 |
| "Play it fucking loud" |
I’m gonna let you pass
Yes, and I’ll go last
Then time will tell who has fell
And who’s been left behind
When you go your way and I go mine
Dylan has gone his way all his life, and is the most important song-writer not just of his generation, not even just of the 20th century, but of all time. His influence is almost incalculable.
I have seen him live twice. First time was in the Seventies at Blackbushe Airport in front of an immense crowd when he was riding on the crest of his second wave of popularity and creative energy. He was probably at his peak of popularity then, because he was able to command much greater audiences than when he toured the UK in the Sixties. But the Sixties was his main creative period, and the point at which he commanded the attention of the world, and changed the face of music forever. That would have been the time to see him. I saw him again recently, at Bournemouth, on his Never Ending Tour. A low key event. He tours now, turning up at odd venues all over the world, and people don't even notice. We spent the day in Bournemouth, and would occasionally get chatting to people - "And what are you doing in Bournemouth today?" - "We're hear to see Bob Dylan" - "Oh, he's playing here today? I didn't know." He played a set of his own songs mixed in with a lot of covers of old crooner songs. He was dressed like a crooner. And he didn't say a single word to the audience. Not even hello or goodbye!
Having listened chronologically to all the music his creative periods fall into three periods - the Sixties is his main period, and is the essential Dylan; from The Freewheelin' Dylan in 1963 through to Blonde on Blonde in 1966 he produced a body of work that stands as among the greatest artistic work of mankind. After the strains of his 1966 tour of England, he withdrew both physically and creatively, using a mysterious motorbike accident as his excuse. He then released a series of somewhat off the cuff, weird, or highly individual albums - he appears in this period to be rejecting his image and status, experiencing huge personal issues with how has been perceived by the public, the press, and the music industry. The first of these, John Wesley Harding in 1967, was thrown together quickly by a scratch band Dylan pulled together at the last minute. I like it - it's odd, light, quirky, and quite gently rejects his image: "Nothing is revealed". During this period Dylan was also (initially) trying to record a proper Dylan album with The Band, but it appears that he didn't feel comfortable revealing his serious work to the critics, and it was only during his resurgence in the mid Seventies that he felt confident to have some of the recordings released as The Basement Tapes. The mid Seventies resurgence began in 1974 when he changed record labels and got together again with The Band to tour for the first time since 1966. The album of that tour, Before The Flood, was well received, though also gained the criticism and complaints that Dylan seems to have experienced too much during his career. The first attempt at a serious album, Planet Waves, with The Band, didn't quite work, but returning to old record label, and pulling together new musicians, Dylan released the extraordinary Blood On The Tracks, again railing against the critics and the image created around him, but this time in very confident and assured manner. The follow up album, Desire, was a lesser album but was also solid, but he began to trail off with Street Legal in 1978, and then again entered a troubled period with the first of his Christian albums, 1979's Slow Train Coming. The Eighties is Dylan's worse period, and after a series of patchy albums, in which his own contributions were becoming fewer and fewer, his creativity completely dried up and by 1992 he had withdrawn into releasing comforting albums of covers, and it's not until 1997 that he recovers his confidence enough to return to song-writing. He now enters his third creative period - his mature period, starting with 1992's Time Out of Mind.
Wikipedia:
Bob Dylan (
; born
Robert Allen Zimmerman, May 24, 1941) is an American poetic songwriter, singer, painter, writer, and
Nobel Prize laureate. He has been influential in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when he became a reluctant "voice of a generation" with songs such as "
Blowin' in the Wind" and "
The Times They Are a-Changin'", which became anthems for the
Civil Rights Movement and
anti-war movement. Leaving behind his initial base in the
American folk music revival, his six-minute single "
Like a Rolling Stone", recorded in 1965, enlarged the range of popular music.
