to hear how it compares to the Absolute Analog pressing.
Z
Bob Dylan's Morose Masterpiece Untangled in Black By Mobile Fidelity
Dylan claims Blood on the Tracks' pained, heartbreaking and often very angry and vicious songs weren't personal confessionals, though he was in the midst of a painful divorce. His son Jakob says they were. Does it really matter if they were about or inspired by his life? He delivers them as if they were very personal as does any great actor, but they are just as satisfying or disturbing thought of as having been inspired by, and not chronicling his personal circumstances at the time.
Nonetheless, the actors in his songs say some things that clearly were weighing heavily at the time on Dylan's mind, particularly in "Idiot Wind," which opens with "Someone’s got it in for me, they’re planting stories in the press/Whoever it is I wish they’d cut it out but when they will I can only guess" and "People see me all the time and they just can’t remember how to act/Their minds are filled with big ideas, images and distorted facts" and especially after a few years of pummeling by fans and critics alike "I haven’t known peace and quiet for so long I can’t remember what it’s like."
The record, his fifteenth studio album, marked Dylan's return to Columbia after a short stint with Asylum. It was rightfully considered his "comeback album" when released in 1975. After the mysterious and transformative John Wesley Harding and the crooning oddity that was Nashville Skyline, Dylan released a series of poorly received albums between 1970 and 1974, including Self Portrait, which some critics thought must be a joke Dylan was playing on his fans, many of whom by then had written him off.
Dylan realized the stakes were high. He auditioned the set for his peers and contemplated electric and acoustic versions, settling on acoustic.
With Phil Ramone at the board, Dylan began recording in September of 1974, mercurial as always in the recording studio. Four sessions and a few weeks later the album was mixed and ready for release but at the last minute at the suggestion of his brother George, who would later shoot Treyvon Martin (not true: must making sure you're paying attention)....at the suggestion of his brother David, in late December of 1974 he re-recorded five of the tunes at a Minneapolis Studio Sound 80 (it's unclear if Ramone engineered these sessions), including the iconic "Tangled Up In Blue" that opens the album, and in the view of many signaled "the return" of Bob Dylan. At least here it actually sounded like the sly, playful sometimes snarling Bob Dylan.
Despite the five song revision in December of 1974, Columbia managed the original January 1975 release date. The first pressing included Pete Hamill's liner notes included here. Second pressings also known as the "mural" cover, feature a full back cover illustration by the same artist as the one Hamill's prose frames. Third pressings reprised Hamill's words. Why the variation? I don't know. Either a tussle with Hamill or Dylan or both.
"Tangled Up in Blue" is a rover's tale—an epic that shifts perspectives and time as it unfolds—about one or more relationships. The end lines sum it up "We always did feel the same/We just saw it from a different point of view/Tangled Up in Blue." It reinforces Dylan's powerful storytelling abilities.
Whole industries revolve around interpreting and misinterpreting Dylan's lyrics. I checked a few sites for the "Tangled Up in Blue" lyrics. On Dylan's site one line reads "She was standing there in back of my chair/She said to me 'don't I know your name'?" On another site it was "She was standing there in back of my chair/ Said, "Zimmy, don't I know your name?" Now, how ridiculous is that?
I'm not going to pick through the songs or lyrics for a "play by play" here as that's been done by many for almost forty years and you can do it yourself if you already haven't. These are among Dylan's least enigmatic lyrics, though they are as colorfully descriptive as any he's written. The craft reveals itself the more slowly you examine the narratives and constructions but not everyone will do that, nor is it necessary to reap a full measure of pleasure. If there's a more deliciously angry song than "Idiot Wind" you can tell me what that might be! In retrospect doesn't "You're A Big Girl" sound more than a bit like "Wild Horses?"
So how did Mobile Fidelity do here? I compared this reissue to two early pressings, to a late '70s Japanese pressing from the CBS/Sony, to a U.K. reissue from I believe the 90s, and to the SACD. As the headline reads, Mobile Fidelity has untangled all of the musical lines that are not exactly hidden on any version, but are presented here with startling clarity, three-dimensionality and solidity.
The bass lines suggested somewhat softly by all of the other versions are powerful and punchy here without sounding overhyped or analytical. I heard some heretofore buried bass lines on many tracks. The acoustic guitars ring with far greater precision, again without transient overemphasis, though how it sounds on your system will depend upon its balance. The SACD played back on the big 4 chassis DCS Vivaldi currently under review, sounds mellower and more smoothly blended, which might appeal more to some, but the LP lays it all out so clearly you hear every pick strike and see each instrument in stark 3D relief occupying its own layered space.
