2019-04-12 ( vendredi 12 avril 2019 ) Bob Dylan, Grand REX, Paris, France

vendredi 12 avril 2019

Bob Dylan

Grand REX, Paris, France

p:683/500/1...M/16
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Discographie / Discography

Bob Dylan


Shadows In The Night

2015
Shadows In The Night

Fallen Angels

2016
Fallen Angels

Triplicate

2017
Triplicate

Mes Matérialisés

Bob DylanGreatest HitsCBS62847, S 62847LP
Bob DylanJohn Birch Society BluesNot On LabelnoneLP
1965Bob DylanBringing It All Back HomeCBSSBPG 62515, 62515LP
1967Bob DylanThe Times They Are A-Changin CBS62251, BPG 62251, CS 8905LP
1974Bob DylanPlanet WavesAsylum Records53003, 53.003LP
1975Bob DylanThe Basement TapesCBSS 809182xLP
1979Bob DylanSlow Train ComingCBSCBS 86095LP
1983Bob DylanInfidelsCBSCBS 25539, 25539, QC 38819LP
1985Bob DylanEmpire BurlesqueCBSCBS 86313, 86313LP
2001Bob Dylan Love And Theft ColumbiaCOL 504364 2, 504364 2CD
2004Bob DylanMTV UnpluggedColumbiaCOL 202435 9, 2024359000DVD
2007Bob DylanDylanColumbia88697 11420 23xCD
2011Bob DylanBiographColumbia02-488099-10, 88697 85648 23xCD
2012Bob DylanTempestColumbia88725457602CD
2015Bob DylanFM LiveThe Great American Broadcast Company Uk Ltd.GABC104LPCDLP
2017Bob DylanMan On The StreetReel To ReelDylan0110xCD
2018Bob DylanDylan (The Best Of The Bootleg Series)ColumbiaUNCUT 2018 12CD

Mes Autres

1962Bob DylanBob DylanM12813
1963Bob DylanThe Freewheelin Bob DylanM12813
1964Bob DylanAnother Side Of Bob DylanM12811
1964Bob DylanThe Times They Are A-changinM12810
1965Bob DylanBringing It All Back HomeM12811
1966Bob DylanBlonde On BlondeM16014
1968Bob DylanJohn Wesley HardingM12812
1969Bob Dylan#1969M1191
1969Bob DylanNashville SkylineM12810
1970Bob DylanNew MorningM19212
1970Bob DylanSelf PortraitF75024
1973Bob DylanDylanM1289
1973Bob DylanPat Garrett & Billy The KidM12810
1974Bob DylanBefore The FloodM12821
1975Bob DylanBlood On The TracksM12810
1975Bob DylanDesireM1289
1975Bob DylanThe Basement TapesM18124
1976Bob DylanHard RainM1609
1979Bob DylanAt BudokanM12922
1979Bob DylanSlow Train ComingM1289
1980Bob DylanSavedM1609
1981Bob DylanShot Of LoveM19210
1983Bob DylanInfidelsM1288
1984Bob DylanReal LiveM19210
1985Bob DylanEmpire BurlesqueM19211
1986Bob DylanKnocked Out LoadedM1608
1988Bob DylanDown In The GrooveM19210
1989Bob DylanOh MercyM12810
1990Bob DylanUnder The Red SkyM16010
1992Bob DylanGood As I Been To YouM12813
1993Bob DylanThe 30th Anniversary Concert CelebrationM12829
1993Bob DylanWorld Gone WrongM12810
1995Bob DylanUnplugged MtvM12812
1997Bob DylanTime Out Of MindM12811
1998Bob DylanStreet-legalM1609
2001Bob DylanHighway 61 RevisitedM1969
2001Bob DylanLove And TheftM12812
2002Grateful Dead, Bob DylanPostcards Of The HangingM19213
2006Bob DylanModern TimesM12810
2007Bob DylanThe Traveling Wilburys Collection (2016 Remastered)F557025
2009Bob DylanChristmas In The HeartM32015
2009Bob DylanTogether Through LifeM12810
2012Bob DylanTempestM32010
2015Bob DylanShadows In The NightF58910
2016Bob DylanFallen AngelsM32012
2017Bob DylanTriplicateM32030
2020Bob DylanRough And Rowdy WaysF6559
2020Bob DylanRough And Rowdy WaysM3201

Line Up

Bob Dylan : vocal, piano, harp
Donnie Herron : banjo, violin, electric mandolin, pedal steel, lap steel
Tony Garnier : bass
George Recile : drums
Charlie Sexton : lead guitar

SetList

1Things Have Changed (Bob on piano)(1999 single)
2It Ain t Me, Babe (Bob on piano)(1964 Another side of Bob Dylan)
3Highway 61 Revisited (Bob on piano)(1965 Highway 61 Revisited)
4Simple Twist Of Fate (Bob on piano and harp)(1975 Blood on the tracks)
5Cry A While (Bob on piano)(2001 Love and Theft)
6When I Paint My Masterpiece (Bob on piano)(1971 Bob Dylan s greatest hits, volume II)
7Honest With Me (Bob on piano)(2001 Love and Theft)
8Tryin To Get To Heaven (Bob on piano)(1997 Time out of mind)
9Scarlet Town (Bob center stage)(2012 Tempest)
10Make You Feel My Love (Bob on piano and harp)(1997 Time out of mind)
11Pay In Blood (Bob on piano)(2012 Tempest)
12Like A Rolling Stone (Bob on piano)(1965 Highway 61 Revisited)
13Early Roman Kings (Bob on piano)(2012 Tempest)
14Don t Think Twice, It s All Right (Bob on piano and harp)(1963 The freewheelin Bob Dylan)
15Love Sick (Bob on piano)(1997 Time out of mind)
16Thunder On The Mountain (Bob on piano)(2006 Thunder on the mountain)
17Soon After Midnight (Bob on piano)(2012 Tempest)
18Gotta Serve Somebody (Bob on piano)(Gotta serve somebody)
Encore
19Blowin In The Wind (Bob on piano)(1963 The freewheelin Bob Dylan)
20It Takes A Lot To Laugh, It Takes A Train To Cry(1965 Highway 61 Revisited)
21Just Like Tom Thumb s Blues (instrumental)(1965 Highway 61 Revisited)

Allées O Venues

Bob Dylan

1956

11956-12-24 Terlinde Music, Saint Paul, MI, US

1959

21959-01-10 Hibbing High School, Hibbing, MN, US
31959-05 The Home Of Ric Kangas, Hibbing, MN, US

1960

41960-05-01 The Home Of Karen Wallace, Saint Paul, MI, US
51960-06-01 The Purple Onion, Saint Paul, MI, US
61960-09 The Home Of Bob Dylan, Hibbing, MN, US

1961

71961-02-01 The Home Of Bob And Sid Gleason, East Orange, NJ, US
81961-05 Unknown Coffeehouse, Minneapolis, MN, US
91961-05-01 The Home Of Bonnie Beecher, Minneapolis, MN, US
101961-05-06 Montewese Hotel, Branford, CT, US
111961-07-29 Riverside Church, New York, NY, US
121961-09-06 The Gaslight Cafe, New York, NY, US
131961-09-30 Gerde S Folk City, New York, NY, US
141961-10-29 WNYC Radio Studio, New York, NY, US
151961-10-31 Folklore Center, New York, NY, US
161961-11-04 Carnegie Chapter Hall, New York, NY, US
171961-11-23 The Home Of Eve And Mac McKenzie, New York, NY, US
181961-12-04 The Home Of Eve And Mac McKenzie, New York, NY, US
191961-12-22 The Home Of Bonnie Beecher, Minneapolis, MN, US

1962

211962-01-29 The Home Of Eve And Mac MacKenzie, New York, NY, US
221962-03 Cynthia Gooding S Apartment, New York, NY, US
231962-04-16 Gerde S Folk City, New York, NY, US
251962-05 Gerde S Fok City, New York, NY, US
241962-05 WBAI Studios; Broadside Show, New York, NY, US
261962-07-02 Finjan Club, Montréal, Canada
271962-08-11 The Home Of Dave Whitaker, Minneapolis, MN, US
281962-09 The Home Of Eve And Mac MacKenzie, New York, NY, US
291962-09-22 Carnegie Hall, New York, NY, US
301962-10 WBAI Studios; Billy Faier Show, New York, NY, US
311962-10-15 Gaslight Café, New York, NY, US

1965

32T+April 30 - May 10, 19651965-04-30Tour of England 8

1966

33T+February 4 - May 27, 19661966-02-04World Tour 47
51966-04-13 Sydney Stadium, Sydney, Australia01
8441966-05-24 Olympia, Paris, France

1969

71969-08-31 Isle Of Wight, England01

1974

34T+January 3 - February 14, 19741974-01-03Bob Dylan and The Band Tour 40

1975

35T+October 30, 1975 - May 25, 19761975-10-30Rolling Thunder Revue 57

1978

197B1978The Road Is Long 1978 Compilation, (Pink Panther Records)01
36T+February 20 - December 18, 19781978-02-20World Tour 114
240B1978-05-01LA Spring Sessions Spring Sessions, Rehearsals & Concerts, (Pink Panther Records)01
241B1978-06-17Southern Mountain Reggae Summer Tour of Europe, (Pink Panther Records)01
2501978-07-03 Pavilon De Paris, Paris, France01 / 16
2511978-07-04 Pavilon De Paris, Paris, France01
2521978-07-05 Pavilon De Paris, Paris, France01
2081978-07-06 Pavilon De Paris, Paris, France01
2531978-07-08 Pavilon De Paris, Paris, France01
233B1978-09-15Fourth Time Around North America September & October, (Pink Panther Records)01
812B+January 3 - February 14, 19751978-11Raging Glory 1978 November & December highlights, (Pink Panther Records)01
232B1978-11-01Bass Player s Wearing A Tie North America November & December, (Pink Panther Records)01

1979

37T+November 1, 1979 - May 21, 19801979-11-01Gospel Tour 79

1981

38T+June 10 - November 21, 19811981-06-10A Musical Retrospective Tour 54
2541981-06-21 Stade Municipal Des Minimes, Toulouse, France01 / 16
2551981-06-23 Stade Yves du Manoir, Colombes, France01
2561981-07-25 Palais des Sports, Avignon, France01

1984

39T+May 28 - July 8, 19841984-05-28European Tour 27
230B1984-05-28I d Rather Be Lucky Than Rich Rehearsals & European Tour, (Pink Panther Records)01
2571984-06-17 Stade De L Ouest, Nice, France01 / 16
2141984-06-30 Stade Marcel Saupin, Nantes, France01
258ticketT++Santana1984-07-01 Parc de Sceaux, Paris, France01
2591984-07-03 Alpexpo, Grenoble, France01

1986

40T+February 5 - August 6, 19861986-02-05True Confessions Tour 60

1987

41T+July 4 - July 26, 19871987-07-04Dylan & the Dead Tour 6
42T+September 5 - October 17, 19871987-09-05Temples in Flames Tour 30
2181987-10-07 Accorhotels Arena, Paris, France01

1988

43T+June 7 - October 19, 19881988-06-07*Never Ending Tour 1988 71
242B1988-06-07I Walk With My Shadow Summer Tour of North America, Interstate 88 (Part, (Pink Panther Records)01
219B1988-10-13The Flower of Belton & The Rose of Seline Fall Tour of US, (Pink Panther Records)01

1989

44T+May 25 - November 15, 19891989-05-25*Never Ending Tour 1989 100
220B1989-05-27You Don t Know Me Summer Tour of Europe, (Pink Panther Records)01
2601989-06-13 Arènes, Fréjus, France01
124B1989-07-01Legend In My Time Summer Tour of North America, (Pink Panther Records)01
243B1989-10-10People Sleeping In Broken Beds Summer Tour of North America, (Pink Panther Records)01

1990

45T+January 12 - November 18, 19901990-01-12*Never Ending Tour 1990 93
221B1990-01-12Fastbreak Tour (Pink Panther Records)01
2611990-01-29 Grand Rex, Paris, France01
2621990-01-30 Grand Rex, Paris, France01
2041990-01-31 Grand Rex, Paris, France01
2971990-02-01 Grand Rex, Paris, France01
238B1990-10-11Heads In Mississippi Fall Tour of US, (Pink Panther Records)01

1991

46T+January 28 - November 20, 19911991-01-28*Never Ending Tour 1991 101
234B1991-06-06People Putting People Down Summer Tour of Europe, (Pink Panther Records)01
229B1991-10-25Whatever You Feel Like Fall Tour of US, (Pink Panther Records)01

1992

47T+March 18 - November 15, 19921992-03-18*Never Ending Tour 1992 92
813B1992-03-18Dr Michael Ks 1992 Aussie Holiday Tapes 1992 March & April of Australian Tour, (Pink Panther Records)01
2631992-06-30 Côte d Opale, Dunkerque, France01
2641992-07-01 Parc des Expositions, Reims, France01
2651992-07-02 Base Nautiques Des Maulsaucy, Belfort, France01

1993

48T+February 5 - October 9, 19931993-02-05*Never Ending Tour 1993 76
2661993-02-23 Zenith, Paris, France01
2091993-06-29 Palais des Sports, Marseille, France01
2671993-06-30 Palais des Sports, Toulouse, France01

1994

49T+February 5 - November 13, 19941994-02-05*Never Ending Tour 1994 104
2681994-07-03 Parc Departemental Du Bourget, Paris, France01
2101994-07-04 Palais Des Sports, Besançon, France01
2691994-07-05 Théâtre Antique, Lyon, France01

1995

50T+March 11 - December 17, 19951995-03-11*Never Ending Tour 1995 115
270++Rolling Stones1995-07-27 Espace Grammont, Montpellier, France01
2981995-07-28 Theatre Romain Antique, Vienne, France01

1996

51T+April 13 - November 23, 19961996-04-13*Never Ending Tour 1996 84

1997

52T+February 9 - December 20, 19971997-02-09*Never Ending Tour 1997 93
235B1997-08-03Almost Went to See Elvis After Bob Got Sick, (Pink Panther Records)01

1998

53T+January 13 - November 7, 19981998-01-13*Never Ending Tour 1998 110
236B1998-01-13My Soul Has Turned Into Steel Winter and spring tours of north and south america, (Pink Panther Records)01
237B1998-05-30You Ain t Seen Nothing Like Me Yet Summer tour of europe, (Pink Panther Records)01
205++Van Morrisson1998-06-30 Le Zenith, Paris, France01
2711998-07-01 Forum, Dijon, France01

1999

54T+January 26 - November 20, 19991999-01-26*Never Ending Tour 1999 119
223B1999-04-07She Buttoned Her Boot European Spring Tour, (Pink Panther Records)01
2241999-04-23 Le Dome, Marseille, France01
239B1999-06-05I Got Rosie On My Chest Summer & Fall Paul Simon concerts, (Pink Panther Records)01
222B1999-09-28I Got A Black Cat Bone Fall Tour of US with Phil Lesh, (Pink Panther Records)01

2000

55T+March 10 - November 19, 20002000-03-10*Never Ending Tour 2000 112
2722000-10-03 Paris, France01

2001

56T+February 25 - November 24, 20012001-02-25*Never Ending Tour 2001 106
228+Crystal Cat Records (608-609)2001-07-12 Kings Dock, Liverpool, England01

2002

57T+January 31 - November 22, 20022002-01-31*Never Ending Tour 2002 107
582002-02-27 Staples Center, Los Angeles, CA, US
2732002-04-25 Strasbourg, France01
225+Crystal Cat Records (625-626)2002-04-28 Forest National, Brussels, Belgium01
2742002-04-29 Le Zenith, Paris, France01
2752002-04-30 Le Zenith, Paris, France01

2003

59T+February 6 - November 25, 20032003-02-06*Never Ending Tour 2003 98
2152003-11-13 Le Zenith, Paris, France01

2004

60T+February 28 - November 27, 20042004-02-28*Never Ending Tour 2004 111
612004-03-28 Apollo Theatre, New York, NY, US
622004-05-05 Wiltern Theatre, Los Angeles, CA, US
632004-06-07 Apollo Theatre, New York, NY, US
2262004-06-29 Museumsplatz, Bonn, Germany01
2762004-07-05 Palais des Spectacles, Saint Étienne, France01
2772004-07-06 Jardin des Plantes, Montauban, France01

2005

64T+March 7 - November 27, 20052005-03-07*Never Ending Tour 2005 113
652005-07-04 North Forty Field, Fort Worth, TX, US
662005-07-16 Benaroya Hall, Seattle, WA, US
1982005-11-03 Zenith, Paris, France01
2782005-11-04 Arènes de Metz, Amnéville, France01

2006

67T+April 1 - November 20, 20062006-04-01*Never Ending Tour 2006 99
279ticketT2006-07-03 Le Zenith, Lille, France01
2802006-07-04 Zenith d auvergne, Clermont Ferrand, France01
2812006-07-12 Perpignan, France01
2822006-07-13 La Palestre, Le Cannet, France01

2007

68T+March 27 - October 29, 20072007-03-27*Never Ending Tour 2007 98
2832007-04-23 Palais Omnisports de Paris, Paris, France01

2008

69T+February 2 - November 21, 20082008-02-02*Never Ending Tour 2008 97
2842008-06-18 Parco Castello Baron Gamba, Châtillon, Italy01
2112008-06-19 Palais des Sports, Grenoble, France01
2852008-06-20 Toulouse, France01

2009

70T+March 22 - November 19, 20092009-03-22*Never Ending Tour 2009 97
2162009-04-07 Palais des Congrès, Paris, France01
2862009-04-08 Paris, France01
2872009-04-21 Strasbourg, France01
712009-06-11 Stage 15, Culver City, CA, US

2010

722010-02-11 The White House, Washington, DC, US
73T+March 11 - November 27, 20102010-03-11*Never Ending Tour 2010 102
288ticketT2010-06-20 Halle Tony Garnier, Lyon, France01
2062010-06-22 Palais Nikaia, Nice, France01
2892010-06-23 Le Dome, Marseille, France01

2011

742011-02-13 Staples Center, Los Angeles, CA, US
75T+April 3 - November 21, 20112011-04-03*Never Ending Tour 2011 89
2902011-10-16 Le Zenith, Lille, France01
2122011-10-17 Palais Omnisport de Paris-Bercy, Paris, France01

