BEAUTY SEALED + M - 1966 ORIG 2LP BOB DYLAN BLONDE ON BLONDE Folk psych GIANT

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226

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• MEGA RARE &  STONE MINT !!!
  
• .TRUE STEREO SONG MIXES ...
  
• .WITHDRAWN "GIRLS" GATEFOLD
• 360 SOUND COLUMBIA 1967 PRESSING!!!
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• BOB DYLAN
• "BLONDE ON BLONDE"
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• USA - Columbia 360 Sound - 2CS 841 stereo
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• FINAL COLLECTION COPY! / INVESTMENT

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1. "TRUE" STEREO 1967 ORIGINAL contains speaker separation
   
   360 Sound Columbia Records 1966 FIRST pressing
   
   Sealed/MINT original copies have fetched a small fortune, check on popsike for value information, selling recently up to $2100.+.
   
   >>> This is the UN-censored females photo version (on the gatefold's inside.)
2. 
   
   There is something about this album is difficult to define. It is the finale of Dylan’s unofficial trilogy of studio albums (Alongside Bringing It All Back Home and Highway 61 Revisited) recorded in barely over a year, from March ’65-May ’66 that established him as an electric rock and roll artist branching away from the folk community.
   
   One thing that instantly sets this album apart from the others in the “trilogy” is its length. The only double album of the bunch, clocking in at a whopping seventy-one minutes, it easily towers over single albums Bringing It All Back Home (Forty-seven minutes) and Highway 61 Revisited (Fifty-one minutes). Because of this it may be easy to that it is brim with filler, but this is not the case. There is no real filler, just songs that are lesser than others.
   
   Blonde on Blonde opens with “Rainy Day Women #12 and #35”, which is far from his best lyrically, but is lots of fun with its dual meaning chorus “Everybody must get stoned”, wedged between studio members laughing. This leads into “Pledging My Time”, a bluesy number which is not hugely interesting musically, but certainly appealing with almost universally relatable lines such as “Well, early in the mornin', Til late at night, I got a poison head ache, But I feel all right.” All of this builds up to the seven minute “Visions of Johanna”, a long winding lyrical masterpiece that is perhaps the best thing Dylan ever did. Side 1 then closes with “One of Us Must Know (Sooner or Later)”, which is a bit of a grower. Upon first listen it may seem long-winded and somewhat boring, but at a certain point its raw honesty and emotion seem to fit in perfectly with its slow pace, revealing a fantastic song.
   
   Side two is the highlight of the album. Although the best song (“Visions of Johanna”) lies on side one, side two has the best flow of songs. It opens with “I Want You”, a short and sweet ode of an unconventional love (Or lust?). This is immediately followed by “Stuck Inside of Mobile with the Memphis Blues Again”, another lyrically brilliant seven minute song most likely written as an expression of Dylan’s disillusionment with being in between the folk and electric communities. Side two’s penultimate track, “Leopard-Skin-Pillbox-Hat”, another grower, which is speculated to be about everything from the titular hat to Edie Sedgwick, an actress and model associated with the Warhol factory. Interestingly enough, the following song “Just Like A Woman” was supposedly inspired by Edie Sedgwick. “Just Like A Woman” is a fantastic song and side closer both musically and lyrically.
   
   Side 3 is possibly the weakest side, but this is not to say that it is in anyway of poor quality. The highlight is “4th Time Around”, a fairly nostalgic reflection on a young romance occasionally seen as a reference to The Beatles’ “Norwegian Wood”. The issue with this side seems to be that it’s simply just a bit lacking compared to the others. There’s no seven minute, long winding metaphorical journeys like “Johanna” or “Stuck Inside of Mobile”. Most of the appeal here is more musical than lyrical, which is fine, but when listening to Dylan you can expect to find some lyrical brilliance.
   
   Side four consists of the lone eleven-minute ode to Dylan’s then wife Sara Lownds “Sad Eyed Lady of the Lowlands”, which was publicly acknowledged to be about Sara in Dylan’s ’76 song “Sara”. Like most of the album, it has a somewhat slow melody and beautiful, brilliant, and surreal lyrics.
   
   While its length may be a deter to it at times, Blonde on Blonde is, on the whole, a brilliant effort from Mr. Dylan and among his very best. Blonde on Blonde-Approved!
   
                 
3.   CONDITION:

3. 
   
3. The cover: rated : M- with uncensored GATEFOLD COVER) ... YES> this is the withdrawn original released cover from 56 years ago! solid all over, TOP COPY very difficult to find without (usually) heavy wear... ***best around*** YES > almost always found with shelf wear, here a surviving final collection copy .... no seam splits, no bends and no writing... comes from a storied collection!:

1. The vinyl: Rated: M- BEAUTIFUL (INVESTMENT & COLLECTIBLE) 
   
2. Side one & 2 (LP 1) is clean & clear
   
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4. Sides 3 & 4 NEVER PLAYED ~ STILL FACTORY SEALED in factory Columbia Records issued poly-baggy inner sleeve
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6. Museum quality TOP COP, all 4 360 Sound Columbia labels are flawless