Bob Dylan has officially released The 1974 Live Recordings, a comprehensive box set documenting his celebrated comeback tour alongside the legendary Bob Dylan Band – The Band. This monumental collection spans 27 discs and features 431 tracks, presenting soundboard recordings of nearly every available song from every show, timed perfectly for the tour’s 50th anniversary year.
As experts covering Shocknaue Entertainment News, we recognize the significance of this release for music history enthusiasts and particularly for fans tracing the dynamic collaboration between Bob Dylan and The Band. This extensive set offers an unparalleled, deep dive into Tour ’74. Having analyzed the entirety of this 29-hour behemoth, we’ve compiled a detailed disc-by-disc guide to help navigate this vast archive. This guide highlights the standout shows, essential performances, notable setlist variations, and identifies what material from the tour might still be missing. Whether you’re deciding to acquire the set (which is notably well-priced for its scale) or already have it in hand, this breakdown aims to enhance your listening experience.
Bob Dylan performing live with members of The Band during the landmark 1974 tour.
Before delving into the show-by-show specifics, here are some overarching takeaways gleaned from immersing ourselves in these recordings.
Top Takeaways
- Revisiting Before the Flood: The original 1974 live album, Before the Flood, primarily sourced from the tour’s final shows, doesn’t fully represent the tour’s arc. This box set reveals that Tour ’74 arguably peaked earlier. The initial weeks featured more passionate, nuanced performances and adventurous setlist choices compared to the later shows, which tended towards routine, louder renditions and a reliance on greatest hits, largely abandoning the then-new Planet Waves material. This new collection showcases a richer, more varied, and often more compelling side of the Bob Dylan Band collaboration.
- Soundboard Treasure Trove: Prior to this release, only five soundboard recordings from Tour ’74 were widely circulating. This box set dramatically expands that number to 26 shows, offering vastly improved audio fidelity for most of the tour dates. Crucially, many of the newly available high-quality recordings capture the tour’s stronger early phase, providing fresh perspectives on these performances.
- Savor, Don’t Binge: The sheer volume demands patience. With 34 versions of “Most Likely You Go Your Way (And I’ll Go Mine)” and over 20 renditions each of “It’s Alright Ma (I’m Only Bleeding)” and “The Times They Are a-Changin’,” listening fatigue is a real possibility. Unlike Dylan’s later Never Ending Tour habits, where nightly arrangements could vary significantly, many performances here share similar structures. While some songs like “Forever Young,” “Rainy Day Women,” and “Gates of Eden” exhibit notable variations, digesting the set over time is recommended over marathon listening sessions.
- Harmonica Heroics: A surprising standout across the entire set is Dylan’s harmonica playing. Often overlooked, his work here is consistently energetic and inventive, not just on the expected acoustic ballads (the closing solos on “Don’t Think Twice” are nightly highlights) but also weaving high-velocity solos into the full-band electric numbers. Even when other elements occasionally feel perfunctory, the harmonica contributions remain inspired.
- Acoustic Brilliance: Dylan’s solo acoustic segments, particularly in the tour’s first half, are another major highlight. Often muffled in older audience recordings, the clarity of the soundboards brings new life to these intimate performances. “Gates of Eden,” “Just Like a Woman,” and “She Belongs to Me” frequently steal the show, alongside the early, raw versions of the new tracks “Wedding Song” and “Nobody ‘Cept You.”
- The Missing Band Sets: A common point of discussion upon the set’s announcement was the exclusion of The Band’s own solo sets. By 1974, The Band were major stars, and their nightly segments were integral to the concert experience. While including their full sets would have likely added another 14 discs and featured even less setlist variation than Dylan’s portions (imagine 26 versions of “The Shape I’m In”), their complete omission leaves a narrative gap. A curated bonus disc representing their best performances might have been a welcome compromise.
- MVP Songs (Oft-Played): “Ballad of Hollis Brown” and “Just Like Tom Thumb’s Blues” emerge as consistent powerhouses. The fierce electric arrangement of “Hollis Brown” is arguably the tour’s defining statement, channeling a ’66-like intensity. “Tom Thumb’s Blues,” while closer to its studio version, sounds exceptionally potent in every outing with the Bob Dylan Band.
- MVP Song (Rarely-Played): “Tough Mama.” The standout new song performed live, delivered with a sharp, biting energy. Its disappearance after only three shows is regrettable. Thankfully, “Forever Young” offers consistent quality across its 25 appearances here.
