Award-winning singer/songwriter, Marina V, unveils her electrifying new single, “Symphony & Metal”, a powerful anthem blending orchestral grandeur and metal intensity. The track features an all-star lineup, including Bruce Kulick (ex-KISS), David Ellefson (ex-Megadeth), and renowned composer Steve Horner, with Marina’s husband and longtime collaborator Nick Baker on drums.
Marina describes the song as “a reflection of the timeless battle between our inner light and darkness, a message of resilience, and a call to never give up.”
She shares: “We are fragile, vulnerable, and beautiful (symphony) yet extremely adaptable, strong, and tough (metal). This duality resonates deeply with me, especially after experiencing life’s extremes in recent years—becoming a mom, losing my dad during the pandemic, and enduring the devastating effects of the war on my family in Russia and Ukraine. The lyric, ‘It doesn’t matter how many times you get knocked down, it only matters if you get back up,’ has been my daily mantra.”
Marina explains, “When recording ‘Symphony & Metal’, I knew we needed serious bombast and musical wizardry for the epic sound of the song. My co-writer/husband/drummer and I were fortunate to enlist long-time friends and extraordinary musicians Bruce Kulick (Kiss), David Ellefson (Megadeth), and Steve Horner (composer of film and tv, including credits on shows such as Bridgerton, etc).”
Stream “Symphony & Metal here, and listen to the track below.
Marina V is a Russian-American singer, pianist, and songwriter praised for her “hauntingly beautiful” voice (LA Times). Born in Moscow, she moved to the United States at 15 and has since performed over 1,500 concerts worldwide, sharing stages with artists like Howard Jones, Macy Gray, and Beth Hart.
Marina has self-released several critically acclaimed albums, with her upcoming release, Labyrinthine Rose, set to feature Bruce Kulick and David Ellefson. She has composed songs for films, TV shows, and major brands like Pepsi. She also has written over 150 songs for a popular YouTube channel for kids, KoteKitty, with over a billion views.
Her artistry has earned her numerous awards, including recognition from Sir Bob Geldof in London, and commendations as a cultural ambassador by Senator Bill Bradley. Marina’s loyal fanbase has been integral in sponsoring her albums and tours.
Deep Purple’s Greatest Hits, released in 2009, is a comprehensive compilation showcasing the legendary band’s most iconic tracks.
Spanning their groundbreaking career, the album features classic live versions of hits like “Smoke On The Water,” “Highway Star,” “Child In Time,” and “Black Night,” offering a perfect introduction to Deep Purple’s influential sound. Known as pioneers of hard rock and heavy metal, the band’s virtuosic guitar solos, soaring vocals, and dynamic keyboard riffs shine throughout this collection.
Greatest Hits captures the essence of Deep Purple’s heyday while celebrating their timeless appeal. For longtime fans and newcomers alike, this compilation is an essential addition to any rock music collection, solidifying Deep Purple’s legacy as one of the most influential bands in rock history.
Greatest Hits is available on February 28 as a limited edition of 1,500 individually numbered copies on purple coloured vinyl. Pre-order here.
Tracklisting:
Side A “Highway Star” (Live at Schleyer-Halle) “The Cut Runs Deep” “Vavoom: Ted The Mechanic” “Ramshackle Man” “A Castle Full Of Rascals”
Side B “Perfect Strangers” (Live at Schleyer-Halle) “Truth Hurts” “Solitaire” “Loosen My Strings” “Anyone’s Daughter” (Live at the NEC)
Side C “A Touch Away” “Black Night” (Live at Schleyer-Halle) “Nasty Piece Of Work” “Slow Down Sister”
Side D “Child In Time” (Live at Schleyer-Halle) “Anya” (Live at Schleyer-Halle)
Side E “Love Conquers All” “Sometimes I Feel Like Screaming” “Wicked Ways” “The Purpendicular Waltz”
Side F “Speed King” (Live at Schleyer-Halle) “The Battle Rages On” “King Of Dreams” “Soon Forgotten”
Side G “Knockin’ At Your Back Door” (Live at the NEC) “Fire In The Basement” “Time To Kill” “Cascades: I’m Not Your Lover” “Fortuneteller”
Side H “Lazy” (Live at Schleyer-Halle) “Somebody Stole My Guitar” “Hush” (Live at the NEC) “Smoke On The Water” (Live at the NEC)
Ahead of their next studio album, Saddiction, due on February 14 via Nuclear Blast, French doom metal pioneers Hangman’s Chair are back with their new single, “In Disguise”. A haunting, slow-burning shoegaze doom track that drifts through layers of sorrowful distortion. Its mournful lyrics unravel the weight of depression, echoing the isolation and darkness that consumes the soul.
Hangman’s Chair comments on “In Disguise”: “Weather, debts, long time since failure, low motivational level, the feeling of a need to take action… already depressed? January 20th, more commonly known as “Blue Monday”, what a perfect day to release our third single, ‘In Disguise’. A last fix before the launching of Saddiction on Valentine’s Day. Enjoy!”
Stream the single here, and watch the visualizer below:
Hangman’s Chair comments on Saddiction: “‘Saddiction’ is the contraction of two words, sadness, and addiction. It means the addiction to sadness. 7th effort of the band, for us, Saddiction is the second album of the new trilogy that started with A Loner back in 2022 and it’s the logical continuity. Keeping up with the cold, massively reverbed, and chorused atmosphere but now mixed with what Hangman’s Chair has been known for, the heaviness and the low-tuned sound, thanks to the magical sound engineer Francis Caste, once again. Valnoir of Metastazis designed the cover and resumed what the identity of Hangman’s Chair is all about in its purest form, concrete, pavement, bleakness, and ultra-modern solitude of the Parisian « banlieue ». Now, please don’t blame us for your saddiction. It has always been here. In your hearts, February 14th, 2025.”
Experience the raw power and atmospheric intensity of Rotting Christ as they take over the Ronnie James Dio Main Stage at Bloodstock Open Air Festival 2024. On August 9, Greek black metal icons Rotting Christ brought their unique blend of dark, brooding soundscapes and ritualistic intensity to the festival, captivating thousands under the bright Derbyshire sun. Performing tracks from across their prolific discography, the band showcased their deep commitment to creating immersive, almost transcendental live experiences.
In this featured clip, witness the band’s performance of “666,” a powerful anthem that resonates with haunting riffs, driving beats, and the unmistakable guttural vocals that have defined their sound since the late ‘80s. Rotting Christ’s ability to create an atmosphere that is both intense and atmospheric is on full display, combining rhythmic simplicity with tribal, almost primal energy that connects with audiences worldwide.
