16-09-2021

Essential Dylan Flac Rar

Bob Dylan – The Cutting Edge 1965-1966: Bootleg Series Volume 12 (2015) [Deluxe Edition]
FLAC (tracks) 24-bit/96 kHz | Time – 07:08:24 minutes | 8,3 GB | Genre: Folk, Rock
Studio Master, Official Digital Download – Source: HDTracks | @ Columbia/Legacy

Apr 01, 2010 Album 浅香里恵 (Rie Asaka) – Cafe lounge Christmas – First Class Lounge ～スタインウェイで聴くエレガントなジャズ・クリスマス～ FLAC / 24bit Lossless / WEB 2019.11.23 Album Mariah Carey – Merry Christmas II You FLAC + MP3 Album Bob Dylan – The Essential Bob Dylan (2003.05.21/MP3/RAR). Album Bob Dylan – Tell Tale Signs – The Bootleg Series Vol. 8; Rare And Unreleased 1989-2006 FLAC + MP3 Album Bob Dylan – Blood on the Tracks (Remastered 2014)FLAC Hi-Res + MP3 Album Bob Dylan – The Essential Bob Dylan (2003.05.21/MP3/RAR) Album Bob Dylan – Christmas in the Heart FLAC + MP3. . And Our Gang - The Complete Mercury Recordings 1966-1970 4CD FLAC USA Pop Folk Psychedelic Rock s.a. The Mamas and The Papas THE CARPENTERS THE BEATLES THE MONKEES THE BEACH BOYS SIMON & GARFUNKEL.zip.

The sessions that changed the world – The Cutting Edge 1965-1966: The Bootleg Series Vol. 12(Deluxe) collects outakes, rehearsals and alternate versions of songs that would later be heard on Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. 3 albums that would go on to change the face of rock and roll forever. The Bootleg Series combs the Dylan vaults for unreleased and live recordings, and this may be the very best yet showing Dylan at his “electric” period.

Importantly, The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 (Deluxe) provides a rare exploration into Dylan’s creative process in the studio, allowing fans to experience another side of Bob Dylan through the evolution of his songs and recordings from this truly groundbreaking period.

The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 (Deluxe) brings together for the first time many of the most sought-after recordings of the entire Dylan canon. Here, across 6 CDs, are previously unheard Dylan songs, studio outtakes, rehearsal tracks, alternate working versions of familiar hits-including the complete “Like A Rolling Stone” session-and more.

The Deluxe edition is 111 tracks in 6 ‘sets.’

“I’ll do this one more time and if I can’t do it, we’ll do another song. I’ll do any song as good as I can do it the first time”. – Bob Dylan says these words once his first solo take of “Love Minus Zero/No Limit” breaks down after a minute. Dylan’s definition of “good” is fluid, of course. Sometimes, a first take satisfied him — “Maggie’s Farm” and “Gates of Eden” are two prime examples — but often he’d find he could do a song better or at least do it differently, swapping out words, speeding up the tempo, and changing the feel, occasionally radically transforming his song. Sometimes, these radical transformations are the versions that found their way to the finished record, so they’re now seen as etched in stone but The Cutting Edge 1965-1966, the 12th volume of The Bootleg Series, shows Dylan didn’t enter the studio with posterity in mind when he went to cut Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde: he was making music of and for the moment.

