John Wesley Harding

by

Bob Dylan

Edit

Maybe I've got a tin ear. Or maybe I've got low end equipment. Or maybe I just don't know my posterior from a hole in the ground. But this new remaster sounds fine to me.

I had no idea there were so many people who were unhappy with the sound, but after reading all the negative reviews I thought, maybe I wasn't paying attention. So I listened to both the CD layer and the SACD layer. Loud.

It sounds great! The bass is rich and fat, the harmonica crisp and brilliant. I've been listening to this album for 37 years; to be fair, this recording has some odd characteristics to the sound (particularly the drums). This new remaster certainly doesn't sound worse than the vinyl, and while it may not provide the blow-your-socks off sonic experience of the Highway 61 remaster, I can't detect any problems. Both layers are an improvement over the original CD release.

If you're a true audiophile, maybe it would be a good idea to find a store where you can listen to the disc before buying it. If you own the original CD, there's no urgent need to rush out and buy the hybrid. But if for some reason you find yourself without a copy of one of the great masterpieces of popular music, this edition should do nicely.

This is unquestionably one of Dylan's best albums, the last one before people started realizing in the 60s that yes, he was a fallible human being just like the rest of us. Groundbreaking, timely, humble, etc. etc.

The problem with the reissue is not so much the poor mix. The reissue is faithful to the original mix, which was perverse on one specific point to begin with, most likely at the behest of Mr. Zimmerman, or Mr. Johnston, or both. Bass and drums? A bit low, but acceptable. Vocals? Solidly centered. Stereo separation? Not generally obtrusive. Harmonica? Mixed forward to the point of a piercing klaxon, practically eliminating the possibility of enjoying what is a sublime masterpiece owing to the cringe factor in anticipating another interruption from the proverbial mouth harp of doom. Why, gentlemen, why?

The real problem was that no one at Sony realized that they had a perfect opportunity to correct this situation. A new mix, with drums and bass increased and harmonica generously decreased would have turned the album into what it should be, a thoroughly enjoyable listening experience. Considering their excellent work on various other reissue projects, such as the Byrds' reissues, the notable Armstrong Complete Hot Fives and Sevens box, and the beautiful Lady Day box, it's a shame that they didn't ask the right questions on this particular Dylan reissue.

So Sony, please don't blow it on Springsteen, Sly and the Family Stone, and the other remastering projects you may have in the pipeline. You're hardly a poor company, you have resources to spare, although your executives may not know this (they're all MBAs which means they don't know anything about anything except for how to invent and apply business models - why do you think they never do anything without checking with 100 consultants first?) remember that running a business really does involve more than just checking the bottom line every twenty seconds. Columbia Records has quite a legacy, as you well know from the name of your reissue division; please also remember that a certain responsibility accompanies that legacy, and that in the future, no one will judge you on how much money you made this quarter.