Michael Fremer

You go with what works, and that's what Groovenote has done here. Having scored big with female vocalist Jacintha, the label is hoping to do likewise with the delicious looking, sultry sounding jazz singer Eden Atwood. Again going with what works, Atwood is backed by the pianist/arranger Bill Cunliffe's trio featuring Joe LaBarbera on drums and Derek Oles on bass. The group has become the label's de-facto "house band."

Sundazed's decision to issue Blonde on Blonde using the much sought after mono mix is indicative both of the company's dedication to doing what's musically correct, and of the vinyl marketplace's newfound maturity. There was a time a few years ago when no "audiophile" vinyl label would dare issue a mono recording; audiophiles wouldn't stand for it was the conventional wisdom. Perhaps back then it was even true. Today, with Sundazed, Classic, Analogue Productions and others issuing monophonic LPs on a regular basis (and one has to assume selling them as well) listeners are appreciating the music for music's sake, and equally importantly, for the wonderful qualities of monophonic sound reproduction. The choice was also pragmatic, as the original stereo mix-master reel was rendered unusable back in the 1970's. It wore out from being repeatedly used to cut lacquers. That tells you that second, third and possible higher pressings were cut from the original tapes and probably sound pretty good, but there's nothing like an early "360 Sound." Subsequent remixes from the 4 track masters were made, including a particularly bad one used on Columbia's early '90s "longbox" gold CD - a must to avoid. A recent remix, supposedly supervised by Dylan is said to be much better, but even an original stereo doesn't hold up the nuanced, musically coherent mono mix.

Airplane aficionados have long maintained that the monaural mix of this classic '60s album is the best way to hear it, and those lucky enough to own an original mono pressing--issued in the Spring of 1967--will certainly concur. Think about it: we're talking about an album of 36-year-old music that still holds sway over listeners of all ages. How many young listeners in 1967 were grooving to music made in 1931? Only those lucky enough to understand that the music of Louis Armstrong, Duke Ellington, et al., was not ancient history, though the primitive recording quality may have made them sound that way.

Hush Puppies are hip again among celebs. They were sofar out, it was inevitable they'd come back in. Not on my feet or yours- we'd probably just get laughed at- but seen on the right feet? Next day everyone's wearing them. Strange how that works: if everyone's wearing Doc Maartens, what's the boldest thing you could put on your feet instead? Hush Puppies, of course!

I don't know what Van Dyke parks on his feet today, but back in 1967 when he posed for the cover of his epic debut album Song Cycle (Warner Brothers WB 1727) he was wearing Hush Puppies. While many music critics raved about, even respected the album, the public at large wasn't suede by either it, or his shoes. Dreams are stillborn in Hollywood.