Familiarity hasn’t necessarily dulled the impact of these three records, all written and recorded within a span of 14 months — a period of time when Dylan also filmed Don’t Look Back, electrified the Newport Folk Festival, and was declared a Judas at the Royal Albert Hall — but they have made them seem inevitable, works carved out of granite whose fates were preordained. The gift of The Cutting Edge is that it makes this, the greatest run of creativity in Dylan’s career and perhaps in rock & roll in general, once again seems wild, nervy, and quicksilver, upending expectations and undercutting conventions. Within one of the three sets of liner notes, Bill Flanagan calls these six discs of outtakes, alternates, and rehearsals “work tapes,” which is technically true, but undersells how this music crackles as it shape-shifts, sometimes soaring, sometimes stumbling, but always feeling fiercely alive. If it’s difficult to claim that a solo “Bob Dylan’s 115th Dream” and a locomotive “Visions of Johanna” recorded with the Band are superior to the versions on Home and Blonde, they’re nevertheless magnificent in their own right while also shedding light on how Dylan worked; with producer Tom Wilson, the singer/songwriter wasted no time, while Bob Johnston allowed Bob to twist and test his songs, letting him discover the soul that lay within. Along the way, Dylan was truly fearless — he’d goose a tempo to see if it gave a ballad life, he’d let Mike Bloomfield and Robbie Robertson run wild; the fact that he abandoned a song as wonderful as “She’s Your Lover Now,” possibly because it never quite withstood such stress tests, speaks volumes — and among the many gifts The Cutting Edge has to offer is that it illuminates these three great records while also illustrating that they were just mere snapshots in time. By breaking down the barriers that separated these three albums, The Cutting Edge shows how for Dylan during this blinding, brilliant peak his music was a living thing, evolving from song to song, take to take, where the quest itself was as transcendent as the final destination.

Tracklist:
CD1 #01 – Love Minus Zero / No Limit (Take 1, Breakdown)
CD1 #02 – Love Minus Zero / No Limit (Take 2, Acoustic)
CD1 #03 – Love Minus Zero / No Limit (Take 3 Remake, Complete)
CD1 #04 – Love Minus Zero / No Limit (Take 1 Remake, Complete)
CD1 #05 – I’ll Keep It with Mine (Take 1, Piano Demo)
CD1 #06 – It’s All Over Now, Baby Blue (Take 1)
CD1 #07 – Bob Dylan’s 115th Dream (Take 1, Fragment)
CD1 #08 – Bob Dylan’s 115th Dream (Take 2, Complete)
CD1 #09 – She Belongs to Me (Take 1, Solo Acoustic)
CD1 #10 – She Belongs to Me (Take 2 Remake, Complete)
CD1 #11 – She Belongs to Me (Take 1 Remake, Complete)
CD1 #12 – Subterranean Homesick Blues (Take 1)
CD1 #13 – Subterranean Homesick Blues (Take 1, Alternate Take)
CD1 #14 – Outlaw Blues (Take 1, Complete)
CD1 #15 – Outlaw Blues (Take 2, Alternate Take)
CD1 #16 – On the Road Again (Take 1, Complete)
CD1 #17 – On the Road Again (Take 4, Alternate Take)
CD1 #18 – On the Road Again (Take 1 Remake, Complete)
CD1 #19 – On the Road Again (Take 7 Remake, Complete)
CD1 #20 – Farewell, Angelina (Take 1, Solo Acoustic)
CD1 #21 – If You Gotta Go, Go Now (Take 1, Complete)
CD1 #22 – If You Gotta Go, Go Now (Take 2, Alternate Take)
CD1 #23 – You Don’t Have to Do That (Take 1, Solo Acoustic)

CD2 #24 – California (Take 1, Solo Acoustic)
CD2 #25 – It’s Alright, Ma (I’m Only Bleeding) (Take 1, False Start)
CD2 #26 – Mr. Tambourine Man (Takes 1-2, False Starts)
CD2 #27 – Mr. Tambourine Man (Take 3 with Band, Incomplete)
CD2 #28 – It Takes a Lot to Laugh, It Takes a Train to Cry (Take 1, Complete (6/15/65))
CD2 #29 – It Takes a Lot to Laugh, It Takes a Train to Cry (Take 8, Alternate Take)
CD2 #30 – It Takes a Lot to Laugh, It Takes a Train to Cry (Take 3, Incomplete)
CD2 #31 – It Takes a Lot to Laugh, It Takes a Train to Cry (Take 3 Remake, Complete)
CD2 #32 – Sitting On a Barbed Wire Fence (Take 2)
CD2 #33 – Tombstone Blues (Take 1, Alternate Take)
CD2 #34 – Tombstone Blues (Take 9)
CD2 #35 – Positively 4th Street (Takes 1-3, False Starts)
CD2 #36 – Positively 4th Street (Take 4, Complete)
CD2 #37 – Positively 4th Street (Take 5, Alternate Take)
CD2 #38 – Desolation Row (Take 1, Alternate Take)
CD2 #39 – Desolation Row (Take 2, Piano Demo)
CD2 #40 – Desolation Row (Take 5 Remake, Complete)
CD2 #41 – From a Buick 6 (Take 1, False Start)
CD2 #42 – From a Buick 6 (Take 4)

