BOB DYLAN LIKE A ROLLING STONE INSANELY RARE ORIG ALBERT GROSSMAN 2-SIDE ACETATE

$

1,500

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·       BOB DYLAN - LIKE A ROLLING STONE - INSANELY RARE, ALMOST CERTAINLY ONE-OF-A-KIND 2-SIDED ACETATE  ORIGINAL 1965 COLUMBIA RECORDS TWO ONE-SIDED MONO ACETATE SET (NO NUMBER)

·       ORIGINAL U.S. PRESSING

·       ACCORDING TO THE HANDRWRITTEN ATTENTION LINE ON THE ACETATE'S SLEEVE (PLEASE SEE THE RIGHT-HAND CORNER OF THE YELLOW SLEEVE, ON BOTH SIDES), THIS ACETATE WAS APPARENTLY A PROPERTY OF BOB DYLAN'S CONTROVERSIAL FIRST MANAGER, ►ALBERT GROSSMAN AND WAS MOST LIKELY GIVEN TO HIM BY THE COLUMBIA'S ENGINEERING TEAM DURING THE RECORDING SESSION IN ORDER TO HELP HIM ASSESS THE INTEGRITY OF THE FINAL TAKE AND COMMERCIAL VIABILITY OF THE RECORDING (FOR THOSE NOT FAMILIAR WITH THE NAME AND/OR THE FACE, ALBERT  GROSSMAN CAN BE SEEN FACING CIGARETTE-LIGHTING BOB DYLAN (AND FACING AWAY FROM THE CAMERA) ON THE INSIDE OF THE GATEFOLD COVER OF BOB DYLAN'S 1966 'BLONDE ON BLONDE' ALBUM (UPPER LEFT-HAND PHOTO); HE IS ALSO THE MAN WHO DISCOVERED JANIS JOPLIN AND ACTED AS JANIS JOPLIN'S AND THE BIG BROTHER'S MANAGER DURING THE CRITICAL PHASE OF THE BAND'S CAREER, CIRCA 1968. ALBERT GROSSMAN'S MANAGEMENT STYLE PROVED TO BE SO CONTROVERSIAL, CONFRONTATIONAL, PROBLEMATIC AND INDELICATE THAT, IN 1967,  BOB DYLAN WAS ULTIMATELY FORCED TO PART WAYS WITH HIM UNDER (TO PUT IT MILDLY) LESS THAN AMICABLE CIRCUMSTANCES, CAUSING HIM TO GO INTO A 2-YEAR RECORDING HIATUS DURING WHICH HE REFUSED TO RELEASE ANY NEW MATERIAL TO COLUMBIA.  IRRESPECTIVE OF ALBERT GROSSMAN'S TROUBLED REPUTATION, THERE CAN BE ABSOLUTELY NO DOUBT TAHT BOB DYLAN NEVER WOULD HAVE RECEIVED THE CRITICAL MEDIA ATTENTION AND EXPOSURE DURING THE CRITICAL EARLY STAGE OF HIS CAREER WITHOUT GROSSMAN'S BULLYISH APPROACH TO DEFENDING HIS CLIENTS' INTERESTS.

