bob dylan world tour 1966 the home movies

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World Tour 1966: The Home Movies

Rare footage of the World Tour where Bob Dylan traded in his acoustic guitar for an electric sound. Rare footage of the World Tour where Bob Dylan traded in his acoustic guitar for an electric sound. Rare footage of the World Tour where Bob Dylan traded in his acoustic guitar for an electric sound.

• Joel Gilbert
• Mickey Jones
• Robbie Robertson
• Garth Hudson
• 2 User reviews
• 2 Critic reviews

• (archive footage)

• Self - The Band

• (as D.A. Pennabaker)

• (as Victor Maimudes)

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• Soundtracks Ballad of a Thin Man Written by Bob Dylan (uncredited) Performed by Highway 61 Revisited with guest drummer Mickey Jones

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• Oct 5, 2008
• 2003 (United States)
• United States
• World Tour 1966: The Home Movies - Through the Camera of Bob Dylan's Drummer Mickey Jones
• Highway 61 Entertainment
• See more company credits at IMDbPro

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• Runtime 1 hour 31 minutes
• Black and White

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Bob Dylan: World Tour 1966: The Home Movies

Even though these home movies are of Bob Dylan, they’re still home movies. And they’re not even his. They were made on 8mm by his drummer (Mickey Jones) on the ground-breaking 1966 Dylan world tour.

Therein lies the blessing and the curse. We get to see a little of what it was like to be behind the scenes on that tour, from the vantage of another professional musician. But because Jones was also a fan, the strapping young Texan mostly just gives us tourist-style images of Dylan.

If any tour deserves some potentially extraneous footage, this one does. This global hop was, of course, the one where Dylan went electric. Though it was at the Newport Folk Festival on 25 July 1965 where Dylan first shocked audiences by adding an electric rock set to his folk music performances, this is the tour where he tried to take that innovation around the world. The one where he outraged his folk fans who insisted he was “the voice of their generation” and that he had betrayed them with the boom of the guitars and drums.

Jones, as many others have before him, notes that Dylan was “evolving” as a musician and serving up some of the best, most influential rock ever delivered, but his audience just wasn’t ready for that. They wanted the troubadour who had headlined the folk revival and given them protest songs they believed in. What they got instead was a sphinx who wanted to go his own way; a man who was feeling more at home with blues-based electric rock. Dylan was booed around the world, and subsequently, changed the face of rock.

This important intervention in popular music has been documented before. Dylan cut his film version of the 1966 world tour, using D.A. Pennebaker’s footage, as Eat the Document (a bootleg version of which has circulated widely enough for people to know that Dylan is as iconoclastic, cantankerous, smart, and snarky a filmmaker as he is a singer and songwriter). It’s an anti-film; shaky, free-flowing, incoherent, stream of consciousness with less pay-off than one would hope. As Jones says here of that film, “no one knows what’s happening half the time.” Of course, Dylan likes it that way. And then there’s Martin Scorsese’s recent recut of that plus some other interview footage, No Direction Home . There, we get more recent Dylan actually trying to be…coherent.

So what does this new DVD release bring to the party? Well, tourist reels. Silent ones at that. Dylan tribute band Highway 61 Revisited provides covers of songs the band would have been playing had you been able to hear them in the footage. There’s Bob on stage doing his acoustic set to the rapturous delight of audiences, and of Jones.

There’s a stage hand holding Jones’s shaky camera for the second, electric set, where Dylan is joined by Robbie Robertson and the group that started off as “the Hawks,” but as Jones explains in talking head interviews and voice-overs, came to be known as “the Band”

because so many newspaper articles slammed the sacrilegious set for being loud, electric, and somehow a betrayal to Dylan’s fans. It was all great, reporters wrote, until “the Band” came out.