2012

762012-01-12 Hollywood Palladium, Los Angeles, CA, US
77T+April 15 - November 21, 20122012-04-15*Never Ending Tour 2012 86
2992012-07-15 Festival de Nimes, Nimes, France01
2912012-07-18 théâtre de Fourvière, Lyon, France01
2072012-07-20 Bayonne Arena, Bayonne, France01
8422012-07-22 Vieilles Charrues, Carhaix, France01

2013

78T+April 5 - November 28, 20132013-04-05*Never Ending Tour 2013 85
2922013-11-12 Grand Rex, Paris, France01
2932013-11-13 Grand Rex, Paris, France01
294ticketT2013-11-14 Grand Rex, Paris, France01

2014

79T+March 31 - December 3, 20142014-03-31*Never Ending Tour 2014 92
802014-11-23 Academy Of Music, Philadelphia, PA, US

2015

81T+April 10 - November 22, 20152015-04-10*Never Ending Tour 2015 87
822015-05-19 Ed Sullivan Theater, New York, NY, US
2132015-10-18 Palais des Sports, Paris, France01 / 16
2952015-10-19 Palais des Sports, Paris, France01
8432015-11-03 Le Zenith, Rouen, FranceCanceled

2016

107T+April 4 - November 23, 20162016-04-04*Never Ending Tour 2016 75
1052016-10-07 Coachella Fairgrounds, Indio, CA, US01
1062016-10-14 Coachella Fairgrounds, Indio, CA, US01

2017

108T+April 1 - November 25, 20172017-04-01*Never Ending Tour 2017 84
2172017-04-20 Le Zenith, Paris, France01 / 16
2962017-04-21 La Seine Musicale, Paris, France01

2018

109T+March 22 - December 3, 20182018-03-22*Never Ending Tour 2018 76
1502018-10-12 Paradise Cove, Tulsa, OK, US01
1512018-10-26 Walt Disney Theater, Orlando, FL, US01
1522018-10-27 Macon City Auditorium, Macon, GA, US01
1532018-10-28 Tivoli Theatre, Chattanooga, TN, US01
1542018-11-26 Beacon Theatre, New York, NY, US01
1552018-11-27 Beacon Theatre, New York, NY, US01
1562018-12-01 Beacon Theatre, New York, NY, US01

2019

158AfficheA2019-03-31 Mitsubishi Electric Halle, Düsseldorf, Germany01 / 02
157T+March 31, 2019 / July 14, 20192019-03-31*Never Ending Tour 2019
159AfficheA2019-04-02 s.Oliver Arena, Würzburg, Germany01
160ticketT2019-04-04 Mercedes-Benz Arena, Berlin, Germany01 / 02
1612019-04-05 GETEC Arena, Magdeburg, Germany01
162AfficheA2019-04-07 Lucerna Great Hall, Praha, Czech Republic01
163AfficheA2019-04-08 Lucerna Great Hall, Praha, Czech Republic01
164AfficheA2019-04-09 Lucerna Great Hall, Praha, Czech Republic01
165AfficheA2019-04-11 Grand Rex, Paris, France01
166XAfficheA2019-04-12 Grand Rex, Paris, France01
167AfficheA2019-04-13 Grand Rex, Paris, France01
2272019-04-16 Konzerthaus, Vienna, Austria01 / 02
1692019-04-17 Konzerthaus, Vienna, Austria01
1702019-04-19 Olympiahalle, Innsbruck, Austria01
171AfficheA2019-04-20 Schwabenhalle, Augsburg, Germany01
1722019-04-22 Palexpo Locarno, Locarno, Switzerland01
1732019-04-25 Navarra Arena, Pamplona, Spain01
1742019-04-26 Bizkaia Arena, Bilbao, Spain01
1752019-04-28 Palacio de Deportes de Gijon, Gijón, Spain01
176AfficheA2019-04-29 Pavillón Multiusos Fontes do Sar, Santiago de Compostella, Spain01
177AfficheA2019-05-01 Coliseu do Porto, Porto, Portugal01
178AfficheA2019-05-03 Fibes Sevilla Auditorio, Sevilla, Spain01
179AfficheA2019-05-04 Marenostrum Castle Park, Málaga, Spain01
180AfficheA2019-05-05 Plaza de Toros de Murcia, Murcia, Spain01
181AfficheA2019-05-07 Plaza de Toros de Valencia, Valencia, Spain01
1822019-06-21 Koengen, Bergen, Norway01
183AfficheA2019-06-24 Hartwall Arena, Helsinki, Finland01
1842019-06-26 Ericsson Globe, Stockholm, Sweden01
1852019-06-28 Scandinavium, Göteborg, Sweden01
1862019-06-29 Oslo Spektrum, Oslo, Norway01
1872019-07-05 Barclaycard Arena, Hamburg, Germany01
1882019-07-06 Volkswagen Halle, Braunschweig, Germany
1892019-07-07 Volkspark, Mainz, Germany
1902019-07-09 Messe Erfurt, Erfurt, Germany
1912019-07-10 Schlossplatz, Stuttgart, Germany
1922019-07-12 Hyde Park, London, England01 / 02
1932019-07-14 Nowlan Park, Kilkenny, Ireland

2021

3002021-11-02 Riverside Theater, Milwaukee, WI, US
3012021-11-03 Auditorium Theatre, Chicago, IL, US
3022021-11-05 KeyBank State Theatre, Cleveland, OH, US
3032021-11-06 Palace Theatre, Columbus, OH, US
3042021-11-07 Indiana University Auditorium, Bloomington, IN, US
3052021-11-09 Procter & Gamble Hall, Cincinnati, OH, US
3062021-11-10 Knoxville Civic Auditorium, Knoxville, TN, US
3072021-11-12 Louisville Palace Theatre, Louisville, KY, US
3082021-11-13 Municipal Auditorium, Charleston, WV, US
3092021-11-15 UPMC Events Center, Moon, PA, US
3102021-11-16 Hershey Theatre, Hershey, PA, US
3112021-11-19 Beacon Theatre, New York, NY, US
3122021-11-20 Beacon Theatre, New York, NY, US
3132021-11-21 Beacon Theatre, New York, NY, US
3142021-11-23 Capitol Theatre, Port Chester, NY, US
3152021-11-24 Capitol Theatre, Port Chester, NY, US
3162021-11-26 Providence Performing Arts Center, Providence, RI, US
3172021-11-27 Wang Theatre, Boston, MA, US
3182021-11-29 Metropolitan Opera House, Philadelphia, PA, US
3192021-11-30 Metropolitan Opera House, Philadelphia, PA, US
3202021-12-02 The Anthem, Washington, DC, US

2022

3212022-03-03 Arizona Federal Theatre, Phoenix, AZ, US
3222022-03-04 TCC Music Hall, Tucson, AZ, US
3232022-03-06 Kiva Auditorium, Albuquerque, NM, US
3242022-03-08 The Buddy Holly Hall of Performing Arts and Sciences, Lubbock, TX, US
3252022-03-10 The Pavilion at Toyota Music Factory, Irving, TX, US
3262022-03-11 Smart Financial Centre at Sugar Land, Sugar Land, TX, US
3272022-03-13 Majestic Theatre, San Antonio, TX, US
3282022-03-14 Majestic Theatre, San Antonio, TX, US
3292022-03-16 Bass Concert Hall, Austin, TX, US
3302022-03-18 Shreveport Municipal Auditorium, Shreveport, LA, US
3312022-03-19 Saenger Performing Arts Theater, New Orleans, LA, US
3322022-03-21 Montgomery Performing Arts Centre, Montgomery, AL, US
3332022-03-23 Ryman Auditorium, Nashville, TN, US
3342022-03-24 Fox Theater, Atlanta, GA, US
3352022-03-26 Johnny Mercer Theatre, Savannah, GA, US
3362022-03-27 North Charleston Performing Arts Center, Charleston, SC, US
3372022-03-29 Township Auditorium, Columbia, SC, US
3382022-03-30 Ovens Auditorium, Charlotte, NC, US
3392022-04-01 Steven Tanger Center for the Performing Arts, Greensboro, NC, US
3402022-04-02 Thomas Wolfe Auditorium, Asheville, NC, US
3412022-04-04 Tivoli Theatre, Chattanooga, TN, US
3422022-04-05 BJCC Concert Hall, Birmingham, AL, US
3432022-04-07 Saenger Theater, Mobile, AL, US
3442022-04-08 Riley Center, Meridian, MS, US
3452022-04-09 Orpheum Theatre, Memphis, TN, US
3462022-04-11 Robinson Center Music Hall, Little Rock, AR, US
3472022-04-13 Tulsa Theater, Tulsa, OK, US
3482022-04-14 Civic Center Music Hall, Oklahoma City, OK, US
3492022-05-28 First Interstate Center for the Arts, Spokane, WA, US
3502022-05-29 Toyota Center, Kennewick, WA, US
3512022-05-31 Arlene Schnitzer Concert Hall, Portland, OR, US
3522022-06-01 Paramount Theatre, Seattle, WA, US
3532022-06-02 Paramount Theatre, Seattle, WA, US
3542022-06-05 Silva Concert Hall, Eugene, OR, US
3552022-06-07 Redding Civic Auditorium, Redding, CA, US
3562022-06-09 Fox Theater, Oakland, CA, US
3572022-06-10 Fox Theater, Oakland, CA, US
3582022-06-11 Fox Theater, Oakland, CA, US
3592022-06-14 Pantages Theatre, Los Angeles, CA, US
3602022-06-15 Pantages Theatre, Los Angeles, CA, US
3612022-06-16 Pantages Theatre, Los Angeles, CA, US
3622022-06-18 San Diego Civic Theatre, San Diego, CA, US
3632022-06-20 Terrace Theater, Long Beach, CA, US
3642022-06-22 Santa Barbara Bowl, Santa Barbara, CA, US
3652022-06-23 Santa Cruz Civic Auditorium, Santa Cruz, CA, US
3662022-06-25 Sacramento Memorial Auditorium, Sacramento, CA, US
3672022-06-27 Hayden Homes Amphitheater, Bend, OR, US
3682022-06-28 Velma V. Morrison Center for the Performing Arts, Boise, ID, US
3692022-06-30 Eccles Theater, Salt Lake City, UT, US
3702022-07-01 Las Colonias Amphitheater, Grand Junction, CO, US
3712022-07-03 Dillon Amphitheater, Dillon, CO, US
3722022-07-05 Temple Hoyne Buell Theatre, Denver, CO, US
3732022-07-06 Temple Hoyne Buell Theatre, Denver, CO, US
3742022-09-25 Oslo Spektrum, Oslo, Norway01
3752022-09-27 Avicii Arena, Stockholm, Sweden
3762022-09-29 Scandinavium, Göteborg, Sweden
3772022-09-30 Royal Arena, Copenhagen, Denmark
3782022-10-02 Flens-Arena, Flensburg, Germany01
3792022-10-03 GETEC Arena, Magdeburg, Germany
3802022-10-05 Verti Music Hall, Berlin, Germany01
3812022-10-06 Verti Music Hall, Berlin, Germany
3822022-10-07 Verti Music Hall, Berlin, Germany
3832022-10-09 Königpalast, Krefeld, Germany
3842022-10-11 Le Grand Rex, Paris, France
3852022-10-12 Le Grand Rex, Paris, France
3862022-10-13 Le Grand Rex, Paris, France
3872022-10-15 Vorst Nationaal / Forest National, Brussels, Belgium
3882022-10-16 AFAS Live, Amsterdam, Netherlands01
3892022-10-17 AFAS Live, Amsterdam, Netherlands01
3902022-10-19 London Palladium, London, England
3912022-10-20 London Palladium, London, England
3922022-10-23 London Palladium, London, England01
3932022-10-24 London Palladium, London, England
3942022-10-26 Cardiff International Arena, Cardiff, Wales
3952022-10-27 Bonus Arena, Kingston upon Hull, England
3962022-10-28 Motorpoint Arena, Nottingham, England
3972022-10-30 SEC Armadillo, Glasgow, Scotland
3982022-10-31 SEC Armadillo, Glasgow, Scotland
3992022-11-02 O2 Apollo Manchester, Manchester, England
4002022-11-04 New Theatre, Oxford, England
4012022-11-05 Bournemouth International Centre, Bournemouth, England
4022022-11-07 3Arena, Dublin, Ireland

2023

8462023-04-14 Tokyo Garden Theater, Tokyo, Japan
8642023-04-18 Aichi Prefectural Art Theater, Nagoya, Japan
8652023-04-19 Aichi Prefectural Art Theater, Nagoya, Japan
8662023-04-20 Aichi Prefectural Art Theater, Nagoya, Japan
8672023-06-02 Coliseu do Porto, Porto, Portugal
8472023-06-04 Campo Pequeno, Lisboa, Portugal
8482023-06-05 Campo Pequeno, Lisboa, Portugal
8492023-06-07 Noches del Botánico, Madrid, Spain
8502023-06-08 Noches del Botánico, Madrid, Spain
8512023-06-10 Fibes - Palacio de Congresos & Exposiciones Sevilla, Sevilla, Spain
8522023-06-11 Fibes - Palacio de Congresos & Exposiciones Sevilla, Sevilla, Spain
8532023-06-15 Plaza de Toros de Alicante, Alicante, Spain
8542023-06-17 Huesca Plaza des Toros, Huesca, Spain
8552023-06-19 Kursaal, San Sebastián, Spain
8562023-06-20 Kursaal, San Sebastián, Spain
8572023-06-21 Palacio De Los Deportes De La Rioja, Logrono, Spain
8582023-06-23 Gran Teatre del Liceu, Barcelona, Spain
8592023-06-24 Gran Teatre del Liceu, Barcelona, Spain
8602023-06-26 THEATRE JEAN DESCHAMPS, Carcassonne, France
8612023-06-27 Arena du Pays d Aix, Aix En Provence, France
8622023-06-29 Amphithéâtre 3000, Lyon, France
8632023-06-30 Amphithéâtre 3000, Lyon, France
8682023-07-01 Montreux Jazz Festival, Montreux, Switzerland
8692023-07-03 Teatro degli Arcimboldi, Milano, Italy
8702023-07-04 Teatro degli Arcimboldi, Milano, Italy
8712023-07-06 Piazza Napoleone, Lucca, Italy
8722023-07-07 Umbria Jazz -- Arena Santa Giuliana, Perugia, Italy
8732023-07-09 Sala Santa Cecilia, Auditorium Parco della Musica, Roma, Italy