Last week, Rotting Christ checked in with the following update: “To all our Latin American brothers & sisters, we would like to inform you that there will be a free Meet & Greet after each show of our upcoming tour in your land this February. Look forward to meeting you all in person in one of the following territories and until then… keep the True Metal Spirit alive!”
Tour dates are as follows:
February 5 – Clara Nunes – Rio de Janeiro, Brazil 7 – Correira Music Bar – Vitoria, Brazil 8 – Carioca – Sao Paolo, Brazil 9 – Mirage – Limeira, Brazil 11 – Tork’ n Roll – Curitiba, Brazil 12 – Bolshoi Pub – Goiania, Brazil 14 – Armazem 14 – Recife, Brazil 15 – Complexo Armazem – Fortaleza, Brazil 16 – Botequim – Belem, Brazil 18 – Porão do Alemão – Manaus, Brazil
Rotting Christ recently shared a video trailer for their upcoming live album, due in early 2025.
A message states: “This is the official trailer for band’s upcoming official live album, 35 Years Of Evil Existence, that is planned to be released early 2025. An album recorded and filmed in the historical hill of Lycabettus in Athens, Greece in summer 2024, celebrating the 35 years of bands existence together with thousands of people from all around the world that came to the capital of Greece to pay respect to the band! Thanks for your attention and stay tuned for updates brothers & sisters!”
After 32 years in the shadows, Katatonia finally allowed sunlight to pierce their darkness with Sky Void Of Stars. In 2023 vocalist Jonas Renkse refused to call their 12th album happy, though
Katatonia have always been a serpentine band. With each new album, they shed their skin to unveil an evolving creature underneath. It’s something that’s earned them countless accolades as they’ve grown from death metal upstarts to cinematic, prog rock veterans. Despite their progressive evolution, however, the Swedes, who celebrated their 30th anniversary in 2021, have always kept a shroud of darkness overhead. What makes their 12th album, Sky Void Of Stars, so intriguing then, is that those shadows now seem to be dissipating. The masters of melancholia have never sounded as upbeat and hopeful as they do here. Just don’t call it a happy album.
“The album is very energetic and uptempo for us,” admits vocalist Jonas Renkse. “It’s straight to the point, but I wouldn’t say it’s a happy record. It’s still sad in its heart.”
Many albums were written while the world was locked down, but for Sky Void Of Stars’ predecessor, City Burials, Katatonia had the unexpected experience of releasing it into that isolated world. Instead of packing their bags and traversing the globe in support of the record, upon its release, their momentum faded away. While fans sat at home soaking up its musical contents, for its writers, there was a strange sense of ‘What’s next?’
“Since we couldn’t tour, we didn’t really promote the album,” says Renkse. “But instead of just lying on the couch and waiting for something to happen, I decided to start writing again.
“It was me doing the album alone because I wasn’t sure what it was going to be in the beginning,” he reflects. “I was certainly writing for Katatonia, but the uncertainty of the state of the world at the time just made me keep writing. I was keeping the music to myself in the beginning because I was just writing for myself, to keep myself occupied. It wasn’t until I started to have a good set of songs that I started sharing my ideas with Anders [Nyström, guitarist] to hear his opinion and see if he had any production ideas, and then to the rest of the band.”
(Image credit: Napalm)
As the musical plot lines of the record’s 11 songs were being weaved together by Renkse, playing to a live audience felt like a distant idea. To an extent, then, the album is a love story to the stage and spurred on by a longing to return to it. While Renkse is dismissive of Sky Void Of Stars being a happy album, the upbeat energy and immediacy that drives it derives from a craving to feel even just a hint of the irreplaceable adrenaline rush that live performance brings.
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“Writing music that was a lot more immediate felt like an important thing to do. I was missing being onstage and being on tour. I was missing every aspect of live music. So, I found myself writing songs that I would love to perform live. Playing live onstage is a very unique experience, it’s a totally different universe from being in a studio. So, having the adrenaline of playing live in mind when writing, even if it was a little bit subconscious, was very comforting for me. It definitely shaped the sound of the album.”
Fuelled by that fresh immediacy, lead guitars are more prominent on this record than any previous release under the Katatonia moniker, adding to the adrenaline rush chasing that underlines its creation. For that, guitarist Roger Öjersson is to thank.
The musician, who entered the fold in 2016, has a colourful history, having performed in both blues and death metal bands. He was also part of Pain Of Salvation’s live line-up in 2013 and appeared on their 2014 acoustic album, Falling Home. Now his sumptuous playing adds an evocative and incendiary new dimension to Katatonia’s sound.
“Roger is a super guitarist, so it would be a shame not to use his capability of doing these kinds of solos that we maybe didn’t do so much back in the day,” Renkse says. “It’s important we write music that lets him loose, especially on this kind of record, where guitar solos really add that extra something. I think it’s also good for him to be part of the creative process. He hasn’t really written any music for Katatonia yet, so solos are where he can really express himself.”
When Öjersson isn’t strutting his stuff, Renkse is steering the sound.
“With the songs being snappier and more uptempo, it called for the record to be more vocal driven,” he explains, “but it also came from the spontaneity I was feeling when writing the vocal melodies and the lyrics. These days, I tend to write the lyrics at the same time as I’m writing the song. Writing spontaneously, as opposed to really thinking about what I want to sing about or how I want the vocals to feel, is much more rewarding for me as everything comes together much quicker. It made me feel more connected to the music and the moment.”
The spontaneity of the writing process, Renkse adds, helped diversify the topics his lyrics would broach. It became much more subconscious, like a psychiatrist unpicking his true self one song at a time.
“To me, the record title is about having a lack of navigation, the feeling of being lost somewhere, but each song is very individual, and I definitely don’t expect people to interpret these lyrics the same way as I do,” he says. “What those lyrics meant to me as I sang them may mean something completely different to how the listener perceives them. Everyone else’s version is unique and as interesting as mine, probably, so that’s the beauty of the written word and how it connects people and how it talks to different people in different ways.”
(Image credit: Mathias Blom)
Speaking to Prog around the release of their B-sides album, Mnemosynean, in late 2021, Renkse talked fondly of his songwriting partnership with Nyström and their telepathic connection when it came to turning vision into music. So, while his bandmate and longtime friend hasn’t contributed directly to the writing of the record, their connectivity has still greatly influenced the visage of these songs.
“I know what the guys each like to play, how they want to play things. We all speak the same musical language, so when I’m writing, I’m writing for those guys, too. It helps me write music I know we will all love.”
On Impermanence, Renkse receives some wonderful vocal support from Soen frontman Joel Ekelöf. It’s an emotive and evocative progressive ballad that sounds more in keeping with the band’s back catalogue than the brighter tones that preside over much of this album. The pair’s voices coalesce wonderfully and it’s a collaboration that’s been on the cards for a while.
