The Album Review Club - Week #147 - (page 1942) - Blonde On Blonde - Bob Dylan

[RobMCFC]

Great and well reasoned review Rob. I listened to Maggies Farm after writing my review as a kind of palette cleanser. The Specials do a cover version of it so if anyone is in doubt about the merits of Dylans vocals this is a good comparison to make

Thanks. I don't mind Dylan's vocals and I think that "Maggie's Farm" is an example of where they actually elevate the song.

 

[Coatigan]

Takoyaki. Also known as, Octopus Balls.
These lightly fried octopus balls have a crisp outer shell with a soft and moist center filled with pieces of octopus, pickled ginger, green onions, and crunchy breadcrumb.

I appreciate the skill and effort it takes, to catch, gut, clean, prep and slice the octopus. To get the batter consistency so it maintains moisture and softness, to get the temperature right, the speed and the flip, and the presentation of it all. I like all of the ingredients, I admire its history and cultural significance as a popular dish. But, ultimately, I find it often too chewy, sometimes pungent, and overall, just don't really enjoy it.

That's kind of really where I am with this album. Has all it needs, there is undeniable craft there, but, something sticks in the back of my mouth.

Like last week's pick, a nice sprinkling of croutons of influences, but nothing to make me sit up and take notice. Similarly a highly rated and definitely worthwhile album, that deserves to be listened to and I am glad to have been pushed to it. Unlike last week's pick though, more divisive and less pleasant, for me, to listen to.

At times, it did as an experience relate to how I take in some frightened rabbit songs. Not comparing musical qualities here, more my own process of listening to both. In the sense that some songs sound better once they finish than in the moment you are actually liatening to them in, they linger and the impression comes as a delayed emotional reaction. Particularly some of the lyrics, that I hear but then really mull over once the song is over. That bit, I did quite like.

Overall, can't deny songwriting quality, but don't enjoy the delivery. Can't be helped. A 5 seems fair based on doing that previously.

 

[mrbelfry]

Takoyaki. Also known as, Octopus Balls.
These lightly fried octopus balls have a crisp outer shell with a soft and moist center filled with pieces of octopus, pickled ginger, green onions, and crunchy breadcrumb.

I appreciate the skill and effort it takes, to catch, gut, clean, prep and slice the octopus. To get the batter consistency so it maintains moisture and softness, to get the temperature right, the speed and the flip, and the presentation of it all. I like all of the ingredients, I admire its history and cultural significance as a popular dish. But, ultimately, I find it often too chewy, sometimes pungent, and overall, just don't really enjoy it.

That's kind of really where I am with this album. Has all it needs, there is undeniable craft there, but, something sticks in the back of my mouth.

Like last week's pick, a nice sprinkling of croutons of influences, but nothing to make me sit up and take notice. Similarly a highly rated and definitely worthwhile album, that deserves to be listened to and I am glad to have been pushed to it. Unlike last week's pick though, more divisive and less pleasant, for me, to listen to.

At times, it did as an experience relate to how I take in some frightened rabbit songs. Not comparing musical qualities here, more my own process of listening to both. In the sense that some songs sound better once they finish than in the moment you are actually liatening to them in, they linger and the impression comes as a delayed emotional reaction. Particularly some of the lyrics, that I hear but then really mull over once the song is over. That bit, I did quite like.

Overall, can't deny songwriting quality, but don't enjoy the delivery. Can't be helped. A 5 seems fair based on doing that previously.

I've tried so hard to get into Frightened Rabbit based on your liking of them. But it just doesn't land with me. I will still try octopus though

 

[threespires]

Blonde on Blonde – Bob Dylan

Quite often in these reviews, I’ll end up resorting to some critical comment where I explain why the current album isn’t bad but could have been better if the approach of another random artist had been followed. This week I can be fairer and go one better where I just stick to Bob Dylan’s work from other albums and other eras to explain my feelings towards Blonde on Blonde.

"Rainy Day Women #12 & 35" just doesn’t work for me. Lots of laughing and shouting like nobody is taking it seriously, and there’s nothing revelatory in either the music or the lyrics.

“Pledging My Time” is the sort of slow blues shuffle that plagues a lot of his acclaimed 21st-century albums.

"Visions of Johanna" is the first track that hits. Yes, it’s one of the longer offerings, but there’s a nice blend of words, music and melody.

"Stuck Inside of Mobile with the Memphis Blues Again", despite its length, is an engaging track, marrying some interesting lyrics with changes in tempo and a classic Al Kooper performance on the organ. The bass run after each chorus is also a good touch.

"One of Us Must Know (Sooner or Later)" has something approaching a chorus and a very nice organ backing, as does “Absolutely Sweet Marie”. "Most Likely You Go Your Way and I'll Go Mine" is a jaunty number, “Temporary Like Achilles” has a short but nice instrumental break.

On some of the songs, there are subtle instrumental textures that reward repeat plays; I’m thinking of the keyboards on “I Want You” and on the “Fourth Time Around” there’s some effective picked guitar running in the background. The main problem that I have with this album is that a lot of the songs have little or no break in tempo. It’s the same pace from beginning to end, noodling around a standard blues shuffle.

The thing that Dylan deserves credit for above all else is the lyrics. No simple rhyming couplets, empty platitudes or words that sound like they have been cribbed from a greetings card here. Maybe it all means something, maybe it’s all stream of consciousness, but these songs are examples of significant craft in the songwriting department.

The supporting musicians are good throughout without being showy. The Band’s Robbie Robertson and Rick Danko feature as does the man who gave us that sublime organ riff on “Like A Rolling Stone”, Al Kooper.

