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Blood On The Tracks - Bob Dylan MP3 - 320kbps - zeke23

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  Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20,
1975 by Columbia Records. The album marked Dylan's return to Columbia Records after a two-album stint with Asylum
Records. Dylan commenced recording the album in New York City in September 1974. In December, shortly before Columbia
was due to release the record, Dylan abruptly re-recorded much of the material in a studio in Minneapolis. The final
album contained five tracks from New York and five tracks from Minneapolis.
  
  Blood on the Tracks was
initially received with mixed reviews, but has subsequently been acclaimed as one of Dylan's greatest albums by critics
and fans. The songs have been linked to tensions in Dylan's personal life, including estrangement from his then-wife
Sara, and one of their children, Jakob Dylan, has described the songs as "my parents talking".[1] The album has been
viewed as an outstanding example of the confessional singer-songwriter's craft, and it has been called "the truest, most
honest account of a love affair from tip to stern ever put down on magnetic tape".[2] In interviews, Dylan has denied
that the songs on the album are autobiographical. In 2003, the album was ranked number 16 on Rolling Stone's list of the
500 greatest albums of all time, and in 2004, it was placed at number 5 on Pitchfork Media's list of the top 100 albums
of the 1970s.[3]
  
  The album reached #1 on the Billboard 200 charts and #4 on the UK Albums Chart. The
single "Tangled Up in Blue" peaked at #31 on the Billboard Hot 100 singles chart. The album remains one of Dylan's
best-selling studio 
  releases, with a double-platinum US certification by the Recording Industry Association of
America (RIAA)
  
  
  
  Bob Dylan was born Robert Allen Zimmerman (Hebrew: רוברט אלן
צימרמאן‎, Hebrew name שבתאי זיסל בן
אברהם [Shabtai Zisl ben Avraham])[1][2] in St. Mary's Hospital on May 24, 1941, in Duluth,
Minnesota,[3][4] and raised in Hibbing, Minnesota, on the Mesabi Range west of Lake Superior. His paternal grandparents,
Zigman and Anna Zimmerman, emigrated from Odessa in the Russian Empire (now Ukraine) to the United States following the
anti-Semitic pogroms of 1905.[5] His maternal grandparents, Benjamin and Lybba Edelstein, were Lithuanian Jews who
arrived in the United States in 1902.[5] In his autobiography Chronicles: Volume One, Dylan writes that his paternal
grandmother's maiden name was Kirghiz and her family originated from Kağızman district of Kars Province in north
eastern Turkey.[6]
  
  Dylan's parents, Abram Zimmerman and Beatrice "Beatty" Stone, were part of the area's
small but close-knit Jewish community. Robert Zimmerman lived in Duluth until age six, when his father was stricken with
polio and the family returned to his mother's home town, Hibbing, where Zimmerman spent the rest of his childhood.
Robert Zimmerman spent his early years listening to the radio—first to blues and country stations broadcasting
from Shreveport, Louisiana, and, as a teen, to early rock and roll.[7] Zimmerman formed several bands while attending
Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard[8] and Elvis Presley.[9] Their
performance of Danny & the Juniors' "Rock and Roll Is Here to Stay" at their high school talent show was so loud
that the principal cut the microphone off.[10] In 1959, his high school yearbook carried the caption: "Robert Zimmerman:
to join 'Little Richard'."[8][11] The same year, using the name Elston Gunnn [sic], he performed two dates with Bobby
Vee, playing piano and supplying handclaps.[12][13][14]
  
  Zimmerman moved to Minneapolis in September 1959,
where he enrolled at the University of Minnesota. His early focus on rock and roll gave way to an interest in American
folk music; in 1985, Dylan explained the attraction that folk music had exerted on him:
  
   The thing about
rock'n'roll is that for me anyway it wasn't enough ... There were great catch-phrases and driving pulse rhythms ... but
the songs weren't serious or didn't reflect life in a realistic way. I knew that when I got into folk music, it was more
of a serious type of thing. The songs are filled with more despair, more sadness, more triumph, more faith in the
supernatural, much deeper feelings.[15]
   						

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