BOB DYLAN - MTV UNPLUGGED - DOUBLE LIVE - NM Vinyl LP

	£		28
	$		36

BOB DYLAN

"MTV UNPLUGGED"

 DOUBLE LIVE

Vinyl LP

1995 original release vinyl LP on the COLUMBIA record label Cat n# 478374   Made in EUROPE 

The album cover is in  NM condition. no problems, the selothane is still on the sleeve, the inner lyric sleeves are both in NM condition like the outer cover no splits or tears.

The vinyl itself is in NM condition there is some light papercuts seen under a 1500watt strong light, which give an occasional click & pop at the quietest pieces of the music when the LP is played, this is an excellent clean double album.

DISCOUNT RATES FOR MULTIPLE LP'S
These rates are calculated taking into consideration the Shipping/Postage for the destination of the LP's
UK  -  discount of £1.70 for each additional LP after the first at full price, NO ADDITIONAL SHIPPING ADDED
EUROPE - discount of £1.30 for each additional LP after the first at full shipping price, NO ADDITIONAL SHIPPING ADDED AFTER THE FIRST
REST OF THE WORLD -  no discount of £0.0 for each additional LP after the first at full shipping price, NO ADDITIONAL SHIPPING ADDED AFTER THE FIRST

If you have a double or triple LP in your order i shall use that as your first full price LP.

If you are not fully satisfied you may return this album with  a full refund inc postage.

If you need anymore information and pictures please get in touch, thanks.

Sorry if the shipping charges seem a bit high, the reason being i use heavy/strong packaging

THIS IS AS GOOD EXAMPLE OF WELL LOOKED AFTER OLD LP RECORD

Full track list

Side One

"Tombstone Blues" – 4:54
"Shooting Star" – 4:06
"All Along the Watchtower" – 3:36

Side Two

"The Times They Are a-Changin'" – 5:48
"John Brown" – 5:22
"Desolation Row" - 8:22

Side Three

"Rainy Day Women #12 & 35" – 3:31
"Love Minus Zero/No Limit" – 5:23
"Dignity" – 6:30

Side Four

"Knockin' on Heaven's Door" – 5:30
"Like a Rolling Stone" – 9:09
"With God on Our Side" – 7:16

All songs written by Bob Dylan.

The European release includes "Love Minus Zero/No Limit". The songs that did not get an official release are circulating in the Dylan bootleg community.

The Band

Bob Dylan – guitar, vocals, harmonica
Bucky Baxter – Dobro, pedal steel, steel guitar
Tony Garnier – bass
John Jackson – guitar
Brendan O'Brien – Hammond organ
Winston Watson – drums

MTV Unplugged is a live album by Bob Dylan, released in 1995 by Columbia Records was reissued in 2007 by Sony It documents Dylan's appearance on the then-highly popular MTV Unplugged television series, recorded at Sony Music Studios in New York on November 17, 1994 and November 18, 1994. It gave Dylan his best sales in years, reaching US #23 and going gold, while hitting #10 in the UK.

The singer-songwriter had originally wanted to do a set of traditional folk songs. At MTV's behest, he instead performed mostly classics from his early albums.

Recording sessions
The album was assembled from two live shows recorded at Sony Music Studios in New York on November 17, 1994 and November 18, 1994. Dylan wore the same clothes both nights for the sake of continuity in the home video release.

First session
The first session was recorded live in front of an audience on November 17, 1994. The set list is as follows:

"Tombstone Blues"
"I Want You"
"Don't Think Twice, It's All Right"
"Desolation Row"
"Hazel"
"Everything Is Broken"
"The Times They Are A-Changin'"
"Love Minus Zero/No Limit"
"Dignity"
"With God on Our Side"
Second session
The second session was recorded live in front of an audience on November 18, 1994. The set list is as follows:

"Absolutely Sweet Marie"
"Shooting Star"
"All Along the Watchtower"
"My Back Pages"
"Rainy Day Women #12 & 35"
"John Brown"
"The Times They Are A-Changin'"
"Dignity"
"Knockin' on Heaven's Door"
"Like a Rolling Stone" (false start)
"Like a Rolling Stone"
"Tonight I'll Be Staying Here with You" (false start)
"Tonight I'll Be Staying Here with You"
"Desolation Row"
"I Want You" 

Trivia
Performing "With God on our side" Dylan significantly omits two verses about the Germans and the Holocaust and about Russians, possibly because they dealt with American allegiances during the Cold War, which ended in 1991.

