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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Mobile Fidelity - MFSL 2-462 - 180 Gram Virgin Vinyl - Mono
3,000 Numbered Limited Edition - AAA 100% Analogue - Pressed at RTI
Pure Analogue Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
Michael Fremer Rated 11/10 Music, 10/10 Sonics Analogue Planet The Best Ever "Bringing It All Back Home"
The Absolute Sound Super Disc List
TAS Harry Pearson Super LP List
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. www.analogplanet,com
If all you know is the original, trust me, from the minute the album starts you'll realize you've never heard it sound this liquid when liquidity is called for or as positively hard-edged when that's what's called for. You've never heard Dylan's voice so transparent and present front and center, or so three-dimensional. I know some thought early Mo-Fi's of this era were soft and I don't disagree but this album's transients are stupendous.The double 45 format means every song can be heard in the tape's full frequency range and dynamic expression. Combine that with superb mastering, a great RTI press plus great gatefold packaging featuring black and white candid studio shots and you have a record that makes for great listening now and probably a reasonably safe investment for the future. I think of all of the out of print musically significant Classic Records that were considered "pricey" a decade ago when new and are now selling for ten times the original price and more.This probably won't be in print forever but even if it is it's one no record collection should be without. And for those who think SACDs are 'the ultimate' do yourself a favor and don't listen to this, that's all I can advise! Bring this one home
Dylan’s 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form Wider Grooves, Superior Sound: Mobile Fidelity’s 45RPM Edition The Last Word in Analog Fidelity Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo “Thought Dream” Odysseys on Side Two Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories
Bob Dylan’s Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice thatDylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It’s a disarming broadcast that declares Dylan’s surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed.
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 Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album’s you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information.
The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia’s Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions?
More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who’s privy to cerebral viewpoints, mental transferences, and “thought dreams” elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music’s imprisoning rules and bounding restrictiveness—and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced.
Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny “Subterranean Homesick Blues” before romping, slashing, and rolling through “Maggie’s Farm,” another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan’s attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery.
Ranked 31 on Rolling Stone’s list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don’t come more vetted. You deserve to experience it in the finest-possible quality.
With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side -- the nominal folk songs -- derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words.A truly remarkable album.
Numbered, Limited Edition • 45rpm Speed Edition
• Mastering by Mobile Fidelity Sound Lab • Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve • Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes • Pressed at RTI
Bob Dylan – guitar, harmonica, keyboards, vocals
John Boone – bass guitar
Al Gorgoni – guitar
Bobby Gregg – drums
Paul Griffin – piano, keyboards
John P. Hammond – guitar
Bruce Langhorne – guitar
Bill Lee – bass guitar
Joseph Macho, Jr. – bass guitar
Frank Owens – piano
Kenny Rankin – guitar
John B. Sebastian – bass guitar
1. Subterranean Homesick Blues
2. She Belongs To Me
3. Maggie’s Farm
4. Love Minus Zero/No Limit
5. Outlaw Blues
6. On the Road Again
7. Bob Dylan’s 115th Dream
8. Mr. Tambourine Man
9. Gates of Eden
10. It’s Alright, Ma (I’m Only Bleeding)
11. It’s All Over Now, Baby Blue
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.