Dylan's lyrics incorporate a wide range of political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning
counterculture. Initially inspired by the performances of
Little Richard and the songwriting of
Woody Guthrie,
Robert Johnson, and
Hank Williams, Dylan has amplified and personalized
musical genres. His recording career, spanning more than 50 years, has explored the traditions in American song—from
folk,
blues, and
country to
gospel,
rock and roll, and
rockabilly to
English,
Scottish, and
Irish folk music, embracing even
jazz and the
Great American Songbook. Dylan performs with guitar, keyboards, and harmonica. Backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the
Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but his songwriting is considered his greatest contribution. Since 1994, Dylan has also published seven books of drawings and paintings, and his work has been exhibited in major art galleries.
As a musician, Dylan has sold more than 100 million records, making him one of the
best-selling artists of all time. He has also received
numerous awards including eleven
Grammy Awards, a
Golden Globe Award, and an
Academy Award. Dylan has been inducted into the
Rock and Roll Hall of Fame,
Minnesota Music Hall of Fame,
Nashville Songwriters Hall of Fame, and
Songwriters Hall of Fame. The
Pulitzer Prize jury in 2008 awarded him a
special citation for "his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power." In May 2012, Dylan received the
Presidential Medal of Freedom from
President Barack Obama. In 2016, he was awarded the
Nobel Prize in Literature "for having created new poetic expressions within the great American song tradition".
A Spotify account is needed to play the music in the links. Selected "Bootleg series" and other relevant albums are inserted where appropriate in the order they were recorded rather than released, as valuable background information. The Basement Tapes, however, is placed at the date of release, as that release was in itself significant.
The albums
Dylan's debut at 20 years old is unremarkable. It consists of covers of traditional folk songs plus two original Dylan songs. There's an appealing sardonic energy about the delivery, and "
Talkin' New York" indicates the promise of the young man. Culturally interesting as his debut, and showing where he was coming from, but also attractive in its own right as a strong and vibrant folk album during the important folk revival period in America. The delivery of the opening song, "You're No Good", is full of energy, and characteristic chuckling, off hand, sardonic spite. The album was largely ignored or disregarded at the time, though looking back, while not a great album, is certainly something that stands up with it's crackling life and fire.
 |
| Back cover |
Debut albums released the same year:
Francoise Hardy;
Surfin' Safari;
Stormy Monday;
Sherry;
Presenting;
Peter, Paul And Mary;
Meet The Supremes;
Kinda Folksy;
Green Onions
Relevant albums released same year:
Folksinger by Dave Van Ronk;
I'm The Man That Built The Bridges by Tom Paxton;
Sings Folk Songs by Woody Guthrie;
In Concert by Joan Baez;
Sing Out by Pete Seegar;
At Carnegie Hall Vol 2 by The Weavers
Rolling StoneWikipediaAllMusic: 8
Score: 5
This a collection of 47 song demos for the music publisher Witmark & Sons recorded mainly in 1962 and 1963 when Dylan was around 21 years old. The demos were never intended for public release, but simply to sell Dylan's songs to other artists. The collection was officially released in 2010 as The Bootleg Series Vol. 9: The Witmark Demos: 1962–1964. The songs are mainly of historical curiosity. The best songs, like "Blowin' In The Wind", were released on Freewheelin', and hearing them here in a crude and casual format (Dylan coughs part way through "Blowin'") is again just a historical curiosity. This is mainly of academic interest, but I get a chill listening so intimately to the earliest recording of "It's A Hard Rain"..... this is history being made.
There is a power to this album, and the delivery is in line with early clips of Dylan performing at festivals with just his guitar, harmonica, and that voice. The more I listen, the more I like and admire and am moved. This is so much a greater album than the bulk of his albums post Blonde On Blonde. I originally felt this was mainly of historical interest, but I'm now thinking this is an essential album.
Wow! What a leap forward in one year. Even the cover is a leap forward - a picture that is so iconic compared to one that is so cheap and geeky. All the songs here are Dylan's, and include "
Don't Think Twice, It's All Right", "
A Hard Rain's a-Gonna Fall" and "
Blowin' in the Wind". Phew. He was 20 and 21 years old when the songs were recorded, and three days before his 22nd birthday when the album was released.
