"Searching For A Gem"

Bob Dylan's Officially Released Rarities and Obscurities

The "Blonde On Blonde" Missing Pictures

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The outside layout	Original 1966 LP - 9-photo inside layout with Claudia Cardinale and unknown whisperer	Bob with photographer Jerry Schatzberg, 1965, from "Bob Dylan par Jerry Schatzberg" edited by Luc Bellier and Olivier Lorquin, Galleries Luc Bellier & Dina Vierny, France, 2006	"Saturday Evening Post" 30 Jun 1966, photo by Jerry Schatzberg from the same location as the Blonde On Blonde* scarf photo, scan by Bob Egan*
	Replacement 1968 LP - 7-photo inside layout, same on the left but Claudia and the whisperer have gone from the right!	Columbia 4-43683 (USA) - front scan by Sam C. Visser (photo by Jerry Schatzberg from the same location as the Blonde On Blonde* scarf photo)*

This page shows the pictures on the gatefold sleeve of the vinyl release of 1966’s Blonde On Blonde that have not made it into the regular CD insert (the artwork for the gold CD is different as shown below). If you know who any of these people are, please contact me or make a posting to my Facebook page. The inside layout was revised in the USA from 1968 onwards to remove the picture of Claudia Cardinale, but printings outside the USA preserved the original layout. Both the 2002 re-release of the US mono mix of Blonde On Blonde by Sundazed and the 2010 re-release of the mono set by Columbia/Legacy/Sony Music use the 7-photo picture shown above, they have not managed to get permission to reproduce the original sleeve. For more details see International Mono Releases.

Thanks to photographer Jerrold "Jerry" Schatzberg, his assistant Tim White, Charlie Steiner, and Rod MacBeath for their input to this page. Thanks to Hervé from France for the two Jerry Schatzberg books cited here. Thanks to Bob Egan for his work in tracking down the New York locations used by Jerry in the photoshoot, for more details see . About the fold-out picture on the front, Jerry says: "I wanted to find an interesting location out of the studio. We went to the west side, where the Chelsea Art galleries are now. At the time it was the meat-packing district of New York and I liked the look of it. It was freezing and I was very cold. The frame he chose for the cover is blurred and out of focus. Of course everyone was trying to interpret the meaning, saying it must represent getting high or an LSD trip. It was none of the above; we were just cold and the two of us were shivering. There were other images that were sharp and in focus, but to his credit, Dylan liked that photograph."

Blonde On Blonde and The Cutting Edge photo location: 375 West Street at Morton Street, Greenwich Village, New York City (Meat Packing District). The building has since been replaced. Composite photo by Bob Egan.

Bob And Who?

This first photo remains on the sleeve, but who's the man with his back to the camera facing Bob? Jerry Schatzberg confirms it's Albert Grossman: "Albert Grossman is the figure with his back to the camera talking to Dylan".

This second picture appeared for years in the regular CD insert in a cropped form only, omitting Bob’s companion. Rod MacBeath, in his "Telegraph 50" article, "Looking Up Dylan's Sleeves", identifies the person as Albert Grossman, but Jerry Schatzberg says: "The photograph that identifies Albert Grossman as the second figure, is incorrect, it is (Lady) Sandra Suffolk. She contacted me with the pretext of a photo shoot for "Queen" magazine. She really wanted an interview with Dylan. I spoke to him and he agreed to meet with her if I would come along. I did, it was just the three of us." No interview with Bob by her was ever published in "Queen" magazine or anywhere else.

Picture from the original LP sleeve, "Lady Sandra Suffolk" on right in shadow	Picture from the regular UK CD (before the SA-CD release)
Complete 35mm frame, Bob Dylan with "Lady Sandra Suffolk", Dakota Building, New York City, Feb 1966, photo from Mary Kelly	Bob Dylan with "Lady Sandra Suffolk", Dakota Building, New York City, Feb 1966, photo from Bob Stacy She is holding a copy of "Queen" magazine, Bob is holding a copy of "Life" magazine from 4 Feb 1966

