BOB DYLAN VS. A.J. WEBERMAN INSANELY RARE ORIG '77 FOLKWAYS MONO LP BEAUTIFUL

$

136

WE CURRENTLY HAVE  NEARLY 500  LISTED ITEMS

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·       BOB DYLAN - BOB DYLAN Vs. A.J.WEBERMAN – INSANELY RARE WITHDRAWN ORIGINAL 1977 FOLKWAYS RECORDS MONO LP FB-5322

·       ORIGINAL U.S. PRESSING

·       ONE OF THE RAREST BOB DYLAN ALBUMS IN EXISTENCE; THE ALBUM WAS ALMOST IMMEDIATELY WITHDRAWN FROM COMMERCIAL CIRCULATION BY COURT INJUNCTION SERVED TO FOLKWAYS BY DYLAN’S LAWYERS; AND DECENT COPIES ARE NEAR-IMPOSSIBLE TO FIND

·       ORIGINAL BLACK FOLKWAYS LABEL WITH SILVER PRINT. MID-'70s STYLE

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       ORIGINAL "TEXTURED" (LEATHER-LIKE) COVER.

·       THICK, HEAVY VINYL PRESSING

·       CLEAN, WEAR-FREE LABELS

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(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!)

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Here it is folks, one of the scarcest Bob Dylan releases ever. It’s mostly been circulated as a poor-quality bootleg since the late ’70s, but here it is in its original form. It’s barely classifiable as a Dylan “album”, since there’s no music involved. Bob Dylan vs AJ Weberman is a 1977 withdrawn LP (read: deleted from the Folkways catalog for legal reasons) containing telephone conversations between Dylan and AJ Weberman, which were recorded in January of 1971. Folkways originally pressed the album, but it was very, very quickly taken off the market. I don’t know how many were sold, but the number must be very small considering how much dealers charge for it.  The album – when found, which is almost never – typically sells for between $400-$600

The “interviews” took place a few weeks after demonstration outside of Dylan’s apartment that was organized by Weberman. Weberman was a self-proclaimed Dylanologist who was just a tiny bit obsessed with the guy. He thought some of Dylan’s songs were written for him. He used to rummage through trash to gather evidence that could support his zany theories. Even after Dylan and his wife started putting dog shit in their garbage, he kept digging. He apparently used a lot of acid, too.

Anyway, after this radical demonstration spearheaded by Weberman — the purpose of which was to rally against early ’70s rock musicians for not being political enough anymore — the two had some phone conversations. Weberman taped them, and Dylan found out about halfway through the recording process, and he wasn’t too happy about it. Both guys sound like morons at times. Dylan expresses his dislike for Roger McGuinn, telling Weberman, “Fuck him” multiple times. He calls Creedence Clearwater Revival “faggot shit,” and dares Weberman to name a better songwriter than him. John Lennon? “Never”. Wow.

Pretty much everything Weberman says is insane.

According to some people, the incident actually had an effect on Dylan. Later that year, he performed at the Concert for Bangladesh, and appeared to make a strong effort to return to his ’60s persona, including his personal appearance and songwriting techniques.

***

Alan Jules (A.J.) Weberman was a scruffy-looking resident of the Lower East Side who became obsessed with the idea that Bob Dylan was a major radical poet and sought to interpret his more elliptical songs by whatever means necessary -- even searching through his garbage for clues. Eventually, Weberman managed to get something more tangible and valuable -- these tape recordings of a couple of phone conversations he had with Dylan about an article that he was preparing on the reclusive songwriter. You feel like you are eavesdropping on the private Dylan -- a semi-articulate, profane, thoroughly ordinary person, not the wise young genius of myth. Dylan comes out in a hostile mood at first, fiercely protective of his privacy, aggressively correcting Weberman's text. He is not above name calling; "I've got a good song about you," he tells Weberman. "It's called 'Pig.'" The inept Weberman isn't any better, but eventually he gets it together enough to strike a nerve, tearing into Dylan for not writing meaningful lyrics anymore and being no better than a typical capitalist (this was just after the period from Nashville Skyline through New Morning). It's puzzling that Dylan doesn't hang up on him -- maybe he's secretly fascinated by this obsessive madman. In any case, he goes on the defensive and doesn't really have an answer for Weberman. David Peel and his band offer their own ragged tribute to the self-proclaimed Dylanologist, "A.J. Weberman," and a mention of Grace Slick brings on her recording of "Father Grace." Folkways tried to sneak this LP into the stores, but swift legal action forced Moe Asch to withdraw it immediately. Now it's an extreme rarity -- perhaps a good thing.

 (EXCERPT FROM AN ONLINE REVIEW BY STEVE HUEY, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·                               CONDITION:

·                               RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)            The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Stereo pressings of this album are not known to exist

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER (this is the original, “textured” cover)

THE COVER IS NICE --- ABOUT VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the cover:

-         Cover has all three seams (top, bottom and spine) partially split (LESS THAN 1 INCH, EACH)

-         Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 2.

-         Cover has all four corners slightly worn / dinged (nothing significant)

-         Cover has some visible fraying/tattering on  the top seam and spine

NO OTHER IMPERFECTIONS ON THE COVER:

-        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 wrinkles or creases

-        No yellowing from aging

-        No writing

-        No stamps

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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