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Another Side Of Bob Dylan
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Another Side Of Bob Dylan
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MP3 Music, August 8, 1964
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Vinyl, Import, December 8, 2017
"Please retry" | $26.12 | $33.84 |
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Track Listings
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 |
7 | Motorpsycho Nightmare |
8 | My Back Pages |
9 | I Don't Believe You (She Acts Like We Never Have Met) |
10 | Ballad in Plain D |
11 | It Ain't Me Babe |
Editorial Reviews
Another Side of Bob Dylan is the fourth studio album by American singer-songwriter Bob Dylan, released on August 8, 1964 by Columbia Records. The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin'. The change prompted criticism from some influential figures in the folk community - Sing Out! Editor Irwin Silber complained that Dylan had "somehow lost touch with people" and was caught up in "the paraphernalia of fame". Despite the album's thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records - solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one selection, "Black Crow Blues". Another Side of Bob Dylan reached No. 43 in the US (although it eventually went gold), and peaked at No. 8 on the UK charts in 1965.
Product details
- Product Dimensions : 5.03 x 5.63 x 0.37 inches; 3.84 ounces
- Manufacturer : Legacy Recordings
- Item model number : 29017176
- Original Release Date : 2011
- Run time : 51 minutes
- Date First Available : July 31, 2011
- Label : Legacy Recordings
- ASIN : B005F9TQAQ
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #2,814 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #85 in Folk Rock (CDs & Vinyl)
- #96 in Pop Singer-Songwriters
- Customer Reviews:
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Top reviews from the United States
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- Reviewed in the United States on November 3, 2014The 2007 film "I'm Not There" was about Bob Dylan, but his name was never mentioned and his many personas were played by different actors. So, which Dylan is represented on "Another Side Of Bob Dylan"? I read that this August, 1964 album sold less than the preceding one, "The Times They Are A-Changing". I also read that people were puzzled by it and didn't quite know how to react to it upon its release. Having heard the whole thing now in 2014 for the first time, I understand why. Only 7 months after the previous album's release, Dylan unveiled a new music that would soon captivate the world. Abandoning his position as the purveyor of, in his own words "finger-pointing songs", Dylan's songwriting combined social comment ("Chimes Of Freedom") with topical humor ("I Shall Be Free - No. 10" and "Motorpsycho Nightmare") and songs about self-analysis ("My Back Pages" and "Black Crow Blues") and personal relationships ("All I Really Want To Do", "Spanish Harlem Incident", "To Ramona", "I Don't Believe You", "Ballad In Plain D", "It Ain't Me Babe"), moving away from traditional folk music and towards the world of pop currently ruled by The Beatles and similar bands, adding insights from his own unique perspective. Even though the electric guitar was still not used, the melodies were generally more buoyant, the mood generally MUCH lighter, and the lyrics were beginning to exhibit a lot of enigmatic imagery, stream-of-consciousness and clever wordplay to a greater degree than on his previous albums. Dylan the activist was becoming Dylan the pop poet. On this album he planted the seeds for a sound and style that would change pop/rock music forever, and would also make him a major pop/rock force. No wonder his folk-oriented, activist fans, most of whom viewed pop music with contempt, were puzzled, turned off by what was in their eyes a blatant quest for fame. Just to show how influential the album was, 4 of these songs were covered by The Byrds (3 of them on their debut album), and another one, "It Ain't Me Babe", was a big hit for The Turtles.
Just like his previous album, this one is a one-man show, with Bob singing all vocals and playing guitar, harmonica and, on "Black Crow Blues", honky-tonk piano. Just that piano performance alone will clue you in to the fact that this is a different, lighter album. But you would know that already from the first track, "All I Really Want To Do", in which he tells a prospective girlfriend all the things that he DOES NOT want to do, among them, "I ain't lookin' to block you up, shock or knock or lock you up". He is having so much fun that he actually laughs audibly twice during the song. Deliberate humor is evident in "I Shall Be Free - No. 10", a topical rap about such topics as Cassius Clay, the Russians, Barry Goldwater, Cuba and "a weird monkey, very funky". He comes to the conclusion that "I'm a poet and I know it, hope I don't blow it." Still more humor is found in "Motorpsycho Nightmare", in which a weary Dylan seeks refuge at a farmer's house. His troubles start when "In comes his daughter whose name was Rita/She looked like she stepped out of La Dolce Vita", and the fun continues as Rita turns out to be like a female Tony Perkins from "Psycho".
Other relationships are more realistic. In "Spanish Harlem Incident", he is fascinated by a gypsy girl with "pearly eyes so fast and slashing, and your flashing diamond teeth". "To Ramona" is a Mexican-inflected country/folk love song. Dylan soothes Ramona and tries to build up her self-image: "There's no one to beat you/No one to defeat you/'Cept the thoughts of yourself feeling bad". "I Don't Believe You" is about rejection, but the mood is lighthearted so it must not have been too serious an affair. But, "Ballad In Plain D" is dead serious, about love that apparently leads to violence. The violence is implied, not specifically spelled out. And in "It Ain't Me Babe", Dylan is determined to discourage an admirer who wants "someone who's never weak but always strong...someone to open each and every door...someone who'll promise never to part...someone who'll come each time you call". It ain't him, babe.
Dylan did not completely forget his old fanbase. In "Chimes Of Freedom", a long poetic song in which those chimes are generated metaphorically by a thunderstorm, we find imagery such as this description of lightning: "Electric light still struck like arrows, fired but for the ones condemned to drift or else be kept from drifting". Dylan's chimes are for all outcasts, underdogs, the deaf, the blind, the mute, refugees, lonesome lovers, people unjustly imprisoned, and finally, "for every hung-up person in the whole wide Universe". But, on the other hand, in "My Back Pages" the former self-assured activist ("Good and bad, I define these terms/Quite clear, no doubt, somehow") finds "lies that life is black and white" and concludes: "Ah, but I was so much older then/I'm younger than that now."
