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.

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

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.

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.

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.

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.

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

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.

God this was a real slog. Vocals so nasally they were sometimes akin to a slowly deflating balloon. The novelty of the harmonica wore off real fast, it’s a fine instrument to introduce but every damn song? Absolutely unnecessary. I already don’t like live albums and this was painful to work through. I gather the second half is better with the introduction of a band but by the time I got to the end of the first my patience had worn out.

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.

Judas!

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."

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.

I rolled a Nat 1 on the generator today. Not only am I cursed to listen to Bob Dylan wail for an hour and a half, it's a live album so the audio quality/production value is trash. Guitar riffs are simplistic and slow. I think the only positive for me on this set is a handful of mildly interesting harmonica parts. The main issue with these singer/song writer albums is that if you don't like the singer, it doesn't have any other legs to stand on. That's the case for me here.

Album starts with a beautiful, intimate version of "She Belongs to Me" which showcases his Nobel-Prize-winning writing chops. "Fourth Time Around" will never not sound like "Norwegian Wood" to me and I'm okay never hearing it again. Then a masterpiece: "Visions of Johanna." Sigh. He had me at "Ain't it just like the night..." The intensity keeps up with the next few songs, all winners. The electric set starts with "Tell Me Momma" and it's worth seeking out the complete recording which includes the audience heckling and Dylan's asides. My Amazon Prime stream didn't have this part but I found it on YouTube if you dig around. Amazing how upset people got with his electric move! Fantastic album and I'm personally developing time travel so I can go back and be there.

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.)

"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.

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

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.

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

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.

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.

I'm not that familiar with Bod Dylan, that I mainly know from covers (notably French-translated ones). And I'm not sure that album was the best way to get to know him and his work better, because it overall wasn't that pleasant to listen to. I already knew Dylan wasn't that great of a singer, and I don't think it's necessary a bad thing for a singer-songwriter with engaging lyrics. But this selection of songs was not the most interesting one on that side, with very few political or engaged songs. And if I found the voice-guitare combo compelling as a folk fan, I have to say ; there is a problem with the recording of that harmonica. The problem isn't in the instrument itself, but how strident it is, how loud compared to the rest. And I wasn't that convinced by the rock side of things. It doesn't match his voice and overall style that well, and more importantly the sound recording was once more a bit weird, and agressive to the ears. I didn't quite enjoyed it. Sorry Bob, but listening to this live wasn't a great experience. It was one I don't plan to reproduce any time soon. I'm sure we'll meet again on a studio album, and the ratings will be far better, but I genuinely don't understand why they put this album on this list.

Absolutely not. An hour and a half of nasal Dylan abusing his harmonica? No. I'd rather pluck out every one of my nose hairs for the same time frame instead.

Half boring, half badly recorded. Get this off the list.

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.

Can’t deny this is a pretty essential document. And the music is great, so it doesn’t feel like homework! Win win win win win win win win.

Before this 1001 journey I was never interested in Dylan, never understood what he was about and definitely couldn't be bothered with his backlog. Gotta thank the 1001 for opening my ears to this multi generational talent. Love this album, seeing him live must have been so huge, also with the band.

Both halves of this album are amazing in different ways. The acoustic half had some great performances of classics and then the electric half just fucking rocks.

GOAT. Great singer/songwriter. Great folk singer. Unique voice, that resonates throughout his.

Wonderful recording. I like everything about it.

The playfulness of the acoustic set, all those internal rhymes and lyrical ideas, stretched phrases, intensely delivered, is marvellous. Then the wild rocking freedom of the electric set, those loud guitars and joie de vivre - magnificent.

Easiest 5 I'll ever give. More than an album - this one's history.

The first time I remember hearing Dylan was watching the movie The Wanderers. I remember being moved by it. All these years later I still am. He's probably one of my earliest examples of how little the singers vocal ability has to do with my enjoyment of the music. It's always been music first for me. But anyway, this album is awesome. Bob was the voice of the 60's. Whatever you think of him, dude made a huge mark on music and his generation. Also the band is on fire.

