Bob Dylan / Highway 61 Remixed / 1CD

Bob Dylan / Highway 61 Remixed / 1CD / Non Label
Columbia Studio A, 799 Seventh Avenue, New York, June – August 1965

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Perhaps because of his personality, Bob Dylan’s album still lacks remixes using current technology. Only “STREET LEGAL” received the honor of being remixed 20 years ago, but everything else is refreshing. I’m amazed by the fact that no such remix is ​​done by an artist like him. For example, Beatles, King Crimson, etc., will be missed even more with each Dylan album, considering that remix versions have appeared more and more in the last 10 years. However, for the three peak albums from 1960’s “BRINGING IT ALL BACK HOME” to “BLONDE ON BLONDE” when Dylan turned into an electric band sound, a quiet remix of the recorded songs was realized. is.
Released in 2015 that covers all of the sessions of these three albums, that amazing collector’s edition of the amazing volume that made maniacs all over the world say. So when the session was covered, of course, the final take adopted for the album was recorded with a new mix. In other words, if you put them together in the order of the songs in the album, you get a remix version. However, the collector’s edition is expensive with a very limited release like the one above, and because of the hurdle that the volume is too huge, many people have never heard that such a new remix was created or heard. Will be opened.

Among them, the masterpiece album “HIGHWAY 61 REVISITED”, which includes the rare masterpiece “Like A Rolling Stone”, would have been a longing for remix. All of the albums recorded at Columbia Studios around 1965 are often stereo mixes with a squeaky sound, not only this album but Simon & Garfunkel and The Birds. Certainly, compared to the Beatles album of the same age, the clearness is wonderful like an American recording studio where the recording equipment was developed. The stereo effect was attractive, but the sound was really faint and had an “old-fashioned” impression.
As I mentioned earlier, by consolidating the quietly created 2015 remixes, the latest “HIGHWAY 61 REVISITED” remix version album will be realized. After all, the finish of the 2015 remix is ​​attractive. This version of Eli, it doesn’t spoil the image of the original mix, but it seems to have added overwhelmingly powerful and powerful sound.
Furthermore, the best thing is the sound quality. What a wonderfully rounded sound quality with an analog tic feeling than the original mix. You should be able to feel the difference from the original just by this listening comfort, and the sense around it is unique to the mix made in 2015.

After all, listening to the famous song “Like A Rolling Stone” and comparing it, there is a difference. The clear, but fine-lined stereo mix of 1965 was reborn 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” is changing the image of the mix in a good way. The echo that was added in the original was eliminated, and the splendor of the mix that extruded the powerful singing voice of Dylan at the peak was said to be wonderful. The album title song was the oldest stereo mix in the original mix (which is common with the Beatles etc.), but this time it evolved to a more natural balance and bold power.
“Desolation Row”, which concludes the end of the album, can be said to be the best of the 2015 remixes with such charm. 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 that was played by only Dylan and the wood bass player before Sessionman overdubbed the lead guitar. It is attractive that not only the sound quality of the masterpiece that finished the finale of the album has been improved but also it can be listened to in the simplest and freshest condition. If you’re a guitar player, why not try playing the lead yourself?

In terms of freshness, “Like A Rolling Stone” and “Tombstone Blues” do not fade out, and it is also thrilling that each musician is recorded until they stop playing. Previously, I could enjoy the state without such a fade-out on the old famous board “HIGHWAY 61 REVISITED AGAIN” which collected monaural rough mix sound sources of this album, but this time it is big for maniacs to hear it in stereo. Should be attractive. Therefore, “Ballad Of A Thin Man” was recorded in the state before the music patch was removed from the bass and replaced by the take for the correction patch. Yes, not only is it remixed, but it also conveys the “rawness” of the performance itself.
Even the final bonus track is a tasty content that concentrates rare takes and sessions that can only be heard in that ultra-dense collector’s edition. In the rehearsal of “Sitting On a Barbed Wire Fence,” the session pianist played the riff of the Beatles “Ticket To Ride,” which was the latest single at the time, which became a hot topic among maniacs at the time of release! Also, even if it is a back chorus version of “Tombstone Blues” recorded in Mike Bloomfield’s box set, it will be heard only in the collector’s edition, it will be recorded in another take with a wrong chorus .. Warm sound quality, but on the other hand, a powerful 2015 mix and a rare take at the height of the season are combined into one. The best content and sound quality for beginners to enthusiasts. The masterpiece of Dylan is finally reborn. That’s why the title is “REMIXED” rather than “REVISITED”.

