Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
Blonde on Blonde completed a trilogy of Dylan rock albums that began with 1965's Bringing It All Back Home and Highway 61 Revisited. Critics often rank Blonde on Blonde as one of the greatest albums of all time. 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". After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. Dylan's manager, Albert Grossman, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of Levon Helm from Arkansas and four Canadian musicians: Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson. They had come together as a band in Canada, backing American rocker Ronnie Hawkins. Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer John Hammond Jr., son of record producer John Hammond, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album So Many Roads.
Bob Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, Two weeks later, encouraged by the success of their Texas performance, Their immediate task was to record a hit single as the follow-up to "Positively 4th Street", but Dylan was already shaping his next album, the third one that year backed by rock musicians.
On November 30, the Hawks joined Dylan again at Studio A, but drummer Bobby Gregg replaced Levon Helm, who had tired of playing in a backing band and quit. They began work on a new composition, "Freeze Out", which was later retitled "Visions of Johanna", but Dylan was not satisfied with the results. One of the November 30 recordings was eventually released on The Bootleg Series Vol. 7: No Direction Home: The Soundtrack in 2005. At this session, they completed "Can You Please Crawl Out Your Window?" The song was released as a single in December, but only reached number 58 on the American charts.
Dylan spent most of December in California, performing a dozen concerts with his band, and then took a break through the third week in January following the birth of his son Jesse. On January 21, 1966, he returned to Columbia's Studio A to record another long composition, "She's Your Lover Now", accompanied by the Hawks (this time with Sandy Konikoff on drums). Despite nineteen takes, the session failed to yield any complete recordings. Dylan did not attempt the song again, but one of the outtakes from the January 21 session finally appeared 25 years later on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991. (Although the song breaks down at the start of the last verse, Columbia released it as the most complete take from the session. guitarist Robbie Robertson, pianist Paul Griffin, and organist Al Kooper.
Another session took place on January 27, this time with Robertson, Danko, Kooper and Gregg. Dylan and his band recorded "Leopard-Skin Pill-Box Hat" and "One of Us Must Know (Sooner or Later)" again, but Dylan was not satisfied with the recorded performance of either song. Also at this session Dylan attempted a rough performance of "I'll Keep It with Mine", a song which he had already recorded twice as a demo. The musicians added some tentative backing in a rendering biographer Clinton Heylin described as "cursory". The recording was ultimately released on The Bootleg Series Volumes 1–3 in 1991.
Move to Nashville
Recognizing Dylan's dissatisfaction with the progress of the recordings, producer Bob Johnston suggested that they move the sessions to Nashville. Johnston lived there and had extensive experience working with Nashville session musicians. He recalled how Dylan's manager, Albert Grossman, was hostile to the idea: "Grossman came up to me and said 'If you ever mention Nashville to Dylan again, you're gone.' I said, 'What do you mean?' He said, 'You heard me. We got a thing going here'". Despite Grossman's opposition, Dylan agreed to Johnston's suggestion, and preparations were made to record the album at Columbia Studio A in Nashville's Music Row in February 1966.
In addition to Kooper and Robertson, who accompanied Dylan from New York, Johnston recruited harmonica player, guitarist and bassist Charlie McCoy, guitarist Wayne Moss, guitarist and bassist Joe South, and drummer Kenny Buttrey. At Dylan's request, Johnston removed the baffles—partitions separating the musicians so that there was "an ambience fit for an ensemble". Buttrey credited the distinctive sound of the album to Johnston's re-arrangement of the studio, "as if we were on a tight stage, as opposed to playing in a big hall where you're ninety miles apart".
On the first Nashville session, on February 14, Dylan successfully recorded "Visions of Johanna", which he had attempted several times in New York. Also recorded was a take of "4th Time Around" which made it onto the album and a take of "Leopard-Skin Pill-Box Hat" which did not. Dylan counted off and the musicians fell in, as he attempted his epic composition "Sad Eyed Lady of the Lowlands". Kenny Buttrey recalled, "If you notice that record, that thing after like the second chorus starts building and building like crazy, and everybody's just peaking it up 'cause we thought, Man, this is it ... This is gonna be the last chorus and we've gotta put everything into it we can. And he played another harmonica solo and went back down to another verse and the dynamics had to drop back down to a verse kind of feel ... After about ten minutes of this thing we're cracking up at each other, at what we were doing. I mean, we peaked five minutes ago. Where do we go from here?" The finished song clocked in at 11 minutes, 23 seconds, and would occupy the entire fourth side of the album.
