For many fans and critics, the album marked Dylan's artistic comeback after he appeared to struggle with his musical identity throughout the 1980s; he had not released any original material since Under the Red Sky in 1990. Time Out of Mind is one of Dylan's most acclaimed albums, and it went on to win three Grammy Awards, including Album of the Year in 1998. It was also ranked number 410 on Rolling Stone's 500 Greatest Albums of All Time in 2012.[5]
The album has an atmospheric sound, the work of producer (and past Dylan collaborator) Daniel Lanois, whose innovative work with carefully placed microphones and strategic mixing was detailed by Dylan in his memoir, Chronicles: Volume One. Although Dylan has spoken positively of Lanois' production style, he expressed dissatisfaction with the sound of Time Out of Mind. Dylan has self-produced his subsequent albums.
Background and writing
In April 1991, Dylan told interviewer Paul Zollo that "there was a time when the songs would come three or four at the same time, but those days are long gone...Once in a while, the odd song will come to me like a bulldog at the garden gate and demand to be written. But most of them are rejected out of my mind right away. You get caught up in wondering if anyone really needs to hear it. Maybe a person gets to the point where they have written enough songs. Let someone else write them".[6]
Dylan's last album of original material had been 1990's Under the Red Sky, a critical and commercial disappointment. Since then, he had released two albums of folk covers, Good as I Been to You and World Gone Wrong, and MTV Unplugged, a live album of older compositions; there had been no signs of any fresh compositions until 1996.
Dylan began to write a fresh string of songs during the winter of 1996 at his farm in Minnesota, which would later make up Time Out of Mind.[7] Criteria Studio in Miami, Florida, was booked for recording. In a televised interview with Charlie Rose, Lanois recalled Dylan talking about spending many late nights working on the lyrics. Once the words were completed, according to Lanois, Dylan considered the record to be finished saying, "You know, whatever we decide to do with it, that's that." Lanois replied: "What's important is that it's written".[8]
Recording sessions
When Bob read me the lyrics of this record we were at a hotel room here in New York City. The words were hard, were deep, were desperate, were strong.... That's the record I wanted to make.
Dylan demoed some of the songs in the studio, something he rarely did.[7] Members of Dylan's touring band were involved in these sessions. Dylan also used these loose, informal sessions to experiment with new ideas and arrangements. Dylan continued rewriting lyrics until January 1997, when the official album sessions began. It was the second collaboration between Dylan and Lanois, who had previously produced Dylan's 1989 release Oh Mercy and was known for his work with artists such as Emmylou Harris (on Wrecking Ball) and U2 (on The Joshua Tree and Achtung Baby). Dylan wanted the sound of Time Out of Mind to be influenced by early blues musicians, such as Charley Patton, Little Walter, and Little Willie John, and he recommended that Lanois listen to their recordings to prepare for the sessions.[10]
New personnel hired for the album included slide guitarist Cindy Cashdollar and drummer Brian Blade, both hired by Lanois. Dylan brought in Jim Keltner, who was Dylan's tour drummer from 1979 to 1981. Dylan also hired Nashville guitarist Bob Britt, Duke Robillard, Tex-Mex organist Augie Meyers, and Memphis pianist Jim Dickinson to play at the sessions.
According to Lanois, Dylan likes old 1950s records since "they had a natural depth of field which was not the result of a mixing technique". He used a Sony C37A microphone, which was also used to record Dylan's album Oh Mercy. Various other devices were used to produce the album's distinctive sound. Lanois also devised a method to accommodate new or revised lyrics later in an original take, since this was often the case with Dylan.[11]
With two different sets of players competing in performance and two producers with conflicting views on how to approach each song, the sessions were far from disciplined. Years later, when asked about Time Out of Mind, Dickinson replied, "I haven't been able to tell what's actually happening. I know they were listening to playbacks, I don't know whether they were trying to mix it or not! Twelve musicians playing live—three sets of drums,... it was unbelievable—two pedal steels, I've never even heard two pedal steels played at the same time before! ... I don't know man, I thought that much was overdoing it, quite frankly".[12]
Lanois admitted some difficulty in producing Dylan. "Well, you just never know what you're going to get. He's an eccentric man..."[8] In a later interview, Lanois said Dylan and he used to go to the parking lot to discuss the recording in absence of the band. Lanois elaborated their discussion on the song "Standing in the Doorway". "I said 'listen, I love "Sad Eyed Lady of the Lowlands". Can we steal that feel for this song?' And he'd say 'you think that'd work?' Then we'd sit on the fender of a truck, in this parking lot in Miami, and I'd often think, if people see this they won't believe it!"[13] With Time Out of Mind, Lanois "produced perhaps the most artificial-sounding album in [Dylan]'s canon," says author Clinton Heylin, who described the album as sounding "like a Lanois CV".[14]
I just wanted to say, one time when I was about sixteen or seventeen years old, I went to see Buddy Holly play at the Duluth National Guard Armory...I was three feet away from him...and he looked at me. And I just have some sort of feeling that he was—I don't know how or why—but I know he was with us all the time we were making this record in some kind of way.