Discographie officielle +

700OticketT+(Albums studio)(Columbia)BD-1962-03-19Bob Dylan {02.01.01}M
701OticketT+(Albums studio)(Columbia)BD-1963-05-27The Freewheelin Bob Dylan {03.01.01}M
702OticketT+(Albums studio)(Columbia)BD-1964-01-13The Times They Are a-Changin {03.01.02}LPM
703OticketT+(Albums studio)(Columbia)BD-1964-08-08Another Side of Bob Dylan {03.01.03}M
704OticketT+(Albums studio)(Columbia)BD-1965-03-22Bringing It All Back Home {04.01.01}LPM
705OticketT+(Albums studio)(Columbia)BD-1965-08-30Highway 61 Revisited {04.01.02}M
706OticketT+(Albums studio)(Columbia)BD-1966-05-16Blonde on Blonde {04.01.03}M
837OticketT+(Compilations)BD-1967Bob Dylan s Greatest Hits 2 {01.02.02}
707OticketT+(Compilations)BD-1967-03-27Bob Dylan s Greatest Hits {01.02.01}LPs01 / 02
708OticketT+(Albums studio)(Columbia)BD-1967-12-27John Wesley Harding {05.01.02}M
709OticketT+(Albums studio)(Columbia)BD-1969-04-09Nashville Skyline {05.01.03}M
710OticketT+(Albums studio)(Columbia)BD-1970-06-08Self Portrait {05.01.04}M
711OticketT+(Albums studio)(Columbia)BD-1970-10-19New Morning {05.01.06}M
712OticketT+(Compilations)BD-1971-11-17More Greatest Hits {01.02.03}
713OticketT+(Apparitions)BD-1971-12-20The Concert for Bangladesh {05.03.02}3xLPs
714OticketT+(Albums studio)(Columbia)BD-1973-07-16Pat Garrett and Billy the Kid {05.01.07}M
715OticketT+(Albums studio)(Columbia)BD-1973-11-19Dylan {05.01.05}M
716OticketT+(Albums studio)(Asylum Records)BD-1974-01-17Planet Waves {06.01.01}LP
717OticketT+(Albums en concert)(Asylum Records)BD-1974-06-20Before the Flood {06.02.01}M
718OticketT+(Albums studio)(Columbia)BD-1975-01-17Blood on the Tracks {06.01.02}M
719OticketT+(Albums studio)(Columbia)BD-1975-06-26The Basement Tapes {05.01.01}2xLPM
720OticketT+(Albums studio)(Columbia)BD-1976-01-05Desire {06.01.03}M
721OticketT+(Albums en concert)(Columbia)BD-1976-09-13Hard Rain {06.02.03}M
722OticketT+(Compilations)BD-1978-03Masterpieces {01.02.04}
723OticketT+(Apparitions)BD-1978-04-26The Last Waltz {06.05.02}3xLPs
724OticketT+(Albums studio)(Columbia)BD-1978-06-15Street-Legal {07.01.01}M
725OticketT+(Albums en concert)(CBS/Sony)BD-1979-04-23Bob Dylan at Budokan {07.02.01}M
726OticketT+(Albums studio)(Columbia)BD-1979-08-18Slow Train Coming {07.01.02}LP
727OticketT+(Albums studio)(Columbia)BD-1980-06-23Saved {07.01.03}M
728OticketT+(Albums studio)(Columbia)BD-1981-08-12Shot of Love {07.01.04}M
729OticketT+(Albums studio)(Columbia)BD-1983-10-27Infidels {07.01.05}LPM
730OticketT+(Albums en concert)(Columbia)BD-1984-12-03Real Live {08.02.01}M
731OticketT+(Albums studio)(Columbia)BD-1985-06-10Empire Burlesque {08.01.01}LPM
732OticketT+(Compilations)BD-1985-11-08Biograph {01.02.05}3xCDs
733OticketT+(Albums studio)(Columbia)BD-1986-08-14Knocked Out Loaded {08.01.02}M
734OticketT+(Albums studio)(Columbia)BD-1988-05-31Down in the Groove {08.01.03}M
735OticketT+(Apparitions)BD-1988-10-18Traveling Wilburys Vol. 1 {08.04.03}M
736OticketT+(Albums en concert)(Columbia)BD-1989-01-30Dylan and the Dead {08.02.02}K7
737OticketT+(Albums studio)(Columbia)BD-1989-09-18Oh Mercy {08.01.04}LP
738OticketT+(Albums studio)(Columbia)BD-1990-09-10Under the Red Sky {08.01.05}M
739OticketT+(Apparitions)BD-1990-10-29Traveling Wilburys Vol. 3 {08.04.04}M
110OticketT+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V01-1961 1991 {01.02.06}M01
111OticketT+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V02-1961 1991 {01.02.06}M01
112OticketT+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V03-1961 1991 {01.02.06}M01
740OticketT+(Albums studio)(Columbia)BD-1992-11-03Good as I Been to You {10.01.01}M
741OticketT+(Albums en concert)(Columbia)BD-1993-08-24The 30th Anniversary Concert Celebration {11.01.01}M
742OticketT+(Albums studio)(Columbia)BD-1993-10-26World Gone Wrong {10.01.02}M
743OticketT+(Compilations)BD-1994-11-15Bob Dylan s Greatest Hits 3 {01.02.07}
744OticketT+(Albums en concert)(Columbia)BD-1995-06-02MTV Unplugged {08.02.03}DVDM
745OticketT+(Compilations)BD-1997-06-02The Best of Bob Dylan {01.02.08}
746OticketT+(Albums studio)(Columbia)BD-1997-09-30Time Out of Mind {09.01.01}M
113OticketT+(The Bootleg Series)(Columbia)BD-1998-10-13The Bootleg Series V04-live 1966 the royal albert hall concert {04.02.01}M01
806OticketTBD-2000The Best of Bob Dylan Volume 2 {01.02.09}
747OticketT+(Compilations)BD-2000-10-31The Essential Bob Dylan
799OticketTBD-2001-02-28Live 1961-2000 Thirty-Nine Years Of Great Concert Performances {09.02.01}M01
748OticketT+(Albums studio)(Columbia)BD-2001-09-11Love and Theft {09.01.02}CDM
749OticketT+(Grateful Dead : Apparitions : Man Of Peace)BD-2002-03-01Postcards of the Hanging {11.03.06}M
114OticketT+(The Bootleg Series)(Columbia)BD-2002-11-26The Bootleg Series V05-Rolling Thunder Revue {06.02.02}M01
115OticketT+(The Bootleg Series)(Columbia)BD-2004-03-30The Bootleg Series V06-Live 1964 Concert at Philharmonic Hall {03.02.04}M01
750OticketT+(Sony BMG)BD-2005-05-02Bob Dylan: Les Chroniques, Vol. 1 {10.02.02}
751OticketT+(Albums en concert)(Columbia)BD-2005-08-30Live at the Gaslight 1962 M
116OticketT+(The Bootleg Series)(Columbia)BD-2005-08-30The Bootleg Series V07-No Direction Home The Soundtrack A Martin Scorsese Picture {04.03.01}M01
752OticketT+(Simon & Schuster)BD-2005-09-13The Bob Dylan Scrapbook 1956-1966 - Interviews
754OticketT+(Albums studio)(Columbia)BD-2006-08-29Modern Times {09.01.03}M
755OticketT+(Compilations)(Columbia)BD-2007-10-02Dylan {01.02.15}3xCDs
804OticketTBD-2007-10-02Traveling Wilburys Collection {08.04.05}
117OticketT+(The Bootleg Series)(Columbia)BD-2008-10-06The Bootleg Series V08-Tell Tale Signs Rare And Unreleased 1989-BD-2006 {09.03.01}M01
756OticketT+(Chrome Dreams)BD-2008-2010Bob Dylan s Theme Time Radio Hour : Season 1 {10.02.03}
760OticketT+(Chrome Dreams)BD-2009Bob Dylan s Theme Time Radio Hour : Season 2 {10.02.03}
758OticketT+(Albums studio)(Columbia)BD-2009-03-28Together Through Life {09.01.04}M
759OticketT+(Albums studio)(Columbia)BD-2009-10-13Christmas in the Heart {10.01.03}M
757OticketT+(Chrome Dreams)BD-2010Bob Dylan s Theme Time Radio Hour : Season 3 {10.02.03}
761OticketT+(Compilations)BD-2010-09-27The Essential Bob Dylan
118OticketT+(The Bootleg Series)(Columbia)BD-2010-10-18The Bootleg Series V09-The Witmark Demos {03.03.01}M01
762OticketT+(Albums en concert)BD-2011-03-11In Concert: Brandeis University 1963
763OticketT+(Albums studio)(Columbia)BD-2012-09-10Tempest {09.01.05}M
795OticketTBD-2012-12-27The 50th Anniversary Collection The Copyright Extension Collection Vol.1 {02.03.01}M01
765OticketT+(Golden Masterworks)BD-2013Highway Blues 1962 Unplugged
766OticketT+(DM Digital)BD-2013-01-21Bob Dylan and The New Folk Movement
119OticketT+(The Bootleg Series)(Columbia)BD-2013-08-23The Bootleg Series V10-Another Self Portrait {05.02.04}M01
767OticketT+(Compilations)(Columbia)BD-2013-12-02The 50th Anniversary Collection 1963 {03.03.02}
120OticketT+(The Bootleg Series)(Columbia)BD-2014-11-04The Bootleg Series V11-The Basement Tapes Complete {05.02.02}M01
801O+(The Bootleg Series)(Columbia)BD-2014-11-05The Bootleg Series V11-The Basement Tapes Raw {05.02.01}
768OticketT+(Compilations)(Columbia)BD-2014-12-08The 50th Anniversary Collection 1964 {03.03.03}
769OticketT+(Albums studio)(Columbia)BD-2015-02-03Shadows in the Night {10.01.04}M
809O+(The Bootleg Series)(Columbia)BD-2015-11-06The Bootleg Series V12-The best of The Cutting Edge {04.03.02}
121OticketT+(The Bootleg Series)(Columbia)BD-2015-11-06The Bootleg Series V12-The Cutting Edge 1965 1966 {04.03.03}M01
810O+(The Bootleg Series)(Columbia)BD-2015-11-06The Bootleg Series V12-The Cutting Edge Collectors s edition {04.03.04}
770OticketT+(Albums studio)(Columbia)BD-2016-05-20Fallen Angels {10.01.05}M
797OticketTBD-2016-11-11The 1966 Live Recordings {04.03.05}, [1966]M01
771OticketT+(Albums en concert)(Columbia)BD-2016-12-02Live In Sydney 1966 M
772OticketT+(Albums studio)(Columbia)BD-2017-03-31Triplicate {10.01.06}M
803OBD-2017-11-03The Bootleg Series V13-Trouble No More {07.02.02}
122OticketT+(The Bootleg Series)(Columbia)BD-2017-11-03The Bootleg Series V13-Trouble No More 1979 1981 {08.03.01}M01
779OticketTBD-2018Dylan (The Best Of The Bootleg Series) CD
773OticketT+(Albums en concert)(Popular Demand)BD-2018-07-27Live 1962 – 1966: Rare Performances From The Copyright Collections
774OticketT+(Cornbread Records)BD-2018-10-12Come Back, Baby: Rare And Unreleased 1961 Sessions
775OticketT+(Cornbread Records)BD-2018-10-12The Karen Wallace Tape, May 1960
802O+(The Bootleg Series)(Columbia)BD-2018-11-02The Bootleg Series V14-More Blood, More Tracks {06.03.01}
123OticketT+(The Bootleg Series)(Columbia)BD-2018-11-02The Bootleg Series V14-More Blood, More Tracks Deluxe edition {06.03.02}M01
784OticketT+14xCD + BoxBD-2019-06-07The Rolling Thunder Revue: The 1975 Live Recordings-Admit one {06.03.03}F
776OticketT+(Albums en concert)BD-2019-06-07The Rolling Thunder Revue: The 1975 Live Recordings-Slamper M
782OticketT+(The Bootleg Series)(Columbia)BD-2019-11-01The Bootleg Series V15 1967–1969-Travelin Thru {05.02.03}F
781OticketTBD-2020-06-19Rough And Rowdy Way {09.01.06}F
783OticketTBD-2021-02-2650th Anniversary Collection 1970 {05.02.06}M
83O+(The Bootleg Series)(Columbia)BD-2021-09-17The Bootleg Series V16-Springtime In New York 1980-1985 F
84O+(The Bootleg Series)(Columbia)BD-2023-01-27The Bootleg Series V17-Fragments (Time Out Of Mind Sessions (1996-1997) M
85OBD-2023-06-02Shadown Kingdom

Bootleg

780BBT-1968Just as Well LP01
785BBT-1969Great White Wonder M01
777BBT-1970John Birch Society Blues 1LP/201
196BBT-1975-12-08Knight of the hurricane Madison Square Garden, New York, NY, US, (The Razor s Edge (GWW 001/2))M01
786BBT-1981Another Shot of Love M01
798BBT-1984Every Grain of Sand European Tour 1984 CompilationM01
778BBT-1985-1992FM Live Limited Edition, Numbered, Unofficial Release 20152xLPs+CD01
787BBT-1991Long Distance Operator Berkeley Community Theatre, Berkeley, CA, US [1965, (Wanted Man Music – WMM 001)M01
788BBT-1992John Birch Society blues [1961-1965], (Exit Records – CDX-2504-S)M01
830BBT-1992Stadiums Of The Damned [1981-11-10], (Kiss The Stone – KTS 056/57)M01
805BBT-1994Possum Belly Overalls (Gold Standard – NASH 105)M01
836BBT-1994Real Live Outtakes 1984 [1984], (Yellow Cat Records – YC 022)M01
833BBT-1994Rough Cuts [1983-(04/05)], (Black Nite Crash – BNC 001/002)M01
800BBT-1994The Dylan/Cash Sessions (Spank Records – SP-106)M01
818BBT-1994The Minnesota Tapes [1961], (Wanted Man Music – WMM 33/34/35)M01
789BBT-1994Thin Wild Mercury Music (Spank Records – SP-105)M01
814BBT-1995Broadside [1962-1963], (Gunsmoke Records GSR2)M01
823BBT-1995Hard To Find Vol. 1 21 Rare Tracks Revisited, (Effective Mining Records – 4-345388)M01
824BBT-1995Hard To Find Vol. 2 Extraordinary Performances 1975-95, (Home Records – 186165-2)M01
195BBT-1995In Concert Town Hall/Carnegie Hall New York 1963, (Capricorn Records (CR-2025))M01
832BBT-1995Rock Solid [1980-04-(19/20)], (Junkyard Angel – JUNK 004)M01
807BBT-1995-2008The Genuine Bootleg Series Vol 1-4 {01.03.01}, [1960-2004], (Scorpio)M01
819BBT-1996All Hallows Eve & More [1962/1964], (Midnight Beat – MB CD 079/80)M01
825BBT-1996Hard To Find Vol. 3 Lost Recordings 1962-86, (Treasure Records – 1861656-2)M01
826BBT-1996Hard To Find Vol. 4 Hardest To Find (Lost Diamonds 1986-96), (USA Treasure Records)M01
201BBT-1996Peco s Blues aka Lucky Luke {05.01.07}, [1973], (Vagabound Wilbury Records (LUCKY VW 001))M01
202BBT-1997Plymouth Rock [1975], (Colosseum (97-C-015))M01
829BBT-1998Blood On The Tracks -New York Sessions [1974], (A&R)M01
839BBT-1998Bob Dylan and the Grateful Dead - Studio rehearsals [1987], (Outrider – OR-9802006/7/8)M01
821BBT-1998Folk Rogue [1964/1965], (Wild Wolf – 6965)M01
827BBT-1998Hard To Find Vol. 5 Lost Track Searcher, (Tashunka Witko Records)M01
828BBT-1998Hard To Find Vol. 6 Dylan s Zip Gun, (Magic Hand Records – 457 823-2)M01
817BBT-1999Cocaine Blues (BYG Records – CDB-2524-S)M01
194BBT-1999The Gaslight Tapes {02.04.10}, Gaslight Cafe, New York, NY, US [1962], (Rattle Snake (RS 068))M01
822BBT-2000Hard To Find Vol. 7 [1997/1999], (Avengers-Records – DHF 7)M01
200BBT-2000I Was So Much Younger Then {02.04.01}, [1958-1965], (Dandelion (DL 075/076/077/078) 2000)M01
841BBT-2000The Greatest Single Ever Made [1966], (LRS101)M01
835BBT-2001Bob Dylan & George Harrison Live at colomba studio [1970], (Dino Records GH-DB 001)M01
203BBT-2001The Genuine Never Ending Tour Covers Collection 1988-2000 (Scorpio/wild wolf (NET1-9))M01
790BBT-2001-10A Tree With Roots (Scorpio – GBS 67)M01
791BBT-2002Folk Singer - Humdinger The Originals Recordings 1961-1962, (Smith & Co – SCCD 2488)M01
820BBT-2004Tell It Like It Is (Alternative Edge Productions)M01
792BBT-2005Re-Transmissions (Storming Music Company – SMC2642)M01
834BBT-2005Transmissions Broadcasting Live, (American Legends Ltd – SMC2520)M01
816BBT-2005-11-25MTV Unplugged The Rehearsals (Apocalypse Sound – AS 56)M01
199BBT-2010Folksingers Choice {02.04.08}, Cynthia Gooding Radio Show, New York, NY, US [1962, (Yellow Dog Records (YD 017))M01
838BBT-2011Carnegie Chapter Hall [1961], (BDA (2) – BDACD 102)M01
793BBT-2011-05-05Studs Terkel s Wax Museum (Leftfield Media – LFMCD504)M01
794BBT-2012A Long Time A Growin (Rock Melon Music LTD – RMBOX5)M01
796BBT-2012The Minneapolis Party Tape 1961 (Let Them Eat Vinyl – LETV053LP)M01
231BBT-2012-06-30Mr Piano Man tinkles the ivories (European Tour 2012 Compilation)M01
815BBT-2013Live Finjan Club Live Finjan Club, Montreal Canada, July 2, 1962, (Doxy – DOK 327)M01
840BBT-2015Where s Your Gravity (Jazz2Jazz)M01
808BBT-2017-10-23Man On The Street {02.04.02}, [1961-1965], (Reel To Reel – Dylan01)10xCDs01
831BBT-2018Medicine Show [1966], (soniclovenoize reconstruction)M01
845BBT-2019Man On The Street Vol 2 [1974-1993], (Reel To Reel DYLAN02)10xCDs01

Enregistrements

(5/1) Bob Dylan, 1966-04-13, Sydney Stadium, Sydney, Australia

Audio/?, ?/?, (?)

Bob Dylan

1966-04-13
a phoenix in april sydney

101 She belongs to me
102 4th Time Around
103 Visions Of Johanna
104 It's All Over Now, Baby Blue
105 Desolation Row
106 Just Like A Woman
107 Mr Tambourine Man
201 Tuning
202 Tell Me, Momma
203 I Don't Believe You
204 Baby Let Me Follow You Down
205 Just Like Tom Thumb's Blues
206 Leopard Skin Pill Box Hat
207 One Too Many Mornings
208 Ballad of a Thin Man
209 Positively 4th Street


(7/1) Bob Dylan, 1969-08-31, Isle Of Wight, England

Audio/?, ?/?, (?)

Bob Dylan

1969-08-31
live isle of wight

01 she belongs to me
02 i threw it all away
03 maggie's farm
04 wild mountain thyme
05 it ain't me babe
06 to ramona
07 mr. tambourine man
08 i dreamed i saw st. augustine
09 lay lady lay
10 highway 61 revisited
11 one too many mornings
12 i pity the poor immigrant
13 like a rolling stone
14 i'll be your baby tonight
15 quinn the eskimo
16 minstrel boy
17 rainy day woman # 12 & 35



(197/1) Bob Dylan, 1978, The Road Is Long, 1978 Compilation, (Pink Panther Records)

Audio/mp3, ?/?, (?)

683197001a683197001b
Bob Dylan

The Road Is Long
1978 Compilation

01. Repossession Blues (02-24)
02. It's All Over Now, Baby Blue (07-06)
03. I Threw It All Away (02-24)
04. We Better Talk This Over (12-10)
05. Tangled Up In Blue (06-07)
06. I Don't Believe You (06-07)
07. True Love Tends To Forget (07-08)
08. Coming From The Heart (10-31)
09. Am I Your Stepchild (12-09)
10. Senor (12-10)
11. If You See Her, Say Hello (02-24)
12. The Man In Me (07-06)
13. One Of Us Must Know (06-07)
14. You're A Big Girl Now (02-24)
15. Do Right To Me, Baby (12-16)
16. Girl From The North Country (12-10)
17. Changing Of The Guards (12-10)

This is a companion to the long and winding road that Bob Dylan took through the year of 1978. Biographical details aside, it was a fascinating year for Dylan's art, as he released a loud, brassy record full of mysticism and imagery while touring the world performing some of the most radical rearrangements of his back catalog. Surely, it's a lot to take in.
Unfortunately, the tapes from this era are inconsistent in quality, due to the technical limitations of the time. The complexity of the arrangements were ill-suited even to the studio process for Street Legal, so it is not surprising that the enterprising bootleggers of 1978 were able to capture the mystery and majesty, but not always the subtlety of these rapturous concerts. Some tapes stand out, however, as the cream of the crop - these are a stronger document than even the contemporary release of Dylan's 'At Budokan.' I'm speaking of tapes like Charlotte, Tokyo, Paris, Columbia, and more. Without these brilliant tapers, who but those in attendance could have heard the passionate 'Coming From The Heart' from October 31, or this dramatic 'Tangled Up In Blue' from June 7? Please bear in mind that this compliation focuses on the cleanest tapes of '78, so some brilliant performances on muddier recordings have been omitted.
Though the tour has its detractors, and fits somewhat uncomfortably between the fire of the Rolling Thunder Revue and the brimstone of the Gospel Tours, there is brilliance to be found here. I set out to make a companion to 'At Budokan' that would round out the year's best performances of songs not included on that release. This CD has what I would consider to be the definitive 'Man in Me' and 'Changing of the Guards.' Also, 'Do Right To Me, Baby' appears here, the first performance of a Gospel-era song. Change was in the air at Dylan's December shows in 1978, and this song points toward the years to come. I wanted to get these and more songs down in one place for the newcomer to Bob Dylan's live bootlegs. Hopefully the veterans will find something of merit here as well.
In any case, this one is coming from the heart, and should be a pleasant listen on the long road ahead, whatever the destination.

Enjoy!


