Bob Dylan - The Studio Album Collection «Exclusive for Lossless-Galaxy» (Hi-Res)

Исполнитель: Bob Dylan
Альбом: The Studio Album Collection «Exclusive for Lossless-Galaxy» (Hi-Res)
Жанр: Folk, Blues Rock, Gospel, Country, Traditional Pop, Jazz
Год: 1963-2021
Страна: USA
Лейбл: Columbia - Legacy, Columbia
Формат: FLAC (tracks)
Official DR value: DR12,9,10,11,13,13,11,11,11,12,14,14,9,10
Разрядность: 24bit / 96kHz Stereo, 24bit / 44.1kHz Stereo
Размер: 1,08 GB, 1,12 GB, 991 MB, 1,53 GB, 789 MB, 1,1 GB, 1,26 GB, 918 MB, 794 MB, 753 MB, 1,33 GB, 1,34 GB
Залито на: XFile (3% восстановление)

Bob Dylan - The Freewheelin' Bob Dylan 1963 [24-96]



01. Blowin' in the Wind
02. Girl from the North Country
03. Masters of War
04. Down the Highway
05. Bob Dylan's Blues
06. A Hard Rain's A-Gonna Fall
07. Don't Think Twice, It's All Right
08. Bob Dylan's Dream
09. Oxford Town
10. Talkin' World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

It's hard to overestimate the importance of The Freewheelin' Bob Dylan, the record that firmly established Dylan as an unparalleled songwriter, one of considerable skill, imagination, and vision. At the time, folk had been quite popular on college campuses and bohemian circles, making headway onto the pop charts in diluted form, and while there certainly were a number of gifted songwriters, nobody had transcended the scene as Dylan did with this record. There are a couple (very good) covers, with "Corrina Corrina" and "Honey Just Allow Me One More Chance," but they pale with the originals here. At the time, the social protests received the most attention, and deservedly so, since "Blowin' in the Wind," "Masters of War," and "A Hard Rain's A-Gonna Fall" weren't just specific in their targets; they were gracefully executed and even melodic. Although they've proven resilient throughout the years, if that's all Freewheelin' had to offer, it wouldn't have had its seismic impact, but this also revealed a songwriter who could turn out whimsy ("Don't Think Twice, It's All Right"), gorgeous love songs ("Girl From the North Country"), and cheerfully absurdist humor ("Bob Dylan's Blues," "Bob Dylan's Dream") with equal skill. This is rich, imaginative music, capturing the sound and spirit of America as much as that of Louis Armstrong, Hank Williams, or Elvis Presley. Dylan, in many ways, recorded music that equaled this, but he never topped it.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Highway 61 Revisited 1965 [24-96]



01. Like a Rolling Stone (Album Version)
02. Tombstone Blues (Album Version)
03. It Takes a Lot to Laugh, It Takes a Train to Cry (Album Version)
04. From a Buick 6 (Album Version)
05. Ballad of a Thin Man (Album Version)
06. Queen Jane Approximately (Album Version)
07. Highway 61 Revisited (Album Version)
08. Just Like Tom Thumb's Blues (Album Version)
09. Desolation Row (Album Version)

Taking the first, electric side of Bringing It All Back Home to its logical conclusion, Bob Dylan hired a full rock & roll band, featuring guitarist Michael Bloomfield, for Highway 61 Revisited. Opening with the epic "Like a Rolling Stone," Highway 61 Revisited careens through nine songs that range from reflective folk-rock ("Desolation Row") and blues ("It Takes a Lot to Laugh, It Takes a Train to Cry") to flat-out garage rock ("Tombstone Blues," "From a Buick 6," "Highway 61 Revisited"). Dylan had not only changed his sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Throughout the album, he embraces druggy, surreal imagery, which can either have a sense of menace or beauty, and the music reflects that, jumping between soothing melodies to hard, bluesy rock. And that is the most revolutionary thing about Highway 61 Revisited -- it proved that rock & roll needn't be collegiate and tame in order to be literate, poetic, and complex.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Bringing It All Back Home 1965 [24-96]



