3 Scotch 190 full reels of magnetic 1/2” tape, 10 1/2” diameter metal reels, each with original cardboard slipcase and inner cardboard reel holder. Each slipcase has original Scotch label on one side and handwritten “Bob Dylan, Job # 64937, 11-20-61 1D" on the verso. (“2D" and “3D" are handwritten on the second and third slipcases, respectively.) "Job #64937" also appears handwritten on each slipcase’s narrow end. The reels of tape, slipcases and inner reel holders are in excellent condition. Also included: original tape logs for each reel. Logs list songs, numbers of takes, length, etc. Each signed by John Hammond and initialed by engineer. 1D log has corner tear (no paper loss) and minor paper loss upper right. Logs for 2D and 3D are complete and intact. 3D log has a very minor tear. A professional studio engineer’s recent analysis (see below) of the condition of the tapes has described them as “exceptionally good.” Recently, great care was taken to professionally transfer the analog tape recordings to a high-quality digital format. Also, a plastic leader tape was added at the heads and tails of each reel as protection for the magnetic tape. This was done when the reels were initially inspected and played.
The recordings contained on these three master professional tapes were used to make the first Bob Dylan record album, “Bob Dylan.” Markings on the slipcases and the enclosed tape logs describe the John Hammond-produced sessions at Columbia Studios, New York City, on November 20 and 22, 1961. The dates are consistent with the album liner notes.
The tapes contain all the songs that appear on the album, as well as songs that were not included. Of significant importance is the fact that the tapes also contain verbal comments / suggestions made by John Hammond from the control both and Bob’s responses.
On August 7, 2023 at Electrical Audio In Chicago, three vintage master tapes were digitally copied at this studio. The tapes were in pristine condition. Bob Dylan’s first album “Bob Dylan” was produced from these tapes.
The tapes have three tracks running at the recording speed of 15 inches per second. One track is allocated to the vocal and harmonica microphone, another to the guitar and the third (the center track) to John Hammond’s comments over the control room talkback microphone. Accurate playback of the tapes require a tape machine able to handle the three track 15 ips half inch tape format.
The quality of the audio is excellent. A standard practice for making master tapes includes recording a set of tones onto the tapes. Indeed, alignment tones are present here allowing for accurate playback of the masters. They are engineered so that tracks can be balanced or mixed at later sessions. The engineers established their recording levels during Dylan’s first run “You’re No Good.” These are professionally formatted, first generation tapes; from a pure audio quality perspective, they are the best.
Regarding audio quality, starting at approximately halfway through reel “2”* and continuing through reel “3,” a low level noise is discernible. It was detected and indicated on the tape logs. It is speculated that this came from John Hammond’s center track. (*It is quite possible that this was at the start of the second day of the two-day recording session.)
It should be noted that it was often the practice to make valuable master tapes redundant. If a tape was lost or damaged, a back-up existed. Studios could make multiple masters by recording simultaneously on two aligned recorders. Inasmuch as each reel number designated on these tape boxes ends with a letter “D” (i.e., 1D, 2D, 3D), these tapes could possibly be duplicates. If this is true, it would therefore be possible that another set of Dylan masters for this album exists. Research, however, into this possibility has not revealed such additional tapes.
John H. Hammond was a record producer, Civil Rights activist, and talent scout. He was considered one of the most influential figures involved in mid-twentieth century music. Mr. Hammond played a significant role in the musical careers of such figures as Bruce Springsteen, Benny Goodman, Billie Holiday, Count Basie, Pete Seeger, Aretha Franklin, Leonard Cohen, and many others. Perhaps of greatest significance was John’s discovery of Bob Dylan.
On November 20 and 22, 1961, John Hammond produced two recording sessions with Bob Dylan at Columbia Studios, NYC. From those sessions came Bob’s first album titled simply “Bob Dylan.” Although the album was far from a financial success, it universally has been credited for initiating Bob Dylan’s remarkable and unprecedented career. Stemming from this album, Bob Dylan’s words and music have impacted the lives of several generations of people around the globe.
Stephen Handschu, current owner of the Bob Dylan tapes, is a remarkable person. Blind since birth, Stephen nevertheless has long been an activist for Civil Rights and other just causes. Stephen has been instrumental in the placement of Braille books in libraries across the U.S.
When Stephen was a young man in the early 1960’s, he lived and worked in a lower Manhattan studio. Despite being blind, he was recognized for his sculptural work in wood. In 1966, Stephen’s roommate who worked as a custodian in the building where Columbia Records studio was located, was allowed to take tapes from the studio that were otherwise destined to be discarded. Inasmuch as it was customary that old tapes were scrubbed, it was believed that these tapes were blank. The roommate gave the tapes to Stephen because of his interest in all things audio.
Leaving NYC, Stephen kept the tapes. Fast forward nearly four decades. While living in Chicago, Stephen Handschu was introduced to Scott Steinman, chief studio engineer and studio owner. Together, the men were making a recording to help blind people vote. It was only then that Stephen mentioned that he was in possession of a set of old master reels of tape. Interested, the studio head arranged for an old tape player to be rigged up. Shockingly, always having believed that the tapes had been scrubbed (erased while at the studio, the two men heard Dylan’s unmistakable voice. The rest is history.
Twenty years after the stunning discovery, earlier in 2023 Stephen learned of a new television program being launched. Similar to the Antiques Roadshow, it was to focus on entertainment memorabilia. So excited were the Show’s producers to hear about the discovery of the Dylan tapes, they allocated half of a segment to it. Airing on DirectTV May 1st of this year, in addition to a Rock & Roll historian, the Show featured an interview with John Hammond, Jr., who - as the son of the producer - was present at the Dylan 1961 recording session. All concluded that indeed, these tapes were genuine.
Today, Mr. Handschu lives in Detroit where he has been a tireless advocate for the blind and otherwise disabled. Most thoughtfully, though not a man of substantial means, Stephen Handschu will be donating a portion of the proceeds from the sale of the Bob Dylan tapes to Eye Learn Cares, the only non-profit organization to helping the Blind in Detroit.
Record producer and civil rights activist John Hammond was responsible for discovering an extraordinary array of the twentieth century’s most popular performing artists. A partial list of those who largely owe their careers to Hammond include Benny Goodman, Count Basie, Billie Holiday, Robert Johnson, Bessie Smith, Aretha Franklin, Pete Seeger and Bruce Springsteen.
On November 20 & 22, 1961, John took a young Bob Dylan into the Columbia Records, NYC recording studio. From those sessions came more than four hours of tape footage and the birth of a legendary career. Titled simply “Bob Dylan,” the album that resulted from those two sessions was far from a commercial success. Nevertheless, it is universally recognized for bringing attention to a man whose words and music powerfully impacted a generation.
As one would imagine, there are multiple “takes” for each of the thirteen songs that ultimately appeared on the three-track album. Fortunately, one of those tracks recorded the control room microphone through which John spoke with Bob. Recorded for posterity - and being heard for the first time though this Guernsey’s offering - is the interesting banter between the producer (Hammond) and the artist (Dylan) as they discuss what the folksinger has chosen to perform. It is certainly interesting to note how young indeed Bob Dylan sounds, and that the selection of the songs for the album was made entirely by Dylan. Unlike today, it seems like little concern was given to such matters as “copyrights.”
Below is just a sampling of the many sound clips (and their transcriptions) of Bob and John on these master tapes.
