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You Can Finally Hear the Best Show From Bob Dylan’s 1966 European Tour

This week, Vulture is taking a look at great unproduced, unreleased, or unheralded entertainment.

On May 17, 1966, at the Free Trade Hall in Manchester, England, Bob Dylan performed one of the most famous — and infamous — concerts in rock history. The show was the 11th of Dylan and his backing band the Hawks’ European tour, a series of gigs that on a nightly basis descended into battles. (Battles that, truth be told, have probably been overstated over the years.) A year prior, Dylan had “gone electric,” moving away from his acoustic protest-singer phase into rock music. Po-faced American fans had already fought their own struggles with Bob over this perceived selling-out, asserting that folk was musically pure and politically important, while rock was a fad, garish and shallow. In the spring of 1966, old-world listeners finally had a chance to jeer in person themselves.

The discontent came to a head on May 17 in Manchester when, after Dylan and his band had performed the taunting “Ballad of a Thin Man,” an audience member yelled “Judas!” Dylan hissed back, “I don’t believe you! You’re a liar!” Then he and the Hawks, who would later become the Band, exploded into “Like a Rolling Stone.”

The moment quickly became iconic, and it’s easy to understand why. The “Judas” show is the Ur-example of Dylan as an agent of artistic freedom. He was going to do what he wanted, no matter how angry it made people, and he was going to do it loudly. The moment stayed with Dylan, too. “Judas, the most hated name in human history!” he said in 2012 . “Yeah, and for what? For playing an electric guitar? As if that is in some way equitable to betraying our Lord and delivering him up to be crucified. All those evil motherfuckers can rot in hell.”

It was hard to imagine the drama of that night — and for 32 years, it was even harder to hear it. The performance circulated as a bootleg, erroneously called the “Royal Albert Hall” concert, before it was officially released, in 1998, as the fourth volume of Dylan’s Bootleg Series of archival material. Non-obsessives could now hear what only dedicated Dylanologists had previously been privy to: the “Judas” concert consisted of thrilling electric rock and roll — boy, did history ever prove those blinkered folk fans wrong — and one of those rare instances where the legendary lost classic lived up to itself.

Yet as we now know, thanks to the fascinating, newly released box set The Live 1966 Recordings , which contains audio from every show on Dylan’s European swing, the Judas show wasn’t even the best concert of the tour. Ten days after performing in Manchester, Dylan was in London to close out the run of dates with two evenings at the actual Royal Albert Hall — and on the second night, May 27, 1966, the final show of the tour, Dylan played a gig that exceeds even the “Judas” concert for sheer intensity and resonance.

To get something out of the way: Each concert of the 1966 European tour was divided in two. The first half of every performance featured Dylan alone on acoustic guitar and harmonica, mostly sticking to a repertoire of hallucinatory, then-new songs like “Desolation Row,” “Visions of Johanna,” and “Mr. Tambourine Man” — songs that you’d have to be high to think were songs of explicit social protest. You might also need to a little psycho-spiritual enhancement, 50 years later, to derive repeated pleasure from Dylan’s performances of them. These acoustic sets occasionally do drift into a dreamy, slightly zonked vibe that underscores the dense linguistic psychedelia of the lyrics. Also during these sets, Dylan would play long, zigzagging harmonica solos that, at their best, make a decent case for him as a minor virtuoso on the instrument. Other times, though, the solos sound as if Dylan’s stuck in some melodic holes he doesn’t quite know how to get out of. Mostly, he sounds a little bored with the voice-and-guitar format, and eager to turn on the amps, which he’d do during the second half of each concert. This applies to Manchester, London, and every other stop on the European tour. It’s the electric stuff that we need to focus on.

As noted, that 5/27/66 London show was the last show of the tour, and it sounds like an ending in all sorts of mesmerizing ways. In Manchester, Dylan was fierce and defiant, telling lead guitarist Robbie Robertson, bassist Rick Danko, drummer Mickey Jones, organist Garth Hudson, and pianist Richard Manuel to play “Like a Rolling Stone” “fucking loud.” In London, after so many weeks of sparring and scorn, he’s both haunted and ghostly. On “I Don’t Believe You (She Acts Like We Never Have Met)” you can hear the rasping singer have to push himself to get to the notes his songs are demanding. During “Ballad of a Thin Man” Dylan is resigned, as if he’s given up on trying to force any reconsiderations and is instead singing for himself.

It’s entrancing — we so rarely get to hear live recordings of such vulnerability. There’s also an amazing sympathy on display between the beleaguered Dylan’s vocals and the band’s majestic, cresting instrumentation. The Hawks aren’t attacking the music, as they were earlier in the tour, they’re supporting it: Jones and Danko the sympathetic foundation, Manuel providing earthy honky-tonk, and Hudson stitching everything together with his silvery threads. The tempos are slightly slower, too, which lends a little poignancy by underscoring that these musicians were persevering . Earlier in the tour, Robertson’s playing was a riot of spiky, twisted notes. At this show, he’s still aggressive, but there’s grace, too, as on the arcing breaks in “One Too Many Mornings” and spiraling coda of the show-closing “Like a Rolling Stone.” If there was better rock guitar being played in 1966, let me know.

It’s hard to go out night after night and play great music in front of even semi-hostile audiences, listeners who take that music’s existence as an affront, and in London, the impenetrable, enigmatic Bob Dylan was willing to admit it; the between-song banter is devastating: “Things change all the time,” he says, almost pleading, “you know that.” “I realize it’s loud music and all that kind of thing … if you’ve got some improvements you could make on it, that’s great.” “What you’re hearing here now is the sound of the songs. You’re not hearing anything else … so you can take it or leave it. It doesn’t matter to me.” “I’m sick of having people thinking ‘what does that mean?’ It just means nothing .”

If Manchester was the sound of a fuse burning, London is the explosion’s stark aftermath. When the tour ended, a frayed and frazzled Dylan went back to America. That summer, he crashed his motorcycle while riding near his home in Woodstock, New York. A period of recuperation turned into a longer period of reclusiveness. There’s been speculation in the intervening years that the crash wasn’t actually all that bad, and that Dylan simply used it as an excuse to go away for a while. The London show is proof of how much he’d gone through, and of what he’d been trying so hard to achieve.

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Bob Dylan: The 1966 Live Recordings

Image may contain Newspaper Text Human Person and Albert Grossman

By Jesse Jarnow

Columbia Legacy

December 15, 2016

Put on nearly any of the 36 discs in Bob Dylan ’s The 1966 Live Recordings box set and it will probably be perfect. Capturing the songwriter at the crest of his magical ’60s peak and culminating with a series of exhilarating performances in Manchester, Paris, and London, the imposing block of music documents Dylan facing down confrontational audiences while making some of the most ambitious creative leaps of his career. Causing controversy in some quarters by playing electric guitar in front of a rock band and seemingly abandoning his topical political songwriting, the shows depict an ongoing battle between Dylan and self-righteously betrayed folkies. Debuting material from the not-yet-released Blonde on Blonde alongside recent hits and new electrified arrangements of old tunes, Dylan is luminous and fragile-sounding during his opening solo acoustic sets, and equally fierce and possessed during the electric second halves, backed by the quintet that would soon become the Band, who match him in super-charged vitality.

A classic tour from start to finish, the set’s only drawbacks owe more to the format than the music: Various incomplete or missing songs, a few over-saturated vocal tracks, five CDs worth of grotty audience tapes, and the fact that Dylan performs nearly the same set lists in nearly the same order at every stop of the tour, from Long Island to Stockholm. Thoroughly consistent, especially by Dylan’s later live standards, the repeated performances from the 22 represented shows might be seen as feature, not a bug. Listening to oblique narrative epics like “Visions of Johanna” and dense truth attacks like “Leopard-Skin Pill-Box Hat” over and over, each becomes like a sculpture viewed from different angles, each liable to reveal something new about the lyrics or melody or interplay between musicians.

The 1966 Live Recordings builds itself around discs 19 and 20, a long-bootlegged show from Manchester officially released in 1998. Containing the notorious back-and-forth in which an audience member calls Dylan “Judas!” and Dylan snarls back, "I don’t be- lieve you, you’re a liar " (and to the musicians “play fuckin’ loud ”), the Manchester show also finds the just-exactly-perfect balance of performance, soundman Richard Alderson’s mix, and high drama. Listened to in the context of the gigs on either side of it, one hears Dylan and the Group (as they were capitalized at the time in the British music press) circling around the tempos and inflections of what would become the classic performance of the material.

But each disc—even the barely listenable audience recordings—has its own rewards for the committed Dylanologist, from on- and off-stage histrionics to a range of varied mixes, each with its own personality. Turning 25 on May 24th in Paris (discs 26 and 27), Dylan goes into near meltdown, attempting desperately to get his acoustic instrument in tune. “This never happens to my electric guitar,” he deadpans, a punchline deployed many nights, part prop theater (“This machine confuses fascists”), part a musician's nightmare of gear damaged in transit. Slurring his words, Dylan is deeply inside of both himself and his songs, his Woody Guthrie drawl blurred into the oft-caricatured nasal howl. One takeaway, though, and perhaps the perpetual Dylan hot take, is that the dude actually is an amazing singer, lingering sensuously on every syllable during the quiet acoustic sets and occupying every bit of smarter-than-thou word-play and put-downs when the electric guitars come out.

“It takes a lot of medicine to keep up this pace,” Dylan told journalist Robert Shelton that year, and various accounts (including those of liner-notes writer Clinton Heylin) hint at Dylan’s prodigious chemical intake during his extended world tour in 1966. Dylan had been touring in the electric/acoustic format since the previous summer, cramming in studio sessions between an extended fall tour with his new accompanists. The former backing group for Arkansas-born rockabilly singer Ronnie Hawkins, the ex-Hawks played 60 gigs with Dylan in the fall of 1965 and spring of 1966, drummer Levon Helm bailing in late November, before the start of Dylan's first world tour in 1966. Helm and others can be heard on the scant fall ’65 audience tapes released as downloads last year, and Sandy Konikoff can be made out (barely) on the audience-recorded discs from the American leg, stuck rightfully at the end of this set. But it’s the hard-hitting Mickey Jones (later seen in bearded form as neighbor Pete Bilker on ABC’s “Home Improvement”) who galvanizes the band from April of 1966 onward, providing gun-shot snare-cracks to start songs and a dependably rolling thunder. “In my group, the drummer is the lead guitar player,” Dylan would tell a press conference a quarter-century later, and Jones totally wails.

