Dylan Vinyl | Bob Dylan Vinyl Records

Track Listing:
LP1
1.He Was a Friend of Mine
2.Talking Bear Mountain Picnic Massacre Blues

LP2
1.Sally Gal
2.The Girl I Left Behind (Wnyc Radio Studio, NYC, 1961)

LP3
1.In The Pines
2.Backwater Blues (Carnegie Chapter Hall, NYC, 1961)

LP4
1.A Long Time a Growin'
2.Talking Merchant Marine (Carnegie Chapter Hall 1961)

LP5
1.Baby Please Don't Go
2.I Ain't Got No Home (Home of Bonnie Beecher, 1961)

LP6
1.Man of Constant Sorrow
2.In The Evening (Home of Bonnie Beecher, 1961)

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Recorded in One Day: Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness Grace the Bards Loosest 1960s Effort

Includes I Shall Be Free No. 10, It Aint Me Babe, My Back Pages, Chimes of Freedom

The Freewheelin Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Another Side of Bob Dylan is all that and more.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Another Side of Bob Dylan ever produced. Be there as the Minnesota native spends the evening of June 9, 1964 in Columbias Studio A and, displaying an openness hed never before revealed in a formal environment, lays down the songs that compromise his fourth album.

Featuring minimal editing, Another Side of Bob Dylan is naked, truthful, and whimsical. Mobile Fidelitys reissue illuminates the artists conditionhe laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if hes stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfectionwith microscopic accuracy. Indeed, Dylans slightly woozy and completely playful state related to his having downed a handful of bottles of Beaujolais during the sessions.

The uninhibited joie de vive is discernable in the rattling piano lines on Black Crow Blues, seemingly subconscious ramble of the hysterical folk rhyming of Motorpsycho Nightmare, bluesy dream sequencing throughout I Dont Believe You, and intentionally out-of-tune yodeling during All I Really Want to Do. On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.

And so the apparently autobiographical and self-aware My Back Pages, one of the earliest examples of Dylans immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant releasean essential escape hatch for Dylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions. Quintessential Dylan.

As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal Chimes of Freedom, the standard that journalist Paul Williams dubbed Dylans Sermon on the Mount. Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. All I Really Want to Do
2. Black Crow Blues
3. Spanish Harlem Incident
4. Chimes of Freedom
5. I Shall Be Free, No. 10
6. To Ramona
7. Motorpsycho Nightmare
8. My Back Pages
9. I Dont Believe You
10. Ballad in Plain D
11. It Aint Me Babe

After Dylan was injured in a motorcycle accident he concealed himself from the public's gaze for a long while to work with The Band at houses in and around Woodstock where Bob Dylan and members of The Band lived.

In that period of time they recorded more than 100 tracks together. And even though the songs were recorded in 1967, this official bootleg wasn't released until 1975.

Although some of the songs on 'The Basement Tapes' are humorous, most of the songs dwell on nothingness, betrayal and a quest for salvation and they possess a rootsy quality that anticipates the Americana genre.

'The Basement Tapes' reached #7 in the Billboard Top 200 charts.

And for your listening pleasure, Music On Vinyl is re-releasing this album on vinyl for the first time since 1976!

Track Listing:
1. Odds And Ends
2. Orange Juice Blues
3. Million Dollar Bash
4. Yazoo Street Scandal
5. Goin' To Acapulco
6. Katie' Been Gone

1. Lo And Behold!
2. Bessie Smith
3. Clothes Line Saga
4. Apple Suckling Tree
5. Please, Mrs. Henry
6. Tears Of Rage

1. Too Much Of Nothing
2. Yea! Heavy And A Bottle Of Bread
3. Ain't No More Cane
4. Crash on The Levee
5. Ruben Remus
6. Tiny Montgomery

1. You Ain't Goin' Nowhere
2. Don't Ya Tell Henry
3. Nothing Was Delivered
4. Open the Door, Homer
5. Long Distance Oprater
6. This Wheel's On Fire

Though the audiences were drenched in nostalgia and demanded old hits on the set-list, Dylan and The Band rearranged them in such a way that they were re-invigorated, re- energized and fresh. They rocked like they never had before.

The line "Even the President of the United States sometimes must have to stand naked," from 'It's Alright, Ma (I'm Only Bleeding)' took on a new meaning altogether thanks to the Watergate scandal early in the year, as did "How does it feel?" from 'Like A Rolling Stone'; where before it had been a sentence of banishment it became a declaration of a new-found independence that was worn as a badge of honor, not a scarlet letter.

The recordings of Before The Flood, made mostly in New York and Los Angeles, were released in June 1974, and would peak at #3 in the Billboard 200, and are now available on vinyl for the first time in 25 years!

Track Listing:
LP 1
1. Most Likely You Go Your Way (And I'll Go Mine)
2. Lay, Lady, Lay
3. Rainy Day Women #12 & 35
4. Knockin' On Heaven's Door
5. It Ain't Me, Babe
6. Ballad Of a Thin Man
7. Up On Cripple Creek
8. I Shall Be Released
9. Endless Highway
10. The Night They Drove Old Dixie Down
11. Stage Fright

LP 2
1. Don't Think Twice, It's All Right
2. Just Like A Woman
3. It's Alright, Ma (I'm Only Bleeding)
4. The Shape I'm In
5. When You Awake
6. The Weight
7. All Along The Watchtower
8. Highway 61 Revisited
9. Like A Rolling Stone
10. Blowin' In The Wind

Dylan's Radical Rearrangements of Classics Give Songs Renewed Meaning and Relevance

The live reunion of Bob Dylan and The Band during 1973-74 yielded one of the decade's most celebrated, dynamic, and astonishing tours. Captured on Before the Flood, the results portray the two artists' shared chemistry as well as Dylan's instinctive ability to challenge audiences, his group, and himself via inventive rearrangements of classics that simultaneously ward off nostalgia and renew with meaning. Said by noted critic Robert Christgau to be "at its best, [the] craziest and strongest rock and roll ever recorded," Before the Flood crackles with intensity, relevance, and unhinged performances.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored analog version cracks wide open the ceiling previously obscuring many of the tonal details, revealing microdynamics, and vocal nuances on the recording. Distinguished with an immediately recognizable sound, The Band comes across in three-dimensional form, while Dylan takes center stage, feet from your listening chair. The two artists play like two souls in communion, a facet displayed here courtesy of the increased airiness, enhanced soundstage depth, and lifelike imaging.

There’s so much new information here, this already-iconic album only gains in stature. As experienced on Mobile Fidelity, Before the Flood unquestionably takes its place as one of the ten-best concert releases ever made. Notes are rounded, Garth Hudson’s organ claims a tube-like glow, Levon Helm’s drumming possesses its own space, voices are perceptible all the way down the singers’ throats, and Dylan’s awe-inspiring phrasing resonates with palpable urgency. Audiophiles and Dylan fans, prepare to be astonished.

Arriving at a crucial time for both Dylan and The Band, Before the Flood is the furthest thing possible from a nostalgia trip. It’s where Dylan begins his now-trademark feat of turning songs upside-down, taking risks, surprising and challenging expectations, leaving audiences riveted to the edge of their seats in anticipation of what might come next. He sings with unabated passion, the moods spanning bitterness to jubilation, his willingness to play fast and loose with the music giving way to compelling shifts, under-the-surface textures, complementary intricacies, and a sense of newness and discovery on par with that of an adventurer embracing total freedom.

Before the Flood buries any notion of limits, safeguards, or borders. It is an open map, each song a route begging for exploration without need or concern for exactness or an appointed leader. Collaborative in every sense, it’s a portrait of six inimitable musicians feeding off one another, trusting in their past history as they hurdle towards uncharted territory, using soulfulness as a compass and opportunity as their vehicle.

Wholly different than the live episodes heard on Bob Dylan Live 1966, The “Royal Albert Hall” Concert, Before the Flood is equally seminal and, from the perspective of witnessing an artist dare not only his audience but himself to break through to a new plane, even better. Utterly astounding.

Track Listing:
1. Most Likely You'll Go Your Way (And I'll Go Mine)
2. Lay Lady Lay
3. Rainy Day Women #12 & #35
4. Knockin' on Heaven's Door
5. It Ain't Me Babe
6. Ballad of a Thin Man
7. Up on Cripple Creek
8. I Shall Be Released
9. Endless Highway
10. The Night They Drove Old Dixie Down
11. Stage Fright
12. Don't Think Twice, It's All Right
13. Just Like a Woman
14. It's Alright, Ma (I'm Only Bleeding)
15. The Shape I'm In
16. When You Awake
17. The Weight
18. All Along the Watchtower
19. Highway 61 Revisited
20. Like a Rolling Stone
21. Blowin' in the Wind

* Gatefold Sleeve
* 180 grams audiophile vinyl
* Remastered Mono Edition

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. 

LP 2
1. Most Likely You Go Your Way And I'll Go Mine
2. Temporary Like Achilles
3. Absolutely Sweet Marie
4. 4th Time Around
5. Obviously 5 Believers
6. Sad Eyed Lady Of The Lowlands

That Thin, That Wild Mercury Sound: Dylans Ground-Shaking 1966 Double LP Sent Tremors Throughout the World

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Recorded With One of The Most Ear-Awakening Lineups Ever Assembled: Al Kooper, Pig Robbins, Joe South, Kenny Buttrey, and The Bands Rick Danko and Robbie Robertson Among Musicians

Vaudeville, Contemporary Pop, Fiery Rock and Roll, Memphis Blues, Folk-Derived Sagas Among Enriched Palette of Styles

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didnt know. Professor Sean Wilentz, historian-in-residence for Bob Dylans Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any whove tried: The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beautyin short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld. No lie.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed that thin, that wild mercury sound, the albums famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.

Forever prized for a unique sound that cultural critic Greil Marcus tagged the most glamorous record imaginable; listening you [can] see the checkered jesters suit Dylan had worn on stage for the nine previous, furious months, Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylans request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another. Mobile Fidelitys reissue captures this ensemble ambience, with echoes, resonation, and some of the most natural timbres youll ever hear in plain sight.

The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashvilles top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.

