'BLONDE ON BLONDE' / NICE TO HEAR AGAIN #6

'BLONDE ON BLONDE'

I first heard Bob Dylan's 'Blonde on Blonde' at a friend's house during one of the regular gatherings of mates there to hear records. I believe such things are now termed listening parties. At such meet-ups we'd listen mainly to the latest from punk/new wave bands. I'd grown weary of hearing the 'heavier' rock of the time (1980) after attending a Rainbow/Saxon gig at Bingley Hall where not only did I feel intimidated by a mainly biker audience, but felt the theatrics from the stage were a tad, 'staged' – the usual rock posturing. Now in the sixth form, I'd met up with a few people from another part of the city and they were enthusing over Buzzcocks singles, Undertones albums, and the music of The Clash and The Stranglers. My passport into this world was liking The Beatles and The Stones, two other bands these friends respected. I felt that what they were now recommending to me had more in common with the 60s music I then preferred than heavy metal did, so I jumped ship...

It was a wet and cold winter afternoon, during the holidays and after being dosed on the latest from the new wave, our host then pulled from the racks a copy of 'Blonde on Blonde'. This was followed by nods of approval all round except from yours truly, who had cut a shape akin to seeing a ghost! Bob Dylan, like Yes and Genesis was a no-no, this was something I was taught during my 'musical initiation' a year or so earlier, 'he can't sing...' I had heard over and over (still do) and I had happily gone along with it, not knowing any better at that time. Now, with rain dripping down the windows outside, a few miles from home and my first musical mentors nowhere to be found for back up I felt challenged. I feebly mentioned to the room in my defence, that...well...you know...'he can't sing', but our gracious host, probably feeling sorry for me, assured me that Dylan was one very cool guy and to remember that there were 'five Stones, four Beatles, but one Dylan' in an attempt to emphasize his 'greatness' and that he had managed this on his own. There was no point protesting further, the album was cued up on the player, well the first record, it was then that I then discovered this was a double album! Oh man, how was I ever going to survive this?

The first track, 'Rainy Day Women #12 & 35' began and my first thoughts were along the lines of 'what the..?', but all I could mutter was 'the title isn't 'sung' anywhere in the song', oh my innocence then, but I really didn't understand what was going on with the music in this song and it was causing much mirth around the room. Of course, by the end of the song it was quite clear what it was about and the playing meant to reflect that. It was still a shock to hear, so blatant. To my mind Dylan was a musical anarchist and this was only after hearing one song! 'Pledging My Time' followed and at least I was on familiar terms with the music here, standard Jimmy Reed style blues I'd heard by The Stones, but that sneer in the voice, the piercing harmonica breaks and odd lyrics referring to a 'poison headache' and sending for an ambulance because 'somebody got lucky, but it was an accident', this was all too weird for my teenage brain. Nothing compared to the laid back 'Visions Of Johanna' that slowly seeped into the room next though. Wow! He was really 'out there' on this one with lines like 'the ghost of 'lectricity howls in the bones of her face', 'Mona Lisa musta had the highway blues, you can tell by the way she smiles' and free-flow of 'and Madonna, she still has not showed, we see this empty cage now corrode, where her cape of the stage once had flowed, the fiddler, he now steps to the road, he writes everything's been returned which was owed, on the back of the fish truck that loads, while my conscience explodes'. Phew! A long song too, but as I later discovered, this was about the average length for a Dylan tune. I must admit, I was intrigued by the words in this song, but I still didn't know whether Dylan was serious or not. Facetiously, I commented that of course, his 'Bobness' was quite correct, the reference to Mother Mary (and then in more than one sense) was about three years away on 'Let It Be', but that only left bewildered faces around me. I could take this even further now, as by 1980 when I first heard 'Visions Of Johanna', another Madonna was still awaiting chart stardom. I know, I know...best I stop there, but apparently Dylan is considered a prophet by some people...

'One Of Us Must Know (Sooner Or Later)' brought the first side to a close and much like 'Visions Of Johanna', the lyrics fascinated me. The words had a gravity about them, about the end of a relationship perhaps, but on a whole other level than I was used to hearing at that point. The music was swirling and snow was even mentioned in the lyrics, which had a definite chill about them too (...an’ I told you, as you clawed out my eyes, that I never really meant to do you any harm'...) but a sense of emotion remains right to the end...'Sooner or later, one of us must know that I really did try to get close to you'. At this point, the rest of the room left, I can't remember why, maybe for a chat away from cynical me, or to brave the weather and venture to the local shop? Now I was alone with my nemesis, boldly about to turn that first record over...

'I Want You' began quite straight forward, the title and music anyway, the lyrics, well... Everything appeared rather jolly and I could see where John Lennon had perhaps got the inspiration for 'Oh Yoko on 'Imagine. I began looking more closely at the sleeve, a gatefold. The main picture, slightly out of focus and spread over both sides of the cover, held my attention for quite a while. This was an intriguing fellow and to my mind as cool as The Stones looked too, but his lyrics seemed miles ahead of them, The Beatles too, when comparing in my mind 'Blonde On Blonde' with 'Revolver' and 'Aftermath'. My host had already hinted at it, Dylan, along with The Beatles and The Stones all seemed to be involved with rewriting the rules of 'pop' and the direction it should go in. I know that there were others on the frontline too, but I'd get to them eventually, for now I was dealing with the might of Dylan crashing into my consciousness and realizing, finally, how much this trinity was actually influencing each other as well.

