1999 stereo remix
01 Rainy Day Women #12 & 35
02 Pledging My Time
03 Visions Of Johanna
04 One of Us Must Know (Sooner or Later)
05 I Want You
06 Stuck Inside of Mobile With The Memphis Blues Again
07 Leopard-Skin Pill-Box Hat
08 Just Like A Woman
09 Most Likely You Go Your Way and I'll Go Mine
10 Temporary Like Achilles
11 Absolutely Sweet Marie
12 4th Time Around
13 Obviously 5 Believers
14 Sad Eyed Lady of The Lowlands
In 1999 Columbia in the US and SME in Japan released a new mix of Blonde On Blonde which was – at the time – favourably compared with the recently (1994) released Columbia MasterSound 24K Gold CD. However, the new edition was accessible to very few Dylan followers. Wanting to get the best possible sound for this showcase medium, Sony decided to have the album remixed once again from the original four-track master tapes. This time they contracted the job out to independent engineer Michael H. Brauer, who had gained favour with Sony (and probably with Dylan himself) first for mixing the electric half of the Live 1966 release and then for producing the widely-praised remix of Street-Legal. The remixing was done from a copy of the original four-track studio master tapes, using Brauer’s extensive range of vintage and modern equipment at Quad studios in New York. According to Brauer, they carefully matched the stereo positioning and balance of the instruments, the fade-outs and all the other sonic characteristics, constantly listening to what Brauer was producing and comparing back with the vinyl. Once Brauer had finished the analogue remix, well-known mastering engineer Greg Calbi then transferred it into two digital formats: DSD for production of the Super Audio CD, and PCM format to provide for the future production of a conventional CD version. Again, his work was checked back against the reference vinyl copy of the album. The sound of the SACD version far outshines the previous CD releases; and it also improves very considerably on any stereo vinyl copy of the album heard. The improvement, though, is much more to do with the quality of Brauer’s remixing than with the SACD technology
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