Tag: Bob Dylan

Title: Bob Dylan And The Band – The Basement Tapes (1975) [MFSL 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

The official release of The Basement Tapes — which were first heard on a 1968 bootleg called The Great White Wonder — plays with history somewhat, as Robbie Robertson overemphasizes the Band’s status in the sessions, making them out to be equally active to Dylan, adding in demos not cut at the sessions and overdubbing their recordings to flesh them out. As many bootlegs (most notably the complete five-disc series) reveal, this isn’t entirely true and the Band were nowhere near as active as Dylan, but that ultimately is a bit like nitpicking, since the music here (including the Band’s) is astonishingly good. The party line on The Basement Tapes is that it is Americana, as Dylan and the Band pick up the weirdness inherent in old folk, country, and blues tunes, but it transcends mere historical arcana through its lively, humorous, full-bodied performances. Dylan never sounded as loose, nor was he ever as funny as he is here, and this positively revels in its weird, wild character. For all the apparent antecedents — and the allusions are sly and obvious in equal measure — this is truly Dylan’s show, as he majestically evokes old myths and creates new ones, resulting in a crazy quilt of blues, humor, folk, tall tales, inside jokes, and rock. The Band pretty much pick up where Dylan left off, even singing a couple of his tunes, but they play it a little straight, on both their rockers and ballads. Not a bad thing at all, since this actually winds up providing context for the wild, mercurial brilliance of Dylan’s work — and, taken together, the results (especially in this judiciously compiled form with its expert song selection, even if there’s a bit too much Band) rank among the greatest American music ever made.

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Title: Bob Dylan – Another Side Of Bob Dylan (1964) [Monoural – MFSL 2018]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

This mono hybrid SACD reissue of Bob Dylan’s Another Side of Bob Dylan (1964), limited to 3,000 copies and mastered from original tapes by Mobile Fidelity, captures Dylan’s raw emotional state with stunning clarity. The mono mix, preferred during the 1964 recording, places Dylan’s vocals at the heart of the music, free of artificial panning, as originally intended. It reveals Dylan’s unpolished delivery—laughs, false starts, and occasional off-key moments—evoking a candid, pub-staggering vibe that prioritizes authenticity over perfection. Compared to the stereo version’s less distinct separation, this mono edition offers a direct, immersive soundscape, historically significant as the format most listeners first experienced. Another Side of Bob Dylan showcases a departure from the protest-heavy The Times They Are a-Changin’, embracing a romantic, whimsical, and absurdist style. The album is more varied and successful, with Dylan expanding his musical and poetic scope beyond strict folk. Classics like “All I Really Want to Do,” “Chimes of Freedom,” “My Back Pages,” “I Don’t Believe You,” and “It Ain’t Me Babe” anchor the record. Lesser-known tracks shine with graceful, layered poetry and deeper musical complexity. The SACD’s DSD mastering enhances the intimate, warm sound, ideal for audiophiles and Dylan fans. This reissue, cataloged as MOFI SACD 0023, is a definitive presentation of one of Dylan’s finest, most versatile albums.

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Title: Bob Dylan – Another Side Of Bob Dylan (1964) [MFSL 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one — anything that wasn’t featured on the staunchly folky, protest-heavy Times They Are a-Changin’, really. Because of this, Another Side of Bob Dylan is a more varied record and it’s more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with “All I Really Want to Do,” “Chimes of Freedom,” “My Back Pages,” “I Don’t’ Believe You,” and “It Ain’t Me Babe” standing among his standards, but the key to the record’s success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan’s trying more things — this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.

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Title: Bob Dylan – Love And Theft (2001) [SACD 2003]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

“Love And Theft” (generally referred to as Love and Theft) is the thirty-first studio album by American singer-songwriter Bob Dylan, released on September 11, 2001 by Columbia Records. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at #5 on the Billboard 200, and has been certified with a gold album by the RIAA.A limited edition release included two bonus tracks on a separate disc recorded in the early 1960s, and two years later, on September 16, 2003, this album was one of fifteen Dylan titles reissued and remastered for SACD hybrid playback.

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Title: Bob Dylan – Oh Mercy (1989) [SACD 2003]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 18, 1989 by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly-reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching #30 on the Billboard charts in the United States and #6 in the UK.

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Title: Bob Dylan – Infidels (1983) [SACD 2003]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Infidels, Bob Dylan’s 22nd studio album, released in October 1983 by Columbia Records, marks his return to secular music after three evangelical gospel albums following his conversion to Christianity. Co-produced by Dylan and Mark Knopfler, the album shifts focus to personal themes of love and loss, alongside commentary on environmental and geopolitical issues, while retaining subtle religious imagery. Critics, including Christopher Connelly of Rolling Stone, praised it as Dylan’s strongest work since Blood on the Tracks, revitalizing his career with its poetic lyrics and melodic strength. The album features standout performances, backed by a band including Knopfler on guitar and Sly Dunbar on drums. It reached #20 in the U.S., earning gold certification, and #9 in the UK, reflecting strong commercial success. However, fans and critics lamented the exclusion of tracks like “Blind Willie McTell,” a career highlight later released on The Bootleg Series Volume III in 1991. The SACD reissue enhances the album’s crisp production, highlighting its nuanced sound. Infidels is essential for Dylan fans, blending introspective songwriting with social commentary. It stands as a pivotal moment in his career, balancing personal and political themes. The album’s critical acclaim and lasting impact make it a cornerstone of his 1980s output.

