Bob Dylan - 1975-1981 Rolling Thunder and The Gospel Years (2006) Review

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(More customer reviews)
I'm one so I did...
This thing is four hours long and some of it is pretty hard to take.
We see Dylan impersonator Joel Gilbert traipsing about the country apparently also attempting to impersonate a journalist. Unfortunately, it doesn't work.
The use of primitive and amateurish graphic effects during the interviews is unbelievably annoying. A yellow rubber ducky swims across the screen quacking to illuminate Reuben Carter's comment that he took to boxing "like a duck takes to water". When he mentions that boxing was a profession for which he was paid, hundred dollar bills flash before our eyes. As Gilbert asks Carter the deep question "what percentage of boxing is psychology?" the image of Sigmund Freud appears and disappears.
Enough already! And at this point we are only a few minutes into this four hour marathon.
Those true diehards who are able to keep on keeping on are eventually rewarded with some interesting perspectives. Claudia Levy describes theatrical aspects and the staging of the Rolling Thunder concerts. Scarlet Rivera shares in her own words the oft repeated story of Dylan discovering her as she was walking down a Manhattan street with nothing to distinguish her but her violin case and her exotic appearance. Rob Stoner talks about his role maintaining order in the recording studio and on tour...
But it is the interviews from the period of Dylan's conversion to Christianity and its aftermath that are most interesting. Vineyard Christian Fellowship pastor Bill Dwyer describes Dylan as a student in his Bible study class. San Francisco Chronicle writer Joel Selvin characterizes the betrayal felt by many fans blindsided by the Christian content of the 1979 tour. Legendary producer Jerry Wexler speaks to the musical excellence of Slow Train Coming. And back up singer Regina McCrary resonates as she gives glory to the presence of the Holy Spirit in the middle of it all.
Too bad that at the end we must put up with the blather of self proclaimed Dylanologist AJ Weberman. The inclusion of the opinions of Weberman, who made it his business to sift through Dylan's garbage in the Village in the early 70's, adds nothing of value and certainly underscores that this is, in fact, a "totally unauthorized documentary".


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Director & Producer Joel Gilbert (Bob Dylan 1966 World Tour The Home Movies, 2003 and Bob Dylan World Tours 1966-1974Through the Camera of Barry Feinstein, 2005) weaves the story of this monumental period of Dylans life and music through revealing insider

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Theme Time Radio Hour: With Your Host Bob Dylan Review

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(More customer reviews)Without Bob doing the introductions and explanations, this is simply one of many collections of songs. To suggest that it in any way gives the listener a sense of what Theme Time Radio is like would be ridiculous. The context within which the songs appear is vital to the full appreciation of what this show is about. The shows themselves are easily found by either subscribing to XM/Sirius online for only 7.99 per month and recording them yourself, or by doing a simple search for downloads of the shows on the net. Go ahead and buy the collection, but don't for one minute think it will give you an idea of what the show is like.

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Ace is proud to present a 2008 double CD paying tribute to Theme Time Radio Hour hosted by Bob Dylan. For those that are new to the show, each radio program lasts an hour and has a different theme each week, often something simple like 'Drink', or 'Mother'. On the radio program each track is introduced by Dylan with his dry humor, eclectic interest and vast musical knowledge. On this CD set, though, Dylan himself does not appear; just selected tracks that he played on his shows. It's possible to regard this set as the best introduction to music ever. This is the only officially-authorized release associated with the Theme Time Radio Hour. Its 50 tracks represent the first series of radio shows. The track-listing reflects Dylan's wide taste and ranges from Billie Holiday and George Jones, through Aretha Franklin to the Clash and the White Stripes. Although each track was chosen by Dylan for the radio show, the CD itself was compiled by the show's producer Eddie Gorodetsky and Ace's own Roger Armstrong. The luxury package contains a 2-CD jewel case with an accompanying 48-page full color book, all in a cardboard slipcase. The sleeve notes include a track-by-track commentary by some of the world's great music writers including Barney Hoskyns, Colin Escott, Billy Vera and Fred Dellar. Each track, no matter how obscure, is illustrated with a sleeve, label shot or photo of the artist. Other Theme Time Radio Hour compilations have concentrated on the very early material, essentially because that material was in the public domain and thus royalty payments could be avoided. As with all Ace releases, this is a fully legitimate production and royalties are paid on every track.

