My how time flies! Why is the pandemic not over yet!? Sorry for the delay, but it’s finally here- the second of a trilogy of famous live albums that never were, in memory of the live music we can’t quite yet experience again. Like a Woman” and “Knockin on Heaven’s Door.” With the album ending with a pair of tracks from 11/20/75, “Just Superbly intimate “Tangled Up in Blue” from 11/21/75 is next, “Sara” and “Never Let Me Go”, all from 12/4/75. Side B starts with “One More Cup of Coffee”, Thunder box, I have edited out the second-to-last verse in whichĭylan made a vocal flub, as it was heard in the actual film and originally released on The side concludes with “Romance in Durango” fromġ2/4/75 note that although we are using the mix from the Rolling The electric stomp of “A Hard Rain’s a-Gonna Fall”Īlso from 12/4/75 and the exquisite “It Ain’t Me Babe” fromġ1/20/75 follows, with the 11/21/75 “It Takes a Lot To Laugh”Īfterwards. Next is the fantastic “Isis” from 12/4/75 Īlthough featured on Masterpieces and recently on Side Tracks, IĬhose the new mix found on the Rolling Thunder box for coherency Version in Wolfgang’s Vault (presumably sourced from the superior
Of the tour: “When I Paint My Masterpiece” from 10/25/75, takenįrom the bootleg Plymouth Rock, but EQd to match the sound of the Soundtrack to Renaldo & Clara? Can it be salvaged?Ī opens with the very first performance from the very first concert Set containing all six of the professionally-recorded shows on theġ975 tour, two discs of rehearsals and an additional disc of live To coincide with the film, Dylan released a 14-disc box True Dylan form, not all in the documentary was what it appeared toīe, as several interviewees and narrative events raised numerousĮyebrows. Rolling Thunder Revue, thanks to Scorsese’s curation. Finally, fans were able to see remastered andĬrystal-clear performances from the legendary first leg of The New documentary, Rolling Thunder: A Bob Dylan Story by Martin Scorsese reedited the original footage from 1975 into a completely A much more enthralling document of the tourĪnd righting the wrong of Hard Rain, fans ‘desired’ more footageįrom the first leg of the tour. Revue, a number of the performances featured in Renaldo & ClaraĮventually saw the light of day.
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That wasn’t quite the end of Renaldo & Clara released in 2002Īs The Bootleg Series Volume 5: Bob Dylan Live, The Rolling Thunder The Document: an amazing document of Dylan’s live accomplishments,Ĭonfusingly edited as an experimental film, critically panned and stuffed in the vault, surviving Seemed that Renaldo & Clara suffered a same fate as 1967’s Eat Official release beyond a few broadcasts and theater showings. This did not save theįilm, as this edit, too, was critically panned and never saw an Later that year, Dylan offered a more concise two-hour edit of theįilm, exorcising much of the ambiguous dramatic vignettes andįocusing on the stellar live performances. Praise, resulting in the limited release to end after only two weeks. In January 1978, Renaldo & Clara received unanimous negative What Dylan came up with was Renaldo & Clara, a surrealįour-hour film: part live concert, part documentary, part improvisedĭrama. Personally edit the footage shot while on tour to try and make a film out of The aforementioned core by the end of the month, they had the majorityĪs he would after his 1966 tour, Dylan retired to his home studio to Newer-and longer-songs, Stoner suggested stripping the band to At first chaotic with too many musicians chiming into Dylan’s With the addition of budding songstress Emmylou Harris onīacking vocals and a series of session musicians to round out theĮnsemble, recording sessions for the Desire album commenced in Julyġ975. Literally on a street corner, Dylan had the core of his band in Recruiting bassist Rob Stoner & drummer Howard Wyeth from The Other End and violinist Scarlet Rivera Less personal and decidedly more cinematic. Worth of new material worthy to follow Blood on The Tracks, albeit Levy (another patron of The Other End), Dylan had crafted an album’s
Patti Smith’s backing band and desired to form one of his own forīlood On The Tracks’ follow-up. Nightclub/coffeehouse/music venue The Other End, Dylan took note of His 1970’s renaissance-jumpstarted by the critically acclaimedīlood on the Tracks album-Dylan longed for one of the things he
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