BOB DYLAN Love And Theft 2LP COLUMBIA 2001 US orig+ltd+inner+shrink C2 85975
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Description
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BOB DYLANIconic singer/songwriter and musical wanderer who rose to prominence
during the '60s folk revival and changed the world of music
"LOVE AND THEFT"
Produced by Jack Frost
2001 2LP COLUMBIA RECORDS STEREO C2 85975
PRINTED IN U.S.A. ORIGINAL PRESSING
LIMITED EDITION ON VINYL
STILL IN STICKERED SHRINK SINGLE COVER WITH INNER SLEEVES
This version: 2 stickers on front
1: <The first studio album from BOB DYLAN since his 1997 Grammy Award-winning Album Of The Year "Time Out Of Mind" 85975-S1>
2: <????? (out of 5 stars) - Rolling Stone The first studio album from BOB DYLAN since his 1997 Grammy Award-winning
Album Of The Year "Time Out Of Mind" 85975-S2>
Barcode and Other Identifiers
Barcode: 6 9699-85975-1 8
LABEL: COLUMBIA - red LABEL w/LOGO on TOP - BLACK/WHITE TEXT
Catalog on cover: (spine & front) C2 85975 (rear, barcode) 6 9699-85975-1 8
(stickers on front) 85975-S1 - 85975-S2
(inners) 85975/86078) - 85975/86079
Catalog on labels:
Disc One / Side 1: C2 85975 C 86078 AL 86078
Disc One / Side 2: C2 85975 C 86078 BL 86078
Disc Two / Side 3: C2 85975 C 86079 AL 86079
Disc Two / Side 4: C2 85975 C 86079 BL 86079
Matrix / Runout (Disc One / Side 1, Etched): AL-86078-1B RJ Xl
Matrix / Runout (Disc One / Side 2, Etched): BL-86078-1B RJ Xl
Matrix / Runout (Disc Two / Side 3, Etched): AL-86079-1B RJ X l
Matrix / Runout (Disc Two / Side 4, Etched): BL-86079-1B RJ X l
Other / Runout (All sides, Stamped): STERLING
On labels: (((STEREO)))
rim text reads <©2001 Sony............"Columbia" Reg. U.S. Pat. & Tm. Off. Marca Registrada.......Entertainment Inc.>
On inner sleeves: Photos, Tracklisting & Credits
This album was manufactured to meet critical quality standards........
©2001 Sony BMG Music Entertainment...........
On back cover: Produced by Jack Frost
© 2001 Sony Music.......Manufactured by Columbia Records........violation of applicable laws.
tracklisting
Side A: TWEEDLE DEE & TWEEDLE DUM - MISSISSIPPI - SUMMER DAYS
Side B: BYE AND BYE - LONESOME DAY BLUES - FLOATER (TOO MUCH TO ASK)
Side C: HIGH WATER (For Charley Patton) - MOONLIGHT - HONEST WITH ME
Side D: PO' BOY - CRY A WHITE - SUGAR BABY
grading
RECORDS EX but (please, read above description)
SLEEVE EX but (please, see pictures and read above description)
Time Out of Mind was a legitimate comeback, Bob Dylan's first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he's made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned "Things Have Changed," his Oscar-winning theme to Curtis Hanson's 2000 film Wonder Boys. Just as important, Daniel Lanois' deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding "Lonesome Day Blues" and burning it down with the fabulously swinging "Summer Days." They're equally captivating on the slower songs, whether it's the breezily romantic "Bye and Bye," the torch song "Moonlight," or the epic reflective closer, "Sugar Baby." Musically, Dylan hasn't been this natural or vital since he was with the Band, and even then, those records were never as relaxed and easy or even as hard-rocking as these. That alone would make Love and Theft a remarkable achievement, but they're supported by a tremendous set of songs that fully synthesize all the strands in his music, from the folksinger of the early '60s, through the absurdist storyteller of the mid-'60s, through the traditionalist of the early '70s, to the grizzled professional of the '90s. None of this is conscious, it's all natural. There's an ease to his writing and a swagger to his performance unheard in years -- he's cracking jokes and murmuring wry asides, telling stories, crooning, and swinging. It's reminiscent of his classic records, but he's never made a record that's been such sheer, giddy fun as this, and it stands proudly among his very best albums...(AllMusic)
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