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Joan Baez and Bob Dylan

Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released on May 16, 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album: "One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial".

Recording sessions

Background

After the release of Highway 61 Revisited in August 1965, Dylan set about hiring a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper had backed Dylan on his new album and at Dylan's controversial electric debut at the 1965 Newport Folk Festival. Bloomfield chose not to tour with Dylan, preferring to remain with the Paul Butterfield Blues Band.

New York sessions

Producer Bob Johnston, who had overseen the recording of Highway 61 Revisited, started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5. They concentrated on a new arrangement of "Can You Please Crawl Out Your Window?", a song recorded during the Highway 61 Revisited sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs. Both the fragmentary "Jet Pilot" and "I Wanna Be Your Lover", a quasi-parody of the Beatles' "I Wanna Be Your Man", finally appeared on the 1985 box set retrospective, Biograph. Also attempted were two takes of "Medicine Sunday", a song that later evolved into "Temporary Like Achilles".

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 [[File:Joan Baez and Bob Dylan.jpg|thumb|Joan Baez and Bob Dylan]]
-'''''Blonde on Blonde''''' is the seventh studio album by American [[singer-songwriter]] [[Enwp:Bob Dylan|Bob Dylan]], released on May 16, 1966, on [[Columbia Records]]. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, [[Bob Dylan & The Band|the Hawks]]. Though sessions continued until January 1966, they yielded only one track that made it onto the final album: "[[One of Us Must Know (Sooner or Later)]]". At producer [[Bob Johnston]]'s suggestion, Dylan, keyboardist [[Al Kooper]], and guitarist [[Robbie Robertson]] moved to the [[Columbia Records#The 1960s|CBS]] studios in [[Nashville, Tennessee]]. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
+'''''Blonde on Blonde''''' is the seventh studio album by American singer-songwriter [[Enwp:Bob Dylan|Bob Dylan]], released on May 16, 1966, on Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album: "One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
-''Blonde on Blonde'' completed the trilogy of [[rock music|rock]] albums that Dylan recorded in 1965 and 1966, starting with ''[[Bringing It All Back Home]]'' and ''[[Highway 61 Revisited]]''. Critics often rank ''Blonde on Blonde'' as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a [[Modernism|modernist]] literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial".
+''Blonde on Blonde'' completed the trilogy of [[Enwp:Rock music|rock]] albums that Dylan recorded in 1965 and 1966, starting with ''Bringing It All Back Home'' and ''Highway 61 Revisited''. Critics often rank ''Blonde on Blonde'' as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a [[Enwp:Modernism|modernist]] literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial".
 ==Recording sessions==
 ===Background===
-After the release of ''[[Highway 61 Revisited]]'' in August 1965, Dylan set about hiring a touring band. Guitarist [[Mike Bloomfield]] and keyboard player [[Al Kooper]] had backed Dylan on his new album and at [[Electric Dylan controversy|Dylan's controversial electric debut at the 1965 Newport Folk Festival]]. Bloomfield chose not to tour with Dylan, preferring to remain with the [[Paul Butterfield Blues Band]].
+After the release of ''Highway 61 Revisited'' in August 1965, Dylan set about hiring a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper had backed Dylan on his new album and at Dylan's controversial electric debut at the 1965 Newport Folk Festival. Bloomfield chose not to tour with Dylan, preferring to remain with the Paul Butterfield Blues Band.
 ===New York sessions===
-Producer [[Bob Johnston]], who had overseen the recording of ''Highway 61 Revisited'', started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5. They concentrated on a new arrangement of "[[Can You Please Crawl Out Your Window?]]", a song recorded during the ''Highway 61 Revisited'' sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs. Both the fragmentary "Jet Pilot" and "I Wanna Be Your Lover", a quasi-parody of [[the Beatles]]' "[[I Wanna Be Your Man]]", finally appeared on the 1985 box set retrospective, ''[[Biograph (album)|Biograph]]''. Also attempted were two takes of "Medicine Sunday", a song that later evolved into "[[Temporary Like Achilles|Temporary Like Achilles]]".
+Producer Bob Johnston, who had overseen the recording of ''Highway 61 Revisited'', started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5. They concentrated on a new arrangement of "Can You Please Crawl Out Your Window?", a song recorded during the ''Highway 61 Revisited'' sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs. Both the fragmentary "Jet Pilot" and "I Wanna Be Your Lover", a quasi-parody of the Beatles' "I Wanna Be Your Man", finally appeared on the 1985 box set retrospective, ''Biograph''. Also attempted were two takes of "Medicine Sunday", a song that later evolved into "Temporary Like Achilles".