Bob Dylan GASLIGHT TAPES 3 LP Box Set - Nr Mint IMPORT

$

150

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NOW THAT THE very small print IS OVER WITH
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UP FOR AUCTION IS
an
IMPORT PRESSING
from
GERMANY

BOB DYLAN
"Gaslight TAPES"

PLATINUM RECORDS - 9022/9023

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ALL VINYL is:  NM (all 6 sides)

BOX SET COVER is: NM

BOX SET BOTTOM is: NM- 

PLEASE REVIEW PHOTOS
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SOME HISTORY BEHIND THE ALBUM:

Gaslight Tapes
Side 1: 
A Hard Rain's Gonna Fall 
Hezekiah Jones (Black Cross) 
No More Auction Block 
Rocks & Gravels
Side 2: 
Don't Think Twice 
Barbara Allen 
Moonshine Blues 
Side 3: 
Motherless Children 
Handsome Molly 
John Brown 
Ballad of Hollis Brown 
Kind Hearted Woman Blues 
Side 4: 
See That My Grave is Kept Clean 
Ain't No More Cane (Cane On The Brazzo)
Cocaine 
Cuckoo is a Pretty Bird 
West Texas  (excerpt)
Side 5: 
Man on the Street 
He was a friend of Mine 
Talkin' Bear Mountain Picnic Massacre Blues 
Song to Woody 
Side 6: 
Car car 
Pretty Polly 
Two Trains Running 
Rambling On My Mind 

Live at The Gaslight 1962 was recorded early on in Dylan's career, when he was still virtually unknown outside of New York's Greenwich Village. Thanks to the cooperation of various club owners, and the management skills of Dave Van Ronk's wife, Terri Thal, Dylan was able to record a number of performances during that time on a reel-to-reel tape recorder patched into the house PA system.  

The Gaslight recordings had been warmly received by critics and collectors alike ever since Greil Marcus wrote about them in the late 1960s.

The Songs

The Gaslight Tapes capture early performances of three different Dylan compositions: "A Hard Rain's A-Gonna Fall" (often referred to as "Hard Rain"), "Don't Think Twice, It's All Right," and "John Brown." Both "Hard Rain" and "Don't Think Twice, It's All Right" would eventually appear on Dylan's second album, The Freewheelin' Bob Dylan. "John Brown" would later be published and issued on Broadside Ballads, Vol. 1 in February 1963, but it would not be released on any of Dylan's subsequent studio albums (the song only re-appeared as a live performance on Dylan's 1993 MTV Unplugged album.)

The songs on The Gaslight Tapes are considered traditional folk songs; essays on a number of ballads performed by Dylan during his October residency at the Gaslight Cafe can be found in an anthology published in 2004 entitled The Rose & the Briar: Death, Love and Liberty in the American Ballad.

"Rocks And Gravel" is Dylan's own adaptation of Brownie McGhee's "Solid Road" and Leroy Carr's "Alabama Woman," an arrangement that fuses both songs into one. It was originally slated to appear on Dylan's second album (and would later appear on test pressings made for a preliminary version of the LP), but when Dylan reconfigured The Freewheelin' Bob Dylan, he would omit "Rocks And Gravel" from the final album sequence.

"The Cuckoo" was originally recorded in the 1920s by Western North Carolina banjo musician Clarence Ashley. According to Thomas Goldsmith of The Raleigh News & Observer, "The Cuckoo" is reportedly descended from an old folk ballad; it's an interior monologue where the singer "relates his desires - to gamble, to win, to regain love's affection."[1]

Described by critic Dave Marsh as "the most widespread folk song in the English language," "Barbara Allen" dates as far back as the 17th century, when Samuel Pepys wrote about the song in a diary entry dated January 2, 1665. Similar but different versions of the ballad have been traced to English and Scottish folk traditions, and when "Barbara Allen" was brought over to North America by early European settlers, no particular version of "Barbara Allen" was dominant or considered definitive. Over the years, countless variations of "Barbara Allen" have been found throughout the United States, with roughly 100 variations in Virginia alone, but the version Dylan sings on The Gaslight Tapes is one rooted in the English folk tradition.

In the story of "Barbara Allen," the title character rejects a suitor (his name varies in different versions of the songs, ranging from Sweet William to John Graeme). On his death bed, he calls Barbara Allen to his side, swearing his love for her. However, in some versions of "Barbara Allen" (particularly older variations), he discovers Barbara Allen's complaint that he once neglected her in a local tavern. When she sees him on his death bed, she offers a cold observation, "Young man, I think you're dying."

The story then takes a strange twist: when Barbara Allen walks home, she hears the church bells tolling for her true love. She then dies, mysteriously, and the two are buried in an old churchyard, where a love knot then comes to twine, made from a rose growing out of her lover's heart and a briar from Barbara Allen's.

Towards the end of his essay on "Barbara Allen," Dave Marsh focuses on the outcome of the song, the intertwined rose and briar emerging from the graves of the spurned lover, and Barbara Allen's rejection of her true love. "What’s amazing is our ability to ignore the lesson that 'Barbara Allen' has to teach," writes Marsh, "which is the peril of denying the complicated mysteries that throb within our hardened hearts and the equal peril of horsing around instead of acknowledging our love for one another. This is not a lesson you can squeeze onto a tombstone, or, for that matter, our current conception of a curriculum, but it is one to carry through this life."

     


 

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The GOLDMINE STANDARD
for
RECORD GRADING

 
THE TRUTH BEHIND THE GRADES
 
Most of the time, LPs are sold with two grades — one for the record and one for the cover. We list only one grade, however, because with some exceptions, albums without covers are worthless, and covers without the accompanying record are worthless. If an album is graded VG for the cover and VG+ for the record, add the two values together and divide by 2 to get a rough estimate of the value of a “mixed-grade” LP.

