Blood on the Tracks

~ Release group by Bob Dylan

Album

Release Format Tracks Date Country Label Catalog# Barcode
Official
Blood on the Tracks 12" Vinyl 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) PC 33235 [none]
Blood on the Tracks 12" Vinyl 10 CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia) S 69097
Blood on the Tracks (Half-Speed Master) 12" Vinyl 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) HC 43235
Blood on the Tracks (early cd without printed barcode) CD 10 CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia) CDCBS 69097 [none]
Blood on the Tracks (early cd without printed barcode) CD 10 CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia) CDCBS 69097 [none]
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) CK 33235 074643323529
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) 467842 2 5099746784225
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) MILLEN16 5099749532021
Blood on the Tracks SACD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) 512350 6 5099751235064
Blood on the Tracks Hybrid SACD (CD layer) + Hybrid SACD (SACD layer) 10 + 20 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) CH 90323 827969032367
Blood on the Tracks SACD 10 Sony Records International (Japanese TEXTLESS walking eye imprint) MHCP-10010 4562109404081
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) 512350 2 5099751235026
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) CK 92398 827969239827
Blood on the Tracks CD 10 Sony Records International (Japanese TEXTLESS walking eye imprint) MHCP 377 4562109408423
Blood on the Tracks Hybrid SACD 10 Mobile Fidelity Sound Lab UDSACD 2098 821797209861
Blood on the Tracks Blu-spec CD 10 Legacy (Legacy Recordings), Sony Records International (Japanese TEXTLESS walking eye imprint) SICP-30029 4547366189933
Blood on the Tracks 12" Vinyl 10 Mobile Fidelity Sound Lab MFSL 1-381 821797138116
Blood on the Tracks Digital Media 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) 074643323529
Blood on the Tracks CD 10 Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP) VCK 33235 074643323529

Relationships

covers: Blood on the Tracks by Mary Lee's Corvette
included in: The Complete Album Collection, Volume 1
part of: Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 16)
Allmusic: http://www.allmusic.com/album/mw0000189846 [info]
Discogs: https://www.discogs.com/master/3878 [info]
Wikidata: Q300854 [info]
other databases: https://rateyourmusic.com/release/album/bob_dylan/blood_on_the_tracks/ [info]
reviews: http://www.bbc.co.uk/music/reviews/659x [info]

CritiqueBrainz Reviews

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Most Recent

Bob Dylan as an artist had a tough early 70s. By 1974 our Bob was in the strange position of being still regarded as the next Messiah while seeming bored with himself. This was, remember, the era of Planet Waves and Self Portrait - not his brightest moments - while his tour the previous year with the Band was also fairly iconoclastic. In the end two factors got Dylan back on (hem hem) track: painting and a very messy breakdown of his marriage.

In fact, one seemed to lead to the other. Dylan had spent two months in the spring of 1974, studying painting under Norman Raeben in New York. Afterwards he claimed: 'It changed me. I went home after that and my wife never did understand me ever since that day'. While the album has a confessional sense of hurt Dylan's always denied the connection but still admits that there's a lot of pain on the album.

Initially sessions were held in familiar surroundings in New York. What's more he was back with his old record company following an unsatisfactory sojourn with David Geffen's Asylum label. Bob used Eric Weissberg's band, Deliverance, to rush through the recording process and have the album finished in one week. In typical Bob form he showed scant regard for polish, leaving the sounds of his buttons and nails rattling against the guitar strings on many tracks. All was set for an Autumn release until, back in Minnesota, he played an acetate to his brother who suggested that it did need a more commercial sheen. Hastily assembling a cast of local musicians, Dylan re-recorded about half of the album and from these two halves this masterpiece was born.

From the opening track, "Tangled Up In Blue", Dylan embarked on a whole new era in his work. Seemingly autobiographical, these tales of a lover relating a series of unrelated events all set in a mythical America used the impressionist method that he'd learned from Raeben: 'I wanted to defy time, so that the story took place in the present and the past at the same time. When you look at a painting, you can see any part of it, or see all of it together. I wanted that song to be like a painting.' The same trick is pulled on the gorgeous "Simple Twist Of Fate."

Over ten songs Dylan alludes to heartache, deception, angry name-calling and poignant regret and loneliness. While on the searing "Idiot Wind" he seems to have no mercy for his ex ('It's a wonder you can even feed yourself' on "You're A Big Girl Now" he pleads with her : 'I can change I SWEAR'. It's different from his previous work because suddenly he's singing about things that don't pertain to youth anymore. Gone is the clever, sneering tone of the mid-60s or the haranguing of his protest years. It's a world-weary, nostalgic and ultimately more poetic Dylan we hear, and that is what makes Blood… a timeless record.