本人が過去に頓着しない性格だからでしょうか、ボブ・ディランのアルバムは現在のテクノロジーを使ったリミックスが未だに実現しません。唯一「STREET LEGAL」だけが20年前にリミックスを施されるという栄誉を授かりましたが、それ以外はさっぱり。彼ほどのアーティストでそうしたリミックスが行われていないという事実に驚かされます。例えばビートルズやキング・クリムゾンなどはここ10年の間にリミックスバージョンがどんどん登場していることを考えれば、なおさらディランの各アルバムで実現しないことが惜しまれます。ところがディランがエレクトリックなバンド・サウンドに転身を遂げた1960年代「BRINGING IT ALL BACK HOME」から「BLONDE ON BLONDE」まで三枚の絶頂期アルバムに関しては、ひっそりと収録曲のリミックスが実現していたのです。

中でも稀代の名曲「Like A Rolling Stone」を含んだ大傑作アルバム「HIGHWAY 61 REVISITED」はリミックスが渇望されていたアルバムでしょう。1965年辺りにコロンビア・スタジオで録音されたアルバムはどれも音のスカスカしたステレオ・ミックスである場合が多く、それは本アルバムだけでなくサイモン&ガーファンクルやザ・バーズしかり。確かに同年代のビートルズのアルバムなどと比べると録音機材が発達していたアメリカのレコーディング・スタジオらしくクリアネスは素晴らしい。そんなステレオ感が魅力であった反面、どうにも音が薄っぺらく、なおかつ“古臭い”印象があった。
そこで最初にも述べたように、ひっそりと作られていた2015年版リミックスをまとめることで、まさかの「HIGHWAY 61 REVISITED」最新リミックス・バージョン・アルバムが実現してしまう。何と言っても魅力なのが2015年版リミックスの仕上がり。このバージョンのエライところ、それはオリジナル・ミックスのイメージを損なわず、それでいて圧倒的に音の迫力や力強さを増してくれたところでしょう。

何と言っても名曲「Like A Rolling Stone」を聞き比べてみただけでも、その違いがありありと。1965年当時のクリアーだが線の細いステレオ・ミックスがどっしりとした力強い音質に生まれ変わっている。それでいてステレオのイメージはオリジナルに近い。反対に、いい意味でミックスのイメージを変えているのが「It Takes A Lot To Laugh, It Takes A Train To Cry」。オリジナルで加えられていたエコーを排し、絶頂期ディランの力強い歌声を押し出したミックスの素晴らしさといったら。アルバム・タイトル曲はオリジナル・ミックスの中でも一番古臭いステレオ感のあるミックス(それこそビートルズなどと共通する)でしたが、今回はずっと自然なバランスかつ骨太な迫力へと進化。
こうした魅力たっぷりな2015年版リミックスの中でも極め付けと言えるのがアルバムの最後を締めくくった「Desolation Row」。収録曲の中でも一番ざらついた音質で聞かれた大作が見事にクリアーな状態へと生まれ変わっています。ところがそれだけではありません。あのコレクターズ・エディションではセッションマンによってリード・ギターがオーバーダビングされる前、ディランとウッドベース奏者の二人だけで演奏されたベーシックトラックが収録されていたのです。アルバムのフィナーレを締めくくった名曲を音質が向上しただけでなく、最もシンプルかつ生々しい状態で聞けるというのが魅力的。ギター・プレイヤーなら、これに合わせて自分でリードを弾いてみるのも一興かと。

生々しさという点では「Like A Rolling Stone」や「Tombstone Blues」がフェイドアウトせず、ミュージシャン各人がプレイを止めるまで収録されている点もスリリング。以前、本アルバムのモノラル・ラフミックス音源を集めた古の名盤「HIGHWAY 61 REVISITED AGAIN」にてそうしたフェイドアウトのない状態を楽しめましたが、今回はそれがステレオで聞けるというのもマニアには大きな魅力のはず。よって「Ballad Of A Thin Man」に関してもミュージシャンがベースを外してしまった箇所を修正パッチ用テイクに差し替える前の状態で収録。そう、単にリミックスされただけでなく、演奏そのものの“生っぽさ”まで伝えてくれる。
とどめのボーナス・トラックもあの超弩級コレクターズ・エディションでしか聞かれないレア・テイクやセッションを凝縮という、あまりに美味しい内容。「Sitting On a Barbed Wire Fence」のリハーサル風景ではリリース当時にマニアの間で話題となった、セッション・ピアニストが当時の最新シングルだったビートルズ「Ticket To Ride」のリフを弾く場面が!またマイク・ブルームフィールドのボックスセットにも収録された「Tombstone Blues」のバックコーラス入りバージョンにしても、コレクターズ・エディションでしか聞かれない、コーラスを一部間違えた別テイクで収録という念の入りよう。ウォーミーな音質でありながら、一方で力強い2015版ミックスと絶頂期のレアな別テイクが一つに。初心者からマニアまで楽しめる最高の内容と音質。ディランの名盤が遂に生まれ変わりました。だからこそ、タイトルは「REVISITED」でなく「REMIXED」。

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)

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