John Wesley Harding is the eighth studio album by the American singer-songwriter Bob Dylan, released on December 27, 1967, by Columbia Records. Produced by Bob Johnston, the album marked Dylan's return to semi-acoustic instrumentation and folk-influenced songwriting after three albums of lyrically abstract, blues-indebted rock music. John Wesley Harding was recorded around the same time as the home recording sessions with the Band known as The Basement Tapes.

Highway 61 Revisited is the sixth studio album by the American singer-songwriter Bob Dylan, released on August 30, 1965, by Columbia Records. Dylan continued the musical approach of his previous album Bringing It All Back Home (1965), using rock musicians as his backing band on every track of the album in a further departure from his primarily acoustic folk sound, 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 climate of contemporary America. Author Michael Gray argued that, in an important sense, the 1960s "started" with this album.

Blood on the Tracks is the fifteenth studio album by American singer-songwriter Bob Dylan, released on January 20, 1975, by Columbia Records. The album marked Dylan's return to Columbia after two albums with Asylum Records. Dylan began recording the album at an A & R studio in New York City in September 1974. In December, shortly before Columbia was due to release the album, Dylan abruptly re-recorded much of the material in Sound 80 studio in Minneapolis. The final album contains five tracks recorded in New York and five from Minneapolis. The songs have been linked to tensions in Dylan's personal life, including his estrangement from his then-wife Sara. One of their children, Jakob Dylan, described the songs as "my parents talking". Dylan denied that the songs were autobiographical.

Blonde on Blonde is the seventh studio album by the American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

The Times They Are a-Changin' is the third studio album by the American singer-songwriter Bob Dylan. It was released on February 10, 1964, through Columbia Records. Whereas his previous albums, Bob Dylan (1962) and The Freewheelin' Bob Dylan (1963), combined original material and cover songs, this was the first to feature only original compositions. The album consists mostly of stark, sparsely arranged ballads concerning issues such as racism, poverty, and social change. The title track is one of Dylan's most famous; many feel that it captures the spirit of social and political upheaval that characterized the 1960s.

Bringing It All Back Home is the fifth studio album by the American singer-songwriter Bob Dylan, released in April 1965 by Columbia Records. In a major transition from his earlier sound, it was Dylan's first album to incorporate electric instrumentation, which caused controversy and divided many in the contemporary folk scene.

The Freewheelin' Bob Dylan is the second studio album by the American singer-songwriter Bob Dylan. It was released on May 27, 1963, through Columbia Records. The record marks the beginning of Dylan's writing contemporary lyrics to traditional melodies. His debut album Bob Dylan contains only two original songs, whereas eleven of the thirteen songs on Freewheelin' are Dylan's compositions. It opens with "Blowin' in the Wind", which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul and Mary soon after the release of the album. The album featured several other songs which came to be regarded as among Dylan's best compositions and classics of the 1960s folk scene: "Girl from the North Country", "Masters of War", "A Hard Rain's a-Gonna Fall" and "Don't Think Twice, It's All Right".

Desire is the seventeenth studio album by American singer-songwriter Bob Dylan, released on January 5, 1976, through Columbia Records. It is one of Dylan's most collaborative efforts, featuring the same caravan of musicians as the acclaimed Rolling Thunder Revue tours the previous year (later documented on The Bootleg Series Vol. 5). Many of the songs also featured backing vocals by Emmylou Harris and Ronee Blakley. Most of the album was co-written by Jacques Levy, and is composed of lengthy story-songs, two of which quickly generated controversy: the 11-minute-long "Joey", which is seen as glorifying the violent gangster "Crazy Joey" Gallo, and "Hurricane", the opening track that tells a passionate account of the murder case against boxer Rubin "Hurricane" Carter, who the song asserts was framed. Carter was released in 1985, after a judge overturned his conviction on appeal.

Bob Dylan is the debut studio album by the American singer-songwriter Bob Dylan, released on March 19, 1962, by Columbia Records. The album was produced by Columbia talent scout John H. Hammond, who had earlier signed Dylan to the label, a controversial decision at the time. The album primarily features folk standards but also includes two original compositions, "Talkin' New York" and "Song to Woody". The latter was an ode to Woody Guthrie, a significant influence in Dylan's early career.

Another Side of Bob Dylan is the fourth studio album by the American singer and songwriter Bob Dylan, released on August 8, 1964, by Columbia Records.
The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin' (1964). The change prompted criticism from some influential figures in the folk community – Sing Out! editor Irwin Silber complained that Dylan had "somehow lost touch with people" and was caught up in "the paraphernalia of fame".

Empyrios – это брутальный и НЕ неоклассический вариант Symphony X. Слушаю их вторую работу «The Glorious Sickness» - ну, как будто новое творение сэра Рассела Аллена и компании. В начале рецензии я сказал "брутальный вариант", и это действительно так. На пластинке есть гроулинг, местами бластбиты и вообще звучит всё чертовски угарно и жёстко, то есть имеем эдакий модерн-прог-пауэр-метал. Записано всё идеально, сыграно на высочайшем уровне и вообще звучит весьма жирно и вкусно. Хитами пластинка не блещет, но сама по себе наполнена сильными и крепкими песнями. Релиз стал достойным продолжением достойного дебюта, так что рекомендую «The Glorious Sickness» всем поклонникам современного прог-метала!

Поскольку поляки ни много ни мало сотворили настоящий шедевр в жанре «эпического» дум-метал. На альбоме шесть роскошных героико-романтических саг (продолжительностью 6-7 минут каждая): обворожительная в своей простоте мелодика, убедительно мощный и фактурный грув, жгучий гитарный риффаж, головокружительные сольные проходы, сюжетно-лавкрафтовская лирика на английском языке и… (сюрприз-сюрприз) великолепно поставленный, чувственный вокал – распевный, высокий и чистый (в манере покойного Ronnie James Dio или Jan Alfredo Marcolin), иногда с эхом второго плана (искусность этого «бэк-суппота» стоит особо отметить). Исполнено все мастерски и сбалансировано столь точно, что в «неопытность» авторов верится с трудом – такое ощущение, что у каждого из задействованных в проекте артистов за плечами многолетний профессиональный опыт…

Новый альбом немецких индустриальщиков. Посредственный хиленький альбомчик. Нет композиций плохих нет хитовых. Все - просто неплохие вещи, среди которых ни одна не выделяется, и фаворитные песни следовательно у всех могут быть разные. Мне вот полюбилась Black Sunday, и, как ни странно, не оригинал, а ремикс Shake the lie. Пожалуй, единственное, чем-то выделяющее этот альбом - это неплохие ремиксы, которые есть только на диске от Irond records

Постепенно к возродившимся «Casanova» начали проявлять интерес и европейские лейблы, но поскольку ни один из них не смог сделать толкового предложения, проект вновь развалился. Восс вместе с Майером продолжил трудиться в рядах «Demon Drive», а параллельно главный «Казанова» стяжал себе славу одного из самых востребованных немецких продюсеров. Тем временем Ноймайер присоединился к команде Юргена Зелтингера, а Ойрих поучаствовал в реюнионе «Warlock». И все же в 2003-м группа воссоединилась еще разок, причем на место занятого в «Domain» и «Boysvoice» Майера вернулся Аттиг. На следующий год в продаже появился свеженький компакт «All Beauty Must Die». Альбом порадовал слушателей фирменным мелодичным хард-роком, причем наряду с композициями Восса на диски присутствовали вещи Расса Балларда и «Bread». В 2005-м в родные пенаты возвратился Майер, и с его участием группа выступила на фестивале «UFOR» в Людвигсбурге.