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Michael Fremer Rated 11/11 Music, 10/11 Sonics!
Bob Dylan Bringing It All Back Home on Numbered Limited Edition 180g 45RPM 2LP from Mobile Fidelity!
Rolling Stone 500 Greatest Albums of All Time - Rated 181/500!
Wider Grooves, Superior Sound: Mobile FidelityÂ’s 45RPM Edition The Last Word in Analog Fidelity!
Dylan’s 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form. Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo “Thought Dream” Odysseys on Side Two. Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories.
Bob DylanÂ’s Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. ItÂ’s a disarming broadcast that declares DylanÂ’s surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albumÂ’s you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.
The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of ColumbiaÂ’s Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?
More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who’s privy to cerebral viewpoints, mental transferences, and “thought dreams” elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music’s imprisoning rules and bounding restrictiveness—and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.
Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny “Subterranean Homesick Blues” before romping, slashing, and rolling through “Maggie’s Farm,” another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan’s attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.
Ranked 181 on Rolling StoneÂ’s list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums donÂ’t come more vetted. You deserve to experience it in the finest-possible quality.
"'ItÂ’s from Chuck Berry, a bit of 'Too Much Monkey Business' and some of the scat songs of the Forties,' Dylan said. John Lennon once said of the track [Subterranean Homesick Blues] that it was so captivating it made him wonder how he could ever compete." - Rolling Stone
"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." - Rate 11/11 Music, 10/11 Sound!!! - Michael Fremer, www.analogplanet.com
Also Available from Bob Dylan on 180g Mobile Fidelity Vinyl:
Bob Dylan - Another Side Of Bob Dylan (MFSL 2-45379)
Bob Dylan - Blonde On Blonde (MFSL 4-45009)
Bob Dylan - Blood On The Tracks (MFSL 1-381)
Bob Dylan - The Freewheelin' Bob Dylan (MFSL 2-45378)
Bob Dylan & The Band - The Basement Tapes (MFSL 2-382)
Features:
• Numbered, Limited Edition
• 45rpm Speed Edition
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
Selections:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. MaggieÂ’s Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob DylanÂ’s 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. ItÂ’s Alright, Ma (IÂ’m Only Bleeding)
11. ItÂ’s All Over Now, Baby Blue
Michael Fremer Rated 11/11 Music, 10/11 Sonics!
Bob Dylan Bringing It All Back Home on Numbered Limited Edition 180g 45RPM 2LP from Mobile Fidelity!
Rolling Stone 500 Greatest Albums of All Time - Rated 181/500!
Wider Grooves, Superior Sound: Mobile FidelityÂ’s 45RPM Edition The Last Word in Analog Fidelity!
Dylan’s 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form. Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo “Thought Dream” Odysseys on Side Two. Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories.
Bob DylanÂ’s Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. ItÂ’s a disarming broadcast that declares DylanÂ’s surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the albumÂ’s you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.
The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of ColumbiaÂ’s Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?
More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who’s privy to cerebral viewpoints, mental transferences, and “thought dreams” elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music’s imprisoning rules and bounding restrictiveness—and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.
Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny “Subterranean Homesick Blues” before romping, slashing, and rolling through “Maggie’s Farm,” another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan’s attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.
Ranked 181 on Rolling StoneÂ’s list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums donÂ’t come more vetted. You deserve to experience it in the finest-possible quality.
"'ItÂ’s from Chuck Berry, a bit of 'Too Much Monkey Business' and some of the scat songs of the Forties,' Dylan said. John Lennon once said of the track [Subterranean Homesick Blues] that it was so captivating it made him wonder how he could ever compete." - Rolling Stone
"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." - Rate 11/11 Music, 10/11 Sound!!! - Michael Fremer, www.analogplanet.com
Also Available from Bob Dylan on 180g Mobile Fidelity Vinyl:
Bob Dylan - Another Side Of Bob Dylan (MFSL 2-45379)
Bob Dylan - Blonde On Blonde (MFSL 4-45009)
Bob Dylan - Blood On The Tracks (MFSL 1-381)
Bob Dylan - The Freewheelin' Bob Dylan (MFSL 2-45378)
Bob Dylan & The Band - The Basement Tapes (MFSL 2-382)
Features:
• Numbered, Limited Edition
• 45rpm Speed Edition
• Half-Speed Production and Mastering by Mobile Fidelity Sound Lab
• Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve
• Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes
Selections:
1. Subterranean Homesick Blues
2. She Belongs To Me
3. MaggieÂ’s Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob DylanÂ’s 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. ItÂ’s Alright, Ma (IÂ’m Only Bleeding)
11. ItÂ’s All Over Now, Baby Blue
