Bob Dylan ‎– John Wesley Harding

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Tracklist

John Wesley Harding 2:55
As I Went Out One Morning 2:49
I Dreamed I Saw St. Augustine 3:51
All Along The Watchtower 2:30
The Ballad Of Frankie Lee And Judas Priest 5:34
Drifter's Escape 2:54
Dear Landlord 3:15
I Am A Lonesome Hobo 3:19
I Pity The Poor Immigrant 4:12
The Wicked Messenger 2:02
Down Along The Cove 2:29
I'll Be Your Baby Tonight 2:41

Versions (97)

Cat# Artist Title (Format) Label Cat# Country Year
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 US 1967 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 US 1967 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 US 1967 Sell This Version
CL 2804 Bob Dylan John Wesley Harding(LP, Album, Mono) Columbia CL 2804 US 1967 Sell This Version
14 10 0372 Bob Dylan John Wesley Harding(4-Trk, Album) Columbia 14 10 0372 US 1968 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP) CBS S 63252 Italy 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 Canada 1968 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album) CBS S 63252 Germany 1968 Sell This Version
S 63 252 Bob Dylan John Wesley Harding(LP, Album) CBS S 63 252 Germany 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 US 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 Canada 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) CBS CS 9604 Netherlands 1968 Sell This Version
S BPG 63252, 63252 Bob Dylan John Wesley Harding(LP, Album) CBS, CBS S BPG 63252, 63252 UK 1968 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album) CBS S 63252 Netherlands 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) CBS CS 9604 Philippines 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 Canada 1968 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album) Columbia CS 9604 US 1968 Sell This Version
CBS63252 Bob Dylan John Wesley Harding(LP, Album) CBS CBS63252 Spain 1968 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album) CBS S 63252 Greece 1968 Sell This Version
SBP 473489 Bob Dylan John Wesley Harding(LP, Album) CBS SBP 473489 New Zealand 1968 Sell This Version
BPG 63252 Bob Dylan John Wesley Harding(LP, Album, Mono) CBS BPG 63252 UK 1968 Sell This Version
BP-233498 Bob Dylan John Wesley Harding(LP, Album, Mono) CBS BP-233498 Australia 1968 Sell This Version
ASF 1228 Bob Dylan John Wesley Harding(LP, Album, Mono) CBS ASF 1228 South Africa 1968 Sell This Version
63252 Bob Dylan John Wesley Harding(LP, Album, Mono) CBS 63252 Spain 1968 Sell This Version
CL 2804 Bob Dylan John Wesley Harding(LP, Album, Mono) Columbia CL 2804 US 1968 Sell This Version
63252, BPG 63252 Bob Dylan John Wesley Harding(LP, Album, Mono) CBS, CBS 63252, BPG 63252 UK 1968 Sell This Version
CBS S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS CBS S 63252 France 1968 Sell This Version
FL-1656 Bob Dylan John Wesley Harding(LP, Unofficial) First Record FL-1656 Taiwan 1968 Sell This Version
CQ 997 Bob Dylan John Wesley Harding(Reel, Album) Columbia CQ 997 US 1968 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS S 63252 Spain 1970 Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia CS 9604 US 1970 Sell This Version
KCS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia KCS 9604 US 1970 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS S 63252 Spain 1970 Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS S 63252 Italy 1971 Sell This Version
40-63252 Bob Dylan John Wesley Harding(Cass, Album) CBS 40-63252 Spain 1972 Sell This Version
