Bob Dylan ‎– Blood On The Tracks

Columbia ‎– PC 33235
Vinyl, LP, Album, Black Liner Notes

Companies, etc.



This is the first-issue with liner notes in black font on rear cover.
'Side 1 / Side 2' text differs from Bob Dylan - Blood On The Tracks.
Colored cardstock inner sleeve, "PC 33235" printed in white on lower left corner.

Barcode and Other Identifiers

  • Matrix / Runout (Matrix, Side A label): AL 33235
  • Matrix / Runout (Matrix, Side B label): BL 33235
  • Matrix / Runout (Runout Side A): P AL 33235-2C
  • Matrix / Runout (Runout Side B): P BL 33235-2AB
  • Matrix / Runout (Side 1, Variant 2, stamped): P AL 33235-2C
  • Matrix / Runout (Side 2, Variant 2, stamped): P AL 33235-2AG

Other Versions (5 of 156) View All

Cat# Artist Title (Format) Label Cat# Country Year
PCT 33235 Bob Dylan Blood On The Tracks(Cass, Album) Columbia PCT 33235 Canada Unknown Sell This Version
CDCBS 69097 Bob Dylan Blood On The Tracks(CD, Album, RE) CBS CDCBS 69097 Australia Unknown Sell This Version
69097, S 69097 Bob Dylan Blood On The Tracks(LP, Album, RE) CBS, CBS 69097, S 69097 UK 1977 Sell This Version
VPCT 33235 Bob Dylan Blood On The Tracks(Cass, Album, CRO) Columbia VPCT 33235 Canada Unknown Sell This Version
S 69097 Bob Dylan Blood On The Tracks(LP, Album, RE) CBS S 69097 Spain 1975 Sell This Version


Reviews Show All 14 Reviews

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January 27, 2019

The great thing about Bob Dylan is that it's almost impossible to write or discuss him without losing the iconic stance he has on pop culture. From day one it seems Dylan was made to be great, especially when he changed his name from Zimmerman to Dylan. In my world, Dylan is very much the pop entertainer and more in tune to someone like David Bowie than the 1960s Folk Music scene. He used the landscape, like Bowie using whatever he read or saw, but the truth is, both characters made themselves up to be what they are - not only great songwriters but a theatrical presentation as well.

"Blood on the Tracks" is often seen as a personal work by Dylan. Perhaps due to his divorce or the after-effects of the separation that took place at the time of the recordings. One can fish into the words of these songs for a clue, but I suspect that Dylan doesn't think in that manner. A bad incident or day for him is a springboard of imagination and various narrations, and at the end of the day, Dylan wants to tell a tale that will be enjoyed, and therefore he's more of a music hall performer than a raw rock n' roll soul. Dylan is not a journalist, but more of a short story writer, with an incredible amount of details in his narratives. "Blood on the Tracks" as an album, can probably be made into a film, or a narrative novel.

Oddly enough, it was only a week ago that I heard this album as a whole piece. Before that, it is just what I heard on the radio, and there are favorite songs here: "Tangled Up in Blue," Simple Twist of Fate," and of course, "Idiot Wind." Listening to side one of "Blood on the Tracks" is similar to listening to a greatest hits album. It's interesting to hear this work as an album, instead of separate songs. All stand by themselves, but the mood that runs through the collection is consistent, and there is no 'loose' cannon here, it all fits like a well-designed puzzle.

"Idiot Wind" stands out because it is so angry, or I should say the character in the song is angry, yet, the humor is very tongue-in-cheek. One can think it's a song from a psycho killer. On the other hand, it may be my favorite Dylan vocal. The way Dylan sings he reminds me of Lotte Lenya, in a very Bertolt Brecht method of separating the listener from the emotion, and one hears the intelligence behind the words. The character is angry, but the song itself is not furious. There is a distance between the character in the song and what he's singing about. His technique makes the words sting, because of its setting. Dylan looks at his songs like a scientist looking at an object in a test tube. There is a strong sense of objectivity, and for the listener, it's a subjective experience, as well as presuming that the character in the song is causally commenting on the 'facts.'

A very melodic record, and oddly enough it reminds me of the softer material on the Rolling Stones' "Aftermath." Only in texture, not in the style of songwriting, but one could imagine the Stones doing a version of "Idiot Wind." There's real beauty between Dylan's voice and the strumming of the guitar, and the minimalist organ. It's beautifully recorded by engineer veteran Phil Ramone, which brings to mind Sinatra's great ballad albums he made for Capitol Records in the 1950s. Dylan takes from the past, and he manages to twist it in the fashion of a Teddy Boy using Edwardian design to say something new. A great album.