- LVP Song (Least Valuable): “Lay Lady Lay.” Often marred by grating, yelping vocals, this track represents Tour ’74 at its least appealing. While many greatest hits (“Rainy Day Women,” “Forever Young,” “Knockin’ on Heaven’s Door,” “Ballad of a Thin Man”) shine, this one frequently falls flat.
With the big picture established, let’s proceed to the detailed guide for each disc in The 1974 Live Recordings.
The expansive Bob Dylan Band 1974 Live Recordings box set shown with multiple discs.
The 1974 Live Recordings: Disc By Disc
Disc 1: January 3, 1974 – Chicago Stadium, Chicago, IL
** Must-Hear Show **
One could argue this entire box set peaks with its opening disc. The first night crackles with excitement, featuring five live debuts (including two signature hits performed for the first time) and one of the tour’s most diverse setlists. Kicking off the entire comeback tour with a full-band electric rendition of the obscure folk-era track “Hero Blues” remains a remarkably bold choice. Compounded by the fact that previously circulating audience tapes were of poor quality, this disc offers the first clear listen to this pivotal night. The performance quality is stellar; this show alone could have served as a compelling live album in 1974, arguably surpassing Before the Flood. As noted, the early tour featured more engaging setlists and committed vocals. While energy is abundant here, there’s greater variety in both song selection and delivery compared to the shoutier performances dominating the tour’s end, from which Before the Flood primarily drew.
Notable inclusions:
- All tracks are debuts for the tour, but especially:
- “Tough Mama” — first time ever
- “All Along the Watchtower” — first time ever
- “Nobody ‘Cept You” (acoustic) — first time ever
- “Forever Young” — first time ever
- “Something There Is About You” — first time ever
Missing tracks:
- The Band’s set (This applies to all discs and won’t be repeated; however, this was the only show where Dylan reportedly stayed onstage playing guitar during their set)
- “Ballad of a Thin Man”
- “I Don’t Believe You”
- “The Times They Are a-Changin’”
Disc 2: January 4, 1974 – Chicago Stadium, Chicago, IL
Setlist creativity continues on the second night, offering five more tour debuts. Among them is another first-ever performance of a classic: “Knockin’ on Heaven’s Door,” which would become a nightly staple. “Just Like Tom Thumb’s Blues” also makes its tour debut here, immediately establishing itself as a highlight. This sharp, jagged rendition, enhanced by Garth Hudson’s organ, captures a unique energy, arguably one of the best live iterations of the song. The sound quality surpasses the opening night’s recording, although an excellent audience tape has circulated previously, making the upgrade less dramatic. Levon Helm’s drums are particularly punchy (evident in his “Maggie’s Farm” fills), though Dylan’s vocals occasionally distort.
Notable inclusions:
- “Hero Blues” — final performance ever
- “Just Like Tom Thumb’s Blues” — first time on tour
- “Ballad of a Thin Man” — great, first from this tour on tape
- “Knockin’ on Heaven’s Door” — first time ever
- “Love Minus Zero/No Limit” (acoustic) — first time on tour
- “Maggie’s Farm” — first time on tour
Missing tracks:
- “Lay Lady Lay”
- “All Along The Watchtower”
- “Forever Young
- “Something There Is About You”
- “Like A Rolling Stone”
Disc 3: January 6, 1974 (Afternoon) – The Spectrum, Philadelphia, PA
Two pivotal tracks define this afternoon show recording. First is the debut of “Ballad of Hollis Brown,” arguably the tour’s standout regular number. This performance comes closest to capturing the raw energy of the 1966 Bob Dylan Band dynamic, transforming an old folk song into a loud, angry electric powerhouse. More successful than the similar experiment with “Hero Blues” (it’s inherently a stronger song), it opened the show this one time only. While opening subsequent shows with different acoustic-to-electric rearrangements (“Hero Blues,” then “Hollis Brown,” perhaps others like the considered “Spanish Harlem Incident”) would have been intriguing, the opener soon standardized to “Most Likely You Go Your Way.” Fortunately, “Hollis Brown” remained in the set, shifted later.
The second key track marks a departure: the final tour performance of “Tough Mama” (it wouldn’t reappear live until 1997). This is unfortunate, as it was the best full-band track from Planet Waves showcased live (challenged only by the acoustic “Wedding Song”). It evokes that ’66 sense of danger often missing elsewhere on this tour. Dylan’s harmonica shines here, reinforcing the tour’s status as a treasure trove for harp enthusiasts, with frequent plays across six or seven songs nightly. All three versions of “Tough Mama” on this set arguably surpass the studio recording.
