Blood on the Tracks [Remastered] [Digipak]

Performer: Bob Dylan
Artist: Buddy Cage; Eric Weissberg
Engineer: Phil Ramone
Producer: Steve Berkowitz (Reissue)
Distributor: Sony Music Distribution (

Notes: Personnel: Bob Dylan (vocals, guitar); Kevin Odegard, Chris Weber (guitar); Buddy Cage (steel guitar); Peter Ostroushko (mandolin); Gregg Inhofer (keyboards); Paul Griffin (organ); Tony Brown, Billy Peterson (bass); Bill Berg (drums); Eric Weissberg & Deliverance. Includes liner notes by Pete Hamill. This is a multi-channel hybrid Super Audio CD playable on both regular and Super Audio CD players. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Buddy Cage (steel guitar); Paul Griffin (organ). Audio Mixers: Phil Ramone; Elliot Scheiner. Liner Note Author: Pete Hamill. Illustrator: David Oppenheim. Unknown Contributor Role: Eric Weissberg. By the mid-'70s, even Dylan's most ardent supporters began taking his artistic decline for granted. Albums like NEW MORNING and PLANET WAVES were fine works, but lacked the visionary spark of his seminal '60s recordings. At 34 he was already being written off as a has-been. That presumption is what made BLOOD ON THE TRACKS such a glorious sucker-punch of a record. One of Dylan's most mournful efforts, this album, which easily ranks among his best, is full of stories about lost love and the struggle for peace of mind. With a simple, country-flavored backing somewhat akin to NASHVILLE SKYLINE, he recounts shattered love affairs in heart-breaking detail on songs like "Simple Twist Of Fate" and "If You See Her Say Hello." On the vengeful "Idiot Wind" he rails mercilessly against the ignorant and self-obsessed a la "Like A Rolling Stone." The difference here, and the major breakthrough for Dylan, is that by the end of the song, he's lumping himself in with those he excoriates so vehemently. Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia -- this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter -- first takes of "Idiot Wind" and "Tangled Up in Blue," available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) -- but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. [In 2003, Columbia/Legacy reissued 15 selected titles from Dylan's catalog as hybrid SACDs, playable in both regular CD players and Super Audio CD players. Each title is packaged as a digipak, containing the full original artwork. On each of the titles, and on each of the layers, the remastered sound is spectacular, a considerable upgrade from the initial CD pressings. Blood on the Tracks was one of five titles that also included a 5.1 Surround Sound mix.] ~ Stephen Thomas Erlewine

Rolling Stone (12/11/03, p.96) - Ranked #16 in Rolling Stone's "500 Greatest Albums Of All Time" - "...No one disputes the album's luxuriant tangle of guitars, the gritty directness in Dylan's voice and the magnificent confessional force of his writing..." Q (1/03, p.69) - Included in Q Magazine's "100 Greatest Albums Ever" Q (12/93, p.131) - 5 Stars (out of 5) - "...Suddenly Dylan no longer seemed to be straining to recapture the surreal poetic torrents of the '60s....this is probably Dylan's most complete and most unified album--and yes, damnit, his best..." Alternative Press (5/01, p.104) - Included in AP's "10 Essential Breakup Albums" - "...Dylan has never been so thematically clear....representing a man full of regret and misery, singing through his tears." Vibe (12/99, p.157) - Included in Vibe's 100 Essential Albums of the 20th Century Q (Magazine) (p.110) - "Against the backdrop of his own collapsing marriage, it's as close as he ever got to the confessional school of singer-songwriters..." NME (Magazine) (10/2/93, p.29) - Ranked #85 in NME's list of the "Greatest Albums Of All Time." NME (Magazine) (9/18/93, p.19) - Ranked #29 in NME's list of the "Greatest Albums Of The '70s." NME (Magazine) (8/12/00, p.28) - Ranked #13 in The NME "Top 30 Heartbreak Albums" - "...A bitter, sorrowful eulogy to love and the pain of breaking up."

Bob Dylan began as a Woody Guthrie acolyte, imitating the dust-bowl balladeer as faithfully as a baby boomer from Hibbing, Minnesota, could. It wasn't long before he found his own voice, spearheading the early-1960s folk revival as well as the singer-songwriter movement, and introducing poetry into pop music. Through countless changes in sound, image, and even religion, he retained his unique artistic vision even when his popularity occasionally waned. By the 21st century, he was enjoying an upsurge of critical and popular interest based on a series of powerful late-career albums that crystallized his aesthetics and unique world view.

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