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Vintage Bob Dylan Records
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As a recording artist, Bob Dylan has seen his music pressed onto monaural and stereo LPs and 45s; magnetized onto lengths of acetate and polyester tape, be they reels, cassettes, or 8-tracks; and even offered as digital downloads. In recent...
As a recording artist, Bob Dylan has seen his music pressed onto monaural and stereo LPs and 45s; magnetized onto lengths of acetate and polyester tape, be they reels, cassettes, or 8-tracks; and even offered as digital downloads. In recent decades, Dylan’s main record label, Columbia, has released more than a dozen box sets (on vinyl, cassettes, and CDs) and has packaged even more official reissues of previously illegal bootlegs, Dylan being one of the most pirated artists in history.
Born Robert Allen Zimmerman in 1941, Dylan’s recording career began in 1962, when Columbia Records released “Bob Dylan,” a collection of 11 traditional and folk tunes, plus two original compositions. Produced by John Hammond, who played a key role in the careers of an incredibly diverse range of artists, from Billie Holiday and Benny Goodman to Aretha Franklin and Bruce Springsteen, Dylan’s first album for Columbia featured the young Minnesotan alone in the studio, accompanying himself on acoustic guitar and harmonica. That album was recorded in just two days, but Dylan’s second album, “The Freewheelin' Bob Dylan,” was recorded over the course of a year and featured an inverse ratio of new and traditional material. Future greatest hits on “Freewheelin'” include “Blowin' in the Wind” (also released as a single) and “A Hard Rain's a-Gonna Fall.”
In 1965, Dylan released two albums on Columbia, both of which reflected his embrace of electric guitars and other amplified instruments. On “Bringing It All Back Home,” released in March, Dylan gave his fans a side of the folky Dylan, with numbers like “Mr. Tambourine Man” and “It’s All Over Now, Baby Blue,” as well as an electric side, beginning with “Subterranean Homesick Blues,” each of whose four verses famously pivots on the words “Look out kid.” A few months later, in June, Dylan debuted his electric band at the Newport Folk Festival, with three members of the Paul Butterfield Blues Band on guitar, bass, and drums (Mike Bloomfield, Jerome Arnold, and Sam Lay, respectively) and Al Kooper on organ (it was Kooper who gave “Like a Rolling Stone,” which had just been released as a single, its trademark organ lick). The almost all-electric “Highway 61 Revisited” (“Desolation Row” is the lone acoustic number) was released in August.
“Blonde on Blonde” followed in the summer of 1966, being the last album Dylan would release before his first “Greatest Hits” compilation in 1967. “Hits” from “Blonde on Blonde,” a double LP, included “Rainy Day Women #12 & 35,” “I Want You,” and “Just Like a Woman.” After “Greatest Hits,” Dylan released four country-leaning albums (“John Wesley Harding,” “Nashville Skyline,” “Self-Portrait,” and “New Morning”) before approving his second “Greatest Hits” album in four years. Titled “Bob Dylan’s Greatest Hits Vol. II,” the double album included a side of previously unreleased songs, several of which were re-recorded, with Leon Russell producing, as well as a folded Milton Glaser poster of Dylan's famous profile.
Dylan released two albums for Asylum Records in 1974, both backed by The Band, who had toured with Dylan as the Hawks back in 1966. “Planet Waves” dropped in January, reaching #1 on the Billboard charts, while Dylan and The Band were touring the U.S. and Canada. That tour generated a live double LP titled “Before the Flood,” which featured a mix of Dylan and Band numbers. While the energy of the recordings was high, the quality was uneven, and it wasn’t long before Dylan had returned to the comfort of Columbia to record his 15th studio album, a masterpiece called “Blood on the Tracks.” Featuring an equal mixture of tunes recorded with minimal accompaniment during a September 1974 session in New York and fully produced songs recorded in Minneapolis in December of that same year, the album is a raw exploration of regret and love gone bad. “Blood on the Tracks” was Dylan’s second-in-a-row Billboard chart-topper—he would get his third #1 with his very next album, a 1976 release called “Desire.”
While Dylan’s discography is impressive, so is the number of artists who have turned covers of his songs into enormous hits. A small sampling of the most famous Dylan covers includes Peter, Paul and Mary’s 1963 version of “Blowin’ in the Wind”; the Byrds’ 1965 release of “Mr. Tambourine Man”; Manfred Mann’s take on “Mighty Quinn” in 1968; Jimi Hendrix’s unparalleled performance on “All Along the Watchtower,” also in 1968; the Joan Baez cover of “Sad Eyed Lady of the Lowlands,” which is just one of a whole album's worth of Dylan tunes Baez released in 1968; “If Not for You,” by former Beatle George Harrison in 1970; plus numerous covers by the Grateful Dead, who toured with Dylan as his backup band in 1987, resulting in a live album released on Columbia titled “Dylan & the Dead.”
Continue readingAs a recording artist, Bob Dylan has seen his music pressed onto monaural and stereo LPs and 45s; magnetized onto lengths of acetate and polyester tape, be they reels, cassettes, or 8-tracks; and even offered as digital downloads. In recent decades, Dylan’s main record label, Columbia, has released more than a dozen box sets (on vinyl, cassettes, and CDs) and has packaged even more official reissues of previously illegal bootlegs, Dylan being one of the most pirated artists in history.