Says Renkse: “It’s something we’ve been talking about doing for some time; just loose talk when we see each other. When I was writing Impermanence I knew this was the song where he must be featured because he could do wonders with his voice. Especially when we are doing it together, letting the voices meet. Everything fell right into place.”
Executed with an unfamiliar urgency, Sky Void Of Stars’ songs are still typically bleak but there’s a hint of a happy ending, at long last, for some of the twisted tales. It feels that hope springs eternal in the immediacy of these songs, even if Renkse swerves the topic. The band’s constant evolution has always been unpredictable; it would have been impossible to guess how the brazen death metal of their beginnings would mature into such intelligent and alluring but dark sonic explorations. Yet, for a band who have so stylishly built a reputation for unpredictability, it’s hard to imagine that anyone foresaw their signature darkness one day sounding as paradoxically hopeful as it does on this impressive and, for Renkse, necessary new album. Don’t expect it to last, though, as Katatonia’s skin will begin to shed again soon.
“I hope for the next album,” he reveals, “the rest of the band will come back into the songwriting process. I want to build on the nice chemistry that we have. The teamwork is something that I missed with the album, even though I am super-happy with it.”
You can usually find this Prog scribe writing about the heavier side of the genre, chatting to bands for features and news pieces or introducing you to exciting new bands that deserve your attention. Elsewhere, Phil can be found on stage with progressive metallers Prognosis or behind a camera teaching filmmaking skills to young people.
“I was on my way to Vegas to marry a French boy, who was asleep on my lap, and I was listening to this song thinking, I’m living the dream. Then he woke up and said, I can’t marry you.” Du Blonde on the eight songs that changed her life
(Image credit: Daemon T.V)
Du Blonde‘s Sniff More Gritty was one of the very best albums of 2024, the latest addition to a stellar catalogue identifying Beth Jeans Houghton as one of the finest songwriters making music in Britain today.
This week, for the first time in five years, Du Blonde is taking her songs on the road, on an 11-date British tour (dates and details below). Before she set off, she sat down with Louder to share her memories of eight songs which changed her life, and helped inspire her to become the singular artist she is today.
Joni Mitchell – Ladies of the Canyon
“This was the first ever song that I heard on vinyl, when I was about six. My mum had Joni Mitchell‘s Ladies of the Canyon album on gatefold vinyl, with the lyrics handwritten on the inner sleeve, and I was fascinated by the whole concept. You put a needle on a piece of plastic and hear someone’s voice preserved forever in this thing? How the fuck does that happen?
“So this was the start of my fascination not just with recorded music, but, like, with physical music, and I still have that obsession to this day. This sounds very capitalist, and I don’t mean it in that way, but I’m obsessed with merchandise, like the stuff that holds the music, and things like zines, that get people’s ideas across, that you can have in your own home.
“This song also started my love of Los Angeles. It’s about Laurel Canyon, which seemed to me like this magical place where loads of musicians lived near each other in cabins, and were kind to each other, and played on each other’s records. My mum had a huge ’60s and ’70s music collection, so I would read all the credits on albums by The Byrds, and the Mamas and Papas, and whoever, and see the names of musicians from other bands popping up. So I’ve picked this because it paints this really beautiful picture of that time and place.”
David Bowie – Ziggy Stardust
“Specifically I’m talking here about a live performance recording of this song from 1972 which I saw on TV when I was a kid. In my head I thought I’d seen it on Top of the Pops, but that doesn’t seem to be true. Anyway, it was on TV when I was, like, eight or so, and when I saw it, I was like, Who the fuck is this? I couldn’t figure out if it was a guy or a girl, it was this alien, otherworldly creature.
“I think this was maybe the first time that I recognised that someone was playing a character, but underneath is a human. It was kinda like seeing a superhero, like with Clark Kent and Superman, and I just liked that idea. I’ve always liked musicians who put on a performance, rather than just turning up and playing.
“Also, there’s something about David Bowie in that era, and with Marc Bolan and glam rock in general, where it’s very simple, but he gets across so much with so few chords. I’m always bowled over by the simplicity and catchiness of it, and it showed me that if you get the right guitar tone on a song, you don’t have to put down 100 guitar tracks.”
Minnie Ripperton – Les Fleurs
“This was a really big song in my circles in Newcastle in the ’90s, and I chose this because it was the first time I’d heard a song where it’s almost like a soundscape, with the instrumental side of it painting a picture. When I was a kid, I was like, Oh, it sounds like a magical meadow.
“In the way that the song was constructed and the instruments were arranged it wasn’t just that the lyrics were getting a point across, but the instrumentation really supported that, and it was very visual to me. I think that’s bled into what I do with my production, where I use a lot of samples and things to try to make like an audio documentary of what I’m singing about.”
Wild Man Fischer – Merry Go Round
“Okay, for the record, I really don’t like this song. But it changed the way that I thought about music forever.
“I got into it because I was really into Frank Zappa, and he produced Wild Man Fischer. I listened to this record, and it’s so fucking weird and really uncomfortable. It’s technically a bad song, but when I heard it I thought, Ah, but that still got pressed to vinyl. So that was the thing for me, I was like, Oh, you can literally do anything! Loads of people don’t know who this guy is, obviously, but his records are collect items, and there’s something about that that I really loved. It made me think about how I make music in terms of telling myself don’t question so much. It’s not always about, does this sound pleasant? It can be, does this sound interesting? Does it elicit an emotional response? So that had a really big impact on me, even though I hate the song!”
Frank Zappa and The Mothers of Invention – Camarillo Brillo
“My dad used to have a Frank Zappa compilation, called Have I Offended Someone? and it was all of his offensive songs, and Camarillo Brillo was on it. I remember hearing it when I was about 13, and we were in the car, and, for me, it’s my ultimate number one favourite song, forever, the perfect song. I couldn’t even say why, it just brings me loads of joy. The instrumentation is amazing, with lots of different lead parts that come in and out, and space for all the instruments to do their own interesting things, yet it’s still quite a simple song.
“I’d been very much into folk and psych – Joni Mitchell, Neil Young, anything off the Nuggets compilation – but hearing this was the first time I was like, Oh, I’d quite like to be in a band, as opposed to just being a singer with an acoustic guitar.”
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Frank Zappa, The Mothers Of Invention – Camarillo Brillo (Visualizer) – YouTube
“I always feel like I should have had a cooler introduction to this song, but I heard it first on the film Almost Famous. I was obsessed with Almost Famous when I was a kid – I watched it like three times every weekend for years – and I’d just dream of being in a band on a bus in America in the ’70s. And this is the song on that soundtrack that painted that dream for me. Every time I sing it, it kind of grounds me back to like, What’s my goal?In the music industry it’s really easy, especially now with social media and everything, to get sucked up with whatever the current thing is that you’re meant to do as a musician, but this always reminds me that I just want to be on a bus, playing shows.