*** INSANELY RARE ORIGINAL 1965 COLUMBIA WORK-IN-PROGRESS ACETATE WITH THE INITIAL DRAFT OF THE SINGLE SPLIT IN TWO PARTS (LIKE A ROLLING STONE PART 1 / PART 2, EACH PART ON ONE SIDE).  NAMELY, WHEN DYLAN INITIALLY PRESENTED THE SINGLE TO COLUMBIA, THE DURATION OF THE SONG IMMEDIATELY BECAME A POINT OF CONTENTION BETWEEN DYLAN, HIS TEAM AND COLUMBIA'S MANAGEMENT DUE TO IT'S UNUSUAL LENGTH (6 MINUTES 13 SECONDS);  COLUMBIA'S MANAGEMENT APPARENTLY FELT THAT NO RADIO STATION WOULD PLAY THE SONG OF SUCH UNUSUAL LENGTH, AND THEY WERE CONSIDERTING TRUNCATING THE SONG TO FIT THE STANDARD 3-MINUTE LENGTH OF THE AM-FRIENDLY 45 SINGLE (THIS ACETATE DEMONSTRATES HOW THEY INITIALLY VISUALIZED THE FINAL PRODUCT: WITH BOB DYLAN'S GREATEST SONG AND ONE OF TOP-5 GREATEST SONGS IN THE HISTORY OF ROCK & ROLL SPLIT RIGHT DOWN THE MIDDLE, AND IN THE MIDDLE OF DYLAN'S HARMONICA SOLO AND BEFORE THE CRITICAL PUNCHLINE FOUND IN THE CLOSING TWO VERSES!!! ESSENTIALLY, COLUMBIA'S MANAGEMENT PLANNED TO USE DYLAN'S HARMONICA SOLO AS A FADE-OUT OF PART 1 (WHICH WAS PROBABLY PLANNED AS SIDE 'A' OF THE HIT-SINGLE) AND AS AN EXTENDED INTRO TO PART 2 OF THE SONG, WHICH ALMOST CERTAINLY WOULD HAVE ENDED UP AS A FLIP SIDE OF THE HIT SINGLE. IN HINDSIGHT, THE IDEA WAS OBVIOUSLY RETARDED IN THE EXTREME, BUT I GUESS ONE SHOULDN'T EXPECT ANY BETTER FROM ANY MAJOR RECORDING LABEL, SHOULD ONE?

     YOU ARE LOOKING AT THE DEMO VERSION OF THE SONG THAT MANY ROCK COLLECTORS, DJ'S, HISTORIANS AND OTHER ARTISTS DEEM TO BE THE ►GREATEST ROCK SINGLE OF ALL TIME (COUNT US IN, FOLKS -- ENTHUSIASTICALLY!!!). 'LIKE A ROLLING STONE' CONSISTENTY TURNS UP IN THE TOP-5 TIER OF THE LISTS OF THE GREATEST ROCK ANTHEMS OF ALL TIME, AND QUITE DESERVINGLY SO:  DESPITE THE SONG'S SEEMINGLY INOCCUOUS ARRANGEMENT, SOMEWHAT NONDESCRIPT  CHORD CHANGES AND A BIT AWKWARD TIME SIGNATURE, THE SONG RADIATES UNUSUALLY FORCEFUL, ALMOST LETHAL, LEVELS OF OPAQUE, DARK ENERGY: ANGRY, BITING, VENOMOUS, CAUSTIC, ALMOST BRUTAL.  UNLIKE MANY OTHER DYLAN'S SONGS, THIS ONE IS NOT ABOUT LOVE AT ALL , EXCEPT - PERHAPS -  IN THE MOST ABSTRACT SENSE: THIS ONE IS ABOUT RETALIATION, RETRIBUTION; COSMIC JUSTICE; BAD KARMA, WHEEL OF FORTUNE MAKING A FULL TURN, AN EYE FOR AN EYE, YOU NAME IT. PERHAPS YOU CAN CALL IT BOB DYLAN'S 'F*** YOU' NOTE TO THE DEPARTING LOVER, BUT THE SONG WORKS ON SO MANY LEVELS AND WITH SO MANY IMPLICIT LAYERS OF MEANING THAT DESCRIBING IT AS AN ANGRY LOVE SONG SIMPLY DOESN'T MAKE SENSE OR DO IT ANY JUSTICE. STRANGELY, THE SONG DOES FEEL GOOD, DESPITE IT'S NEGATIVE CONTENT AND IT'S SEEMINGLY BAD VIBES. IT FEELS RESTORATIVE AND, I WOULD DARE SAY, REJUVENATING TO ANYONE CARING TO PONDER IT'S TRUE MEANING.  ANY WHICH WAY YOU DECIDE TO INTERPRET THE SONG'S EVOCATIVE LYRICS IT FEELS RIGHT AND PROPER, AND IN MORE WAYS THAN ONE (ALMOST LIKE A RELIEF OR HEALING).  IN SOME WAYS, THE SONGS FEELS MORE LIKE A SERMON (OR AT LEAST A MORALITY STORY) THAN A CONVENTIONAL ROCK HIT SINGLE.  AND, MIND YOU, TIMING FOR SUCH POWERFUL ROCK SERMONS COULD NOT BE MORE IMPECCABLE: THE YEAR WAS 1965, THE YEAR OF MALCOLM X'S ASSASSINATION; THE YEAR OF THE WATTS RIOTS; BARELY A FEW MONTHS AFTER THE CIVIL RIGHTS ACT OF 1964, A YEAR OF THE LYNDON B. JOHNSON'S 'GREAT SOCIETY' AND THE BEGINNING OF THE SLIDE TOWARD WHAT WOULD ULTIMATELY BECOME OUR LONG NATIONAL NIGHTMARE IN VIETNAM (AND EVEN LONGER NIGHTMARE FOR THE VIETNAMESE THEMSELVES). THERE WERE WRONGS TO BE RIGHTED,  INJUSTICES TO BE CORRECTED, AND SCORES TO BE SETTLED AND BOB DYLAN'S METAPHORIC LYRICS - WHILE, ON THE SURFACE MERELY ABOUT A SCORNED (OR SCORNFUL) LOVER - REALLY SPEAK TO THE WORLD AT LARGE, AND COME WITH A CONCEALED UNIVERSAL MEANING ADDRESSING THE ENTIRE HUMANITY: THERE IS NO JUSTICE WITHOUT COMEUPPANCE AND PENITENCE, AND NO PEACE WITHOUT JUSTICE.  THUS SPOKE DYLAN IN 1965 TO ANYONE WHO HAD EARS (OR ANYTHING IN BETWEEN). AND THUS  HE STILL SPEAKS TODAY, ALMOST HALF A CENTURY LATER, TO ANYONE WHO CARES  TO LISTEN -- AND HEAR.