Often dismissed in the British music papers, the Group was anything but typical, owing especially to the double piano/organ attack of Richard Manuel and Garth Hudson. Filling the corners of each song with soulful R&B color and sometimes lost in the mix, Manuel can be heard especially on the May 14th show in Liverpool (disc 14), adding on boogie-woogie filigrees to “Baby, Let Me Follow You Down.” Though Hudson's solos are few and far between, one of the recurring pleasures of the box comes with his conversational fills between vocal lines every night on “Ballad of a Thin Man,” with Dylan taking over for Manuel at piano. Perhaps the keynote for the entire period, Dylan milks the tune for every last insult.

With Jones driving them, Manuel, Hudson, Danko, and lead guitarist Robbie Robertson make room for one another, all while heeding Dylan’s urgent rhythm playing, an electrified bandleader for barely six months by the time of the box set’s chronological opening on February 5th in White Plains. Climaxing all sets but one with “Like A Rolling Stone”—a #4 hit in the UK the previous year, #2 back home—was almost a joke in itself, a reminder that none of this electricity should be any sort of surprise. With most of the violent upheavals of the ’60s still building towards a fever pitch, Dylan had gradually moved away from overt topicality beginning with 1964’s Another Side of Bob Dylan , adding electric instruments to the mix for 1965’s Bringing It All Back Home . And, every night, “Like A Rolling Stone” makes a thrilling conclusion, Dylan yawping out the vocals, Robertson and pals transforming the sparkle of the 1965 studio rendition into an ethereal punch.

Speaking almost entirely in parables in interviews and press conferences, the Bob Dylan that stood in front of audiences in 1966 had an unearthly air, a beautiful and vibrating young alien. “Bob Dylan got very sick backstage and I’m here to take his place,” he announces in Glasgow (disc 21), but whoever it is that's wearing the Bob Dylan mask positively glows. The folkies were right, of course, in that he and his lyrics had drifted far from topical concerns, replacing them with a personal expression that spoke more to the abstract intellectual autonomy of the counterculture than the ongoing issues of the New Left. But sharpened even beyond that, the acoustic sets possess a stark beauty, like a series of elegant black-and-white portraits.

It would be the last time Dylan regularly performed extended solo acoustic sets, and it is a form he has mastered. Finding a subtlety in his harmonica playing, it ranges from spare melodic statements like the introduction to “Fourth Time Around” to more abstract honkings (such as the concluding solos in “Desolation Row”) perhaps more akin to what soundman Richard Alderson had recorded as house engineer at avant-garde label ESP’-Disk. At times, such as on the terrible February 5th audience tape from the Westchester County Center in New York, Dylan squonks up and down the harp for comedic value, but mostly it’s an instrument as weird and pliable as Dylan’s voice.

The long-haul listening experience of 29.5 hours of music provides able space for contemplation, a manner of observing Dylan’s work in real time, hearing him earn giggles for his then-unreleased “Norwegian Wood” answer song “Fourth Time Around” in Sheffield (disc 17) and endlessly tweak the work-in-progress electric set opener “Tell Me, Momma” at every stop of the tour. Dylan doesn’t settle on a single set of lyrics throughout the 20 surviving performances of this song, which was never recorded in a studio; the official lyrics in his published lyrics book (and on his website) bear only fragmentary resemblance to any version documented on the box set. A lost classic, never performed again after 1966, each version flashes by in a perfect torrent of Dylan-esque babble, as if he were scribbling in a notebook, trying out endless variations.

To Dylan, his sets with this Group seemed to represent the next step in his work. Though only Robbie Robertson featured on Blonde on Blonde , in stores a few weeks after the tour concluded, Dylan would rush-release the Liverpool recording of “Just Like Tom Thumb’s Blues” as the B-side of the last pre-album single, “I Want You.” In addition to spending post-show time with the Group and his entourage reviewing Alderson’s recordings, Dylan continued to work off-hours on even more new songs, with a half-dozen fragments of hotel songwriting sessions with Robertson included on last year’s The Cutting Edge , almost all abandoned after the tour.

Operating at high speed in every regard, Dylan’s career would take a major turn after a motorcycle accident in Woodstock in July, canceling the next legs of the tour, eschewing live performance until 1969, and staying off the road until 1974. The 1966 Live Recordings , then, are a definitive cap on one of the most productive and astounding periods in any popular artist’s creative history, a story so familiar it’s become an archetype and myth. While the recordings sound pristine as might be hoped, give or take occasional distortion, the accompanying packaging is left a bit wanting. The long liner note essay by longtime Dylan scholar Clinton Heylin is excellent, but the mere quantity of music seems to demand even more material than the set provides, or even just more caring annotation of what is included, like the dates of film stills or even the names of the concerts’ venues. (Heylin’s own recent book Judas! From Forest Hills to the Free Trade Hall is an excellent start.)

The box set offers dramatic resolution, too. During the tour's penultimate gig, at London’s Royal Albert Hall (disc 29), Dylan’s syllable-crunching shout-singing bounces gracefully off the Group’s elastic crunch, a performance every bit as transcendent as Manchester. But on the last night (disc 31), Dylan finally snaps, and after the electric set-opening “Tell Me, Momma,” offers a completely earnest and logical explanation for the music. “I like all my old songs, it's just that things change all the time, everybody knows that,” he says in part. It’s so earnest, in fact, that he finds himself speaking words that one would rarely associate with the future Nobel laureate. “The music is… the music is… I would never venture to say what it is,” Dylan trails off, perhaps even shocking himself in his attempted candor. But on this final night of the tour, mostly, Dylan finally sounds too far gone, his voice weak. He and the Group seem to fray in places, and in doing so reveal the other 21 performances for the high-wire achievements they were and are. “You can take it or leave it, it’s up to you,” Dylan says, and the choice still exists, the answer out there blowin’ somewhere.

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First Listen

Review: bob dylan, 'the 1966 live recordings'.

Note: NPR's First Listen audio comes down after the album is released.

Bob Dylan, The 1966 Live Recordings. Courtesy of the artist. hide caption

Before he began the tour that's documented on the 36-disc set The 1966 Live Recordings , Bob Dylan was on record as being ambivalent about the road.

His electric adventure had started months earlier, with a short, sonically flawed performance at the 1965 Newport Folk Festival . The move to electric guitar and a rock backing band brought praise from some quarters and howling derision and doubting criticism from others. By then, he was regularly hailed as an oracle, the voice of his generation — and that responsibility didn't sit well, either: Upon returning from a U.K. tour later in '65, he complained about the grind of touring, telling journalist Nat Hentoff he found it "very tiring having other people tell you how much they dig you if you yourself don't dig you."

It's unclear what, exactly, Dylan didn't dig about what he'd been doing — after all, this was the tour concurrent with Highway 61 Revisited. What is clear: During the months he spent on the road in 1966, he refined a highly individual approach to performance, a way of inhabiting (and then transforming) his songs that was different from anything he'd done before.

Dylan could be plenty compelling solo, in part because he kept the focus on the intricacies of his narratives and the graceful melodic details embedded within them. These aspects of Dylan's art, apparent from the very beginning of his career, were recently celebrated in the announcement of Dylan's Nobel Prize in Literature — his "new poetic expressions within the great American song tradition."

This box chronicles Dylan at the moment when he was expanding his own notion of what these expressions could be. It shows him stretching out and sometimes recalibrating tunes he'd written just months before. And at the same time, it shows another side of Dylan: the flowering of his confidence as a performer, bandleader and rocker. It's a deep dive into a pivotal moment in rock history, and though not all of the audio is pristine — some of the shows are audience tapes, others are soundboard recordings that may sound unbalanced to ears accustomed to digital perfection — the music is almost always thrilling, alive with the wide-eyed energy that accompanies high-wire acts and other explorations into the unknown.

The shows followed a standard format: an acoustic set, then an intermission followed by an electric set. Dylan worked from a thick songbook that included material from the just-completed Blonde On Blonde , the third landmark studio work to come from an 18-month fever burst of creativity. The acoustic sets mix older songs with pieces, like Blonde On Blonde's "Visions of Johanna," that had not yet become standards; Dylan varies the phrasing and emphasis of these newer, word-drunk gems, in search of subtle (and not-so subtle) ways to amplify their meanings. To hear him developing alternate pathways for his songs, working in real time to adjust shading and mood, check out the version of "Desolation Row" from Liverpool.

The full-band sets are more unhinged, notable for the contrast between Dylan's impulsive wildness and the low-key poise of the accompaniment. Backed by the Canadian band The Hawks (later The Band ), Dylan charges right at those who wanted him to remain a folk singer. He shouts. He rips into some of his pretty melodies as though determined to destroy their contours — from one perspective, the tour registers as his long experiment in how far he can push tunes like "Ballad Of A Thin Man." He leans into some phrases until they become outrageously exaggerated, sings others with the leering, barely concealed delight of an antagonist.

There are many takeaways from a trove of this size. Among them are lessons about what it means to seek new ways to communicate at the exact moment the world is rhapsodizing about the ways that were so effective just weeks and months before. Sure, he was the Bard, in the midst of creating a string of landmark studio recordings that had a galvanic impact on the culture. That didn't stop Dylan, the Contrarian, from engaging in a thorough, exhaustive rethinking of his art — live, onstage, night after night.

Things To Do | Bob Dylan and the Band in 1966: A street fight…

Things To Do

Things to do | bob dylan and the band in 1966: a street fight of a tour.

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“Don’t stop playing, no matter what.”

With those words, Bob Dylan would lead the Hawks on stage into a blizzard of hate during a 1966 spring tour. Dylan knew the ruckus his newly electrified music would ignite — the boos, the insults, the “fans” clawing to get onstage just so they could give the erstwhile folk deity a piece of their mind or a fist to the teeth for having the temerity to play rock ‘n’ roll.

The Hawks — who would soon be known as the Band — were veteran road warriors, but they weren’t quite prepared for this level of hostility. Their drummer, Levon Helm, had already quit because he was both mystified and scared by the reception Dylan’s new music received during a handful of shows a few months earlier.

Now, audiences primed by media coverage of Dylan’s “sellout” of the folk movement, wanted blood. In response, Dylan demolished his fans’ expectations, his protest-singer past and, many would say, his own songs in some of the fiercest music ever made. Punk rock hadn’t been invented yet, but Dylan was playing an early version of it in the spring of ’66.