SBPG 63252, 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS, CBS SBPG 63252, 63252 UK 1972 Sell This Version
SOPL 226 Bob Dylan John Wesley Harding(LP, Album, RE) CBS/Sony SOPL 226 Japan 1974 Sell This Version
25AP 277 Bob Dylan John Wesley Harding(LP, Album, RE) CBS/Sony 25AP 277 Japan 1976 Sell This Version
40-63252 Bob Dylan John Wesley Harding(Cass, Album, RE) CBS 40-63252 UK 1979 Sell This Version
CBS 40-63252 Bob Dylan John Wesley Harding(Cass, Album) Suzy CBS 40-63252 Yugoslavia 1982 Sell This Version
CBS 63252, S 63252 Bob Dylan John Wesley Harding(LP, Album) Suzy, CBS CBS 63252, S 63252 Yugoslavia 1982 Sell This Version
PCT 00372 Bob Dylan John Wesley Harding(Cass, Album) Columbia PCT 00372 US 1985 Sell This Version
PC 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia PC 9604 US 1986 Sell This Version
CK 9604, D122147 Bob Dylan John Wesley Harding(CD, Album) Columbia, BMG Direct Marketing, Inc. CK 9604, D122147 US 1987 Sell This Version
CK 9604 Bob Dylan John Wesley Harding(CD, Album) Columbia CK 9604 US 1987 Sell This Version
CK 9604 Bob Dylan John Wesley Harding(CD, Album) Columbia CK 9604 US 1987 Sell This Version
28DP1025 Bob Dylan John Wesley Harding(CD, Album) CBS/Sony 28DP1025 Japan 1988 Sell This Version
CBS 463359 1 Bob Dylan John Wesley Harding(LP, Album, RE) CBS CBS 463359 1 Netherlands 1988 Sell This Version
CBS 463359 2, 463359 2 Bob Dylan John Wesley Harding(CD, Album) CBS, CBS CBS 463359 2, 463359 2 Europe 1989 Sell This Version
463359 4 Bob Dylan John Wesley Harding(Cass, cle) CBS 463359 4 UK 1989 Sell This Version
CBS 463359 1 Bob Dylan John Wesley Harding(LP, RE) CBS CBS 463359 1 Spain 1989 Sell This Version
PCT 9604 Bob Dylan John Wesley Harding(Cass, Album, RE) Columbia PCT 9604 US 1990 Sell This Version
463359 2, COL 463359 2 Bob Dylan John Wesley Harding(CD, Album, RE, Red) Columbia, Columbia 463359 2, COL 463359 2 Europe 1991 Sell This Version
SVLP 0056, 63252 Bob Dylan John Wesley Harding(LP, Album, RE) Simply Vinyl, Columbia SVLP 0056, 63252 Europe 1999 Sell This Version
PC 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia PC 9604 US 2001 Sell This Version
CDCOL 5079 S Bob Dylan John Wesley Harding(CD, Album) Columbia CDCOL 5079 S South Africa 2003 Sell This Version
CK 92395 Bob Dylan John Wesley Harding(CD, Album, RE, RM) Columbia CK 92395 Canada 2003 Sell This Version
CK 92395 Bob Dylan John Wesley Harding(CD, Album, RE, RM) Columbia CK 92395 US 2003 Sell This Version
512347 2, COL 512347 2 Bob Dylan John Wesley Harding(CD, Album, RM) Columbia, Columbia 512347 2, COL 512347 2 Europe 2003 Sell This Version
LP 5123 Bob Dylan John Wesley Harding(LP, Album, Mono, RE) Sundazed Music LP 5123 US 2003 Sell This Version
LP 5123 Bob Dylan John Wesley Harding(LP, Album, Mono, RE, 180) Sundazed Music LP 5123 US 2003 Sell This Version
LP 5123 Bob Dylan John Wesley Harding(LP, Album, Mono, RE, TP) Sundazed Music LP 5123 US 2003 Sell This Version
CH 90320 Bob Dylan John Wesley Harding(SACD, Album, Hybrid, RE, RM) Columbia CH 90320 US 2003 Sell This Version
512 347 2, COL 512347 6, 5123476000 Bob Dylan John Wesley Harding(SACD, Album, Hybrid, RM, Dig) Columbia, Columbia, Columbia 512 347 2, COL 512347 6, 5123476000 Europe 2003 Sell This Version
MHCP-374 Bob Dylan John Wesley Harding(CD, Album, Car) Columbia MHCP-374 Japan 2004 Sell This Version
CL 2804 Bob Dylan John Wesley Harding(CD, Album, Mono, Unofficial) Columbia (2) CL 2804 US 2005 Sell This Version
