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Rating: Epic, immortal, lysergic, at times defiant and irritating, at times hysterical and schizophrenic, this live performance is full of true tension between the "two" great protagonists: the mystical and feverish Dylan and his audience; because never, but really never again in the history of rock, as happens in this splendid live performance, has the audience been such a lively co-protagonist and participant in the concert.
It's in the air, in the music, in the breath between one song and another, it oozes from Dylan's "word" and also that of the audience, you can literally feel that rancor, that sense of resentment and mocking betrayal that had been characterizing Our Hero's concerts for some time. The "incident" occurred a few months earlier, at the Newport Festival in 1965, during which Bob Dylan had the courage to challenge folk purists by performing with electric instruments. From then on, every public performance was a shock, a true scandal. And this live performance successfully undertakes the not-so-easy task of miraculously and permanently immortalizing that audience's hatred towards their idol and that Dylan standing there on the stage with his nerves exposed.
Here we have the genius who clearly and energetically breaks from his past: the folksinger is no longer there, he has flown away, he is "perhaps" dead forever. It is no coincidence, in fact, that this live performance is set between 'Highway 61 Revisited', which already deviated significantly from the usual productions of the singer-songwriter, and the soon-to-be-released and even more revolutionary 'Blonde on Blonde'. A central and mature work of Dylanian divinatory art, it was for a long time one of the most famous Bootlegs in the history of rock — indeed, perhaps the most famous and today, finally published by Columbia, it is considered one of the most magnificent and brilliant live performances of all time.
The choice of songs is extraordinary and the hidden nervousness running through them makes them appear in an unprecedented light to the listener's ear. The first part, purely acoustic, offers us gems in succession: starting with She Belongs To Me, moving through the melancholic softness of Fourth Time Around. Then, in a rapid and stunning succession, they come like a storm, Visions of Johanna, It’s All Over Now, and Desolation Row. To finish: Just Like A Woman, Mr. Tambourine Man, and the unreleased Tell Me, Momma. Up to this point, there are thunderous applauses. Then Dylan undergoes a metamorphosis, grabs the electric guitar, and kicks off with Leopard-Skin Pill-Box Hat, to reach the end of the concert with the mythical Like A Rolling Stone, in a rather "boisterous" and unexpected electric ride. And then there are boos and uproars; the audience does not accept it. A voice emerges from the crowd shouting: Judas!!. Then Bob strikes the deadly chord of Like a Rolling Stone and says: "I don’t believe you!... ...you’re a liar!!!", after which he turns to his band, shouting: "play it fucking loud, damn it!!!!!".
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