     The difference between this demo take and the final, released version are small and subtle, but fairly audible. Obviously, the split harmonica solo which extends across both sides as a fade out / fade in gives the song a completely different, unfinished, crude feel. in addition, Mike Bloomfield's guitar intro (right after Hal Blaine's dramatic drum break) is much louder than on the released version (the result, almost certainly, of the unadjusted recording or mixing levels), but quickly tapers off to the more familiar loudness level. There are other subtle and nuanced differences in the levels of bass, organ and guitar, although they are too ephemeral and metaphysical to be of major significance or to merit much discussion here.

·       THIS ACETATE COMES IN ITS ORIGINAL PLAIN BROWN INNER SLEEVE ADDRESSED TO THE ATTENTION OF BOB DYLAN'S CONTROVERSIAL FIRST MANAGER, ALBERT GROSSMAN, AND WILL BE PLACED IN WHITE,  GENERIC COVER FOR BUYER'S CONVENIENCE.

·       THERE ARE NO LABELS ON THE ACETATE; THE SIDES ARE CRUDELY IDENTIFIED WITH A WHITE CRAYON WRITING ON THE PRESSED SIDES. THE WRITING IDENTIFIES THE MATRIX NUMBER (CO-86446, MATRIX SEQUENCE ("DASH-2", MEANING COLUMBIA'S -2 MATRIX, MOST LIKELY FOLLOWING THE UNRELEASED "DASH-1" VERSION, WHICH MOST LIKELY WAS THE VERSION TOM WILSON (THE SONG'S PRODUCER) WAS INITIALLY HAPPY WITH),   AND PART IDENTIFICATION (PART 1 / PART 2). NEITHER THE ACETATE ITSELF NOR THE YELLOW SLEEVE (WHICH IS SOMEWHAT TATTERED AND FRAYED, BUT MOSTLY INTACT) REVEAL MUCH ELSE ABOUT THE ACETATE, ITS FATE, ORIGIN, PURPOSE OR HISTORICAL BACKGROUND. THE MOST REVELATORY BIT OF INFORMATION BEING  A CLEAR AND POINTED REFERENCE TO ALBERT GROSSMAN, WHICH CLEARLY SIGNIFIES THAT THIS PARTICULAR ACETATE MUST HAVE PLAYED A VERY MAJOR ROLE IN THE HISTORY OF THE LEGENDARY SONG AND ITS BIRTH. (PLEASE NOTE: CRAYON WRITING IS PARTLY WORN AND IN FAIRLY SENSITIVE AND PRECARIOUS CONDITION: PLEASE HANDLE ACCORDINGLY)

