GENUINE LIVE 1966
Scorpio 8CD [T-685]
(1) Sydney Stadium (Sydney, Australia); April 13, 1966 (line)
(2) Festival Hall (Melbourne, Australia); April 20, 1966 (line)
(3) (Adelaide, Australia); April 22, 1966
(4) ABC Theatre (Edinburgh, Scotland); May 20, 1966 (audience)
(5) Adelphi Theatre (Dublin, Eire); May 5, 1966 (line)
(6) ABC Theatre (Belfast, UK); May 6, 1966 (line)
(7) Odeon Theatre (Glasgow, Scotland); May 19, 1966 (line)
(8) ABC Theatre (Edinburgh, Scotland); May 20, 1966 (line)
(9) Odeon Theatre (Liverpool, UK); May 14, 1966 (line)
(10) Glasgow Hotel Tape (Glasgow, Scotland); May 19, 1966
(11) Gaumont Theatre (Sheffield, UK); May 16, 1966 (line)
(12) Odeon Theatre (Birmingham, UK); May 12, 1966 (line)
(13) Free Trade Hall (Manchester, UK); May 17, 1966 (line)
(14) Royal Albert Hall (London, UK); May 26, 1966 (line)
(15) Royal Albert Hall (London, UK); May 27, 1966 (line)
(16) Bob Fass Show (WBAI-FM, New York, NY); January 26, 1966
Tracklist: (1) She Belongs To Me, Fourth Time Around, Visions Of
Johanna, It's All Over Now Baby Blue, Desolation Row, Just Like A
Woman, Mr. Tambourine Man; Tell Me Momma, I Don't Believe You, Baby
Let Me Follow You Down, Just Like Tom Thumb's Blues, LeopardSkin
PillBox Hat, One Too Many Mornings, Ballad Of A Thin Man,
Positively Fourth Street
(2) She Belongs To Me, Fourth Time Around, Visions Of Johanna, It's
All Over Now Baby Blue, Desolation Row, Just Like A Woman; Tell Me
Momma, Baby Let Me Follow You Down, Just Like Tom Thumb's Blues
(3) Adelaide radio interview (c. 10 minutes)
(4) Tell Me Momma
(5) Fourth Time Around, Visions Of Johanna, It's All Over Now Baby
Blue, Desolation Row, Just Like A Woman, Mr. Tambourine Man
(6) I Don't Believe You
(7) Ballad Of A Thin Man
(8) One Too Many Mornings, Like A Rolling Stone
(9) Tell Me Momma, I Don't Believe You, Baby Let Me Follow You
Down, Just Like Tom Thumb's Blues, LeopardSkin PillBox Hat, One Too
Many Mornings, Ballad Of A Thin Man, Like A Rolling Stone
(10) What Kind Of Friend Is This, I Can't Leave Her Behind, I Can't
Leave Her Behind, Does She Need Me
(11) She Belongs To Me, Fourth Time Around, Visions Of Johanna,
It's All Over Now Baby Blue, Desolation Row, Just Like A Woman, Mr.
Tambourine Man; LeopardSkin PillBox Hat, One Too Many Mornings
(12) Ballad Of A Thin Man
(13) She Belongs To Me, Fourth Time Around, Visions Of Johanna,
It's All Over Now Baby Blue, Desolation Row
(14) She Belongs To Me, Fourth Time Around, Visions Of Johanna,
LeopardSkin PillBox Hat, One Too Many Mornings, Ballad Of A Thin
Man, Like A Rolling Stone
(15) She Belongs To Me, Fourth Time Around, Visions Of Johanna,
It's All Over Now Baby Blue, Desolation Row, Just Like A Woman, Mr.
