Mobile Fidelity - MFSL 2-379 - 180 Gram Virgin Vinyl - AAA 100% Analogue

Numbered Limited Edition -  Pressed at RTI 

Mastered by Kreig Wunderlich

1/2" / 30 IPS analog remix master to DSD 64 to analog console to lathe

The Absolute Sound Super Disc List   TAS Harry Pearson Super LP List

Michael Fremer Rated 10/10 Music, 10/10 Sonics! Analogue Planet

"We all know that the legend of Bob Dylan only grows over time. With these releases, we get to own Bob’s work sounding as close to the master tapes as possible. What a treat! " - Michael Fremer, .analogplanet.com, Music 10/10, Sound 10/10! 

Winner of a Gruvy Award, chosen by AnalogPlanet's editor, Michael Fremer, for vinyl records that are musically and sonically outstanding and are also well mastered and pressed. 

Dylan’s Second 1964 Album Expands Songwriting Themes and Adds Levity Wider Grooves, Superior Sound: Mobile Fidelity’s 45RPM Edition

The Last Word in Analog Fidelity Recorded in One Day: Whimsical Feel, Surrealist Lyrics, On-the-Fly Fluidness Grace the Bard’s Loosest 1960s Effort Includes “I Shall Be Free No. 10,” “It Ain’t Me Babe,” “My Back Pages,” “Chimes of Freedom”

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Another Side of Bob Dylan ever produced. Be there as the Minnesota native spends the evening of June 9, 1964 in Columbia’s Studio A and, displaying an openness he’d never before revealed in a formal environment, lays down the songs that compromise his fourth album. 

Featuring minimal editing, Another Side of Bob Dylan is naked, truthful, and whimsical. Mobile Fidelity’s reissue illuminates the artist’s condition—he laughs in the midst of songs, experiences a few false starts, hits a couple of bum notes, occasionally sings as if he’s stumbling down a Manhattan sidewalk after having one too many at a smoky pub, prizes rawness over perfection—with microscopic accuracy. Indeed, Dylan’s slightly woozy and completely playful state related to his having downed a handful of bottles of Beaujolais during the sessions. 

The uninhibited joie de vive is discernable in the rattling piano lines on “Black Crow Blues,” seemingly subconscious ramble of the hysterical folk rhyming of “Motorpsycho Nightmare,” bluesy dream sequencing throughout “I Don’t Believe You,” and intentionally out-of-tune yodeling during “All I Really Want to Do.” On a majority of the prized set, Dylan lets his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.

And so the apparently autobiographical and self-aware “My Back Pages,” one of the earliest examples of Dylan’s immersion into symbolist prose and abstract metaphor, remains controversial for its on-the-surface denouncement of his earlier condemnations of social institutions and injustices. Peeled back, the tune is a brilliant release—an essential escape hatch forDylan to both relieve himself of unneeded pressures and distance himself from pundits. As an indelible piece of art, it succeeds in masquerading obvious meaning while simultaneously forcing listeners to question their own actions.Quintessential Dylan.

As is the trifecta of relationship-themed compositions that closes the record, as well as the eternal “Chimes of Freedom,” the standard that journalist Paul Williams dubbed Dylan’s “Sermon on the Mount.” Its inseparable conjunction of apocalyptic imagery, personal emotion, allusive lyricism, balladic alliteration, and inclusive sympathy signaled that, having already eviscerated the rules associated with pop and folk music, Dylan had just begun his assault on our consciousness, making Another Side of Bob Dylan that much more mysterious, unequivocal, and requisite.

1. All I Really Want to Do

2. Black Crow Blues

3. Spanish Harlem Incident

4. Chimes of Freedom

5. I Shall Be Free, No. 10

6. To Ramona

7. Motorpsycho Nightmare

8. My Back Pages

9. I Don’t Believe You 

10. Ballad in Plain D

11. It Ain’t Me Babe

GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.

The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)

First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.

As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.

RTI HQ-180 Vinyl

Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.