Blood on the Tracks

~ Release group by Bob Dylan

Album

ReleaseFormatTracksCountry/DateLabelCatalog#Barcode
Official
Blood on the Tracks12" Vinyl10
  • US1975-01-20
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 Tracks12" Vinyl10
CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia)S 69097
Blood on the Tracks (Half-Speed Master)12" Vinyl10
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)CD10
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)CD10
CBS (CBS Records' international imprint from 1962–1990; renamed since 1991 as Columbia)CDCBS 69097[none]
Blood on the TracksCD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)CK 33235074643323529
Blood on the TracksCD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)467842 25099746784225
Blood on the Tracks (nice price)CD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)467842 25099746784225
Blood on the TracksCD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)CDCOL 3908 H6001208535237
Blood on the TracksCD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)MILLEN165099749532021
Blood on the TracksSACD10
  • GB2003-09-15
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)512350 65099751235064
Blood on the TracksHybrid SACD (CD layer) + Hybrid SACD (SACD layer, 2 channels) + Hybrid SACD (SACD layer, multichannel)10 + 10 + 10
  • US2003-09-16
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)CH 90323827969032367
Blood on the TracksSACD10
  • JP2003-11-19
Sony Records International (Japanese TEXTLESS walking eye imprint)MHCP-100104562109404081
Blood on the Tracks (European reissue; © 2003)CD10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)512350 25099751235026
Blood on the TracksCD10
  • GB2004-03-29
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)512350 25099751235026
Blood on the TracksCD10
  • US2004-06-01
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)CK 92398827969239827
Blood on the TracksCD10
  • JP2004-09-23
Sony Records International (Japanese TEXTLESS walking eye imprint)MHCP 3774562109408423
Blood on the TracksHybrid SACD (CD layer) + Hybrid SACD (SACD layer, 2 channels)10 + 10
Mobile Fidelity Sound LabUDSACD 2098821797209861
Blood on the TracksBlu-spec CD10
  • JP2013-03-06
Legacy (Legacy Recordings), Sony Records International (Japanese TEXTLESS walking eye imprint)SICP-300294547366189933
Blood on the Tracks12" Vinyl10
Mobile Fidelity Sound LabMFSL 1-381821797138116
Blood on the TracksDigital Media10
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 (test pressing)12" Vinyl10
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), Legacy (Legacy Recordings)19075931221190759312216
Blood on the Tracks2×12" Vinyl5 + 5
  • US2019-08-08
Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP), Sony Music Commercial Music Group, Mobile Fidelity Sound Lab88985457481, UD1S 2-006821797200622
Blood on the TracksCD10Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)VCK 33235074643323529
Blood on the TracksCD10Columbia (imprint owned by CBS between 1938–1990 within US/CA/MX; owned worldwide by Sony Music Entertainment since 1991 except in JP)467842 25099746784225

Relationships

covers:Blood on the Tracks by Mary Lee's Corvette
included in:Blood on the Tracks + Another Side of Bob Dylan
Limited Edition Catalog Box Set
The Complete Album Collection, Volume 1
The Complete Album Collection: The 70’s
part of:Rolling Stone: 500 Greatest Albums of All Time: 2020 edition (number: 9) (order: 9)
Rolling Stone: 500 Greatest Albums of All Time: 2012 edition (number: 16) (order: 16)
The Guardian 100 Best Albums Ever (number: 39) (order: 39)
Discogs:https://www.discogs.com/master/3878 [info]
reviews:https://www.bbc.co.uk/music/reviews/659x [info]
other databases:https://rateyourmusic.com/release/album/bob_dylan/blood_on_the_tracks/ [info]
Allmusic:https://www.allmusic.com/album/mw0000189846 [info]
Wikidata:Q300854 [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.