In the pre-internet era, most of the performances from the tour were available only as pricey bootlegs. In 1998, the most infamous recording from that tour – Dylan’s appearance at the Manchester Free Trade Hall – was officially released as “The Royal Albert Hall Concert,” as it was mistakenly known for years. It was during this performance that a disaffected fan shouted “Judas” at Dylan, and the singer responded, “I don’t believe you … you’re a liar,” and then instructed the band to “play f—— loud!”

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Dylan’s 1966 Tapes Find a Direction Home

Bob dylan on tour in 1966, a new short film made to accompany the release of the boxed set “bob dylan: the 1966 live recordings” features previously unseen footage of the tour, onstage and off, shot by d.a. pennebaker..

By Ben Sisario

Nov. 10, 2016

THAT’S it — that sounds like the original,” Richard Alderson said, with a knowing nod.

Sitting in his living room in the West Village, Mr. Alderson was cranking up Bob Dylan ’s “Just Like Tom Thumb’s Blues” as recorded in Liverpool, England, on May 14, 1966, in a version never released before: raw and clear, direct from the tapes that Mr. Alderson made as the live-sound engineer for Mr. Dylan’s 1966 tour.

That tour, on which Mr. Dylan was backed up by musicians who became the Band, has attained almost mythic status as a tableau of confrontation, as Mr. Dylan’s folk fans rejected his embrace of electric rock ’n’ roll. In its most famous incident , an audience member in Manchester, England, blurted out, “Judas!” (In response, Mr. Dylan told his band to “play loud” — adding an expletive that made the instruction spiteful, joyous or both.)

Some of these shows have long circulated in bootleg versions. But on Friday, Columbia/Legacy will release every known recording from the tour as a 36-CD boxed set , “Bob Dylan: The 1966 Live Recordings,” most of which have never been heard in any form. It is a monumental addition to the corpus just as Mr. Dylan has been named the winner of the Nobel Prize in Literature .

The new boxed set is the latest archival release from Mr. Dylan, after “ The Basement Tapes Complete ” (six CDs) and “ The Cutting Edge 1965-1966 ” (up to 18 CDs), that have been gobbled up by fans. For Mr. Dylan, there may also be a more prosaic motivation for the release: to secure European copyright protection on the recordings. (The works are eligible if released before they’re 50 years old.)

As the sound man, Mr. Alderson had a front-row seat on the historic tour. In an interview with The New York Times, and in a short film made by the record company, he reminisced about the demands of the job and the perplexing crowd reactions. The video includes previously unseen footage of the tour, onstage and off, shot by D. A. Pennebaker, who directed the film “Dont Look Back,” about Mr. Dylan’s 1965 tour.

A particular challenge of the 1966 tour, Mr. Alderson said, was building a sound system at a time when most theaters were ill equipped for a loud, amplified band.

“There was kind of no precedent for it,” Mr. Alderson, now 79, said as a terrier puppy yipped at his heels, and a pile of Dylan bootlegs sat on the coffee table for comparison.

The recordings trace Mr. Dylan’s tour through the United States, Australia, Britain and Europe, repeating the same two-part set with virtually no changes. In the first, acoustic half, he sang incantatory versions of “Visions of Johanna” and “Desolation Row”; for the second half, the entire band’s full-throttled takes on “Like a Rolling Stone” do not always drown out the jeers.

Even in the exhaustively documented field of Dylan studies, Mr. Alderson has been nearly lost in plain sight. He ran the tape machine for Mr. Dylan’s shows at the Gaslight Cafe in 1962 but was uncredited on the official release of those recordings in 2005. He also appears, unidentified, in “No Direction Home,” a documentary by Martin Scorsese that was also released that year. His name is barely in the Dylan history books (of which there are many).

“Nobody really wants to give me any credit,” Mr. Alderson said. “When I brought up the fact that I’m in the Scorsese film — I’m on screen with Dylan in some of the most important parts — the response was, ‘We thought it was some other Richard.’”

Mr. Alderson’s own career offers some explanation for the lapse. He was hired for the 1966 Dylan tour after recording Nina Simone at Carnegie Hall and building a live sound system for Harry Belafonte. After the tour ended, Mr. Dylan had a motorcycle accident and withdrew; Mr. Alderson ran his own studio — recording avant-garde jazz and rock bands like the Fugs — before burning out in 1969 and leaving for Mexico.

“I stayed in Mexico the entire time that Nixon was president,” Mr. Alderson said. “I completely lost touch with the New York recording scene.”

The audiotapes from the Dylan tour were made to accompany film footage being shot of the shows, some of which were used for the famously disjointed film “Eat the Document.”

Once the tour ended, Mr. Alderson turned over the tapes, which sat in refrigerated storage for five decades in Mr. Dylan’s extensive archives . Mr. Alderson reconnected with the Dylan circle over the last year as the boxed set came together, but his involvement was minimal. Until an interview with The Times, he had not heard the recordings in 50 years.

Speaking now, Mr. Alderson is still a little cranky but is clearly thrilled by the belated attention. He said that working with Mr. Dylan in 1966 was “more like working with a friend,” even though the video captures his old client bossing him around in no uncertain terms. And he doesn’t overthink the magic that went into capturing the tour on tape.

“You put good microphones up in front of good music,” Mr. Alderson says in the video, “and it sounds good.”

He was also careful to note his gratitude to Sony Music, the parent company of Columbia/Legacy, and to the Dylan camp for including his name in the official credits: “Mixing board tapes recorded by Richard Alderson.”

Two pictures on Friday with an article about the CD boxed set “Bob Dylan: The 1966 Live Recordings” carried credits that misspelled the surname of the director of the film “Dont Look Back,” who also shot video of Mr. Dylan’s 1966 tour. As the article correctly noted, he is D. A. Pennebaker, not Pennabaker.

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All of Bob Dylan’s 1966 live shows in 36-CD box set due Nov. 11

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A 36-CD box set featuring every known recording of Bob Dylan’s historic 1966 concert tour will be released Nov. 11, providing a companion piece to last year’s ambitious set documenting his studio recordings from 1965 and 1966.

“Bob Dylan: The 1966 Live Recordings” will feature songs taken from soundboard tapes, mobile recording trucks and audience tapes, according to an announcement Tuesday from Columbia Records and Legacy Recordings.

“While doing the archival research for ‘The Cutting Edge 1965-1966: The Bootleg Series Vol. 12,’ last year’s box set of Dylan’ mid-’60s studio sessions, we were continually struck by how great his 1966 live recordings really are,” Legacy Recordings President Adam Block said in a statement.

“The intensity of Bob’s live performances and his fantastic delivery of these songs in concert add another insightful component in understanding and appreciating the musical revolution Bob Dylan ignited some 50 years ago.”

See the most-read stories in Entertainment this hour »

On that tour, which included stops in the U.S., the U.K., Europe and Australia, Dylan was accompanied by four of the musicians who went on to be known as the Band — guitarist Robbie Robertson, pianist Richard Manuel, organist Garth Hudson and singer-bassist Rick Danko — as well as drummer Mickey Jones and, at two of the U.S. shows, drummer Sandy Konikoff.

The tapes capture not only Dylan’s performances of his songs but also the responses of fans, who were hostile at times after he had famously “gone electric” in 1965, the former darling of folk music circles antagonizing folk purists by incorporating the electrified power of rock music.

“The overwhelming majority of tracks and performances on ‘Bob Dylan: The 1966 Live Recordings’ are previously unreleased in any format — official or bootlegged — and are being made available now for the very first time,” the statement read.

The recording of his concert in Manchester, England, on May 17, 1966, was released in 1998 as part of “Bob Dylan Live 1966 — The Bootleg Series Vol. 4,” and a small handful of other tracks have been issued elsewhere.

The set, which is expected to sell for around $150 on Amazon and other outlets, will include new liner notes written by project consultant Clinton Heylin, the author of “Judas!: From Forest Hills to the Free Trade Hall: A Historical View of Dylan’s Big Boo,” examining his 1965 and 1966 world tours.

Each of the 36 CDs will come in a sleeve with artwork taken from color film shot on that tour by D.A. Pennebaker, director of the documentaries “Dont Look Back” and “Eat the Document.”

Separately, Columbia and Legacy also will release the May 26, 1966, recording of Dylan’s performance at London’s Royal Albert Hall under the title “The Real Royal Albert Hall 1966 Concert.” That will correct a long-standing mislabeling of his Manchester performance as “The Royal Albert Hall Concert” for “The Bootleg Series Vol. 4” release.

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Bob Dylan’s incendiary 1966 world tour makes an epic box set

The question comes from somewhere out in the audience, amid booing and turmoil. “What happened to Woody Guthrie, Bob?”

When Bob Dylan answers, his voice is all exhaustion, sarcasm, and barely concealed disgust. “These are all protest songs, now c’mon. ” A few moments later his band crashes into “Just Like Tom Thumb’s Blues,” a tale of Mexican misadventure that is anything but a “protest song.”

It is May 26, 1966, at the Royal Albert Hall in London, the penultimate night of a tour that has taken Dylan and his band, the Hawks, through North America, Australia, Europe, and the United Kingdom. But it could be almost any night. Dylan has heard all this before – the boos, the catcalls, the demands to unplug, the slow clapping that prevents him from introducing or starting songs.

What he hears, above all, is the audience’s insistence that he be what he once was – a folk singer – and the angry sense of betrayal at his refusal. This time around, there was no Hattie Carroll, no chimes of freedom, no blowin’ in the wind. True, Dylan opened each show with a solo set of acoustic songs, surreal fantasies and love songs drawn largely from his most recent albums, and they were attentively received. But one line from “Visions of Johanna,” which he sang virtually every night, presaged the trouble ahead: “The ghost of electricity/Howls in the bones of her face.”

That is what audiences heard in the second half, when Dylan and the Hawks, riding a wave of adrenaline and God knows what combination of substances, walked on stage and proceeded to play eight hard-edged rock songs that were probably the loudest music listeners had ever experienced. “When we kicked off the second half, we did kick ass and take names,” said drummer Mickey Jones in Martin Scorsese’s documentary “No Direction Home.” On an average night, this part of the show was met with audible disapproval. On bad nights, all hell would break loose.

The 1966 tour long ago stopped being just a phase in Dylan’s career and became the symbol of an artist’s struggle for independence against his fans’ wishes. What’s strange is that it assumed this iconic place in Dylanology despite the fact that for years almost no evidence of it was formally sanctioned for release. It took until 1998 for the most legendary of these shows – recorded in Manchester on May 17 – to appear in Sony’s official Bootleg Series, after decades of existence as an actual bootleg. Much of the tour was filmed by D.A. Pennebaker, and some of the footage would make its way into Scorsese’s 2005 film, itself just out in a 10th-anniversary edition.