Tambourine Man
(16) interview and listener calls (c. 10 minutes)
NOTE: This set includes all the circulating 1966 line
recordings of concert performances except the Dwarf Music demo of
"Tell Me Momma," which is ascribed to Sheffield. The titles for
the Glasgow Hotel tracks are unofficial. The set is divided into five subparts, which also
circulate separately: "A Phoenix in
April" [Sydney]; "The Children's Crusade"
[Melbourne, Adelaide, Edinburgh]; "While The Establishment
Burns" [Dublin, Belfast, Glasgow, Edinburgh]; "A Nightly
Ritual" [Liverpool, Glasgow, Sheffield, Birmingham]; "The
Genuine Royal Albert Hall Concerts" [Manchester, London]
DEEP: [A Phoenix In April] What hits you initially is the startling and crystalline quality of the recording of Dylan's voice, not to mention the full tones of the guitar and harp. The singular nature of the acoustic performances is awe-inspiring. The electric set is, as a whole, my favorite of all the Dylan/Hawks performances. . For those of us who dig the sound of his voice, it does not get much better than this. A monumental show and a blistering performance for the ages.
[The Children's Crusade] Stunning sound and a focused, deliberate performance combine to make this a highlight of the extant acoustic sets. A smooth recording that captures Dylan in what seems to be a more mellow, "stoned" mood than Sydney. The trio of electric tracks, full-bodied and well-balanced recordings, make for some great listening. The Adelaide interview is interesting.
[While The Establishment Burns] Sharper, more detailed sound for Dublin than anything out previously; a much more straightforward performance with Dylan completely focused on each tune immediately upon completing the one before. The "Rolling Stone" from Edinburgh may be the highlight of the set, 8 minutes of rock and roll heaven. Dylan's phrasing is
sublime and his furious vocals are something to behold.
[A Nightly Ritual] The Liverpool electric set is stunning stuff, dominated by Dylan's
bold vocals and Robbie Robertson's razor-edge guitar fills. The lovely Glasgow tape is in pristine sound. Sheffield is an absolutely gorgeous recording, so full and richly toned it will leave you stunned. Dylan's performance goes from ridiculously phenomenal to sublime; he nails every tune and his harp playing is brilliant. A brilliant performance in astounding sound quality.
[The Genuine Royal Albert Hall Concerts] Better to stick to the official release for the Manchester tracks. Terrific sound on the May 26 tracks (despite a few new sound glitches), with Dylan's deep vocals way up front and the rich tones of his guitar and harp caught perfectly. Fuller, richer, crisper and cleaner sound than on anything previously circulating, with considerably less acetate noise. The wonderful electric performances have a bit more roll than
rock.. The harp playing is surreal throughout the May 27 acoustic set, and the standout song is most definitely the lengthy, drawn out "Desolation Row." The fantastic radio show excerpts wrap things up nicely.
Overall, this release, stands head and shoulders above anything that has come before. In addition, the packaging is distinguished by its stunning graphics and dazzling array of bonus paraphernalia. A singular, original artifact, and certainly required listening for any serious rock music lover.
anon: The Sydney tracks are far superior to any versions
previously circulating, with more punch and dynamics, brighter and
fuller sound. Melbourne is remastered from the long-unavailable
Wanted Man release, the finest source, in fabulous quality.
Dublin, while not quite so fine as the other acoustic sets, is
still better than any previous release. The Edinburgh tracks are
flat out the most frenetic, manic, and high-powered performances of
these songs. Liverpool features both incredible sound and
performances, with off-the-wall great lead guitar from Robbie
Robertson. Sheffield is a haunting, otherworldly performance, in
the finest sound quality of all the acoustic sets. The Manchester
acoustic set certainly feels different from both the official
release and "Guitars Kissing," but the variation is
slight. The London tracks, sourced from the Gelston acetates, are
the smoothest, cleanest, and quietest versions of these
performances to date. And the interview segments are way cool and
entertaining.
rmd: A stunning set. The new Sheffield acoustic set is gorgeous, a finely nuanced, charismatic performance in excellent quality. The stunning Liverpool electric set also sounds first-rate. Packaging is top-notch.(DM)
