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     Bob Dylan

Robert Allen Zimmerman. Born: May 24, 1941 in Duluth.
Genres: Rock.
Styles: Album Rock, Folk-Rock, Singer/Songwriter, Country-Rock, Rock & Roll.
Instruments: Vocals, Keyboards, Songwriter, Piano, Harmonica, Guitar.

Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-conscious narratives. As a vocalist, he broke down the notions that in order to perform, a singer had to have a conventionally good voice, thereby redefining the role of vocalist in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that just touches on the tip of his achievements. Dylan's force was evident during his height of popularity in the '60s - the Beatles' shift toward introspective songwriting in the mid-'60s never would have happened without him - but his influence echoed throughout several subsequent generations. Many of his songs became popular standards, and his best albums were undisputed classics of the rock & roll canon. Dylan's influence throughout folk music was equally powerful, and he marks a pivotal turning point in its 20th-century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting. Even when his sales declined in the '80s and '90s, Dylan's presence was calculable.

For a figure of such substantial influence, Dylan came from humble beginnings. Born in Duluth, Minnesota, Bob Dylan (b. Robert Allen Zimmerman, May 24, 1941) was raised in Hibbing, Minnesota from the age of six. As a child he learned how to play guitar and harmonica, forming a rock & roll band called the Golden Chords when he was in high school. Following his graduation in 1959, he began studying art at the University of Minnesota in Minneapolis. While at college, he began performing folk songs at coffeehouses under the name Bob Dylan, taking his last name from the poet Dylan Thomas. Already inspired by Hank Williams and Woody Guthrie, Dylan began listening to blues while at college, and the genre weaved its way into his music. Dylan spent the summer of 1960 in Denver, where he met bluesman Jesse Fuller, the inspiration behind the songwriter's signature harmonica rack and guitar. By the time he returned to Minneapolis in the fall, he had grown substantially as a performer and was determined to become a professional musician.

Dylan made his way to New York City in January of 1961, immediately making a substantial impression on the folk community of Greenwich Village. He began visiting his idol Guthrie in the hospital, where he was slowly dying from Huntington's chorea. Dylan also began performing in coffeehouses, and his rough charisma won him a significant following. In April, he opened for John Lee Hooker at Gerde's Folk City. Five months later, Dylan performed another concert at the venue, which was reviewed positively by Robert Shelton in the New York Times. Columbia A&R man John Hammond sought out Dylan on the strength of the review, and signed the songwriter in the fall of 1961. Hammond produced Dylan's eponymous debut album (released in March 1962), a collection of folk and blues standards that boasted only two original songs. Over the course of 1962, Dylan began to write a large batch of original songs, many of which were political protest songs in the vein of his Greenwich contemporaries. These songs were showcased on his second album, The Freewheelin' Bob Dylan. Before its release, Freewheelin' went through several incarnations. Dylan had recorded a rock & roll single, "Mixed Up Confusion," at the end of 1962, but his manager Albert Grossman made sure the record was deleted because he wanted to present Dylan as an acoustic folkie. Similarly, several tracks with a full backing band that were recorded for Freewheelin' were scrapped before the album's release. Furthermore, several tracks recorded for the album - including "Talking John Birch Society Blues" - were eliminated from the album before its release.

Comprised entirely of original songs, The Freewheelin' Bob Dylan made a huge impact in the US folk community, and many performers began covering songs from the album. Of these, the most significant were Peter, Paul & Mary, who made "Blowin' in the Wind" into a huge pop hit in the summer of 1963 and thereby made Bob Dylan into a recognizable household name. On the strength of Peter, Paul & Mary's cover and his opening gigs for popular folkie Joan Baez, Freewheelin' became a hit in the fall of 1963, climbing to number 23 on the charts. By that point, Baez and Dylan had become romantically involved, and she was beginning to record his songs frequently. Dylan was writing just as fast, and was performing hundreds of concerts a year.