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Las Consecuencias Review

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(More customer reviews)After the electric/guitar-filled Hellville De Luxe, Enrique delivers his newest album, defined by himself as an intimate work and "chamber music". Recorded during the 'Hellville de tour', 'Las consecuencias' present 10 new songs (without a doubt these can be included among the best songs he has written in his solo career) in an LP format. Whether you get this on CD or LP format, the album is divided on two sides, the first five songs acoustic tunes with the second part of the album being more electric. The cover picture, by JoseGirl, clearly shows before even listening to the album, that this is the 'dark' follow up to Hellville de Luxe. Some songs may be reminiscent of El Tiempo de Las Cerezas, especially 'De todo el mundo', but then again this is Enrique as he has never sounded before, open and heartbreaking.

The opening track, "Las consecuencias" is a slow and dark theme descriptive of what you are about to listen to, Bunbury clearly states in the chorus 'Porque siempre conviene alegrar a la gente, tambien de vez en cuando esta bien asustar un poco'. Again the writing style of Enrique is present, in which he borrows phrases or lines from other places, in this case a line from The Seventh Seal (The Criterion Collection) is used in the first part of the song (from the scene where the knight shares with the performers the wild strawberries and milk, "Faith is a heavy burden you know? it's like loving someone out in the darkness who never comes, no matter how loud you call")

The second track, "Ella me dijo que no" is as Beatle as Enrique will ever be. This is a song that could be inserted in any Beatle album from their last years (say Revolver (Remastered) or even Abbey Road (Remastered)) and It would not sound out of place. Great lyrics, an amazing Ana Belen Estaje and a particularly good performance by Enrique. One of the highlights of the album.

Enrique has always been fascinated by the figure of the boxer (let us remember the whole conceptual 'Flamingos' and its cover), a character that falls only to rise again in the third track, "El boxeador". Metaphorical in nature, this acoustic soft song takes the character to a new level, 'golpea mejor, quien golpea primero, levantate antes de que cuente hasta diez' Enrique says in the chorus.

Ironically, the fourth track and single 'Frente a frente' (with its shockingly bizarre video) seems to be the only song that sounds out of place compared with the rest of the album. It is a great cover version and Miren Iza does a great job performing this song with Enrique. I can only understand its presence in the album after reading Enrique explaining in an interview that EMI needed a single and he already had this cover version prepared for a Jeannette tribute that never took place.

"21 de Octubre" continues with the same acoustic mood, Dylanesque guitars, a soft and intimate melody with aggressive lyrics.

"Lo que mas te gusto de mi", is another great example of why Bunbury is considered a great lyricist, the music could be defined as Flamingos-meets-El tiempo de las cerezas, a very intriguing Mediterranean sound. Enrique's new band sounds better than in Hellville and Jorge Rebenaque shines in this track, so does Miren Iza backing vocals. This song starts side B of the LP format in which the album was released and includes more electric songs.

"Los habitantes" sounds more like the Bunbury we are used to from prior works. This is actually the most electric song in the album with an incredible guitar riff in it. The lyrics are some of the best of the album.

"Es hora de hablar" is without a doubt my favorite track of the album, the combination of lyrics, the Japanese violin, the guitars and Enrique's voice crying as he sings make this one of the best songs in Enrique's career in my opinion. The album builds up to its end and reaches its highest peak in track 8.

"De todo el mundo" is a classic ballad (quite reminiscent of "El rumbo de tus sueños") that follows the same line in lyrics from "El extranjero". Enrique talks about himself having no owner and how he belongs to the world ('Soy vagabundo siempre de paso, de aqui de alla, de todo el mundo') One thing I liked of this song (and the whole album) is how Enrique's voice sounds softer than in prior works; he himself has said that while recording this album he was more focused on his voice and singing well than in the production details as he did for previous albums, and that is something you notice from the very first song in 'Las consecuencias'

Fans of Enrique will recognize the last track of the album, "Nunca se convence del todo a nadie de nada" from the tribute album released back in 2008. This song back then was performed by Niños del Brasil and was given to them by Enrique. As with "Ahora" and "Ven y camina conmigo", he decided to record his own version of the song. An excellent song to complete and close the album, Bunbury sings once again accompanied by Miren Iza.

