This blog is an extension of the Psych Trail Mix fanzine that had a run of 10 printed issues from Winter 2008 through Spring 2016. The Psych Trail Mix archive of full, free PDF files of the printed zine will continue to be hosted at this link. Print copies remain of the last 3 issues (8, 9, 10), see the main PTM page to purchase copies.



“Folk, Rock, & Other 4-Letter Words” - A great Dylan piece from Paul Williams, founder of rock music’s very FIRST fanzine in which he started at Swarthmore College in Swarthmore, Pennsylvania in 1966 – Perhaps this was a topic of discussion when Paul hung out with Dylan at the hotel in Philadelphia in February of ’66 before the show at the Academy of Music. This article was pretty much immediately after that encounter with Dylan, even sooner than the great, and even better - “Understanding Dylan” article he wrote in issue #4 of Crawdaddy (Aug ’66), this piece comes from Crawdaddy issue #3 from March 1966, exactly a month after his Dylan hang-out session. Dylan fired-back heavily at press-conferences and things during this time anytime anyone asked him about “folk rock.”

After putting out 10 issues of my own fanzine “Psych Trail Mix,” it just about blew my mind when I recently found out that the first rock music fanzine ‘Crawdaddy’ was created literally down the street from me in SWARTHMORE, PENNSYLVANIA by Paul Williams when he was a freshman at Swarthmore College in 1966.

It gives me a bit of pride to live here in an area that generally just seems swamped with people who are overly obsessed with the local sports teams and little else. Often times ‘zines are much more informative than full-on commercial magazines, as authors of zines are fans of the material they cover and very passionate about their writing. Paul Williams was one of those people. Bob Dylan called Swarthmore College in 1966 after being impressed with Paul’s writing and invited him to the hotel in Philadelphia where he was staying for 2 shows he would play at the Academy of Music on Feb. 24th and 25th…. Paul came prepared for an interview, but was so honored in the moment that he decided to just hang out with Dylan rather than coming across as a journalist which Bob was growing tired of at that point to say the least. This meeting likely spawned a GREAT article that Williams penned in issue #4 of Crawdaddy from July 1966 called “Understanding Dylan,” here’s scans of the entire article.



There were only ever TWO issues of Fuz magazine, but they were both cool as fuck. I totally lucked out one day at Princeton Record Exchange in Princeton, New Jersey a handful of years ago when I found BOTH issues that had been long-out-of-print. LOADED with full-page photos and killer articles... The Davie Allan issue here has great articles on FUZZ GUITAR, and on 60's psych movie goddess Mimsy Farmer. The other issue centered on HAWKWIND and featured LEMMY on the cover! Also, you MUST get to Princeton Record Exchange in Princeton, New Jersey if you are anywhere near the tri-state area in the northeast, it is by far one of THE best independent record stores that is still standing despite the convenience of the digital age. Right down the road from Princeton College, it's got a nice magazine/book rack, loads of new cd's, TONS of vintage vinyl, walls upon walls of bargain cd's, and LOADS of DVD's. It's a favorite stop that I try to frequent as much as I am able to make the ride of just under an hour.

FUZ - Issue #1 (some samples)

FUZ - Issue #2 (some samples)



Released last November 2016, was a beautiful 36-disc box set of every known recording from Bob Dylan’s controversial “world tour” 1966. Controversial in that Dylan was booed and jeered in many places, some worse than others, as he played his very loud blend of rock & roll or “mathematical music” as he called it at times back then… And that might be a more accurate description, because Dylan is just on a ‘nother level when it comes to his music and lyrics, so much that you can’t just pigeonhole it under the “rock and roll” umbrella – Dylan’s music is more a journey through space and time that leaves you discovering new meaning upon repeated listens. Many of the folk-purists couldn’t comprehend or handle the transformation of their topical-song hero or the rightfully dreaded by Dylan title of “voice of a generation,” as many of them thought Dylan was. This box set includes audience tapes where soundboard/line recordings are not available. A few of the recordings are the real “choice nugs” here, meaning the CBS Records recordings of a couple of the shows.

One thing to understand about this tour/set is that each night consisted of the first half being Bob solo on acoustic guitar, and the second set of the night features Bob with a full kickass & take names electricity-fueled band behind him. So we get the best of both worlds here. I must share a quote that I agree with from a recent review of this set in regards to the acoustic portion of the sets here…. There’s something about the immaculately-stoned Dylan on those acoustic sets from that tour, and this quote hits the nail on the head in regards to what I’m talking about here:

“However, something is happening, as the man said. Certainly from 4th Time Around, Dylan sounds different. It's the first time in this collection, to my ears, that he sounds noticeably stoned. On the evidence of this tour, this can improve things - certainly in the acoustic set: it brings out a wounded quality in the music. Call me an apologist, but I love listening to Dylan play like this when he's not quite all there. The vowels are dragged out. The songs become something else.”

Ok, after a rather lengthy intro here, let me delve in and share some of my favorite recordings from this set and my observations on them. This topic will likely be continued in a future post, considering just how vast this set is, it’s a lot to cover!

May 26, 1966 - @ Royal Albert Hall in London, England (Disc #28  &  #29)
The “Real Royal Albert Hall” show 5-26-66 is clearly the best quality recording from the new Dylan live ’66 box – it’s one of the “CBS” recordings as opposed to one of the regular soundboard recordings from the set… The performance is amazing. Possibly THE best live “Visions of Johanna” ever… To hear a show from this tour in this sound quality is amazing. He spits the words like venom in an absolutely KILLER version of "Like A Rolling Stone" from the electric set! The audience interaction between Dylan and the pissed folk-purists is priceless….. At one point Dylan replies “come up here and say that”….. too funny… This treasure-trove was worth every penny.