Live 1966 (The Royal Albert Hall Concert) The fact that the Judas moment is missing has thrown me for a bit of a loop with this. I started writing that it’s hard for some things to live up to the myth, especially when the myth is Bob Dylan and the people creating the myth are Dylanheads and 60s rock journalists, and that the ‘Judas’ moment does genuinely crackle, Dylan’s sneer of ‘I don’t believe you, play it fuckin’ loud’, the hit of the snare, the energy of it all is palpable, you can feel it 59 years on. But that’s not on the streaming version, and I can’t remember from when I had the CD whether there was more talking between other songs too. I don’t think there was, and it was as presented here, with no audience interaction, giving it a characteristic Dylan aloofness and otherworldliness. And as great as the Judas moment is, and whether the streaming version is missing in between song chatter, it’s not the greatest thing about this album. The acoustic set is stunning, utterly captivating in its crystalline, glassily mesmeric simplicity and starkness. His pin sharp, spectral, alien charisma is tangible, how just guitar, harmonica and voice can freeze time and hold an audience in stillness is remarkable. The electric set is great in a different way, the Band/Hawks really is excellent, feeding off the sense of confrontation and creating a roughshod brilliance, especially on the version of Baby Let Me Follow You Down, which I love, and of course on Like A Rolling Stone. But it's the acoustic set that lingers and that I keep coming back to, both for its magnetic, ghostly magnificence and as a snapshot of someone at the peak of their artistry, while close to a physical and mental breaking point. The electric side has historical significance of course, and is worth a high mark on its own, but combined with the first set this is an easy 5. 🎸🎸🎸🎸🎸 Playlist submission: Desolation Row

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

Although I am not a Bob Dylan fan, this is a fantastic album that is well written and it is great to see a man with a major speech impediment be able to have such fanfare!

Nice and relaxing album. Worth a listen

8/10 Favourite: Ballad of a Thin Man Least Favourite: None

Mjög öflugur Dylan. Góð vinnutónlist.

Who knew Dylan could rock so hard?

i love bob dylan but not my fav version of a lot of songs i love 7/10

Pues un enorme live en el Royal Albert Hall (sala que conocí gracias a Florence juju, aunque al parecer este fue grabado realmente en Manchester????), allá por el big 1966. No sé mucho de Dylan, pero se le nota en plena metamorfosis: un hombre enfrentándose a su propio público con todas las herramientas necesarias para sorprenderles. La primera mitad acústica es serena, afilada y casi desafiante en su calma. La segunda mitad, con la orquesta rugiendo detrás, es dinamita pura. Me estoy haciendo fan de la voz de Bobby. Un potente contraste entre el trovador y el rockstar, entre el mito y el hombre, que hace de este directo una experiencia tan viva incluso hoy. No todo suena perfecto, pero esa imperfección es parte de su poder: el sonido del cambio, grabado con tensión, furia y una autenticidad que imagino que pocos han logrado capturar con tanta brillantez. Favs: Visions of Johanna, Desolation Row, Ballad of a Thin Man

Wow, I generally don't listen to much Dylan but this was really amazing

Bob unleashes his full potential.

I’m not usually into live albums, but this one was solid. It’s a double disc set, with the first disc showcasing Dylan’s intimate acoustic style and the second disc leaning into a more upbeat, energetic electric folk rock sound. Other than that, it definitely sounds like classic Bob Dylan.

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.

Great songs. Pretty shitty recording.

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.

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

Never have I ever wanted to punch a harmonica down someone’s throat as much as I do after listening to this. 3 of my most dreaded words are Bob Dylan Live

I just don't get Dylan. I imagine what he did was seen at the time as new and exciting, but playing this now it sounds to me like someone who can't really sing. And not in a good way. I thought maybe with a band behind him the songs might work a bit better (I love the Chocolate Watch Band's version of Baby Blue, for example), but Disc 2 disabused me of this notion. That's just as much of a racket, and with less space to think or breathe. I tried, but he's not for me.