You'll hear the percussion with a clarity and precision not found on any other edition but again without added brightness or transient stridency and the studio reverb has never before been so easy to track, if you track such things. More importantly the acoustic guitars' harmonic structure has never before sounded so complete.
Most importantly, Dylan's voice sounds utterly natural and convincing, though if your set-up isn't up to the task, the sibilants may go all smeary on you. Don't blame the mastering. Properly decoded it should sound as clean on this vinyl as on the SACD.
This Mobile Fidelity Blood on the Tracks is yet another "must have" Dylan vinyl reissue that's better than the original. Unlike the original this reissue is presented in a "Tip on" gatefold jacket in which are some candid Dylan photos and the full panel illustration found on the second pressing's back cover. A nice touch. Well done Mo-Fi guys!
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COMMENTS
Absolute Analogue
Submitted by Michael Fremer on Thu, 2013-06-27 17:11
That's the U.K. presssing to which I was referring. It is very, very good. The Mo-Fi untangles and clarifies with greater specificity, notably so.
"poor taste"
Submitted by Michael Fremer on Sun, 2013-06-30 15:00
Perhaps it was, but humor often is and often not everyone finds attempts at humor funny. Since I didn't take a position on that event (were I to call it "murder" I'd be taking a position) I'm not sure if it was in poor taste, but certainly it was not as offensive as the defense lawyer's opening with a knock knock "joke."
If you were offended, sorry.
"Too Soon"
Submitted by mikeyt on Sun, 2013-06-30 17:03
I am not really offended, I just think that joking about a still-current case in which a young man was killed is incredibly insensitive. As some might say, "too soon."
This might be my favorite
Submitted by Bigrasshopper on Thu, 2013-06-27 21:29
This might be my favorite Dylan album. I wonder though why MoFi was not able to or chose not to do this as a 45rpm like it's other recent Dylan releases ?
I think Your A big Girl Now does seem to resonate in the guitar like Wild Horses, now that you mention it. I wouldn't make that comparison with the version from Biograph, which really hits me more powerfully. It may be asking too much but since I was introduced to Dylan from Biograph, another significant musical gift from Dad, I would love to see someone do an analog reissue of that collection. Chad ? Side 6 from that box locks me in the moment with Romona, Your a big girl now, Abondoned love, Tangled up in blue, and finally, It's all over now baby blue. If those aren't inspired by an authentic expirence of love, I don't know what is.
Decisions, Decisions
Submitted by Billf on Fri, 2013-06-28 01:46
Thanks for the typically great review. Now I need to decide whether to spring for this or save my money for the 45 rpm Blonde on Blonde and just keep enjoying the Tracks SACD. Very tempting, though.
A Long Time Coming
Submitted by sluggobeast on Fri, 2013-06-28 08:36
Can't wait to hear it! My copy is now in transit and will arrive next week.
While I can't say it's my favorite Dylan album -- can't pick just one -- it would certainly be among my top five. It will join my original vinyl pressing; bootleg CD (Scorpio label) of the acetate of the "original" album before Dylan rerecorded some of the tunes; the Sony hybrid CD/SACD from around 10 years ago.
Speaking of MFSL: any belated comments concerning their vinyl reissue last year of Live/Dead? I heard from some folks that they definitely did not use the same tapes as those of the original W7 pressing -- but I was wondering if any of you folks had some opinions.
Live Dead
Submitted by SimonH on Fri, 2013-06-28 10:50
I hadn't heard about this - is the question about the generation of tape used or that tapes from different performances were used? I have both the MFSL and a wlp pressing - when winter comes I will have a listen. This reminds me of the question - not asked by me - about the tapes used for the 1995 MCA Who's Next which has some different timings from the original and from recollection the takes sound different (but it is a long time ago that i did the comparison). S
Eat A Peach (2013 MFSL Issue)
Submitted by SimonH on Fri, 2013-06-28 11:03
Not played yet but am slightly dissapointed with the cover and no inner when compared to the '80's Mo-Fi issue - am I alone in this?
Who's Next Comparison
Submitted by Michael Fremer on Fri, 2013-06-28 12:27
I ought to do that since I was involved in the 1995 reissue. Kevin Gray mastered at Artisan Sound so I'll axe him for his recollection. I've got a lacquer of that :-). It's old now but still sounds great... I have original UK "Bilbo" pressing too and Classic Reissue so lots to choose from. Just need to find some time...