Dylan talked about his difficulty at the recording sessions in an interview with Guitar World magazine. "I lose my inspiration in the studio real easy, and it's very difficult for me to think that I'm going to eclipse anything I've ever done before. I get bored easily, and my mission, which starts out wide, becomes very dim after a few failed takes and this and that." In the same interview Dylan cited Buddy Holly as an influence during the recording sessions.
Those records were made a long time ago, and you know, truthfully, records that were made in that day and age all were good. They all had some magic to them because the technology didn't go beyond what the artist was doing. It was a lot easier to get excellence back in those days on a record than it is now.....The high priority is technology now. It's not the artist or the art. It's the technology that is coming through. That's what makes Time Out of Mind... it doesn't take itself seriously, but then again, the sound is very significant to that record. If that record was made more haphazardly, it wouldn't have sounded that way. It wouldn't have had the impact that it did.... There wasn't any wasted effort on Time Out of Mind and I don't think there will be on any more of my records.
The first track on this album is the sparsely recorded "Love Sick", which was subsequently also released as a single. Daniel Lanois later said about the recording process of this song, "We treated the voice almost like a harmonica when you over-drive it through a small guitar amplifier".[16]Pitchfork's Grayson Haver Callin wrote that the song shows Dylan as he "shuffles through empty streets in the rain, a tangle of warped guitar, haunted organs, and faint drums aptly framing his bleak mood".[10] Dylan performed "Love Sick" live at the 1998 Grammy Awards ceremony.
"Dirt Road Blues"
"Dirt Road Blues" was improvised from a country-blues riff of indeterminate origin. Lanois recalls, "He made me pull out the original cassette, sample sixteen bars and we all played over that [for the released version],..."[13] Some critics criticized the performance for being 'mediocre' and for destroying the mood that was set up by the opening track. Michael Gray writes, "'Dirt Road Blues', which might under normal production circumstances be a heartening, even dexterous little rockabilly number, puts Dylan so far away and so tiny you just despair".[17]
"Million Miles" has a 1950s blues and rock and roll atmosphere. Critics have noted that the song nods to Little Willie John, Elvis Presley, and B.B. King.
In "'Til I Fell in Love with You", Dylan scholar Jochen Markhurst points to echoes of Ma Rainey's "South Bound Blues', as well as the influence of Slim Harpo. The Time out of Mind outtake "Marchin' to the City" can be considered an earlier version of this song; in any case the songs share a few lyric lines.
"Not Dark Yet", the first of two singles from the album, was described by Time magazine as 'the moody album's center' and was included in its Ten Best Bob Dylan Songs article of 2011.[18] The song explores the singer's own existential crises.[10]"Not Dark Yet" was recorded at the early recording sessions and featured "a radically different feel", according to Lanois. "[The demo of 'Not Dark Yet'] was quicker and more stripped-down and [later during the formal studio sessions], he changed it into a civil war ballad".[13]
The song is analyzed by Professor Christopher Ricks in his book Dylan's Visions of Sin. Ricks draws parallels between "Not Dark Yet" and John Keats's poem Ode to a Nightingale. Both works are musings on mortality, and Ricks argues that "similar turns of phrase, figures of speech, [and] felicities of rhyming" can be found throughout "Not Dark Yet" and the Ode: "The memories of Ode to a Nightingale in Not Dark Yet come from throughout the Ode, diffusedly there."[19] A promotional video of this song was released.
