Qobuz Store wallpaper
Catégories :
Panier 0

Votre panier est vide

Bob Dylan - Pat Garrett & Billy The Kid ((Soundtrack From The Motion Picture) (Remastered))

Mes favoris

Cet élément a bien été ajouté / retiré de vos favoris.

Pat Garrett & Billy The Kid ((Soundtrack From The Motion Picture) (Remastered))

Bob Dylan

Disponible en
16-Bit CD Quality 44.1 kHz - Stereo

Musique illimitée

Écoutez cet album en haute-qualité dès maintenant dans nos applications

Démarrer ma période d'essai et lancer l'écoute de cet album

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Souscrire

Profitez de cet album sur les apps Qobuz grâce à votre abonnement

Téléchargement digital

Choisissez la qualité audio : 

Pour bénéficier de ce tarif, abonnez-vous à Sublime+

Langue disponible : anglais

This album was unusual on several counts. For starters, it was a soundtrack (for Sam Peckinpah's movie of the same title), a first venture of its kind for Bob Dylan. For another, it was Dylan's first new LP in three years -- he hadn't been heard from in any form other than the single "George Jackson," his appearance at the Bangladesh benefit concert in 1971, in all of that time. Finally, it came out at an odd moment of juxtaposition in pop culture history, appearing in July 1973 on the same date as the release of Paul McCartney's own first prominent venture into film music, on the Live and Let Die soundtrack (the Beatles bassist had previously scored The Family Way, a British project overlooked amid the frenzy of the Beatles' success). Interestingly, each effort reunited the artist with a significant musician/collaborator from his respective past: McCartney with producer George Martin and Dylan with guitarist Bruce Langhorne, who'd played with him on his early albums up to Bringing It All Back Home, before being supplanted by Mike Bloomfield, et al. But that was where the similarities between the two projects ended -- apart from the title song, Live and Let Die was Martin's project rather than McCartney's, whereas Dylan was all over Pat Garrett & Billy the Kid as a composer, musician, etc. Additionally, whereas McCartney's work was a piece of pure pop-oriented rock in connection with a crowd-pleasing action-fantasy film, Dylan's work comprised an entire LP, and the resulting album was a beautifully simple, sometimes rough-at-the-edges and sometimes gently refined piece of country- and folk-influenced rock, devised to underscore a very serious historical film by one of the movies' great directorial stylists. It was also as strong as any of his recent albums, featuring not just Langhorne but also such luminaries as Booker T. Jones, Roger McGuinn, and Byron Berline. "Knockin' on Heaven's Door" was the obvious hit off the album, and helped drive the sales, but "Billy 1," "Billy 4," and "Billy 7" were good songs, too -- had any of them shown up on bootlegs, they'd have kept the Dylan semiologists and hagiographers busy for years working over them. The instrumentals surrounding them were also worth hearing as manifestations of Dylan's music-making; "Bunkhouse Theme" was downright gorgeous. It was the first time since New Morning, in 1970, that Dylan had released more than five minutes of new music at once, and it was a gift to fans as well as to Peckinpah -- little did anyone realize at the time that it heralded a period of new recording and a national tour (with the Band), along with a brief label switch, and Dylan's greatest period of sustained musical visibility since 1966. This record also proved that Dylan could shoehorn his music within the requirements of a movie score without compromising its content or quality, something that only the Beatles, unique among rock artists, had really managed to do up to that time, and that was in their own movie, A Hard Day's Night. "Knockin' on Heaven's Door" may have been the biggest hit to come out of a Western in at least 21 years, since Dimitri Tiomkin and Ned Washington had given "High Noon" to Tex Ritter to sing in Fred Zinnemann's High Noon in 1952 (and Katy Jurado was in both movies), and he'd also outdone Ritter on two counts, writing the music -- a full score, to boot -- and getting a cameo appearance in the film. The album was later kind of overlooked and neglected in the wake of the tour that followed and the imposing musical attributes of, say, Blood on the Tracks and Desire, but heard on its own terms it holds up 30-plus years later.
© Bruce Eder /TiVo

Plus d'informations

Pat Garrett & Billy The Kid ((Soundtrack From The Motion Picture) (Remastered))

Bob Dylan

launch qobuz app J'ai déjà téléchargé Qobuz pour Mac OS Ouvrir

download qobuz app Je n'ai pas encore téléchargé Qobuz pour Mac OS Télécharger l'app

Copier le lien pour partager la page

Vous êtes actuellement en train d’écouter des extraits.

