Live 1966 (The Royal Albert Hall Concert)

Jesus Christ, Bob. Give that harmonica a break.

Genre: Folk Rock 2/5 I'm honestly sick of this man. I'm not sure what he did to deserve his legacy. He's a phony and a charlatan, and everything I hear from him is bland, lyrically confusing, and vocally inept. The man cannot sing a note, he can hardly pronounce his own lyrics, he plays the harmonica and guitar about as well as your average wayward fellow does and never to an extent that feels virtuosic, and above all that, his live shows are boring and uninteresting. The first half of this 90+ minute experiment in boredom is Bob and a chair. The only things that kept me listening were the hilarious, once-a-minute voice cracks and the chuckles I'd get once his harmonica started to squeal. Truly sonically unbearable, and left me primed to levy my first 1 rating on an album. However, the full band does come out for the second half of the show, and brings a bit more liveliness to the program, but not enough to warrant any sort of merit. Apparently this second half was filled with boo's and jeering from the crowd, but it has all been carefully edited out in order to remove any Dylan dissent from hitting any fanboy's ears. I would've certainly enjoyed this album more if I had someone to boo along with. This was the cherry on the shit sundae that is Bob Dylan albums in this book, and I know I still have more to listen to... But, as for this, it's an entirely avoidable album, with an entire first disc that provides nothing worthwhile to the listener. A real stinker.

It's  wild that a bootleg album made it to the 1001 list. I Buying bootlegs of my favourite bands' live performances was my only real indulgence in the early 80s. You had to know the one or two stores in town that carried them. The place in Toronto was The Record Peddler. Sudbury had a place, called Recycled Records,  that would place orders for me.  Knowing the names of the stores wasn't enough. You had to know the secret handshake to get the store owner to show you the goods. The bootlegs were never kept in the bins with the "legal albums" as the owner was always paranoid that Law Enforcement would find out and put him out of business. If a stranger asked the guy at the Record Peddler where the bootlegs were kept, he would probably deny even knowing what a bootleg was. If you didn't have the right connections at the store, the other option was mail order although half the time I tried this route my money disappeared and I received nothing. Let's just say that finding a bootleg was much harder than finding half a gram. When you finally got your hands on a bootleg, it came with serious sticker shock. A bootleg would cost three times the amount a legal album costs and the price did not guarantee quality. Many bootlegs sounded like they were recorded on a $10 dictaphone like the brothers on Madmen use. Other bootlegs, however, were recorded by the guys on the mixing board and the  quality of these was better but still  nothing like the quality of a legal live album.  The exorbitant price applied regardless of quality so you had to do your homework. There was a book called Hot Wacks that was  dedicated to bootleg reviews so you could know, before parting with your cash, whether the quality was good. Having the latest edition of Hotwacks was as critical to a bootleg buyer as having Robert Parker's Bordeaux bible would be to a wine snob heading to a wine auction.   The difficulties finding  a decent quality bootleg added to the mystique.  A decent quality bootleg of your favourite band was your most cherished vinyl possession. You would be happy with the lower album quality since you had a treasure that (almost) nobody else had. In those days,  bootlegs were magic. In 2021, I can peruse YouTube and easily find loads of bootleg quality live recordings for free. The magic that was there in the early 80's is gone and when you take away the magic, all that is left is a live recording that is mediocre quality. 

I've heard from some very reliable sources that seeing Bob Dylan live is one of the greatest experiences you can ever have. Some prefer Bob Dylan dead.

