Only audio nerds know the difference between mono and stereo. But as someone with a low-end, relatively solid record player, speakers and noise-cancelling headphones to boot, the difference is now noticeable. Even through tinnitus-strained ears, battered and broken by nightclubs. We can kid all we want about the difference, but as technology improves and is used, wisely by some, and more frequently, it makes all the difference. Just look at the impact it has had on The Kinks and The Rolling Stones. Original recordings are harder to come by. The other extreme is a band like Pink Floyd, whose label is now using any anniversary as an excuse to feed the tapes through some minor, new tech. We take the greats for granted after listening so many times. We look for excuses to return to them. The Best of the Original Mono Recordings is as good an excuse as any.
You can tell the difference between mono and stereo. That much is clear from the deeper tones of Mr. Tambourine Man, from the heaviness of the acoustics. Opener Song to Woody is likely the best example of this difference. It can, of course, be heard in other songs from the Mono Recordings but Song to Woody strips Dylan back to his voice and guitar. Nothing more. No frills. No suggestion of additional instruments. It, with Blowin’ in the Wind, are incredible experiences. Deeper goes the acoustic thrill. These versions are not going to have you fall in love with the songs all over again, but they do provide evidence of the difference, mighty it is, between mono and stereo. It is not a matter of preference, really, for only those with the money to complain about the difference are affected. For those with a pair of Bose headphones or a Sony player, the difference is welcome.
Where it will not revolutionise the listening experience, it will highlight the slight differences, the hard work behind the scenes to keep these recordings in good standard. Chimes of Freedom certainly highlights this. The Best of the Original Mono Recordings is a necessary release, though not a mandatory listen. It is incredible to hear Dylan and his producers saw stereo as an afterthought, and yet the music makes as strong a transfer. Depending on original master tapes for this release, the sense of pride to come from a backlog release, to tidy up those pre-stereo releases, is monumental. It brings those early works up to speed with the modern world, though, again, it does not make an overwhelming difference to the passive listener.
To those who listen to Dylan’s early works on the go, the version rarely matters, Dylan in your ears is the end goal irrespective of mono or stereo choices. But the desire to fix up a discography which made the transition a tad later than most, is a welcome and noble goal. The Best of the Original Mono Recordings is a sampler for the boxset which, to those who had an eye on it at the time of its release, are no doubt still preferring those mixes. For many, The Best of the Original Mono Recordings will be no more than neat. For those further on than that, it will be a nod to the ever-changing ways in which we listen to music. This is an opportunity to hear a new mixture, and it is a welcome experience for those who want a grasp on the minute details of Dylan’s early works.
