By the mid 60's Bob Dylan had become the King of Folk, the "voice of generation", the prince of protest and all sorts of other labels society had put on him. But starting with the release of 1965's "Bringing it all Back Home", he became something much more. After becomming bored with the folk/protest/topical scene, Dylan became the leader of a new type of Rock n Roll, a type he then called "mathematical music", and many years later, when talking of his Double-LP "Blonde on Blonde", as "that thin, wild, mercury sound".with his "Highway 61 Revisited" album guitarist Mike Bloomfield on tour with the Butterfield Blues Band, Dylan serached elsewhere for the man to provide guitar riffs for his wild mixture of rock, blues and folk. He found it in Robbie Robertson, and soon after organist Al Kooper's depature, it led to Dylan being backed by the rest of Robertson's group of players, a band then called 'The Hawks', and later who came to fame on their own as simply, 'The Band'. From 1965 through the wild world tour of 1966, they turned folk purists and everything else upside down. As Dylan just didn't "sell out" and play electric, or "go commercial by going rock", he played the loudest, most manic rock the world had ever heard. Marlon Brando once said the two loudest things he heard in life we're "a freight train passing by, and Bob Dylan playing with The Band".here are some tunes not featured on Columbia's "Live 1966" bootleg, that chronicle the music that turned a counter-culture youths Savour into Judus.
