*NOTE: Tonight, in separate auctions, I will be listing a large collection of vintage ROCK & ROLL albums, all from the same local estate. Most date to the 1960's, and include hard-to-find IMPORTS, BOOTLEG, and COLORED VINYL.

BOB DYLAN - BOB DYLAN (Self-titled Debut)

ORIGINAL 1962 COLUMBIA RECORDS CS 8579

 ORIGINAL PRESSING!

ORIGINAL COLUMBIA RED "360 SOUND (WHITE ARROWS)" LABEL

THIS IS AN AUTHENTIC, ORIGINAL U.S. PRESSING of Bob Dylan's debut album BOB DYLAN (Columbia CS 8579), NOT A REISSUE, IMPORT, OR COUNTERFEIT PRESSING.

·       Thick, heavy vinyl pressing.

·       Original sturdy cardboard jacket (STILL IN SHRINK!)

CLEAN, WEAR-FREE LABELS

(?PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN IN PICS)(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)
 

CONDITION:

VINYL:
~ VINYL IS NEAR MINT. ~Vinyl is like new, clean and glossy - no visible scratching or scuffing - appears as if unplayed. The original luster is very much intact, and the vinyl shines and sparkles almost like new.

~ The record is pressed on a beautiful, thick, inflexible vinyl, usually used for the first and/or early pressings. The sound on such thick vinyl pressings tends to be full-bodied, vivid, and "live" sounding. You cannot acheive this superb analog sound with any digital recording!
~ The record comes with the original stock inner sleeve.
~ This is a full-bodied ANALOG recording, and not an inferior, digital recording!

*(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually; records are graded under the strong, diffuse room light and/or discrete sunlight) 

COVER:
~ JACKET/COVER IS STILL IN SHRINK - EXCELLENT. ~ Cover looks beautiful, retaining its original finish, color and details - this cover was obviously very well taken care of - near mint condition! Cover is fully intact - No split seams, No ring wear, No cut-out (drill) holes. No cut-out corners, No saw-marks or indents, No dirt/dust rubbing stains (friction marks caused by rubbing against other covers), No stamps, No tearing: no chips, dents or nicks on the seams, No peel-off marks, No mold or mildew spots, No stickers or labels, No water damage, No razor marks, scratches, pressure marks, lines, streaks, or  cuts, No wax, glue, paint or liquid drops on the cover, No glue traces or wax residue. No bar codes. No RIAA stamps or stickers.  

Bob Dylan's first album is a lot like the debut albums by the Beatles and the Rolling Stones -- a sterling effort, outclassing most, if not all, of what came before it in the genre, but similarly eclipsed by the artist's own subsequent efforts. The difference was that not very many people heard Bob Dylan on its original release (originals on the early-'60s Columbia label are choice collectibles) because it was recorded with a much smaller audience and musical arena in mind. At the time of Bob Dylan's release, the folk revival was rolling, and interpretation was considered more important than original composition by most of that audience. A significant portion of the record is possessed by the style and spirit of Woody Guthrie, whose influence as a singer and guitarist hovers over "Man of Constant Sorrow" and "Pretty Peggy-O," as well as the two originals here, the savagely witty "Talkin' New York" and the poignant "Song to Woody"; and it's also hard to believe that he wasn't aware of Jimmie Rodgers and Roy Acuff when he cut "Freight Train Blues." But on other songs, one can also hear the influences of Bukka White, Blind Lemon Jefferson, Blind Willie Johnson, and Furry Lewis, in the playing and singing, and this is where Dylan departed significantly from most of his contemporaries. Other white folksingers of the era, including his older contemporaries Eric Von Schmidt and Dave Van Ronk, had incorporated blues in their work, but Dylan's presentation was more in your face, resembling in some respects (albeit in a more self-conscious way) the work of John Hammond, Jr., the son of the man who signed Dylan to Columbia Records and produced this album, who was just starting out in his own career at the time this record was made. There's a punk-like aggressiveness to the singing and playing here. His raspy-voiced delivery and guitar style were modeled largely on Guthrie's classic '40s and early-'50s recordings, but the assertiveness of the bluesmen he admires also comes out, making this one of the most powerful records to come out of the folk revival of which it was a part. Within a year of its release, Dylan, initially in tandem with young folk/protest singers like Peter, Paul & Mary and Phil Ochs, would alter the boundaries of that revival beyond recognition, but this album marked the pinnacle of that earlier phase, before it was overshadowed by this artist's more ambitious subsequent work. In that regard, the two original songs here serve as the bridge between Dylan's stylistic roots, as delineated on this album, and the more powerful and daringly original work that followed. One myth surrounding this album should also be dispelled here -- his version of "House of the Rising Sun" here is worthwhile, but the version that was the inspiration for the Animals' recording was the one by Josh White.

SHIPPING 

BID WITH COMPLETE CONFIDENCE!  I CAREFULLY AND SECURELY PACK RECORDS WITH FOAM & BUBBLE WRAP, PROPERLY SEPARATING THE DISC in its liner sleeve FROM THE COVER AND PROTECTING BOTH FOR SHIPPING. 

Albums are shipped in a rigid cardboard container to ensure safe delivery. 

PLEASE EMAIL ME WITH ANY QUESTIONS.

GOOD LUCK AND HAPPY BIDDING!