Welcome to Season 3 of EONS! This year we’ll be debating our favorite live albums of all time. As always, an album needs to secure 3 votes to be inducted into the prestigious Newbury Street Collection. Make sure your voice is heard by chopping it up with us in the comments.
Don’s Pitch:
By the mid-1970’s, rock & roll was still only 20 years old, yet the troubadours who laid the tracks had already established the critical ingredients of a great live show. An unpredictable spirit, unlike the polished perfection of studio recordings. The electrifying blend of spontaneous energy and authentic emotion. And the powerful connection between performer and audience, aligned in soulful defiance against soul-crushing society. When these elements converged, the result was unforgettable. Few artists encapsulated this as vividly as Bob Dylan.
Hard Rain is a snapshot of Dylan’s seminal tour – the Rolling Thunder Revue of 1975-76. A volatile, theatrical, and wild presentation that pushed the boundaries of what rock concerts could be. Like the experience of a great roller coaster, there are moments where one wonders, “what have I gotten myself into?” It’s controlled chaos, almost off the rails, but ultimately exhilarating.
The record stands out not because of slick production or flawless performance, but rather its raw intensity. It captures Dylan at his most passionate and confrontational, with fierce renditions of classics like “Maggie’s Farm” and “Idiot Wind.” His voice is ragged and snarling. He’s the conductor, riding along with the audience, together holding on for dear life.
Along the way, the setlist twists and turns with the fragile, stunning ballads “Oh Sister” and “You’re a Big Girl Now” shimmering through the clouds like a double rainbow.
When I see my favorite artists, I always hope for at least one alternative arrangement. Dylan - never static - delivers, capturing lightning in a bottle with a heart-stopping, rollicking version of “Shelter From The Storm” that does what thrill rides do best: make you want to jump back on as soon as they’re finished.
Hard Rain is elevated by a stellar band including Mick Ronson and T-Bone Burnett, who supercharge Dylan’s songs with new life. There’s a sharp edge. An unstoppable sense of urgency that feels both intimate and explosive.
The mid-’70’s were turbulent, and the Rolling Thunder Revue reflects that unrest. Unlike many live albums that smooth over imperfections, Hard Rain highlights them. And we – the audience – are riveted by Dylan’s take on a world turned upside down.
CJ’s Response:
Bob Dylan has always been one of those artists whose songs I like better in other people’s mouths. Chrissie Hynde singing “Blind Willie McTell.” Joan Osbourne singing “Man in the Long Black Coat.” Neil, Jimi, Richie Havens (dealer’s choice) singing “All Along the Watchtower.” I never understood the appeal of a voice David Bowie described as “sand and glue,” even though he meant it as a compliment.
Speaking of Ziggy Stardust, I was encouraged to see Mick Ronson’s name as part of the Rolling Thunder Revue. I think his rock sensibility is evident in “Maggie’s Farm” which is a strong opener and easily the best version of this song that I’ve ever heard. Don is correct in pointing out the edge in this tune and “Idiot Wind” as well as the rejiggered “Shelter from the Storm.”
But there are some low points here that are too subterranean (homesick blues) to ignore. I’ve never liked “Lay, Lady, Lay” in any format and the live version exacerbates everything that annoys me about it. “One Too Many Mornings” killed the momentum that “Maggie” built. And “I Threw it All Away” kinda, well, throws it all away.
My final thought may seem picayune, but I feel it must be said nevertheless. If you’re going to name a live album Hard Rain, maybe give me the song “A Hard Rain’s A-Gonna Fall.” Sure, rock history is littered with titular songs appearing on albums that don’t share the same name. But this is a signature Dylan tune that would have made a statement on a record that could’ve used a few more.
Pitch Failed (Welcome back to the Thunderdome, Don!)
Ken’s Response:
When it comes to live albums, I’m really only asking three things: Is it an artist I love? Does the music hold up? And does it actually feel live?
