Bob Dylan – Tempest (2012) [PonoMusic 24-96]

Bob Dylan – Tempest (2012)
FLAC (tracks) 24-bit/96 kHz | Time – 01:08:31 minutes | 1,38 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: January–March 2012 at Groove Masters Studios in Santa Monica, California

Tempest is the thirty-fifth studio album by American singer-songwriter Bob Dylan, released on September 10, 2012 by Columbia Records.The album was recorded at Jackson Browne’s Groove Masters Studios in Santa Monica, California. Dylan wrote all of the songs himself with the exception of the track “Duquesne Whistle”, which he co-wrote with Robert Hunter.


Bob Dylan – Fallen Angels (2016) [PonoMusic 24-44.1]

Bob Dylan – Fallen Angels (2016) 
FLAC (tracks) 24-bit/44,1 kHz | Time – 37:55 minutes | 366 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: February 2015-March 2016, Capitol Studios, Los Angeles, US

Fallen Angels is the thirty-seventh studio album by Bob Dylan, released by Columbia Records on May 20, 2016.


Bob Dylan with The Band – Planet Waves (1974) [MFSL 2016] {SACD-R + FLAC 24-88.2}

Bob Dylan with The Band – Planet Waves (1974) [MFSL 2016]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:42 minutes | Scans included | 1,26 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 868 MB
Mobile Fidelity Sound Lab # UDSACD 2153 | Genre: Rock

Reteaming with the Band, Bob Dylan winds up with an album that recalls New Morning more than The Basement Tapes, since Planet Waves is given to a relaxed intimate tone – all the more appropriate for a collection of modest songs about domestic life. As such, it may seem a little anticlimactic since it has none of the wildness of the best Dylan and Band music of the ’60s – just an approximation of the homespun rusticness. Considering that the record was knocked out in the course of three days, its unassuming nature shouldn’t be a surprise, and sometimes it’s as much a flaw as a virtue, since there are several cuts that float into the ether. Still, it is a virtue in places, as there are moments – “On a Night Like This,” “Something There Is About You,” the lovely “Forever Young” – where it just gels, almost making the diffuse nature of the rest of the record acceptable.


Bob Dylan – John Wesley Harding (1967) [MFSL 2016] {SACD-R + FLAC 24-88.2}

Bob Dylan – John Wesley Harding (1967) [MFSL 2016]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 38:19 minutes | Scans included | 1,57 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 756 MB
Mobile Fidelity Sound Lab # UDSACD 2125 | Genre: Rock

Bob Dylan returned from exile with John Wesley Harding, a quiet, country-tinged album that split dramatically from his previous three. A calm, reflective album, John Wesley Harding strips away all of the wilder tendencies of Dylan’s rock albums – even the then-unreleased Basement Tapes he made the previous year – but it isn’t a return to his folk roots. If anything, the album is his first serious foray into country, but only a handful of songs, such as “I’ll Be Your Baby Tonight,” are straight country songs. Instead, John Wesley Harding is informed by the rustic sound of country, as well as many rural myths, with seemingly simple songs like “All Along the Watchtower,” “I Dreamed I Saw St. Augustine,” and “The Wicked Messenger” revealing several layers of meaning with repeated plays. Although the lyrics are somewhat enigmatic, the music is simple, direct, and melodic, providing a touchstone for the country-rock revolution that swept through rock in the late ’60s.


Bob Dylan – Bob Dylan’s Greatest Hits (1967) [MFSL 2016] {SACD-R + FLAC 24-88.2}

Bob Dylan – Bob Dylan’s Greatest Hits (1967) [MFSL 2016]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 40:00 minutes | Scans included | 1,64 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 783 MB
Mobile Fidelity Sound Lab # 2120 | Genre: Folk, Rock

Arriving in 1967, Greatest Hits does an excellent job of summarizing Dylan’s best-known songs from his first seven albums. At just ten songs, it’s a little brief, and the song selection may be a little predictable, but that’s actually not a bad thing, since this provides a nice sampler for the curious and casual listener, as it boasts standards from “Blowin’ in the Wind” to “Like a Rolling Stone.” And, for collectors, the brilliant non-LP single “Positively Fourth Street” was added, which provided reason enough for anybody that already owned the original records to pick this up. This has since been supplanted by more exhaustive collections, but as a sampler of Dylan at his absolute peak, this is first-rate.