Less interestingly, we see footage of arrivals and departures from airports, and visits to tourist destinations in Hawaii, Australia, and Europe. While it can be amusing to catch glimpses of Dylan banging around old castles and generally being cool and ironic, while he’s the anti-tourist, Jones is not. And Jones is the one controlling our view. We never get close enough to Dylan to learn anything new about him. Instead, we get a lot of Jones, an affable presence, no doubt, but he doesn’t offer any insights.

Jones, who later gained fame as an actor on shows like Home Improvement looking like a biker version of Grizzly Adams, pounded his bass drum into history that year. A Texan making a living in LA drumming for acts like Trini Lopez, Johnny Rivers, and, after Dylan, Kenny Rogers, Jones was a fan of Dylan’s before the bard asked him to join his tour, saying: “You’re my favorite rock ‘n’ roll drummer in the world.”

Even today, Jones still seems shocked by that statement. It seems probable that Dylan liked Jones’s aggressive rock with its country influences. So his use of Jones on this tour is interesting historically as yet another example of how Dylan helped spark interest in country rock. It would have been compelling to hear more about those connections. In one DVD extra, Jones interviews friend Charlie Daniels, who played on some Dylan recordings because of Columbia producer Bob Johnston, and Daniels talks knowledgeably about Dylan’s interest in country music on the Nashville Skyline album, which is helpful.

Another DVD extra, an interview with sound man Richard Alderson, is also more illuminating than the documentary itself because Alderson talks about the logistical difficulties he encountered when making a new sound system for the electric set. He also ruminates on how Dylan was so much a product of his Greenwich Village scene.

In the documentary itself, we learn perhaps too much about Jones’s background, musical influences, and career. Obviously, we want more Dylan. Most of the over hour-and-a-half documentary is dominated by Jones being interviewed, in talking-head style, about his experiences of the tour and of Dylan, and at times one would also have wished for more of the tour footage. Some of this devolves into rather generic accounts of tourist destinations.

Also troubling is how the fandom tone seems to win out when we see, from time to time, the man interviewing Jones, Joel Gilbert, the documentary’s director. He, too, has a very affable presence, he’s clearly dedicated to Dylan’s music and career. But the fact that he’s the lead singer of the Dylan tribute band providing the music for this venture, the fact that he’s clearly trying to look like Dylan, and that fact that the DVD clearly states it is not in any way associated with Dylan itself, provides some cause for worry.

Fandom is not to be dismissed, because the cultural work fans do is illuminating and community-building. So I would not want to criticize these men too harshly. But the documentary is not what you would hope for, i.e., illuminating socio-historical commentary of an important moment in popular music. Instead it is, for the most part, a slight bit of behind the scenes footage parlayed into a very beefed up version of fans or journeymen musicians talking Dylan. You hear what it was like for a musician on his tour, but you don’t hear enough broader cultural context or enough Dylan specifics.

To be fair, the one place where Jones does try to make an intervention is in reference to a much-debated bit of Bob lore. At the Manchester Free Trade Hall concert in England on 17 May 1966, what Jones described as “the day Dylan changed rock,” as the crowd booed the electric set, a fan yelled out “Judas”, the audience applauded, and someone said “Play F-ing Loud.” Scorsese and others have insisted that that someone was Dylan. In No Direction Home , Scorsese tries to edit the sound and image to make it seem that way. Jones points out that Scorsese’s footage is out of sync, and he insists that Dylan didn’t say that, and, as he argues, he would know, because he was there and Scorsese wasn’t.

Jones doesn’t know who said it, but he theorizes that it must have been a British roadie, judging from the accent. He insists that cursing wasn’t Dylan’s style, and while he would joke at the crowd in response to catcalls, he wouldn’t say that. Alderson concurs that Dylan didn’t say it, and he’s the most believable witness. Having debunked the popular history, however, Jones doesn’t have much else to say about it and none of the other talking head musicians do, either. The bottom line is that if Dylan didn’t say that, one would have to look elsewhere for a trailblazing, anthemic moment of punk attitude.

