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Bob Dylan
World Tours 1966-1974 Through the camera of Barry Feinstein
DVD (self-released)

This DVD is a wonderful glimpse of the backstage/offstage happenings during the 1966 and '74 Dylan world tours with The Band as his supporting band. The majority of the DVD is interviews between Joel Gilbert and various people that have Dylan connections, but mainly with Barry Feinstein, the official tour photographer for both world tours. In the spirit of the DVD, we have decided that the only way to reasonably review this release is an interview of our own.

REVIEWER 1: The first thing I noticed is the completely extraneous footage of director/terrible interviewer Joel Gilbert loading his gear out of his car at LAX… That's just ridiculous, and very silly. In fact, this whole beginning is quite absurd, and tons of baseless claims are being made.

REVIEWER 2: This guy's awkward attempt at building suspense and speculating about what he may or may not find in Woodstock completely defeats the purpose. It really makes you not care and just want him to get on with the meat of the interviews. The fact that he asks an old hippy if he's seen any old hippies around, gives some indication of his aimless and thoughtless style. And he's wearing a shirt that is far too cool for him to carry off.

REVIEWER 1: Do you think it's really necessary for him to be asking Barry all of these questions - repeatedly- about the cameras that he uses? And the whole exploration of Feinstein's memorabilia is so lacking of real emotion or character. These photos of Dylan in England from the first tour are very cool, and the stories really make a difference in the viewing.

REVIEWER 2: His questions about technical equipment lay the groundwork for the inane questions about film stock. Feinstein is interesting, and it's a shame that he wasn't asked more intelligent questions.

REVIEWER 1: This guy's delivery of questions is more flat than a William Shatner recitation. How would you feel about being asked so many questions in this deadpan, emotionless, random style?

REVIEWER 2: Like you are asking right now? I feel a little dirty, used. How can you justify doing a documentary of Bob Dylan without using any Bob Dylan music?

REVIEWER 1: Not only does that bother me, but the fact that there are only about three different sections of music used over and over in loops throughout the entire DVD. That really bugs me. I mean, if I'm the leader of a Dylan cover band and I've recorded a bunch of it, why would I only let the world hear 3 sections over and over? Because obviously, my catalog is quite extensive.

REVIEWER 2: What bothers me more is that the music only plays when the photos are being shown and stops during the interviews. The editing is very disjointed.

REVIEWER 1: Well, I guess anyone with a Mac can make movies now… just like they can make music at home with their Garage Band software. Even perpetrate a Dylan cover band from their living rooms. I do love these little interviews with people like café owners who I always feel are going to jump out of their chairs and throttle this guy for his tone of voice. The interview with D.A. Pennebaker kind of feels like that. Obviously this guy is still busy enough that he doesn't have time for a hack journalist to waste too much of his time.

REVIEWER 2: Do you get the feeling that the interview subjects are humoring him?

REVIEWER 1: I get the feeling that you and I are humoring him - watching this and listening to the sound, when I would probably be more interested if he was just basically showing us a slideshow of some of Feinstein's photographs. I mean, I think that some of the stories that the people tell are really insightful and interesting, but the editing and lack of interest from Gilbert kind of shuts down the great stories. Are you siding with the skeptics on the story about the motorcycle accident? I mean, you've ridden motorcycles, do you believe Dylan could have crashed?

REVIEWER 2: It's an interesting debate in an apocryphal way… But I sure wish the director had crashed in his re-enactment. What do you think about his insight when says things like, "Well, I guess Bob survived…"

REVIEWER 1: I think this guy is a huge Dylan fan and he wanted to dig up some cool stuff about Dylan… But someone should have let him know that he is a terrible interviewer and he has absolutely no charisma in front of the camera. I mean, when you're talking with someone about something or someone and suddenly you ask about some other person or object, it creates a complete non-sequitor. It's this whole style of choppy editing. This seems to me to be a really expensive fan film project, but it does bring to light some really cool photographs and stories.

REVIEWER 2: The fact that this guy seems lost shouldn't make us think that when he's at home, he's not just as lost. Convincing stoned hippies that he's Bob Dylan and signing autographs is almost as sad as showing up uninvited at Dylan's old houses. Do you think he thought about calling ahead?

REVIEWER 1: I can't see how he didn't think about it, since he somehow got appointments to talk with all these people who actually have something to do with Dylan. It's interesting to think about Dylan's homes, and Big Pink, but I mean, to see some guy finding the places and driving around and telling us about it is somewhat ridiculous. This bit with A.J. Weberman is very entertaining. This guy is still very nuts, and he seems to go back and forth between being sorry for harassing Dylan all those years, and wanting to continue to do those types of things. And his Al Gore style claims to being the first person to use a computer to make a concordance of Dylan's songs. I mean, can we take anything more away from this interview than entertainment?

REVIEWER 2: Well, Gilbert sets out to confront Dylan's archenemy, and Weberman basically confesses to everything and more than Gilbert was even going for… Thereby stealing his thunder. He also adds life to this film what the director could not. Of the two nuts sitting here talking about Dylan, I think I prefer Weberman.

REVIEWER 1: His stories are definitely the most animated and interesting. But again with the Gore-ian claims to be the first private citizen "garbologist". Weberman does add quite a bit of entertainment and provides a brief respite from the doldrums of the rest of the interviews. And he was the first one to discover backwards masking on records, too. I mean, where would the rock world be without this guy? Al Aronowitz's confession that he was basically behind the Beatles' first using marijuana is very funny. Again, the stories are simply amazing, and mostly very fun to listen to.

REVIEWER 2: The glimpses that Gilbert gives us into the world of Dylan are voyeuristic through the eyes of an obsessed fan.

REVIEWER 1: That's my point exactly. If we could just watch the pictures that Feinstein took, and see some cool stuff we've never seen before, that would be good. And these photographs are simply amazing. The interviews are fun, and some stories are going to be forever stuck in my head, but mostly, the joy is in the pictures. I mean, seeing Robbie Robertson and Garth Hudson in these photos is as much fun as seeing Dylan. I think that this was a very important era in the history of rock music, and this DVD is a great way to get a little bit of an insider's view.

REVIEWER 2: Feinstein once asked Dylan why he didn't do interviews, to which he replied, "No one asks the right questions." I couldn't have put it better.

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