MOVLP246 Bob Dylan John Wesley Harding(LP, Album, Mono, RE, RM, 180) Music On Vinyl MOVLP246 Europe 2010 Sell This Version
CL 2804 Bob Dylan John Wesley Harding(LP, Album, RE, Mono) Columbia CL 2804 US 2010 Sell This Version
MFSL 2-423 Bob Dylan John Wesley Harding(2xLP, Album, Ltd, Num, RE, RM, 180) Mobile Fidelity Sound Lab MFSL 2-423 US 2015 Sell This Version
UDSACD 2125 Bob Dylan John Wesley Harding(SACD, Hybrid, Album, Ltd, Num, RE, RM) Mobile Fidelity Sound Lab UDSACD 2125 US 2015 Sell This Version
MFSL 2-423 Bob Dylan John Wesley Harding(2xLP, Album, TP) Mobile Fidelity Sound Lab MFSL 2-423 US Unknown Sell This Version
CDCBS 63252 Bob Dylan John Wesley Harding(CD) Columbia CDCBS 63252 Netherlands Unknown Sell This Version
COL 471621 2 Bob Dylan John Wesley Harding(CD, Album) CBS/Sony COL 471621 2 Spain Unknown Sell This Version
463359 2, COL 463359 2 Bob Dylan John Wesley Harding(CD, Album) Columbia, Columbia 463359 2, COL 463359 2 Netherlands Unknown Sell This Version
463359 2, COL 463359 2 Bob Dylan John Wesley Harding(CD, Album) Columbia, Columbia 463359 2, COL 463359 2 Europe Unknown Sell This Version
CDCBS 63252 Bob Dylan John Wesley Harding(CD, Album) CBS, Columbia CDCBS 63252 Australia Unknown Sell This Version
466831 2 Bob Dylan John Wesley Harding(CD, Album, RE) Columbia 466831 2 Europe Unknown Sell This Version
VCK-9604, CK 9604 Bob Dylan John Wesley Harding(CD, Album, RE) Columbia, Columbia VCK-9604, CK 9604 Canada Unknown Sell This Version
SBP233498, SBP-233498, CS9604 Bob Dylan John Wesley Harding(LP, Album) CBS, CBS, CBS SBP233498, SBP-233498, CS9604 Australia Unknown Sell This Version
63252 Bob Dylan John Wesley Harding(LP, Album) CBS 63252 Portugal Unknown Sell This Version
463359 1 Bob Dylan John Wesley Harding(LP, Album) Columbia 463359 1 Netherlands Unknown Sell This Version
SBP-233498 Bob Dylan John Wesley Harding(LP, Album, RE) CBS SBP-233498 Australia Unknown Sell This Version
KCS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia KCS 9604 Canada Unknown Sell This Version
63252, BPG 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS 63252, BPG 63252 UK Unknown Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia CS 9604 US Unknown Sell This Version
KCS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia KCS 9604 Canada Unknown Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS S 63252 Netherlands Unknown Sell This Version
JC 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia JC 9604 US Unknown Sell This Version
S 63252 Bob Dylan John Wesley Harding(LP, Album, RE) CBS S 63252 Netherlands Unknown Sell This Version
JC 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia JC 9604 US Unknown Sell This Version
CS 9604 Bob Dylan John Wesley Harding(LP, Album, RE) Columbia CS 9604 US Unknown Sell This Version
63252, Sʙᴘɢ 63252 Bob Dylan John Wesley Harding(LP, Album, RE, Mis) CBS, CBS 63252, Sʙᴘɢ 63252 UK Unknown Sell This Version
SBP 233498 Bob Dylan John Wesley Harding(LP, Album, RP) CBS SBP 233498 Australia Unknown Sell This Version
CBS S 63252 Bob Dylan John Wesley Harding(LP, RE, Album) CBS CBS S 63252 Italy Unknown Sell This Version
SBPG 63252 Bob Dylan John Wesley Harding(LP, RE, Album) CBS SBPG 63252 UK Unknown Sell This Version
63252, CBS S 63252 Bob Dylan John Wesley Harding(LP, RE, Album) CBS, CBS 63252, CBS S 63252 UK Unknown Sell This Version
S BPG 63252, 63252 Bob Dylan John Wesley Harding(LP, RE, Album, Yel) CBS, CBS S BPG 63252, 63252 UK Unknown Sell This Version