"A Hard Rain's A-Gonna Fall" is a new type of song. It is grounded in a folk tradition, and there is a sense of it being timeless - which is always what Dylan wanted. He never wanted any of his work to be pinned down to any one instance. This song could be hundreds of years old - it borrows an ancient tradition of folk songs as its frame, and this song initially appears as though it could be from any place, any time. It sounds familiar. - it could be any folk song or love song: "Where have you been my darling young one?" This is a familiar folk song refrain which uses question and answer, as used for example on the nursery rhyme
Billy Boy:
Oh, where have you been,
Billy Boy, Billy Boy?
Oh, where have you been,
Charming Billy?
I have been to seek a wife....
Dylan takes the opening refrain and the question and answer structure most closely from "
Lord Randall", which he probably
heard from Martin Carthy when he visited England in December 1962:
‘O where ha’ you been, Lord Randal, my son?
And where ha’ you been, my handsome young man?’
‘I ha’ been at the greenwood; mother, mak my bed soon,
For I’m wearied wi’ hunting, and fain wad lie down.
‘An wha met ye there, Lord Randal, my son?
An wha met you there, my handsome young man?’
‘O I met wi my true-love; mother, mak my bed soon,
For I’m wearied wi’ hunting, and fain wad lie down.’
‘And what did she give you, Lord Randal, my son?
And what did she give you, my handsome young man?’
‘Eels fried in a pan; mother, mak my bed soon,
For I’m wearied wi’ hunting, and fain wad lie down.’
Yet the images that follow are remarkable. Quite stunning. And this is where the poetry comes in. He is using symbolism - the poetry used by Baudelaire: " eye brimming with involuntary tears / He dreams of gallows while smoking his hookah" to construct a series of images and symbols that paint a bleak picture:
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin'
I saw a room full of men with their hammers a-bleedin'
I saw a white ladder all covered with water
Just a single one of those images gives pause for thought and speculation - "a highway of diamonds with nobody on it". It's a remarkable image that captures the imagination - we want to know why nobody is on that highway of diamonds, let alone why there is such a highway, but already we have moved on to the next image: " black branch with blood that kept drippin". It's breathless and dazzling. We catch glimpses of ideas - the black branch with blood reminds us of the poem "Bitter Fruit" which was famously set to music as "Strange Fruit" and sung by Billie Holiday.
Southern trees bear a strange fruit,
Blood on the leaves and blood at the root,
Black bodies swinging in the southern breeze,
Strange fruit hanging from the poplar trees.
And with the lines
And what did you hear, my darling young one?
I heard the sound of a thunder that roared out a warnin'
He is echoing the 1949 Pete Seager protect song, "If I Had A Hammer":
If I had a hammer,
I'd hammer in the morning
I'd hammer in the evening,
All over this land
I'd hammer out danger,
I'd hammer out a warning
So Dylan is aware of, and bringing together all these separate elements - literature, folk song, protest song, symbolism, poetry, politics, and weaving them into a new structure.
Because he wants it to be timeless, he never pins it down to one thing, though in 1963 it was the height of CND and the protests against nuclear weapons. The refrain "It's a hard rain's a-gonna fall" while allowing for today's concern about climate change, at that time seemed well suited to fears of a nuclear fall out. People took up Dylan's song and sung it on the Aldermaston march. In August of that year the Test Ban Treaty came into force. Was the song responsible for bringing about the ban? Of course not. But it was timely. And it remains timely now because Dylan keeps it open and possible. Some people dislike that open symbolism - they want more certainty. But Dylan has never been about certainty. Has always stepped away from it because "the executioner's face is always well hidden."
How many roads must a man walk down
Before you call him a man?
How many seas must the white dove sail
Before she sleeps in the sand?
How many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowing in the wind
The answer is blowing in the wind
"
Girl from the North Country" was written after a visit to England at the end of 1962, where he met
Martin Carthy who introduced him to English folk songs, including "
Scarborough Fair". Dylan's song is a gentle reworking of Carthy's version of the song.
Are you going to Scarborough Fair?