“I love Led Zeppelin‘s heavy stuff, but I also really like their lighter, more folk-tinged stuff. It’s kinda like my favourite Black Sabbath song being Changes: I like when the bad boys do a ballad!”
Led Zeppelin – Tangerine (Official Audio) – YouTube
“This is from Brewing Up with Billy Bragg and also on his Must I Paint You A Picture? compilation album, and I probably heard this in my early teens. Billy Bragg’s style, where it’s just this almost overdriven acoustic guitar, I’d never heard music like that before: it’s kinda punk without any drums, and kinda folky, but with an edge. I love it because it kinda bridged the gap for me between folk and rock, which are my two ultimate faves.
“The lyrics in this song are so specific to a relationship and a moment in time in his life, but even though it’s so specific, I feel like so many people can apply it to a relationship that they had in their teens, or the first time they fell in love. And just that the idea of falling in love in a northern town, in my head it was like, Oh, this isn’t Hollywood love, or Disney love, it’s a very real English love song.
“I used to write very poetically, with lots of metaphors, thinking that if you’re not vague, it’s too inaccessible, but this changed my thoughts on that. My song Holiday Resort is totally inspired by Billy Bragg, both in its sound and lyrically.”
“My mum had a lot of cassette tapes, and among them was Simon and Garfunkel’s live album, The Concert In Central Park. I love the whole album, but specifically America, which is also the opening song on the Almost Famous soundtrack. Ever since hearing Ladies of the Canyon, I was like, I want to live in LA, I had this obsession with wanting to go to America, and it never stopped. So then America by Simon and Garfunkel became kinda the theme of that. One day I was on my way to Vegas to marry a French boy, and I was listening to this song, and I was like, I’m living the dream! And then he didn’t marry me.”
Wait… What??? You can’t just leave that hanging there! You got jilted on the way to getting married???
“Hahaha. It’s okay, it wasn’t the greatest love of my life or anything! But, yeah, we decided we were going to get married – I was only 20 – and we got a Greyhound bus to Vegas, and he was asleep on my lap, and then he woke up and said, ‘I can’t marry you’. He was worried about visas or something. I was like, We can totally get it annulled, like, immediately, I just want to be able to have the story of I got married in Vegas at 20! But he wouldn’t do it. So when we got to Vegas we just gambled instead. A shame at the time, but probably for the best.”
Simon & Garfunkel – America (from The Concert in Central Park) – YouTube
Du Blonde is on tour in the UK from January 22 to February 6, playing the following venues:
Jan 22: Edinburgh The Mash House Jan 23: Glasgow Nice n’ Sleazy SOLD OUT Jan 24: Newcastle The Cluny SOLD OUT Jan 26: Manchester YES (Pink Room) SOLD OUT Jan 28: Leeds Brudenell Social Club Jan 29: Sheffield Yellow Arch Studios Jan 31: Nottingham Bodega
Feb 01: Birmingham Flapper Feb 02: Bristol Thekla Feb 04: Brighton Dust Feb 06: London Scala
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Carrie Underwood emerged as one of country music’s brightest stars following her victory on the fourth season of American Idol in 2005. Born in Muskogee, Oklahoma, and raised in Checotah, her powerhouse vocals and down-to-earth charm quickly resonated with audiences worldwide. Underwood’s debut album, Some Hearts, became the best-selling solo female debut in country music history, spawning hits like “Jesus, Take the Wheel” and “Before He Cheats.” She has released multiple critically acclaimed albums, including Carnival Ride, Blown Away, and Cry Pretty, each showcasing her growth as an artist and songwriter.
Over the years, Underwood has earned numerous accolades, including eight Grammy Awards, twelve Billboard Music Awards, and sixteen Academy of Country Music Awards. With over 70 million records sold globally, her influence on country and pop music is undeniable. Beyond her chart success, Underwood’s music often bridges the gap between traditional country storytelling and contemporary production, making her a significant figure in modern music. Her philanthropic efforts and advocacy for various causes further solidify her as a beloved and influential figure in entertainment.
Complete List of Carrie Underwood Songs (A–Z)
A
All American Girl – Carnival Ride (2007) All Is Well (with Michael W. Smith and solo) – The Spirit of Christmas (2014), My Gift (Special Edition) (2021) Alone (with Heart) – Live in Atlantic City (2019) Always on My Mind (with Willie Nelson) – To All the Girls… (2013) Amazing Grace – My Savior (2021) Away in a Manger – My Gift (2020)
B
Backsliding – Cry Pretty (2018) Barracuda (with Heart, Jerry Cantrell, Dave Navarro, Duff McKagan, Rufus Wainwright, and Gretchen Wilson) – Live in Atlantic City (2019) Because He Lives – My Savior (2021) Before He Cheats – Some Hearts (2005) Blessed Assurance – My Savior (2021) Blown Away – Blown Away (2012) The Bullet – Cry Pretty (2018)
C
Can’t Stop Lovin’ You (with Aerosmith) – Music from Another Dimension! (2012) The Champion (featuring Ludacris) – Cry Pretty (2018) Change – Play On (2009) Chaser – Storyteller (2015) Choctaw County Affair – Storyteller (2015) Church Bells – Storyteller (2015) Clock Don’t Stop – Storyteller (2015) Cowboy Casanova – Play On (2009) Crazy Angels – Denim & Rhinestones (2022) Crazy Dreams – Carnival Ride (2007) Cry Pretty – Cry Pretty (2018) Cupid’s Got a Shotgun – Blown Away (2012)
D
Damage – Denim & Rhinestones (Deluxe Edition) (2023) Denim & Rhinestones – Denim & Rhinestones (2022) Dirty Laundry – Storyteller (2015) Do-Re-Mi – The Sound of Music: Music from the NBC Television Event (2013) Do You Hear What I Hear – Carnival Ride (Walmart Holiday Edition Bonus Disc) (2008) Do You Think About Me – Blown Away (2012) Don’t Forget to Remember Me – Some Hearts (2005) Drinking Alone – Cry Pretty (2018) Drunk and Hungover – Denim & Rhinestones (Deluxe Edition) (2023)
E
Edelweiss – The Sound of Music: Music from the NBC Television Event (2013) End Up with You – Cry Pretty (2018) Ever Ever After – Enchanted: Original Soundtrack (2007)
F
Faster – Denim & Rhinestones (2022) Favorite Time of Year – My Gift (Amazon Music Bonus Track) (2020) The Fighter (with Keith Urban) – Ripcord (2016) The First Noel – Carnival Ride (Walmart Holiday Edition Bonus Disc) (2008) Flat on the Floor – Carnival Ride (2007) Forever Changed – Blown Away (2012) Forever Country (as Artists of Then, Now & Forever) – (Single) (2016)
