Unreleased Dylan ’63 Due in April


Available for a short time last year with the
Bootleg Series release, the Brandeis CD now will be in full release from Columbia Legacy on April


By Blurt Staff


A previously unknown live
recording of a 21-year-old Bob Dylan taped at the Brandeis First Annual Folk
Festival in Waltham, Massachusetts on May 10, 1963, Bob Dylan In Concert – Brandeis University 1963 captures the
rollicking wit, deadpan delivery and driving intensity of the young artist’s
on-stage persona in an assortment of end-of-the-world songs — none of them
commercially available at the time — performed in front of an appreciative
audience two weeks prior to the release of The
Freewheelin’ Bob Dylan
(May 27, 1963). 


The Bob Dylan In Concert – Brandeis
University 1963
concert tape was discovered recently in the archives of the noted music writer
and Rolling Stone co-founder Ralph Gleason, where it sat on a shelf for more
than forty years.  “It had been forgotten, until it was found last
year in the clearing of the house after my mother died,” said Toby
Gleason, Ralph’s son. “It’s a seven inch reel-to-reel that sounds like it
was taped from the mixing desk.”


Drawn from two sets that
spring night at the Brandeis Folk Festival, tracks include “Honey, Just
Allow Me On More Chance” (incomplete), “Talkin’ John Birch Paranoid
Blues,” “Ballad Of Hollis Brown,” “Masters of War,”
“Talkin’ World War III Blues,” “Bob Dylan’s Dream,” and
“Talkin’ Bear Mountain Picnic Massacre Blues.”


Previously available as a
limited time offer (it was a bonus disc available for a short time last year
with initial copies of The Bootleg Series
Vol. 9
) Brandeis  is being reissued in response to overwhelming
popular demand for a wide release.  The new Columbia/Legacy edition
features liner notes penned exclusively for this release by noted Bob Dylan
scholar Michael Gray, author of The Bob
Dylan Encyclopedia
and the three-volume Song
& Dance Man: The Art of Bob Dylan,
provided an explication of the
album’s seven songs and historical/cultural context for the performances.


“It’s a small miracle
this recording exists,” Gray writes in his essay.  “Clearly a
professional recording…. (t)he Bob Dylan performance it captured, from way
back when Kennedy was President and the Beatles hadn’t yet reached America,
wasn’t even on fans’ radar…. It reveals him not at any Big Moment but giving
a performance like his folk club sets of the period: repertoire from an
ordinary working day….Dylan has leapt a creative canyon with this
material….This is the last live performance we have of Bob Dylan before he
becomes a star….”



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