=================== =================== =================== === Bob Dylan 1963-04-12 Stolen Moments flac16.ffp =================== =================== =================== 1-01 Audience.flac:447135046a859bdabdbb26d372c90eaf 1-02 Ramblin' Down Thru The World.flac:cf366240ba80f51855c2817056d80c6a 1-03 Bob Dylan's Dream.flac:306b550f7e6b04d5b532d6b9fc2f2be1 1-04 Talkin' New York.flac:d9b381bf08902988e8e14b0fe9a45e57 1-05 Ballad Of Hollis Brown.flac:d13be0e09dd73288098ea74f55fe5c3e 1-06 Walls Of Red Wing.flac:7343b52986ae7157d80a452aa566ff4b 1-07 All Over You.flac:00f751bb3648e1b9bbe310223a97f72d 1-08 Talking John Birch Paranoid Blues.flac:6e823f4f56108dd09a7292675743098f 1-09 Boots Of Spanish Leather.flac:9e24089bbe75d9bb0a5594f5600b9470 1-10 Hero Blues.flac:f05aa34d115fce0421ab77b5be7f9b9f 1-11 Blowin' In The Wind.flac:a33e8786c218c2ebbbe42d9a4b7eb22c 1-12 John Brown.flac:ad9abe4fa94c261dd1a1ae4338d7b7b5 1-13 Tomorrow Is A Long Time.flac:ad79ef335ee6f5f47d36c77068cde1cb 1-14 A Hard Rain's A-Gonna Fall.flac:01ad9f5362c21e0087241f728b90e3b6 2-01 Dusty Old Fairgrounds.flac:9460d53ea271f3f8b9c7051f273dbfd5 2-02 Who Killed Davey Moore_.flac:b57e5ca0f39196143063caddcf7790d7 2-03 Seven Curses.flac:bc4f3e34bf145345096325b328f5234f 2-04 Highway 51.flac:5b62026ac0cce482cbd7953a8274ec66 2-05 Pretty Peggy-O.flac:79e2649b749fdd6fa06979207910f7a3 2-06 Bob Dylan's New Orleans Rag.flac:8e500abf74cd485297a66ab65724fab0 2-07 Don't Think Twice, It's All Right.flac:9853faf2e94ee4039725f33673790bfa 2-08 Hiding Too Long.flac:79ee19e9af4f6043c0c0e0bdb7f943f9 2-09 With God On Our Side.flac:15d45768f009c7aebd88c27507231f22 2-10 Masters Of War.flac:1e08f917f29423e9665b88bb013621ce 2-11 Last Thoughts On Woody Guthrie.flac:94ae8d62606406620a16f59a973b6b1f =================== =================== =================== === info.txt =================== =================== =================== Bob Dylan - Stolen Moments Town Hall New York City, New York April, 12 1963 Mixdown Master Tape (Hollow Horn) http://www.bobsboots.com/CDs/cd-s109.html Disc one Audience Ramblin' Down Thru The World (1) Bob Dylan's Dream (2) Talkin' New York (3) Ballad Of Hollis Brown (4) Walls Of Red Wing (5) All Over You (6) Talking John Birch Paranoid Blues (7) Boots Of Spanish Leather (8) Hero Blues (9) Blowin' In The Wind (10) John Brown (11) Tomorrow Is A Long Time (12) Hard Rain (13) Disc two Dusty Old Fairgrounds (14) Who Killed Davey Moore?(15) Seven Curses (16) Highway 51 (Curtis Jones) (17) Pretty Peggy-O (arr. by Bob Dylan) (18) Bob Dylan's New Orleans Rag (19) Don't Think Twice, It's All Right (20) Hiding Too Long (21) With God On Our Side (22) Masters Of War (23) Last Thoughts On Woody Guthrie (24 Review: Staggering! There are simply no superlatives that could do this release justice. Sony brought the master tape of this show to light for consideration of the bootleg series. Why it was abandoned is anyone's guess. We have long petitioned them to create or work with an independent manufacturer that could afford to produce small quantity releases that might not have the appeal to the masses that Sony or Legacy would require to view it as a profitable venture. In this day and age of the Goliath Labels being wounded by greed and conquered by technology, one would think that an idea such as this would make Label executives giddy at the prospects, yet they continue to turn a deaf ear. To fulfill the demand, boot labels do their best to get the material to the public. Some are only looking for the quick bottom line, but there are a few who are truly interested in producing labor of love packages. Emerging front and center of that elite coterie is Hollow Horn. This Encore release is from the same group. Hollow horn not only releases quality sound recordings, but their folding cardboard packages include some of the most spectacular colorized images ever seen. Along with the brilliant package, this one also has a booklet! The images linked above are created for fans of Jewel cases, and are not the original issue Hollow Horn package. The release carries the perfect moniker. It came from a poem that Dylan had written to be included in the concert program entitled My Life In A Stolen Moment. The package is full of photos and images, track information and concert reviews. With all the hoopla of the splendid visuals of this release laid aside, the sound recording is worthy of even more praise! There are a couple of minor technicalities that Legacy would have corrected were they to have issued the concert, but they would be hard pressed to be able to clean up the recording any more. It is simply perfection as it is. Dylan fans can finally rejoice at the release of this incredible masterpiece that has been locked away for nearly half a century! The Town Hall concert is steeped in the rich tradition of Dylan folklore. It was, for all practical purposes, Dylan's first USA concert of any merit. There were about 600 people in the audience, far more than the young singer had ever faced before, and there are a few nervous moments evident in the show. But, what an incredible and historic show it is! The tape is turned on about a minute before the show, and the listener is transported into the middle of the audience as they anticipate Bob's arrival on the