Parsley, sage, rosemary and thyme
Remember me to one who lives there
For once she was a true love of mine
Tell her to make me a cambric shirt
Parsley, sage, rosemary and thyme
Without no seam nor needlework
And then she'll be a true love of mine
Martin Carthy - short documentary Carthy on Dylan's visit to England in 1962.
|
| 1. | "Don't Think Twice, It's All Right" | November 14, 1962 | 3:40 |
| 2. | "Bob Dylan's Dream" | April 24, 1963 | 5:03 |
| 3. | "Oxford Town" | December 6, 1962 | 1:50 |
| 4. | "Talkin' World War III Blues" | April 24, 1963 | 6:28 |
| 5. | "Corrina, Corrina" (traditional) | October 26, 1962 | 2:44 |
| 6. | "Honey, Just Allow Me One More Chance" (Dylan, Henry Thomas) | July 9, 1962 | 2:01 |
| 7. | "I Shall Be Free" | December 6, 1962 | 4:49 |
| Total length: | 26:35 |
WikipediaAllMusic: 10
Score: 10
This album is the remaining six songs unpublished (officially) from an acclaimed concert in which he performed 20 songs, mainly from
Freewheelin. He was 22 years old. It's short, but good. I guess I'd like to hear the whole concert. Nine more songs appear on
The 50th Anniversary Collection 1963.
This is Dylan starting to be self-aware and self-reflective, and moving his song-writing away from folk into a broader literary feel. As a result the songs here are a little ponderous, a little lacking in humour, and a bit too self-consciously "weighty". But these are quibbles, as this is again a movement forward. It's not as immediate, poppy, likeable and stunning as Freewheelin', but is dourly impressive and worthy. Most folks would put this album in a Dylan Top Ten, but not in a Dylan Top Five.
Wikipedia
AllMusic: 9
Score: 7
This is more recognisably Dylan than The Times - there's flashing images, sardonic humour, self-reflection, critical jibes at those who have expectations of Dylan, and a lighter, more poppy feel. Critical reception has been mixed, with a general feeling that this was a transitional album. Though, oddly, most of his albums are transitional. The one constant with Dylan is that he changes - he seems to be in an almost constant state of transition, and critics seem to be in an almost constant state of trying to catch up.
Wikipedia
AllMusic: 10
Score: 8
A full concert, well recorded, of acoustic Dylan in 1964, released as part of the Bootleg Series in 2004. In his early career he often performed with Joan Baez, and she is present on several tracks on the album. This is a good example of the late acoustic Dylan live in concert shortly before he went electric and the world changed.
All songs written by Bob Dylan, except where noted
Wikipedia
AllMusic: 8
Score: 5
Dylan's first electric album - side one is electric, side two is mainly acoustic. This is recognisably the Dylan most folks know. This album is in the top five of most Dylan lists. This is an iconic moment. And it's the first Dylan album to have musicians other than just Dylan. It's a mature and incisive album, bringing folk into the modern arena and popularising folk-rock in all its formats. One of the greatest and most significant albums ever made. A rich collection of songs that would become Dylan standards, though with the occasional weak song such as "Outlaw Blues", the album was recorded over two days in January 1965 and released in March of that year when Dylan was still 23.
WikipediaAllMusic: 10
Score: 10
O my fucking gawd! What a stunning album this is. It kicks off with "Like A Rolling Stone", and a new world has just opened up. He combines folk, soul, pop and rock music, he takes protest songs and personal songs and stream of consciousness songs, and several literary styles and devices and mixes them together in a way never done before, and that nobody had thought of. Yes, of course, there were protests. But, yes, of course, this album is amongst his most acclaimed, and amongst the most acclaimed of any artist. This is human achievement at its greatest. "Voice of a Generation" and "Nobel Prize Laureate" both.
