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Online advertising campaignSocial media campaign Review: Historic, monumental release (for hardcore fans only, though) - It Could Even Be Like a Myth - Bob Dylan: The 1966 Live Recordings (Early thoughts) Writing about BOB DYLAN: THE 1966 LIVE RECORDINGS is a daunting task; after all, so much has already been said, and with the mammoth, monumental 36-CD official release of all extant concerts, the 1966 record is as complete as it will get. It’s impossible to do justice to this set after one full listening. This is something that will take a year or two of intensive study and is not for novice Dylan fans, whom it would likely drive bonkers. (Released the week of the presidential election, it’s as if Bob knew what was coming and gifted us something to take our minds off President Trump, though “Desolation Row” sure provides a stark reminder of where we stand.) The set lists - aside from a scorching “Positively Fourth Street” in Australia - are unvarying, and to many ears, one concert is probably no different from another. As any seasoned Dylan fan will tell you, though, this is nonsense. The songs might remain the same, the arrangements the same, but Dylan emphasizes different words, and for me, the difference in some sets is as clear as night and day. I’ll start with saying that in a vacuum, these are all historic and great concerts. and the differences are more of degree than kind. I could take my least favorite set from both the acoustic and electric portions, and if it were all that existed, I’d no doubt worship at its altar. That, however, is not the case. We have an embarrassment of riches to choose from, and artists, even geniuses like Bob Dylan, have days where they aren’t feeling it as much as others. I’ll take Bob Dylan going through the motions over just about anyone else at his or her very best, but when Bob’s into it - when he’s seemingly possessed as he was during the acoustic portions of Birmingham and Sheffield - the results are hypnotic and give me goosebumps. Those sets are filled with “listen to the way he sings that line” moments, again and again. I hear "Mr. Tambourine Man" and think if EVERYONE listened - really listened - to this song world peace would be possible. There are at least five “holy s***” performances of “Visions of Johanna” (including Edinburgh and the aforementioned Birmingham and Sheffield), which leave you scratching your head about why the considerably less wondrous May 26 Royal Albert Hall version was selected for BIOGRAPH. The two concert halves form a whole that’s more than the sum of their parts, but really, the acoustic and electric portions couldn’t be more different, and an acoustic set standing out one night didn’t necessarily mean the electric half would. It’s understandable because they are two different worlds. The acoustic portion is otherworldly, transporting you to somewhere beyond time. Bob has talked about how one of his primary goals when making music is to stop time. For seven songs, night after night, he did just that. Crowds listened mostly in rapt attention. There was no booing. It is a holy, spiritual experience. When listening to word perfect performances of "Visions of Johanna," "Desolation Row," and "Mr. Tambourine Man," it strikes me that Bob Dylan could very well have been awarded a Nobel Prize in 1966 and makes the backlash to his receiving it a half century later seem silly, indeed. Anything spiritual vanishes the moment the Band breaks into “Tell Me Momma,” with a performer on the ledge and about to go over the edge. (Royal Albert Hall, night two, May 27, is Bob’s last concert before the motorcycle crash. After that, silence.) The electric set takes place in a different world, one of lust and vengeance, of mixed up medicine, of rock ’n roll. I can see Bob totally feeling the spiritual side one night and not so much the rock side (as perhaps in Sheffield). On other nights, maybe he can’t wait to break out the electric guitar, and the acoustic set is done as a duty (as perhaps in Royal Albert Hall, night one). The increasing hostility to the electric half as the tour went on seems to have inspired Bob to even greater performances. The defiant artist, spitting fire, “Just Like Tom Thumb’s Blues," "Ballad of a Thin Man," "Like a Rolling Stone," singing songs that could all be in one way or another