New Bob Dylan Place To Feature Entire Official Discography

For Bob Dylan fans who think they have everything, a box set that is brand new guarantees to provide at least a little something extra.

Bob Dylan Complete Album Collection Vol announced Wednesday.

One has been touted as the “complete official discography” of this singer/songwriter, from 1962’s Meet Bob Dylan through 2012’s Tempest, along with two “side tracks” disks comprising non-album singles, B-sides, music from movies and compliations and other rarities.

Additionally, the set contains 35 studio names, six live records and a hardcover book with album-by-album liner notes.

Because Nov. 5, the Complete Album Collection Vol.

One will be available as a limited-edition harmonica-shaped USB stick and as a CD box set containing all of the music, in MP3 and FLAC lossless formats, with a digital version of the hardcover booklet, housed in a deluxe box.

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    Sep 12, 2012 – 4. Blood on the Tracks Year: 1975. With good reason, Bob Dylan is most revered for his nearly unparalleled streak of legendary albums in the 1960s (including 1963’s The Freewheelin’ Bob Dylan, 1965’s Highway 61 Revisited and 1966’s Blonde on Blonde), but he saved arguably his finest album ever until …

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    Nov 3, 2017 – I’d gotten hooked by “Blood on the Tracks,” one of the twelve CDs that I’d received for a penny from Columbia House. (Did we really send in the penny with the coupon? I think maybe we did.) After wearing that album out, I undertook a meticulous survey of Dylan’s discography. Eager to share my passion, …

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    Sony Music Entertainment. All Rights Reserved. COLUMBIA and “Walking Eye” Design are registered trademarks of Sony Music Entertainment. Visit www. OnGuardOnline.gov for social networking safety tips for parents and youth. Follow Bob Dylan. Facebook · Twitter · Site By Icon · Send us feedback · Privacy Policy · Terms …

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    Sep 11, 2017 – Jill Riley on The Freewheelin’ Bob Dylan (1963) Jay Gabler on The Times They Are A-Changin’ (1964) Jay Gabler on Another Side of Bob Dylan (1964) Mary Lucia on Bringing It All Back Home (1965) Jill Riley on Highway 61 Revisited ( 1965) Jill Riley on Blonde on Blonde (1966) Mac Wilson on John …

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    For me Dylan’s best period as an artist was when he created Highway 61 Revisited / Blonde On Blonde (my favourite Dylan album) & Blood On The Tracks. He has of course made many great albums but this was his peak in my humble opinion. A true poet & incredible lyricist who happened to make great music as well.

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Enormous Johnny Cash Box Set An Homage To The Man In Black

Anyone using a diehard Johnny Cash fan on their holiday shopping list might want to consider placing a bow on a massive new career retrospective from Columbia/Legacy.

The 63-disc Johnny Cash: The Complete Columbia Album Collection ($230) brings together 59 albums. It begins with 1958’s The Fabulous Johnny Cash, which comprised his first No. 1 country single, Do not Take Your Guns to Town, also stretches through 1990’s Highwayman 2 with Waylon Jennings, Willie Nelson and Kris Kristofferson. Cash, who died in 2003, would have turned 80 this past year.

Cash embraced many different musical styles — country and western, gospel, blues, rockabilly, traditional balladry and folk — although with his gravelly deep baritone made every obviously his own. The set includes 35 albums being released for the first time on CD in the united states. Each title is packaged as a mini-LP CD using its original art, such as the five original gatefold records in Cash’s Columbia discography. It includes a full-color booklet which includes information on each album: songwriters, recording cities and dates, musicians, guest celebrities, producers, release dates, catalogue numbers and chart positions.

Among the many rarities are two movie soundtracks produced in Nashville in 1970 by Bob Johnson: I Walk the Line, directed by John Frankenheimer and starring Gregory Peck, and Little Fauss and Big Halsy, a motorcycle racing Movie starring Robert Redford and Lauren Hutton.