This is "my" Dylan album. The first Dylan album I owned, and the first I really got into. I have loved it over the years, and I am reluctant to concede its number one spot in my heart to any other Dylan album, though
Blood On The Tracks,
Highway 61, and
Freewheelin' are all contenders these days. However, for many reasons, this is the best Dylan album. It is the pinnacle of his first, most sustained, most important, and most significant creative period. After recording this (with some difficulty, until switching studios to Nashville, and mostly using Nashville session musicians plus a few trusted musicians such as Al Kooper and Robbie Robertson ) Dylan went on the infamous 1966 tour where he was subjected to abuse from his audiences, particularly in the UK, the country where he has been most respected, and never again would he work and produce with such free and inspired creativity. He entered a long and lean period, notwithstanding the occasional charming release such as
John Wesley Harding, until the brief creative surge in the mid Seventies starting with
Blood On The Tracks.
- Side one
- "Rainy Day Women No. 12 & 35" – 4:36
- "Pledging My Time" – 3:50
- "Visions of Johanna" – 7:33
- "One of Us Must Know (Sooner or Later)" – 4:54
- Side two
- "I Want You" – 3:07
- "Stuck Inside of Mobile with the Memphis Blues Again" – 7:05
- "Leopard-Skin Pill-Box Hat" – 3:58
- "Just Like a Woman" – 4:52
- Side three
- "Most Likely You Go Your Way and I'll Go Mine" – 3:30
- "Temporary Like Achilles" – 5:02
- "Absolutely Sweet Marie" – 4:57
- "4th Time Around" – 4:35
- "Obviously 5 Believers" – 3:35
- Side four
- "Sad Eyed Lady of the Lowlands" – 11:23
The personnel involved in making Blonde on Blonde is subject to some discrepancy:
: 10
Score: 10
Bootleg Series 12 released in 2015. Alternative takes and a few unreleased songs from 1965-1966, the end of Dylan's core creative period. Of interest to Dylan students, fans and critics, but others can safely by-pass this as the essential material is on the albums that were released at the time.
| Released | November 6, 2015 |
|---|
| Recorded | January 13, 1965 – May 13, 1966 |
|---|
| Genre | Folk rock |
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| Length | 2:25:04 (standard)
6:58:27 (deluxe)
19:04:55 (Collector's Edition) |
|---|
| Label | Columbia |
|---|
Disc one| Title | Version |
|---|
| 1. | "Love Minus Zero/No Limit" | Take 1, Breakdown | 1:34 |
|---|
| 2. | "Love Minus Zero/No Limit" (included on standard edition) | Take 2, Acoustic | 3:11 |
|---|
| 3. | "Love Minus Zero/No Limit" | Take 3 Remake, Complete | 3:42 |
|---|
| 4. | "Love Minus Zero/No Limit" | Take 1 Remake, Complete | 2:43 |
|---|
| 5. | "I'll Keep it With Mine" (included on standard edition; previously released on Biograph) | Take 1, Piano Demo | 4:12 |
|---|
| 6. | "It's All Over Now, Baby Blue" (previously released on The Bootleg Series Volume 7) | Take 1 | 3:34 |
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| 7. | "Bob Dylan's 115th Dream" (included on standard edition; previously released on Bringing It All Back Home) | Take 1, Fragment | 0:26 |
|---|
| 8. | "Bob Dylan's 115th Dream" (included on standard edition) | Take 2, Complete | 5:50 |
|---|
| 9. | "She Belongs to Me" (included on standard edition) | Take 1, Solo Acoustic | 2:59 |
|---|
| 10. | "She Belongs to Me" (previously released on The Bootleg Series Volume 7) | Take 2 Remake, Complete | 3:21 |
|---|
| 11. | "She Belongs to Me" | Take 1 Remake, Complete | 2:39 |
|---|
| 12. | "Subterranean Homesick Blues" (previously released on The Bootleg Series Volume 2) | Take 1 | 3:07 |
|---|
| 13. | "Subterranean Homesick Blues" (included on standard edition) | Take 1, Alternate Take | 2:39 |
|---|
| 14. | "Outlaw Blues" | Take 1, Complete | 2:17 |
|---|
| 15. | "Outlaw Blues" (included on standard edition) | Take 2, Alternate Version | 3:30 |
|---|
| 16. | "On the Road Again" | Take 1, Complete | 3:21 |
|---|
| 17. | "On the Road Again" (included on standard edition) | Take 4, Alternate Take | 2:31 |
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| 18. | "On the Road Again" | Take 1 Remake, Complete | 2:31 |
|---|
| 19. | "On the Road Again" | Take 7 Remake, Complete | 2:48 |
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| 20. | "Farewell, Angelina" (included on standard edition; previously released on The Bootleg Series Volume 2) | Take 1, Solo Acoustic | 5:28 |
|---|