As for the tunes? Chapters of books and lengthy theses are dedicated to the sheer conscious-altering power, mythical weight, character cast, and convention-obscuring magnetism of the lyricsto say nothing of the sophisticated albeit pure playing within, as arrangements touch upon gospel, R&B, pop, traditional and contemporary blues, vaudeville, folk, and more. Then theres Dylans inventive phrasing, his manipulation of pitch and locution, helping the narratives to take on epic, inchoate, and cryptic meanings that continue to be deciphered to this day. Punch lines occur as frequently as romantic declarations, all delivered with salient references, traditional parallels, and elusive interpretations on par with those of Shakespeare.

Visions of Johanna. I Want You. Rainy Day Women #12 & 35. Sad Eyed Lady of the Lowlands. Absolutely Sweet Marie. We could go on. Essential doesnt even begin to cover the genius of this record that, now, sounds better than Dylan himself can imagine.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Sundazed is proud to present the first-ever reissue of the original mono mix of this landmark double album, recorded in Nashville with Al Kooper, Robbie Robertson, and a cadre of top session cats. The result, later described by Dylan as "that thin, wild mercury sound," is a unique masterwork that sounds as vital today as when first released in 1966. This Sundazed edition is presented on 180 gram vinyl, from the absolute original analog mono masters.

Dylans Masterpiece Break-Up Album: Sentimental Redemption Arises Amidst Sorrow, Turmoil, Sadness, and Pain

Presence, Immediacy, Naturalness, Realism in Spades: Mobile Fidelity Reissue Makes Blood on the Tracks Among Most Lifelike-Sounding Albums Youll Ever Hear

Songs Flow Like Rivers, Acoustic and Electric Elements Merge Like Bezels on a Diamond

Includes Tangled Up In Blue, Simple Twist of Fate, Idiot Wind, Buckets of Rain

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and The Basement Tapes Also Available from Mobile Fidelity

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 decades unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lovers pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bards career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains its a work of fiction, but its evident close-vested autobiographical premise is what helps make it universal: Its the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of loves darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of Blood on the Tracks ever producedand the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogs, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylans songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honor, poignancy, and fairnessall traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blameinstill the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colors, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Browns flexible albeit subtle bass, Buddy Cages country-streaked pedal-steel guitar, and Paul Griffins soul-baring organan instrument used to shadow, tuckpoint, and illuminate here as effectively as any time in rock historyDylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stones list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Tangled Up in Blue
2. Simple Twist of Fate
3. Youre A Big Girl Now
4. Idiot Wind
5. Youre Gonna Make Me Lonesome When You Go
6. Meet Me in the Morning
7. Lily, Rosemary and the Jack of Hearts
8. If You See Her, Say Hello
9. Shelter From the Storm
10. Buckets of Rain

Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over "Man of Constant Sorrow" and "Pretty Peggy-O," as well as the two originals here, the savagely witty "Talkin' New York" and the poignant "Song to Woody"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut "Freight Train Blues." But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made.

There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. -- Bruce Eder

Track Listing:
LP1 - Mono
1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' to Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean

LP2 - Stereo
1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' to Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean

Transparent to the Source: Hyper-Detailed 45RPM Pressing Brings the Simple Sounds of Dylan’s Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective

Bob Dylan’s self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 180 gram 45RPM 2LP analog version brings the contents of this seminal release as closest as they’ve ever come to master tape-quality. Transparent to the source, the simple sounds of Dylan’s voice, acoustic guitar, and harmonica take on lifelike perspective and dimensions—the “husk and bark” to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde’s Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background noise. Wider grooves mean more information reaches your ears.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan’s name or music is to miss the forest for the trees. Distinguished from the era’s other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he’d soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson’s “See That My Grave Is Kept Clean,” Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, “Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn’t, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer’s name as if it were already common coin.” It all starts here.

Track Listing:
1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' to Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean

'Bob Dylan In Concert Brandeis University 1963' is being reissued in response to overwhelming popular demand for a wide release. As noted Bob Dylan scholar Michael Gray puts it in the liner notes of this album: 'This is the last live performance we have of Bob Dylan before he becomes a star'

Track Listing:
1. Honey, Just Allow Me One More Chance (incomplete)
2. Talkin' John Birch Paranoid Blues
3. Ballad of Hollis Brown
4. Masters of War
5. Talkin' World War III Blues
6. Bob Dylan's Dream
7. Talking Bear Mountain Picnic Massacre Blues

Professionally Recorded on 7-Inch Reel-to-Reel Tape: Phenomenal Sonics Capture the 21-Year-Old Bard Solo and Acoustic

Features Stripped-Down, Intense Versions of Songs from the Then-Forthcoming The Freewheelin' Bob Dylan and Still Long-Off The Times They Are-A Changin'

Early, archival insights into the burgeoning genius of a young Bob Dylan don't come any better than this: A previously unknown live recording of a 21-year-old Dylan taped at the Brandeis First Annual Folk Festival in Waltham, Massachusetts, on May 10, 1963, Bob Dylan In Concert - Brandeis University 1963 captures the rollicking wit, deadpan delivery, and driving intensity of the young artist's onstage persona in an assortment of end-of-the-world songs (none of them commercially available at the time) performed in front of an appreciative audience two weeks prior to the release of The Freewheelin' Bob Dylan. Indeed, these two performances took place just weeks before Dylan's "Blowin' in the Wind" became a smash for Peter, Paul, and Mary and months before his appearance at the Newport Folk Festival would forever change the course of music history.

The Bob Dylan In Concert - Brandeis University 1963 concert tape was discovered recently in the archives of the noted music writer and Rolling Stone co-founder Ralph J. Gleason, where it sat on a shelf for more than forty years. "It had been forgotten, until it was found last year in the clearing of the house after my mother died," said Toby Gleason, Ralph's son. "It's a seven inch reel-to-reel that sounds like it was taped from the mixing desk."

Drawn from two sets that spring night at the Brandeis Folk Festival, tracks on Bob Dylan In Concert - Brandeis University 1963 include "Honey, Just Allow Me On More Chance" (incomplete), "Talkin' John Birch Paranoid Blues," "Ballad Of Hollis Brown," "Masters of War," "Talkin' World War III Blues," "Bob Dylan's Dream," and "Talkin' Bear Mountain Picnic Massacre Blues."

Previously available as a limited time offer, Bob Dylan In Concert - Brandeis University 1963 has been reissued in response to overwhelming popular demand for a wide release. The new Columbia/Legacy edition features liner notes penned exclusively for this release by noted Bob Dylan scholar Michael Gray, author of The Bob Dylan Encyclopedia and the three-volume Song & Dance Man: The Art of Bob Dylan, who provided an explication of the album's seven songs and historical/cultural context for the performances.

Track Listing:
1. Honey, Just Allow Me One More Chance (incomplete)
2. Talkin' John Birch Paranoid Blues
3. Ballad of Hollis Brown
4. Masters of War
5. Talkin' World War III Blues
6. Bob Dylan's Dream
7. Talking Bear Mountain Picnic Massacre Blues

LP 2
1. Tell Me, Momma
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Baby, Let Me Follow You Down
4. Just Like Tom Thumb's Blues
5. Leopard-Skin Pill-Box Hat
6. One Too Many Mornings
7. Ballad of a Thin Man
8. Like A Rolling Stone

Includes Anthems Such as "Blowin' in the Wind," "The Times They Are A-Changin'," "Like A Rolling Stone," and "Mr. Tambourine Man"

Ten songs that ultimately changed the world. Ten songs pulled from precedent-establishing albums recorded between 1963 and 1966. More than five-million copies sold. In every way, Bob Dylan's Greatest Hits is a fundamental collection for every music lover, and the perfect choice for those seeking an introduction into the legend's vast career. For this is a collection so prized, even the cover photo won a Grammy.

Mastered from the original master tapes on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 45RPM analog version offers listeners of all stripes to hear some of the world’s most important music ever recorded in supreme fidelity. While the tracks stem from several different albums, on this release, they share more in common than Bob Dylan—they share rich, sonic traits steeped in astounding dynamics, great balances, tremendous soundstaging, and realistic imaging. Wider grooves mean more information reaches your ears.

Greatest-hits volumes are often hit-and-miss propositions not because of what they contain, but because of what’s missing. Filtering the top selections from the six formative, life-altering albums Dylan made between 1963 and 1966 is an arbitrary process but one performed impeccably on this set. Home to his biggest chart successes as well as his most influential songs, Bob Dylan’s Greatest Hits is a veritable template for any aspiring singer-songwriter, an American history lesson, and a seminal release for anyone new to his work—as well as for audiences that find some of his deeper cuts an acquired taste.

Every signature facet of Dylan is represented, and done so authoritatively. Serious, protest folk anthems (“Blowin’ in the Wind,” “The Times Are A-Changin’”) sit alongside defiant rock statements (“Positively Fourth Street”), landscape-changing epics (“Like a Rolling Stone”), beautiful blues-inspired odes (“I Want You”), and surrealist dreamscapes (“Subterranean Homesick Blues”). Infused with literary poetry, impassioned emotion, and career-making performances, this material doubles as a definitive account of American culture and society, and functions as a soundtrack to the era’s social movements.

Gathered in one place, it’s no wonder the songs here gave Dylan what remains the biggest-selling album of his career. Accept nothing less than the best version in existence.

Track Listing:
1. Rainy Day Women #12 & 35
2. Blowin' In The Wind
3. The Times They Are A-Changin'
4. It Ain't Me, Babe
5. Like A Rolling Stone
6. Mr. Tambourine Man
7. Subterranean Homesick Blues
8. I Want You
9. Positively 4th Street
10. Just Like A Woman

Bob Dylans Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylans surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.

* 180 grams audiophile vinyl
* Remastered Mono Edition


Track Listing:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggie's Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On The Road Again
7. Bob Dylan's 115th Dream
8. Mr. Tambourine Man
9. Gates Of Eden
10. It's Alright Ma (I'm Only Bleeding)
11. It's All Over Now, Baby Blue

Dylan's 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo Thought Dream Odysseys on Side Two

Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories

Numbered, Limited Edition

Bob Dylan's Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. Its a disarming broadcast that declares Dylan's surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albums you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.

The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbias Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?

More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant whos privy to cerebral viewpoints, mental transferences, and thought dreams elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk musics imprisoning rules and bounding restrictivenessand a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.

Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny Subterranean Homesick Blues before romping, slashing, and rolling through Maggies Farm, another fun albeit caustic indictment of homogenous thought and bohemian method. Dylans attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.

Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums dont come more vetted. You deserve to experience it in the finest-possible quality.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggies Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob Dylans 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. Its Alright, Ma (Im Only Bleeding)
11. Its All Over Now, Baby Blue

Recorded in three short days in January 1965, Bringing It All Back Home found Dylan "going electric" and gaining his first Top 40 airplay with "Subterranean Homesick Blues." Sundazed proudly presents Bringing It All Back Home in an exact reproduction on 180 gram vinyl, featuring the album's original mono mix--unavailable for over 30 years!--and, as is Sundazed customary, all-analog mastering.

Track Listing:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggie's Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On The Road Again
7. Bob Dylan's 115th Dream
8. Mr. Tambourine Man
9. Gates Of Eden
10. It's Alright Ma (I'm Only Bleeding)
11. It's All Over Now, Baby Blue

Nine days after signing with Columbia Records, Dylan performed 22 songs at the Chapter Hall concert, the first seven songs from this performance came into circulation among collectors years ago while five additional songs appeared in December of 2004 and a further two ("Talking Merchant Marine" and "Talking New York") turned up in May of 2008.

All of the available material has been collected for this rare 14-song, 2LP release which consists of four Dylan originals, two Woody Guthrie songs and a mixture of traditionals and folk and blues standards.

Track Listing:
LP1
1. Pretty Peggy-O
2. In The Pines
3. Gospel Plow
4. 1913 Massacre
5. Blackwater Blues
6. A Long Time A-Growin’
7. Fixin’ To Die

LP2
1. Talking Bear Mountain Picnic Mass
2. Man On The Street
3. Talking Merchant Marine
4. Black Cross
5. Freight Train Blues
6. Song To Woody
7. Talking New York

Includes Timeless and Tireless Songs “Sara,” “Hurricane,” and “One More Cup of Coffee (Valley Below)”

Bob Dylan cut Desire flanked by more than a dozen musicians, aided by a producer averse to multitracking, and bent on tequila. Reeling from the effects of his disintegrating marriage, the singer penned several of the most heartfelt songs of his career, including “Sara,” the most overtly public broadcasting of his private life and emotions committed to tape. Straddling lines between haphazard and organized, loose and planned, Desire lives up its title, a masterwork that Dylan would not equal in creativity, performance, and lyricism for another two decades.

Mastered from the original master tapes on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 45RPM analog version lays bare the catch-all ambience of the sessions as well as the unguarded emotionalism that fueled them. Largely captured at one unruly New York studio date, many songs are first-take arrangements, experienced on this reissue in a raw, realistic fashion that allows chords to swell, vocals to naturally carry, and percussion to span a seemingly bridge-wide soundstage. Accenting instruments—bouzouki, accordion, mandolin, violin, congas, piano—gain their own space and color the music with intriguing textures. The wider grooves mean more information reaches your ears.

Surging with a nothing-to-lose disposition, Desire juggles myriad styles and owns up to no single theme. Disappointment and loss related to Dylan’s broken relationship surfaces directly and metaphorically, but the album isn’t mired in depression or sadness. More often than not, it howls, the sprawling canvas needlepointed with complexity and diversity. In pairing with lyricist Jacques Levy, Dylan invites narrative collaboration he never again repeated, as well as an eclecticism that gives the effort its fascinating charm.

Desire finds Dylan at an evocative peak. With the tour de force single “Hurricane,” he composes his first protest song in years, the enraged verses aimed squarely at maintaining the innocence of boxer Ruben Carter, falsely convicted of murder, as a violin melody swirls in the background. He finds similar inspiration in gangster Joey Gallo, turning “Joey” into a beautiful epic outfitted with Emmylou Harris’ transcendent backing vocals. Flashing a sense of humor, “Mozambique” relishes an irreverent quirkiness that balances the more serious fare.

And in the nakedly biographical “Sara,” Mediterranean-flavored “One More Cup of Coffee (Valley Below),” fragile “Oh, Sister,” and swirling fable “Isis,” Dylan develops a series of loosely related songs at once flawless, timeless, and tireless. Rarely has the folk-rock icon addressed love, romance, and loss more openly, eloquently, or universally. It’s no wonder they remain amongst the very favorites of many hardcore Dylan enthusiasts, and account for a large reason why Rolling Stone ranks Desire the 174th greatest album of all-time.

Track Listing:
1. Hurricane
2. Isis
3. Mozambique
4. One More Cup of Coffee (Valley Below)
5. Oh, Sister
6. Joey
7. Romance in Durango
8. Black Diamond Bay
9. Sara

Brilliant 11 track album from one of the most highly respected artists in the world.

Track Listing:
1. Man On The Street
2. Talking Bear Mountain Picnic Massacre Blues
3. Song To Woody
4. Pretty Polly
5. Sally Gal
6. Talking New York
7. Standing On The Highway
8. Hard Times In New York Town
9. Only A Hobo
10. Bob Dylans Dream
11. Blowin In The Wind

"In the future, everyone will be world-famous for 15 minutes." - Andy Warhol, 1968

15 Minutes: Homage To Andy Warhol was created with the full approval of The Andy Warhol Foundation For The Visual Arts and is headlined by Columbia Records artists Bob Dylan and Patti Smith plus sixteen other world-renowned fine artists, poets, painters, photographers, actors and musicians. Each artist in this collection offers both an original recording and original work of art in limited edition inspired by their relationship with Warhol. Exclusive Limited Edition 12" x 12" Box Set of only 1,964 copies!

Features:
- 4 x 180g audiophile vinyl LPs
- 3 CDs
- Sixteen 12" x 12" collector quality color offset lithographs
- Artist photos
- Liner Notes
- Limited Edition of only 1,964 copies


Track Listing:
LP1
1. The First Time - Ivan Karp
2. When I Paint My Masterpiece - Bob Dylan
3. Titles - Path Soong
4. Thanks For Nothing - John Giorno
5. Maha Mantra - Billy Name
6. Light - Ultra Violet
7. Vienna - Lawrence Weiner

LP2
1. Conversation - Vincent Fremont & Brigid Berlin
2. Conversation - Vincent Fremont & Brigid Berlin

LP3
1. Edie - Patti Smith
2. What About Me? - Christopher Makos
3. Waiting For My 15 Minutes - Yura Adams
4. Silkscreen - Alexander Heirici
5. Glitch City - Connie Beckley

LP4
1. Silk Scream Liz - Connie Beckley
2. Factory - Nat Finklestein
3. Warhol Soundscape - Susan Breen
4. Uh Yes Uh No - Jeff Gordan

CD1
1. The First Time - Ivan Karp
2. When I Paint My Masterpiece - Bob Dylan
3. Titles - Path Soong
4. Thanks For Nothing - John Giorno
5. Maha Mantra - Billy Name
6. Light - Ultra Violet
7. Vienna - Lawrence Weiner

CD2
1. Conversation - Vincent Fremont & Brigid Berlin
2. Conversation - Vincent Fremont & Brigid Berlin

CD3
1. Edie - Patti Smith
2. What About Me? - Christopher Makos
3. Waiting For My 15 Minutes - Yura Adams
4. Silkscreen - Alexander Heirici
5. Glitch City - Connie Beckley
6. Silk Scream Liz - Connie Beckley
7. Factory - Nat Finklestein
8. Warhol Soundscape - Susan Breen
9. Uh Yes Uh No - Jeff Gordan

1000 ONLY LIMITED EDITION

Not yet 21 and with his first album still unreleased, a largely unknown Bob Dylan was invited by New Yorks WBAI radio to perform a live broadcast for Cynthia Goodings Folksinger s Choice programme on March 11th 1962.

This legendary recording, available here for the first time on vinyl, illustrates perfectly the scope and manner of Dylans live repertoire in the months leading up to his debut release.

In addition to the three originals, all newly minted by Dylan, he covers songs by the likes of Hank Williams, Woody Guthrie and Big Joe Williams, but interestingly does not perform any tracks that would feature on his first record just weeks from release at the time of this broadcast.

Folksinger's Choice also contains the only known Dylan performances of Smokestack Lightning, Hard Travelin and Roll On, John and features the first known outings of The Death Of Emmett Till and Standing On The Highway

The 11 songs performed are liberally interspersed with chat between Bob and Cynthia, however, far from spoiling the show, this only go to enhance one of the best early recordings we have of Bob Dylan, making this LP an incredibly important early document.

Track Listing:
SIDE A

1. Lonesome Whistle Blue
2. Conversation pt.1
3. Fixin To Die
4. Conversation pt.2
5. Tell Me Baby

SIDE B

6. Conversation pt.3
7. Hard Travel
8. Conversation pt.4
9. Death Of Emmett Till
10. Conversation pt.5
11. Standing On The Highway

SIDE C

12. Conversation pt.6
13. Long John
14. Conversation pt.7
15. Stealin
16. Conversation pt.8

SIDE D

17. Long Time Man Feel Bad
18. Conversation pt.9
19. Baby Please Dont Go
20. Conversation pt.10
21. Hard Times In New York

Recorded at his Malibu home in his garage studio, it's filled with traditional Folk songs, Bluegrass standards & other covers. There isn't an original composition in sight; still it's an intimate portrait of a legendary musician.

Original vinyls aren't easy to come by, so it was a no-brainer to re-issue this classic album!

Track Listing:
1. Frankie & Albert
2. Jim Jones
3. Blackjack Davey
4. Canadee-I-O
5. Sittin' On Top Of The World
6. Little Magie
7. Hard Times

1. Step It Up And Go
2. Tomorrow Night
3. Arthur McBride
4. You're Gonna Quit Me
5. Diamond Joe
6. Froggie Went A Courtin'

It is the follow up of the 1974 live album 'Before The Flood' which is also released by Music on Vinyl.

Oddly enough, the album is named after one of his most famous songs, 'A Hard Rain's A-Gonna Fall' but that song happens to be missing from the album. The fact that it poured rain for most of the concert may be the reason for the title.

Track Listing:
1. Maggie's Farm
2. One Too Many Mornings
3. Stuck Inside Of Mobile With The Memphis Blues Again
4. Oh, Sister
5. Lay, Lady, Lay

1. Shelter From The Storm
2. You'Re A Big Girl Now
3. I Threw It All Away
4. Idiot Wind

Highway 61 Revisited is a landmark. Recorded in 1965, during the same tumultuous summer that had seen him plugging in his electric guitar at the Newport Folk Festival, Highway 61 Revisited is Bob Dylan diving head-first into the rock and roll maelstrom, backed by the studio prowess of Al Kooper, Michael Bloomfield and others on such devastating classics as the epochal Like A Rolling Stone. This Sundazed edition is an exact reproduction of the rare original 1965 mono album, featuring the original sleeve-notes and photos, and all-analog mastering from the absolute original source tapes.