This was a struggle for me. A lot could be said for vocal lessons. I am not a fan of Harmonica. Acoustic vs. Electric. Folk vs Rock. No winners here.

Wank. He's genuinely a terrible singer. He sounds as though he has one lung and is constantly holding in a sneeze at the end of every line. If this is what was considered good music in the 60s, no wonder JFK killed himself

Both live AND Bob Dylan? Aww hell no.

Torture. Over an hour! My ears were bleeding by song two! This dude sounds like a cat in heat. I was dragged to see this dude live in NYC in the 80’s. He was barely coherent and didn’t last long. That experience may actually have been preferable to this album.

Too bad his voice doesn't match his songwriting skills. I heard my cat make nicer sounds when I stepped on his tail.

Funny story, my wife, back in the late 1990s almost ran over Mr. Robert Zimmerman when he jaywalked into the traffic of our small town in Oregon. So, I've heard Bob Dylan live and almost heard him dead. Where to begin. He can't sing, his guitar strumming is tedious, and his harmonica sounds like it is in a life and death struggle to liberate itself from him. He wrote a few standards that over the decades have lasted the test of time and has been overrated ever since. His lyrics are supposed to be masterful but often just sound like pedantic moon June spoon simplicity. Lyrics: A song does not make. This live double album was a complete waste of listening time. It is at times like this that the list strains credulity.

I think, knowing how awful Bob Dylan is live for so many years, Bob Dylan has been spoiled for me. I found this to be an arduous and tedious listen. The first in the list that I have almost resented having to listen to. I used to love Dylan, back in my Uni days, enjoying his songwriting and recordings. But I don't find him appealing anymore and it feels disingenuous now that I listen with my oder, wiser, ears. Finally, this audio recording is important because of the duality and provocation of Dylan's set on the evening. The recording here has been sanitised so that the negative audience reaction to the latter half of his set has been removed. This, in my mind, completely removes the most valuable and interesting aspect of this document - and instead we are left with a single, manipulated perspective of the events. It just doesn't sit right and reams of the undermined stance Dylan and his label etc now occupy. This album has been a real bummer for me.

It's everything Dylan wrote on this list? Another hour and a half of crap. The second half is marginally better. But let's not go crazy with praise. It's still crap.

Never was a big fan. Read his biography and liked him even less. Zero enthusiasm in this live performance. The harmonica was painful. Historic performance with audience hecklers. I thought I would like part two with the Band or the Hawks better. I was wrong.

I actually like Bob Dylan, but making me listen to a live, two-sided album of his? This better be a fantastic performance. NO! The first side has some truly awful singing. The second side has some decent tracks, but nothing to call home about. I have no idea why this is a recommended album.

Oh good, an hour and a half of Bob Dylan. Because the last 30 Bob Dylan albums haven't been enough. Oh and it's a lo-fi affair, whereby he croaks and plays his harmonica non stop. 1/5.

Disc 1 of this might be the worst thing I've ever listened to. Disc 2 got better, but still not enough to drag it up to 2 stars.

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.

When I am reviewing these albums I try to not be overly critical about genres or artists that I am not familiar with. That being said I am damn near an expert when it comes to American Folk in the 1960s and 1970s. And I cannot stand this album. Now in full transparency I am just not a fan of Bob Dylan so that contributes to my dislike of this album. But there are so many more issues that outweigh that dislike. To start with it is a live album which is bad enough, but add onto that the fact that it is a "Bootleg Series" live album released 32 years after the original concert. There are also not 1 not 2 but 5 songs that are over 7 minutes in length. I like long songs but that is ridiculous. There are only two of his top songs played in the show and they were the worst versions of them I have ever heard. Even though it was early in his career he still had some of his top songs all time already released. This album was terrible for all 95 Minutes and 18 Seconds of it. I'm not looking forward to the next 6 Bob Dylan albums on this list. But I am comfortable knowing that they aren't worse than this one. I appreciate everything he has done for music and the genre of Folk and I admire his talent as a songwriter. But I just have never enjoyed him. And I despise this album.

