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Nashville Skyline


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Audio CD, June 2, 1989
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(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: "At last I was here, in New York City... I was there to find singers, the ones I'd heard on record--Dave Van Ronk, Peggy Seeger, Ed McCurdy, Brownie McGhee and Sonny Terry, Josh White, the New Lost City Ramblers, Reverend Gary Davis... most of all to find Woody Guthrie." Read more musical excerpts from Chronicles, Vol. 1 on our Music You Should Hear page.


Product Details

  • Audio CD (June 2, 1989)
  • Number of Discs: 1
  • Label: Columbia Records/Sony
  • ASIN: B0000024UM
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (67 customer reviews)
  • Amazon Best Sellers Rank: #99,197 in Music (See Top 100 in Music)

1. Girl From The North Country
2. Nashville Skyline Rag
3. To Be Alone With You
4. I Threw It All Away
5. Peggy Day
6. Lay Lady Lay
7. One More Night
8. Tell Me That It Isn't True
9. Country Pie
10. Tonight I'll Be Staying Here With You

Editorial Reviews

Amazon.com

While Dylan is one of the prime creators of "country rock," Nashville Skyline is as close to a real country album as any he's ever made. Unfortunately, Dylan's decision to sing it in an un-nasal, un-Dylanesque style leaves one of rock's greatest singers seriously handicapped, as if Ali had to box one-handed. As a result, this set can never be any better than its songs. When they're throw-aways ("Country Pie"), even all the great Nashville pickers on board can't help. But when they're good ("I Threw It All Away," "Lay Lady Lay"), they're unforgettable. --David Cantwell

Customer Reviews

I Threw It All Away and Lay Lady Lay are, among others, great songs.
Joshua Thompson
There's good stuff out there, and you can find it if you follow Dylan's example and don't allow yourself to get fenced into listening to only one musical style.
ewomack
Nashville Skyline Rag is one of Dylan's only instrumentals, and it is still great.
M. Scagnelli