CD3 #43 – Like a Rolling Stone (Takes 1-3, Rehearsal)
CD3 #44 – Like a Rolling Stone (Take 4, Rehearsal)
CD3 #45 – Like a Rolling Stone (Take 5, Rehearsal)
CD3 #46 – Like a Rolling Stone (Rehearsal Remake)
CD3 #47 – Like a Rolling Stone (Take 1 Remake, Rehearsal)
CD3 #48 – Like a Rolling Stone (Takes 2-3 Remake, False Starts)
CD3 #49 – Like a Rolling Stone (Take 4 Remake)
CD3 #50 – Like a Rolling Stone (Take 5 Remake, Rehearsal)
CD3 #51 – Like a Rolling Stone (Take 6 Remake, False Start)
CD3 #52 – Like a Rolling Stone (Take 8 Remake, Breakdown)
CD3 #53 – Like a Rolling Stone (Takes 9-10 Remake, False Starts)
CD3 #54 – Like a Rolling Stone (Take 11, Alternate Take)
CD3 #55 – Like a Rolling Stone (Take 12 Remake, False Start)
CD3 #56 – Like a Rolling Stone (Take 13 Remake, Breakdown)
CD3 #57 – Like a Rolling Stone (Take 14 Remake, False Start)
CD3 #58 – Like a Rolling Stone (Take 15 Remake, Breakdown)
CD3 #59 – Like a Rolling Stone (Master Take, Guitar)
CD3 #60 – Like a Rolling Stone (Master Take, Vocals, Guitar)
CD3 #61 – Like a Rolling Stone (Master Take, Piano, Bass)
CD3 #62 – Like a Rolling Stone (Master Take, Drums, Organ)

CD4 #63 – Can You Please Crawl Out Your Window? (Take 1, Alternate Take)
CD4 #64 – Can You Please Crawl Out Your Window? (Take 17)
CD4 #65 – Highway 61 Revisited (Take 3, Alternate Take)
CD4 #66 – Highway 61 Revisited (Take 5, Complete)
CD4 #67 – Highway 61 Revisited (Take 7, False Start)
CD4 #68 – Just Like Tom Thumb’s Blues (Take 1, Breakdown)
CD4 #69 – Just Like Tom Thumb’s Blues (Take 3, Rehearsal)
CD4 #70 – Just Like Tom Thumb’s Blues (Take 13, Complete)
CD4 #71 – Queen Jane Approximately (Take 2, Complete)
CD4 #72 – Queen Jane Approximately (Take 5, Alternate Take)
CD4 #73 – Ballad of a Thin Man (Take 2, Breakdown)
CD4 #74 – Medicine Sunday (Take 1)
CD4 #75 – Jet Pilot (Take 1)
CD4 #76 – I Wanna Be Your Lover (Take 1, Fragment)
CD4 #77 – I Wanna Be Your Lover (Take 6, Complete)
CD4 #78 – Instrumental (Take 2, Complete)
CD4 #79 – Can You Please Crawl Out Your Window? (Take 6, Complete)
CD4 #80 – Visions of Johanna (Take 1, Rehearsal)
CD4 #81 – Visions of Johanna (Take 5, Rehearsal)

CD5 #82 – Visions of Johanna (Take 7, Complete)
CD5 #83 – Visions of Johanna (Take 8)
CD5 #84 – Visions of Johanna (Take 14, Complete)
CD5 #85 – She’s Your Lover Now (Take 1, Breakdown)
CD5 #86 – She’s Your Lover Now (Take 6, Rehearsal)
CD5 #87 – She’s Your Lover Now (Take 15)
CD5 #88 – She’s Your Lover Now (Take 16, Complete)
CD5 #89 – One of Us Must Know (Sooner or Later) (Take 2, Rehearsal)
CD5 #90 – One of Us Must Know (Sooner or Later) (Take 4, Rehearsal)
CD5 #91 – One of Us Must Know (Sooner or Later) (Take 19, Alternate Take)
CD5 #92 – Lunatic Princess (Take 1)
CD5 #93 – Fourth Time Around (Take 11, Complete)
CD5 #94 – Leopard-Skin Pill-Box Hat (Take 3, Complete)
CD5 #95 – Leopard-Skin Pill-Box Hat (Take 8, Alternate Take)
CD5 #96 – Rainy Day Women #12 & 35 (Take 1, Rehearsal and Finished Track)