Notable inclusions:
- “Ballad Of Hollis Brown” — first time on tour, only time opening show
- “Tough Mama” — last time on tour
- “To Ramona” (acoustic) — only time on tour
- “Mama, You Been On My Mind” (acoustic) — only time on tour
Missing tracks:
Disc 4: January 6, 1974 (Evening) – The Spectrum, Philadelphia, PA
January 6th marked the first instance of Dylan and The Band performing both an afternoon and evening show in the same venue – a grueling schedule involving roughly four and a half hours of music daily that would repeat often. This demanding pace took its toll. A significant visual element introduced here (though inaudible on the recording) was promoter Bill Graham’s idea to turn up the house lights during the “Like a Rolling Stone” chorus, explicitly inviting a sing-along. Graham reported Dylan was “mesmerized” after seeing the 20,000-strong crowd singing along.
This show features the second and final tour performance of “Song to Woody.” Playing non-hits like this and “Hero Blues” early on indicated Dylan consciously acknowledging his folk roots during this live rebirth after eight years away from touring. His harmonica work on this track is exceptional, leading beautifully into the tour’s only solo-acoustic “Mr. Tambourine Man.”
Notable inclusions:
- “Rainy Day Women # 12 & 35” — first time on tour
- “It’s All Over Now, Baby Blue” (acoustic) — first time on tour
- “Song to Woody” — second and final time of tour
- “Mr. Tambourine Man” (acoustic) — only time played acoustically on tour
Missing tracks:
Disc 5: January 7, 1974 – The Spectrum, Philadelphia, PA
** Must-Hear Show **
This disc arguably presents the best sound quality encountered so far in the set. While all recordings are generally good, this one possesses a particular vibrancy. The rhythm section of Rick Danko (bass) and Levon Helm (drums) sounds phenomenal, driving each song forward with authority. An isolated track of just their contributions would likely still be compelling.
The debut of “Wedding Song” is the obvious highlight on paper (this tour marked its only live performances ever). However, an unexpected standout is “Rainy Day Women #12 & 35.” Played significantly slower here (around 95 BPM) compared to later in the tour (speeding up to 105 BPM a week later and reaching a frantic 115 BPM by the end), this relaxed tempo lends it a bluesier, less frenetic feel, emphasizing singing over shouting. The same holds true for “Ballad of a Thin Man,” another strong performance here. Both tracks exemplify the tour’s general trend towards faster, louder, and screamier renditions as it progressed, making these earlier, more nuanced versions particularly valuable.
Notable inclusions:
- “Just Like A Woman” (acoustic) — first time on tour
- “Girl From The North Country” (acoustic) — first time on tour, one of only two
- “Wedding Song” (acoustic) — live debut!
Missing tracks:
Disc 6: January 9, 1974 – Maple Leaf Gardens, Toronto, Canada
The most notable event related to this show occurred afterward: Dylan and the band attended a late-night performance by The Band’s former mentor, Ronnie Hawkins. This isn’t captured on the recording, of course. What is audible is the band settling into a routine. Setlist surprises become rarer. The main novelty here is the tour’s only rendition of “It Takes A Lot To Laugh, It Takes A Train To Cry,” which also marks the last new full-band song addition for a while. Surprisingly absent from the 1966 tours where it would have fit perfectly, this performance highlights Dylan’s powerful high-speed harmonica playing alongside the full Bob Dylan Band. Robbie Robertson mentioned in a Rolling Stone interview that this inclusion was spontaneous, never rehearsed or discussed beforehand.
Notable inclusions:
- “It Takes A Lot To Laugh, It Takes A Train To Cry” — only time on tour
- “Girl From The North Country” (acoustic) — second and final performance on tour
Missing tracks:
(Note: The January 10, 1974 Toronto show is missing from this box set.)
Disc 7: January 11, 1974 – Montreal Forum, Montreal, Canada
A crucial development impacting the remainder of the tour occurs at this show. Dylan, having experimented with “Hero Blues,” “Ballad of Hollis Brown,” and “Rainy Day Women” as openers, had tried using the usual closer, “Most Likely You Go Your Way,” as the opener the previous night in Toronto (a show missing from this set). Still undecided on its best placement, he adopts a highly unusual strategy in Montreal: opening and closing the show with the same song. This practice, possibly inspired by Neil Young who had recently done the same with “Tonight’s the Night” on his 1973 tour, became a defining feature of Tour ’74. This repetition likely energized crowds, offering a familiar yet potent bookend to the concerts.
