Continued brilliance from those days on the Rolling Thunder Revue should be no surprise. Bob Dylan is almost completely absent from this compilation, a collection of songs from other artists on the tour. There are more than a few moments of greatness to select from. It was not just Dylan who was reinventing his style on stage, but other artists were contending with the changing times. Those folk roots for Joan Baez, for instance, were now an antidote, a continued alternative presence which coincided with her strongest works to date. She makes up the bulk of this bootleg release, though works from T-Bone Burnett, Joni Mitchell, and Mick Ronson also feature. They have an overlap to them all the same, connected by a deeper meaning than being on the Rolling Thunder Revue tour. Spellbinding performances of Alabama Dark and I’m a Ramblin’ Boy highlight the similar tone to Dylan’s set, but also the ongoing cultural commentary found in folk names.
Bob Neuwirth singing of Hank Williams’ death features a touching lament to the country legend but also gets listeners to grips with the instrumental similarities. It’s a tone taken across the compilation. Neuwirth and Rob Stoner have a similar, drifting style that Dylan would use on the tour. Ramblin’ Jack Elliot is where the show really picks up. Not because the preceding instrumental tones are not of interest, but because hearing a legend adapt his sound to modern times is always of interest. Elliot manages to toe the line of contemporary sound with a trail song-like riff, the love of a dear wife and charming piano structure for I’m a Ramblin’ Boy is magnificent. Incredible instrumental style, a lighter touch to a show with shadowy, darker intent. That’s the case for most bootlegs from this tour, and it does add a thrilling layer to the performances of others on the bill.
Not least Baez, whose work throughout the Rolling Thunder Revue occasionally surpasses Dylan’s. Preceded by a tremendous performance of Coyote is a run of outstanding works from Baez. Diamonds and Rust was a staple of her set around this time, a blistering piece of work which criticised Dylan, his burst onto the folk scene, and his eventual snub of it. That, paired with songs like Love Song to a Stranger, Pt. 2 and Long Black Veil are nothing short of incredible. Even Baez gives in to those rock and roll tones of the time a little, with her cover of Dancing in the Street an inspired reworking of the song. She has that incredible depth of vocal talent necessary for pulling the song in new directions, and makes the most of it on this Rolling Thunder Revue show.
Even a passing listener would likely realise the Rolling Thunder Revue was not just a showcase of Dylan. The artists to open for him are as important, though are relegated from the mind as their sets are harder to hunt down. It’s a tour which feels more like an interchangeable festival. Hours of quality music from those who Dylan can identify with from his folk days. But they too were making the leap off of those genre fundamentals, a decision Dylan had come to a decade before this tour. He remains ahead of the time but all the same, those who stuck to their guns and developed songs in that acoustic tone for a little longer offer why they did on this compilation. It worked out for them in the end, but it has to be said, hearing Baez backed by electric guitars is magnificent listening.
