BOB DYLAN-BOB DYLAN-CBS MONO BPG.62022 1962 -NICE EX+ COPY
£
16
$
21
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Description
BOB DYLAN-BOB DYLAN TYPE SINGLE LP- MONO LABEL/PRESSING INFO
CBS 1ST PRESS ORANGE LABELS RIDGED AND TEXTURED WITH 33 INSTEAD OF 33 1/3 and MATRIX NUMBERS: 62022-3A-1 & 62022-3B-1
CATALOGUE NUMBER BPG 62022 YEAR OF RELEASE 1962 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE- GARROD & LOFTHOUSE Patents pending LAMINATED FLIPBACK INSERTS/EXTRAS NONE GRADING/CONDITION DISC(s) EXCELLENT+ (REALLY NICE AND CLEAN with MINIMAL playwear and VERY LIGHT storage and handling marks - PLAYS AND SOUNDS GREAT and in GLORIOUS MONO) LABELSEXCELLENT+ (CLEAN LABELS NO writing rips tears stickers or removal marks VERY LIGHT spindleusage and VERY LIGHT storage and handling wear .)
SLEEVEFront board.Inner gatefold EX+
CLEAN sleeve with NO writing user stickers or removal marks rips or tears. The front laminate is bright and shiny with no ringmarking very light rubbing wear and minimal creasing
Rear board EX The rear white board is clean and unmarked with NO writing stickers rips or tears LIGHT ageing and LIGHT handling and storage wear or marks Flipbacks EX+ Complete and stuck fast with LIGHT wear and a couple of small laminate cracks along the bottom Spine EX+ SPINE is complete and uncrushed with VERY LIGHT wear and complete and clear lettering Top & bottom edges EX+ Top and bottom edges have VERY LIGHT wear only with no storage wear or laminate loss Opening EX+ The opening has LIGHT wear and LIGHT usage Corners EX Corners have LIGHT wear only INNER /EXTRASN/A
DETAILSBob 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 CBS 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 modeled largely on Guthrie's classic '40s and early-'50s 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. One myth surrounding this album should also be dispelled here -- his version of "House of the Rising Sun" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.
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