Bob Dylan – The Complete Album Collection Vol. One (47CD Box Set) (2013) [FLAC]

Bob Dylan – The Complete Album Collection Vol. One (47CD Box Set) (2013) [FLAC]
Format: FLAC, (image +. Cue), lossless | Year: 2013 | Country: USA
Genre: Rock, Folk Rock, Pop Rock, Blues Rock | Duration: 38:09:26 | Size: 14.85 GB

The Bob Dylan Complete Album Collection Vol. One is a colossal box set encompassing the entire official discography of the American songwriter-performer who’s revolutionized folk, pop and rock music over the past half century with a profoundly influential catalog of songs and sounds.
Beginning with tracks recorded for his eponymous 1962 Columbia Records debut album, the Bob Dylan Complete Album Collection Vol. One follows Dylan’s restless transformations across six decades as a singer, a songwriter, a concert performer and a studio artist who’s continually finding fresh ways of expressing and exploring the varieties of human experience, worldly and other, with music.

Bob Dylan & The Band – Before The Flood (1974/2015) [HDTracks FLAC 24bit/192kHz]

Bob Dylan & The Band – Before The Flood (1974/2015)
FLAC (tracks) 24 bit/192kHz | Time – 1:33:41 minutes | 4,56 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks |  @ Columbia
Recorded: February 13–14, 1974, in Los Angeles, except track 4: January 30, 1974, in New York

The 1974 tour by Bob Dylan and the Band brought together two of the most-respected acts in rock history for what was one of the biggest concert events of the decade. Recorded at several different venues over the course of the two-month tour, „Before The Flood“ captures Dylan and The Band in fine form. Having backed Dylan on and off since 1966, The Band were very comfortable with his music, and on this album they provide Dylan with some of the finest accompaniment of his career.

Dylan opens the show with spirited versions of hits like “It Ain’t Me Babe” and “Lay Lady Lay,” as well as the acidic “Ballad of a Thin Man.” Having fired up the crowd, Dylan steps away from the mike to let the Band perform barnstorming versions of “The Night They Drove Old Dixie Down” and other classics from their repertoire. After The Band nearly brings down the house with their intense rendition of “The Weight,” Dylan returns to bring it all back home with powerful performances of “Like A Rolling Stone” and “Blowin’ In The Wind,” providing a spectacular finale to one of the finest live rock albums of the ’70s.

Bob Dylan and the Band both needed the celebrated reunion tour of 1974, since Dylan’s fortunes had been floundering since Self Portrait and the Band stumbled with 1971’s Cahoots. The tour, with its attendant publicity, definitely returned both artists to center stage, and it definitely succeeded, breaking box office records and earning great reviews. Before the Flood, a double-album souvenir of the tour, suggests that these were generally dynamic shows, but not because they were reveling in the past, but because Dylan was fighting the nostalgia of his audience — nostalgia, it must be noted, that was promoted as the very reason behind these shows. Yet that’s what gives this music such kick — Dylan reworks, rearranges, reinterprets these songs in ways that are still disarming, years after its initial release. He could only have performed interpretations this radical with a group as sympathetic, knowing of his traits as the band, whose own recordings here are respites from the storm. And this is a storm — the sound of a great rocker, surprising his band and audience by tearing through his greatest songs in a manner that might not be comforting, but it guarantees it to be one of the best live albums of its time. Ever, maybe. –AllMusic Review by Stephen Thomas Erlewine


Bob Dylan – The Cutting Edge 1965-1966 Bootleg Series Volume 12 {Deluxe Edition} (2015) [HDTracks 24-96]

