Bob Dylan – Bringing It All Back Home (2LP, 45 tours, Mono, Ultra Analog, Half-speed Mastering)
Prix habituel
€189,00
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ORDER LIMITED TO ONE ITEM PER CUSTOMER
Bob Dylan – guitar, harmonica, keyboards, vocals [click here to see more vinyl featuring Bob Dylan]
Steve Boone – bass guitar
Al Gorgoni – guitar
Bobby Gregg – drums
Paul Griffin – piano, keyboards
John P. Hammond – guitar
Bruce Langhorne – guitar
Bill Lee – bass guitar on "It's All Over Now, Baby Blue"
Joseph Macho, Jr. – bass guitar
Frank Owens – piano
Kenny Rankin – guitar
John Sebastian – bass guitar
Written by Bob Dylan
2 LP, gatefold jacket
Limited to 3,000 numbered copies
Original analog Master tape : YES
Gain 2™ Ultra Analog
Half-speed Mastering
Heavy Press : 180g High Definition vinyl
Record color : black
Speed : 45 RPM
Size : 12'’
Mono
Studio
Record Press : Record Technology Incorporated
Label : MOFI
Original Label : Columbia
Recorded January 13–15, 1965 at Columbia 7th Ave Studio & Studio B, New York City
Produced by Tom Wilson
Mastered by Krieg Wunderlich
Sleeve Notes by Bob Dylan
Photography by Daniel Kramer
Originally released in March 1965
Reissued in December 2016
Tracks:
Side A:
- Subterranean Homesick Blues
- She Belongs To Me
- Maggies Farm
- Love Minus Zero/No Limit
Side B:
- Outlaw Blues
- On the Road Again
- Bob Dylan’s 115th Dream
Side C:
- Mr. Tambourine Man
- Gates of Eden
Side D:
- It’s Alright, Ma (I’m Only Bleeding)
- It’s All Over Now, Baby Blue
Awards:
Included in 1001 Albums You Must Hear Before You Die
Colin Larkin's All Time Top 1000 – Ranked 189
Rolling Stone magazine’s 500 Greatest Albums of All Time - Ranked 181/500
Reviews :
"If all you know is the original, trust me, from the minute the album starts you'll realize you've never heard it sound this liquid when liquidity is called for or as positively hard-edged when that's what's called for. You've never heard Dylan's voice so transparent and present front and center, or so three-dimensional... The double 45 format means every song can be heard in the tape's full frequency range and dynamic expression. Combine that with superb mastering, a great RTI press plus great gatefold packaging featuring black and white candid studio shots and you have a record that makes for great listening now and probably a reasonably safe investment for the future... This probably won't be in print forever but even if it is it's one no record collection should be without." Michael Fremer, AnalogPlanet
“With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side -- the nominal folk songs -- derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.” AllMusic Review by Stephen Thomas Erlewine
Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.
Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.
Ratings :
AllMusic : 5 / 5 , Discogs : 4.79 / 5 ; Michael Fremer : 11/11 Music, 10/11 Sonics