This week, a record review concerning not fact, but opinion about Bob Dylan’s “BLONDE ON BLONDE”, (Columbia C2S 841). The current interview in these pages [FE #12, August 15, 1966] is covering the personal side of Dylan far better than anything I could write, so we shall instead talk about music. The main thing wrong with the record is the quality, or lack thereof, of the vocals. From the earlier Dylan records, particularly the last two rockers, we know that he is capable of sounding damn good when he wants to. The impression one gets is that he is sort of putting the listener down, trying to see how much he can get away with. Dylan is probably THE supreme individualist, and makes a point of not being what his audience expects him to be. However, when this protection of personal identity goes too far, it can and does detract from the art itself. What would have been a truly great recording is spoiled by the Rex Harrison manner of talking thought words, and the record is then merely good. The second point of criticism is based on Dylan’s apparent inability to grow musically. In spite of Dylan’s obvious genius as a lyricist, the inability to keep the musical idiom growing and changing detracts from the possible real greatness of this record. Apparently, in order to venture in to the rock field, Dylan felt it necessary to establish a certain sort of sound as a base, a musical framework. The truly exciting thing about this music (to me) is the search for new sounds, along with the expression of new ideas. In making BLONDE ON BLONDE he resorted to rather drastic measures to perhaps try to do something better with the music; he recorded in Nashville, used practically all new sidemen, but, with several exceptions, for the most part it sounds the same.
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