It's so hard for me to be objective with Bob Dylan. If you know me, you know my deep reverence for the poet, the musician, and the cultural icon. I've drifted away from daily and repeated Dylan listening sessions but listening to Royal Albert Hall is like meeting up with an old friend where time and distance apart has zero impact. So I thought I'd approach RAH with the lens of this 55-year-old woman who knows all the songs and try to not rotely listen to them this time. It's not hyperbole to say this man speaks to me more than any other musician (even The Beatles and Taylor Swift). The definition of "musician": a composer, conductor, or performer—Dylan masters all three. Now weave in "poet": a maker of verses of great imaginative and expressive capabilities and special sensitivity to the medium: "Yes, to dance beneath the diamond sky with one hand waving free Silhouetted by the sea, circled by the circus sands With all memory and fate driven deep beneath the waves Let me forget about today until tomorrow." How he punctuates with that harmonica! Has anyone else in the world played such poetic and musical harmonica? No. I listened to the Bootleg Series Vol. 4 version of the concert and didn't hear the audience dissatisfaction that is so well known for on the second set. Maybe the hecklers were cut from this version? It's hard for me to understand why the electric Dylan was so unliked by his fans in the same way it's hard for me to understand why people simply don't love Dylan. I mean C'mon...electric Baby, Let Me Follow You Down...how does your head not shake and your toe not tap?! Long-form songs are my jam and I'm certain that's due to Dylan (see ATW10MVTV). Listening to live Dylan and hearing where he changes the words is a little thrill and game for Dylan heads—what did he imply by transposing "finally sees" into "sees finally"? Why "negativity don't 'GET' you through" rather than "'PULL' you through" on Tom Thumb? These are questions for which many a historian has pondered (see Richard F Thomas, a classics professor at Harvard). I suspect when he transposes words or changes things it's simply a wee mistake (see Patti Smith performing A Hard Rain at the Nobel Prize Award Ceremony at Stockholm) rather than a major statement. Leopard-Skin Pillbox Hat has what I consider to be the sexiest Dylan line: "Well, if you want to see the sun rise Honey, I know where" I know I'm all over the place with this review but that's because he stirs up so many thoughts and feelings. Isn't that the point? This concert is Dylan at his best. The audience got the best of both worlds-folk & electronic. His voice is great...those long long notes that he holds and uses for the perfect accentuation: "IIIIIIII started out on Burgundy.." The band is great and perfect for Dylan at this stage. They are the foundation of his signature electric sound. I wonder if the hecklers feel like assholes now? (they should have felt that way when he was singing "Ballad of a Thin Man.") This is an 11 but 5 will have to do.

I remember the excitement surrounding the official release of the Manchester “Judas” concert (misnamed as RAH here on purpose). You know, no YouTube then so it was just a legendary story. That they edited the heckling out of this was slightly disappointing, but it’s an incredible set, and we finally got to see the “Judas” moment in Scorcese’s film later.

Dylan is a great song writer but... not something I would hear for 1.5 hours. First side drones on with the harmonica grinding your ears. Second side is better but besides a few songs, it's pretty much the same long melody.

Couldn't stand it. Nothing but poor rhymes and same nasal drone.

How strange that this project has delivered two perfect Dylan companion albums on the week of his 80th birthday, you could almost put it down to a higher power (namely, the reddit co-ordinator who manages this shit) From the infamous free trade hall gig on the 1966 UK leg of Dylan's World tour; this album is as much a historical document as the magna carta or Shakespeare's manuscripts. The first half is just Dylan with his acoustic guitar but he isn't singing protest songs, these are his new numbers from the Holy trinity of albums: bringing it all back home, highway 61 revisited and blonde on blonde. The fact that he transforms some of these electric rock n roll songs back into an acoustic form makes a mockery of the whole "judas" debate and what shines through most pertinently is the words. This is Dylan at his most bard like, the elegiac mood that he creates is so powerful and profound that to be honest I too would have been a little disappointed to see him emerge in the 2nd half with his rock n roll backing band, the hawks (later to become The Band). What follows though are some of the greatest and most pioneering rock n roll songs of all time. Scorsese's No Direction Home is a brilliant documentary that summarises this time so well as Marty understands that it was a moment of unparalled cultural significance within the 20th century. Happy birthday Bob.

4.4 - Never having given this album a close listen, I’d thought it was overrated like some of Dylan’s output. But now that I’ve had a chance to actually listen, I see that I was wrong - this album lives up to the hype. The schism between the acoustic portion of this concert compared to the electric one sounds jarring to me as a casual listener and I can only imagine how dramatic that schism felt to the concert goers who were expecting a solemn folk affair. Aside from the lore, Bob Dylan truly shines here. I love the songs. I love the vibe. It’s rare that I find a Dylan album I enjoy from start to finish - he often throws in wrenches to challenge the listener. In this case, by going electric, Dylan propelled this concert to a different stratosphere.

If I were to rate this album by the overall quality of the songs included, which on the studio version are spread across various extremely iconic and enjoyable albums, Dylan would deserve a 4 or even a 5 in some cases. If I were to rate the album by it's execution, and its execution alone, the score drops significantly. To be frank, I understand the stigma behind saying Dylan is a genius vocalist, which I somewhat agree with, but I dislike it a whole lot more on his live performances. The same opinion I have is on the instrumentals, where i find the harmonica sounds extremely grating and headache-inducing. Because Dylan is well represented on the top 1000 list, a 2/5 for this live version is deserved.

i wasn't really in the mood for it. for a live recording it wasn't that energetic.