Notable inclusions:
- “Most Likely You Go Your Way (And I’ll Go Mine)” — first appearance as opener on this set (was played at missing Toronto show, but without the reprise)
- “Don’t Think Twice, It’s All Right” (acoustic) — first appearance on this set (was played at missing Toronto show)
- “Gates Of Eden” (acoustic) — first appearance on this set (was played at missing Toronto show)
Missing tracks:
(Note: The January 12, 1974 Montreal show is missing from this box set.)
Disc 8: January 14, 1974 (Afternoon) – Boston Gardens, Boston, MA
This show represents the first instance on the box set where a soundboard recording had previously circulated widely (it was the only one known from the tour’s first four weeks). Paradoxically, this recording is arguably the weakest-sounding disc thus far, exhibiting noticeable background hiss, particularly during the acoustic set and some preceding electric numbers. With no debuts or significant setlist variations, this disc is less essential compared to others in the collection.
Notable inclusions:
Missing tracks:
(Note: The January 14, 1974 (Evening) Boston show is missing from this box set.)
Disc 9: January 15, 1974 – Capital Centre, Largo, MD
** Must-Hear Show **
“Thank you, it’s great to be back in DC,” Dylan remarks after the opening song, marking the first audible stage banter on the entire set. Dylan spoke little during this tour, and even brief comments (like acknowledging the city or announcing the intermission) seem edited out of most tapes, which often fade between songs. Hearing his voice, even for an innocuous comment, is startling after eight discs of uninterrupted music. This recording boasts particularly strong sound quality and features exceptional performances in the acoustic set. “Wedding Song” and “Just Like a Woman” are delivered with peak artistry. The acoustic segments throughout the box set emerge as consistent highlights, benefiting significantly from the soundboard clarity compared to murky audience tapes. While sometimes these acoustic slots felt like rote ’60s nostalgia (“The Times They Are a-Changin’” again), moments of genuine commitment like these truly shine.
Notable inclusions:
- “I Don’t Believe You (She Acts Like We Never Have Met)” — final performance of tour
Missing tracks:
Disc 10: January 16, 1974 – Capital Centre, Largo, MD
Unfortunately, the “yelpsinging” vocal style begins to infiltrate more songs. “Lay Lady Lay” becomes an early casualty, with nearly every line exaggerated (“in your MIII-EEEND,” “see them SHIII-EEENE”). This tendency affects several songs in this show, perhaps indicating fatigue after four shows in three days. Thankfully, the final live performance ever of “Nobody ‘Cept You” retains more nuance. However, the tour’s only rendition of “One Too Many Mornings,” a clear nod to its role in the 1966 concerts, succumbs to the shoutier delivery. On a non-musical note, photos exist documenting Dylan’s pre-show visit to DC’s Phillips Collection art museum, reflecting his growing interest in visual art, which would soon influence his songwriting for Blood on the Tracks.
Notable inclusions:
- “One Too Many Mornings” — only time on tour
- “Nobody ‘Cept You” (acoustic) — final live performance ever
Missing tracks:
Disc 11: January 17, 1974 – Coliseum, Charlotte, NC
This show was highly anticipated due to the notoriously poor quality of its existing audience recording. The new soundboard reveals one of the set’s best versions of “Forever Young.” This song increasingly became a vocal centerpiece, Dylan employing a full croon on the verses before powerfully belting the choruses with elaborate phrasing (“may you sta-a-a-a-a-a-y”). Otherwise, the concert is fairly standard for this stage of the tour. Charlotte was the first city on the itinerary to host only a single show, as ticket sales reportedly slowed as the tour moved south. Banners hung behind the stage read “Everybody must get stoned” and “To Woody Guthrie, Bob and the wild blue yonder.”
A social media post listing shows with poor audience tape quality, highlighting Charlotte.
