Bob Dylan – Desire (1976/2013)
Жанр: Folk Rock, Blues-Rock
Носитель: SACD
Год издания: 1976/2013
Издатель: Mobile Fidelity
Номер по каталогу: UDSACD 2119
Аудиокодек: DSD64 2.0
Тип рипа: image (iso)
Продолжительность: 00:56:19
Наличие сканов в содержимом раздачи: да
Образ снят с помощью: Sony PlayStation 3 и утилиты sacd-ripper version 0.21
Релизёр:
Треклист:
01.Hurricane 08:32
02.Isis 07:00
03.Mozambique 03:01
04.One More Cup Of Coffee 03:47
05.Oh Sister 04:08
06.Joey 11:05
07.Romance In Durango 05:43
08.Black Diamond Bay 07:32
09.Sara 05:31
Desire
Desire is singer-songwriter Bob Dylan’s 17th studio album, released by Columbia Records in January 1976. It is one of Dylan’s most collaborative efforts, featuring the same caravan of musicians as the acclaimed Rolling Thunder Revue tours the previous year (later documented on The Bootleg Series Vol. 5); many of the songs also featured backing vocals by Emmylou Harris. Most of the album was co-written by Jacques Levy, and is composed of lengthy story-songs, two of which quickly generated controversy: the over-11-minute long “Joey”, which is seen as glorifying the violent gangster “Crazy Joey” Gallo, and “Hurricane”, the opening track that tells a passionate account of the murder case against boxer Rubin Carter, whom the song asserts was framed. Carter was released in 1985, after a judge overturned his conviction on appeal.
A well-received follow-up to Blood on the Tracks, Desire reached #1 on the Billboard Pop Albums chart for 5 weeks, becoming one of Dylan’s top-selling studio albums (currently certified double platinum), while reaching #3 in the UK. It claimed the number one slot on NME Album of the Year. In 2003 Rolling Stone magazine named Desire #174 on its list of The 500 Greatest Albums of All Time.
All Music Review
If Blood on the Tracks was an unapologetically intimate affair, Desire is unwieldy and messy, the deliberate work of a collective. And while Bob Dylan directly addresses his crumbling relationship with his wife, Sara, on the final track, Desire is hardly as personal as its predecessor, finding Dylan returning to topical songwriting and folk tales for the core of the record. It’s all over the map, as far as songwriting goes, and so is it musically, capturing Dylan at the beginning of the Rolling Thunder Revue era, which was more notable for its chaos than its music. And, so it’s only fitting that Desire fits that description as well, as it careens between surging folk-rock, Mideastern dirges, skipping pop, and epic narratives. It’s little surprise that Desire doesn’t quite gel, yet it retains its own character — really, there’s no other place where Dylan tried as many different styles, as many weird detours, as he does here. And, there’s something to be said for its rambling, sprawling character, which has a charm of its own. Even so, the record would have been assisted by a more consistent set of songs; there are some masterpieces here, though: “Hurricane” is the best-known, but the effervescent “Mozambique” is Dylan at his breeziest, “Sara” at his most nakedly emotional, and “Isis” is one of his very best songs of the ’70s, a hypnotic, contemporized spin on a classic fable. This may not add up to a masterpiece, but it does result in one of his most fascinating records of the ’70s and ’80s — more intriguing, lyrically and musically, than most of his latter-day affairs.
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发表于 2020-12-8 16:01:13
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