By the time The Times They Are A-Changin' was released in early 1964, Dylan's songwriting had developed far beyond that of his New York peers. Heavily inspired by poets like Arthur Rimbaud and John Keats, his writing took on a more literate and evocative quality. Around the same time, he began to expand his musical boundaries, adding more blues and R&B influences to his songs. Released in the fall of 1964, Another Side of Bob Dylan made these changes evident. However, Dylan was moving faster than his records could indicate. By the end of 1965, he had ended his romantic relationship with Baez and had begun dating a former model named Sara Lowndes. Simultaneously, he gave the Byrds "Mr. Tambourine Man" to record for their debut album. The Byrds gave the song a ringing, electric arrangement, but by the time the single became a hit, Dylan was already exploring his own brand of folk-rock. Inspired by the British Invasion, particularly the Animals' version of "House of the Rising Sun," Dylan recorded a set of original songs backed by a loud rock & roll band for his next album. While Bringing It All Back Home (March 1965) still had a side of acoustic material, it made clear that Dylan had turned his back on folk music. For the folk audience, the true breaking point arrived a few months after the album's release, when he played the Newport Folk Festival supported by the Paul Butterfield Blues Band. The audience greeted him with vicious derision, but he had already been accepted by the growing rock & roll community, as well as the mainstream press, who were fascinated by his witty, surreal and caustic press confences. Dylan's spring tour of Britain was the basis for D.A. Pennebaker's documentary Don't Look Back, a film that captures the songwriter's edgy charisma and charm.

Dylan made his breakthrough to the pop audience in the summer of 1965, when "Like a Rolling Stone" became a number two hit. Driven by a circular organ riff and a steady beat, the six-minute single broke the barrier of the three-minute pop single. Dylan became the subject of innumerable articles, and his lyrics became the subject of literay analyzations across the US and UK. Well over 100 artists covered his songs between 1964 and 1966; the Byrds and the Turtles, in particular, had big hits with his compositions. Highway 61 Revisited, his first full-fledged rock & roll album, became a Top Ten hit upon its fall 1965 release. "Positively 4th Street" and "Rainy Day Women #12 & 35" became Top Ten hits in the fall of 1965 and spring of 1966, respectively. Following the May 1966 release of the double-album Blonde on Blonde, he had sold over 10 million records around the world.

During the fall of 1965, Dylan hired the Hawks, formerly Ronnie Hawkins' backing group, as his touring band. The Hawks, who changed their name to the Band in 1968, would become Dylan's most famous backing band, primarily because of their intuitive chemistry and "wild, thin mercury sound," but also because of their British tour in the spring of 1966, The tour was the first time Britain had heard the electric Dylan, and their reaction was disagreeable and violent. At the tour's penultimate date - usually referred to as the Royal Albert Hall concert, but generally acknowledged to have occurred in Manchester - an audience member called Dylan "Judas," inspiring a positively vicious version of "Like a Rolling Stone" from the Band. The performance was immortalized on countless bootleg albums (an official release finally surfaced in 1998), and it indicates the intensity of Dylan in the middle of 1966. He had assumed control of Pennebaker's second Dylan documentary, Eat the Document, and was under deadline to complete his book Tarantula, as well as record a new record. Following the British tour, he returned to America.

On July 29, 1966, he was injured in a motorcycle accident outside of his home in Woodstock, New York home, suffering injuries to his neck vertebrae and a concussion. Details of the accident remain elusive - he was reportedly in critical condition for a week and had amnesia - and some biographers have questioned its severity, but the event was a pivotal turning point in his career. After the accident, Dylan became a recluse, disappearing into his home in Woodstock and raising his family with his wife, Sara. After a few months, he retreated with the Band to a rented house, subsequently dubbed Big Pink, in Bearsville to record a number of demos. For several months, Dylan and the Band recorded an enormous amount of material, ranging from old folk, country and blues songs to newly-written originals. The songs indicated that Dylan's songwriting had undergone a metamorphosis, becoming streamlined and more direct. Similarly, his music had changed, owing less to traditional rock & roll, and demonstrating heavy country, blues and traditional folk influences. None of the Big Pink recordings were intended to be released, but tapes from the sessions were circulated by Dylan's music publisher with the intent of generating cover versions. Copies of these tapes, as well as other songs, were available on illegal bootleg albums by the end of the '60s; it was the first time that bootleg copies of unreleased recordings became widely circulated. Portions of the tapes were officially released in 1975 as the double-album The Basement Tapes.

While Dylan was in seclusion, rock & roll had become heavier and artier in the wake of the psychedelic revolution. When Dylan returned with John Wesley Harding in December of 1967, its quiet, country ambience was a surprise to the general public, but it was a significant hit, peaking at number two in the US and number one in the UK. Furthermore, the record arguably became the first significant country-rock record to be released, setting the stage for efforts by the Byrds and the Flying Burrito Brothers later in 1968. Dylan followed his country inclinations on his next album, 1969's Nashville Skyline, which was recorded in Nashville with several of the country industry's top session men. While the album was a hit, spawning the Top 10 single "Lay Lady Lay," it was criticized in some quarters for uneven material. The mixed reception was the beginning of a full-blown backlash that arrived with the double-album, Self Portrait. Released early in 1970, the album was a hodge-podge of covers, live tracks, re-interpretations and new songs greeted with vicious reviews from all quarters of the press. Dylan followed the album quickly with New Morning, which was hailed as a comeback.