Notable inclusions:
Missing tracks:
Disc 12: January 19, 1974 (Afternoon) – Hollywood Sportatorium, Hollywood, FL
The box set enters a somewhat weaker phase here. Shows become more predictable as earlier rotating songs, including new material like “Tough Mama” and several acoustic options, are dropped. Unlike the Never Ending Tour’s potential for nightly variation within the same setlist, many performances here sound similar from one night to the next (e.g., “It’s Alright Ma”). The shoutier vocal approach also becomes more prevalent. While not a poor performance, this show lacks distinguishing features amidst the extensive collection. Ticket sales for the two Florida shows were notably slow, a fact reported in local newspapers; this afternoon show didn’t sell out. The venue itself was criticized even by the promoter. Due to several missing tracks, this is a shorter disc.
Notable inclusions:
Missing tracks:
- “Most Likely You Go Your Way”
- “Lay Lady Lay”
- “Just Like Tom Thumb’s Blues”
- “Leopard-Skin Pill-Box Hat”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
(Note: The January 19, 1974 (Evening) Hollywood, FL show is missing from this box set.)
Disc 13: January 21, 1974 – The Omni, Atlanta, GA
The tour’s demanding pace audibly affects Dylan here; his voice sounds hoarse. He compensates by shouting louder, which, combined with slightly muffled sound quality on this disc, makes it less essential listening. This is unfortunate, as the context surrounding the show – Dylan and the band visiting Georgia Governor (and future President) Jimmy Carter – is particularly interesting.
Notable inclusions:
- “Leopard-Skin Pill-Box Hat” — final performance of tour
Missing tracks:
Disc 14: January 22, 1974 – The Omni, Atlanta, GA
The existing audience tape for this show was perhaps the worst of the entire tour, making this soundboard the first opportunity to properly hear the performance. Some vocal hoarseness persists from the previous night, but Dylan’s voice recovers about four songs in (his delivery on “leaving his po-ho-ho-ho-host” in “Just Like Tom Thumb’s Blues” signals returning strength). The acoustic set is terrific, featuring the typically excellent closing harmonica solo on “Don’t Think Twice” and leading into one of the best “Gates of Eden” versions available. While not designated a Must-Hear Show overall, the acoustic set itself is definitely worth hearing. The show concludes with a lively “Like a Rolling Stone” and a rare bit of stage banter: “We’re gonna finish up where we started out,” before launching into the second “Most Likely” of the night.
Notable inclusions:
Missing tracks:
- “All Along the Watchtower”
(Note: The January 23, 1974 (Memphis) and January 25, 1974 (Fort Worth) shows are missing from this box set.)
Disc 15: January 26, 1974 (Afternoon) – Hofheinz Pavilion, Houston, TX
** Must-Hear Show **
After a break of a few days and several skipped shows in the box set sequence, Dylan returns sounding reinvigorated. On paper, this show appears identical to its surrounding dates, with the setlist having solidified. However, from the opening notes of the first “Most Likely,” there’s a palpable increase in energy compared to recent performances. Even the established tour standards feel revitalized. This disc features arguably the best “Like a Rolling Stone” so far, with Dylan creatively stretching notes and adding syllables, similar to his treatment of “Forever Young,” which is again a highlight. The Bob Dylan Band is also in fine form; Robbie Robertson’s solo on “Watchtower” is exceptional. Dylan’s concluding thanks to the crowd sounds genuinely enthusiastic. Sometimes, magic happens unexpectedly on a random afternoon in Houston.
Notable inclusions:
Missing tracks:
Disc 16: January 26, 1974 (Evening) – Hofheinz Pavilion, Houston, TX
Performed just hours after the afternoon show, this evening concert maintains much of the same high energy. Richard Manuel’s piano playing, mixed prominently here, stands out, particularly on “Rainy Day Women” (which also features more sharp guitar work from Robertson). Minor static intrusion occurs on the final “Most Likely,” a rare instance of imperfect sound quality. Unfortunately, the recording misses some reported stage banter: “I’m happy to come to Houston. Sam Houston is a personal hero of mine!” Both Houston shows previously existed only as poor audience recordings, making these clear soundboards a treat for longtime collectors, despite the identical setlists for attendees of both shows.
Notable inclusions:
Missing tracks:
(Note: The January 28 & 29, 1974 (Uniondale, NY) shows are missing from this box set.)