In an interview with FAQ Magazine in 2013 Jerry said "I once had a woman from the UK who wanted to interview him and she came to me on the mere pretence that the editor of Queen magazine wanted me to photograph her. And I did it, and while I was taking the pictures, we talked about her. She told me that she had just done an interview with Marlon Brando and so on, and then she said, ‘You know Bob Dylan, right? Can you get me an interview with him?’ I said, ‘Oh, I don’t know.’ But then I told him the whole story, and I said, ‘It’s up to you, do you want to do the interview?’ He said, ‘Okay, I’ll do it, but you’ve got to come along.’ And I said, ‘Yeah, I’ll come along.’ So we went to Dakota to do the interview and the first question was, ‘Well, now that you’re famous, how much money do you want to make?’ And he said, ‘All of it.’ And the whole interview went like that. She asked him, ‘Do you believe in nature?’ And Bob would say, ‘No, I don’t believe in any drugs.’ I would love to find that interview; maybe it still exists somewhere, maybe it was never even published. In the end, it turned out she was a real con artist. Her father was a munitions man and he would follow her all over the world to pay off her debts. She was also living in a friend’s apartment at that time, but she didn’t have any money, so she sold the paintings from that apartment. She was a real number."

Sandra Paul on the cover of US "Vogue"

An article on www.needsomefun.net says that "Lady Sandra Suffolk" was the model Sandra Paul, who worked for "Vogue" magazine in London and New York in the 1960s, who later became Sandra Howard, wife of former Conservative Party leader Michael Howard, and who is now Lady Howard of Lympne! However, I asked Sandra Howard if she had indeed been "Lady Sandra Suffolk" and she replied "I too am a great Dylan fan, but not, I’m afraid, the writer of that article. And though I have the ‘Lady’ handle now I certainly didn’t back then! I was Sandra Paul, modelling in London and New York in the 60s, but I never worked with Jerry Schatzberg as far as I remember. I did once hear Bob Dylan live in his very early days which was quite a thrill. I wrote about that in my latest book "Tell The Girl" (fiction but semi-autobiographical) end of plug!" In the book her main character Susannah Forbes says she saw Bob at the Gaslight Club in New York where he was recording an album. Seventeen songs recorded by Bob at the Gaslight in New York have been officially released, ten in 2005 on the limited release Live At The Gaslight 1962, see 2005, and the remaining seven on several releases, but all on the very limited release 50th Anniversary Collection 1962, see 2012.

Sandra Paul's father was an RAF doctor, not the "munitions man" Jerry remembers. The real Lord Suffolk (the 21st Earl, born 1935) is also called Michael Howard, which may explain the mix-up. He has been married three times, but in the 1960s he was married to Simone Litman, not a Sandra. So - the identity of "Lady Sandra Suffolk" remains a mystery!

Jerry Schatzberg
Jerry 1964	The pictures on the Blonde On Blonde sleeve (except one, see below) were taken by photographer Jerry Schatzberg. This one from the inside sleeve is of himself from 1964.	Frontispiece of "Schatzberg de la Photo au Cinéma" (Chêne/Hachette, France, 1982) edited by Michel Ciment (see below)

Claudia Cardinale
Claudia 1963 from Blonde On Blonde	This is another picture by Jerry Schatzberg not from the Blonde On Blonde photo shoot. Bob chose this 1963 portrait of the Tunisian-born Italian actress from Jerry's portfolio. It was removed from 1968 onwards from US printings of the Blonde On Blonde sleeve, but a wider crop of the photo was included in a now out-of-print French book of Jerry's photos edited by Michel Ciment called "Schatzberg de la Photo au Cinéma" (Chêne/Hachette, France, 1982). Thanks to Hervé from France for the book, which also includes a couple of well-known photos of Bob. By an incredible coincidence the cover photo of Faye Dunaway in 1967 was used for the official poster for the Cannes Film Festival 2011! Thanks to Barbara Schudel for the information and photo. Also shown left is a photo by Georges Biard from Wikipedia of Jerry and Faye at the festival.		Claudia 1963 from Jerry's 1982 book
Jerry Schatzberg and Faye Dunaway, Cannes Film Festival, photo by George Biard from Wikipedia	Faye 1967 on the cover of Jerry's 1982 book	Faye 1967 on the Cannes 2011 poster	Palais des Festivals et des Congres, Cannes, France, Entrance to Cannes Film Festival 2011, photo by Barbara Schudel
"Bob Dylan par Jerry Schatzberg" edited by Luc Bellier and Olivier Lorquin (Galleries Luc Bellier & Dina Vierny, France, 2006), picture from www.bobdylanisis.com	The original story concerning the Claudia Cardinale picture was that she objected to its inclusion without her permission, and her lawyers insisted that Columbia Records remove it. However, in "Bob Dylan par Jerry Schatzberg" edited by Luc Bellier and Olivier Lorquin (Galleries Luc Bellier & Dina Vierny, France, 2006), Jerry tells the story of the design change, refuting the long-held belief that it was done at Claudia's request: "For the inside cover of Blonde On Blonde, Dylan wanted a self-portrait of me that I had in my studio... He also wanted a photo of Claudia Cardinale that I had taken and that he saw in my studio to feature on the sleeve. After we'd done the first printing his agents - probably without informing her - refused to let her portrait to be used in that way. I supposed they didn't want her being used to promote someone else. Anyway, the photo disappeared from the later printings and I think the original cover is now a collector's item..." Claudia has since been reported as saying she never knew anything at the time about her photo being used for the sleeve!
	Thanks also to Hervé from France for the poster from the "Bob Dylan by Jerry Schatzberg" exhibition at Banyuls-sur-Mer, France, 2011. This photo was taken in 1965 during the Highway 61 Revisited sessions. Thanks again to Hervé for three of the Schatzberg postcards sold at the exhibition.