Additionally, there are two new compilations to match the boxed set. Johnny Cash With His Hot & Blue Guitar, a 28-track Selection of songs released through his Sun Records years (1954-58), and also the two-CD The Singles, Plus, a 55-song collection spanning 1958-1985 and including singles that did not look on his Columbia albums, also guest appearances by Bob Dylan, the Carter Family, Mother Maybelle Carter, June Carter Cash, the Earl Scruggs Revue, Marty Robbins, Willie Nelson and Shel Silverstein.

  • Bob Dylan complete discography in SearchWorks catalog

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    Complete and comprehensive Bob Dylan Discography. … The Home of Bob Dylan – ISIS Magazine

  • Bob Dylan’s discography | recordart

    Oct 22, 2016 – He was accused of being a sell-out in 1966 when he moved on from his folk-rock roots to more electric rock music with three impressive albums recorded in 14 months: “Bringing It All Back Home“, “Highway 61 Revisited” and “Blonde on Blonde“. These were my introduction to his oeuvre: a fellow student, …

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    We offer an overview of Bob Dylan and recommend his best cd’s. Our website profiles many … Bob Dylan cd reviews and discography. Apple iTunes … Bob Dylan The Freewheelin’ Bob Dylan The Time They Are A-Changin’ Another Side Of Bob Dylan Bringing It All Back Home Highway 61 Revisited Blonde On Blonde

New Bob Dylan Set To Feature Whole Official Discography

For Bob Dylan fans who believe they have everything, a box set that is brand new guarantees to offer a little something extra.

Bob Dylan Complete Album Collection Vol announced Wednesday.

One is being touted as the “complete official discography” of this singer/songwriter, from 1962’s Meet Bob Dylan through 2012’s Tempest, along with two “side tracks” disks comprising non-album singles, B-sides, music from movies and compliations and other rarities.

The set includes a hardcover novel, six live records and 35 studio titles with liner notes that are album-by-album.

Due Nov. 5, the Entire Album Collection Vol.

An individual will be available both as a CD box set and as a limited-edition harmonica-shaped USB stick comprising all the music, in either MP3 and FLAC lossless formats, with a digital version of the hardcover booklet, housed in a deluxe numbered box.

  • Bob Dylan discography, lyrics, album reviews, history, links

    Much of Dylan’s best known work is from the 1960s when he became an informal documentarian and reluctant figurehead of American unrest. Some of his songs, such as “Blowin’ in the Wind” and “The Times They Are a-Changin'”, became anthems of the anti-war and civil rights movements. He remains an influential and  …

  • The 10 Best Bob Dylan Albums to Own On Vinyl — Vinyl Me, Please

    Nov 16, 2016 – We present the 10 Best Bob Dylan Albums to Own on Vinyl, for the Dylanologist in all of us. … has the Bob Dylan Vinyl Starter Kit: The Times They Are A-Changin’ , Bringing It All Back Home, Highway 61 Revisited, Bob Dylan’s Greatest Hits and Blood on the Tracks. … The Freewheelin’ Bob Dylan (1963).

  • Bob Dylan Complete Discography: Brian Hinton: 9780789314949 …

    Bob Dylan Complete Discography [Brian Hinton] on Amazon.com. *FREE* shipping on qualifying offers. This book is a must have for anyone interested in Bob Dylan’s music. It covers 43 officially released albums with extensive commentary on each track. Included are details of label.

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  • Bob Dylan’s discography | recordart

    Oct 22, 2016 – He was accused of being a sell-out in 1966 when he moved on from his folk-rock roots to more electric rock music with three impressive albums recorded in 14 months: “Bringing It All Back Home“, “Highway 61 Revisited” and “Blonde on Blonde“. These were my introduction to his oeuvre: a fellow student, …

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    The list of official Bob Dylan albums. … The Bootleg Series, Vol. 5: Bob Dylan Live 1975 – The Rolling Thunder Revue

Massive Johnny Cash Box Set An Homage To The Man In Black

Anyone with a die-hard Johnny Cash fan on their holiday shopping list may wish to consider putting a bow on a huge new career retrospective from Columbia/Legacy.