messages to the Mr. Joneses in the audience (e.g., “She” in “I Don’t Believe You” could be the fans). Live music recording was in its infancy in 1966, so the electric results are sometimes somewhat muffled and not as clear as the acoustic sets, but it’s obviously great rock ’n roll, with the Band getting tighter and tighter as the tour went on, straight through the extraordinary Albert Hall electric sets. The interaction is all there, including Bob’s comic asides, like when he’d assure the audience that he was playing folk or protest songs, or his insistence that “Visions of Johanna” isn’t a drug song and that it’s “just vulgar to think so.” Although there are boos and catcalling, it’s clear throughout the tour that the vast majority were applauding and appreciative of the music. Glasgow is another stand out, with what might be a contender for best ever live performance of “One Too Many Mornings,” and of course Manchester is here with the “Judas” exchange and what could be a word of advice for fans fifty years on: “Play f---ing loud." Review: Bob Dylan At His Very Best.. Awesome! Thank You Mr. Dylan. - This is Bob Dylan at his very best, period. I encourage all fans of Dylan, be it serious, hardcore fans or the more casual listener to purchase this box set while you can. It's absolutely fantastic! The box set contains 36 CD's and at a cost of under $100, that's an incredible value. This deluxe box set, though not numbered is one of the very finest releases in the superb Bob Dylan Sony/Columbia Records/Legacy Recordings Bootleg Series. This box set corresponds to the 2 CD Bootleg Series Volume 4 release "The Royal Albert Hall Concert" and the exact same recording of that truly historic concert taped on May 17, 1966 in Manchester, England is included in this set. The Box itself though housing 36 CD's is very compact, resembling a cube unlike the older, traditional large bulky box sets. Really nice.. 1966 saw the close of Bob Dylan's first cycle of music just prior to his motorcycle accident in July of that year. His finest work up to this time (tracks from the landmark albums "Bringing It All Back Home," "Highway 61 Revisited" and "Blonde On Blonde") were performed on this tour which saw quite a lot of pandemonium over his recent transition to all electric guitar at the Newport Folk Festival in 1965. desertcart's referencing of Dylan transitioning to "surrealistic electric poet" in the 1965/66 period is aptly quite accurate and very well put. He did after all, go on to later win the Nobel Prize For Literature.. Most appropriate. The Hawks (later The Band in the 70's) perform at maximum intensity and the quality of the recordings, though not always perfect are for the most part, excellent. The original recordings are a combination of Soundboard Recordings, Audience Recordings and official recordings from Columbia Records Mobile as Bob Dylan was considering releasing a live album at this time. The Columbia Records Mobile recordings are superb and even the Soundboard Recordings are quite good. The Audience Recordings are obviously of lesser quality though their inclusion does allow this set to present every performance from Bob Dylan's 1966 shows. Every known recording from Dylan's now legendary 1966 tour covering the U.S.,UK, Europe and Australia are included in this box set. Of all the Dylan live recordings out there from the early/mid 60's thru today, these are the prime ones though lets not forget his mid 70's live performances and the later tours with Tom Petty in the mid late 80's. Of course the culmination of all this incredible music winds up at the Bob Dylan 30th Anniversary Concert in 1992. It just keeps on going. Thank you, Mr. Dylan. This set is unreleased Dylan at his very best second only to "The Cutting Edge 1965-1966" The Bootleg Series Volume 12 deluxe box set released in 2015 and the "More Blood, More Tracks" The Bootleg Series Volume 14 deluxe box set released in 2018. Both of these latter two box sets are comprised of unreleased studio recordings and are nothing short of amazing. This live chronicle covering virtually every show from 1966 is awesome. The above referenced studio tracks box sets along with this massive 1966 collection covers Bob Dylan at his cutting edge best. This is the Dylan that broke all the rules in pop music and redefined the live venue for.all that came after. Definitive. A must own!