Nashville recording dates
Most accounts of recording Blonde on Blonde, including those by Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14–17 and March 8–10, 1966. This chronology is based on the logs and files kept by Columbia Records.
Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".
In quick succession Dylan and the musicians then recorded "Obviously 5 Believers" and a final take of "Leopard-Skin Pill-Box Hat" powered by Robertson's lead guitar. Wilentz analyzed the recording of Blonde on Blonde in his book Bob Dylan in America, concluding that the "official" documented version fits Dylan's known touring schedule, and notes that five of the eight songs first recorded after "Stuck Inside of Mobile with the Memphis Blues Again", but none of those recorded earlier, include a middle-eight section—Dylan's first extensive foray as a writer into that conventional structure". Wilentz writes that it was at this point it became "obvious that the riches of the Nashville sessions could not fit onto a single LP",
Songs
Side one
"Rainy Day Women #12 & 35"
According to author Andy Gill, by starting his new album with what sounded like "a demented marching-band ... staffed by crazy people out of their mind on loco-weed", Dylan delivered his biggest shock yet for his former folkie fans. The elaborate puns on getting stoned combine a sense of paranoiac persecution with "nudge-nudge wink-wink bohemian hedonism". Released as a single on March 22, 1966, "Rainy Day Women" reached number two on the Billboard singles chart and number seven in the UK.
"Pledging My Time"
Following the good-time fun of "Rainy Day Women #12 & 35", the Chicago blues-influenced "Pledging My Time" sets the album's somber tone. It draws on several traditional blues songs, including Elmore James's recording of "It Hurts Me Too". For critic Michael Gray, the lines "Somebody got lucky but it was an accident" echo the lines "Some joker got lucky, stole her back again" from Robert Johnson's "Come On in My Kitchen", which is itself an echo of Skip James's 1931 recording "Devil Got My Woman". Gray suggests that "the gulping movements of the melodic phrases" derive from the melody of "Sitting on Top of the World", recorded by the Mississippi Sheiks in 1930. The couplet at the end of each verse expresses the theme: a pledge made to a prospective lover in hopes she "will come through, too". Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus "Pig" Robbins' blues piano and Ken Buttrey's snare drum rolls. The song was released in edited form as the B-side of "Rainy Day Women #12 & 35" in March.
Considered by many critics one of Dylan's masterpieces, "Visions of Johanna" proved difficult to capture on tape. Heylin places the writing in the fall of 1965, when Dylan was living in the Hotel Chelsea with his wife Sara. With Dylan piecing together the song's sections, and the chorus that gives the song its title only emerging on take five, the session stretched through the night and into the next morning.
"One of Us Must Know" is a straightforward account of a burned-out relationship. As he presents his case in the opening verse, it appears he is incapable of acknowledging his part or limiting the abuse: "I didn't mean to treat you so bad. You don't have to take it so personal. I didn't mean to make you so sad. You just happened to be there, that's all." "One of Us Must Know" was the first recording completed for Blonde on Blonde and the only one selected from the New York sessions. Analyzing the lyrics' evolution through successive drafts, Wilentz writes that there are numerous failures, "about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother". Finally Dylan arrives at the right formula. Al Kooper has said that of all the songs that Dylan outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, "just to bug him".
Inside the studio, the song evolved through several musical revisions. Heylin writes, "It is the song's arrangement, and not its lyrics, that occupies the musicians through the wee small hours." On the fifth take, released in 2005 on the No Direction Home Soundtrack, midtake Dylan stumbles on the formula "Stuck inside of Mobile" on the fourth verse, and never goes back.
"Leopard-Skin Pill-Box Hat"
"Leopard-Skin Pill-Box Hat" is a satire of materialism, fashion and faddism. Done in Chicago-blues style, the song derives its melody and part of its lyrics from Lightnin' Hopkins's "Automobile (Blues)". Paul Williams writes that its caustic attitude is "moderated slightly when one realizes that jealous pique is the underlying emotion". The narrator observes his former lover in various situations wearing her "brand new leopard-skin pill-box hat", at one point finding his doctor with her and later spying her making love with a new boyfriend because she "forgot to close the garage door". In the closing lines, the narrator says he knows what her boyfriend really loves her for—her hat.
The song evolved over the course of six takes in New York, 13 in the first Nashville session, and then one on March 10, the take used for the album. Dylan, who gets credit on the liner notes as lead guitarist, opens the song playing lead (on the center-right stereo channel), but Robertson handles the solos with a "searing" performance (on the left stereo channel). The reference to Baby's penchant for "fog ... amphetamine and ... pearls" suggests Sedgwick or a similar debutante, according to Heylin.
