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

c. 1964-65 · Columbia CS 8993 · Stereo · US · LP · 33 1/3 RPM

Pressing details

Label	Columbia
Catalogue number	CS 8993
Year	c. 1964-65
Mono / Stereo	Stereo
Country	US
Format	LP
Speed	33 1/3 RPM
Genre	Folk / Folk Rock
Producer	Tom Wilson
Composer	Bob Dylan
Musicians	Bob Dylan (vocals, acoustic guitar, piano, harmonica)

Matrix / Runout

Side A:  XSM-77044-1AB 2 P 0 B3
Side B:  XSM-77045-2AA P 0 A6

Condition

Cover: VG+
Vinyl: EX

Variant chronology

1964 - US Columbia two-eye red label, "360 Sound" stereo, Pitman-plant pressing  <- this copy
1964 - US Columbia mono first pressing (CL 2193)
1964 - Canadian first pressing, CS 8993
c. 1967-69 - US Columbia later stereo repress
1975 - US Columbia reissue (KCS 8993)
Current - Legacy Recordings 180g reissue

This Pressing

1960s Columbia stereo pressing - red two-eye 360 Sound label, Pitman-plant runout marking.

The Album

Recorded in a single marathon session in June 1964, this album marked Bob Dylan's conscious turn away from the topical protest songs of his earlier records toward more personal, surreal and romantic material. Coming right after The Times They Are A-Changin', it signaled to fans and critics that the young songwriter was not going to be confined to the role of movement spokesman, a stance he would push further with his electric records the following year. The songs range from the political-adjacent but ambiguous "Chimes of Freedom" to the intimate heartbreak of "Ballad in Plain D" (written about the end of his relationship with Suze Rotolo) and the soon-to-be standard "It Ain't Me, Babe" and "My Back Pages," the latter containing the famous line about being older then but younger now. Performed solo with just guitar, harmonica and occasional piano, the record has an intimate, almost confessional quality that contrasts with the fuller folk-revival arrangements of his earlier work. It is regarded by critics and historians as a pivotal transitional album in Dylan's catalogue, bridging his early protest period and the extraordinary run of mid-1960s albums that followed, and several of its songs were quickly covered by other artists and became folk-rock staples. Its reputation has only grown with time, and it remains a touchstone for understanding Dylan's rapid artistic evolution in the mid-1960s.

Tracklist

Side 1

1. All I Really Want To Do
2. Black Crow Blues
3. Spanish Harlem Incident
4. Chimes Of Freedom
5. I Shall Be Free No. 10
6. To Ramona

Side 2

1. Motorpsycho Nitemare
2. My Back Pages
3. I Don't Believe You
4. Ballad In Plain D
5. It Ain't Me Babe

The Label

The side labels are the classic Columbia red "two-eye" design: the Columbia eye-and-tonearm logo appears once on each side of the spindle, "COLUMBIA" arcs across the top in white, and the bottom rim carries the "360 SOUND" / "STEREO" / "360 SOUND" band in white with black arrows. This red two-eye 360 Sound stereo label was Columbia's standard pop/rock stereo design through most of the 1960s, replacing the earlier six-eye labels and preceding the orange labels Columbia introduced toward 1970. A copy on this label therefore sits within that 1960s stereo pressing run rather than at either the six-eye or orange-label ends of the label's history.

Fidelity

The stereo mix was cut from the original 1964 session tapes for Columbia's in-house "360 Sound" stereo series, with the Pitman plant handling pressing for this copy. Collectors generally regard the early-to-mid 1960s Columbia two-eye pressings of this title as sonically satisfying, direct transfers typical of Columbia's era mastering, without the added compression of later reissue cuts. Later orange-label Columbia repressings and the more recent 180-gram Legacy reissue are generally considered secondary to a clean original-era two-eye pressing like this one, which most collectors treat as close to the top of this title's fidelity hierarchy among widely available pressings.

Notes

This is a US Columbia stereo pressing on the standard red two-eye "360 Sound" label of the 1960s. The runout carries a "P" etching identifying the Pitman, New Jersey pressing plant used by Columbia for much of this era. The stamper suffixes in the runout (1AB on side one, 2AA on side two) are later than the earliest-known stamper pairing for this catalogue number, placing this copy within the ongoing Pitman pressing run of the mid-1960s rather than at the very first lacquer cut. The back cover's cross-reference to the mono catalogue number (CL 2193) and the Tom Wilson production credit are consistent text for pressings from this general period.

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