G
Garden – Denim & Rhinestones (2022) Get Out of This Town – Carnival Ride (2007) Ghost Story – Denim & Rhinestones (2022) Ghosts on the Stereo – Cry Pretty (2018) The Girl You Think I Am – Storyteller (2015) Give Her That – Denim & Rhinestones (Deluxe Edition) (2023) Good Girl – Blown Away (2012) Good in Goodbye – Blown Away (2012) Great Is Thy Faithfulness (feat. CeCe Winans) – My Savior (2021)
H
Hallelujah (feat. John Legend) – My Gift (2020) Hark! The Herald Angels Sing – Carnival Ride (Walmart Holiday Edition Bonus Disc) (2008) Hate My Heart – Denim & Rhinestones (2022) Have Yourself a Merry Little Christmas – My Gift (2020) Heartbeat – Storyteller (2015) High Life (with Brad Paisley) – Moonshine in the Trunk (2014) Home Sweet Home – (Single) (2009) How Great Thou Art – My Savior (2021)
I
I Ain’t in Checotah Anymore – Some Hearts (2005) I Just Can’t Live a Lie – Some Hearts (2005) I Know You Won’t – Carnival Ride (2007) I Surrender All – My Savior (2021) I Told You So (also re-released as a duet with Randy Travis) – Carnival Ride (2007) I Wanna Remember (with Needtobreathe) – Into the Mystery (2021) If I Didn’t Love You (with Jason Aldean) – Macon, Georgia (2021) I’ll Be Home for Christmas (with Elvis Presley) – Christmas Duets (2008) I’ll Stand by You – Idol Gives Back (2007) Independence Day – American Idol Season 4: The Showstoppers (2005) Inside Your Heaven – Some Hearts (2005) Is It Still Over? (with Randy Travis) – Anniversary Celebration (2011) It Had to Be You (with Tony Bennett) – Duets II (2011)
J
Jesus Loves Me (Instrumental) – My Savior (2021) Jesus, Take the Wheel – Some Hearts (2005) Joyful, Joyful We Adore Thee – My Gift (2020) Just a Dream – Carnival Ride (2007) Just as I Am – My Savior (2021)
Last Name – Carnival Ride (2007) Leave Love Alone – Blown Away (2012) Lessons Learned – Some Hearts (2005) Let There Be Peace – My Gift (2020) Like I’ll Never Love You Again – Storyteller (2015) The Little Drummer Boy (feat. Isaiah Fisher) – My Gift (2020) Little Girl Don’t Grow Up Too Fast – Storyteller (2015) Little Toy Guns – Greatest Hits: Decade #1 (2014) Look at Me – Play On (2009) Love Wins – Cry Pretty (2018) Low – Denim & Rhinestones (2022)
M
Mama’s Song – Play On (2009) Mary, Did You Know? – My Gift (2020) Mexico – Storyteller (2015) The More Boys I Meet – Carnival Ride (2007) My Favorite Things (with Audra McDonald) – The Sound of Music: Music from the NBC Television Event (2013)
N
The Night Before (Life Goes On) – Some Hearts (2005) Nobody Ever Told You – Blown Away (2012) Nothing but the Blood of Jesus – My Savior (2021)
O
O Come, All Ye Faithful – My Gift (2020) O Holy Night – My Gift (2020) O How I Love Jesus – My Savior (2021) Oh Love (with Brad Paisley) – 5th Gear (2007) The Old Rugged Cross – My Savior (2021) One Way Ticket – Blown Away (2012) Only Us (with Dan + Shay) – Dear Evan Hansen (2021) Out of That Truck – Denim & Rhinestones (Deluxe Edition) (2023)
P
Pink Champagne – Denim & Rhinestones (2022) Play On – Play On (2009) Poor Everybody Else – Denim & Rhinestones (2022) Praying for Time – (Single) (2008)
Q
Quitter – Play On (2009)
R
Remind Me (with Brad Paisley) – This is Country Music (2011) Relapse – Storyteller (2015) Renegade Runaway – Storyteller (2015)
S
See You Again – Blown Away (2012) She Don’t Know – Denim & Rhinestones (2022) Silent Night – My Gift (2020) Sixteen Going on Seventeen (Reprise) (with Ariane Rinehart) – The Sound of Music: Music from the NBC Television Event (2013) Smoke Break – Storyteller (2015) So Long, Farewell (Reprise) (with Stephen Moyer, Ariane Rinehart, Michael Nigro, Ella Watts-Gorman, Joe West, Sophia Caruso, Grace Rundhaug & Peyton Ell) – The Sound of Music: Music from the NBC Television Event (2013) So Small – Carnival Ride (2007) Softly and Tenderly – My Savior (2021) Some Hearts – Some Hearts (2005) Someday When I Stop Loving You – Play On (2009) Somethin’ Bad (with Miranda Lambert) – Platinum (2014) Something Good (with Stephen Moyer) – The Sound of Music: Music from the NBC Television Event (2013) Something in the Water – Greatest Hits: Decade #1 (2014) Sometimes You Leave – Carnival Ride – MusicPass Bonus Tracks (2007) Songs Like This – Play On (2009) The Sound of Music – The Sound of Music: Music from the NBC Television Event (2013) Southbound – Cry Pretty (2018) Spinning Bottles – Cry Pretty (2018) Starts with Goodbye – Some Hearts (2005) Still Woman Enough (with Loretta Lynn and Reba McEntire) – Still Woman Enough (2021) Stretchy Pants – (Single) (2021) Sweet Baby Jesus – My Gift (2020)
T
Take Me Out – Denim & Rhinestones (Deluxe Edition) (2023) Tears of Gold (with David Bisbal) – En Tus Planes (2020) Temporary Home – Play On (2009) That Song That We Used to Make Love To – Cry Pretty (2018) That’s Where It Is – Some Hearts (2005) Thank God For Hometowns – Blown Away (2012) There’s a Place for Us – The Chronicles of Narnia: The Voyage of the Dawn Treader (2010) This Side of Heaven (with The Swon Brothers) – The Swon Brothers (2014) This Time – Play On (2009) Twisted – Carnival Ride (2007) Two Black Cadillacs – Blown Away (2012)
U
Unapologize – Play On (2009) Undo It – Play On (2009)
V
Velvet Heartbreak – Denim & Rhinestones (2022) Victory in Jesus – My Savior (2021)
W
Wanted Woman – Denim & Rhinestones (2022) Wasted – Some Hearts (2005) We’re Young and Beautiful – Some Hearts (2005) What Can I Say (featuring Sons of Sylvia) – Play On (2009) What Child Is This? – My Gift (2020) What I Never Knew I Always Wanted – Storyteller (2015) Wheel of the World – Carnival Ride (2007) Whenever You Remember – Some Hearts (2005) Who Are You – Blown Away (2012) Wine After Whiskey – Blown Away (2012)
Y
You Won’t Find This – Carnival Ride (2007) You’re Lookin’ at Country – Coal Miner’s Daughter: A Tribute to Loretta Lynn (2010)
Check out our fantastic and entertaining Carrie Underwood articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
In the clip below, The Darkness frontman Justin Hawkins weighs in on the title track from Devin Townsend’s latest album, PowerNerd:
“I’ve often heard the name Devin Townsend mentioned – but mainly by musicians I know. The man is prolific and a legend in the industry. So I’ve gone back to the title track of his last album – PowerNerd – to find out more; it’s the tiny tip of a very big iceberg.”