The next song, "Cold Irons Bound", won the 1998 Grammy for best male rock vocal performance. Oliver Trager describes the track as "biting" with "ricocheting guitar licks, rockabilly drums, distorted organ, and [a] voice floating in a blimp of its own echo," in which "one can still hear, to paraphrase 'Visions of Johanna', the ghost of electricity howling from the bones of Dylan's face..."[20] Michael Gray also describes this song in detail:
There's an interesting tension, too, in 'Cold Irons Bound', perhaps more accurately an interesting inappropriateness between, on one side, the grinding electronic blizzard of the music and the cold, aircraft-hangar echo of the voice lamenting its sojourn across a lethal planet—fields turned brown, sky lowering with clouds of blood, winds that can tear you to shreds, mists like quicksand—and on the other side the recurrently stated pursuit of tenderness, in phrases that seem imported from another consciousness.[21]
The song "Make You Feel My Love" was recorded twice under the title "To Make You Feel My Love" by other artists: Billy Joel recorded the song for his Greatest Hits Volume III collection before Dylan released the song; subsequently, Garth Brooks recorded it for the Hope Floats soundtrack. It was recorded under the original title by Bryan Ferry on Dylanesque and by Adele on 19. This song was criticized for its lyrical inferiority by The Village Voice's Robert Christgau[23] and Greg Kot of Rolling Stone. In his review, Kot described the track as "a spare ballad undermined by greetingcard lyrics [that] breaks the album's spell".[24] Opposing his view, Dylan critic Paul Williams said that it was "refreshing" to his ears. He said: "...the ultimate effect is to strengthen the spell the whole record casts—this musical and verbal break is exactly in place".[25]
"Can't Wait"
The penultimate track of the album is "Can't Wait". Greg Kot wrote, "On Time Out of Mind, [Dylan] paints a self-portrait with words and sound that pivots around a single line from the album's penultimate song, 'Can't Wait': "That's how it is when things disintegrate"".[24] An alternate version of this song is included on the album The Bootleg Series Vol. 8 – Tell Tale Signs: Rare and Unreleased 1989–2006. (Deluxe Editions of this album contain two alternate versions of the song.)
The closing track, at time of release the longest composition ever released by Dylan, the 16-minute "Highlands", most probably took its central motif ("My heart's in the highlands") from a poem by Robert Burns called "My heart's in the highlands" (published in 1790).[26][27] In Jim Dickinson's account, "I remember, when we finished 'Highlands'—there are two other versions of that, the one that made the record is the rundown, literally, you can hear the beat turn over, which I think Dylan liked. But, anyway, after we finished it, one of the managers came out, and he said, "Well, Bob, have you got a short version of that song?" And Dylan looked at him and said: 'That was the short version'".[28]
The song describes a story of the narrator and his interactions with a waitress of a restaurant in Boston Town. Dylan mentions Neil Young and Erica Jong in this song. Keith Phipps of The A.V. Club wrote: "The material here is generally slow and meditative, lending the work a consistent tone appropriately capped by the 16-minute 'Highlands', a 'Desolation Row'-style experiment with an extended song form; it's further proof that the singer/songwriter is far from coasting".[29]
Outtakes
Fifteen songs were recorded for Time Out of Mind, of which eleven made the final cut.[30]
The first song that did not make the album was "Mississippi", which was re-recorded for Love and Theft. According to Dylan, "If you had heard the original recording of ['Mississippi'], you'd see in a second" why it was omitted and recut for Love and Theft. "The song was pretty much laid out intact melodically, lyrically and structurally, but Lanois didn't see it. Thought it was pedestrian. Took it down the Afro-polyrhythm route—multirhythm drumming, that sort of thing. Polyrhythm has its place, but it doesn't work for knife-like lyrics trying to convey majesty and heroism".[31] Dylan offered the song to Sheryl Crow,[32] who recorded it for The Globe Sessions, released in 1998, before Dylan revisited it for Love and Theft. Three outtakes of "Mississippi" from the Time Out Of Mind sessions were included on The Bootleg Series Vol. 8 – Tell Tale Signs: Rare and Unreleased 1989–2006 (two versions on the generally released discs and one on a bonus disc included with the Deluxe Edition of the album).