Disc 17: January 30, 1974 – Madison Square Garden, New York City, NY
The arrival of Bob Dylan and The Band at Madison Square Garden was a major cultural event, attended by numerous celebrities and music journalists. Dylan acknowledged the occasion slightly, telling the crowd, “Good to be back. An honor to be here.” While the performance itself isn’t exceptionally different from others around this time, it introduces the first new song in a while: “Blowin’ in the Wind.” Although played twice solo-acoustically earlier in the tour (performances missing from this set), this marks its debut electric arrangement with the full band. It appeared as a surprise second encore after the standard “Most Likely” reprise and became a regular fixture thereafter. This initial version is solid but doesn’t quite explode; however, the prominent backing vocals from The Band (usually only clearly audible on “It Ain’t Me Babe” and “Rolling Stone”) are a welcome addition.
Rolling Stone magazine spread featuring crowd shots from the Bob Dylan Band MSG concerts in 1974.
Notable inclusions:
- “Something There Is About You” — final performance on tour
- “Blowin’ In The Wind” — first time electric on tour
Missing tracks:
- “Rainy Day Women # 12 & 35”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
Disc 18: January 31, 1974 (Afternoon) – Madison Square Garden, New York City, NY
The following afternoon at MSG saw another addition that became a tour staple: “Highway 61 Revisited.” Surprisingly, this iconic song wasn’t performed by Dylan and The Band during their earlier electric tours. This performance marks only its second live outing ever (following the Isle of Wight festival) before it quickly became one of his most frequently played songs. Due to numerous missing tracks, this is the shortest disc in the set (9 songs, 33 minutes, some incomplete). However, this brevity offers a refreshing change of pace. “Watchtower” serves as a powerful opening here, leading into an excellent “Hollis Brown” where Levon Helm’s drumming shines. “Forever Young” continues to be a vocal showcase. The sound quality is superb, as this marks the first recording sourced from the multi-track tapes made for Before the Flood. All subsequent discs in the set are from these multi-tracks, ensuring top-tier audio fidelity, although the earlier non-multitrack soundboards were already impressive.
Notable inclusions:
- “Highway 61 Revisited” — first time on tour
Missing tracks:
- “Most Likely You Go Your Way”
- “Lay Lady Lay
- “Just Like Tom Thumb’s Blues”
- “Rainy Day Women # 12 & 35”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
- “Just Like A Woman” (acoustic)
- “It’s Alright, Ma (I’m Only Bleeding)” (acoustic)
- “Maggie’s Farm”
- “Blowin’ in the Wind”
- Incomplete: “Gates of Eden” (acoustic), “Like a Rolling Stone”
Disc 19: January 31, 1974 (Evening) – Madison Square Garden, New York City, NY
** Must-Hear Show **
The third and final MSG show is the strongest of the run. While offering no further setlist surprises, the performance is top-notch across the board, captured in excellent sound. Nearly every song stands out: the “Most Likely” opener is more sung than shouted; staples like “It Ain’t Me Babe” and “Thin Man” feel particularly lively. Dylan’s harmonica on “Just Like a Woman” is among the tour’s best, and he adds intriguing stutter-scatting effects to the vocal gymnastics of “Forever Young.” Both recently added songs, “Highway 61 Revisited” and “Blowin’ in the Wind,” sound significantly improved and more energetic compared to their debuts.
Notable inclusions:
Missing tracks:
(Note: The Feb 2 (Ann Arbor), Feb 3 (Bloomington), Feb 4 (St. Louis – w/ Leon Russell), Feb 6 (Denver – Afternoon & Evening), and Feb 7 (Denver) shows are missing from this box set. These missing shows included the only tour performances of “A Hard Rain’s A-Gonna Fall,” “Desolation Row,” and “Visions of Johanna.”)
Disc 20: February 9, 1974 (Afternoon) – Seattle Center Coliseum, Seattle, WA
A significant gap in the box set precedes this disc, likely because the multi-track recording setup used for Before the Flood was not deployed for these intervening shows, and simpler soundboard recordings may not have been made concurrently. While the absence means missing the only performances of three major acoustic songs (“Hard Rain,” “Desolation Row,” “Visions”) and Leon Russell’s guest spot in St. Louis (reportedly more presence than performance), the shift to multi-track recordings from here on offers continuous audio without the fades between songs found on earlier discs, preserving the minimal stage banter, like Dylan’s “Thank you, we’re just waking up” greeting here.