(240/1) Bob Dylan, 1978-05-01, LA Spring Sessions, Spring Sessions, Rehearsals & Concerts, (Pink Panther Records)

Audio/flac, dime/?, (20190525)

683240001a683240001b
1978 LA SPRING SESSIONS, REHEARSALS & CONCERTS
('Street Legal' reports, explanations, and replacements)

From Pink Panther Records
(with great respect)


Here you are, reading the Looong version of the notes to this Pink Panther Records production of the:

1978 LA SPRING SESSIONS, REHEARSALS & CONCERTS.

We suggest you use this version for deep learning, reflection, and reference leading to a better understanding of Dylan's situation as he heads in to 1979, AND his crucial showdown / meltdown / crisis - his spiritual experience with the Lord! This is 'Street Legal' reports, explanations, and replacements. What Street Legal should have sounded like!

!!NOT the longest Pink Panther, but one with exceptional sound quality!!

(A shorter version is included for use as a 'setlist' for reference while listening.)
Lineage is included in short version.

***

Even by Bob's standards, the recording of 'Street Legal' was weird. To begin with, Bob had assembled a band which included: world-class jazz musicians, ex-members of Elvis Presley's TCB (Taking Care Of Business) Band (Elvis died in Memphis on 16 August 1977), a British prog-rock drummer, & fragments of the Rolling Thunder Revue. There was an overabundance of talent & a very disperate mix of musical genres. Bob then stuck all this talent in a converted gunshop (Rundown Studios) in LA to record, in a week, Street Legal, in a live-in-the-studio format using a mobile studio, just like Exile On Main Street?! Problem was, the acoustics were dreadful. Bob had been inspired to do this after listening to the tapes of the Jerry Scheff audition in April which was recorded this way. Jerry Scheff replaced Rob Stoner, who was fired from the band after the first 1978 tour leg (Japan, New Zealand & Australia).

The resulting album - the music was fantastic & the sound was horrible.


After the album was recorded, Bob spend a week doing seven consecutive nights without a break at a residency at LA's Universal Amphitheater as a warm-up to a summer tour of Europe. Now Bob could have saved himself a lot of trouble by getting LA resident Mike Millard to record Street Legal using his mobile "wheelchair" recording studio.

Millard recorded three of the seven nights at Universal Amphitheater but only succeeded in completely recording the third concert by using two recorders with one starting later than the other to overlap. By 1978, Millard was a legendary bootlegger of both Led Zeppelin & The Rolling Stones (you would think an experienced Zeppelin bootlegger would not run out of tape), but these bobtapes only recently emerged & were a very pleasant surprise as the LA residency had long suffered from very poor sounding recordings. The setlists were fairly static & LA got little of the yet-to-be-released Street Legal, but what it did get was some amazing music from Bob's back catalogue. The vast majority of songs performed by Bob in LA were recorded by Millard, so only a few on this compilation are from inferior sources. Most of this sounds better than most Columbia official live recordings, & it was recorded on analogue tapes using a reel-to-reel recorder with decent microphones hidden in a wheelchair. Some of the best live Bob you will ever hear. Is is rock, is it jazz, is it R&B, is it fusion? Who knows, but it is definitely wonderful. What Street Legal should have sounded like! These songs would evolve dramatically as the year-long tour progressed, with the jazz musicians & Billy Cross leading the way with more & more improvisition. But even jazz improvisation starts with the "standard" interpretation, & that is what we have on this short tour leg.


!!NOT the longest Pink Panther, but one with exceptional sound quality!!

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

Statistics for this compilation (yes, false news, lies, damn lies & statistics masquerading as facts)


48 ball-tearing, sensational tracks
40 different songs
6 concerts are represented here (from the total of 7 concerts) plus 1 rehearsal and 1 studio session
3 hours & 34 minutes of music
1 bob

***

All songs played on the tour leg are represented here.
Sound quality is, for the most part, exceptional.
Duplicated songs are from the rehearsals & the last Street Legal recording session.

***


WE BETTER TALK THIS OVER (Bob Dylan) - probably Bob's saddest song.

I think we better talk this over
Maybe when we both get sober
You'll understand I'm only a man
Doin' the best that I can

This situation can only get rougher
Why should we needlessly suffer?
Let's call it a day, go our own different ways
Before we decay

You don't have to be afraid of looking into my face
We've done nothing to each other time will not erase
I feel displaced, I got a low-down feeling
You been two-faced, you been double-dealing

I took a chance, got caught in the trance
Of a downhill dance

Oh, child, why you wanna hurt me?
I'm exiled, you can't convert me
I'm lost in the haze of your delicate ways
With both eyes glazed

You don't have to yearn for love, you don't have to be alone
Somewheres in this universe there's a place that you can call home

I guess I'll be leaving tomorrow
If I have to beg, steal or borrow
It'd be great to cross paths in a day and a half
Look at each other and laugh

But I don't think it's liable to happen
Like the sound of one hand clappin'
The vows that we kept are now broken and swept
'Neath the bed where we slept

Don't think of me and fantasize on what we never had
Be grateful for what we've shared together and be glad
Why should we go on watching each other through a telescope?
Eventually we'll hang ourselves on all this tangled rope

Oh, babe, time for a new transition
I wish I was a magician
I would wave a wand and tie back the bond
That we've both gone beyond


***

Background information:


Wikipedia

Mike Millard, nicknamed "Mike The Mic" was an avid concert taper in the 1970s and 1980s, recording mostly Led Zeppelin, Pink Floyd and The Rolling Stones concerts in California, especially at the Los Angeles Forum. He taped virtually every show at the Forum from 1974 to 1980. Many of his recordings found their way into the hands of bootleggers who sold Millard's work to fans.

Starting with a basic mono recorder in 1974, Millard upgraded to a Nakamichi stereo recorder with AKG Acoustics microphones for the 1975 Led Zeppelin shows in the area. He often used a wheelchair to conceal his equipment, pretending to be disabled. Unlike most 1970s audience bootlegs, Millard's recordings are noted for their great sound quality, and are to this day considered some of the finest audio bootlegs available.

Millard's recording of the Led Zeppelin concert on June 21, 1977 at the Forum (allegedly taped from row number six) was released under the title Listen To This Eddie, and remains one of the best-known Led Zeppelin bootlegs. His recording of the opening number from the concert, The Song Remains The Same, was included in the promos menu of the Led Zeppelin DVD. Millard recorded all of The Rolling Stones 1975 shows at the LA Forum, and his recording of the Sunday, June 13, 1975 show (titled LA Friday) has become one of the most widely spread recordings of a Rolling Stones concert.

Millard was never behind the sale of bootlegs and was openly against the illegal sale of his recordings, like many audience tapers today. He was notorious for "marking" copies of his tapes so that if one of his recordings turned up for sale on LP or CD, he would be able to tell which person he had traded it to. He kept a very detailed logbook of his marked recordings and who they were distributed to. "Unmarked" copies of Mike's recordings are very scarce. Recently, several unmarked first generation copies of his Led Zeppelin recordings surfaced in trading circles.

Millard is said to have suffered from severe depression, and he committed suicide in 1990.

***

Robert Shelton

Dylan went into a Santa Monica studio for a week in April to tape Street-Legal. With the momentum of the world tour, the album did well around the world, but American critics admonished him to "get a producer."

Street-Legal is one of Dylan's most overtly autobiographical albums, telling of loss, searching, estrangement, and exile. It also clearly foreshadows the Christian conversion ahead, but who among us could perceive it at that time? It is peopled by a group of narrators who are oppressed, wandering, and lonely, traveling in a foreign country of the spirit. The tarot-card imagery of Changing Of The Guard has confounded some of the shrewdest interpreters, but it is difficult not to ascribe it either to his years with Sara or with The Band, or both. I confess the song is still an enigma to me.

But the album is generally strong on communication, rather than on code. I call attention to two minor gems and a masterwork on the album, which have not fully been appreciated.

New Pony has a scathing blues riff on which the women's voices drive home the repeated phrase "How much longer?" out of the Bible, yet in a song that seems to be pure sexuality. Senor (Tales Of Yankee Power) is a strong and rueful political statement that finds American foreign policy confused and unjust. More biblical language is sandwiched in between American folk language with the reference to overturning the tables, from the passages describing Jesus and the money-changers.

I hear many echoes of Robert Johnson, the blues giant, especially on Is Your Love In Vain? but also later in the phrase about juice running down a leg. Powerful, raw stuff amid some tenderness in Baby Stop Crying, True Love Tends To Forget, and We Better Talk This Over. I hear some fine Stevie Wonder echoes on the cataloging of No Time To Think.

But the masterwork is the final song of anguish and prophecy, a song with the sweep of Like A Rolling Stone, Where Are You Tonight? (Journey Through Dark Heat). Here we can discern the move toward Christianity, the foreshadowing of major changes after the hellish personal disorder that the narrator has gone through. This is catharsis and resolution as he steals off into a troubled night with such companions as St John of the Book Of Revelation. There are technical raw spots on the album, but Dylan clearly wanted to tape it red-hot and from the heart, and he had allowed himself only a week to do it before hitting the road again.

***

Howard Sounes

The first leg of the world tour ended on 1 April 1978 in Sydney, Australia. Although he had worked hard to make the tour a success, Rob Stoner had become very unpopular with colleagues in the band. "Rob wanted to be the boss," says Steven Soles. Stoner was fired in Sydney and replaced with Jerry Scheff, who had played bass for Elvis Presley. Debi Dye-Gibson also left the tour, partly because she was pregnant and also because she could not get along with Helena Springs. She was replaced with Carolyn Dennis, who later assumed particular importance in Dylan's life. Carolyn Yvonne Dennis, also known as Carol or Carole Dennis, was born in Missouri in 1954. Her mother was Madelyn Quebec, who sang with Ray Charles as a member of The Raelettes. Carolyn had grown up in a strong tradition of gospel music to become a fine singer in her own right. She was a large woman with a powerful but angelic voice and a very pretty face. She was on tour with Burt Bacharach when she received a call about working with Dylan. "I have to say, as embarrassing as it might be, I didn't know who he was, because my young life had been so reclusive and so sheltered," says Carolyn. "So I called and I asked, "Who is Bob Dylan?"."

Dylan had three months before he had to go back on the road. In the meantime, he wanted to record a new album, to be called Street Legal, the first album that would be delivered under a recently renegotiated contract with Columbia. Dylan consulted his former Columbia producer Bob Johnston about booking into the Record Plant, but they could not get convenient dates, so Dylan decided to record at his rehearsal studio in Santa Monica without Johnston or any name producer. He worked in a large upstairs room formerly used as a gun factory. Acoustically, the room was terrible, with a linoleum floor and polystyrene ceiling tiles. To muffle Ian Wallace's battery of drums, Dylan's assistant, Arthur Rosato, suspended a parachute above the kit. Power leads were fed out through windows to a mobile recording unit in the street. With regular breaks for coffee and pastries next door at the Napoleon cafe, the album was finished in less than a week. Dylan enjoyed working at a brisk clip, and was not overly concerned about sound quality. He told Billy Cross that a recording was merely the performance of a song that day. He was not looking for perfection.

The songs had for the most part been written the previous summer on the farm, when Dylan was with Faridi McFree, and were registered to a newly created publish¬ing company, Special Rider Music. The songs were concerned primarily with the travails of love. However, autobiographical references were disguised with dense imagery including references to tarot cards in Changing Of The Guards, and astrology in No Time To Think. Dylan's interest in this sort of mystical mumbo-jumbo seems to have been a hangover from his relationship with McFree and was perhaps indicative of Dylan searching for something to give meaning to his life. He seemed less self-assured than in the past and a lack of focus weakened the impact of many of the songs on Street Legal. There are, however, some lively numbers. New Pony was a lustful blues that some of the band members thought of as being inspired by Dylan's relationship with Helena Springs. Senor (Tales Of Yankee Power) can be seen as a signpost to Dylan's conversion to Christianity. In the song, he beseeched the Senor, an enigmatic, Messiah-like figure, for direction, sounding frightened by the place he found himself in. While the song contains powerful images, and interesting biblical references, as does so much of his work, Senor (Tales Of Yankee Power) also sounded contrived to some ears, incorporating in its imagery some of the showy exoticism of Desire and a tinge of the specious nonsense of tarot. Baby Stop Crying was a fine love song. Perhaps the best song on the album was Where Are You Tonight? (Journey Through Dark Heat), in which Dylan seemed to accept the failure of his marriage and appeared to give vent to feelings of regret and maybe his wish to return to a time when he and Sara were happy. Beginning with the patter of Bobbye Hall's tomtoms, the song was a sinuous drag through a broken love affair. The first line described the classic lonesome image of a "long distance train rolling through the rain." The song built to a climax of longing and despair that segued into a guitar break from Billy Cross that sounded like the weeping of tears.

Unfortunately, Street-Legal sounded like it had been recorded under wet cardboard, and Dylan was not pleased with the result. "After the recording, they fired all of us," says keyboard player Alan Pasqua, who remembers word coming to him via one of Dylan's gofers. "The whole band got fired. I guess he didn't like the record." But Dylan needed his band to complete the world tour, so they were all quickly hired back again. Dylans misgivings about Street Legal were borne out, however, when it was released to mixed reviews in the summer of 1978. Greil Marcus wrote in Rolling Stone that Dylan sounded "utterly fake."

***

Nigel Williamson

"There is an amazing presence or power here. But it is blocked, denied, kept out of reach." Paul Williams

"Simply impossible to pay attention to for more than a couple of minutes at a time." Greil Marcus

"His best since John Wesley Harding." Michael Watts, Melody Maker

Reviews of three apparently completely different albums called Street Legal.

With the world tour next due to touch down in Europe in June 1978, Dylan had a brief window to record a new album on his return from Australia and the Far East. Street Legal was cut in five days in April 1978 at his Rundown Studio in Los Angeles with a mobile recording truck.

The problem with the album was not the songs, most of which had been written while he was with Faridi McFree the previous summer, and several of which were extremely strong both melodically and lyrically. Nor was there anything wrong with the playing, although the horns and girlie choruses were not to everyone's taste.

But technically, the recording was a disaster, sounding, as Howard Sounes put it, "like it had been recorded under wet cardboard". Dylan knew it too. "I couldn't find the right producer," he complained, "so I just brought in the remote truck and cut it, went for a live sound." When he listened to the album on playback, he was so disheartened that he responded by sacking the entire band, only to rehire them again when he realised he had insufficient time to find replacements for the fast-approaching European tour dates.

Yet, according to the musicians, the problems with the sound were entirely of Dylan's own making. Violinist David Mansfield reported that the engineers attempted to record the album professionally, only to be told by Dylan, "Get rid of this crap, put your stuff around in a circle and let's just play." The live feel failed woefully to translate onto tape and it was not until the album was remastered for release on SACD in 2003, using the most sophisticated digital techniques, that it was restored to anything like how Dylan had originally meant the record to sound.

Although he was acutely aware of its failings, Dylan was bitterly disappointed when the album only reached #11 in the United States charts, a desperately poor showing considering the previous three studio albums had all gone to #1. Greil Marcus, who had famously opened his Rolling Stone review of Self Portrait with the words, "What is this shit?" attacked Street Legal with similar ferocity as "utterly fake". In Britain, it fared better and made #3 and received better reviews, particularly in Melody Maker which had failed to join in the praise for Blood On The Tracks and perversely declared Street Legal to be Dylan's "best album since John Wesley Harding".

The favourable British reaction appears to have been swayed by the fact that Street-Legal's release coincided with the hype surrounding a week of sell-out gigs at London's Earl's Court at the start of his first European tour since 1966, that had fans queuing for 48 hours before tickets went on sale.

Britain was in the throes of its punk revolution and while in London Dylan took the time to check out such punk / new wave acts as The Clash, Elvis Costello and Graham Parker. At one point during his stay, he encountered Sid Vicious, who threatened him with a knife for reasons he was too out of it to explain, before the doomed Sex Pistol's bassist was hustled away.

Dylan's Earl's Court shows were greeted with something approaching hysteria. Melody Maker ran an eight-page pull-out supplement and a review in the Daily Mail carried the headline, "The Greatest Concert I Have Ever Seen". After dates in Sweden, Holland, Germany and France, Dylan returned to Britain for an equally triumphant appearance before 200,000 people at the Blackbushe festival, at which Eric Clapton joined him for an encore of Changing Of The Guards.

***

Clinton Heylin

Only after six weeks of tour rehearsals and a Far East tour did Dylan begin rehearsing his new songs with the touring band. If some of the Street Legal songs were attempted at sound-checks (Stoner thinks they were, though there are no details of any such sound-check), it is only after Australia that we have evidence of Dylan and the band working on the songs. Within days of returning to Los Angeles, Dylan was required to audition a new bass player. Rob Stoner wanted out and Jerry Scheff, a Presley perennial, was quickly drafted in.

What purports to be Scheff's audition tape includes an uncompromising Dylan working on two new songs, one scheduled for Street Legal (We'd Better Talk This Over), the other not (Coming From The Heart). The latter was one of half a dozen songs Dylan had written with backing singer Helena Springs during the Far East tour and it has a quite different feel to the songs written alone in Minnesota. We'd Better Talk This Over, even at this stage, days away from the Street-Legal sessions, was going through some final lyrical twists ("Every time we'd be alone, nothing's ever right / Even when we're making love, it winds up in a fight"). With Scheff on board, Dylan was venturing into uncharted seas, belatedly rehearsing an entire album with his band.

Though he knew he had very little time in which to record his first album in two and a half years (the band badly needed a break before a daunting European tour), Dylan was once again looking to cut the songs live to 16-track. Mirroring the Blood On The Tracks experience, he already knew which nine songs he intended to record and, despite the problems experienced with a big band at the Desire sessions, was determined to persevere with the live approach. Unfortunately, the first logistical problem this created was finding a large enough studio to house his touring band.

Arthur Rosato, "They had booked it at Record Plant and the studio they had booked was living-room size. The studio people were so used to one guy coming in and doing his parts, and I said, "No we do it all at once," and they were looking at us like, "Totally live?" On that album, there's four overdubs on the whole thing and those were guitar parts and one sax part. I called Wally Heider's and had a truck brought in. All the vocalists were singing live."

So the recording of Street-Legal was never originally scheduled to take place at Rundown, which was hardly set up to record a "1970s-sounding" album (Certainly not with the TASCAM 8-track assembled downstairs while Dylan had been touring the Far East, the very setup responsible for all subsequent Rundown reference recordings). With no time to think, Dylan brought in a mobile truck, and recorded the album as if it was just another tour rehearsal. Astonishingly, given the lack of usable cuts from the July 1975 big band sessions, Dylan also elected to use Columbia producer Don Devito, though it was Arthur Rosato who carried out most of the engineering duties. It seems that Dylan was not about to learn his lesson from the aborted Desire experiment, for not only did he cut Street Legal live, but he clearly felt that he could record the album in the same way Joel Bernstein had made tapes of the tour rehearsals, using floor-mounted monitors rather than conventional headphones to relay the sound to each musician.