Enrique once again delivers a profound, round album, highly recommended if you are a fan or music lover in general.


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Bunbury is set to release his highly anticipated new album Las Consecuencias through EMI/ Capitol Latin. The first single "Frente a Frente" is a remake of the popular hit song made famous in 1981 by singer Jeannette. For his first single, Bunbury collaborated with Tulsa singer, Miren Iza who added a special emotion and character with her unique voice to song. The music video, directed by Antonio Bayona (The Orphanage) includes a special cameo appearance by singer Jeannette. Las Consecuencias was produced by Bunbury himself and it features an intimate look into his storytelling lyrics and acoustic/ electric musical arrangements.

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Bob Dylan Live 1975 (The Bootleg Series Volume 5) Review

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(More customer reviews)This fifth entry in Dylan's much hailed Bootleg Series chronicles the his legendary carnival like 1975 tour, the Rolling Thunder Revue. Legend says that Dylan wanted to do something fresh so he got together a new group of people, some new and some old, and set out to re-invent himself with new energy and purpose. This set, which was taken from shows in the early parts of the tour, displays Dylan at some of his most free and open, feeding off his assembled band.
Once of Dylan's best qualities is the fact that no matter how old, new, bland, or ballsy a song of his is, he has the power to change it to be whatever he wants it to be. He can re-invent everything from the mood to lyrics without making the song any less powerful. Anyone who has seen him on tour lately can attest to that and it's just as obvious here.
Featuring some, at that time, new material the tour had to be a treat for fans because I can't imagine the songs can sound anymore passionate than they do on the record. A good bunch of songs that ended up on the 'Desire' record (which I do not yet have) are quite spectacular. Many thanks to the splendid violin work of Scarlett Rivera, which adds some extra flavor to already great songs. "Isis" is Dylan at his most passionate, "Sara" at his most open, and "Hurricane" at his most political.
Songs like "It's All Over Now, Baby Blue" and "Love Minus Zero/No Limit" are that much more touching with Dylan injecting spirit into them with his voice being in top form. "Tangled Up in Blue" can stand side by side with it's studio counterpart, this time Dylan's coming across even more personally part of the song. "Knockin' on Heaven's Door" is even more tense and dramatic here than the original with Roger McGuinn of Byrds fame lending a hand.
Folk singer Joan Baez contributes vocals to a couple of tunes and her vocal performance is the perfect compliment to Dylan's rough voice. Being an old friend of Dylan, she fits naturally into songs from his early career like the classic "Blowing in the Wind" and one of his more well known unofficially released tracks "Mama, You Been on My Mind".
Although bootlegged many times over, this will easily stand as the definitive issue from the legendary Rolling Thunder Revue. A treat for Dylan's newest fans and longtime fanatics alike, it captures the freewheeling, loose feeling that the tour was supposed to be all about. One only can hope Columbia keeps pushing these Bootleg Series releases out as they've been nothing but universally hailed as worthy releases (a sixth one is already slated for next year). The 2 video and one audio bonus DVD adds that much more to the set, allowing the viewer to grasp the collective feel the tour was about as well as getting a glimpse of Dylan in one of his more unique looks with his mysterious white face paint.

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The Bootleg Series, Vol. 4: Bob Dylan Live, 1966: The "Royal Albert Hall Concert" Review

