John Wesley Harding [HYBRID SACD - DSD] [ORIGINAL RECORDING REISSUED] [ORIGINAL RECORDING REMASTERED]

Bob Dylan

Product Details

• Audio CD (September 16, 2003)
• Original Release Date: September 16, 2003
• Number of Discs: 1
• Format: Hybrid SACD - DSD, Original recording reissued, Original recording remastered
• Label: Sony
• ASIN: B0000C8AV9
• In-Print Editions: Vinyl
• Average Customer Review: 3.7 out of 5 stars  See all reviews (32 customer reviews)
• Amazon.com Sales Rank: #14,503 in Music (See Bestsellers in Music)

Track Listings

1. John Wesley Harding

2. As I Went Out One Morning

3. I Dreamed I Saw St. Augustine

4. All Along the Watchtower

5. Ballad of Frankie Lee and Judas Priest

6. Drifter's Escape

7. Dear Landlord

8. I Am a Lonesome Hobo

9. I Pity the Poor Immigrant

10. Wicked Messenger

11. Down Along the Cove

12. I'll Be Your Baby Tonight

Editorial Reviews

Amazon.com essential recording

Bob Dylan's remarkable first album after his debilitating 1966 motorcycle accident isn't as urgent as the ambitious folk and rock songs he wrote earlier in the decade. Even considering the rocking "All Along the Watchtower" (covered famously by Jimi Hendrix), the album's overall feeling is soft and laid-back, all gently strummed guitars, perfectly timed harmonicas, and some of Dylan's best pure singing to date. The 1968 release sounds as if the songwriter and his three sidemen set up a few tape recorders in a bedroom and began playing as soon as they woke up in the morning. They open with the title track (a folk fable), move into the piano-driven "Dear Landlord," and close with the sweet love song "I'll Be Your Baby Tonight." --Steve Knopper

Product Description

Bob Dylan John Wesley Harding

Ranking near the top of anyone's list of Dylan's masterpieces, this post-motorcycle-accident career-turning-point finds Dylan veering from the razor-edged desperation of "All Along the Watchtower" to the gentle, back-porch sway of "I'll Be Your Baby Tonight" -- and all points in between. Back at last, in its ultra-rare original mono mix, this landmark LP -- cut with the cream of Nashville's studio cats and generally credited as a blueprint for the era's country-rock movement -- sizzles on Sundazed high-definition vinyl. --This text refers to the Vinyl edition.

Customer Reviews

Most Helpful Customer Reviews

12 of 13 people found the following review helpful:

4.0 out of 5 stars not as bad as others say, November 1, 2003

By A Customer

I won't bother reviewing the album -- it is amazing. Instead the remaster is worth talking about. It's true -- it is not as good sounding as some others, such as Blonde or Bringing It All Back Home. Sometimes instruments aren't high up enough or are too high. Harmonica does sound shrill at times -- but we also must remember that his harp playing on this record is VERY high. He doesn't play shrill, but sometimes, especially if its a bit too high in the mix like this is, it will sound shrill at times. It's not horrendous, it just comes with the territory when you have an instrument playing notes this high.

In summary, this is still a good buy. We must remember that the people who have the STRONGEST opinions against this album are more likely to pen a review than those who are on the fence about it. That's why these reviews may not be a fair representation of everyone's opinions. Still very enjoyable, I say go for it.

10 of 11 people found the following review helpful:

5.0 out of 5 stars Sounds fine to me, May 14, 2004

By	C. S. Junker "soul_survivor" (Burien, WA USA) - See all my reviews

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.

9 of 10 people found the following review helpful:

3.0 out of 5 stars did the folks at sony listen to the mix at a karaoke club?, November 19, 2003

By A Customer

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.