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Bob Dylan

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Audio CD, January 1, 2013
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Bob Dylan: The Basement Tapes Complete unboxing video


(Columbia Records; New York, NY; December 9th, 2014) – Columbia Records announced today that Bob Dylan's new studio album, Shadows In The Night, will be released on February 3, 2015. Featuring ten tracks, the Jack Frost-produced album is the 36th studio set from Bob Dylan and marks the first new music from the artist since 2012’s worldwide hit Tempest.
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Bob Dylan + The Freewheelin' Bob Dylan + The Times They Are a-Changin'
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Product Details

  • Audio CD (January 1, 2013)
  • Number of Discs: 1
  • Label: Hallmark
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (113 customer reviews)
  • Amazon Best Sellers Rank: #599,905 in Music (See Top 100 in Music)

1. You're No Good 2. Talkin' New York 3. In My Time Of Dyin' 4. Man Of Constant Sorrow 5. Fixin' To Die 6. Pretty Peggy-O 7. Highway 51 8. Gospel Plow 9. Baby, Let Me Follow You Down 10. House Of The Risin' Sun 11. Freight Train Blues 12. Song To Woody 13. See That My Grave Is Kept Clean

Editorial Reviews

John Hammond first met Bob Dylan at a rehearsal session for Carolyn Hester (Dylan was to be the session harmonica player) in September 1961 and was suitably impressed enough to off him a standard five year contract barely two weeks later. What would be Bob Dylans first album in the deal was recorded in November in three short afternoon sessions, with a total of seventeen songs being recorded. During the course of the sessions Dylan refused to do second takes, so while that gives the resulting tracks a degree of spontaneity, it also meant that every error was left in place. The album was released in March 1962 (the cover features a reversed picture of Dylan holding a guitar, but there is no adequate explanation for why the picture was reversed) but didnt make much of an impression; with US sales of just 2,500 copies it remains his only album not to chart. In the UK it failed to chart first time around but subsequently reached #13 in 1965.

Customer Reviews

In many ways, this is my favorite Bob Dylan album.
Joan May
His harmonica work is also very prominent -- and quite good, at that -- better, really, than it is on his next three albums.
Bill R. Moore
This first album is ignored too much, and should be seen for its true greatness!!
Joseph A Murphy

Most Helpful Customer Reviews

80 of 83 people found the following review helpful By ewomack TOP 1000 REVIEWERVINE VOICE on July 30, 2005
Format: Audio CD
A younger than seems possible Bob Dylan stares at us from the cover of his very first album. The year was 1962. Inside the CD booklet, the pictures reveal a slightly awkward looking Dylan who doesn't quite exude the confidence that inexorably burgeoned approximately a year later (compare these photos with the photos included in the remasters of "The Freewheelin' Bob Dylan" and "The Times They Are A-Changin'"). And who can blame him for possibly feeling a little out of place? The great John Hammond had just discovered him playing in clubs such as the Gaslight in Greenwich Village (Hammond also discovered such indispensable names as Benny Goodman, Count Basie, Billie Holiday, Aretha Franklin, Bruce Springsteen, and others). Suddenly (he left Minnesota for New York around 1959) Dylan finds himself in a Columbia records recording studio. Not only that, he's recording two of his own compositions.

Though the young Dylan might look a little awkward here, he by no means sounds awkward. The now 42 year old pictures belie the extreme confidence and "wise beyond his years" mood that pervades his first album. Dylan was only 20 at the time. Nonetheless, the songs about death and sorrow carry a mood of experience and feeling that most 20 year olds probably can't imagine. Dylan grunts and strains in "In My Time of Dying" (a traditional blues number sometimes attributed to Blind Willie Johnson and sometimes credited as just 'traditional') and "Fixin' To Die" (by "Bukka" White - another blues singer that lived the blues) as though the issue has direct immediacy for him. And the great closer "See that my Grave Is Kept Clean" (by the legendary Blind Lemon Jefferson - another man who lived the blues) carries a similar impact.
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31 of 33 people found the following review helpful By TBE on September 15, 2005
Format: Audio CD
The audio quality of this remastered CD is head and shoulders superior to the standard CD that we have endured for decades.

Do not be put off by the monophonic sound (not labeled as such on the CD package, probably for that reason). These recordings are the result of two sessions from November 1961, featuring Bob Dylan solo on vocal, guitar, and harmonica. The stereo version, on both LP and CD, had an idiotic arrangement of vocal and harmonica on one channel, and guitar on the other. Depending on how far apart your speakers are, you could have Dylan playing guitar 20 feet away from where he is singing and playing harmonica!

This is the case no more! Unless you are fortunate enough to have the mono LP of this debut album, you have never heard it the proper way until now, with this superb, newly remastered CD, with Bob Dylan--vocal, harmonica, and guitar--centered between your speakers.

This CD also contains a few previously unpublished photos from the recording sessions.

Although the booklet doesn't say so, I believe this was DSD mastered. Steve Berkowitz, also uncredited on this remaster, is in charge of the overall remastering of Dylan's catalog. He deserves a lot of thanks.

The standout tracks are "Fixin' To Die," "Gospel Plow," and "Baby, Let Me Follow You Down." For an excellent outtake from these sessions, "House Carpenter," you need to buy "The Bootleg Series, Vol. 1-3."

Trivia: This first album, "Bob Dylan," was originally going to be released under the title "Free Wheeling." A variation of the title survived for the second album.
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49 of 56 people found the following review helpful By Matthew on September 17, 2006
Format: Audio CD
IT was the coldest winter on record. Some of the guys and I from the Chase-Plaza construction site decided to hustle into one of the Village's basket clubs. We huddled together at a small table, coffees and creamers all around. Wooden chairs creaked under our weight, and the place was filled with a bustle so common to small restaurants- the clattering of plates and silverware, the beat of rubber soles upon wood floors.

Up on the stage was a quiet kind of child- he looked like he belonged in a museum! His face was impossibly untainted, and, combined with his uneasy movements, gave the impression of a marionette. He began to tune his guitar, and then hummed on the harmonica for brief moments- suffice it to say, almost no one looked toward the stage; there was a slow rumble of talk, every now and then a single phrase rose through the fog.

The guitar began to rear up, and then the kid started to sing. There was a moment of uncertainty at first. No one could understand that the voice came from the kid. His voice, its timbre and pitch, sounded as if it came from a man three times his age. It was as if he were performing ventriloquism; only that the voice's source came from someplace we couldn't see, only feel. The emotions of self-inflicted misery and calamitous love for another coursed through his words; and everyone understood, the sweet heartache of a woman who both saps and gives us our strength.

His next song seemed to roll right off the frozen Village streets. Harmonica premiered, a dizzy zig-zag of notes that blended disorientation and comfort.
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