Why not sing clearly, in time and in tune? Why not a horn section? Why not back-up singers? These live recordings are arrangements for a large band, yes, but they're 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 joy is 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 1978 recording a try and enjoy a change of pace. It's yet another phase of our preeminent rock-poet's always-daring reinvention.

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.

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.

Unlike a lot of live albums that just seem to reproduce an artist work with applause between the songs, this one has a different arrangement for every song on it. The opening, "Mr. Tambourine," is a rocker performed by about a dozen musicians. It's mind boggling. Every song is mind boggling. Though it came out two years before I was born, I sounds as fresh as if it were performed yesterday. If you think you know Dylan's work and you haven't heard this CD, well you have no idea how songs like "Blowing in the Wind," "Shelter from the Storm," "It's Alright Ma," and a huge host of others can sound. Five stars for this record in my book. My recommendation, get this record.

I appreciate the different ways around the same songs Dylan takes from tour to tour. If I were to put one version of each Dylan song in a vault to be heard for all of time, most of these wouldnt come close. But Simple Twist of Fate has reached its pinnacle of beauty right here as far as I'm concerned. This head-bobbing version of All I Really Want To Do would certainly get consideration, and yes even the reconstructed The Times They Are A-Changin' is very worthy. This song never excited me much musically, and i think it's driven with tension here. And sorry, but, All I Really Want To Do was done pretty crappily to begin with IMO. Regardless, I think it's impossible to degrade the quality of the original classics through reinvention, for better or worse. And to keep playing them in the same vain is redundant.

It also might be the most accessible to new/ non fans with it's slickness and emphasis on melody, in contrast to his more recent performances.