"Blonde On Blonde" by Bob Dylan (May, 1966)

Brad's Take:

As you probably know by now, Bob Dylan and I don't have the best relationship together. We've listened to a small handful of his albums so far, and I have only liked one of them. Highway 61 Revisited. Since listening to and reviewing that album, I have become a little bit more welcoming to his style of music.

In our book that we're taking all of these albums out of, I read that this was the first rock and roll double-album. I believe it was also the first album to have only one song on the D-side of the record, because the song was so long. In fact, the whole album is long! It's only 14 songs, but it clocks in at just under 73 minutes. It didn't really feel like that long though, in retrospect.

I really enjoyed "One Of Us Must Know." The way it builds up into the choruses reminded me a little bit of Mr. Dylan's hit "Like A Rolling Stone." The upbeat poppy rhythm of "I Want You" was a nice surprise. What I liked most about that song though was the organ's catchy lead melody that plays during the choruses. It fits the song's subject really well. I really like the use of organ on this album.

Maybe I just hate the instrument itself, but Bob Dylan makes the harmonica even worse somehow by using it as a weapon against my ears. "Pledging My Time" had a harmonica solo that almost killed me with its overly drawn out high pitched notes. Maybe it's his way of getting back at me for disliking most of his music.

"Stuck Inside Of Mobile With The Memphis Blues Again" is a perfect example of what I don't like about Bob Dylan's vocal style. It's unique, and it's not that hard to get used to, but this song sort of made it bother me a little bit extra.

As a whole, I liked Highway 61 Revisited a bit more, but this album comes in close second. There are a couple songs that were hard to get through because they were so long, but I liked enough of this record that I can say that I'll listen to it again soon.

Dad's Take:

When anybody asks me about my three favorite albums of all time, I always mention this as one of them. In fact, it's one of the two that are most solidly in place. I usually say Blonde on Blonde is my number two, but it's a pretty close second.

The difference between first and second place is that my first choice, which we'll be reviewing very soon, is a much more personal record. For Blonde on Blonde, it's purely artistic. I love most of the songs. This is Dylan at his poetic best, the lost clown struggling to make sense of a world that defies logic.

There are classic hits here, namely "Rainy Day Women #12 & 35," "I Want You," and "Just Like A Woman." There's also one of Dylan's best-realized compositions, "Visions of Johanna." And, there's the song that turned me from a Dylan's-greatest-hits fan to a full-album fan, "Stuck Inside of Mobile With the Memphis Blues Again," easily one of my top five or six Dylan tunes. (I've never actually made such a list, but if I did, I'm sure this would be up there. Funny that Brad chose this particular song as an example of what he doesn't like about Dylan, when it's a prime example of what I love--playful lyrics full of allusions and humor, a song where you're never quite sure what he's trying to say but you know that, whatever it is, you like it. And I love how it always seems like the song has finally reached its end, only to keep on a-goin'.

There's also the fun, bluesy "Leopard-Skin Pillbox Hat," the thoroughly enjoyable "Most Likely You Go Your Way (And I'll Go Mine)," "Absolutely Sweet Marie, the brilliant Chicago Blues of "Pledging My Time" with its classic blues harmonica--I can list almost every song on this lengthy album as a highlight.

The closest thing to a downside is the epic "Sad Eyed Lady of the Lowlands." I like this song a lot too, but it's a little too dirge-like for a 14 minute song. I don't mind the length, but, for me, a song this long needs changes and other effects to hold up. There are a few times where Dylan himself seems to be yawning the words. But if you really listen, it's a pretty amazing piece of work--just hard to listen to if you're not in the mood to put in the effort. Put in the effort, though, and the song is among Dylan's best poetry.

This has been my number two favorite album for a long time. Records move in and out of the number three spot (although it always comes back to another album we're reviewing soon), but one and two are firmly entrenched.

I should also mention another record here. I'm not usually wowed by tribute albums (although I buy them now and then), but Blues on Blonde on Blonde is a terrific little collection, containing all but two songs from the original album. It does what a good tribute album does: provide an enjoyable listening experience in its own right while giving you new insights into the songs that help you enjoy the original even more. It also has what may be my favorite cover song ever, the gorgeously heart-breaking rendition of "Just Like A Woman" by Eric Bibb. If you enjoy Blonde on Blonde or feel like the songs are great but you find Dylan himself difficult, seek out this collection. I'm betting that it will make you a bigger fan of Dylan's original work, and renew your confidence in tribute albums at the same time.