Born Robert Allen Zimmerman in 1941, Dylan’s recording career began in 1962, when Columbia Records released “Bob Dylan,” a collection of 11 traditional and folk tunes, plus two original compositions. Produced by John Hammond, who played a key role in the careers of an incredibly diverse range of artists, from Billie Holiday and Benny Goodman to Aretha Franklin and Bruce Springsteen, Dylan’s first album for Columbia featured the young Minnesotan alone in the studio, accompanying himself on acoustic guitar and harmonica. That album was recorded in just two days, but Dylan’s second album, “The Freewheelin' Bob Dylan,” was recorded over the course of a year and featured an inverse ratio of new and traditional material. Future greatest hits on “Freewheelin'” include “Blowin' in the Wind” (also released as a single) and “A Hard Rain's a-Gonna Fall.”
In 1965, Dylan released two albums on Columbia, both of which reflected his embrace of electric guitars and other amplified instruments. On “Bringing It All Back Home,” released in March, Dylan gave his fans a side of the folky Dylan, with numbers like “Mr. Tambourine Man” and “It’s All Over Now, Baby Blue,” as well as an electric side, beginning with “Subterranean Homesick Blues,” each of whose four verses famously pivots on the words “Look out kid.” A few months later, in June, Dylan debuted his electric band at the Newport Folk Festival, with three members of the Paul Butterfield Blues Band on guitar, bass, and drums (Mike...
As a recording artist, Bob Dylan has seen his music pressed onto monaural and stereo LPs and 45s; magnetized onto lengths of acetate and polyester tape, be they reels, cassettes, or 8-tracks; and even offered as digital downloads. In recent decades, Dylan’s main record label, Columbia, has released more than a dozen box sets (on vinyl, cassettes, and CDs) and has packaged even more official reissues of previously illegal bootlegs, Dylan being one of the most pirated artists in history.
Born Robert Allen Zimmerman in 1941, Dylan’s recording career began in 1962, when Columbia Records released “Bob Dylan,” a collection of 11 traditional and folk tunes, plus two original compositions. Produced by John Hammond, who played a key role in the careers of an incredibly diverse range of artists, from Billie Holiday and Benny Goodman to Aretha Franklin and Bruce Springsteen, Dylan’s first album for Columbia featured the young Minnesotan alone in the studio, accompanying himself on acoustic guitar and harmonica. That album was recorded in just two days, but Dylan’s second album, “The Freewheelin' Bob Dylan,” was recorded over the course of a year and featured an inverse ratio of new and traditional material. Future greatest hits on “Freewheelin'” include “Blowin' in the Wind” (also released as a single) and “A Hard Rain's a-Gonna Fall.”
In 1965, Dylan released two albums on Columbia, both of which reflected his embrace of electric guitars and other amplified instruments. On “Bringing It All Back Home,” released in March, Dylan gave his fans a side of the folky Dylan, with numbers like “Mr. Tambourine Man” and “It’s All Over Now, Baby Blue,” as well as an electric side, beginning with “Subterranean Homesick Blues,” each of whose four verses famously pivots on the words “Look out kid.” A few months later, in June, Dylan debuted his electric band at the Newport Folk Festival, with three members of the Paul Butterfield Blues Band on guitar, bass, and drums (Mike Bloomfield, Jerome Arnold, and Sam Lay, respectively) and Al Kooper on organ (it was Kooper who gave “Like a Rolling Stone,” which had just been released as a single, its trademark organ lick). The almost all-electric “Highway 61 Revisited” (“Desolation Row” is the lone acoustic number) was released in August.
“Blonde on Blonde” followed in the summer of 1966, being the last album Dylan would release before his first “Greatest Hits” compilation in 1967. “Hits” from “Blonde on Blonde,” a double LP, included “Rainy Day Women #12 & 35,” “I Want You,” and “Just Like a Woman.” After “Greatest Hits,” Dylan released four country-leaning albums (“John Wesley Harding,” “Nashville Skyline,” “Self-Portrait,” and “New Morning”) before approving his second “Greatest Hits” album in four years. Titled “Bob Dylan’s Greatest Hits Vol. II,” the double album included a side of previously unreleased songs, several of which were re-recorded, with Leon Russell producing, as well as a folded Milton Glaser poster of Dylan's famous profile.
Dylan released two albums for Asylum Records in 1974, both backed by The Band, who had toured with Dylan as the Hawks back in 1966. “Planet Waves” dropped in January, reaching #1 on the Billboard charts, while Dylan and The Band were touring the U.S. and Canada. That tour generated a live double LP titled “Before the Flood,” which featured a mix of Dylan and Band numbers. While the energy of the recordings was high, the quality was uneven, and it wasn’t long before Dylan had returned to the comfort of Columbia to record his 15th studio album, a masterpiece called “Blood on the Tracks.” Featuring an equal mixture of tunes recorded with minimal accompaniment during a September 1974 session in New York and fully produced songs recorded in Minneapolis in December of that same year, the album is a raw exploration of regret and love gone bad. “Blood on the Tracks” was Dylan’s second-in-a-row Billboard chart-topper—he would get his third #1 with his very next album, a 1976 release called “Desire.”
While Dylan’s discography is impressive, so is the number of artists who have turned covers of his songs into enormous hits. A small sampling of the most famous Dylan covers includes Peter, Paul and Mary’s 1963 version of “Blowin’ in the Wind”; the Byrds’ 1965 release of “Mr. Tambourine Man”; Manfred Mann’s take on “Mighty Quinn” in 1968; Jimi Hendrix’s unparalleled performance on “All Along the Watchtower,” also in 1968; the Joan Baez cover of “Sad Eyed Lady of the Lowlands,” which is just one of a whole album's worth of Dylan tunes Baez released in 1968; “If Not for You,” by former Beatle George Harrison in 1970; plus numerous covers by the Grateful Dead, who toured with Dylan as his backup band in 1987, resulting in a live album released on Columbia titled “Dylan & the Dead.”
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