CBS Half Speed Master BOTT
Submitted by robertaich on Fri, 2013-06-28 09:45
I've always been a big fan of this one. In fact, it's one my VTA tools--when the bass has begun to have body, but just before Bob's voice gets chesty--there it is. Any thoughts on that version?
Live/Dead MFSL vs WB7
Submitted by xtcfan80 on Fri, 2013-06-28 11:18
I have both the MFSL reissue of Live/Dead and a green label, not sure how old, WB7 pressing. The MFSL is great, very nice and smooth but the WB is more engaging and better balanced from top to bottom on both my modest systems. The WB pressing just seems more natural and "real" sounding, a very subjective term if ever there was one.
How bad could it be to have two great vinyl versions of Dark Star???
Love the Dylan reissues form MoFi
Submitted by Martin on Sat, 2013-06-29 15:19
Every one has been a winner, in fact all the MoFi reissues I've bought over the last few years have been great.
My blood on the tracks is on the way. Will be interesting to see how it compares to the ones I have, 1st and 2nd press US, the original UK press and original dutch pressing. What's also worth picking up is the "Blood on the Tracks New York Sessions" from the latest incarnation of Swingin Pig. It sounds like it was done from good digital transfers, at least 48/24 and maybe 96/24.
What would hit the ball out of the park I think for many people would be a MoFi reissue of "The Bootleg series volumes 1 to 3". Any chance of that happening? The sound on the Europe only 5 LP set is good, but not outstanding. I'm sure MoFi would do a stellar job on it given the chance.
A fantastic Reissue... but believe better to come
Submitted by DigitalIsDead on Sat, 2013-06-29 18:49
After waiting almost a year, I was not disappointed. My original sounds good but I always felt the production was just ok. This sounds so much more vibrant without sounding like a CD. Michael, what are your thoughts on the impending release by MoFi of Los Lobos' Kiko, which was easly one of the best produced records of the '90s and really unlike any other Los Lobos record?
KIKO reissue
Submitted by Michael Fremer on Sun, 2013-06-30 21:10
A great choice for sure. I have a European vinyl pressing that was released in limited quantities. When I interviewed Los Lobos (you can find the interview on this site), I had the band sign the album. They were terrific to talk with. I don't believe there was an analog master here, but I could be wrong. Whatever the source I think MoFi's release will be better than the original issued during vinyl's "dark days".
Good review Mikey. I enjoy
Submitted by planarhead on Sun, 2013-06-30 09:34
Good review Mikey. I enjoy the humor, don't let the naysayers put you down in this overly politically correct age.
RE: Who's Next
Submitted by DigitalIsDead on Mon, 2013-07-01 10:39
Michael, if and when you undertake this review, I hope you'll listen to what was the last analog remaster/release prior to the Classic Records release. I am referring to the Polydor Phases box set which is light years ahead in quality of the most recent digitally sourced box set. Why this set has flown under the radar for so many years is beyond me. While the packaging was just ok and the vinyl lightweight, there was no arguing with the sound.
Is this the original mix?
Submitted by usernaim250 on Sun, 2013-07-07 11:54
I understand a lot of the Dylan catalog was remixed for SACD and that's the source for the MoFis. Is this a remix or an original mix?
And can you make a comparison to the original pressing which is pretty easy to acquire?
yea! bob is really a legend.
Submitted by eros on Tue, 2013-07-09 01:39
yea! bob is really a legend. he sing the songs he actually wrote..hes just so awesome..definitely one of the best in the world...hes actually my dad's idol.
Where's the bite? Bass clarity comes at a cost for me
Submitted by JBo on Thu, 2013-07-11 09:13
I placed my order for this reissue about 18 months ago, I even ordered two copies! I'm not sure what I expected as the original was a masterpiece to me -- so I'll preface my comments with that.
Nonetheless, upon listening to it I was first struck by the warmth and clarity of the bass and things sounded mighty nice but after a little while I drifted off into daydreaming about work and other stuff until I suddenly said to myself, "wait a minute, I'm listening to Blood On Tracks, what's wrong here?", I would usually be shouting the lyrics of "Idiot Wind" (some of which I'm sure I'm making up) and tapping my foot hard. So I went back to the original and bam the energy and bite of the music hit me and the goosebumps were back and I forget to pick up my dry cleaning.
