| Bob Dylan Live 1975 (The Bootleg Series Volume 5) | 
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Avg. Customer Rating:   (based on 124 reviews)
Sales Rank: 1494
Category: Music
Artist: Bob Dylan
Publisher: Sony
Studio: Sony
Manufacturer: Sony
Label: Sony
Format: Live
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.4
Dimensions (in): 5.6 x 5.2 x 0.7
MPN: 87047
UPC: 696998704725
EAN: 0696998704725
ASIN: B00006NT3H
Release Date: November 26, 2002
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Tonight I'll Be Staying Here With You | | • | It Ain't Me, Babe | | • | A Hard Rain's A-Gonna Fall | | • | The Lonesome Death Of Hattie Carroll | | • | Romance In Durango | | • | Isis | | • | Mr. Tambourine Man | | • | Simple Twist Of Fate | | • | Blowin' In The Wind | | • | Mama, You Been On My Mind | | • | I Shall Be Released |
Disc 2
| • | It's All Over Now, Baby Blue | | • | Love Minus Zero/No Limit | | • | Tangled Up In Blue | | • | The Water Is Wide | | • | It Takes A Lot To Laugh, It Takes A Train To Cry | | • | Oh, Sister | | • | Hurricane | | • | One More Cup Of Coffee (Valley Below) | | • | Sara | | • | Just Like A Woman | | • | Knockin' On Heaven's Door |
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| Editorial Reviews:
Amazon.com
One of the many oddities of Bob Dylan's long and unruly career has been the rather cursory recording treatment given his stint as ringleader of the Rolling Thunder Revue. It's a shortcoming that's rectified with the release of Live 1975. Prior to the appearance of this two-disc collection, Rolling Thunder's eclectic road show was chronicled only in the infrequently screened, Dylan-directed Renaldo & Clara film and the bafflingly brief and one-note 1976 live set, Hard Rain. In contrast to its predecessor, this set, culled from four appearances made in November and December of '75, captures the breadth and subtleties of Dylan's Rolling Thunder performances. "Tonight I'll Be Staying Here with You," formerly a coda from Nashville Skyline, is given a rather incongruous bite here, while "It Ain't Me, Babe" is colored brightly by multi-instrumentalist David Mansfield along with erstwhile David Bowie guitarist Mick Ronson, the sparkplug of the gratifyingly ragtag group that coalesced on short notice. Solo acoustic performances weave through caterwauling full-band treatments of songs old ("The Lonesome Death of Hattie Carroll) and new ("Hurricane" and four other selections from Desire, which wouldn't hit the racks until early '76). While the contributions of a number of caravan cohorts and guests are left out, Joan Baez shares the spotlight with Dylan on four numbers, most notably on the rarity "Mama, You Been on My Mind" and the traditional "The Water Is Wide." But despite its cavalcade trappings, it was Dylan's show, and this collection demonstrates finally just how close to his '60s peak the '70s Dylan was. --Steven Stolder
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| Customer Reviews: Read 119 more reviews...
