Track Listings (11) - Disc #1| All Artists: Bob Dylan Title: Bootleg Series 6: Concert at Philharmonic Hall Members Wishing: 4 Total Copies: 0 Label: Sony Release Date: 3/30/2004 Genres: Country, Folk, Pop, Rock, Classic Rock Styles: Traditional Folk, Contemporary Folk, Singer-Songwriters, Folk Rock Number of Discs: 2 SwapaCD Credits: 2 UPC: 696998688223 |
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Search - Bob Dylan :: Bootleg Series 6: Concert at Philharmonic Hall
 | Bob Dylan Bootleg Series 6: Concert at Philharmonic Hall Genres: Country, Folk, Pop, Rock, Classic Rock
The brooding Bob Dylan of the 1966 live collection in the Dylan bootleg series gave way to an even more hooded character on the second live bootleg album from 1974. Which makes the jump back to a younger Dylan in this set ... more » |
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Amazon.com The brooding Bob Dylan of the 1966 live collection in the Dylan bootleg series gave way to an even more hooded character on the second live bootleg album from 1974. Which makes the jump back to a younger Dylan in this set all the more jarring. Here is Dylan as an eager-to-please 23 year old with nothing between him and his worshippers but a guitar, a harmonica, and, for four songs, his lover, Joan Baez. In marked contrast to the acerbic electric Dylan of the mid-'60s and the tight-lipped living legend of the mid-'70s, here is Dylan as entertainer. Joking and bantering with the crowd, Dylan deals up some favorites ("The Times They Are A-Changin'," "Don't Think Twice, It's All Right"), but is already shedding his earnest folkie persona; imagine another artist a mere two years into his career declining to perform a hit on the scale of "Blowin' in the Wind." But Dylan was moving fast. Having completed the last all-acoustic collection of his early years three months before the Philharmonic concert, he would record the half-electric/half-acoustic Bringing It All Back Home three months later. Three of the four acoustic songs from that album are presented here, as are a handful of then-unreleased songs, including "Talkin' John Birch Paranoid Blues," "If You Gotta Go, Go Now" (which was soon given a rock arrangement), and a protest-period remnant, "Who Killed Davey Moore?" Had Concert at the Philharmonic Hall appeared the year it was recorded, it would been seen as a respite for folk fans to catch their collective breath before Dylan reappeared in his rock & roll Rimbaud guise. Heard for the first time decades later, it's simply a testament of his gifts as a showman and songwriter. --Steven Stolder Similar CDsSimilarly Requested CDs
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CD ReviewsOne episode of a phenomenal saga. Ted Byrd | 04/26/2009 (5 out of 5 stars) "I'm not a music purist so some of the bobbles and idiosyncrasies heard on this album don't irritate me as much as some reviewers. To me this was a very charismatic, engaging performance whose merits overshadowed the flubs. Though Dylan may not have given exactly the nuance to some of these selections which some expected of him, I thought they were all worthy renditions and performed with integrity. There was definitely a chemistry between Dylan and his audience which can be sensed on the recording. Even though he might be joking with the audience immediately before launching into some of his more powerful, serious numbers, when he began playing and singing, there was no doubt that he had his mind on the music and was going to do it justice. The feedback from the audience is contagious. Its obvious that they loved the Bob Dylan of this point in time and were awed by the dramatic power of songs such as "Who Killed Davey Moore?", "The Lonesome Death of Hattie Carroll", and "Gates of Eden". I was awed, too. Although in my long-ago youth, I had been an admirer of a small number of Bob Dylan songs, I somehow remained unacquainted with his larger body of work until I recently watched the Scorsese documentary "No Direction Home". What an enigmatic American phenomenon he has been! After seeing "No Direction Home", I was left with the feeling that the saga of Bob Dylan's career said something very important about the difference in perceptions between an artist and his public about what his admirers have a right to expect of him. The night of this concert, Dylan was still an affable, eager-to-please young performer reveling in the adulation of his fans. But there were scattered remarks throughout the show which seemed to foreshadow the rift between artist and public: particularly telling, I thought was his Halloween reference - "I'm wearing my Bob Dylan mask... Yeah, it's all a masquerade." - or words to that effect. I loved the songs and almost all the performance. Whatever anyone thinks of Bob Dylan, I can't see how it could be denied that he wrote some of the most intelligent, creative lyrics ever penned by an American songwriter."
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