A second outtake, "Dreamin' of You"', also released on Tell Tale Signs, was unveiled for the first time as a free download on Dylan's website. Its lyrics were partly adapted into "Standing in the Doorway", though the melody and music are completely different. The music video, which starred Harry Dean Stanton, premiered on Amazon.com.
Two more songs, "Red River Shore" (which according to Jim Dickinson was "the best song there was from the session"[28]) and "Marchin' to the City" (which evolved into "'Til I Fell in Love with You"), were left off the final cut. They were both included on Tell Tale Signs.
Over the years, some fans have criticized Dylan for some of the creative decisions made with his albums, particularly with song selection. Time Out of Mind was no different except this time the criticism came from colleagues who were disappointed to see their personal favorites left on the shelf. When Dylan accepted the Grammy Award for Album of the Year, he mentioned Columbia Records chairman Don Ienner, who "convinced me to put [the album] out, although his favorite songs aren't on it".[9]
Reception
Commercial reception
Time Out of Mind was a commercial success for Dylan. It was widely hailed as Dylan's comeback album and U.S. sales soon passed platinum[33] and stayed on best-selling charts for 29 weeks.[34] In UK the sales passed gold.[35] The album, in other countries also, managed to secure positions on best-selling charts and remained there for several weeks. Again the album's highest chart position worldwide was in Norway, where it peaked at No. 2.
Time Out of Mind received mostly positive reviews and began a renaissance of Dylan's career. In a 2018 retrospective for Pitchfork, Grayson Haver Currin wrote that the album "would transform Dylan from seemingly obsolete icon to wise, wizened visionary almost overnight".[10] In his review for The Village Voice, Robert Christgau said, "The hooks are Dylan's spectral vocals—just his latest ventriloquist's trick, a new take on ancient, yet so real, so ordained—and a band whose quietude evokes the sleepy postjunk funk of Clapton's 461 Ocean Boulevard without the nearness of sex".[23] He later regarded it as "one of those nearness-of-death albums", along with Mississippi John Hurt's Last Sessions (1972), Warren Zevon's The Wind (2003), Neil Young's Prairie Wind (2005), and Johnny Cash's American VI: Ain't No Grave (2010).[43]
On the NY Rock website, Cook Young called the songs "superb".[44] He described Time Out of Mind as "a curious album. It's sort of two records mixed together. Half the songs compare to the introspective plaintive compositions that we witnessed on Blood on the Tracks. The other half are 12-bar blues ditties that often sound as if Bob is making 'em up as he goes".[44] "Time Out of Mind is fantastic", said Elvis Costello. "I think it might be the best record he's made".[45]
Some critics criticized Lanois's production for, as Currin wrote, "warping Dylan’s voice too much, for burying it in a cloud of effects".[10]AllMusic senior editor Stephen Thomas Erlewine wrote, "Time Out of Mind has a grittier foundation—by and large, the songs are bitter and resigned, and Dylan gives them appropriately anguished performances. Lanois bathes them in hazy, ominous sounds, which may suit the spirit of the lyrics, but are often in opposition to Dylan's performances".[36] Michael Gray writes, "The sound is elsewhere unhelpful too on Time Out of Mind. Some tracks have Dylan so buried in echo that there is no hope of hearing the detailing in his voice that was once so central and diamondlike a part of his genius".[46]
Everything on Time Out of Mind goes under one dreamy, archaic mood. The album manages to skip the twentieth century: trains discourage gambling, people ride in buggies, there's no air-conditioning ("It's too hot to sleep"), church bells ring, "gay" means happy, the time of day is measured by the sun, lamps apparently run on gas (and are turned "down low") and, most of the time, the singer is walking. He is almost ready to stray into the rustic wasteland of Schubert's Winterreise, which opens with the Dylanesque lines "I came here a stranger/ A stranger I depart." The wistfulness is intense....The melancholy could become crushing, but Dylan doesn't let it. The best songs on Time Out of Mind are inexplicably funny; there's a wicked glee in the performance as Dylan manipulates the tatters of his voice, the scatterdness of his inspiration, the paralysis that might arise from his obsession with history, the prevailing image of himself as a mumbling curmudgeon.[47]
