Well, but you see, Columbia’s never offered to do that. They have done that with The Basement Tapes and the Budokan album. But they’ve never offered to put that out as a historical album or whatever. And believe me, if they wanted to do it, they could.
~Bob Dylan to Kurt Loder in 1984
“I still can’t believe they’ve finally put it out. I just keep staring at my copy.”
~Andy Kershaw (BBC Radio 1 DJ)
14 years ago today… they finally put it out, this surely calls for a celebration!
Baby, Let Me Follow You Down:
October 13, 1998
May 17, 1966
Rock, folk rock, blues rock
Live 1966: The “Royal Albert Hall” Concert is a two-disc live album by Bob Dylan, released in 1998. Recorded at Manchester’s Free Trade Hall. It is from Dylan’s famous world tour in 1966, having been extensively bootlegged for decades, and is an important document in the development of popular music during the 1960s.
The setlist consisted of two parts, with the first half of the concert being Dylan alone on stage performing an entirely acoustic set of songs, while the second half of the concert has Dylan playing an “electric” set of songs alongside his band The Hawks. The first half of the concert was greeted warmly by the audience, while the second half was highly criticized, with heckling going on before and after each song.
Here are two (of many..) “real” bootleg covers of this concert:
Shine your light Movin’ on You burned so bright Roll on, John
Finally….. it’s here!
Although it’s way too early to pass judgement.. this has to be a classic!
We got “Early Roman Kings” a couple of weeks ago, and “Duquesne Whistle” ~1,5 weeks ago. Both songs bore witness of greatness. iTunes have been streaming Tempest all week.. but now it’s finally available for everyone.
I’ve burned through it 3 times today.. still rolling as I write this.. GREAT stuff!
The cover art for Tempest incorporates a red tinted photograph of a statue located at the base of the Pallas-Athene Fountain in front of the Austrian Parliament Building in Vienna. The statue is one of four figures on the intermediate platform of the fountain bowl personifying the main rivers of Austria-Hungary: the Danube, the Inn, the Elbe, and the Moldau.The figure shown on the album cover represents the Moldau.The sculpture was created by Carl Kundmann between 1893 and 1902 based on architect Theophil Hansen’s original plans.
In his review in Rolling Stone magazine, Will Hermes gave the album five out of five stars, calling it “musically varied and full of curveballs” and “the single darkest record in Dylan’s catalog.”According to Hermes, the album draws upon elements common throughout Dylan’s career—especially the last three albums—with music that is “built from traditional forms and drawing on eternal themes: love, struggle, death.” Hermes continues:
“Lyrically, Dylan is at the top of his game, joking around, dropping wordplay and allegories that evade pat readings and quoting other folks’ words like a freestyle rapper on fire. “Narrow Way” is one of Dylan’s most potent rockers in years, and it borrows a chorus from the Mississippi Sheiks’ 1934 blues “You’ll Work Down to Me Someday”. “Scarlet Town” draws on verses by 19th-century Quaker poet and abolitionist John Greenleaf Whittier; and allusions to Louis Armstrong and the Isley Brothers pop up elsewhere.” ~Will Hermes
According to Hermes, the two most powerful songs on the album are “Tempest” and “Roll On, John”. The title track, about the sinking of the RMS Titanic, is a 14-minute epic consisting of 45 verses and no chorus, with an Irish melody supported by accordion and fiddle. The song depicts a series of horrifying scenes—of passengers falling into the icy waters, dead bodies “already floating”, men turning against other men in murderous acts—presented against acts of bravery, such as one man “offering his lifeboat seat to a crippled child.”The closing track, according to Hermes, is a “prayer from one great artist to another”,and stands as a reminder that “Dylan now stands virtually alone among his 1960s peers. His own final act, meanwhile, rolls on. It’s a thing to behold.”
