|A1||Girl From The North Country|
Vocals [With] –
|A2||Nashville Skyline Rag|
|A3||To Be Alone With You|
|A4||I Threw It All Away|
|B1||Lay Lady Lay|
|B2||One More Night|
|B3||Tell Me That It Isn't True|
|B5||Tonight I'll Be Staying Here With You|
- Accompanied By [With] – , , , , ,
- Engineer – ,
- Liner Notes, Guest [Guest Artist] –
- Photography By [Back Cover] –
- Photography By [Cover] –
- Producer –
- Vocals, Guitar –
- Written-By –
Red 360 Sound (White Arrows) Labels. Customatrix credit denoted by small oval 0 in runout.
- Matrix / Runout (Side A Label): XSM 139756
- Matrix / Runout (Side B Label): XSM 139757
- Matrix / Runout (Side A variant 1, etched except 0): XSM139756-1B 0 C3
- Matrix / Runout (Side B variant 1, stamped except C3): XSM139757-1E 0 C3
- Matrix / Runout (Side A variant 2, etched except 0): XSM139756-1B B6 0
- Matrix / Runout (Side B variant 2, stamped except 22 C8): XSM139757-1E 22 C8
- Matrix / Runout (Side A variant 3, etched except 0): XSM139756-1B 0 E3
- Matrix / Runout (Side B variant 3, stamped except C3): XSM139757-1L 0 C3
- Matrix / Runout (Side A variant 4, stamped): XSM139756-1H
- Matrix / Runout (Side B variant 4, etched): XSM139757-1A
- Matrix / Runout (Side A variant 5, etched except 0): 0 XSM 139756-1B B7 2
- Matrix / Runout (Side B variant 5, stamped except 2 B6): 0 XSM139757-1E 2 B6
- Matrix / Runout (Side A variant 6, etched except 0): XSM139756-1B 0 D1
- Matrix / Runout (Side B variant 6, Stamped except B4): 0 XSM 139757-1E B4
- Matrix / Runout (Side A variant 7, etched except 0 ): 0 XSM 139756-1B
- Matrix / Runout (Side B variant 7, stamped except C7): 0 XSM139757-1E C7
- Matrix / Runout (Side A variant 8, etched except 0): XSM 139756-1B 0 A4
- Matrix / Runout (Side B variant 8, stamped except B5): 0 XSM139757-1D B5
- Matrix / Runout (Side A variant 9, stamped except CX M-): 0 XSM139756-1G CX M- D
- Matrix / Runout (Side B variant 9, stamped except 1S 3): 0 XSM139757-1F 1S 3
- Rights Society: ASCAP
- Matrix / Runout (Side A variant 10, etched except 0): 0 2 XSM 139756-1B B9
- Matrix / Runout (Side B variant 10, stamped except B3): 0 XSM139757-1E B3
|Nashville Skyline (LP, Album, Stereo)||Columbia||KCS 9825||Canada||1969|
|Nashville Skyline (LP, Album, Mono)||CBS||M 63601||UK||1969|
|Nashville Skyline (LP, Album, Stereo)||CBS, CBS||S 63601, 63601||UK||1969|
|Nashville Skyline (LP, Album, Stereo)||CBS||S 63 601||Germany||1969|
|Nashville Skyline (Cassette, Album, Stereo)||CBS||40-63601||UK||1969|
- One of my favorite Dylan records the beginning of Country Rock
- A very nice departure from Dylan's usual catalog. And if you've ever wondered how Dylan would sound singing tonally, here you go.
The first track with Johnny Cash is worth the price of admission right there. Everything else is a bonus. Some nice tunes on here.
Wonderful sounding recording and pressing. Four stars. Recommended.
- My copy is similar to Variant 8 except Side 1 runout says XSM 139756-1B B1 0 and Side 2 runout says
0 XSM139757-1D 22
- I have a promo cover (not white label promo) with timing strip. It is this pressing but does anyone have any additional info as far as value? I've seen VERY little of this radio promo release and just wondering. VG+ for jacket and conservatively graded vinyl at VG+. Thanks..
- Dylan nunca defrauda
En este disco ofrece su siempre buen hacer en la música country
Quizá se un disco " perdido " en su larga discografía . Resulta emocionante y muy agradable al oído.
- 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
- 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.
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!
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