·       THIS IS THE ORIGINAL, AUTHENTIC, U.S. ACETATE ; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING

·       COPYRIGHT NOTICE: THIS TITLE IS BEING OFFERED FOR SALE AS IT IS DEEMED TO BE (OR HAVE BEEN) PUBLICLY AND COMMERCIALLY AVAILABLE. IF YOU ARE THE OWNER OF THE COPYRIGHT AND HAVE QUESTIONS, COMMENTS OR DOUBTS, PLEASE CONTACT US DIRECTLY THROUGH EBAY.

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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We encourage all prospective bidders on this ENORMOUSLY important Rock artifact to familiarize themselves  with the Wikipedia article on this legendary song, which provides a plethora of incredibly revealing musical and historical information about the birth of one of the Greatest Rock Anthems.  We will quote just a brief paragraph from the article, which pretty much summarizes it all:

          "According to Shaun Considine, release coordinator for Columbia Records in 1965, "Like a Rolling Stone" was first relegated to the "graveyard of canceled releases" because of concerns from the sales and marketing departments over its unprecedented six-minute length and "raucous" rock sound. In the days following the rejection, Considine took a discarded acetate (it may well have been the one you are looking at, folks! -- op.ed)  of the song to a New York club called Arthur—a newly opened disco popular with celebrities and media people. At the crowd's insistence, the demo was played over and over, until finally it wore out. The next morning, a disc jockey and a programming director from the city's leading top 40 stations called Columbia and demanded copies. Shortly afterwards, on July 20, 1965, "Like a Rolling Stone" was released as a single with "Gates of Eden" as its B-side.

          Despite its length, the song became Dylan's biggest hit to date and remained in the US charts for 12 weeks, where it reached number 2—behind The Beatles' "Help!".The promotional copies released to disc jockeys on July 15 had the first two verses and two refrains on one side , while the rest of the song was put on the other. Deejays who wanted to play the whole song would simply flip the vinyl over. While many radio stations were reluctant to play the song in its entirety, public demand eventually forced them to air the full song. This helped the single reach its number 2 peak, several weeks after its release. It was a Top 10 hit in other countries, including Canada, Ireland, the Netherlands, and the United Kingdom"

 (EXCERPT FROM AN ONLINE ARTICLE AT WIKIPEDIA.ORG)

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While this acetate is in a VERY NICE  state of preservation, we do expect bidders to understand that the aluminum-based, shellac-coated acetates can never be graded by using the exact, same stringent standards used by collectors for modern long-play, hi-fi LPs or singles. The buyer – if not familiar with acetate (reference) recordings - should be cautioned that these discs were intended for brief, limited use only; they were meant to be played only a few times, then discarded or destroyed. In view of this, the surface layer of the disc is manufactured in such a manner that it will wear off pretty quickly, even under normal conditions -- and specially if not handled with due care. Each subsequent playing increases wear and tear of the disc’s surface layer and diminishes the disc’s playability. This disc appears to have been unplayed recently and the grooves are still well-formed and fully visible.

This acetate is in STRONG VERY GOOD+ (VG+) condition, with some superficial but visible   scuffs on the surface . Absolutely NO part of the shellac (surface layer) of the disc is  missing, and the surface layer is NOT dented, chipped, broken or otherwise compromised.  The disc plays beautifully, with only a sporadic light crackling noise (nothing dramatic), and in full frequency and dynamic range and without much distortion.

ON A SCALE FROM 1-10 (where 10 is the best), WE GRADE THIS ACETATE AS  5.5 POSSIBLY 6

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·       COVER : This acetate comes without any custom jacket (EXCEPT for the original , generic yellow inner sleeve with Albert Grossman's name on it) , and will be shipped in a plain, generic, white cardboard cover for added protection and buyer's convenience.

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POSTAGE & SHIPPING:

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