PowerNerd is available on several different formats, including a Limited 2CD+Blu-ray Artbook (featuring the album, bonus tracks and Devin’s first ever Dolby Atmos mix), Limited 2CD Digipak in O-card, Standard CD, Gatefold LP & Digital Album. Order here
The album’s artwork was created by longtime collaborator Travis Smith.
When Mike Oldfield asked his social media followers what kind of music they’d like from him, the overwhelming response was something in the vein of 1975’s Ommadawn. None of those fans could have suspected 2017’s Return To Ommadawn would be his final album – he retired in 2023. But he pulled all the stops out for that last addition to his catalogue, rebuilding instruments from four decades earlier, developing throwback teaser tones to drop into the new music; and ensuring the vinyl edition – the one that mattered to him most – offered something extra-special.
“When I first began to think of what I should do for my new album, I went on social media and asked the fans for their opinion,“ Mike Oldfield tells Prog. “So many of them seemed to want me to go back to the acoustic style of the first three albums, and of these it’s Ommadawn that appeared to be their favourite one.”
But what clinched his decision was a comment from synth pioneer Jean-Michel Jarre. “I saw that Jean-Michel was doing a live Facebook chat with his fans, and I went online to follow what was being said. One person asked him whether he might collaborate with me – and his answer was interesting.
“He said that he loved my music, but that I was too acoustic for him. That got me thinking. If someone like him believes I’m an acoustic musician, then it shows how important that part of my career has been. So with all this overwhelming evidence, I felt it would be very exciting to do a project again along those lines.”
Work on the new album began in December 2015, and was only finally concluded in November 2016. Oldfield is keen to stress that this is a pure solo work: “I’m the only musician who is involved. I play everything. There are no guest appearances whatsoever.”
Actually, that’s not strictly true – those with keen ears will notice a very brief choral burst from the Penrhos Kids at the end of the second track, titled Part II. It isn’t quite what it seems.
“I did wonder if people might be disappointed that the album doesn’t have a follow-up to On Horseback, which was the final song on Ommadawn,” the composer explains. “So I took one line from the children’s choir who sang on that track and inserted it here. It’s a way of linking these two albums across more than 40 years. It’s not a new recording.”
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There are talented people who could duplicate what I’ve done, but it could never have the same emotional connection
He readily admits that he specifically designed the album for vinyl. There are just two tracks here, titled Part I and Part II, each of which is around 20 minutes long.
“I tend to think of them as being Side One and Side Two of an LP,” he says. “It was deliberately done – I love vinyl and the way it brings people closer to music. As far as I’m concerned, if you listen to downloads, that has the same impact as what you hear in a lift! Of course, the album will be made available in all the usual formats, but for me it’s the vinyl one that matters.
“The cover is very elaborate, and there will be a gatefold sleeve. It’ll have hundreds of photos I’ve taken of all the instruments I used in the recording sessions. The aim is to give everyone hours of enjoyment as they try to identify them all, and what roles they might have played in the record.”
Oldfield reports that he doesn’t have any plans to perform Ommadawn or Return To Ommadawn in the live environment. “It would just be too difficult to organise,” he states.
“I’d have to find musicians who could play the parts in the way that I believe fits best, and that would be almost impossible to achieve. Yes, there are very talented people around who could duplicate what I’ve done, but it could never have the same emotional connection.
“The only way I could see it working is if you have 15 or more clones of me onstage!”
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
Bob Dylan: Blonde On Blonde
(Image credit: Columbia)
Rainy Day Women #12 & 35 Pledging My Time Visions of Johanna One of Us Must Know (Sooner or Later) I Want You Stuck Inside of Mobile with the Memphis Blues Again Leopard-Skin Pill-Box Hat Just Like a Woman Most Likely You Go Your Way and I’ll Go Mine Temporary Like Achilles Absolutely Sweet Marie 4th Time Around Obviously 5 Believers Sad Eyed Lady of the Lowlands
Widely acknowledged as the first studio double LP by a major artist, Blonde On Blonde is one of the defining records of the 60s and of Bob Dylan’s career. It was, Dylan said, “the closest I ever got to the sound I hear in my head” – something he described with a typically poetic turn of phrase, “that wild-mercury sound.”
With this album, Dylan completed a transition from folk to rock artist, a journey begun on his two albums from 1965, Bringing It All Back Home and Highway 61 Revisited. Save for one track, the whole of Blonde On Blonde was recorded in just seven days spread over two sessions in Nashville, with Dylan backed by a loose ensemble of high-class musicians including keyboard players Al Kooper and guitarist Robbie Robertson.
And among the 14 songs are a number of era-defining classics: I Want You, Just Like A Woman, Leopard-Skin Pill-Box Hat, the stoner anthem Rainy Day Women #12 & 35 and the stunned post-apocalyptic love story that is closing track, Sad Eyed Lady Of The Lowlands.
It also marked the end of an era, followed as it was by the near-fatal motorcycle accident that sent Dylan into semi-permanent exile. He survived, but the “wild mercury sound” didn’t.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
The Incredible String Band – The Incredible String Band
What they said…
“Blonde On Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde On Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like Visions Of Johanna, Just Like a Woman, and Sad Eyed Lady of the Lowlands. (AllMusic)
“The combined presence of trusted hands like organist Al Kooper and Hawks guitarist Robbie Robertson with expert local session men including drummer Kenneth Buttrey and pianist Hargus “Pig” Robbins created an almost contradictory magnificence: a tightly wound tension around Dylan’s quicksilver language and incisive singing in barrelhouse surrealism.” (Rolling Stone)
“One point which both sceptics and believers can all agree on however is the extent to which Dylan is utterly at ease with himself here. Credit also, should go to the crew backing him up. And if their backing is at times a little hurried or patchy, the improvisatory nature of their trying to keep up with the man at the microphone is also a part of this album’s overall charm.” (BBC)
What you said…
Steve Pereira: This is “my” Dylan album. The first Dylan album I owned, and the first I really got into. I have loved it over the years, and I am reluctant to concede its number one spot in my heart to any other Dylan album, though Blood On The Tracks, Highway 61, and Freewheelin’ are all contenders these days. However, for many reasons, this is the best Dylan album.