If you’re obsessed with Dylan, you might glean some tidbits of the quotidian kind here. If you’re interested in more substantial footage of Dylan and more substantive discussions of how he fits into the welter of ’60s music, you would do better to turn to Scorsese.

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Bob Dylan: 1966 World Tour

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Product Description

For the first time on home video, musician turned actor Mickey Jones chronicles the legendary 1966 Bob Dylan World Tour through his recently discovered films. With a set of drum sticks and his 8MM color home movie camera, Mickey Jones toured the world in 1966 with Bob Dylan and the Band. He captured on film what became known as the tour that changed Rock and Roll forever when Dylan traded in his acoustic guitar for an electric sound.

Product details

• Aspect Ratio ‏ : ‎ 1.33:1
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 2.72 ounces
• Director ‏ : ‎ Joel Gilbert
• Media Format ‏ : ‎ Multiple Formats, Color, NTSC, Closed-captioned
• Run time ‏ : ‎ 1 hour and 35 minutes
• Release date ‏ : ‎ October 31, 2006
• Language ‏ : ‎ English (Dolby Digital 5.1)
• Studio ‏ : ‎ MVD Visual
• ASIN ‏ : ‎ B000HIVIJC
• Country of Origin ‏ : ‎ USA
• Number of discs ‏ : ‎ 1
• #3,188 in Music Videos & Concerts (Movies & TV)
• #3,435 in Pop Singer-Songwriters
• #3,986 in Documentary (Movies & TV)

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World Tour 1966: The Home Movies

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With a set of drums and an 8mm color home movie camera, Mickey Jones toured the world in 1966 with Bob Dylan and The Band. He captured on film what became known as "The tour that changed Rock and Roll forever." The booing crowds, the scathing reviews, the stomping feet, the infamous catcall of "Judas!" ... all of this in response to Dylan trading in his acoustic folk guitar for an electric sound. Now, for the first time, drummer-turned-actor Mickey Jones (Sling Blade, Home Improvement), with the help of Director Joel Gilbert, chronicles the legendary 1966 Bob Dylan World Tour through his recently discovered home movies. The updated release includes new, exclusive full-length interviews with Charlie Daniels, Johnny Rivers, 1966 World Tour and Gaslight tapes sound man Richard Alderson, and new insights and revelations by Mickey Jones.

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WORLD TOUR 1966: THE HOME MOVIES

Rare footage of the World Tour where Bob Dylan traded in his acoustic guitar for an electric sound.

Watch Bob Dylan - 1966 World Tour:The Home Movies

• 1 hr 35 min

Bob Dylan - 1966 World Tour: The Home Movies is a documentary film that showcases the private moments of legendary musician Bob Dylan during his 1966 world tour. The film consists of rare footage shot by Dylan's friend and filmmaker D.A. Pennebaker, which was never meant to be seen by the public. It offers a unique look into the life and musical journey of the iconic artist.

The film covers Dylan's tours in England, Ireland, and Australia during the peak of his fame when he was transitioning from a folk to a rock music style. It features backstage footage, concert clips, and candid moments with Dylan on the road with his bandmates, who included Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson, and Levon Helm.

The film captures Dylan's energy and raw talent as he performs classic songs such as "Like a Rolling Stone," "Just Like Tom Thumb's Blues," and "Desolation Row." The concert footage is intercut with shots of the tour bus, where Dylan and his entourage relax and hang out between shows. We see Dylan and his bandmates making music, enduring long bus rides, and engaging in playful banter with each other.

The film also provides glimpses into Dylan's personality and creative process. We see him playing with his children, interacting with fans, and receiving news of the controversy surrounding his music. At one point, we see him getting into a heated argument with a journalist who had criticized his performance. These moments humanize Dylan and offer insight into the pressures he faced as an artist in the 1960s.

The documentary is a mix of color and black and white footage, shot in a raw and unpolished style that reflects the no-frills approach of the 1960s. The sound quality is not always top-notch, but this imperfect production adds to the film's authenticity and charm.