Recommendations

Reviews Show All 11 Reviews

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ruankotze

ruankotze

July 8, 2016
referencing John Wesley Harding, LP, Album, RE, 63252, BPG 63252
Hi there

This is the closest match I can find to mine, except that the matrix digits are swopped i.e A2 & B3 not A3 & B2 like here.
The other close matches I could eliminate by checking the photos because the "Made in England" text is separate, at the bottom of the label, but mine has the "Made in England" text at the end of the legal text around the edge of the label(s), and this entry does not show the label picture... Can you kindly check and add it?
Any direction?
Thanks!
marcoprolo

marcoprolo

December 17, 2015
referencing John Wesley Harding, LP, Album, CS 9604
I own a version on vinyl that I couldn't find here. It's made in Holland. It looks old because there's no Barcode on the back. On the left is written "This stereo Recording can also be played in mono. Provided a modern lightweightpickup is used. On the right (instead of Barcode) CB 271; in a circle 57 underneath CBS S63252. Down right stands NL printed in Hollad. The label on record is the CBS label. Not the old orange one neither the red mid-late 80'/90's. It'S the orange öabel on which the C(of CBS) looks like pacman. It's from a library where a return stamp is on dated 1983. Can you tell me what kind of version that is? Thanks!!
kpransom

kpransom

August 18, 2015
referencing John Wesley Harding, LP, Album, CS 9604
The "Barcode and Other Identifiers" information is wrong.
The original Canadian pressing matrix is:
Matrix / Runout (Side 1): XSM135311-1H
Matrix / Runout (Side 2): XSM135312-1H

NOT '1F' as the present info states.
Florian_Kiss

Florian_Kiss

April 17, 2015
referencing John Wesley Harding, LP, Album, CS 9604
Please help.

I have vinyl version that's not listed:

Sleeve:
CBS 463359 1
Barcode: 5099746335915

Produced By Bob Johnston

Copyright: 1989 CBS United Kingdom Ltd.

LC 0149 / 53 / CB231 / CBS

Label:
Label is red.

LC 0149
463359 1
463359 1 A*
MCPS/BIEM
P 1968 CBS
Records Inc.
---
LC0149
463359 1
463359 1 B*
MCPS/BIEM
P 1968 CBS
Records Inc.

Made In England

----

Matrix Number Side A: 63252 A3 (crossed out!) , 463359-1 A3
Matrix Number Side B: CBS S 63252 B3 (crossed out!), 463359-1 B3

BigBossMa

BigBossMa

April 15, 2015
referencing John Wesley Harding, CD, Album, RM, 512347 2, COL 512347 2

fjhgsdkljljkk..if just the harmonica wouldn´t have been recorded that loouud...(reference to "Live 1966").
david.j.novak.5

david.j.novak.5

March 17, 2015
referencing John Wesley Harding, LP, Album, RE, CS 9604
Everything the same except:
Runout (side A stamped): 135311-1G
Runout (side B stamped): 135312-1H
GRAVEYARDGREGORY

GRAVEYARDGREGORY

January 11, 2015
referencing John Wesley Harding, LP, Album, RE, CS 9604
everything looks the same on mine except my matrix is different...
Matrix / Runout (side A stamped ): XSM135311-1G
Matrix / Runout (side B stamped): XSM135312-1AA
dlgale1974

dlgale1974

October 24, 2014
referencing John Wesley Harding, LP, Album, Mono, CL 2804

It took me a while to really appreciate it as initially it seems such a departure from the previous trilogy, but this is a beautiful album with some brilliant song writing, most notably All Along the Watchtower. Plenty of food for thought.
CopperBlue

CopperBlue

September 23, 2013
referencing John Wesley Harding, CD, Album, RE, RM, CK 92395

Sounds great, though wish i'd gotten the SACD when I had the chance.
streetmouse

streetmouse

September 6, 2013
referencing John Wesley Harding, LP, Album, Mono, CL 2804

You want bizarre, you want real, you want magic, it's all right here waiting for you to uncover.

Alot of people didn't get what this album was all about when it came out, they were still so hung up on discovering secret meanings [or so they thought] from “Blonde On Blonde.” Bob delivers this release with a new set of eyes and ears, he’s got a new vision and a new direction. Bob has always been a restless soul, looking toward a new horizon, and this release required and ‘Ah Ha’ from most people before they got it.

It wasn’t difficult, Bob was drawing from the roots of American music, looking for a new sound. Hendrix got it for sure, many others did as well. The album wasn’t about a new direction for music in general, it was just a stepping stone, a place to reinvent something new, from something old and then add an interpretation. After all, this album was Bob’s interpretation of traditional American music.

