12 best sony bob dylans

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The Essential Bob Dylan is a compilation by Bob Dylan, released as a double-CD set in 2000, part of Columbia Records' "The Essential" series. The Essential Bob Dylan spans from 1963's "Blowin' in the Wind" (taken from The Freewheelin' Bob Dylan) to 2000's "Things Have Changed" (Dylan's Oscar-winning song from the motion picture Wonder Boys). The Essential Bob Dylan has proven to be a solid seller in Dylan's catalog, reaching No. 67 in the US and peaking at No. 9 in the UK. The British and Australian releases include all of the tracks from the US edition plus several more. It has been reissued in 2009 and 2016 with varying track listings.

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1970' includes 74 previously unreleased studio recordings from 1970, most taken from the sessions for the ""New Morning"" and ""Self Portrait"" albums. Also included are the nine songs from the legendary session with George Harrison.

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Between 1965 and 1966 Bob Dylan recorded three albums that many believe changed the course of modern music: Bringing It All back Home, Highway 61 Revisited and Blonde on Blonde.



The Cutting Edge 1965-1966: The Bootleg Series Volume 12 takes you inside the studio during the recording of those three albums. With a staggering wealth of unreleased songs, outtakes, rehearsals and alternate versions - The Cutting Edge provides a unique insight into a legendary icon's creative process.



2. 6-CD deluxe edition featuring over 100 previously unreleased tracks. Includes alternate versions of songs such as 'Desolation Row', Visions Of Johanna , 'Highway 61 Revisited' and the complete 16-take session for 'Like A Rolling Stone'.



3. Packaged in a slipcase with a separate 120-page hardcover book with exclusive photography and liner notes.

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The Other Side of the Mirror - DVD

Few performances in history are as legendary - or as controversial - as Bob Dylan's 1965 appearance at the Newport Folk Festival. In a single, galvanizing instant, Dylan plugged an entire generation in, forever changing not only the way the music was made, but the way it was heard. By putting you in the audience for Dylan's Newport performances from 1963 through that pivotal set in 1965, Academy Award®-winning director Murray Lerner's The Other Side Of The Mirror captures Dylan's metamorphosis from the folk family's best-kept secret to rock's fiercely confrontational poet who would electrify an entire nation and become the voice of his generation.

CHAPTER LIST

All I Really Want To Do (7/24/1965) - afternoon workshop

1963

North Country Blues

With God On Our Side (with Joan Baez)

Talkin' World War III Blues

Who Killed Davey Moore?

Only A Pawn In Their Game

Blowin' In The Wind (with The Freedom Singers, Joan Baez, and Peter, Paul and Mary)

1964

Mr. Tambourine Man

Johnny Cash sings Don't Think Twice, It's All Right

Joan Baez sings Mary Hamilton as Bob Dylan

It Ain't Me, Babe (with Joan Baez)

With God On Our Side (with Joan Baez)

Chimes Of Freedom

1965

If You Gotta Go, Go Now

Love Minus Zero/No Limit

Maggie's Farm (electric)

Like A Rolling Stone (electric)

Mr. Tambourine Man

It's All Over Now, Baby Blue

Bonus Feature: Interview with director Murray Lerner

Matched only by the Beatles and Elvis Presley, Bob Dylan continues to captivate music and pop culture fans with a seemingly never-ending stream of new and old recordings, books, documentaries, feature films, and more. The Other Side of the Mirror - Live at Newport Folk Festival 1963-1965 is a worthy addition to the canon; whether this 83-minute compilation will serve to illuminate the Dylan myth or merely perpetuate it is open to question, but without a doubt there's plenty of fascinating material here. There are nearly 20 songs represented, covering three consecutive years of Dylan appearances at the famed Rhode Island festival. Some have been seen before (most recently in No Direction Home, Martin Scorsese's 2005 Dylan doc, and in Festival, a Newport chronicle released on DVD that same year and directed by Murray Lerner, who is also responsible for The Other Side of the Mirror). Some are from Dylan's daytime "workshops," others from his nighttime main stage performances. Some are complete, others oddly truncated. Some are terrific (like "Chimes of Freedom," 1964), others not so much (cf. the turgid "With God on Our Side" from '63, with Joan Baez adding shrill harmony). In any case, these were the years when Dylan assumed the mantle of "spokesman of a generation," whether he wanted it or not. We see him evolving from the earnest young protest singer of '63 to the visionary artist of the following year who, with the astonishing torrent of rhymes, alliterations, symbols, and brilliant turns of phrase in "Chimes" and "Mr. Tambourine Man," turned the whole notion of songwriting on its ear. And, of course, we also witness Dylan's turn from acoustic to electric guitar, when he was joined onstage by members of the Paul Butterfield Blues Band (sans Butterfield himself) in 1965; only two songs from that legendary (and, at the time, infamous) gig are seen here, and viewed four decades after the fact, neither "Maggie's Farm" nor "Like a Rolling Stone" is all that special, notwithstanding some searing solo work by guitarist Mike Bloomfield. The DVD package, which includes a bonus interview with Lerner and a nice booklet with liner notes by Tom Piazza, adds to the appeal of what has to rank as a must-have for Dylanologists of every stripe. --Sam Graham

