Why not sing clearly, in time and in tune? Why not horn arrangements? Why not back-up singers? These live recordings are lushly arranged, but not over-arranged, and they have drive and style to spare. Stiff-necked rock purists were horrified by the recasting of Dylan's songbook, just as overly-reverent folk purists took umbrage at his electrification. But they're missing out on one of the man's most musical moments and discouraging others from listening with an open mind. Don't make the same mistake.

Dylan was not surly or angry on this tour. He was expansive and approachable and -- dare I say it? -- happy! If that's antithetical to the spirit of rock, then I'm not a rocker. Don't pay attention to those sniffing that the music wasn't honest at this point or that Bob had gone Vegas. Lyrics don't have to be droned in a ragged voice to rate as poetry. If you want to hear the originals -- and you should have all of Dylan's original 60s albums -- then listen to them. But give this one a try, and enjoy a change of pace, yet another phase of our preeminent rock-poet's always-daring reinvention.

Critics said Dylan's Live At Budokan was too "slick" and "Las Vegasy." But then again, whever Dylan expanded his music, or added a new note of variety, he was criticized. Greatest Hits fans and critics alike wanted him to remain forever a folk musician, never growing, changing, or maturing. This album definitely has a big band sound, but there is nothing wrong with that. In fact, this live album has some of the best versions of some of Dylan's greatest songs. "All Along The Watchtower," "Shelter From the Storm," and "Mr. Tambourine Man" are all better here, I think, than in their original versions. The album contains a great selection, from love ballads to rocking political commentary. This is not just Dylan's best live album, it is among his best albums--I would even venture to place it somewhere among his top ten.

The maliciousness that has been directed at this album over the years is an open testament of the way in which Dylan fans desire to own their idol, to constrict him, and to demand him to peform and record in ways that are their own, but not his....
"Live at Budokan" was my first Dylan album, miraculously discovered twenty five years ago as a window into a magic world.
Ever since I've heard bile and venom from innumerable sources about it's 'Vegasy' feel, and its 'commercialism'.
But Dylan is a song and dance man, mercurial and a mystery -
the minute you define him and place expectations on him he will inevitably disappoint.
Above all he is a true entertainer, who paradoxically brings everything to his performances and yet nothing, like it's always gonna be new.
The songs on this album are all like that, all stone cold classics, but elastic, sweet, wry, still timeless.
After twenty five years of listening to all the rubbish reviews, I still recommend this album for any newcomer to Dylan.
For one thing, there is booklet of lyrics to the great songs which is really helpful for new fans, as it was for me so many years ago, and the album photos still talk of the irresistible mystery that is Dylan.
'Budokan'is like an old road map on which the street signs are still right.
It truly gets better like old wine.

It seems that people here either love Budokan or hate it. It all depends upon who you are and where you're coming from in your "Dylan experience." I originally bought this album when it came out in the late 70's. Since it was only the second Dylan album I had ever heard (after Blood on the Tracks), I really didn't know the original versions of these songs. If you are a relatively new Dylan fan, or are looking for a place to start, Budokan is not for you. At least not yet. The best way to get to know any artist, writer, film maker, etc is by experiencing their work in the order in which it was originally released. Having done that, Budokan still comes off as a bit of an oddity. On one hand, yes, some of these arrangements are a real shock to the system after you've heard the originals for years. On the other hand, artists have the right to re-invent themselves, and Dylan has been doing it for years. (How would YOU like to sing "Blowin' in the Wind" the same way for nearly 40 years?) Budokan is simply a chapter in the Dylan catalog. For me, some of the songs work, some of them don't. But say what you will, at least Dylan took a chance. You never know what he's going to do. And isn't that half the fun of listening to Dylan?

This is a brilliant album, confounding those fans who had grown lazy and accostumed to the conventional renderings of these classics. Dylan surprises them all, delivering an inspired set of winners, completely redone and presented without a smirk or knowing acknowledgement. Some Dylan "purists" deride this album because it doesn't sound like the Dylan they want him to be. Don't listen -- buy it and judge for yourself.