Happy 74th Birthday Robbie Robertson.
- Bob Dylan quotes (about Robbie Robertson)
- Robbie Robertson quotes & video (about Bob Dylan)
- Sweet music
You walk into the room
With your pencil in your hand
You see somebody naked
And you say, “Who is that man?”
You try so hard
But you don’t understand
Just what you’ll say
When you get home
Because something is happening here
But you don’t know what it is
Do you, Mister Jones?
Yeah, That’s a fantastic shot isn’t it? You know, that was a home-made lens, I made that lens. There was no lens like that then, it made marvelous distortions. I love it, the light would flare out.
~D.A. Pennebaker (from “Who threw the glass Magazine”)
CBS records this concert. A PA recording of the acoustic half of the show is subsequently widely bootlegged. The extant tape features “Visions of Johanna,” “Fourth Time Around,” “It’s All Over Now, Baby Blue,” “Desolation Row,” “Just Like a Woman,” and “Mr. Tambourine Man” (but not “She Belongs to Me,” presumably performed). Although the acoustic set seems to be well received, the audience is hostile throughout the electric set. One review of the show is headlined “Night of the Big Let Down.” According to Robbie Robertson, some of the audience were even holding up placards saying “Stop the War.” A recording of “I Don’t Believe You” from the electric set is eventually released on the Biograph set, incorrectly assigned to Belfast.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)
Another Great 66 gig.
Dylan’s 66 world tour is the best tour ever… by anyone. I know you all agree.
By the time we did the Australia and Europe tours we had discovered whatever this thing was. It was not light, it was not folky. It was very dynamic, very explosive and very violent.
By this point, Dylan, Robertson, and Co. knew instinctively that what they were doing was right, in every sense of the word. If the Hawks had been a little hesitant in their playing back in the fall of 1965, the music they were producing now was stately, immense, compelling. The sound itself had a thousand precursors, but no precedent. It was, indeed, ‘very explosive and very violent.’
~Clinton Heylin (Bob Dylan: Behind the Shades Revisited)
|The Bob Dylan World Tour 1966 was a concert tour undertaken by American musician Bob Dylan, from February to May 1966. Dylan’s 1966 World Tour was notable as the first tour where Dylan employed an electric band backing him, following his “going electric” at the 1965 Newport Folk Festival. The musicians Dylan employed as his backing band were known as The Hawks; they subsequently became famous as The Band. The 1966 tour was filmed by director D. A. Pennebaker. Pennebaker’s footage was edited by Dylan and Howard Alk to produce a little-seen film, Eat the Document, an anarchic account of the tour. Drummer Mickey Jones also filmed the tour with an 8mm home movie camera. Many of the 1966 tour concerts were recorded by Columbia Records. These recordings produced one official album, the so-called “Royal Albert Hall” concert, and also many unofficial bootleg recordings of the tour.Dylan’s 1966 Tour ended with his motorcycle accident on July 29, 1966. Subsequent to Dylan’s withdrawal to Woodstock, he refrained from undertaking a major tour until 1974.
The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde on Blonde album. It’s that thin, that wild mercury sound. It’s metallic and bright gold, with whatever that conjures up. That’s my particular sound.
~Bob Dylan (to Ron Rosenbaum – Nov 1977)
He had a piano in his room at the hotel and during the day I would go up there and he would teach me a song. I would be like a cassette machine. I would play the song over and over on the piano for him. This served a double purpose. One, he could concentrate on writing the lyrics and didn’t have to mess with playing the piano; two, I could go to the studio early that night and teach it to the band before he even got there, so they could be playing the song before he even walked through the door.
~Al Kooper (talking about BoB recording sessions)
Columbia Music Row Studios
9-10 March 1966
Produced by Bob Johnston