BOB DYLAN / Another Side Of Bob Dylan - SACD Hybride - Edition Limitée Numérotée

Bob Dylan Another Side of Bob Dylan on Numbered Limited Edition Hybrid SACD from Mobile Fidelity!

DSD Technology, Superior Sound: Mobile Fidelity’s Hybrid SACD The Last Word in Digital Fidelity!

Dylan’s Second 1964 Album Expands Songwriting Themes and Adds Levity. 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”.

The ever-evasive Bob Dylan never explicitly stated exactly what represented the “another side” of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. Another Side of Bob Dylan is all that and more.

As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic album from the original master tapes and making it available on hybrid SACD. The end result is the very finest, most transparent digital 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 for Dylan 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.


Selections:
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

Features:
• Hybrid SACD
• Numbered, Limited Edition
• Mastered from the original master tapes

Réf.: MFSA2095
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Épuisé

35,00 €

Description du produit

Détails

Mobile Fidelity Sound Lab poursuit depuis plus de 30 années sa quête de perfection appliquée au support musical. Depuis le premier Vinyle UHQR jusqu'au plus récent UHR (Ultra High Resolution) SACD ce label est et reste un des pionniers de l'innovation pour le support et sa qualité poussée jusqu'à la perfection. Chaque audiophile féru de de beaux disques connaît ORIGINAL MASTER RECORDING.

Ce label, depuis sa création, fait partie des rares labels à investir dans des technologies débouchant sur des innovations véritables au service de la qualité sonore. Ces améliorations ont toujours été appréciées par les consommateurs du monde entier qui ont fait le succès de ce label au fil des années.

Mobile Fidelity a toujours privilégié les équipements de mastering les plus neutres et les plus à même de dévoiler les plus subtiles détails d'une bande originale sans ajouter de coloration ou de détérioration. Des Bandes Master variées et originales sont retrouvées, restaurées et font l'objet d'un remastering soigné. Seules les Bandes Master de première génération sont employées pour nos remastering. Les bandes de seconde ou troisième génération employées pour le pressage grand public ne sont jamais sélectionnées. Enfin, notre procédé GAIN 2™ ULTRA ANALOG system (voir explications plus bas) est notre dernière innovation qui permet une lecture à 1/2 vitesse de la bande pour en extraire une quantité d'information très supérieur.

Le son chaud et défini d'un Original Master Recording est la force maîtresse de ce label car c'est l'un des plus analogiques qui soit tous types de pressages confondus. Les CD Gold 24K sont parfaitement exquis (ils sont très recherchés après disparition du titre) et les SACD UHR possèdent la meilleure couche CD que vous puissiez rencontrer et les arguments pour vous faire apprécier le SACD en véritable haute définition. Les vinyles offrent ce qui se fait de mieux au monde.

Tous les remastering Mobile Fidelity depuis 30 ans sont devenus des collectors. Les séries limitées le sont vraiment (1000 à 4000) contrairement à certains pressages japonais limités à 25.000 unités. Après 5000 pressages une matrice ne produit plus le même disque et ne permet plus une production identique du premier au dernier numéro.


GAIN 2™ Détails techniques :

Mobile Fidelity Sound Lab (MFSL) is the undisputed leader in the art and science of record technology. Through the evolution of its Ultra High Quality Records (UHQR) to the ANADISQ 200 series, audiophiles and serious music collectors alike have long applauded Mobile Fidelity’s contributions to the research and development of making the best records humanly and technically possible. MFSL’s latest innovation on the vinyl frontier is the GAIN 2™ ULTRA ANALOG system

The introduction of GAIN 2™ ULTRA ANALOG maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile vinyl record label, where passion for music is merged with extraordinary sound quality. The GAIN 2™ ULTRA ANALOG disc mastering system is comprised of a modified Studer A-80 tape machine with proprietary reproducer electronics and customized, handcrafted cutting electronics and power amps that drive an Ortofon cutter head on a modified Neumann lathe. Independent and in house studies have confirmed that the GAIN 2™ ULTRA ANALOG system can unveil sonic information all the way up to122 kHz. First and foremost, Mobile Fidelity Sound lab utilizes only first generation ORIGINAL MASTER RECORDINGS as source material for our releases, never the second or third-generation master tapes that are often used by mass producing music labels. The master tapes are played back at half speed enabling the GAIN 2™ ULTRA ANALOG system to fully extract the tape’s sonic information, resulting in more cutting amplifier headroom, as well as allowing the cutter head twice as much time to inscribe the full bandwidth of the audio signal. Half speed mastering allows for incredible frequency response and hysteresis (a type of playback distortion) is greatly reduced from the tape transport’s playback head. Lacquers are then plated in a specialized process that protects transients in the musical signal. Optimum sound quality is further ensured by strictly limiting the number of pressings for each release. These Limited Editions, in addition to being collectors’ items, assure you that the quality of the first pressing matches the quality of the last.

To protect your GAIN 2™ ULTRA ANALOG pressing after purchase, each is protectively custom packaged to maintain flatness and prevent warping. Each GAIN 2™ ULTRA ANALOG record contains a specially constructed heavy-duty album jacket that is supported by a rigid cardboard “stiffener”, and the entire package is loosely “bagged” instead of being subjected to a tight shrink-wrap that can contribute to record warpage. To help eliminate dust -and minimize surface noise- a unique static-free “rice paper” inner sleeve protects each disc. These “Original Master Sleeves” are also available separately from Mobile Fidelity Sound Lab to help protect the rest of the records in your collection.

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