This live album features one of only two recordings of the early Dylan song "John Brown". The other live recording of this song is on the 2005 LP Live at the Gaslight 1962.

ROLLING STONE REVIEW
Thirty years after the acoustic Bob Dylan gave the rock world its definitive "plug in," he has joined the ranks of the unplugged. Of course, this doesn't mean the same thing for him that it does for other artists who have played the MTV forum: Dylan has been remaking his songs for three decades anyway. Yet this album still comes across as a statement. Appearing on the heels of a successful tour and the release of Greatest Hits, Vol. III, Dylan's Unplugged is less about stylistic experimentation than about his reconnection with his audience and his past.
Even the Greatest Hits is, predictably, atypical. While for most artists, putting together a greatest hits is tantamount to lining up the No. 1's, Dylan's body of work is far more complex. In documenting his best since 1971, the inclusion of "Tangled Up in Blue" and "Forever Young" makes perfect sense, but why "Changing of the Guards" instead of "Every Grain of Sand," "Hurricane" instead of "Blind Willie McTell"? If the collection is debatable as a hits package, though, it's nonetheless classic Dylan. 

For the Unplugged session, however, Dylan wanders unabashedly into his indisputable greatest. Backed by a tight acoustic ensemble, he opens with "Tombstone Blues" -- a cut, ironically, from Highway 61 Revisited, his first fully electric album. "All Along the Watchtower" broadens out into a stately ending, much as it has in his recent tour performances. "Desolation Row" becomes a delicate poem, underlain by the mandolin's filigree, while "Rainy Day Women #12 and #35" retains its raucous, barrelhouse feel. But Dylan's songs are both music and message, and "The Times They Are A-Changin'" is without the resonance it had even in its performance (by Don Henley) for the 1993 inaugural festivities. Maybe because of its use during recent Republican victories or the fact that it has been licensed for Coopers & Lybrand ads, it seems a beautiful memory -- nothing other than itself. 

The only relatively recent songs on the set are "Shooting Star" and "Dignity." Both are from the Oh Mercy (1989) sessions -- "Shooting Star" appeared on the album, "Dignity" is first heard on Greatest Hits, Vol. III. Over a fluid rock & roll groove, "Dignity" catches the tender essence of much of Dylan's later work: a search for truth without the hard edges of judgment. 

In the final trilogy of songs, Dylan loses his typical ironic evasiveness and comes perilously close to self-revelation. "Knockin' on Heaven's Door" is wrenching in its soulful bareness, a conversation overheard between Dylan and himself. Not fiery, not even elegiac, his voice makes unusual leaps in a painful caress of each refrain, as if the original melody alone could not contain his fervency. It's followed by an easy version of "Like a Rolling Stone," in which a latter-day Dylan seems more curious, less accusing. Rather than venting anger, he frees it as he grandly rolls into the final refrain, asking of himself, "How does it feel to be on your own/like a rolling stone?" 

"With God on Our Side" ends the album like a meditative coda and, deep in the Age of Newt, a concrete reminder that Dylan's songs become peculiar litmus tests each time they're sung. Dylan gently reasserts his identity as a folk singer -- "for many dark hours, I been thinkin' 'bout this" -- drawing on a rich tradition of folk song, which in an ironic play of mirrors has come to reflect back to him his own image. As it would have been with John Lennon had he lived, what was once youthful prophecy becomes aged wisdom. 

It's generally true that both the greatest hits and unplugged formats are about presenting songs an artist has already done. But Dylan still seems to have spent the decade thus far performing his best-known hits from the '60s and 70s and going back to his folk-song roots with two albums of covers from that repertoire. Yet in a period brimming with nostalgia tours, Dylan emerges as substantially more than a nostalgist. 

