Notes

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Stereo acetate LP, Fantasy Records 77182
Excellent quality

Tracks 1, 4 & 9 - Carnegie Hall, New York, October 26, 1963
Tracks 2 & 6 - Philharmonic Hall, New York, October 31, 1964
Track 3 - Town Hall, New York, April 22, 1963
Tracks 5 & 8 - Columbia Studios, New York
Tracks 7 & 10 - Royal Festival Hall, London, May 17, 1964

Keith Venturoni has been in touch with Fantasy Records, and confirmed that the tape from which this acetate was made came from Ralph Gleason, who was a co-owner of Fantasy at the time. The acetate was made from the tape between 1972-80 by David Turner, Fantasy's then chief engineer (this may have been during the period when Bob wasn't signed to Columbia). Fantasy think they still have the tape in the vaults, along with that of a concert by Bob at Berkeley Community Theater (which is likely to be 4 Dec 1965, not 22 Feb 1964 as I originally speculated).

This stereo acetate contains early 1960s tracks from Bob, four of which have appeared on The Bootleg
Series Vols. 1-3 , and The Bootleg Series Vol. 6: Live 1964 . There are six rarities - three tracks
that appeared on the withdrawn 1964 Columbia album Bob Dylan In Concert , one studio track that
appeared on a Columbia acetate, and two tracks that are otherwise unreleased.

R-0674 Mr Tambourine Man - previously unknown live recording, most likely to be from the Royal Festival
Hall, London, 17 May 1964.

R-0390-3 Hero Blues - The Times They Are A-Changin' outtake with piano, with fake applause added
on the end (This version also appeared on early Columbia acetates of the album.)

R-0374-3 Percy's Song - live Carnegie Hall, New York, 26 October 1963, from unreleased Columbia album
Bob Dylan In Concert , also on bobdylan.com , Jan 1998. This version has no intro as on In Concert
but has lots of audience coughing that is not on the In Concert version.

R-0675 Eternal Circle - previously unknown live recording, most likely to be from the Royal Festival Hall,
London, 17 May 1964.

As for the origin of R-0674 and R-0675, Bob Stacy says: " The source for the two "new" songs could be
the concert at London Royal Festival Hall (May 17, 1964) which was recorded for Columbia by Pye Records onto four 4-inch reels in 3-tracks.

The Gleason connection is easy on this. Gleason was commissioned by Columbia to write the sleeve-notes
for In Concert (undoubtedly at Dylan's request). So, if In Concert was reconfigured, Gleason would
obviously have needed to revise those sleeve notes (seemingly now lost) hence the need for another acetate.