01. Subterranean Homesick Blues (Album Version)
02. She Belongs to Me (Album Version)
03. Maggie's Farm (Album Version)
04. Love Minus Zero (Album Version)
05. Outlaw Blues (Album Version)
06. On the Road Again (Album Version)
07. Bob Dylan's 115th Dream (Album Version)
08. Mr. Tambourine Man (Album Version)
09. Gates of Eden (Album Version)
10. It's Alright, Ma (I'm Only Bleeding) (Album Version)
11. It's All over Now, Baby Blue (Album Version)

With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side -- the nominal folk songs -- derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Blonde On Blonde 1966 [24-96]



01. Rainy Day Women #12 & 35 (Album Version)
02. Pledging My Time (Album Version)
03. Visions of Johanna (Album Version)
04. One of Us Must Know (Sooner or Later) (Album Version)
05. I Want You (Album Version)
06. Stuck Inside of Mobile with the Memphis Blues Again (Album Version)
07. Leopard-Skin Pill-Box Hat (Album Version)
08. Just Like a Woman (Album Version)
09. Most Likely You Go Your Way (And I'll Go Mine) (Album Version)
10. Temporary Like Achilles (Album Version)
11. Absolutely Sweet Marie (Album Version)
12. Fourth Time Around (Album Version)
13. Obviously Five Believers (Album Version)
14. Sad-Eyed Lady of the Lowlands (Album Version)

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Bob Dylan - John Wesley Harding 1967 [24-96]



01. John Wesley Harding (Album Version)
02. As I Went out One Morning (Album Version)
03. I Dreamed I Saw St. Augustine (Album Version)
04. All Along the Watchtower (Album Version)
05. The Ballad of Frankie Lee and Judas Priest (Album Version)
06. Drifter's Escape (Album Version)
07. Dear Landlord (Album Version)
08. I Am a Lonesome Hobo (Album Version)
09. I Pity the Poor Immigrant (Album Version)
10. The Wicked Messenger (Album Version)
11. Down Along the Cove (Album Version)
12. I'll Be Your Baby Tonight (Album Version)

Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan's rock albums -- even the then-unreleased Basement Tapes he made the previous year -- but it isn't a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as "I'll Be Your Baby Tonight," are straight country songs. Instead, John Wesley Harding is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like "All Along the Watchtower," "I Dreamed I Saw St. Augustine," and "The Wicked Messenger" revealing several layers of meaning with repeated plays. Although the lyrics are somewhat enigmatic, the music is simple, direct, and melodic, providing a touchstone for the country-rock revolution that swept through rock in the late '60s.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Blood On The Tracks 1975 [24-96]



01. Tangled up in Blue (Album Version)
02. Simple Twist of Fate (Album Version)
03. You're a Big Girl Now (Album Version)
04. Idiot Wind (Album Version)
05. You're Gonna Make Me Lonesome When You Go (Album Version)
06. Meet Me in the Morning (Album Version)
07. Lily, Rosemary and the Jack of Hearts (Album Version)
08. If You See Her, Say Hello (Album Version)
09. Shelter from the Storm (Album Version)
10. Buckets of Rain (Album Version)

Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of "Idiot Wind" and "Tangled Up in Blue," available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Desire 1976 [24-96]



01. Hurricane (Album Version)
02. Isis (Album Version)
03. Mozambique (Album Version)
04. One More Cup of Coffee (Album Version)
05. Oh, Sister (Album Version)
06. Joey (Album Version)
07. Romance in Durango (Live at Harvard Square Theatre) (Album Version)
08. Black Diamond Bay (Album Version)
09. Sara (Album Version)

If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It's all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it's only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It's little surprise that Desire doesn't quite gel, yet it retains its own character -- really, there's no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there's something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: "Hurricane" is the best-known, but the effervescent "Mozambique" is Dylan at his breeziest, "Sara" at his most nakedly emotional, and "Isis" is one of his very best songs of the '70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the '70s and '80s -- more intriguing, lyrically and musically, than most of his latter-day affairs.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Infidels 1983 [24-96]