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Title: Bob Dylan – Slow Train Coming (1979) [SACD 2003]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

Slow Train Coming is the nineteenth studio album by American singer-songwriter Bob Dylan, released on August 20, 1979 by Columbia Records. It was the artist’s first effort since becoming a born-again Christian, and all of the songs either express his strong personal faith, or stress the importance of Christian teachings and philosophy. The evangelical nature of the record alienated many of Dylan’s existing fans; at the same time, many Christians were drawn into his fan base. Slow Train Coming was listed at #16 in the 2001 book CCM Presents: The 100 Greatest Albums in Christian Music. The album was generally well-reviewed in the secular press, and the single “Gotta Serve Somebody” became his first hit in three years, winning Dylan the Grammy for best rock vocal performance by a male in 1980. The album peaked at #2 on the charts in the UK and went platinum in the US, where it reached #3.

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Title: Bob Dylan – Street-Legal (1978) [SACD 2003]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Street-Legal is the eighteenth studio album by American singer-songwriter Bob Dylan, released on June 15, 1978 by Columbia Records. The album was a serious musical departure for Dylan, who uses a large pop-rock band—complete with female backing vocalists—for the first time.
Following the twin successes of Blood on the Tracks and Desire, Street-Legal was another gold record for Dylan, but it peaked at only #11 on the US Billboard charts, making it his first studio album to miss the US Top 10 since 1964. However, it became his best-selling studio album in the UK, reaching #2 on the charts (his highest position in eight years) and achieving platinum status with 300,000 copies sold (the only other Dylan album to do this was The Essential Bob Dylan). The original 1978 LP credits mastering to Stan Kalina at CBS Recording Studios NY; the album was produced by Don DeVito. In 1999, Street-Legal received a special remixing and remastering job from DeVito. The newer version boasted richer sound, correcting numerous issues with the original production. The new mix was also used in a 2003 SACD reissue of Street-Legal. However the original 1978 mix was reinstated for The Complete Album Collection Vol. 1.

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Title: Bob Dylan – Desire (1976) [SACD 2003]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Desire, Bob Dylan’s seventeenth studio album, released on January 5, 1976, by Columbia Records, is a collaborative masterpiece featuring musicians from the Rolling Thunder Revue, later documented in The Bootleg Series Vol. 5. Co-written largely with Jacques Levy, the album’s lengthy story-songs include backing vocals by Emmylou Harris and Ronee Blakley. Notable tracks like the 11-minute “Joey,” criticized for glorifying gangster Joey Gallo, and “Hurricane,” a passionate defense of boxer Rubin Carter’s wrongful murder conviction, sparked controversy. Following the acclaimed Blood on the Tracks, Desire topped the Billboard Pop Albums chart for five weeks, reached #3 in the UK, and earned double-platinum status in the U.S. It was named NME’s Album of the Year and ranked #174 on Rolling Stone’s 500 Greatest Albums list. The album blends folk, rock, and narrative-driven lyrics, showcasing Dylan’s storytelling prowess. The SACD reissue enhances its rich, communal sound, making it essential for Dylan fans and folk-rock enthusiasts. Desire remains a high point in Dylan’s catalog for its bold narratives and collaborative energy.

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Title: Bob Dylan – Blood On The Tracks (1975) [SACD 2003]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

Blood on the Tracks, Bob Dylan’s fifteenth studio album, released on January 20, 1975, by Columbia Records, marked his return to Columbia after two albums with Asylum. Recorded initially in New York in September 1974, Dylan re-recorded half the tracks in Minneapolis in December, resulting in a final album with five tracks from each city. The album, produced by Dylan himself, is a pinnacle of confessional songwriting, with tracks like “Tangled Up in Blue” (#31 on Billboard Hot 100) reflecting personal turmoil, possibly tied to his estrangement from his wife Sara, though Dylan denies autobiographical intent. Initially met with mixed reviews, it’s now hailed as one of Dylan’s greatest works, ranked #16 on Rolling Stone’s 500 greatest albums list (2003) and #5 on Pitchfork’s top 100 albums of the 1970s (2004). The album hit #1 on the Billboard 200 and #4 on the UK Albums Chart, earning double-platinum status in the U.S. Its raw, emotional songs, blending folk and rock, capture love’s complexities with unparalleled honesty. The SACD reissue enhances its intimate sound, making it essential for Dylan fans and singer-songwriter enthusiasts. Blood on the Tracks remains a landmark in his catalog, celebrated for its lyrical depth and enduring impact.

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