Now, finally, this incendiary string of performances can be heard in as complete a form as history will allow. “Bob Dylan: The 1966 Live Recordings,” released on Nov. 11, collects every known live recording from that year. The band’s sound man, Richard Alderson, taped many shows directly from the soundboard on a portable recorder. CBS Records, as Dylan’s label was then known, professionally recorded four British concerts for a live album that never materialized. One show was taped by an Australian TV station, and there are five poor-quality audience recordings. The result: A jaw-dropping, bricklike 36-CD box.

On the one hand, preserving all this for posterity seems self-explanatory, the correction of a decades-old omission. But the main stimulus for this release was more prosaic : a European copyright law mandating that any performance not officially released after a half-century passes into public domain. Evidently Dylan and his management decided that if they were going to lay claim to this material, they might as well be comprehensive about it.

That’s why some of what’s here will likely appeal only to core Dylanites. Some of the soundboard recordings have strange balances, so that some instruments are in your face and others are inaudible. Dylan’s voice and harmonica are always high in the mix, and his singing is at times almost unlistenable. And the set list for most of these shows was identical, so you get as many as 20 versions of certain songs.

For all that, listening through the whole of this box set is an exhilarating experience. You hear the songs evolve on a micro level – a solo extended, a vocal delivery altered – as the musicians’ confidence with them grows. In the early shows, the Hawks sound like a ragged bar band; by the end, they are a lethally proficient collective. And the strange sound mixes serve to highlight their individual contributions: Robbie Robertson’s stinging guitar leads, Garth Hudson’s circus-like organ swirls, Richard Manuel’s honky-tonk piano, and the hard-hitting rhythm section of Jones and bassist Rick Danko.

Above all, it is the chance to eavesdrop on Dylan’s verbal warfare with his British audiences that makes “The 1966 Live Recordings” so thrilling. “Shut up!” and “Go home!” are common refrains. There is an authentically frightening atmosphere in Liverpool, and an agitated audience member yells, “Where’s the poet in you? Where’s your conscience?” Dylan drolly replies, “There’s a fellow up there looking for the savior. The savior’s backstage, we have a picture of him.” “We want Dylan,” they shout in Glasgow. “Dylan got sick backstage,” Dylan shoots back. “I’m here to take his place.” Over and over he mumbles nonsense into the microphone to quiet the rancor.

The most famous exchange, of course, came in Manchester, where a concertgoer named Keith Butler yelled out “Judas!” “I don’t believe you,” Dylan retorted. “You’re a liar.” Then he tells the Hawks to “play [expletive] loud.”

That outburst has always been one of the most extraordinary moments in pop music history. Heard here, in the context of all the other mayhem, it is more like one step in the unfolding of a process that began with a fractious electric performance at Newport the year before and ended in a surge of hatred at the tour’s shambling final concert, on May 27 in London. Sounding strung out and defeated, Dylan invites the audience to take a minute and deliver whatever invective they please at him. “How does it feeeeel ?” he wails during “Like a Rolling Stone,” the song barely hanging together. From one point of view, he had conquered the world; from another, he was a leper. He was 25 years old.

When we talk about Dylan now, we hit mundane topics like whether he can still sing (he can) or whether he deserves the Nobel Prize for Literature (he does). These recordings, though, bring back a time when his music mattered so much it almost exploded into violence. Night after bewildering night as Dylan and his bandmates took the stage, it seemed like the world could come apart because of a bunch of songs. How cool is that?

David Weininger can be reached at globeclassical [email protected] . Follow him on Twitter @davidgweininger .

How Bob Dylan Invented the Rock Star

His legendary 1966 world tour changed everything, and now it's immortalized in a massive 36-disc box set.

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"What we were doing, nobody, nobody had quite done that before," Robbie Robertson, who played guitar in Bob Dylan's touring band in 1966, says of that year's remarkable live shows. "It was a different approach to the music. It had a dynamic thing to it, and an explosive thing to it, and a raging thing to it. It had a violent quality along the way to trying to find the beauty."

The remarkable artistic path that Dylan carved for himself, and everyone else in his wake, is on full display within the 23 live shows on the 36 discs included in the outstanding new box set, Bob Dylan: The 1966 Live Recordings , out today.

Just the year before, Dylan had toured the U.K. armed only with an acoustic guitar in the guise of a beatnik troubadour, as chronicled in the documentary Don't Look Back . Now, here he was, decked out in the finest mod-inspired suits and Beatle boots, fronting a loud, loose, full-throttle rock and roll band. The Hawks—who would soon come to be known as the Band—were met with a chorus of boos, night after night. While his supporting musicians were sometimes bowed, Dylan, by all accounts, was undeterred.

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"A lot of it was fueled by critical newspaper write ups beforehand, with writers stating that Bob Dylan didn't have any right to go electric," says Dylan's sound engineer, Richard Alderson, who's recently unearthed tapes form the backbone of the massive box set, and who had known Dylan since his earliest days in Greenwich Village and had even recorded his legendary Gaslight Tapes . "It was all this opinion about what Bob should do or shouldn't be doing. But I always felt like it was a logical progression in the very least that Bob would go electric. But as a result of what the critics said, many times after a great performance, members of the audience would boo."

"We were doing something that people highly objected to, and it was quite a feeling to be doing that and really dedicated to it and have it feel like the world didn't believe in it," says Robertson, who recalls those heady days in his new memoir. "I have to take my hat off to Bob for not caving, because a lot of people would have just said, 'Well, the audience isn't really liking this very much, we should change it up.' But he didn't budge, and we stuck with him, and in time it's been proven that the world was wrong and we were right. That's quite a feeling."

.css-f6drgc:before{margin:-0.99rem auto 0 -1.33rem;left:50%;width:2.1875rem;border:0.3125rem solid #FF3A30;height:2.1875rem;content:'';display:block;position:absolute;border-radius:100%;} .css-1aglugu{font-family:Lausanne,Lausanne-fallback,Lausanne-roboto,Lausanne-local,Arial,sans-serif;font-size:1.625rem;line-height:1.2;margin:0rem;}@media(max-width: 48rem){.css-1aglugu{font-size:1.75rem;line-height:1.2;}}@media(min-width: 64rem){.css-1aglugu{font-size:2.375rem;line-height:1.2;}}.css-1aglugu b,.css-1aglugu strong{font-family:inherit;font-weight:bold;}.css-1aglugu em,.css-1aglugu i{font-style:italic;font-family:inherit;}.css-1aglugu:before{content:'＂';display:block;padding:0.3125rem 0.875rem 0 0;font-size:3.5rem;line-height:0.8;font-style:italic;font-family:Lausanne,Lausanne-fallback,Lausanne-styleitalic-roboto,Lausanne-styleitalic-local,Arial,sans-serif;} He didn't budge, and we stuck with him, and in time it's been proven that the world was wrong and we were right.

Still, Alderson insists that it wasn't as bad as legend would have you believe, which is evidenced on The 1966 Live Recordings and the newly remastered Martin Scorsese documentary of the era, No Direction Home .

"There was never a riotous reaction to Bob's performances, as has sometimes been described," Alderson says. "The enthusiasts didn't seem to be troubled by him going electric. The people that were excited about Bob didn't care. It was more the people who didn't know Bob, or who were deeply invested in the folk music image—in the Woody Guthrie tradition that supposedly Bob was carrying on."

There's a lot of repetition over the course of the 36 discs covering the 1966 tour, as the setlist Dylan and the Hawks played rarely varied. But you can also hear the songs develop—and Dylan's approach as a singer and performer along with them. One night Dylan would crack jokes, another he'd barely talk to the audience. The word-heavy "Visions of Johanna" morphed over the course of the tour, as Dylan tinkers with the emphasis and phrasing, and by the end of the tour "Desolation Row" went from a relatively new song, barely a year old, to a tour de force that formed the backbone of his acoustic set, and one that Dylan fully inhabited.

"There were some nights when the acoustic set was intense and beautiful, and some nights when it sounded like he was phoning it in, like he just wanted to get to the second half," says Alderson. "But those electric sets were uniformly great. He was delivering honest music, even if the audiences very often didn't accept the rock and roll half, for whatever reason, but probably because they were primed to think otherwise."

"We had our backs against the wall and were just seeing what would stick, because there was nobody to ask, 'How are we doing?'" says Robertson. "There was a purity and simplicity to the lot of traditional folk music, but he was taking things to another place, and it wasn't with that simplicity. It was more complex than that. There was no formula, so we just went for it."

Still, Robbie Robertson says it didn't feel like history in the making. "We had no idea where any of this was going, what it meant, it just felt like a good idea at the time," he says. "You don't know what's historic and what's going to live on, you're just trying to do the best of what you've got in the moment."

Beyond the raucous crowds, the wildly different conditions from town to town in those early days of rock and roll touring were the biggest challenge, says Alderson, which is evident in the recordings.

"It was louder than what most people were used to hearing, but it was never loud enough, really," he recalls. "Sometimes it was adequate, or better than adequate, in terms of volume in the hall, but most of the places we played sounded terrible acoustically, anyway. Most of them weren't designed for music and they definitely weren't designed for loud rock and roll."

Things come to a head in Paris. Alderson remembers vividly that it seemed the audience came itching for a fight that night, and it didn't help that they clearly had trouble understanding Dylan's lyrics and grew impatient as he took time to tune his guitar—one that had been damaged during the course of the tour—between songs. When he came out for the electric set in front of the "biggest American flag we could find" as a backdrop, Alderson says, things really got out of control.

"There's a lot of trouble translating Dylan's lyrics into French, or into any other foreign language, because they're uniquely American," says Alderson of the night. "The French were genuinely mystified. They knew he was a phenomenon, they knew that they wanted to be in the theater, but they were frustrated when they got there and they didn't really get what was going on. And the American flag was a provocation. The audience in Paris didn't understand Bob, and they certainly didn't get the fact that he hung the American flag up to be ironic, rather than to be patriotic. Plus, Bob was exhausted. And he had a broken guitar that he couldn't tune, and was trying to tune it for a long period of time in front of the audience, and they assumed that he was being rude. All that happened in Paris. It was a storm of events that made it all go wrong."