People hated it when Dylan went electric. Dumb. I love seeing retrospective videos with all those squares beating their chests about "folk music isn't ELECTRIC." The Hawks (the Band) could jam so hard. They were simultaneously loose and super tight. That's a tricky combination to pull off. 1966 was Dylan at the pinnacle of his coolness, IMO. "Ballad of a Thin Man" is one of my favorite of his songs. Not sure if it's from this specific concert, but there is such a beautifully shot live video of him playing the song on this tour. I think it was in the Martin Scorcese film "No Direction Home."

Love Dylan. But a live album is a bit if a fraud. Like having a greatest hits on the list. Cover art 1/5

There's no denying that this album has so many classic Dylan songs. I normally don't like live albums because I feel like the crowd is a bit noisy and the music isn't as good however, Bob did an excellent job of making this album more personal than a lot of other live albums. I mean can one give any less than 5 stars to Bob Dylan. This album perfectly encapsulates his ability with instruments and the lyrical genius that he is so well known for. I am a bit confused however as to why there is a bootleg album on this list, I feel like Dylan has many more albums which were original that deserve to be on here two than stretching for a bootleg one, but hey, it's a phenomenal album.

1966 Live at the Albert Hall offers a unique snapshot of Bob Dylan's iconic transition from acoustic troubadour to electric rock star. Divided into two parts, the album captures the essence of both styles, showcasing Dylan's versatility and evolution as an artist. One of the highlights is the intimate atmosphere, where listeners can almost hear the hecklers in the background, adding a sense of raw energy to the recordings. However, it's worth noting that despite the album's title, it was actually recorded at the lesser-known Free Trade Hall in Manchester, a fact that adds an interesting layer to its historical significance. While both acoustic and electric sets are featured, some listeners may find the acoustic portion monotonous compared to the electrifying energy of Dylan's electric performances. Nevertheless, the album serves as a testament to Dylan's willingness to defy expectations and push musical boundaries, solidifying his status as a groundbreaking artist. Overall, 1966 Live at the Albert Hall offers a fascinating glimpse into the evolution of one of music's most influential figures, showcasing both the brilliance and complexity of Dylan's artistry. NUMBER OF BANGERS - 10 STAND OUT TRACK - Leopard-Skin Pill-Box Hat

Good stuff playing the intricate acoustic stuff first to get all these English folkies or whatever comfortable then an absolute onslaught of loud noise unlike anything they've ever heard. Dylan didn't give a fuck that they hate it and that his vocals are pitchy and terrible. This is rock n roll unleased upon an unsuspecting world that was not at all ready. If I was in the audience would I have been yelling at the stage in anger or happiness? No idea but I love hearing this today

Bob “Judas” Dylan puts on the show of a lifetime in this legendary era of his career between his folk origins and going electric. The same people that are booing at the end of what is essentially one of the greatest live albums of all time are the same people scolding people for listening to modern music today and insisting that everything Dylan touched turned to gold. It’s a funny thing, retrospect. My new favorite pastime activity is watching old clips of those 1966-era 4chan users losing their minds from Dylan having the audacity of being within 10 feet from anything electrical. It’s just hilarious.

This is the greatest live album of all time. And Spotify ruined it :( And YouTube doesn't seem to be any better. First, a review of the album, then a review of the streaming versions. Not only are the performances great, the history, and Dylan's "fight" with the audience are also huge. We hear closed-minded people who can't acknowledge that their "poet" is making music twice as good as before. A significant part of the audience can't handle change. This is music history, and we get to hear it taking place. I love, how, before the last song, Dylan turns to The Band and says, "Play it fucking loud!" He's mad at the audience, and you can hear it in the music. And then, when the song is over, Dylan says "Thank you" and leaves the stage, and you can hear some patriotic anthem coming faintly through the speakers, letting the audience know that there will *not* be an encore. Absolute classic. ------------------ So all that stuff I wrote above, about listening to Dylan argue with the audience and telling The Band to "play it fucking loud!" ... a very significant part of what makes this a classic, is not on the Spotify or YouTube version! I noticed, especially in the electric part, that there were gaps of silence after each song, and then it hit me: they cut out all but the music and very minimal clapping. This is a travesty. It's still a great performance, and on that alone, it warrants five stars, but they key part of the album is missing from Spotify and YouTube. (Relative to the 1001 Albums project, anyone that rated an album above this needs to rethink. This concert happened almost 60 years ago, and in the meantime, it was discussed as a legend and passed around on bootleg cassettes until finally officially released 30 years after the fact. Sixty years from now, no one is going to care much about 99% of the albums from 60 years prior...and that includes Muse :) If you don't love Bob's music, okay, but if you can't recognize its greatness, you're missing something.)