The 63-disc Johnny Cash: The Complete Columbia Album Collection ($230) brings together 59 albums. It begins with 1958’s The Fabulous Johnny Cash, which featured his first No. 1 country single, Don’t Take Your Guns to Town, and stretches through 1990’s Highwayman 2 with Waylon Jennings, Willie Nelson and Kris Kristofferson. Cash, who died in 2003, would have turned 80 this year.

Money embraced many different musical styles — country and western, gospel, blues, rockabilly, traditional balladry and folk — despite his gravelly deep baritone created each distinctly his own. The set includes 35 albums being released for the first time on CD in the united states. Each title is packaged as a mini-LP CD with its original art, including the five original gatefold albums in Money’s Columbia discography. It includes a full-color booklet which includes information on each album: songwriters, recording dates and cities, musicians, guest performers, producers, release dates, catalog numbers and chart rankings.

Among the many rarities are two movie soundtracks produced in Nashville in 1970 by Bob Johnson: I Walk the Line, directed by John Frankenheimer and starring Gregory Peck, and Little Fauss and Big Halsy, a Bike racing Movie starring Robert Redford and Lauren Hutton.

There are two new compilations to complement the boxed set. Johnny Cash With His Hot & Blue Guitar, a 28-track Selection of songs published during his Sun Records years (1954-58), and also the two-CD The Singles, Plus, a 55-song collection spanning 1958-1985 and including singles that did not look on his Columbia records, also guest appearances from Bob Dylan, the Carter Family, Mother Maybelle Carter, June Carter Cash, the Earl Scruggs Revue, Marty Robbins, Willie Nelson and Shel Silverstein.

  • 07 Is there a Bob Dylan discography available online, or some way to …

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  • Bob Dylan Complete Discography: Brian Hinton: 9780789314949 …

    Bob Dylan Complete Discography [Brian Hinton] on Amazon.com. *FREE* shipping on qualifying offers. This book is a must have for anyone interested in Bob Dylan’s music. It covers 43 officially released albums with extensive commentary on each track. Included are details of label.

  • Bob Dylan Producer Discography List | Famous Albums Produced by …

    List of albums produced by Bob Dylan, listed alphabetically with album cover images when available. A great producer … This Bob Dylan producer discography contains information about each album, such as when the album was released and what genre the album falls under. Bob Dylan … Blood on the Tracks Bob Dylan …

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  • Albums | The Official Bob Dylan Site

    Sony Music Entertainment. All Rights Reserved. COLUMBIA and “Walking Eye”; Design are registered trademarks of Sony Music Entertainment. Visit www. OnGuardOnline.gov for social networking safety tips for parents and youth. Follow Bob Dylan. Facebook · Twitter · Site By Icon · Send us feedback · Privacy Policy · Terms …

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Massive Johnny Cash Box Put An Homage To The Man In Black

Anyone with a Johnny Cash fan on their holiday list might want to look at placing a bow.

The 63-disc Johnny Cash: The Complete Columbia Album Collection ($230) brings together 59 albums. It starts with 1958’s The Fabulous Johnny Cash, which comprised his first No. 1 country single, Don’t Take Your Guns to Town, and stretches through 1990’s Highwayman 2 with Waylon Jennings, Willie Nelson and Kris Kristofferson. Would have turned 80.

Cash embraced many different musical styles — country and western, gospel, blues, rockabilly, traditional balladry and folk — although with his gravelly baritone that was deep made every distinctly his own. The set includes 35 records being published in the united states for the first time on CD. Each title is packaged as a CD including the five original albums in the Columbia discography of Cash. It comes with a booklet that includes information on each record: manufacturers, recording cities and dates, musicians, guest performers, songwriters, release dates, catalogue numbers and graph positions.