The first night at London's Royal Albert Hall, on the other hand, was transcendent. The tour was nearing an end, and with The Beatles and the rest of London's swinging set in the audience, Dylan and company were on fire throughout. While Dylan's earlier concert at Manchester's Free Trade Hall—including the infamous moment when an audience member called him Judas—was long traded amongst collectors as being the Royal Albert Hall show until it was released officially a decade ago, the "real" Albert Hall show is such a highlight of the box set that it's being released on its own next month.

With so much to dig into in The 1966 Live Recordings , where does Alderson recommend Dylan fans should start?

"I always loved Liverpool, and I always loved Belfast and Dublin, too," Alderson says. "Somebody told me recently that they liked the Sheffield recording, and I listened to it and it sounded very clear, but it was also very flat to me. You know, not very exciting. But like I said, even on Bob's worst night on that tour, it was probably some of the greatest rock and roll ever performed. I'm glad it's getting its due."

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To rock, country, blues & jazz, the best of bob dylan concert footage from in 1966 – 48min video.

[vc_row][vc_column][vc_message message_box_color=”mulled_wine” icon_fontawesome=”fa fa-quote-left”]All my songs are protest songs. All I do is protest. You name it and I’ll protest against it. –> Bob Dylan (Press Conference, London, England – May 3, 1966)[/vc_message][/vc_column][/vc_row]

Statement from Swingin’ Pig (editor): Here’s a compilation project of Bob Dylan footage I spent a few weeks editing. Sources I pulled from were “Eat The Document,” “No Direction Home,” as well as others. I overdubbed all of the footage with soundboard recordings released on “The 1966 Live Recordings.”

Visions of Johanna
Desolation Row
Just Like Woman
Mr. Tambourine Man
Tell Me Momma
I Don’t Believe You (She Acts Like We Never Have Met)
Just Like Tom Thumb’s Blues
Baby, Let Me Follow You Down
Leopard-Skin Pill-Box Hat
One Too Many Mornings
Ballad of a Thin Man
Like A Rolling Stone

[vc_row][vc_column][vc_separator][vc_btn title=”Borntolisten @ Facebook” color=”blue” i_icon_fontawesome=”fa fa-facebook-official” add_icon=”true” link=”url:https%3A%2F%2Fwww.facebook.com%2FJohannasVisions%2F||target:%20_blank|”][/vc_column][/vc_row][vc_row][vc_column][vc_message message_box_style=”outline” icon_fontawesome=”fa fa-link” css_animation=”bounceIn”] Check out:

Bob Dylan posts @ borntolisten.com
MusicThisDay.com
Music lists @ MusicThisDay.com
Karl Erik’s expectingrain.com
Olof’s “ Still On The Road “

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Bob Dylan – The 1966 Live Recordings

Dylan & The Hawks Vs The World in monumental chronicle of the legendary “Judas” tour

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Where do you go after your own fans have called you Judas ? Well, of course: you go to Glasgow, where, if anything, things get wilder yet.

Bob Dylan ’s 1966 tour, when he took the battle to “go electric” that had started at the Newport Folk Festival in July 1965 to audiences around the world, is the most mythologised in the history of rock’n’roll: the legend of an unstoppable speeding artist hitting the immovable wall of his audience’s preconceptions about who he was, and breaking through into wide open new territory, dragging popular music with him.

Possibly designed to bridge the gap between the “old” and “new” Dylans, the very structure of these gigs – a solo acoustic performance followed by a full band electric set – served only to heighten the division. The nightly routine was set in stone early. First Dylan would go out alone with acoustic guitar, and the people in the dark would sit in rapt silence and applaud whatever he did. Then he would return backed by the five-man band still known as The Hawks , plug in his Fender Telecaster, and the boos, catcalls and slow-handclapping would begin, as the folk-fundamentalist section of his audience voiced their earnest sense of betrayal.

Much of the tour’s notoriety rests on the show that took place at Manchester’s Free Trade Hall on May 17, when a lone voice cried out the vitriolic, ridiculous, heckle that would echo down the decades – “Judas!” – and Dylan, in disgust, instructed his already thunderous band to play the final “ Like A Rolling Stone ” “fuckin’ loud”.

We know all about that concert, of course. Originally mislabelled “The Royal Albert Hall”, it was one of the most famous bootleg records of all time, and when it was finally given legal release in 1998 as part of Dylan’s Bootleg Series , that manic, majestic performance officially took its place among the greatest live albums ever made. The “Judas!” incident crystallises the poison drama of Dylan’s ’66 world tour so perfectly it’s little surprise Martin Scorsese made it the climax of his kaleidoscopic Dylan documentary, No Direction Home .

But that Manchester gig wasn’t the end of the ’66 tour. It wasn’t even the first time things turned Biblical. Three nights before Manchester, in Liverpool, amid steady cries of “Traitor!” and “Go home,” another voice screamed, “What happened to your conscience?”, and Dylan shot back, “Oh. There’s a fellow up there looking for The Saviour…”

And two nights after Manchester, with the Judas jeer still ringing in his ears, there came Glasgow, where Dylan faced his most restive crowd yet – and, just when it sounded like the factions in the audience were on the verge of physical violence, taunted them further: “Bob Dylan’s backstage. He couldn’t make it for the second half. He got very sick – and I’m here to take his place.”

By this stage, sounding weary and on fire, he had only one week of the tour left to go. But you can hear in his voice that it seemed more like a year. Speaking in 1978, Hawks guitarist Robbie Robertson summed up the surreal, grinding Groundhog Day experience: “It was a strange way to make a living: You get in this private plane, they fly you to a town, we go to this place, we play our music and people boo us. Then we get back on the plane, we go to another town, we play our music, and they boo us.”

Across the remaining shows, combatting crowds in Edinburgh, Newcastle, Paris and London, with every passing song Dylan would sound sicker, stranger, a little closer to burning out for good, and a little more magnificent.

The chance to go through all of this again – to experience “Judas!” in its full, swirling, exhausting context – comes with the release of this astonishing 36CD set, gathering together every concert known to have been recorded during Dylan’s ’66 tour.

It hardly needs saying that this mammoth box is not intended for the casual Dylan listener. Even committed fans might think twice. Essentially, what you get is the same songs played in the same order over 23 nights. But, by God, how they are played. This is Dylan hitting his performing peak, and devotees will revel in it the way jazz heads would an unearthed cache of Charlie Parker . While there are no radical changes in the way songs are played, charting the shifts in focus, the changes in pattern and chemical balance from gig to gig, becomes addictive. Is Sheffield the most glorious acoustic show he ever played? Well, how about this “ Mr Tambourine Man ” from Birmingham? Or Liverpool’s “ Desolation Row ”? Meanwhile, as they dig deeper in the face of resistance, strengthening the music’s palatial architecture, you hear his band becoming The Band.

These recordings both prove the legend of the ’66 tour, and add nuance, as it becomes clear that as many in those audiences were with Dylan as against him. In Melbourne, the loudest screaming actually comes from teenage girls reacting to “ Tom Thumb’s Blues ”, as though the Fab Four had just appeared. It isn’t until he reaches the British Isles that things grow truly toxic, but even during the angriest rumblings of Glasgow, some of the most impassioned voices are crying for more electricity: “Tombstone Blues, Bob!”

The best way to listen might be to treat the boxset almost as you would a TV series, following the underlying drama from episode to episode. And, just as with any great series, there are recurring themes – growing spookier every night, “ Ballad Of A Thin Man ” becomes a particular psychodrama – and stand-out episodes, legends within the legend. The most significant might be the revelation of the fabled Paris concert that took pace on Dylan’s 25th birthday. He seems close to the end by now (“I wanna get out of here just as much as you…”), and the electric set takes on a ragged, terminal air. Balanced between defiance and despair, he roars himself hoarse, sounding close to throwing up, or passing out.

While the vast majority of the shows here sound fantastic, there are issues with some recordings. The collection is gathered from three sources. The earliest concerts were not professionally recorded, and the handful represented – three in the US, one apiece in Melbourne and Stockholm – come scavenged from tapes made by bootleggers in the audience. Invaluable as muddy snapshots of atmosphere, they are hard to listen to as music.

At the other end of the fidelity scale are four concerts recorded by Columbia Records using multi-track equipment: the previously released Manchester show; the hypnotic Sheffield gig; and the tour’s final two-night stand in London on May 26 and 27, when, before an audience that included Beatles and Stones, Dylan’s patience ran out, and he announced he wouldn’t be coming back. The first of the London shows is also being given a stand-alone release as The Real Royal Albert Hall 1966 Concert , newly remixed for this set by Chris Shaw – Dylan’s engineer on recent recordings including 2001’s masterpiece “ Love & Theft ” – who wrings every last drop of ambient beauty from the truly otherworldly acoustic set.

The bulk, however, are the raw recordings Dylan’s sound engineer made each night using a tape recorder plugged directly into the mixing board. Intended for possible use in Eat The Document, the anti-documentary Dylan was filming as the tour progressed, these are the same tapes he and the band listened to after each show, trying to work out if it was them or the booing audiences who had gone insane. They come at you in glorious mono, warts and all: a few songs missing, tapes sometimes running out mid-tune. But you can’t put a price on this stuff. Putting you right onstage, this is history in a box, exploding.

The December 2016 issue of Uncut is now on sale in the UK – featuring our cover story on Pink Floyd, plus a free CD compiled by Lambchop’s Kurt Wagner that includes tracks by Nick Cave & The Bad Seeds, Sleaford Mods, Yo La Tengo, Can. Elsewhere in the issue, there’s TheDamned, Julia Holter, Desert Trip, Midlake, C86, David Pajo, Nils Frahm and the New Classical, David Bowie, Tim Buckley, REM, Norah Jones, Morphine, The Pretenders and more plus 140 reviews

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May 27, 1966 Setlist

Bob Dylan Setlist at Royal Albert Hall, London, England

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Tour: World Tour 1966 Tour statistics Add setlist

She Belongs to Me Play Video
4th Time Around Play Video
Visions of Johanna Play Video
It's All Over Now, Baby Blue Play Video
Desolation Row Play Video
Just Like a Woman Play Video
Mr. Tambourine Man Play Video
Tell Me, Momma Play Video
I Don't Believe You (She Acts Like We Never Have Met) Play Video
Baby, Let Me Follow You Down ( Eric Von Schmidt cover) Play Video
Just Like Tom Thumb's Blues Play Video
Leopard-Skin Pill-Box Hat Play Video
One Too Many Mornings Play Video
Ballad of a Thin Man Play Video
Like a Rolling Stone Play Video

Edits and Comments

10 activities (last edit by YouLoseAndIWin , 23 Dec 2016, 21:46 Etc/UTC )

Songs on Albums

4th Time Around
Just Like a Woman
Leopard-Skin Pill-Box Hat
Visions of Johanna
Ballad of a Thin Man
Desolation Row
Just Like Tom Thumb's Blues
Like a Rolling Stone
It's All Over Now, Baby Blue
Mr. Tambourine Man
She Belongs to Me
I Don't Believe You (She Acts Like We Never Have Met)
Tell Me, Momma
One Too Many Mornings
Baby, Let Me Follow You Down by Eric Von Schmidt

Complete Album stats

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Bob dylan gig timeline.