Performing his own war horses might be both practical and personal -- re-engaging a waning audience but also reacquainting himself with his own songs, songs that may have come to feel as distant to him as those of another writer. As he once told Kurt Loder in rolling stone, "Like 'Desolation Row' ... there's no logical way that you can arrive at lyrics like that. I don't know how it was done." Loder: "It just came to you?" Dylan: "It just came out through me." 

Speculating on the motivation behind Dylan's choices quickly becomes pointless. However, we can still -- gratefully -- feel the effect of those choices. In a political climate very different from the one that birthed these songs, Dylan's voice runs like a shudder through the times that have changed, an echo of hope that now rings with the hollowness of a failed warning. Yet if the songs are complex in their meanings, Dylan has also shown them once again to be powerful and fresh music, specific to no time, relevant to all.
SUSAN RICHARDSON

(Posted: Feb 2, 1998)

AMAZON REVIEW

Dylan's more than deserving resurgence in recent years traces its birth back, in my opinion, to this incredible live performance. This album has it all, mixing old and new music that more than satisfies longtime fans like myself and appeals to the younger generation, many of whom would know Dylan only by name had MTV not provided the medium for Dylan to prove his genius and longevity to them. Dylan's tendency to be reclusive and mysterious has made him inaccessible to some listeners in the past, but the appreciative audience is an important part of this recording, and you can tell that Dylan really enjoyed the whole performance.
The older songs on this CD are great, but they do have a different sound from their originals; this may disappoint some fans, and I admit it took me a while to appreciate this version of "The Times They Are A-Changin,'" but the soul of the songs remain the same, no matter what kind of modernized or different interpretation Dylan decides to go with on a certain night. I love "Tombstone Blues," and it does start the CD out with a great kick. It's always nice to hear Dylan's "All Along the Watchtower," if for no other reason than to let people know the song didn't originate with Jimi Hendrix. "Rainy Day Women #12 & 35" has never been a favorite of mine, but this version is a enjoyable splash of fun in between a couple of slow, serious songs. "John Brown" is a significant track, dating back to the 1960s but never having been released. It truly reflects the anti-war feelings Dylan expressed so forcibly in his formative years. As great as the classic tracks are, the tremendous newer songs only build on the musical momentum and prove that Dylan's great songwriting days have yet to come to an end. I was a little surprised to see "Shooting Star" from the Oh Mercy album, but it sounds great and fits right in here. "Dignity" is another recent song that showcases Dylan's songwriting and singing.

Three songs particularly stand out on this CD for me. "Desolation Row" is a truly incredible, meaningful song that only Dylan could write and perform. Lasting more than eight minutes, I still always hate to hear it end. "Knockin' On Heaven's Door," a song which some listeners may not enjoy as much as I do, really starts building the momentum that reaches its crescendo with my favorite Dylan performance ever of his greatest song, "Like a Rolling Stone." Having wowed his audience for close to an hour, he is definitely "feeling it" when he gets to this trademark song. Its length is matched only by its powerful delivery, and I get the feeling listening to it that even Dylan is a little surprised at how great a show he is putting on. "With God On Our Side" is an interesting song with which to end the CD, but it reflects the heart and soul of music's greatest songwriter. Following on the heels of a rocking performance, it reminds listeners that the old Dylan so many have loved for decades is still there, even if his classic songs have been given a fresh overhaul. 

This is by far my favorite Dylan CD. Having a rather small audience so close to the musicians makes this live performance a true personal triumph, and the sense of intimacy between Dylan and his fans is powerful and palpable. Dylan has never seemed happier or sounded better than he does here  .

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or deterioration in sound quality. The cover and any extra items such

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advertised as Sealed or Unplayed should be Mint.

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is very little lessening in sound quality. The cover and packaging

might have slight wear and/or creasing.

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displays no major deterioration in sound quality, despite noticeable

surface marks and the occasional light scratch. Normal wear and tear on

the cover or extra items, without any major defects, is acceptable.

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noticeably deteriorated, perhaps with some distortion and mild

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edges, spine splits, discoloration, etc.

FAIR: The record is still just playable but has not been cared for

properly and displays considerable surface noise; it may even jump.
The cover and contents will be torn, stained and/or defaced.

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noise, etc. The cover and contents will be badly damaged or partly

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