CD6 #97 – Stuck Inside of Mobile with the Memphis Blues Again (Take 1, Rehearsal)
CD6 #98 – Stuck Inside of Mobile with the Memphis Blues Again (Rehearsal)
CD6 #99 – Stuck Inside of Mobile with the Memphis Blues Again (Take 5)
CD6 #100 – Stuck Inside of Mobile with the Memphis Blues Again (Take 13, Alternate Take)
CD6 #101 – Stuck Inside of Mobile with the Memphis Blues Again (Take 14, Complete)
CD6 #102 – Absolutely Sweet Marie (Take 1, Alternate Take)
CD6 #103 – Just Like a Woman (Take 1, Complete)
CD6 #104 – Just Like a Woman (Take 4, Alternate Take)
CD6 #105 – Just Like a Woman (Take 8, Complete)
CD6 #106 – Pledging My Time (Take 1, Alternate Take)
CD6 #107 – Most Likely You Go Your Way (And I’ll Go Mine) (Take 1, Complete)
CD6 #108 – Temporary Like Achilles (Take 3, Complete)
CD6 #109 – Obviously Five Believers (Take 3, Complete)
CD6 #110 – I Want You (Take 4, Alternate Take)
CD6 #111 – Sad-Eyed Lady of the Lowlands (Take 1, Complete)

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In celebration of their 20th anniversary, Wilco releases What’s Your 20, a compilation album of essential tracks culled from the band’s previously released studio recordings that span from 1994 to 2014. These are the first compilations of Wilco music of any kind. The collection was produced by Grammy-nominated producer Cheryl Pawelski, co-founder of Omnivore Recordings, whose credits include Big Star’s Keep an Eye on the Sky, The Band’s A Musical History and Townes Van Zandt’s Sunshine Boy: The Unheard Studio Sessions and Demos 1971-1972. What’s Your 20 gathers songs from Wilco’s eight studio albums plus two songs from Mermaid Avenue, the collection of Woody Guthrie-penned tunes set to music by Wilco and Billy Bragg.

Wilco are a band who have shown that in the 21st century, a band can succeed creatively and commercially on their own terms, even without what would be considered a hit single, especially impressive since Wilco often seemed to be doing well despite their presence on a major-label rather than because of it. Which is why What’s Your 20? Essential Tracks 1994-2014 is at once a welcome and curious release: it’s essentially a greatest-hits album from a band that’s never had a hit single, collecting 38 songs that have made some impression on non-commercial radio and become fan favorites during the band’s first two decades. At the same time, What’s Your 20? is also a fine “Beginner’s Guide to Wilco,” as the track listing gracefully charts their progress from a scrappy but heartfelt alt-country band that rose from the ashes of Uncle Tupelo to a thoughtful and imaginative pop/rock band with some outstanding players and an eagerness to experiment. What’s Your 20? includes representative selections from Wilco’s eight studio albums, as well as the two Mermaid Avenue albums they cut in collaboration with Billy Bragg and, along with a bunch of great songs, it offers a map to the emotional peaks and valleys of Jeff Tweedy’s songwriting, from the country-influenced rock of “I Must Be High” and “Casino Queen,” into the bold explorations of “Misunderstood” and “Sunken Treasure,” and the cool, pitiless self-analysis of “A Shot in the Arm” and “I Am Trying to Break Your Heart,” a remarkable musical journey that took less than seven years. The album also offers a satisfying summary of the band’s best and most stable lineup that coalesced after A Ghost Is Born, and delivered warmer but genuinely exciting songs like “Hate It Here,” “Impossible Germany,” and “I Might.” What’s Your 20? was released at the same time as Alpha Mike Foxtrot: Rare Tracks 1994-2014, a four-disc box set for serious fans featuring outstanding Wilco tracks that didn’t appear on one of their albums; this album is the opposite, a more concise (but still hefty) sampling of the band’s best known and most accepted work, and this is most easily recommended to casual fans and folks looking for an introduction to the group’s music. However, those listeners will certainly be well-served by this outstanding selection of tunes, and if we did live in a world where Wilco regularly scaled the charts, there’s little doubt these songs would have earned the band plenty of gold and platinum plaques. And who knows, they may yet some day. ~~ AllMusic Review by Mark Deming

