describes 'Visions of Johanna' as one of Dylan's finest songs poetically.

'I Want You' 2. 'Stuck Inside of Mobile with the Memphis Blues Again' 3. 'Leopard-Skin Pill-Box Hat' 4. 'Just Like a Woman' Side three 1. 'Most Likely You Go Your Way and I'll Go Mine' 2. 'Temporary Like Achilles' 3.

The only guests were Albert Grossman and a maid of honor for Sara; there was no publicity (, p. 193). Footnotes [ ]. • Lawrence, Jack (February 6, 2017).. • ^, p. 5 •, p. 62 • ^, p. 235 •, p. 33 •, p. 292 • ^, p. 82 • ^, pp. 83–84 •, pp. 109–110 • ^, pp. 110–113 • • • •, p. 197 • ^, pp. 282–284 • ^ • ^, pp. 47–51 • ^, pp. 285–286 • •, p. 205 •, p. 248 •, p. 194 •, p. 200 • ^, p. 117 •, p. 134 • ^, pp. 118–119 •, p. 241 • ^, pp. 119–120 • ^, p. 59 • ^, pp. 90–92 • ^, pp. 122–124 • ^ • •, p. 94 •, p. 205 • ^, pp. 51–52 • Wenner, Jann.

Two more new compositions were attempted: ' and '. Dylan was satisfied with 'One of Us Must Know'; the January 25 take was released as a a few weeks later and was subsequently selected for the album. Another session took place on January 27, this time with Robertson, Danko, Kooper and Gregg. Dylan and his band recorded 'Leopard-Skin Pill-Box Hat' and 'One of Us Must Know (Sooner or Later)' again, but Dylan was not satisfied with the recorded performance of either song.

One of the November 30 recordings was eventually released on in 2005. At this session, they completed 'Can You Please Crawl Out Your Window?' The song was released as a single in December, but only reached number 58 on the American charts. Dylan spent most of December in California, performing a dozen concerts with his band, and then took a break through the third week in January following the birth of his son. On January 21, 1966, he returned to Columbia's Studio A to record another long composition, ', accompanied by the Hawks (this time with Sandy Konikoff on drums).

If played as a garage rock record, the double album inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery with the intense, weaving guitar of, led a group comprised of his touring band and session musicians through his richest set of songs. Is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of with a sense of the absurd, 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 's electric rock & roll period -- he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.

Retrieved May 17, 2016. • ^, p. 53 • •, p. 222 • • Williams, Paul. 'Tom Paine Himself: Understanding Dylan', Crawdaddy!, July 1966, in, p. 33 • Nelson, Paul. Bob Dylan Approximately, 1966, reprinted in, pp. 171–172 •, p. 19 •, p. 36 •, p. 54 •, p. 195 • •, p. 264. • ^ • ^ •, p. 117.