Highway 61 Revisited is the sixth studio album by American singer-songwriter Bob Dylan, released on August 30, 1965 by Columbia Records. Having until then recorded mostly acoustic music, Dylan used rock musicians as his backing band on every track of the album, except for the closing track, the 11-minute ballad "Desolation Row". Critics have focused on the innovative way Dylan combined driving, blues-based music with the subtlety of poetry to create songs that captured the political and cultural chaos of contemporary America. Author Michael Gray has argued that, in an important sense, the 1960s "started" with this album. The album was ranked No. 4 on Rolling Stone's "500 Greatest Albums of All Time". "Like a Rolling Stone" was a top-10 hit in several countries, and was listed at No. 1 on Rolling Stone's 500 Greatest Songs of All Time list.

Like 1999's tribute to Gram Parsons, Return of the Grievous Angel, this successful collection revives the tired "tribute" concept and applies it in homage to a key figure in country music. Interpreting songs from across Hank Williams's short and troubled career, a range of high-profile artists use different approaches with equally gratifying results. Tom Petty, Sheryl Crow, and Hank Williams III play familiar songs with traditional arrangements (Ms. Crow's yodel is an eye opener); Beck, Mark Knopfler, and Keb' Mo' stay closer to their own idioms. Keith Richards's reedy vocal makes "You Win Again" all his own, and Bob Dylan, who has only rarely lent his services to these sorts of projects, leads his touring band through a blues shuffle on "I Can't Get You Off of My Mind." The estimable Lost Highway label has assembled an illustrious cast to sing the praises of the artist who inspired its name, and in doing so it has created a far better testament to its musical mindset than can ever be captured in the term Americana.

It's hard to overestimate the importance of The Freewheelin' Bob Dylan, the record that firmly established Dylan as an unparalleled songwriter, one of considerable skill, imagination, and vision. At the time, folk had been quite popular on college campuses and bohemian circles, making headway onto the pop charts in diluted form, and while there certainly were a number of gifted songwriters, nobody had transcended the scene as Dylan did with this record. There are a couple (very good) covers, with "Corrina Corrina" and "Honey Just Allow Me One More Chance," but they pale with the originals here. At the time, the social protests received the most attention, and deservedly so, since "Blowin' in the Wind," "Masters of War," and "A Hard Rain's A-Gonna Fall" weren't just specific in their targets; they were gracefully executed and even melodic. Although they've proven resilient throughout the years, if that's all Freewheelin' had to offer, it wouldn't have had its seismic impact, but this also revealed a songwriter who could turn out whimsy ("Don't Think Twice, It's All Right"), gorgeous love songs ("Girl From the North Country"), and cheerfully absurdist humor ("Bob Dylan's Blues," "Bob Dylan's Dream") with equal skill.

Woodstock 94 is a two-disc set documenting the Woodstock 1994 festival. It was released during November 1994, nearly three months after the event took place. The album was released on A&M Records. The set features 27 performing artists, one song per artist. It also features the recording of both general stage announcements and some band introductions given at various points during the festival. Bob Dylan, Peter Gabriel, Metallica, Porno for Pyros, Melissa Etheridge, Traffic, Joe Cocker, Aerosmith, The Cranberries, Red Hot Chili Peppers, Blind Melon, Green Day, Nine Inch Nails, Sheryl Crow, Violent Femmes, Cypress Hill, Rollins Band, and many more..

The latest chapter in Columbia/Legacy’s highly acclaimed Bob Dylan Bootleg Series revisits an often-forgotten, rich vein in Dylan’s vast and complex catalog, shining fresh light on the provocative new musical directions Dylan was taking as a songwriter and a recording artist from 1980 through 1985. In the early 1980s, while the music industry was grappling with the arrival of new trends and technology, from MTV to compact discs to digital recording, Bob Dylan was writing and recording new songs for a new decade, creating an essential new chapter in his studio catalog. Bob Dylan – Springtime In New York (1980-1985) celebrates the rich creative period surrounding Dylan’s albums Shot Of Love, Infidels, and Empire Burlesque with previously unreleased outtakes, alternate takes, rehearsal recordings, live performances and more.