After a nine-day break (partially spent rehearsing, reportedly at the Playboy Club), the question is whether the final leg shows improvement. Not entirely. Dylan is frequently in full shout mode now. This works occasionally (“Highway 61” is fierce) but renders many other songs, especially the acoustic set (“Times,” “Don’t Think Twice,” the returning “Wedding Song” – far less nuanced than earlier versions), difficult listens. The energy is high, sometimes excessively so. However, “Hollis Brown” retains its power without sacrificing singing (Levon’s drums are again outstanding), and a solo “She Belongs to Me” provides a welcome, powerful respite from the shouting in the otherwise stale acoustic slot.
Notable inclusions:
- “She Belongs to Me” (acoustic) — first appearance on this set (played at missing Denver show)
Missing tracks:
- “Rainy Day Women # 12 & 35”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
- “Like A Rolling Stone”
- “Most Likely You Go Your Way (And I’ll Go Mine)”
Disc 21: February 9, 1974 (Evening) – Seattle Center Coliseum, Seattle, WA
The first half of this evening show is missing, making this the second-shortest disc (10 tracks). Similar to Disc 18, this provides an immediate plunge into the latter part of the concert, bypassing the now-standard opening sequence. A snippet of local BobTalk is lost: “Good to be in Seattle, home of Jimi Hendrix!” The shouting persists, particularly hindering the acoustic set, but “Highway 61 Revisited” continues to gain strength nightly. Robbie Robertson’s train-whistle guitar effects are prominent on this recording, and Dylan’s energetic yelping fits the song, especially during the breakdown sections featuring just vocals and Levon Helm’s drums.
Notable inclusions:
Missing tracks:
- “Most Likely You Go Your Way”
- “Lay Lady Lay
- “Just Like Tom Thumb’s Blues”
- “Rainy Day Women # 12 & 35”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
- “All Along the Watchtower”
- “Ballad Of Hollis Brown”
- “Knockin’ on Heaven’s Door”
Disc 22: February 11, 1974 (Afternoon) – Alameda County Coliseum, Oakland, CA
This recording also begins mid-show. “Watchtower” again serves as an effective, fiery entry point, leading into an equally intense “Hollis Brown.” The sound quality on this disc is exceptional, among the best in the set. Backing vocals, such as those on “Knockin’ on Heaven’s Door,” are particularly clear. Levon Helm’s drumming is once more a highlight, especially on “Highway 61.” The acoustic set loses some momentum; “Don’t Think Twice” feels rushed, and the final tour performance of “Wedding Song” lacks the magic of its earlier renditions. This also marks the last performance of any Planet Waves material besides the nightly “Forever Young,” effectively sidelining the album the tour ostensibly supported. However, a unique moment occurs during “Hattie Carroll”: a mid-song harp-guitar duet where Dylan’s strumming dynamically follows his harmonica lead, a departure from his usual approach. The closing harp solo is also excellent.
Notable inclusions:
- “The Lonesome Death Of Hattie Carroll” (acoustic) — final performance of tour
- “Wedding Song” (acoustic) — final performance ever
Missing tracks:
- “Most Likely You Go Your Way”
- “Lay Lady Lay
- “Just Like Tom Thumb’s Blues”
- “Rainy Day Women # 12 & 35”
- “It Ain’t Me, Babe”
- “Ballad Of A Thin Man”
- Incomplete: “Like a Rolling Stone”
Disc 23: February 11, 1974 (Evening) – Alameda County Coliseum, Oakland, CA
This disc is a showcase for Garth Hudson fans. His organ and keyboards are mixed unusually high throughout, sometimes matching Dylan’s vocal level. While potentially overpowering in isolation, within the context of the full box set, this different sonic perspective is fascinating, bringing Hudson’s contributions to the forefront as the rest of the Bob Dylan Band recedes slightly. “It Ain’t Me Babe” and his solo on “Rainy Day Women” (which includes some ad-libbed opening lines from Dylan) are particular highlights. Unfortunately, Dylan’s performance is subpar; his voice sounds hoarse again, leading to compensatory shouting. “Watchtower” is especially rough, with tunelessly hollered lyrics. A refreshing change occurs at the end, closing with “Maggie’s Farm” into “Blowin’ in the Wind,” skipping the “Most Likely” reprise entirely.