One of the Numerous rarities are two movie soundtracks Made in Nashville in 1970 by Bob Johnson: I Walk the Line, directed by John Frankenheimer and starring Gregory Peck, and Little Fauss and Big Halsy, a Bike racing Movie starring Robert Redford and Lauren Hutton.

There are two new compilations to complement the boxed set. Johnny Cash With His Hot & Blue Guitar, a 28-track collection of songs released through his Sun Records decades (1954-58), and also the two-CD The Singles, Plus, a 55-song collection constituting 1958-1985 and featuring singles that did not look on his Columbia albums, plus guest appearances from Bob Dylan, the Carter Family, Mother Maybelle Carter, June Carter Cash, the Earl Scruggs Revue, Marty Robbins, Willie Nelson and Shel Silverstein.

  • Bob Dylan Albums: songs, discography, biography, and listening …

    Bob Dylan discography and songs: Music profile for Bob Dylan, born May 24, 1941. Genres: Singer/Songwriter, Folk Rock, Contemporary Folk. Albums include Highway 61 Revisited, Blonde on Blonde, and Blood on the Tracks.

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  • LP Discography: Bob Dylan – Discography

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    May 24, 2016 – Maybe you’ve heard Freewheelin’, Highway 61 Revisited or Blonde On Blonde more times than you can count, but how often do you spin the incredible records in between? Perhaps you’re intimate with Bob’s work from the ’60s and ’70s, regularly immersing yourself in The Times They Are A-Changin’, …

For Reznor And Iovine, Beats Music Is ‘Private’

SANTA MONICA, Calif. — Sitting side by side in a seminar room at Beats Audio headquarters, Jimmy Iovine and Trent Reznor come across as flip sides of the same music-obsessed coin.

Where Iovine, 60, is voluble and declarative, Reznor, 48, is silent and pensive. But both deliver the same message: They have joined forces to make Beats Music’s streaming audio support since what is available today doesn’t fulfill their demands.

“Is this personal? Sure it is,” says Iovine, Beats Music’s founder and chairman, who announced Saturday that his service opens to customers on Jan. 21. “I have always felt that subscription has been the solution. But access to songs alone isn’t enough, no matter what they choose to call it. We believe if a service is excellent enough, it could be more rewarding than owning (music). I would like to be a part of this solution for the artist and the business.”

Reznor, the company’s chief creative officer, says he excitedly dove right into a few present streaming music services before realizing that his “behavior didn’t change, I wasn’t seduced into it. So we’re taking the concept of accessibility to music and adding to it context, taste and humankind. Now I look forward to getting stuck in the car so music can be discovered by me. I have not felt that in a long time.”

Over the course of one hour’s conversation, both industry veterans hammer out their crucial convictions: curation is the key to winning the battle for a developing pie of streaming readers; Beats is carrying a very Apple-like strategy for its business by creating a lifestyle around its brand; and as music men, they’re bent on making certain Beats Music caters as much to artists because its does fans.

Of these three, curation has their juices going the most. Paid streaming services enjoyed a boost last year, seeing a 32 percent jump streams, based on Nielsen SoundScan’s year-end report. However, one will be ultimately chosen by consumers while many services flood the market now, and Beats Music is banking on a personalized touch.

“Sirius XM (satellite radio) has performed well with curated music, but Beats Music is significantly deeper for the easy reason that we are on demand, and when we know anything about consumers now, they want items on demand,” says Iovine, who also is chairman of Interscope Geffen A&M Records. “Curation is all. Accessibility is average.”

Reznor, no stranger to technology, says that while he respects the electronic wizardry in evidence on web sites such as Spotify, “to brag about being agnostic and just providing access to music seems to me, because a culture individual, as a fail. It’s just supplying a utility vs. breathing life into something”

Much like Reznor, Iovine is a music man that is born-and-bred; his big job of note helped engineer Bruce Springsteen’s 1975 breakthrough smash, Born to Run. But he kept an ear out for the new thing, and his encounters with Apple’s Steve Jobs, notably through the launch of iTunes in 2001, had a profound effect on the Beats Audio empire.