Joel Bernstein, "To have wedges, which are two 12-inch speakers and a horn, aiming up at you, well, of course, when you're live you have to hear yourself. The fact that it's leaking into your vocal mike is secondary in a live situation, you really need to hear yourself above a lot of loud sound. But when you're recording, the last thing you want to have is a wedge with anything in it, including your voice. If you have your voice when you're singing into the microphone coming back into that wedge and then back into your microphone, first of all you've got to equalise it terribly just to make sure it's not gonna feedback. No matter how you equalise it, compared with headphones, which are adding nothing to the vocal signal, ou've got a lot of stuff going on there which is gonna really thin the sound out." What Dylan evidently had in mind was a naturalistic approach to recording that maintained the interplay between each musician. Uninterested in redoing vocals, and with distinct limits placed on any musician's ability to overdub, Dylan did achieve his first imperative, recording the songs quickly. According to Rosato, the album was recorded in just five days and mixed –
largely by Devito and Rosato, Dylan's input being a series of yeas and nays, in a further 15 (they were, of course, hamstrung at this point by the very methods that had hade recording such a breeze). Even if Dylan had been willing to indulge Devito, vocal overdubs were precluded by the abount of leakage into the vocal track from the other musicians involved.

The results were pretty much an unmitigated disaster. With hindsight, it is amazing to me that, given his recording methods, it took Dylan 17 years to make such a badly recorded album. For Street-Legal is not an album unduly flawed in conception, but one dramatically flawed in execution. There would have been no way for Devito or Rosato to salvage those songs from the 16-track morass that is Street Legal. What Greil Marcus dismissed, in his Rolling Thunder review of the album, as Dylan "faking it" is not symptomatic of any lack of interest in the material on Dylan's part, or even a deficient vocal style, but a combination of limitations such an ill-conceived setup placed on his ability to apply his usual vocal nuances, the inevitable by-product of his failure to use headphones.

Which is all a great shame. The Street-Legal songs themselves are some of the most thoughtful of Dylan's career. The lyrics have clearly been worked on long and hard, while the arrangements, some of Dylan's most elaborate, generally work well. Only No Time To Think fails as both a lyric (too damn clever by half) and an arrangement. Baby Stop Crying, a fairly simplistic rewrite of Robert Johnson's Stop Breaking Down, lacks a lyric but carries the album's best hook (a huge hit in Europe, it left cold an American pulic struck down with disco fever).
Is Your Love In Vain? was a little too up-front in its depiction of Dylan's unreasonable demands on any lady companion. And yet the album remains a personal favourite of many long-standing fans prepared to work at disentangling instrument from instrument, vocal from harmony vocal, rhyming scheme from ingenious act of assonance.

***

Paul Williams

Dylan apparently recorded many of his rehearsals with the 1978 band, and a number of these tapes have fallen into the hands of collectors. The rehearsals from January and February 1978 contain some moving performances (with more dynamic interaction between singer and band than can be heard on tapes of the early concerts), among them You're A Big Girl Now, Repossession Blues (a Billy Lee Riley song, growled with surprising conviction), and a waltz version of If You See Her, Say Hello which like so many of these variations sounds flippant and soulless at first but ends up insinuating its way into the listener's mind and heart. There is also an interesting, disturbing take of Tomorrow Is A Long Time, Dylan sings a phrase or two of each verse with real feeling and then starts shouting the lyrics, turning them into melodrama, as if to fictionalize and deny the emotions he has just expressed.

Three holdovers from the Rolling Thunder Revue were hired for the 1978 band, Rob Stoner on bass, David Mansfield on violin and mandolin, and Steven Soles on acoustic rhythm guitar and vocals. Stoner left after the Far East leg, and was replaced by Jerry Scheff. The rest of the band were, Alan Pasqua on keyboards, Billy Cross on lead guitar, Bobbye Hall on congas, Ian Wallace on drums, Steve Douglas on saxophone, and Helena Springs, Jo Ann Harris, and Debbie Dye on backing vocals. Dye was replaced in April 1978 by Carolyn Dennis.

One rehearsal tape from April 1978 circulates: it includes particularly sweet performances of Simple Twist Of Fate, Ballad Of A Thin Man, and To Ramona, along with a moving fragment of a new song, one of several written by Dylan in collaboration with Helena Springs, Coming From The Heart (The Road Is Long). The richness of Dylan's vocal on this tape is striking, he has not backed off his new way of singing (it did not even sound like a new way of singing to me at first, just an awkwardness, a stiffness), but has patiently (stubbornly) stood by his original impulse, pushed forward with it to the point where it is starting to be a versatile and expressive instrument.

Shortly after this practice session, Dylan and his tour band recorded a new album of nine songs (one of which they had been performing live (Is Your Love In Vain?) at Rundown Studios, a rehearsal space Dylan had recently rented near the ocean in Santa Monica, California. It was Dylan's first studio album since Desire, recorded three years earlier; and the first batch of songs Dylan had written alone and then recorded since the Blood On The Tracks songs in 1974.

***

THE BAND

Wikipedia

Jerry Obern Scheff (born January 31, 1941) is an American bassist, best known for his work with Elvis Presley in the 1970s as a member of his TCB Band and his work on The Doors' final recordings.

Scheff grew up in the San Francisco Bay area. After serving in the U.S. Navy he returned to California, ending up in Los Angeles as a session musician. After working at the Sands night club in Los Angeles with 16-year-old Billy Preston, Merry Clayton, and Don "Sugarcane" Harris, he played on his first hit record, The Association's Along Comes Mary (1966). That success led to other early record appearances with Bobby Sherman, Johnny Mathis, Johnny Rivers, Neil Diamond, Nancy Sinatra, Pat Boone, Sammy Davis Jr., Bobby Vinton, The Monkees, The Everly Brothers, and the Nitty Gritty Dirt Band. In 1971, he appeared on L.A. Woman, the final album recorded by The Doors with Jim Morrison, playing bass on every track.

In July 1969, Scheff became a member of Elvis Presley's touring TCB Band. With the band, he performed in concert with Presley from August 1969 to June 1973 and from April 1975 until Presley's final show on June 26, 1977 at the Market Square Arena in Indianapolis. He appears on Aloha From Hawaii (Elvis' 1973 live television concert), Back In Memphis, That's The Way It Is, Elvis As Recorded At Madison Square Garden, the documentary movie from 1972 Elvis On Tour, and Moody Blue, among others.

***

Wikipedia

Billy Cross started as a professional musician in the United States in 1960 as a studio musician and helped produce many albums. He played briefly with the 50's nostalgia act Sha Na Na and played guitar in the Broadway show of Hair. He became the musical director of the National touring company of Hair in 1972. Cross also played in Jim Rado's after Hair show, Rainbow in NYC. He played guitar on Jobriath's two albums and was a member of his live band.

He first visited Denmark in 1974, giving concerts in Copenhagen and subsequently returned there often, although he worked with Bob Dylan and Meat Loaf at the time. Billy Cross was a member of Dylan's band from late 1977 to the spring of 1979 and took part in recording the live LP by Dylan in 1978, the live LP Bob Dylan at Budokan and the studio LP treet legal. He was also a member of the New York based trio Topaz that released one LP in USA in 1977.

***

Wikipedia

Steven Soles is an American singer-songwriter, record producer, and guitarist.

Known also as J. Steven Soles, he was asked by Bob Dylan to join the band for his 1975-1976 Rolling Thunder Revue tour, and he also played with Dylan on Street Legal and the following tour, including the live album Bob Dylan at Budokan. When that tour ended, Soles and two other members of Dylan's band, T-Bone Burnett and David Mansfield, formed The Alpha Band. The band released three albums, The Alpha Band in 1977, Spark In The Dark in 1977 and The Statue Makers of Hollywood in 1978.

Like most of the musicians in The Rolling Thunder Revue, he appeared in the film Renaldo and Clara, in which Soles played the role of Ramon.

After the breakup of The Alpha Band, Soles released two solo albums, Promise in 1980, and 1982's Walk by Love, and went on to produce or perform on albums by Dylan, Burnett, The Washington Squares, Peter Case, Elvis Costello, Roger McGuinn, Don McLean, The Monkees, The 77s, Olivia Newton-John, Roy Orbison, Tonio K, Victoria Williams, Steve Scott and others.

He was part of the highly acclaimed Cinemax special Roy Orbison and Friends, A Black and White Night.

***

Wikipedia

David Mansfield (born September 13, 1956) is an American violinist, mandolin player, guitarist, pedal steel guitar player, and composer.

Raised in Leonia, New Jersey, his first band was Quacky Duck and His Barnyard Friends, which also included two sons of Tony Bennett.

Bob Dylan asked Mansfield to tour with him on his 1975 Rolling Thunder Revue tour; he remained in Dylan's band through their 1978 world tour.

After the Revue ended in 1976, Mansfield and two other members of Dylan's band, T-Bone Burnett and Steven Soles, formed The Alpha Band. The band released three albums, The Alpha Band in 1977, Spark In The Dark in 1977, and The Statue Makers of Hollywood in 1978.

***

Wikipedia

Alan Pasqua (born June 28, 1952 in New Jersey) is an American jazz pianist, educator and composer. He co-composed the CBS Evening News theme. He has also had an extensive career in pop and rock music, most notably as a founding member, keyboardist and songwriter of the 1980s hard rock band, Giant.

He studied at Indiana University and the New England Conservatory of Music. His album Standards, with drummer Peter Erskine, was nominated for a Grammy award. As a session musician he has toured and recorded with Bob Dylan, Cher, Michael Bublé, Eddie Money, Allan Holdsworth, Joe Walsh, Pat Benatar, Rick Springfield, Prism and Santana among many others. He was also a founding member of the late-1980s rock band Giant, and he co-wrote the band's biggest hit, I'll See You in My Dreams.

Pasqua, a Steinway piano artist, joined The New Tony Williams Lifetime and appeared on the albums Believe It and Million Dollar Legs. He then went on to perform with Eddie Money's band, after which he then joined Bob Dylan's band. Pasqua recorded two albums with Dylan (Bob Dylan At Budokan and Street-Legal). In the 1980s he performed with John Fogerty on the album Eye of the Zombie, with Starship on the album No Protection, with Allan Holdsworth on the album Sand, and joined Carlos Santana as keyboardist on Marathon, Zebop! and Havana Moon.

Later he composed and performed jazz, including trio recordings with Peter Erskine (including the Grammy nominated CD Standards). He has also recorded with Allan Holdsworth and played keyboards on Marathon (Santana album) released September 1979.

He is currently Professor of Jazz Studies at the University of Southern California.

***

Obituary, New York Times, 22 April 1993

Steve Douglas, a saxophonist who worked with Phil Spector, played on albums by the Beach Boys and toured with Bob Dylan and Eric Clapton, died on Monday at a Hollywood recording studio. He was 55 and lived in Petaluma, California. The cause was heart failure, said Don Randi, a friend and fellow musician. He said Mr. Douglas collapsed during a recording session with Ry Cooder.

Mr. Douglas, whose original name was Steven Kreisman, worked with Mr. Spector as one of "Phil's Regulars," a group that included Sonny Bono on percussion, Glen Campbell on guitar and Leon Russell on keyboard. He played the blues with Duane Eddy and the Rebels at the Apollo Theater in Harlem in 1958, and with Elvis Presley on the set of the film Girls, Girls, Girls! in the early 1960's. Mr. Douglas grew up in Los Angeles, where he studied trumpet, trombone and violin and taught himself to play the saxophone at age 15. His first job as a saxophonist was with Mr. Spector. Over the years, Mr. Douglas played with Sam Cooke, B. B. King, Frank Sinatra, Barbra Streisand and Stevie Wonder. He also worked on the soundtracks for such movies as Fast Times At Ridgemont High and One Flew Over the Cuckoo's Nest.

He is survived by his wife, Jeanette; a daughter, Pamela; his mother, and a sister, Carolyn.

***

Wikipedia

Ian Russell Wallace (29 September 1946, 22 February 2007) was an English rock and jazz drummer, most visibly as a member of progressive rock band, King Crimson, a member of David Lindley's El Rayo-X and as Don Henley's drummer.

Wallace formed his first band, The Jaguars, at school, before going on to join The Warriors with Jon Anderson in his pre-Yes days. (Wallace later played with Yes once in November 1968 during Bill Bruford's hiatus from the band). From The Warriors, Wallace went on to join Big Sound. In the 1960s, Big Sound worked in Denmark, Norway and Sweden as a backing band to Danish rock musician Nalle. The Big Sound and The Warriors had been mates, and had gigged together in the Storyville Club, Frankfurt, Cologne and Copenhagen. The Big Sound's drummer and bass player left, after which Ian and The Warriors bass player, Dave Foster, joined the band. When the Big Sound split at the end of 1967 during a tour of Norway, some members, including Wallace, moved to London to back other artists such as Sandie Shaw, David Garrick, Marv Johnson and Lou Christie.

Wallace later joined Vivian Stanshall's BiG GrunT, and then The World with Neil Innes before King Crimson. He appeared on the album, Islands in 1971, and on the live album, Earthbound in 1972, as well as a number of later archival releases. In May 1972, at the end of a U.S. tour, he and fellow Crimson members Mel Collins and Boz Burrell left the band and went to work for Alexis Korner's Snape.

Wallace subsequently worked with Steve Marriott's All-Stars and was invited to join Bob Dylan's band in 1978 and accompanied Dylan during his tour of Japan. Wallace's heavy drum style was the driving force behind the pop-heavy album Street-Legal. He toured again with Dylan in the early 1990s. In 1978 he also worked briefly with Foreigner subbing some dates after their regular drummer, Dennis Elliott, injured his hand.

Other notable work includes Ry Cooder in 1979 and Don Henley in the 1980s and 1990s. Wallace's studio and live credits also include El Rayo-X with David Lindley, Bonnie Raitt, Joe Walsh, Bob Dylan, Johnny Hallyday, Keith Emerson, Roy Orbison, Jackson Browne, the Traveling Wilburys, Eric Clapton, Jon Anderson, Alvin Lee, Crosby, Stills and Nash, the Quireboys, Brian Eno, Larry Coryell, Stevie Nicks, Lindsey Buckingham, Steve Marriott, Al Kooper, Tim Buckley, Lonnie Mack, Procol Harum (1993 tour), and Warren Zevon.

Following a move to Nashville, Tennessee in 1998, Wallace worked as a producer and player. Among his later studio recordings there were sessions with Kim Richey, Tim Krekel, Rick Vito, Dean Dillon, Rosie Flores, Jessi Alexander, producer Gary Nicholson, Steve Ripley, Jan Pulsford, Tim Hinkley, Charlie Taylor, Rodney Crowell and the legendary songwriter Dan Penn. He also performed live with T. Graham Brown, the Nashville Chamber Orchestra, Rick Vito, Jessi Alexander, and Billy Burnette, the latter in a quartet that included bassist Dave Roe (Johnny Cash) and Kenny Vaughan (Lucinda Williams).

In 2003, he joined the 21st Century Schizoid Band, and released his only solo album, Happiness With Minimal Side Effects. In 2005 he formed the Crimson Jazz Trio with Tim Landers on bass and Jody Nardone on piano, which released King Crimson Songbook Volume One in November 2005 and King Crimson Songbook Volume Two in early 2009.

On 10 August 2006, Wallace was diagnosed with esophageal cancer. He chronicled his illness in his online blog in the hope his story would encourage others with similar symptoms to pursue treatment. He died, aged 60, with his wife, Marjorie Pomeroy, at his side.

***

Wikipedia

Bobbye Jean Hall was born in Detroit, Michigan, and began her career there playing percussion in nightclubs while still in her teens. Using bongos, congas and other percussion, she played uncredited on many Motown recordings. She lived in Europe for a few years then moved to Los Angeles where she was one of the few female session musicians in a male-dominated profession, a sometime associate of The Funk Brothers. Already a veteran player by May 1971, she added her bongo skills to Marvin Gaye's Inner City Blues (Make Me Wanna Holler). Her first studio gig behind a full rock drum kit was with Chris Ethridge on his album L.A. Getaway. Ethridge said "she was great".

Hall recorded several albums with Bill Withers, including his #1 hit Lean On Me, and an album recorded live at Carnegie Hall. She toured with Carole King in May–June 1973 after having participated on two of King's studio albums. In May 1974, she performed again at Carnegie Hall, this time backing James Taylor, a follow-up to appearing on two of his albums. Stevie Wonder used Hall's percussion skills for a few songs in 1974 and 1976, including Bird Of Beauty where her artful quica work established a mood of Brazil at Carnival.

In 1973-1974, Hall began to be credited sometimes as Bobbye Hall Porter, also Bobbye Porter Hall, after her marriage to record producer Joe Porter. Hall released one album of her own in March 1977: Body Language For Lovers, a soul-jazz instrumental work featuring tunes co-written by her and her husband. Billboard recommended the LP, but it did not chart.

In 1978, Bob Dylan took her on a world tour, from mid-February to mid-December, paying her $2,500 per week about $9,100 in today's dollars. This handsome compensation was arranged to pay for the studio sessions she would be missing. The men and women appearing on stage with Dylan were required to wear costumes designed in Hollywood by Bill "Spoony" Whitten, and the musicians did not like them. Lead guitarist Billy Cross said "the band looked like a large aggregation of pimps", and backup singer Debi Dye-Gibson said she and the other women "looked like hookers". The show's playlist was a collection of Dylan's greatest hits, as specified by promoters at the tour's Japanese stops. All the songs, even the sparse acoustic ones, were arranged for a full band and a big sound. Hall and the musicians stayed at the best hotels side-by-side with Dylan, and flew on a chartered jet airliner which held suites and a bar. Hall joined Dylan from time to time at dinner, and was surprised to find him a longtime fan of soul food. she observed him to be "infatuated by going out with black women ...by that whole black thing, [even] eating the food." He entertained her with card tricks. However, the tour began to wear on him, and he called band meetings where he criticized his musicians sharply for being too formulaic. Hall remarked of these encounters, "when he spoke to us, he was not the poet." A two-disc album was produced using 22 songs recorded live in Japan: Bob Dylan at Budokan, and a stop in Santa Monica, California, allowed Dylan and most of the touring band to cut a studio album, Street-Legal, with Hall on percussion.