Unknown Whispering Woman: not Edie Sedgwick but possibly Carole Adler?

Picture from original inner sleeve

This picture is still in the insert for the UK gold CD - however we still don't know for certain the identity of the woman whispering in Bob's ear. Rod MacBeath says in his "Telegraph 50" article that she could be Edie Sedgwick, but a contemporary says Edie was "rail-thin and a platinum blonde" (see her picture below), so this would appear not to be her.

Full frame from Jerry's book "Thin Wild Mercury: Touching Dylan's Edge"

Carole Adler, Newport 1965, photo by Diana Davies from Smithsonian Institute

Bob at friends at Ondine, 5 Oct 1965, picture from Jerry's book "Thin Wild Mercury: Touching Dylan's Edge"

Jerry's then assistant Tim White thinks the picture was taken at a New York night club called Ondine (see his comments below). Jerry Schatzberg confirms this, but doesn't know the whisperer. The picture at above far right was taken by Jerry at Ondine on 5 Oct 1965 and shows from left: Rick Danko, Bob Dylan, Bob Neuwirth, David Blue and Venetia Cunningham (a friend of Jerry who subsequently married engineer/producer Terry Howard).

One very plausible candidate suggested by Tim White is Carole Adler (daughter of harmonica player Larry, also born 1941), who hung around with Bob at this time. She later became a copywriter in Manhattan. Clinton Heylin's book "Judas! From Forest Hills to the Free Trade Hall - A Historical View of the Big Boo" mentions her being at the 1965 Newport Folk Festival during Bob's electric set and telling "Broadside" magazine "This is the most hostile audience I've ever seen, I don't understand it." There is a contact strip of photos from Newport 1965 taken by Diana Davies on the Smithsonian Institute's web-site, the complete strip is here: deliveryService (1619×2000) (si.edu). The other women in the photos are Mary Travers and Mimi Baez Fariña, both well-known faces, so the woman in the centre photo on the bottom row must be Carole Adler. She is also wearing sunglasses and has similar hair to the whisperer. Carole subsequently moved to London and worked for an advertising agency called Hobson Bates, and is mentioned in a book by Johnny Cigarini called "Confessions of a King's Road Cowboy". Her father is of course noteworthy for saying “If I were dictator of the world my first act would be to forbid Bob Dylan from playing the mouth organ! God, I think he's bad!”. Carole married artist Nigel van Wieck in Chelsea in London in June 1969.

Some interesting comments from Tim White: "My name is Tim White and I was working with Jerry Schatzberg when the shots of Dylan you are curious about were taken! I can confirm that the girl is definitely not Edie Sedgwick. We photographed her several times with Andy, she was definitely blonde at the time. I remember that the guy you are concerned about [Albert Grossman - see above] was quite tall, if I'm right, had steel rimmed round glasses and may have been Bob's record producer. I think he would have been about 45-55, it was a long time back! Jerry was about 38 at the time, the studio was 1st. Floor, 333 Park Avenue South. I was also present when the cover was shot. I remember going to the location with Jerry in Bob's Mustang! I also did all Jerry's black and white printing. I remember printing the shot with the painting and the pliers and I pretty certainly made the print of the guy with his back to us. I suspect that the shot of Bob with the girl may have been taken by Jerry at Ondine which was a night club that Jerry owned but I cannot remember." Jerry confirms this, apart from the fact that his studio was on the 3rd floor, not the 1st. Thanks to Jerry Schatzberg and Tricia Jungwirth for information about Jerry's large-format limited edition book of Dylan photographs called "Thin Wild Mercury: Touching Dylan's Edge", published by Genesis Publications Ltd in 2006.