August 3, 2018
Holy Grail Of 1974
In my top five Bobby Albums
Love It


October 14, 2016
I own this record but without the cover- if anyone has a cover for it I would be interested in buying, regardless of condition. Let me know, thanks so much


March 8, 2016
edited over 2 years ago
My runout is different as well. Side 1: P AL 33235-2B etched 1T Side 2: P BL 33235-2L etched 2T. This is the closest Discogs page I can find to what I have.


February 8, 2016
edited about 1 year ago

Without a doubt, his best body of work since Blonde On Blonde. But that doesn’t mean it’s like Blonde On Blonde, this record has a flavor all of it’s own. It sounds lighter, more musical, and if I may, there seems to be some theater here, as if many of the songs are actually mini movie scripts. Lyrically the songs are as tight as you will ever find, and the music is top notch, leaving nothing to be wished for. Dylan once said in an interview, that he never gives one hundred percent to a recording. It’s hard to believe that on Highway 61, Blonde On Blonde, or here, on Blood On The Tracks that he’s not given more then one hundred percent. But then, he’d probably just smile and say, "Well you know, that’s how it goes sometimes." Which actually was his answer in the interview.

Bob has gone through some serious changes and his music sells a certain amount, to a certain group of people. He’s had trouble finding the younger audience as say, The Rolling Stones have. Many have been put off by several of Bob’s recordings where he has intentionally only put one good song on the album ... though that was at a time when he was very unsure of himself. But you have to give any man a break who has the ability to walk into a room and get the complete attention of twenty thousand people for ninety minutes ... that says something for sure. The good thing here is that there’s no filler, Bob seems to have found his lost footing and has given us a brilliant piece of work that will have to be reckoned with for years to come.

I realize this is difficult for many to understand, but Bob has a way of finding the core, and phrasing it perfectly, allowing the listener the privilege of feeling that they have discovered something, his music is almost interactive, which is what brought this man to the heights he’s achieved. Once you discover Bob Dylan, you’ll feel that he’s speaking directly to you and you alone. I can’t tell you what a great and personal feeling that is, other than to say that it’s what all great art should be. What I can tell you is that you will be more then pleased with this venture, it's timeless and could easily slide in between any of his releases. Discover it now, or take a second look and enjoy the day with Bob at your side.

*** The Fun Facts: The pleasingly circular double-meaning of this is that it can also refer to the songs (or tracks) of the album itself, which is to say that since Dylan's own heartbreak was so potent, the songs of the album themselves have a certain quantity of blood on them, especially as many of the songs reference his separation and divorce.

Some have questioned if the album is really a secret tribute to a Russian playwright? In his memoir, Chronicles, Dylan was assumed to be referring to Blood on the Tracks when he wrote: “I would even record an entire album based on Chekhov short stories. If the critics thought it was autobiographical, that was fine.” Still, no one is certain whether he was serious about the Chekhov.

“You’re Gonna Make Me Lonesome When You Go”: A girlfriend who lived with Dylan on and off during a 1974 marital separation acknowledged that “You’re Gonna Make Me Lonesome When You Go” was about their relationship. Ellen Bernstein was an A&R executive for Columbia Records who embarked on a relationship with Dylan in 1974 while he was living on an 80 acre farm in Minnesota, separated from his wife. The geographical references in the lyrics all pertained to Bernstein, as did, apparently, a particular flower. In Clinton Heylin’s biography, "Behind the Shades," Bernstein said, “I remember ... when we were walking out in the fields somewhere and I found a Queen Anne’s lace, and he didn’t know that’s what it was called ... this was in Minnesota. I would come up there for long weekends and then I would leave. I did say I was planning a trip to Hawaii. And I lived in San Francisco, Honolulu, [her birthplace of] Ashtabula, but to put it in a song is so ridiculous. But it was very touching.” Of the relationship, she said, “It felt sorta like ‘Don’t ask, don’t tell.’ I was a very young 24, this was brand new stuff to me, so I never thought to ask, ‘So, what’s going on with your wife? I didn’t want to get married, and I wasn’t being asked to leave.”

Review by Jenell Kesler


October 26, 2015
Side one (stamped) P AL 33235-2B handwritten T
Side two (stamped) P BL 33235-2AA handwritten 1T


May 3, 2015
My copy is identical to the one described here with the exception of the matrix runout.

Mine has:

Side one (stamped) - P AL 33235-2D
Side Two (stamped) - P BL 33235-2AA