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Bob Dylan Love and Theft on Numbered Limited Edition Hybrid SACD from Mobile Fidelity!
Mastered From Original Master Tapes!
Rolling Stone 500 Greatest Albums of All Time - Rated 385/500!
A Visionary Survey of American Music and Its Vast Landscapes: Bob Dylan's
Love and Theft Tours Swing, Blues, Country, Folk, and Vaudeville En Route to
Becoming a Roots-Rock Landmark
Mastered from the Original Master Tapes and Strictly Limited to 3,000 Numbered
Copies: Mobile Fidelity Hybrid SACD Features You-Are-There Immediacy, Lifelike
Naturalism, Stunning Presence
Bob Dylan's Love and Theft is a visionary train ride through the vast American
landscape and all its hills, valleys, mountains, river towns, and urban and
rural settlements. As they burrow into villages and barrel across trestle
bridges, the 2001 record's songs introduce us to outlaws, outliers, gamblers,
brawlers, tricksters, bootleggers, and scoundrels. It is, in effect, a
commanding survey of and plunge into American music. Named the best album of the
year by Rolling Stone and the Village Voice's Pazz & Jop Critics Poll, anointed
the second-best album of the decade by Newsweek, and later declared the 385th
Greatest Album of All Time by Rolling Stone, Love and Theft remains the Nobel
Laureate's finest effort since 1975's Blood on the Tracks – and an extension of
the jesting, imagery, and free-form looseness present on his seminal 1960s
works. Now, it possess knock-out sound.
Mastered from the original master tapes and strictly limited to 3,000 numbered
copies, Mobile Fidelity's transparent hybrid SACD reveals the you-are-there
immediacy of Dylan's production and the colorful textures inherent to every
passage. Experienced on this audiophile version, the songs possess a sense of
swing and naturalism so sure-footed that they seem to float, with Dylan and his
crack ensemble setting up as a live band taking down the house in a
deep-in-the-woods Louisiana shotgun shack. Prized aural traits such as presence,
imaging, separation, and soundstaging depth don't come better. This is the very
definition of sonic chemistry.
Indeed, Dylan's virtuosic cast that rides in akin to a pack of Old West horsemen
– Texas guitar whiz Charlie Sexton, drummer David Kemper, bassist Tony Garnier,
multi-instrumentalist Larry Campbell, and keyboardist Augie Meyers – emerges
with detailing, scaling, and tonality so realistic, it's scary. Various
imperfections – stray notes, errant chords that Dylan valued to suit the overall
atmosphere – further become enmeshed with the entire tapestry. Surpassing even
the emotionally engaging experiences provided by the rare, long-out-of-print
2003 Sony SACD, Mobile Fidelity's numbered-edition reissue brings you as close
to the music as possible. And Love and Theft is one album for which you should
settle for nothing less.
Drawing from roots-based styles that always inspired him – including blues,
vaudeville, country, jazz, swing, and folk – Dylan turns in a masterwork that
references the past without reverentially giving into it. Hence, each
composition is vital, contemporary, timeless, and, ultimately, classic. As
esteemed critic Greg Kot observed in his salient review of the Grammy-winning
effort for the Chicago Tribune: "This is a tour of American music – jump
blues, slow blues, rockabilly, Tin Pan Alley ballads, country swing – that
evokes the sprawl, fatalism and subversive humor of Dylan's sacred text, Harry
Smith's Anthology of American Folk Music, the pre-rock voicings of Hank
Williams, Charley Patton and Johnny Ray, among others, and the ultra-dry humor
of Groucho Marx."
Similarly, the scope of the record – along with its mysteries, riddles, and
fantasies – wasn't lost on Rolling Stone scribe Rob Sheffield, who mused:
"The music evokes an America of masquerade and striptease, a world of seedy
old-time gin palaces, fast cash, poison whiskey, guilty strangers trying not to
make eye contact, pickpockets slapping out-of-towners on the back. Love and
Theft comes on as a musical autobiography that also sounds like a casual, almost
accidental history of the country. Relaxed, magisterial, utterly confident in
every musical idiom he touches, Dylan sings all twelve songs in a voice that
sounds older than he is, a grizzled con man croaking biblical blues and Tin Pan
Alley valentines out of the side of his mouth while keeping one eye on the
Throughout, subtle changes in keys, tempos, and approaches adapt to the specific
feel of each song – many of which were performed in the studio after Dylan
played everyone vintage recordings by the likes of a Billie Holiday or Jimmy
Rushing to establish the mood and manner he desired. The collective went from
there. The resultant arrangements fit the lyrics to a proverbial "t." Consider
the apocalyptic nature of the symbolic "High Water (for Charley Patton)," which
doubles as a mini-history of the U.S.' racial strife as well as a metaphor for
contemporary problems. Or the deceptive ease of the crooned ballad "Bye and Bye"
that hides a clever kiss-off. Every song, every note matters. And whether via
the swing of "Summer Days" (pregnant with a destructive ending), galloping death
trip of "Tweedle Dee & Tweedle Dum," or desperate slide of "Honest with Me,"
Dylan and company turn each track into a powerful commentary on power, folklore,
"Things should start to get interesting right about now," Dylan sings in his
trademark rasp on "Mississippi," the line doubling as an apt metaphor for every
second of Love and Theft – one of the greatest records of our time.
• Super Audio CD
• SACD Stereo SACD Layer
• This Hybrid SACD contains a 'Red Book' Stereo CD Layer which is playable on
most conventional CD Players!
• Numbered, Limited Edition
• Mastered From Original Master Tapes
1. Tweedle Dee & Tweedle Dum
3. Summer Days
4. Bye And Bye
5. Lonesome Day Blues
6. Floater (Too Much To Ask)
7. High Water (For Charley Patton)
9. Honest With Me
10. Po' Boy
11. Cry A While
12. Sugar Baby