In his review for American Songwriter, Jim Beviglia gave the album four and a half out of five stars, calling it “the kind of meaty offering that his most ardent fans desire most.”The deceptively gentle instrumental passage at the start of “Duquesne Whistle”, Beviglia observes, is a perfect opening to an album of “sudden juxtapositions and mood shifts that occur not just within songs but sometimes within verses.”Through the easy tempo of “Soon After Midnight”, the grinding blues of “Narrow Way”, the soulful guitar lines of “Long and Wasted Years”, and the remorseless biting lyrics of “Pay In Blood”, Dylan captures “humanity, in all of its flawed glory, at every turn.”The musical antecedents of some of these songs are transparent: “Duquesne Whistle” from “Thunder on the Mountain”, “Scarlet Town” from “Ain’t Talkin'”, “Tin Angel” from “Man in the Long Black Coat”, “Early Roman Kings” from the blues classic “Mannish Boy”, and “Pay In Blood” from “Idiot Wind” or “Like a Rolling Stone”. Dylan’s singing is strong on the album, especially on songs like “Long and Wasted Years”, where he toys with the phrasing of each line, teasing out “every bit of hurt in this tale of love gone wrong.” “His voice may be shredded,” Breviglia observes, “but he can still interpret a song like no other.”
In his review in the Los Angeles Times, Randall Roberts wrote, “Few American writers, save Mark Twain, have spoken so eloquently and consistently at such a steady, honest clip, and the evidence continues on Tempest.” According to Randall, the album reveals a “master storyteller” at work as Dylan “continues to explore the various strands of early American roots music that he internalized as he matured.”
“At their best, new songs such as “Scarlet Town,” “Tin Angel” and “Roll On, John” show an artist swirling in musical repetition and the joy of longevity. Each is longer than seven minutes and each deserves to be heard again the moment it ends. He mixes these longer narratives with a few four-minute, expertly crafted gems that float like whittled wooden birds come to life—especially “Long and Wasted Years,” a bitter song about a dead marriage.” ~Randall Roberts
In his review in The Guardian, Alexis Petridis gave the album four out of five stars, but downplayed some of the superlatives offered by other reviewers who have compared Tempest to some of Dylan’s finest work.
In his review in The Sun, Simon Cosyns gave the album five out of five stars, calling it “a magnificent beast of an album”.According to Cosyns, the album “continues Dylan’s rich vein of late-career form” and in some ways surpasses his recent albums based on “sheer lyrical and vocal power while managing to stretch the familiar old timey sonic palette in all sorts of unexpected ways.”
In his review in The Telegraph, Neil McCormick called the album “among his best ever”. According to McCormick, the songs on Tempest reveal a Dylan “genuinely fired up by the possibilities of language” and that the entire album “resounds with snappy jokes and dark ruminations, vivid sketches and philosophical asides.”McCormick continued:
“Tempest is certainly his strongest and most distinctive album in a decade. The sound is a distillation of the jump blues, railroad boogie, archaic country and lush folk that Dylan has been honing since 2001’s Love and Theft, played with swagger and character by his live ensemble and snappily produced by the man himself. A notoriously impatient recording artist, Dylan seems to have found a style that suits his working methods. Drawing on the early 20th-century Americana that first grabbed his attention as a young man (and that he celebrated in his Theme Time Radio Hour shows) and surrounding himself with slick, intuitive musicians capable of charging these nostalgic grooves with contemporary energy, his late-period albums.” ~Neil McCormick
“Bob Dylan’s fantastic new album opens with a train song. Given the wrath to come and the often elemental ire that accompanies it, not to mention all the bloodshed, madness, death, chaos and assorted disasters that will shortly be forthcoming, you may be surprised that what’s clattering along the tracks here isn’t the ominous engine of a slow train coming, a locomotive of doom and retribution, souls wailing in a caboose crowded with the forlorn damned and other people like them. …
…the sheer tenderness of the closing “Roll On, John” is as much of a shock as a mere surprise. A belated tribute to John Lennon, the song’s as direct and heartfelt as anything Dylan’s written probably since “Sara”, whose occasional gaucheness it recalls, as Dylan roams over Lennon’s career, “from the Liverpool docks to the red-light Hamburg streets”, quoting from Lennon and Beatles’ songs along the way, including “A Day In The Life”, “The Ballad Of John And Yoko” and “Come Together”. The affection expressed for Lennon in the song is tangible, makes it glow like a force-field, and by the end is totally disarming. “Your bones are weary, you’re about to breathe your last,” Dylan sings to his dead friend. “Lord you know how hard that bit can be,” before moving onto a spine-tingling elegiac chorus: “Shine a light/Move it on/You burned so bright/Roll on, John”.