Bob Dylan's first new album in five years, Modern Times, is his 44th overall release and the third in an outstanding trilogy that includes Time Out Of Mind and Love and Theft. The new record features 10 new tunes spread out over two LPs with Dylan on keyboards, guitars, harmonica and vocals, accompanied by his touring band of Denny Freeman and Stu Kimball on guitars, Tony Garnier on bass and cello, George G. Receli on drums and Donnie Herron on steel guitar, violin, viola and mandolin.
Dylan, it goes without saying, is one of the world's most popular and acclaimed songwriters, musicians and performers, having sold nearly 100 million albums and performed literally thousands of shows around the world in a career spanning five decades.
Thunder On The Mountain
Spirit On The Water
Rollin' and Tumblin'
When The Deal Goes Down
Workingman's Blues #2
Beyond The Horizon
The Levee's Gonna Break
THE TIMES THEY ARE A CHANGIN -
One of the darkest of Dylan albums, THE TIMES THEY ARE A CHANGING is an all-acoustic folk protest album that has gone down in history. It is the work of a 22 year old in 1964 who sounds no less sick of it all than the ailing 55 year old who made TIME OUT OF MIND.
Pop culture took a huge revolution I the early mid-sixties. There’s a place here for rousing protests such as the title track and WHEN THE SHIP COMES IN is a folk song about the coming of Christ but those songs are outnumbered by the equally powerful pessimistic likes of ONLY A PAWN IN THEIR GAME is one of Dylan’s best songs ever written -- a phenomenal anti-racial tale about Medgar Evans , THE LONESOME DEATH OF HATTIE CAROLL, and THE BALLAD OF HOLLIS BROWN. There are two love songs to break the mood, BOOTS OF SPANISH LEATHER and ONE TOO MANY MORNINGS, a beautiful ballad sung so gently that you begin to wonder if Dylan was afraid he was being too painful with his sharp criticism of society.
THE TIMES THEY ARE A CHANGING is a work of profound grace, power and conviction.
NEW MORNING -
Back to 1970 and “New Morning” (No.1 UK, No.7 US ’70). Featuring a sterling line-up of Dylan on both acoustic and electric guitars, organ and piano, Dave Bromberg on guitar and dobro, Charlie Daniels on bass and Al Kooper on organ, piano & French horns amongst many other musicians, “New Morning” continued Bob Dylan’s unbelievable chart run into the 1970’s. As usual “New Morning” contains a wealth of classic Dylan tracks including “If Not For You” (as covered by Olivia Newton-John , “Time Passes Slowly”, “If Dogs Run Free”, “New Morning” itself, “Sign On The Window”, “Three Angels” and “Father Of Night” among many others. While many critics consider that Dylan was going through a less commercial period at this time, there is no doubt that the hardcore Dylan fans disagreed. Another one for the collection!
BOB DYLAN SELF TITLED -
BOB DYLAN - An album that has sort of been ignored through the years, partially because Dylan only has a couple original songs on the album. But, to fully understand the man and what he would later become artistically, you must experience this amazing, gritty piece of Americana.
This album is not just folk, contrary to popular belief, neither was Bob...not really....this album is many things...blues, folk, gospel...sung and played by a real bluesman. It is a great collection of songs that are expressed from the soul.
The performances are quite spectacular for such a young man to be singing them. "In My Time of Dying", "You're No Good", "Man of Constant Sorrow", "Gospel Plow" and "House of the Rising Sun" are among the classics. "Song to Woody", written by Bob is beautiful. A MUST HAVE!
This album now seems as remarkable as his mid-'60s breakthrough. Like Presley's Sun Sessions, it is both the remnant of a lost rural America and the seed of rock culture. The music is primarily Dylan, with acoustic guitar, barking traditional folk, and blues. He was 20, a Northern hick come to New York to be the next Woody Guthrie. It's amazing that at 20 he sings "In My Time of Dying" and "See That My Grave is Kept Clean," not as traditional songs, but making their doom and resignation sound personal.
ANOTHER SIDE OF BOB DYLAN - The first of two transitional albums in which Dylan moved beyond protest and then beyond folk music. Here, in songs like "Chimes of Freedom" and "My Back Pages," he suggested that social issues were much more complicated than the increasingly-polarized times made them seem. His lyrics, meanwhile, also became more complicated and poetic. Other singers would mine this album for hits with "All I Really Want to Do" and "It Ain’t Me, Babe."
All I Really Want to Do
Black Crow Blues
Spanish Harlem Incident
Chimes of Freedom
I Shall Be Free—No.10
My Back Pages
I Don't Believe You
Ballad in Plain D
It Ain't Me Babe
HIGHWAY 61 -
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 and blues to flat-out garage rock. Highway 61 Revisited had not only changed Dylan's sound, but his persona, trading the folk troubadour for a streetwise, cynical hipster. Highway 61 Revisited proved that rock & roll needn't be collegiate and tame in order to be literate, poetic and complex.
Like A Rolling Stone
It Takes A Lot To Laught, It Takes A Train To Cry
From A Buick 6
Ballad of A Thin Man
Queen Jane Approximately
Highway 61 Revisited
Just Like Tom Thumb's Blues
JOHN WESLEY HARDING -
"Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three albums. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan¹s rock albums...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 meanings with repeated plays." — Stephen Thomas Erlewine
John Wesley Harding
As I Went Out One Morning
I Dreamed I Saw St. Augustine
All Along the Watchtower
Ballad of Frankie Lee and Judas Priest
I Am a Lonesome Hobo
I Pity the Poor Immigrant
Down Along the Cove
I'll Be Your Baby Tonight
BRINGING IT ALL BACK HOME - This Album by Bob Dylan ranked 48th in NME’s list of The Greatest Albums of All-Time. Accompanying Dylan on this recording are John Hammond, John Sebastian, Bobby Gregg, Kenneth Rankin. Recorded at Columbia Records Studios, New York, New York in January of 1965. Howls of rage greeted Dylan as he presented the world with folk/rock - he was soundly booed at both the Newport Folk Festival and Royal Albert Hall. Yet, here is one of those moments of cross-influence that changed the course of popular music.
BRINGING IT ALL BACK HOME gave Bob Dylan an audience on a plate. It was a massive breakthrough. An Album of two different sides -- Acoustic (his past) and Electric (his future), the music covered a thousand fold -- has among it Maggie’s Farm - Subterranean Homesick Blues - Mister Tambourine Man - Love Minus Zero - and the cosmopolitan political speak of It’s All Right Mama. You can debate -- is it folk or is it rock forever It is irrelevant. It is merely Dylan at one of its many peaks. Recorded in three short days in January 1965, Bringing It All Back Home found Dylan "going electric" and gaining his first Top 40 airplay with "Subterranean Homesick Blues."
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