What’s special about this album? Not criticizing, just curious

only on ”sooner or later”, and then some slivers of robertson here and there

it’s mostly crack session players from nashville i think

The lyrics really aren't that deep and most of the songs are about relationships. theyre just really well written and creative.

>generic folk rock instrumentals
they're not generic, that's what makes the album special

This album closed an era and began another. After Blonde On Blonde rock music would not longer be an underground phenomenon or a commercial enterprise, it would be an art form. With Blonde On Blonde begins the process of quality control that would transform every record into a work of art. With Blonde On Blonde rock rivals jazz among the great musical conquests of the twentieth century. This album neatly separates the amateurish diletantism from knowledgeable and conscious art, as the Middle Ages separate from the Renaissance. On one side it completes the assimilation of British rock by folk music, on the other it personalizes the blues and folk, redressing both with marvelous esthetics saturated by creative arrangements of psychedelic derivation. Above all, Dylan reprises the experiment begun with Desolation Row in lengthy pieces that do not seem to end, that are continuously reborn.

The band acquired a determining role: Dylan employed musicians of the caliber of Al Kooper (gospel organ) and Robbie Robertson (country guitar) to give maximum emphasis to the accompanying background. The text, devoid of rhetoric, unfolds into longing, desperate, tender, melancholic love stories that raise to metaphysical idealizations of the woman loved.

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The colorful, emphatic, engaging sonic jubilations of I Want You, Absolutely Sweet Marie, Just Like A Woman, One Of Us Must Know, are masterpieces of a more "courteous" genre, cadenced melodies bristling with troubled emotions, T. S. Eliot-like portraits of psychological symbolic female characters that produce a sumptuous wave of emotions as soon as they are caressed by the words of the poet. Richly colored by organ, harmonica and guitar and gently pushed by brilliant rhythms, the phrasing flies in engaging suggestions. The long ramblings of surreal irony are sweetened by raving reflections (the goliardic drinking bash of Rainy Day Women); and the blues of desolation renews itself serenely in Memphis Blues Again, a breath taking parade of senators, Shakespeare and common people, another structurally repetitive "dream" that cycles and recycles itself by twisting along the spiral of a rich and articulate sound.

Deeper in the metaphysical labyrinth of Bob Dylan are two long and visionary masterpieces, Visions Of Johanna, with its majestic stately walk, and Sad Eyed Lady Of The Lowlands, a long, solemn, moving hymn to beauty. It is Sad Eyed Lady, a stunning lullaby for lovers, that breaks free from the abysmal constraints of the mind, that visits luminous mirages in supernatural valleys, that winds along tinkling eddies to form impalpable puffs of eternity. It is the last stage of a symbolism that binds universal meditations on life and love to the surroundings of a spectral paradise. These are love songs; the free, wild and unrestrained love of the other songs on Blonde On Blonde contrasts with the abstract love of these two allegorical poems, modern Dantesque visions that affirm a supernatural entity through the arcane vision of the female being. Kooper's organ is the protagonist, with its gospel crescendos and its sustained notes.

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At this stage Dylan the folk singer, the singer of songs of protest is completely erased. His artistic itinerary has produced two fundamental innovations: the blues of desolation and the visionary ballad. A myriad of musical elements (folk, blues, beat), the discomfort of existentialism, the mythological personality, the literary citations are all fused together in a unique block of sound/emotion, of which Desolation Row and Sad Eyed Lady are the maximum examples.

The intense bitterness of Dylan's parables hid a perpetual, indefatigable and maniacal autobiography. A mythical aura surrounded Dylan's life. His popularity was immense, not only on college campuses, not only in the United States. The measure of his popularity should not be measured by the ten million records he sold (nothing compared to the Beatles or the Beach Boys) but by the 150 covers of his songs by others, a record never again repeated.

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I honestly don't know but I know that it's fucking goat.

The songs to me, at least feel very thought out and intricate despite them may be sounding a bit simple. It feels like a lot of love was put into almost every song and I can feel it when listening

My favorite genre is Industrial Metal, nice try boomers

You know Yea Forums is shit when most don’t know how good Bob Dylan is

Muh boomer folk rawk
Nice thing you'll be telling me how much of a genius Elliott Smith is

Zoomers were a mistake

good stuff mate

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>My favorite genre is Industrial Metal
Cringe and edgelord pilled

embarrassing post

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jesus christ

>With Blonde On Blonde begins the process of quality control that would transform every record into a work of art.
Not single-handedly, of course. 1965-1966 were a serious watershed moment that shifted the cultural consciousness of the entire western world. The number of records that solidified rock and pop music as "art" at this time is just absolutely crazy. Within these two years you have
>Rubber Soul, Help, Revolver
>Pet Sounds
>Bringing it All Back Home, Highway 61, and Blonde on Blonde
>Sound of Silence
>Sunshine Superman
>The first 3 Byrds records
>Aftermath, where the Stones really start to work images of violence and darkness into their lyrics
>Freak Out!

It's just absolutely crazy how much these two years changed the world in ways that still affect us daily. I know I'm probably forgetting several huge albums.