|Tour by Bob Dylan, The Band|
|Start date||February 4, 1966|
|End date||May 27, 1966|
|No. of shows||45|
|Bob Dylan, The Band concert chronology|
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.
Legendary photographer Barry Feinstein (who previously shot the cover of Dylan’s album The Times They Are a-Changin’ in 1964) accompanied Dylan on the UK leg of the tour at the musician’s behest to document the tour, both onstage and off.
The 1966 tour was also filmed by director D. A. Pennebaker, and the film 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 8mm home movie camera.
Many of the 1966 tour concerts were audio recorded by Columbia Records. These recordings produced two official albums: The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert, which was actually recorded at the Manchester Free Trade Hall and in 2016, The Real Royal Albert Hall Concert, as well as The 1966 Live Recordings , a 36 CD box set of every recorded concert from the 1966 tour. There are also many unofficial bootleg recordings of the tour.
The last show of the tour was on May 27, 1966 at the Royal Albert Hall, and after withdrawing from the public eye and relocating to Woodstock because of a motorcycle accident he suffered on July 29 of the same year, it would be his last show on a major tour until 1974,
As Dylan finished the sessions for his 1965 "Positively 4th Street" single, he wanted to reproduce on-stage the same sound that he had polished in the studio.He soon began to gather a backing band with several musicians, such as bassist Harvey Brooks and organist Al Kooper, whom he had played with during the sessions for Highway 61 Revisited . However, the bulk of the players came from Ronnie Hawkins' former backing group, Levon and the Hawks. They impressed Dylan when he saw them play in Toronto, at the direction of Albert Grossman's staffer, Mary Martin, who told him to visit the group at Le Coq d'Or Tavern, a Yonge Street club. (Robbie Robertson recalled that it was the Friar's Tavern, a nearby establishment.) An alternate version of the first meeting, put forward by Williamson, suggests that he saw them in a Jersey Shore club. Drummer Levon Helm and guitarist Robbie Robertson were quickly invited to join Dylan's backing group. After only two shows into the initial tour in North America, Kooper left the band due to stress and safety concerns, and he and Brooks were promptly replaced by the remaining Hawks (bassist Rick Danko, pianist Richard Manuel and organist Garth Hudson). Drummer Levon Helm, too, disillusioned by the constantly hostile reception from audiences, jumped ship in November, getting replaced by session drummer Bobby Gregg. Gregg eventually left the band as the tour progressed, and Sandy Konikoff replaced him on drums, who left the tour when Dylan traveled to Australia. Former Johnny Rivers drummer Mickey Jones remained with the band throughout the rest of the tour.
Dylan and his backing group gave concerts sporadically throughout the United States and Canada while the initial sessions for Blonde on Blonde were being recorded.Sometime in September 1965, Dylan and the Band embarked to Woodstock, New York to rehearse the songs they would be performing on the tour. Several songs, such as "Maggie's Farm", "Can You Please Crawl Out Your Window?" and "It Ain't Me Babe" were dropped from the tour's set list as they embarked to different locations.
The first leg of the tour took place in North America, but by now both Kooper and Helm had left the band. The initial sessions with the Band for Blonde on Blonde, proved unproductive, with only two tracks good enough to be released ("Can You Please Crawl Out Your Window?" and "One of Us Must Know (Sooner or Later)"). Dylan soon began recording in Nashville, Tennessee with a new lineup of studio musicians. By April, Dylan had finished the sessions for Blonde on Blonde, and continued the tour outside of North America.
Leaving the continental United States, Dylan first traveled to Honolulu, Hawaii and from there to Australia, where he performed seven concerts over ten days in Sydney, Brisbane, Melbourne, Adelaide and Perth. The tour group then flew to Scandinavia for concerts in Stockholm and Copenhagen. After Scandinavia, Dylan toured Ireland [appearing in Dublin] and the United Kingdom (including Northern Ireland) in May. He made a short trip to Paris before he finished the tour in London.
Towards the end of the May 17, 1966 concert at the Free Trade Hall in Manchester, Dylan was called "Judas!" by a member of the audience (possibly John Cordwell),between the songs "Ballad of a Thin Man" and "Like a Rolling Stone". Dylan answered back, yelling to the man that "I don't believe you . . . you're a liar!", before he shouted to the members of the band to "Play it fuckin' loud!", where they then finished off the set with "Like a Rolling Stone". A bootleg album of the electric portion of this concert existed for many years, first appearing on the record In 1966 There Was in 1970, before it was officially released as The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert in 1998. This incident soon became a legendary moment in Rock history; its status even drove BBC Radio 1 DJ Andy Kershaw to declare "I still can't believe they've finally put it out. I just keep staring at my copy."