Tracklist:
1 I Must Be High 3:00
2 Box Full Of Letters 3:07
3 Passenger Side 3:34
4 Casino Queen 2:46
5 Misunderstood 6:30
6 Red-Eyed And Blue 2:47
7 I Got You (At The End Of The Century) 3:58
8 Monday 3:34
9 Outtasite (Outta Mind) 2:35
10 Sunken Treasure 6:53
11 California Stars 4:59
12 Hesitating Beauty 3:05
13 A Shot In The Arm 4:19
14 Can’t Stand It 3:47
15 She’s A Jar 4:43
16 I’m Always In Love 3:41
17 How To Fight Lonliness 3:51
18 Via Chicago 5:32
19 Airline To Heaven 4:49
20 I Am Trying To Break Your Heart 6:58
21 I’m The Man Who Loves You 3:56
22 War On War 3:49
23 Jesus, Etc. 2:45
24 Ashes Of American Flags 4:48
25 Heavy Metal Drummer 3:09
26 Hummingbird 3:12
27 Theologians 3:37
28 Handshake Drugs 6:24
29 The Late Greats 2:31
30 Hate It Here 4:33
31 Impossible Germany 5:58
32 Walken 4:28
33 Wilco (The Song) 3:00
34 You And I 3:25
35 You Never Know 4:21
36 I Might 4:58
37 Born Alone 3:56
38 Whole Love 3:46

Personnel:
Jeff Tweedy – vocals, electric guitar, acoustic guitar, baritone-guitar, bass, radio, 12-string guitar, harmonica, synthesizers, backing vocals, Mellotrons, claps
Jay Bennett – guitars, pianos, organs, harmonica, lap steel, drums, accordion, vocals, backing vocals, bass, banjo, Moog, keyboards, synthesizers, bells, tambourine, percussion, 12-string acoustic slide guitars, shakers, saw, claps
John Stirratt – bass, electric bass, vocals, violin, piano, backing vocals, claps
Max Johnston – dobro, fiddle, mandolin, vocals, banjo
Ken Coomer – drums, percussion, guitar, vocals, timpani
Billy Bragg – acoustic guitar, electric guitar
Brian Henneman – guitars, small stoned guitar
lloyd Maines – pedal steel guitar
Corey Harris – lap steel guitar
Daniel Corrigan – vocals
Jerry Hey, Gary Grant – trumpet
larry Williams – tenor saxophone
Dan Higgins – tenor and baritone saxophone
Eliza Carthy – violin

Production:
Producers: Wilco and Billy Bragg
Recording engineers: Chris Sheppard, Martin Stebbing, Jim Rondinelli, Lou Whitney, Jerry Boys, Skip Bryant, Matt Ellard, Scott Eisenberg, Larry Greenhill, Mike Hagler, Dave Trumfio, Russ Long, Chris Grainger, Mitch Easter, Ivan O’Shea (assistant), Tom Skerrit (assistant), Keith McDonnell (assistant), Gordon Jensen (assistant), Ciaràn Cahill (assistant), DaveTrumfio (assistant) and Mike Hagler (assistant) and Steve Chadie (assistant)
Mixing engineers: Chris Sheppard, Jim Scott, Jim Rondinelli, Skip Saylor, David Kahne and Mike Scotella (assistant)

Essential Dylan Flac Rar Torrent

Recorded at Easley Recording in Memphis, TN; Chicago Recording Company, King Size Sound Laboratories, The Loft, and WarZone Recorders in Chicago, IL; Totally Wired Studio and Windmill Lane in Dublin, Ireland; Fort Apache Studio in Boston, MA; Pedernales Recording Studio in Spicewood, Texas; The White House in Nashville, TN; The Fidelitorium in Kernersville, North Carolina; and Dead Aunt Thelma’s in Portland, Oregon.

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