BOB DYLAN LOVE AND THEFT DOUBLE LP 2001 NEW MINT OOP
£
167
$
221
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PLEASE DO NOT PAY UNTIL YOU RECEIVE MY INVOICE DUE TO INTERNATIONAL SHIPPING. THE SHIPPING FROM SWEDEN IS MORE EXPENSIVE THAN UK STANDARD RATE. IF YOU WILL NOT COMPLY TO MY SHIPPING RATE, PLEASE DON'T BID ON THIS ITEM. MORE SHIPPING INFORMATION BELOW.
BOB DYLAN LOVE AND THEFT DOUBLE LP 2001. NEW MINT ORIGINAL 1ST PRINTING. BRAND NEW BUT UNSEALED DUE TO BOUGHT FROM SWEDISH RECORD SHOP. COLUMBIA 504364 1. 5099750436417. LONG TIME OUT OF PRINT. VERY RARE COLLECTORS ITEM. UNPLAYED AND MINT RECORD, JACKET AND BAGS. BOUGHT BY ME AND PUT ON THE SHELF FOR MANY YEARS.
Track listing1. Tweedle Dee And Tweedle Dum
2. Mississippi
3. Summer Days
4. Bye And Bye
5. Lonesome Day Blues
6. Floater (Too Much To Ask)
7. High Water (for Charlie Patton)
8. Moonlight
9. Honest With Me
10. Po' Boy
11. Cry A While
12. Sugar Baby
Bob Dylan's career has always been about defying expectations. Accordingly he followed 1997's much-heralded TIME OUT OF MIND with a marked about-face. Where its predecessor was a bleak emotional landscape full of languid atmospheres, existential sentiments, and graveyard vocal delivery, LOVE AND THEFT finds Dylan much more energized and hopeful. Instead of swamp-like textures, we get sharp, cracking bar-band blues, and lissome ballads with a '20s/'30s feel. The old codger has never sounded more spry; after observing that "summer days and summer nights are gone," he follows up with "I know a place where there's still something going on." Elsewhere he's variously hunting bear, standing on a table to make a toast, burning down a house, and starting a new empire. The musical context for all this uproar is informed more heavily by Dylan's earliest Americana roots than anything other than his albums of traditional folk songs. Delta and Chicago blues are templates for many songs, while a few others even more anachronistically suggest a future for Dylan as ghost writer for Leon Redbone. The lyrics themselves are littered with quotes from/references to old blues tunes, but Dylan's classic non-linear structure and wild imagination allow him to transcend his influences even as he assimilates them.
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