Following the release of New Morning, Dylan began to wander restlessly. In 1971, he moved back to Greenwich Village, published Tarantula for the first time, and performed at the Concert for Bangladesh; it would be his only live performance in the first half of the decade. During 1972, he began his acting career by playing Alias in Sam Peckinpah's Pat Garrett and Billy the Kid, which was released in 1973. He also wrote the soundtrack for the film, which featured "Knockin' on Heaven's Door," his biggest hit since "Lay Lady Lay." The Pat Garrett soundtrack was the final record released under his Columbia contract before he moved to David Geffen's fledgling Asylum Records. As retaliation, Columbia assembled Dylan, a collection of Self Portrait outtakes, for release at the end of 1973. Dylan only recorded one album, 1974's Planet Waves - coincidentally his first number one album - before he moved back to Columbia. The Band supported Dylan on Planet Waves and its accompanying tour, which became the most successful tour in rock & roll history; it was captured on 1974's double-live album, Before the Flood.

Dylan's 1974 tour was the beginning of a comeback culminated by 1975's Blood on the Tracks. Largely inspired by the disintegration of his marriage, Blood on the Tracks was hailed as a return to form by critics and it became his second number one album. After jamming with folkies in Greenwich Village, Dylan decided to launch a gigantic tour, loosely based on travelling medicine shows. Lining up an extensive list of supporting musicians - including Joan Baez, Jonie Mitchell, Rambling Jack Elliott, Arlo Guthrie, Mick Ronson, Roger McGuinn, and poet Allen Ginsberg - Dylan dubbed the tour the Rolling Thunder Revue and set out on the road in the fall of 1975. For the next year, the Rolling Thunder Revue toured on and off, with Dylan filming many of the concerts for a future film. During the tour, Desire was released to considerable acclaim and success, spending five weeks on the top of the charts. Throughout the Rolling Thunder Revue, Dylan showcased "Hurricane," a protest song he had written about boxer Rubin Carter, who had been unjustly imprisoned for murder. The live album Hard Rain was released at the end of the tour. Dylan released Renaldo and Clara, a four-hour film based on the Rolling Thunder tour, to poor reviews in early 1978.

Early in 1978, Dylan set out on another extensive tour, this time backed by a band that resembled a Las Vegas lounge band. The group was featured on the 1978 album Street Legal and the 1979 live album, At Budokan. At the conclusion of the tour in 1979, Dylan announced that he was a born-again Christain, and he launched a series of Christian albums that fall with Slow Train Coming. Though the reviews were mixed, the album was a success, peaking at number three and going platinum. His supporting tour for Slow Train Coming featured only his new religious material, much to the bafflement of his long-term fans. Two other religious albums - Saved (1980) and Shot of Love (1981) - followed, both to poor reviews. In 1982, Dylan traveled to Israel, sparking rumors that his conversion to Christianity was short-lived. He returned to secular recording with 1983's Infidels, which was greeted with favorable reviews.

Dylan returned to performing in 1984, releasing the live album Real Live at the end of the year. Empire Burlesque followed in 1985, but its odd mix of dance tracks and rock & roll won few fans. However, the five-album/triple-disc retrospective box set Biograph appeared that same year to great acclaim. In 1986, Dylan hit the road with Tom Petty & the Heartbreakers for a successful and acclaimed tour, but his album that year, Knocked Out Loaded, was received poorly. The following year, he toured with the Grateful Dead as his backing band; two years later, the souvenier album Dylan & the Dead appeared.

In 1988, Dylan embarked on what became known as "The Never-Ending Tour" - a constant stream of shows that ran on and off into the late '90s. That same year, he released Down in the Groove, an album largely comprised of covers. The Never-Ending Tour received far stronger reviews than Down in the Groove, but 1989's Oh Mercy was his most acclaimed album since 1974's Blood on the Tracks. However, his 1990 follow-up, Under the Red Sky, was received poorly, especially when compared to the enthusiastic reception for the 1991 box set The Bootleg Series, Vols. 1-3 (Rare & Unreleased), a collection of previously unreleased outtakes and rarities.