Most Helpful Customer Reviews

25 of 26 people found the following review helpful By A Customer on July 29, 1998
Format: Audio CD
Along with The Byrds' "Sweetheart Of The Rodeo", Dylan's "Nashville Skyline" is the beginning point of the greatest inroads country music ever made, into rock music. Dylan was criticized in the mid-60's for abandoning acoustic folk and then in 1969 for abandoning the artsy rock of "Highway 61 Revisited" and "Blonde On Blonde". But herein lies the essence of Dylan's greatness. His uncanny sensibility and his profound ability to fully grasp a genre and make it his own. The songs on this album are deceptively simple and straight to the point. Bob abandoned all socio-political ranting to make an album of pure joy that celebrates the highs and lows of love. Aside from the classic "Lay Lady Lay" we have the underappreciated "I Threw It All Away", "Tell Me That It Isn't True" and "Tonight I'll Be Staying Here With You" as well as the uptempo feelgood shuffle of "Country Pie" and the instrumental "Nashville Skyline Rag". Even Dylan's humorously out of tune and badly timed duet with Johnny Cash on "Girl From The North Country" seems to work perfectly here. The only criticism I have of this great album is that it's too short, running less than 30 minutes. By the end, you want the music to just keep going. Dylan chose to close out his work of the tumultuous 1960s with a serene, easygoing and non-combative work of art. Excellent!
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14 of 16 people found the following review helpful By ewomack TOP 1000 REVIEWERVINE VOICE on August 7, 2003
Format: Audio CD
Country, Folk, and Rock are really very related music forms, but you wouldn't know it from the opinions of fans. A lot of rock stars began with country or folk (Buddy Holly, and to an extent Elvis Presely) because Rock hadn't yet been fully defined. By the time Dylan released "Nashville Skyline" the borders were firm as mortar.
All of the warning signs were there: Dylan abandons the protest folk music scene only to take up arms with their ultimate enemy, the pop/rock scene. Pete Seeger, Phil Ochs, and many others were furious and felt betrayed. Dylan then became the coolest rocker out there, and he made some incredible music. Then, just like before, he runs head first into enemy territory: country music. Anyone who thought that Dylan would permanently nest up with the rock/pop scene probably wasn't paying attention. Just like "Bringing it All Back Home" was the transitional album between folk and rock, and "Highway 61 Revisited" was the full blown rock thing, "John Wesley Harding" was the transition between rock and country and "Nashville Skyline" was the full blown country thing. Both "Highway 61 Revisited" and "Nashville Skyline" show mastery of their respective genres.
"Nashville Skyline" is a country album. It's not country rock, nor "Bob Country" - it's a full blown down home bona fide country album. The music and the lyrics reflect this. To almost drive this point home there's even a rag called "Nashville Skyline Rag"; you don't get much more country than that.
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14 of 17 people found the following review helpful By Will Errickson on November 17, 1998
Format: Audio CD
I know a couple of people who love, love, love this album, but I can't quite see why. It certainly is warm and charming; its country sounds and melodies are set right off with a good, heart-felt, spontaneous duet with Johnny Cash on the classic "Girl from the North Country." Check out Dylan's voice! It takes some getting used to, and I still can't figure out why he "smoothed it out." Oh well. But too many songs rely on easy (lazy?) rhymes and ideas, and the whole thing is less than half an hour long, with one song ("Nashville Skyline Rag") a rather pedestrian instrumental. Of course I'm not trying to be critical of Dylan's desire over the years to experiment with styles and confound fans and critics; it's just that this one seems a little too relaxed and simple; it lacks depth. "John Wesley Harding" sounds simple and straight-forward, but it is not at all. OK, enough bitching: the songs "I Threw It All Away," "Tonight I'll Be Staying Here with You" and "One More Night" are very good, and "Lay Lady Lay" is a Dylan masterpiece. There's a great bootleg out there of the entire Dylan/Cash sessions that yielded "Girl from the North Country"--it opens with a cool version of "One Too Many Mornings." I really recommend "Nashville Skyline" only for Dylan fans; the sad thing is that it's a little more accesible (to those who can't take his "normal" singing voice) but not nearly as challenging or, indeed, satisfying.
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7 of 8 people found the following review helpful By A Customer on March 30, 2000
Format: Audio CD
It's a shame that people who knock country music limit themselves by their own ignorance of american musical history. "Country" music, "a la" Hank Williams and Patsy Cline is nothing more than the Anglo response to the blues. Dylan knew this, and his admiration for the country blues of John Hurt, Son House, Skip James ultimately lead him to country music. And his tinkering with country music has provided inspiration for, I think, numerous and wonderful performers. One has to imagine that Gram Parsons, Nanci Griffith, Townes Van Zandt, Lyle Lovett, Jay Farrar (the fabled Uncle Tupelo and Son Volt), Gillian Welch, Ryan Adams (Whiskeytown), and countless others have found inspiration in the music and lyrics of "Nashville Skyline." Amen to that.
Although I'm hard-pressed, at best, to speak for Dylan, I have to assume he was just exploring another form for melody and lyric. A new feel, a new vibe. That high-lonesome sound. He could have cranked out "Highway 61 Revisted" followed by "Highyway 61 Revisted, Again" and then "Even Yet Still More Highway 61" but Dylan despised categorization (witness his scathing replies to the Time Magazine interviewer in "Don't Look Back). "Nashville Skyline" is Dylan sxploring the world of sound and defying the critics who sought to pigeonhole him.
Believe me, I'll be the first one to tell you that Hollywood has indeed raped Nashville. But do yourself a favor: don't limit yourself to your own misguided judgments about country because of what Garth Brooks has done to it, and don't keep your impression of Dylan confined to a "Freewheelin'-Highway 61-Blonde/Blonde-Blood on the Tracks" box. He was, and continues to be, so much more
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