Thank you for buying this record. What follows is its documentation: the
pressing identified, the matrix / runout transcribed by hand from the dead
wax, and the condition as assessed before it was listed. It is yours to keep
with the record.
— Paul, Vinyl Curator
Bob Dylan
Another Side of Bob Dylan
2012 · Mobile Fidelity Sound Lab MFSL 2-379 · Stereo · US · 2xLP, 45 RPM, gatefold, numbered limited edition, 180g · 45 RPM
Pressing details
| Label | Mobile Fidelity Sound Lab |
|---|
| Catalogue number | MFSL 2-379 |
|---|
| Year | 2012 |
|---|
| Mono / Stereo | Stereo |
|---|
| Country | US |
|---|
| Format | 2xLP, 45 RPM, gatefold, numbered limited edition, 180g |
|---|
| Speed | 45 RPM |
|---|
| Genre | Folk Rock / Singer-Songwriter |
|---|
| Producer | Tom Wilson |
|---|
| Composer | Bob Dylan |
|---|
| Musicians | Bob Dylan (vocals, acoustic guitar, piano, harmonica) |
|---|
Matrix / Runout
Side A: MFSL2-379A2 20457.1(3) KW@MOFI
Side B: MFSL2-379B1 B1 20457.2(3) KW@MOFI
Side C: MFSL2-379C1 20457.3(3) KW@MOFI
Side D: MFSL2-379D1 20457.4(3) KW@MOFI
Condition
- Cover
- NM
- Vinyl
- NM
Variant chronology
1964 - US Columbia CL 2193 mono first pressing
1964 - US Columbia CS 8993 stereo first pressing
1964 - UK CBS BPG 62429 mono / SBPG 62429 stereo
2012 - Mobile Fidelity Sound Lab MFSL 2-379 mono 45RPM numbered reissue
2012 - Mobile Fidelity Sound Lab MFSL 2-379 stereo 45RPM numbered reissue <- this copy
This Pressing
2012 Mobile Fidelity Sound Lab stereo 45RPM numbered reissue, gatefold, identified by its own catalogue number, matrix code and barcode - a later audiophile pressing of the 1964 Columbia original, not a first pressing.
The Album
Recorded in a single overnight session in June 1964, this album marked Bob Dylan's turn away from the topical protest songs of his earlier records toward more personal, surreal and romantic songwriting, a shift the title itself announced. Produced by Tom Wilson, it captured Dylan alone with acoustic guitar, piano and harmonica, delivering songs of love, disillusionment and self-examination rather than overt political commentary. The record arrived at a pivotal moment in Dylan's career, bridging the finger-pointing folk of his early work and the electric rock turn that would follow within a year, and it unsettled some of his folk-movement admirers even as it widened his artistic range. A stream-of-consciousness farewell to a lover and a meditation on changed convictions became touchstones of his songwriting evolution, while other songs on the record were soon covered by major acts of the era, extending its reach well beyond Dylan's own audience. Critically, the album is regarded as a key transitional work that revealed Dylan's growing poetic ambition and his willingness to abandon expectations tied to the protest-singer label. Decades on, it remains central to assessments of Dylan's mid-1960s creative arc and is frequently cited among his most intimate and introspective records.
Tracklist
Side 1
1. All I Really Want To Do
2. Black Crow Blues
3. Spanish Harlem Incident
Side 2
1. Chimes Of Freedom
2. I Shall Be Free No. 10
3. To Ramona
Side 3
1. My Back Pages
2. I Don't Believe You
Side 4
1. Ballad In Plain D
2. It Ain't Me Babe
The Label
This copy identifies itself as a 2012 Mobile Fidelity Sound Lab stereo 45RPM reissue by its own series markings: the MFSL 2-379 catalogue number, matrix code 88697926771, barcode 821797237918, and a label copyright line reading '2012 Sony Music Entertainment / Originally released 1964' - none of which appear on the 1964 Columbia originals. The grey/black labels reproduce a deep-groove ring and the Columbia walking-eye logo as part of this audiophile edition's styling in tribute to the vintage Columbia pressing, not as a mark of an earlier manufacture. These own-series markers place the pressing in Mobile Fidelity's 2012 180-gram 45RPM reissue program, issued decades after and manufactured independently of the 1964 Columbia CL 2193 (mono) and CS 8993 (stereo) first pressings and the 1964 UK CBS editions.
Fidelity
Mastered from the original analog master tapes and cut to lacquer at Mobile Fidelity Sound Lab, this 45RPM stereo edition is pressed on 180-gram vinyl with GAIN 2 Ultra Analog processing. Collectors widely rate it as offering superior clarity, dynamics and low-level detail compared with the original 1964 Columbia stereo LP and with standard-speed reissues of the title. It ranks among the top-tier commercial reissues of this album for sound quality, though opinion is divided on whether this stereo cut or the companion mono 45RPM edition is the more faithful rendering of the original session.
Notes
This is the 2012 Mobile Fidelity Sound Lab stereo 45RPM reissue of the 1964 Columbia original, pressed on 180-gram vinyl in a numbered gatefold edition. The grey/black labels carry a 2012 copyright line crediting Sony Music Entertainment and stating 'Originally released 1964,' which dates manufacture to 2012 or later regardless of the catalogue number or deep-groove styling reproduced. Mastered from the original master tapes and lacquer-cut at Mobile Fidelity Sound Lab, the pressing sits in that label's audiophile reissue series rather than among the original Columbia mono or stereo first pressings.
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