Judas!

"It makes you sick listening to this rubbish now.... Bob Dylan was a bastard in the second half." The wild mercury sound that hit the tips of the tongues of those who were not amused by Bob Dylan's full blown affair with rock and roll must have been beyond too much for them, as the man who was positioned to be the spokesman for his generation not only turned inward but became strung out and strange in the process. What was concession and halfassed compliance in the first half soon turned into a battering ram of ferocious velocity that was the "bastard" in the second half. These times were not only tumultuous but significant, as it was a document of what the worlds of folk and rock were and were about to become in the year 1966, and there was only one voice to tell those how it was going to be. The only question that remained was: Would you let him follow you down?

What an extraordinary document of a moment in pop history. What surprises the listener here is how good Dylan sounds live - captivating with just voice, guitar and harmonica in the first half, then absolutely rocking out with The Hawks in the second half. The songs sounds so vivid and vibrant and heartfelt - sometimes more so than their studio record counterparts. The story of his ‘betrayal’ of folk music is so, well, folkloric, that to have captured it here is a glimpse into another world and time. An essential recording and a bootleg to boot.

For whatever reason, it always feels weird to write anything about Bob Dylan. What can I say about him as a poet, musician, pioneer, bear-poker, and overall just fascinating human and artist. Now, this album. Fantastic. The date of this show is one night after the infamous "Judas!" heckle to which Mr. Dylan responded beautifully (just looked it up: I knew the heckle and Bob's response; what I didn't know is after he responded to the heckler, he turned to his band and growled, "Play it fucking loud!", and, by gum, they sure as hell did.

4.5/5. A strangely compelling acoustic guitar + nasal singer, then some weirdly catchy old school standard rock band. There's probably a bunch of strong lyrics that I glossed over too

An undeniable songwriting talent, Bob Dylan is already one of my favorite titans of music. This bootleg recording from '66 is a great example of both his one-man-acoustic style and his full-band-electric style. Just a dang good record front to back.

Some people love live albums. I am not one of those people. But I think I'd make an exception just given how huge a moment in music history it was when Dylan strapped on his electric guitar. Obviously full of bangers.

I'm very much a Dylan guy and was really impressed with how much he sounded like his studio recordings during this concert. Great set list.

Really enjoyed this. A lot of it sounded like a studio recording and not live. It was cool hearing the two phases of Bob Dylan in one set/one album.

Nice

I have a lot of respect for Bob Dylan. But also, I kinda can’t stand him. It’s a weird dichotomy, but I’ll try to explain. The first half of this record, the acoustic set, was incredibly off-putting to me. His acoustic songs often feel like these amorphous blobs of music, without many changes or points of demarcation musically. He sings over his gently strummed songs and the melodies, if you will, don’t really make a lot of sense with what he is playing instrumentally. But then, on the second half of this record, the electric set, Dylan is forced into a box. He has a constraint on him in the form of a backing band (The Band, as it were) and fuck me if it isn’t 1000 times more interesting than the acoustic blobs on the first disc. Going electric is the smartest move Dylan ever made.

Fairly poor recording of an OK set of live songs. My general problem with live albums is that unless they are uniquely interesting it's just a fancy greatest hits album. So I mark them down accordingly.

Gets rolling pretty quick, wild to think how many great songs this guy whipped up in his first handful of years. The first half sounds superb: the room, the dynamics in his strumming and voice, the rippin’ tin sando – it really feels like your sitting in front of the mixing board. The less-intimate back half also sounds great, but I’m not quite as engaged by big volume Bob for some reason. Regardless, I’d come back to this one. 3/5

This is far from essential and I love Dylan

All the things about Dylan that bore me quickly, turned up to 11. The things that pique my interest - obscured or in short supply. Big fat nope. One little bump up for being a document of the transition from folk to rock for a generation.