It is the pinnacle of his first, most sustained, most important, and most significant creative period. After recording this (with some difficulty, until switching studios to Nashville, and mostly using Nashville session musicians plus a few trusted musicians such as Al Kooper and Robbie Robertson) Dylan went on the infamous 1966 tour where he was subjected to abuse from his audiences, particularly in the UK, the country where he had been most respected, and never again would he work and produce with such free and inspired creativity. He entered a long and lean period, notwithstanding the occasional charming release such as John Wesley Harding, until the brief creative surge in the mid-Seventies starting with Blood On The Tracks.
Sad Eyed Lady was my way into the album, and my way into Dylan. I was seduced by the haunting, hypnotic music, the melancholic and beautiful organ, the repeating, insistent, drum tapping, the sways and weaves, the little pauses and retreats, only to come back again, like a gentle tide on the sand. And I was enthralled by the lyrics. Nobody had written a love song like this before (or since). It was utterly audacious, stunningly intelligent, and literate. It came from the past – from the Romantic poets, from Rimbaud, from folk songs going all the way back to the Anglo-Saxon “Wulf and Eadwacer”; and it was of the very present – a trembling, heart felt offering, written in the Chelsea Hotel for his wife Sara; and it pointed to the future – a future in which writers would take seriously the writing of “pop” songs, rather than dashing off another simple boy loves girl rhyme during the 9 to 5 hours in the Brill Building. It’s not for nothing that Dylan received the Nobel Prize for Literature – the only songwriter to do so. The richness of the lyrics, like a tapestry of love and longing, was unique then, and is still unique now, despite many writers having taken up Dylan’s challenge, and paid more attention to themes, images, structure, literary influences, and sheer bravado with the language.
I was bowled over by the combination of the music, the lyrics, Dylan’s crooning voice, the confident, easy skill of the musicians, and the chemistry of the moment. Something that other serious musicians, like Neil Young, have paid attention to. Playing live in the moment in unison in connection with musicians that “get it”. They don’t have to be skilled, as Neil Young, and The Kingsmen, have proved. But it helps if they are. As the musicians on the album were – legendary Nashville session men. The most respected and admired session players in the business.
Blonde On Blonde was started in 1965. A stunning year for Dylan. He had recorded and released Highway 61 and Bringing It All Back Home that year. He was at the height of his creativity and confidence. He had moved from acoustic folk into electric folk-rock. He was the voice of a generation, and the true future of rock and roll. There is the pop and rock world before Dylan, and there is what comes after, totally inspired by him. At the top of his game, brimming so much with confidence and ideas that, even after creating two classic albums that year, he still has enough energy to make another – indeed, so much that it spills over into a double album of new and original songs. Something that had only been done once before, and that was Woody Guthrie’s Dust Bowl Ballads back in 1940.
The individual songs on Blonde have become familiar classics in their own right, but it is the sprawling and timeless entirety of the album that impresses. That we get song after song after song which is bright, playful, cutting, inspired, funny, and reflective. It is a generous offering. Dylan’s voice so well matched to his songs. His singing, understated but powerful. It’s a voice that comes from you and me. Proud, cynical, questioning, mocking, delighted to be alive. It’s a masterly voice of timing and stress – matched only by Sinatra.
With all his confidence and creativity he produced the greatest album of the Sixties, one of the greatest and most influential albums of all time. From here he could go anywhere. But, unfortunately, he went on tour to the UK, and encountered such bitter hostility that he was never the same again. That moment in Manchester Trade Hall when an oik shouts out “Judas”, hit him hard. He reels back. He doesn’t know what to do. He shouts back “I don’t believe you”. But he knows that’s not enough. He comes back to the mic -”You’re a liar”. And he knows that’s not enough. So he turns to his band and says to them, defiantly, with the true spirit of rock, “Play it fucking loud!”, then launches into a blistering Like A Rolling Stone.
But he’s been hurt. And he will withdraw totally from touring, and largely from recording. And when he does start to come back, he is a lost force – as evidenced by the appalling Self Portrait album. That it’s almost ten years before he’s able to make another great album (Blood On The Tracks) shows how damaged he had been. Who knows what would have come after Blonde if the Brits had not been so shitty to him. Maybe nothing. Maybe he was exhausted anyway. After all, how many people can record eight sides of timeless classic songs in little over 12 months without feeling a little bit spent.
Anyway, of course, I am giving this 10. It is a unique album, bursting with intelligence, creativity, and shining musicianship, and it is a watershed in the history of music. There are not many albums as brilliant, as historic, and as influential as Blonde On Blonde.
Bob Dylan – Sad-Eyed Lady of the Lowlands (Official Audio) – YouTube
Dale Munday: The third album of an almighty groundbreaking trilogy. Dylan was so prolific at this time, which also found him at the top of his game.
Chris Elliott: For a long time I had a Greatest Hits album and thought that was more than enough. As I got older I slowly discovered Dylan via the sales. In reality it wasn’t until I reached 50 I really got Dylan.
Between 63 and 69 there isn’t a bad album and his reputation was built – this one took the longest to really appreciate. For a long time I thought it was a self-indulgent poor cousin to Highway 61 – and to a degree I still do – the difference being I realised there’s a truly great album in there as well. The first signs of believing his own myth are creeping in – lose 10 minutes and there’s a magnificent album.
This improves with each listen.
Greg Schwepe: For the longest time my perception of Bob Dylan was formed by the most unlikely sources. Every documentary I saw about the “turbulent 60’s” and all that was going on at the time in the U.S. included some clip of Dylan playing, or one of his songs in the background while you saw a scene of a helicopter taking off in Viet Nam. And if not that, it was some goofy morning DJ bit or some comedian with their imitation of Dylan. Probably the one I remember most on the radio was a “commercial” for a fictional Bob Dylan Unplugged album. You heard a nasally out-of-tune “Dylan” singing, then a bit of a ruckus and the sound of a mic being unplugged, and then him singing again; but now you could barely hear him. Get it? I got that joke, but never really “got” Bob Dylan at that point.
Then came the Traveling Wilburys, and while I bought the album mainly for George, Tom, and Jeff, turns out I really liked the Bob Dylan songs way more than I thought I would. Like, a lot. So finally took a deep dive a few years ago to really check out Bob Dylan. And found out that there’s way more to him than what I’d thought. “What? This guy with the nasal voice is supposed to be this great lyricist and voice of a generation?” Turns out, yeah, he is!
