Bob DylanThe Times They Are A-Changin'

Label:Columbia – CL 2105
Vinyl, LP, Album, Mono, Pitman Pressing
Genre:Blues, Folk, World, & Country
Style:Folk, Folk Rock, Acoustic


A1The Times They Are A-Changin'3:12
A2Ballad Of Hollis Brown5:03
A3With God On Our Side7:05
A4One Too Many Mornings2:38
A5North Country Blues4:33
B1Only A Pawn In Their Game3:30
B2Boots Of Spanish Leather4:38
B3When The Ship Comes In3:15
B4The Lonesome Death Of Hattie Carroll5:45
B5Restless Farewell5:32

Companies, etc.



Original labels with "2-Eye" logos, "COLUMBIA" and copyright perimeter print in white; "GUARANTEED HIGH FIDELITY", Artist name, song titles, and all other typeset information printed in black.

Disk pressed by Columbia Records Pressing Plant, Pitman as indicated by 'P' in runouts.
Runouts are stamped. (Another version of The Times They Are A-Changin' exists with hand etched matrix numbers in the runouts.)

Sleeves for the Pitman pressings have a small "1" printed in the lower right of the back sleeve next to the song-titles, and both mono and stereo catalog numbers are printed under the "eye" logo at the upper right of the back sleeve. (Sleeves marked "3" and "8" with only the mono catalog number at the upper right were used - simultaneously - at Columbia's Terre Haute and Santa Maria facilities, respectively: see The Times They Are A-Changin' and The Times They Are A-Changin'.)

Includes a printed 12"x12" paper insert which continues '11 Outlined Epitaphs' from rear cover.

Barcode and Other Identifiers

  • Matrix / Runout (Side A Label): XLP 75526
  • Matrix / Runout (Side B Label): XLP 75527
  • Matrix / Runout (Runout Side A Stamped [Variant 1]): o XLP-75526-1A P
  • Matrix / Runout (Runout Side B Stamped [Variant 1]): o XLP-75527-1B P
  • Matrix / Runout (Runout Side A Stamped [Variant 2]): o XLP-75526-1B P
  • Matrix / Runout (Runout Side B Stamped [Variant 2]): o XLP-75527-1B P
  • Matrix / Runout (Runout Side A Stamped [Variant 3]): o XLP-75526-1A P
  • Matrix / Runout (Runout Side B Stamped [Variant 3]): o XLP-75527-1A P
  • Matrix / Runout (Runout Side A stamped [Variant 4]): o XLP-75526-1B P
  • Matrix / Runout (Runout Side B stamped [Variant 4], except "\\" etched): o XLP-75527-1AA P \\ 3

Other Versions (5 of 258)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
The Times They Are A-Changin' (LP, Mono, Album)CBSBPG 62251UK1964
Recently Edited
The Times They Are A-Changin' (LP, Album, Stereo)ColumbiaCS 8905US1964
New Submission
The Times They Are A-Changin' (LP, Album, Stereo)CBSSLB62251UK1964
New Submission
The Times They Are A-Changin' (LP, Album, Mono)CBSBPG 62251UK1964
Recently Edited
The Times They Are A-Changin' (LP, Album, Mono)CBS, CBS62251, BPG 62251UK1964



  • HereComesTheWar's avatar
    Along with the "No shit." reponse he would get when seeing the title of his album and that stupid face he's making on the cover...the guy can't even spell "changing". Worthless.
    • Davidhholmes's avatar
      Does anyone else’s version of this pressing prematurely run out before the end of the song “North Country Blues” on side A?
      • discoch's avatar