In late August 1978, in between Dylan tour dates, Hall played congas for Tom Waits's Blue Valentine album, on the track Romeo Is Bleeding, giving it a gritty Latin feel. In 1979, she recorded The Wall with Pink Floyd. She recorded with Bob Seger's Silver Bullet Band in the early 1980s. Hall joined Stevie Nicks for her album Bella Donna and toured with her in 1982 and 1986. For the 1986 film Little Shop Of Horrors, Hall played tambourine and congas on the soundtrack.

Other musicians she has recorded for include Kim Carnes, Lynyrd Skynyrd, Janis Joplin, Tavares, Randy Newman, Rod Stewart, Dolly Parton, Mel Brown, Leo Sayer, Cecilio & Kapono, Russ Ballard, Donovan, Joni Mitchell, Jerry Garcia, Patti Scialfa, Freda Payne, Dwight Yoakam, Donald Byrd, Gene Harris, Bobby Hutcherson, Grant Green, Ferron, Poco, The Temptations, Mary Wells, Jefferson Starship, Kenny Rankin, The Manhattan Transfer, Stanley Turrentine, Boz Scaggs, Marc Bolan, Judy Mowatt, Hugo Montenegro, Aretha Franklin, The Doobie Brothers, Kris Kristofferson, Smokey Robinson, Diana Ross, Al Kooper, The Jeff Healey Band, The Doors, Robin Zander, Lone Justice, The Mamas & the Papas, David Byrne, Marty Balin, Sarah Vaughan, Tommy Bolin, Ozark Mountain Daredevils, Harry Chapin and Tracy Chapman.

She has recorded as percussionist and drummer using the following instruments: bongos, congas, tambourine, claves, quica, wood block, tabla, full drum kit, tom-toms, cabasa, maracas, cowbell, bells, shaker, güiro, triangle, hand claps, finger snaps[1] and finger cymbals.

***

Wikipedia

Carolyn Dennis (born 1954), sometimes known professionally as Carol Dennis or Carol Dennis-Dylan, is an American singer and actor best known for her work with and marriage to Bob Dylan.

Dennis has also sung back-up for Wonderlove, The Carpenters, Kenny Loggins, Bruce Springsteen, and Michael Jackson's HIStory: Past, Present and Future, Book I. In 1982, Dennis performed the role of Poppea in a modern adaptation of Monteverdi's L'Incoronazione di Poppea (The Coronation of Poppea) at Xenon Discothèque in New York City. She was the singing voice for the 1991 made-for-television movie The Josephine Baker Story starring Lynn Whitfield as Josephine Baker. Dennis was also part of the performance group The Young Americans.

Dennis and Dylan have a child, Desiree Gabrielle Dennis-Dylan, born on January 31, 1986. They married in June 1986; Dennis was Dylan's second wife. The couple divorced in October 1992.

Their marriage and parenthood was completely unknown to both Dylan's fans and the media until the 2001 publication of Down the Highway: The Life Of Bob Dylan by Howard Sounes. Dennis is quoted as saying, "I have three children, but I'm not going to say which ones are Bob Dylan's." Dennis, according to her spokesman, had made a pact with her children not to publicize their paternity. "Bob Dylan has eight or nine children," Dennis says. "We're not trading on that."





***
Rundown Studios
Santa Monica, California, USA
April 1978

Jerry Scheff Audition

1.We Better Talk This Over
2.I Threw It All Away
3.Maggie's Farm
4.Ballad Of A Thin Man
5.Simple Twist Of Fate
6.To Ramona
7.If You See Her, Say Hello
8.I Don't Believe You (She Acts Like We Never Have Met)
9.Love Minus Zero/No Limit

Bob Dylan (guitar & vocal), Billy Cross (guitar), Steven Soles (guitar & vocals), David Mansfield (violin & mandolin), Steve Douglas (saxophone), Alan Pasqua (keyboards), Jerry Scheff (bass), Ian Wallace (drums), Bobbye Hall (percussion), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).
LB-2801; The Rundown Rehearsal Tapes (White Bear / 009-010-011-012)

Very good to excellent sound [B+].

***

Rundown Studios
Santa Monica, California, USA
1 May 1978

5th Street-Legal session, produced by Don DeVito.
10.Coming From The Heart (The Road Is Long) (Bob Dylan & Helena Springs)
11.Stop Now (Bob Dylan & Helena Springs) [fast version]
12.Stop Now (Bob Dylan & Helena Springs) [slow version]

Bob Dylan (guitar & vocal), Billy Cross (guitar), Steven Soles (guitar), Steve Douglas (tenor saxophone), Alan Pasqua (piano), Jerry Scheff (bass), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bobbye Hall (tambourine) on Stop Now [fast version]
Alan Pasqua (organ) on Coming From The Heart (The Road Is Long)
Steven Soles (vocal) on Coming From The Heart (The Road Is Long)
David Mansfield (violin) on Coming From The Heart (The Road Is Long)
David Mansfield (mandolin) on Stop Now [fast and slow versions]
Bobbye Hall (congas) on Stop Now [slow version]
LB-6622; Genuine Bootleg Series Take 2 (Scorpio / GZ H21975-H2202-H21930)

Coming From The Heart (The Road Is Long)
Stop Now [slow version]

LB-6621; Genuine Bootleg Series (Scorpio / 94-14-01/02/03)

Stop Now [fast version]

***

Universal Amphitheater
Los Angeles, California, USA
1 June 1978

13.Rainy Day Women # 12 & 35
14.You're A Big Girl Now
15.One More Cup Of Coffee (Valley Below)
16.The Man In Me

First concert of the 1978 Los Angeles residency. 1978 concert # 24.
First concert with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Rainy Day Women #12 & 35 instrumental without Bob Dylan.
LB-11613; Taper: Mike Millard; first gen via JEMS
; The Lost and Found Mike the MICrophone Tapes Vol. One
; Equipment: AKG 451E mics (CK-1 capsules) > Nakamichi 550

JEMS 2014 ; Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > Peak 6.0 with iZotope Ozone 5 (pitch correction) > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (indexed) > xACT 2.2.1 > FLAC

Excellent sound [A].

***

Universal Amphitheater
Los Angeles, California, USA
3 June 1978

17.Mr Tambourine Man
18.Shelter From The Storm
19.Maggie's Farm
20.I Don't Believe You (She Acts Like We Never Have Met)
21.Señor (Tales Of Yankee Power)
22.Masters Of War
23.Just Like A Woman
24.To Ramona
25.All I Really Want To Do
26.The Times They Are A-Changin'
Third concert of the 1978 Los Angeles residency. 1978 concert # 26.
Third concert with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on Just Like A Woman.

LB-11634; Taper: Mike Millard; The Lost and Found Mike the MICrophone Tapes Vol. Two

(JEMS BK); Mike Millard first generation tape; Equipment: AKG 451E mics (CK-1 capsules) > Nakamichi 550

JEMS 2014; Transfer: first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > iZotope RX3 > Peak 6.0 with iZotope Ozone 5 (pitch correction) > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (Indexed) >
xACT 2.21 > FLAC Excellent sound [A-].

***

Universal Amphitheater
Los Angeles, California, USA
4 June 1978

27.Knockin' On Heaven's Door
1978 Los Angeles residency concert # 4. 1978 concert # 27.
Concert # 4 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-7468; Compiler: Les Kokay (LK); from LK 78 set

Good sound [B].

***

Universal Amphitheater
Los Angeles, California, USA
5 June 1978

28.It Ain't Me, Babe

1978 Los Angeles residency concert # 5. 1978 concert # 28.
Concert # 5 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Only electric version of It Ain't Me, Babe during the 1978 World Tour.

BobTalk

OK, we're gonna go now. We got some place to be. But you have a safe trip home. Here's another song I recorded with The Band. (Shouts from the crowd). What is that? I can't understand that. It Ain't Me Babe. We'll try it! (plays It Ain't Me Babe) Thank you! All right! Now, we gotta get out of here this time. You're a real good audience.

LB-0227; xref-01354

Good sound [B].

***

Universal Amphitheater
Los Angeles, California, USA
6 June 1978

29.Is Your Love In Vain?

1978 Los Angeles residency concert # 6. 1978 concert # 29.
Concert # 6 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

All right. We're gonna take a break after this. I'd like to say hello to Richard Manuel, who's here. And Racquel Welch. (before Going, Going, Gone)

LB-7479; Compiler: Les Kokay (LK); from LK 78 set

Fair sound [B-].

***

Universal Amphitheater
Los Angeles, California, USA
7 June 1978
30.A Hard Rain's A-Gonna Fall
31.Love Her With A Feeling (Tampa Red)
32.Baby Stop Crying
33.Love Minus Zero / No Limit
34.Tangled Up In Blue
35.Ballad Of A Thin Man
36.Like A Rolling Stone
37.I Shall Be Released
38.Going, Going, Gone
39.One Of Us Must Know (Sooner Or Later)
40.Blowin' In The Wind
41.I Want You
42.Don't Think Twice, It's All Right
43.Simple Twist Of Fate
44.Oh, Sister (Bob Dylan-Jacques Levy/Bob Dylan)
45.All Along The Watchtower
46.Band Intro
47.It's Alright, Ma (I'm Only Bleeding)
48.Forever Young

1978 Los Angeles residency concert # 7. 1978 concert # 30.
Concert # 7 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

A Hard Rain's A-Gonna Fall instrumental without Bob Dylan.

Bob Dylan (harmonica) on: Love Minus Zero / No Limit, Simple Twist Of Fate. BobTalk

Thank you. Thank you very much. You're looking good. This is another song from the forthcoming album. Like I said this one should be out by Christmas. This is called Tales Of Yankee Power. Thank you so much. I'd like to say hello to Joni Mitchell tonight, who's in the crowd somewhere. Maybe you can find her with that spotlight? And Tom Petty is here. He's a new rising star. Rock n Roll! I'd like to say hello to him too. And I think Racquel Welch is still here! Stand up Racquel! I think a whole lot of this band and I wanna introduce them to you now. My favorite band is a band I saw play with Bobby Blue Band, 1968 I recall in New York. And this band comes as close to that band as I can find. So, on the drums, Ian Wallace. From Barbados, on the keyboards, Alan Pasqua. On the bass guitar, Jerry Scheff. On the rhythm guitar, the loner of the group, Mr. Steve Soles. On the violin and the mandolin, steel guitar, the baby of the group, very young, David Mansfield, on the tenor saxophone, Mr. Steve Douglas. On the conga drums Bobbye Hall. So, the female vocalists, background vocalists. Girls that make me cry every night, all night! Carolyn Dennis, Jo Ann Harris and Helena Springs! On the lead guitar, Billy Cross. This is called It's Alright Ma, I'm Only Bleeding.

Thank you. Well, like Jerry Garcia would say. We're gonna beat it on down the line. Well, we hope you had a good time. We think these songs do mean something to you. So, have a real safe trip home. We're gonna be out of the country for awhile, though we'll be back from far distant lands, so I hope we see each other again sometime. (before Forever Young).

LB-11720;
Taper: Mike Millard (MM);
The Lost and Found Mike the MICrophone Tapes Vol. Four
First gen via JEMS
;
Tape B; Transfer: JEMS 2014; Equipment: Nakamichi CM-50 microphones > Uher CR-240 cassette recorder

; first-generation reel copy (3-3/4 IPS) made by Mike Millard for SG > Otari 5050 mkII azimuth-adjusted transfer > Sound Devices USBPre 2 > Audacity 2.0 (24/96) capture > pitch correction > iZotope RX MBIT+ resample 16/44.1 > Peak Pro XT (volume smoothing / edit / index) > xACT 2.21 > FLAC



Excellent sound [A-].

***

Rock on, Bob!

XXX

1978-04-00 Los Angeles
1978-05-01 Los Angeles
1978-06-01 Los Angeles
1978-06-03 Los Angeles
1978-06-05 Los Angeles
1978-06-07 Los Angeles

(241/1) Bob Dylan, 1978-06-17, Southern Mountain Reggae, Summer Tour of Europe, (Pink Panther Records)

Audio/flac, dime/?, (20190525)

Bob Dylan

1978 SOUTHERN MOUNTAIN REGGAE - EUROPEAN SUMMER TOUR

Pink Panter Records

***

The 78 alimony world tour is in full swing here & Street Legal has just been released.

Bob is in a very dark mood which adds great intensity to the mysterious, inpenetrable & great Street Legal songs as well as his back catalogue.
Just read the lyrics to Where Are You Tonight? (Journey Through Dark Heat) if you want inpenetrable.

One of the all-time great tour legs here, the 78 European shows were praised by fans & critics alike.
The London Earls Court residency is legendary to those who attended, but the circulating tapes generally have compromised sound which is unfortunate.
However, great sounding recordings are available from the Pavillon de Paris residency which makes up for this.
We also have a great show from Rotterdam, complete with barking police dogs & exploding fireworks,
a ferocious performance at Zeppelindfeld, Nurnberg & a final concert at Blackbushe aerodrome, Camberley (near London)
where Bob appeared in a top hat in front of an audience in excess of 200,000 to play the longest concert of his career (2 hours, 45 minutes).

What sort of music is it? Southern mountain reggae of course! That's what Bob told the audience at Zepplindfeld anyway.
Sounds believable for a disperate & desperate group of very talented musicians & singers
schooled in jazz, gospel, Elvis, reggae, R&B & prog rock thrown in with a few leftovers from Rolling Thunder & a roadie called Ratso.

Great, great music from Bob - he has equalled it on occasions since then, but never bettered it.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

FLAC from best available sound sources.


***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

59 ball-tearing, sensational tracks
47 different songs
11 concerts are represented here (from the total of 19 concerts)
4 hours & 33 minutes of music
1 bob

***

All songs played on the tour leg are represented here.

Sound quality is, for the most part, very good to excellent.

***

WHERE ARE YOU TONIGHT? (JOURNEY THROUGH DARK HEAT)

ThereÂ’s a long-distance train rolling through the rain
Tears on the letter I write
ThereÂ’s a woman I long to touch and I miss her so much
But sheÂ’s drifting like a satellite

ThereÂ’s a neon light ablaze in this green smoky haze
Laughter down on Elizabeth Street
And a lonesome bell tone in that valley of stone
Where she bathed in a stream of pure heat

Her father would emphasize you got to be more than streetwise
But he practiced what he preached from the heart
A full-blooded Cherokee, he predicted to me
The time and the place that the trouble would start

ThereÂ’s a babe in the arms of a woman in a rage
And a longtime golden-haired stripper onstage
And she winds back the clock and she turns back the page
Of a book that no one can write
Oh, where are you tonight?

The truth was obscure, too profound and too pure
To live it you have to explode
In that last hour of need, we entirely agreed
Sacrifice was the code of the road

I left town at dawn, with Marcel and St. John
Strong men belittled by doubt
I couldnÂ’t tell her what my private thoughts were
But she had some way of finding them out

He took dead-center aim but he missed just the same
She was waiting, putting flowers on the shelf
She could feel my despair as I climbed up her hair
And discovered her invisible self

ThereÂ’s a lion in the road, thereÂ’s a demon escaped
ThereÂ’s a million dreams gone, thereÂ’s a landscape being raped
As her beauty fades and I watch her undrape
I wonÂ’t but then again, maybe I might
Oh, if I could just find you tonight

I fought with my twin, that enemy within
Â’Til both of us fell by the way
Horseplay and disease is killing me by degrees
While the law looks the other way

Your partners in crime hit me up for nickels and dimes
The guy you were lovinÂ’ couldnÂ’t stay clean
It felt outa place, my foot in his face
But he should-a stayed where his money was green

I bit into the root of forbidden fruit
With the juice running down my leg
Then I dealt with your boss, whoÂ’d never known about loss
And who always was too proud to beg

ThereÂ’s a white diamond gloom on the dark side of this room
And a pathway that leads up to the stars
If you donÂ’t believe thereÂ’s a price for this sweet paradise
Remind me to show you the scars

ThereÂ’s a new day at dawn and IÂ’ve finally arrived
If IÂ’m there in the morning, baby, youÂ’ll know IÂ’ve survived
I canÂ’t believe it, I canÂ’t believe IÂ’m alive
But without you it just doesnÂ’t seem right
Oh, where are you tonight?

***

Earls Court
London, England
17 June 1978

01.Simple Twist Of Fate

Third concert of the 1978 European Tour.
1978 concert # 33.
Concert # 10 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on Simple Twist Of Fate.

LB-1693;
Taper: Nigel Simms;
Remaster: Pb

Jokerman: Fair sound [B-].
PP: Good sound [B].

***

Earls Court
London, England
20 June 1978

02.Love Her With A Feeling (Tampa Red)
03.One More Cup Of Coffee (Valley Below)

Concert # 6 of the 1978 European Tour.
1978 concert # 36.
Concert # 13 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-3458;
Equipment: Master R2R > MC(2) > CDR(1) > EAC(secure) >
remastering with SoundForge 8.0 > FLAC(level8) > Dime

Very good to excellent sound [B+].

***

Feijenoord Stadion
Rotterdam, The Netherlands
23 June 1978

04.A Hard Rain's A-Gonna Fall
05.You're A Big Girl Now
06.Blowin' In The Wind
07.I Want You
08.The Times They Are A-Changin'

Concert # 7 of the 1978 European Tour.
1978 concert # 37.
Concert # 14 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Instrumental without Bob Dylan:
A Hard Rain's A-Gonna Fall.

LB-2115; xref-01722;
Rotterdam '78 (Street Legal / 001-002)

Jokerman: Poor sound [C].
PP: Very good to excellent sound [B+].

Sound is not bad on this (it is better than Camberley), but there is considerable background noise
from barking police dogs & then fireworks on The Times They Are A-Changin' which closed the show.

***

Zeppelindfeld
Nurnberg, West Germany
1 July 1978

09.Mr Tambourine Man
10.Shelter From The Storm
11.It's All Over Now, Baby Blue
12.I DonÂ’t Believe You (She Acts Like We Never Have Met)
13.A Change Is Gonna Come (Sam Cooke)
14.Love Minus Zero/No Limit
15.A Hard Rain's A-Gonna Fall
16.One Of Us Must Know (Sooner Or Later)
17.You're A Big Girl Now
18.One More Cup Of Coffee (Valley Below)
19.Señor (Tales Of Yankee Power)
20.Masters Of War
21.All Along The Watchtower
22.All I Really Want To Do
23.It's Alright, Ma (I'm Only Bleeding)
24.Forever Young
25.I'll Be Your Baby Tonight
26.The Times They Are A-Changin'

Concert # 11 of the 1978 European Tour.
1978 concert # 41.
Concert # 18 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on It's All Over Now, Baby Blue.

