This title of this album includes the double quotes: http://bobdylan.com/albums/lovetheft.html . Please do not remove them.
Augie Meyers actually performed "Vox Organ, B3, Accordion" according to the liner notes.
504364 9 is a limited edition release with bonus disc. The disc has catalog # 504364 2 and has the same disc id as the release with catalog # 504364 2.
Part of the SACD Limited edition hybrid set with these discs:
Bringing It All Back Home | Blood on the Tracks |Blonde on Blonde (disc 1) |Blonde on Blonde (disc 2) |Another Side of Bob Dylan |Desire |Highway 61 Revisited |Infidels |John Wesley Harding | "Love and Theft" |Nashville Skyline |Oh Mercy |Planet Waves |Slow Train Coming |Street Legal |The Freewheelin' Bob Dylan
|included in:||Limited Edition Catalog Box Set|
The Complete Album Collection, Volume 1
|part of:||Rolling Stone: 100 Best Albums of the 2000s: pub_2011-07-18 (number: 11) (order: 11)|
Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 385) (order: 385)
Rolling Stone: 500 Greatest Albums of All Time: 2020 edition (number: 411) (order: 411)
Rolling Stone: 500 Greatest Albums of All Time: 2003 edition (number: 467) (order: 468)
|other databases:||https://rateyourmusic.com/release/album/bob_dylan/love_and_theft/ [info]|
CritiqueBrainz ReviewsThere’s 1 review on CritiqueBrainz. You can also write your own.
A new Dylan release is, even today, bound to fuel a little controversy. In 1997 after a seven-year bout of writer's block he finally delivered what the fans were waiting for - a solid gold masterpiece: Time Out Of Mind. Like an even more grown-up version of Blood On The Tracks, it seemingly laid bare the soul of a man who, having faced his own mortality, found himself without love or comfort and was in a bitterly confessional mood. The 'Never Ending Tour' had only proved to his Bobness that you can run, but you can't hide. Yet such soul-searching seemed to mean that, it was, again, going to be a long wait for his next dispatch from the heart.
So here it is, and it's already drawn some scathing press. It seems the weight of four years anticipation has produced what is now being termed "The Radiohead Effect", and the disappointment seems to spring from the fact that Mr Zimmerman has cheered up a bit. Yes, the bleak observations of cynicism and distrust still linger in lines such as: "I see ya loverman coming, coming across the barren fields. He's not a gentleman at all, he's rotten to the core, he's a coward and he steals." ("Lonesome Day Blues") and " Well, I'm stranded in the city that never sleeps. Some of these women they just give me the creeps. I'm avoiding the south side the best I can. These memories I got they can strangle a man" ("Honest With Me"), but this is a chirpier beast indeed - as if the old Jokerman has just decided that, well, life is rubbish, so let's just play. This means that, at times, he becomes disarmingly honest. "The girls all say, 'You're a worn out star!' My pockets are loaded and I'm spendin' every dime" ("Summer Days")
Gone is the swampy ambience of the last album's Daniel Lanois production, and what we get instead is a band that rocks and swings with verve, swagger and Nashville clarity. Ranging from Country ("By And By"), Blues ("Lonesome Day Blues") and Rockabilly ("Summer Days") to a jazzy swing worthy of The Hot Club of France ("Floater (Too Much To Ask)") - Bob treats us to a, frankly, sprightly jog through just about every style available to a man of his experience. Sure, the voice is now barely more than a croak and the words don't have the weight that used to be termed...well, Dylanesque, but only a churl would begrudge the pleasures to be had in songs as bouncy as "By And By" and the nonsensical opener "Tweedle Dee". Dylan, himself, has described the album as "...a greatest hits album, volume one or volume two. Without the hits - not yet, anyway." It's good to see the funny side again, Bob.