May 24 1966 L'Olympia Bruno Coquatrix Paris, France Add time Add time
May 26 1966 Royal Albert Hall London, England Add time Add time
May 27 1966 Royal Albert Hall This Setlist London, England Add time Add time
Jan 20 1968 Woody Guthrie Tribute Concert 1968 New York, NY, USA Add time Add time

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My favourite Bob Dylan bootleg 1966: Genuine Live 1966 (box set)

Scorpio put out the 8 CD set entitled Genuine Live 66 in 2000 (following in their tradition of sticking titles to Sony music.) It gives us a fantastic view into one of the best (if not THE best) rock tours ever done.

The Bootlegs included in the box set are: “A Phoenix in April” – Sydney, Australia “The Children’s Crusade” – Melbourne & Adelaide “While The Establishment Burns” – Dublin, Copenhagen, & Edinburgh “A Nightly Ritual” – Liverpool, Glasgow, Sheffield, & Birmingham “The Genuine RAH Concerts” Manchester & London (In addition, some sets included two bonus discs of the Bristol show entitled Away From The Past)

The Bob Dylan World Tour 1966 was a concert tour from February to May 1966. Dylan’s 1966 World Tour was notable as the first tour where Dylan employed an electric band backing him, following his “going electric” at the 1965 Newport Folk Festival. The musicians Dylan employed as his backing band were known as The Hawks; they subsequently became famous as The Band. The 1966 tour was filmed by director D. A. Pennebaker. Pennebaker’s footage was edited by Dylan and Howard Alk to produce a little-seen film, Eat the Document , an anarchic account of the tour. Drummer Mickey Jones also filmed the tour with an 8mmhome movie camera. Many of the 1966 tour concerts were recorded by Columbia Records. These recordings produced one official album, the so-called “Royal Albert Hall” concert, and also many unofficial bootleg recordings of the tour. This box set is the definitive audio documentation of this tour.

Highlights: Too many to single out, this is a true treasure chest!

Other entries in this series:

My Favourite Bob Dylan bootleg from 1962: The Freewheelin’ Bob Dylan Outtakes My Favourite Bob Dylan bootleg from 1969: The Dylan / Cash Sessions My Favourite Bob Dylan bootleg from 1973: The Pat Garrett sessions My favourite Bob Dylan bootleg from 1983: Infidels outtakes (Rough cuts) My favourite Bob Dylan bootleg from 1989: The Oh Mercy Outtakes My favourite Bob Dylan bootleg from 1995: Prague 3 nights in March My favourite Bob Dylan bootleg from 2011: Funen Village Denmark June 27 My Favourite Bob Dylan bootleg from 2012: The Day of Wine and Roses, Barolo, Italy July 16 My Favourite Bob Dylan bootleg from 2014: Gothenburg Sweden July 15

A Phoenix In April ( disc 1 and 2 ): Sydney, Australia 1966

“The Sydney show is a raw and powerful soundboard recording. It is surprisingly quite for being an analog recording from such an early show. Dylan is talkative between a few of the first songs of each set in the slow, stoned voice that typified this tour.” – read more at Bobsboots

A Phoenix In April by hallgeir olsen on Grooveshark

The Children’s Crusade ( disc 3 ):

“As with most performances of this tour, Dylan sings the first 6 songs solo with the acoustic guitar. For this show he uses a borrowed guitar, as his had been broken. When compared to the Sydney show, this performance is more laid back. This recording has a higher analogue tape white noise floor level, but the windscreen is effective at this show, and there are few mic pops. She Belongs To Me cuts in after the song has begun The band kicks in for electrified versions of the final 3. The overall sound on this recording is quite good. All members of what would be The Band are now in place, except for Levon Helm. On this show, Mickey Jones plays drums. Dylan introduces Just Like Tom Thumb’s Blues with a fanciful story about a Mexican Painter, and two girls begin screaming wildly at the prospect of their idol singing their favorite song. “ – read more at Bobsboots

The Children’s Crusade by hallgeir olsen on Grooveshark

While The Establishment Burns ( disc 4 ):

“Six of the seven songs that were recorded at the Adelphi Theatre have been available to vinyl LP boot collectors for many years. They first appeared on CD in 1988 as ‘Dublin May,5 1966’. They are not quite the quality as some of the other shows, but they are still very good. As it was an incomplete recording, Scorpio has rounded out the disc with some of the wildest performances of the tour. Great quality as well. These 3 songs are the only known surviving board recordings of their respective shows except for ABC’s I Don’t Believe You , which was officially released on Biograph .. These push the listening time to 65 minutes. There have been rumours since the 1960s of an unreleased Dylan song by the title of While The Establishment Burns. It was also the name of a fairly rare 1970 bootleg LP release. “ – get more info at Bobsboots

While the Establishment Burns by hallgeir olsen on Grooveshark

A Nigtly Ritual ( disc 5 and 6 ):

“If not the best sounding recording, Liverpool is as good a performance of the electric set as you will find on the tour. Perhaps inspired by playing the hometown of the Fab Four, the band is tight and powerful. Dylan’s vocals, Robbie’s lead guitar playing and Garth’s erie B-3 all seem truly inspired. This board tape is of a remarkable effort. The first track was used as a demo of the song by Dwarf music. The second track appeared on a 1966 single, and on the official CBSCD Masterpieces . Dylan starts his now famous mumbling ruse before the introduction of Leopard Skin PillBox Hat , as the blue collar audience becomes a little loud with their heckling. Ballad Of A Thin Man is the highlight of the night. Glasgow is interesting tracks of songs that Bob was working on that were recorded for use in the film Eat The Document . The sound quality is amazing. The Sheffield show is perhaps the best of the tour. The quality is incredible, and the performance can move you to tears” – read more at Bobsboots

A Nightly Ritual by hallgeir olsen on Grooveshark

The Genuine RAH concerts ( disc 7 and 8 ):

“The Manchester show is moot now with the release of the official album, but this actually has a slightly softer, more polished sound. This CD is most likely the correct order and venues of what has traditionally been a very confusing and inaccurate account of the performances in the bootleg community. These represent clean, quiet recordings… although they have been available to collectors for so long that it’s almost hard to get excited about them. If you’re new to collecting, by all means, this is required material … and in as good a quality as you are likely to find. …At the final tracck of disc one, we magically switch to a pristine tape source. We get to hear a rarity on the tour… Bob introduces The Band. Then he kicks into the highlight of disc one… a painfully slow Like A Rolling Stone in which Bob spits words at the crowd with venom, and drags them into eternity. “ – Bobsboots

Genuine RAH Concerts by hallgeir olsen on Grooveshark

– Hallgeir

7 thoughts on “My favourite Bob Dylan bootleg 1966: Genuine Live 1966 (box set)”

this is my absolute favorite set of all time. i still remember sampling the first few cds at my local shop and being astounded the quality was so great. i asked the counter guy if they all sounded that good and he told me the story of the nagra recordings. instant buy! i can’t believe Sony is releasing all audio from this tour in November!

Yeah, it’s on preorder! …and it comes with quite a few recordings that we haven’t heard before.

Thanks for music that I haven’t heard until now.

Nicely packed, but later superseded by the better sounding 26-CD Vigotone collection.

OK? I’m not familiar with that one. Do you have some more information?

I found a little about it: http://www.ebay.com/itm/BOB-DYLAN-1966-JEWELS-amp-BINOCULARS-26-CD-BOOK-VIGOTONE-/370518106780

I should get that one…anyone who knows where the files are located? 🙂

the jewel in my collection.

A crown in any collection!

Comments are closed.

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Best Ever? Bob Dylan Live in 1966

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Many noteworthy events happened 50 years ago: France withdrew from NATO, India suffered its worst famine in 20 years, Medicare began in the USA and the Supreme Court decided the Miranda vs. Arizona case, which established rights for people accused of a crime.

The entertainment industry also had its share of landmarks in 1966: The first Star Trek episode was broadcast on TV, Truman Capote’s In Cold Blood was published, The Sound of Music won the Academy Award for best movie, and New York’s old Metropolitan Opera House was abandoned.

Now, with the release this week of a 36-CD box set Bob Dylan: The 1966 Live Recordings , it’s clear that another event must be added. Nineteen-sixty-six was probably the most significant — and many Dylan historians say “best” — year of the American troubadour’s career.

The box set, which will be released Nov. 11 by Columbia Records and Legacy Recordings, contains 36 live concerts Dylan performed in the USA, Europe and Australia. The concert recordings are a mixture of soundboard tapes, recordings from mobile trucks and audience tapes. Four members of Dylan’s band — Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson — went on to found the Band with Levon Helm.

The timing of the massive release was a stroke of fortune for the record company — less than a month after the Swedish Academy surprised the world by announcing that Dylan was awarded the Nobel Prize in literature.

Bob Dylan: The 1966 Live Recordings , captures “every known recording” from the prolific singer-songwriter’s groundbreaking 1966 tour, Columbia/Legacy says. That’s three-fourths of the 48 shows Dylan performed that year, according to Dylan historian Olaf Bjorner.

The box set is a treasure trove for Dylan fanatics. Nearly all the concerts have never officially been released. Dylan’s 1966 concerts were performed just months after he switched from adored folk artist to brash rock and roller. The move from acoustic to electric guitar — beginning with his July 25, 1965, appearance at the Newport Folk Festival — stirred controversy. There is debate whether Dylan was booed at Newport for going electric or other reasons, including poor sound quality at the venue and the short set he played.

But concerts that followed left no doubt that many folk purists were angry about Bob’s conversion to rock music. A month after Newport, he was booed at Forest Hills Tennis Stadium in Queens, New York. And even the following year — at the May 17, 1966, show at the Free Trade Hall in Manchester, England, which is rereleased in the new box set — a man in the crowd shouts “Judas” at Dylan after he plays his electric song “Ballad of a Thin Man.” Dylan responded: “I don’t believe you. You’re a liar!” He then commanded his band to “play it fucking loud,” and they broke into a rowdy version of “Like a Rolling Stone.”