Discussing the lyrics, literary critic Christopher Ricks detects a "note of social exclusion" in the line "I was hungry and it was your world". In response to the accusation that Dylan's depiction of female strategies is misogynistic, Ricks asks, "Could there ever be any challenging art about men and women where the accusation just didn't arise?" The song reached number 33 in the US. The narrator has tired of carrying his lover and is going to let her "pass". As in "Just Like a Woman" and "Absolutely Sweet Marie", he waits until the end of each verse to deliver the punch line, which in this case comes from the title. "Most Likely You Go Your Way" was issued as a single a year later, in March 1967, on the B-side of "Leopard-Skin Pill-Box Hat".
"Temporary Like Achilles"
This slow-moving blues number is highlighted by Hargus "Pig" Robbins's "dusky barrelhouse piano" The narrator has been spurned by his lover, who has already taken up with her latest boyfriend. Calling his rival "Achilles", the narrator senses the new suitor may be discarded as quickly as he was.
"Absolutely Sweet Marie"
This song, described as "up-tempo blues shuffle, pure Memphis" Gill sees the lyrics as a series of sexual metaphors, including "beating on my trumpet" and keys to locked gates, many deriving from traditional blues. Nonetheless, the song contains what has been termed "one of the most oft-repeated of Dylan's life lessons", that "to live outside the law you must be honest", which was later invoked in many bohemian and countercultural contexts. Dylan sketched out a response to the song, also in 3/4 time, copying the tune and circular structure, but taking Lennon's tale in a darker direction.
"Obviously 5 Believers", Blonde on Blondes second-to-last track, is a roadhouse blues love song similar in melody and structure to Memphis Minnie's "Chauffeur Blues", and was described by Robert Shelton as "the best R&B song on the album". After an initial breakdown, Dylan complained to the band that the song was "very easy, man" and that he did not want to spend much time on it. In his paean to his wife, "Sara", written in 1975, Dylan sings that he stayed "up for days in the Chelsea Hotel/Writin' 'Sad-Eyed Lady of the Lowlands' for you".
When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" But in 1969, Dylan told Rolling Stone editor Jann Wenner, "I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [laughs]."
Heard by some listeners as a hymn to an otherworldly woman,
Outtakes and The Cutting Edge
The following outtakes were recorded during the Blonde on Blonde sessions.
{| class="wikitable collapsible"
|-
! Title
! Status
|-
| "I'll Keep It with Mine"
| Released on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991
|-
| "Jet Pilot"
| Released on Biograph
|-
| "Number One"
| Released On "The Cutting Edge"
|-
| "She's Your Lover Now"
| Released on The Bootleg Series Volumes 1–3 The 18 CDs contain every take of every song recorded in the studio during the Blonde on Blonde sessions, from October 5, 1965, to March 10, 1966.
The New York sessions comprise: two takes of "Medicine Sunday", one take of "Jet Pilot", twelve takes of "Can You Please Crawl Out Your Window?", seven takes of "I Wanna Be Your Lover", fourteen takes of "Visions of Johanna", sixteen takes of "She's Your Lover Now", four takes of "Leopard-Skin Pill-Box Hat", twenty-four takes of "One of Us Must Know (Sooner or Later)", one take of "I'll Keep It with Mine", and one take of "Lunatic Princess".
Packaging
Origin of album title
Al Kooper recalled that both the album title, Blonde on Blonde, and song titles arrived during the mixing sessions. "When they were mixing it, we were sitting around and Bob Johnston came in and said, 'What do you want to call this?' And [Bob] just like said them out one at a time ... Free association and silliness, I'm sure, played a big role." Dylan himself has said of the title: "Well, I don't even recall exactly how it came up, but I know it was all in good faith ... I don't know who thought of that. I certainly didn't."
Several explanations have been put forward in an attempt to shed light on the identity or meaning of the blondes superimposed in the title. Two of these explanations are contemporary with the album and lead to personalities in Dylan's entourage at the time. To Edie Sedgwick, firstly, a short-lived celebrity in the New York underground in the mid-1960s, with blond hair and a pale complexion. Then to Brian Jones and the blond couple that the founder of the Rolling Stones formed with the actress Anita Pallenberg.
Since the publication of Dylan's autobiographical Chronicles in 2004, another hypothesis has taken shape: that Blonde on Blonde is a tribute to Brecht on Brecht, a musical performance of Bertolt Brecht's songs which Dylan attended in 1963 and which had a profound effect on him. In addition to this analogy, it has become classic to point out that the initials of the title reproduce Dylan's first name, as a wink. Oliver Trager, for instance, in 2004: "Its title is at least a riff on Brecht on Brecht, a rather literary touch for rock ’n’ roll at the time. And let's not forget that the first letter of each word in the title form an anagram that spells the word 'Bob'."
