BOB DYLAN I WANT YOU RARE ORIG'66 COLUMBIA MONO 7" 45rpm SINGLE w/PICTURE SLEEVE

$

75

WE CURRENTLY HAVE  NEARLY 300  LISTED ITEMS

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·       BOB DYLAN –I WANT YOU c/w JUST LIKE TOM THUMB'S BLUES – RARE ORIGINAL 1966 COLUMBIA RECORDS MONO 45 rpm, 7-inch SINGLE 4-43683 WITH PICTURE SLEEVE

·       ORIGINAL U.S. PRESSING

·       ORIGINAL RED COLUMBIA MONO LABEL WITH BLACK PRINT

·       INCLUDES ORIGINAL PICTURE SLEEVE

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

·       CLEAN, WEAR-FREE LABELS

·       MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) ENDS WITH '-1F/1F'.  ON SOME LABELS,  SUFFIX '–1' DENOTES THE VERY FIRST, ORIGINAL PRESSING)

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

(►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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"I Want You" is not one of the more discussed songs off Blonde on Blonde by critics. But it was one of his most successful 1960s recordings, reaching the Top 20 in 1966 as a single. Dylan was not the greatest writer of melodies even at his peak, and one of the reasons "I Want You" was selected as a single, no doubt, was that it had far stronger hooks than most of his compositions. The principal one was the dancing organ, bouncy and circus-like in tone, heard in the opening instrumental section. That organ keeps interjecting, though subtly, during the verses, which boast one of Dylan's most wistful tunes, though the arrangement is upbeat and rocking. "I Want You" is, like many of his mid-'60s numbers, a love song, but a most enigmatic and surrealistically phrased one. The scenario Dylan seems to be describing is one in which the whole world is conspiring to keep him from declaring and solidifying his love. It's not the whole world in a paranoid pop Gene Pitney-Roy Orbison sense, but the whole world as represented by some downright weird characters (for a pop song, certainly): a lonesome organ grinder, a drunken politician, a guilty undertaker, a child in a Chinese suit. But Dylan's uncowed, exulting joyfully in the chorus that he wants her anyway. There's a brief bridge in which the melody briefly gets darker before resolving with more optimistic, sunny progressions; it's a good section, and it's a little surprising that it's only used once in the song. Dylan's sing-speak voice sounds worn but playful on "I Want You," and there's more than a touch of surrealistic humor, especially in the line where he takes a flute from the child in a Chinese suit and admonishes himself: "No I wasn't very cute to him, was I?" Some energetic harmonica work helps drive a song which certainly rates among Dylan's peppiest. Considering that it was a pretty big hit, there haven't been that many cover versions of "I Want You." Two of the more famous acts to tackle the tune were the Hollies, who put it on their late '60s album of Dylan covers, and Bruce Springsteen, who did it live (but did not release it) in the mid-'70s.

 (EXCERPT FROM AN ONLINE SONG REVIEW BY RICHIE UNTERBERGER, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

Among the masterpieces of Bob Dylan's amazing outpouring of songs in the mid-'60s, "Just Like Tom Thumb's Blues" is a minor pleasure. For anyone else, its extravagant imagery and literary references would make it a sophisticated, comic tour de force. But it has tended to be overshadowed by Dylan's other songs of the period. When he came to record it on August 4, 1965, it was only the warm-up to the lengthy, surreal "Desolation Row," and that sequencing carried over when the two songs appeared at the end of the Highway 61 Revisited LP later in the month. In the song, after the usual Dylan backup instrumentation of the period -- guitar, piano, organ, bass, drums -- sets up a lazy, rolling groove, the singer comes in sounding tired and telling a tale about being lost in the rain in Juárez, Mexico, at Easter time. Critics have pointed out the similarity of the setting to Malcolm Lowry's novel Under the Volcano, and that's only the start of the footnotes. Before the end of the first of the six verses, you are "down on Rue Morgue Avenue," calling to mind Edgar Allen Poe's short story "The Murders in the Rue Morgue." The tone is established: This is a tale of horror and dissipation. You and the narrator (who is acting as something of a tour guide) encounter shady women like Saint Annie and Sweet Melinda, as well as corrupt authorities. The narrator drinks and drugs his way into helplessness, and having done so, declares ironically at the end, "I'm going back to New York City/do believe I've had enough." And what does Tom Thumb (never mentioned in the lyrics) have to do with all this? By 1965, Dylan had established a pattern of using titles that had little apparent relationship to their songs, and this may be another one. But biographer Robert Shelton, recalling Dylan's affection for Rimbaud, cites the poet's "My Bohemian Life (Fantasy)," in which he refers to himself as "Tom Thumb in a daze," as a possible source of inspiration for the title. Dylan performed "Just Like Tom Thumb's Blues" frequently during his band tour of 1965-1966. In June 1966, a live version of the song that had been recorded on May 14 in Liverpool was released as the B-side of the Dylan single "I Want You." This marked the first commercial release of a live recording by Dylan and the only release of material from the 1966 British tour until the 1998 release of The Bootleg Series, Vol. 4: Live 1966. "Just Like Tom Thumb's Blues" earned one of its few covers when Judy Collins recorded it for her fall 1966 In My Life album. Dylan put his recording on Bob Dylan's Greatest Hits, Vol. 2 in 1971 and performed it regularly on his 1974 comeback tour. It has continued to be an occasionally performed song in his concert repertoire ever since. Though there haven't been a lot of covers, the song has appealed especially to women singers, earning recordings by Nina Simone and Linda Ronstadt. At the 1992 Dylan tribute concert held at Madison Square Garden, it was sung by Neil Young.

 (EXCERPT FROM AN ONLINE SONG REVIEW BY WILLIAM RUHLMANN, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

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·       CONDITION:

·       45-RPM SINGLE RECORD:

(IMPORTANT NOTE: unless otherwise noted below, ALL records are graded visually, and NOT play-graded!; we  grade records under the normal room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VERY GOOD+(+) . CAUTION: The vinyl is NOT MINT or NEAR MINT, but is nevertheless in a very nice and clean condition. There are some surface marks and abrasions, mostly light and superficial, although some may be longer than 1.1/4 inches (1 inch = 2.5 centimeters)

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Stereo copies of this 45 single are NOT known to exist.

(d)          Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       PICTURE SLEEVE

THE PICTURE SLEEVE IS NICE --- ABOUT EXCELLENT OR VERY GOOD++ (VG++).

The following flaws or imperfections are noted on the sleeve:

-        Sleeve has a few visible wrinkles along the seams

-        Sleeve has some light ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 3

-        Sleeve shows some light yellowing on both sides, apparently from aging.

-        Minor shelf wear noted on the seams (nothing significant)

-        Cover has some tiny, faint writing on its back side (a small filing code written in one corner)

NO OTHER IMPERFECTIONS ON THE SLEEVE:

-        No split seams

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

We offer THREE postage rates for both Domestic and International Mail: Media Mail, Priority Mail and Express Mail for domestic, and First Class, Priority International Mail, and Express International Mail for international orders. INTERNATIONAL CUSTOMERS PLEASE NOTE: WE RECOMMEND that you pay for USPS International Priority Mail OR International Express mail when making a payment in order to obtain tracking information, which is NOT available for First Class International shipments.

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