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(More customer reviews)1966, Royal Albert Hall Manchester, England. Bob Dylan straps on an electric guitar to the chagrin of all his fans. Yes, it's the infamous Judas concert. This also is the best-recorded Dylan concert you could hope to find. The quality, both technical and musical, is superb. This may be billed as a "bootleg" but the sound is nearly that of a studio album.
The first CD of course is Dylan's acoustic set. For seven songs, it is just Dylan, an acoustic, and a harmonica and it is nothing short of amazing. Dylan does not make one false step in the entire set, perhaps wanting to give the old folk days a good send off before ripping into R 'n R. He seems to be playing with a new sense of vigor, although it may be just excitement at not knowing how the crowd will respond to the coming electricity (he had had bad experiences when first plugging in at the Newport Festival - he had to come back and do some acoustic numbers to calm the crowd down). Even the song Mr. Tambourine Man, which I never liked that much, has new life breathed into it
The second CD is Dylan's electric set, backed by a full band. When I first listened to this, I expected to hear loud booing right away but I was surprised that the audience not only claps loudly for Dylan, but actually laughs when he jokes at the beginning of I Don't Believe You ("This is `I Don't Believe You', it used to be like that (referring to acoustic) now it goes like this") before ripping into the song. I was expecting an immediate outcry and I admit I was slightly disappointed that the much-hyped Judas concert was turning out to be nothing like I thought. Then at the end of Tom Thumb's Blues the crowd really starts to lay into Dylan, interrupting him when he talks by clapping loudly as well as heckling him (I could barely make out someone yelling "Sell out!!"). It really gets bad before Like a Rolling Stone though. After the clapping for the previous song dies down there is a moment of nearly complete silence and someone yells clearly "Judas!" and is met with rousing applause from the rest of the crowd. When that dies down you can hear someone once again yelling about how Dylan has "sold out". "I don't believe you" Dylan replies, then right before the song he says "You're a liar!" The crowd is so loud at this point that Dylan turns to the band and yells "Play f**king loud!" And they certainly do! The version of Like a Rolling Stone that follows is something to behold. Dylan's singing is fueled by the crowd's boos and insults and is without a doubt his best performance of the song to date.
Ignoring the historic significance of the concert, the music itself on the electric half is Dylan's best. Every song is infused with new energy, and puts the original versions to shame. Perhaps it is because of the crowds boos, the novelty of performing with electrics for the first time, but whatever it is you can't deny it is something special. If I had to pick favorites, I would pick everything from Leopard-Skin Pill-box Hat through Rolling Stone. The whole thing is great, but the band seems to get more energized and louder as the evening goes on (again, probably propelled by the reaction from the crowd). This is nothing short of essential listening for any fan of good music.
Whether you buy it to hear the rock and roll history, the great music, or just because you are a Dylan completist, the reason does not matter. What matters is that you buy this. It is an experience that you won't soon forget.

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Bob Dylan - Don't Look Back (1967) Review