Because Dylan was now playing "electric", he was being constantly heckled by folkniks and angry fans throughout the electric half of a concert. Even the press began to go along with the dissent of his fans. A review in the magazine Melody Maker of the May 5, 1966 concert in Dublin, Ireland stated that "It was unbelievable to see a hip-swinging [sic] Dylan trying to look and sound like Mick Jagger. For most it was the night of the big let-down."In Europe, walkouts were common, although that was not the case in the United States. The press became more and more hostile as he traveled through England, particularly in London. The May 10 concert at Colston Hall in Bristol was savaged by one reviewer, saying that Dylan was "sacrificing lyric and melody to the God of big beat.", while another stated that Dylan had been "buried in a grave of deafening drums." Robert Shelton later wrote in Dylan's biography that the press was behaving like a "conformist, Neanderthal mob".
Concert-goers began to become hostile, yelling at Dylan from their seats, shouting phrases like "phoney" and "traitor" between songs. Dylan would often reply to these jeers, such as in Liverpool, where one man shouted "Where's the poet in you? What's happened to your conscience?", to which Dylan responded, "There's a fellow up there looking for the savior, huh? The savior's backstage, we have a picture of him."During one concert, as the jeers and shouts reached a terrible level, Dylan lazily replied, "Oh come on, these are all protest songs. It's the same stuff as always, can't you hear?" When the group embarked to Scotland, the audience turned out to be somewhat more receptive, at least in Glasgow, where Dylan's supporters outnumbered his hecklers. But in Edinburgh, a section of the audience attempted to drown out the band by playing their own harmonicas. In Paris, the French even jeered during Dylan's acoustic set; and during the electric portion, Dylan told his audience, "Don't worry, I'm just as eager to finish and leave as you are." The final two nights at the Royal Albert Hall in London saw the biggest walkouts of the tour, but there was some support, as The Beatles were in the audience, shouting down the hecklers. George Harrison denounced the angry fans as "idiots". When the tour ended, the Band returned to America angry and dejected; Robbie Robertson later said that, "After those shows we were lonely guys. Nobody wanted to hang out with us." In his memoir, Robertson writes of the Beatles stopping by Dylan's hotel room after the final London show, but Dylan being too exhausted to receive them.
Now that Dylan had separated himself from his folk contemporaries, his personality had greatly changed. The James Dean look of a leather jacket and slacks was gone. Dylan's new style of dress consisted of a dark green hounds tooth suit consisting of a tight, double-breasted waist-coat with a matching pair drainpipe trousers, all laced with diamond flecked stripes. For footwear, he chose a new pair of handmade Chelsea Boots, which were famously associated with The Beatles, and better known as "Beatle boots". According to his primary photographer Barry Feinstein, Dylan picked up the custom tailored suit and boots from a shop on Carnaby Street in London. When he wasn't on stage performing, Dylan was rarely seen without his blue suede military jacket, and custom wayfarer-style sunglasses.
Throughout the tour Dylan used during his acoustic sets his Gibson Nick Lucas Special. Upon his arrival in Melbourne, After Dylan's Nick Lucas Special was damaged and sent for repairs, he would borrow a guitar from a local luthier for his shows in Adelaide and Perth until he got back the repaired guitar just in time for the European leg of the tour. He also used the short lived Fender Kingman in his free time off stage. During the electric sets, he used a 1965 black Fender Telecaster with a maplecap neck, subsequently used by Robbie Robertson until the mid seventies, during concerts like Woodstock and The Isle of Wight Festival, before being stripped of its paint in 1970, and having a humbucker placed on it around 1971. Robertson owns this guitar up until today.Robertson used an early sixties blonde Telecaster with rosewood fretboard and a Fender Showman. Rick Danko employed a mid-sixties sunburst Fender Jazz Bass and a Traynor amplifier. Garth Hudson played his Lowrey Lincolnwood SSO and a Leslie 45. Richard Manuel used the piano of the venue, and Mickey Jones played a Gretsch drumkit.