* 180 grams audiophile vinyl
* Remastered Mono Edition

Highway 61 Revisited is a landmark -recorded in 1965, during the same tumultuous summer that had seen him plugging in his electric guitar at the Newport Folk Festival, Highway 61 Revisited is Bob Dylan diving head-first into the rock and roll maelstrom, backed by the studio prowess of Al Kooper, Michael Bloomfield and others on such devastating classics as the epochal Like A Rolling Stone. This Sundazed edition is an exact reproduction of the rare original 1965 mono album, featuring the original sleeve-notes and photos, and all-analog mastering from the absolute original source tapes.
This is the second release in Sundazed's ongoing campaign in cooperation with Columbia Records and Bob Dylan's organization to restore and issue the Bob Dylan catalog on vinyl, in gorgeous, accurate analog sound.

1965 Set Also Includes "Ballad of a Thin Man," "Desolation Row," and "Just Like Tom Thumb's Blues"

Its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind nearly five decades after its release.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality sound—so much so that the record’s famous first lightning-strike note is now indeed the “snare shot that sound[s] like somebody’d kicked open the door to your mind,” as once described by Bruce Springsteen.

Teeming with organic energy, palpable voltage, and countless textures, the LP faithfully recreates the dimensions, vibes, and events associated with the six days Dylan and Co. spent at Columbia’s Studio A. Everything from the soundstages to dynamics, instrumental separation to balances, resonates with enormous might and insightful perspective. Wider grooves mean more information reaches your ears.

Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle.

Outside of “Like a Rolling Stone”—the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol—every tune was captured shortly after Dylan’s contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan’s sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as “Ballad of a Thin Man,” “Queen Jane Approximately,” “Tombstone Blues,” and the stupefying “Desolation Row.”

At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons—and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses—are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper’s Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity.

Track Listing:
1. Like a Rolling Stone
2. Tombstone Blues
3. It Takes a Lot to Laugh, It Takes a Train to Cry
4. From a Buick 6
5. Ballad of a Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited
8. Just Like Tom Thumb's Blues
9. Desolation Row

Track Listing:
1. You're No Good
2. Talkin New York
3. In My Time of Dyin'
4. Man of Constant Sorrow
5. Fixin' To Die
6. Pretty Peggy-O
7. Highway 51
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song To Woody
13. See That My Grave Is Kept Clean
14. Mixed-Up Confusion

Featuring songs from and inspired by the acclaimed film, the I'm Not There collection premieres new interpretations of Bob Dylan songs performed by an eclectic cavalcade of celebrated contemporary musicians.

I'm Not There includes two versions of the enigmatic title track, a new interpretation performed by Sonic Youth and the original Bob Dylan recording, a rare oft-bootlegged outtake from The Basement Tapes sessions which has been previously unavailable on any official release.

Artists include Eddie Vedder, Sonic Youth, Jack Johnson, Cat Power, The Black Keys, Jim James, Sufjan Steven, Calexico, Iron & Wine, Jeff Tweedy, Willie Nelson, Los Lobos, Yo La Tengo, Ramblin' Jack Elliot, Stephen Malkmus, Karen O and many more.

Track Listing:
1. All Along the Watchtower
2. I'm Not There
3. Goin' to Acapulco
4. Tombstone Blues
5. Ballad of a Thin Man
6. Stuck Inside of Mobile with the Memphis Blues Again
7. Pressing On
8. Fouth Time Around
9. Dark Eyes
10. Highway 61 Revisited
11. One More Cup of Coffee
12. The Lonesome Death of Hattie Carroll
13. Billy, Pt. 1
14. Simple Twist of Fate
15. Man in the Long Black Coat
16. Señor (Tales of Yankee Power)
17. As I Went out One Morning
18. Can't Leave Her Behind
19. Ring Them Bells
20. Just Like a Woman
21. Mama, You've Been on My Mind/A Fraction of Last Thoughts on Woody Guthr
22. I Wanna Be Your Lover
23. You Ain't Goin' Nowhere
24. Can You Please Crawl out Your Window?
25. Just Like Tom Thumb's Blues
26. The Wicked Messenger
27. Cold Irons Bound
28. The Times They Are a Changin'
29. Maggie's Farm
30. When the Ship Comes In
31. Moonshiner - Traditional
32. I Dreamed I Saw St. Augustine
33. Knockin' on Heaven's Door
34. I'm Not There

Ranking near the top of anyone's list of Dylan's masterpieces, this post-motorcycle-accident career-turning-point finds Dylan veering from the razor-edged desperation of "All Along The Watchtower" to the gentle, back-porch sway of "I'll Be Your Baby Tonight", and all points in between. Back at last, in its ultra-rare original mono mix, this landmark LP - cut with the cream of Nashville's studio cats and generally credited as a blueprint for the era's country-rock movement

Track Listing:
1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St Augustine
4. All Along The Watchtower
5. The Ballad Of Frankie Lee & Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am A Lonesome Hobo
9. I Pity The Poor Immigrant
10. The Wicked Messenger
11. Down Along The Cove
12. I'll Be your Baby Tonight

Ranking near the top of anyone's list of Dylan's masterpieces, this post-motorcycle-accident career-turning-point finds Dylan veering from the razor-edged desperation of "½All Along The Watchtower" to the gentle, back-porch sway of "I'll Be Your Baby Tonight", and all points in between. Back at last, in its ultra-rare original mono mix, this landmark LP -cut with the cream of Nashville's studio cats and generally credited as a blueprint for the era's country-rock movement -sizzles on Sundazed 180-gram vinyl, as always, the industry standard.

Track Listing:
1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St Augustine
4. All Along The Watchtower
5. The Ballad Of Frankie Lee & Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am A Lonesome Hobo
9. I Pity The Poor Immigrant
10. The Wicked Messenger
11. Down Along The Cove
12. I'll Be your Baby Tonight

Includes Original Version of "All Along the Watchtower"

Leave it to Bob Dylan to follow three of the most pioneering electric-based albums in history by again deviating from the norm and straying from expectation. Hinting at a return to his folk roots and firmly pointing toward the field that became country rock, John Wesley Harding breathes with relief and freshness, the sound of an artist re-engaging with the past, forging a future, and stepping into new realms after recovering from an accident and unimaginable pressure.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 45RPM analog version presents the 1967 album with the finite details and impressionistic tones. Immediately notable for the slimmed-down instrumentation, brisk flow, and simple approach, the record continues to endure via a rustic, era-defying naturalism tied to the organic sounds and warm production swathing Dylan’s acoustic guitar, mellow voice, breezy harmonica, and minor accompaniments. All of these traits translate with incredible realism and lifelike air on this reissue, which also brings out the low end of Charlie McCoy’s bass with a previously unheard supple character. Wider grooves mean more information reaches your ears.

Recorded around the same time as the sessions that yielded The Basement Tapes, John Wesley Harding came together after just three studio sessions and approximately 12 hours of time. While many specifics are shrouded in mystery, a majority of songs are tied to Biblical figures, ominous matters, and morality themes. Making not just a clear sonic break from his most recent efforts, but a songwriting transformation as well, Dylan embraces a strict economy of scale, dropping beat-poetry techniques in favor of stanzas that waste no words and progress narratives at every turn. It’s as if the Bard is saying that truth is spoken here. Few, if any artists, have captured the American myth and its population of immigrants, drifters, and outlaws with such convincing scope and parabolic sagacity.

Combined with the lyrical evolution and unabashed move towards country conventions, Dylan manages to turn popular music on its side, forging a subdued hybrid style no other peers had yet attempted. Arriving during a period of intense experimentalism and psychedelia, John Wesley Harding functions as a sigh of relief, a piano- and pedal steel-flavored set steeped in requisite simplicity in an environment that was increasingly marked by chaos and madness.

Climbing to number two on the Billboard charts and quickly tallying one million in sales, the pared-down work resonated with a public ensnared by its myriad charms. Then, of course, there’s the utter brilliance of every one of the songs here, each seemingly occupying a timeless space that suggests they could’ve been made in 1967, 1937, or 2007. With “All Along the Watchtower,” Dylan landed upon a tune that would soon become one of the most-covered and revered tracks in history. And yet it isn’t even a standout on an album on which every note just belongs.

Track Listing:
1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St. Augustine
4. All Along the Watchtower
5. The Ballad of Frankie Lee and Judas Priest
6. Drifter's Escape
7. Dear Landlord
8. I Am a Lonesome Hobo
9. I Pity the Poor Immigrant
10. The Wicked Messenger
11. Down Along the Cove
12. I'll Be Your Baby Tonight

LP2
1. Les Crane Introduction
2. It’s All Over Now Baby Blue
3. Les Crane Interview Pt.1
4. Les Crane Interview Pt.2
5. It’s Alright Ma

Written in 1965 in the wake of an exhausting tour of England, "Like A Rolling Stone" was recorded a few weeks later. The track has been described as revolutionary in its combination of different musical elements, the youthful, cynical sound of Dylan's voice, and the directness of the question in the chorus: "How does it feel?". "Like a Rolling Stone" transformed Dylan's career and is today considered one of the most influential compositions in post-war popular music and has since its release been both a music industry and popular culture milestone which elevated Dylan's image to iconic.

The B-side of this collector's edition LP contains "Gates of Eden," a song from Bringing It All Back Home, Dylan's 5th album. One of his more surreal songs, it was recorded in one take in 1965. These two great tracks can be found on this 7" 45 RPM single, along with an official artist t-shirt in a custom box.

Track Listing:
1. Like A Rolling Stone (2011 Master for 7" Box)
2. Gates Of Eden (2010 mono version)

Bob Dylan's 'Love & Theft' was a true return to form, his 30th studio album, with the unfortunate release date of September 11, 2001. His voice is shot, but he sounds warmer, more relaxed, and old Mr. Grumpy is as good humoured as on 'The Basement Tapes' (MOVLP 429). Bob is in a wistful, elegiac, playful mood. He has recovered the humanity he lost on 'Time Out Of Mind', and is looking on life with loving eyes. He has thrown off the weight of life and is remembering a better self. And that makes this one of his more accessible albums, despite a lack of high-flying hit songs. With beautiful printed inner sleeves, this is the first vinyl re-issue since 2001!

