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Blonde on Blonde biography BLONDE ON BLONDE (taking their name from BOB DYLAN's 1966 album) were formed in Newport, South Wales in 1967 by drummer Les Hicks, bass guitar / keyboard player Richard Hopkins and guitar / sitar and lute player Gareth Johnson.

Gabriola bold font. Bob Dylan – Blonde On Blonde Stephen Thomas Erlewine: ‘If Highway 61 Revisited played as a garage rock record, the double album Blonde on Blonde inverted that sound, blending blues, country, rock, and folk into a wild, careening, and dense sound. Replacing the fiery Michael Bloomfield with the intense, weaving guitar of Robbie Robertson, Bob Dylan led a group comprised of his touring band the Hawks and session musicians through his richest set of songs. 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”).

Zimmerman is a trustafarian intelligence asset, note the duper's delight on his face on the first album cover in his be-a-communist hat. Leonard Cohen most likely wrote the lyrics at first which is why they're good, yet no one notices that they are surreptitiously pro-government. Zimmerman's late-period adoption of an insufferable vibrato vocal style is his way of lampooning the past-the-sell-by date of his assignment since the anti-war movement and msuical art at large, has already been eviscerated and emasculated and real artists are virtually voiceless while an army of mind comtrolled ass kissers fomenting manufactured production are lauded as rebels. A lot of listeners never liked Dylan's voice, I guess because it was so different from anything else they were used to hearing from someone capable of such songwriting brilliance, and popularity, and influence? It was polarizing as I remember, but it's worth noting how annoyed Donovan Leitch has been over the years for being accused for imitating Dylan's sound as early as 'Catch the Wind' (1965) though he claimed that he didn't hear Dylan at all until after he'd recorded his first handful of tracks for Pye (believe it or not). But.does anyone remember or has ever read how a (admittedly great) Donovan recording as 'Season of the Witch' (IMO probably his finest single achievement) has Dylan's singing style of the time (stretching words and syllables, and singing loudly and archly to make sure the message sank in) all over it, it's so obvious?