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Writing Sad Eyed Lady of the Lowlands for you Sad Eyed Lady of the Lowlands is undoubtedly about Sara, as confirmed in the 1975 track of the same name: His reference to William Blake’s little boy lost indicates an internal questioning about his relationship and his identity: could Dylan make a successful transition to electric with Baez by his side? Her influence on Dylan’s career was evident. Listening to the track, it makes sense, given the melancholic tone and the nature of his relationship with Baez. This is juxtaposed with Dylan’s transition from folk to electric in 1965. Visions of Johanna is alleged to be about Joan Baez, during the time he was also falling in love with his future wife, Sarah Lownds. After all, it’s no secret that women have often played a central role in music and songwriting, and Bob Dylan is no exception. While the major themes of Blonde on Blonde suggest Edie Sedgwick had a heavy influence on the music, there are other women mentioned on the album. Despite this, a relationship was rumoured to have developed with Edie, and she was believed to be smitten. It seems doubtful, to any of the players in New York’s cultural zeitgeist at the time, that anyone could resist Edie Sedgwick’s irrepressible charms.īob Dylan is said to have met Edie Sedgwick in 1965, when Dylan was already in a relationship with future wife Sara, and allegedly, still involved with Joan Baez (see: Don’t Look Back). Edie was enigmatic, interesting, endlessly beautiful and the name on everybody’s lips. Edie was a superstar a beautifully gamine individual who set the New York social scene on fire almost as soon as she arrived. Bob Dylan’s factory girlĮdie Sedgwick established herself as one of Andy Warhol’s most famous and most controversial muses. One thing that I am relatively certain of, however, is that Blonde on Blonde would not have been the same without the factory girl. There are countless books, essays and social commentaries that attest to Dylan’s involvement with Edie, but to what extend their relationship developed remains unknown. While he’s never admitted this, there are a multitude of songs and references on the album that place Dylan central in the fancy free, hedonistic world that Warhol and Sedgwick’s relationship created – and it certainly didn’t go unnoticed:īut she did it.
Since its release in 1966, Blonde on Blonde has been synonymous with Andy Warhol, his factory and his superstar, Edie Sedgwick.
The passion that lies in even the smallest of Dylan’s intonations throughout the album ensures that Blonde on Blonde can never be listened to in the same way twice.
BOB DYLAN BLONDE ON BLONDE ALBUM MEANING SKIN
There’s moments of rambunctiousness, countered with poetic elegance it’s chaotic in places and measured in others – with exemplary music and wonderful Dylan quirks that make Blonde on Blonde a worthy listen time and time again.ĭylan offers a spontaneous giggle in Rainy Day Women #12 & 35, stumbles over his words in I Want You, is viciously scathing in Leopard Skin Pill Hat, and concludes the album with a heartfelt epic, 11-minute love poem in Sad Eyed Lady of the Lowlands. Often, I’ve been dismissed as nothing more than a fangirl, but in my opinion, Blonde on Blonde is Dylan’s most enduring album a perfect conglomeration of everything there is to love about Bob Dylan – the man and the musician. I’m woman enough to admit that I take ownership of an extreme bias when it comes to Blonde on Blonde. This essay was originally written in 2016, in response to Blonde on Blonde turning 50. But for more than half a century on, Blonde on Blonde remains a crucial addition to musical history, pop culture and the 1960s New York music scene, that makes Blonde on Blonde an album that simply cannot be described as anything other than a masterpiece. Granted, that’s an easy argument to make for any Bob Dylan album. Blonde on Blonde is, arguably, Bob Dylan’s most iconic album.
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