Écoutez plus de 60 millions de titres avec votre abonnement illimité.

Écoutez cet album et plus de 60 millions de titres avec votre abonnement illimité.

1
Main Title Theme (Billy) Remastered
00:06:02

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - Russ Kunkel, Tambourine - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

2
Cantina Theme (Workin' for the Law) Remastered
00:02:53

Bob Dylan, Associated Performer, Author, Main Artist, Associated Performer, Author - B. Dylan, Composer, Lyricist - Russ Kunkel, Bongos - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

3
Billy 1 Remastered
00:03:52

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

4
Bunkhouse Theme Remastered
00:02:12

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

5
River Theme Remastered
00:01:27

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - Donna Weiss, Associated Performer - Priscilla Jones, Associated Performer - Byron Berline, Associated Performer - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

6
Turkey Chase Remastered
00:03:31

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - Bruce Langhorn, Acoustic Guitar - Jolly Roger, Banjo - Booker T., Bass - Byron Berline, Fiddle - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

7
Knockin' On Heaven's Door
00:02:29

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - Carl Fortina, Harmonium - Brenda Patterson, Associated Performer - Carol, Associated Performer - Donna, Associated Performer - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

8
Final Theme Remastered
00:05:21

Bob Dylan, Associated Performer, Guitar, Main Artist, Associated Performer, Guitar - B. Dylan, Composer, Lyricist - Roger McGuinn, Guitar - Carol Hunter, Guitar - Jim Keltner, Drums - Carl Fortina, Harmonium - Donna & Brenda, Associated Performer - Paul Terry, Associated Performer, Bass - Fred Katz, Cello - Ted Michel, Cello - Gary Foster, Flute, Recording Engineer - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

9
Billy 4 Remastered
00:04:59

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

10
Billy 7 Remastered
00:02:07

Bob Dylan, Associated Performer, Main Artist, Associated Performer - B. Dylan, Composer, Lyricist - gordon carroll, Producer - Sam Peckinpah, Director - Dan Wallin, Engineer - Newton Arnold, Assistant Engineer - Lawrence J. Powell, Assistant Engineer