Track Listing:
1.  Tweedle Dee & Tweedle Dum
2.  Mississippi
3.  Summer Days

1.  Bye And Bye 3:16
2.  Lonesome Day Blues 6:04
3.  Floater (Too Much To Ask) 4:59

1.  High Water (For Charlie Patton)
2.  Moonlight
3.  Honest With Me

1.  Po' Boy
2.  Cry A While
3.  Sugar Baby

Includes Duet With Johnny Cash, Plus "Lay Lady Lay" and "Tonight I'll Be Staying Here With You"

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan’s vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it’s always deserved. Wider grooves mean more information reaches your ears.

“Is it rolling, Bob?,” Dylan famously queries producer Bob Johnson at the beginning of “To Be Alone With You,” indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album—arguably the most unique in the artist’s vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs’ moods to the amicable arrangements reacts against the era’s turmoil and popular sounds.

This beautiful and beautifully executed effort might stand as Dylan’s most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners’ heads.

Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.

As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting “Lay Lady Lay,” relief sighed on the romantic “Tonight I’ll Be Staying Here With You,” and unlimited promise expressed on the jittery “To Be Alone With You” parallel the lessons-learned yearning and genuine desire found on “One More Night,” bracing “I Threw It All Away,” and eternal “Girl From the North Country,” performed to perfection with Johnny Cash.

Track Listing:
1. Girl From the North Country
2. Nashville Skyline Rag
3. To Be Alone With You
4. I Threw It All Away
5. Peggy Day
6. Lay Lady Lay
7. One More Night
8. Tell Me That It Isn't True
9. Country Pie
10. Tonight I'll Be Staying Here With You

Besides the hits "If Not For You" and "One More Weekend", Dylan explores some peculiar paths during the tracks of this album. He's experimenting with jazz-sounds on "Sign On The Window" and "Winterlude", Rockabilly in "Went To See The Gypsy" and even spoken word in "If Dogs Run Free".

In the US 'New Morning' reached #7 going gold and in the UK it even bumped Led Zeppelin III from the number one position. Being one of the most versatile albums of Mr. Dylan this is a beautiful expansion of the Music On Vinyl catalogue!

Track Listing:
1. If Not For You
2. Day Of The Locusts
3. Time Passes Slowly
4. Went To See The Gypsy
5. Winterlude
6. If Dogs Run Free
7. New Morning
8. Sign On The Window
9. One More Weekend
10. The Man In Me
11. Three Angels
12. Father Of Night

Stunning 45RPM Reissue Boasts Phenomenally Open Sound: New Morning Has Never Enjoyed Better Fidelity

The album might have saved Bob Dylan’s career. At the least, it proved the icon still relevant, and his wits still in tact. And it immediately followed what remains the artist’s biggest disaster, the yet-unexplained and forever puzzling Self Portrait, a nearly unlistenable attempt that caused many to wonder whether Dylan had lost his mind. If intended as a joke, it bombed, making the sublime New Morning all the more important to restore faith in the singer’s creativity and songwriting prowess. It did all this and more, and stands as his finest studio effort during a five-year span.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed at RTI, this restored 45RPM analog version spotlights the open, woozy sound that welcomes wholeheartedly Dylan’s piano, several eager guitars, female background singers, Al Kooper’s organ, and snappy drumming into a world of their own. New Morning remains one of Dylan’s loosest and jovial affairs, the instruments retaining an off-the-cuff sensibility relating to a nightclub atmosphere or live stage feel. On this reissue, notes naturally dangle and fade, allowing the playful vibes and humor to come through like never before. Consequently, the album can be experienced with a new perspective. Wider grooves mean more information reaches your ears.

“Many of the songs seem to have been made up on the spot, with confidence in the ability of first-rate musicians to move in any direction at any time,” wrote Dylan expert and cultural critic Greil Marcus in his original review for the New York Times. “The riffs, inventions, and studio jams of New Morning have their own personality…the full joy of anticipating the right move and the exhilaration of hitting it square and bouncing off a chord into a new lyric.”

These observations hold true today, for the 1970 effort claims a daring flair Dylan rarely exhibited on albums before or since. Enthusiasm and excitement surround his singing, and his work on the 88s underlines the liberating arrangements. Offbeat and eclectic, the record frolics and swings, with the Bard and his crack band pursuing jazzy steps (“Sign on the Window”), shuffling spoken-word experiments (“If Dogs Run Free”), and soulful rock (“The Man In Me,” used to wonderful and prominent effect in the Coen Brothers film The Big Lebowski).

Throughout, Dylan’s phrasing communicates joyousness and simplicity seemingly carried over from the stripped-down John Wesley Harding and Nashville Skyline. The record’s dominant sentiments trace to the lead track, “If Not For You,” one of the singer’s all-time greatest singles, stitched with country threads and warmth that pervades everything that follows. Yes, New Morning may lack the iconic status of some of Dylan’s better-known records. Yet the underdog stature makes repeat listens all the more rewarding.

Track Listing:
1. If Not for You
2. Day of the Locusts
3. Time Passes Slowly
4. Went to See the Gypsy
5. Winterlude
6. If Dogs Run Free
7. New Morning
8. Sign on the Window
9. One More Weekend
10. The Man In Me
11. Three Angels
12. Father of Night

At the time of its original release, the sprawling, unconventional Self Portrait generated an immense amount of discussion and disagreement amonst Dylan admirers. The ongoing controversy surrounding the album has been fueled over the years by Dylan himself. At various times, Dylan has defended Self Portrait as a heartfelt artistic statement, dismissed it as a joke and described it as a concerted effort to escape the pressures of his unwanted status as the voice of a generation. Whatever the artist's actual intentions, Self Portrait retains a unique niche in the hearts of Dylan fans, and is often cited as an early landmark in the birth of alternative country.

Self Portrait's highlights include the Dylan originals Wigwam, later featured in the Wes Anderson film The Royal Tenenbaums; Living the Blues, subsequently covered by artists ranging from Leon Redbone to Antony Hegarty; and The Mighty Quinn, which Manfred Mann had turned into a British Invasion hit in 1968. The latter song is one of a quartet of live tracks drawn from Dylan's legendary performances with The Band at the historic Isle of Wight festival, along with memorable versions of the Dylan standards Like a Rolling Stone, Minstrel Boy and She Belongs to Me. Also featured are Dylan's readings of a variety of outside material, ranging from his iconic interpretation of the rural folk song Copper Kettle to his distinctive takes on such familiar tunes as Paul Simon's The Boxer, Gordon Lightfoot's Early Mornin' Rain and the vintage Every Brothers hits Let It Be Me and Take a Message to Mary.

Sundazed has restored this one-of-a-kind release to its original double-LP format. Mastered from the original analog master tapes, the album is pressed on high-quality, high-definition vinyl, with meticulously reproduced original gatefold cover art.

Track Listing:
1. All the Tired Horses
2. Alberta #1
3. I Forgot More Than You'll Ever Know
4. Days of '49
5. Early Mornin' Rain
6. In Search of Little Sadie
7. Let It Be Me
8. Little Sadie
9. Woogie Boogie
10. Belle Isle
11. Living the Blues
12. Like a Rolling Stone (Live at the Isle of Wight Festival 1969)
13. Copper Kettle (The Pale Moonlight)
14. Gotta Travel On
15. Blue Moon
16. The Boxer
17. The Mighty Quinn (Quinn the Eskimo) (Live at the Isle of Wight Festival)
18. Take Me as I Am (Or Let Me Go)
19. Take a Message to Mary
20. It Hurts Me Too
21. Minstrel Boy (Live at the Isle of Wight Festival 1969)
22. She Belongs to Me (Live at the Isle of Wight Festival 1969)
23. Wigwam
24. Alberta #2

1000 ONLY LIMITED EDITION

On the morning of April 25 1963, directly after the conclusion of his final Freewheelin Bob Dylan album session, Bob journeyed to Chicago for a live club appearance and a radio interview.

The gig, on the evening of the same day, was at a newly opened club called The Bear, in which manager Albert Grossman was a partner.

But the primary reason for the 700-mile excursion west was for Dylan to appear on a radio show the following evening, hosted by the extraordinary Studs Terkel.

Capturing the entire broadcast, during which Dylan is questioned and discusses with Studs his thoughts and ideas behind both the songs he performs and others he had written by this juncture, this CD contains a legendary event during which a 21 year old Bob Dylan also performs full acoustic versions of 7 self penned numbers.

Across just over an hour of airtime, Studs and Bob chat like old friends as Dylan is prompted towards playing certain tracks from his then fairly slim body of work, but comes up trumps by pulling songs not just from his imminent second record, but including one from the album after that and showcasing 3 songs that wouldnt see the light of day on record until the 1990s.

Serving both as a historic document of a little known event in the career of a true musical icon, but also as a wholly enjoyable listening experience that stands up to numerous repeat listens.

Track Listing:
SIDE A

1. Farewell
2. Conversation pt.1
3. A Hard Rains Gonna Fall

SIDE B

4. Conversation pt.2
5. Bob Dylans Dream
6. Conversation pt.3

SIDE C

7. Boots Of Spanish Leather
8. Conversation pt.4
9. John Brown

SIDE D

10. Conversation pt.5
11. Who Killed Davey Moore
12. Conversation pt.6
13. Blowin In The Wind

Bob Dylans Tell Tale Signs: The Bootleg Series Volume 8 is the 8th installment in the best-selling and critically lauded Bootleg Series which launched in 1991. A treasure-trove of 27 songs spanning 4 Limited Edition 180g LPs, Tell Tale Signs features previously unreleased recordings and alternate versions of tracks from sessions which generated some of Bob Dylans most acclaimed and commercially successful albums from the last two decades, including Time Out Of Mind, Love And Theft, Modern Times and Oh Mercy. This must have Limited Edition 4 LP Box Set comes in 12x12 box with lift off cover and includes a download card, 60 page booklet with photos, essay and credits.

Features include; the previously unreleased songs Dreaming Of You, Red River Shore and Marching To The City from the sessions for the Grammy Award winning album, Time Out Of Mind; recordings created for the motion picture soundtracks of Lucky You (Hucks Tune), Gods & Generals (Cross The Green Mountain) and North Country (an alternate take of Tell Ole Bill); and a selection of outstanding live performances from 1989-2006 including Ring Them Bells from Dylans historic shows at New Yorks Supper Club in 1993,the unreleased Girl From The Greenbriar Shore from 1991 and a consummate rendering of High Water (for Charley Patton) from Niagara Falls in 2003.