| 21. | "If You Gotta Go, Go Now" | Take 1, Complete | 2:54 |
|---|
| 22. | "If You Gotta Go, Go Now" (included on standard edition) | Take 2, Alternate Take | 2:50 |
|---|
| 23. | "You Don't Have to Do That" (included on standard edition) | Take 1, Solo Acoustic | 0:48 |
|---|
| Total length: | 69:09 |
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Disc two| Title | Version |
|---|
| 1. | "California" (included on standard edition) | Take 1, Solo Acoustic | 3:06 |
|---|
| 2. | "It's Alright, Ma (I'm Only Bleeding)" | Take 1, False Start | 1:10 |
|---|
| 3. | "Mr. Tambourine Man" | Takes 1 and 2, False Starts | 1:52 |
|---|
| 4. | "Mr. Tambourine Man" (included on standard edition) | Take 3 with Band, Incomplete | 3:23 |
|---|
| 5. | "It Takes a Lot to Laugh, It Takes a Train to Cry" | Take 1, Complete | 2:40 |
|---|
| 6. | "It Takes a Lot to Laugh, It Takes a Train to Cry" (included on standard edition) | Take 8, Alternate Version | 3:29 |
|---|
| 7. | "It Takes a Lot to Laugh, It Takes a Train to Cry" | Take 3, Incomplete | 3:13 |
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| 8. | "It Takes a Lot to Laugh, It Takes a Train to Cry" | Take 3 Remake, Complete | 3:42 |
|---|
| 9. | "Sitting on a Barbed Wire Fence" (included on standard edition) | Take 2 | 4:00 |
|---|
| 10. | "Tombstone Blues" (included on standard edition) | Take 1, Alternate Take | 7:29 |
|---|
| 11. | "Tombstone Blues" (previously released on The Bootleg Series Volume 7) | Take 9 | 3:27 |
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| 12. | "Positively 4th Street" | Takes 1, 2 and 3, False Starts | 0:56 |
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| 13. | "Positively 4th Street" | Take 4, Complete | 4:24 |
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| 14. | "Positively 4th Street" (included on standard edition) | Take 5, Alternate Take | 4:24 |
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| 15. | "Desolation Row" (included on standard edition) | Take 1, Alternate Take | 11:17 |
|---|
| 16. | "Desolation Row" (included on standard edition) | Take 2, Piano Demo | 2:01 |
|---|
| 17. | "Desolation Row" | Take 5, Remake, Complete | 10:51 |
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| 18. | "From a Buick 6" | Take 1, False Start | 0:23 |
|---|
| 19. | "From a Buick 6" (accidentally released on the first pressing of Highway 61 Revisited) | Take 4 | 3:10 |
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| Total length: | 75:07 |
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Disc three| Title | Version |
|---|
| 1. | "Like a Rolling Stone" | Takes 1, 2 and 3, Rehearsal | 5:48 |
|---|
| 2. | "Like a Rolling Stone" (previously released on The Bootleg Series Volume 2) | Take 4, Rehearsal | 1:39 |
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| 3. | "Like a Rolling Stone" (edited version included on standard edition) | Take 5, Rehearsal | 2:17 |
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| 4. | "Like a Rolling Stone" | Rehearsal Remake | 2:33 |
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| 5. | "Like a Rolling Stone" | Take 1 Remake, Rehearsal | 1:57 |
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| 6. | "Like a Rolling Stone" | Takes 2 and 3 Remakes, Rehearsal | 0:35 |
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| 7. | "Like a Rolling Stone" (previously released as Columbia single 43346) | Take 4 Remake | 6:28 |
|---|
| 8. | "Like a Rolling Stone" | Take 5 Remake, Rehearsal | 1:54 |
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| 9. | "Like a Rolling Stone" | Take 6 Remake, False Start | 0:21 |
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| 10. | "Like a Rolling Stone" | Take 8 Remake, Breakdown | 4:18 |
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| 11. | "Like a Rolling Stone" | Takes 9 and 10 Remake, False Starts | 0:35 |
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| 12. | "Like a Rolling Stone" (included on standard edition) | Take 11, Alternate Take | 5:57 |
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| 13. | "Like a Rolling Stone" | Take 12 Remake, False Start | 0:10 |
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| 14. | "Like a Rolling Stone" | Take 13 Remake, Breakdown | 1:36 |
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| 15. | "Like a Rolling Stone" | Take 14 Remake, False Start | 0:23 |