Dylan’s live shows were not the only notable moments of 1966 for the artist. That year Dylan and his wife, Sara, saw the birth of their first child, Jesse, and Dylan recorded in New York and Nashville what many Dylan fans and critics say is his best studio album — the double LP Blonde on Blonde . The album was released a day before the Manchester concert and included many of Dylan’s greatest songs, including “Just Like a Woman,” “Visions of Johanna,” “Rainy Day Women #12 and 35,” “Stuck Inside of Mobile with the Memphis Blues Again,” “Leopard-Skin Pill-Box Hat” and the epic 11-minute-plus “Sad Eyed Lady of the Lowlands.”

Dylan’s 1966 tour ended on May 27 at London’s Royal Albert Hall — a performance that spans two discs of the 36-CD box set. It would be the last Dylan concert until eight years later, when Dylan launched a comeback tour with the Band. After the Royal Albert Hall show, Dylan went home to Woodstock, New York, where, on July 29, 1966, he was injured in a motorcycle accident. He then disappeared from the public eye and spent time with his family for many years.

“Truth was that I wanted to get out of the rat race,” Dylan wrote in his autobiography Chronicles: Vol. 1 . “Children changed my life and segregated me from just about everybody and everything that was going on. Outside of my family, nothing held any real interest for me, and I was seeing everything through different glasses.”

Bob Dylan: The 1966 Live Recordings documents the final chapters in Dylan’s rat race before his long break from music. Legacy Recordings President Adam Block explains the genesis of the 36-CD package.

“While doing the archival research for The Cutting Edge 1965-1966: The Bootleg Series Vol. 12 , last year’s box set of Dylan mid-’60s studio sessions, we were continually struck by how great his 1966 live recordings really are,” Block says. “The intensity of Bob’s live performances and his fantastic delivery of these songs in concert add another insightful component in understanding and appreciating the musical revolution Bob Dylan ignited some 50 years ago.”

Dylan is truly America’s most important musical artist of the 20th Century, and, for his biggest fans, the box set is a must-buy. Having seen Dylan perform more than 50 times and meeting him once, I consider myself one of those fans, so the box has special meaning.

I will not declare the box the best live album ever, though, because, in July, I made that declaration for Van Morrison’s three-CD/DVD box set, It’s Too late to Stop Now … Volumes II, III, IV & DVD , released by Sony Music’s Legacy Recordings. And, for casual Dylan fans, the new box repeats the same 15 or so songs, or less, with no encores, from city to city.

Another bonus for Dylan devotees are the sleeves that house the CDs. Each sleeve is a color still of Dylan taken from the film shot on that tour by D.A. Pennebaker, the director of Dylan documentaries Dont Look Back and Eat the Document .

Separately, Columbia/Legacy is releasing one of the concert’s from the box set — the May 26, 1966, recording of Dylan’s performance at London’s Royal Albert Hall — under the title The Real Royal Albert Hall 1966 Concert. That title will correct the 1998 Dylan release, The Bootleg Series Vol. 4 , which said it was the Royal Albert Hall Concert, when it actually was the May 17, 1966, Manchester show.

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Published: 2023/11/16 by Hana Gustafson

Cat Power Outlines Extensive Tour Honoring Bob Dylan’s 1966 Royal Albert Hall Concert

Photo Credit: Inez & Vinoodh

Singer-songwriter Cat Power has announced an extensive headline tour that will see her celebrating her acclaimed new live album, Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert , with complete performances of the 15-song concert. The new slate of appearances will commence on Feb. 12 at Hackensack Meridian Health Theatre in Red Bank, N.J., before continuing through the U.S. and Europe.

Following the first night on the road, Power will proceed with East Coast dates before dropping down to the Southern region of the country, where she will perform at Atlanta’s The Eastern on Feb. 22 and Charleston Music Hall in Charleston, S.C., the next evening. From there, Power will arrive in Nashville, Tenn., on Feb. 25, taking the stage at the Country Music Hall of Fame & Museum.

Midwest gigs will turn up next, with a show in Denver on March 4 at the Paramount Theater. The artist, known for her dynamic and reimagined covers of beloved material will continue with a tight leg of California appearances, such as March 7 at The Theater at Ace Hotel in Los Angeles and Herbst Theater in San Francisco the next night.

After spending time in the Golden State, Power will arrive in Portland, Ore., where she is scheduled to take the stage at Revolution Hall on March 11. The musician’s final U.S. tour date celebrating Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert will occur on March 13 at the Moore Theater in Seattle.

Power will spend the remainder of March away from the road, only to return for a brief European outing on April 20 at Cirkus in Stockholm, Sweden. She’ll proceed with a one-night stand in Oslo, Norway, before taking the Dylan celebration to Germany for two stops and eventually France for another pair of concert dates. Power’s final appearance will happen on May 1 at London Palladium.

In preparation for her forthcoming run, the artist appeared on NBC’s The Tonight Show Starring Jimmy Fallon , where she performed a cut from Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert. During the televised presentation, Power landed on fan favorite “Like a Rolling Stone.” Watch below.

Scroll down to view a complete list of tour dates. To purchase concert tickets, visit catpowermusic.com .

Read more about Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert here .

View this post on Instagram A post shared by CAT POWER (@catpowerofficial)

Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert:

Feb. 12 – Hackensack Meridian Health Theatre – Red Bank, N.J.

Feb. 13 – Keswick Theatre – Glenside, Pa.

Feb. 16 – Troy Savings Band Music Hall – Troy, N.Y.

Feb. 17 – Chevalier Theatre – Medford, Mass.

Feb. 18 – The Music Hall – Portsmouth, N.H.

Feb. 22 – The Eastern – Atlanta

Feb. 23 – Charleston Music Hall – Charleston, S.C.

Feb. 25 – Country Music Hall of Fame & Museum – Nashville, Tenn.

Feb. 27 – Northwestern University Cahn Auditorium – Evanston, Ill.

Feb. 29 – Hoyt Herman Palace – Des Moine, Iowa

March 1 – The Fitzgerald Theater – St. Paul, Minn.

March 2 – Pabst Theater – Milwaukee, Wis.

March 4 – Paramount Theater – Denver

March 6 – Lobero Theater – Santa Barbara, Calif.

March 7 – The Theater at Ace Hotel – Los Angeles

March 8 – Herbst Theater – San Francisco

March 9 – Uptown Theater – Napa, Calif.

March 11 – Revolution Hall – Portland, Ore.

March 13 – Moore Theater – Seattle

April 20 – Cirkus – Stockholm, Sweden

April 21 – Oslo Konserthus – Oslo, Norway

April 23 – Admiralspalast – Berlin

April 24 – Alte Oper/Mozartsaal – Frankfurt

April 26 – Cité des Congrès de Nantes – Nantes, France

April 28 – Folies Bergère – Paris

May 1 – London Palladium – London

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Cat Power sings iconic Bob Dylan tour at the Basie in Red Bank

On the road//2 minute read.

How does it feel to be a Rolling Stone?

Find out Monday, Feb. 12, at the Count Basie Center for the Arts in Red Bank as indie rocker Cat Power begins the U.S. leg of her “Cat Power Sings Dylan” tour.

Cat Power, aka Atlanta native Chan Marshall, recently released the critically acclaimed “Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert,” which re-interprets Dylan's famous UK concert where he went electric.

“Opening in Red Bank is particularly special — just like in 1966 when Bob played those songs at (Manchester) Free (Trade) Hall, the night before he played them at Royal Albert Hall," said Cat Power via email. "It's an absolute nod to that initial gesture. New Jersey has soooo much soul.”

More: Bouncing Souls, Gaslight Anthem and Ozzy part of big rock star moment in Bradley Beach

It's a quirk of rock 'n' roll history — and a mislabeled bootleg record — that the show is identified as taking place at the Royal Albert Hall. It actually went down at the Manchester Free Trade Hall just prior to the Royal Albert Hall show. Deeper still, Dylan actually first went electric at the 1965 Newport Folk Festival.

“Some of the greatest people in life and people in rock 'n' roll history are from New Jersey!” said Cat Power. “The earnestness of my New Jersey fam is similar to when people say the nicest people are from the Midwest. True, but give New Jersey the bone for once! I'm honored to begin my tour with the Red Bank crew. They know how to get down!!”

The same cannot be said of 1966 “Royal Albert Hall” concert crowd. They infamously called Dylan “Judas” for going electric. Cat Power recorded her album at the actual Royal Albert Hall in 2022.

No cries of “Judas!” these days, but plenty of soulful, prairie-whirled rock 'n' roll and the yearning echoes of Al Cooper's organ, played by Jordan Summers, will ring into the night.

Dylan’s “Like a Rolling Stone” sounds especially fantastic on the album.

“Taking this album out on the road is a perfect storm. I had no intention of recording the live show at Royal Albert Hall in London,” Cat Power said. “I was so honored to be able to actually do something like this — that recording the show was purely an afterthought.

"I hope I can deliver these songs with the same resonance, clarity and presence for every night," she added. "I am so grateful to have this job. I am so grateful to Bob as the Mount Everest of American songwriters to basically create my job for me. I can't say I would even be alive today if I hadn't become a songwriter. I feel certain Bob had a lot to do with it.”

Go : Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert, 7:30 p.m. Monday, Feb. 12, Count Basie Center for the Arts, 99 Monmouth St., Red Bank, $49.40 to $99.50; thebasie.org.

Jaheim returns

What do Jaheim and Bruce Springsteen have in common?

They have two things. First, both are from New Jersey. Second, they both covered the William Bell soul classic “I Forgot to Be Your Lover.” The track was re-interpreted by Jaheim on his 2002 hit “Put That Woman First”; Springsteen covered it on his 2023 soul album, “Only the Strong Survive.”

Jaheim, aka Jaheim Hoagland of New Brunswick, makes a rare concert appearance in his home state Friday, Feb. 9, at the “A Night of Love” with Keyshia Cole, Trey Songz and K. Michele. It's the first show of “The Love Hard Tour,” which crosses the nation February through April.

“Wait Jaheim??? OMG! Welcome back!” commented a fan on Jah's Instagram.

Go: Jaheim, Keyshia Cole, Trey Songz and K. Michele, 8 p.m. Friday, Feb. 8, 25 Lafayette St., Newark\, $155.50 and up; prucenter.com.

