Bob Dylan Live 1966 -Bootleg Series vol 4 -LP sealed
$
56
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Description
This is a 4LP set, brand new and factory sealed, not a mark on it!!
In 1965, Bob Dylan plugged in his electric guitar and unleashed a new sound that split his audience down the middle. During the world tour that followed, the new music created controversy wherever he traveled. Some cheered, some booed, some simply walked out. Dylan blazed a trail of confrontational performances that changed rock and roll forever.
The tour concluded in Europe with a series of legendary shows captured on film and tape. The Bootleg Series Vol. 4 represents the first official release of the most famous bootleg in history, the legendary "Royal Albert Hall" concert, actually recorded in Manchester on May 17, 1966. Hear it here as it's never been heard until now, in a fresh mix straight from the three-track master tapes to vinyl.
Side 1:
1. She Belongs To Me
2. Fourth Time Around
3. Visions Of Johanna
4. It's All Over Now, Baby Blue
Side 2:
1. Desolation Row
2. Just Like A Woman
3. Mr. Tamborine Man
Side 3::
1. Tell Me, Momma
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Baby, Let Me Follow You Down
4. Just Like Tom Thumb's Blues
5. Leopard-Skin Pill-Box Hat
Side 4:
1. One Too Many Mornings
2. Ballad Of A Thin Man
3. Like A Rolling Stone
Album notes LIVE 1966... includes a 56-page booklet filled with rare photographs.
Personnel: Bob Dylan (vocals, acoustic & electric guitars, harmonica, piano); Robbie Roberston (guitar); Richard Manuel (piano); Garth Hudson (organ); Rick Danko (bass, background vocals); Mickey Jones (drums).
Recorded live at the Manchester Free Hall, Manchester, England on May 17, 1966.
Includes liner notes by Tony Glover.
A bootleg so legendary its incorrect origin graces the title of the official release, the Manchester-recorded "ROYAL ALBERT HALL" CONCERT documents one of rock and roll's watershed moments. The folk prophet's embrace of electricity in the face of his audience's dissatisfaction with such a decision is among the finest rock myths. This performance, recorded in the last days of Dylan's epochal 1965-66 world tour, proves the music he was creating at the time every bit as extraordinary and complex as the greatest art of the 20th century; Picasso, Joyce, and Kurosawa spring to mind much faster than any popular musicians.
The show's first half consists of folkie-friendly acoustic tunes--though one wonders what stringent folkies made of the hallucinatory wordplay of "Desolation Row." When the Hawks join him onstage, the calm atmosphere becomes a deafening din, as coffeehouse introspection dresses up in garage amps turned to eleven, treating the stale traditionalists to a post-modern hootenanny. Robbie Robertson and Dylan trade electric guitar catcalls, like gunslingers grazing each other with bullets just for fun. Garth Hudson's organ rolls out a juke-joint groove. And the bard delivers a batch of songs bursting with ideas of self-identity and social existence that are, even today, standard-bearers.
Editorial reviews Included in Rolling Stone's Essential Recordings of the 90's.
Rolling Stone (05/13/1999)
4.5 Stars (out of 5) - ...a vicious, exhilarating reminder that rock & roll...once had the power...to be a weapon of argument and vengeance....it often feels like Dylan and the Hawks are playing into a fierce wind, fighting the tide of attitude with venomous glee...
Rolling Stone Magazine (10/29/1998)
7 (out of 10) - ...His naysayers were probably right to reject his conviction as posturing, although the mod suit and pointed boots he wore that night were certainly no more `inauthentic' than his old hobo hat and coat....The audience tension admittedly pushes Dylan and company into an intense performance...
Spin (01/01/1999)
...From the snarl of Robbie Robertson's guitar to the carnival-carousel tone of Garth Hudson's organ to the prodding sneer of Dylan's voice, it's a joyful mess....that sense of exploration electrifies the music in multiple ways... - Rating: A
Entertainment Weekly (10/16/1998)
On Apr-21-08 at 17:05:03 PDT, seller added the following information:
This is a 2LP set, brand new and factory sealed, not a mark on it!!
