|The Bootleg Series, Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert|
|Live album by|
|Released||October 13, 1998|
|Recorded||May 17, 1966|
|Venue||Manchester Free Trade Hall|
|Genre||Rock, folk rock, blues rock|
|Bob Dylan chronology|
|Bob Dylan Bootleg Series chronology|
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 set list consisted of two parts, with the first half of the concert being Dylan alone on stage performing an entirely acoustic set of songs, while the second half of the concert has Dylan playing an "electric" set of songs alongside his band the Hawks. The first half of the concert was greeted warmly by the audience, while the second half was highly criticized, with heckling going on before and after each song.
This section needs additional citations for verification .(September 2021)
After touring North America from the fall of 1965 through the winter of 1966, Dylan, accompanied by the Hawks (later renamed the Band), embarked on a six-week spring tour that began in Australia, wound through western Europe, Ireland and the United Kingdom, and wrapped up in London. Dylan's move to electric music, and his apparent disconnection from traditional folk music, continued to be controversial, and his UK audiences were particularly disruptive with some fans believing Dylan had "sold out".
The electric part of this concert first surfaced in late 1970 or early 1971 on bootleg LPs with various titles. On June 3, 1971, critic Dave Marsh reviewed one bootleg in Creem magazine, writing "It is the most supremely elegant piece of rock 'n' roll music I've ever heard...The extreme subtlety of the music is so closely interwoven with its majesty that they appear as one and the same."
The same month, critic Jon Landau reviewed another edition of the concert:
Needless to say, the album is both musically great and an amazing path back into the temperament of the sixties. Listening to it, it isn't hard to remember Dylan on stage of the Donnelly Memorial Theatre in Boston or at Forest Hills in New York City standing toe to toe, eyeball to eyeball with Robbie Robertson between every verse of practically every song, while the guitarist played his fills. Nor is it hard to remember that long, lean, frail look that sometimes made you wonder what gave him the strength to stand up there in the first place, as he remembered the unbelievably complex lyrics to his unbelievably long songs, without ever faltering...It isn't hard for me to remember the booing, the names, the insults he endured just to be standing there with an electric band...On this album the audience claps at the wrong time, claps rhythmically as if to deliberately throw his timing off. At the beginning of 'One Too Many Mornings' he tells a completely psychotic story in a very low voice while the audience makes its noise. As they gradually lose their energy, he finds his and his voice gets louder, until, when they are almost completely silent he says plainly, 'if you only wouldn't clap so hard.' The audience applauds the statement.
The early bootleg LPs attributed the recording to one of Dylan's tour-closing concerts at London's Royal Albert Hall that was also recorded, as was a show in Liverpool (May 14), supervised by Dylan producer Bob Johnston. However, Dylan's now-legendary confrontation with a heckler calling out "Judas" from the audience, clearly heard on the recording, was well documented as having occurred at Manchester's Free Trade Hall on May 17, 1966. After "Judas!", there is clapping, followed by more heckles. Dylan then says "I don't believe you", then after a pause, "You're a liar." Bob Dylan then said to his band, "play it fuckin' loud" as they begin "Like a Rolling Stone." At the end, the audience erupts into applause and Dylan says, "Thank you."
After years of conflicting reports and speculation among Dylan discographers, the Manchester source was verified after the preliminary mix of a proposed Columbia edition was bootlegged in 1995 as Guitars Kissing & The Contemporary Fix. Dylan rejected that edition; three years later, he authorized a markedly different version for his second "Bootleg Series" release. One song recorded at Dylan's real Royal Albert Hall concert had been previously released: his May 26, 1966 performance of "Visions of Johanna" on the Box set Biograph . Excerpts from other 1966 UK performances are included in Martin Scorsese's 2005 television documentary No Direction Home . Film footage of the "Judas" incident was discovered and used at the end of the documentary.
The inside leaflet reveals useful information about the conditions of how the concert was recorded and transferred to disc and it confirms that the version of "It's All Over Now, Baby Blue", previously released on the Box set Biograph , duly comes from this concert.
On July 29, 1966, two months after finishing his spring tour, Dylan suffered a motorcycle accident. As a result of his long recuperation, Dylan had to cancel the remaining shows he had scheduled for 1966. However, he would continue to collaborate with the Hawks, and over the next year or so, they would produce some of their most celebrated recordings, many of which were eventually released on The Basement Tapes . Dylan would not embark on another tour until 1974.
|Encyclopedia of Popular Music|
Finally released in 1998, Live 1966: The "Royal Albert Hall" Concert was a commercial and critical success. It reached #19 in the U.K. and was included in the book 1001 Albums You Must Hear Before You Die .
