Bob Dylan - Highway 61 Revisited -1965 Mobile Fidelity Audiophile Rock Stereo 180g 2LP
Bob Dylan - Highway 61 Revisited
Label: Mobile Fidelity Sound Lab MFSL 2-422
Format: 2 × Vinyl, LP, 45 RPM, Stereo Remastered, Numbered, Limited
all-analog mastering from the absolute original source tapes.
Released: 18 Apr 2014
Originally Released: 1965
Style: Blues Rock, Folk Rock
A1 Like A Rolling Stone 5:59
A2 Tombstone Blues 5:53
B1 It Takes A Lot To Laugh, It Takes A Train To Cry 3:25
B2 From A Buick 6 3:06
B3 Ballad Of A Thin Man 5:48
C1 Queen Jane Approximately 4:57
C2 Highway 61 Revisited 3:15
C3 Just Like Tom Thumb's Blues 5:08
D1 Desolation Row 11:18
Credits: Bass - Harvey Goldstein , Russ Savakus
Drums - Bobby Gregg
Guitar - Charlie McCoy , Michael Bloomfield
Guitar, Harmonica, Piano, Other [Police Car Sounds] - Bob Dylan
Organ, Piano - Al Kooper
Piano - Frank Owens
Piano, Organ - Paul Griffin
Producer - Bob Johnston
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
Rolling Stone 500 Greatest Albums of All Time -
all-analog mastering from the absolute original source tapes.
Mastered on Mobile Fidelitys world-renowned mastering system and pressed on 180g LP at RTI, this restored 45RPM analog version presents the life-altering music in reference-quality soundso much so that the records famous first lightning-strike note is now indeed the snare shot that sound[s] like somebodyd kicked open the door to your mind, as once described by Bruce Springsteen.
Dylan's First Entirely Rock-Backed Album Marks Sea Change in Sound and Potential of Popular Music
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.
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 Columbias 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.
There are many dividing lines in rock and roll. Before Elvis and after Elvis, before The Beatles and after The Beatles, and so on. "Highway 61 Revisted" invites such a watershed moment in rock and roll. Prior to the release people such as Steve Allen would gather great laughs just from reciting the lyrics to rock and roll songs. For example, Steve Allen would read "Be bop a lu bop, she's my baby", and audiences would guffaw loudly.
When "61" was released, it was evident that rock and roll had meaning, it was an viable art form. Dylan's fury and wounded ego can be heard throughout the album snarling and pleading to those seemingly unaffected by the times they lived in. "How does it feel", is rock and roll's preeminent and ultimate question. How DOES it feel? This album, in my humble opinion, is the greatest rock album ever produced. Dylan, Bloomfield, and Kooper on organ, transcend popular music and sent it spinning into areas artists are still exploring. Rock's first great masterpiece and Dylan's ticket to immortality.
Highway 61 Revisited was a turning point, a defining moment; the point where Bob Dylan dropped the folk mystique and went straight-ahead into rock. The electric half of Bringing It All Back Home (and, in particular, Subeterranian Homesick Blues) took rock in another direction entirely, and this album is the logical extension of that. Backed by a full rock band, Dylan lifts off the album with one of his most instantly-recognizable songs, the epic Like A Rolling Stone (which, significantly, broke radio's "three minute" barrier.)
Many people consider this the first actual "rock" song; and, though that is a bit of an exaggeration, it is definately an extremely important early icon of the rock generation. This song is followed by the pure garage rock of Tombstone Blues. Next up is the excellent slow blues, It Takes A Lot To Laugh, It Takes A Train To Cry. Other highlights of the album include the hilarously surreal Ballad of A Thin Man, the lyrically and musically avant-garde title track, and the closing, thoughtful, apocalyptic epic Desolation Row. It is obvious even from the titles of the songs that Dylan lyrically was here attempting something very avant-garde and impressionistic.
Some of the lyrics are unquestionably profound (Rolling Stone, Desolation Row), others seemingly non-sensical (Thin Man), but all brilliant. The music here is rock rooted in blues, and we get more than a few fine blues licks here and there from guitarist Michael Bloomfield, and some fine acoustic playing on Desolation Row. On top of all this, Dylan would rarely play his harmonica this good again. An absolute must-own.
This is Bob Dylan at his very finest and this is probably his best record, from"Like a Rolling Stone" to the album's closer, "Desolation Row," the listener is assaulted with blistering images in rhyme that she will never forget. Dylan changed the shape of the musical landscape with this record, changed rock and roll forever. His songs broke the three minute mold, they weren't about love and love lost anymore. In fact some of them are darned hard to understand, but they stay with you none the less. Bob Dylan was, and is, the poet laureate of Rock and Roll, the poet laureate of America. Love after we're all gone, his lyrics will be sung, recited, read.
Bob Dylan- Highway 61 Revisited (Live @ Braehead Arena, Glasgow 9th Oct 2011)
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