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This box collects Bob Dylan’s first eight 12-inch LPs, his albums from Bob Dylan in 1962 to John Wesley Harding in 1968, as most people heard them, as they were expected to be heard, and as most often they were meant to be heard: in mono. --- Greil Marcus, taken from the liner notes of Bob Dylan: The Original Mono Recordings



Bob Dylan’s first 8 studio albums pressed at RTI on the highest quality 180-gram audiophile vinyl. Also included are reproductions of the original LP artwork, including inner sleeve art and original inserts, all in heavyweight, wrapped jackets. Also includes beautiful 12x12” book with new liner notes, rare photos, memorabilia and more!



Bob Dylan

The Freewheelin' Bob Dylan

The Time They Are A-Changin'

Another Side Of Bob Dylan

Bringing It All Back Home

Highway 61 Revisited

Blonde On Blonde

John Wesley Harding

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A monumental 36-disc box set featuring every known recording from the mythic and controversial 1966 tour of the US, UK, Europe and Australia.

With the exception of the Manchester concert (May 17, 1966) released as Bob Dylan Live 1966 The Bootleg Series Vol. 4 in 1998, a pair of songs appearing on the 1985 Biograph compilation and a smattering of others, the overwhelming majority of tracks and performances on Bob Dylan: The 1966 Live Recordings are previously unreleased in any format--official or bootlegged--and are being made available now for the very first time.

All the songs on The 1966 Live Recordings were written by Bob Dylan (vocal, guitar, piano, harmonica) with the sole exception of "Baby, Let Me Follow You Down," a traditional song arranged by Bob Dylan for concert performance. Dylan is accompanied on these recordings by Robbie Robertson (guitar), Rick Danko (bass, backing vocals), Richard Manuel (piano), Garth Hudson (organ) and Mickey Jones (drums). (Sandy Konikoff plays drums on the White Plains and Pittsburgh shows only.)



Meticulously researched, curated and restored for this extraordinary collection, Bob Dylan: The 1966 Live Recordings is drawn from three main audio sources: soundboards, CBS Records mobile recordings and audience tapes.

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Bob Dylan's Rolling Thunder tour was a gypsy caravan of sorts involving such friends as Joan Baez, Roger McGuinn and Joni Mitchell. Now, for the first time, this legendary roadshow is displayed in all its glorious, mixed-up confusion on 2 CDs that cull 22 performances from the Worcester, Boston, Cambridge and Montreal shows. A 56-page booklet accompanies It Ain't Me, Babe; Mr. Tambourine Man; Blowin' in the Wind; Just Like a Woman , and more. Must-hear mid-'70s Dylan!

One of the many oddities of Bob Dylan's long and unruly career has been the rather cursory recording treatment given his stint as ringleader of the Rolling Thunder Revue. It's a shortcoming that's rectified with the release of Live 1975. Prior to the appearance of this two-disc collection, Rolling Thunder's eclectic road show was chronicled only in the infrequently screened, Dylan-directed Renaldo & Clara film and the bafflingly brief and one-note 1976 live set, Hard Rain. In contrast to its predecessor, this set, culled from four appearances made in November and December of '75, captures the breadth and subtleties of Dylan's Rolling Thunder performances. "Tonight I'll Be Staying Here with You," formerly a coda from Nashville Skyline, is given a rather incongruous bite here, while "It Ain't Me, Babe" is colored brightly by multi-instrumentalist David Mansfield along with erstwhile David Bowie guitarist Mick Ronson, the sparkplug of the gratifyingly ragtag group that coalesced on short notice. Solo acoustic performances weave through caterwauling full-band treatments of songs old ("The Lonesome Death of Hattie Carroll) and new ("Hurricane" and four other selections from Desire, which wouldn't hit the racks until early '76). While the contributions of a number of caravan cohorts and guests are left out, Joan Baez shares the spotlight with Dylan on four numbers, most notably on the rarity "Mama, You Been on My Mind" and the traditional "The Water Is Wide." But despite its cavalcade trappings, it was Dylan's show, and this collection demonstrates finally just how close to his '60s peak the '70s Dylan was. --Steven Stolder

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2014 best of compilation. Definitive, career-spanning and comprehensive, The ESSENTIAL series features the biggest hits and best-loved songs from the most famous names in music history! An incredible value, each 2-CD package features classic hits and signature songs by superstar artists, plus full liner notes and photos for the complete experience. Includes ''Blowin' In The Wind,'' ''The Times They Are A-Changin','' ''Maggie's Farm,'' ''Like A Rolling Stone'' and more.