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(More customer reviews)Don't Look Back is the best documentary about a musician on tour that I've ever seen. I can't say enough good things about it, and it is all I can do to imagine how D. A. Pennebaker simultaneously made himself so ubiquitous and so unnoticed as to capture the remarkable footage that he got on Dylan's British tour. From the incredible sequence of Joan Baez warbling the then-unreleased "Percy's Song" even as Dylan is pounding out the lyrics on his typewriter, to the revealing moments where Dylan manager Albert Grossman quite literally strong-arms the BBC into a high-paying deal for a tv appearance, to Dylan himself, at the most accessible he would ever be in his long career, alternately jousting and jesting with the British press, most of whom seem completely ignorant as to which is the jest and which is the joust. Dylan again, talking with a fan who doesn't like "Subterranean Homesick Blues" because "it just doesn't sound like you," (which was the whole point of the song), and Dylan's gritted-teeth reply: "Oh, I see what kind of person you are right away." Dylan yet again, in an astonishingly unguarded moment, bawling out everyone in his hotel room over a wineglass Alan Price dropped out of the window, acting like the only responsible adult in a kindergarten class...and when a drunken Price admits the deed, Dylan lets him have it with both barrels and finally kicks him out, despite Price having been Dylan's best friend in England throughout the entire film. In fact, a lot of this movie is about Dylan shedding elements of his persona, entourage, and his music. Bringing it All Back Home had just been released when Don't Look Back was being filmed, and the album served as a harbinger of the rock and roll shift Dylan's music was about to take. It's far more noticeable in hindsight, of course, but in this film you see Dylan breaking his ties with his folkie past. "Subterranean Homesick Blues" being shown right up front is a dead giveaway, but you may miss some of the more subtle signs: His growing disenchantment with being pegged as a folkie, evidenced by both the abovementioned reaction to his fans and his jests/jousts with the press, both harbingers of the surreal "anti-interviews" Dylan would give over the next few years. Then there is the slow disintegration of his relationship with Baez -- there is a moment about midway or 2/3 of the way through Don't Look Back where Joan walks out of Dylan's hotel room...and though she appears later in the film through the judicious use of editing, Baez has since admitted that that was the moment she walked out of Dylan's life. Another folk-music tie broken, as much by Dylan as by Baez (his near-indifference to her through much of the film is chilling...). There is also Dylan's discomfort with the "Donovan issue", both in being compared to Donovan and in meeting the guy. You can see the uncertainty all over Bob's face during this sequence, and the nicer he tries to be to Donovan -- who quite honestly sholdn't even be in the same room with Dylan -- the funnier the whole thing gets. Then there is Dylan's meeting with the President of Dylan's British fan club -- the bespectacled weedy fellow who looks like he just stepped whole and breathing out of the nightclub scene in A Hard Day's Night. Dylan's conversation with this guy is polite on the surface, but again, there are undertones of discomfort, even dislike, so palpable that they make you want to cringe. Dylan is so clearly disenchanted with some aspects of his career, even though he puts on a game face and acts satisfied with what he's doing, that it's a wonder he didn't completely telegraph his shift to electric music. (Actually, he did -- it's just that most people were too blind to see it coming at the time.)
As I said above, the footage in this film is incredibly revealing. Never again would Dylan be so accessible, so honest and forthright, as he was in Don't Look Back -- and even here, as I've said, you can sense his withdrawal from that accessibility begin. How Pennebaker managed to capture all this intense, remarkable, human footage of Dylan and co., without his subjects noticing or caring about how they came across, is beyond me. Few music documentaries, before or since, have had such verve, or such nerve, as to show their subjects in such a potentially-unflattering light (the only two I can think of that come anywhere close are Gimme Shelter, the Maysles Brothers' astonishing Stones/Altamont document, and Let It Be, the Beatles' on-film disintegration (and final live performance) which stupidly remains out of print). Don't Look Back does all that and more, never cheating, never prevaricating or retreating, always telling the truth. It was a rare achievement for its time, and a film that could never be made today.
(FINAL NOTE: All right, Messrs. Dylan and Pennebaker -- now that Don't Look Back has been remastered and rereleased, how about doing the same with the long-missing and much-missed 1966 followup, Eat the Document? It's no less raw, revealing, and astonishing than its predecessor, and is richly deserving of a rerelease. Here's hoping!)

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When acclaimed documentary filmmaker D.A. Pennebaker (Monterey Pop, The War Room) filmed Bob Dylan during a three week concert tour of England in the Spring in 1965, he had no idea he was about to create one of the most intimate glimpses of the rock legend ever put on film.Wanting to make more than just a concert film, Pennebaker sought both the public and private Bob Dylan.With unobtrusive equipment and rare access to the elusive performer, he achieved a rare fily-on-the-wall glimpse of one of the most influential musicians of all time.Hailed as one of the best documentaries about a performing artist ever created, DONT LOOK BACK is more than a view into an extraordinary concert tour - Bob Dylan’s last as an acoustic performer.It is a window into the 60s, its spirit, and one of the poet-musicians whose words and songs defined it.

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Bryan Ferry in Concert (Live in Paris at Le Grand Rex, March 2000) (2001) Review