“I bonded with Steve right off on Bob Dylan and John Lennon, but that I also saw a man who really knew technology,” says Iovine. “We could watch Apple and get out of them exactly what they were actually doing, which was not only making a phone, but providing it an emotion, a feel, a lifestyle and also a ceremony. We said, our cans will accomplish that. And now, so will our audio support.”

Reznor’s own early involvement with Beats Music is due in no small part to his own frustrations with the devolving audio enterprise. He guesses that this thing will comprise an dynamic interactivity between people and musicians who follow their job.

“We are going to offer artists metrics in terms of where their music has been consumed from the service, we’ll allow musicians to curate their own pages, and generally provide a friendly place where musicians can create fans aware of T-shirts or concert tickets, and consumers can find out more about music and culture,” says Reznor, who in particular is enthusiastic about being in a position to exhibit his true face into lovers.

” Not to throw stone in Spotify, because I know these guys, but on their website, I sit behind an impenetrable wall,” he says. “I’ve got an old bio, old photographs and a discography with some bootlegs. I feel like I am walking into a mall record shop and my small area has the wrong image of me and the catalog stinks”

Iovine adds: “And we are going to be great to artists!”

“Yes,” says Reznor, “we’re going to offer transparency in terms of all exemptions”

A general more artist-friendly service could pay dividends for Beats Music, says James McDavid, who specializes in video and media markets in the international firm Forrester Research.

“The issue is who possesses the (consumer) data. Because until now, while artists believed it was great to be listened to, they could not use this information. Beats could differentiate itself whether it lets musicians get closer to enthusiasts,” he says. “The bigger problem is: Where’s streaming going? Is it access to songs or editorializing songs? Is it for men and women who only want sonic wallpaper, or for individuals for whom music is their life?”

That answer remains elusive and retains in it Beats Music’s destiny.

“Between YouTube and Pandora and all these services, I don’t think the space can accommodate all these gamers,” states Steve Knopper, author of Appetite for Self-Destruction: The Dramatic Crash of the Record Industry in the Digital Age. “But I wouldn’t count Jimmy out. If you’d told me an old-school label man would begin Beats headphones and control, I would have said ‘no way.’ “

The New York-raised street-fighting man inside Iovine likes a struggle, and busting into the china store that is streaming-music to supply his stamp is his style. CEO Rogers recalls a livid telephone call one Saturday from his boss, whining that “a certain song on a barbecue-themed playlist had no business being there.”

True enough? Iovine smiles a bit sheepishly.

“Well, it made no sense,” he states. “When there’s something I want to focus on, I am like a dog with a bone. Along with Beats Music, I am on it.”

For Iovine And Reznor, Beats Music Is ‘Private’

SANTA MONICA, Calif. — Sitting side by side in a seminar room at Beats Audio headquarters, Jimmy Iovine and Trent Reznor encounter as flip sides of the exact same music-obsessed coin.

Reznor, 48, is pensive and silent where Iovine is declarative and voluble. But both deliver the same message: They’ve joined forces because what is on the market now does not fulfill their demands to create the streaming service of Beats Music.

“Is this private? Sure it is,” says Iovine, Beats Music’s founder and chairman, who announced Saturday that his support opens to consumers around Jan. 21. “I’ve always felt that subscription was the solution. But access to music alone is not sufficient, regardless of what they decide to call it. We feel if a service is great enough, it can be much more rewarding than owning (audio). I would like to be part of the solution to the artist and the business.”

Reznor, the organization’s chief creative officer, says he excitedly dove into a few existing streaming music services prior to realizing his “behavior did not change, I wasn’t seduced to it. So we are taking the idea of accessibility and adding to it humankind, context and taste. I look forward to getting stuck in the car so that I can discover music. I have not felt that in quite a while.”

