Details
Track Listing
DISC 1:
1. She Belongs to Me
2. Fourth Time Around
3. Visions of Johanna
4. It's All Over Now, Baby Blue
5. Desolation Row
6. Just Like a Woman
7. Mr. Tamborine Man
DISC 2:
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
6. One Too Many Mornings
7. Ballad of a Thin Man
8. Like a Rolling Stone
| Details | | Contributing artists: | The Hawks | | Producer: | Jeff Rosen (Reissue) | | Distributor: | Sony Music Distribution ( | | Recording Type: | Live | | Recording Mode: | Stereo | | SPAR Code: | n/a |
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.
Industry 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 (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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