Released in Europe in the early 90s:
Label: Columbia (LC 0162) - Cat#: 463369 2 - EAN: 5 099746 336929 - Format: CD - Disc ID: vk5YC9gY_G39x5oU3VJYHsnVBL8-
Unknown release date:
Label: CBS (LC 0149) - Cat#: CDCBS 22130 - EAN: 5 099702 213028 - Format: CD - Disc ID: dEy3lVklXZfGmTT5pC2TXtr4NUE-
The release with catalogue number 512352 5 is the Spiegel Edition, part of The Vinyl Classics series. The catalogue info is for the extra sleeve and what is printed on the CD. The jewel case artwork is exactly the same as for 512352 2, including the catalogue number and EAN. The CD is black and looks like a vinyl record. It also has the same disc id as 512352 2, CfMonbWEmkO6tDj8k0KBoRXrH6M-.
The release with catalogue number 82876736032 is the The Vinyl Classics release (no 'edition'). The catalogue info is for the extra sleeve and what is printed on the CD. The jewel case artwork is exactly the same as for 512352 2, including the catalogue number and EAN. The CD is black and looks like a vinyl record. It also has the same disc id as 512352 2, CfMonbWEmkO6tDj8k0KBoRXrH6M-.
The release with catalogue number 5123525000 is the Special Edition, part of The Vinyl Classics series. The catalogue info is for the extra sleeve and what is printed on the CD. The front insert has catalogue number CDCBS 66012. The rear insert has catalogue number 498678.2 and EAN 9399700078046. The CD is black and looks like a vinyl record. It has disc id 0DSHjbRRUsEfO88qfiQGZXcb8_Q-.
The release with catalogue number 88697139782 is the Carbon Neutral® Entertainment release. The catalogue number printed on the CD is 512352 2.
The release with catalogue number SRCS 6682 is a so-called Super Bit Mapping (SBM) golden CD. It has disc id HJt3ykgiAlh9VWGAhiHG0rQ3AbY-.
The release with catalogue number CK 64411 is a so-called Super Bit Mapping (SBM) golden CD. It has disc id 1x7ST9c_qiZ_uPMX.NxZ9h6VY_k-.
Also part of the 10-cd box set The Bob Dylan 60's Collection, catalog number 88697 51773 2, with these discs:
Bob Dylan (disc id) | Live at The Gaslight 1962 (disc id) | The Freewheelin' Bob Dylan (disc id) | The Times They Are A-Changin' (disc id) | Another Side of Bob Dylan (disc id) | Bringing It All Back Home (disc id) | Highway 61 Revisited (disc id) | Blonde on Blonde (disc id) | John Wesley Harding (disc id) | Nashville Skyline (disc id)
Release with catalog # 88697594202 is part of a box set with Highway 61 Revisited. The individual disc has catalog # 512352 2 and barcode 5099751235224.
The Complete Album Collection, Volume 1
Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 9)
1001 Albums You Must Hear Before You Die (2005 edition)
en: Blonde on Blonde [info]
The world is divided into those who think double albums are a really only single albums weighed down by too much filler and the over-indulgence of their creators, and those who treasure every minute, revering the range afforded by the extra space the format provides. As someone who has yet to hear a double album that couldn't be trimmed to single figures, I confess a bias when it comes to Blonde On Blonde. Regularly spied in orbit around heavenly bodies such as Pet Sounds, Revolver in those stellar "best album ever" lists, side one is a golden run of songs that are about as perfect as you could want.
Even a cursory glance at the highlights would be enough to confirm this first disc's classic status: the rambunctious stomp of "Rainy Day Women #12 & 35", the shrill punctuation of Dylan's harp on the surly rant of "Pledging My Time", a riotous neck-wrung blues soloing on "Leopard Skin Pill-Box Hat", opulent, elegiac verses on "Visions Of Johanna", the popish affectations and beautiful detail of "I Want You" and "Just Like A Woman."
Consolidating what he'd begun on Bringing It All Back Home and Highway 61 Revisited, the recording of Blonde On Blonde was part of an intense, fertile outpouring for Dylan. One can understand why Dylan and producer Bob Johnston were keen to present as much of it as they could. As a result however, the taut energy of the first disc become somewhat elasticised across the second, "Sad Eyed Lady Of The Lowlands", whose eleven minute length even caught the backing musicians by surprise, being the chief culprit. Of course one person's prolix poetry is another's visionary epic.
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.