The Freewheelin' [Remaster]

Performer: Bob Dylan
Producer: John Hammond
Distributor: Sony Music Distribution (

Notes: Also available in a 3-pack with THE TIMES THEY ARE A-CHANGIN' and ANOTHER SIDE OF BOB DYLAN. Solo performer: Bob Dylan (vocals, acoustic guitar, harmonica). Engineers: Stan Tonkel, Peter Dauria, George Kneurr. Recorded in Columbia Sound Studios, New York, New York in 1963. Includes liner notes by Nat Hentoff. Personnel: Bob Dylan (guitar); Howie Collins, Bruce Langhorne (guitar); Dick Wellstood (piano); Gene Ramey, Leonard Gaskin (bass instrument); George Barnes (bass guitar); Herb Lovelle (drums). With this album Dylan emerged from the cloak of Woody Guthrie and proclaimed his own unique talent. No longer detached--the set was originally entitled BOB DYLAN'S BLUES--he personalized his songs, famously rejecting four from the final draft in favor of others reflecting his newer muse. Protest songs were given a wider resonance--the text of "Masters Of War" remains sadly relevant decades later--while his love songs are haunting but universal statements. Dylan injected black humor into the talking blues and railed against injustice in all forms, with a perception encompassing the anger of a generation. FREEWHEELIN' is a landmark in the development of folk and pop music.

Rolling Stone (12/11/03, p.118) - Ranked #97 in Rolling Stone's "500 Greatest Albums Of All Time" - "...On FREEWHEELIN', the poetry and articulate fury of Dylan's lyrics and his simple, compelling melodies transformed American popular songwriting..." Q (Magazine) (p.111) - "A giant leap forward from his 1962 debut, and the point at which the world beyond Greenwich Village's folk fraternity began taking notice..."

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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