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Looking back on Bob Dylan's Blonde on Blonde, the record that changed Nashville
Blonde Ambition
by Daryl Sanders
Forty-five years ago this month, Columbia Records released Bob Dylan's landmark double album Blonde on Blonde, an album recorded almost entirely in Nashville. Not only is it widely regarded as one of Dylan's best records, but it routinely shows up whenever artists, critics and rock historians list the 10 greatest rock albums ever made.
In 1966, Nashville was well-established as a songwriter's town, but not yet the haven for artist-writers it would become. It was old-school, like Tin Pan Alley, where songwriters wrote songs for recording artists to record. And even though it was good enough for Elvis, as far as rock 'n' roll went, it wasn't somewhere the longhairs, moptops and poets arriving on the scene would go to make "art." But after the release of Blonde on Blonde, Nashville became a destination for singer-songwriters who performed their own material, from Leonard Cohen and Neil Young to Guy Clark and Townes Van Zandt.
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