Description:

Dylan Bob



Bob Dylan Signed LP "BLONDE ON BLONDE", With His Finest Ballad "Just Like A Woman"

 

"The musicians played cards, I wrote out a song, we'd do it, they'd go back to their game and I'd write out another song," Dylan says about recording 'Blonde on Blonde'. Dylan's double-album masterstroke came at the end of a 15-month release schedule, and is generally voted as his number one LP.

 

"Blonde On Blonde" Bob Dylan , Year: 1963. Boldly Signed by Bob Dylan in black felt tip on the front of the album cover, upper right corner, "Bob Dylan". Near Fine condition, 12.5" x 12.5",  with the record sleeve and album. Two small corner creases.  Accompanied by a Letter of Authenticity by "Roger Epperson Authentication Ltd", "Real". Roger Epperson, Music industry autograph authenticator, collector and expert has an extensive background as a full-time dealer in the collectibles industry. Roger is the only dealer in the world that deals exclusively in music related autographed collectibles. His narrowed focus has established him as a valued and respected collector and authenticator for all genres of contemporary music.

This album is additionally certified by PSA/DNA and received a grade of a perfect 10. 

 

“I was going at a tremendous speed… at the time of my Blonde on Blonde album,” Bob Dylan told Rolling Stone editor and publisher Jann S. Wenner in 1969. On Blonde on Blonde, all the tension and angst of Highway 61 Revisited and Bringing It All Back Home were blown wide open to reveal pure freedom. It’s rock’s first double-album monument, where the distance between Dylan’s imagination and his music collapsed entirely: “The closest I ever got to the sound I hear in my mind,” he famously said, “that thin, that wild mercury sound.” With its chain-lightning mix of rock & roll, novelty music, surrealist ballads, Chicago blues and psychedelic country, its peels of lyrical invention and epic song lengths, Blonde on Blonde might seem like the kind of work that involved long-term contemplation which came to spawn two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". Two additional songs—"Just Like a Woman" and "Visions of Johanna"—have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list.

 

Two of the songs “Leopard-Skin Pill-Box Hat”, and  “Just Like a Woman,”are believed to be odes to the star-crossed Edie Sedgwick,  reigning starlet of Andy Warhol’s Factory scene, who Dylan had been spending time with recently. “Just Like a Woman,” stands as Dylan’s finest ballad. Edie was a brief shooting star of both Andy Warhol's world and Dylan's, the one-time debutante who was the subject of an emotional tug-of-war between the Dylan camp and the Warhol camp. She was a beauty at all the wild parties in New York. With her behavior and ballet dancing to rock and roll music, Edie became one of the most popular socialites at the time, with Andy and Eddie becoming one of the most iconic, and controversial, creative partnerships in the art world that was extremely popular and intense.  However, at the end of 1965, Edie became infatuated with a scruffy, gruff, earthy, politically astute songwriter and singer: Bob Dylan. Whatever the nature of their relationship was is lost in history, but it seems as though Dylan and Sedgwick were quite fond of each other.

 

After some final mixing in Los Angeles later that spring, the album was completed. Its cover photo, taken by Dylan’s friend Jerry Schatzberg on a cold day in New York, showed Dylan, dressed for winter in a suede jacket and checkered scarf. Many took its blurry image to be a drug allusion. But, as Schatzberg later recalled, “It was that we were outside, it was very cold and we were shaking. Both of us! That’s really what it was, and that’s how it turned out.”

 

Some say Bob Dylan's work will never be done. One day, the artist’s body will fail, but his work will live on. Held aloft by “mourning tongues” and woven into the very text of society itself, Dylan’s words and melodies will never cease to expand, reorder, restructure, and shift in estimation and purpose. Dylan is perhaps the most restless of all artists. At every stage of his career, he transcended genre, redefined his medium, and grew bored, oftentimes disappearing from the public eye before emerging as someone else entirely (but always with those knowing, mischievous, and gleaming eyes). Tracking his growth over the course of more than 50 years and 37 albums (not to mention the endless bootlegs, live recordings, and reissues), we see an artist who cannot be satisfied. Endlessly self-critical, he slipped in and out of personae with the ease of a well-worn leather jacket. From Folk Savior, to Rock Agitator, to Country Buffoon, to Rock God, to Evangelical Christian, to Born-Again Jew, to Grand Statesman. Dylan has never stood still for long, and even in this 70s, he shows no sign of slowing down.

 

Dylan’s songs are an ever-shifting tapestry of incalculable depth. His references range wildly, from the literary to the political to the personal, but remain most deeply in conversation with themselves. Each new song sets off a reverse domino effect, reaching back into the past and redefining, whether subtly or overtly, what we thought we knew.



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