If I’m being honest—and that’s harder than it sounds, considering I’d probably defend Mr. Zimmerman through just about anything—this album falls a bit short on musical quality.
But here’s the thing, and it’s a big one, that’s kind of always been Dylan, hasn’t it? Ever since he left the Greenwich Village coffee houses for the big stage, the magic was never just about pitch-perfect performances. He’s a legend, a visionary, arguably the greatest songwriter of the 20th century. So yeah, maybe his shows don’t have the polish or precision of more tightly rehearsed bands, but that’s not really the point.
If this were an SAT analogy, it might read: Live Dylan is to Steely Dan as loaded nachos are to a burrito. And if that sounds like an insult, it’s not! While one is a hot mess and the other…not, they’re both absolutely delicious.
Don, you had me at “You’re a Big Girl Now” and “Oh, Sister” on the tracklist, two of my all-time favorites. It’s a 9-track gem with only one skippable song (appropriately, “I Threw It All Away”).
If I have one real critique, and it’s not something Bobby could control, it’s that Joan Baez’s harmonies on “Oh, Sister” while perfectly competent, just don’t hit the same way Emmylou Harris’ did on Desire. But hey, Joanie was on the tour, and history is what it is.
Pitch Successful (I hope that Chalamet kid makes it big someday.)
Mitch’s Response:
Unlike the rest of you, my tolerance for Boomer rock was exhausted eons ago. What was once a bit (“I hate The Beatles”) has sort of become true. That’s always the danger of fully-committing to a bit: eventually it stops being a bit and you become who you pretend to be.
I spend the bulk of my music time listening to third-tier jam bands on Nugs - always in search of the next Goose or Dogs in a Pile - so believe me when I say that my tolerance level for self-indulgent live performances is off-the-charts.
But every once in a while I’ll fire up the Bluetooth speaker and I’ll notice someone else’s reaction to a show. A normie’s reaction. It usually ranges from disgust to amusement to bewilderment. And for just a moment I’ll be able to hear the music with their ears. I’ll hear the awful vocals and the sloppy playing. I’ll cringe at the silly lyrics and the general ridiculousness, before retreating back into my safe jamband bubble.
Sometimes our love overrules our critical thinking. There’s nothing wrong with that. People should love whatever (or whomever) makes them happy.
Dylan’s reputation as a terrible live performer is as well-earned as his Nobel Prize. There’s not one track on this album that is better than the studio version, although there are many that are abrasive, unpleasant listens. Sure, there’s something to be said about passion exceeding skill - that’s basically my golf game. And just like my golf game, the best thing I can say about Hard Rain is that at least it’s over relatively quickly.
Pitch Failed (Love Don, Love Dylan, Love Ronson, Hate Hard Rain.)
Don’s pitch was unsuccessful and Bob Dylan’s Hard Rain will be exiled from Newbury Street (although he’s already been inducted twice, for Blood on the Tracks and Traveling Wilbury’s Vol. 1). What’s your take? Please let us know in the comments.
Please join us next week as CJ pitches a band that actually got cheered when they un-plugged (are you taking notes, Zimmerman?) as he takes Tesla’s Five Man Acoustical Jam out for a spin.
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CJ, I am completely aligned with you, almost to the word. But Dylan's gonna Dylan.
As for me: Stop Making Sense (Talking Heads) is my all-time favorite live album. Not a bad song in the bunch, and some are far better than the original studio versions. It's been on constant rotation in my head (and my ear) since 1984 and that's saying something.
PS There's a 2023 remaster that includes tracks like Cities and I Zimbra, plus Genius of Love from the Tom Tom Club. More Tina Weymouth is never a bad thing.
I was wondering what happened to you. I am looking forward to a fresh new season of EON. The Rolling Thunder Review tour was a mess and this album takes what was salvageable from it. I know you guys are old dogs, more prone to reviewing music from before 1985 - like Live at Leeds, but might I suggest you look forward and consider Wilco's Kicking Television: Live in Chicago?