A newly recorded, one-of-a-kind rendition of Bob Dylan’s ‘Blowin’ in the Wind’ rendition sold at an auction at Christie’s for £1,482,000, or US$1,769,508 million.
Live bidding topped £1.2 million, but an official release sent by Christie’s cited a higher price, including commission. The auction house estimated the price for the recording to be between £600,000 and £1 million (or $716,000–$1,194,000).
While the two men could be seen swirling back and forth as the top bidders on the live feed, the winner of the auction was not immediately disclosed, consulting with buyers over the phone.
blovin‘ was the only remotely freshly minted item at Christie’s ‘Classic Week’ sale at Wind Records.
The climax of other items being auctioned off before Dylan’s new record was more along the lines of an Egyptian limestone statue from around 2400 BC, which went for £5 million, and a Stradivari violin whose opening bid was 6 Million pounds.
The new version of Dylan’s 1962 folk classic was produced by T Bone Burnett with a small band of musicians, with Dylan recording in Los Angeles and the rest of the group in Nashville. It was recorded directly in a newly invented type of acetate recording, which Burnett, who worked to develop analog technology over the years, calls an ionic origin. Although it is a new format, reportedly with high fidelity and a coating that is said to make it virtually impervious to normal wear and tear, the 10-inch disc can be played on a typical record player.
People who have listened to the recording so far have mostly heard these . In the listening session, potential bidders are limited to LondonBurnett conducted for members of the media and others in New York and Los Angeles, and in select playbacks.
Burnett recently spoke with Variety in a story titled “Why Did T Bone Burnett Record a Song With Bob Dylan That Only a Person Can Do?” about the intention to “disrupt the art market” by making a new recording and putting it up for auction – and addressed the question of whether the average Dylan fan would ever hear it, or could it really just be a listener – master.
Burnett pointed out something like: “I think it’s important to know for those who are concerned about the uniqueness of what we’re doing. An Ionic original is not a copy. It’s an original recording. We don’t resist reduction.” It’s really rare. It’s a unique, handmade, original recording. We’ve all been conditioned to accept terms and react to things from the framework of mass production. This is not what it is. .
“It really started because recorded music has been brought to naught in the last 20-30 years. Because we work in an era of mechanical reproduction, musicians have come from the government, from corporations, from technologists, from record companies, Streamers have had to accept the definition of the value of their music. Well, in this case, we’ve taken matters into our own hands, and we control the means of production and we control the copyrights. We know this. What is the value of a song? 60 years after Bob Dylan sings blowin’, in this environment, what’s the true value of singing in the air? And we’re about to find out.”
“But the intention has always been to create a new one-of-a-kind program. Really, what I’m trying to do is to enter a music space in the fine arts market. Because music is to the United States as wine is to France. It’s for – it’s the most valuable and important part of our culture. And for the last 25-30 years, we’ve had some section of the audience telling us that we should give our music for free. It’s ours as artists. Opportunity to work independently.
“It’s something that Bob and I have done for our whole lives, but it’s now an opportunity to do it not only for Bob, but for many of the other artists who are going to do it with us, who have already I’ve signed up. With any luck, that’s how I’ll spend the rest of my working life, doing these beautiful one-of-a-kind pieces of high art.”
As to whether the rest of the world would get to hear it other than the auction winner, Burnett indicated that it would be largely in the hands of the buyer, but that any public dissemination would likely happen when it is eventually put up for hearing. museum location, and that any digital reproduction would likely be, if not expressly prohibited.
Any commercial distribution must have resulted from a three-way deal between Dylan’s record company, Sony Music, his publishing company, Universal Music Publishing Group, and whoever bought the record, which has yet to be revealed. But Burnett’s argument has been that the record was not really conceived for a dissemination to that public, and made it clear that he would condemn any form of digital distribution to his hi-fi analog intentions. Will agree
Burnett said that he and Dylan have recorded several other versions of their classic songs that may also go up for auction, although he would like to get through the blowin’ at the wind sale at Christie’s before determining any next steps. Were.