Dylan's Time Out of Mind remix is Stunning

"Time Out of Mind" was always a powerful record, despite the murky original mix.

Now, with most of the sonic muck that producer Daniel Lanois smeared onto the music scraped off and rinsed away, it's full glory is revealed. Abetted by terrific SQ, its impact is stunning.

The old mantra "original mixes are always better" is blown out of the water by this. 

For my tastes, this is one of the best releases in the Bootleg Series-- a dream come true for Dylan lovers-- and one of the best Dylan releases since "Blood on the the Tracks". 

Lyric fragments keep cycling in my head. . . 

"People on the platforms

waiting for trains

I can hear their hearts a beatin'

like pendulums swingin' on chains"  




I thought the original CD sounded better than most.


Me too. 

With tons and tons of atmosphere, bandwidth and reverb on it, Time Out of Mind was a huge Grammy winning album for Dylan, I loved it.

Let's not also forget that the 1989 Lanois produced Oh Mercy was the great comeback album for Dylan after a rather lengthy barren period.

I've not heard this new remix, not am I in any hurry to do so, but no doubt I will at some point but there will be some who prefer hearing precisely recorded individual instruments instead of a sonic painting of the kind that Lanois is famous for.

I get that, but that's not what Daniel Lanois does.

Some would argue that Daniel Lanois was the Phil Spector of the 80s and the 90s and his work with everyone from U2 to Robbie Robertson to Emmylou Harris to Brian Eno as well as Dylan himself made him the producer of those 2 decades.


As far as the removal of 'sonic muck' goes, I don't think that can apply here. However if we're talking about the 1990s Don Devito remix of Street Legal, well, that's another story...

I love Spector’s early-mid 60’s productions, of Pop singers (all his girl groups, The Righteous Brothers, Ike & Tina Turner, etc.). But not his Beatles, George Harrison, Leonard Cohen, Ramones, or Robbie Robertson (that album just oozes pretentiousness, imo.).

Guitarist Denny Freeman has in interviews recounted how Lanois vetoed a lot of his guitar parts during the recording of TOOM (Dylan chose Freeman for a reason: his guitar playing. It might surprise you, but I suspect Dylan may have been intimidated by Lanois.). Lanois was endeavoring to create a "sonic painting", rather than record a singer-songwriter with a backing band. I prefer the latter. Of course, the consumer now has his or her choice: the album Lanois wanted to make, or the one Dylan did. Or both, for that matter.

Dylan was never happy with the sound of the original release. Lucinda Williams felt the same about her Sweet Old World album (but not just the sound, the performances as well), and in 2017 rerecorded the entire album, releasing it in a 2-LP set and titling it This Sweet Old World. I agree with Lucinda, preferring the rerecorded version. It had previously taken her three complete recordings of Car Wheels On A Gravel Road to get the album she was trying to make.