May 27, 1966 - @ Royal Albert Hall in London, England (Disc #30)
2016 was a giant clusterfuck... An orange, bloated, buffoon from a reality TV show who clearly has ZERO business being in any sort of leadership position was elected president ... we truly are living in IDIOCRACY now.. but we always have Dylan. The final show of the '66 tour from the box set - 5-27-66, second night at the Royal Albert Hall in London, has Dylan absolutely burned out. The electric set he's pretty out of it, it's chaotic...shambolic.... But I think this acoustic set stands up as one of the best from the tour hands down. This show was another of the CBS recordings, so the sound is pristine and you can hear Dylan again enunciating every syllable, getting every little nuance out - "he's going to the CAARnival tonigh-t on de-sol-ation rooooow."

Earlier that day Dylan visited John Lennon's home "Kenwood" in Weybridge (below)

May 6, 1966 - @ ABC Theater in Belfast, Northern Ireland (Disc #7  &  #8)
Belfast, Northern Ireland 5-6-66 is clearly another standout recording from the new Dylan box. This is one of the soundboard recordings thanks to Dylan sound-man Richard Alderson, who should be crowned a saint for this, if I were religious perhaps I’d try to make that happen! The FULL “Desolation Row” here is a beautiful thing, as due to tape lengths during that time, the song is cut on a number of the board recordings. Maybe the omission of “Baby Blue” made that happen, a doable swap as we have many full versions of Baby Blue on all the other recordings from this box set. Electric set from this show is fantastic too – the fairly restrained performances from when they were in the states is eroding away now as the band hammers an intense rocking set. Bob’s voice is definitely a main presence in the mix, but not nearly as piercing as some of the other board recordings. Garth Hudson’s swirling organ is great in this and shines in the mix. Resounding applause at this show once the band begins “Like A Rolling Stone,” so the entire tour wasn’t pissed folkies in the crowd screeching in disapproval.

May 16, 1966 - @ Gaumont Theater in Sheffield, England (Disc #17  &  #18)
The 5-16-66 show in Sheffield, England for the Dylan ’66 box is another standout, especially the ACOUSTIC set. This was going to be another one of the more elaborate “CBS Recordings,” but CBS was only able to capture the acoustic half, apparently the electric set was too loud for the setup they had. They weren’t used to trying to professionally record a live, LOUD rock show of this magnitude at that time in 1966. Luckily, Dylan’s sound-man Richard Alderson was recording from the board and captured the electric half. The acoustic half is one of the BEST of the entire tour – Dylan enunciates every syllable, and delivers the songs with an intimate, intense, ethereal quality that is hard to top as far as the other acoustic sets of this box/tour. It’s clear that he still had an affection for songs from his acoustic arsenal. Why did the folk-purists bitch and whine so much? I mean he did a mind-blowing acoustic set first before launching into the electric, venomous assault, spewing the words with intent and rocking out HARD. Oh, the electric set from Richard Alderson’s recording directly from the board sounds damn fine honestly….. Bob’s vocals are a bit high in the mix, but everything else shines well. Also, its been said that Dylan was dead sick of doing solo-acoustic tunes by this point, but honestly, would he have chosen to perform such epic, lengthy songs such as “Desolation Row,” and even “Visions of Johanna” if that were the case? I think he still knew that stuff was great.

Directly Below: Interior of Gaumont Theater in Sheffield + Dylan on Streets of Sheffield, England

May 24, 1966 - & L’Olympia in Paris, France (Disc #26  &  #27)
The Paris show on Bob’s birthday 5-24 from the live ’66 Dylan box is another one of my favorites from the set. Next to the crown jewel, the “Real Royal Albert Hall” show, I think it has some of the best sound quality of any of the board recordings here… On some of the other shows Bob’s voice is WAY high in the mix, I think on this show it’s a sweet balance. The show has been entrenched in mystery and intrigue for years, here we get to hear what really went down. Loads of interaction with the crowd…. Dylan gets a bit testy with them during the acoustic set when an audience member keeps hollering while he is trying to tune his guitar, Dylan replies “you just can’t wait can you huh… you just can’t wait? You have to go to work at 10 o’clock huh? Alls a drag to me too you know. But that’s folk music for you, folk music does that all the time.” And “didn’t you bring a magazine to read or something?” “oh come on I wouldn’t behave like this if I came to see YOU. Well then don’t be so BORED.. it’s fun, just watch me tune it. I want to get out of here as fast as you want to get out of here.”

In Paris, Dylan also spends some time with foxey Francoise Hardy and Billy Hallyday and blows out candles on his birthday cake (below)

Judas! – Book By Clinton Heylin
HIGHLY recommend this book, "Judas" by Clinton Heylin. It's a historical look at what's been called the "big boo," about when Dylan went electric in 65/66..... Covers the World Tour of 66 in detail along with tons of show reviews from journalists who didn't get it, and those who did get it. Tons of interview segments from Dylan when he was fucking with the press, and the moments when he gave good information when he didn't find the interview question stupid... His philosophy during this time was to answer a stupid interview question with a stupid answer. Anyway, this is required reading for Dylan fans and an absolute PERFECT complementary piece to this amazing box set!