'Blonde on Blonde'

Blonde on Blonde's signficance has many talking points.

First and foremost, there's Barry from High Fidelity, the film, talking with a record-store patron, who apparently needs help buying records including Echo and the Bunnymen and Dylan's 1966 opus:

"Don't tell anyone you don't own Blonde on Blonde. It's gonna be okay."

Dylan's career is not one I've ever had a good grasp on. Blindly, I would've placed Blonde on Blonde around 1968 or so. Instead, it was 1966 and his sixth overall record. He not only started really early and he recorded. A lot.

It also came at a critical time in Dylan's career. Blonde on Blonde was highly ambitious and surreal. The lyrics almost insane. The music a ton more bluesy than any other record to date.

It came on the brink of Dylan going electric under great scrutiny. It came just before Dylan would be injured in a serious motorcycle accident. He was also tagging his future wife, Joan Baez and Edie Sedgwick.

Blonde on Blonde also was done around the time Dylan hired what would become The Band as his backing group including Robbie Robertson and Levon Helm. They'd shortly after split off (using the momentum of their experience with Dylan) and do their thing