The Bootleg Series, Vol. 6- Bob Dylan Live 1964 - Concert at P

The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert" Nineteen ninety-eight: The same year he dances with Soy Bomb at the Grammys, his record label finally issues Bob Dylan's ultimate live document. A classic case of not giving the audience what they want but what they need, Mr. Dylan's oft-bootlegged 1966 gig begins with lovely and...	Bob Dylan Live 1975 (The Bootleg Series Volume 5) One of the many oddities of Bob Dylan's long and unruly career has been the rather cursory recording treatment given his stint as ringleader of the Rolling Thunder Revue. It's a shortcoming that's rectified with the release of Live 1975. Prior to the appearance of this two-disc c...	The Bootleg Series, Vols. 1-3 : Rare And Unreleased, 1961-1991 Bob Dylan has always been incredibly prolific, only releasing a fraction of what he records. Such a policy has made him a prime target for bootleggers over the years, finally prompting this sanctioned 1991 triple-disc dive into the Dylan vaults. It consists of rare tracks, unrele...	No Direction Home: The Soundtrack (The Bootleg Series Vol. 7) Book-ended with an embryonic recording made by a high school friend and a live, boisterous take of "Like a Rolling Stone" less than seven years later, the fifth release in the Bob Dylan Bootleg series (and the soundtrack to Martin Scorsese's Dylan documentary of the same name) pr...	Tell Tale Signs: the Bootleg Series Vol. 8 Bob Dylan's unpredictable nature has always kept his audience on their toes. Given his mood, a song performed on one day can seem like an entirely different composition on the next. On the two-CD Tell Tale Signs: The Bootleg Series Vol. 8--certainly one of the most riveting of th...
The Basement Tapes The Basement Tapes can be heard as a manifesto for the '90s' underlying Americana agenda or as the greatest album never intended for commercial release. Homegrown 1967 recordings taped in the Band's fabled Big Pink hermitage in Saugerties, New York, many of the 24 songs resonated...	Before The Flood [Live With The Band, 1974] Dylan has issued a large number of live albums in his day, but 1974's Before the Flood deserves special mention because of the presence of the Band behind him. Dylan had recently brought the Band into the studio to record the chart-topping (yet still somehow underappreciated) Pla...	The Times They Are A-Changin'	Bringing It All Back Home "You sound like you're having a good old time," a purist Dylan fan is spotted telling the artist in the documentary Don't Look Back just after the release of this, his first (half-)electric album. He certainly does. Updating Chicago blues forms with hilarious, tough lyrics--in fa...	The Freewheelin' Bob Dylan Dylan's outstanding second album is a tremendous jump from its predecessor. Whereas the debut established him as a peerless interpreter of folk and country-blues classics, and a singer like none before, this followup features some of the most pungent original songs of the '60s. "...

To Be Young Was Very Heaven
As of late I have been railing against various secondary Bob Dylan materials that are mainly of historical interest. In those cases I was describing my reactions to a two-disc set "The Basement Tapes" of about twenty songs and another five volume set entitled "The `Genuine" Basement Tapes of about one hundred songs both done with The Band in 1967 while he was "hiding" out in rural New York after his motorcycle accident. I dubbed both items as strictly for aficionados. I also noted that I was less than enamored of the virtual cottage industry that has grown up around various bootleg, basement, cellar, barn, attic or other odd versions of Dylan's work, electric or acoustic. This archival material is nice for folk, rock and cultural historians but I would argue that Mr. Bob Dylan's usually well-produced mainline albums are after over forty years more than enough to listen to without having to get into the minutia of his career. And, moreover, somehow left to feel that one has missed something without this other more esoteric material in one's collection. Having said that, I am now have to eat a little crow and recommend one bootleg volume that is a notch above the others- the famous October 1964 Philharmonic Concert. Of course this concert falls into the above-mentioned categories of being for aficionados and music historians. But this one also, unlike some others in these series, gives a glance at what Bob Dylan was like as a performer as he was rising to the top of the folk world before the old electric/acoustic controversy fouled the air. I would draw the reader's attention to a sharp contrast between carefree, light-hearted stage presence and response to his audience here and the later 1966 Prince Albert Royal Hall Concert (Bootleg Volume 4) where he is on the defensive with his British audience and at the end of it practically ignores that audience as a result of their negative response to his going `electric'. I would also note the distant and mumbled answers of his interview style noted in Martin Scorcese's documentary "No Direction Home" of a few years ago. Here, though add his duos on Disc Two with his `paramour', folk queen Joan Baez, and the mixture is practically irresistible. Again, virtually all the material in this set is available in more polished and technically proficient studio performances and if one has to choose, or is a Dylan rookie, then that is the place to look for his copies of his work. However, for those of us who are aficionados (Hey, I never said I wasn't, did I?) then here are some things to look for: "Gates Of Eden"; "Hard Rain's A Gonna Fall"; It All Right, Mama (remember that classic line 'even the President must sometimes have to stand naked' as we enter the Obamian `new age'); and "Mr. Tambourine Man". Some of the more topical songs of the time (part of the true folk tradition and what keeps this genre moving forward) like "Talking World War III Blues" and "John Birch Blues" will require a translator or a click to Wikipedia to 'get' the references in those pieces. So do a little homework. That's okay here.