"For (Led Zeppelin guitarist) Jimmy Page," remarked photographer (and Page's friend) Ross Halfin, "this (the bootleg) is still the ultimate album. Jimmy still buys copies of it whenever he sees it, as he likes it so much."
The album is ranked number 989 in All Time Top 1000 Albums (3rd. edition, 2000).
All songs written by Bob Dylan except "Baby, Let Me Follow You Down" by Eric von Schmidt and arranged by Dylan.
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.
"Mr. Tambourine Man" is a song written by Bob Dylan, released as the first track of the acoustic side of his March 1965 album Bringing It All Back Home. The song's popularity led to Dylan recording it live many times, and it has been included in multiple compilation albums. It has been translated into other languages, and has been used or referenced in television shows, films, and books.
"Like a Rolling Stone" is a song by American singer-songwriter Bob Dylan, released on July 20, 1965 by Columbia Records. Its confrontational lyrics originated in an extended piece of verse Dylan wrote in June 1965, when he returned exhausted from a grueling tour of England. Dylan distilled this draft into four verses and a chorus. "Like a Rolling Stone" was recorded a few weeks later as part of the sessions for the forthcoming album Highway 61 Revisited.
"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.
"Just Like Tom Thumb's Blues" is a song written and performed by Bob Dylan. It was originally recorded on August 2, 1965, and released on the album Highway 61 Revisited. The song was later released on the compilation album Bob Dylan's Greatest Hits Vol. II and as two separate live versions recorded at concerts in 1966: the first of which appeared on the B-side of Dylan's "I Want You" single, with the second being released on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert. The song has been covered by many artists, including Gordon Lightfoot, Nina Simone, Barry McGuire, Judy Collins, Frankie Miller, Linda Ronstadt, the Grateful Dead, Neil Young, The Black Crowes, Townes Van Zandt, and Bryan Ferry. Lightfoot's version was recorded only weeks after Dylan's original had been released and reached #3 on the Canadian RPM singles chart.
"Baby, Let Me Follow You Down" is a traditional folk song popularised in the late 1950s by blues guitarist Eric Von Schmidt. The song is best known from its appearance on Bob Dylan's debut album Bob Dylan.
"Just Like a Woman" is a song written by Bob Dylan and first released on his 1966 album, Blonde on Blonde. It was also released as a single in the U.S. during August 1966 and peaked at #33 on the Billboard Hot 100. Dylan's recording of "Just Like a Woman" was not issued as a single in the United Kingdom but the British beat group, Manfred Mann, did release a hit single version of the song in July 1966, which peaked at #10 on the UK Singles Chart. In 2011, Rolling Stone magazine ranked Dylan's version of the song at #232 in their list of the 500 Greatest Songs of All Time.
"It's All Over Now, Baby Blue" is a song written and performed by Bob Dylan and featured on his Bringing It All Back Home album, released on March 22, 1965, by Columbia Records. The song was recorded on January 15, 1965, with Dylan's acoustic guitar and harmonica and William E. Lee's bass guitar the only instrumentation. The lyrics were heavily influenced by Symbolist poetry and bid farewell to the titular "Baby Blue". There has been much speculation about the real life identity of "Baby Blue", with possibilities including Joan Baez, David Blue, Paul Clayton, Dylan's folk music audience, and even Dylan himself.
"She Belongs to Me" is a song by Bob Dylan, and was first released as the second track on his 1965 album Bringing It All Back Home. The song may be about a former girlfriend, Suze Rotolo, or fellow folk singer Joan Baez, contemporary siren Nico, or Sara Lownds, the woman that Dylan would wed in November 1965.
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".
Robyn Sings is a double album by Robyn Hitchcock, released in 2002. The set is made up entirely of Bob Dylan covers, performed live at various dates.
"One Too Many Mornings" is a song by Bob Dylan, released on his third studio album The Times They Are a-Changin' in 1964. The chords and vocal melody are in some places very similar to the song "The Times They Are A-Changin'". "One Too Many Mornings" is in the key of C Major and is fingerpicked.
"I Don't Believe You " is a song written and performed by Bob Dylan and released on his fourth studio album Another Side of Bob Dylan in 1964.
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.
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.
Lost on the River: The New Basement Tapes is an album produced by T Bone Burnett featuring a collective of musicians recording under the moniker The New Basement Tapes—Elvis Costello, Rhiannon Giddens, Taylor Goldsmith, Jim James and Marcus Mumford.
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.