thank you dear friend. are we talking about both of these releases? Bob Dylan – Blonde On Blonde (2015, Gatefold, 180 Gram, Vinyl) Bob Dylan – Blonde On Blonde (2015, 180 Gram, Gatefold, Vinyl) i ask because the have different matrix numbers and they are both 2015 eu if these are using the 2010 stampers, shouldnt the matri numbers be the same? they arent. i am a bit puzzled. thank you so much my friend
The second one is cut by Ryan Smith at Sterling, and I believe the story goes that he and George Marino cut two sets of lacquers at the same time, one set for the US (RTI) and one for the EU (RI). That one would be AAA and should sound pretty much identical to the RTI pressings. The date might be wrong, as these were first done in 2010, but maybe they redid the jackets for a repress. The first looks to be a new cut (after the roll-over of stamper numbers, in 2014), possibly done in-house at Record Industry (thus, probably digital, or from copy tapes). I don't understand why there would be two, unless something happened to the earlier father when doing a repress. If given the choice, I would go with the RKS one.
I suspect there is absolutely no difference in those releases - well, I know there isn’t. Sony moves in mysterious ways and lately they have been removing the reference to MOVLP on some of their Dylan releases. Consider this : I also own the 2019 white vinyl release of the mono mix. It has no reference to MOVLP any more in the deadwax and is exactly the same as the first one you quote. However, comparing it sonically to the second one you reference, it is exactly the same mix and mastering - and exactly the same as the other copies that I own for example in the boxed set. (Then again, I got the brand-new clear vinyl release of Highway 61 yesterday and despite being a brand-new 2021 release, it’s still mono and it still has the MOVLP and LP6 reference in the deadwax. )
Yes, the original one I bought here in Ireland post-2010, has “Printed in USA” on the labels and no credits whatsoever on the rear sleeve. Laziness ? The one I bought in 2015 has exactly the same deadwax details but now says “Made in the EU” on the labels and plenty of EU, Columbia and Sony Legacy credits on the rear sleeve contained in a long, thin, white-bordered rectangle.
I'm in Canada, so we typically get the EU releases for whatever reason. They're typically identical aside from jackets at times.
Are you sure it is possible to remove the MOVLP and the RKS sterling marks in the deadwax and have the same mastering as the mono versions that were out in 2010 ?
No, of course I’m not. However, my ears can discern no difference and I’ve been listening to this record for over 50 years. That said, the earlier theory above that the non-RKS version being digital as opposed to AAA is a plausible one. Perhaps Sony had them “dumbed down” in this manner for the Italian DeAgostini releases, much as they did for some of their Beatles’ issues.
Hmm. Oh what a can of worms have you opened. Intrigued, I decided to compare the MOVLP RKS vs the non-RKS versions. I’ve now changed my mind. I would sign up to the AAA vs digital theory. I played the white vinyl version first followed by the Sony Legacy version. In isolation, both of these sound great but back to back, it’s clear that the RKS is the winner. For example the edit on “I Want You”, where they’ve clearly corrected his flubbed line “and because ...pause... I want you” is accompanied on the non-RKS pressings by a volume fluctuation as well - but this does not dip in this manner on the AAA cut. The RKS is much clearer, livelier - a more exciting listen, but only when doing a shootout.
Seems more likely your initial assessment was right. I assume they just created a new stamper of the original AAA mix.
I’ve a theory that these non-MOV, stereo versions we’re seeing coming out were possibly first prepared for the Dylan Collection partwork series as issued by DeAgostini in Italy. Something similar happened with The Beatles, when the same company issued the red and the blue compilations, not long after their AAA companions hit the shops. When the DeAgostini versions were subsequently released, they were not AAA but instead used a digital file made from those same remastered versions.
That looks right from the matrix entries on discogs. Though I think the original question was in reference to the two variations of the 2015 run. One makes reference to RKS, MOVLP and Sterling in the dead wax. The other has the same matrix number but no mention of MOVLP, RKS or Sterling. I think it is fairly safe to say they use the same mastering it is whether one is digital. Given the 2010 mono set again has a different matrix I am going to guess both versions are AAA.
I got my MoFi 3X45 today. I’ll have to get used to this mix, I’ve grown up with a 60’s stereo mix. But instantly “Temporarily Like Achilles” sounded so good I got goosebumps. A beautiful organ I’ve never detected before in the other mixes I’ve heard. I’ve also got this Legacy mono release from 2015 from before: https://www.discogs.com/release/7764632-Bob-Dylan-Blonde-On-Blonde It’s not very good. Harmonica sounds really bad on several tracks, especially on A1.
Reading this whole thread a couple of times the best summing is made on page 4 by member @Cassius UK stereo first press MoFi US mono first press (any pressing plant) Eventually I think I’ll end up wanting all three of these. It really comes down to track by track and personal taste to determine which mix one prefers. I’ve now got the UK Stereo first press and the MoFi. Plus a not so good mono-mix LP. For me there is a clear winner on at least two tracks: Temporary like Achilles - MoFi (as stated in the post just above). Sad Eyed Lady of the Lowlands - On this one I definitely prefer the UK Stereo original mix to the MoFi-mix. In details I just love that loud closed hi-hat and the sound of the vocals. But the whole mix is just singing in a way I don’t hear on the MoFi-mix, which in comparison feels just less engaging.
I would buy both the stereo and mono original U.S. pressings. If you're short on cash, opt for the Sundazed mono edition because that one sounds terrific. It's certainly very, very hard to find an original U.S. mono copy for a decent price. I paid $60 for mine about 12 years ago at a used record shop in Monterey, California, and it was a steal at that price. There's nothing like getting your head twisted while pledging your time to you hoping you'll come through to.
So where does the recent DeAgostini mono press fit in here? Sorry if this is a repeat question, but I'd guess many have that one.
I’ve owned a few different pressings of BoB. I like the MoFi 3-LP stereo and the Sony mono box, but most of the time I reach for the original stereo mix. I snagged a VG++ copy on this site’s marketplace a few years ago. It’s a fun listen.
I rock the MOFI for stereo and the Kevin Gray-cut Sundazed for mono for the trilogy albums (BIABH, H61, BOB.)