In 2012, another theory was espoused in David Dalton's book Who Is That Man? In Search of the Real Bob Dylan. Dalton writes that "the title of the album itself is a double entendre that refers to a rock star's endless harem as well as to Kazimir Malevich's constructivist painting White Square on White. Avant-garde art sandwiched between serial blondes" (the painting is actually titled Suprematist Composition: White on White).
A new interpretation appeared in a French essay published in 2021. According to Like a Rolling Stone Revisited : Une relecture de Dylan [A Re-Reading of Dylan] by Jean-Michel Buizard, the title refers to two guitars that together form the musical heart of the album, two light wood and beige guitars, "blonde" in English usage – like the Gibson Nick Lucas Special and the Fender acoustic that Robertson and Dylan play face to face in a 1966 scene from the documentary Eat the Document: "two guitars of the same colour playing with each other, melodic line on rhythmic line, blonde on blonde." This interpretation is essentially based on two ideas drawn from Dylan's lyrics. On the one hand, the understanding that, in his most important and enigmatic songs of the 1965–1966 period, Dylan never stops talking about his music and, with it, about his place in the history of the blues. On the other hand, the discovery that a whole troupe of famous bluesmen, modern or old, parade through these same songs, each of them accompanied by his guitar disguised in a personified or metaphorical form.
Cover photo
The cover photo of Blonde on Blonde shows a 12-by-12-inch close-up portrait of Dylan. The double album gatefold sleeve opens to form a 12-by-26-inch photo of the artist, at three quarter length. The artist's name and the album's title only appear on the spine. 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 photographer, Jerry Schatzberg, described how the photo was taken:
Research by rock historian Bob Egan suggests the location of the cover photo was at 375 West Street, at the extreme west of Greenwich Village. The original inside gatefold featured nine black-and-white photos, all taken by Schatzberg and selected for the sleeve by Dylan himself. A shot of actress Claudia Cardinale from Schatzberg's portfolio was included but later withdrawn because it had been used without her authorization and Cardinale's representatives threatened to sue, Dylan included a self-portrait by Schatzberg as a credit to the photographer.
A high-definition 5.1 surround sound edition of the album was released on SACD by Columbia in 2003.
The album received generally favorable reviews. Pete Johnson in the Los Angeles Times wrote, "Dylan is a superbly eloquent writer of pop and folk songs with an unmatched ability to press complex ideas and iconoclastic philosophy into brief poetic lines and startling images." The editor of Crawdaddy!, Paul Williams, reviewed Blonde on Blonde in July 1966: "It is a cache of emotion, a well handled package of excellent music and better poetry, blended and meshed and ready to become part of your reality. Here is a man who will speak to you, a 1960s bard with electric lyre and color slides, but a truthful man with x-ray eyes you can look through if you want. All you have to do is listen."
To accompany the songbook of Blonde on Blonde, Paul Nelson wrote an introduction stating, "The very title suggests the singularity and the duality we expect from Dylan. For Dylan's music of illusion and delusion—with the tramp as explorer and the clown as happy victim, where the greatest crimes are lifelessness and the inability to see oneself as a circus performer in the show of life—has always carried within it its own inherent tensions ... Dylan in the end truly UNDERSTANDS situations, and once one truly understands anything, there can no longer be anger, no longer be moralizing, but only humor and compassion, only pity." In May 1968 for Esquire, Robert Christgau said Dylan had "presented his work at its most involuted, neurotic, and pop—and exhilarating—in Blonde on Blonde."
Date discrepancy
Blonde on Blonde was released on June 20, 1966, but for many years, May 16 was thought to be the correct date. Michael Gray, author of The Bob Dylan Encyclopedia, had contended that the release date was actually around late June or early July. selected the album as a "New Action LP" on July 9, and ran a review and article on July 16. In 2017, after viewing a Sony database of album releases, Heylin found that the release date was in fact June 20. This is supported by the fact that an overdub on "Fourth Time Around" was recorded in June.
The album debuted on Billboards Top LPs chart on July 23 at number 101—just six days before Dylan's motorcycle accident in Woodstock removed him from public view. By contrast, another contemporary LP which has an official 1966 release date of May 16, Pet Sounds by the Beach Boys, entered the Billboard LP chart less than two weeks after release on May 28 at number 105.