Over the span of an hour’s talk, the two industry pros hammer out their crucial convictions: curation is the secret to winning the struggle for a growing pie of streaming subscribers; Beats is carrying an extremely Apple-like strategy for its business by creating a lifestyle around its brand; and as audio men, they are bent on making certain Beats Music caters up to artists as its does fans.

Of these three, curation has their juices going the most. Despite stagnant CD earnings, paid streaming services enjoyed a boost seeing a 32% jump streams, based on Nielsen SoundScan’s year-end report. But one will be ultimately chosen by consumers while services flood the industry now, and Beats Music is banking on a touch winning outside.

“Sirius XM (satellite radio) has performed nicely with curated music, but Beats Music is a lot deeper for the easy reason that we’re on demand, and if we know anything about customers now, they want things on demand,” says Iovine, who also is chairman of Interscope Geffen A&M Records. “Curation is everything. Accessibility is typical.”

Reznor, no stranger to technology, says that while he respects the electronic wizardry in evidence on sites like Spotify, “to brag about being agnostic and just providing access to music seems to me, as a culture person, as a neglect. It’s just supplying a usefulness breathing life into something”

Iovine is a music guy that is born-and-bred; his first job of notice was helping engineer Bruce Springsteen’s 1975 breakthrough smash, Born to Run. But he kept an ear out for the next thing, and his encounters with the Steve Jobs of Apple, notably during the launch of iTunes in 2001, had a profound impact on the Beats Audio empire.

“I bonded with Steve right away on Bob Dylan and John Lennon, but that I saw a man who really understood engineering,” says Iovine. “We were able to watch Apple and get out of them exactly what they were really doing, which wasn’t just making a telephone, but providing it an emotion, a sense, a lifestyle and also a support. So we said, our headphones will do this. And now, so will our music support.”

While Iovine constantly highlights Beats’ curation attribute — which finds dozens of music experts creating playlists — the tech side has not been left by him to opportunity. For starters, the headquarters of Beats Music is in tech-centric San Francisco. There, CEO Ian Rogers (who previously directed artist-to-fan firm Topspin Media and was general manager of Yahoo Music) hunkers down using the two-thirds of this service’s 140 staffers charged with keeping a seamless user interface.

Reznor’s own involvement with Beats Music is due in no small part to his frustrations with the devolving audio enterprise. He guesses that this new entity will feature an dynamic interactivity between those and musicians who follow their work.

“We’re going to provide artists metrics in terms of where their music is being consumed from the service, we will enable artists to curate their own pages, and in general provide a favorable place where artists can create fans aware of T-shirts or concert tickets, and consumers can find out more about music and culture,” says Reznor, who in particular is enthusiastic about being in a position to present his true face into fans.

” Not to throw stone at Spotify, because I know these men, but on their site, I sit behind an impenetrable wall,” he says. “I have an older bio, old photos and a discography with some bootlegs. I feel like I am walking into a mall record store and my small area has the wrong image of me and the catalogue stinks.”

Iovine adds: “And we are going to be good to artists!”

“Yes,” says Reznor, “we are going to supply transparency in terms of all royalties.”

An overall more artist-friendly service may pay dividends for Beats Music, states James McDavid, that specializes in media and video markets at the international analytics company Forrester Research.

“The question is who owns the (consumer) data. Because until today, while artists felt it was good to be listened to, they couldn’t use this advice to aid themselves. Beats could distinguish itself whether it allows musicians get closer to fans,” he says. “The bigger problem is: Where’s streaming going? Is it just access to editorializing songs or songs? Is it for men and women who only want sonic background, or for people for whom music is the life?”

That answer remains elusive and retains the fate of Beats Music.

For Reznor And Iovine, Beats Music Is ‘Private’

SANTA MONICA, Calif. — Sitting side by side in a seminar room at Beats Audio headquarters, Jimmy Iovine and Trent Reznor come across as flip sides of the same music-obsessed coin.