Despite the transition from acoustic folk music over to rock 'n' roll, Dylan did not see himself as a part of the mainstream crowd of musicians. In a press conference in December 1965 he would detach himself from his contemporaries of rock music and call his style "vision music . . . mathematical music".
During his 1966 World Tour Tour, Dylan is alleged to have taken drugs. During his 1965 tour of England, it was alleged Dylan had used cannabis, but, by the end of 1965, he is said to have taken other drugs.During his 1966 tour, Dylan told Robert Shelton: "It takes a lot of medicine to keep up this pace. A concert tour like this has almost killed me." Dylan told Rolling Stone in 1984 that he "never got hooked on any kind of drug.".
|February 4, 1966||Louisville||United States||Louisville Convention Center|
|February 5, 1966||White Plains||Westchester County Center|
|February: 6, 1966||Pittsburgh||Syria Mosque|
|February 10, 1966||Memphis||Ellis Auditorium|
|February 11, 1966||Richmond||Shrine Mosque|
|February 12, 1966||Norfolk||Norfolk Municipal Auditorium|
|February 19, 1966||Ottawa||Canada||Ottawa Auditorium|
|February 20, 1966||Montreal||Place des Arts|
|February 24, 1966||Philadelphia||United States||Academy of Music|
|February 25, 1966|
|February 26, 1966||West Hempstead||Island Garden|
|March 3, 1966||Miami Beach||Convention Hall|
|March 5, 1966||Jacksonville||Jacksonville Coliseum|
|March 11, 1966||St. Louis||Kiel Opera House|
|March 12, 1966||Lincoln||Lincoln Memorial Auditorium|
|March 13, 1966||Denver||Denver Auditorium Arena|
|March 19, 1966||Los Angeles||Hollywood Bowl|
|March 23, 1966||Portland||Paramount Theatre|
|March 25, 1966||Seattle||Center Arena|
|March 26, 1966||Vancouver||Canada||PNE Agrodome|
|April 9, 1966||Honolulu||United States||International Center|
|April 13, 1966||Sydney||Australia||Sydney Stadium|
|April 15, 1966||Brisbane||Brisbane Festival Hall|
|April 16, 1966 [A]||Sydney||Sydney Stadium|
|April 19, 1966||Melbourne||Festival Hall|
|April 20, 1966||Melbourne||Festival Hall|
|April 22, 1966||Adelaide||Palais Theatre|
|April 23, 1966||Perth||Capitol Theatre|
|April 29, 1966||Stockholm||Sweden||Stockholm Concert Hall|
|May 1, 1966||Copenhagen||Denmark||K.B. Hallen|
|May 5, 1966||Dublin||Ireland||Adelphi Cinema|
|May 6, 1966||Belfast||Northern Ireland||ABC Theatre|
|May 10, 1966||Bristol||England||Colston Hall|
|May 11, 1966||Cardiff||Wales||Capitol Theatre|
|May 12, 1966||Birmingham||England||Birmingham Odeon|
|May 14, 1966||Liverpool||Odeon Theatre|
|May 15, 1966||Leicester||De Montfort Hall|
|May 16, 1966||Sheffield||Gaumont Theatre|
|May 17, 1966||Manchester||Free Trade Hall|
|May 19, 1966 [A]||Glasgow||Scotland||Odeon Theatre|
|May 20, 1966||Edinburgh||ABC Theatre|
|May 21, 1966||Newcastle||England||Odeon Theatre|
|May 24, 1966||Paris||France||L'Olympia|
|May 26, 1966||London||England||Royal Albert Hall|
|May 27, 1966|
in Glasgow, and the legend there was an afternoon performance remains untrue. He spent the afternoon of 18 May in his hotel writing, and arrived at the Odeon on 19 May for his only concert Because his concerts were divided in 2 parts, the legend of 'two concerts' likely started there.
Beginning all of his concerts with an acoustic set, Dylan performed seven songs each time. As well as playing material that was recorded as folk songs, he played several of his recently recorded electric songs acoustically ("She Belongs to Me", "Visions of Johanna", etc.). During the second half of a concert, he performed eight songs each time; but on the other hand, played some of his older, once acoustic material as electric blues ("One Too Many Mornings", "I Don't Believe You"); but the bulk of each set was centered on recent Blonde on Blonde and Highway 61 Revisited material, whether it be acoustic or electric. The song "Tell Me, Momma", which opened the second half of the concert, was never recorded for a studio album.