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| 16. | "Like a Rolling Stone" | Take 15 Remake, Breakdown | 3:08 |
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| 17. | "Like a Rolling Stone" | Master Take, guitar (Bloomfield) | 6:25 |
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| 18. | "Like a Rolling Stone" | Master Take, vocals and guitar (Dylan) | 6:25 |
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| 19. | "Like a Rolling Stone" | Master Take, piano and bass | 6:25 |
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| 20. | "Like a Rolling Stone" | Master Take, drums, organ and tambourine | 6:27 |
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| Total length: | 65:21 |
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Disc four| Title | Version |
|---|
| 1. | "Can You Please Crawl Out Your Window?" (edted version included on standard edition) | Take 1, Alternate Take | 4:39 |
|---|
| 2. | "Can You Please Crawl Out Your Window?" (accidentally released as b-side to first pressing of "Positively 4th Street" single) | Take 17 | 4:01 |
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| 3. | "Highway 61 Revisited" (included on standard edition) | Take 3, Alternate Take | 3:30 |
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| 4. | "Highway 61 Revisited" | Take 5, Complete | 3:40 |
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| 5. | "Highway 61 Revisited" (included on standard edition) | Take 7, False Start | 0:33 |
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| 6. | "Just Like Tom Thumb's Blues" | Take 1, Breakdown | 1:09 |
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| 7. | "Just Like Tom Thumb's Blues" (included on standard edition) | Take 3, Rehearsal | 5:39 |
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| 8. | "Just Like Tom Thumb's Blues" | Take 13, Complete | 5:29 |
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| 9. | "Queen Jane Approximately" | Take 2, Complete | 5:19 |
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| 10. | "Queen Jane Approximately" (included on standard edition) | Take 5, Alternate Take | 6:02 |
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| 11. | "Ballad of a Thin Man" | Take 2, Breakdown | 3:53 |
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| 12. | "Medicine Sunday" (included on standard edition) | Take 1 | 1:02 |
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| 13. | "Jet Pilot" (previously released on Biograph) | Take 1 | 1:27 |
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| 14. | "I Wanna Be Your Lover" | Take 1, Fragment | 1:07 |
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| 15. | "I Wanna Be Your Lover" | Take 6, Complete | 3:30 |
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| 16. | "Instrumental" | Take 2, Complete | 4:03 |
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| 17. | "Can You Please Crawl Out Your Window" | Take 6, Complete | 3:48 |
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| 18. | "Visions of Johanna" | Take 1, Rehearsal | 1:43 |
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| 19. | "Visions of Johanna" (included on standard edition) | Take 5, Rehearsal | 7:38 |
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| Total length: | 68:12 |
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Disc five| Title | Version |
|---|
| 1. | "Visions of Johanna" | Take 7, Complete | 9:08 |
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| 2. | "Visions of Johanna" (previously released on The Bootleg Series Volume 7) | Take 8 | 7:05 |
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| 3. | "Visions of Johanna" | Take 14, Complete | 7:32 |
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| 4. | "She's Your Lover Now" | Take 1, Breakdown | 3:02 |
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| 5. | "She's Your Lover Now" (included on standard edition) | Take 6, Rehearsal | 4:59 |
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| 6. | "She's Your Lover Now" (previously released on The Bootleg Series Volume 2) | Take 15 | 6:24 |
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| 7. | "She's Your Lover Now" | Take 16, Complete | 8:27 |
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| 8. | "One of Us Must Know (Sooner or Later)" | Take 2, Rehearsal | 2:16 |
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| 9. | "One of Us Must Know (Sooner or Later)" | Take 4, Rehearsal | 1:54 |
