Adjust the volume and compare, both recordings sound great. The stereo version is equal to the gold disc but might sound livelier since it plays at a louder volume level.

Sony released a 'gold' disc CD later which did wonders for resolving these issues, but this disc was hard to find and expensive too much of an investment for many collectors.Д«oth the stereo and the SACD stereo layers sound very good.

Other tracks suffer from missing or de-emphasised intruments as well. The organ is completely missing from 'Sad Eyed Lady of the Lowlands'. When Sony first released 'Blonde on Blonde' on compact disc, the overall sound was bright and lively but it was not faithful to the original LP. The SACD release of this album finally restores what's been missing from the the original CD release.

Review by eesau Octo(1 of 5 found this review helpful) Great stuff & worth buying again, even if you owned the previous stereo-only SACD version, like I did.ДЄnd if you don't like harmonica, you shouldn't be listening to Dylan in the first place, period. This SACD corrects all that, and you get to hear all sorts of details (inclusive screw-ups) that the older mixes obscured. Previous CD mixes of this classic were shrill & lacked bass. It _is_ a vintage 4-track recording, so do not expect miracles, but the vox and instruments are intelligently placed in the front, and center speakers-mostly, Dylan's voice is hovering above the listener, while his guitar is in the center. The MC mix is the best of the three available (if you include the RB CD layer). In most cases, the surround speakers are used for room ambience, with Rainy Day Women 12 & 35 being an obvious exception-it literally sounds like you're in the middle of a drunken Salvation Army march rolling down the French Quarter of New Orleans. On the verses of One of Us Must Know (Sooner or Later), Swift is so hushed, accompanied by just the barest traces of pedal steel and piano, that it sounds like sheвЂ™s singing in church вЂ“ an effect only enhanced when the songвЂ™s main refrain swells into a heavenly chorale.I'm rather shocked this hasn't been reviewed sooner-it's definately an essential SACD surround release, not the least because it has always been a great album of Dylan at his 1960s peak. For Queen Jane Approximately, drummer Jon Radford sits back on rimshots, never overwhelming the song with his kit. Hitchcock is a brilliant guitarist who has long drawn on the legacies of both the Byrds and Dylan his work on Queen Jane Approximately steers the arrangement closer to the folk-rock style of the former than DylanвЂ™s original from Highway 61 Revisited, and eventually opens out into a ringing electric solo.Д«ut the focus always remains on SwiftвЂ™s voice. It helps that SwiftвЂ™s partner is Robyn Hitchcock, the prolific solo artist who, in the early 1980s, led the English psychedelic punk band the Soft Boys. And where DylanвЂ™s band helps him elaborate the gorgeous melody he can now only hint at in I Contain Multitudes, Swift needs no such assistance in a version that preserves the songвЂ™s wryness and subtlety. The way she lets her voice drag just a little longer as she sings вЂњI can change, I swearвЂќ will drive a corkscrew through your heart. That doesnвЂ™t mean that Swift doesnвЂ™t put her own spin on such well-worn songs as YouвЂ™re a Big Girl Now. Blonde on the Tracks: comparable to Emmylou HarrisвЂ™s Wrecking Ball in its intent, execution and intimacy.

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