Artist: Bob Dylan Genre(s):
Rock: Folk
Rock
Soundtrack
Rock: Folk-Rock
Other
Blues
Folk: Folk-Rock
Folk
Country: Country-Rock
Instrumental
Rock: Pop-Rock
Discography:
Unplugged 2006 Year: 2006
Tracks: 12
Modern Times Year: 2006
Tracks: 10
The Times They Are A-Changin' Year: 2005
Tracks: 10
The Bootleg Series, Vol. 7: No Direction Home Year: 2005
Tracks: 28
No Direction Home: The Bootleg Series Volume 7 Year: 2005
Tracks: 16
Slow Train Coming Year: 2004
Tracks: 9
![Bootleg Series, Vol. 6 [CD1]](http://img.mp3fiesta.com/covers/24/2480/alb_64059_th.jpg)
Bootleg Series, Vol. 6 [CD1] Year: 2004
Tracks: 11
John_Wesley_Harding Year: 2003
Tracks: 12
John wesley Harding Year: 2003
Tracks: 12
Bringing It All Back Home Year: 2003
Tracks: 11
Bringing It All Back Home Year: 2003
Tracks: 11
Essential Bob Dylan Year: 2002
Tracks: 36
Love and Theft Year: 2001
Tracks: 16
Horsens Theatre (Live) Year: 2000
Tracks: 24
Street legal Year: 1999
Tracks: 9
Bob Dylan's Greatest Hits Vol. 2 (CD 1) Year: 1999
Tracks: 9
Time out of mind Year: 1997
Tracks: 11
Time out of mind Year: 1997
Tracks: 11
The Best of Bob Dylan Year: 1997
Tracks: 18
Shot of Love Year: 1997
Tracks: 10
Nashville Skyline Year: 1996
Tracks: 10
Down In The Flood Year: 1995
Tracks: 12
World Gone Wrong Year: 1993
Tracks: 10
Good As I Been To You Year: 1992
Tracks: 13
The Bootleg Series, Vol. 1 Year: 1991
Tracks: 22
Under The Red Sky Year: 1990
Tracks: 10
The Basement Tapes Year: 1990
Tracks: 24
Oh Mercy Year: 1989
Tracks: 10
Dylan And The Dead Year: 1989
Tracks: 6
Bob Dylan and The Grateful Dead Year: 1989
Tracks: 7
Down In The Groove Year: 1988
Tracks: 10
Knocked Out Loaded Year: 1986
Tracks: 8
Empire Burlesque Year: 1985
Tracks: 10
Real Live Year: 1984
Tracks: 10
Infidels Year: 1983
Tracks: 6
![Bob Dylan At Budokan [CD 2]](http://img.mp3fiesta.com/covers/24/2480/alb_64040_th.jpg)
Bob Dylan At Budokan [CD 2] Year: 1979
Tracks: 11
![Bob Dylan At Budokan [CD 1]](http://img.mp3fiesta.com/covers/24/2480/alb_64039_th.jpg)
Bob Dylan At Budokan [CD 1] Year: 1979
Tracks: 11
Hard rain Year: 1976
Tracks: 9
Hard Rain Year: 1976
Tracks: 9
Desire Year: 1976
Tracks: 9
![The Basement Tapes [CD 2]](http://img.mp3fiesta.com/covers/24/2480/alb_86503_th.jpg)
The Basement Tapes [CD 2] Year: 1975
Tracks: 12
![The Basement Tapes [CD 1]](http://img.mp3fiesta.com/covers/24/2480/alb_86502_th.jpg)
The Basement Tapes [CD 1] Year: 1975
Tracks: 12
Blood On The Tracks Year: 1975
Tracks: 10
Planet Waves Year: 1974
Tracks: 11
before.the.flood CD2 Year: 1974
Tracks: 10
before.the.flood CD1 Year: 1974
Tracks: 11
Before The Flood Year: 1974
Tracks: 21
Pat Garrett and Billy The Kid Year: 1973
Tracks: 10
Dylan Year: 1973
Tracks: 9
Self portrait Year: 1970
Tracks: 24
Blonde On Blonde Year: 1966
Tracks: 14
Highway 61 Revisited Year: 1965
Tracks: 9
Hightway 61 Revisited Year: 1965
Tracks: 9
Bring It All Back Home Year: 1965
Tracks: 11
Halloween Mask (Live) Year: 1964
Tracks: 19
Another Side Of Bob Dylan Year: 1964
Tracks: 11
The Freewheelin' Bob Dylan Year: 1963
Tracks: 13
Bob Dylan Year: 1962
Tracks: 13
The Essential (CD 2) Year:
Tracks: 15
The Essential (CD 1) Year:
Tracks: 15
The Bootlegs series volume 3 Year:
Tracks: 16
New Morning Year:
Tracks: 12
Greatest hits Volume 3 Year:
Tracks: 14
God as I been to you Year:
Tracks: 13
