Fallen angels
Bob Dylan
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Reviews (3)
Uncut
d. 11. Nov. 2016
By
By
Damien Love
d. 11. Nov. 2016
"While the vast majority of the shows here sound fantastic, there are issues with some recordings. The collection is gathered from three sources. The earliest concerts were not professionally recorded, and the handful represented - three in the US, one apiece in Melbourne and Stockholm - come scavenged from tapes made by bootleggers in the audience. Invaluable as muddy snapshots of atmosphere, they are hard to listen to as music.At the other end of the fidelity scale are four concerts recorded by Columbia Records using multi-track equipment: the previously released Manchester show; the hypnotic Sheffield gig; and the tour's final two-night stand in London on May 26 and 27, when, before an audience that included Beatles and Stones, Dylan's patience ran out, and he announced he wouldn't be coming back. The first of the London shows is also being given a stand-alone release as The Real Royal Albert Hall 1966 Concert, newly remixed for this set by Chris Shaw - Dylan's engineeronrecent recordings including 2001's masterpiece "Love & Theft" - who wrings every last drop of ambient beauty from the truly otherworldly acoustic set.The bulk, however, are the raw recordings Dylan's sound engineer made each night using a tape recorder plugged directly into the mixing board. Intended for possible use in Eat The Document, the anti-documentary Dylan was filming as the tour progressed, these are the same tapes he and the band listened to after each show, trying to work out if it was them or the booing audiences who had gone insane. They come at you in glorious mono, warts and all: a few songs missing, tapes sometimes running out mid-tune. But you can't put a price on this stuff. Putting you right onstage, this is history in a box, exploding".
Rolling stone
2016
By
2016
"A European copyright law stipulates that all recordings enter the public domain if they remain unreleased for more than 50 years. (That same law compelled Dylan's team to release the complete Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde takes last year.) The sound quality on the 1966 recordings varies from night to night, but is largely excellent. Credit Alderson, who mixed the house feed while operating a Nagra reel-to-reel recorder every night ... Dylan's set was essentially the same every single night of the 1966 tour, so only the most devoted Dylan nuts will listen to all 36 CDs on the box set. The Dylan source points to Cardiff and Leicester as two of the best, while Alderson feels that Dublin and Liverpool are the standouts. Unlike other recent archival Dylan packages, this one is not a limited set. Early sales have been extremely strong. (Amazon UK sold out of their entire 1,000 box allotment in a single day.) "We'll make more of them ifthemarketplace demands them," says the source. "They won't be available digitally. It makes it very confusing if you go to Bob's iTunes and see the same show 35 times. But the Royal Albert Hall show will become available digitally and every other way.".
Jyllands-posten
d. 10. Dec. 2016
By
By
Peter Schollert
d. 10. Dec. 2016
"Bob Dylans koncerter i 1966 er gået over i historien, fordi han foruden et akustisk sæt også ville spille elektrisk. Noget, som nogle af tilhørerne i ikke mindst Storbritannien tog ilde op. De ville have, at Dylan skulle være protestsanger og husere med akustisk guitar og mundharmonika ... Som selvstændige kunstværker og som spændende dokumenter for en kunstners formåen og kamp stikker de britiske koncerter ud. Det er tydeligt, at der er noget på spil for alle tilstedeværende, og det præger i bedste forstand præstationerne hos både hovedpersonen og band".