CLASSIC BOB DYLAN JOHN WESLEY HARDING MONO STILL SEALED
$
169
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Description
BOB DYLAN
JOHN WESLEY HARDING
VINTAGE CLASSIC DYLAN ALBUM
LABEL: COLUMBIA ‘2 EYE’ MONO
A RARE STILL SEALED COLLECTIBLE ROCK LP!
CLASSIC BOB DYLAN “JOHN WESLEY HARDING” STILL SEALED VINYL LP
We have been going through some of our old Rock, Soul, Jazz, Punk and R&B vinyl records and are proud to offer up on Ebay this week this excellent condition still sealed copy of Bob Dylan’s great ‘John Wesley Harding’ album from 1967.
John Wesley Harding is the eighth studio album by American singer-songwriter Bob Dylan, released in December 1967 by Columbia Records. The album marked Dylan's return to acoustic music and traditional roots, after three albums of electric rock music. John Wesley Harding shares many stylistic threads with, and was recorded around the same time as, the prolific series of home recording sessions with The Band, finally released in 1975 as The Basement Tapes.
John Wesley Harding was exceptionally well received by critics and enjoyed solid sales, reaching #2 on the US charts and topping the UK charts. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity. Less than three months after its release, John Wesley Harding was certified gold by the RIAA. "All Along the Watchtower" became one of his most popular songs after it was covered by Jimi Hendrix the following year.
In 2003, the album was ranked number 301 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Dylan went to work on John Wesley Harding in the fall of 1967. By then, 18 months had passed since the completion of Blonde on Blonde. After recovering from the worst of the results of his motorcycle accident, Dylan spent a substantial amount of time recording the informal basement sessions at West Saugerties, New York; little was heard from him throughout 1967. During that time, he stockpiled a large number of recordings, including many new compositions. He eventually submitted nearly all of them for copyright, but declined to include any of them in his next studio release (Dylan would not release any of those recordings to the commercial market until 1975's The Basement Tapes; and by then, some of those recordings had been bootlegged, usually sourced from an easy-to-find set of publisher's demos). Instead, Dylan used a different set of songs for John Wesley Harding.
Bob went down to Nashville. And there, with just a couple of guys, he put those songs down on tape. Those sessions took place in the autumn of 1967, requiring less than twelve hours over three stints in the studio. Dylan was once again recording with a band, but the instrumentation was very sparse. During most of the recording, the rhythm section of drummer Kenneth A. Buttrey and bassist Charlie McCoy were the only ones supporting Dylan, who handled all harmonica, guitar, piano, and vocal parts.
John Wesley Harding was released in stores less than four weeks after the final session, an unusually quick turnaround time, especially for a major label release. This would be Dylan's last LP to be issued simultaneously in both monophonic (CL 2804) and stereophonic (CS 9604) formats.
The critical stature of John Wesley Harding has continued to grow. As late as 2000, Clinton Heylin wrote, "John Wesley Harding remains one of Dylan's most enduring albums. Never had Dylan constructed an album-as-an-album so self-consciously. Not tempted to incorporate even later basement visions like 'Going to Acapulco' and 'Clothesline Saga,' Dylan managed in less than six weeks to construct his most perfectly executed official collection."
As 1967 came to a close, Dylan's lifestyle became more stable. His wife, Sara, had given birth to their daughter, Anna, earlier that summer. He had reconciled with his estranged parents. A long contract negotiation ended in a lucrative new deal, allowing Dylan to stay with Columbia Records. While the media would never lose interest, Dylan maintained a low enough profile that kept him out of the spotlight.
Bob Dylan’s John Wesley Harding is an album of half-spoken secrets, hushed whispers, illegible writings, and missing pages. It is grainy black and white. It has the feel of antiquity settled on it like decades upon decades of quietly accumulating dust. It is beautifully anachronistic and elusive. It is hard, gritty, seemingly impenetrable. It is blindingly complex; addictively rewarding. All this is to say that it is classic Bob Dylan.