In 1965, Bob Dylan plugged in his electric guitar and unleashed a new sound that split his audience down the middle. During the world tour that followed, the new music created controversy wherever he traveled. Some cheered, some booed, some simply walked out. Dylan blazed a trail of confrontational performances that changed rock and roll forever.
The tour concluded in Europe with a series of legendary shows captured on film and tape. The Bootleg Series Vol. 4 represents the first official release of the most famous bootleg in history, the legendary "Royal Albert Hall" concert, actually recorded in Manchester on May 17, 1966. Hear it here as it's never been heard until now, in a fresh mix straight from the three-track master tapes to vinyl.
Side 1:
1. She Belongs To Me
2. Fourth Time Around
3. Visions Of Johanna
4. It's All Over Now, Baby Blue
Side 2:
1. Desolation Row
2. Just Like A Woman
3. Mr. Tamborine Man
Side 3::
1. Tell Me, Momma
2. I Don't Believe You (She Acts Like We Never Have Met)
3. Baby, Let Me Follow You Down
4. Just Like Tom Thumb's Blues
5. Leopard-Skin Pill-Box Hat
Side 4:
1. One Too Many Mornings
2. Ballad Of A Thin Man
3. Like A Rolling Stone
Album notes LIVE 1966... includes a 56-page booklet filled with rare photographs.
Personnel: Bob Dylan (vocals, acoustic & electric guitars, harmonica, piano); Robbie Roberston (guitar); Richard Manuel (piano); Garth Hudson (organ); Rick Danko (bass, background vocals); Mickey Jones (drums).
Recorded live at the Manchester Free Hall, Manchester, England on May 17, 1966.
Includes liner notes by Tony Glover.
A bootleg so legendary its incorrect origin graces the title of the official release, the Manchester-recorded "ROYAL ALBERT HALL" CONCERT documents one of rock and roll's watershed moments. The folk prophet's embrace of electricity in the face of his audience's dissatisfaction with such a decision is among the finest rock myths. This performance, recorded in the last days of Dylan's epochal 1965-66 world tour, proves the music he was creating at the time every bit as extraordinary and complex as the greatest art of the 20th century; Picasso, Joyce, and Kurosawa spring to mind much faster than any popular musicians.
The show's first half consists of folkie-friendly acoustic tunes--though one wonders what stringent folkies made of the hallucinatory wordplay of "Desolation Row." When the Hawks join him onstage, the calm atmosphere becomes a deafening din, as coffeehouse introspection dresses up in garage amps turned to eleven, treating the stale traditionalists to a post-modern hootenanny. Robbie Robertson and Dylan trade electric guitar catcalls, like gunslingers grazing each other with bullets just for fun. Garth Hudson's organ rolls out a juke-joint groove. And the bard delivers a batch of songs bursting with ideas of self-identity and social existence that are, even today, standard-bearers.
Editorial reviews Included in Rolling Stone's Essential Recordings of the 90's.
Rolling Stone (05/13/1999)
4.5 Stars (out of 5) - ...a vicious, exhilarating reminder that rock & roll...once had the power...to be a weapon of argument and vengeance....it often feels like Dylan and the Hawks are playing into a fierce wind, fighting the tide of attitude with venomous glee...
Rolling Stone Magazine (10/29/1998)
7 (out of 10) - ...His naysayers were probably right to reject his conviction as posturing, although the mod suit and pointed boots he wore that night were certainly no more `inauthentic' than his old hobo hat and coat....The audience tension admittedly pushes Dylan and company into an intense performance...
Spin (01/01/1999)
...From the snarl of Robbie Robertson's guitar to the carnival-carousel tone of Garth Hudson's organ to the prodding sneer of Dylan's voice, it's a joyful mess....that sense of exploration electrifies the music in multiple ways... - Rating: A
Entertainment Weekly (10/16/1998)
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