stage. About five seconds worth of hand clapping introduces the harmonica intro of the first song. There is no other introduction. Oh, to travel back to that first major performance and to be able to give this young man an introduction with the foreknowledge of what would come! The introduction would be as long as the concert! This ranks high as one of the most important boot releases of all time, and on top of that, it's simply a thrill and a joy to just sit back and listen to. If you're only planning on getting one bootleg this decade, this is the one. Hands down. 2008 CD Pinkerton - bobsboots.com Notes by bobsboots.com (1) Here is Bob's first "major" concert as a headline artist, and this version of a Woody Guthrie composition is a weak introduction to the world. Bob takes the moment to show the audience his "train rollin' down the track"abilities on the harp, but there is little of substance here. This track surfaced a couple of decades ago and has traded among collectors ever since. Notes by bobsboots.com (2) The Freewheelin LP's release was a month away, so this was a new song to the audience, and Dylan stays fairly faithful to the recorded version in lyrics, timing, and delivery. There is a low mid frequency that produces a very slight feedback ring a few times, but it's barely noticeable, and diminishes quickly. Notes by bobsboots.com (3) This live version has never before been heard. The original version had been released on the eponymously titled album a year earlier, so Bob has a little fun with it. He switches up the line with the buildings going up and the people going down among other things. He's performed this one several times, and seems more at ease now. Notes by bobsboots.com (4) Another track that's new to collectors. This is the live debut of this song that would be recorded later in the Fall for inclusion on The Times LP. Bob introduces it as a true story, but I've never heard that it is factual from any other source. As it is brand new, even to Bob; he is fully into it and makes it an instant masterpiece with a menacing guitar riff and focused, articulate vocals. After the powerful song has ended, Dylan again returns to the nervous kid. He sounds like a shy Elmer Fudd as he mumbles "Uh-h-h... let's see..." and you can hear him making adjustments, and putting on the harp. Notes by bobsboots.com (5) This track has long been available from COLUMBIA RECORDING STUDIO'S REFERENCE RECORDINGS. Bob has trouble with the harp throughout the intro. He claims it to be a bad harp, and it actually sounds as if it has mechanical problems. Once the vocals start, this becomes a powerful story that quickly lures you into hopelessness set to a catchy tune. Notes by bobsboots.com (6) Here is another track of a song that Bob had just written that has been available as a CBS REFERENCE. He forgets the lines a few times, coughs a couple more, but generally has fun with this tongue in cheek song. The audience loves the double entendre as well, and responds with thunderous applause at songs end. Notes by bobsboots.com (7) Before this song, Bob starts telling his hilarious joke about copying other artist's set lists. The audience, for the most part, remains stone silent throughout the entire concert (other than their thunderous applause after each song). Halfway through this joke, however, someone yells out for Hard Rain. It distracts Bob, and he can't recover enough to fall back into the groove of the joke. Instead, it just kind of whimpers out. This is another track making it's world debut among traders, as this version has never circulated. Bob has fun with it, and you can hear in his voice that he truly enjoys performing it. He had recorded it exactly a year earlier, and had performed it once at the Hootenanny Show the previous Fall. Promos of the Freewheelin' LP that contained the song were just being issued. Exactly a month later to the day came the infamous Ed Sullivan Show debacle. After being told that he couldn't perform this song, Dylan walked off the set of the CBS show, and CBS, in response, pulled the song from the Freewheelin' release. (8) One of the highlights of the set is this incredible world debut performance. Bob's finger picking lays a magical carpet on which he spreads a haunting melody that carries this lamentable tale of unrequited love. This version of the song now makes a world debut for the second time into the hands of collectors. Notes by bobsboots.com (9) Before this song, Bob can be heard putting on and adjusting the harp. This will be the first time that an audience has heard this song, and he prefaces it by saying: This is for all the, uh, boys 'at know girls 'at want 'em, uh, to go out and get themselves killed. Notes by bobsboots.com (10) This beautiful and heartfelt version has never traded among collectors. Bob introduces it by saying Heres a song I wrote thats been recorded..." referring to the smash hit by Peter Paul & Mary that sold a staggering 300,000 copies in it's first week alone. It rocketed to the number two position on the Billboard chart behind Easier Said Than Done by Essex. Warner Brothers recognized it as the fastest selling single that they had ever released. The audience's lack of response to the song is due to the fact that that release