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Best of the Original Mono Recordings
Who on earth would be interested in a set collecting the mono mixes of Bob Dylanâ€™s first eight albums?
Well, as the success of The Beatlesâ€™ similar venture The Beatles in Mono demonstrates, quite a lot of people. And with good reason. Dylan â€“ like the Fab Four and all of their contemporaries â€“ didn't start treating stereo mixes as anything other than a sop to an elite part of the record buying market until the end of the 1960s. Mono mixes were supervised and approved by the artist, stereo mixes done as an afterthought by third parties. The albums Bob Dylan (1962) through John Wesley Harding (1967), then, are being presented here in the way the artist intended you to hear them. As Dylanâ€™s mono albums were deleted unusually quickly, this is the first opportunity to experience such â€˜directorâ€™s cutsâ€™ for four decades.
Itâ€™s the early, acoustic albums that benefit most: stereo versions brutally divided up the elements of voice, guitar and harmonica on the debut, The Freewheelinâ€™ Bob Dylan, The Times They Are a-Changinâ€™ and Another Side of Bob Dylan. As for the electric material, Blonde on Blondeâ€™s epic Sad Eyed Lady of the Lowlands sounds significantly sweeter and more focused in mono, while Bringing It All Back Home sounds bolder and punchier throughout, with the excellence of the bass-playing on Itâ€™s All Over Now, Baby Blue particularly brought into focus. However, surprisingly it is not all one-way traffic, as illustrated by Like a Rolling Stone, which here sounds dismayingly sterile compared to the powerful stereo mix that has become far more familiar down the years. Meanwhile, the mono mixes on Stoneâ€™s parent album Highway 61 Revisited are sometimes shorter by half a minute â€“ not a good thing when weâ€™re talking about one of historyâ€™s all-time classics. John Wesley Harding sounds sharper and harder, but itâ€™s noticeable how much less eerie is the monaural The Wicked Messenger.