You took a part of me that I really miss
I keep asking myself how long it can go on like this
You told yourself a lie, that’s all right mama I told myself one too
I’m trying to get closer but I’m still a million miles from you
Thanks for the request Mike.
Manchester Arena Manchester, England 16 November 2005
May 16: Bob Dylan released Blonde On Blonde in 1966
The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up. That’s my particular sound.
~Bob Dylan (to Ron Rosenbaum – Nov 1977)
Blonde on Blonde is all resonance. The songs and their stories and evocative lines and seductive melodies inhabit a realm of sound unique to this album, different from anything created before or since by Dylan or anyone else. Dylan called it “that thin, that wild mercury sound-metallic and bright gold, with whatever that conjures up.”
~Paul Williams (Bob Dylan Performing Artist I: The Early Years 1960-1973)
To have followed up one masterpiece with another was Dylan’s history making achievement here…Where Highway 61 Revisited has Dylan exposing and confronting like a laser beam in surgery, descending from outside the sickness, Blonde on Blonde offers a persona awash inside the chaos…We’re tossed from song to song…The feel and the music are on a grand scale, and the language and delivery are a rich mixture of the visionary and the colloquial.
~Michael Gray (Song & Dance Man III: The Art of Bob Dylan)
Oh, the ragman draws circles
Up and down the block
I’d ask him what the matter was
But I know that he don’t talk
And the ladies treat me kindly
And furnish me with tape
But deep inside my heart
I know I can’t escape
Oh, Mama, can this really be the end
To be stuck inside of Mobile
With the Memphis blues again
“Now!… Well for one thing, the music, the rhyming and rhythm, what I call the mathematics of a song, are more second-nature to me. I used to have to go after a song, seek it out. But now, instead of going to it I stay where I am and let everything disappear and the song rushes to me. Not just the music, the words, too.
~Bob Dylan (to Margaret Steen, Nov 1965)
[SIoMWTMBA].. goes beyond being an exciting rock-music performance. It shares with those slower Blonde on Blonde songs ‘Visions of Johanna’ and ‘Sad-Eyed Lady of the Lowlands’ a greater-than-average duration and a general high seriousness of intention.
~Michael Gray (BD Encyclopedia)
@ #5 on my list of Dylan’s 200 best songs.. the second best song on Blonde On Blonde.
The master version (Blonde On Blonde version) was recorded @ Columbia Music Row Studios – Nashville, Tennessee –17 February 1966 (47 years ago).
This was the the 8th Blonde On Blonde session, produced by Bob Johnston.. and after 20 attempts Dylan was satisfied … with take 20. No other songs were tried @ this session.
….and those lovely drums….
…I know it sounds silly, but I love that song and how it pulls me in, but once I’m in there I always focus on the drummer. It’s a song with so much soul, but the more I listen, I always go back to those killer drums.
~Frank Black (Pixies, etc) (to MOJO’s “Dylan 100 best songs edition” )
Green Day, Pinhead Gunpowder, The Network, Foxboro Hot Tubs, The Boo
Billie Joe Armstrong (born February 17, 1972) is an American rock musician and occasional actor, best known as the lead vocalist, main songwriter, and guitarist for the American punk rock band Green Day, which he co-founded with Mike Dirnt. He is also a guitarist and vocalist for the punk rock band Pinhead Gunpowder and provides lead vocals for Green Day’s side projects Foxboro Hot Tubs and The Network respectively.
Raised in Rodeo, California, Armstrong developed an interest in music at a young age, and recorded his first song at the age of five. He met Mike Dirnt while attending elementary school, and the two instantly bonded over their mutual interest in music, forming the band Sweet Children when the two were 15 years old. The band changed its name to Green Day, and would later achieve massive commercial success. Armstrong has also pursued musical projects outside of Green Day’s work, including numerous collaborations with other musicians.
He also co-owns the record label Adeline Records, with his wife Adrienne and skateboarder Jim Thiebaud, with the colaboration of Green Day’s guitarist Jason White and more recently Green Day’s manager Pat Magnarella.