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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 - MFSL2-463 - 180 Gram Virgin Vinyl - AAA 100% Analogue

3,000 Numbered Limited Edition -  Mono - Pressed at RTI - Columbia CL 2389

Pure Analogue Mastered by Kreig Wunderlich from the Original Master tape

Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System

If you have 20 copies of Highway 61 Revisited, you may not need this one. But if you love Dylan, they’re only making 3,000 copies and I’ve got one. Fair warning about availability. And if you’re curious, the other three analog titles in Mobile Fidelity’s Dylan mono series—three more are coming—sound equally exquisite Tone Audio

Sound 98%  , Will join the ranks of the most coveted audiophile releases ever - Ken Kessler H-Fi News

Music 11/10 Sound 9/10 - Michael Fremmer Analogue Planet

As its title references the road that spans North Minnesota to the Mississippi Delta, and the formative blues, country, and roots sounds connected to its existence. The highway also lays claim to towering musical myths and deaths, many tied to the blues lexicon and narrative. All figure prominently on the revolutionary beacon that is Highway 61 Revisited, the 1965 set that overturned rules, upended preexisting limits, and utterly changed everything in its path. Ranked the fourth-greatest album ever made by Rolling Stone, its reach, power, and content boggle the mind nearly five decades after its release.

Mastered on Mobile Fidelity’s world-renowned mastering system and pressed on 180g LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality sound—so much so that the record’s famous first lightning-strike note is now indeed the “snare shot that sound[s] like somebody’d kicked open the door to your mind,” as once described by Bruce Springsteen. 

Teeming with organic energy, palpable voltage, and countless textures, the LP faithfully recreates the dimensions, vibes, and events associated with the six days Dylan and Co. spent at Columbia’s Studio A. Everything from the soundstages to dynamics, instrumental separation to balances, resonates with enormous might and insightful perspective. Wider grooves mean more information reaches your ears.

Recorded amidst a time of unfathomable turmoil and frustration that witnessed Dylan booed by fans, labeled a traitor, and call into question his work, Highway 61 Revisited roars and snarls, jabs and criticizes. Its bonfire of cynicism, fury, indignation, and absurdity forever transformed rock, what it could mean, and what it could do. Supported by a thundering, commanding band that included guitarist Mike Bloomfield and organist Al Kooper, Dylan hopscotches between tempos, moods, and melodies. The symmetry of the songs references a scattered hybrid of R&B, blues, folk, soul, gospel, vaudeville, and garage rock pieces that Dylan assembles in the shape of a brilliant, mind-teasing aural puzzle. 

Outside of “Like a Rolling Stone”—the six-minute-plus anthem that both challenged and chewed up all preconceived notions of an acceptable radio single by way of its length, ambition, and vitriol—every tune was captured shortly after Dylan’s contentious performance at the Newport Folk Festival. The lingering impact of the hostility comes through in both the searing music and rich, literate, zinging poetry. Dylan’s sneering tones, raucous arrangements, and unmistakable resentment toward both the establishment and counterculture that adopted him, and assume the form of songs such as “Ballad of a Thin Man,” “Queen Jane Approximately,” “Tombstone Blues,” and the stupefying “Desolation Row.” 

At its core, Highway 61 Revisited is about experience, reality, and the cruelties and truths that lie outside soporific safety nets and bourgeois ideals. These reasons—and the bold musicianship, ace performances, inimitable sonics, and vast lyrical expanses—are why the album means as much today as it did in the mid-1960s. Akin to Sgt. Pepper’s Lonely Hearts Club Band and Dark Side of the Moon, this is an album that everyone needs to own and hear in the best-possible fidelity. Don’t delay.

Music 11/10 Sound 9/10 - Michael Fremmer Analogue Planet

1. Like a Rolling Stone
2. Tombstone Blues
3. It Takes a Lot to Laugh, It Takes a Train to Cry
4. From a Buick 6
5. Ballad of a Thin Man
6. Queen Jane Approximately
7. Highway 61 Revisited 
8. Just Like Tom Thumb's Blues
9. Desolation Row

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.