Bob Dylan / Love And Theft
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2003/2017
Жанр: Rock, Folk Rock, Blues Rock
Издатель (лейбл): Columbia / Mobile Fidelity
Продолжительность: 00:57:34
Наличие сканов в содержимом раздачи: Да (сканы)Треклист:
1. Tweedle Dee & Tweedle Dum 04:47
2. Mississippi 05:21
3. Summer Days 04:53
4. By And By 03:16
5. Lonesome Day Blues 06:05
6. Floater (Too Much To Ask) 04:59
7. High Water (for Charley Patton) 04:04
8. Moonlight 03:24
9. Honest With Me 05:49
10. Po’ Boy 03:06
11. Cry A While 05:06
12. Sugar Baby 06:44Accordion – Augie Meyers
Banjo, Mandolin, Guitar, Violin – Larry Campbell
Bass – Tony Garnier
Drums – David Kemper
Guitar – Charlie Sexton
Guitar, Vocals, Piano, Written-By – Bob Dylan
Organ [B3, Vox] – Augie MeyersКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Mobile Fidelity UDSACD 2164
Released September 11, 2001 (2003 Remaster)
Recorded May 2001
Producer Jack Frost (Bob Dylan pseudonym)
Engineer [Assistant] – Jeremy Welch
Engineer [Chief], Recorded By, Mixed By – Chris Shaw
The ISO image is created using sacd-ripper for PS3 version 0.21.
Источник (релизер): pssacd (PS³SACD) http://www.elusivedisc.com/Bob-Dylan-Love-And-Theft-Numbered-Limited-Edition-Hybr...tinfo/MOBSA2164/
Лог DR
foobar2000 1.3.13 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2017-11-29 09:19:06
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Анализ: Bob Dylan / Love And Theft
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DR Пики RMS Продолжительность трека
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DR11 -7.00 дБ -19.26 дБ 4:47 01-Tweedle Dee & Tweedle Dum
DR12 -7.73 дБ -21.24 дБ 5:19 02-Mississippi
DR12 -6.51 дБ -20.01 дБ 4:53 03-Summer Days
DR13 -7.45 дБ -21.61 дБ 3:15 04-By And By
DR12 -6.68 дБ -20.09 дБ 6:03 05-Lonesome Day Blues
DR12 -8.73 дБ -21.50 дБ 4:58 06-Floater (Too Much To Ask)
DR14 -6.65 дБ -22.36 дБ 4:02 07-High Water (for Charley Patton)
DR11 -8.44 дБ -20.93 дБ 3:22 08-Moonlight
DR12 -6.32 дБ -19.49 дБ 5:46 09-Honest With Me
DR12 -7.65 дБ -21.73 дБ 3:04 10-Po' Boy
DR13 -6.68 дБ -20.92 дБ 5:04 11-Cry A While
DR12 -6.72 дБ -20.44 дБ 6:44 12-Sugar Baby
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Количество треков: 12
Реальные значения DR: DR12
Частота: 2822400 Гц / Частота PCM: 88200 Гц
Каналов: 2
Разрядность: 24
Битрейт: 5645 кбит/с
Кодек: DSD64
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Об альбоме (сборнике)
Love and Theft is the 30th studio album by Bob Dylan, released by Columbia Records on September 11, 2001. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at #5 on the Billboard 200, and has been certified with a gold album by the RIAA. A limited edition release included two bonus tracks on a separate disc recorded in the early 1960s, and two years later, on September 16, 2003, this album was one of fifteen Dylan titles reissued and remastered for SACD hybrid playback.
All Music Review
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.
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发表于 2020-12-8 16:02:02
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