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Bob Dylan - Visions Of Johanna

Bob Dylan - Visions Of Johanna Lyrics and Youtube Music Videos

Album: Blonde On Blonde
Released: 1966

Visions Of Johanna Lyrics

Ain't it just like the night to play tricks when you're tryin' to be so quiet?
We sit here stranded, though we're all doin' our best to deny it
And Louise holds a handful of rain, temptin' you to defy it
Lights flicker from the opposite loft
In this room the heat pipes just cough
The country music station plays soft
But there's nothing, really nothing to turn off
Just Louise and her lover so entwined
And these Visions Of Johanna that conquer my mind

In the empty lot where the ladies play blindman's bluff with the key chain
And the all-night girls they whisper of escapades out on the "D" train
We can hear the night watchman click his flashlight
Ask himself if it's him or them that's insane
Louise, she's all right, she's just near
She's delicate and seems like the mirror
But she just makes it all too concise and too clear
That Johanna's not here
The ghost of 'lectricity howls in the bones of her face
Where these visions of Johanna have now taken my place

Now, little boy lost, he takes himself so seriously
He brags of his misery, he likes to live dangerously
And when bringing her name up
He speaks of a farewell kiss to me
He's sure got a lotta gall to be so useless and all
Muttering small talk at the wall while I'm in the hall
How can I explain?
It's so hard to get on
And these visions of Johanna, they kept me up past the dawn

Inside the museums, infinity goes up on trial
Voices echo this is what salvation must be like after a while
But Mona Lisa musta had the highway blues
You can tell by the way she smiles
See the primitive wallflower freeze
When the jelly-faced women all sneeze
Hear the one with the mustache say, "Jeez, I can't find my knees"
Oh, jewels and binoculars hang from the head of the mule
But these visions of Johanna, they make it all seem so cruel

The peddler now speaks to the countess who's pretending to care for him
Sayin', "Name me someone that's not a parasite and I'll go out and say a prayer for him"
But like Louise always says
"Ya can't look at much, can ya man?"
As she, herself, prepares for him
And Madonna, she still has not showed
We see this empty cage now corrode
Where her cape of the stage once had flowed
The fiddler, he now steps to the road
He writes ev'rything's been returned which was owed
On the back of the fish truck that loads
While my conscience explodes
The harmonicas play the skeleton keys and the rain
And these visions of Johanna are now all that remain

Writer/s: DYLAN BOB, BOB DYLAN
Publisher: BOB DYLAN MUSIC CO
Lyrics licensed and provided by LyricFind

Visions Of Johanna

Dylan (from Rolling Stone magazine): "It's easier to be disconnected than connected. I've got a huge hallelujah for all the people who're connected, that's great, but I can't do that."

Al Kooper, who was a prolific session musician, played the Hammond B3 organ. Kooper went on to become a successful producer and worked on some of Lynyrd Skynyrd's most famous tracks.

Dylan wrote this song while he was dating folk singer Joan Baez, but was falling in love with his first wife Sara.

In her 1975 song "Winds of the Old Days," Joan Baez seems to be making the case that she is Johanna. Sample lyrics: "A decade flew past her and there on the page, she read that the prince had returned to the stage," "Most of the sour grapes are gone from the bough, ghosts of Johanna will visit you there."

In their June 1997 issue, Mojo magazine named this one of their 100 Greatest Psychedelic Classics. Jon Savage wrote of the song: "As early as 1963's 'Lay Down Your Weary Tune,' Dylan was exploring the egoless surrender to the universe that would characterise the first, benign phase of psychedelia. From 1965 on, his gnomic, gnostic utterances laid down the parameters for what would follow, as The Beatles, The Byrds and The Rolling Stones fell under his spell. Dylan issued disclaimers - "I never have and never will write a drug song... It's just vulgar," he exclaimed on the last night of his 1966 world tour - but this 'Visions Of Johanna,' taken from the night before, has the infinitesimal focus of acid-time compression."

Bob Dylan - Sad Eyed Lady Of The Lowlands

Bob Dylan - Sad Eyed Lady Of The Lowlands Lyrics and Youtube Music Videos

Album: Blonde On Blonde
Released: 1966

Sad Eyed Lady Of The Lowlands Lyrics

With your mercury mouth in the missionary times,
And your eyes like smoke and your prayers like rhymes,
And your silver cross, and your voice like chimes,
Oh, do they think could bury you?
With your pockets well protected at last,
And your streetcar visions which you place on the grass,
And your flesh like silk, and your face like glass,
Who could they get to carry you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I put them by your gate,
Or, sad-eyed lady, should I wait?