It's accepted wisdom among a faction of Dylan devotees that causing controversy, stirring emotions, and deliberately ruffling feathers—as happened when he went electric—secretly makes their hero very happy. Nothing (so far) in his career though has caused the ruckus that his late '70s conversion to Christianity and subsequent gospel albums incited. For the second time in his career, he heard boos from a live audience as he stubbornly performed his new evangelical music on the tumultuous 1979-80 Gospel tour. Although it contained hints that perhaps a secular revival was at hand, the last religious album, 1981's Shot of Love was savaged by the press and public alike. With the uproar in full swing, Dylan retreated from public view to refresh and regroup. In the spring of 1983, Dylan, who'd by then veered away from religion back to secular subjects, began tracking at the Power Station in New York City with a band that included former Rolling Stones guitar player Mick Taylor, singer Clydie King, and a rhythm section of reggae demigods Robbie Shakespeare (bass) and Sly Dunbar (drums). The resulting album, Infidels, and its closely related follow-up, 1985's Empire Burlesque, marked a welcome return to relevance and success.

Martin Scorsese's documentary No Direction Home chronicles Bob Dylan's career in the early sixties, featuring never before seen footage of Dylan on tour, in the studio, and more. The deluxe 10th anniversary edition includes more than two hours of new footage, including the unedited Apothecary Scene from the 1966 U.K. tour, an interview with Scorsese on the making of the film, extended interviews, and more…

Arriving in 1967, Greatest Hits does an excellent job of summarizing Dylan's best-known songs from his first seven albums. At just ten songs, it's a little brief, and the song selection may be a little predictable, but that's actually not a bad thing, since this provides a nice sampler for the curious and casual listener, as it boasts standards from "Blowin' in the Wind" to "Like a Rolling Stone." And, for collectors, the brilliant non-LP single "Positively Fourth Street" was added, which provided reason enough for anybody that already owned the original records to pick this up. This has since been supplanted by more exhaustive collections, but as a sampler of Dylan at his absolute peak, this is first-rate.

This limited-edition version of The Cutting Edge 1965-1966 is where Bob Dylan's Bootleg Series meets Sony's Copyright Extension series…

The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall is a complete recording of Bob Dylan's October 31, 1964 "Halloween" show at New York's Philharmonic Hall. It was released in 2004. The set list was dominated by Dylan’s protest songs, including "The Times They Are a-Changin’," "A Hard Rain’s a-Gonna Fall," and "The Lonesome Death of Hattie Carroll". Joan Baez, a major supporter of Dylan's in his early career, duets with Dylan on three songs, as well as singing another alone ("Silver Dagger"). However, Dylan performed these songs alongside early versions of three songs from the soon-to-be-recorded Bringing It All Back Home. New compositions like "It’s Alright Ma (I’m Only Bleeding)" and "Mr. Tambourine Man" showed Dylan moving in a new direction, becoming more immersed in evocative, stream-of-consciousness lyrics and moving away from social, topical songwriting.

"Further to BDA's previous collections (Carnegie Hall & The Minnesota Party Tape) comes the third album in the 1961 series of rare and previously unreleased Dylan material, this time showcasing an early stint at the infamous Gaslight Cafe in NYC's Greenwich Village, and the December recordings made at his friend Bonnie Beecher's apartment back in Minnesota - the same venue that witnessed the 'Party Tape' in May of the same year.

No Direction Home: Bob Dylan is a documentary film by Martin Scorsese that traces the life of Bob Dylan, and his impact on 20th-century American popular music and culture. The film focuses on the period between Dylan's arrival in New York in January 1961 and his "retirement" from touring following his motorcycle accident in July 1966…

Bob Dylan released the dark, unruly Time Out of Mind in 1997 following two albums of folk and blues covers. It was his first original material in a decade and summed up his 20th century. Rough and Rowdy Ways is his first new material since 2012's Tempest and arrives during a global pandemic and the righteous struggle for racial and economic justice. These ten songs revel in forms that have been Dylan's métier since the '60s: blues, country, folk, rockabilly, gospel, etc. Its three pre-release singles – "Murder Most Foul," "I Contain Multitudes," and "False Prophet" – are showcases for a songwriter who speaks directly yet remains elusive.

Perhaps it was inevitable that Bob Dylan would change direction at the end of the '70s, since he had dabbled in everything from full-on repudiation of his legacy to a quiet embrace of it, to dipping his toe into pure showmanship. Nobody really could have expected that he would turn to Christianity on Slow Train Coming, embracing a born-again philosophy with enthusiasm. He has no problem in believing in a vengeful god – you gotta serve somebody, after all – and this is pure brimstone and fire throughout the record, even on such lovely testimonials as "I Believe in You." The unexpected side effect of his conversion is that it gave Dylan a focus he hadn't had since Blood on the Tracks, and his concentration carries over to the music, which is lean and direct in a way that he hadn't been since, well, Blood on the Tracks.