I try so hard to take Bob Dylan seriously, but holy hell, I swear he’s been putting us all on from the get-go. First set: The affected vocal delivery is too much. Most of the vocals go by like the mumbled ramblings of the guy I want to avoid in the post office. Yes, I still go to the post office. The lyrics I can understand make no sense to me. I’m at a complete loss and finding it hard to concentrate or pay attention to the songs. The harmonica playing is difficult to endure, and on “Tamborine Man,” it launches into absurdity. I was laughing out loud at the audacity, duration, and non-musicality of it all. Second set: I guess I enjoyed it more, but "enjoy" is used loosely. All of the notes from the first set apply, it's just all a bit more intense. At least there's something other than Dylan to key in on to abate my intensifying distress. But not really. One star for the album. One star to preserve my marriage. I promise, I tried.

I can only stand Bob Dylan in small doses, and this was one longgggg dose. There were a couple songs I didn’t mind, but overall, I was waiting for this to end.

If I never heard another Bob Dylan song, I would die a happy man.

A handbag full of mince meat and peas resting on the lap of an older woman with a stiff upper lip. She's on the way back from the abortion clinic where she's been campaigning for free abortions for white males aged 8-13. She has had a successful day's work.

Cat Power is a singer with an astonishing voice. At times husky, belligerent, soaring, goading and insistent, and always beautiful. I could listen to her sing the phone book. She doesn't get a mention in the 1001 list, though Bob gets about a hundred entries. This is not fair. This year (2022) she performed a concert at the Royal Albert Hall recreating this entire album. It's about the only way I think I could enjoy Bob.

Bob Dylan's music can kiss my ass. Just droning on and on, I have no idea how anyone could like this snoozer of an artist. And enough with the harmonica, it's not good and actually had to turn down the volume at times cause it pierces right through your ears. I really tried to make it through this album but had to bail for my sanity. I won't give him a 1/10 because at least the guitar playing is pleasant, really the only redeeming thing with this album. 2/10.

I've never been a fan of Dylan, and this performance does nothing to change that. Dylan's "style" of singing always rubs me the wrong way, and takes away from what might otherwise be pretty decent songs.

Overrated. Every time this guy shows up, this list seems less credible

Whiny voice, boring songs that all sound the same. I want to throw his harmonica out a window.

It was awful. The man can't sing and long harmonica solos just become unbearable.

Amazing! Favorite Bob moments.

Bob Dylan's Royal Albert Hall Concert was infamous. He did an acoustic set, and then and electric set, backed by the the Hawks - soon to be known as the Band. In the second set, a member of the crowd yelled, "Judas," to which Dylan responds, "are you talking to me?" This release in connection with an extensive collection of all of the recordings of Dylan's 65-66 European tour. This is an incredible recording of an milestone show; this, like the Newport Jazz Festival, is the "moment" Dylan went electric, and helped meld the folk and rock music worlds.

"The Bootleg Series Vol. 4: Bob Dylan Live 1966 The "Royal Albert Hall" Concert" is a two-disc live album by Bob Dylan. It was the second installment of the Bootleg Series. Early bootlegs attributed the recording to having take place at the Royal Albert Hall but it actually took place at the Manchester Free Trade Hall during Dylan's 1966 tour. The album is divided into two parts. Disc one is Dylan solo and acoustic. The second disc has Dylan plugged in electrically playing with the Hawks (who would later go on to be the Band). Many critics considered this album a document in the development of popular music in the 1960's (from folk to rock). Commercially, the album hit #18 in the UK upon its 1998 release. The acoustic disc opens with "She Belongs to Me" from "Brining It All Back Home." Audience clapping cedes to the Dylan's voice and an acoustic guitar. A long harmonica outre. The crowd remains dead silent during the playing of "Visions of Johanna." Dylans takes it down a notch during the epic "Desolation Row." A thunderous applause afterwards. The electric disc opens with the first-time-on-an-album "Tell Me, Momma." The band is fiddling around with the guitar and then kicks it in. A bluesy stomp. Guitarist Robbie Robertson stands out. Another highlight on this side is "Leopard-Skin Pill-Box Hat." This sounds a lot like the early Rolling Stones. A soulful organ and bluesy piano. The album has to and does end with an eight-minute "Like a Rolling Stone." The band is on fire, very inspired. Levon Helm on drums!!!! The acoustic side is bare with Dylan's voice, harmonica and acoustic guitar. Dylan is weaving his vocals to a very attentative crowd. The clarity of this recording, especially his voice, is remarkable. The second electric side fused Dylan's folk with a high-level rockin' band. Dylan didn't tone down his harmonica. At times, they sound like a bluesy jam band. Most of the playing is very inspired. On the recording, I didn't hear the apparent disgruntled taunting. Oh well, there was a big applause after "Like a Rolling Stone." This is an exceptional album. An album everyone needs a listen to.

