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Live 1964: The Bootleg Series Vol. 6 Concert AtPhilharmonic Hall
Bob Dylan
Columbia Records, 2004
REVIEW BY: Sean McCarthy
ORIGINALLY PUBLISHED: 04/19/2004
Before dividing his fan base by going electric, before themotorcycle accident, before the marital breakup, before the weirdgypsy whiteface makeup, before his flirtation with Christianity,Dylan was an energetic folk singer whose only baggage was onlybeing a spokesperson for a generation.
Fans have been bootlegging Dylan's live performances since heemerged as a potential heir to Woody Guthrie. His early liverecordings have mostly been an incomparable mess. Fortunately, thelatest bootleg series captures Dylan at the cusp of ending onestage of his career and entering another phase that would changerock music forever. Recorded at the Philharmonic in New York, thecrowd wasn't shouting "Judas" or erupting in cheers. Instead, thecrowd was polite, albeit a bit cautious whenever Dylan introducedhis new material.
The most striking aspect of The Bootleg Series Vol. 6 is the clarity of the recording.For the most part, the concert was just Dylan and his guitar, withJoan Baez backing Dylan up in three songs. Dylan's voice has apreacher's clarity and there's no better example of this than hisunveiling of the then-new song "Gates of Eden."
"I'm masquerading," Dylan joked to the audience on Halloweennight. "I'm wearing my Bob Dylan mask," he quipped. He's notkidding. Only Cher and Madonna have worn more guises. Recorded whenhe was just 23, Dylan was at his showstopping best in The Bootleg Series Vol. 6. Throughout the two discs, you canhear Dylan's sometimes hilarious banter with the audience. Othertimes, you can hear his empathy for those who didn't know what tomake with songs like "It's Alright, Ma (I'm Only Bleeding)."
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