        • AndyParypa's avatar
          Can anybody help me, please? I have nearly the same version as Bob Dylan - The Times They Are A-Changin' and Bob Dylan - The Times They Are A-Changin', sleeves are identical, labels almost identical, too. Only difference: On my label A side the "S" (of SBPG 62251) is bold. Both mentioned versions have only the "S" on the B side bold.
          Additionally i have a matrix, that i couldn't find on any UK pressing:
          Runout Side A: SBPG62251 1Y//1▿ 420 11 1
          Runout Side B: SBPG62251 2Y//1▿ 420 11
          Should i create a completely new version? Or could it be a mix-up of sleeve and LP, that didn't come together originally? Bought it in used condition.
          Oh, and as I'm looking at the front cover very very exactly right now, i can see that the right arrow of the "stereo" logo ends like justified text with the "S" of "TIMES". It's different to the versions above.
          • RadioRamses's avatar
            I'm looking for the cover for this album. I have a 65 pressing with no cover. Please message me if you have a cover with no disc.
            • fred.cordiano's avatar
              71 and still listening
              • chefdomer's avatar
                @streetmouse....Bob inspired you to take the time to write this editorial...that's worth a say "this album will hold little for you" and you say that he leaves us with more questions than answers. That in particular is what I enjoy about Dylan. If you're looking for answers through music then you are listening for the wrong reasons.
                • streetmouse's avatar
                  These are actually my thoughts on Dylan's folk releases, up to and including some material on 'Another Side...' but there is no place for me to converse on a "body" of work, so I'm commenting here, on his first three albums. The comment on this album will follow at the end.

                  I was there when Bob’s first three albums came out, I owned them, I played them to death, but there was nothing there for me. I heard nothing in his lines that I believed, though with all my efforts I wanted to. Today, I do not even play them, other then when the material comes up while playing the box sets. I tend to dismiss these releases as something I certainly didn’t understand and I don’t think Bob did either. I also feel that many, if not most listeners think they have to understand this music, force themselves to ‘get it,’ when all but a few songs from those releases are even dismissed by Bob himself. Having said that, I will admit that most of the cover songs from these albums are nothing short of amazing, and one day I will have to post a list of my favorite covers of Mr. Dylan's music.

                  I’m going to go out on a limb here, and I sincerely hope that this is not taken incorrectly, especially by the traditionalists, those into the folk music of the time. It’s not always easy to hear the truth, and what I present here is from my own experience, personal observations and having read all of Bob’s interviews and all of the books of any standing, including his own.

                  Most people, despite what they may think, and people have a way of reorganizing their thoughts and memories into a more concise manner, a manner that draws a time line and makes sense to them. People came to the first four [though in ‘Another Side...’ you can easily hear his break from the folk era] releases by Dylan from a backwards vantage point, in other words, once they discovered ‘Bringing It All Back Home,’ they went in search of more Dylan material and discovered his folk years. And those folk years were not long, they actually encompassed only two years of his early recording career, and the fact that the record label was about to drop him because of poor sales only proves my point, not that many people were listening to his music. As I said, it was only with the release of ‘Bringing It All Back Home’ that his early catalog was able to stay in print.

                  Every generation has a style or a selling point that shines on them bringing them success, for Dylan and many others it was the ideals of justice, integrity, social causes, politics and equality ... though I’m sure there are more then I have mentioned. There were true folk singers out there such as Woody Guthrie who actually lived and believed in the causes they sang about. People like Phil Oches, Peter, Paul & Mary, and Dylan were not folk singers. True they all wrote and sang “folk songs,” but this was their ticket to stardom, they wave they decided to ride hopefully to success. The values expressed in their music was for sale, it was not for living. I can support these facts, but this review is about Bob Dylan, so let me step back before the release of his first record, back to his high school days and shortly after.

                  During high school he played in several bands, often the same band, just renaming it every week or so, and the music he played was rock and roll. Music was Bob’s ticket out of the mid west, but he left, then returned, left, then returned until he finally managed to break the cord completely. During this time period, he soaked up all music like a sponge, unfortunatly he could only play in the key of C, and his abilities were very limited when he was up against artists with serious talent. This is first exemplified when he not only talked [lied] his way into joining the band fronted by Bobby Vee, who had to quickly let him go. They discovered that when he did not know or could not play the material, he would walk up behind Bobby Vee and do some hand clapping jive.

                  He then kicked around and came face to face with what was selling, and that was Folk Music. But Dylan was smart, he didn’t just want to play in the style of Woody, he wanted to fashion himself into Woody Guthrie, become un-seperatable from Woody ... when one thought of Woody, they though of Dylan, this was a masterful stroke. But Bob was not a folk singer, sure he had some of the songs, but there was no sincerity for the most part, and since so many other people were also going through the motions, having success, I feel that they just didn’t see what was going on and were awed by Bob’s relationship with THE true folkie, Woody ... and that gave Bob Dylan his ‘Folk’ street credits.