Not sure live albums should really be on here, even if they're historically significant.. it's like having a compilation, which feels cheap. Anyway that said I couldn't fucking stand the first half of this record, I got 3 songs in and skipped the rest (not usually a skip kind of guy with this challenge but it was just Bob sounding like he'd suffered a stroke before going on stage, harping on over guitar with grating harmonica thrown in which really was not for me). I read the second half features his band as well so I gave that a go. I was willing to overlook Bob Dylan sounding like he was doing a bad Bob Dylan impression because I didn't mind the songs and the sound otherwise, but then he starts wailing on the fucking harmonica and I don't know much about Dylan but I'd guess he can't fucking play it from the tones he was putting out. Altogether an hour and a half of this shit is torture and I am glad I saved about 30 minutes of my life skipping over what I did.

Awful. Bob Dylan sounds like someone doing a bad impression of Bob Dylan.

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

Live album should not be allowed in this list... same for "Greatest hits" collections... His harmonica is so annoying. Also, do people really like when he mumbles the lyrics? I don't know, I think he is really overrated...

Too much hate for this album in the reviews it is deservedly on this list and one of the most iconic music moments in history sorry !!! The one I listened to didn’t have any of the crowd interaction which was disappointing I would like to listen to the full edition with the crowd that would really make this iconic but how can this not get a 5 come on people - it’s great versions of great songs

Legendary. The Judas heckler, and the hostile audience and how Dylan is responding to that in his performance is just insane. Amazing gig.

This record is so fascinating, a Hollywood film was made about it last year, Timothee Chambalam was chosen to star, it received numerous oscar nominations and yet still simply did not do it justice. A final scene in a biopic could never do it justice, as it strips away the essential mundanity of the record. This album is a recording of one show that Bob Dylan played in 1966. He played 46 others between January and his motorcycle accident on July 29th on that World Tour and was chased by hecklers the whole way. This one contains the famous moment of course (and his famous response), but it seems unlikely to me that this night in Manchester felt like an emotional climax to Dylan himself. He was just doing his thing in yet another city where some idiots seemed determined to misunderstand him. So let's focus on the important thing, because those idiots were missing out - big time. Bob was at a truly astonishing peak at this time. Genuine genius was on display at the Free Trade Hall that night. So stop shouting Judas for god sake and sit down cos you're distracting us from something incredibly special.

high 5 i come back to the first half regularly for the "blonde on blonde" tracks. this is the definitive version of "fourth time around", one of my all time favs. the album versions production is very odd. same story with "visions of johanna" another one of his best. "just like a women" is genuinely stunning here, although the album version is good too. my other favourite thing about the first half how little effort he puts into the harmonica hes just blowing randomly on there why not. what can you say about the second half? knocks your socks of straight from the off then finishes with the greatest rock moment of all time. got to give a lot of credit to the drummer Mickey Jones who goes almost over the top, which is what these tracks deserve. it shows how good lofi can sound. robbies guitar, the bass, the drums and bobs voice are at the forefront and the piano, organ and bobs guitar fade into an incredible soup in the background, poking through now and then. its good thing robbies guitar is so prominent because the lads on fire. highlight - "am i still? driming? yeeeEEEEHH"

Always a favorite

Wild that 25 year old can write and perform these songs. They have so much weight. This well-behaved audience doesn’t know they’re witnessing an all-time great. I love the first acoustic set followed by a lively second set format. Good stuff!