Carolyn Dennis (vocal) backed by Bob Dylan and the band on A Change Is Gonna Come.

Helena Springs (vocal) backed by Bob Dylan and the band on Love Minus Zero / No Limit.

Bob Dylan solo (vocal & guitar) on A Hard Rain's A-Gonna Fall.

Eric Clapton (guitar) on:
I'll Be Your Baby Tonight,
The Times They Are A-Changin'.

Only vocal performance of A Hard Rain's A-Gonna Fall during the 1978 World tour.

BobTalk

Thank you. That was a new song. This is an old one. Not really new. It gives me great pleasure to sing it in this place!
(before Masters Of War)

OK, We wanna do this tune. A lot of people say this is reggae, but it still seems to work pretty well this way.
It's an old song still says the same thing. Actually itÂ’s more SOUTHERN MOUNTAIN REGGAE.
(before Don't Think Twice, It's All Right)

Thank you. Eric Clapton is back. He's gonna stay here and sing all night with me.
(plays IÂ’ll Be Your Baby Tonight).

Thank you. Eric Clapton on lead guitar!

LB-7929;
Trainload Of Fools (Rattlesnake / RS 085-86)

Jokerman: Very good to excellent sound [B+].
PP: Excellent sound [A-].

This is a very bright, transparent recording
which is marred on many songs by a very noisy audience which often drowns out Bob's vocals.

***

Pavillon de Paris
Paris, France
3 July 1978

27.Oh, Sister (Bob Dylan–Jacques Levy/Bob Dylan)

Concert # 12 of the 1978 European Tour.
1978 concert # 42.
Concert # 19 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-11236;
Taper: Legendary Taper A (LTA);
Equipment: Sennheiser MKE-2002 Binaural Microphones >
Uher 4200 Report Stereo IC > 2 BASF 13cm/5in reels

Excellent sound [A].

***

Pavillon de Paris
Paris, France
4 July 1978

28.My Back Pages
29.I Shall Be Released
30.Rainy Day Women #12 & 35
31.It Ain't Me, Babe
32.The Man In Me
33.I Want You
34.Just Like A Woman
35.We Better Talk This Over
36.I'll Be Your Baby Tonight

Concert # 13 of the 1978 European Tour.
1978 concert # 43.
Concert # 20 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Instrumental without Bob Dylan:
My Back Pages;
Rainy Day Women #12 & 35.

Bob Dylan solo (vocal, guitar & harmonica) on It Ain't Me, Babe.

Bob Dylan (harmonica) on Just Like A Woman.

Live debut of We Better Talk This Over.

LB-4702:
Remaster: JTT;
Equipment: Reel to Reel Master (Taper Unknown) > DAT >
DVD Data Disc (FLAC) > Wave > Soundforge 8 (Clean Joins, New Track Marks) >
FLAC Level 6 Align on Sector Boundaries

Excellent sound [A].

***

Pavillon de Paris
Paris, France
5 July 1978

37.She's Love Crazy
38.Tangled Up In Blue
39.Like A Rolling Stone
40.Gates Of Eden
41.Don't Think Twice, It's All Right
42.Changing Of The Guards

Concert # 14 of the 1978 European Tour.
1978 concert # 44.
Concert # 21 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan solo (vocal, guitar & harmonica) on Gates Of Eden.

Live debut of Changing Of The Guards.

Changing Of The Guards partly broadcast by Antenne 1 in Paris 6 July 1978.

LB-4724;
Remaster: JTT;
Equipment: Reel to Reel Master (Taper Unknown) > DAT >
DVD Data Disc (FLAC) > Wave>Soundforge 8 (Clean Joins, New Track Marks) >
FLAC Level 6 Align on Sector Boundaries

Excellent sound [A-].

***

Pavillon de Paris
Paris, France
6 July 1978

43.Ballad Of A Thin Man

Concert # 15 of the 1978 European Tour.
1978 concert # 45.
Concert # 22 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-9080;
Border Beneath The Sun: Definitive Edition (Thinman / 012-013);
Lineage: Original Thinman silvers >
WAV (EAC v0.99 prebeta 5 - secure, Offset "actual") >
FLAC (flacfrontend, level 6) > You

Excellent sound [A-].

***

Pavillon de Paris
Paris, France
8 July 1978

44.My Back Pages
45.Baby Stop Crying
46.Love Minus Zero/No Limit
47.Maggie's Farm
48.Going, Going, Gone
49.True Love Tends To Forget
50.Blowin' In The Wind
51.To Ramona

Concert # 16 of the 1978 European Tour.
1978 concert # 46.
Concert # 23 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Instrumental without Bob Dylan:
My Back Pages

Bob Dylan (harmonica) on Love Minus Zero / No Limit

LB-4718;
Remaster: JTT;
Source: reel to reel master

Excellent sound [A-].


***

Scandinavium
Gothenburg, Sweden
11 July 1978

52.Girl Of The North Country
53.Is Your Love In Vain?

Concert # 17 of the 1978 European Tour.
1978 concert # 47.
Concert # 24 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-1098

Very good to excellent sound [B+].

***

Blackbushe Aerodrome
Camberley, England
15 July 1978

54.Just Like Tom Thumb's Blues
55.Simple Twist Of Fate
56.Is Your Love In Vain?
57.Where Are You Tonight? (Journey Through Dark Heat)
58.The Long And Winding Road (John Lennon/Paul McCartney)
59.Gates Of Eden

Concert # 19 of the 1978 European Tour.
1978 concert # 49.
Concert # 26 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards),
Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin),
Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums),
Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on Simple Twist Of Fate.

Jo Ann Harris (vocal) backed by Bob Dylan and the band on The Long And Winding Road.

Bob Dylan solo (vocal, guitar & harmonica) on Gates Of Eden.

Live debut of Where Are You Tonight? (Journey Through Dark Heat).

LB-2849;
xref-01008;
Transfer: JTT;
Equipment: First Generation Tape (Master Cassette) >
Maxell C90 Cassette (DolbyB) > Pioneer 609 (CDR) > EAC > SHN

Good sound [B].

***

Rock on, Bob!

XXX

1978-06-17 London
1978-06-20 London
1978-06-23 Rotterdam
1978-07-01 Nurnberg
1978-07-03 Paris
1978-07-04 Paris
1978-07-05 Paris
1978-07-06 Paris
1978-07-08 Paris
1978-07-11 Goteborg
1978-07-15 Camberley

(250/1) Bob Dylan, 1978-07-03, Pavilon De Paris, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan

19780703 Paris

01. Bob Dylan - She's Love Crazy [3-7-1978]
02. Bob Dylan - Baby Stop Crying [3-7-1978]
03. Bob Dylan - Mr. Tambourine Man [3-7-1978]
04. Bob Dylan - Shelter From The Storm [3-7-1978]
05. Bob Dylan - It's All Over Now, Baby Blue [3-7-1978]
06. Bob Dylan - Tangled Up In Blue [3-7-1978]
07. Bob Dylan - Ballad Of A Thin Man [3-7-1978]
08. Bob Dylan - Maggie's Farm [3-7-1978]
09. Bob Dylan - I Dont Believe You (She Acts Like We Never Have Met) [3-7-1978]
10. Bob Dylan - Like A Rolling Stone [3-7-1978]
11. Bob Dylan - I Shall Be Released [3-7-1978]
12. Bob Dylan - Going, Going, Gone [3-7-1978]
13. Bob Dylan - Rainy Day Women #12 & 35 [3-7-1978]
14. Bob Dylan - True Love Tends To Forget [3-7-1978]
15. Bob Dylan - It Ain't Me, Babe [3-7-1978]
16. Bob Dylan - The Man In Me [3-7-1978]
17. Bob Dylan - One More Cup Of Coffee (Valley Below) [3-7-1978]
18. Bob Dylan - Blowin' In The Wind [3-7-1978]
19. Bob Dylan - I Want You [3-7-1978]
20. Bob Dylan - Senor (Tales Of Yankee Power) [3-7-1978]
21. Bob Dylan - Masters Of War [3-7-1978]
22. Bob Dylan - Oh, Sister [3-7-1978]
23. Bob Dylan - Just Like A Woman [3-7-1978]
24. Bob Dylan - All Along The Watchtower [3-7-1978]
25. Bob Dylan - All I Really Want To Do [3-7-1978]
26. Bob Dylan - It's Alright, Ma (I'm Only Bleeding) [3-7-1978]
27. Bob Dylan - Forever Young [3-7-1978]
28. Bob Dylan - Audience [3-7-1978]
29. Bob Dylan - I'll Be Your Baby Tonight [3-7-1978]
30. Bob Dylan - The Times They Are A-Changin' [3-7-1978]


(250/16) Bob Dylan, 1978-07-03, Pavilon De Paris, Paris, France

Doc/, ?/?, (?)




Commentaires



197807 Feeling N07 P18
197807 Feeling N07 P18

197807 Feeling N07 P19
197807 Feeling N07 P19

197807 Rocknroll Musique N15
197807 Rocknroll Musique N15


(251/1) Bob Dylan, 1978-07-04, Pavilon De Paris, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan

19780704 Paris

01. Bob Dylan - My Back Pages [4-7-1978]
02. Bob Dylan - She's Love Crazy [4-7-1978]
03. Bob Dylan - Baby Stop Crying [4-7-1978]
04. Bob Dylan - Mr Tambourine Man [4-7-1978]
05. Bob Dylan - Shelter From The Storm [4-7-1978]
06. Bob Dylan - It's All Over Now, Baby Blue [4-7-1978]
07. Bob Dylan - Tangled Up In Blue [4-7-1978]
08. Bob Dylan - Ballad Of A Thin Man [4-7-1978]
09. Bob Dylan - Maggie's Farm [4-7-1978]
10. Bob Dylan - I Don't Believe You (She Acts Like We Never Have Met) [4-7-1978]
11. Bob Dylan - Like A Rolling Stone [4-7-1978]
12. Bob Dylan - I Shall Be Released [4-7-1978]
13. Bob Dylan - Going, Going, Gone [4-7-1978]
14. Bob Dylan - Rainy Day Women #12 & 35 [4-7-1978]
15. Bob Dylan - True Love Tends To Forget [4-7-1978]
16. Bob Dylan - It Ain't Me, Babe [4-7-1978]
17. Bob Dylan - The Man In Me 1 [4-7-1978]
18. Bob Dylan - One More Cup Of Coffee (Valley Below) [4-7-1978]
19. Bob Dylan - Blowin' In The Wind [4-7-1978]
20. Bob Dylan - I Want You [4-7-1978]
21. Bob Dylan - Señor (Tales Of Yankee Power) [4-7-1978]
22. Bob Dylan - Masters Of War [4-7-1978]
23. Bob Dylan - Just Like A Woman [4-7-1978]
24. Bob Dylan - We Better Talk This Over [4-7-1978]
25. Bob Dylan - All Along The Watchtower 1 [4-7-1978]
26. Bob Dylan - All I Really Want To Do [4-7-1978]
27. Bob Dylan - It's Alright, Ma (I'm Only Bleeding) [4-7-1978]
28. Bob Dylan - Forever Young [4-7-1978]
29. Bob Dylan - I'll Be Your Baby Tonight [4-7-1978]
30. Bob Dylan - The Times They Are A-Changin' [4-7-1978]


(252/1) Bob Dylan, 1978-07-05, Pavilon De Paris, Paris, France

Audio/Mp3, ?/?, (?)

683252001a
Bob Dylan in Paris in '78

Files as I received them.

Thanks to all those who made this possible.

Original Text
============

BOB DYLAN - Pavillon de Paris, Paris, France July 5th 1978 "Source - Reel to Reel Master"

Excellent Stereo Audience Recording

Bob Dylan
Pavillon de Paris
Paris, France
July 5th 1978

Source: Reel to Reel Master (Taper Unknown)>DAT>DVD Data Disc (FLAC)>Wave>Soundforge 8 (Clean Joins, New Track Marks)>
FLAC Level 6 Align on Sector Boundaries

NOTE: This recording was a mess once decoded, due to a very poor tranfer from DAT to CDR
in that discs overlapped, track markings were poor, joins were rough and for no reason it
was split to three discs.

As with all my transfers/torrents NO Normalisation or other alterations have been made
to the sound unless stated.

RE-TRACKING, CLEAN UP & ARTWORK by JTT, April 2007

Disc One:
1. My Back Pages (Instrumental)
2. She's Love Crazy
3. Baby Stop Crying
4. Mr. Tambourine Man
5. Shelter From The Storm
6. It's All Over Now, Baby Blue
7. Tangled Up In Blue
8. Ballad Of A Thin Man
9. Maggie's Farm
10. I DonÂ’t Believe You (She Acts Like We Never Have Met)
11. Like A Rolling Stone
12. I Shall Be Released
13. Going, Going, Gone / Interval
14. Rainy Day Women # 12 & 35 (Instrumental)
15. True Love Tends To Forget

Disc Two:
1. Gates Of Eden
2. The Man In Me
3. One More Cup Of Coffee (Valley Below)
4. Blowin' In The Wind
5. I Want You
6. Señor (Tales Of Yankee Power)
7. Masters Of War
8. Just Like A Woman
9. Don't Think Twice, It's All Right
10. All Along The Watchtower
11. All I Really Want To Do
12. It's Alright, Ma (I'm Only Bleeding)
13. Forever Young
14. Changing Of The Guards
15. The Times They Are A-Changin'


(208/1) Bob Dylan, 1978-07-06, Pavilon De Paris, Paris, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan - Border Beneath The Sun : Definitive Edition
Pavilon De Paris, Paris, France
July 6th 1978
Thinman 012/013

Original Thinman CD -> WAV (EAC) -> FLAC (flacfrontend) -> You

Quality:
Excellent Audience

Tracklist

DISC 1:

01. My Back Pages (Instrumental)
02. She's Love Crazy
03. Baby Stop Crying
04. Mr. Tambourine Man
05. Shelter From The Storm
06. It's All Over Now, Baby Blue
07. Tangled Up In Blue
08. Ballad Of A Thin Man
09. Maggie's Farm
10. I Don't Believe You (She Acts Like We Never Have Met)
11. Like A Rolling Stone
12. I Shall Be Released
13. Going Going Gone
14. Rainy Day Women # 12 & 35 (Intrumental)
15. True Love Tends To Forget
16. Gates Of Eden

DISC 2:

01. The Man In Me
02. One More Cup Of Coffee (Valley Below)
03. Blowin' In The Wind
04. I Want You
05. Senôr (The Tales Of Yankee Power)
06. Masters Of War
07. Just Like A Woman
08. Don't Think Twice, It's Alright
09. All Along The Watchtower
10. All I Really Want To Do
11. It's Alright Ma (I'm Only Bleeding)
12. Forever Young
13. Changing Of The Guards
14. The Times They Are A-Changin'

Musicians:

Bob Dylan (vocals, guitar, dancing, harmonica)
Billy Cross (guitar)
Steven Soles (guitar, vocals)
David Mansfield (steel-guitar, violin, mandolin, dobro)
Steve Douglas (saxophones, flute)
Alan Pasqua (keyboards)
Rob Stoner (bass, vocals)
Jerry Sheff (bass)
Ian Wallace (drums)
Bobbye Hall (percussion)
Helena Springs (vocals)
Jo Ann Harris (vocals)
Debbie Dye (vocals)
Carolyn Dennis (vocals)


(253/1) Bob Dylan, 1978-07-08, Pavilon De Paris, Paris, France

Audio/Mp3, ?/?, (?)

BOB DYLAN - Pavillon de Paris, Paris, France July 8th 1978 "Source - Reel to Reel Master"

Excellent Stereo Audience Recording

Bob Dylan
Pavillon de Paris
Paris, France
July 8th 1978

Source: Reel to Reel Master (Taper Unknown)>DAT>DVD Data Disc (FLAC)>Wave>Soundforge 8 (Clean Joins, New Track Marks)>
FLAC Level 6 Align on Sector Boundaries

NOTE: This recording was a mess once decoded, due to a very poor tranfer from DAT to CDR
in that discs overlapped, track markings were poor, joins were rough and for no reason it
was split to three discs.

As with all my transfers/torrents NO Normalisation or other alterations have been made
to the sound unless stated.

RE-TRACKING, CLEAN UP & ARTWORK by JTT, April 2007

Disc One:
1. My Back Pages (Instrumental)
2. She's Love Crazy
3. Baby Stop Crying
4. Mr. Tambourine Man
5. Shelter From The Storm
6. Love Minus Zero/No Limit
7. Tangled Up In Blue
8. Ballad Of A Thin Man
9. Maggie's Farm
10. I DonÂ’t Believe You (She Acts Like We Never Have Met)
11. Like A Rolling Stone
12. I Shall Be Released
13. Going, Going, Gone / Interval
14. Rainy Day Women # 12 & 35 (Instrumental)
15. True Love Tends To Forget

Disc Two
1. Gates Of Eden
2. The Man In Me
3. One More Cup Of Coffee (Valley Below)
4. Blowin' In The Wind
5. I Want You
6. Señor (Tales Of Yankee Power)
7. Masters Of War
8. Just Like A Woman
9. To Ramona
10. All Along The Watchtower
11. All I Really Want To Do
12. It's Alright, Ma (I'm Only Bleeding)
13. Forever Young
14. Changing Of The Guards
15. The Times They Are A-Changin'


(233/1) Bob Dylan, 1978-09-15, Fourth Time Around, North America September & October, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

Bob Dylan

1978 FOURTH TIME AROUND - NORTH AMERICA SEPTEMBER & OCTOBER

(Pink Panther Records)

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

There is an enormous amount of rubbish written about the first half of the 1978 North American tour.

Yes, the American press regarded Bob as a dinosaur who was passed his prime & was now "selling-out like Elvis", not that Elvis ever did sell out.
The recently released Renaldo & Clara commercial disaster did not help.

Remember, Bob had just returned from a hugely successful tour of Europe which was praised by critics & fans alike.

Yes, Bob attacked the band about this criticism, accusing them of being boring & formulatic. These included some of the best musicians on the planet.

Yes, Bob's harem was very disruptive to the karma of the band.

Yes, everybody (including Bob) got the flu & fans delighted in Ian Wallace vomiting into the bucket beside his drums.