| ASIN | B01LXC8X05 |
| Best Sellers Rank | #6,209 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #148 in Folk Rock (CDs & Vinyl) |
| Customer Reviews | 4.8 4.8 out of 5 stars (303) |
| Date First Available | April 24, 2013 |
| Is Discontinued By Manufacturer | No |
| Label | Legacy Recordings |
| Language | English |
| Manufacturer | Legacy Recordings |
| Number of discs | 36 |
| Original Release Date | 2016 |
| Product Dimensions | 5.14 x 5.39 x 4.63 inches; 2.89 Pounds |
| Run time | 29 hours and 34 minutes |
D**F
Historic, monumental release (for hardcore fans only, though)
It Could Even Be Like a Myth - Bob Dylan: The 1966 Live Recordings (Early thoughts) Writing about BOB DYLAN: THE 1966 LIVE RECORDINGS is a daunting task; after all, so much has already been said, and with the mammoth, monumental 36-CD official release of all extant concerts, the 1966 record is as complete as it will get. It’s impossible to do justice to this set after one full listening. This is something that will take a year or two of intensive study and is not for novice Dylan fans, whom it would likely drive bonkers. (Released the week of the presidential election, it’s as if Bob knew what was coming and gifted us something to take our minds off President Trump, though “Desolation Row” sure provides a stark reminder of where we stand.) The set lists - aside from a scorching “Positively Fourth Street” in Australia - are unvarying, and to many ears, one concert is probably no different from another. As any seasoned Dylan fan will tell you, though, this is nonsense. The songs might remain the same, the arrangements the same, but Dylan emphasizes different words, and for me, the difference in some sets is as clear as night and day. I’ll start with saying that in a vacuum, these are all historic and great concerts. and the differences are more of degree than kind. I could take my least favorite set from both the acoustic and electric portions, and if it were all that existed, I’d no doubt worship at its altar. That, however, is not the case. We have an embarrassment of riches to choose from, and artists, even geniuses like Bob Dylan, have days where they aren’t feeling it as much as others. I’ll take Bob Dylan going through the motions over just about anyone else at his or her very best, but when Bob’s into it - when he’s seemingly possessed as he was during the acoustic portions of Birmingham and Sheffield - the results are hypnotic and give me goosebumps. Those sets are filled with “listen to the way he sings that line” moments, again and again. I hear "Mr. Tambourine Man" and think if EVERYONE listened - really listened - to this song world peace would be possible. There are at least five “holy s***” performances of “Visions of Johanna” (including Edinburgh and the aforementioned Birmingham and Sheffield), which leave you scratching your head about why the considerably less wondrous May 26 Royal Albert Hall version was selected for BIOGRAPH. The two concert halves form a whole that’s more than the sum of their parts, but really, the acoustic and electric portions couldn’t be more different, and an acoustic set standing out one night didn’t necessarily mean the electric half would. It’s understandable because they are two different worlds. The acoustic portion is otherworldly, transporting you to somewhere beyond time. Bob has talked about how one of his primary goals when making music is to stop time. For seven songs, night after night, he did just that. Crowds listened mostly in rapt attention. There was no booing. It is a holy, spiritual experience. When listening to word perfect performances of "Visions of Johanna," "Desolation Row," and "Mr. Tambourine Man," it strikes me that Bob Dylan could very well have been awarded a Nobel Prize in 1966 and makes the backlash to his receiving it a half century later seem silly, indeed. Anything spiritual vanishes the moment the Band breaks into “Tell Me Momma,” with a performer on the ledge and about to go over the edge. (Royal Albert Hall, night two, May 27, is Bob’s last concert before the motorcycle crash. After that, silence.) The electric set takes place in a different world, one of lust and vengeance, of mixed up medicine, of rock ’n roll. I can see Bob totally feeling the spiritual side one night and not so much the rock side (as perhaps in Sheffield). On other nights, maybe he can’t wait to break out the electric guitar, and the acoustic set is done as a duty (as perhaps in Royal Albert Hall, night one). The increasing hostility to the electric half as the tour went on seems to have inspired Bob to even greater performances. The defiant artist, spitting fire, “Just Like Tom Thumb’s Blues," "Ballad of a Thin Man," "Like a Rolling Stone," singing songs that could all be in one way or another messages to the Mr. Joneses in the audience (e.g., “She” in “I Don’t Believe You” could be the fans). Live music recording was in its infancy in 1966, so the electric results are sometimes somewhat muffled and not as clear as the acoustic sets, but it’s obviously great rock ’n roll, with the Band getting tighter and tighter as the tour went on, straight through the extraordinary Albert Hall electric sets. The interaction is all there, including Bob’s comic asides, like when he’d assure the audience that he was playing folk or protest songs, or his insistence that “Visions of Johanna” isn’t a drug song and that it’s “just vulgar to think so.” Although there are boos and catcalling, it’s clear throughout the tour that the vast majority were applauding and appreciative of the music. Glasgow is another stand out, with what might be a contender for best ever live performance of “One Too Many Mornings,” and of course Manchester is here with the “Judas” exchange and what could be a word of advice for fans fifty years on: “Play f---ing loud."
M**L
Bob Dylan At His Very Best.. Awesome! Thank You Mr. Dylan.