++*: I Don't Believe You (She Acts Like We Never Have Met), Like a Rolling Stone ++: She Belongs to Me, 4th Time Around, Visions of Johanna, It's All Over Now, Baby Blue, Desolation Row, Just Like a Woman, Mr. Tambourine Man, Tell Me, Momma, Baby, Let Me Follow You Down, Just Like Tom Thumb's Blues, Leopard-Skin Pill-Box Hat, One Too Many Mornings, Ballad of a Thin Man 10/10

one of handful of rock and rollers with a credible claim to being remembered in 100 years

The best of both worlds, acoustic and electric Dylan, great lyrics

Un gran Bob Dylan quizá en su periodo más fértil y comprometido con la música simple sin rimbombancias ni autotunes que inundaron el mercado musical ávidos de ganar un mercado, fama y dinero, Dylan no estaba todavía en esa carrera y su simple brillo fué con seguridad enceguecedor a sus contemporáneos. Cantautor y por ello poeta inconmensurable un trovador moderno.

I sometimes forget that Dylan can be a bit of an acquired taste for some. Surprised to see how low the average score is. I suppose faced with a 90 minute bootleg live album it might be hard to acquire the taste but I have faith that some of the low scorers would get there given mote time. One weird thing though. I see some reviewers saying they didn't hear any heckling. I suspect they didn't get to the second disc. Or maybe they listened to the Real Albert Hall boot somehow. Anyway, my considered opinion is that Dylan were not a bastard.

A live staple. Bob Dylan at his apex.

Bob, Bob and more Bob. Excellent.

I wrote such a long review and deleted it all! The songs and performances speak for themselves, just imagine being there to see, hear and feel it live. I'm becoming obsessed, he's rivalling Ray Davies as my favourite songwriter.

Acoustic -> electric Cool history Love diving into dylan

Always love.

Just brilliant!

JUDAS!!!!

probably one of his bets live performances

On my first listen I thought disk 1 was substantially better than disk 2. On my second listen, I thought the second disk was equally as good if not marginally better. This album isn't a Masterpiece but every track is enjoyable. Sure some tracks feel a little dorky but that adds to their charm. Visions of Johanna through to Mr Tamborine man are all hands down masterpieces and would be best track on any other album but here they are back to back to back bangers and make it genuinely hard to pick a favourite or the best. (It's gotta be Just Like a woman lol) BUT THEN MY BOY DOES IT AGAIN. Back to back to back bangers on disk 2 From Leopard Skin pillbox hat through to rolling Stone. And for whatever fuckibg reason this album wasn't just influential on Folk, Blues and rock but also contemporary experimental hip-hop for some reason!? And definitely contemporary blues. Awesome tracks. 9/10 Fav tracks - All - 1 Least Fav - Just Like Tom Thumbs Blues

Awesome, just bloody awesome. What a way to hear the changing of the guard.

The Royal Albert Hall Concert is awesome as it is, such a strong live performance and set list. The split acoustic/electric had me taking note that I saw Dylan open for the Foo Fighters during their tour in support of their acoustic/electric split album, In Your Honor some 40yrs after this iconic set. 40 fucking years, that’s remarkable. Such a great performance by Dylan and the band. Excellent harmonica accompanied by great banter as Bob refused to back down from a somewhat stubborn British crowd, seemingly irked by amplified guitars… this is a classic live set. This is dedicated to the Taj Mahal 5 stars

Historic and sounds great too

This is a long winding road with many of the songs that you already know and love Bob Dylan-- American vocalist whose sound is love/hate for many people. With Dylan, if you like the sound, it's probably love. It is for me.

What a phenomenal set list! Of course I want to have been at this show. The songs are almost all from Dylan’s rock trilogy of Bringing It All Back Home, Highway 61 Revisited, and Blonde On Blonde. It’s difficult to think of another three album run from which I’d rather have a set list extracted (Led Zeppelin II-IV come to mind). I could nitpick the tad-to-slow tempo on one of my favorite songs, Visions Of Johanna, or the quality of the recording, especially toward the end of the second disk, but that would be silly. Silly because this is probably the best version of Desolation Row that I’ve heard. Silly because you get the intimate, solo acoustic set followed by the rip, roaring electric set. Silly because his voice still had a beautiful quality to it. In a year when this 1089 experience is over, I need to go into a deep Dylan phase.