Bob Dylan - 1966 World Tour: The Home Movies is not a concert film, nor is it a polished biopic. Instead, it is an intimate portrait of Dylan's life on the road, capturing the essence of what it was like to be part of one of the most celebrated tours in history. It provides a glimpse into the man behind the music, offering the audience a rare opportunity to see Dylan's private moments and the events that shaped him as an artist.

Overall, Bob Dylan - 1966 World Tour: The Home Movies is a fascinating film that will appeal to fans of Dylan, music history buffs, and anyone interested in the cultural changes of the 1960s. The movie is a testament to the enduring legacy of Bob Dylan, one of the most iconic figures in rock and roll history. It is a must-see for anyone who wants to gain a deeper understanding of his timeless music and the man who created it.

• Genres Musical
• Director MVD
• MPAA Rating NR
• Runtime 1 hr 35 min

1966 World Tour: The Home Movies

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BOB DYLAN: WORLD TOUR 1966 – THE HOME MOVIES

• Post author: eenableadmin
• Post published: August 5, 2019
• Post category: Uncategorized

BOB DYLAN: WORLD TOUR 1966 – THE HOME MOVIES (director/producer: Joel Gilbert/Mickey Jones; cinematographer: Mr. Marshall; editor: Joel Gilbert; music: Bob Dylan; cast: Bob Dylan and The Band; Runtime: 91; MPAA Rating: NR; Studioworks; 2003) “Only for die hard Bob Dylan fans.”

Reviewed by Dennis Schwartz

A blast of nostalgia, as drummer Mickey Jones presents his home movies taken from Bob Dylan’s 1966 world tour. A cheap Kodak 8mm camera was used. Dylan at the time was sitting on top of the world as the premiere social protest folk singer and acoustic guitarist, but hoped to change the face of music by introducing electric music. Dylan recruited a band called The Hawks to play backup in his venture onto new territory, with Ronnie Robertson being the most famous member of that group. All he needed was a drummer to complete the band, and transplanted Texan Mickey Jones now living in LA tells in full detail how Dylan got him to go on the tour. Prior to the Dylan gig Jones had been a drummer for Trini Lopez for 8 years and for 3 years worked for Johnny Rivers. After Dylan he worked with Kenny Rogers and The First Edition for 10 years.

Jones brought his home movie camera along with him, and was encouraged by the other performers to do his thing. Bob Dylan: World Tour 1966 — The Home Movies compiles Jones’ amateur footage of life on the road (mostly banal shots of busses, cars, airplanes, and castles) and off-stage with Dylan (we learn nada about the elusive singer) and with other crew members of the group (they all seemed like bores!). In addition, Jones who can talk up a storm, shares his memories of the controversial tour, and tells us things about his career before and after working with Dylan, and tells us Dylan is a real person and he’s still a big fan of his even though he switched over to being a television actor (Home Improvement) and movie actor (“Dead Bang” and “Sling Blade”). If you’re expecting a musical video, you’ll be disappointed. This one is a talkathon, with Joel Gilbert off-camera asking Jones a series of questions about his observations of the tour and on what Dylan’s music meant to him. The soundtrack for Jones’ silent footage comes from Dylan tribute band Highway 61 Revisited, with a singer who sounds like Dylan (no official Bob Dylan music is included in this presentation). This was as tedious as watching any family home movie in which you are not a member of and have to sit through all the shots of characters you could care less about mugging for the camera.

The audiences didn’t like the electric music and they were booed wherever they toured. Some of the spots they toured were Hawaii, Australia, Lebanon, Sweden, Denmark, England, France, Scotland and Ireland. Jones maintains that the audience “just didn’t get it,” and that in retrospect that was the greatest rock concert tour ever because it changed how “rock-‘n’-roll” was played forever. But the crowds didn’t want Dylan to make the transition from acoustic guitar to electric and registered their disapproval by loudly booing when Dylan put down his acoustic guitar after his opening numbers and played electric. The music critics in the newspaper referred to the band not by their name, but as The Band. The Hawks laughed off these derogatory comments and changed their name to The Band, as Jones gleefully explains how The Band would eventually move on to becoming legendary in the music world.