Most records are graded visually. This is because most record dealers have lot of records — hundreds of thousands in some cases — and they don’t have the time to play their entire stock. That said, some defects are easy to see, such as scratches and warps. Others are subtle, such as groove wear from using a cheap or poorly aligned tone arm. It has been our experience that older LPs (1950s to about 1971) tend to play better than they look, and newer LPs (at least until 1989) tend to play worse than they look.
When grading your records, do so under a strong light. Look at everything carefully, and then assign a grade based on your overall observations.
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Here are the standard grades for record albums, from best to worst.

SEALED ALBUMS  
Still-sealed albums can — and do — bring even higher prices than those in our listings. However, you must be careful when paying a premium for sealed LPs of any kind for several reasons:

1.  They may have been re-sealed.
2.  The records may not be in Near Mint condition.
3.  The record inside may not be the original or most-desirable pressing.
4.  Most bizarre of all, the wrong record my be inside. (I’ve had this happen to me; I opened a sealed album by on MCA artist only to find a record by a different MCA artist inside! Fortunately, I didn’t pay a lot of or that sealed LP. I would have been quite upset if I had!)

MINT (M)
These are absolutely perfect in every way. Often rumored but rarely seen, Mint should never be used as a grade unless more than one person agrees that the record or sleeve truly is in this condition.

There is no set percentage of the Near Mint value these can bring; it is best negotiated between buyer and seller.

NEAR MINT (NM OR M-)
A good description of a NM record is “it looks like it just came from a retail store and it was opened for the first time.” In other words, it’s nearly perfect.

Many dealers won’t use a grade higher than this, implying (perhaps correctly) that no record or sleeve is ever truly perfect.

Near mint records are shiny and free of visible defects. No writing, stickers, other markings or spindle marks appear on the label. No major factory defects are present; a record and label obviously pressed off center is not Near Mint.

If played, an NM record will do so without surface noise. Near Mint records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.

NM covers have no creases, ring wear or seam splits of any kind.

These are high standards, and they are not on a sliding scale. A record or sleeve from the 1950s must meet the same standards as one from the 1990s or 2000s to be Near Mint!

It is estimated that no more than 2 to 4 percent of all records remaining from the 1950s and 1960s are truly Near Mint. This is why they fetch such high prices, even for more common items. They must meet these standards to qualify.
 
VERY GOOD PLUS (VG+) OR EXCELLENT (E)
A good description of a VG+ Record is “except for a couple of minor things, this would be Near Mint.”

Most collectors, especially those who want to play their records, will be happy with a VG+ record, especially if it is toward the high end of the grade, (sometimes called VG++ or E+).

VG+ records may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that don’t affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, so long as repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable.

VG+ Covers should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable locataion. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint.

VERY GOOD (VG)

Many of the imperfections found on a VG+ Record are more obvious on a VG record. That said, VG records — which usually sell for no more than 25 percent of a an NM record — are among the biggest bargains in record collecting, because moost of the “big money” goes for more perfect copies. For many listeners, a VG record or sleeve will be worth the money.

VG records have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail.

When played, a VG record has surface noise, and some scratches may be audible, especially in soft passages and during a song’s intro and ending. But the noise won’t overpower the music otherwise. Minor writing, tape or a sticker can detract from the label. Many collectors who have jukeboxes will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG covers will have many signs on human handling. Ring wear in the middle or along the edges of the cover, where the edge of a record would reside, is obvious; it may appear on all three sides, thought it won’t be obvious upon looking. Someone might have written on it or stamped a price tag on it, too.

GOOD (G), GOOD PLUS (G+) OR VERY GOOD MINUS (VG-)

Lower-grade records go for 10 to 15 percent of the Near Mint value, if you are lucky.

Good does not mean bad! The record still plays through without skipping, so it can serve as filler until something better comes along. But it has significant surface noicse and groove wear. The label is worn and exhibits significant ring wear, heavy writing or obvious damage caused by tring to remove tape or stickers and failing miserably.

A Good to VG- cover has ring wear to the point of distraction, has seam splits obvious on sight and may have even heavier writing, such as huge radio station letters written across the front to deter theft.

If the item is common, it’s probably better to pass it up. But if you’ve been seeking it for a long time, get it cheap and look to upgrade.

POOR (P) AND FAIR (F)

Poor and Fair records go for 0 to 5 percent of the Near Mint value, if they go at all.

More likely, they end up going in the trash. Records are cracked, impossibly warped or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.

Only the most outrageously rare items ever sell for more than a few cents in this condition — again, if they sell at all
7" - standard 45 RPM co - cut-out pc - picture sleeve sl - slight UK- United Kingdom (British Pressing) 10" - 10-inch vinyl LP dj - Disc Jockey (promo) pi - picture Insert (CD Single) sm spl - Seam Split US - United States (domestic pressing) 12" - 12-inch single ep - Extended Play promo - promotional copy soc - sticker on cover va - various artists bb - bb hole in cover imp - import ps - picture sleeve (45) sol - slicker on label wlp - white label promo boot - bootleg lp - 12" vinyl album quad - quadraphonic ss - still sealed woc - writing on cover cc - cut corner m - mono Lp re - reissue s/t - self titled wol - writing on label cd - compact disc nap - not affecting play ri - reissue tc - title cover (12" and CD's) xol - "x" on label cd3 - 3" compact disc single non-lp- not on full-length LP or CD rpm - revolutions per minute ti - title insert (CD single) * check the context, as "m" can also mean "mint" cd5 - 5" compact disc single oc - original cast recording rw - ring wear toc - tape on cover   coh - cut-out-hole ost - original soundtrack s - stereo Lp tol - tape on label