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Don’t Forget the Songs-365: Mach Tres: Day 206
Fri. Aug 30, 2013

“One Too Many Mornings [live at the Royal Albert Hall 1966]”
Bob Dylan

1966

“♫ It’s
a restless
hungry
feeling/
that don’t
mean no
one no
good
♫”

When Bob Dylan picked up his electric guitar at the Newport Folk Festival in 1965, it was equivalent of The American Bard taking his axe and destroying it in front of his once devoted acoustic followers. The same folk movement that had championed Dylan had turned ferociously against Bob like a spurned lover claiming the singer had been unfaithful for solely picking up a plugged into an amplifier. Why exactly did Bob Dylan have to ask anyone’s permission to pick up and perform with an electric guitar anyway?

In the UK, they saw Dylan’s love of his electric instrument equally blasphemous. Towards the climax of Dylan’s Royal Albert Hall 1966 show, an audience member actually had the stones to yell “Judas,” to Bob and by that point Dylan had enough of the criticism and channeled all that hate into his new electric love. In fact, “One Too Many Mornings” originally a love sick acoustic lament to his former flame Suze Rotolo now became a very boisterous kiss off to the folk movement that had turned on Dylan with the loathsome disgust saved for villains and politicians. Dylan was neither; he was an artist who chose a new instrument to create his art.

By 1966, Bob took the furious arrangement, similar to his most famous “Like A Rolling Stone” and matched it to the lyrics of “One Too Many Mornings.” Listen to the way that Dylan fights back with The Band backing him so powerfully showing that no one puts Bob in a corner. This very electric version of “Mornings” came two songs before the “Like A Rolling Stone” finale, equally as memorable, this rendition of “One Too Many” has Dylan taking back his voice and his song with his new electric instrument. Just listen to the way that Bob enunciates every word of “Mornings,” it’s as if Dylan wants the audience to know that this song once written for Suze was now dedicated to these angry onlookers. This performance of “One Too Many Mornings” was so dynamic it felt like Dylan was sending an electric message that read— any crowd, critic or fan that dare stand in his way of his creations will be damned.

It takes a true artist to stand up to his audience and in this 1966 Royal Albert Hall show, Bob Dylan, with help from The Band, took the power back. This version of “Mornings” reflected 100% pure uncompromising and unforgettable Bob. His past was now prologue and the future was brighter; relive this gloriously electric moment— within the guise of “One Too Many Mornings” was the revelatory sound of Bob Dylan dramatically taking up his axe and proudly, leaving his acoustic/folk past behind.

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