Limited Mobile Fidelity SACD hybrid pressing. The ever-evasive Bob Dylan never explicitly stated exactly what represented the another side of himself referenced in the title to his second 1964 record. Yet the whimsical moods, hallucinogenic prose, humorous angles, transparent mistakes, and noncommittal themes give a pretty clear idea at what the Bard hinted as he emerged from being labeled as a reluctant generation spokesperson and folk savior after releasing two highly intellectual, socially pioneering sets replete with protest songs. Dylan needed to take a breath, step back from the drama, and reevaluate his surroundings. The uninhibited joie de vive is discernible in the rattling piano lines on 'Black Crow Blues', seemingly subconscious ramble of the hysterical folk rhyming of 'Motorpsycho Nightmare', bluesy dream sequencing throughout' I Don't Believe You', and intentionally out-of-tune yodeling during 'All I Really Want to Do'. On a majority of the prized set, Dylan let's his guard down, but does so in clever manners that speak to his surrealist imagination and biting wit. He possesses the rare ability to make planned strategies appear spontaneous, to challenge audiences with stinting wordplay and minimalist melodies that provide a deceptive false security.
