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Blood On The Tracks Original recording remastered


Price: CDN$ 7.97 & FREE Shipping on orders over CDN$ 25. Details
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    Ships from and sold by Amazon.ca.
    FREE Shipping on orders over CDN$ CDN$ 25. Details

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Product Details

  • Audio CD (June 22 2004)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sony Music Canada
  • ASIN: B00026WU7I
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (260 customer reviews)
  • Amazon Bestsellers Rank: #3,175 in Music (See Top 100 in Music)

1. Tangled Up In Blue
2. Simple Twist Of Fate
3. You're A Big Girl Now
4. Idiot Wind
5. You're 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


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Customer Reviews

4.7 out of 5 stars
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18 of 19 people found the following review helpful By Lawrance M. Bernabo HALL OF FAMETOP 500 REVIEWER on Oct. 15 2004
Format: Audio CD
It has been thirty years since "Blood on the Tracks" was released and of all of the albums recorded by Bob Dylan it is the one that has most increased in stature simply because every album produced since then has failed to rise to this level. I think the reason for this is mainly because it was born in a creative burst of pointed lyricisim as his marriage to Sara Lowndes collapsed, with all the songs written in two months in the middle of 1974. I would no more expect any personal turmoil to provide similar inspiration any more than I would have expected any of the songs on this album to rise to the level of social rhetoric found in his greatest songs of the Sixties.
In "Blood on the Tracks" Dylan also turned his back on his greatest backing band, returning to his artistic routes on an album that is largely acoustic-based. The songs run the emotional gamut from sorrow and regret to bitterness and pain. At the same time, despite the obvious point of origin for most of these songs, this is not an openly confessional album (cf. Courtney Love's "America's Sweetheart"). After all, we are talking the lyrics of Bob Dylan, which means cryptic riddles and allegories abound all laid out in ten classic tracks:
"Tangled Up in Blue" is the best song on the album and the ambguity about the characters and relationships Dylan sings about has only increased over the years with the shifting lyrics in various performances. The cover version by the Indigo Girls remains my favorite Dylan cover.
"Simple Twist of Fate" is another great four-word phrase in a song that represents the most overtly personal song on the album. The stark instrumentation only serves to highlight the heartbreak of the existentialist lyrics and the mournful sound of the vocals.
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2 of 2 people found the following review helpful By A Customer on Oct. 9 2001
Format: Audio CD
This is a murky record, only partially successful. The opening track, "Tangled Up in Blue," was improved by one of the Minneapolis guitarists by changing the key to A (compare earlier version released on 'Bootleg Series'), but the recording is irritating to listen to because the mix is sloppy. This song comes off much better in live shows (never better than Milwaukee '97), and the lyrics were considerably improved for the 'Real Live' version. The earlier version of "You're a Big Girl Now," released on 'Biograph,' is so superior to the one on this record that one wonders what Dylan and his producers could possibly have been thinking. The original version features a beautifully sad steel guitar, tender and bittersweet vocals, and a heart-wrenching harmonica part. The version released here has no steel, a pretty good vocal, and (by comparison) a terrible harp solo. It does feature some nice flamenco-style guitar playing, but most of the power of the song has been left behind. "Idiot Wind," which comes off perfectly on 'Hard Rain,' is too vitriolic here because there's not enough humility in the performance. I did witness an excellent live performance of this one in Minneapolis back in '92; guess it took time to gel. "You're Gonna Make Me Lonesome" is one of the highlights of this album: a timeless song enthusiastically performed, with none of the self-pity (and self-loathing) that tends to weaken so many of the other songs on this record. Bob would do well to (re)introduce this one into his current show.Read more ›
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1 of 1 people found the following review helpful By eeyoore on April 27 2013
Format: Audio CD
Perhaps the peak of a peak-strewn career from a craggy artist. The songs are thoughtful, poignant, witty and memorable. The music is not intrusive. The voice is crunchy, without the weak anemia that has haunted the recent releases.
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By Geee! on April 5 2014
Format: LP Record Verified Purchase
I have both the MFSL CD & vinyl. Tremendous SQ. The record is flat & silent. More importantly the music is lively with a spacious & realistic soundstage. I originally hoped this would be a 45 RPM, but the standard 33 is just fine. As a side note, my original copy had a factory gauge in it; amazon.ca had a replacement copy on my step in 36 hours!
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Format: Audio CD
This is Dylan's most talked-about LP from his post 1960s career, and while initially the critics were unsure about it, BLOOD ON THE TRACKS rapidly became perceived as one of the most impressive albums Dylan has cut. The song-writing is strong and assured, and Dylan is as cryptic as ever. Yet there also seems to be a central theme here: broken relationships. When asked about this album's reception, Dylan said he never truly understood why people enjoy that kind of pain.

Anyone familiar with art know that some of the best art in the world comes from pain. Bob Dylan's music from 1969 to 1974 was very much characterised by a sort of domesticity which was the central undercurrent to most of his music, being characterized by his familia lifestyle. While the music found on these albums (NASHVILLE, SELF-PORTRAIT to some extent, NEW MORNING, and PLANET WAVES) are sometimes exciting (especially NASHVILLE, the best of the lot), generally they never quite rise to the level of the artistically impeccable.

While the domesticity was heartfelt and sincere, it seems Dylan was too content with his life to put a lot into his art. There was no central drive like there was in the early days, when Dylan wanted to be the next Woody Guthrie, and then the more poetic direction of the mid 1960s, and then a more mellow country direction. Dylan was too interested in pursuing this path to make us care about the music found on NEW MORNING, etc. Now, however, he must channel that pain through into his art so he can deal with it. There's a real passion here that's lacking in the other albums of this period. This is the culmination of his mellow period, driving Dylan to an artistic catharsis because of a new ingredient in the mix of domestic bliss: pain.
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