With your sheets like metal and your belt like lace,
And your deck of cards missing the jack and the ace,
And your basement clothes and your hollow face,
Who among them can think he could outguess you?
With your silhouette when the sunlight dims
Into your eyes where the moonlight swims,
And your match-book songs and your gypsy hymns,
Who among them would try to impress you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I put them by your gate,
Or, sad-eyed lady, should I wait?

The kings of Tyrus with their convict list
Are waiting in line for their geranium kiss,
And you wouldn't know it would happen like this,
But who among them really wants just to kiss you?
With your childhood flames on your midnight rug,
And your Spanish manners and your mother's drugs,
And your cowboy mouth and your curfew plugs,
Who among them do you think could resist you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

Oh, the farmers and the businessmen, they all did decide
To show you the dead angels that they used to hide.
But why did they pick you to sympathize with their side?
Oh, how could they ever mistake you?
They wished you'd accepted the blame for the farm,
But with the sea at your feet and the phony false alarm,
And with the child of a hoodlum wrapped up in your arms,
How could they ever, ever persuade you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

With your sheet-metal memory of Cannery Row,
And your magazine-husband who one day just had to go,
And your gentleness now, which you just can't help but show,
Who among them do you think would employ you?
Now you stand with your thief, you're on his parole
With your holy medallion which your fingertips fold,
And your saintlike face and your ghostlike soul,
Oh, who among them do you think could destroy you?

Sad-eyed lady of the lowlands,
Where the sad-eyed prophet says that no man comes,
My warehouse eyes, my Arabian drums,
Should I leave them by your gate,
Or, sad-eyed lady, should I wait?

Writer/s: BOB DYLAN
Publisher: BOB DYLAN MUSIC CO
Lyrics licensed and provided by LyricFind

Sad Eyed Lady Of The Lowlands

This song is about Sara Lownds, who was Dylan's wife at the time. The title of the song was created from her name: SAd eyed lAdy of the LOWlaNDS.

On the song "Sara" from the album Desire, Dylan sings: "Staying up for nights in the Chelsea Hotel writing Sad Eyed Lady of the Lowlands for you." In his book Revolution in the Air: The Songs of Bob Dylan 1957-1973, Clinton Heylin writes that most of the song was written in an 8-hour stretch in a Nashville studio while the musicians waited for Dylan to finish it. Said Dylan: "It started out as just a little thing, but I got carried away somewhere along the line."

This took up the whole fourth side of the album, but it didn't need to as it is just under 11-minutes long. But if Blonde On Blonde had not been a double album, some other album would hold the title of first double album ever released. (thanks, Ed - Perth, Australia, for above 2)

When Dylan finally called the band members he hired in to record this song, it was 4 a.m. Typical of Dylan, he didn't tell them much about the song - he just had them play. They were surprised when the song kept going for 11 minutes, and more surprised when Dylan was happy with the first take.

The video to the right is from "The Denver Tapes," recorded March 1966. In this recording, Dylan calls this "The best song I ever wrote." (Thanks, Edna - Madrid, Spain)

Bob Dylan - Rainy Day Women #12 And #35

Bob Dylan - Rainy Day Women #12 And #35 Lyrics and Youtube Music Videos

Album: Blonde On Blonde
Released: 1966

Rainy Day Women #12 And #35 Lyrics

Rainy Day Women #12 And #35

With the line, "Everybody Must Get Stoned," this song is often associated with smoking marijuana, although Dylan insists it isn't, stating, "I have never and never will write a 'drug song.'" It is more likely about trials of relationships with women, and Dylan has hinted that it could have a Biblical meaning. Answering a question about people interpreting this song to be about getting high, Dylan told Rolling Stone in 2012: "These are people that aren't familiar with the Book of Acts."

The Book of Acts is from the Gospel of Luke, and contains an account of a stoning: "Stephen, full of the Holy Spirit, looked up to heaven and saw the glory of God, and Jesus standing at the right hand of God... And when they had driven him out of the city, they began stoning him, and the witnesses laid aside their robes at the feet of a young man named Saul."

In this story, Stephen received his sentence after giving a speech to authorities who were going to kill him no matter what he said. This relates to how Dylan felt about his critics, who were going to figuratively "stone" him no matter what he did. (More on the meaning of "stoned" in popular songs .)

The "official" explanation of how this song got its name: A woman and her daughter came into the recording studio out of the rain. Dylan guessed their ages correctly as 12 and 35.