Another long song began, 'Stuck Inside Of Mobile...' with more humorous wordplay, but now I was getting it ...'and I would send a message, to find out if she’s talked, but the post office has been stolen, and the mailbox is locked'...Dylan was a free spirit, breaking the rules of songwriting and I was beginning to enjoy listening to where he'd go next...'Mona tried to tell me, to stay away from the train line, she said that all the railroad men, just drink up your blood like wine, an’ I said, “Oh, I didn’t know that, but then again, there’s only one I’ve met, an’ he just smoked my eyelids, an’ punched my cigarette”... These words were just wild, I couldn't believe what I was hearing.

'Mobile' was a fun listen, but no sooner had it ended than the strains of 'Leopard-Skin Pill-Box Hat' began, another blues, rough around the edges, but the words almost had me rolling about on the floor - he was breaking all those rules again - these were absurd, showing once more that in his hands a song could be about anything he liked! I then remembered a Stones b-side 'Who's Driving Your Plane?', very similar. I guess The Stones had enjoyed 'Leopard-Skin' too! I could also sense that they enjoyed 'Blonde On Blonde' in general, some of the lyrics on 'Beggars Banquet', particularly 'Jigsaw Puzzle' show a clear Dylan influence ('and here I sit so patientleeee...'). When I later got onto Dylan bootlegs, particularly the confrontational 1966 shows, 'Leopard-Skin' was a highlight, his phrasing of the lyrics quite something. He used that 'sneering' voice to full effect. Next song was 'Just Like A Woman', hmmm, something about this one didn't work for me (still doesn't) it felt an attempt at tenderness, but a little forced. Oh well, I was still onto something here, so let's try side three!

I was now a lot further on than I originally expected, perhaps even experiencing an epiphany of sorts with this album, so on I listened, 'Most Likely You Go Your Way And I'll Go Mine', a bit throwaway but still entertaining '...say ya got some other kind of lover, and yes, I believe you do...' followed closely by '...you say my kisses aren't like his, I'm not gonna tell you this time why that is, I'm just gonna let you pass...' but things were about to turn weird again - 'Temporary Like Achilles' – eh, excuse me, temporary? Achilles? Having got this far I was sure I'd be ok, so let's go along with this. It's another love song of sorts ( '...you know I want your lovin', honey, why are you so hard?...') , but not the usual, well nothing about 'Blonde On Blonde' seemed 'usual', '...Standing on your window, honey, yes, I’ve been here before, feeling so harmless, I’m looking at your second door, how come you don’t send me no regards?...' Achilles gets a mention though, but only temporarily, hee hee, I was beginning to enjoy the way Dylan would randomly throw characters into his songs. It gave me something to think about as I'd look for some meaning, but my efforts were (and still are) mostly in vain. It's fun trying though. This reminds me of a drawing I saw on the back cover of a Dylan fanzine called 'Isis' a few years later. It featured Dylan surrounded by all the characters mentioned in the song 'Desolation Row'. I thought this quite an original idea and wish now I still had my copy - I'd put that picture on my wall here. Whoever drew it, kudos!

'Absolutely Sweet Marie' now filled the room and the track just rolled along, taking me with it. Later in the 80s, country-rockers Jason & The Scorchers would record a blistering version of this and when they played it live it could almost blow fuses! One of the best versions of a Dylan song, but now, back to 'Marie' and some words of caution, aimed perhaps at Dylan himself as well as all other would-be outlaws '...to live outside the law, you must be honest...' No doubt about it, Dylan is quotable!

Now for the song that, I'd later learn, allegedly upset John Lennon - '4h Time Around'. There's no denying that Bob Dylan was influencing John Lennon's lyric writing ('I'm A Loser', 'You've Got To Hide Your Love Away') but maybe one song especially - 'Norwegian Wood'. This song was a jump forward for John, confessional, more honest, but in '4th Time Around' Dylan appeared to be mocking him, as if to show that, hey, I can do something like that, but make it amusing as well, particularly the 'chewing gum' lines! It was a put-down and Dylan is a master of the put-down, witness his behaviour in the film 'Don't Look Back'. I suppose in this instance it was a kind of friendly rivalry, but, ouch! John would have his revenge in the 70s, listen to 'Serve Yourself' (mocking, in his opinion, Bob's hypocrisy writing 'You Gotta Serve Somebody') and 'News Of The Day (From Reuters)' where he imitates Dylan while reading the headlines of the latest edition of the paper. He also managed to 'out cool' a very wasted Dylan (some feat!) in a car travelling through London's early hours and filmed for the documentary 'Eat The Document', the chronicle of Dylan's 1966 tour.