01. Jokerman (Album Version)
02. Sweetheart Like You (Album Version)
03. Neighborhood Bully (Album Version)
04. License to Kill (Album Version)
05. Man of Peace (Album Version)
06. Union Sundown (Album Version)
07. I and I (Album Version)
08. Don't Fall Apart on Me Tonight (Album Version)

Infidels was the first secular record Bob Dylan recorded since Street Legal, and it's far more like a classicist Dylan album than that one, filled with songs that are evocative in their imagery and direct in their approach. This is lean, much like Slow Train Coming, but its writing is closer to Dylan's peak of the mid-'70s, and some of the songs here -- particularly on the first side -- are minor classics, capturing him reviving his sense of social consciousness and his gift for poetic, elegant love songs. For a while, Infidels seems like a latter-day masterpiece, but toward the end of the record it runs out of steam, preventing itself from being a triumph. Still, in comparison to everything that arrived in the near-decade before it, Infidels is a triumph, finding Dylan coming tantalizingly close to regaining all his powers.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Oh Mercy 1989 [24-96]



01. Political World (Album Version)
02. Where Teardrops Fall (Album Version)
03. Everything Is Broken (Album Version)
04. Ring Them Bells (Album Version)
05. Man in the Long Black Coat (Album Version)
06. Most of the Time (Album Version)
07. What Good Am I? (Album Version)
08. Disease of Conceit (Album Version)
09. What Was It You Wanted
10. Shooting Star (Album Version)

Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois' production gave it cohesion. There was cohesion on Empire Burlesque, of course, but that cohesion was a little too slick, a little too commercial, whereas this record was filled with atmospheric, hazy production -- a sound as arty as most assumed the songs to be. And Dylan followed suit, giving Lanois significant songs -- palpably social works, love songs, and poems -- that seemed to connect with his past. And, at the time, this production made it seem like the equivalent of his '60s records, meaning that its artiness was cutting edge, not portentous. Over the years, Oh Mercy hasn't aged particularly well, seeming as self-conscious as such other gauzy Lanois productions as So and The Joshua Tree, even though it makes more sense than the ersatz pizzazz of Burlesque. Still, the songs make Oh Mercy noteworthy; they find Dylan quietly raging against the materialism of President Reagan and accepting maturity, albeit with a slight reluctance. So, Oh Mercy is finally more interesting for what it tries to achieve than for what it actually does achieve. At its best, this is a collection of small, shining moments, with the best songs shining brighter than their production or the album's overall effect.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Time Out Of Mind 1997 [24-44.1]



01. Love Sick (Album Version)
02. Dirt Road Blues (Album Version)
03. Standing in the Doorway (Album Version)
04. Million Miles (Album Version)
05. Tryin' to Get to Heaven (Album Version)
06. 'Til I Fell in Love with You (Album Version)
07. Not Dark Yet (Album Version)
08. Cold Irons Bound (Album Version)
09. Make You Feel My Love (Album Version)
10. Can't Wait (Album Version)
11. Highlands (Album Version)

After spending much of the '90s touring and simply not writing songs, Bob Dylan returned in 1997 with Time Out of Mind, his first collection of new material in seven years. Where Under the Red Sky, his last collection of original compositions, had a casual, tossed-off feel, Time Out of Mind is carefully considered, from the densely detailed songs to the dark, atmospheric production. Sonically, the album is reminiscent of Oh Mercy, the last album Dylan recorded with producer Daniel Lanois, but Time Out of Mind has a grittier foundation -- by and large, the songs are bitter and resigned, and Dylan gives them appropriately anguished performances. Lanois bathes them in hazy, ominous sounds, which may suit the spirit of the lyrics, but are often in opposition to Dylan's performances. Consequently, the album loses a little of its emotional impact, yet the songs themselves are uniformly powerful, adding up to Dylan's best overall collection in years. It's a better, more affecting record than Oh Mercy, not only because the songs have a stronger emotional pull, but because Lanois hasn't sanded away all the grit. As a result, the songs retain their power, leaving Time Out of Mind as one of the rare latter-day Dylan albums that meets his high standards.
© Stephen Thomas Erlewine /TiVo

