We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
Al Kooper said of Dylan's double-album masterpiece, “nobody has ever captured the sound of three a.m. better than that album. Nobody, even Sinatra, gets it as good.” In fact, it seems as if most of the songs were both written and recorded at 3 AM.
Ain't it just like the night to play tricks when you're tryin' to be so quiet? We sit here stranded, though we're all doin' our best to deny it And Louise holds a handful of rain, temptin' you to defy it Lights flicker from the opposite loft In this room the heat pipes just cough The country music station plays soft But there's nothing, really nothing to turn off Just Louise and her lover so entwined And these visions of Johanna that conquer my mind.
A quote from the piece:
Blonde on Blonde might well have included a character named Napoleon xiv, and the album sometimes seemed a little crazy, but it was no joke (not even the frivolous “Rainy Day Women”); and it was hardly the work of a madman, pretended or otherwise. At age twenty-four, Dylan, spinning on the edge, had a well-ordered mind and an intense, at times biting, rapport with reality. The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beauty—in short, the lures andsnares of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a 1960s pop netherworld.
Blonde on Blonde borrows from several musical styles, including ’40s Memphis and Chicago blues, turn-of-the-century vintage New Orleans processionals, contemporary pop, and blast-furnace rock & roll.
Also, FYI, here is Paul Williams' 1966 review of Blonde on Blonde in Crawdaddy.
Image: The unfolded cover photo of Blonde on Blonde