                  Folk music demands much from its artists, foremost is the ability to be real, touched and accessible. Now, lacking these qualities is not a flaw in Bob, it was just not his nature; he was distant, enigmatic, and had cloaked himself in mystery. Realizing this and using the talents of his true personality, he put out ‘Bringing It All Back Home,’ which was a huge success because Bob was a huge talent, he just needed to present himself with his own values, his own stories, thoughts and ways of expression. As I said, he drew deeply from the roots, folk, blues, rock, and this new surrealistic aspect he was applying to his music. And he hit it big because what he was presenting was true and real.

                  Many people didn’t like the fact that Bob had abandoned the folk scene for a variety of reasons, but I feel the main reason was because of the link he had connected to Woody and the fact that he was just so stunningly beautiful to look at ... he was the perfect poster boy for the folk scene, this was a loss they didn’t want. And perhaps it made the “folk hit makers” realize the insincerity of their own music, that it was a fad and they were not living the life, merely singing about it. This is not to say that some did not do good work, but again, this is for another discussion.

                  Sure, people are going to point to his club years in New York, but let me tell you, during those years Bob was playing every kind of music there was, at any place he could, with any artist who needed a side man. Bob was learning, fashioning his craft and style ... and folk music paid the bills.

                  So, where does this leave me? I don’t believe Dylan was a folk singer, therefore I don’t believe in the sincerity of his first three releases and would like to forget them as anything other then a time line in Bob’s musical career. I personally began my romance with ‘Another Side ...’ it was a smooth and easy movement for me into the haunting, personal music presented on ‘Bringing It All Back Home.’

                  And yes, the title says it all, he has brought it all back home.

                  *** THE TIMES THEY ARE A CHANGIN'

                  ”No, No ... Yeah. Yeah. I wrote those songs. But just because you call ‘em protest songs, doesn’t make me a protest singer. Not at all.” Bob wouldn’t make that comment for several years, and even though several of the songs from this album had indeed been adopted by the folk and protest movement of the day, Dylan refused to be pigeon holed, wishing first and foremost to be a song writer.

                  And why was he so adamant about being categorized, filed, labeled, and compartmentalized,? Well, you’re gonna have to read the books, you’re going to have to read and watch the interviews, but most importantly, you had to have lived through those times. Like Bob, there is no way I’m gonna try and tell you that many of these songs are not protest songs, or that he’s going to write some more of them either. What I am going to suggest is that Bob was learning and honing his craft ... finding out what worked, what didn’t, what he could do, what he couldn’t, and how he felt about these songs after they were out there.

                  The real protest singers were at least ten or more years older than Dylan, and Woody was a dying old man by the time Bob made the scene. But Woody and men like him had been Bob’s inspiration, so it’s only natural that he’d do some work in same vain as his legends. But Bob had a different vision, just take a look at those he hung around with ... they weren’t the protest cats, they were the hipsters, the movers and shakers of the day, and Bob had another step to take.

                  Nearly all of the songs found on this release, as great as they are, can be categorized, those from this release that can’t, Bob continues to sing. Bob is an open ended man, and artist, who expresses his life, not the lives of others through his music [there have been a couple of exceptions, but you don’t hear him performing those numbers either]. And like all artists at school, they learn from the masters, by working in the style of the masters, and once they have found their footing, they leave all of that behind ... leaving future artists to study him.

                  This is a relentlessly long album to listen to, and not an enjoyable one for me either. These songs are thought words, composed of events from the day, things he’d read in newspapers, and heard others banter about, and with those thoughts in his head, he painted these pictures. Certainly this album is essential to understanding the development of Bob Dylan and his life, but unless you were there during the protest days, this album will hold little for you. Less of course you’re one of those people who actually digs this music, and in that case ... spin this baby for all it’s worth.

                  “The Times They Are A Changin” and “Only A Pawn In Their Game” can be looked at as literally ... the changing times of the baby boomers who wanted to make their own mark, not continue the rantings of their parents. And “With God On Our Side” can be seen as a double entendre ... after all which side has not been sure that god was with them all through history? So don’t go thinking that Mr. Dylan has given any answers, he certainly poses more questions for us than anything else.

                  Review by Jenell Kesler
                  • michallo1066's avatar
                    I have a 1965 South African/Rhodesian version with "With God on Our Side" replaced by "It Ain't Me Babe" and "Motorpsycho Nightmare," due to censorship. I heard that the 1981 yellow Mozambique release can go for as much as 150 dollars, and mine is supposed to be a rarity as well. Does anyone know what the value of my release might be?



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