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• ' Released: February 14, 1966 • ' / ' Released: April 1966 • ' Released: June 1966 • ' / 'Obviously 5 Believers' Released: September 1966 • ' / ' Released: April 1967 Blonde on Blonde is the seventh studio album by American, released June 20, 1966 on. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band,. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—'.
At producer 's suggestion, Dylan, keyboardist, and guitarist moved to the studios in. 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 albums that Dylan recorded in 1965 and 1966, starting with. Critics often rank Blonde on Blonde as one of the greatest albums of all time.
Oct 13, 2016 - In honor of Bob Dylan's Nobel Prize in Literature, here are 10 of our favorite Dylan songs or albums and their perfect Minnesota beer accompaniment. Blonde in the other for the perfect complement to Dylan's 1966 “Blonde on Blonde.”. It was the same road, full of the same contradictions, the same.
Combining the expertise of Nashville session musicians with a 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'. It was one of the first in rock music. The album peaked at number nine on the chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. Blonde on Blonde spawned two singles that were top-twenty hits in the US: ' and '.
Two additional songs—' and '—have been named as among Dylan's greatest compositions and were featured in list. Contents • • • • • • • • • • • • • • • • • • • • • • • • Recording sessions [ ] Background [ ] After the release of in August 1965, Dylan set about hiring a touring band. Guitarist and keyboard player had backed Dylan on his new album and at.
Bloomfield chose not to tour with Dylan, preferring to remain with the. After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. Dylan's manager,, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of from Arkansas and four Canadian musicians:,,. They had come together as a band in Canada, backing American rocker.
Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer, son of record producer, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads. Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in.
Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. Their immediate task was to record a hit single as the follow-up to ', but Dylan was already shaping his next album, the third one that year backed by rock musicians. 
New York sessions [ ] Producer, 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 ', a song recorded during the Highway 61 Revisited sessions but not included on that album.