Bob Dylan ‎– Nashville Skyline

Label:
Columbia ‎– KCS 9825
Format:
Vinyl, LP, Album
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 Girl From The North Country
Vocals [With] – Johnny Cash
A2 Nashville Skyline Rag
A3 To Be Alone With You
A4 I Threw It All Away
A5 Peggy Day
B1 Lay Lady Lay
B2 One More Night
B3 Tell Me That It Isn't True
B4 Country Pie
B5 Tonight I'll Be Staying Here With You

Companies, etc.

Credits

Notes

Red 360 Sound (White Arrows) Labels

Barcode and Other Identifiers

  • Matrix / Runout (Side A Label): XSM 139756
  • Matrix / Runout (Side B Label): XSM 139757
  • Matrix / Runout (Side A): XSM139756-1B (etched) [Small Oval Shaped "O"] C3 (etched)
  • Matrix / Runout (Side B): XSM139757-1E (stamped) [Small Oval Shaped "O"] C3 (etched)
  • Matrix / Runout (Side A Variant): XSM139756-1B B6 (Etched) O (Stamped)
  • Matrix / Runout (Side B Variant): XSM139757-1E (Stamped) 22 C8 (Etched)
  • Matrix / Runout (Side A Variant, Stamped): XSM 139756 1G P
  • Matrix / Runout (Side B Variant, Stamped): XSM 139757 1G [Small Oval Shaped "O"] P
  • Matrix / Runout (Side A Variant 2): XSM139756-1B (etched) [Small Oval Shaped "O"] E3 (etched)
  • Matrix / Runout (Side B Variant 2): XSM139757-1L (stamped) [Small Oval Shaped "O"] C3 (etched)
  • Matrix / Runout (Side A): XSM139756-1H (stamped)
  • Matrix / Runout (Side B): XSM139757-1A (etched)

Other Versions (5 of 127) View All

Cat# Artist Title (Format) Label Cat# Country Year
32675 Bob Dylan Nashville Skyline(LP, Album, RE) CBS 32675 UK 1985 Sell This Version
S 63 601 Bob Dylan Nashville Skyline(LP) CBS S 63 601 Netherlands 1969 Sell This Version
S 63601 Bob Dylan Nashville Skyline(LP, Album, RE) CBS S 63601 Spain 1974 Sell This Version
KCS 9825, KCS. 9825 Bob Dylan Nashville Skyline(LP, Album) CBS, CBS KCS 9825, KCS. 9825 India 1969 Sell This Version
KCS 9825 Bob Dylan Nashville Skyline(LP, Album) Columbia KCS 9825 US 1969 Sell This Version

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streetmouse

streetmouse

May 20, 2016

I’m gonna’ tell you what Levon Helm told me right before one of his “Midnight Rambles,” as he kicked the toe of one my new boots to make his point, scuffed it without knowing, and said, “The last song off of John Wesley Harding could very easily have been the very first song on Nashville Skyline.” We had about an hour before his set, and he spoke very freely about how Bob had gone completely back to the basics of Americana at that stage of his career, had taken some cues from Ronnie Hawks and was enjoying his swim in the currents of Country Music.

Not only was the music fresh as air, but so was his voice ... he was now singing in a much simpler, more refined tone, with a breathy feel, a fine sense of satisfaction and love for what he was doing. But don’t go thinking that this was the traditional Country Music, like the music that that was coming from Gram Parsons, the Byrds, or some of the other, Rock turned Country, California Bands. This was contemporary Country Music, a style that sort of sprang up during these sessions, a mixture of where Dylan’s music had been, then stepped to “John Wesley Harding” and finally progressed to this release “Nashville Skyline.”

This must have been an incredibly fun and supportive session for Bob, as Johnny Cash, who had been recording at the same time stopped in and the two laid down a whole tape of duets ... and Johnny even managed to score a place on this album as a vocalist. Other talented artist like Charlie Daniels [Bass Guitar], Pete Drake [Pedal Steel Guitar] and Bob Wilson [Organ and Piano] also appeared on this surprisingly short release, that times in at just twenty seven minutes and fourteen seconds, though it was one of his best selling albums of all time, with no less then three singles being released for airplay.

The album’s artwork shows a very contented Bob Dylan, but there were still major insecurities haunting him, along with pressures to become an active member of the counter culture ... but Bob, true to his nature, rather then taking a step forward, took a step back, which only created more mystery and speculation. This is an amazingly good album, one which is often overlooked as a whole, but rather seen in the context of the two major singles that came out of it. Never the less, listen to it contextually and discover where Bob’s head was at ... then watch him take his next step.

This is a very personal and loving body of work ... and nothing is finer then that.

Review by Jenell Kesler
space.gato

space.gato

November 24, 2014

This is my favorite Dylan album and the one I have listened to the most. I love all Dylan, but this is one I can listen to anytime, in any mood, compared to some of his more complicated folky albums, it's just more simple and happy and always makes me smile.
jadedtom

jadedtom

March 13, 2010


Mr. Contrary a.k.a Bob Dylan offers up yet another acoustic folk and country album in the middle of psychedelic rock hysteria. This is what I love about Dylan....he never goes with any trend - he bucks them all. This album starts out terribly, with the painfully amateurish version of "Girl From the North Country", replete with missung words and one of the worst song endings I have ever heard. Dylan is aided and abetted on this embarrassment by none other than Johnny Cash. Dylan must have listened to the take, knowing how much it stunk, and yet proceeds to open his new album with the cut. Talk about balls.
But what follows is an enjoyable, if at times innocuous, album of country songs. Dylan wisely used some of the best studio musicians around at the time. And although the songs are lacking in "gravitas", I find this a very entertaining collection.
Dylan caught a lot of flack from the womens' movement for his 'chauvinistic' "Lay Lady Lay", which adds to my enjoyment of the song. "Nashville Skyline Rag" is a happy little romp with some tasty country licks. "To Be Alone With You" has some vague charm that I cannot explain...a nice little blues number. It's odd to find Dylan in such a light mood as "Peggy Day" and "Country Pie" attest to, but it's a relief to find Bobby a bit happy for once, even if it is all a put-on. For me, the only tune that approaches really fine Dylan music is "Tonight I'll Be Staying Here With You". Dylan just can't help but be interesting in the end.
"I once held mountains in the palm of my hand...." Stop it, Bob, you're killing me!
Dylan never gave the people what they wanted - ever, and still emerges as one of the most important musical influences of the twentieth century. He starts playing rock when people wanted folk and protest, he starts playing country music when people want to get stoned and rock. He's more contrary than my damn cat and I like them both for that!