had not yet happened. It was still a few weeks away. Notes by bobsboots.com (11) There is some down time here as Bob tunes. An audience member asks for "Ridin' number nine" (Lonesome Whistle). Bob responds with: "Here's another true story. Ridin' number nine's a true story too... but, you know..." Another person says "Seems like number nine, Bob" I'm not sure about the context or reference here, or why it would have been funny, but Bob viewed it as a wisecrack and jokingly asked for the lights to come up. He then attempts to start but stumbles into a cough amongst some very light hearted and well meaning audience heckling. Even though he stumbles a couple of times, this is a powerful version and it's the first song from the show that was chosen to be on the ill-fated first live album. It did press to acetate, however, and has long circulated without the introduction. Notes by bobsboots.com (12) It's good to have this song included for the continuity of the show. For the purposes of historical accuracy, we can overlook the fact that this is a pirate track, having been released on 1971's Greatest Hits II. It was also issued on the 1978 Japanese, Australian and New Zealand releases called Masterpieces. For an idea of the quality of this show, listen to the official release. The quality on this boot release is even cleaner and brighter than this officially released track. Notes by bobsboots.com (13) Always the showman, Bob pulls out the song that the audience had requested earlier as the closer for the first set. After recognizing it, the crowd breaks into applause. This is yet another track that has never been traded. Notes by bobsboots.com (14) While this song was never released, Bob took the basic chord pattern and song structure and turned it into When The Ship Comes In. It was intended for release, however. This was another of the four songs from this concert that was scheduled for the first live album. As such, it has traded since that time from the acetate recording. Good thing too, as this was the one and only time that the song was ever performed. Notes by bobsboots.com (15) This is the third and final song from the show that was pressed as a CBS REFERENCE, and has been available to traders for many years. This full version, however, includes Dylan's poignant introduction to the song. Notes by bobsboots.com (16) This song and the two that follow it are more versions that are making their world debut into the hands of collectors. Bob's rolling finger picking style is beautiful guitar work. It's a little faster than the released version, and, therefore, not quite as ominous. But, it's still splendid and an incredible listen. Notes by bobsboots.com (17) Truly one of the delights of the package. This song has always been reported as being performed at the show, but because this was Dylan's debut as an original songwriter, some doubted the fact. Yet, here it is in full glory. Bob holds out the first "walkin" for a full eight seconds as well as "highway" from the second verse. He is comfortable with the song and throws everything he's got in his arsenal into it. The vocals, harp, and guitar are perhaps more expressive here than in any song of the concert. Simply an incredible find! Notes by bobsboots.com (18) This has to take first place as the surprise of the evening. Bob is heading toward the end of the show and is getting ready to present his most powerful anti-war segment when someone yells out for this song. He not only cheerfully indulges them, but when he makes a mis-step, he incorporates into the song "Oh I'm fallin' down the stairs. pretty Peggy-O" The audience loves it. Notes by bobsboots.com (19) While he was in a jovial mood, Bob continues with this tongue in cheek ditty. This is the third of the four show songs that have always circulated from the acetate pressing of the unreleased In Concert LP. Notes by bobsboots.com (20) A highlight among highlights! this is the tenth song so far that has never before seen the light of day. The first appearance of this song was at the Gaslight Cafe. This is the second performance. It's a tender and beautiful one with Bob's voice going into higher registers. He starts of joking that it's a difficult song to sing and that he might not be able to; but he pulls it of incredibly well. Notes by bobsboots.com (21) A great quality stereo version of this song first circulated among tape traders in the USA in 1992 as part of a career spanning compilation tape. Three years later it was included on an incredible silver disc release by Scorpio entitled The Genuine bootleg Series. This is the most shocking political finger pointing song that Bob has ever written. As the lyrics are hard to find, we've transcribed them from the show here. The crowd explodes with a thunderous standing ovation. Notes by bobsboots.com (22) The audience is now putty in Dylan's hand (as if they weren't from the beginning of the show). He continues the powerful political statements with his final two songs. They are incredible. The audience doesn't dare breath as they hang on every syllable. This song sees them on their feet again. The only drawback here is that it has already been released as an official track on Bootleg Vol. 7. Notes by bobsboots.com (23) The final