Perhaps the classic breakup album of all time, Blood on the Tracks is both a return to form and like nothing Bob Dylan had ever recorded.

Blood on the Tracks is the 15th studio album by American singer-songwriter Bob Dylan, released on January 20, 1975 by Columbia Records. The album marked Dylan's return to Columbia Records after a two-album stint with Asylum Records. Dylan commenced recording the album in New York City in September 1974. In December, shortly before Columbia was due to release the record, Dylan abruptly re-recorded much of the material in a studio in Minneapolis

Blood On The Tracks Released 01/20/1975. Musicians: Tony Brown - Bass Buddy Cage - Steel Guitar Paul Griffin - Organ Eric Weissberg & Deliverance. Remember that he gave us voice, When our innocence died forever, Bob Dylan made that moment into art. The wonder is that he survived. That is no small thing. And here is Dylan, bringing feeling back home. In this album, he is as personal and as universal as Yeats or Blake; speaking for himself, risking that dangerous opening of the veins, he speaks for us all. The words, the music, the tones of voice speak of regret, melancholy, a sense of inevitable farewell, mixed with sly humor, some rage, and a sense of simple joy. They are the poems of a survivor. The warning voice of the innocent boy is no longer here, because Dylan has chosen not to remain a boy.

Bob Dylan’s moody 1975 epic is often referred to as his breakup album, but it might be his most welcoming LP, its music projecting an undeniable warmth. One doesn't have to be a broken-hearted straight male (or even a Nobel Prize voter) to fall in love with Bob Dylan’s Blood on the Tracks, but it might help. Often referred to as Dylan’s breakup album, it’s likewise become just that for many listeners, both expressing and absorbing great aloneness

1975 masterpiece, Blood On The Tracks. The only recordings remaining from the Minneapolis sessions are the multi-track masters of the five performances included on the finished Blood On The Tracks album. It's like a revelation, discovering unknown secrets from a long lost lover. Or perhaps like opening and relishing a delicious 1974 Napa Valley Robert Mondavi Cabernet Sauvignon, with dark blackberries layered with luscious layers of vanilla and mocha.

Dylan originally recorded the album across four days in September 1974 at A&R Studios in New York with producer Phil Ramone. For reasons he’s never fully explained, he recut five of the songs at Sound 80 Studio in Minneapolis three months later. Every single take from the New York sessions is on More Blood, More Tracks, but the outtakes from the Minneapolis sessions have been lost. We have no idea what happened to them, says the source. Bob Dylan – If You See Her, Say Hello (Take 1) from More Blood, More Tracks. Rumors of a Blood on the Tracks Bootleg Series have swirled for years, but the Dylan camp was reluctant to commit to it. For a lot of years we’ve been trying to figure out how to do this, says the source. But it’s an unusual project because there’s just 12 songs, or 13 if you count ‘Spanish Is The Loving Tongue,’ and he’s trying to find his way into them.

This time, it’s his 1975 album, Blood On The Tracks, which will be released as More Blood, More Tracks – The Bootleg Series Vol. 14 on Nov. 2 via Columbia Records and Legacy Recordings. The bootleg collection includes studio recordings from Dylan’s six sessions that resulted in his 1975 LP, Blood On The Tracks. The sessions took place across four days in New York and two in Minneapolis back in late 1974. The album went on to become one of Dylan’s best-selling albums, reaching on the Billboard 200, achieving RIAA 2x Platinum.

Bob Dylan's lyrics are clairvoyant, and the songwriting on Blood On The Tracks is nothing but superb. Case in point, it is not for everyone. But for those of you who like Bob Dylan, this is probably the best you can do. Blood On The Tracks is not an album that lashes out at you with a force intense enough to change your point of view on life, but will certainly move you. An idea so simplistic as grief can turn into a much more multifaceted work of art, while a painting in grayscale is splashed upon with touches of sonic color, all of which is rudimentary, yet atypical enough to change your mind about Bob Dylan's music. Emotion can take its toll on you, but emotion also acts impulsively.

Bob Dylan as an artist had a tough early 70s. By 1974 our Bob was in the strange position of being still regarded as the next Messiah while seeming bored with himself. This was, remember, the era of Planet Waves and Self Portrait – not his brightest moments - while his tour the previous year with the Band was also fairly iconoclastic. In the end two factors got Dylan back on (hem hem) track: painting and a very messy breakdown of his marriage. In fact, one seemed to lead to the other. While the album has a confessional sense of hurt Dylan’s always denied the connection but still admits that there’s a lot of pain on the album. Initially sessions were held in familiar surroundings in New York. What’s more he was back with his old record company following an unsatisfactory sojourn with David Geffen’s Asylum label.