Bob Dylan - Love and Theft (2LP, 45RPM, Ultra Analog, Half-speed Mastering)
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€140,25
Regular price
Rarity vinyl cannot be exchanged as they are sole copies of sold-out editions.
If damaged they would be refunded after return but not exchanged.
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Bob Dylan – vocals, guitar, pian [click here to see more vinyl featuring Bob Dylan]
Larry Campbell – guitar, banjo, mandolin, violin
Charlie Sexton – guitar
Augie Meyers – accordion, Hammond B3 organ, Vox organ
Tony Garnier – bass guitar
David Kemper – drums
Clay Meyers – bongos
2 LPs, gatefold jacket
Limited to 3,000 numbered copies
Original analog Master tape : YES
Half-speed Mastering
GAIN 2 Ultra Analog™ LP
Heavy Press : 180g
Record color : black
Speed : 45RPM
Size : 12”
Stereo
Studio
Record Press : RTI
Label : MOFI
Original Label : Columbia
Recorded May 2001 in Clinton Recording, New York City
Engineered & mixed by Chris Shaw
Produced by Jack Frost
Remastered by Krieg Wunderlich
Originally released in 2001
Reissued in 2020
Tracks:
Side A:
- Tweedle Dee & Tweedle Dum
- Mississippi
- Summer Days
Side B:
- Bye And Bye
- Lonesome Day Blues
- Floater (Too Much To Ask)
Side C:
- High Water (For Charley Patton)
- Moonlight
- Honest With Me
Side D:
- Po' Boy
- Cry A While
- Sugar Baby
Awards :
Rolling Stone 500 Greatest Albums of All Time - Rated 385/500
Rolling Stone 500 Greatest Songs of All Time - "Mississippi" - Rated 260/500
Reviews :
"Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned "Things Have Changed," his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding "Lonesome Day Blues" and burning it down with the fabulously swinging "Summer Days." They're equally captivating on the slower songs, whether it's the breezily romantic "Bye and Bye," the torch song "Moonlight," or the epic reflective closer, "Sugar Baby." Musically, Dylan hasn't been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early '60s, through the absurdist storyteller of the mid-'60s, through the traditionalist of the early '70s, to the grizzled professional of the '90s. None of this is conscious, it's all natural. There's an ease to his writing and a swagger to his performance unheard in years -- he's cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It's reminiscent of his classic records, but he's never made a record that's been such sheer, giddy fun as this, and it stands proudly among his very best albums." AllMusic Review by Stephen Thomas Erlewine
"Blood, desperation and wicked gallows humor are in the air as Dylan and his road band provide a raucous tour of twentieth-century musical America via jump blues, slow blues, rockabilly, Tin Pan Alley ballads and country swing. "Summer Days" sounds like the exact moment when R↦B morphed into rock & roll. " - www.rollingstone.com
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 4,5 / 5 , Discogs : 4,31/ 5