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(More customer reviews)My wife and I, along with a friend, were lucky enough to catch the first show of the tour that this DVD captures. It was in a very small venue in Washington DC, filled to capacity (and then some). The female string quartette started the evening with several numbers and then the band took the stage. Bryan Ferry actually had to read the music and lyrics to the first song ("The Way You Look Tonight") and seemed visably relieved at the warm response he was given. From this somewhat rocky start, the Bryan Ferry and the band amazed us with its broad range of musical styles, moving seemlessly from a Cole Porter song to "Editions of You" to "Falling In Love Again" and then "In Every Dream Home" (a song about an inflatable doll).
I have been a Roxy Music fan since 1972 and own nearly every album and or CD (or both) that Roxy Music and Bryan Ferry have produced. I was lucky enough to see Roxy Music perform many years ago and have seen Bryan Ferry now three times. While I agree that he doesn't have the strongest voice, it is, in my opinion, an almost perfect voice for this tour and the album it promoted.
This DVD captures the energy that Ferry exudes during his shows. He truly seems to enjoy performing in front of an audience and the entire band shares in that enthusiasm.
In the show I saw in DC, most of the older songs (e.g., the ones from the 30's) were grouped together, with some Roxy and Bryan Ferry songs in the latter third of the show, followed by a few more old ones and ending, of course, with "Do the Strand". That is the one song I really miss from this DVD. I have seen it done four times and I have loved it every time.
If you are a fan of Bryan Ferry and Roxy Music, get this DVD and be sure and share it with friends. If you watch one song, make it "Jealous Guy" - the mix, with an emphasis on the string quartette, make the song especially good and moving. Enjoy it.

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Studio: Emi Music DistributionRelease Date: 02/07/2006

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Bob Dylan - Live in Australia [The Hard to Handle Tour) Review

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(More customer reviews)I bought this 'Glass Music' DVD of 'Hard to Handle' to replace my USA CBS/Fox VHS tape and was NOT pleased with the quality. Both video and audio were dull compared to the VHS, so I returned it. I think that the original DVD transfer was just poorly done. If you have no other source, this is a great concert (I caught the Dylan/Petty tour in Philadelphia) and you may want to get the DVD anyway.

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Bob Dylan - World Tours 1966-1974: Through The Camera Of Barry Feinstein (1966) Review

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(More customer reviews)I'll be honest --- I sat through about 45 minutes of this documentary [...]. It's not that the photos aren't interesting; but I'd rather have them in a coffee table book so I could look at them at my leisure.
What I saw of this film is mostly zooming in and out of Barry Feinstein's photographs. Not only is there no footage of Dylan performing, but there are almost no photos of Dylan performing, either. In fact, Feinstein states that he was only interested in photographing Bob's personal side, and that if you want to see performances, you should go to a show. So you see a lot of pictures of Bob talking to kids in the street in England, and so on.
Interviewing is an art, and the director who interviews Feinstein doesn't have the talent. His style is leaden and ponderous and Feinstein seems a very dull interview subject. A skilled interviewer might have drawn out more interesting stories, but Feinstein talks about himself and his views on photography and has very little to say about Bob Dylan.
This disc is for hard, hard-core Dylan fans only. In my opinion, you're better off buying one of the numerous biographies or checking out "Don't Look Back" or several of the other videos that actually have musical performances.
A book of these photographs would be much more interesting [...].


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Barry Feinstein was the exclusive tour photographer on Bob Dylan and The Band's legendary 1966 and 1974 World Tours.In this documentary feature film, Feinstein and Director Joel Gilbert chronicle these epic Bob Dylan tours, featuring over 150 selections

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Bob Dylan - World Tour 1966: The Home Movies Review

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(More customer reviews)Upon its release, this 90-minute DVD was heavily criticised by fans, who felt that a DVD with the words "World Tour 1966" in the title should contain at least some concert footage. (It does, but without sound.)
But "Word Tour 1966" is (sadly) not a concert video. It is a collection of primitive silent home movie clips, some of which actually include Bob Dylan in the frame. They were taken by drummer Mickey Jones, who also provides narration. And he does a pretty good job, actually, providing insights and little anecdotes, usually without getting boring.
Jones has a fair amount of reasonably interesting stories, including why Dylan decided to separate his sets into acoustic and electric ones, the musicians' reaction to people booing the electric sets, and other trivia of interest (solely) to Dylan fanatics. The image quality of the home movies is good considering their age, and while the scenes from those clips are not too interesting in and of themselves, they make a pretty good backdrop for Jones' narratives.
But still...this is a bit of a sham, really. The title certainly promises a lot more than it delivers, and most people won't need this at all.
2 1/2 stars. Only for diehards.

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1966 World Tour, The Home Movies is an insight into Bob Dylan, his first electric tour, and a behind the scenes look at the making of the film Eat the Document.Mickey Jones' never before released home movie footage features Bob Dylan and The Band - Robb

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