For the remainder of the'90s, Dylan divided his time between live concerts and painting. In 1992, he returned to recording with Good as I Been to You, an acoustic collection of traditional folk songs. It was followed in 1993 by another folk album, World Gone Wrong, which won the Grammy for Best Traditional Folk Album. After the release of World Gone Wrong, Dylan released a greatest-hits album and a live record.

Dylan released Time Out of Mind, his first album of original material in seven years, in the fall of 1997. Time Out of Mind received his strongest reviews in years and unexpectedly debuted in the Top 10. Its success sparked a revival of interest in Dylan - he appeared on the cover of Newsweek to promote the album and his concerts became sell-outs. Early in 1998, Time Out of Mind received three Grammy Awards - Album of the Year, Best Contemporary Folk Album and Best Male Rock Vocal.

- Stephen Thomas Erlewine (All Music Guide)


Настоящее имя Циммерман Роберт Аллен (Zimmerman Robert Allen) (р. 24 мая 1941) - американский рок-музыкант, композитор, поэт и певец.

Боб Дилан представляет собой одну из самых загадочных фигур в современном роке. Его творчество повлияло практически на всех серьезных рок-музыкантов. Боб Дилан наряду с несколькими крупнейшими музыкантами середины 60-х годов был создателем рок-музыки. Каждая новая пластинка музыканта - событие даже для тех, кто отвергает музыкальные концепции Дилана.

Он воспитывался в семье среднего достатка в небольшом городке Хиббинг (Миннесота). В школе он пережил увлечение новым тогда еще стилем рок-н-ролл, но поступив в университет штата Миннеаполис, стал страстным приверженцем фольклора, охладел к Элвису Пресли, место которого в его сердце занял Вуди Гатри. Молодой исполнитель много выступал в богемных фолк-клубах и вскоре взял сценический псевдоним Боб Дилан, в честь своего любимого поэта Дилана Томаса.

В 1959, бросив университет,поселился в нью-йоркском квартале Гринвич-Виллидж, где наряду с фолк-роком приобщился к движению за гражданские права. В 1962 Дилана заметил знаменитый продюсер Джон Хэммонд, в свое время "открывший" великих джазовых певиц Бетти Смит и Билли Холлидей. Молодой певец обладал не самой хорошей дикцией и понятия не имел о правильной постановке дыхания, однако Боб Дилан оказался весьма своеобразным исполнителем на губной гармонике, великолепно играл на акустической гитаре, и публика очень тепло приняла его дебютный альбом и два последующих: The Preewheelin' Bob Dylan (1963; возглавил хит-парад Великобритании) и The Times They Are A-Changin' (1964). Эти пластинки представляли собой в целом традиционный для того периода музыкальный материал, исполнение которого, однако, значительно отличалось от общепринятого; особенно впечатляли так называемые "речитативные блюзы", которые позже включали в свой репертуар такие исполнители, как Фил Оке и Тим Пэкстон. Среди самых запоминающихся вещей, вошедших в эти альбомы, следует отметить Blowing In The Wind (она стала хитом в исполнении группы PETER PAUL & MARY), Master Of War и A Pawn In Their Game.

Дилан стал одной из сенсаций фолк-фестиваля в Ньюпорте (1963), однако многих смутил слишком личный текст песни My Back Pages и некоторые другие вещи, составившие ядро альбома Another Side Of Bob Dylan, где музыкант, казалось, отказывается от своих во многом наивных взглядов на политические проблемы и обращается к философским вопросам бытия (Ballad In Plain D и Restless Farewell). В этот период Боб Дилан "электрифицирует" свою музыку, его явный уклон в рокабилли и сравнительно жесткие трактовки классических блюзов 20-х годов возмутили очень многих ценителей музыки. Особое негодование вызвала аранжировка песни Чака Берри Too Much Monkey Business.

Английские и американские поп-группы охотно исполняли его песни. THE ANIMALS прославились с дилановской Baby Let Me Follow You Down (они переименовали ее в Baby Let Me Take You Home) и его авторской версией знаменитой House Of The Rising Sun ("Дом восходящего солнца") из альбома Bob Dylan; THEM успешно пели It's All Over Now Baby Blue; THE BYRDS - лучшие интерпретаторы композиции Mr Tambourine Man. Боб Дилан много песен писал для этих групп, никогда не включая их в свои альбомы. Он постоянно сотрудничал с англичанином Манфредом Мэнном и его группой, которые, по мнению Дилана, лучше других аранжировали его произведения (в частности, английским хитом стала дилановская If You Gotta Go, Go Now).

