Bob Dylan Bringing It All Back Home Stereo Sealed MFSL 45RPM 2LP #3028

$

250

Bob Dylan's 
 "Bringing It All Back Home" 
 Sealed!
Original Master Recording!  
 Mobile Fidelity Sound Lab
Stereo  
 45 RPM 2LP
Limited Edition! Low Number.
#3028
What You See Is What you Get. No Stock Photos.
Dylan?s 1965 Landmark Blows Up Boundaries, Styles, Practicalities: Rock Music Becomes its Own Art Form. Best of Both Worlds: Dylan Pairs With a Band on Side One, Goes It Alone on Astonishing Solo ?Thought Dream? Odysseys on Side Two. Epitome of Iconic: Everything from Cover Art to Sound to Attitude to Song Represents New Benchmark in Respective Categories. 
Bob Dylan?s Bringing It All Back Home represents the moment that pop and rock music became their own art form, expressions finally treated with the same seriousness and respect as classical and jazz. Incalculably influential, the 1965 landmark established myriad benchmarks in songwriting, sound, artwork, and performance. It served the world notice that Dylan was no longer just the virtuoso visionary tuned into the wants of the folk community. It?s a disarming broadcast that declares Dylan?s surroundings and personality, and those of his audiences, whether they knew it or not, drastically changed. 
As part of its Bob Dylan catalog restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on 45RPM LPs at RTI. The end result is the very finest, most transparent analog stereo edition of Bringing It All Back Home ever produced. Forever renowned for its organic sound, the album?s you-are-there-presence is fantastically enhanced on this superb version, with wider and deeper grooves affording playback of previously buried information. 
The sonics are so realistic, balanced, and tonally accurate that acoustic guitars resonate with the woody decay they do as when you strum them on your lap. Equally vivid are the textures of the drum skins, amplified pitch of the electric guitars, and ambient hum of the interior space of Columbia?s Studio B. Both the plugged-in and acoustic sides claim a discerning level of microdynamics, spaciousness, imaging, and warmth that will send even the most rabid Dylan fan into a tizzy. And what better record to cause such enthusiastic reactions? 
More than 45 years after its release, Bringing It All Back Home continues to come on like a prophetic transmission from a savant who?s privy to cerebral viewpoints, mental transferences, and ?thought dreams? elusive to everyone but him. With the flipside of the album, Dylan strings together four of the most unflinching, forward-reaching, and boundary-breaking acoustic-based compositions ever played. In addressing liberating psychedelia, lost innocence, institutional naiveté, and tarnished relationships, respectively, Dylan constructs a compositional quartet/suite that functions as metaphor for his waving goodbye to political folk music?s imprisoning rules and bounding restrictiveness?and a rough guide to the transcendental poetry, shape-shifting vocal phrasing, and alternate tunings he now embraced. 
Side One remains one of the boldest cohesive artistic statements ever assembled. Dylan, forever throwing down the gauntlet to detractors and narrow-minded fans, plugging in with a band and kicking it all off with the in-your-face hootenanny ?Subterranean Homesick Blues? before romping, slashing, and rolling through ?Maggie?s Farm,? another fun albeit caustic indictment of homogenous thought and bohemian method. Dylan?s attitude undergoes a self-awakening metamorphosis, his lyrical scope broadened, his hallucinogenic interests increased, his willingness to embrace paradoxes and shake them out with mind-convulsing aptitude in line with his progression towards bizarre imagery. 
Ranked 31 on Rolling Stone?s list of the 500 Greatest Albums of All Time, Bringing It All Back Home marks the moment when paradigms permanently shifted, preexisting standards fell, and fresh aural, poetic, and sonic dialects came to fore. Albums don?t come more vetted. You deserve to experience it in the finest-possible quality. 
"'It?s from Chuck Berry, a bit of 'Too Much Monkey Business' and some of the scat songs of the Forties,' Dylan said. John Lennon once said of the track [Subterranean Homesick Blues] that it was so captivating it made him wonder how he could ever compete." - Rolling Stone 
"If all you know is the original, trust me, from the minute the album starts you'll realize you've never heard it sound this liquid when liquidity is called for or as positively hard-edged when that's what's called for. You've never heard Dylan's voice so transparent and present front and center, or so three-dimensional... The double 45 format means every song can be heard in the tape's full frequency range and dynamic expression. Combine that with superb mastering, a great RTI press plus great gatefold packaging featuring black and white candid studio shots and you have a record that makes for great listening now and probably a reasonably safe investment for the future... This probably won't be in print forever but even if it is it's one no record collection should be without." - Rate 11/11 Music, 10/11 Sound!!! - Michael Fremer, www.analogplanet.com
NO SPLIT SEAMS! THE ITEM WILL BE WELL PACKAGED TO HELP PREVENT SPLIT SEAMS. DUE TO THE HEAVY WIEGHT OF THE VINYL I CAN'T BE RESPONSIBLE FOR SPLIT SEAMS.
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