Bob Dylan's influence on pop music is incalculable. As a songwriter, he pioneered several different schools of pop up songwriting, from confessional singer/songwriter to twisty, hallucinatory, stream-of-conscious narratives. As a vocalizer, he stone-broke down the notions that in club to perform, a isaac Bashevis Singer had to get a conventionally good vox, thereby redefining the part of vocalist in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that precisely touches on the tip of his achievements. Dylan's force was observable during his stature of popularity in the '60s -- the Beatles' budge toward self-examining songwriting in the mid-'60s never would have happened without him -- only his influence echoed passim several subsequent generations. Many of his songs became popular standards, and his best albums were unchallenged classics of the rock & undulate canon. Dylan's influence throughout folk music was equally powerful, and he simon Marks a polar turning head in its 20th century evolution, signifying when the musical style moved forth from traditional songs and toward personal songwriting. Even when his gross revenue declined in the '80s and '90s, Dylan's presence was calculable.
For a digit of such solid influence, Dylan came from modest beginnings. Born in Duluth, MN, Bob Dylan (b. Robert Allen Zimmerman, May 24, 1941) was elevated in Hibbing, MN, from the age of six. As a tiddler he conditioned how to play guitar and mouth harp, forming a rock & roll ring called the Golden Chords when he was in heights school. Following his graduation in 1959, he began perusal art at the University of Minnesota in Minneapolis. While at college, he began acting folk songs at coffeehouses under the nominate Bob Dylan, taking his last list from the poet Dylan Thomas. Already elysian by Hank Williams and Woody Guthrie, Dylan began hearing to blues while at college, and the genre weaved its way into his music. Dylan spent the summer of 1960 in Denver, where he met bluesman Jesse Fuller, the inspiration behind the songwriter's touch harp rack and guitar. By the metre he returned to Minneapolis in the fall, he had adult well as a performer and was dictated to get a professional musician.
Dylan made his way of life to New York City in January of 1961, immediately making a substantial impression on the ethnic music community of Greenwich Village. He began visiting his paragon Guthrie in the infirmary, where he was slowly dying from Huntington's chorea. Dylan likewise began acting in coffeehouses, and his rough personal magnetism won him a important following. In April, he opened for John Lee Hooker at Gerde's Folk City. Five months later, Dylan performed some other concert at the venue, which was reviewed positively by Robert Shelton in the New York Times. Columbia A&R man John Hammond sought out Dylan on the forcefulness of the recapitulation, and signed the ballad maker in the shine of 1961. Hammond produced Dylan's eponymic debut album (released in March 1962), a assemblage of folk and blues standards that boasted only when two original songs. Over the trend of 1962, Dylan began to write a big stack of original songs, many of which were political protest songs in the vein of his Greenwich contemporaries. These songs were showcased on his second album,
The Freewheelin' Bob Dylan. Before its outlet,
Freewheelin' went through respective incarnations. Dylan had recorded a rock & roll single, "Mixed Up Confusion," at the end of 1962, but his director, Albert Grossman, made indisputable the record was deleted because he wanted to exhibit Dylan as an acoustic folky. Similarly, several tracks with a full backing band that were recorded for
Freewheelin' were scrapped before the album's release. Furthermore, several tracks recorded for the album -- including "Talk John Birch Society Blues" -- were eliminated from the record album earlier its liberation.