This recording captures one of the most pivotal moments in rock history—Bob Dylan's 1966 world tour with the Hawks (who would later become The Band). This was Dylan's first full electric tour, following his controversial "electric" trilogy: *Bringing It All Back Home* (1965), *Highway 61 Revisited* (1965), and *Blonde on Blonde* (released May 1966, during the tour) . The tour was culturally seismic. Dylan divided each show into two distinct halves: a solo acoustic set followed by a full electric rock set with the Hawks. This structure deliberately built tension—audiences received the acoustic portion reverentially, then often turned hostile when the band plugged in . The Manchester concert became legendary for the "Judas!" incident: during a quiet moment, an audience member shouted the biblical epithet at Dylan. His response—*"I don't believe you... you're a liar"*—followed by the command to his band *"Play it fucking loud"* before launching into "Like a Rolling Stone," remains one of rock's most iconic confrontations . --- ### **The Music: Structure & Performance** #### **Acoustic Set (Solo Dylan)** The first half showcases Dylan alone with acoustic guitar and harmonica, performing material exclusively from his 1965-1966 "electric" albums—ironically delivered in folk format. The set includes: - **"She Belongs to Me"** – A delicate, ironic love song with intricate fingerpicking - **"Fourth Time Around"** – Dylan's sly response to The Beatles' "Norwegian Wood," performed with knowing humor - **"Visions of Johanna"** – The tour de force, a "dreamlike fantasia" that evolved nightly; Dylan's harmonica work here ranges from "spare melodic statements" to "abstract honkings" - **"Desolation Row"** – The epic conclusion, greeted at Manchester with "rapturous reception" and described as having a "hazy hush" that adds to its mood and mystique - **"Mr. Tambourine Man"** & **"It's All Over Now, Baby Blue"** – Faithful revisitations of earlier classics Dylan's acoustic delivery is "fierce, taut, and hypnotic" . His harmonica playing had developed into something "as weird and pliable as Dylan's voice," moving beyond folk conventions toward avant-garde territory . This would be the last time Dylan regularly performed extended solo acoustic sets . #### **Electric Set (Dylan & The Hawks)** The transformation is immediate and confrontational. The band—Robbie Robertson (guitar), Rick Danko (bass), Richard Manuel (piano), Garth Hudson (organ), and Mickey Jones (drums, filling in for Levon Helm)—delivers what critics call "one of the best live albums of any artist, ever" . **Key transformations:** - **"Tell Me, Momma"** – The opener, never recorded in studio, exists solely to introduce the band "in the most belligerent way possible." It's "fast, loud, fun and kinda dumb. In short, it's rock'n'roll" . Dylan never performed it again after this tour . - **"I Don't Believe You (She Acts Like We Never Have Met)"** – Dylan introduces it with the perfect manifesto: *"It used to go like that, and now it goes like this"* . The acoustic *Another Side* ballad becomes a "stomper" with "pulsing energy" . - **"Baby Let Me Follow You Down"** – Transformed from the gentle debut album folk song into a "raucous rock song" and "searing rock-and-roll plea" with "scorching guitar lines" and "thrilling organ solo" . - **"Leopard-Skin Pill-Box Hat"** – Provides "comic relief" with its twangy blues attack, though it triggered some of the most intense audience discontent at Manchester . - **"One Too Many Mornings"** – Perhaps the most provocative rearrangement. The once "serenely sad" song becomes a "loud and wailing" rocker with "crashing drums, swirling organ and bellowed backing vocals"—pure provocation of *Times*-era fans, yet also a valid interpretation Dylan had been building toward . - **"Ballad of a Thin Man"** – Grows into a "particular psychodrama" across the tour. At Manchester, Dylan moved to piano and his vocals became "swampy, like he's singing/shouting from inside a safe." Garth Hudson's organ provides "funereal flourishes" . - **"Like a Rolling Stone"** – The finale, delivered with "blistering performance" after the "Judas" exchange. Mickey Jones' drums are "a marching clatter," Hudson's organ "blares like an air raid warning," and Dylan's rage is "palpable, his sense of righteousness apparent in every drawl and sneer" . The Hawks' sound is distinct from the studio albums—more muscular, "road-tested," with "jangling, bluesy" textures and a "carnival-esque sound" that would define The Band's later work . They brought their own amps and PA because no halls had systems powerful enough for them, "blast[ing] the music at the audience" . --- ### **Lyrics & Themes** The 1966 tour represents Dylan's full departure from topical protest songs into "personal expression that spoke more to the abstract intellectual autonomy of the counterculture than the ongoing issues of the New Left" . **Key thematic elements:** - **Alienation & Betrayal** – "Like a Rolling Stone" and "Positively 4th Street" (performed at other shows) channel vitriol toward former friends and the establishment. The Manchester audience becomes unwitting participants in this drama. - **Surrealism & Abstraction** – Songs like "Visions of Johanna," "Desolation Row," and "Ballad of a Thin Man" move beyond narrative into dreamlike, imagistic territory. The lyrics are filled with "wild imagery" that the Hawks' keyboard colors match . - **Transformation & Identity** – The entire concert dramatizes change itself. "I Don't Believe You" becomes meta-commentary on Dylan's own metamorphosis. The "Judas" accusation touches on religious imagery of betrayal and resurrection. - **Confrontation & Authenticity** – Dylan's stage banter is minimal but pointed. At the real Royal Albert Hall, he defended his new sound: *"These are all protest songs….come on!"