The concert at Manchester Free Trade Hall had the audience booing and stomping their feet and one heckler in the audience yelling out “Judas!” and someone else yelling out “Play F***ing Loud!” Jones reports that Dylan didn’t seem bothered, as he was certain they were making good music. But this concert is still alive in Jones’ thoughts, and seems to be a pivotal one on the tour as far as the booing.

This one is only for die hard Bob Dylan fans. It was the second documentary made about the tour, but the other one entitled Eat The Documentary, professionally shot by D. A. Pennebaker, was never released. The bootlegged concert at “Royal Albert Hall” was finally released as a CD, Live 1966, and interestingly enough kept in the boos. It was the only commercial release from the 1966 Bob Dylan World Tour until this DVD.

REVIEWED ON 5/2/2004 GRADE: D

Dennis Schwartz: “Ozus’ World Movie Reviews”

© ALL RIGHTS RESERVED DENNIS SCHWARTZ

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1966 World Tour: The Home Movies

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See Timothée Chalamet filming Bob Dylan movie in Hoboken as Chalamaniacs buzz around set

L illy Sloves was studying for an exam Friday night when she learned Timothée Chalamet would be filming his new movie just blocks away.

Sloves, a student at Stevens Institute of Technology in Hoboken, is a dedicated Chalamaniac — the reigning term for the actor’s devotees.

She was more than willing to take a break to see if she could spy the actor on set.

Chalamet, the 28-year-old megastar of the “ Dune ” films, “ Wonka ” and more, plays a young Bob Dylan in the James Mangold film “A Complete Unknown,” which is filming in New Jersey through June.

Sloves gathered with other Chalamet fans and onlookers across from Moran’s pub on Garden Street in Hoboken late Friday. The bar has been completely made over for the movie to look like McAnn’s, a 1960s New York bar and restaurant.

Nearby streets around the bar and Church Square Park were lined with decade-appropriate vintage cars as a spotlight and a cherry picker loomed high over the street.

Chalamaniacs of all ages turned up to see if they could catch a glimpse of the actor.

“There was a little kid who had a ‘ Dune ’ Lego set that he wanted Timothée to sign,” Sloves, 18, told NJ Advance Media standing across from the production scene after midnight. “He was out here from 6:30.”

Sloves started her Chalamet watch at 7 p.m., but she never saw him, so she went back to her dorm and returned later.

Around 10 p.m., she lucked out.

Chalamet, clad in all black save for a white shirt, wearing dark sunglasses, boots and a Dylanesque coiffure, strode across the street to the bar for the cameras, smoking a cigarette as a ’60s car drove past the scene (see video below).

“It was so freakin’ cool,” Sloves said. “Me and my friends wanted to scream but they were literally in the middle of filming.”

She shared the Chalamet love by sending a video of the sighting to more friends. The caption: “TIMMY I LOVE U MORE THAN YOU WILL EVER KNOW.”

After that, Sloves could peep the famous face and angular jaw of the “ Dune: Part Two ” star inside the bar next to another actor who was his double (which caused people to do some double takes).

At about 11:30 p.m., Chalamet was spirited away in a car.

“I totally freaked out,” Sloves said of all the local commotion around the film. “I was begging my friends to come and check it out like every single day that they’ve been here.”

“ A Complete Unknown ,” written Mangold and Jay Cocks (”Gangs of New York”) and produced by Mangold and Chalamet , covers a young Bob Dylan’s rise to fame in the ’60s , when a teen Dylan left his home state of Minnesota for New York City .

Moran’s , the Irish pub that served as the hub of Hoboken production Friday, was remodeled inside and out for the film, its new blue neon McAnn’s sign underlined by red lamps.

See Timothée Chalamet, Elle Fanning filming Bob Dylan movie in N.J.