Comprised wholly of original songs,
The Freewheelin' Bob Dylan made a huge impact in the U.S. folks community, and many performers began covering songs from the album. Of these, the well-nigh significant were Peter, Paul & Mary, wHO made "Blowin' in the Wind" into a brobdingnagian pop hit in the summer of 1963 and thereby made Bob Dylan into a recognizable menage list. On the forcefulness of Peter, Paul & Mary's compensate and his opening gigs for popular folky Joan Baez,
Freewheelin' became a rack up in the fall of 1963, climb to number 23 on the charts. By that point, Baez and Dylan had go romantically involved, and she was beginning to record his songs frequently. Dylan was writing just as fast.
By the clip
The Times They Are A-Changin' was released in early 1964, Dylan's songwriting had developed far beyond that of his New York peers. Heavily inspired by poets like Arthur Rimbaud and John Keats, his writing took on a more literate and redolent quality. Around the same time, he began to enlarge his musical boundaries, adding more blues and R&B influences to his songs. Released in the summer of 1964,
Another Side of Bob Dylan made these changes manifest. However, Dylan was moving quicker than his records could suggest. By the close of 1964, he had ended his amorous relationship with Baez and had begun dating a previous model named Sara Lowndes, whom he afterwards married. Simultaneously, he gave the Byrds "Mr. Tambourine Man" to criminal record for their debut album. The Byrds gave the birdcall a tintinnabulation, electric arrangement, but by the fourth dimension the exclusive became a hit, Dylan was already exploring his possess make of folk-rock. Inspired by the British Invasion, particularly the Animals' translation of "House of the Rising Sun," Dylan recorded a set of original songs backed by a loud rock & wheel band for his succeeding record album. While
Delivery It All Back Home (Borderland 1965) static had a side of acoustic material, it made clear that Dylan had turned his endorse on ethnic music music. For the folk hearing, the true breakage pointedness arrived a few months after the album's release, when he played the Newport Folk Festival supported by the Paul Butterfield Blues Band. The interview greeted him with deplorable ridicule, simply he had already been recognized by the growing rock & twine residential area. Dylan's spring tour of Britain was the ground for D.A. Pennebaker's objective
Don't Look Back, a picture that captures the songwriter's nervy personal appeal and good luck charm.
Dylan made his breakthrough to the pop audience in the summertime of 1965, when "Like a Rolling Stone" became a number iI hit. Driven by a orbitual organ riff and a steady beat, the six-minute single bust the barrier of the three-minute pop single. Dylan became the subject of numberless articles, and his lyrics became the subject of literary analyses crosswise the U.S. and U.K. Well over C artists covered his songs betwixt 1964 and 1966; the Byrds and the Turtles, in particular, had heavy hits with his compositions.
Main road 61 Revisited, his first base full-fledged rock'n'roll & roll album, became a Top Ten impinge on shortly after its summertime 1965 press release. "Positively quaternary Street" and "Showery Day Women #12 & 35" became Top Ten hits in the fall of 1965 and spring of 1966, severally. Following the May 1966 release of the double-album
Blond on Blonde, he had sold over ten 1000000 records around the world.
During the fall of 1965, Dylan leased the Hawks, at one time Ronnie Hawkins' backing group, as his touring band. The Hawks, world Health Organization changed their identify to the Band in 1968, would become Dylan's most noted mount band, in the first place because of their nonrational chemistry and "raving mad, lean hydrargyrum wakeless," simply also because of their British tour in the spring of 1966. The tour was the first sentence Britain had heard the electric Dylan, and their reaction was disagreeable and red. At the Manchester concert (farsighted erroneously identified as the show up from London's Royal Albert Hall), an audience member called Dylan "Judas," inspiring a positively vicious edition of "Like a Rolling Stone" from Dylan and the band. The execution was immortalized on countless bootleg albums (an official button at last surfaced in 1998), and it indicates the strength of Dylan in the middle of 1966. He had assumed control of Pennebaker's second Dylan documental,
Eat up the Document, and was under deadline to fill out his book Tarantula, as advantageously as record a new record. Following the British spell, he returned to America.