During the initial U.S. Tour (August 1965-March 1966), Dylan rarely played the same set list twice in a row. The set list below is that of the 28 August concert at Forest Hills Tennis Stadium, New York City.
Dylan added several songs to the set as the tour progressed, including "Baby, Let Me Follow You Down", "Visions of Johanna", "4th Time Around", and "Tell Me, Momma", while he omitted "To Ramona", "Gates of Eden", "Love Minus Zero/No Limit", "Tombstone Blues", "From a Buick 6", "Maggie's Farm", "It Ain't Me, Babe", and "Positively 4th Street" during the later part of the tour. He also performed several songs only once, including "Can You Please Crawl Out Your Window?" and "Long Distance Operator". After these revisions, the set each night became consistent, following the pattern below.
Each show lasted approximately 90 minutes,not including the break between the acoustic and electric halves. The only background vocals used were Danko's wailing "behind" during "One Too Many Mornings".
Musicians per Olof Bjorner.
On July 29, 1966, two months after the last concert of the World Tour, Dylan was involved in a motorcycle accident while riding on the property of his manager, Albert Grossman.The true nature and extent of his injuries has never been publicly disclosed. Although Dylan still had bookings for the rest of 1966 and beyond, he canceled all engagements for an indefinite period after the accident.
There were many reasons that contributed to his decision. He had come under increasing pressure over the preceding few years—his transition to "electric" music had provoked intense criticism from his former colleagues who were still involved in the folk music scene. His concerts and press conferences became increasingly hostile and confrontational, and it has been said that he was using drugs by the end of the tour.
Another significant personal factor is that Dylan was newly married, and with a young family. He had quietly wed Sara Lownds on November 22, 1965,and their first child Jesse was born two months later (Dylan also adopted Lownds' child from a previous relationship, and they had three more children over the next three years).
Dylan's withdrawal from touring coincided with a similar decision by the Beatles, who had decided to halt public performances after their unpleasant experiences in The Philippines (after unintentionally snubbing the Marcos family)and in the United States (due to the backlash over John Lennon's misinterpreted "more popular than Jesus" statement). This was soon followed by the touring hiatus imposed on the Rolling Stones caused by the drug busts and subsequent trials of Mick Jagger, Keith Richards and Brian Jones, which prevented them from touring in the U.S. for some time.
Another important factor is that the high public profiles of these artists were increasingly making them targets for violence.The surviving members of the Beatles have recorded in The Beatles' Anthology that they received death threats, and were in fear for their lives during their final U.S. tour in 1966.
However, Dylan continued to record in the period following the accident, taping a large body of work with The Band downstairs in the converted garage of their rented home, nicknamed "Big Pink" due to its salmon-colored siding, near Woodstock, New York, which became known as The Basement Tapes . Dylan returned to the studio to record 1967's John Wesley Harding , and 1969's Nashville Skyline . In 1969 he began making occasional one-off appearances, usually at festivals or large charity concerts, including his highly anticipated performance at the 1969 Isle of Wight Festival, and George Harrison's 1971 Concert For Bangladesh. However, Dylan did not undertake another full-scale concert tour until the "Before The Flood" tour that reunited him with The Band in January 1974.
The Band was a Canadian-American rock band formed in Toronto, Ontario, in 1967. It consisted of four Canadians and one American: Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and Levon Helm. The Band combined elements of Americana, folk, rock, jazz, country, and R&B, influencing subsequent musicians such as the Eagles, Elton John, the Grateful Dead, the Flaming Lips, and Wilco.
"Desolation Row" is a 1965 song by the American singer-songwriter Bob Dylan. It was recorded on August 4, 1965, and released as the closing track of Dylan's sixth studio album, Highway 61 Revisited. It has been noted for its length (11:21) and surreal lyrics in which Dylan weaves characters into a series of vignettes that suggest entropy and urban chaos.
Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album on June 20, 1966 by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know ". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.
Jaime Royal "Robbie" Robertson, OC, is a Canadian musician, songwriter, film composer, producer, actor, and author. Robertson is best known for his work as lead guitarist and songwriter for The Band, and for his career as a solo recording artist.
"Visions of Johanna" is a song written and performed by Bob Dylan on his 1966 album Blonde on Blonde. Several critics have acclaimed "Visions of Johanna" as one of Dylan's highest achievements in writing, praising the allusiveness and subtlety of the language. Rolling Stone included "Visions of Johanna" on their list of the 500 Greatest Songs of All Time. In 1999, Sir Andrew Motion, Poet Laureate of the United Kingdom, listed it as the greatest song lyric ever written.
