BOB DYLAN'S GREATEST HITS & ORIG. MINT MILTON GLASER FULL COLOR POP ART POSTER
$
28
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Description
Greatest Hits presented Dylan's first appearance on records after his praised Blonde on Blonde double-LP of May 1966 and his motorcycle accident of that summer. With no activity by Dylan since the end of his recent world tour, and no new recordings on the immediate horizon (the sessions that would in part be later released as the Basement Tapes were still months away), Columbia needed new product to continue to capitalize on Dylan's commercial appeal. Hence the appearance of this package, the label's first Dylan compilation and its first LP release with a $5.98 list price, one dollar more than that of standard releases.[citation needed]
Greatest Hits serves as Dylan's de facto singles collection for the 1960s. With the exception of "The Times They Are a-Changin'," "It Ain't Me Babe," and "Mr. Tambourine Man," all tracks on this album were released as 45 RPM singles in the United States during that decade. It is worth noting that in 1963 "Blowin' in the Wind" became a #2 hit single for Peter, Paul and Mary, and that in 1965 "Times" made it to #9 as a single release in the United Kingdom. That same year of 1965 a truncated rock and roll version of "Mr. Tambourine Man" had been a number one hit for The Byrds in the summer, and the Turtles took a folk-rock version of "It Ain't Me Babe" to #8. The remaining six tracks all made the Billboard Top 40 in 1965 and 1966. "Positively 4th Street" was the only single of the collection not either later released on or taken off a long-playing album, having been recorded during the sessions for Highway 61 Revisited.
Artwork
The cover photograph used on the cover of Bob Dylan's Greatest Hits was taken by Rowland Scherman at Dylan's November 28, 1965, concert in Washington, D.C. Bob Cato was the designer of the album cover, which won the 1967 Grammy award for "Best Album Cover, Photography." The original album package also included Milton Glaser's now-familiar "psychedelic" poster[5] depicting Dylan. A similar image taken at the Concert for Bangladesh in 1971 was selected for Bob Dylan's Greatest Hits Vol. II, a compilation Dylan had much more control over.[citation needed] John Berg, Senior Art Director at Columbia Records, recognized that a backlit image such as Scherman's would work because of Dylan's distinctive profile and hairstyle.[citation needed] It was his design, as well as Scherman's photo, that won the Grammy.
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