BOB DYLAN w/JIM McGUINN PAT GARRETT & BILLY THE KID RARE ORIG '73 LP IN SHRINK

$

42

WE CURRENTLY HAVE  MORE THAN 300  LISTED ITEMS

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·       BOB DYLAN – ORIGINAL SOUNDTRACK FROM THE MOVIE ‘PAT GARRETT AND BILLY THE KID’ (FEATURING THE ORIGINAL VERSION OF ‘KNOCKIN’ ON A HEAVEN’S DOOR’, ONE OF DYLAN’S GREATEST AND MOST BELOVED – AND COVERED - HITS) – ORIGINAL 1973 COLUMBIA RECORDS STEREO LP KC-32460 [THIS IS NOT A REISSUE WITH CATALOG PREFIX PC- OR JC-]

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED COLUMBIA LABEL WITH “COLUMBIA” IN YELLOW LETTERS WRAPPED AROUND THE RIM OF THE LABEL (70’s STYLE)  [NO OTHER LABELS OR PRESSINGS EXIST]

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       ORIGINAL "TEXTURED" (EMBOSSED) COVER

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP.

·       CLEAN, WEAR-FREE LABELS

·       FAIRLY THICK VINYL PRESSING On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the thickness of the vinyl as 7.

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1B/-1E'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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This album was unusual on several counts. For starters, it was a soundtrack (for Sam Peckinpah's movie of the same title), a first venture of its kind for Bob Dylan. For another, it was Dylan's first new LP in three years -- he hadn't been heard from in any form other than the single "George Jackson," his appearance at the Bangladesh benefit concert in 1971, in all of that time. Finally, it came out at an odd moment of juxtaposition in pop culture history, appearing in July 1973 on the same date as the release of Paul McCartney's own first prominent venture into film music, on the Live and Let Die soundtrack (the Beatles bassist had previously scored The Family Way, a British project overlooked amid the frenzy of the Beatles' success). Interestingly, each effort reunited the artist with a significant musician/collaborator from his respective past: McCartney with producer George Martin and Dylan with guitarist Bruce Langhorne, who'd played with him on his early albums up to Bringing It All Back Home, before being supplanted by Mike Bloomfield, et al. But that was where the similarities between the two projects ended -- apart from the title song, Live and Let Die was Martin's project rather than McCartney's, whereas Dylan was all over Pat Garrett & Billy the Kid as a composer, musician, etc. Additionally, whereas McCartney's work was a piece of pure pop-oriented rock in connection with a crowd-pleasing action-fantasy film, Dylan's work comprised an entire LP, and the resulting album was a beautifully simple, sometimes rough-at-the-edges and sometimes gently refined piece of country- and folk-influenced rock, devised to underscore a very serious historical film by one of the movies' great directorial stylists. It was also as strong as any of his recent albums, featuring not just Langhorne but also such luminaries as Booker T. Jones, Roger McGuinn, and Byron Berline. "Knockin' on Heaven's Door" was the obvious hit off the album, and helped drive the sales, but "Billy 1," "Billy 4," and "Billy 7" were good songs, too -- had any of them shown up on bootlegs, they'd have kept the Dylan semiologists and hagiographers busy for years working over them. The instrumentals surrounding them were also worth hearing as manifestations of Dylan's music-making; "Bunkhouse Theme" was downright gorgeous. It was the first time since New Morning, in 1970, that Dylan had released more than five minutes of new music at once, and it was a gift to fans as well as to Peckinpah -- little did anyone realize at the time that it heralded a period of new recording and a national tour (with the Band), along with a brief label switch, and Dylan's greatest period of sustained musical visibility since 1966. This record also proved that Dylan could shoehorn his music within the requirements of a movie score without compromising its content or quality, something that only the Beatles, unique among rock artists, had really managed to do up to that time, and that was in their own movie, A Hard Day's Night. "Knockin' on Heaven's Door" may have been the biggest hit to come out of a Western in at least 21 years, since Dimitri Tiomkin and Ned Washington had given "High Noon" to Tex Ritter to sing in Fred Zinnemann's High Noon in 1952 (and Katy Jurado was in both movies), and he'd also outdone Ritter on two counts, writing the music -- a full score, to boot -- and getting a cameo appearance in the film. The album was later kind of overlooked and neglected in the wake of the tour that followed and the imposing musical attributes of, say, Blood on the Tracks and Desire, but heard on its own terms it holds up 30-plus years later.

(REVIEW REPRINTED COURTESY OF BRUCE EDER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·                               CONDITION:

·                               THE RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS NEAR MINT. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

(b)            The record is pressed on a RELATIVELY  thick, inflexible vinyl. This is NOT a thin, flimsy ('dynaflex' type),  vinyl, but not the thickest, most rigid vinyl, either.

(c)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·                               THE COVER

COVER IS STRONG NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-         Cover shows JUST A HINT of yellowing on front side  (BARELY VISIBLE)

-         Cover has a few tiny wrinkles along the spine (BARELY VISIBLE)

-         Cover has one corner slightly dinged (BARELY VISIBLE)

NO OTHER VISIBLE FLAWS OR IMPERFECTIONS ON THE  COVER

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