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Bob Dylan is Dylan's astonishing debut album, recorded at Columbia Recording Studios in 1961. This is a 20-year-old Dylan, newly arrived in New York to be the next Woody Guthrie, singing traditional songs and original compositions with an aggressiveness and emotion that belie his young age. Guthrie's influence looms large over classic renditions of traditional songs, such as 'Man Of Constant Sorrow' and 'Pretty Peggy-O', as well as the poignant 'Song To Woody', one of two original compositions on the album. Even more powerful is the influence of Blind Willie Johnson, Blind Lemon Jefferson and the other great blues men, whose death-haunted emotions are carried through songs like 'See That My Grave Is Kept Clean', 'Fixin' To Die' and 'In My Time Of Dyin'. 'Talkin' New York', the second original composition, is a first glimpse of the savage wit that would come to mark his work. Columbia. 2005.

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Japanese Blu-ray/Region A pressing. 2014.

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In 1965, Dylan went electric. The resulting world tour created controversy wherever he went, winding up with a series of confrontational shows in Europe, of which this is the most notorious. The group has roared through classics like Just Like Tom Thumb's Blues; One Too Many Mornings , and Ballad of a Thin Man to a definite mixed reaction. Suddenly a shout rings out in the crowd: "Judas! Judas!" Dylan responds in kind: "I don't believe you. You're a liar." He then turns to the musicians and says, off mike but clearly audible, "Play !@#$ing loud!" With perfect timing, the band (that is, The Band) crashes into a furious eight-minute Like a Rolling Stone and the rest, ladies and gentlemen, is history. This 2-CD set contains the complete concert, mastered from two different sets of tapes, includes a 56-page booklet.

The greatest live recording in rock & roll history was--officially, at least--buried in the vaults of Columbia Records for more than a quarter of a century. But no more: Live 1966: The "Royal Albert Hall" Concert has surfaced on two discs mixed and mastered from three-track source tapes that put the myriad pirated recordings to shame. More important, Live 1966 documents a momentous artistic showdown between a willful, inflamed, and utterly fearless performer and his headstrong core following. The Dylan of the mid '60s had made the leap from socially conscious voice of his generation to surrealistic electric poet, a transformation that was met with contempt by a vocal element of his audience. The most telling moment of the recording centers on the standoff: A folk zealot in the audience shouts, "Judas!" earning cheers from the contentious crowd. Dylan responds by snarling, "I don't believe you. You're a liar," then turns to his group, the Hawks (soon to become the Band), and, as the intro to "Like a Rolling Stone" takes shape, commands, "Play loud!" A crucial moment and, time has demonstrated, the correct call. --Steven Stolder

Review

...[His] screw-you goodbye is ... a vicious, exhilarating reminder that rock & roll ... once had the power not only to bind but to divide, to be a weapon of argument and vengeance. -- Rolling Stone



...[T]he acoustic stuff feels more powerful than the electric because of the stripped-down resonance of the songs. You can almost hear the breathtaken reverence in the crowd, agog at the genius in their midst.... [T]his isn't just folk music, rock music or protest music. It's sweet, sour and sublime soul music. -- New Musical Express



...[T]he music Dylan made with the Hawks remains vital and startling and indelible, charged with the strangeness of the moment and the timelessness of genius. Dylan and the Hawks confronted their listeners with music that was at once deeply grounded and untamed, as trusty as the blues and as reckless as a band of sleepless, cocky, drugged-out renegades could make it. -- The New York Times



...[T]his remarkable album captures all the energy, anger and in-your-face artistry on display that night. Even 32 years later, the performances here are powerful enough to make this album among the best releases of 1998. -- ASIN:



From the snarl of Robbie Robertson's guitar to the carnival- carousel tone of Garth Hudson's organ to the prodding sneer of Dylan's voice, it's a joyful mess, reflecting Dylan's own precarious mental health and his need to leave the folk ghetto. -- Entertainment Weekly