* . The Manchester show's "Play it fucking loud" moment crystallizes artistic defiance. --- ### **Production & Sound** The album was recorded by CBS Records using multi-track equipment, though early bootleggers mislabeled it. The 1998 official release (produced by Jeff Rosen) marked a significant upgrade in sound quality from circulating tapes, though some audience members later claimed the actual hall sound was "a wall of mush" compared to the cleaned-up recording . The 2016 remastering for *The Real Royal Albert Hall 1966 Concert* (by Chris Shaw, Dylan's engineer on *"Love & Theft"*) "wrings every last drop of ambient beauty from the truly otherworldly acoustic set" . The production captures a crucial historical document: the audience itself becomes "a character in the story," with heckles, jeers, and applause preserved as essential elements of the performance . --- ### **Influence & Legacy** *Live 1966* stands as "a definitive cap on one of the most productive and astounding periods in any popular artist's creative history" . Its influence reverberates through: - **The bootleg culture** – For decades, this was the most famous bootleg in existence, circulating widely before official release and establishing the template for rock bootleg collecting . - **The Band's development** – The Hawks' evolution into The Band began here; their "ramshackle" yet "rock-solid" ensemble playing laid groundwork for *Music from Big Pink* . - **Rock's electric transformation** – Dylan's insistence on amplified instruments, despite audience hostility, helped legitimize rock as serious art music. - **Performance documentation** – The album established the value of releasing "imperfect" historical documents over polished studio products. The tour ended with Dylan's motorcycle accident in July 1966, canceling remaining dates and removing him from live performance until 1974. This accident, and the subsequent retreat to Woodstock with the Hawks, led directly to *The Basement Tapes* and Dylan's "country" period . --- ### **Pros** | Aspect | Strength | |--------|----------| | **Historical Significance** | Documents a watershed moment in rock history; the "Judas" exchange is cultural touchstone | | **Musical Transformation** | Unmatched document of songs being radically reimagined live; the Hawks' arrangements often surpass studio versions in raw power | | **Dylan's Performance** | At peak creative powers, channeling "genius and inspiration on a nightly basis" with "unearthly confidence" | | **Acoustic Set Quality** | "Fierce, taut, and hypnotic" solo performances that represent the last time Dylan regularly performed extended acoustic sets | | **Band Chemistry** | The Hawks' "seething, artfully restrained" support creates unique textural blend; Garth Hudson's organ work is particularly praised | | **Emotional Intensity** | The confrontation with audience produces "unusually combative performances—the likes of which we'll never see again" | | **Lyric Evolution** | Captures Dylan's shift to surrealist, personal expression; "Tell Me, Momma" exists only in these live versions | ### **Cons** | Aspect | Limitation | |--------|------------| | **Setlist Rigidity** | "Uniformity of the setlist" across the tour; arrangements don't vary much night-to-night, though energy shifts palpably | | **Vocal Distortion** | On some electric songs (particularly "Ballad of a Thin Man"), vocals are "swampy" or distorted due to PA limitations and Dylan's movement to piano | | **Audience Hostility** | While historically significant, the constant heckling can be distracting; some listeners may find the tension uncomfortable rather than thrilling | | **Sound Quality Debates** | Some attendees claimed the actual hall sound was poor ("wall of mush"); the cleaned-up recording may misrepresent the live experience | | **Missing Context** | The 1998 release lacks extensive historical annotation; the 36-disc box set (2016) better documents the tour's evolution | | **Emotional Exhaustion** | By tour's end (real Royal Albert Hall), Dylan sounds "tired," "close to throwing up, or passing out"—the Manchester show captures him at better fighting form | | **Not the "Real" Hall** | The misidentification caused confusion; listeners seeking the actual Royal Albert Hall performance must look to the 2016 separate release | --- ### **Conclusion** *Live 1966 (The "Royal Albert Hall" Concert)* is essential listening not despite its imperfections, but because of them. It captures an artist at the absolute peak of his powers, deliberately dismantling his own myth before an audience that helped create it. The acoustic set represents the elegy for Dylan's folk past; the electric set is the birth of something new, delivered with "full-throttle defiance" . The album's value lies in its totality—the full narrative arc from reverent silence to open hostility, from "Visions of Johanna" to "Like a Rolling Stone." As one critic noted, "Taken individually, none of the electric performances are my favorite version of these songs, but that's not the point. The awesome power lies in the entirety of the set" . For Dylan scholars, rock historians, and anyone interested in the moment when folk became rock, this remains indispensable. The 2016 release of *The Real Royal Albert Hall 1966 Concert* and the massive *The 1966 Live Recordings* box set provide welcome context, but the Manchester "Judas" concert retains its mythic status as the definitive document of Dylan's most transformative year. **Essential for:** Dylan completists, rock history students, fans of The Band, anyone interested in the folk-rock transition. **Approach with caution if:** You prefer polished studio perfection over raw historical documents, or find extended harmonica solos challenging.

