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Columbia Records and Legacy Recordings are proud to present 15 classic Bob Dylan albums remastered for the very first time and released on Hybrid SACD format - which plays on all standard CD players as well as SACD players*. Additionally, 6 of the releases contain a 5.1 surround mix. Each album is being re-released in collectible digipaks that replicate the original LP artwork, and some booklets contain bonus photos.

The Limited Edition Remasters Box Set A limited edition box set containing each of the 15 Hybrid SACD releases is now available. The sturdy box is decorated with photographs of the original master tapes, including Bob Dylan's Columbia Records audition.

Here are the fifteen hybrid Super Audio CD titles by Bob Dylan, in chronological order:

	The Freewheelin' Bob Dylan (released May 1963)—Includes "Blowin' in the Wind," "Masters of War," "Don't Think Twice, It's All Right," and "A Hard Rain's a-Gonna fall." Freewheelin' was Dylan's second Columbia album, but his first collection of all original songs. Produced by John Hammond.
	Another Side of Bob Dylan (released August 1964)—Includes "All I Really Want to Do," "Spanish Harlem Incident," "Chimes of Freedom," "My Back Pages." "A rich, complex album" (Paul Williams, Crawdaddy). Produced by Tom Wilson. Includes a 5.1 surround mix.
	Bringing It All Back Home (released March 1965)—Includes "Mr. Tambourine Man," "Gates of Eden," "It's Alright Ma (I'm Only Bleeding)," "It's All Over Now, Baby Blue." The first Dylan album to include accompaniment by an electric band, and his first Top Ten LP. Produced by Tom Wilson. Includes a 5.1 surround mix.
	Highway 61 Revisited (released August 1965)—Includes the No. 2 hit single "Like a Rolling Stone," "Ballad of a Thin Man," "Highway 61 Revisited," "Desolation Row." Produced by Tom Wilson and Bob Johnston.
	Blonde on Blonde (released May 1966)—Includes "Rainy Day Women # 12 & 35," "Visions of Johanna," "Just Like a Woman," "I Want You." This landmark double LP was the first Bob Dylan album recorded in Nashville. Produced by Bob Johnston. Includes a 5.1 surround mix.
	John Wesley Harding (released December 1967)—Includes "John Wesley Harding," "All Along the Watchtower," and "Drifter's Escape." With the inclusion of "I'll Be Your Baby Tonight," Dylan returned rock to its country roots. Produced by Bob Johnston.
	Nashville Skyline (released April 1969)—Includes "Lay Lady Lay," "To Be Alone With You," "I Threw It All Away," "Country Pie." Produced by Bob Johnston.
	Planet Waves (released January 1974)—Includes "On a Night Like This," "Going, Going, Gone," "Forever Young," "You Angel You." With instrumental backing by The Band, Planet Waves became Dylan's first Number One album. Produced by Bob Dylan, Robbie Robertson, and Rob Fraboni.
	Blood On The Tracks (released January 1975)—Includes "Tangled Up in Blue," "Simple Twist of Fate," "If You See Her, Say Hello," "Shelter from the Storm." "The writing is the source of the record's power—There are times when he sounds closer, more intimate and more real than anyone else." (Jon Landau, Rolling Stone) Produced by Bob Dylan. Includes a 5.1 surround mix.
	Desire (released January 1976)—Includes "Hurricane," "Black Diamond Bay," "One More Cup of Coffee," "Oh, Sister." Desire features violinist Scarlett Rivera and songs co-written with Jacques Levy.
	Street Legal (released June, 1978)—Includes "Señor (Tales of Yankee Power)," "Changing of the Guards," "Baby, Stop Crying," and "Is Your Love in Vain?" Produced by Don Devito.
	Slow Train Coming (released August 1979)—Includes the Grammy Award-winning single "Gotta Serve Somebody," "I Believe in You," "Slow Train," "When He Returns." Produced by Jerry Wexler and Barry Beckett. Includes a 5.1 surround mix.
	Infidels (released November 1983)—Includes "Jokerman," "License to Kill," "I and I," "Sweetheart Like You." Dylan's sidemen include Mick Taylor (guitar), Mark Knopfler (guitar), Sly Dunbar (drums), and Robbie Shakespeare (bass). "Eight vigorous songs that teem with self-effacing introspection and wit." (Christopher Connelly, Rolling Stone). Produced by Bob Dylan and Mark Knopfler.
	Oh Mercy (released September, 1989)—Includes "Political World," "Everything Is Broken," "Ring Them Bells," "Man in the Long Black Coat." Recorded in New Orleans with Louisiana musicians including Cyril Neville (percussion), Rockin' Dopsie (accordion), Willie Green (drums), and Mason Ruffner (guitar). Produced by Daniel Lanois.
	"Love and Theft" (released September, 2001)—Includes "Tweedle Dee and Tweedle Dum, "Mississippi," "Summer Days," "High Water (for Charley Patton)." "All pop music is love and theft, and in 40 years of records whose sources have inspired volumes of scholastic exegesis, Dylan has never embraced that truth so warmly. Jokes, riddles, aperçus, and revelations will surface for years... Grade: A Plus." (Robert Christgau, The Village Voice) Produced by Jack Frost. Includes a 5.1 surround mix.