Subscribe to app.com for the latest on the New Jersey music scene.

Chris Jordan, a Jersey Shore native, covers entertainment and features for the USA Today Network New Jersey. Contact him at @chrisfhjordan; [email protected]

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Pearl Jam, Neil Young, Alanis Morissette Lead Ohana Fest 2024

By Tomás Mier

Ohana Festival has announced its lineup for this fall’s event at Doheny State Beach, featuring two headlining sets from Pearl Jam , alongside Garbage, Turnpike Troubadours, Neil Young and Crazy Horse, and Alanis Morissette .

Hosted by Eddie Vedder , the three-day festival is scheduled for Sept. 27 through Sept. 29 with Pearl Jam headlining both Friday and Sunday in celebration of their new Dark Matter LP. Friday’s fest will feature appearances from Maren Morris, Crowded House, Ryan Beaty, Flipturn, Dogstar, and Gabriels.

Saturday’s event — headlined by Young — will see Black Pumas, Jenny Lewis, Glen Hansard, and Ohana Fest staple Cat Power, who’ll perform music from Bob Dylan’s The 1966 Royal Albert Hall Concert . (Cat Power dropped a cover album celebrating the performance last year.) Sunday’s fest, with Pearl Jam and Morissette headlining, will include performances by Idles, the Breeders, Kim Gordon, La Lom, and La Santa Cecilia, among others.

View this post on Instagram A post shared by Ohana Festival (@theohanafest)

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À la cathédrale de Bourges, Cat Power célèbre Bob Dylan devant des fidèles

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La chanteuse américaine a rejoué le concert historique de 1966 pour un public transi mais fervent.

Au Printemps de Bourges, on réserve la majestueuse cathédrale dressée au cœur de la ville pour les grandes occasions. Ces dernières années, des soirées autour des répertoires de Leonard Cohen ou Portishead y ont été donnés. Les plus anciens se souviennent de la venue électrisante de Patti Smith. Cette année, c’était au tour de Cat Power de revisiter le répertoire de son héros, Bob Dylan. Ou, plus précisément, de rejouer le concert que ce dernier donna dans quelques villes européennes au printemps 1966. Entrée dans l’histoire sous le nom The Royal Albert Hall , la performance du 17 mai 1966, a été enregistrée en réalité à Manchester. Il s’agit d’une des performances qui ont changé le cours de la musique populaire. Un an après le festival de Newport, où il avait affolé les ayatollahs du folk en sortant une guitare électrique, Dylan enfonçait le clou en emmenant un groupe de rock à ses côtés.

Avec une première partie acoustique et une seconde amplifiée, Cat Power a respecté à la lettre la dramaturgie…

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Bob Dylan World Tour 1966
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Bob Dylan World Tour 1966

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Bob Dylan World Tour 1966
The Bob Dylan World Tour 1966 was a concert tour undertaken by the American musician Bob Dylan, from February to May 1966. Dylan's 1966 World Tour was notable as the first tour where Dylan employed an electric band backing him, following him "going electric" at the 1965 Newport Folk Festival.
Bob Dylan's 1966 Concert & Tour History
Bob Dylan's 1966 Concert History. 45 Concerts. Bob Dylan (born Robert Allen Zimmerman on May 24, 1941 in Duluth, Minnesota, United States) is an American singer-songwriter. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning more than 60 years.
You Can Finally Hear the Best Show From Bob Dylan's 1966 European Tour
On May 17, 1966, at the Free Trade Hall in Manchester, England, Bob Dylan performed one of the most famous — and infamous — concerts in rock history. The show was the 11th of Dylan and his ...
Bob Dylan: The 1966 Live Recordings
9.3. This 36-disc box set presents every surviving tape of Bob Dylan's 1966 world tour, capturing combative audiences and transcendent performances nearly every night. Put on nearly any of the 36 ...
11 beautifully restored images of Bob Dylan's 1966 tour
1966 was certainly Bob Dylan's most pivotal year. Following his "going electric," Dylan toured across Australia and Europe, polarising the audience, angering his strictest fans, arousing a wider ...
Inside Bob Dylan's Massive New 36-Album 1966 Live Box Set
How the most notorious tour of Dylan's career came into existence. The inside story on how Bob Dylan's legendary 1966 tour became a massive 36-album box set. Photofest. By the final date on his ...
Review: Bob Dylan, 'The 1966 Live Recordings'
Courtesy of the artist. Before he began the tour that's documented on the 36-disc set The 1966 Live Recordings, Bob Dylan was on record as being ambivalent about the road. His electric adventure ...
Bob Dylan On Tour in 1966
A new short film made to accompany the release of the boxed set "Bob Dylan: The 1966 Live Recordings" features previously unseen footage of the tour, onstage and off, shot by D.A. Pennebaker.
Bob Dylan and the Band in 1966: A street fight of a tour
With those words, Bob Dylan would lead the Hawks on stage into a blizzard of hate during a 1966 spring tour. Dylan knew the ruckus his newly electrified music would ignite — the boos, the ...
Dylan's 1966 Tapes Find a Direction Home
Bob Dylan On Tour in 1966 A new short film made to accompany the release of the boxed set "Bob Dylan: The 1966 Live Recordings" features previously unseen footage of the tour, onstage and off ...
All of Bob Dylan's 1966 live shows in 36-CD box set due Nov. 11
The recording of his concert in Manchester, England, on May 17, 1966, was released in 1998 as part of "Bob Dylan Live 1966 — The Bootleg Series Vol. 4," and a small handful of other tracks ...
Bob Dylan's incendiary 1966 world tour makes an epic box set
It is May 26, 1966, at the Royal Albert Hall in London, the penultimate night of a tour that has taken Dylan and his band, the Hawks, through North America, Australia, Europe, and the United ...
How Bob Dylan Invented the Rock Star
There's a lot of repetition over the course of the 36 discs covering the 1966 tour, as the setlist Dylan and the Hawks played rarely varied. But you can also hear the songs develop—and Dylan's ...
The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall
Live 1966: The "Royal Albert Hall" Concert is a two-disc live album by Bob Dylan, released in 1998.It is the second installment in the ongoing Bob Dylan Bootleg Series on Legacy Recordings, and has been certified a gold record by the RIAA. It was recorded at the Manchester Free Trade Hall during Dylan's 1966 world tour, though early bootlegs attributed the recording to the Royal Albert Hall so ...
The 1966 Live Recordings
The 1966 Live Recordings is a 36-CD boxset of live recordings from the 1966 Live Tour by Bob Dylan, released on Legacy Records in November 2016. It includes every known recording from the tour, including audience tapes. Most of the set was unreleased at that point and some tapes never circulated before. [1]
The Best of Bob Dylan concert footage from in 1966
Desolation Row. Just Like Woman. Mr. Tambourine Man. Tell Me Momma. I Don't Believe You (She Acts Like We Never Have Met) Just Like Tom Thumb's Blues. Baby, Let Me Follow You Down. Leopard-Skin Pill-Box Hat. One Too Many Mornings.
Bob Dylan Concert Setlist at Royal Albert Hall, London on May 26, 1966
1. Blonde on Blonde 4. Highway 61 Revisited 4. Bringing It All Back Home 3. Another Side of Bob Dylan 1. The Bootleg Series, Vol. 4: Live 1966: The "Royal Albert Hall" Concert 1. The Times They Are A‐Changin' 1. Covers 1. Tour stats.
Bob Dylan
Bob Dylan 's 1966 tour, when he took the battle to "go electric" that had started at the Newport Folk Festival in July 1965 to audiences around the world, is the most mythologised in the ...
Bob Dylan Concert Setlist at Royal Albert Hall, London on May 27, 1966
1. Covers. 1. Blonde on Blonde 4. Highway 61 Revisited 4. Bringing It All Back Home 3. Another Side of Bob Dylan 1. The Bootleg Series, Vol. 4: Live 1966: The "Royal Albert Hall" Concert 1. The Times They Are A‐Changin' 1.
My favourite Bob Dylan bootleg 1966: Genuine Live 1966 (box set)
The 1966 tour was filmed by director D. A. Pennebaker. Pennebaker's footage was edited by Dylan and Howard Alk to produce a little-seen film, Eat the Document, an anarchic account of the tour. Drummer Mickey Jones also filmed the tour with an 8mmhome movie camera. Many of the 1966 tour concerts were recorded by Columbia Records.
Best Ever? Bob Dylan Live in 1966
Bob Dylan: The 1966 Live Recordings, captures "every known recording" from the prolific singer-songwriter's groundbreaking 1966 tour, Columbia/Legacy says. That's three-fourths of the 48 shows Dylan performed that year, according to Dylan historian Olaf Bjorner. The box set is a treasure trove for Dylan fanatics.
Cat Power Outlines Extensive Tour Honoring Bob Dylan's 1966 Royal
Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert: Feb. 12 - Hackensack Meridian Health Theatre - Red Bank, N.J. Feb. 13 - Keswick Theatre - Glenside, Pa.
Bob Dylan World Tour 1966
The Bob Dylan World Tour 1966 was a concert tour undertaken by American musician Bob Dylan, from February to May 1966. Dylan's 1966 World Tour was notable as the first tour where Dylan employed an electric band backing him, following him "going electric" at the 1965 Newport Folk Festival. The musicians Dylan employed as his backing band were known as the Hawks, who later became famous as the Band.
Cat Power sings Dylan tour at Count Basie in Red Bank
The same cannot be said of 1966 "Royal Albert Hall" concert crowd. They infamously called Dylan "Judas" for going electric. Cat Power recorded her album at the actual Royal Albert Hall in ...
Pearl Jam, Neil Young, Alanis Morissette Lead Ohana Fest 2024
Saturday's event — headlined by Young — will see Black Pumas, Jenny Lewis, Glen Hansard, and Ohana Fest staple Cat Power, who'll perform music from Bob Dylan's The 1966 Royal Albert Hall ...
À la cathédrale de Bourges, Cat Power célèbre Bob Dylan devant des fidèles
Cette année, c'était au tour de Cat Power de revisiter le répertoire de son héros, Bob Dylan. Ou, plus précisément, de rejouer le concert que ce dernier donna dans quelques villes ...

You Can Finally Hear the Best Show From Bob Dylan’s 1966 European Tour

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Bob Dylan: The 1966 Live Recordings

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Bob Dylan Setlist at Royal Albert Hall, London, England

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