More Bob Dylan
More Vintage Columbia Pressings
- These vintage Columbia Red Label pressings boast very good Hot Stamper sound on all FOUR sides – exceptionally quiet vinyl too
- Dramatically richer, clearer, more transparent and with more vocal presence than the average copy
- The right 360 Label pressings are going to win all the shootouts, but the best of the Red Label pressings can still beat the pants off anything pressed after 1972, which is probably when this copy was made
- Includes tons of quintessential Dylan classics: “Rainy Day Women,” “I Want You,” “Just Like A Woman,” and more
- 5 stars: “Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play… It’s the culmination of Dylan’s electric rock & roll period — he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.”
It takes a properly mastered, properly pressed copy like this one to get both Dylan’s voice and harmonica — two of the most critically important elements on any of his recordings — to sound smooth, full-bodied and clear. Any pinched quality will be painfully obvious to the listener, and for that shortcoming you lose a lot of points here at Better Records. That said, upper-midrangy sound on any vintage Dylan record to one degree or another is almost always audible. The less the better, but none is really not an option.
What The Best Sides Of Blonde On Blonde 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 1966
- 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 studio space
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.
What We’re Listening For On Blonde On Blonde
Here are some things we specifically listen for on a record by Mr. Bob Dylan — whether from 1966 or 1986, makes no difference to us.
Our hottest Hot Stamper copies are simply doing more of these things better than the other copies we played in our shootout.
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- 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 so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also 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 instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Vinyl Condition
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
A Must Own Record
Blonde On Blonde is a recording that should be part of any serious popular Music Collection. Others that belong in that category can be found here.
Side One
Rainy Day Women #12 & 35
Pledging My Time
Visions of Johanna
One of Us Must Know (Sooner or Later)
Side Two
I Want You
Stuck Inside of Mobile With the Memphis Blues Again
Leopard-Skin Pill-Box Hat
Just Like a Woman
Side Three
Most Likely You Go Your Way and I’ll Go Mine
Temporary Like Achilles
Absolutely Sweet Marie
4th Time Around
Obviously 5 Believers
Side Four
Sad Eyed Lady of the Lowlands
AMG 5 Star Rave Review
Blonde on Blonde is an album of enormous depth, providing endless lyrical and musical revelations on each play. Leavening the edginess of Highway 61 with a sense of the absurd, Blonde on Blonde is comprised entirely of songs driven by inventive, surreal, and witty wordplay, not only on the rockers but also on winding, moving ballads like “Visions of Johanna,” “Just Like a Woman,” and “Sad Eyed Lady of the Lowlands.” Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands (“Rainy Day Women #12 & 35”). It’s the culmination of Dylan’s electric rock & roll period — he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again.
Further Reading
- New to the Blog? Start here
- Basic concepts and realities explained
- Important lessons we learned from record experiments
I have the one that I bought in 1968. No red label though…
What color is the label then?