On July 29, 1966, he was injured in a bike stroke outside of his household in Woodstock, NY, distress injuries to his neck vertebrae and a concussion. Details of the accident stay elusive -- he was reportedly in critical condition for a week and had memory loss -- and some biographers get questioned its severeness, simply the event was a pivotal turning point in his calling. After the accident, Dylan became a recluse, disappearing into his home in Woodstock and raising his home with his married woman, Sara. After a few months, he retreated with the Band to a rented theater, afterward dubbed Big Pink, in West Saugerties to record a number of demos. For respective months, Dylan and the Band recorded an tremendous amount of material, ranging from old folks, nation, and megrims songs to new written originals. The songs indicated that Dylan's songwriting had undergone a metamorphosis, decent aerodynamic and more than direct. Similarly, his music had changed, outstanding less to traditional rock & roll, and demonstrating heavy country, blues, and traditional folk influences. None of the Big Pink recordings were intended to be released, only tapes from the sessions were circulated by Dylan's music publisher with the intent of generating cover versions. Copies of these tapes, as advantageously as other songs, were available on illegal bootleg albums by the end of the '60s; it was the first time that bootleg copies of unreleased recordings became widely circulated. Portions of the tapes were officially released in 1975 as the double-album
The Basement Tapes.
Piece Dylan was in privacy, rock and roll & wrap had become heavier and artier in the wake of the psychedelic revolution. When Dylan returned with
John Wesley Harding in December of 1967, its tranquil, rural area ambience was a surprise to the general public, only it was a pregnant strike, peaking at number two in the U.S. and number one in the U.K. Furthermore, the record arguably became the first significant country-rock record to be released, scope the stagecoach for efforts by the Byrds and the Flying Burrito Brothers later in 1969. Dylan followed his nation inclinations on his adjacent album, 1969's
Capital of Tennessee Skyline, which was recorded in Nashville with respective of the rural area industry's meridian session workforce. While the record album was a hit, spawning the Top Ten single "Lay Lady Lay," it was criticized in some quarters for spotty material. The miscellaneous receipt was the beginning of a matured backlash that arrived with the double-album
Self Portrait. Released early in June of 1970, the record album was a odds and ends of covers, live tracks, re-interpretations, and new songs greeted with electronegative reviews from all living quarters of the press. Dylan followed the record album promptly with
New Morning, which was hailed as a rejoinder.
Undermentioned the going of
New Morning, Dylan began to wander restlessly. He affected back up to Greenwich Village, he finally published Tarantula in November of 1970, and he performed at the Concert for Bangladesh in August 1971. During 1972, he began his performing vocation by playing Alias in Sam Peckinpah's
Tap Garrett and Billy the Kid, which was released in 1973. He likewise wrote the soundtrack for the photographic film, which featured "Knockin' on Heaven's Door," his biggest hit since "Lay Lady Lay." The
Tap Garrett soundtrack was the last record released under his Columbia contract before he affected to David Geffen's fledgeling Asylum Records. As revenge, Columbia assembled Dylan, a compendium of
Ego Portrait outtakes, for release at the end of 1973. Dylan only recorded 2 albums -- including 1974's
Planet Waves, coincidently his commencement figure one record album -- in front he moved back to Columbia. The Band supported Dylan on
Planet Waves and its concomitant tour, which became the nigh successful circuit in stone & roll history; it was captured on 1974's double-live record album
Before the Flood.