В 1965 Боб Дилан появился на фестивале в Ньюпорте с цельнокорпусным "стратокастером", инструментом, на котором играли только "настоящие рокеры" тех лет, и выступил в составе блюз-роковой группы THE PAUL BUTTERFIELD BLUES BAND. В том же году гастролировал по Великобритании с канадской рок-группой THE HAWKS (позже прославившейся как THE BAND). В дальнейшем музыканты THE BAND, а также клавишник Эл Купер часто принимали участие в записи альбомов Дилана (Highway 61 Revisited и Blonde On Blonde). Не все песни Дилана принимались широкой публикой, например, такие, как Desolation Row, Like A Rolling Stone и Rainy Day Women Nos. 12 And 35 по достоинству оценили только рок-музыканты, и прежде всего - английские. Боб Дилан заложил основы концептуального рока, первые отголоски которого можно слышать в битловской I'm A Loser. THE BEATLES одними из первых научились "разгадывать" стихи Дилана и часто пользовались его поэтическими приемами, тогда как другие английские рок-группы THE KINKS и YARDBIRDS, просто вставляли композиции Дилана в свои концертные программы (по "дилановскому пути" двинулись было и ROLLING STONES, написав Get Off My Cloud, но затем избрали иную модель своего творчества). Песни Боба Дилана охотно включали в репертуар и американские звезды - Шер, Элвис Пресли, "Дюк" Эллингтон, THE POUR SEASONS и многие другие.

В июне 1966 Боб Дилан попал на своем мотоцикле в аварию, результатом которой стали множественные переломы ребер и шеи, частичный паралич и амнезия. Только к концу года музыкант начал подниматься с постели.

Невероятная популярность "менестреля разочарованного поколения" привела к массовому тиражированию пиратских альбомов, одним из самых известных образцов бутлегерской промышленности стал двойной диск Great White Wonder, который по праву считается "золотым".

Закрытый для всего мира (еще в середине 60-х годов Дилан отказался от пресс-конференций и интервью), кроме родственников и друзей он продолжает сотрудничать с группой THE BAND - музыканты записали совместный альбом Basement Tapes, который вышел только в 1975.

В 1968, после долгого отсутствия Боб Дилан появился перед публикой на концерте памяти Вуди Гатри. Этому событию предшествовал выпуск поп-психоделического альбома John Wesley Harding, который возглавил хит-парад Великобритании и не дотянул лишь строки до первого места в США. Не менее успешным оказался и альбом Nashville Skyline (1969; в Англии занял первое место, а в США - третье), на котором представлен дуэт Дилана и Джонни Кэша. В целом альбом можно охарактеризовать как "культивированный кантри-энд-вестерн", хотя одну из вещей играет арт-рок-группа THE NICE.

В 1969 на поп-фестивале на острове Уайт состоялся один из крупнейших концертов Дилана с группой THE BAND, сольное выступление которого продолжалось более часа. Двойной концертный альбом Self-Portrait, вышедший после этого события, занял в хит-параде Великобритании первое место, а в США был третьим.

Альбом 1970 New Morning был первым в чартах Англии и седьмым в США. Этот альбом стал популярным лишь после того, как был выпущен сингл If Not For You, который сделали хитом вначале Оливия Ньютон-Джон, а потом друг и соавтор Дилана Джордж Харрисон.

В 1971 Боб Дилан издал роман "Тарантула", принял участие в организации и подготовке концерта Джорджа Харрисона для народа Бангладеш, а также попробовал себя в качестве актера, снявшись в картине Сэма Пекнипа "Пат Гарретт и Малыш Билли", к которому написал центральную тему и песню - Knocking On Heaven's Door. В этот период Дилан почти не работает в студии, хотя двойной концертный альбом Before The Flood критики единогласно объявляют "лучшей живой работой десятилетия".

В отличие от предыдущих альбом Дилана Blood On The Tracks очень мелодичен, его композиции сложнее аранжированы, альбом сделан с большим вкусом и с несвойственной Дилану аккуратностью саунда. Успех этого альбома способствовал триумфу, с которым прошло концертное турне Rolling Thunder Tour ("Турне под раскаты грома"); в нем приняли участие Джоан Баез и Роджер Макгинн. Затем состоялись благотворительные концерты, сборы от которых пошли в фонд помощи заключенному в тюрьму боксеру Рубену Картеру (ему же посвящена песня Hurricane из альбома Desire (1976), записанного с группой ROLLING THUNDER BAND). В это же время Дилан продюсирует телесериал Hard Rain и выпускает одноименную пластинку, а также выступает спонсором фильма "Ренальдо и Клара". В ноябре 1976 принимает участие в прощальном концерте группы THE LAST WALTZ в Сан-Франциско, где прозвучали его хиты Baby Let Me Follow You Down, I Dont Believe You.