Love this era of Dylan

Parece ser que Dylan va a ser una fichita repetida en éste reto, lo cual, lejos de cansarme, me hace re-escucharlo y re-disfrutarlo más. Novedad: nunca me había puesto con sus vivos y éste libro me los está recomendando. Siempre los shows tienen otra sensibilidad. Muestran al artista de otra forma: con sus errores y aciertos, haciendo otros arreglos, experimentando con instrumentos y su voz, como un laboratorio con público. Siento además que va pasando el tiempo y el folk me va gustando más. Me pasa con el argentino y el de Estados Unidos no es la excepción. Me dejan en un estado de tranquilidad y de trance. Volviendo a éste disco, su segunda parte ya es otra cosa. Cruda, con un Dylan que se dirige más al público y un público que no conecta con él. Esperaban al Dylan folk. El rockero no les cierra. Les hace ruido y no lo aplauden tanto como antes, además de increparlo cuando pueden. Excelente trabajo. Muy bien 11.

This is simply a great live album. five star or A rating for me.

Well it was Bobbles at the top of his game, what's not to like?

I really enjoyed this one.

Acoustic side is extremely good and electric side nearly as good. It's hard to grok the all the controversy, given what we know now, mainly that Blonde on Blonde was fast approaching and that the early tunes would be certifiable classics (if they weren't already). The poise, grace and loveliness of the acoustic side is such that one can understand to some extent the haters – that is, there is a jarring contrast, but the electric side delivers, too, in a raw way that some of Dylan's records could be said to lack. But the songs ... the songs ... "Visions of Johanna," "Desolation Row," "Like A Woman," "Baby Blue," ... these are national treasures, wonders of the world, really and this is a most worthy document/artifact capturing a world-historical musical artist at a major inflection point of his many evolutions.

JUDAS! There you go, I've put it here because it was cut out of this recording. I've never been much of a fan of live albums, but this is different. I love Dylan, but the first disc takes some time to get going. I think that the slower tempos of Visons of Johanna and Just Like A Woman take something away from them, and the studio versions are way better. Then you get disc two. Holy shit, what an incredible performance - how anyone could have been upset by it is incredible. Hands down, one of the best records I've ever listened to.

Sloppy and raw at times but man what a document of Robbie Z and his talents. One mark off for scruffy vocals, one added for inspiration.

Excellent!

This is wild. I know it's cliche, but I'll always wonder how he gets away with that voice; it's beyond parody. This album was a great time, but I do really wish they hadn't edited it so hard, especially that iconic exchange before "Like a Rolling Stone". I love to see it - an artist doing what they want, and the audience is welcome to come along or not. Play it fucking loud.

Love the music, some of the ‘liveness’ is great but I can’t help agreeing wanting either a polished studio version (which we have ofc for the songs) or an unedited, unfiltered recording with all the booing etc. Hard to feel significant when what makes it significant is edited away

I'm sure it's touched up, but for a live bootleg from the 60s, I think the recording quality is quite good. I really enjoyed the intimate acoustic set, and the electric set has some great energy, fueled by more ways than one to drown out heckling. The set list feels carefully constructed, and the band is obviously talented and road tested. I dig it.

The memorable thing about Bob’s 1966 world tour was that this was the last time you would ever hear him perform this bunch of mid-60’s classics in anything like the same voice they were recorded in. Dylan would spend the rest of his life re-inventing these songs to such an extent that it was sometimes impossible to recognise what song he was singing. And I have to say, as much as I love him, it hasn’t always been pretty. I was thrilled when this was released on CD. I already owned a vinyl copy of the electric CD - a real bootleg on the Trade Mark Of Quality label - Bob Dylan : Royal Albert Hall - long before it was discovered that it had actually been recorded at Manchester Free Trade Hall. The beauty of this double cd is that you got a clarity that wasn’t in the original bootlegs. For fans, the release of this was such a gift. The acoustic set is stunning & I’m not gonna go through it - these are 8 masterpieces that Dylan does proud . And I guess I feel the same about the electric set. The difference is that this was where history was made - specifically this was where some cat cried “Judas” at Bob for plugging in, which prompted his reply : “I don’t believe you…” (ironically the title of Track 2 on this CD) “You’re a liar”. This is my favourite Bob vintage. The footage from it in Scorsese’s doco, No Direction Home, is priceless. Dylan’s either off his tits or extremely tired, but his performance (& the band’s) is outstanding.