Bob Dylan – The Cutting Edge 1965-1966: Bootleg Series Volume 12 (2015) [Deluxe Edition]
FLAC (tracks) 24-bit/96 kHz | Time – 07:08:24 minutes | 8,3 GB | Genre: Folk, Rock
Studio Master, Official Digital Download – Source: HDTracks | @ Columbia/Legacy

The sessions that changed the world – The Cutting Edge 1965-1966: The Bootleg Series Vol. 12(Deluxe) collects outakes, rehearsals and alternate versions of songs that would later be heard on Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. 3 albums that would go on to change the face of rock and roll forever. The Bootleg Series combs the Dylan vaults for unreleased and live recordings, and this may be the very best yet showing Dylan at his “electric” period.

Importantly, The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 (Deluxe) provides a rare exploration into Dylan’s creative process in the studio, allowing fans to experience another side of Bob Dylan through the evolution of his songs and recordings from this truly groundbreaking period.

The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 (Deluxe) brings together for the first time many of the most sought-after recordings of the entire Dylan canon. Here, across 6 CDs, are previously unheard Dylan songs, studio outtakes, rehearsal tracks, alternate working versions of familiar hits–including the complete “Like A Rolling Stone” session–and more.

The Deluxe edition is 111 tracks in 6 ‘sets.’

“I’ll do this one more time and if I can’t do it, we’ll do another song. I’ll do any song as good as I can do it the first time”. – Bob Dylan says these words once his first solo take of “Love Minus Zero/No Limit” breaks down after a minute. Dylan’s definition of “good” is fluid, of course. Sometimes, a first take satisfied him — “Maggie’s Farm” and “Gates of Eden” are two prime examples — but often he’d find he could do a song better or at least do it differently, swapping out words, speeding up the tempo, and changing the feel, occasionally radically transforming his song. Sometimes, these radical transformations are the versions that found their way to the finished record, so they’re now seen as etched in stone but The Cutting Edge 1965-1966, the 12th volume of The Bootleg Series, shows Dylan didn’t enter the studio with posterity in mind when he went to cut Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde: he was making music of and for the moment.

Familiarity hasn’t necessarily dulled the impact of these three records, all written and recorded within a span of 14 months — a period of time when Dylan also filmed Don’t Look Back, electrified the Newport Folk Festival, and was declared a Judas at the Royal Albert Hall — but they have made them seem inevitable, works carved out of granite whose fates were preordained. The gift of The Cutting Edge is that it makes this, the greatest run of creativity in Dylan’s career and perhaps in rock & roll in general, once again seems wild, nervy, and quicksilver, upending expectations and undercutting conventions. Within one of the three sets of liner notes, Bill Flanagan calls these six discs of outtakes, alternates, and rehearsals “work tapes,” which is technically true, but undersells how this music crackles as it shape-shifts, sometimes soaring, sometimes stumbling, but always feeling fiercely alive. If it’s difficult to claim that a solo “Bob Dylan’s 115th Dream” and a locomotive “Visions of Johanna” recorded with the Band are superior to the versions on Home and Blonde, they’re nevertheless magnificent in their own right while also shedding light on how Dylan worked; with producer Tom Wilson, the singer/songwriter wasted no time, while Bob Johnston allowed Bob to twist and test his songs, letting him discover the soul that lay within. Along the way, Dylan was truly fearless — he’d goose a tempo to see if it gave a ballad life, he’d let Mike Bloomfield and Robbie Robertson run wild; the fact that he abandoned a song as wonderful as “She’s Your Lover Now,” possibly because it never quite withstood such stress tests, speaks volumes — and among the many gifts The Cutting Edge has to offer is that it illuminates these three great records while also illustrating that they were just mere snapshots in time. By breaking down the barriers that separated these three albums, The Cutting Edge shows how for Dylan during this blinding, brilliant peak his music was a living thing, evolving from song to song, take to take, where the quest itself was as transcendent as the final destination.