Dylan's 1974 tour of duty was the commencement of a replication culminated by 1975's
Blood on the Tracks. Largely divine by the disintegration of his wedlock,
Blood on the Tracks was hailed as a return to pattern by critics and it became his second number one album. After jamming with folkies in Greenwich Village, Dylan decided to launch a mammoth tour, loosely based on travel practice of medicine shows. Lining up an extensive list of supporting musicians -- including Joan Baez, Joni Mitchell, Rambling Jack Elliott, Arlo Guthrie, Mick Ronson, Roger McGuinn, and poet Allen Ginsberg -- Dylan dubbed the tour of duty the Rolling Thunder Revue and place forbidden on the route in the fall of 1975. For the future year, the Rolling Thunder Revue toured on and off, with Dylan filming many of the concerts for a future film. During the tour of duty,
Desire was released to considerable spat and success, outlay five weeks on the top of the inning of the charts. Throughout the Rolling Thunder Revue, Dylan showcased "Hurricane," a protest strain he had written around bagger Rubin Carter, wHO had been unjustly confined for mangle. The live record album
Heavy Rain was released at the closing of the tour. Dylan released
Renaldo and Clara, a four-hour plastic film based on the Rolling Thunder tour of duty, to poor reviews in other 1978.
Early in 1978, Dylan place forbidden on some other extensive circuit, this time backed by a band that resembled a Las Vegas lounge striation. The mathematical group was featured on the 1978 record album
Street Legal and the 1979 live record album
At Budokan. At the termination of the tour in recent 1978, Dylan proclaimed that he was a reborn Christian, and he launched a series of Christian albums that following summer with
Slow Train Coming. Though the reviews were mixed, the album was a winner, peaking at number 3 and going atomic number 78. His encouraging spell for
Slow Train Coming featured only his new religious material, much to the bewilderment of his long-term fans. Two other religious albums --
Saved (1980) and
Shot of Love (1981) -- followed, both to poor reviews. In 1982, Dylan traveled to Israel, sparking rumors that his transition to Christianity was transitory. He returned to secular transcription with 1983's
Infidels, which was greeted with favourable reviews.
Dylan returned to performing in 1984, releasing the live album
Material Live at the end of the year.
Imperium Burlesque followed in 1985, just its odd ruffle of dance tracks and john Rock & turn over north Korean won few fans. However, the five-album/triple-disc retrospective box seat set
Biograph appeared that same year to great spat. In 1986, Dylan hit the road with Tom Petty & the Heartbreakers for a successful and acclaimed spell, simply his album that year,
Knocked Out Loaded, was standard unwell. The following year, he toured with the Grateful Dead as his backing band; two years later, the souvenir album
Dylan & the Dead appeared.
In 1988, Dylan embarked on what became known as "The Never-Ending Tour" -- a changeless stream of shows that ran on and off into the later '90s. That same year, he released
Down in the Groove, an album largely comprised of covers. The Never-Ending Tour standard far stronger reviews than
Down in the Groove, just 1989's
Oh Mercy was his most acclaimed album since 1974's
Blood on the Tracks. However, his 1990 follow-up,
Under the Red Sky, was standard unwell, especially when compared to the enthusiastic reception for the 1991 box arrange
The Bootleg Series, Vols. XIII (Rare & Unreleased), a collection of antecedently unreleased outtakes and rarities.
For the remainder of the '90s, Dylan divided his time 'tween live concerts and painting. In 1992, he returned to recording with
Good As I Been to You, an acoustic collecting of traditional ethnic music songs. It was followed in 1993 by another ethnic music album,
Human race Gone Wrong, which south Korean won the Grammy for Best Traditional Folk Album. After the release of
Earth Gone Wrong, Dylan released a greatest-hits album and a live track record.
Dylan released
Time Out of Mind, his first album of original material in 7 years, in the fall of 1997.
Sentence Out of Mind standard his strongest reviews in age and accidentally debuted in the Top Ten. Its success sparked a revival meeting of involvement in Dylan -- he appeared on the pass over of Newsweek and his concerts became sell-outs. Early in 1998,
Clock time Out of Mind standard three Grammy Awards -- Album of the Year, Best Contemporary Folk Album and Best Male Rock Vocal. Another album of original real, Love and Theft, followed in 2001. Soon after its button, Dylan announced that he was making his have film, to star Jeff Bridges, Penelope Cruz, John Goodman, Val Kilmer, and many more. The incidental soundtrack, Masked and Anonymous, was released in July 2003.
Brooke Hogan
