Live in 1971 is exactly what it says on the tin. Bob Dylan’s live works from 1971 are compiled here on an unofficial bootleg of real quality. A compilation of on-stage efforts which could stake a claim at being one of the best collections of Dylan’s live performances available. It rivals the deep cuts of the Expecting Rain series and measures up to Hard Rain, a magical official release from Columbia Records. We are not short of options, that is the point here. Live in 1971 is an immaculate compilation of efforts from Dylan and his backing band in the post-Self Portrait days. At a time when dedicated lunatics were suggesting Dylan needed saving from himself, Live in 1971 proves the work Dylan was releasing did not match that of the energy on stage, the cool and often effortless volatility of repurposing works from five years ago.
A clear statement of quality is made with George Harrison-featuring opener, If Not for You. An incredible overlap of two all-time great musical voices, and they mix well here. From that collaboration to adaptations of Dylan’s best efforts to electrified, on-stage appeal. Walk the wild side with a crowd both respectful and energised. Polite applause opens Love Minus Zero/No Limit and the laid-back sounding performance is a treat. A drifting style, a lighter tense to a song with heavy intent, it is the contrast so well placed which makes all the difference. Tremendous harmonica work and a lighter instrumental style is the key here as it is the calm before the storm of a boisterous A Hard Rain’s A-Gonna Fall performance. Ripped from the Concert for Bangladesh show, the rapturous applause preceding an intense Dylan performance is perfect. These are all just appetisers though. Material available from one live show or another compilation.
Where the real meat of Live in 1971 comes from is the legendary Isle of Wight performance. Mr. Tambourine Man makes for a delightful performance, a roaring crowd for the so-called “gig of the decade”. Expectations were insane for this showcase, and the countrified sound Dylan and The Band brought with them to the Isle of Wight is a welcome one. It redevelops the likes of Like a Rolling Stone and amplifies the soon-to-be essential sound of When I Paint My Masterpiece. It is the perfect blur, the cacophony of outrage over Self Portrait dying down as Dylan brings his songs, old and new, into a place of redefined instrumental skill. Much of that is dependent on The Band, their growth in Dylan’s absence had them on a level of public interest to the Just Like a Woman songwriter. That is the hidden strength of their collaborative performances, the compilation of tremendous musical style is a treat to hear.
A New Year show, which Dylan appeared at for the encore, is found on Live in 1971 too. Don’t Ya Tell Henry is a light break from Dylan’s lead vocal duties, though he is still the overpowering force for this Basement Tapes rip which The Band made their own. Compilation closer Like a Rolling Stone proves the longevity. With hindsight, we can look back on Self Portrait and the sparse Dylan stage appearances and appreciate the rejuvenation they offered. But at the time it was an elusive figure coming and going, appearing at seemingly random moments in time to perform some of his very best songs with rearranged instrumentals. A series of welcome changes can be heard on Live in 1971, the twang of musical change, the rekindled interest, is all there on this unofficial but essential compilation.