 Best live Dylan out there! July 31, 2008
3 out of 6 found this review helpful
If you needed any proof other than Blood on the Tracks that Bob was going through a semi-artistic revival during 1975, this album should be your evidence. I wasn't around in 1975, but if I was, I would've definitely caught one of these shows, because this is an awesome album. Even with a few snippets everyone could do without (a reggae-country version of "It Ain't Me Babe," a synthtastic "Just Like a Woman," a sappy "Mama, You've Been on My Mind" and an even sappier "The Water is Wide"), it's still really, really good. In fact, it's my pick for Bob's best live album. It totally rocks, maybe even harder than the electric half of Live 1966 did. And he sounds angrier than he ever has. You thought he was upset on the studio take on "It's a Hard Rain's a-Gonna Fall" or "The Lonesome Death of Hattie Carroll?" Well, shimmy on over and give this a listen. And he even makes "Tonight I'll Be Staying Here with You" from a fantastic country song into a fantastic rock song. And "It Takes a Lot to Laugh, it Takes a Train to Cry" reverts to the blues-boogie mode it was in during its earliest stages, which was cool. They also play two-thirds of Desire (but not "Mozambique!" Or "Joey!" YES!!!). There's a high-energy "Isis," a take on "Romance in Durango" without the kitschy Mariachi trumpet, a version of "Oh, Sister" that's probably the exact same thing as the one found on Hard Rain, a good version of "Hurricane" that is inferior to the studio take because it lacks the dramatic acoustic guitar-bongo duet thing, and takes on "One More Cup of Coffee" and "Sara" that sound exactly like the then-unreleased studio versions and therefore rule. There's also a really good acoustic set! He plays "Tangled up in Blue" and "A Simple Twist of Fate," and in both cases switches up the lyrics, to the point where it changes the meaning of "Simple Twist of Fate". That's cool! And he does "I Shall Be Released" using the Band's lyrics. He doesn't dare mess with "Blowin' in the Wind's" lyrics, though. And Bob also closes the whole thing with a lovely version of "Knockin' on Heaven's Door," with lyrics that are nothing like the original's. All he keeps is the chorus. Awesome! It's a loud, sloppy, spontaneous album in some places, and a soft, thoughtful, spontaneous album in others. Either way, it's fantastic, and everything live Dylan should be. By the way, did you know he was making a film when he was doing the Rolling Thunder tour? It's called Renaldo and Clara, it's supposed to be a mix of drama and concert footage, and it's supposed to suck. Yee-hah! Oh yeah, and everyone from Joan Baez to Mick Ronson to Roger McGuinn shows up somewhere on this album.
Archival Interview on Bob Dylan and Rolling Thunder November 8, 2007
9 out of 15 found this review helpful
On May 17th, 1976 I, Liam Aposeur, Chief Editor of Seering Stone Magazine interviewed Metamorpho as part of a series we were running at the time. We invited many well-know luminaries to discuss the greatest musical influences over the last decade. Metamorpho, just back from a spiritual speaking tour of Europe, arrived at our office in New York at about 1 o'clock. It was a balmy,bright spring day. Just right for a balmy personality. He was certainly dressed for the occasion, wearing a white linen outfit with matching seer's hat. I admit, a vision of Colonel Saunders entered my mind, which quickly dissipated when he puffed a magikal cigar circle in my direction. This was an indication that he was ready to proceed.
L: How did your tour go this time Metamorpho?
M: Pretty well. My guides kept me out of trouble although, dare I say it?
They tried to get me to party at some bar called The Tabernacle.
L: I think I've heard of that. Didn't Hemingway frequent that place?
M: (Laughing) Yes, in-between watching the Bull Fights.(puffing on cigar).
L: Anyway- today we are here to discuss the musical scene of the past 10
years.
M: Yes,Yes. I have reflected extensively on that topic.
L: And do you have comments for us today?
M: Yes (adjusting seer's hat). Has to be Bob Dylan. He is an artist who
is on my wavelength.
L: Well, you are known as the Seer of a Generation. You do know that?
M: I ignore that. I am not fond of labels. I don't speak for anyone but
myself.
L: Well, people take a liking to what you do. How would you characterize
what you do.
M: A circus clown (Laughing)
L: Not a prophet and visionary of the masses?
M: No. How about a rodeo cowboy with white make-up?
L: That sounds like Bob Dylan on last year's Rolling Thunder Revue.
M: Precisely (flicking a cigar ash).
L: Do you have a comment about that?
M: Well- I did go up to Massachusetts one evening to see it. It was
amazing. He had an entourage of excellent musicians and they played
alot of his songs alot differently than what we've heard before.
L: You mean he reinvented his classics?
M: (looking to the sky for spiritual energy) Oh no. I don't think with
an artist like Dylan you could say that.
L: How so?
M: Well, with any creative process that change is a universal law.
Recreating music is what most people want. Dylan has, and always will,
do what he wants. That is what makes him so special. He's just like me
in many ways.
L: What about the message in the music?
M: Certainly injustice is a theme as in "Hattie Carroll" and "Hurricane".
Also odes to women like "Sara" and "Just Like a Woman".
L: Anything else?