song, again, has been released on The Bootleg series Vol. 7. However, this version includes one and a half minutes (and even that has been edited) between song talk when the audience is on their feet cheering and screaming and asking for songs, and... Bob is slightly overwhelmed and becomes hopelessly tongue-tied as he tries to introduce this one. Notes by bobsboots.com (24) This is the complete version of the poem with an intro by Dylan. It was the final track originally planned to be issued on the CBS album BOB DYLAN IN CONCERT that was never released. It did press to acetate, however, and the acetate version has traded among collectors since the mid 1960's. Rumors have always floated around as to why the live LP was never pressed. One of them finds this track to be a long, meandering, pointless and self-indulgent exercise in escapism that would alienate the record buying public. It was eventually officially released on THE BOOTLEG SERIES (RARE & UNRELEASED) 1961-1991, Volume 1, in March of 1991. Bob's introduction to the poem, heard on this release, was not included on the official release. This is an insane mis-step encore after leaving the audience shredded by the previous songs, and the only reason that they remain pin drop quiet is out of respect of the young man that had just taken them to new places in their thoughts of what a concert can be. Bob would have done much better by reading this poem first in place of the opening song, and ending with the powerhouse political trio of songs that would have had the audience cheering to this day. Even as a twenty-one year old new kid on the block, Dylan wanted to do what Dylan wanted to do. Whether the crowed would hate it or love it was irrelevant. Last Thoughts On Woody Guthrie When yer head gets twisted and yer mind grows numb When you think you're too old, too young, too smart or too dumb When yer laggin' behind an' losin' yer pace In a slow-motion crawl of life's busy race No matter what yer doing if you start givin' up If the wine don't come to the top of yer cup If the wind's got you sideways with with one hand holdin' on And the other starts slipping and the feeling is gone And yer train engine fire needs a new spark to catch it And the wood's easy findin' but yer lazy to fetch it And yer sidewalk starts curlin' and the street gets too long And you start walkin' backwards though you know its wrong And lonesome comes up as down goes the day And tomorrow's mornin' seems so far away And you feel the reins from yer pony are slippin' And yer rope is a-slidin' 'cause yer hands are a-drippin' And yer sun-decked desert and evergreen valleys Turn to broken down slums and trash-can alleys And yer sky cries water and yer drain pipe's a-pourin' And the lightnin's a-flashing and the thunder's a-crashin' And the windows are rattlin' and breakin' and the roof tops a-shakin' And yer whole world's a-slammin' and bangin' And yer minutes of sun turn to hours of storm And to yourself you sometimes say "I never knew it was gonna be this way Why didn't they tell me the day I was born" And you start gettin' chills and yer jumping from sweat And you're lookin' for somethin' you ain't quite found yet And yer knee-deep in the dark water with yer hands in the air And the whole world's a-watchin' with a window peek stare And yer good gal leaves and she's long gone a-flying And yer heart feels sick like fish when they're fryin' And yer jackhammer falls from yer hand to yer feet And you need it badly but it lays on the street And yer bell's bangin' loudly but you can't hear its beat And you think yer ears might a been hurt Or yer eyes've turned filthy from the sight-blindin' dirt And you figured you failed in yesterdays rush When you were faked out an' fooled white facing a four flush And all the time you were holdin' three queens And it's makin you mad, it's makin' you mean Like in the middle of Life magazine Bouncin' around a pinball machine And there's something on yer mind you wanna be saying That somebody someplace oughta be hearin' But it's trapped on yer tongue and sealed in yer head And it bothers you badly when your layin' in bed And no matter how you try you just can't say it And yer scared to yer soul you just might forget it And yer eyes get swimmy from the tears in yer head And yer pillows of feathers turn to blankets of lead And the lion's mouth opens and yer staring at his teeth And his jaws start closin with you underneath And yer flat on your belly with yer hands tied behind And you wish you'd never taken that last detour sign And you say to yourself just what am I doin' On this road I'm walkin', on this trail I'm turnin' On this curve I'm hanging On this pathway I'm strolling, in the space I'm taking In this air I'm inhaling Am I mixed up too much, am I mixed up too hard Why am I walking, where am I running What am I saying, what am I knowing On this guitar I'm playing, on this banjo I'm frailin' On this mandolin I'm strummin', in the song I'm singin' In the tune I'm hummin', in the words I'm writin' In the words that I'm thinkin' In this ocean of hours I'm all the time drinkin' Who am I helping, what am I breaking What am I giving, what am I taking But you try with your whole soul best Never to think these thoughts and never to let Them