Where Iovine, 60, is voluble and declarative, Reznor, 48, is quiet and pensive. But both deliver the same message: They’ve joined forces to make Beats Music’s streaming audio service because what’s on the market today does not fulfill their needs.

“Is this private? Sure it is,” says Iovine, Beats Music’s founder and chairman, who announced Saturday that his service opens to customers on Jan. 21. “I’ve always felt that subscription was the solution. But access to music alone isn’t enough, regardless of what they choose to call it. We believe whether a service is great enough, it could be much more rewarding than owning (music). I want to be a part of this solution to the artist and the business.”

Reznor, the organization’s chief creative officer, ” he excitedly dove right into a few present streaming music services prior to realizing that his “behavior did not change, I was not seduced to it. So we’re taking the concept of accessibility to audio and adding to it humankind, taste and context. Now I look forward to getting stuck in the car so I can detect music. I have not felt that in a long time.”

Over the course of an hour’s conversation, both industry pros hammer out their crucial convictions: curation is the key to winning the struggle for a developing pie of streaming readers; Beats is carrying a very Apple-like strategy for its business by creating a lifestyle around its new; and as audio men, they are bent on making sure Beats Music caters as much to artists because its does lovers.

Of those three, curation has their juices going the most. Despite stagnant CD sales, paid streaming services enjoyed a boost this past year, seeing a 32% jump to 118 billion streams, according to Nielsen SoundScan’s year-end report. However, while many providers flood the market today, consumers ultimately will choose one, and Beats Music is banking on a personalized touch winning outside.

“Sirius XM (satellite radio) has performed nicely with curated songs, but Beats Music is much deeper for the easy reason that we’re on demand, and when we understand anything about consumers now, they want things on demand,” says Iovine, who also is chairman of Interscope Geffen A&M Records. “Curation is everything. Access is average.”

Reznor, no stranger to technology, says that while he respects the electronic wizardry in signs on web sites such as Spotify, “to brag about being agnostic and only providing access to audio appears to me, because a culture person, as a fail. It’s just providing a usefulness breathing life into something”

Much like Reznor, Iovine is a born-and-bred music guy; his first big job of note was supporting engineer Bruce Springsteen’s 1975 breakthrough smash, Born to Run. But he has always kept an ear out for the upcoming new thing, and his encounters with Apple’s Steve Jobs, especially during the launch of iTunes in 2001, had a profound effect on the Beats Audio empire.

“I secured with Steve right off on Bob Dylan and John Lennon, but that I also saw a man who really understood technology,” says Iovine. “We were able to watch Apple and get from them what they were actually doing, which wasn’t just making a phone, but providing it an emotion, a sense, a lifestyle and a support. So we said, our cans will do this. And so will our music support.”

While Iovine constantly highlights Beats’ curation attribute — that finds dozens of music specialists creating playlists — he’s not left the tech side to chance. For starters, Beats Music’s headquarters is in tech-centric San Francisco. There, CEO Ian Rogers (who previously led artist-to-fan firm Topspin Media and has been general manager of Yahoo Music) hunkers down with the two-thirds of this service’s 140 staffers charged with keeping a seamless user interface.

Reznor’s own involvement with Beats Music is due in no small part to his own frustrations with the devolving audio business. He vows this new thing will feature an increasingly dynamic interactivity between musicians and people who follow their work.

“We’re going to offer artists metrics with respect to where their music has been absorbed in the service, we will allow musicians to curate their own pages, and in general provide a friendly place where artists may create fans aware of T-shirts or concert tickets, and consumers can learn more about music and culture,” says Reznor, who in particular is excited about being in a position to present his true face into fans.