M: (furrows his brow) Yes. With Dylan you get so much. Desolation, deep
emotion, the ache for celebration, the struggle within the soul to be
free. And , of course (bordering on haughtiness) all told with the goal
of eternal truth.
L: But, back to the sound? How did it all sound to you?
M: Well- alot of the songs he did had a different meter and some almost
approaching a waltz I'd say. Many had a country feel to them with
slide guitar. That is most interesting. There were parts of the sound
I didn't expect and, yet, it was a novel and pleasurable experience.
L: How so?
M: You hear, all of a sudden, with new ears.
L: That may anger some devout fans.
M: Dylan doesn't care. Why should he? Besides, the songs he did were very
crafty in their arrangement.
L: Didn't he do any just acoustic songs?
M: Oh yes (peering into the air and laughing- remembering the experience)
He was most effective with "Baby Blue" and "Love Minus Zero". So well
done. Even his duets with Joan Baez had a much different flavor to them
than that totally acoustic concert in 1964.
L: With some of the same songs - aren't they similar?
M: Not at all. That is what makes the Rolling Thunder Revue so special, in
my humble opinion.
L: It's a shame we all couldn't hear this concert.... just to judge for
ourselves.
M: Well, (remembering) I do recall a Columbia sound crew there with some
recording equipment.
L: Do you think Bob will release this concert soon? Now you've got me
excited!
M: Hmmmmm.... (snuffs out cigar stub)...I don't know. I have done serious
refection on this, and I did come to a prediction.
L: What? What? Share the prophecy with us! Please Metamorpho?
M: Well....ok....since that was a delicious, well-earned fawning - I must
say....
L: And.....?
M: (grinning ear to ear-or seer to seer?) We might see a release this
year.
L: Wonderful!!!!!
M: But, if I were Columbia, you know what I'd do?
L: What?
M: Oh....wait about 3 decades to release it. Could you imagine the demand
then?
L: (shrieks and begins to sob). And so we conclude "sniff" our inteview.
M: (offering a white linen hankerchief)..... here.
What else can I say but...I wish I had seen the show in person August 30, 2007
This is probably one of the best live albums I have had the pleasure to own. Live unrehearsed just playing music for people.
Dylan is king! March 9, 2007
These discs have been in my cd player since I purchased them a month ago. Dylan's painted face allows him to be more diverse. It has songs that feature just Dylan and his guitar and others with his stellar band. For any Dylan fan interested in the bootleg series, this is a great starting point. I have several others in teh bootleg series, but few are as fun as this one. He just rocks!
 perhaps lower expectations are in order February 15, 2007
6 out of 7 found this review helpful
Some of you are not going to like this review, but buyers will need some candor here. Dylan really is great, and his often great work in the 1970s is generally underappreciated. But this live set is not the place to learn to love Dylan. If you're curious about this title, my recommendation is go pick up his studio recordings of the mid- to late-1970s, beginning with the remastered titles. These are lovely, sometimes heartbreaking, sometimes groovy, and often superb. If you already have these, then, if you choose to get this title, you might set your expectations a little lower.
The main problem with Live 1975, as a reviewer below notes, is the singing--or, as one might better say, the bellowing. Dylan has one of rock's great voices and in his studio recordings, including his studio recordings of the 1970s, he sings with astounding emotional authority (where does he get that, one wonders--how does anyone get that?!). In these Live 1975 tracks, however, Dylan is out of voice, bellowing either to be heard or else to "voluminate" in lieu of giving a more emotionally nuanced vocal performance. This is not an uncommon failing of concert recordings, but the present case is quite pronounced and I agree with the reviewer below that it seriously taints the enjoyment of these disks.
I may as well go on to note that the sound of the band is quite dense here. I think it's not a performance problem or an engineering problem, but one of arrangement: there are too many instruments crowding the middle range, so it sounds a bit like an undifferentiated wall of sound. Again, rather characteristic of the 1970s live sound, but rarely the case with Dylan's studio recordings.
In short, if you're curious about Dylan in the 1970s, there are better places to look. My favorite of the Live albums is the 1964 one.
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