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In 2004, two songs from the album also appeared on the magazine's list of "The 500 Greatest Songs of All Time": "Just Like a Woman" ranked number 230 and "Visions of Johanna" number 404. In 2003, the album was ranked number nine on Rolling Stone magazine's list of "The 500 Greatest Albums of All Time", maintaining the rating in a 2012 revised list. In 2006, TIME magazine included the record on their 100 All-TIME Albums list. In 1997 the album was placed at number 16 in a "Music of the Millennium" poll conducted by HMV, Channel 4, The Guardian and Classic FM. It was ranked second in the 1978 book Critic's Choice: Top 200 Albums and third in the 1987 edition. In 1974, the writers of NME voted Blonde on Blonde the number-two album of all time. According to Acclaimed Music, it is the 10th most ranked album on all-time lists. It has been consistently ranked high in critics' polls of the greatest albums of all time. Two additional songs-"Just Like a Woman" and "Visions of Johanna"-have been named as among Dylan's greatest compositions and were featured in Rolling Stone's 500 Greatest Songs of All Time list. Blonde on Blonde spawned two singles that were top-twenty hits in the US: "Rainy Day Women #12 & 35" and "I Want You". The album peaked at number nine on the Billboard 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. It was one of the first double albums in rock music. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". Critics often rank Blonde on Blonde as one of the greatest albums of all time. In near fine condition.īlonde on Blonde completed the trilogy of rock albums that Dylan recorded in 19, starting with Bringing It All Back Home and Highway 61 Revisited. The jacket is the same one he wore on his next two albums, John Wesley Harding and Nashville Skyline. The cover shows Dylan in front of a brick building, wearing a suede jacket and a black and white checkered scarf. A sticker was applied to the shrink wrap to promote the release’s two hit singles, “I Want You” and “Rainy Day Women #12 & 35”. The artist’s name and the album’s title only appear on the spine. The double album gatefold sleeve opens to form a 12-by-26 inch photo of the artist, at three quarter length. The cover photograph of Blonde on Blonde shows a 12-by-12 inch close-up portrait of Dylan. Boldly signed by Bob Dylan on the front panel. Original pressing of one of the greatest albums of all-time.

“To his credit, ’s the one that chose that photograph,” he said, adding that the original setting would be “totally disguised” now due to gentrification.DYLAN, Bob. Schatzberg adds that Dylan was personally responsible for choosing the sleeve image, which he thinks was probably shot around New York’s downtown meat-packing district. It was February, was wearing just that jacket, and I was wearing something similar, and the two of us were really cold.” “I know all the critics, everybody said, ‘Oh, they were trying to do a drug shot’. “It was pretty cold out,” Schatzberg told rock critic Bob Egan.

The cover of Bob Dylan’s 1966 opus Blonde on Blonde, which featured a distinctive blurry headshot of the singer in a black and white scarf, captured the drug-fuelled 1960s zeitgeist with its hazy aesthetic and disregard for convention.īut according to the photographer, Jerry Schatzberg, the blurred image was a mistake caused by him shivering in the cold. It’s regarded as one of the most iconic album sleeves of all time.