That Thin, Wild Mercury Sound

September 15, 2018

One of the first rock double albums, Blonde on Blonde (1966) is among Bob Dylan's most significant achievements. He started recording it in New York City during his tumultuous tour with the Hawks (later The Band) in late 1965; however, it wasn't until he tried Columbia's studio in Nashville, on the suggestion of Johnny Cash, that Dylan found the "thin, wild mercury" sound he had been seeking. In this absorbing account, journalist Sanders provides fascinating details about the songs ("Rainy Day Women Nos. 12 & 35" was recorded in one raucous take), but the young yet experienced Nashville musicians who backed Dylan, along with Al Kooper, Robbie Robertson, and producer Bob Johnston, receive almost equal attention. The Blonde on Blonde sessions elevated Nashville to the level of New York and Los Angeles as a recording center, and singers and songwriters connected to Dylan flocked to the city to record their own work. The book concludes with an assessment of the album and its influence on rock music. VERDICT For anyone interested in Dylan or the music of the 1960s. This title deserves the kind of attention received by Greil Marcus's Like a Rolling Stone.--Thomas Karel, Franklin & Marshall Coll. Lib., Lancaster, PA

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