|
}} ''John Wesley Harding'' is the eighth studio album by American singer-songwriter Bob Dylan,〔() Discogs.com listing for ''JWH''〕 released on December 27, 1967 by Columbia Records. Produced by Bob Johnston, the album marked Dylan's return to acoustic music and traditional roots, after three albums of electric rock music. ''John Wesley Harding'' shares many stylistic threads with, and was recorded around the same time as, the prolific series of home recording sessions with the Band, partly released in 1975 as ''The Basement Tapes''. ''John Wesley Harding'' was exceptionally well received by critics and enjoyed solid sales, reaching #2 on the US charts and topping the UK charts. The commercial performance was considered remarkable considering that Dylan had kept Columbia from releasing the album with much promotion or publicity. Less than three months after its release, ''John Wesley Harding'' was certified gold by the RIAA. "All Along the Watchtower" became one of his most popular songs after it was recorded by Jimi Hendrix the following year. In 2003, the album was ranked number 301 on ''Rolling Stone'' magazine's list of the 500 greatest albums of all time. ==Recording sessions== Dylan went to work on ''John Wesley Harding'' in the fall of 1967. By then, 18 months had passed since the completion of ''Blonde on Blonde''. After recovering from the worst of the results of his motorcycle accident, Dylan spent a substantial amount of time recording the informal basement sessions at West Saugerties, New York. During that time, he stockpiled a large number of recordings, including many new compositions. He eventually submitted nearly all of them for copyright, but declined to include any of them in his next studio release (Dylan would not release any of those recordings to the commercial market until 1975's ''The Basement Tapes'', by which time some of them had been bootlegged, usually sourced from an easy-to-find set of publisher's demos). Instead, Dylan used a different set of songs for ''John Wesley Harding''. It is not clear when these songs were actually written, but none of them have turned up in the dozens of basement recordings that have since surfaced. According to Robbie Robertson, "As I recall it was just on a kind of whim that Bob went down to Nashville. And there, with just a couple of guys, he put those songs down on tape." Those sessions took place in the autumn of 1967, requiring less than twelve hours over three stints in the studio. Dylan brought to Nashville a set of songs similar to the feverish yet pithy compositions that came out of the Basement Tapes sessions. They would be given an austere sound sympathetic to their content. When Dylan arrived in Nashville, producer Bob Johnston recalls that "he was staying in the Ramada Inn down there, and he played me his songs and he suggested we just use bass and guitar and drums on the record. I said fine, but also suggested we add a steel guitar, which is how Pete Drake came to be on that record." Dylan was once again recording with a band, but the instrumentation was very sparse. During most of the recording, the rhythm section of drummer Kenneth A. Buttrey and bassist Charlie McCoy were the only ones supporting Dylan, who handled all harmonica, guitar, piano, and vocal parts. "I didn't intentionally come out with some kind of mellow sound," Dylan said in 1971. "I would have liked… more steel guitar, more piano. More music… I didn't sit down and plan that sound." The first session, held on October 17 at Columbia's Studio A, lasted only three hours, with Dylan recording master takes of "I Dreamed I Saw St. Augustine", "Drifter's Escape", and "The Ballad of Frankie Lee and Judas Priest". Dylan returned to the studio on November 6, recording master takes for "All Along the Watchtower", "John Wesley Harding", "As I Went Out One Morning", "I Pity the Poor Immigrant", and "I Am a Lonesome Hobo". Dylan returned for one last session on November 29, completing all of the remaining work. The final session did break from the status quo by employing Pete Drake on the final two recordings. Cut between 9pm and 12 midnight, "I'll Be Your Baby Tonight" and "Down Along the Cove" would be the only two songs featuring Drake's light pedal steel guitar. Sometime between the second and third session, Dylan approached Robbie Robertson and Garth Hudson of the Band to complete some overdub work on the basic tracks, but as Robertson recalled: "We did talk about doing some overdubbing on it, but I really liked it when I heard it and I couldn't really think right about overdubbing on it. So it ended up coming out the way he brought it back." ''John Wesley Harding'' was released in stores less than four weeks after the final session, an unusually quick turnaround time, especially for a major label release. This would be Dylan's last LP to be issued simultaneously in both monophonic (CL 2804) and stereophonic (CS 9604) formats; by the middle of the following year, most of Dylan's LPs would be released solely in stereophonic. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「John Wesley Harding (album)」の詳細全文を読む スポンサード リンク
|