Bob Dylan - Live at the Bowl '65 [Prof. Stoned 2026]
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01. She Belongs To Me
02. 'You know how it is'
03. To Ramona
04. Gates Of Eden
05. It's All Over Now Baby Blue
06. Desolation Row
07. Love Minus Zero/No Limit
08. Mr. Tambourine Man [cuts off near end]
09. Tombstone Blues [cuts in after first verse]
10. I Don't Believe You
11. From A Buick 6
12. Just Like Tom Thumb's Blues
13. Maggie's Farm
14. It Ain't Me Babe
15. Ballad Of A Thin Man
16. Like A Rolling Stone
17. 'Outro'
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Total time: 1h24m40s
Recorded live from FOH soundboard to mono tape at The Hollywood Bowl, Hollywood, CA, Sept 3, 1965
Demix Rebalancing/Mastering: Prof Stoned
v1.0: 30-01-2026
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Note:
Here’s a tasty slice of prime Dylan at a crucial twofold juncture in his career. We get two fantastic sets: one as the solo neo-folk performer, and one as the snarling proto-punk fronting an electric band. The band consisted of Robbie Robertson on lead guitar, Al Kooper on organ, Harvey Brooks on bass, Levon Helm on drums, and Dylan on rhythm guitar and piano. This was the first show of the electric tour, immediately following the controversial Newport Folk Festival appearance—and just four days after Highway 61 Revisited came out.
This recording was officially released as part of the 1965 copyright extension compilation, but in truly dreadful quality—lifted from whatever bootleg source they could find. This new edition lifts the veil and gives it the aural presentation it so desperately deserves, not least because it comes from a better source—reportedly a digital clone of the original tape (and the correct speed seems to corroborate this). Thanks to Dolphinsmile Production for liberating this priceless gem. I remastered it using, among other things, demixing technology. While definitely not a flawless document (recorded on consumer tape, and presumably at no higher speed than 3.75 ips), I believe it would now sit nicely alongside some of the same-era tapes that have been released on the official Bootleg Series.
P.S. 01-2026
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A note about mastering with demix technology:
You may have heard some of my recent releases where I have used Demix Pro or SpectraLayers for spectral extraction. I believe this is the most revolutionary audio processing approach in ages. It enables us to break a mono signal down into dedicated elements, most notably: vocals, drums/percussion, bass guitar, electric guitar, and whatever remains after that. Depending on the source material, these extractions can be so precise that they allow for a realistic reconstruction of a mix.
Why is this useful? Well… the original mix may have flaws that affect the overall sound quality. By nature, the process of mastering is designed to improve such flaws by applying equalization and/or dynamic range processing. But what if one element within a recording needs more treble, while another element is already bright enough? At that point, EQ is no longer sufficient, because your choices will affect both. Of course, mastering does not begin and end with EQ; there are always other ways of emphasizing or hiding elements in a recording. But spectral extraction allows you to improve the sound of one element without “harming” the sound of the others, and also to rebalance those elements if necessary.
Being able to correct balancing mistakes, having the flexibility to mesh the bass guitar and kick drum together nicely, and placing the vocals precisely where they need to sit in the mix is a great luxury—especially when it doesn’t have to be achieved with bus EQ and/or compression.
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I have used the following digital studio gear and monitoring in the making of this:
- Spectralayers Pro 10
- Cubase 13
- Universal Audio UAD-2 Satellite Quad-Core (incl. various extra plugins I purchased over the years)
- Neumann KH150 & iLoud Micro monitors
- Adobe Audition
- Izotope RX9