kind of thoughts gain ground Or make yer heart pound But then again you know why they're around Just waiting for a chance to slip and drop down "Cause sometimes you hear'em when the night times comes creeping And you fear that they might catch you a-sleeping And you jump from yer bed, from yer last chapter of dreamin' And you can't remember for the best of yer thinking If that was you in the dream that was screaming And you know that it's something special you're needin' And you know that there's no drug that'll do for the healin' And no liquor in the land to stop yer brain from bleeding And you need something special Yeah, you need something special all right You need a fast flyin' train on a tornado track To shoot you someplace and shoot you back You need a cyclone wind on a stream engine howler That's been banging and booming and blowing forever That knows yer troubles a hundred times over You need a Greyhound bus that don't bar no race That won't laugh at yer looks Your voice or your face And by any number of bets in the book Will be rollin' long after the bubblegum craze You need something to open up a new door To show you something you seen before But overlooked a hundred times or more You need something to open your eyes You need something to make it known That it's you and no one else that owns That spot that yer standing, that space that you're sitting That the world ain't got you beat That it ain't got you licked It can't get you crazy no matter how many Times you might get kicked You need something special all right You need something special to give you hope But hope's just a word That maybe you said or maybe you heard On some windy corner 'round a wide-angled curve But that's what you need man, and you need it bad And yer trouble is you know it too good "Cause you look an' you start getting the chills "Cause you can't find it on a dollar bill And it ain't on Macy's window sill And it ain't on no rich kid's road map And it ain't in no fat kid's fraternity house And it ain't made in no Hollywood wheat germ And it ain't on that dimlit stage With that half-wit comedian on it Ranting and raving and taking yer money And you thinks it's funny No you can't find it in no night club or no yacht club And it ain't in the seats of a supper club And sure as hell you're bound to tell That no matter how hard you rub You just ain't a-gonna find it on yer ticket stub No, and it ain't in the rumors people're tellin' you And it ain't in the pimple-lotion people are sellin' you And it ain't in no cardboard-box house Or down any movie star's blouse And you can't find it on the golf course And Uncle Remus can't tell you and neither can Santa Claus And it ain't in the cream puff hair-do or cotton candy clothes And it ain't in the dime store dummies or bubblegum goons And it ain't in the marshmallow noises of the chocolate cake voices That come knockin' and tappin' in Christmas wrappin' Sayin' ain't I pretty and ain't I cute and look at my skin Look at my skin shine, look at my skin glow Look at my skin laugh, look at my skin cry When you can't even sense if they got any insides These people so pretty in their ribbons and bows No you'll not now or no other day Find it on the doorsteps made out-a paper mache? And inside it the people made of molasses That every other day buy a new pair of sunglasses And it ain't in the fifty-star generals and flipped-out phonies Who'd turn yuh in for a tenth of a penny Who breathe and burp and bend and crack And before you can count from one to ten Do it all over again but this time behind yer back, my friend The ones that wheel and deal and whirl and twirl And play games with each other in their sand-box world And you can't find it either in the no-talent fools That run around gallant And make all rules for the ones that got talent And it ain't in the ones that ain't got any talent but think they do And think they're foolin' you The ones who jump on the wagon Just for a while 'cause they know it's in style To get their kicks, get out of it quick And make all kinds of rnoney and chicks And you yell to yourself and you throw down yer hat Sayin', "Christ do I gotta be like that Ain't there no one here that knows where I'm at Ain't there no one here that knows how I feel Good God Almighty "That stuff ain't real!!" No but that ain't yer game, it ain't even yer race You can't hear yer name, you can't see yer face You gotta look some other place And where do you look for this hope that yer seekin' Where do you look for this lamp that's a-burnin' Where do you look for this oil well gushin' Where do you look for this candle that's glowin' Where do you look for this hope that you know is there And out there somewhere And your feet can only walk down two kinds of roads Your eyes can only look through two kinds of windows Your nose can only smell two kinds of hallways You can touch and twist And turn two kinds of doorknobs... You can either go to the church of your choice Or you can go to Brooklyn State Hospital You'll find God in the church of your choice You'll find Woody Guthrie in Brooklyn State Hospital And though it's only my opinion I may be right or wrong You'll find them both In the Grand Canyon At sundown =================== =================== ===================