Специально для мирового турне 1978 большинство произведений Дилана 60-х годов было переаранжировано под электро-рок-группу и женский хор. Боб Дилан воспользовался версией Джими Хендрикса, которую тот сделал для дилановской Аll Along The Watchtower из альбома John Wesley Harding и аранжировкой Брайана Ферри для А Hard Rain's Gonna Pall с диска The Freewheelin' Bob Dylan. Bo время этого турне был подготовлен новый студийный альбом Street Legal, а сингл Baby Stop Crying" вошел в английский Тор 20.

Широкая публика не покупала выигравший премию Grammy сингл Gotta Serve Somebody из альбома "христианского рока" Slow Train Coming, а также "иудейский" диск Saved, что было вызвано, видимо, метаниями Дилана между христианством и иудаизмом. Но пользовался успехом Shot Of Life (1981), посвященный покойному комику Пенни Брюсу.

В 1983 вышел диск Infidels, который наряду со следующим Empire Burlesque (с группой TOM PETTY AND THE HEARTBREAKERS) подтвердил репутацию Дилана как "живого классика рока". Поклонники Боба Дилана восторженно приняли подборку "Biograph" - 53-песенный сборник с 18 композициями, до того никогда в альбомы не входившими. В 1985 в совместном турне с группой Тома Петти, Дилан блистательно исполнял песни шестидесятых, в том числе и знаменитую Here Comes The Sun.

Альбом с Дэйвом Стюартом Knocked Out Loaded (не инструментальный) вышел в 1986 и имел большой успех. По мнению критиков пластинка опередила свое время. Двойной концертный альбом, записанный с GRATEFUL DEAD, распродавался очень вяло.Плохие отзывы получил и фильм с участием Дилана Hearts Of Fire. Положение немного поправил диск Down In The Groove, в котором были лишь четыре новые композиции (две из которых Дилан написал совместно с Робертом Хантером из GRATEFUL DEAD). Участие Дилана в проекте The Traveling Wilburys политизировало музыку этой группы. В записи диска Under The Red Sky (1990) участвовали звезды рока первой величины.

Ресурсы сети, связанные с исполнителем:
musicians.allaboutjazz.com/musician.php?id=16590 Biography & articles on 'All About Jazz'
bobdylan.com/songs Bob Dylan /lyrics/
orad.dent.kyushu-u.ac.jp/dylan/song.html Bob Dylan's Original Lyrics /lyrics/
www.bobdylan.com Official website by Bob Dylan. News. Bio. Discography. Tour. Lyrics.
bobdylan.com Official website by Bob Dylan. News. Bio. Discography. Tour. Lyrics.
en.wikipedia.org/wiki/Bob_Dylan About from 'wikipedia'
ru.wikipedia.org/wiki/Дилан,_Боб О исполнителе из 'википедии' [ru]
en.m.wikipedia.org/wiki/Bob_Dylan About from 'wapedia.mobi' [mobile]
ru.m.wikipedia.org/wiki/Дилан,_Боб О исполнителе из 'мобильной википедии' [mobile] [ru]
Поиск видео (Video Search) :  

CD коллекции, связанные с исполнителем:
  как основной исполнитель ...
 Bob Dylan - 'Blood On The Tracks' - 1974, Columbia, AGAT
 Bob Dylan - 'Blues' - 2006, Columbia, Legacy
 Bob Dylan - 'Highway 61 Revisited' - 1965, Columbia
 Bob Dylan - 'John Wesley Harding' - 1967, Columbia
 Bob Dylan - 'Love And Theft' - 2001, Columbia, Sony Music
 Bob Dylan - 'The Freewheelin'' - 1963, Columbia
  как соисполнитель ...
 Adele - '19' - 2008, XL
 George Harrison - 'The Concert For Bangladesh' - 1971, Apple, Columbia
 Jamie Saft - 'Trouble: The Jamie Saft Trio Plays Bob Dylan' - 2006, Tzadik

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  Последние изменения в документе сделаны 13/10/2015 23:37:04

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