Bob Dylan - Blood on the Tracks (Hybrid SACD, Ultradisc UHR)
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Bob Dylan - vocals, guitar, harmonica, Hammond organ, mandolin [click here to see more Vinyl / SACD featuring Bob Dylan]
Tony Brown (bass), Paul Griffin (organ), Buddy Cage (steel guitar)
Performer : Eric Weissberg And Deliverance
Written by Bob Dylan
1 Hybrid SACD, Ultradisc UHR
Limited numbered edition
Stereo
Studio
Label : MOFI
Original Label : Columbia
Recording: September 16–19 and December 27–30, 1974, at A&R Recording in New York City and Sound 80 studio in Minneapolis by Lou Schlossberg and Phil Giambalvo
Engineered by Phil Ramone
Produced by Phil Ramone and Bob Dylan
Originally released January 1975
Reissued in 2012
Tracks :
- Tangled Up in Blue
- Simple Twist of Fate
- You're a Big Girl Now
- Idiot Wind
- You're Gonna Make Me Lonesome When You Go
- Meet Me in the Morning
- Lily, Rosemary and the Jack of Hearts
- If You See Her, Say Hello
- Shelter from the Storm
- Buckets of Rain
Awards :
Rolling Stone 500 Greatest Albums of All Time - Ranked 9 / 500
Inducted into the Grammy Hall of Fame in 2015.
Number 7 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000)
1000 Recordings You Must Hear Before You Die - Ranked 342
Reviews :
« Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of "Idiot Wind" and "Tangled Up in Blue," available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. » AllMusic Review by Stephen Thomas Erlewine
Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came Blood on the Tracks. Dylan reached the height of his seminal 1970s work with this confessional 1975 classic featuring "Tangled Up In Blue," "Simple Twist of Fate," "Idiot Wind," "Lily, Rosemary and the Jack of Hearts," and six more classic tunes.
"Inevitably, when critics praise a new Dylan album, they label it the 'best since Blood on the Tracks,' and with good reason. Inspired by a crumbled marriage, and recorded after a tour with the Band had apparently re-ignited his creativity, Blood is among Dylan's masterpieces. The album's epic songs are well known, but its real high points are the shorter numbers — 'You're a Big Girl Now,' the flawless blues 'Meet Me in the Morning,' and the sweetly devastating 'Buckets of Rain.' These are songs of "images and distorted facts," each expressed through tangled points of view, and all of them blue." — David Cantwell
Ultra High-Resolution (UHR) is a dual-layer hybrid SACD recorded with Direct Stream Digital Technology at a sampling rate of 11.2 MHZ and a frequency response of DC to 100KHz. In addition, a high-precision down-conversion is utilized for the CD layer (16bit/44.1kHz) to preserve the sonic integrity of the original DSD capture. The result: State-of-the-art sound on any machine that can play either standard compact discs or SACDs.
Ratings :
Allmusic : 5 / 5, Discogs : 4,72/5