If you take the time, you still hear the twisted, bending, train of thought lyrics that have always been the signature of Bob’s music; it was just a new context with this album. I can’t tell you what an impact this record had on the world of Dylan fans with its release. This was 180 degrees from where he had ever been, that being the amplified rock and roll of previous records; but in the same context, it’s the same place he’s always been. Dylan has just returned to the nature of his acoustic roots with ‘John Wesley Harding’ and the album was recorded at almost the same time as his legendary basement tapes, which wouldn’t be released in any fashion until 1975 or ‘76. The amount of time it took to complete these songs for the studio sessions is reflected in the striped down nature of the music, requiring less then twenty hours to complete. Bob is more direct on this record, both in musical style and lyrically, he gets right to the point. Actually Bob did get more striped down, and he did it with the same group of guys when he recorded 'Nashville Skyline,' though it was not recorded at break neck speed. Once, when I was discussing this with Levon Helm [of The Band], he lightly kicked the toe of my boot and said, "Ya' know, the last song on 'John Wesley Harding' could have easily been the first song on 'Nashville Skyline' ... what a smooth and flawless transition that was." I discreetly rubbed the toe of my boot on the back of my jeans, man those were new boots.

THE RUMOR verses THE TRUTH, WHO KNOWS ... The cover of this record was supposed to be in the spirit of The Beatles ‘Sgt. Pepper’ and The Rolling Stones, ‘Satanic Majesty’ with hidden images and meanings. Man, people just look too deeply sometimes for things that aren’t there in the music of Bob ... or perhaps these clues are there. I can tell you one thing, you are going to have to get yourself a real record, because you aren’t going to see anything on a CD cover. It is rumored that images of the Beatles are hidden in the knots on the trees trunks. Talk is, that before the album went to pressing, these knots were brushed over, leaving very dark spots on the trees where the detail of the knots would have been. Bob is wearing the same coat he wore on ‘Blonde On Blonde’ and the people behind him are two members of the Bengali Bauls [South Asian musicians, who were supposed to have had huge chunks of Finger Hash with them, which they smoked nonstop], and Charlie Joy a local carpenter and stone cutter from the Woodstock area. Coming on the heals of his motorcycle accident and the rumors of his death [as with the Beatles ‘Abbey Road’] the musicians were to ferry his spirit, and Charlie Joy would have constructed Bob’s coffin and headstone [even the picture is in the shape of a headstone]. And the album, the album would have been out takes or things Bob had done right before his death, perhaps even in the hospital, where this record was made in twelve short hours. Does anyone else hear “I BURIED BOB” and the end of Frankie Lee & Judas Priest????

This is a very enjoyable record, full of surprises and unexpected tunes. Bob took a breath of fresh air here and groups like The Eagles, The James Gang, The Byrds, The Band, Jimi Hendrix and The Grateful Dead had a field day drawing deeply from American music and thought, developing story telling music, music redefined by Dylan, that would be such a fine mainstay for years to come.

Dig it or don’t, but this record has continued to make an impact on the music scene ever since it’s release.

And now, before the hours draws too late, a short lecture of supported facts ...

Hey friends, let’s revisit Dylan’s ‘John Wesley Harding,’ ... Forty some years ago on Dec. 27, 1967, Columbia Records released the Bob Johnston-produced Bob Dylan John Wesley Harding LP. In January, 1968, it was one of the most-tracked albums on countless FM radio stations in the U.S. and all over the world.

Dylan titled the album after an outlaw ballad he’d just written, “John Wesley Harding,” actually based on a true character: John Wesley Hardin, born in Texas in 1853.

Author Clinton Heylin, in his book “Bob Dylan: The Recording Sessions 1960-1994,” describes John Wesley Harding as “Dylan’s most perfectly executed album; that austerity [in sound and lyric] is, frankly, a key element. The fact that Dylan wrote ‘John Wesley Harding’ self-consciously as ‘an album of songs’ in a month and a day, and recorded it in just three afternoons, gives the album a unity all its own.”

Heylin suggests that John Wesley Harding “is an album full of outlaws, drifters, immigrants, messengers and saints.” Heylin then quotes a 1968 Dylan interview concerning his writing methods for the LP.
“What I’m trying to do now is not use too many words. There’s no line that you can stick your finger through; there’s no hole in any of the stanzas. There’s no blank filler. Each line has something.”

In due time, Jimi Hendrix, K-9, Dave Mason, TSOL, Grateful Dead, Richie Havens, Michael Hedges, U2, Neil Young, Wilton Felder and Eddie Vedder on the Dylan-inspired soundtrack to “I’m Not There” in 2007, all took swings at “All Along The Watchtower.”

Director Mike Nichols’ Christmas 2007 “Charlie Wilson’s War” theatrical release even had the original Hendrix master recording of “All Along The Watchtower” in the movie trailer.