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 world tour in 1966, though early bootlegs attributed the recording to the Royal Albert Hall so it became known as the Royal Albert Hall Concert. Extensively bootlegged for decades, it is an important document in the development of popular music during the 1960s.
The Bob Dylan and the Band 1974 Tour – sometimes referred to as Tour '74 – was a two-month concert tour staged in arenas during early 1974 that featured Bob Dylan, in his first tour in eight years, performing with his old partners The Band. The tour generated intense fan and media interest and tickets for the shows, available only through mail order, were in great demand. Shows on the concert featured segments with Dylan and The Band together, The Band by themselves, and Dylan by himself. Accounts of the shows emphasized the sometimes drastic rearrangements that Dylan's well-known songs were presented with. A live double album, Before the Flood, was recorded during the tour and released later in the year.
"Pledging My Time" is a blues song written and recorded by American singer-songwriter Bob Dylan for his 1966 album Blonde on Blonde. The song was recorded on March 8, 1966, in Nashville, Tennessee, with veteran Nashville musicians and Canadian guitarist Robbie Robertson. "Pledging My Time" was released the next month by Columbia Records as the B-side of the single "Rainy Day Women#12 & 35", a hit record in both the United States and Great Britain. The two songs also led off Blonde on Blonde, which was officially released on May 16, 1966, and today is considered among the best albums of all time.
By 1965, Bob Dylan was the leading songwriter of the American folk music revival. The response to his albums The Freewheelin' Bob Dylan and The Times They Are a-Changin' led the media to label him the "spokesman of a generation".
"I'll Keep It with Mine" is a song written by Bob Dylan in 1964, first officially released by folk singer Judy Collins as a single in 1965. Dylan attempted to record the song for his 1966 album Blonde on Blonde.
The Bob Dylan England Tour 1965 was a concert tour by American singer-songwriter Bob Dylan during late April and early May 1965. The tour was widely documented by filmmaker D. A. Pennebaker, who used the footage of the tour in his documentary Dont Look Back.
Tell Me, Momma is a song written by Bob Dylan and performed exclusively during his 1966 World Tour with the Band. It was used to introduce the second half of a concert, when Dylan switched from an acoustic solo performance to an electric performance backed by a band. The song was not recorded on a studio album, nor was it ever performed again by Dylan in concert.
Bob Dylan bootleg recordings are unreleased performances by American singer-songwriter Bob Dylan, that have been circulated throughout the public without undergoing an official, sanctioned release. It is commonly misconceived that bootlegs are only restricted to audio, but bootleg video performances, such as Dylan's 1966 film Eat the Document, which remains officially unreleased, are considered to be bootlegs. Dylan is generally considered to be the most bootlegged artist in rock history, rivaled only by the Grateful Dead.
"She's Your Lover Now" is a song written by singer-songwriter Bob Dylan, and recorded for his 1966 album Blonde on Blonde, but ultimately never used. It is a "dramatized scene for three players, but only one speaker – the singer – who's attempting to unravel a tangle of complicated emotions."
"On a Night Like This" is a song written by Bob Dylan and recorded in November 1973. It first appeared on Dylan's 14th studio album, Planet Waves, as the opening track. It was also released as the lead single from the album and reached #44 on the Billboard Hot 100 The song later appeared on several Dylan compilation albums including Biograph, in 1985, and Dylan, in 2007.
The Bootleg Series Vol. 12: The Cutting Edge 1965–1966 is a compilation album by American singer-songwriter Bob Dylan, released on Legacy Records in November 2015. The tenth installment in the ongoing Bob Dylan Bootleg Series, it comprises recordings from 1965 and 1966, mostly unreleased demos and outtakes from recording sessions for his ground-breaking albums Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde. The standard set peaked at #41 on the Billboard 200.
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.
"Obviously 5 Believers" is a 12-bar R&B song by Bob Dylan. It was recorded at Columbia Music Row Studios, Nashville on 10 March 1966, and released as the last track of side three of his double album Blonde on Blonde on 20 June 1966.
"Temporary Like Achilles" is a song by Bob Dylan. It was released as the second track of side three of his double album Blonde on Blonde on June 20, 1966. The song was written by Dylan, and produced by Bob Johnston. It was recorded at Columbia Music Row Studios, Nashville on March 9, 1966.