A less official explanation: The song is about two women who came into the studio on a rainy day. Dylan apparently read an article about punishment for women in Islamic states - hence "Everybody must get stoned" because relationships are a trial and error thing. (thanks, Dave - Ballarat, Australia)

If you multiply 12 by 35, you get 420, a number commonly associated with smoking marijuana. 420 came about because five high school students in California could only smoke at 4:20 in the afternoon. This time was after school and before their parents came home, so it was a good time for them to get high. (thanks, Dave - Boise, ID)

This was one of the few songs Dylan released that was a traditional hit record, reaching the Top 10 in both the US and UK, and spending a week at #2 in America behind "Monday Monday" by The Mamas & The Papas. Perhaps relishing the opportunity to turn a song that repeats "everybody must get stoned" into a radio hit, Dylan cut the song down to 2:26 for the single release. On the Blonde On Blonde album, where it is the first track, the song runs 4:33. The single cuts out two verses and some instrumental passages.

Many radio stations received a publication called the Gavin Report that discussed new songs, and this one was described as a "drug song." Many stations refused to play it, but Dylan was so influential at the time that the song had no trouble getting plenty of airplay.

You can hear Dylan burst out laughing in this song. According to Down the Highway: the Life of Bob Dylan by Howard Sounes, the musicians were having a lot of fun in the studio, passing around joints and swapping instruments as they kept the mood light and jovial.

This song was covered by The Black Crowes for the 1995 album Hempilation, a collection of songs about marijuana. (thanks, Tim - Columbus, OH)

Guitarist and bassist Charlie McCoy played the trumpet on this. He recalled to Uncut magazine March 2014: "(Producer, Bob) Johnston said,'Tonight he wants to do a song with a Salvation Army sound – we need a trumpet and trombone.' I said, 'Does the trumpet need to be good?' He's said, 'no!' I kept track: It took 40 hours to cut Blonde on Blonde."

Bob Dylan - Just Like A Woman

Bob Dylan - Just Like A Woman Lyrics and Youtube Music Videos

Album: Blonde On Blonde
Released: 1966

Just Like A Woman Lyrics

Nobody feels any pain
Tonight as I stand inside the rain
Ev’rybody knows
That Baby’s got new clothes
But lately I see her ribbons and her bows
Have fallen from her curls
She takes Just Like A Woman, yes, she does
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

Queen Mary
She’s my friend
Yes, I believe I’ll go see her again
Nobody has to guess
That Baby can’t be blessed
Till she sees finally that she’s like all the rest
With her fog, her amphetamine and her pearls
She takes just like a woman, yes
She makes love just like a woman, yes, she does
And she aches just like a woman
But she breaks just like a little girl

It was raining from the first
And I was dying there of thirst
So I came in here
And your long-time curse hurts
But what’s worse
Is this pain in here
I can’t stay in here
Ain’t it clear that

I just can’t fit
Yes, I believe it’s time for us to quit
But when we meet again
Introduced as friends
Please don’t let on that you knew me when
I was hungry and it was your world
Ah, you fake just like a woman, yes, you do
You make love just like a woman, yes, you do
Then you ache just like a woman
But you break just like a little girl

Writer/s: BOB DYLAN
Publisher: BOB DYLAN MUSIC CO
Lyrics licensed and provided by LyricFind

Just Like A Woman Song Chart

Dylan wrote this ballad on Thanksgiving Day 1965 while on tour in Kansas City. It was allegedly inspired by Warhol factory pin up girl Edie Sedgwick, a pinup girl who appears in sleeve photos to Blonde On Blonde and died of a drug overdose in 1971. It could also be about his relationship with fellow folk singer Joan Baez.

Dylan has performed this song more than any other.

The song came under some fire for the line "she breaks just like a little girl," which some listeners felt was disparaging to women. This is a very shallow interpretation, however, and rarely taken seriously by Dylan's fans. Many of Dylan's songs include put-downs, and sometimes those targets happen to be women. Examples include "Like A Rolling Stone" and "Positively 4th Street."

Joe Cocker, Manfred Mann, Rod Stewart and Richie Havens are among the many artists to cover this song.

This was not released as a single in the UK. Manfred Mann's version hit #10 there in 1966.

In a February 2000 interview with Rolling Stone magazine, presidential candidate Al Gore answered two questions by singing parts of this song.

Bill Medley of The Righteous Brothers covered this on Damn Near Righteous, his first new album since the untimely 2003 death of his partner Bobby Hatfield. (thanks, Bertrand - Paris, France)