“ ‘All Along The Watchtower’ was always one of my favorite songs to play with Neil (Young),” offers drummer Jim Keltner. “Amazing song. Jimi Hendrix, Neil. Playing it with Neil was always a huge amount of fun, because of the way he plays, his sound. The song just allowed him to soar, completely fly. And it allows for a big, massive wide beat. It has so many powerful elements. Playing it with Bob Dylan was the ultimate, of course,” declares Keltner.

Over the decades, the John Wesley Harding disc yielded renditions of “The Wicked Messenger” by Rod Stewart & The Faces and Patti Smith. Julie Driscoll cut “I Am A Lonesome Hobo.” Fairport Convention, Joe Cocker and, later, Janis Joplin, did “Dear Landlord.” Linda Ronstadt, Marianne Faithfull, Rita Coolidge, Georgie Fame, Emmylou Harris, The Hollies and even Goldie Hawn all sang “I’ll Be Your Baby Tonight.” Joan Baez and Robyn Hitchcock tackled “I Dreamed I Saw St. Augustine,” and there is also Judy Collins’ exquisite reading of “I Pity The Poor Immigrant,” also recorded by Gene Clark in melancholic fashion. And Hendrix committed to tape “Drifter’s Escape” — all from Dylan’s biblical and beatific-inspired disc.

Bob Johnston’s breathtaking production resumé includes Johnny Cash’s Folsom Prison and San Quentin live LP’s, Simon & Garfunkel’s Sounds of Silence, Parsley Sage Rosemary & Thyme and Bookends, and the first three enduring albums of Leonard Cohen: Songs From a Room, Songs of Love and Hate and Love Songs. Johnston also composed the music to a Cohen lyric “Come Spend the Morning” that Lee Hazelwood covered.

Johnston’s studio credits include efforts with Moby Grape, Willie Nelson, Tracy Nelson, Carl Perkins, Lindisfarne, Burl Ives, plus additional Bob Dylan long-form studio products: Highway 61 Revisited, Blonde On Blonde, Nashville Skyline, Self Portrait, New Morning.

Fast-forward to 1967, after the notorious motorcycle accident in July 1966 that, among other things, sidelined Dylan (at least in the public eye) for a better part of a year. Johnston met up with Dylan again at a Ramada Inn in Nashville, Tenn., before working on John Wesley Harding together.

“He played me some songs and asked, ‘What do you think about a bass, drum and guitar?’ ‘I think it would be fuckin’ brilliant if you had a steel guitar.’ ‘You know anybody?’ ‘Yeah, Pete Drake.’ He was workin’ with Chet [Atkins], so I got somebody to take his place and brought him over,” Johnston recalls. “Pete said, ‘Can I play some rock ’n’ roll?’ And I told him, ‘That’s what you’re here for.’ Charlie McCoy played a lot of instruments on that album. He played four, five or 20 instruments on every record.

“When I produced Blonde On Blonde and John Wesley Harding, they all knew what I wanted,” Johnston chuckles. “[Drummer] Kenny Buttrey was a genius by being as good as he was and by me fuckin’ with everybody. I used to fuck around to Kenny, and I’d say, ‘Your God damn drum is dragging, and you’re bringing everybody else down... ’ And he’d get pissed off. ‘My drum isn’t dragging!’ He’d be mumbling to himself, and everybody else would be laughing. Then, he’d say, ‘Can I play anything else?’”

Johnston, as he did previously in the Nashville sessions for Blonde On Blonde, took steps to remove the studio bafflers, a floor space dividing device used to prohibit microphone leakage and the instruments of the musicians from bleeding into each other’s separate sound booths during the sessions.

“I would place glass around Dylan for recording,” relates Bob Johnston. “He had a different vocal sound. I didn’t make his different vocal sound. He always had different sounds on. I never wanted to be [Phil] Spector … and while the rest of the world was doing an album as big as Blonde On Blonde, which everybody was — the more musicians they could get, the better it was. [But] we went in with four people … in the middle of a psychedelic world!

“What I did was put a bunch of microphones all over the room and up on the ceiling,” Johnston explains. “I would use echo when everything got through, and I could do that as much as I wanted. I wanted it to sound better than anything else sounded ever, and I wanted it to be where everybody could hear it. And I don’t know what Dylan would have been if he stayed in New York with those people, and been mixed like that. And I know he would have never done that shit like he did in Nashville,” Johnston insists.