Pictures of "Thin Wild Mercury: Touching Dylan's Edge" by Jerry Schatzberg from Genesis Publications web-site

Page 66 of the book shown on right above is called "Bob Dylan Party at Ondine", taken at the nightclub on 5 Oct 1965. This page shows a wider version of the picture from which the shot on the album was cropped and some proof sheet frames. The screen shot above right of Bob at Ondine on 5 Oct 1965 is from the Genesis Publications web-site. For more information see here:.

Picture of Bob with Andy Warhol from 4.bp.blogspot.com	Even if she isn't pictured on the album inner sleeve, Edith Minturn Sedgwick (1943-71), who became the girlfriend of Bob's sidekick Bob Neuwirth, was still a major inspiration for Blonde On Blonde - when she died Patti Smith, who was part of the same New York City mid-1960s scene, wrote an elegy for her saying as much (see below).	Edie Sedgwick photographed by Jerry Schatzberg	Edie Sedgwick photographed by Jerry Schatzberg
Andy Warhol, Edie, Bob from flickr.com	Two pictures of Edie Sedgwick with Andy Warhol	One of the Edie biographies, by Graham Samuel	Edie Sedgwick in Andy Warhol's "Poor Little Rich Girl" (1965)

EDIE SEDGWICK (1943-1971)
I don't know how she did it. Fire She was shaking all over. It took her hours to put her make-up on. But she did it. Even the false eye-lashes. She ordered gin with triple limes. Then a limosine. Everyone knew she was the real heroine of Blonde on Blonde. oh it isn't fair oh it isn't fair how her ermine hair turned men around she was white on white so blonde on blonde and her long long legs how I used to beg to dance with her but I never had a chance with her oh it isn't fair how her ermine hair used to swing so nice used to cut the air	how all the men used to dance with her I never got a chance with her though I really asked her down deep where you do really dream in the mind reading love I'd get inside her move and we'd turn around and she'd turn around and turn the head of everyone in town her shaking shaking glittering bones second blonde child after brian jones oh it isn't fair	how I dreamed of her and she slept and she slept forever and I'll never dance with her no never she broke down like a baby like a baby girl like a lady with ermine hair oh it isn't fair and I'd like to see her rise again her white white bones with baby brian jones baby brian jones like blushing baby dolls Patti Smith Seventh Heaven (1972) Telegraph Books, Boston, MA, USA

As well as having possibly inspired Like A Rolling Stone (the story in the song is very much Edie's, and Andy Warhol was accused of being the diplomat in the chrome horse with the Siamese cat), allusions to Edie are said to be found in both Just Like A Woman and Leopard-Skin Pill-Box Hat. Clinton Heylin even supposes that She's Your Lover Now might (his italics) be about Bob, Edie and Bob Neuwirth. See Mono 7" Singles: 1965 - Like A Rolling Stone for more information.

Visit the Edie Sedgwick Internet Site

The UK press reported in Nov 2004 that Sienna Miller was set to star in a biography of Edie Sedgwick to be called "Factory Girl", due then for release in mid-2005. The film, to be directed by George Hickenlooper, reportedly "revolves around an unconventional love triangle of sorts that developed between Edie Sedgwick, Bob Dylan and Andy Warhol". Bob Dylan's lawyers made moves to stop the project, and the Bob Dylan character (played by Hayden Christensen of "Star Wars" fame) was renamed Billy Quinn (as of course in Quinn The Eskimo and also the lawyer character played by Richard Gere in the musical "Chicago"). The film was eventually released in 2007, with no mention of Bob by name or use of Bob's music. The fact that the character played by Hayden Christensen wore a corduroy cap and played a guitar and a harmonica in a holder was purely coincidence...