"Highway 61 Revisited" by Bob Dylan (August, 1965)

Dad's Take:

Poor widdo Bwadley has to listen to another Dylan album already. Poor guy. This one is listed at number 4 on Rolling Stone's 500 Greatest Albums list, and its big single, "Like A Rolling Stone," is number one on their list of greatest songs. In other words, This will be pure torture for Brad. He's really going to be thrilled that the songs are so long on this record. But this album is a classic with a capital C. Even outtakes from this record like "Can You Please Crawl Out Your Window?" are great.

OK, so for Rolling Stone to pick a song called "Like A Rolling Stone" seems like it could have more behind it than simply liking the song, but seriously, it's hard to argue that choice. This song is a tour de force, unlike anything by anyone else (except maybe a few other Dylan tunes). It's spectacular. If it were the only decent song on this album, the album would be a classic.

But it's not.

Song after song is a gem. After "Like A Rolling Stone," we're treated to "Tombstone Blues," with its brilliant fast blues groove and its tribute to Woody Guthrie in the chorus. The lyrics are playful and poetic. This is a song that takes multiple listens before it all sinks in, but it's better with ever listen, and not so bad on the first one. Six minutes of near perfection, from the lyrics to the crunchy guitar. Next comes the piano-based blues of "It Takes A Lot To Laugh, It Takes A Train To Cry," with its train-whistle harmonica (oh, Brad's gonna love that!) and easy, shuffling blues rhythm.

This album is song after song of highlights. More favorites for me include "From a Buick 6," and "Ballad of a Thin Man" and and "Queen Jane Approximately," and the title track, and "Just Like Tom Thumb's Blues" (again, incredible lyrics, set to a cool song), and "Desolation Row," and --wait, I just mentioned every song on the album.

Perfection on vinyl. Or whatever CDs are made of. This is Dylan at his bluesy best, showing that there's more to Zimmy than a folk star. He's reinvented himself so many times, but this is the Dylan phase I like best. People Who Don't Know won't expect these words, but they're true: Dylan rawks! My favorite Dylan album is yet to come on our list, but this is awfully close.

Have fun, Braddio. Me, I'm spinning this one again, a little louder this time.

(Just a note about influence: watch what happened to rock and roll after these last couple Dylan albums. Dylan's direct influence is clear: the popular music of the day moved from typical songs about love to deeper songs with a more poetic and personal lyrical content. Thanks to Dylan, the Beatles (for one) moved from "I want to hold your hand yeah yeah" to "Doesn't have a point of view, knows not where he's going to, isn't he a bit like you and me?" And where Dylan took the Beatles, the rest of the serious music scene followed. Sure, there was still plenty of moon/June/hand/understand on the radio, but most of the more substantial artists moved beyond that, and the music world changed. Thank you, Mr. Dylan!)

Brad's Take:


Here we go...

On Bob Dylan's previous album, Bringing It All Back Home, he made Side A the electric/bluesy side, and Side B consisted of acoustic driven songs. Ol' Bobby decided to take it even a step further on Highway 61 Revisited though, and decided to make almost the entire album electric, much to the dismay of his long time fans; the ones who began to love him when he was just playing acoustically. I, personally, much prefer his electric stuff. It's easier for me to listen to because there's a lot more going on. (Dad, are you proud yet?)

The album opens with the lead single "Like A Rolling Stone." I, of course, have heard this song a few times before, but I never actually listened to it until now. It's definitely a song I can listen to many more times. I was surprised with how much I actually liked it. (How 'bout now, Dad?)

A few songs later, and I found myself really digging this album. It's upbeat and bluesy, and Bob's voice isn't as irritating on this album. (Or maybe I'm just used to it now.) But then about halfway into "Ballad Of A Thin Man," I started to feel the urge to skip to the next track, in hopes that the album wasn't actually starting to go downhill, like it felt like it was. I got through the whole song though, and then regained some faith as "Queen Jane Approximately" played, although not completely. (Sorry, Dad.)

It's safe to say that I really enjoyed the first half of Highway 61 Revisited the most, while the second half felt like just another Bob Dylan album to me, for whatever reason. "Just Like Tom Thumb's Blues" was enjoyable though. It should have been in the first half, as Side B feels to be the mellower side.

In the end, I did not dislike this album. In fact, I enjoyed the majority of it. "Like A Rolling Stone" was definitely my favorite song off of it. I got a bit bored with the second half of the album, but that might be mainly because the entire 9 song album is 51 minutes long. It was a struggle to get through it, but I did it without really suffering. It was a good album. (Now are you proud, Dad??)