Bob Dylan was recently awarded a Pulitzer Prize Special Citation for his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.

Track Listing:
SIDE A

1. Mississippi (Unreleased, Time Out Of Mind)
2. Most Of The Time (Alternate version, Oh Mercy)
3. Dignity (Piano Demo, Oh Mercy)
4. Someday Baby (Alternate version, Modern Times)

SIDE B

1. Red River Shore (Unreleased, Time Out Of Mind)
2. Tell Ol Bill (Alternate version, North Country soundtrack)
3. Born In Time (Unreleased, Oh Mercy)

SIDE C

1. Cant Wait (Alternate Version, Time Out Of Mind)
2. Everything Is Broken (Alternate version, Oh Mercy)
3. Dreamin Of You (Unreleased, Time Out Of Mind)
4. Hucks Tune (From Lucky You Soundtrack)

SIDE D

1. Marchin To The City (Unreleased, Time Out Of Mind)
2. High Water (For Charley Patton) (Live, 2003)
3. Mississippi (Unreleased version #2, Time Out of Mind)

SIDE E

1. 32-20 Blues (Unreleased, World Gone Wrong)
2. Series Of Dreams (Unreleased, Oh Mercy)
3. God Knows (Unreleased, Oh Mercy)
4. Cant Escape From You (Unreleased, December 2005)

SIDE F

1. Dignity (Unreleased, Oh Mercy)
2. Ring Them Bells (Live at The Supper Club, 1993)
3. Cocaine Blues (Live, 1997)

SIDE G

1. Aint Talkin (Alternate version, Modern Times)
2. The Girl On The Greenbriar
3. Shore (Live, 1992)
4. Lonesome Day Blues (Live, 2002)

SIDE H

1. Miss The Mississippi (Unreleased, 1992)
2. The Lonesome River (With Ralph Stanley)
3. Cross the Green Mountain (From Gods and Generals soundtrack)

The new album, produced by Jack Frost, is the 35th studio set from Bob Dylan, and follows 2009’s worldwide best-seller, Together Through Life. Bob Dylan’s four previous studio albums have been universally hailed as among the best of his storied career, achieving new levels of commercial success and critical acclaim for the artist. The Platinum-selling Time Out Of Mind from 1997 earned multiple Grammy Awards, including Album Of The Year, while “Love and Theft” continued Dylan’s Platinum streak and earned several Grammy nominations and a statue for Best Contemporary Folk album.

Modern Times, released in 2006, became one of the artist’s most popular albums, selling more than 2.5 million copies worldwide and earning Dylan two more Grammys. Together Through Life became the artist’s first album to debut at #1 in both the U.S. and the UK, as well as in five other countries, on its way to surpassing sales of one million copies. Those four releases fell within a 12-year creative span that also included the recording of an Oscar- and Golden Globe-winning composition, “Things Have Changed,” from the film Wonder Boys, in 2001; a worldwide bestselling memoir, Chronicles Vol. 1, which spent 19 weeks on the New York Times Best Seller List, in 2004, and a Martin Scorsese-directed documentary, No Direction Home, in 2005. Bob Dylan also released his first collection of holiday standards, Christmas In The Heart, in 2009, with all of the artist’s royalties from that album being donated to hunger charities around the world. This year, Bob Dylan was the recipient of the Presidential Medal of Freedom, the country’s highest civilian honor. He was awarded a special Pulitzer Prize in 2008 for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.” He was also the recipient of the French Commandeur des Arts et des Lettres in 1990, Sweden’s Polar Music Award in 2000 and several Doctorates including the University of St. Andrews and Princeton University as well as numerous other honors.

Track Listing:
1. Duquesne Whistle
2. Soon After Midnight
3. Narrow Way
4. Long And Wasted Years
5. Pay In Blood
6. Scarlet Town
7. Early Roman Kings
8. Tin Angel
9. Tempest
10. Roll On John

Recorded in Basement of Big Pink with The Band: Modern Americana Starts Here

• Audiophile Sound at Last: Sonic Subtleties, Loose Interplay, Organic Spirit, Warm Textures Presented Like Never Before on Definitive Mobile Fidelity Reissue
• Dylan at His Most Humorous, Unguarded, Loose: Folk Tales, Weird Narratives, Rock Ballads, Inside Jokes, Allusions Pepper Alchemic Material
• Includes This Wheels on Fire, You Aint Goin Nowhere, Tears of Rage, Million Dollar Bash, Yazoo Street Scandal

The Freewheelin Bob Dylan, Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, and Blood on the Tracks Also Available from Mobile Fidelity

Basements have long been associated with raw, off-the-cuff rock n roll, the damp and dark spaces serving as the woodshedding venues for countless bands. Yet no basement is more famous, and none yielded music as familiarly weird, wholesomely American, joyously loose, and identifiably humorous as that in the upstate New York house dubbed Big Pinkthe location where, during the summer and early fall of 1967, Bob Dylan and The Band played a vivid tapestry of covers, originals, and traditionals that signaled the advent of Americana. Once again, the Bard changed the world.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LPs at RTI. The end result is the very finest, most transparent analog edition of The Basement Tapes ever producedand the first-ever analog reissue. Inimitable, the particulars of The Basement Tapesespecially, the gather-round-in-a-huddle assembly of the instrumentalists, home-made character, domestic vibe, and low-volume nature of the recordingscome to fore here in a manner that takes the listener down the stairs at 2188 Stoll Road and brings the images of Dylan, Rick Danko, Robbie Robertson, and Co. to life.

Fresh off experiencing a motorcycle accident and the wrath of audiences hostile to his embrace of amplified music, Dylan elected to retreat to the comforts of rural and family life. He soon began collaborating with members of the Band in his house, ultimately moving the sessions to Big Pink. Informal, peaceful, relaxed, open-minded: The collaborations blanket country stomps, roots hootenannies, forgotten spirituals, earthy originals, chaotic marches, dreamscapes, dance tunes, folk laments, catch-as-you-can improvisations. On The Basement Tapes, mythical ghosts and dead legends reappear, reveling in the absurdity, comedy, mystery, aura, and alchemy.

In Invisible Republic, his scintillating book about the sessions, cultural critic Greil Marcus states: At a time when the country was tearing itself apart in a war at home over a war abroad, the music was funny and comforting; it was also strange, and somehow incomplete. Out of some odd displacement of art and time, the music seemed both transparent and inexplicable when it was first heard, and it still does. Indeed, The Basement Tapes appear to emanate from an indefinable chasm between modern and ancient, self-evident and mysterious, shapeless and fully formed, abstract and concrete, histories unwritten and chronicled. But every note chimes with freenessa liberating fun, humble simplicity, and bond-creating camaraderie felt in every hoot, holler, laugh, and false start.

The Basement Tapes capacity to remain so gloriously honest and timelessperformances that genuinely couldve been made today, ten years from now, or back in the 1930shelps account for their emotional resonance and unsurpassed reputation as a snapshot of how unencumbered American music, and art with deep historical roots and connective cultural tissues, is supposed to sound.

Mobile Fidelitys reissue squares away the late-night bleariness, jovial atmosphere, low-ceiling dimensions, and ensemble-based perspective of the sessions, allowing the listener to become Hamlet, the dog who slept nearby Dylan, Robertson, and Co. as it all went down. This is not to be missed.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Extremely Limited!

Only available at SoundStageDirect!

Now THIS is a soundtrack! No grunge bands covering cheesy '70s hits, no retro chic, no rap-techno-country-opera superstar crossovers, just an eclectic selection of tunes by some quality performers. You get obscure tracks from Dylan and Captain Beefheart, some sublime vocalizing from Yma Sumac and Nina Simone, and cuts from world-class artists like Moondog and Meredith Monk, whose creativity exceeds their popularity. The film music quota is covered by a slice of Mancini ("Lujon") and the perversity quota filled by the Gipsy Kings' version of "Hotel California." Did we mention the previously unreleased Elvis Costello cut and the Stones cover from late great Texas songwriting legend Townes Van Zandt?

This title is not eligible for discount.

Track Listing:
Side 1
1. Bob Dylan - The Man In Me
2. Captain Beefheart - Her Eyes Are A Blue Million Miles
3. Elvis Costello - My Mood Swings
4. Yma Sumac - Ataypura
5. Piero Piccioni - Traffic Boom
6. Nina Simone - I Got It Bad and That Ain't Good
7. Moondog with Orchestra - Stamping Ground
8. Kenny Rogers & The First Edition - Just Dropped In (To See What
Condition My Condition Was In)

Side 2
1. Meredith Monk - Walking Song
2. Gluck Das Mir Verblieb - from the opera "Die Tote Stadt"
3. Henry Mancini - Lujon
4. Gipsy Kings - Hotel California
5. Carter Burwell - Wie Glauben
6. Townes Van Zandt - Dead Flowers

Dylans 1963 Sophomore Effort Marks the Beginning of a Cultural Sea Change

Wider Grooves, Superior Sound: Mobile Fidelitys 45RPM Edition The Last Word in Analog Fidelity

Records Ambitious Poetry, Melodies, and Moral Conviction Transformed Songwriting, Folk, and Pop

Includes Masters of War, Blowin in the Wind, and A Hard Rains A-Gonna Fall

Another Side of Bob Dylan, Bringing It All Back Home, Blonde on Blonde, Blood on the Tracks, and The Basement Tapes Also Available from Mobile Fidelity

Its the album the ignited sea changes in pop culture, music, songwriting, poetry, and the social consciousness. Its the creation of a 22-year-old visionary still years away from casting a jaundiced eye to the media. Its the sound of change, the feeling of ground shifting beneath ones feet, and the entrance of an entirely new way of thinking. Its the effective beginning of whats arguably the boldest career in music history, the yawning vortex into the complex mind, supernatural wordplay, and folk techniques of a vocalist/guitarist whose name is forever associated with transformation. Its The Freewheelin Bob Dylan.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog edition of The Freewheelin Bob Dylan ever produced. Never before has the resonance of his nylon guitar strings, fingerpicked notes, shivering harmonica fills, or plainspoken timbre possessed such clarity, openness, body, or realism.

