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Rock - Verschenen op 19 juni 2020 | Columbia

Hi-Res Onderscheidingen 4F de Télérama - Pitchfork: Best New Music
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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Folk - Verschenen op 24 mei 1963 | Columbia

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
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Rock - Verschenen op 28 december 1967 | Columbia - Legacy

Hi-Res Onderscheidingen 4F de Télérama - Grammy Awards
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Rock - Verschenen op 2 november 2018 | Columbia - Legacy

Hi-Res Onderscheidingen 4F de Télérama - Best New Reissue
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Rock - Verschenen op 17 juni 1966 | Columbia

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Pop/Rock - Verschenen op 10 januari 1964 | Columbia

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Pop/Rock - Verschenen op 9 juni 1970 | Columbia

Onderscheidingen Pitchfork: Best New Reissue
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Pop/Rock - Verschenen op 1 januari 1965 | Columbia - Legacy

Hi-Res Onderscheidingen Pitchfork: Best New Reissue
The wonderful Bob Dylan Bootleg Series continues, this time over the period 1965-1966. The Cutting Edge, the twelfth episode of the collection, contains unreleased studio recordings, never before heard songs, out-takes, rehearsal songs and alternate versions recorded during the sessions of Bringing It All Back Home, Highway 61 Revisited and Blonde On Blonde. More importantly, The Cutting Edge: The Bootleg Series Vol. 12 1965-1966 offers a rare view of the songwriter while in studio. This 6CD Deluxe Edition includes premium full sessions of Like A Rolling Stone. Obviously, one is tempted to book this type of publication to Dylan's hardcore fans because being ready to take on twenty versions of the same song, fantastic as it is, is a very specific ability. Yet The Cutting Edge: The Bootleg Series Vol. 12 1965-1966 offers a perspective into the creative process of one of the greatest artists of the twentieth century. A journey which therefore has no price. © MD / Qobuz
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Rock - Verschenen op 7 juni 2019 | Columbia - Legacy

Hi-Res Onderscheidingen Best New Reissue
In 2002, Dylan dedicated volume 5 of his Bootleg Series to his famous Rolling Thunder Revue, his legendary tour from Autumn 1975/Spring 1976, which until then had only been featured on the album Hard Rain. A 57-concert adventure that followed the release of one of his best albums, Blood On the Tracks, on which he collaborated with his ex Joan Baez, Roger McGuinn, Joni Mitchell, Ramblin' Jack Elliott, Kinky Friedman, Bob Neuwirth, T-Bone Burnett, David Bowie’s guitarist Mick Ronson and violinist Scarlet Rivera. It was an exceptional tour, partly because of how unconventional it was in the writer’s career. The songs of Dylan (who was 34 and in an emotionally chaotic time in his life) found an original style, blending folk tradition (the spirit of Woody Guthrie prevails throughout), an informal “friendly” atmosphere, and a modern spirit thanks in part to Ronson’s glam guitar. Moreover, the Zim transformed his several-month tour into a rock circus where the prevailing real fake artistic chaos took on the form of supreme art. With The Rolling Thunder Revue: The 1975 Live Recordings, Dylan fans are going to pass out in ecstasy: 148 titles (including over 100 unpublished tracks!) over 14 albums, for over 10.5 hours of music! This genuine treasure trove, reserved for his most hard-core fans, features the five complete concerts recorded during the tour, as well as rehearsals at the SIR studios in New York, and at the Seacrest Motel in Falmouth. On top of this, a bonus album compiles other rare performances from this Rolling Thunder Revue. You need to take the time to fully immerse yourself into this lengthy but fascinating historical document: a slice of life and of the creativity that explores the Dylan in all his complexity. His relationship with tradition. His way of existing in his time. His relationship to writing as well as to those around him. A proper goldmine, released concurrently with Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, a fascinating documentary produced by Netflix and directed by Martin Scorsese about this pivotal tour in rock history. © Marc Zisman/Qobuz
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Pop/Rock - Verschenen op 9 juni 1970 | Columbia

Onderscheidingen Pitchfork: Best New Reissue
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Rock - Verschenen op 15 oktober 2010 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 15 oktober 2010 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Folk - Verschenen op 18 oktober 2010 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 15 oktober 2010 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Pop/Rock - Verschenen op 15 oktober 2010 | Columbia - Legacy

Onderscheidingen The Qobuz Ideal Discography
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Rock - Verschenen op 25 maart 2014 | Columbia

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Rock - Verschenen op 11 april 1969 | Columbia

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Pop/Rock - Verschenen op 16 januari 1976 | Columbia

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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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Rock - Verschenen op 17 september 2021 | Columbia - Legacy

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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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Rock - Verschenen op 13 juli 1973 | Columbia - Legacy

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