Fantastic
This album is a brilliant piece of history. Bob Dylan sings his heart out and interacts with the crowd in a way you would have to hear to understand. He does seem a little stoned or drunk, i'll admit but as far as quality goes, the sound is great considering the time frame it was captured in. The unexpected guest appearance on tracks 4-7 on the 2nd disc compliment Mr. Dylan's Vocals and melodiously capture the heart of the listener with the raw emotion found in 60's folk music. Overall, This album is a must-have if you enjoy Bob Dylan.

The amazing close of Dylan's fist era
Well, if you don't have this do yourself a favour and buy it. The package is great with great photos from the show. As for Dylan, he is in high spirits and most possibly stoned out of his mind as he laughs, shares jokes, forgets lyrics... He is also delivering all songs passionately making this one concert a very special indeed. A mere three months later he was recording Bringing It All Back Home and by doing so he was also a new Dylan.

"I got my Bob Dylan mask on..."
"Play it f***ing... well." Bob Dylan's Philharmonic concert doesn't have the historical cache of its more contentious Bootleg Series brethren- the 'Royal Albert Hall' recording is the one that everybody talks about- but it's still a performance of incredibly high quality and emotional staying power. Recorded on Halloween of 1964, it captures the bard at the tail end of his tenure as the shining light of the Greenwich folk scene. Within months, Dylan would "go electric," showering the world in sparks of amplified blues and amphetamine poetry. This concert doesn't really foreshadow any of that- even the new lyrical bent explored on tracks such as "Gates Of Eden" and "It's Alright Ma (I'm Only Bleeding)" is precedented on earlier studio recordings such as Another Side Of Bob Dylan. No, this recording is- thankfully- a moment of pure music, without a trace of academia to spoil the fun. Listening to these two discs, one is wowed by its atmosphere, by its warmth, by its songs. It's the sound of a skilled performer, a young man who has managed to achieve his dream, to make a living doing what he loves. Dylan plays with glee and vigor, dragging out classic after classic and pausing only to a crack a few jokes. There is a noticeable, mutual affection between Dylan and his audience- perhaps this sounds a bit idealistic, but one gets the sense that they worship him and he wants nothing more than to please them. (Insert your thoughts on the irony of that observation in light of the next two or three years of Dylan's career here.) The set list is a virtual highlights reel. The only huge one that's missing is "Blowing In The Wind," but it's not missed. Not when this album contains such irrepressible gems as that surging, forceful rendition of "The Times They Are-Changin'," or an absolutely gorgeous "It Ain't Me, Babe" (which features Dylan in duet with Joan Baez). Other transcendent moments include otherworldly versions of "Gates Of Eden" and "It's Alright Ma (I'm Only Bleeding)," and an impassioned "Don't Think Twice, It's All Right." I also love it when, at the beginning of "I Don't Believe You (She Acts Like We Never Have Met)," Bob forgets the lyrics and needs to be reminded by the audience. Or the sheer delight that all concerned parties take in the lurid sexuality of "If You Gotta Go, Go Now (Or Else You Gotta Stay All Night)." The concert does drag here and there- the second half seems a bit anemic at times, and the first half has a couple of mediocre tracks too. But come on. This is waaaay better than any concert that you'll ever put on.

One of Dylan's Greatest Live Albums
Every time I get get a new Dylan album its almost like I am listening to him for the first time. Each album is unique and has its own personality.This will complement your Dylan collection if you haven't purchased it already. I recommend this to any and all Bob Dylan fans.