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The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert
Live album by Bob Dylan
Released	October 13, 1998
Recorded	May 17, 1966
Genre	Rock
Length	1:35:18
Label	Columbia
Producer(s)	Jeff Rosen
Professional reviews
All Music Guide link Music Box link Rolling Stone link
Bob Dylan chronology
Time Out of Mind (1997)	The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert (1998)	The Essential Bob Dylan (2000)

The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert is a live recording from Bob Dylan's legendary "world tour" in 1966. Released in 1998 after years of being bootlegged, it is widely regarded as an essential document in the development of popular music in the 1960s.

The album debuted on the Billboard 200 on October 24, 1998 at number 31. It was awarded and certified a gold record on November 11, 2005 by the RIAA.

Contents 1 History 2 Track listing 2.1 Disc 1 (solo acoustic) 2.2 Disc 2 (Electric band) 3 Personnel 4 Production 5 External link

After touring North America from the fall of 1965 through the winter of 1966, Dylan, accompanied by The Hawks (later renamed as The Band), embarked on a six-week spring tour that began in Australia, wound through western Europe and the United Kingdom, and wrapped up in London. Dylan's move to electric music, and his apparent disconnection from traditional folk music, continued to be controversial, and his UK audiences were particularly disruptive with some fans believing Dylan had "sold out".

A recording of this concert first surfaced in late 1970 or early 1971 on bootleg LPs with various titles. On June 3rd, 1971, critic Dave Marsh reviewed one bootleg in Creem magazine, writing "It is the most supremely elegant piece of rock 'n' roll music I've ever heard...The extreme subtlety of the music is so closely interwoven with its majesty that they appear as one and the same."

The same month, critic Jon Landau reviewed another edition of the concert:

“

Needless to say, the album is both musically great and an amazing path back into the temperament of the sixties. Listening to it, it isn't hard to remember Dylan on stage of the Donnally Memorial Theatre in Boston or at Forest Hills in New York standing toe to toe, eyeball to eyeball with Robbie Robertson between every verse of practically every song, while the guitarist played his fills. Nor is it hard to remember that long, lean, frail look that sometimes made you wonder what gave him the strength to stand up there in the first place, as he remembered the unbelievably complex lyrics to his unbelievably long songs, without ever faltering...It isn't hard for me to remember the booing, the names, the insults he endured just to be standing there with an electric band...On this album the audience claps at the wrong time, claps rhythmically as if to deliberately throw his timing off. At the beginning of 'One Too Many Mornings' he tells a completely psychotic story in a very low voice while the audience makes its noise. As they gradually lose their energy, he finds his and his voice gets louder, until, when they are almost completely silent he says plainly, 'if you only wouldn't clap so hard.' The audience applauds the statement.

”

The early bootleg LPs attributed the recording to one of Dylan's tour-closing concerts at London's Royal Albert Hall. However, Dylan's now-legendary confrontation with a heckler calling out "Judas" from the audience, clearly heard on the recording, was well-documented as having occurred at Manchester's Free Trade Hall on May 17, 1966. Dylan responds to the man by saying "I don't believe you", then after a long pause, "You're a liar." And then he can be faintly heard telling the band, "Play it fucking loud," as they start to play "Like a Rolling Stone". After years of conflicting reports and speculation among Dylan discographers, the Manchester source was verified after the preliminary mix of a proposed Columbia edition was bootlegged in 1995 as Guitars Kissing & The Contemporary Fix. Dylan rejected that edition; three years later, he authorized a markedly different version for his second "Bootleg Series" release.

When The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert finally saw released in 1998, it was a commercial and critical success, reaching #19 in the U.K.

One song from one of Dylan's actual Royal Albert Hall concerts, his May 26, 1966 performance of "Visions of Johanna", was previously released on Dylan's boxed-set retrospective Biograph in 1985. Excerpts from other 1966 UK performances are included in Martin Scorsese's 2005 television documentary No Direction Home.

On July 29, 1966, two months after finishing his spring tour, Dylan suffered a serious motorcycle accident. As a result of his long recuperation, Dylan had to cancel the remaining shows he had scheduled for 1966. However, Dylan would continue to collaborate with the Hawks, and over the next year or so, they would produce some of their most celebrated recordings, many of which were eventually released on The Basement Tapes.

All songs by Bob Dylan, except where noted.

1. "She Belongs to Me" – 3:27
2. "Fourth Time Around" – 4:37
3. "Visions of Johanna" – 8:08
4. "It's All Over Now, Baby Blue" – 5:45
5. "Desolation Row" – 11:31
6. "Just Like A Woman" – 5:52
7. "Mr. Tambourine Man" – 8:52

1. "Tell Me, Momma" – 5:10
2. "I Don't Believe You (She Acts Like We Never Have Met)" – 6:07
3. "Baby, Let Me Follow You Down" (Eric von Schmidt. Arr. Dylan) – 3:46
4. "Just Like Tom Thumb's Blues" – 6:50
5. "Leopard-Skin Pill-Box Hat" – 4:50
6. "One Too Many Mornings" – 4:22
7. "Ballad of a Thin Man" – 7:55
8. "Like a Rolling Stone" – 8:01

• Bob Dylan: Guitars, harmonica, piano, vocals.
• Robbie Robertson: Guitars.
• Rick Danko: Bass guitar, vocals.
• Richard Manuel: Piano, keyboards.
• Garth Hudson: Organ, keyboards.

• Mickey Jones: Drums, percussion.

• Jeff Rosen: Producer
• Vic Anesini: Engineer
• Steven Berkowitz: Mixing
• Michael Brauer: Mixing
• Greg Calbi: Mastering
• Barry Feinstein: Photography
• David Gahr: Photography
• Geoff Gans: Art Direction
• Tony Glover: Liner Notes
• Don Hunstein: Photography
• Art Kane: Photography
• Paul Kelly: Photography
• Hank Parker: Photography
• Jan Persson: Photography
• Jerry Schatzberg: Photography
• Sandy Speiser: Photography
• Mark Wilder: Editing

• Bootleg reviews