In listening to Blond On Blonde again for this week’s review I again realized what I found out during my Dylan deep dive a few years ago. There’s a lot more to like than dislike. If you really give the guy a chance and don’t let your Dylan stereotypes get in the way, he has a lot to offer.
A big part of the Dylan style is acoustic guitar and harmonica. And while I like harmonica (but more in a J. Geils Band or Huey Lewis & The News vein), the songs I liked the best on the album seemed to have less harmonica. I seem to have the same ‘harmonica meter’ in my head just like my ‘pedal steel meter.’ I reach a point where it gets a bit too much for my tastes. Good thing is that Blonde On Blonde contains enough songs that don’t trip that meter.
While I enjoy memorable lyrics and like how writers can express something, I’ve never been one to really sit down and try to exactly determine the mindset of the writer. “Why did they write this? How were they feeling? What emotions are they trying to convey? What are they really trying to tell me?” Don’t care! If it’s something clever that sticks in my head, that’s enough for me and that’s what Dylan does here.
Favourite tracks on this one are Visions of Johanna, Sad-Eyed Lady Of The Lowlands, Absolutely Sweet Marie, Temporary Like Achilles and One Of Us Must Know (Sooner or Later). And I’m thoroughly convinced that radio stations around me played Rainy Day Women #12 & 35 just so listeners could giggle while hearing “…everybody must get stoned…”
I listened to Blonde On Blonde about three times before writing this review, and each time I grew to like it a little more. Each time more stuck with me and maybe my harmonica meter didn’t get triggered as much. But overall, I’ve found I was more of a fan of his 70’s output more than the 60’s stuff. A lot of the “folkie stuff” from the 60’s not as appealing. 7 out of 10 for me on this one.
Jim Carson: Blonde On Blonde is a monumental achievement, showcasing Bob Dylan’s unparalleled lyrical brilliance and groundbreaking sonic innovation. It captures the essence of Dylan’s creative zenith and redefined the boundaries of rock, folk, and blues with seamless finesse.
Tracks like Visions Of Johanna,” with its haunting imagery, and the epic Sad-Eyed Lady Of The Lowlands, an ode brimming with emotion, epitomize Dylan’s mastery of intricate wordplay and vivid storytelling. The album’s eclectic soundscape and enigmatic lyrics invite listeners into a world where poetry and music intertwine effortlessly.
Blonde On Blonde has earned its place as a timeless masterpiece, leaving an indelible mark on generations of musicians and fans. Whether you’re a devoted Dylan aficionado or discovering his work for the first time, this album is an essential journey into the heart of his innovation and expression. Oh, and it was done in 1966!
Bob Dylan – Stuck Inside of Mobile with the Memphis Blues Again (Official Audio) – YouTube
Philip Qvist: I’m not a huge fan of Bob Dylan. A great songwriter but not a great singer in my opinion, so I was initially going to give this week a miss. Needless to say though, curiosity got the better of me and I decided to give it a listen.
While it doesn’t alter my view of the artist’s singing or that he plays too far much harmonica for my liking, I liked large parts of Blonde On Blonde. I was also quite familiar with many songs on the album; such as Rainy Day Women, I Want You, Just Like a Woman and One Of Us Must Know.
Visions Of Johanna and Leopard-Skin Pill-Box Hat are probably my favourite tracks on the record, while the album finishes on a high with Sad Eyed Lady Of The Lowlands. The lyrics are quirky, as are some of the song titles – and with musicians such as Joe South, Robbie Robertson, Rick Danko, Al Kooper and Kenneth Buttrey around, you can’t go wrong with the backing music.
I get why so many people have rated this album so highly, and I expect many will give this one a 9 or a 10 this week. Having said all of that, I will put this one down as a pleasant surprise and award a 7, mainly due to the songwriting and musicianship
Mike Fildes: Up there with Exile On Main Street and the White Album as the best double album of all time, flawless.
Wesley Winegarden: Blonde On Blonde is easily a 10/10 album which is amazing considering it doesn’t have any of Dylan’s best songs and isn’t even his best album. It’s unfair how good of a musical craftsman Bob Dylan is.
Mike Canoe: Bob Dylan has reached the point in his career and life where he is more myth than legend. His music has been reinterpreted by hundreds of artists in hundreds of genres. As we used to say in the news biz, the recent Dylan biopic provides a “news peg” to actually appraise Dylan doing Dylan. And as some t-shirt slogan somewhere reads, “Go big or go home.”
So the double album Blonde On Blonde seems a logical choice. It’s namechecked as the first double album of the rock era as well as the first rock album to devote a full side of vinyl to one song, the gentle and elegiac Sad Eyed Lady Of The Lowlands, clocking in to modern ears at a suspiciously short 11:23. But at this point in his career, it seems that what Dylan wanted, Dylan got.
The truth is that Blonde On Blonde doesn’t have as many hits as I thought it did. A big part of that is because I’ve gotten used to Dylan song titles often having no relationship to the actual song – see below. Side three is a mystery to me although Absolutely Sweet Marie and Obviously Five Believers stand out for me on repeated listens, as does Visions of Johanna from side one.
The album does contain five bona fide classics, starting with opener, Rainy Day Women #12 & 35 aka the lurching, ramshackle “Everybody must get stoned.” Part of the album’s charm is that the musicians do sound stoned – but still intuitively connected. I Want You indicates Dylan could write brilliant pop songs at will and Leopard-Skin Pill-Box Hat has him out-Stonesing the Rolling Stones. Side two closes with the musically sweet, lyrically misogynistic ballad, Just Like a Woman.
But the ultimate reason I chose Blonde On Blonde out of a discography of forty studio albums is the second song on side two, Stuck Inside of Mobile with the Memphis Blues Again. While it generally doesn’t break into the top 40 when publications rank Dylan songs, I think it’s his best and most definitive song and encompasses everything I love about Dylan. It has the rambling storytelling full of metaphors and allusions sung in a weary and bemused rasp and backed by a band that, as mentioned above, can miraculously sound tight and shambolic at the same time. The lyrics convey a feeling of finding one’s self, literally and figuratively, like they are in the wrong place at the wrong time – most of the time. It could be a metaphor for my twenties. Heck, I feel that way sometimes now.
While there are arguably more easily digestible Dylan albums, none make me feel the way Blonde On Blonde does.
Andrew Cumming: One of the best and most iconic rock albums of all time. Just classic after classic. Rainy Day, Johanna, Stuck Inside of Mobile, Leopard Skin, Just Like A Woman etc etc. One of those albums that’s almost a Greatest Hits in its own right. Classic.
Final score: 7.42 (52 votes cast, total score 386)
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