” to throw stone at Spotify, because I know those men, but on their site, I sit behind an impenetrable wall,” he says. “I’ve got an old bio, old photos and a discography with some bootlegs. I feel like I am walking into a mall record shop and my little area has the wrong picture of me and the catalog stinks”

“Yes,” says Reznor, “we’re likely to offer transparency concerning all exemptions”

A general service that is more artist-friendly could pay dividends for Beats Music, states James McDavid, who focuses on video and media markets in the global firm Forrester Research.

“The issue is who owns the (user) data. Because until now, while artists felt it was good to be listened to, they could not use that information to help themselves. Beats could distinguish itself whether it lets musicians get closer to enthusiasts,” he says. “The bigger issue is: Where’s streaming going? Is it just access to songs or editorializing songs? Is it for men and women who only want sonic background, or for individuals for whom music is the life?”

That answer remains elusive and holds inside Beats Music’s destiny.

“Between YouTube and Pandora and each of these services, I don’t believe the space can accommodate these players,” states Steve Knopper, author of Appetite for Self-Destruction: The Dramatic Crash of the Record Business in the Digital Age. “But I wouldn’t count Jimmy out. If you’d told me an old-school label man would start Beats headphones and predominate, I would have said ‘no way.’ “

The New York-raised street-fighting guy inside Iovine enjoys a challenge, and busting into the china store to provide his stamp is just his style. CEO Rogers recalls a livid telephone call one Saturday out of his boss, complaining that “a certain tune on a barbecue-themed playlist had no business being there.”

True enough? Iovine smiles a bit sheepishly.

“Well, it made no sense,” he says. “When there’s something I need to focus on, I’m like a dog with a bone. And with Beats Music, I am on it”

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Massive Johnny Cash Box Put An Homage To The Man In Black

The 63-disc Johnny Cash: The Complete Columbia Album Collection ($230) brings together 59 albums. It begins with 1958’s The Fabulous Johnny Cash, which featured his first No. 1 country single, Do not Take Your Guns to Town, also stretches through 1990’s Highwayman 2 with Waylon Jennings, Willie Nelson and Kris Kristofferson. Would have turned 80 this past year.

Money embraced a variety of musical styles — country and western, gospel, blues, rockabilly, traditional balladry and folk — despite his gravelly deep baritone created each distinctly his own. The set includes 35 records being published for the first time on CD. Each title is packaged such as the five original albums in Money’s Columbia discography, with its original art. It includes a full-color booklet which includes information on every album: manufacturers, recording cities and dates, musicians, guest celebrities, songwriters, release dates, catalogue numbers and chart rankings.

One of the rarities are two Film soundtracks Made in Nashville in 1970 by Bob Johnson: I Walk the Line and Little Fauss and Big Halsy, a Bike Movie starring Lauren Hutton and Robert Redford.

There are two new compilations to complement the boxed set. Johnny Cash With His Hot & Blue Guitar, a 28-track Selection of songs released through his Sun Records years (1954-58), along with the two-CD The Singles, Plus, a 55-song collection constituting 1958-1985 and featuring singles that did not seem on his Columbia records, plus guest appearances by Bob Dylan, the Carter Family, Mother Maybelle Carter, June Carter Cash, the Earl Scruggs Revue, Marty Robbins, Willie Nelson and Shel Silverstein.

New Bob Dylan Place To Feature Whole Official Discography

For Bob Dylan fans who think they have everything, a box set that is brand new promises to provide a little something extra.

Wednesday, Bob Dylan Complete Album Collection Vol.

One is being touted as the “entire official discography” of this singer/songwriter, from 1962’s Meet Bob Dylan through 2012’s Tempest, as well as two “side tracks” discs featuring non-album singles, B-sides, music from films and compliations and other rarities.

In addition, the collection contains six live records, 35 studio names and a hardcover novel with album-by-album liner notes.

Due Nov. 5, the Entire Album Collection Vol.

An individual will be available as a CD box set and as a limited-edition harmonica-shaped USB stick comprising the audio, in either MP3 and FLAC lossless formats, using a version of the hardcover booklet, housed in a box that is numbered.