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Bob Dylan - Rough and Rowdy Ways 2020 [24-96]



CD 1

01. I Contain Multitudes
02. False Prophet
03. My Own Version of You
04. I've Made Up My Mind to Give Myself to You
05. Black Rider
06. Goodbye Jimmy Reed
07. Mother of Muses
08. Crossing the Rubicon
09. Key West (Philosopher Pirate)

CD 2

01. Murder Most Foul

Immediately contradicting the album's title, opener "I Contain Multitudes" finds Dylan doing his best Leonard Cohen: the lion in winter, growling with deceptively gentle gravitas over cinematic guitar—paying tribute to William Blake, Anne Frank, Indiana Jones and "them British bad boys the Rolling Stones." If it were to be the 79-year-old's last stand, it's a pretty damn great one. But he immediately springs to spirited life with "False Prophet," a no-frills dirty blues march. There are so many highlights: "My Own Version of You" is a laugh-out-loud "Frankenstein" tale set to a shadowy guitar prowl; the swooning "I've Made Up My Mind to Give Myself to You" borrows from doo-wop balladry. "I hope the gods go easy with me," Dylan croons on that track, and it's hard to shake the feeling that he's taking stock. But there's still so much to say. "Key West (Philosopher's Pilot)" finds the elder statesman chasing immortality along Route 1 for nine-and-a-half fully entertaining minutes, while closer "Murder Most Foul" stretches out for nearly 17, reliving the Kennedy assassination and incanting a phone book's worth of cultural-imprint references without wasting a second. © Shelly Ridenour/Qobuz

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Bob Dylan - Springtime in New York. The Bootleg Series, Vol. 16 (1980-1985) 2021



CD 1

01. Angelina (Shot of Love Outtake)
02. Need a Woman (Rehearsal)
03. Let's Keep It Between Us (Rehearsal)
04. Price of Love (Shot of Love Outtake)
05. Don't Ever Take Yourself Away (Shot of Love Outtake)
06. Fur Slippers (Shot of Love Outtake)
07. Yes Sir, No Sir (Shot of Love Outtake)
08. Jokerman (Infidels Alternate Take)
09. Lord Protect My Child (Infidels Outtake)
10. Blind Willie McTell (Take 5 - Infidels Outtake)
11. Don't Fall Apart on Me Tonight (Version 2) (Infidels Alternate Take)
12. Neighborhood Bully (Infidels Alternate Take)
13. Too Late (Band Version) (Infidels Outtake)

CD 2

01. Foot of Pride (Infidels Outtake)
02. Sweetheart Like You (Infidels Alternate Take)
03. Someone's Got a Hold of My Heart (Infidels Outtake)
04. I and I (Infidels Alternate Take)
05. Tell Me (Infidels Outtake)
06. Enough is Enough (Live from Slane Castle, Ireland)
07. Tight Connection to My Heart (Has Anyone Seen My Love) (Empire Burlesque Alternate Mix)
08. Seeing the Real You at Last (Empire Burlesque Alternate Take)
09. Emotionally Yours (Empire Burlesque Alternate Take)
10. Clean Cut Kid (Empire Burlesque Alternate Take)
11. New Danville Girl (Empire Burlesque Outtake)
12. Dark Eyes (Empire Burlesque Alternate Take)