I've been a fan of Bob Dylan for about as long as I've been in love with music. He's one of our greatest, and he's one of my personal favorites. I love all the shades of Dylan, the early folk singer, the 70s rocker, the blues singer, the psych hippy that played with the Dead, the resurrected Dylan of the 90s. I like all of them. I've listened to every record. But this is really truly incredible. His vocals over his guitar in the first set are almost chilling. The way he hangs on the words and plays with the pronunciation. The way he plays quietly and then builds in moments that catch you off guard. The harmonica! Damn, the harmonica is so good. Its like he's playing electric guitar solos on that thing. The second set has an entirely different energy entirely. Obviously, this was the famous electric set that alienated fans and was highly controversial. I love how the band just leans into the heckles and shouting. Its real rock n roll kind of stuff. Its bluesy, psychy and overall just really groovy.

Bob Dylan, aikamme suurimpia lauluntekijöitä, kuulemma. No enpä olisi osannut nimetä kuin Blowin in the Windin ja Knockin on heaven’s doorin. Joten skeptisesti lähdettiin suurmiehen livelevyn äärelle. Mutta mutta; eka levy mies ja kitara -meininkiä, piti otteessaan tiukasti, huuliharpun miksaus todella pintaan välillä häiritsi mutta muuten loistava. Kakkoslevy bändin kanssa vaan paranee entisestään ja kruununa lopussa Like a rolling stone. Tähän päivään sopii täydellisesti. Musanautinto! 5/5

Jamais écouté avant. En général peu client des albums live, je dois bien admettre que celui-là m'a soufflé. Pour sa valeur historique, bien sûr, mais aussi et surtout pour la performance de Dylan et du groupe qui deviendra The Band, pleine de hargne face à un public hostile. Grandiose. Top : Tell Me, Momma Flop : Visions of Johanna

I like Bob Dylan. I like hearing the different versions of these songs. I like thinking it's funny anytime anyone is a dick to Bob Dylan for playing electric guitar. It's that simple.

I’m a big Dylan fan. But I wouldn’t rate it5 stars if it didn’t deserve it. This is an important show. The acoustic stuff from the yet to be released blonde in blonde is amazing. The electric set is just great. Give it a chance. This was hugely influential onnthe rock world. 6 stars