- An excellent Mono copy of this early Dylan classic with surprisingly good Double Plus (A++) sound throughout
- We were impressed by just how clear and present Dylan’s voice sounded on this copy – this is the way you want to hear the man
- Many classics are here: All I Really Want To Do, Chimes Of Freedom, My Back Pages, It Ain’t Me Babe and 7 more
- 5 stars: “Another Side of Bob Dylan is a more varied record and it’s more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. The result is one of his very best records, a lovely intimate affair.”
This early mono pressing has the kind of Tubey Magical Midrange that modern pressings barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back.
Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. We rate these qualities higher than others we might be listening for (e.g., bass definition, soundstage, depth, etc.). The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Bob Dylan singing live in your listening room. The best copies have an uncanny way of doing just that.
If you exclusively play modern repressings of older recordings (this one is now 55+ years old), I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but less than one out of 100 new records do, if our experience with the hundreds we’ve played can serve as a guide.
What the best sides of this groundbreaking More-Than-Just-Folk-Music Album have to offer is not hard to hear:
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1964
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional space of the studio
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
It’s tough to find copies of this album that give you all the tubey richness and warmth that this music needs to sound its best. Too many copies, especially of the ’70s Red Label reissue variety, seem to be EQ’d to put the vocals way up front, an approach that often makes Dylan’s voice hard and edgy. Copies like that sound impressive at first blush (“Wow, he’s really IN THE ROOM!”) but become fatiguing in short order.
While Dylan’s albums may not be big-production sonic spectacles – he played every instrument on the album himself – hearing these great songs sound so intimate and lifelike on a top quality pressing can be a sublime experience. We should know; we enjoyed the hell out of this copy.
What We’re Listening For on Another Side of Bob Dylan
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
- Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt -would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
All I Really Want to Do
Black Crow Blues
Spanish Harlem Incident
Chimes of Freedom
I Shall Be Free No. 10
My Back Pages
I Don’t Believe You
Ballad in Plain D
It Ain’t Me Babe
AMG 5 Star Rave Review!
Another Side of Bob Dylan is a more varied record and it’s more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike.
This has an equal number of classics to its predecessor, actually, with “All I Really Want to Do,” “Chimes of Freedom,” “My Back Pages,” “I Don’t’ Believe You,” and “It Ain’t Me Babe” standing among his standards, but the key to the record’s success is the album tracks, which are graceful, poetic, and layered.
Both the lyrics and music have gotten deeper and Dylan’s trying more things — this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair.
BOB DYLAN’S DISCOGRAPHY
These are his albums through 1989, after which you are on your own. The later recordings have never sounded right to us and we have no plans to do shootouts for those releases.
1962 Bob Dylan
1963 The Freewheelin’ Bob Dylan
1964 The Times They Are A-Changin’
1964 Another Side of Bob Dylan
1965 Bringing It All Back Home
1965 Highway 61 Revisited
1966 Blonde On Blonde
1967 John Wesley Harding
1969 Nashville Skyline
1970 Self Portrait
1970 New Morning
1974 Planet Waves
1974 Before the Flood
1975 Blood on the Tracks
1975 The Basement Tapes [never heard this album sound better than tolerable]
1976 Hard Rain
1978 Street Legal
1979 Slow Train Coming
1979 At Budokan
1981 Shot of Love
1984 Real Live
1985 Empire Burlesque
1986 Knocked Out Loaded
1989 Oh Mercy