Aftermath and legacy
Shortly after completing the album, Dylan became seriously ill with near-fatal histoplasmosis. His forthcoming tour was canceled, and he spent most of June 1997 in excruciating pain.[48] A potentially serious condition (caused by the fungal infection Histoplasma capsulatum), it makes breathing very difficult. "It was something called histoplasmosis that came from just accidentally inhaling a bunch of stuff that was out on one of the rivers by where I live", said Dylan. "Maybe one month, or two to three days out of the year, the banks around the river get all mucky, and then the wind blows and a bunch of swirling mess is in the air. I happened to inhale a bunch of that. That's what made me sick. It went into my heart area, but it wasn't anything really attacking my heart", Dylan told Guitar World magazine.[15]
In light of Dylan's May 1997 health scare, a number of columnists, including Dylanologist A.J. Weberman, speculated that the songs on Time Out of Mind were inspired by an increased awareness of his own mortality. This was despite the fact that all of the songs were completed, recorded, and even mixed before he was hospitalized. In interviews following its release, Dylan dismissed these speculations.[15]
My recollection of that record is that it was a struggle. A struggle every inch of the way. Ask Daniel Lanois, who was trying to produce the songs. Ask anyone involved in it. They all would say the same....As a result, though it held together as a collection of songs, that album sounds to me a little off. There's a sense of some wheels going this way some wheels going that, but hey, we're just about getting there.
At least two artists have covered Time Out of Mind in its entirety: guitarist Stephen Michael (recording under the name "Georgia Sam") and Arve-Gunnar Heløy, who not only recorded every track but translated all of the lyrics into Norwegian.[54]
Hip hop group Public Enemy referenced the album's title in their 2007 Dylan tribute song "Long and Whining Road": "From basement tapes, beyond them dollars and cents / Changing of the guards spent, now where the hell the majors went? / Most of their time out of mind, hating my mess-age rhymes".[55]
A 2021 Irish Times article ranking all 39 of Dylan's studio albums placed Time Out of Mind first.[56]
At the 1998 Grammy Awards, Time Out of Mind won in the categories of Album of the Year, Best Contemporary Folk Album and, for "Cold Irons Bound", Best Male Rock Vocal Performance. At the awards ceremony, Dylan performed the song "Love Sick". During the performance, Michael Portnoy, an American multimedia artist and choreographer, ripped off his shirt, ran up next to Dylan, and started dancing and contorting with the words "Soy Bomb" painted in black across his chest. Dylan shot an alarmed glance at Portnoy, but carried on playing. Portnoy continued to dance for about 40 seconds, until another of the background dancers escorted him off stage.[58]
Jim Dickinson– keyboards, Wurlitzerelectric piano, pump organ on "Love Sick", "Dirt Road Blues", "Million Miles", "Tryin' to Get to Heaven", "Til I Fell in Love with You", "Not Dark Yet", "Can't Wait" and "Highlands"
Jim Keltner– drums on "Love Sick", "Standing in the Doorway", "Million Miles", "Tryin' to Get to Heaven", "'Til I Fell in Love with You", "Not Dark Yet" and "Can't Wait"
"Love and Theft" is the thirty-first studio album by American singer-songwriter Bob Dylan, released on September 11, 2001, by Columbia Records. It featured backing by his touring band of the time, with keyboardist Augie Meyers added for the sessions. It peaked at No. 5 on the Billboard 200, and has been certified Gold by the RIAA. The album's highest chart positions worldwide were in Norway and Sweden, where it peaked at No. 1, giving Dylan his first No. 1 album in Norway since Infidels, and his first No. 1 album ever in Sweden. A limited edition release included two bonus tracks on a separate disc recorded in the early 1960s, and two years later, on September 16, 2003, this album was remixed into 5.1 surround sound and became one of 15 Dylan titles reissued and remastered for SACD playback.
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 ". 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.
Daniel Roland Lanois is a Canadian record producer and musician.