This is Bob Dylan at his very best, period. I encourage all fans of Dylan, be it serious, hardcore fans or the more casual listener to purchase this box set while you can. It's absolutely fantastic! The box set contains 36 CD's and at a cost of under $100, that's an incredible value. This deluxe box set, though not numbered is one of the very finest releases in the superb Bob Dylan Sony/Columbia Records/Legacy Recordings Bootleg Series. This box set corresponds to the 2 CD Bootleg Series Volume 4 release "The Royal Albert Hall Concert" and the exact same recording of that truly historic concert taped on May 17, 1966 in Manchester, England is included in this set. The Box itself though housing 36 CD's is very compact, resembling a cube unlike the older, traditional large bulky box sets. Really nice.. 1966 saw the close of Bob Dylan's first cycle of music just prior to his motorcycle accident in July of that year. His finest work up to this time (tracks from the landmark albums "Bringing It All Back Home," "Highway 61 Revisited" and "Blonde On Blonde") were performed on this tour which saw quite a lot of pandemonium over his recent transition to all electric guitar at the Newport Folk Festival in 1965. Amazon's referencing of Dylan transitioning to "surrealistic electric poet" in the 1965/66 period is aptly quite accurate and very well put. He did after all, go on to later win the Nobel Prize For Literature.. Most appropriate. The Hawks (later The Band in the 70's) perform at maximum intensity and the quality of the recordings, though not always perfect are for the most part, excellent. The original recordings are a combination of Soundboard Recordings, Audience Recordings and official recordings from Columbia Records Mobile as Bob Dylan was considering releasing a live album at this time. The Columbia Records Mobile recordings are superb and even the Soundboard Recordings are quite good. The Audience Recordings are obviously of lesser quality though their inclusion does allow this set to present every performance from Bob Dylan's 1966 shows. Every known recording from Dylan's now legendary 1966 tour covering the U.S.,UK, Europe and Australia are included in this box set. Of all the Dylan live recordings out there from the early/mid 60's thru today, these are the prime ones though lets not forget his mid 70's live performances and the later tours with Tom Petty in the mid late 80's. Of course the culmination of all this incredible music winds up at the Bob Dylan 30th Anniversary Concert in 1992. It just keeps on going. Thank you, Mr. Dylan. This set is unreleased Dylan at his very best second only to "The Cutting Edge 1965-1966" The Bootleg Series Volume 12 deluxe box set released in 2015 and the "More Blood, More Tracks" The Bootleg Series Volume 14 deluxe box set released in 2018. Both of these latter two box sets are comprised of unreleased studio recordings and are nothing short of amazing. This live chronicle covering virtually every show from 1966 is awesome. The above referenced studio tracks box sets along with this massive 1966 collection covers Bob Dylan at his cutting edge best. This is the Dylan that broke all the rules in pop music and redefined the live venue for.all that came after. Definitive. A must own!
D**O
生々しい記録をこれだけ聴ける事は、うれしい限り
T**N
Lots of other reviews here on Amazon, making good points. What do you get? 36 CDs, a slim booklet, and a well-made cardboard box with lid. CD card covers have tracklist and recording details on back, and individual (all different) live concert photos from the tour on the front. What's on the CDs? 18 concert recordings from soundboard reel tapes (in mono) or professional CBS concert recordings (in stereo, the last few concerts of the tour). Most are complete, or just missing a bit where tape had to be turned-over / changed. The last 5 discs are audience recordings of shows CBS didn't record. Why is this interesting? Firstly, it's for Bob Dylan freaks like me, who know that these Dylan concerts are among the greatest musical evenings there have ever been for rock music fans. The live recordings in Europe are excellent quality, a fine representation of the music. The concerts are generally the same songs (over and over again!), BUT in the case of the electric sets, different songs come off better or less well on different nights (especially the thunderous intros). The band listened to the tapes after the concerts, and no doubt looked for ways to make the next concert better. Even the acoustic sets show Dylan in different moods, sometimes just singing the songs nicely in tune, professionally for the people, but sometimes in touch with what the songs are about and conveying the meaning with real feeling. Even the audience tapes have a story to tell - history tells us that the electric sets were over-loud and people couldn't understand the vocals. Now you can hear for yourself, what it sounded like for those attending. I'm a Dylan-in-'66 nut - I bought the £400 studio set (and CBS then kindly gifted purchasers with all the 1965 live material too). We know that we're getting these things because the copyright is running out, but it's finally getting us as much as we can listen to, of probably the greatest rock tour that there ever was. Everything there is, is not too much! There is no other example of such great coverage for a great tour. Value for money is hardly an issue, faced with the chance to get this material - however, 36 CDs for £100-odd -you do the math.. The audience recordings may have you straining to follow the electric sets, and the Australian soundboards are not like the European recordings, but there's plenty to enjoy in great recording quality. So, a wonderful present for Dylan buffs, in barebones packaging, which keeps the price manageable. Leaflet is dull but refers readers on to the Clinton Heylin book about the tour, which is well worth acquiring. Incidentally, the re-issue of the No Direction Home DVD has live footage of a few whole songs from the tour, as extras. When I loved the bootleg of the Manchester concert in the early seventies, I never dreamed that we would (eventually!) get to hear all-there-is of this wonderful material - glad I lived long enough to see this day.