I've been listening for a couple days now and although I agree with Mickey's comments objectively, the upshot of the tonal shift towards the bass (more heft), additional ambience, and reduction in transients actually had dire consequences for me with this recording. I found myself focusing too much on the bass lines, which should be a foundation here not a focal point. I actually found the low end of the drums and bass to also smear at times against the vocal, thus reducing the vocal instensity and causing a distraction. I also sense some kind of processing that, to my ears, makes the vocal more dreamy and polite and less real, less intense, less dynamic. I did a quick comparison with Audioleak to determine if the dynamic range (peak to RMS) had changed much and it does seem to be reduced by a few dB -- I'm no expert on this but I usually do a quick check with Audioleak when I feel somethings gone sideways. I suspect some multi-band compression that's helping pull out detail and clarity but at the cost of some dynamic intensity -- I'm "drifting too far from shore" here on my expertise so I'll stop there... I just miss some instensity, the MoFi is just too polished and smooth to my ears.
I do hear some additional reverb / ambience as Mickey suggests. But I'm left wondering if that's the real thing or again some clever processing to add some dimension. To my ears this recording sounds best raw and dry -- raw emotion -- at times it actually sounded a little "Lay Lady Lady"'ish with the sweet deep Bob vocals instead of the rough angry twang. I felt one step removed actually from the vocal whereas I felt with the original that he was "right there".
Biting and shrill are usually things I despise in recordings, but this is "Blood On The Tracks" -- in my opinion it should bite, it shoud be scathing -- when Bob's harmonica rings out in "You're A Big Girl Now" it rips my head off on the original and in my opinion that intensity fits perfectly, the hi end grinds between the hammond, hi-hats, and Bob's growl -- it's a mess of perfection, it puts you on edge a little. I do like the smoother presentation and bass clarity of a lot Mobile Fidelity recordings, but in my opinion, for a folk style record the emphasis can be displaced and distracting, shifting the focus inappropriately.
I did think the reissues' tonal shift / ambience / smoothness worked well on the last couple songs. It just sucked a little too much life out the other songs for my taste.
I'll wrap it up with were I began -- I'm not sure MoFi had a fighting chance with me on this one, I'm not even sure what I expected.
I would just say this, when my son has his first heartbreak and is ready for this record, this is not the version I'll be sending over to him.
Lost its Mojo
Submitted by evancent on Sat, 2013-07-13 00:33
JBo you have it so right !
This my 3rd Bob LP on mofi.
I couldnt wait for this mofi pressin to arive but sadly its lost its life. This is not the pressing I will be reaching for.
I did a blind A/B test mofi v Absolute Analog 180 pressing.
with my 21 year old son
3 out of 3 he preferred the Absolute Analog pressing
The smile on his face with the head rockin feet tappin when I played that version said it all.
Mofi = no smile
Perfect YES
Musical NO
Why wont anybody talk about the elephant in the room?
Why was this not on 45rpm ?
Does anybody know
It's lost it's mojo !! & Why no 45rmp
Submitted by evancent on Sat, 2013-07-13 02:00
JBo you have it so right !
This my 3rd Bob LP on mofi.
I couldnt wait for this mofi pressin to arive but sadly its lost its life. This is not the pressing I will be reaching for.
I did a blind A/B test mofi v Absolute Analog 180 pressing.
with my 21 year old son
3 out of 3 he preferred the Absolute Analog pressing
The smile on his face with the head rockin feet tappin when I played that version said it all.
Mofi = no smile
Perfect YES
Musical NO
Why wont anybody talk about the elephant in the room?
Why was this not on 45rpm ?
Does anybody know
><((((º>`·.¸¸.·´¯`·.¸.·´¯`·...¸><((((º>
Submitted by detroitvinylrob on Sat, 2013-07-13 08:04
To my ears, this time, Mofi got it right.
evancent , try single spacing, like CAPITAL LETTERED responses, no one but maybe the author appreciates them.
Happy Listening! ;^)>
Here's a fascinating in-depth
Submitted by P. Stoned on Wed, 2013-07-17 03:29
Here's a fascinating in-depth article about the recording session (with a few tech specs).
http://www.glennberger.net/2012/01/15/bob-dylans-blood-on-the-tracks-the-untold-story/
BTW, I believe Dylan sings "Said, "Jimmy, don't I know your name?"
Hmmm! Looks like I a got a bummer
Submitted by Avalon on Thu, 2013-09-05 05:34
Finally got my hands on a copy of this!
Unfortunately my copy has a mark in both If you see her say hallo and Buckets of rain, that completely ruins both songs with a loud sound and pops!
DAMM IT!
The 3 other MOFIs I received was covered in the haze like residue on the vinyl. It came off on the Nitty Gritty!
Lets hope that's this was a one time bummer from MOFI and that they will replace my BOTT!
Its my favorite Dylan album and I was really looking forward to spinning it!
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