For those that expect the album to continue on this silly note, the classic 'Visions of Johanna' quickly dispels this notion. Over 7 minutes long, Dylan's mesmerising lyrics and strangely captivating voice blend seamlessly with what is really just a cute little tune. On a similar note, yet even more brilliant, is the closing track 'Sad Eyed Lady of the Lowlands'. Over 11 minutes in length, yet entrancing from start to finish. This is no ordinary pop song.
But what makes this album so great is that there are a few of those too. 'One of Us Must Know (Sooner of Later)', 'I Want You', 'Just Like a Woman' and 'Most Likely You'll Go Your Way and I'll Go Mine' have all the catchiness of a made-for-radio tune, but none of the fluff. One of the most striking features of Blonde on Blonde is this diversity. After finally ditching the frustratingly narrow shackles of his folk (acoustic) past, this album was obviously taken as a welcome opportunity to explore the bounds of his musical creativity. The result is an impressive collection of rock, folk, country and other genres besides into a wonderfully distinct sound.
There are also some other stand-out tracks. The bizarre 'Stuck Inside of Mobile With the Memphis Blues Again' is good for that very reason. '4th Time Around' has a sad nostalgia about it (indeed this feeling pervades the whole album does), while 'Obviously 5 Believers' sees Dylan cutting loose.
Without a doubt Bob Dylan- his voice and his songs- annoys a lot of people. However for those who view him positively Blonde on Blonde is an absolute classic. It is strange, haunting, but always captivating. The diversity and uniqueness of sound alone illustrate the artist's talent and the album's quality. However, the highlight, without a doubt, is the closer 'Sad Eyed Lady of the Lowlands'. It is difficult to think of a better Dylan song than this.
RATING: 9.5/10
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