With the advantage of wider and deeper grooves, the 45RPM pressing affords the opportunity to detect more information and lavish in extra richness. Whether its the exaggerated nasal accents employed on Down the Highway or the decay of each strummed line on the entirely acoustic album, previously concealed details, microdynamics, and ambient cues surfaceenhancing the listeners experience and taking them inside Columbias Studio A where history was made by leaps and bounds.

Exponentially surpassing the potential he demonstrated on his debut, Dylan became a mirror of the concerns, issues, and feelings confronting the nation. Writing and singing with penetrating honesty, observational wit, moral conviction, and scathing emotion, he digs into the madness of war (Masters of War, A Hard Rains A-Gonna Fall), hypocrisy of segregation (Oxford Town), urgency of civil rights and freedom (Blowin in the Wind), and multiple angles of unrequited love (Girl From the North Country, Dont Think Twice Its All Right) with a literate astuteness and depth that, nearly 50 years later, still leave audiences slack-jawed. Satire, absurdist humor, and traditional blues also pepper the album, which rests upon graceful melodies and sparse, poignant patterns.

Viewed as protest songs, love songs, folk songs, or talking blues songs, the material on The Freewheelin Bob Dylan remains amongst the most astonishing and imaginative ever committed to tape. It deservesas much as you deservea fidelity that makes as closely intimate as possible the musics connection with you. You deserve this edition.

Given the sonic and artistic merit of this album, we anticipate huge demand.

Track Listing:
1. Blowin in the Wind
2. Girl From the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylans Blues
6. A Hard Rains A-Gonna Fall
7. Dont Think Twice, Its All Right
8. Bob Dylans Dream
9. Oxford Town
10. Talking World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

An exact reproduction of Bob Dylan's 1963 breakthrough LP in accurate, vintage mono sound, with all-analog mastering from the original master tapes. The Freewheelin' Bob Dylan, his second album, is filled top to bottom with classics, including Blowin' In The Wind, Don't Think Twice, It's All Right, Masters Of War and A Hard Rain's A-Gonna Fall.

Track Listing:
1. Blowin' in the Wind
2. Girl of the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylan's Blues
6. A Hard Rain's A-Gonna Fall
7. Don't Think Twice, It's All Right
8. Bob Dylan's Dream
9. Oxford Town
10. Talkin' World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

An exact repro of Bob Dylan's 1963 breakthrough LP in accurate, vintage mono sound, with all-analog mastering from the original master tapes. The Freewheelin' Bob Dylan, his second album, is filled top to bottom with classics, including Blowin' In The Wind, Don't Think Twice, It's All Right, Masters Of War and A Hard Rain's A-Gonna Fall.

Track Listing:
1. Blowin' in the Wind
2. Girl of the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylan's Blues
6. A Hard Rain's A-Gonna Fall
7. Don't Think Twice, It's All Right
8. Bob Dylan's Dream
9. Oxford Town
10. Talkin' World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

Further to BDAs previous collections (Carnegie Hall & The Minnesota Party Tape) comes the third album in the 1961 series of rare and previously unreleased Dylan material . This time showcasing an early stint at the infamous Gaslight Cafe in NYCs Greenwich Village, and the December recordings made at his friend Bonnie Beechers apartment back in Minnesota - the same venue that witnessed the Party Tape in May of the same year.

Dylan played the Gaslight a number of times but this particular performance is one of only two for which any recordings exist - it is believed to be the set he played there on 6th September 61.

Bonnie Beechers apartment (aka the Minneapolis Hotel) was a regular stopping off point for Bob on his way home to visit his parents in Hibbing, and while there he would often play in front of old college friends. This recording was made a few days before Christmas - on 22nd December 1961- en route to spending the festivities with his folks. Both recordings here feature the very best sound recordings known to exist making this LP both a hugely important historical document and a delightful collection of Bob Dylan’s earliest work.

Track Listing:
LP1
1. Man On The Street
2. He Was A Friend Of Mine
3. Talking Bear Mountain Picnic Massacre Blues
4. Song To Woody
5. Pretty Polly
6. Car, Car
7. Candy Man
8. Stealin, Stealin
9. Its Hard
10. Man Of Constant Sorrow
11. Omie Wise
12. In The Evening

LP2
13. Baby Let Me Follow You Down
14. Sally Gal
15. Gospel Plow
16. Long John
17. Cocaine
18. VD Blues
19. VD Waltz
20. VD City
21. VD Gunners Blues
22. See That My Grave Is Kept Clean
23. Ramblin Round
24. Black Cross

Rare live recordings featuring some of Bob Dylan's earliest performances committed to tape. Recorded at the home of Bonnie Beecher in Minneapolis, Minnesota, May 1961.

By May 1961 Bob Dylan had been living in New York and working the Greenwich Village cafés and folk clubs for nearly five months. With the harsh winter now gone, Dylan decided it was time to return north to Hibbing, Minnesota to spend some time with his parents. While en route, Bob stopped off in Minneapolis to visit some of the friends he had made during his time at college there. This would be the first of several visits to Minneapolis and a pattern would soon emerge. Whenever he returned, Bob would crash in the apartment of Bonnie Jean Beecher, a girl he had dated while in college, and Dylan would thereafter jokingly refer to her apartment as either the Beecher Hotel or Minneapolis Hotel . These forays to Minneapolis enabled Dylan to use a friend's tape recorder to capture what progress he had made musically during his time in New York. Eager to demonstrate how much he had learned while living in the Big Apple, he performed on several occasions for his old friends, and the so-called Minnesota Party Tape is the combined result of either two or, more probably, three of these May sessions. Whilst this tape illustrate how much Dylan had progressed in the four months since he left Minneapolis for New York, his performances still consisted of blues, folk and Guthrie numbers with only the final song, Bonnie, Why'd You Cut My Hair? , being an eccentric Dylan original. As one of the earliest documents of Dylan's musicianship however it captures the birth of an icon, and thus provides essential listening for everyone with even a hint of interest in the genesis of Bob Dylan and of popular music more generally.

LP2
13. Don't Push Me Down
14. Come See
15. I Want My Milk
16. San Francisco Bay Blues
17. Long Time A-Growin'
18. Devilish Mary
19. Railroad Bill
20. Will The Circle Be Broken
21. Man Of Constant Sorrow
22. Pretty Polly
23. Railroad Boy
24. James Alley Blues
25. Bonnie, Why'd You Cut My Hair?

Cut from the Original Analog Mono Masters by George Marino at Sterling Sound: These Records Have NEVER Sounded Better in Any Format

This is the ULTIMATE AUDIOPHILE Dylan LP Box: Don't Miss Some of the Most Timeless and Crucial Music Ever Recorded in Sound That Rivals What Was Heard in the Studio Control Room

Each Disc Comes With Individual Jacket Replete With Original Artwork and Inserts

Hear Dylan's Most Definitive Albums As They Were Meant to be Experienced: In Mono

Includes Deluxe Booklet + Rare Photos and Greil Marcus Essay

Bob Dylans first eight groundbreaking albums are returning for the first time ever in a limited edition box set of newly re-mastered mono versions on fully analog 180-gram vinyl.

The Original Mono Recordings are comprised of these albums painstakingly reproduced from their first generation monaural mixes as the artist intended them to be heard: One channel of powerful sound, both direct and immediate. While stereo recordings had been available as early as the mid-1950s, mono was still the predominant and often preferred mode of recording and mixing by the top artists of the 1960s. As a result, artists like The Beatles, The Rolling Stones and Bob Dylan devoted their attention to the mono mixes, leaving the stereo mixing process to studio engineers.

As is fitting for a box of this magnitude, The Original Mono Recordings are accompanied by a deluxe booklet, featuring vintage photographs of Bob Dylan and an expansive essay from renowned author and critic and longtime Dylan aficionado Greil Marcus. Each disc in the set comes in its own individual jacket which faithfully replicates the original album artwork, complete with labels and stickers that were found on the original 1960s releases.

Cut from the original analog mono masters by the legendary George Marino at Sterling Sound, we guarantee this is the best you will ever hear Dylan sound. This set is simply unprecedented--some of the most important and timeless music ever made, now in jaw-dropping sound that rivals what was heard in the studio control room. Don't miss this!

Also includes a limited edition 18" x 24" Bob Dylan poster.

The Original Mono Recordings Box Set Includes:

Bob Dylan 1962
The Freewheelin Bob Dylan 1963
The Times They Are A-Changin 1964
Another Side Of Bob Dylan 1964
Bringing It All Back Home 1965
Highway 61 Revisited 1965
Blonde on Blonde (2 LP) 1966
John Wesley Harding 1967


Track Listing:
Bob Dylan 1962

1. You're No Good
2. Talkin' New York
3. In My Time of Dyin'
4. Man Of Constant Sorrow
5. Fixin' To Die
6. Pretty Peggy-O
7. Highway 51 Blues
8. Gospel Plow
9. Baby, Let Me Follow You Down
10. House Of the Risin' Sun
11. Freight Train Blues
12. Song To Woody
13. See That My Grave Is Kept Clean

The Freewheelin Bob Dylan 1963

1. Blowin' in the Wind
2. Girl of the North Country
3. Masters of War
4. Down the Highway
5. Bob Dylan's Blues
6. A Hard Rain's A-Gonna Fall
7. Don't Think Twice, It's All Right 8. Bob Dylan's Dream
9. Oxford Town
10. Talkin' World War III Blues
11. Corrina, Corrina
12. Honey, Just Allow Me One More Chance
13. I Shall Be Free

The Times They Are A-Changin 1964

1. The Times They Are A-Changin
2. Ballad Of Hollis Brown
3. With God On Our Side
4. One Too Many Mornings
5. North Country Blues
6. Only A Pawn In Their Game
7. Boots Of Spanish Leather
8. When The Ship Comes In
9. The Lonesome Death Of Hattie Carroll
10. Restless Farewell

Another Side Of Bob Dylan 1964

1. All I Really Want To Do
2. Black Crow Blues
3. Spanish Harlem Incident
4. Chimes Of Freedom
5. I Shall Be FreeNo. 10
6. To Ramona
7. Motorpsycho Nitemare
8. My Back Pages
9. I Dont Believe You
10. Ballad In Plain D
11. It Aint Me Babe

Bringing It All Back Home 1965

1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggies Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On The Road Again
7. Bob Dylans 115th Dream
8. Mr. Tambourine Man
9. Gates Of Eden
10. Its Alright Ma (Im Only Bleeding)
11. Its All Over Now, Baby Blue

