BOB DYLAN:1962 DEBUT LP UK CBS 1st *MONO* PRESSING EX+
  £   78
  $   103

 


£ 78 Sold For
May 4, 2012 Sold Date
Apr 24, 2012 Start Date
£   22 Start price
16   Number Of Bids
  Great Britain Country Of Seller
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Description

BOB DYLAN:1962 DEBUT LP UK CBS 1st *MONO* PRESSING EX+

G&L FLIPBACK, CLEAN BRIGHT MONO CUT - SUPERB SOUND

BOB DYLAN
Bob Dylan

UK CBS (BPG 62022) FIRST MONO PRESSING (March 1962) OF DYLAN'S EPONYMOUS DEBUT LP
GREAT CONDITION - PLAYS BEAUTIFULLY THROUGHOUT WITH A CRYSTAL CLEAR, CRISP, SHARP AND BRIGHT MONO CUT

THESE ORIGINAL DYLAN MONOS ARE
REALLY THE ONLY WAY TO HEAR THIS ICONIC MUSIC IN ITS FULL GLORY - THE MONOS HAVE A MUCH MORE IMMEDIATE, FRESH AND UNDILUTED SOUND THAN THE STEREOS AND THIS  SOUNDS AS FRESH AND VIBRANT TODAY AS IT DID 50 YEARS AGO

PRESSED ON HEAVYWEIGHT VINYL, THIS 1962 PRESSING HAS HEAVILY TEXTURED DEEP ORANGE CBS LABELS , '33' SPEED INDICATION AND MIS-PRINTS THE FIRST TRACK ON SIDE ONE AS "SHE'S NO GOOD"
MATRIX NUMBERS: 62022 - 2A - 1 / 62022 - 2B - 1
THE RECORD IS HOUSED IN THE FIRST ISSUE FRONT LAMINATED FLIPBACK SLEEVE "Printed and made by Garrod & Lofthouse Ltd. Patents pending"
COMPLETE WITH THE ORIGINAL POLY-LINED INNER SLEEVE WITH "MADE IN GREAT BRITAIN", UK PATENT NUMBER AND 'FOREIGN PATENTS PENDING' TEXT PRINTED IN PURPLE

Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts.
The difference was that not very many people heard Bob Dylan on its original release (originals on the early '60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind.
At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience.
A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over "Man of Constant Sorrow" and "Pretty Peggy-O," as well as the two originals here, the savagely witty "Talkin' New York" and the poignant "Song to Woody"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut "Freight Train Blues."
But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries.
Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made.
There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modelled largely on Guthrie's classic 1940s and early 1950s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed.

SIDE 1:
You're No Good
Talkin' New York
In My Time Of Dyin'
Man Of Constant Sorrow
Fixin' To Die
Pretty Peggy-O
Highway 51
SIDE 2:
Gospel Plow
Baby, Let Me Follow You Down
House Of The Risin' Sun
Freight Train Blues
Song For Woody
See That My Grave Is Kept Clean

LABELS: EXCELLENT
Clean, unmarked labels with moderate spindle traces (which show readily on these untreated rough textured labels)
VINYL Visual: EXCELLENT+
Both surfaces are clean and bright with no dulling and retain their original deep glossy sheen. There are some isolated thumbnail-type marks but these have little/no audio consequence
VINYL Audio: EXCELLENT+
Sensational MONO audio delivery with a crystal clear, warm, rich and detailed sound and my play-check at loud volume revealed little to fault - just the occasional, isolated click but no scratches, no groove-wear or distortion and no appreciable surface noise - the whole set plays beautifully throughout. A really superb copy of this iconic record and one of the finest copies I've heard in a long while
SLEEVE: EXCELLENT+
Superb example with very little wear to speak of on either the edges or spine - where all text is clear and bold.
The front laminate has a beautiful deep, unrubbed glossy sheen and the back is remarkably clean with no damage to the flipback sections

ALL RECORDS ARE PACKAGED WITH THE VINYL OUTSIDE OF THE SLEEVE TO PREVENT ANY 'KNIFING' DURING TRANSIT
A PROTECTIVE POLY SLEEVE, NEW INNER SLEEVE WITH ANTI-STATIC LINER, QUALITY BOX (NOT ENVELOPE) MAILER AND AMPLE STIFFENERS ARE ALWAYS USED TO ENSURE THAT YOUR RECORD ARRIVES SAFELY

POST & PACKING
UK: 1st Class: £4.50 (recorded delivery)
EUROPE: Airmail: £7.00 or £12.00 (International Signed For delivery)
INTERNATIONAL: Airmail: £11.00 or £16.00 (International Signed For delivery)
***Any record (or combination of records) which sells for more than £40 must be sent by a trackable method ie INTERNATIONAL SIGNED FOR outside of the UK (please wait for invoice)
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