Bob Dylan‎– Blood On The Tracks Label: Columbia ‎– PC 33235 Format: Vinyl, LP, Album Country: US Released: 20 Jan 1975 Genre: Rock Style: Folk Rock, Acoustic, Ballad Tracklist A1 Tangled Up In Blue 5:40 A2 Simple Twist Of Fate 4:18 A3 You're A Big Girl Now 4:36 A4 Idiot Wind 7:45 A5 You're Gonna Make Me Lonesome When You Go 2:58 B1 Meet Me In The Morning 4:19 B2 Lily, Rosemary And The Jack Of Hearts 8:50 B3 If You See Her, Say Hello 4:46 B4 Shelter From The Storm 4:59 B5 Buckets Of Rain 3:29 Companies etc Manufactured By– Columbia Records Pressed By– Columbia Records Pressing Plant, Santa Maria Manufactured By– CBS Records Inc. Credits Art Direction– Ron Coro Artwork [Back Cover Illustration]– David Oppenheim Bass– Tony Brown (3) Engineer– Phil Ramone Liner Notes– Pete Hamill Organ– Paul Griffin Performer– Deliverance (5), Eric Weissberg Photography By [Cover]– Paul Till Steel Guitar– Buddy Cage Written-By– B. Dylan* Notes First US pressing with liner notes in black print on the rear cover.

USA FIRST PRESSING VINYL LP IN BLACK LETTERED REAR SLEEVE WITH ORIGINAL CARD INNER SLEEVE.

Why so many rear sleeves for Blood on the Tracks? - like everything with Bob Dylan, there is a story to be told...

The first US (and all UK) pressings of the album was issued with a rear sleeve featuring notes by the journalist and author Pete Hamill, surrounding a painting by David Oppenheim. These notes were based on, and quoted lyrics from, the original versions of the songs on the Blood on the Tracks test pressing. The original New York musicians were credited, but not those from Minnesota that played on the re-recorded versions Dylan made before releasing the album (which is why the matrix is 2 and not 1 in this case). The sleeve notes were then removed, to be replaced by a new and larger painting by Oppenheim, whilst the New York musician credits disappeared. Then, as is the way with all things Zimmerman, Pete Hamill won a Grammy for his sleeve notes. So Columbia hastily restored the original rear sleeve in more readable white text. On all three sleeves, none of the Minnesota musicians that actually played on the record were ever credited.

MATRIX NUMBERS IN RUN-OFF GROOVES: SIDE A: PAL-33235-2A [handwriten] 2T B / SIDE B: PBL-33235-2AA [handwritten] 1T.

A note about Columbia first pressings:

Columbia Records would often cut six (or more) lacquers at the same time for high demand records. Multiple lacquers would be cut and sent to various pressing plants so that they could have more than one plant pressing the records at the same time.

Columbia used XSM, MAL, XLP, and consecutive numbers for each side, or PAL and PBL prefixes for sides 1 and 2 of their albums. The coding of the lacquers with letters allowed the lacquers to be assigned to different pressing plants. A and B suffixes for the Santa Maria, Ca. pressing plant, C and D for Terra Haute, In. and E and F for Pitman N.J. Six (or more) sets of lacquers were usually cut for any big-name artist, so the very first mastering would be 1A, 1B, 1C, 1D, 1E, and 1F. This changed over the years (pressing plants opened or closed), so A and E lacquers were known to be sent to the Terra Haute, Indiana pressing plant, B and D lacquers the Pitman, New Jersey pressing plant, C laquers were sent to the Santa Maria, California pressing plant, and G and H were sent to the Carrollton, Georgia plant. Thus a record with a 1A in the matrix could easily have been pressed at the same time as a record with a 1H in the matrix. They were just pressed at different pressing plants. Letters M and N were brought into use in the 1980s.

SLEEVE: VERY GOOD+, JUST LIGHT SHELF, CORNER AND EDGE WEAR. SMALL PEN MARK ON FRONT TOP. INNER SLEEVE IS VERY GOOD+.

DISC: EXCELLENT MINUS. NO SCRATCHES AND NO NOTICEABLE SPINDLE WEAR, JUST A FEW LIGHT HAIRLINES. CLEAN LABELS. A SPLENDID PLAYING COPY WITH SUPERB AUDIO.

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