It's accepted wisdom among a faction of Dylan devotees that causing controversy, stirring emotions, and deliberately ruffling feathers—as happened when he went electric—secretly makes their hero very happy. Nothing (so far) in his career though has caused the ruckus that his late '70s conversion to Christianity and subsequent gospel albums incited. For the second time in his career, he heard boos from a live audience as he stubbornly performed his new evangelical music on the tumultuous 1979-80 Gospel tour. Although it contained hints that perhaps a secular revival was at hand, the last religious album, 1981's Shot of Love was savaged by the press and public alike. With the uproar in full swing, Dylan retreated from public view to refresh and regroup. In the spring of 1983, Dylan, who'd by then veered away from religion back to secular subjects, began tracking at the Power Station in New York City with a band that included former Rolling Stones guitar player Mick Taylor, singer Clydie King, and a rhythm section of reggae demigods Robbie Shakespeare (bass) and Sly Dunbar (drums). The resulting album, Infidels, and its closely related follow-up, 1985's Empire Burlesque, marked a welcome return to relevance and success.

Springtime in New York, the latest volume in the extraordinary Bootleg Series, explores this period, collecting outtakes and alternates from the sessions for these albums—all but three of which are previously unreleased. If there's a simple explanation for his religious period it lies in the first lines of opener (and Shot of Love outtake) "Angelina": "Well, it's always been my nature/ To take chances." While each addition to the Bootleg series contains its share of revelations, this entry is particularly overflowing with surprises. The opportunity to hear a master musical creator working through songs, trying different tempos, rewriting lyrics on the fly, is fascinating and powerful. Debates over quality aside, the sheer volume of material that Dylan either wrote or covered in these sessions is absolutely astonishing. And longtime fans will particularly treasure the plethora of tracks where Dylan indulges his weakness for pop tunes by covering Neil Diamond's "Sweet Caroline," the Michael Johnson hit "This Night Won't Last Forever" and Dave Mason's "We Just Disagree."

Although the final album contained only eight cuts, over 70 outtakes exist from the Infidels sessions. The most famous are the two tracks that were mixed but left off the album at the last minute: "Blind Willie McTell" and "Foot of Pride." Set to the melody of "St. James Infirmary," the former, a salute to the bluesman and the racism and hardships he endured, was recorded on the first and last days of recording and yet did not appear on an album until 1991's Bootlegs Vol. III. "Too Late," which would evolve into "Foot of Pride" is presented here in two outtakes, the first reminiscent of the voice and acoustic guitar approach of Blood on the Tracks and the second a "band version." With changed lyrics, and a harder, electric arrangement, the now-titled "Foot of Pride" shows itself in another outtake to be one of Dylan's densest songs, with lyrics laced with references to death, the Bible and coconut bread. Full tilt rocker "Julius and Ethel," about the Rosenbergs, is riotous fun and hilariously disrespectful. A laid-back outtake of "Sweetheart Like You," one of the most fully realized tunes on Infidels—with its classic line "What's a sweetheart like you/ Doing in a dump like this"—highlights the magical pairing of Dylan's vocals over Alan Clark's organ. The covers among the Infidels outtakes include a slow pass through Willie Nelson's "Angel Flying too Close to the Ground," and a version of Jimmy Reed's "Baby What You Want Me to Do" that benefits from rollicking barrelhouse piano and Taylor's deft slide work.

The making of Empire Burlesque was a looser arrangement with over 25 musicians contributing including three-fifths of Tom Petty's Heartbreakers, Ron Wood, and the return of the Sly and Robbie rhythm section. While there are fewer outtakes from this album included here, a highlight is one of Dylan's most storied outtakes, "New Danville Girl," a tune about imagination and reality co-written with playwright Sam Shepard, which was reworked on his next album, Knocked Out Loaded into the exultant classic "Brownsville Girl." Another knockout is the outtake of acoustic album closer "Dark Eyes," a tune written after seeing a heavily made-up call girl who harks back to the days when Dylan the solo troubadour astonished the world: "Oh, the French girl, she's in paradise and a drunken man is at the wheel/ Hunger pays a heavy price to the falling gods of speed and steel/ Oh, time is short and the days are sweet and passion rules the arrow that flies/ A million faces at my feet but all I see are dark eyes." Ridiculously essential and displaying breathtaking creativity and drive, Springtime in New York documents a pivotal chapter in popular music's most irreplaceable and still-running story. © Robert Baird/Qobuz

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