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| 10. | "One of Us Must Know (Sooner or Later)" (included on standard edition) | Take 19, Alternate Take | 5:11 |
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| 11. | "Lunatic Princess" (included on standard edition) | Take 1 | 1:20 |
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| 12. | "4th Time Around" | Take 11, Complete | 4:26 |
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| 13. | "Leopard-Skin Pill-Box Hat" | Take 3, Complete | 4:27 |
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| 14. | "Leopard-Skin Pill-Box Hat" (included on standard edition) | Take 8, Alternate Take | 3:26 |
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| 15. | "Rainy Day Women #12 & 35" (edit without rehearsal previously released as Columbia single 43592) | Take 1, Rehearsal and Finished Track | 6:17 |
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| Total length: | 75:54 |
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Disc six| Title | Version |
|---|
| 1. | "Stuck Inside of Mobile with the Memphis Blues Again" | Take 1, Rehearsal | 3:23 |
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| 2. | "Stuck Inside of Mobile with the Memphis Blues Again" | Rehearsal | 4:54 |
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| 3. | "Stuck Inside of Mobile with the Memphis Blues Again" (previously released on The Bootleg Series Volume 7) | Take 5 | 5:52 |
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| 4. | "Stuck Inside of Mobile with the Memphis Blues Again" (included on standard edition) | Take 13, Alternate Take | 4:09 |
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| 5. | "Stuck Inside of Mobile with the Memphis Blues Again" | Take 14, Complete | 7:04 |
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| 6. | "Absolutely Sweet Marie" (included on standard edition) | Take 1, Alternate Take | 5:02 |
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| 7. | "Just Like a Woman" | Take 1, Complete | 4:32 |
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| 8. | "Just Like a Woman" (included on standard edition) | Take 4, Alternate Take | 5:20 |
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| 9. | "Just Like a Woman" | Take 8, Complete | 5:22 |
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| 10. | "Pledging My Time" (included on standard edition) | Take 1, Alternate Take | 3:26 |
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| 11. | "Most Likely You Go Your Way and I'll Go Mine" | Take 1, Complete | 3:38 |
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| 12. | "Temporary Like Achilles" | Take 3, Complete | 5:43 |
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| 13. | "Obviously Five Believers" | Take 3, Complete | 3:47 |
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| 14. | "I Want You" (included on standard edition) | Take 4, Alternate Take | 2:52 |
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| 15. | "Sad Eyed Lady of the Lowlands" | Take 1, Complete | 10:06 |
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| Total length: | 75:09 418:27 |
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: 10
Score:
Dylan going electric was a controversial issue that created a negative reaction from some folks, who heckled Dylan during his Feb/May 1966 world tour, which he went on after recording Blonde on Blonde, which had not yet been released, though Dylan was playing some of the songs that would appear on that album. The most famous incident occurred during a concert at Manchester, that had wrongly (or deliberately) been ascribed to the Royal Albert Hall on the famous bootleg of the concert. Just before the last song, someone shouted "Judas". Dylan was disturbed by this. He paused then shouted "I don't believe you." Thought about it a good while longer then adds: "You're a liar." Turning to his band he then says the best rock and roll sentence ever: "Play it fucking loud" and the band go into a searing version of "Like A Rolling Stone". It is probably the most famous and compelling moment in rock history. This album is that concert. The first half is acoustic, the second is electric. Both sides are sublime.
All songs written by Bob Dylan except "Baby, Let Me Follow You Down" by Eric von Schmidt and arranged by Dylan.
Wikipedia
AllMusic: 10
Score: 10
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