Bob Dylan/Highway 61 Revisited Remixed

Perhaps it’s because he doesn’t care about the past, but Bob Dylan’s albums have yet to be remixed using current technology. Only “STREET LEGAL” was given the honor of being remixed 20 years ago, but other than that, it’s refreshing. I’m surprised that no artist of his caliber has done such remixes. For example, considering that remix versions of bands such as the Beatles and King Crimson have been appearing more and more over the past 10 years, it’s a shame that this hasn’t been realized on each of Dylan’s albums. However, in the 1960s, when Dylan transitioned to an electric band sound, his three peak albums from “BRINGING IT ALL BACK HOME” to “BLONDE ON BLONDE” were quietly remixed. is. Released in 2015, it covers all of the sessions for these three albums, and is an ultra-limited collector’s edition of that astonishing volume that astounded enthusiasts around the world. So when the sessions were covered, the final take that was adopted for the album was also recorded with a new mix. In other words, if you put them together in the order of the songs on the album, you can create a remix version. However, the Collector’s Edition is an extremely limited release like the one mentioned above, is expensive, and has a high hurdle of being extremely large, so I don’t think many people have ever heard of or created such a new remix. I will. Among them, the masterpiece album “HIGHWAY 61 REVISITED”, which includes the rare masterpiece “Like A Rolling Stone”, is an album that has been craving for a remix. All albums recorded at Columbia Studios around 1965 are often sparse stereo mixes, and this applies not only to this album, but also to Simon & Garfunkel and The Byrds. Certainly, compared to Beatles albums of the same era, the clarity is excellent, as it seems like an American recording studio where recording equipment was more developed. While the stereo effect was appealing, the sound was somehow thin and had an “old-fashioned” feel to it. So, as I mentioned at the beginning, by putting together the 2015 remixes that had been quietly made, the latest remix version album of “HIGHWAY 61 REVISITED” was realized. What’s most appealing is the finish of the 2015 remix. The great thing about this version is that it does not spoil the image of the original mix, but it has overwhelmingly increased the power and power of the sound. What’s even more important is the sound quality. The sound quality is truly amazing, with a more analog feel than the original mix. Just this pleasant listening experience should make you feel the difference from the original, and the mix created in 2015 also has this sense of style. After all, just listening to the famous song “Like A Rolling Stone” and comparing them, you can clearly see the difference. The clear but thin stereo mix from 1965 has been transformed into a solid and powerful sound quality. Still, the stereo image is close to the original. On the other hand, “It Takes A Lot To Laugh, It Takes A Train To Cry” changes the image of the mix in a good way. What’s great is the mix, which eliminates the echo added in the original and brings out Dylan’s powerful singing voice at his peak. The album title song had the most old-fashioned stereo feel among the original mixes (similar to that of the Beatles, etc.), but this time it has evolved into a much more natural balance and robust power. Among these charming 2015 remixes, the highlight is “Desolation Row,” which concludes the album. The masterpiece that was heard with the roughest sound quality among the recorded songs has been reborn into a wonderfully clear state. But that’s not all. That collector’s edition included a basic track played by just Dylan and the wood bass player before the lead guitar was overdubbed by the session man. Not only has the sound quality of the famous song that closed the album’s finale been improved, but it is also attractive that you can listen to it in its simplest and rawest state. If you’re a guitar player, it might be fun to try playing the lead along with this. In terms of rawness, it is also thrilling that “Like A Rolling Stone” and “Tombstone Blues” do not fade out and are recorded until each musician stops playing. Previously, I was able to enjoy the absence of such a fade-out on the old masterpiece “HIGHWAY 61 REVISITED AGAIN” which collected the monaural rough mix sound source of this album, but this time it is great for enthusiasts to be able to listen to it in stereo. It should be attractive. Therefore, “Ballad Of A Thin Man” is also recorded before replacing the part where the musician removed the base with a take for the correction patch. Yes, it’s not just a remix, it also conveys the “rawness” of the performance itself. The closing bonus track is also a very delicious condensation of rare takes and sessions that can only be heard on that super-dreaded collector’s edition. In the rehearsal scene for “Sitting On a Barbed Wire Fence”, there is a scene where a session pianist plays the riff of the Beatles’ latest single “Ticket To Ride”, which was a hot topic among enthusiasts at the time of its release! Also, the version with backing chorus of “Tombstone Blues” that was included in the Mike Bloomfield box set was carefully recorded as a different take with part of the chorus incorrect, which can only be heard on the Collector’s Edition. . While it has a warm sound quality, it also combines the powerful 2015 version mix with a rare alternate take from its peak. The best content and sound quality that everyone from beginners to enthusiasts can enjoy. Dylan’s masterpiece has finally been reborn. That’s why the title is “REMIXED” and not “REVISITED”. Columbia Studio A, 799 Seventh Avenue, New York, June – August 1965 (77:08) 1. Like A Rolling Stone – Take 4 remake (16th June 1965) 2. Tombstone Blues – Take 12 (29th July 1965) 3. It Takes A Lot To Laugh, It Takes A Train To Cry – Take 4 (29th July 1965) 4. From A Buick 6 – Take 5 (30th July 1965) 5. Ballad Of A Thin Man – Take 3 unedited (2nd August 1965) 6. Queen Jane Approximately – Take 7 (2nd August 1965) 7. Highway 61 Revisited – Take 9 (2nd August 1965) 8. Just Like Tom Thumb’s Blues – Take 16 (2nd August 1965) 9. Desolation Row – Take 5 (4th August 1965) without acoustic guitar overdub Bonus Sessions and Alternates 10. Sitting On A Barbed-Wire Fence – Take 1 (15th June 1965) Rehearsals 11. Sitting On A Barbed-Wire Fence – Take 6 (15th June 1965) 12. Positively 4th Street – Take 8 (29th July 1965) breakdown 13. Can You Please Crawl Out Your Window? – Take 12 (30th July 1965) 14. Queen Jane Approximately – Take 6 (2nd August 1965) 15. Tombstone Blues (3rd August 1965) vocal overdub session take 2 Session Personnel 15th June 1965 Bob Dylan (harmonica, vocals, piano, guitar) Michael Bloomfield (guitar) Al Gorgoni (guitar) Al Kooper (guitar) Frank Owens (organ) Bobby Gregg (drums) Joseph Macho Jr. (bass).16th June 1965 Bob Dylan (guitar, piano, harmonica, vocals) Michael Bloomfield (guitar) Paul Griffin (organ) Bobby Gregg (drums) Joseph Macho Jr. (bass) Al Kooper (organ) 29th July 1965 Bob Dylan (guitar, piano, harmonica, vocal). Michael Bloomfield (guitar) Frank Owens (piano) Bobby Gregg (drums) Joseph Macho Jr. (bass) Al Kooper (organ). Paul Griffin (piano) Russ Savakus (bass) 30th July 1965 Bob Dylan (guitar, piano, harmonica, vocal) Michael Bloomfield (guitar) Al Kooper (celeste) Paul Griffin (piano) Harvey Brooks (bass) Bobby Gregg (drums) 2nd August 1965 Bob Dylan (guitar, piano, harmonica, vocal ) Michael Bloomfield (guitar) Paul Griffin (piano) Frank Owens (piano) Sam Lay (drums) Harvey Brooks (bass) Al Kooper (organ). Bobby Gregg (drums) 2nd August 1965 (vocal overdub only) The Chamber Brothers (background vocals) 3rd August 1965 Bob Dylan (guitar, harmonica, vocal) Russ Savakus (bass)