Back to the room and listening now to 'Obviously 5 Believers'. It's the kind of track that reminded me of something I had once read by a critic talking about 'Hello Goodbye' by The Beatles. The writer referred to the song as 'something Paul McCartney could write in his sleep and probably did'. With Obviously 5 Believers' I felt Dylan was on autopilot too. Sure, it's got black dogs barking, mama's moaning, bluesy references - oh and 15 jugglers, along with the '5 Believers' – ahem...obviously. I noticed that the harp playing was quite distinct. Dylan? It didn't sound like his playing on the rest of the album. Checking the sleeve, I discovered it was played by Charlie McCoy. I felt quite proud of myself for spotting the difference in styles, so there was some interest for me in 'Believers' after all! Well, another side completed and still alone, I flipped this second record over. What? A whole side of a record taken up by one song?

'Sad Eyed Lady Of The Lowlands', ah, a love song that even at this early stage of listening to Dylan, I knew only he could write. Oblique images abound, 'mercury mouth', 'eyes like smoke', 'prayers like rhymes' and these just in the first verse. I was lost in reverie. It's a very tender and beautiful song, a tribute I'd later discover, to his then wife Sara. Real late night, dimmed lights, incense burning, pull up a cushion listening and it was with this that the album ended. Wow, what an experience! I'm not sure when the others joined me again, but I was now humbled. I'd had my mind changed about Dylan, but nothing and no one has ever been able to change my mind about Yes and Genesis!

'Blonde On Blonde' remains my favourite album. After that first hearing I was feeling overwhelmed, I found those lyrics fascinating, such IMAGINATION, humour too - Dylan was taking lyric writing elsewhere, much like The Beatles were doing with music. 'Blonde On Blonde' along with 'Strawberry Fields Forever', both left me some place different after hearing them. That's art! Even in Dylan's vast catalogue, 'Blonde On Blonde' stands alone, he's never really recaptured "that thin, wild mercury sound" again. However, the pace at which he was working at that time ('Blonde' was his third album in two years!) plus all the touring, were now taking their toll and he was looking very fragile once the 1966 tour wound up.

Things had to change.

NICE TO HEAR AGAIN #6

Haunted Shed / Faltering Light CD 2020 debut album by Athens GA based indie outfit led by SF native Etienne de Rocher. It's a bright production, nothing overdone, slightly psych-y. There's plenty of interesting guitar lines, a consistently solid sounding bass and uncomplicated drumming - there must be something still quite potent in the water in Athens then, as that spirit the early R.E.M. is never too far away on 'Faltering Light'. The keyboards I can't help but be intrigued by, I tune right in on them and follow. I really enjoy the effects added on these, some sound as if they're being played from underwater! The pace of the album is brisk, but not too hectic, there are a couple of slowish tunes and enough variety (three cool instrumentals) in the not overlong tunes to make me wonder where everything disappeared to once the album's over. New favourite songs appear each listen, currently it's the driving 'Collections' with its haunting guitar that segues seamlessly into the driving 'Impending Machines', oh, the jaunty 'Christmas Store' too (not too early to mention this 'C' word I hope!), but there are always others the next time around.


Boedekka / Hapi Nightmares CD I was drawn to this 2001 mini album by the cover, I knew nothing about the band, but I thought the music inside had to be psych. I wasn't far wrong, it's actually very well produced modern psych with all the tricks/bleeps and dreamy vocals - quite experimental - but with some heavy moments where guitars are let loose, even acoustic ones. From the slow burning opener 'Everything You Ever Wanted And Need', with its Lennon-esque vocals ('...and you got to be so strong...'), to the closing epic 'Stolen By The Sun' (extended to incorporate a hidden instrumental), via the uptempo 'Colourblind', driving 'High Flyer' and soulful 'Save Me' and 'It Doesn't Really Matter' – 'Hapi Nightmares' is 'all too beautiful'. Worth checking out as well is the following year's 'Lazybones' CDEP, a 'Hapi Nightmares' companion piece of sorts, featuring a slightly shorter version of 'High Flyer' along with three other 'new' and excellent tracks. If you use Spotify, then you can find the tracks on both releases under one convenient 'Hapi Nightmares' banner! Go on, you won't regret it!


Rotary Connection / Songs CD First time I listened to 'Experienced!', MOJO magazine's tribute CD to Jimi Hendrix I was immediately struck by the quite ethereal version of 'The Burning Of The Midnight Lamp' by Rotary Connection and in particular, the incredible voice of Minnie Riperton - it was simply stunning! Nothing else for it but to check out the album this track originally came from. 1969's 'Songs' features unique soul/psych interpretations of other songs of the era - 'Respect', 'The Weight', 'Sunshine Of Your Love', 'Tales Of Brave Ulysses', 'The Salt Of The Earth' and more, all completely rearranged. It was a fascinating listen and I revelled in its daring! Sweeps of orchestration glide over the solid groove-rock backing (some of Rotary Connection backed Muddy Waters on 'Electric Mud') and the twin lead vocals of Minnie Riperton and Sidney Barnes are soulful, often spiritual. 'Songs' still leaves me floating for a long while after hearing it. Drift on...