- Reviewed in the United States on July 27, 2011The first time I ever heard of Bob Dylan was in 1964. I was just 18 and working as a temp clerk-carrier for the post office at the Van Nuys Kester annex. One night as I was sorting mail into pigeon holes, the guy next to me, Bob Oelrich, asked me if I had ever heard of this guy called "Bob Dieland". I had not. He said, "he can't sing, and can't play well, but something is there and it is really good." It wasn't long before Dylan was all over the radio. I loved it. Many years have gone and all my albums, too. A couple of years ago I had a yearning to get some Dylan music, so I bought 3 or 4 of my old favorite albums. Lately, I converted everything to my PC and have been listening again. I saw this "Another Side of Bob Dylan" on Amazon and decided to get it. What a great discovery! I had not heard most of the tracks and it transported me back to my youth when I made discovery after discovery with the music that was appearing. This was back in 1965-1969.
What I want to say about Dylan and this album is this: Think about the fact that this guy was only 23 years old when he wrote and recorded these songs. Then, listen carefully to the words in each cut. It is absolutely astonishing. How could he come up with these words and tunes? Dylan is a really great poet. And, he can combine that talent with the ability to create the music to convey that poetry. His music and lyrics are something that seems odd at first, but if you listen to it, really carefully, you will be with him. This is a great album, and I am surprised that I never found it before.
I have read most of the reviews posted here and there is a lot of analyzing going on. Since my introduction to Dylan was from the radio and then from getting his albums, my experience is different from the people who are younger than I because you had no choice but to hear Dylan, unless you just turned off your radio. In my day, AM radio was king. FM was so-so and sort of sleepy. You could not have the radio on in the car and not have a Dylan tune come on. My point is that Dylan seems lousy when you first hear him. Well, that was how I reacted. But, play it a few times. It will grow on you. Don't think so much about whether the music is good, or his voice is good. Just listen and feel it, suspend your thinking, let his lyrics be your thoughts.
When something seems really great at first, it usually fades with repetition. Dylan's songs are the other way round. I have found that is the mark of something created from a deeper source. Take his words in song when he is asked if he feels free and he says are birds free from the chains of the skyway. This shows a wisdom far beyond a 23 year old person. He understands that freedom is relative and everything is limited.
- Reviewed in the United States on February 1, 2011Bob Dylan does not need my opinion to secure his position as an outstanding artist, but because my age parallels his and I attended one of his concerts (in May, 1965), I would like to leave a few comments about this collection, which is, without doubt, one of his finest and most representative of the earlier phase of his "becoming." The exuberance in the arrangements, in his voice and in the material itself makes this disc noteworthy and a must-have. Listen to the enthusiasm with which he sings "All I Really Want To Do" or the passion in "The Chimes of Freedom" or the scorn in his "It Ain't Me, Babe" and you will easily see that he was at the summit of the early portion of his multi-textured career when he wrote and recorded this material. I recall how confused his "fans" were as he shifted phases, always true to the essence of himself. It was the changing form that confounded listeners, those who could not or would not recognize that in back of the form, the artist was always consistent to his essence--the "I am" that he is. They called him a traitor, and indeed he was or is...a traitor to Bob Dylan...if being a traitor means refusing to be locked into a rigid concrete form. More power to you, Bob Dylan. You are 100% right when you say that an artist has to be careful never to reach a mental state of having arrived. May you never arrive, but keep on becoming etc., etc.
Top reviews from other countries
- TVC15Reviewed in the United Kingdom on September 24, 2024
5.0 out of 5 stars Good
no issues
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Éder BofeteReviewed in Brazil on June 14, 2021
5.0 out of 5 stars Ótimo
Dylan se afastando dos temas políticos e começando a desenvolver sua poética simbolista/surrealista, vários clássicos do cantor estão neste LP, imperdível!
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lotharReviewed in Italy on January 22, 2024
5.0 out of 5 stars ok
ottimo
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Eloy Mompean MiguelReviewed in Spain on March 5, 2022
5.0 out of 5 stars BOB DYLAN ANTES DE ELECTRIFICARSE
Las canciones All I really want to do, Chimes of freedom y It ain't me babe pasan a ser parte importante de la historia de la música y eso que todavía quedan muchas por llegar.
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Cinema ShowReviewed in Germany on November 14, 2019
5.0 out of 5 stars Die 2003er SACD klingt so, als ob Dylan mit im Raum steht
Die Musik auf diesem Album ist zu recht schon beinahe als "klassisch" zu bezeichnen. Darauf bezieht sich meine Rezension auch nicht, auch wenn ich sagen muss, dass gerade das erste Stück "All I Really Want To Do" - obwohl vielleicht nicht so bekannt - zu den stärksten der gesamten Platte zählt.
Der Stereo-Layer der SACD (nur darauf beziehe ich mich) ist grandios gelungen. Es gibt einige Audiophile, die bemängeln, dass das Remaster von 2003 auch auf der SACD-Stereo-Schicht zu "scharf" und "hoch" klingt. Das kann ich in dieser Allgemeinheit nicht bestätigen. Es ist richtig, dass z.B. die Mundharmonika teilweise so laut und hart klingt, dass man zusammenfährt (bei der richtigen Lautstärke). Dennoch ist sie im Gesamtmix nicht zu dominant und auch nicht zu harsch, sondern genau so "laut", wie offenbar Dylan das wollte. Das Klavier in "Black Crow Blues" ist ausgesprochen natürlich und räumlich gut zu verorten. Insgesamt ist die Stimme Dylans so natürlich eingefangen, dass er manchmal mitten im Raum zu stehen scheint.