*Hybrid SACDs are designed to play in all players which are compliant with the Compact Disc specification. Some DVD players, computer drives and car players which use DVD transports have been found to lack the proper programming to recognize a Hybrid SACD and cannot default to normal playback of the CD layer. The consumer should report this playback problem to the player manufacturer for possible remedy.

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Bob Dylan and the SACD experience
See the Super Audio CD products at SonyStyle.com
High Fidelity Review article
Anthony DeCurtis's review in Rolling Stone

Legacy's Dylan reissue series ranks among the most ambitious undertaken by any major record label, and represents the most significant marriage yet of emerging technological breakthroughs with recordings of such historical and social signficance.

The albums span every era of Mr. Dylan's mercurial and kaleidoscopic studio career, from the cornerstone of his folk years, 1963's "Freewheelin'," to a trio of turbulent, surrealistic and cataclysmic mid-1960's classics ("Bringing It All Back Home," "Highway 61 Revisited," "Blonde on Blonde"), to latter-day masterpieces ("Blood on the Tracks," "Oh Mercy," "Love and Theft"). Indeed, with perhaps a quibble or two,...this batch incorporates the best and most influential recordings of Mr. Dylan's long, storied studio career.

From the hypnotic keyboard curlicues on "(Stuck Inside of Mobile with the) Memphis Blues Again," to the stark austerity of "Mr. Tambourine Man," to the crackling electricity running throughout "Like a Rolling Stone," these CDs largely fulfill on Legacy's promise to deliver the listener virtually into Columbia Records' studios at the moment of creation. "Another Side of Bob Dylan" receives the greatest boost--the heretofore buried cadences of Mr. Dylan's guitar on "Spanish Harlem Incident" are revelatory. Sonic clarity in the interaction of the musicians, in the texture of Mr. Dylan's voice and harmonica, and in the resonance and presence of the recordings makes for a voyage of rediscovery even if these albums have been etched in your brain for decades.

Legacy's producers, engineers and tape researchers have done an exemplary job of tracking down the masters, restoring and in some cases expanding album artwork, and most of all capturing the recordings in all their chromatic glory.

Luke Torn, Wall Street Journal 9/24/03

"Bob Dylan Revisited" represents an across-the-board quantum leap in richness, warmth and presence. Those who own the records on CD or LP will not feel duped buying these discs, which are contained in digipaks that faithfully reproduce the original albums' artwork and liner notes. So revelatory are the clarity and detail, it's akin to having always heard Dylan from a theater's upper balcony, and now listening to him from fourth-row center.

The most striking improvement is the sense of depth, which allows listeners to hear into the music. Compression that had muffled instruments and squashed Dylan's voice has disappeared, making audible the reeds in his harmonica, wood of his guitar and, what may be the biggest discovery, continuity of his voice. Everybody playing with Dylan sounds infinitely better too. Rhythms have never been as solid or tight, the give-and-take interplay between musicians fully exposed. The albums' emotional impact seems to have increased tenfold, Dylan's poetic brew of politics, wit, humor and the grotesque served up with startling realism.

Bob Gendron, Chicago Tribune 9/14/03