Ultimately, a few touches aside, there isn’t enough in the arrangements or the instruments to draw me in for repeated listens. For all the good in the lyrics, that’s not enough alone, and 72 minutes is too long for any album, let alone one that is stuffed with bog-standard, mid-paced blues shuffles that don’t move the needle nearly enough for me. I have tried to listen to this album before and it’s not hit me like other Dylan albums.

There are already several Bob Dylan albums that I can engage with and do reasonably regularly. His early albums contain songs that really make you sit up and listen: "Blowin' in the Wind", "Masters of War", "A Hard Rain's a-Gonna Fall" and "Chimes of Freedom". From the year before the album under review there was "Subterranean Homesick Blues", "Maggie's Farm" and the towering "Like a Rolling Stone".

His two mid-70s albums Blood on the Tracks and Desire are chock full of songs that you are happy to listen to time and again, and the instruments jump out from these recordings. “Tangled Up In Blue” is one of my favourite songs, whilst “Hurricane” doesn’t feel a second too long despite it running for over 8 minutes. And from a personal perspective, the wonderful atmosphere conjured by Daniel Lanois and Malcolm Burn on Oh Mercy makes that my favourite Dylan album.

In comparison to these great Dylan albums, Blonde on Blonde feels too run-of-the-mill, like a car stuck in 3rd gear. Maybe it isn’t fair to judge an album based on the fact that the artist has done amazing things on other albums, but this is regularly held up as an example as one of Dylan’s best, and I’m afraid I just can’t hear it. There isn’t one song on it that approaches the greatness of the those mentioned above or the best tracks on the other albums that I’ve referenced. So, whilst I appreciate that it works for others, including plenty of respected music critics, for me it’s merely a 6/10.

Agree with a fair bit of that Rob, will probably copy and paste bits for my review but don't sue me.

I don't know what the tipping point is where you listen to Dylan enough that the scales fall from your eyes re. Blonde on Blond and you settle into the whole thing. There's loads of bits and moments I like but they can't overcome the bloat and what seems a bit like indulgence at times.

I've never been able to shake the fact that Bringing It All Back Home opens with Subterranean Homesick Blues and Highway 61 Revisited opens with Like a Rolling Stone but then this opens with Rainy Day Women and I fall at the first hurdle. It doesn't help that for years I've wondered if the first two bars (and a few other elements) were the inspiration for Vindaloo but that's beside the point.

 

[Black&White&BlueMoon Town]

Elder son has already come to the conclusion that smaller bands at smaller gigs offers a better experience and that's nothing to do with the artists themselves but the type of audience so many bigger acts attract now. Alas the smaller venue remains a critically endangered species.

A smart son that elder one. ;-)

Most of my shows these days are at less than 1K venues. I mostly avoid stadiums and have greatly enjoyed ones less than 10K. Thankfully most of the bands I see are hitting these sized venues.

 

[BlueHammer85]

A smart son that elder one. ;-)

Most of my shows these days are at less than 1K venues. I mostly avoid stadiums and have greatly enjoyed ones less than 10K. Thankfully most of the bands I see are hitting these sized venues.

I’m taking Mrs Bluehammer to see Embrace tonight at Sheppards Bush Empire - capacity 2000. Much prefer the smaller intermate ones.

 

[Mancitydoogle]

Love Bob but...

I like Dylan, seen him live on two occasions and that’s twice too many, this is spot on.

 

[Mancitydoogle]

A smart son that elder one. ;-)

Most of my shows these days are at less than 1K venues. I mostly avoid stadiums and have greatly enjoyed ones less than 10K. Thankfully most of the bands I see are hitting these sized venues.

Much prefer smaller venues saw WOD at Mountfield Hall, Liverpool 2300
and recently JI and the 400 unit Apollo Manchester 3500 but it wasn’t sold out
so about 2500 there.Both fantastic gigs.I don’t do Staduims any more unless it Bruce.

 

[threespires]

Takoyaki. Also known as, Octopus Balls.
These lightly fried octopus balls have a crisp outer shell with a soft and moist center filled with pieces of octopus, pickled ginger, green onions, and crunchy breadcrumb.

I appreciate the skill and effort it takes, to catch, gut, clean, prep and slice the octopus. To get the batter consistency so it maintains moisture and softness, to get the temperature right, the speed and the flip, and the presentation of it all. I like all of the ingredients, I admire its history and cultural significance as a popular dish. But, ultimately, I find it often too chewy, sometimes pungent, and overall, just don't really enjoy it.

That's kind of really where I am with this album. Has all it needs, there is undeniable craft there, but, something sticks in the back of my mouth.

Like last week's pick, a nice sprinkling of croutons of influences, but nothing to make me sit up and take notice. Similarly a highly rated and definitely worthwhile album, that deserves to be listened to and I am glad to have been pushed to it. Unlike last week's pick though, more divisive and less pleasant, for me, to listen to.

At times, it did as an experience relate to how I take in some frightened rabbit songs. Not comparing musical qualities here, more my own process of listening to both. In the sense that some songs sound better once they finish than in the moment you are actually liatening to them in, they linger and the impression comes as a delayed emotional reaction. Particularly some of the lyrics, that I hear but then really mull over once the song is over. That bit, I did quite like.

Overall, can't deny songwriting quality, but don't enjoy the delivery. Can't be helped. A 5 seems fair based on doing that previously.

There should be at least one food related analogy for each nomination.

Anyway, how were Sprints and when is the albums of the year thread going up?