The picture on the right is from the cover of 1965's Bringing It All Back Home. The short-haired woman in the striped sweater giving Bob a head massage is sculptress Barbara Rubin, who introduced him to Andy Warhol and the Factory.

Bob Live

I'd previously thought all the pictures on the inner sleeve were taken by Jerry Schatzberg, but "Scott" informs me that this picture of Bob live in 1966 at bottom left was taken by Charlie Steiner (© 1966), and Charlie himself confirms this and that it was at the Academy of Music in Philadelphia, PA, on 24 or 25 Feb 1966. To see the complete image, visit ("Highway '67 Revisited"). Thanks to Ian Woodward for his convincing arguments that this was taken on the 24th rather than the 25th!

Stuck Inside Of Mobile With "Thee"

The title of the song "Stuck Inside Of Mobile With The Memphis Blues Again" was incorrectly printed on the first US printing of this album as "STUCK INSIDE OF MOBILE WITH THE" (later replaced by just "MEMPHIS BLUES AGAIN"). When the album reached the UK, the typesetter realised this was a mistake and (obviously without checking it out) "corrected" it as shown below. The mistake is repeated on the record label. Thanks to Carsten Wohlfeld for pointing out that the "Millennium Edition" of Blonde On Blonde was issued in a double card CD sleeve reproducing the original UK artwork, and therefore repeated this mistake!

CBS SDDP 66012 (UK) - detail of inside of gatefold sleeve (my copy)	CBS SDDP 66012 (UK) - Side 2 record label with "STUCK INSIDE OF MOBILE WITH THEE"	Columbia C2S 841 (USA) - Side 2 record label with "MEMPHIS BLUES AGAIN", scan by Gerd Rundel	Columbia C2S 841 (USA) - Side 2 record label with "STUCK INSIDE OF MOBILE WITH THE", scan by Augie Krater
Columbia C2S 841 (USA) - detail of inside of gatefold sleeve, scan by Hans Seegers
Side 2 labels of the US stereo album have three different variants of the song title: "MEMPHIS BLUES AGAIN", "STUCK INSIDE OF MOBILE WITH THE" and finally a late 1970s release with the full correct title on two lines!			Columbia C2S 841 (USA) - Side 2 scan by Manuel García Jara (late 1970s release - "STUCK INSIDE OF MOBILE WITH THE MEMPHIS BLUES AGAIN"!)

Al and "Blonde On Blonde"

Part of the original UK LP sleeve

Shown left is part of the sleeve of the 1966 UK release of Blonde On Blonde. As can be seen the stereo version had the same sleeve as the mono version with a gold "Stereo" sticker. This picture is interesting in that the sleeve still has the price sticker - 59/5^d. This was £2-19-5 in pre-decimal UK money or £2.97. My memory is that this was exactly £1 more than the price of a regular single LP...

One day in 1966, I left my university classes in Central Manchester to get the bus back to Rusholme where I was living (Rusholme is now known as the "Curry Mile", but there was not one Indian restaurant there then). On the way to the bus stop I passed Johnny Roadhouse's record shop on Oxford Road and saw in the window a new album from Bob Dylan, Blonde On Blonde. I checked my pocket - I had more than enough to buy the album, so I went in to buy it. To my great surprise, the assistant handed me a double album, the first I’d ever seen. And it was £1 more than the regular price. I checked my pocket again - I had just enough to buy it, but not enough to buy the album and get the bus home. My choice was simple, buy the album and walk home, or leave it for another day and get the bus. I looked at the album again, I folded out the amazing gatefold sleeve with the full-length sideways picture of Bob... I walked home.

(The copy I bought then was the mono version, much sought-after today but sadly stolen in May 1968 - I replaced it with a stereo version of the double LP, which I still have.)

More "Flying Pig" Bob Dylan pages

The Missing Liner Notes from Bob Dylan's Greatest Hits Vol. 3	Who really wrote "Blowin' In The Wind"?	Who really wrote "A Fool Such As I"?	"Mr. D's Apocrypha" (Columbia releases that aren't on Bob's regular albums)	Bob's Early "Field Recordings" 1961-87
Bob Dylan's Never-Ending Tour Official "Field Recordings"	Bob's Appearances on Compilations	Duets with Bob	Bob "On The Side"	My (Dylan-related) review of Stephen King's "Song of Susannah"

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