Fantastic

Excellent. Desolation Row is stunning.

Soft 5

The "Dylan goes electric" moment -- or at least the one that folks point to. I've only recently started listening to Dylan on a semi-regular basis, but it's fascinating to hear the contrast between disc 1 and disc 2. And it's pretty damned killer all the way through. Nice Jewish boy makes good.,

Raw and ragged live early electric Dylan

Great show

Um die Platte zu verstehen, muss man den Hintergrund kennen. 30 Jahre alte Raubkopien in verschiedensten Fassungen eines Konzertes das im wesentlichen in Manchester stattfand aber der Royal Alber Hall zugeschrieben wurde 1998 veröffentlicht. Es zeigt unnachahmlich zwei Musikstile des Künstlers. Den alten (Folk mit Gitarre und Mundharmonika bis Song 7) und den neuen (mit Band ab Song 8). Einmalig ist die offene Kontroverse mit seinen Fans über den neuen Stil, den Bob im letzten Lied zu gewinnen scheint. Nicht die Musik sonder. das Album ist das Kunstwerk😊

Excelente colección de canciones, bien tocadas, con buen sonido.

Dylan es Dylan...

Listened 2x. 4.5

The amterial in this set is unbelievably amazing. Each song a classic. The arrangements on the full band "amplified" set are amazing and the playing is tight and swings and easily matches the material. I don't get the sense of vitriol from the audience during the "plugged in" 2nd half that I had been led to believe, just seems like an amazing show from an amazing artist to an adoring audience. 5 stars

this is the album ive been listening to the most for at least 3 months now. its fenomenal. the acoustic part is absolutely hypnotizing, the way his voice echoes throughout the hall accompained by the gentle but precise guitar playing is my favorite part about the album. and although the eletric part doesnt have the same quality of audio it sure does knocks you inside your head. his singing here is of a drunk madman in a bar and the band follows that with an uproar of rock and roll noise, and it all sounds amazing. also i do believe he is completed wasted here, he talks like hes about to pass out and say stuff like "we'd like to dedicate this song to taj mahal". this last one is probably just dylan being dylan but the way he says it sure sounds hilarious. love the way he throws off the idiots that were booeing the hell out of the band, saying: "this is not brittish music this is american music". this is my favorite live album from dylan and from any artist really.

I understand that Dylan can be divisive, and this is a document of Dylan at his most controversial period. Even his most devoted fans were divided at this point. I think that it's Dylan at his very best.

This album is so amazing. When The Band comes out to play is one the most incredible moments in history. Side note - Robbie Robertson crushes it. I highly recommend you listen to Cat Powers version of this entire set. Best cover of Dylan ever.

Amazing beginning to end!

Marvellous !!!

Bob is a goddamn legend. I don’t understand why people were so mad at him for using electric guitars and a full band when this concert clearly shows that he was still capable of and interested in making great acoustic folk music as well. The band-accompanied stuff doesn’t feel quite as iconically Dylan, sure, but it’s still a joy to listen to and it brings a raucous energy that one guy with a guitar can’t replicate.

Entrancing and transportative. A great concert recording from Bob, but I enjoyed his solo first half more than the full band portion.

Love Bob Dylan always. Honestly would give this album a 4 1/2 if I could though because the electric stuff just isn’t my favorite.

I was prepared coming into this one to say that this is a completely unnecessary inclusion on the list. I love Bob Dylan, no doubt about that, but I feel like he already has tons of representation here. I hate live albums, though this one does have excellent production quality, and after a couple of spellbinding numbers, it dawned on me that this is the closest I'll get to hearing Bob live in concert. Live and at his most impressive pinnacle. I love the songs, I love the music, I love Bob, so there's no need to be stingy and caustic with my grading when my heart and soul know they'll take any form of Bob they can get.

Maybe the best live album ever. 'Visions of Johanna', 'It's All Over Now, Baby Blue', 'Desolation Row', 'Just Like a Woman', 'Mr. Tambourine Man', 'Leopard-Skin Pill-Box Hat', 'Ballad of a Thin Man', and 'Like a Rolling Stone'. Jesus Bobby, leave something for the rest of us.