Revealing the Untold Story of the Grandest Reissue Bob Dylan's "Complete Budokan”

Masatoshi Arano ｜2023/12/28 21:00

A Treasure Trove Full of Bob Dylan in 1978.

Among the tracks previously absent from the original “Budokan,” two remarkable covers—Billy Lee Riley’s ‘Repossession Blues’ and Tampa Red’s ‘Love Her With a Feeling’—shine a light on Dylan's roots. However, the most impactful addition is ‘The Man In Me’ from “New Morning” (1970). This live rendition, premiered ahead of the album's release, has received high acclaim from international fans.

Sugano: I always wanted to include that song, but back then, I just couldn’t(laughs). The song kind of ends halfway. Being young, I didn’t feel right about including anything that sound incomplete. And I didn’t want to trim the song to make it fit. So I gave up. But listening to it now, it’s surprisingly good, and the ending doesn’t bother me anymore.

The bold reinterpretation of his classic songs at Budokan stirred controversy among people who heard it. For instance, ‘Knockin’ On Heaven’s Door’ embraced a reggae vibe, ‘I Want You’ was turned into a romantic ballad, and ‘All I Really Want’ had a rhythmic arrangement reminiscent of Simon & Garfunkel’s ‘59th Street Bridge Song (Feelin’ Groovy).’ And there’s more to it. ‘All Along from the Watchtower’ blended into ‘Hurricane,’ while ‘Oh, Sister,’ with an entirely new chord progression, underwent a radical transformation into an R&B piece reminiscent of the Spencer Davis Group. This bold approach of altering even the most iconic songs carries through to his present-day live performances.

Sugano: Bob rehearsed with the band in Santa Monica, focusing on new arrangements because the Japanese promoter strongly insisted on Bob performing his iconic songs. He obliged, resulting in that setlist. Yet, Bob wasn't content with just replaying the songs as they were on the records. His approach to keeping the songs alive with altered arrangements continues today. And what’s more, “Budokan” remains the sole album released to the public from the 114 tours in 1978, making it a pretty valuable piece of history in its own right.

During the early 1978 mixing phase of “Budokan,” the Japanese side was unaware of the upcoming release of a new studio album, “Street Legal".

Sugano: We got word that Bob himself will listen and decide if it’s good to go. “He’s performing a week-long concert in LA starting June 1. Bring it then.” Now, our original plan was an August release. So we hurriedly locked ourselves in Sony’s Roppongi studio, mixed the album, and whipped a test disc and two mock-ups of the album cover. Given a week's deadline, I handed it in and waited for his reply anxiously. Finally, on the last afternoon, I was told to come to his dressing room to hear Bob’s response.

At the Universal Amphitheater, they had this shed set up in the plaza as a dressing room and large tables for meals. So, there I was, waiting at one of those tables, when Bob walked in alone, holding a test disc and mock-up covers. As he took a seat, he said, “Good album.” In my mind, I was ecstatic, thinking we could finally release it. Then he asked, “When are you releasing it?” That's when I found out about “Street Legal.” Back then, no internet meant even we at the record company had no clue about that information until the last minute. Bob was concerned about conflicting release dates, so we agreed to hold off on “Budokan” until November.

Sugano met Bob in LA on 6th July in 1978（Photo by Heckel Sugano）

Initially launched exclusively in Japan, “Budokan” received widespread acclaim upon its international release. Its debut in the US in April 1979 saw it rise to No. 13 on the charts, reaching No. 4 in the UK. This album, alongside “Cheap Trick at Budokan,” also recorded by Tomoo Suzuki, put the Budokan venue on the global map. The release of the complete Budokan album, arriving over 45 years after its original release, is a testament to the dedication and perseverance of those involved.

Sugano : The original “Budokan” captured just a fragment, yet this “Complete Budokan” revives the entire narrative for those who witnessed Bob live back then. Even those who weren't around can now experience the performance of 36-year-old Bob Dylan in Japan through this album. There’s nothing like it. The packaging is stunning, something that seemed impossible. It's not just about the sound; it's a treasure trove with all the photos and more—of Bob in 1978. It’s truly a miracle that it all came together this way.

Suzuki: Right in the midst of it all, I must say, it was quite challenging (laughs). But what really struck me was when I got the test pressings, and we all listened together, hearing it progress from so-so to gradually better. As we listened to the final pressing, Bob Dylan was in the flesh, right there, standing between the speakers. That's when I knew we had nailed it.

Shiroki: I’ve already listened to it countless times, but hearing the final analog version for the first time was incredibly moving. As Mr. Suzuki mentioned, it felt as if Bob was singing in the room.

Sugano: The most important thing is that Bob has left us such a wonderful recording in Japan. Yet, thanks to Shiroki's persistent negotiations, we're finally able to share it with the world. Usually, after a few rounds of rejections, negotiations come to a halt. But not this time. Some folks just never give up, you know? (laughs) I believe the passion I mentioned earlier also extends to such relentless determination.