ORIGINAL MASTER RECORDING

BOB DYLAN

BOB DYLAN [MONO]

UDSACD 2177

UDSACD 2177 Cover
A Numbered, Limited-Edition, Hybrid SACD, Sourced from Original Master Tapes.

This understated 1962 debut launched an immeasurably influential career.   Inspired by Woody Guthrie and blues legends, Bob Dylan is the clearest connection to the singer's purist folk roots.

M
ade when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made.   Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles.   Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, this restored mono SACD brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration.   Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness — the “husk and bark” to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City.   Mobile Fidelity has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended.   Since the separation of the stereo versions isnít as sharp, the mono edition places Dylanís vocals in the heart of the musical action and as one with the accompaniment.   It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music.   This is how almost everyone first heard this timeless albumómaking the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release.   Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees.   Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's “See That My Grave Is Kept Clean,” Dylan straddles the past and future.   He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, “Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know.   Within a year, an album could put an adjective in front of the singer's name as if it were already common coin.”   It all starts here.


  1. You're No Good
  2. Talkin' New York
  3. In My Time of Dyin'
  4. Man of Constant Sorrow
  5. Fixin' to Die
  6. Pretty Peggy-O
  7. Highway 51
  8. Gospel Plow
  9. Baby, Let Me Follow You Down
10. House of the Risin' Sun
11. Freight Train Blues
12. Song to Woody
13. See That My Grave Is Kept Clean



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