Plastic sheets were draped over film equipment to guard it from intermittent light rain. Trailers and trucks were parked up and down the street, along with craft service tents for the all-night shoot in Hoboken.

The scene may have been set, but so was the start of the weekend. A seemingly intoxicated young man walking down Garden Street with the help of a companion waved his arm and yelled at the film crew as if to dismiss them for the evening.

Sloves, a biomedical engineering major, always had an interest in movies.

“I really wanted to go into film,” she said, but ultimately decided to go a different way.

“Kind of get the best of both worlds with this,” she said as members so the crew milled around on a break from filming.

Her all-time favorite Chalamet movie: the 2018 film “ Beautiful Boy ,” with Steve Carell.

“I think he’s incredible in it,” Sloves said. “The emotion he shows in it is insane.”

The Dylan movie’s release date has not yet been announced, but the nexus of Chalamet and Bob Dylan fandom has already started to work its magic. Sloves took interest in a Dylan T-shirt after learning the actor had been cast in the movie.

As filming carried on, more onlookers arrived to inquire about Chalamet sightings .

“I’ve literally been in my apartment all day, had no idea this was going on,” said Jessica Nieradka, a 20-year resident of Hoboken.

She has a New York-based job in insurance, but works remotely from her home, where she had been on work calls for hours. After she returned from dinner with a friend, someone screamed “Timothée!” and startled her cat, so she decided to go outside and take a look.

“I’m 47 and I am, like, all about him,” she said of Chalamet. “I think he is de-licious.”

She loved the actor in Luca Guadagnino’s “ Call Me By Your Name ” (2017) and Greta Gerwig’s “ Lady Bird ” (2017).

More: Bob Dylan movie ‘A Complete Unknown,’ starring Timothée Chalamet, casting N.J. locals

“I’ve always said to my girlfriends ‘there is something very charismatic and dynamic about this young man’” she said — maybe even a matinee idol quality from a bygone era.

She’s also looking forward to seeing Chalamet as Bob Dylan because she loved the musical biopic “ Walk the Line ,” Mangold’s 2005 Johnny Cash movie starring Joaquin Phoenix, for which Reese Witherspoon won the Oscar for best actress for playing June Carter.

“ James Mangold is incredibly well respected,” she said of the director, who also helmed the Oscar-winning 2019 film “Ford v Ferrari” and the Jersey-set film “Cop Land” (1997).

As a longtime customer of Moran’s pub, she is excited to see her local watering hole on the big screen.

“I was just saying to a friend I hope they don’t cut it,” Nieradka said of the Hoboken-set scenes.

“ A Complete Unknown ” co-stars Oscar nominee Edward Norton as folk legend Pete Seeger , who died in 2014; Monica Barbaro (”Top Gun: Maverick”) as fellow folk star Joan Baez , who had a relationship with Dylan; and Elle Fanning (”The Great”), who reportedly plays a character inspired by Suze Rotolo , an artist Dylan dated in the early ’60s. (Rotolo, who famously appeared with Dylan on the cover of his second album “ The Freewheelin’ Bob Dylan ” in 1963, died in 2011).

The Searchlight Pictures movie started filming in Jersey in March.

“A Complete Unknown” has filmed in Jersey City , Passaic and Paterson . Chalamet and Fanning were seen earlier this week smiling and laughing on set in both Paterson and Passaic.

In May, “A Complete Unknown” is filming in Cape May .

An open casting call went out for local Jersey extras for the film under the fake name “ The Wurtzle Brothers .”

Described as a “1965 music festival,” the Cape May scenes look to be recreating the 1965 Newport Folk Festival , where Dylan first played an electric guitar live and first performed his hit song “ Like a Rolling Stone .”

The movie’s title is a reference to the 1965 song.

“How does it feel?” Dylan sings. “To be on your own, with no direction home. A complete unknown, like a rolling stone.”

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Amy Kuperinsky may be reached at [email protected] and followed at @AmyKup .

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