Blonde on Blonde has been described as rock's first studio double LP by a major artist, released just one week before Freak Out!, the double album by the Mothers of Invention.
Reappraisal and legacy
Twelve years after its release, Dylan said: "The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up." For critics, the double album was seen as the last installment in Dylan's trilogy of mid-1960s rock albums. As Janet Maslin wrote, "The three albums of this period—Bringing It All Back Home and Highway 61 Revisited both released in 1965, and Blonde on Blonde from 1966—used their electric instrumentation and rock arrangements to achieve a crashing exuberance Dylan hadn't approached before." Mike Marqusee has described Dylan's output between late 1964 and the summer of 1966, when he recorded these three albums, as "a body of work that remains unique in popular music." For Patrick Humphries, "Dylan's body of work during the 14-months period ... stands unequalled in rock's 30-year history. In substance, style, ambition and achievement, no one has even come close to matching Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde." Music journalist Gary Graff points to Highway 61 Revisited and Blonde on Blonde, along with the Beach Boys' Pet Sounds (1966), as possible starting points to the album era, as they each constituted "a cohesive and conceptual body of work rather than just some hit singles ... with filler tracks."
Dylan scholar Michael Gray wrote: "To have followed up one masterpiece with another was Dylan's history making achievement here ... Where Highway 61 Revisited has Dylan exposing and confronting like a laser beam in surgery, descending from outside the sickness, Blonde on Blonde offers a persona awash inside the chaos ... We're tossed from song to song ... The feel and the music are on a grand scale, and the language and delivery are a unique mixture of the visionary and the colloquial." Critic Tim Riley wrote: "A sprawling abstraction of eccentric blues revisionism, Blonde on Blonde confirms Dylan's stature as the greatest American rock presence since Elvis Presley." Biographer Robert Shelton saw the album as "a hallmark collection that completes his first major rock cycle, which began with Bringing It All Back Home". Summing up the album's achievement, Shelton wrote that Blonde on Blonde "begins with a joke and ends with a hymn; in between wit alternates with a dominant theme of entrapment by circumstances, love, society, and unrealized hope ... There's a remarkable marriage of funky, bluesy rock expressionism, and Rimbaud-like visions of discontinuity, chaos, emptiness, loss, being 'stuck'."
Blonde on Blonde has been ranked high in critics' polls of the greatest albums of all time. In 1974, the writers of NME voted Blonde on Blonde the number-two album of all time. It was ranked second in the 1978 book Critic's Choice: Top 200 Albums and third in the 1987 edition. 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. In 2006, Time magazine included the record on their 100 All-Time Albums list. 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. (When Rolling Stone updated this list in 2010, "Just Like a Woman" dropped to number 232 and "Visions of Johanna" to number 413. Then in 2021, "Visions of Johanna" was re-ranked at number 317.) The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings—published in Christgau's Record Guide: Rock Albums of the Seventies (1981)—and in critic Robert Dimery's book 1001 Albums You Must Hear Before You Die. It was voted number 33 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). It was inducted into the Grammy Hall of Fame in 1999. When Dylan was awarded the Nobel Prize for Literature in 2016, Swedish Academy Secretary Sara Danius, when asked how to evaluate Dylan's literary merit, suggested listening first to Blonde on Blonde.
Track listing
Personnel
The personnel involved in making Blonde on Blonde is subject to some discrepancy:
- Bob Dylan – vocals, guitar, harmonica, piano
Additional musicians
- Robbie Robertson – guitar, vocals
- Al Kooper – organ, guitar
- Bill Aikins – keyboards
- Wayne Butler – trombone
- Kenneth Buttrey – drums
- Rick Danko – bass guitar (New York)
- Bobby Gregg – drums (New York)
- Paul Griffin – piano (New York)
- Jerry Kennedy – guitar
- Charlie McCoy – bass guitar, guitar, harmonica, trumpet
- Wayne Moss – guitar, vocals
- Hargus "Pig" Robbins – piano, keyboards
- Henry Strzelecki – bass guitar
- Joe South – bass guitar, guitar
Technical
- Bob Johnston – record producer
- Jerry Schatzberg – cover photographer
Charts
Weekly charts
{| class="wikitable"
|-
!Year
!Chart
!Position
|-
|rowspan="3"|1966
|Billboard Top LPs
| style="text-align:center;"|9
|-
|UK Top 75
| style="text-align:center;"|11
|}
Singles
{| class="wikitable"
|-
!Year
!Single
!Chart
!Position
|-
|rowspan="6"|1966
|"One of Us Must Know"
|UK Top 75