A source of one of the greatest live albums of all time, Fort Worth 1976 is essential listening. Not just for hardened Bob Dylan fans, but those who want a place to start. A selection of songs here would feature on the official Hard Rain release. Other tracks from this gig would offer amazing versions of Dylan’s biggest hits. His continued instrumental change-up is the best and worst part of his career. For those just getting into Dylan, there may be some disappointment to be had in not hearing those classic renditions. But for those who have taken to as many bootlegs and live albums as they can find, part of the charm is hearing how a song can be reconstructed. What new meaning will fall out of place as Dylan delivers scathing renditions of Idiot Wind, or in later years, how would the likes of When I Paint My Masterpiece sound? Instrumental variation is the gift that keeps on giving for Dylan fans.
Fort Worth 1976 is no exception to that rule. A twenty-three-song set from one of the most interesting periods for his work. Indescribably brilliant. It showcases just how much potential there was for the Hard Rain album. Tough it may have been to cut this down to an album, the right calls are made. There are performances of Dylan classics like Mr. Tambourine Man and Blowin’ in the Wind, though they do not quite capture the emotional mood of the times. The former feels a little too close to the acoustic sound Dylan had drifted from shortly after its release, while the latter does not make for a convincing enough transition to the electrified meltdown heard on Rolling Thunder Revue bootlegs. What does come through, though, are magnificent alternates to songs already featured on Hard Rain. This cut of Maggie’s Farm is a slight variation to what featured on the album, while Shelter from the Storm is just about there as far as instrumental style goes.
Beyond the variants, there are some striking moments left off the live album worth hearing. I Want You is a surprise given how many of Dylan’s songs were now about the lack of want, but it makes for a brilliant beginning to an all-time great three-track segue. I Want You, Going, Going, Gone, and Idiot Wind are a magnificent trio. For Blood on the Tracks fans, the inclusion of Idiot Wind as a raging cap to the loved-up hopes of Blonde on Blonde and Planet Waves material is sensational. You can hear those developments playing on the band here, though it was ultimately dropped for Hard Rain. It’s one of those beautiful moments that makes seeking out live performances that much more rewarding. New context for old songs is the Dylan way, and it is what he has proven time and again with these performances.
An essential listen, then. A little more niche than those who are just getting the studio releases, but certainly of interest to listeners wanting more from the mid-70s. It’s a crucial period for Dylan, arguably the most important time, excluding the transition from folk to electric. Phenomenal pieces of work the whole way through this set, renditions of these songs which would never appear again. Dylan moved on to the gospel years soon after these performances and would spend a decade attempting to rediscover a worthy sound. He would, but nothing has come close to the blistering, brutal music he pieced together during the Rolling Thunder Revue tour. An on-stage masterclass which brought about an album of similar quality.
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