Dylan vacated his post as voice of a generation when he crashed his motorcycle in 1966, retreating up to Woodstock, New York to recuperate. After months of quiet country life spent reading the Bible and recording the wonderfully intimate sessions with the Band that were to become The Basement Tapes, in late 1967 Dylan was ready to return to the world of rock music. Sort of. He went down to Nashville and, backed by a group of local session players, cut the album that exposed the great divide that had grown between Dylan, the folkie, hipster, electric guitar playing Judas, and the Hippie generation that he had helped to create. He has traded in his shades for bifocals; his wild mane of tossled brown hair is now neat and shorn; his hip defiant Beat demeanor has been replaced by a wiser, older, bearded persona; in short, as Dylan had done many times before and would do many times again, he had reinvented himself.
Dylan’s new music was coarse and brittle. The setup was sparse—Kenny Buttrey’s dry, crackling drums, Charles McCoy’s thumping bass, and Dylan’s grating harmonica and occasional piano. Bob Johnston’s production was even sparser. Dylan and his band sound as if they are playing in a vacuum. The album is incredibly still. The songs are stark morality tales in an economical, simple language straight out of Ecclesiastes or Proverbs. The scene is a stark field-in the distance brews the apocalypse. This is amazingly heavy stuff when compared to his previous studio album, 1966’s Blonde on Blonde, a record of exuberant, hazy, ethereal, fluidly electric sounds, swimming in the blues, in acid, in smoke, in shadows.
Somehow all these disparate strands coalesce into an album of intricate variety and complexity. In its 12 short tracks, it tells the story of the vast sweep of human experience. There is death, there is fear, there is love, there is redemption sought for, there is redemption gained. While its flashy predecessors (Highway 61 Revisited and Blonde on Blonde) often claim the bulk of admiration, John Wesley Harding sharp, clear vision and tight execution make it Dylan’s most cohesive album, that should not be overlooked. Chances are it won’t be overlooked precisely because of its seeming agelessness. In terms of the trajectory of Dylan’s career it was completely new, but in a deeper, more intuitive sense, it sounded as if it had been around forever, addressing questions that have been around forever and always will be.
This album is a genuine, USA-made product, a relic of a bygone historical era in American music and our shared cultural heritage. It is not only a terrific musical and artistic artifact but also a solid investment whose value is likely to increase over time. Sealed copies of this album are hard to find.
RECORD COVER GRADING:
This record jacket itself is not shrinkwrapped but the record inside is still sealed in plastic. The cover artwork is still fresh, clear and sharp. The colors are full and bright. There are no serious manufacturing defects. There is no fading or discoloration. There is virtually no ring wear. No cut-out corners, No drill marks or indents, No dirt or dust spots, No stains, No writing.
VINYL RECORD GRADING: (NOTE: records are graded visually, and NOT play-graded!)
As this album is still sealed in it‘s inner poly bag, the Vinyl should be in excellent perfect condition.
This record was pressed on beautiful, thick, inflexible vinyl, which was typically used for the very first pressings and promotional items. Usually, the sound on such thick vinyl pressings is full-bodied, exceedingly vivid, and dramatic. This record should play fine without any surface noise as it‘s never been opened..
What a Fabulous addition to your music collection or a great gift to put away for that special Dylan collector in your life. Please see the pictures for the best sense of the condition. And Please check out our other Vintage items we have up this week for auction.
They don't get much better than this! Truly a quality record - worthy of any music collection! To the right buyer, this beautiful sealed Dylan record is both a collectible and an investment!
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Winning bidder to pay $4.00 (In USA - New Higher Postal Rates!) for safe, quality, packaging, handling and shipping. As you know, records require extra special care and effort in packing, which we are happy to do. If you have special mailing requests or needs, let us know when acknowledging your winning bid. Insurance is always available but winner to pay added cost. We will also gladly ship to any international location, but this will have to be arranged after the auction. We usually wrap the item, take it to the shipper and find out the different shipping rates and then let the international buyer decide which route is best for them.
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