"Blind Willie McTell" is a song written and performed by American singer-songwriter Bob Dylan. Named for the blues singer of the same name, the song was recorded in the spring of 1983, during the sessions for Dylan's album Infidels; however, it was ultimately left off the album and did not receive an official release until 1991, when it appeared on The Bootleg Series Volumes 1–3 1961–1991. It was also later anthologized on Dylan (2007).
Oh Mercy is the twenty-sixth studio album by American singer-songwriter Bob Dylan, released on September 12, 1989, by Columbia Records. Produced by Daniel Lanois, it was hailed by critics as a triumph for Dylan, after a string of poorly reviewed albums. Oh Mercy gave Dylan his best chart showing in years, reaching No. 30 on the Billboard charts in the United States and No. 6 in Norway and the UK.
Empire Burlesque is the twenty-third studio album by American singer-songwriter Bob Dylan, released on June 10, 1985 on Columbia Records. Self-produced, the album peaked at No. 33 in the U.S. and No. 11 in the UK.
"Cold Irons Bound" is a Grammy Award-winning song written by Bob Dylan, recorded in January 1997 and released on September 30, 1997 as the eighth track on his album Time Out of Mind. The song was produced by Daniel Lanois.
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"Love Sick" is a minor-key love song by American musician and Nobel laureate Bob Dylan. It was recorded in January 1997 and appears as the opening track on his 30th studio album Time Out of Mind (1997). It was released as the second single from the album in June 1998 in multiple CD versions, some of which featured Dylan's live performance of the song at the 1998 Grammy Awards. The song was produced by Daniel Lanois.
"Not Dark Yet" is a song by Bob Dylan, recorded in January 1997 and released in September that year as the seventh track on his album Time Out of Mind. It was also released as a single on August 25, 1997 and later anthologized on the compilation albums The Essential Bob Dylan in 2000, The Best of Bob Dylan in 2005 and Dylan in 2007. The song was produced by Daniel Lanois.
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"Mississippi" is a medium-tempo country-rock song by the American singer-songwriter Bob Dylan that appears as the second track on his 2001 album Love and Theft. The song was originally recorded during the Time Out of Mind sessions, but was ultimately left off the album. Dylan rerecorded the song for Love and Theft in May 2001.
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"Standing in the Doorway" is a song written and performed by the American singer-songwriter Bob Dylan, recorded in January 1997 and released in September that year as the third track on his album Time Out of Mind. The song was produced by Daniel Lanois.
"Tryin' to Get to Heaven" is a song written and performed by the American singer-songwriter Bob Dylan, recorded in January 1997 and released in September that year as the fifth track on his album Time Out of Mind. The recording was produced by Daniel Lanois.
"Highlands" is a blues song written and performed by Bob Dylan, and released as the 11th and final track on his 30th studio album Time Out of Mind in 1997. It is Dylan's second longest officially released studio recording at sixteen minutes and thirty-one seconds, surpassed only by "Murder Most Foul", which runs twenty-five seconds longer. The song was produced by Daniel Lanois.
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References
↑ Melis, Matt (March 31, 2017). "Ranking: Every Bob Dylan Album From Worst to Best". Consequence. Retrieved February 15, 2023. Coincidences aside, though, "Love and Theft" cemented Dylan's late-era resurgence, assuring listeners that 1997's Time Out of Mind hadn't been a fluke. Even grittier and dirtier than its blues rock predecessor, the record roars through an old-time South whose gentility has been corrupted and sullied by an album's worth of rogues, scoundrels, and treacherous women who bring only pain.
1 2 Breihan, Tom (September 29, 2017). "'Time Out Of Mind' Turns 20". Retrieved December 8, 2019. The music calls back to ancestral country and roadhouse blues, but it's not a retro sound.
↑ Sweeting, Adam (September 22, 2000). "Enigma variations". The Guardian. Retrieved December 8, 2019. If one single event could be identified as triggering the refurbishment of Dylan's fading reputation, it was his 1997 album, Time Out Of Mind. A haunted collection of blues, rockabilly and ballads apparently reaching out from beyond the grave, it confirmed that he hadn't, after all, lost the ability to hypnotise his listeners, nor to mine an indefinable sense of spiritual profundity from the simplest of musical tools.
↑ Robert Dimery; Michael Lydon (March 23, 2010). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN978-0-7893-2074-2.
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