(P) 1973 Columbia Records, a division of Sony Music Entertainment

Descriptif de l'album

This album was unusual on several counts. For starters, it was a soundtrack (for Sam Peckinpah's movie of the same title), a first venture of its kind for Bob Dylan. For another, it was Dylan's first new LP in three years -- he hadn't been heard from in any form other than the single "George Jackson," his appearance at the Bangladesh benefit concert in 1971, in all of that time. Finally, it came out at an odd moment of juxtaposition in pop culture history, appearing in July 1973 on the same date as the release of Paul McCartney's own first prominent venture into film music, on the Live and Let Die soundtrack (the Beatles bassist had previously scored The Family Way, a British project overlooked amid the frenzy of the Beatles' success). Interestingly, each effort reunited the artist with a significant musician/collaborator from his respective past: McCartney with producer George Martin and Dylan with guitarist Bruce Langhorne, who'd played with him on his early albums up to Bringing It All Back Home, before being supplanted by Mike Bloomfield, et al. But that was where the similarities between the two projects ended -- apart from the title song, Live and Let Die was Martin's project rather than McCartney's, whereas Dylan was all over Pat Garrett & Billy the Kid as a composer, musician, etc. Additionally, whereas McCartney's work was a piece of pure pop-oriented rock in connection with a crowd-pleasing action-fantasy film, Dylan's work comprised an entire LP, and the resulting album was a beautifully simple, sometimes rough-at-the-edges and sometimes gently refined piece of country- and folk-influenced rock, devised to underscore a very serious historical film by one of the movies' great directorial stylists. It was also as strong as any of his recent albums, featuring not just Langhorne but also such luminaries as Booker T. Jones, Roger McGuinn, and Byron Berline. "Knockin' on Heaven's Door" was the obvious hit off the album, and helped drive the sales, but "Billy 1," "Billy 4," and "Billy 7" were good songs, too -- had any of them shown up on bootlegs, they'd have kept the Dylan semiologists and hagiographers busy for years working over them. The instrumentals surrounding them were also worth hearing as manifestations of Dylan's music-making; "Bunkhouse Theme" was downright gorgeous. It was the first time since New Morning, in 1970, that Dylan had released more than five minutes of new music at once, and it was a gift to fans as well as to Peckinpah -- little did anyone realize at the time that it heralded a period of new recording and a national tour (with the Band), along with a brief label switch, and Dylan's greatest period of sustained musical visibility since 1966. This record also proved that Dylan could shoehorn his music within the requirements of a movie score without compromising its content or quality, something that only the Beatles, unique among rock artists, had really managed to do up to that time, and that was in their own movie, A Hard Day's Night. "Knockin' on Heaven's Door" may have been the biggest hit to come out of a Western in at least 21 years, since Dimitri Tiomkin and Ned Washington had given "High Noon" to Tex Ritter to sing in Fred Zinnemann's High Noon in 1952 (and Katy Jurado was in both movies), and he'd also outdone Ritter on two counts, writing the music -- a full score, to boot -- and getting a cameo appearance in the film. The album was later kind of overlooked and neglected in the wake of the tour that followed and the imposing musical attributes of, say, Blood on the Tracks and Desire, but heard on its own terms it holds up 30-plus years later.
© Bruce Eder /TiVo

À propos

Améliorer cette page album

Qobuz logo Pourquoi acheter sur Qobuz ?

Les promotions du moment...
À découvrir également
Par Bob Dylan

Playlists

Dans la même thématique...
Les Grands Angles...
Nebraska, quand Bruce Springsteen se met à nu

En 1982, le Boss, au sommet de sa gloire bodybuildée, prend tout le monde à contre-pied avec “Nebraska”, un album totalement acoustique et épuré à l’extrême. Un chef-d’œuvre intemporel baignant dans l’écho et la réverbération. Un disque qui narre l’Amérique de la marge et que beaucoup considèrent comme son plus grand.

Les pionniers du rock’n’roll

Le rock’n’roll n’est pas mort. Mais ses pionniers encore en vie se comptent sur deux doigts d’une main : Jerry Lee Lewis et Wanda Jackson. 84 et 82 ans. Lui, poulain sauvage de l’écurie Sun Records, entré dans l’histoire en foutant le feu à son instrument, en transformant la musique d’église, la country et le boogie-woogie en rock’n’roll diabolique. Elle, chanteuse country qui s’est offert une belle aventure rock’n’roll aux côtés d’Elvis. De Little Richard à Chuck Berry en passant Johnny Cash, Carl Perkins, Bo Diddley, Bill Haley, Elvis Presley, Gene Vincent, Eddie Cochran, Buddy Holly et Hank Williams, Qobuz rend hommage aux précurseurs du rock.

Comment Kanye West a renversé le hip-hop

En vingt ans, Kanye West a plusieurs fois changé le cours du rap et influencé comme très peu de ses contemporains la pop de son époque. Il a collaboré avec Paul McCartney, Rick Rubin, Daft Punk ou Rihanna, relancé les carrières de Jay-Z et Common, révélé Kid Cudi ou John Legend et est une influence majeure pour des artistes tels que Childish Gambino, Drake ou The Weeknd. Retour sur la carrière d’un artiste qui reste une énigme.

Dans l'actualité...