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Bob Dylan (Restored/Rm) Original recording remastered

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Product Details

  • Audio CD (June 28 2005)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sony Music Canada
  • ASIN: B0009MAP90
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (39 customer reviews)
  • Amazon Bestsellers Rank: #12,443 in Music (See Top 100 in Music)

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

Product Description

Product Description

Bob Dylan is Dylan's astonishing debut album, recorded at Columbia Recording Studios in 1961. This is a 20-year-old Dylan, newly arrived in New York to be the next Woody Guthrie, singing traditional songs and original compositions with an aggressiveness and emotion that belie his young age. Guthrie's influence looms large over classic renditions of traditional songs, such as 'Man Of Constant Sorrow' and 'Pretty Peggy-O', as well as the poignant 'Song To Woody', one of two original compositions on the album. Even more powerful is the influence of Blind Willie Johnson, Blind Lemon Jefferson and the other great blues men, whose death-haunted emotions are carried through songs like 'See That My Grave Is Kept Clean', 'Fixin' To Die' and 'In My Time Of Dyin'. 'Talkin` New York', the second original composition, is a first glimpse of the savage wit that would come to mark his work. Columbia. 2005.


This album now seems as remarkable as his mid-'60s breakthoughs. Like Presley's Sun Sessions, it is both the remnant of a lost rural America and the seed of rock culture. The music is primarily Dylan, with acoustic guitar, barking traditional folk, and blues. He was 20, a Northern hick come to New York to be the next Woody Guthrie. It's amazing that at 20 he sings "In My Time of Dying" and "See That My Grave is Kept Clean," not as traditional songs, but making their doom and resignation sound personal. --Steve Tignor --This text refers to an out of print or unavailable edition of this title.

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2 of 2 people found the following review helpful By Rocker_Man on June 8 2004
Format: Audio CD
Bob Dylan (1962.) Bob Dylan's first album.
It was in 1962 that the American folk rock legend Bob Dylan released his first album. As the decade would progress, he would become an almost instantaneous legend, whose fusion of folk and rock music would be unparalleled. He would even go onto influence artists who were radically different from himself, including the Beatles and Led Zeppelin. How does Dylan's self-titled debut LP, released in 1962, measure up? Read on for my review of it.
To put it simply, this album features Dylan as he was, before his days as a successful musician. For the most part, the album is just Dylan with his guitar, and he plays his instrument very well - a premonition of his future successes. Unfortunately, the album isn't perfect. For one thing, Dylan's voice just sounds weak on this album. He's singing his heart out, no questions asked, but he sounds like he's dying on many of the tracks. Likewise, a number of the tracks are cover songs - NOT Dylan originals. They are good songs, though - I just wish his singing voice was better on the album. For instance, the version of House Of The Risin' Sun featured on this album put's the version Eric Burdon And The Animals did to shame. Interestingly enough, the cover songs, which make up the majority of the album, tend to be the strongest point - the few Dylan originals that appear on the album are actually among his weakest original compositions. It's a miracle that a record company signed him, though - or it would have been one of the costliest mistakes in music history! In the end this is a very good album, but it's not really a good place for Dylan newbies.
The most readily available edition of this album in America (as of June 8, 2004) is the budget reissue.
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8 of 9 people found the following review helpful By Sarah Carpenter on July 5 2005
Format: Audio CD
It's easy to critize the first effort by an artist, especially after the fact, once we have all seen the tremendous heights that his career has soared to and the lows that inevitably follow. But this album is remarkable, not just because of what came after. I dare anyone to listen to "In My Time Of Dyin'" or "House Of The Rising Sun" and tell me otherwise. It took a while for this album to grow on me, though after my very first listen I couldn't help but play "In My Time Of Dying"' over and over, even humming the lyrics at work. "Talkin' New York", "Pretty Peggy-O", "Song to Woody" and a few others could have fit perfectly on any of the three albums that followed this one. We also get a lot more of a yodeling sound in "Man Of Constant Sorrow" and "Freight Train Blues." I rated this album five stars because I love it and everything else by Bob, but I wouldn't choose this to start your collection. Having said that my first cd was the live bootleg 1966, so maybe it doesn't really matter where you begin. One last thing is about the quality. I own the old cd version and have just purchased the remastered version. WHATEVER YOU DO, SPEND THE COUPLE EXTRA BUCKS AND GET THE REMASTERED VERSION. There's nothing explicitely wrong with the old one, but the too aren't in the same league sonicly.
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1 of 1 people found the following review helpful By Mike London TOP 500 REVIEWER on Sept. 1 2012
Format: Audio CD
BOB DYLAN, like the debut LPs by The Beatles and The Rolling Stones, are stunning collections of music for their perspective genre, but has long been outclassed by the band's subsequent work. However, the album is an (imperfect) snapshot of Dylan's early days, and in its own way an important indicator of Dylan's musical roots. Unlike The Beatles and The Rolling Stones, BOB DYLAN was recorded for a much smaller audience in mind, and sold in rather slim numbers.

The album is comprised of eleven traditional songs and two covers. The reason was because in the early 1960s folk revival, the artists of that movement focused primarily on traditional material, they were much more concerned with interpretative songs than singing original compositions, a thing which Dylan himself would soon be changing.

In a mid 1960s review, Bob Dylan he was disgusted that all these people suddenly deciding they'd just start writing songs without any real knowledge of the traditional body of songs that have been before them. When asked about his own songwriting, Dylan said he didn't start writing his own songs until he had immersed himself in the tradition of his chosen field: songs from the American tradition. This proved to be a very rich tradition, as Dylan has gotten a lot of great music from that musical background. Over forty years later Dylan's newest music is a testament to this fact.

On his debut he was practicing and doing his own research in the Americana tradition to give his work much more depth than those people who just began writing songs without any sense of history behind it. That is what makes LOVE AND THEFT and MODERN TIMES so rewarding: you feel Dylan giving us a history of modern musical traditions other than rock and presenting it in a rock context.
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Format: Audio CD
Bob Dylan's position in the upper echelons of popular music is unquestioned. So, we can then ignore his comparatively insignificant debut album, right?
Bob Dylan's self-titled debuts album is an extraordinary piece of work. I have been listening to his work passionately for years now, but only recently got around to buying this album. I now feel ashamed. One might be surprised to find that the album contains only two original compositions, but it is entirely logical. Dylan's field at the time was folk music, a genre traditionally played by old and very experienced musicians and not 20-year-olds like Dylan. Humbled by the storied history and rich tradition of folk music, he chose to immerse himself fully into the field, absorbing influences from all its corners, before delving into writing his own folk anthems. Also, at the time Dylan recorded this album, song interpretation was considered to be paramount and original composition tangential at best. (Dylan, of course, was soon to change all that.)
And what a crash course in song interpretation this amazing record is. That said, though Dylan was already a master of interpretation, he was, at this point, still clearly a product of his influences. The spirit of Woody Guthrie pervades this album. The two Dylan compositions, which name and quote him, and are clearly written within his established style, with Talkin' New York, in particular, exhibiting his trademark "talkin' blues" parameters, are not the only instances of this. He clearly had a profound influence upon Dylan's singing style: as few non-Dylan fans know, he is not singing in his natural voice here.
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