Highway 61 Revisited 1965

1. Like A Rolling Stone
2. Tombstone Blues
3. It Takes A Lot To Laugh, It Takes A Train To Cry
4. From A Buick 6
5. Ballad Of A Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited
8. Just Like Tom Thumbs Blues
9. Desolation Row

Blonde on Blonde (2 LP) 1966

1. Rainy Day Women # 12 & 35
2. Pledging My Time
3. Visions Of Johanna
4. One Of Us Must Know (Sooner Or Later)
5. I Want You
6. Memphis Blues Again
7. Leopard-skin Pill-box Hat
8. Just Like A Woman
9. Most Likely You Go Your Way And Ill Go Mine
10. Temporary Like Achilles
11. Absolutely Sweet Marie
12. 4th Time Around
13. Obviously 5 Believers
14. Sad Eyed Lady Of The Lowlands

John Wesley Harding 1967

1. John Wesley Harding
2. As I Went Out One Morning
3. I Dreamed I Saw St. Augustine
4. All Along The Watchtower
5. The Ballad Of Frankie Lee And Judas Priest
6. Drifters Escape
7. Dear Landlord
8. I Am A Lonesome Hobo
9. I Pity The Poor Immigrant
10. The Wicked Messenger
11. Down Along The Cove
12. Ill Be Your Baby Tonight

* 180 grams audiophile vinyl
* Remastered Mono Edition

Track Listing:
1. The Times They Are A-Changin'
2. Ballad Of Hollis Brown
3. With God On Our Side
4. One Too Many Mornings
5. North Country Blues
6. Only A Pawn In Their Game
7. Boots Of Spanish Leather
8. When The Ship Comes In
9. The Lonesome Death Of Hattie Carroll
10. Restless Farewell

Faithful to the Source: Information-Rich 45RPM Pressing Brings the Simple Sounds of Dylan’s Voice, Acoustic Guitar, and Harmonica into Lifelike Perspective

Immediately distinguished by the you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed on 180 gram LP at RTI, this restored 45RPM analog version delivers the landscape-shifting music in reference-quality sound that practically transports you to Columbia’s Studio A. Reflecting the austerity of the topics and Dylan’s mood, the sonics are direct and unadorned—each word hitting with weight, each phrase lingering until it pulls you under, each storyline echoing as fact. The hollow body of Dylan’s guitar, internal mechanisms of his harmonica, and graininess of his throat come across in full-on detail. Wider grooves mean more information reaches your ears.

Marking a shift from the looseness and comedy that pepper the preceding The Freewheelin’ Bob Dylan, The Times They Are A-Changin’ skirts any attempt at humor, sarcasm, or goofiness in favor of utmost seriousness and severity. Seemingly anticipating the dark events surrounding President Kennedy’s assassination and the turmoil that followed, Dylan eliminates with conjecture and disguise. Akin to dispatches from the typewriter of literary icons John Steinbeck and William Faulkner, his songs give voices to the voiceless, challenge cultural precepts, upend traditional beliefs with rapier wit and truths, and underline tragedies swept under the rug.

In doing so, Dylan creates stinging protest music that rallies against unchecked authority, discrimination, brutality, and division. A testament to the power of great art, The Times They Are A Changin' is a righteous assault on ignorance and agent for sweeping action, a necessary impetus for transformation and enlightenment. Via bold originals such as the nonfiction “The Lonesome Death of Hattie Carroll,” assertive “Restless Farewell,” and semi-autobiographical “North Country Blues,” Dylan casts hardships, greed, and victimization in such relatable terms it’s impossible to turn away and ignore their implications.

As correctly relayed by Dylan expert and cultural critic Greil Marcus, “[The record] forever fixed Bob Dylan in the popular imagination: the protest singer, the young man ‘able to see through metal’ (again, from Chronicles), to see through the lie and find the truth, then to hammer the truth into words and send them out with a voice that would never break.”

Track Listing:
1. The Times They Are A-Changin'
2. Ballad of Hollis Brown
3. With God on Our Side
4. One Too Many Mornings
5. North Country Blues
6. Only a Pawn in Their Game
7. Boots of Spanish Leather
8. When the Ship Comes In
9. The Lonesome Death of Hattie Carroll
10. Restless Farewell

Dylan's Formative Demos That He Used to Net a Record Deal

47 Original Recordings, Including 15 PREVIOUSLY UNRELEASED Dylan Compositions

Features Deluxe Booklet With Revelatory Photos and Insightful Essay and Notes

Another Must-Have Installment in the Phenomenal Bootleg Series

Bob Dylan's The Witmark Demos are seeing their first commercial release on 180-gram 4LP vinyl nearly five decades after they were first recorded. Listening to these 47 original recordings, one can trace Dylans dramatic growth as a songwriter from early traditionally-styled songs like Man On The Street and Ramblin Gamblin Willie through the social commentary of Blowin In The Wind, The Times They Are A Changin and Masters Of War, and the groundbreaking lyrical genius of Mr. Tambourine Man. All of these songs, and all the others on The Witmark Demos, were written and their subsequent demos recorded before Dylan turned 24 years old.

Among the many gems found on The Witmark Demos are 15 previously unreleased Dylan songs which include the plaintive Ballad For A Friend, the civil rights era-inspired Long Ago, Far Away and The Death Of Emmett Till, and the poignant Guess Im Doing Fine.

The Witmark Demos also features a deluxe booklet featuring in-depth liner notes by noted music historian Colin Escott, as well as rare photographs of Bob Dylan captured during the same period as these early recordings. Absolutely essential!

Track Listing:
LP 1 - Side A

1. Man On The Street (Fragment)
2. Hard Times In New York Town
3. Poor Boy Blues
4. Ballad For A Friend
5. Rambling, Gambling Willie
6. Talking Bear Mountain Picnic Massacre Blues
7. Standing On The Highway
8. Man On The Street

LP 1 - Side B

1. Blowin In The Wind
2. Long Ago, Far Away
3. A Hard Rains A-Gonna Fall
4. Tomorrow Is A Long Time
5. The Death of Emmett Till

LP 2 - Side A

1. Let Me Die In My Footsteps
2. Ballad Of Hollis Brown
3. Quit Your Low Down Ways
4. Baby, Im In The Mood For You
5. Bound To Lose, Bound To Win
6. All Over You
7. Id Hate To Be You On That Dreadful Day

LP 2 - Side B

1. Long Time Gone
2. Talkin John Birch Paranoid Blues
3. Masters Of War
4. Oxford Town
5. Farewell

LP 3 - Side A

1. Dont Think Twice, Its All Right
2. Walkin Down The Line
3. I Shall Be Free
4. Bob Dylans Blues
5. Bob Dylans Dream

LP 3 - Side B

1. Boots Of Spanish Leather
2. Walls of Red Wing
3. Girl From The North Country
4. Seven Curses
5. Hero Blues
6. Whatcha Gonna Do?
7. Gypsy Lou

LP 4 - Side A

1. Aint Gonna Grieve
2. John Brown
3. Only A Hobo
4. When The Ship Comes In
5. The Times They Are A-Changin
6. Paths Of Victory

In an interview on his website Dylan reveals that the record was inspired by the sound of classic 1950s Chess and Sun recordings.

I like the mood of those records, the intensity. The sound is uncluttered. Theres power and suspense. The whole vibration feels like it could be coming from inside your mind. Its alive. Its right there. Kind of sticks in your head like a toothache. The Together Through Life songs have more of a romantic edge than the music on Modern Times. The songs on Modern Times brought my repertoire up to date, and the light was directed in a certain way. You have to have somebody in mind as an audience otherwise theres no point.

There didnt seem to be any general consensus among my listeners. Some people preferred my first period songs. Some, the second. Some, the Christian period. Some, the post Colombian. Some, the Pre-Raphaelite. Some people prefer my songs from the nineties. I see that my audience now doesnt particular care what period the songs are from. They feel style and substance in a more visceral way and let it go at that. Images dont hang anybody up. Like if theres an astrologer with a criminal record in one of my songs its not going to make anybody wonder if the human race is doomed. Images are taken at face value and it kind of freed me up.

This Double 180g Vinyl version also includes a full-length bonus CD.

Track Listing:
1. I Feel A Change Comin' On
2. It's All Good
3. Shake Shake Mama
4. If You Ever Go To Houston
5. Forgetful Heart
6. Jolene
7. This Dream Of You
8. Shake Shake Mama
9. I Feel A Change Comin' On
10. It's All Good

Crows will release their first new album in over 4 years on April 10, 2012 on Collective Sounds. Underwater Sunshine is a collection of songs, bothfamiliar and obscure, interpreted by one of themost soulful and recognizable bands of the past two decades.

Underwater Sunshine is a testament of a band geek-obsessed with music. “There’s a million great songs written every day that you discover, and wish your friends could appreciate as much as youdo,” says singer/songwriter Adam Duritz. “These songs come from bands young and old, stretching from the early 60s to last year. They’re all great and will hopefully be heard by a few more people now.”

As their first independent release, it was the right time for the Crows to make this album. “If you wonder why we didn’t just write our own record, it’s simply because we wanted to do THIS one,” says Duritz, We now have the creative freedom to release albums like this and offer our fans more music than ever.”

Track Listing:
LP 1
1. Untitled (Love Song) - By The Romany Rye
2. Start Again - By Teenage Fanclub
3. Hospital - By Coby Brown
4. Mercy - By Tender Mercies
5. Meet On The Ledge - By Fairport Convention
6. Like Teenage Gravity - By Kasey Anderson & The Honkies
7. Amie - By Pure Prairie League
8. Coming Around - By Travis

LP 2
1. Ooh La La - By The Faces
2. All My Failures - By Dawes
3. Return Of The Grevious Angel - By Gram Parsons
4. Four White Stallions - By Tender Mercies
5. Jumping Jesus - By Sordid Humor
6. You Ain't Going Nowhere - By Bob Dylan
7. The Ballad Of El Goodo - By Big Star

LP 2
1. DFW - Citizen Cope
2. Satellite - Eddie Vedder
3. Anything Made Of Paper - Bill Carter
4. House Of Pain - The White Buffalo
5. Ring Them Bells - Bob Dylan
6. Score Suite - Nick Cave & Warren Ellis
7. Damien Echols Death Row Letter - Tonto's Giant Nuts (feat. Johnny Depp, Nick Cave & Warren Ellis Score)
8. Wing (Live) - Patti Smith