M**N
No hay que decir que es una caja para los muy fans de Dylan, una vez dicho esto hay que añadir que se trata de una gira mitica yo diria indispensable para entender que necesaria para entender el desarrollo de la musica popular de nuestros dias., es casi un diario de abordo de toda una epoca. Tanto Martin Scorcese como sobre todo D.A Pennebaker hicieron dos excelentes documentales sobre la misma, sobre todo el segundo. Estos cociertos documentan ala perfeccion la transicion del Dylan folk al Dylan electrico y la evolucion que concierto a concierto se va produciendo, como el publico y el mismo se van acostumbrando a esa evolucion. De hecho el programa en todos ellos es casi identico y siempre tienen una primera parte acustica de Dylan solo y luego Dylan con los Hawks, que terminarian siendo tras esta gira The Band. Aqui los musicos son Robbie Robertson, Rick Danko, Richard Manuel ,Garth Hudson y Mickey Jones, salvo este ultimo, luego vino el famoso encierro de Woostock y las no menos miticas "cintas desde el sotano". Todo es pura historia, pura leyenda. el sonido depende de cada concierto y las fuentes tambien, desde la grabacion casera a la mesa de mezcla, en cualquier caso conservan el sabor de lo autentico, la verdad que le ha llevado a ser premio Nobel, a ser una piedra principal de la musica de nuestros dias. Curiosamente CBS solo grabo dos de los conciertos para editarlos, el de Manchester que finalmente fue editado como si se hubiera el "famoso" concierto del Albert Hall de Londres, aqui tiene el del Royal Albert Hall autentico editado por vez primera. Es sin duda un privilegio asistir tras tantos años a estos conciertos en donde se puede vivir el embiente de aquelos eventos. Sydney, Melburne, Copenhagen, Dubkin, Belfast,Bristol, Cardiff, Birminham, Liverpool, Leicester, Sheffield, Manchester,Glasgow, Edinburg, Newcastle, Paris, Londres, White Pains NY, Piittburg,, Hampstead, Melburne y Stockholm. Faltas muy pocos lugares de la gira pero al parecer no ha sido posible obtener documentos sonoros de los mismos de cualquier forma el trabajo de arqueologia de esta edicion es mas que evidente. Es una caja que es casi para especialistas en Dylan pero interesantisima y bastante bien de precio a tenor de que se trata de 36 CD nada mas y nada menos. Una aventura prodigioda de un nuevo Odiseo en busca de otro mundo.
C**P
On saluera l'effort complétiste de Columbia qui sort ici l'intégralité des enregistrements connus de la tournée la plus célèbre du rock. Ils sont allés jusqu'à mettre quelques disques issus des enregistrements pirates de l'époque (inécoutables, soyons honnêtes) en fin de coffret. Que l'on se rassure les deux bons tiers du coffret sont d'une qualité tout à fait satisfaisante. A noter qu'il s'agit de la même setlist (à quelques variations près) qui se répète, donc même si Dylan varie les interprétations tout en nuance de soir en soir, le non-initié pourra se sentir assomé là où le fan se délectera. Mais c'est la nature du produit qui veut ça. Un coffret économique et complet, présenté avec soin, à réserver aux mordus donc. Les autres se contenteront du Bootleg Series Vol 4 ou du Real Royal Albert Hall, deux concerts présentés ici et disponibles indépendamment qui sont sans doute objectivement les meilleurs.
C**K
This set of concert tapes from Dylan's famous 1966 tour, recorded in various ways - soundboard mainly - are excellent. They are excellent because the sound quality is good; they are excellent because the 1966 tour was one of Dylan's best, highlighted by focusing almost entirely on new material he had not systematically exploited in a concert setting (in this respect they are similar to his 1979-80 gospel tour recordings); and excellent because they allow the listener to follow the tour sequentially, discovering how the Hawks and their mercurial singer/band leader learned to jell, gradually honing their chops, morphing into a remarkable musical engine.