Notable inclusions:
- “Maggie’s Farm” — first on box since Jan 4 show (1/31 performance missing)
Missing tracks:
- Incomplete: “Don’t Think Twice, It’s All Right,” “Highway 61 Revisited”
Disc 24: February 13, 1974 – The Forum, Inglewood, CA
** Must-Hear Show **
The tour arrives in Los Angeles for its final three shows. Dylan delivers the longest concert yet (20 songs, excluding The Band’s sets). Perhaps sensing the finish line, he and the band find a second wind for this entire closing run. This first LA night represents the best “standard” show of the month. While lacking major setlist surprises, it features top-tier performances of the established tour repertoire. “It Ain’t Me Babe,” “Ballad of a Thin Man” (note the staccato delivery on “tax deductible charity organizations”), and “All Along the Watchtower” are among the tour’s finest versions. Dylan largely keeps the shouting controlled until near the end, showcasing some of his most tuneful singing in weeks on “Knockin’ on Heaven’s Door.” The extended six-song acoustic set is also strong, including a great rendition of “Love Minus Zero” (absent for weeks) with a light reggae-inflected upstrum. This show contributed significantly to Before the Flood, sourcing “Lay Lady Lay,” “Rainy Day Women,” “Like a Rolling Stone” (one of the shoutier numbers here), half of the spliced “Blowin’ in the Wind,” and The Band’s “The Weight.”
Notable inclusions:
- “Love Minus Zero/No Limit” (acoustic) — final performance on tour
- “Most Likely You Go Your Way” — final reprise performance on tour
Missing tracks:
Disc 25: February 14, 1974 (Afternoon) – The Forum, Inglewood, CA
The final day kicks off with another solid, if less spectacular, show compared to the previous night. Perhaps pacing themselves for the grand finale, Dylan and The Band deliver a highly professional performance, maintaining energy even when seemingly going through the motions. The latter part of the show picks up, starting with a joyful “Forever Young” and closing strongly with enthusiastic full-band sing-alongs on “Rolling Stone” and “Blowin’.” The acoustic “It’s All Over Now, Baby Blue” (released as a promotional single for this box set) is a highlight, though arguably the Jan 6 Philly version is superior, demonstrating how much shoutier his vocals became over the tour. Rick Danko’s bass work adds notable depth to “Forever Young” and particularly “Highway 61.” This show provided Before the Flood with “Thin Man,” “Watchtower,” the other half of “Blowin’ in the Wind,” and The Band’s “I Shall Be Released” and “The Shape I’m In.”
Notable inclusions:
- “It’s All Over Now, Baby Blue” (acoustic) — final performance on tour
Missing tracks:
Discs 26 & 27: February 14, 1974 (Evening) – The Forum, Inglewood, CA
** Must-Hear Show **
The final concert of Tour ’74, its extended length necessitating two discs in the box set. The undisputed highlight is the first-ever electric performance of “Mr. Tambourine Man” with The Band (likely the first electric version ever). This track lives up to its promise, easily ranking among the absolute best performances in the entire 27-disc collection. Garth Hudson’s beautiful accordion playing is a standout feature, raising the question of why accordion wasn’t utilized more frequently on the tour. Its omission from Before the Flood, which heavily features tracks from this final show, is baffling. Any curated playlist from this box set must include this “Mr. Tambourine Man.”
The rest of the show radiates a palpable “last day of school” exuberance. Dylan generally strikes a better balance between energy and shouting than in recent weeks, though he still occasionally crosses the line. Levon Helm sounds particularly fantastic (his tom work on “Most Likely” and “It Ain’t Me Babe,” and the fill kicking off “Watchtower” are superb). This infectious joy permeates the set, mostly enhancing the performances, although arguably “Hollis Brown” loses some of its earlier venom. The concluding sequence of “Rolling Stone” into “Maggie’s Farm” into “Blowin’” is a celebratory treat, capturing the evident enjoyment of the musicians onstage.
Black and white photo by Barry Feinstein capturing Bob Dylan and The Band during the 1974 tour.
Notable inclusions:
- “Mr. Tambourine Man” — only time electric on tour
Missing tracks:
Conclusion
The 1974 Live Recordings stands as a monumental archival release, offering an unprecedented window into the powerful, complex, and historically significant reunion tour of Bob Dylan and The Band. Spanning 27 discs, it meticulously documents the evolution of the performances, the shifting setlists, and the raw energy that defined this comeback. While the sheer volume requires dedication, the rewards are immense, revealing nuances and strengths obscured by the original Before the Flood album, particularly the tour’s vibrant early stages and stunning acoustic moments. This collection is an essential document for understanding the Bob Dylan Band partnership at a pivotal moment and a treasure trove for anyone interested in the landscape of 1970s rock music. Exploring this massive set provides invaluable insight into a legendary collaboration captured live on stage.
