That being said, the typically ‘Dylan’ elements (guitar, harmonica, vocals) are emphasised as the primary focus of this album, with the mixing very much putting Dylan’s vocals and lyrics at the forefront of the recording. In these sessions, the folk influences of Dylan’s work were subdued even further, replaced instead with instrumental references to blues, country, flamenco and rock.
Rather than return to his roots or maintain the folk-rock image he had cultivated in the American media, Dylan opted to use a cohort of Nashville recording artists (later famously known as The Band) to support him during the creation of Blonde on Blonde. Though some claimed it was his best effort yet, Dylan’s initial folk audience saw it as nothing less than a betrayal due to its primary focus on rock instrumentation. It's metallic and bright gold, with whatever that conjures up'ĭylan’s previous effort, Highway 61 Revisited was an album that attracted adoration and scorn in equal measure.
'The closest I ever got to the sound I hear in my mind. Irritated by the ‘voice of a generation’ epithet thrust upon him by the American media, Dylan’s use of esoteric and surrealist lyrics is best seen on Blonde on Blonde, which abandons many of the socially conscious or protest themes often found in his previous work. Though many double albums are famous for being bloated or overly lengthy, Blonde on Blonde never overstays its welcome, featuring not only some of the highlights of Dylan’s career, but also some of his most defining statements as an artist. As one of the first double albums in popular music, it has developed somewhat of a mystique and reputation, something that often overshadows just how consistently impressive this album remains. It’s metallic and bright gold, with whatever that conjures up” was how Bob Dylan famously described his 1966 double album Blonde on Blonde. “The closest I ever got to the sound I hear in my mind… It’s that thin, that wild mercury sound.
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