But, being objective about the whole thing from the perspective of the surviving tapes, the music is simply beautiful.

Bob's singing on this tour leg is inspired. In September, the band played some wonderful music which sounded integrated & harmonious as only players who understand each other can - they had now been playing together for over six months.

& when Bob put the boot in they sure responded - the harmony started to disappear in October to be replaced by more & more improvisation.
The jazz players in the band knew what to do & did it brilliantly but October was really the month of Billy Cross - his guitar playing is more than often exquisite.

Paul Williams understood this & he was absolutely right.

Bob was no doubt going through a period of great personal turmoil, but, as it has happened before of since, this just took his art to higher places.

Not as wild & feral & religious as November & December, but more majestic. Bob is in the process of changing into something quite different.

Contains September & October versions of each song (if they were played in both months)
so don't complain about the sound quality of The Man In Me & It Takes A Lot To Laugh, It Takes A Train To Cry - it is what it is - sometimes it is lo-fi.

Don't miss this.

***

FLAC from best available sound sources.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

80 ball-tearing, sensational tracks
46 different songs
17 concerts are represented here (from the total of 33 concerts)
6 hours & 24 minutes of music
1 bob

***

All songs played on the tour leg are represented here.

Sound quality is, for the most part, very good to excellent.

***

Howard Sounes

By the time the United States leg of the tour started in September 1978, Dylan and the band had been on the road for the best part of eight months and much of the verve had gone.
“That American tour was a tough tour,” says Ian Wallace. “I think we were playing like six nights a week – and those were three-hour shows and, even though we had our own plane and everything, that's pretty demanding.”
Tensions within the band became pronounced. “You know, a band is a lot like a family,” says Wallace.
“And things started to get out of hand at one point. There was all kinds of rumors flying around, who was doing this to whom, you know.
When you are on the road, little things take on big proportions.”

Most of the intrigue surrounded Dylan, naturally, who had by now begun a relationship with his new backing singer Carolyn Dennis.
“I never got involved with anything like that, but eventually it seemed to be that the girls who were singing always had something going on with him,” says Jo Ann Harris. A fierce rivalry developed between Helena Springs and Carolyn Dennis, and Harris was literally caught in the middle
when Dylan asked her to stand between his girlfriends on stage. “Carolyn and Helena almost had it out on stage one night, with me in the middle,” she says.
“Bob said, "Jo Ann, you stand in the middle tonight." I said, "No, I always stand on the end. You know that's my spot."
He goes, "No, you stand in the middle." I went, "Oh no! I'm not going to get my hair ripped out, am I?”.”

There was a case of influenza sweeping through the band, being passed from musician to musician, as they all lived and worked in such close proximity. Ian Wallace felt so ill he had to have a bucket beside him on stage.
Whereas the Far East and European tours had been lavish, costs were cut in America.
On the eve of Thanksgiving the band was in a Howard Johnson's in Norman, Oklahoma, with just the local bowling alley for entertainment.
Dylan began to speed the songs up as he lost enthusiasm for the tour.
“The tempos kept getting faster and faster and faster and words kept getting more and more and more slurred,” says Stansfield.
Reviewers made invidious comparisons with Las Vegas-type entertainment.
Dylan defended his band to journalists, but glared at his musicians on stage and called meetings to tell them the shows were becoming too formulaic.
“It wasn't as street-sounding and spontaneous as he would like,” says Harris. Dylan wanted the girls to sing louder. “You know, we were screaming.”
Bobbye Hall was amazed that such a shy man could get so tough. “When he spoke to us, he was not the poet.”

***

Paul Williams

The European tour was followed by another two-month break, and then an extraordinary three solid months of American concerts, beginning 15 September 1978 in Augusta, Maine, and continuing through the northeast, the midwest, the west coast, and the south, ending 16 December 1978 in Hollywood, Florida.

During the summer break, Dylan had edited down Renaldo And Clara to create a two-hour version, in hopes of getting the film distributed to theaters that were unwilling to take on a four-hour movie.
This drastic effort was not rewarded by any greater commercial or public acceptance of the movie, which soon disappeared entirely from public view, at least in the United States, where it has been unavailable for rental by movie theaters or anyone else from 1979 to the present.
While it seems reasonable to consider the four-hour version to be the film Dylan intended to make, there is a certain inspired flair to his further edit as well;
I remember enjoying it very much the one time I watched it, in the fall of 1978.

Dylan's tireless barnstorming of the world during 1978 has left behind a legacy of more than 275 hours of recorded performances (unreleased except for the Budokan album, and unavailable except in the form of privately circulated tapes made by members of the audience, and some bootleg records excerpted from those tapes). This is an enormous amount of material, and there is no easy way for listener or commentator to begin to assimilate it.
It would be convenient to imagine that he played roughly the same concert through the course of the 115 shows (and speaking simply in terms of the script – the song-list and basic arrangements – there is some truth to that), and that the primary variable was in the quality of his performance (poor, good, excellent), in which case a single excellent concert could be considered a fairly good representation of the entire tour.
The problem, however, is equivalent to that of studying a year of performances of King Lear by an accomplished actor;
the best of these performances will differ from each other in significant ways, even though the playwright's words do not change - they differ because of the malleability of the performer's art, its ability to take on new characteristics each evening.
One night's interpretation or inspiration or mood is not necessarily better than another night's – rather, all are expressions of the actor's spirit, the ever-changing challenges (internal and external) that he faces and his ongoing effort to respond to them and share his (changing) vision, his truth.
There are of course mediocre performances (even from great actors), and sometimes a sameness in that mediocrity, but the good performances are good in a wild profusion of subtle and unexpected ways, adding up to a body of work that neither performer nor observer can ever fully appreciate.
There is just too much of it, and anyway each past performance is partially and necessarily forgotten as we focus in on tonight's show.

In the same way the singer-musician is alive on stage each night, and never wholly repeats himself, even when the external form of what he (or she) does is unvarying.
This is more true (or more easily true) of a singer working with a band than of a singer alone, because the interaction with other musicians constantly gen¬erates opportunities for spontaneity – the singer working with a band has more to respond to, and may feel more free to invent responses.
He is constantly stimulated (surprised), and he is also supported, anchored, counter-balanced, which gives him more leeway to take risks, to push to the edge of the music,
whatever edge happens to present itself to him on this particular evening.

Dylan's 1978 concerts all followed the same basic structure: an instrumental overture by the band (based on A Hard Rain’s A Gonna Fall at the start of the tour, then later My Back Pages, Dylan's subtle announcement that this show will be a retrospective), an old blues song as Dylan's vocal opener (Love Her With A Feeling or She's Love Crazy – both by Tampa Red – or I'm Ready by Willie Dixon), then ten or 11 Dylan songs, followed by an intermission.
Going Going Gone (from Planet Waves, but rewritten with some lyrics borrowed from delta blues singers) was usually the closing song for the first act,
although towards the end of the year he replaced it with Senor (Tales Of Yankee Power).
Included in this first act almost every night were Mr Tambourine Man, Shelter From The Storm, Love Minus Zero / No Limit (or It's All Over Now Baby Blue), Girl Of The North Country (or Tangled Up In Blue), Ballad Af A Thin Man, Maggie's Farm, I Don't Believe You (She Acts Like We Never Have Met), Like A Rolling Stone, and I Shall Be Released.
Other songs that found their way in more than once were I Threw It All Away (at the earlier shows), Baby Stop Crying, and Is Your Love In Vain?

In the Far East the second half of the show would begin with One Of Us Must Know (Sooner Or Later).
In June and July 1978 this was preceded by an instrumental version of Rainy Day Women #12 & 35.
The fall tour went back to One Of Us Must Know (Sooner Or Later) as second act opener, alternating with True Love Tends To Forget;
both were replaced in October 1978 by The Times They Are A-Changin'.
In November 1978 Rainy Day Women #12 & 35 returned, now featuring vocals by the three back-up singers. It followed The Times They Are A-ChanginÂ’.
The next song in the second set, starting in July 1978, was Dylan's only solo acoustic performance of the evening (there was no solo slot at all prior to the July 1978 shows) – Gates Of Eden in Europe, It Ain't Me Babe back in the United States.
This second set varied a little more in the course of the year than the first set; from October 1978 on, it generally consisted of (after It Ain't Me Babe) – You Treat Me Like A Stepchild (a new Dylan song), One More Cup Of Coffee (Valley Below), Blowin’ In The Wind, Girl Of The North Country, Where Are You Tonight? (Journey Through Dark Heat) (or We Better Talk This Over), Masters Of War, Just Like A Woman, To Ramona, All Along The Watchtower, All I Really Want to Do,
It's Alright Ma (IÂ’m Only Bleeding), and Forever Young. (Other songs that would occasionally or regularly turn up earlier in the tour included I Want You, The Man In Me, Don't Think Twice Its All Right, Oh Sister, You're A Big Girl Now, Tomorrow Is A Long Time,
KnockinÂ’ On Heaven's Door, and Simple Twist Of Fate. There were also a few songs Dylan only sang once, those little surprises that make tape collectors' lives meaningful.)

Dylan always performed an encore. For the first two parts of the tour it was The Times They Are A-Changin', alone or with Knockin' On Heaven's Door or I'll Be Your Baby Tonight or Changing Of The Guards. On the United States leg, Changing Of The Guards was the invariable encore, with I'll Be Your Baby To¬night as a rare second encore. The shows were about two-and-a-quarter to two-and-a-half hours long, with Dylan singing 25 or 26 songs – a generous helping.

By way of generalization, the shows in the first part of the tour tended to be a little stiff, Dylan not yet fully at home with the band or the material or the audience or himself.
The shows from the middle segment were the most professional, with some wonderful performances almost every night as well as some stretches where the passion was lacking.

The third segment, in the United States, was un¬even, and as Dylan's voice started to fail him under the stress of all this touring he started shouting more of the songs; but the third segment was also the most lively and spirited, Dylan enjoying himself a lot on stage (when he was not suffering from exhaustion), and the performances as a whole had more personality, less professionalism, more spontaneity.

Starting in June 1978, Dylan included two or three songs from Street Legal in each show (six at Blackbushe), but unlike the 1975 Rolling Thunder Revue Dylan did not seem to regard the new songs as strong enough to build a show around (or they were not as important to him as Isis and Hurricane and One More Cup Of Coffee (Valley Below) and Sara were in 1975).

Dylan's purpose in 1978 seems to have been to redo Tour '74 (the great Dylan retrospective) and do it right.
He set out to play the songs that people wanted to hear – there were a signifi¬cant number of "greatest hits" represented – but despite his enter¬tainer stance he was not interested in just granting his audience whatever they might wish from him.

The inclusion of only one acoustic song – pointedly, It Ain't Me Babe – made this very clear.

The songs had new arrangements because he believed in them as living creations, he was celebrating their elasticity and universality, and he also was insisting that he be allowed to sing them as the person he was at the moment.
It was not so much that the new arrangements were more representative of who he was now than the old ones – it was that he had had to consciously strip the songs of their nostalgic value in order to be able to freely perform them as a singer, a living artist, rather than as some kind of phonograph.

The best performances of the 1978 tour are somewhat over¬shadowed, in my estimation, by the extraordinary achievements of the two tours that precede and follow it in Dylan's chronology – Rolling Thunder II in spring 1976, and the first "gospel" shows, fall 1979.
These are among the performances that make Dylan a great artist, right up there with his work on Highway 61 Revisited and Blood On The Tracks and live with the Hawks in Spring 1966. Even the very best of 1978 falls a little short of these standards of inspiration, content, and commitment; and alas most of the 1978 performances slide off into the "good but not great" category.

Having said that, one has to say also that 1978 was a bold (and, under the circumstances, resourceful) experiment, and that its inventions and achievements add significantly to Dylan's body of work, in particular by acknowledging and displaying the durability and flexibility of so many of Dylan's songs.
And finally, the happy fact is that the finest performances of 1978, when one can root them out from among the 275 hours of shows available, are wonderful indeed, and quite delightfully distinct from anything else Dylan has ever done.

***

Nigel Williamson

Something went horribly wrong when Dylan returned to America after the triumphs of his European tour.
After spending his customary summer on his farm in Minnesota, he began rehearsing for the American leg of his world tour at Rundown Studios, Santa Monica, in early September 1978.

Opening in Augusta on 15 September 1978, he played 64 three-hour shows over the following 92 days – and the critics savaged him.
He might have expected such a reaction in Britain, where the punk ethic was mercilessly demolishing all the old icons.
Yet, instead, he had been treated as a conquering hero.

In America, where being rich and famous is usually enough to guarantee a certain degree of sycophancy, he surely could have expected an easy ride.
But it was as if the usually supine American media had scented blood over Renaldo And Clara, and were now moving in for the kill.
Having initially dubbed it “the alimony tour”, they then began calling it “the Vegas tour”, accusing Dylan of churning out the old hits in cabaret style.

He was genuinely hurt and even baffled by the reaction, “The writers complain the shows are disco or Las Vegas,” he complained, “I don’t know how they come up with those theories. We never heard them when we played Australia or Japan or Europe.”

***

Civic Center
Augusta, Maine
15 September 1978

01.Rainy Day Women #12 & 35

First concert of the 1978 US Fall Tour.
1978 concert # 50.
Concert # 27 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Rainy Day Women #12 & 35 instrumental without Bob Dylan.

LB-7573;
Compiler: Les Kokay (LK);
from LK 78 set

Good sound [B].

***

Cumberland Civic Center
Portland, Maine
16 September 1978

02.I Threw It All Away

Second concert of the 1978 US Fall Tour.
1978 concert # 51.
Concert # 28 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-6483;
Taper: Legendary Taper E (LTE);
Equipment: ? > analog master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Good sound [B].

***

Veterans Memorial Coliseum
New Haven, Connecticut
17 September 1978

03.The Man In Me

Third concert of the 1978 US Fall Tour.
1978 concert # 52.
Concert # 29 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

All right, thank you! Caroline is here tonight.
A friend of ours from New York City. She wants to hear this song.
(before The Man In Me)

LB-7574;
from lk 78 set

Poor sound [C+].

***

Robert Shelton

On 19 September 1978, at the Montreal Forum in Quebec, he went onstage when he probably should have been resting in bed.
Dylan recalled, in 1985: "The only time I've ever wanted to replay a show was in Montreal, 1978.
I had a temperature of one hundred four, and couldn't even stand up. The promoter said, “You've got to play the show,” and we played the show.
And there was a response. You'd think the Pope was there."

***

Onondaga County War Memorial Auditorium
Syracuse, New York
22 September 1978

04.Fourth Time Around
05.Simple Twist Of Fate

Concert # 6 of the 1978 US Fall Tour.
1978 concert # 55.
Concert # 32 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on Simple Twist Of Fate.

Only performance of Fourth Time Around during the 1978 World tour.

LB-3479

Good sound [B].

***

Broome County Veterans Memorial Arena
Binghamton, New York
24 September 1978

6.It's All Over Now, Baby Blue
7.Girl Of The North Country
8.Love You Too Much

Concert # 8 of the 1978 US Fall Tour.
1978 concert # 57.
Concert # 34 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on It's All Over Now, Baby Blue.

BobTalk

Thank you. That was Alan Pasqua on the organ, Steve Douglas on the tenor saxophone.
I wanna say hello tonight to Sylvia Rich who also knows about the north country.
(after Girl Of The North Country)

WeÂ’re gonna take a break here. WeÂ’re just gonna take a short break (Â…..) fix the equipment.
This is a new song, weÂ’ve never played it before, weÂ’ll try to play it for you (Â…..).
(before Love You Too Much)

LB-7582;
from LK 78 set

Very good to excellent sound [B+].

***

Civic Center
Springfield, Massachusetts
26 September 1978

9.My Back Pages
10.IÂ’m Ready (Willie Dixon)
11.Is Your Love In Vain?
12.Love Minus Zero/No Limit
13.Tangled Up In Blue
14.I DonÂ’t Believe You (She Acts Like We Never Have Met)
15.Like A Rolling Stone
16.True Love Tends To Forget
17.It Ain't Me, Babe
18.Blowin' In The Wind
19.I Want You
20.Señor (Tales Of Yankee Power)
21.Masters Of War
22.Don't Think Twice, It's All Right
23.All I Really Want To Do
24.It's Alright, Ma (I'm Only Bleeding)
25.Changing Of The Guards

Concert # 9 of the 1978 US Fall Tour.
1978 concert # 58.
Concert # 35 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

My Back Pages instrumental without Bob Dylan.

Bob Dylan (harmonica) on Love Minus Zero / No Limit,

Bob Dylan solo (vocal, harmonica & guitar) on It Ain't Me, Babe.

LB-7583;
Compiler: Les Kokay (LK)

Excellent sound [A-].

***

Madison Square Garden
New York City, New York
29 September 1978

26.Just Like Tom Thumb's Blues
27.Señor (Tales Of Yankee Power)

Concert # 11 of the 1978 US Fall Tour.
1978 concert # 60.
Concert # 37 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

This song I wrote in Mexico on a train ride. I was going from Monterey to San Diego,
fell asleep and I woke up and I wrote this.
(before Señor (Tales Of Yankee Power))

LB-7576

Good sound [B].

***

Madison Square Garden
New York City, New York
30 September 1978

28.IÂ’m Ready (Willie Dixon)
29.Ballad Of A Thin Man
30.Maggie's Farm
31.I Shall Be Released
32.Going, Going, Gone
33.One Of Us Must Know (Sooner Or Later)
34.Am I Your Stepchild?
35.One More Cup Of Coffee (Valley Below)
36.Masters Of War
37.Just Like A Woman
38.Baby Stop Crying
39.All Along The Watchtower
40.Forever Young

Concert # 12 of the 1978 US Fall Tour.
1978 concert # 61.
Concert # 38 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on:
Am I Your Stepchild,
Baby Stop Ctying.

LB-1587;
xref-01365

Excellent sound [A-].

***

Robert Shelton

By the end of September 1978, doing two concerts at Madison Square Garden in the same week that Neil Young had played there, Time and The New York Times critics compared the two. Wrote John Rockwell in The Times: "Mr Young [despite an extremely variable performance] was “the winner”. But Mr Dylan's was downright terrible."
He did not like how Dylan dressed, or spoke and disdained the "fussing" with arrangements in versions that "sound uninteresting and inferior; the overall effect of the set was of a detached cynicism,
with arrangements slick and turgid and the singing a petulant shout."
America and the rest of the world were out of sync; the great divide was greater than ever.

***

Scope Arena
Norfolk, Virginia
3 October 1978

41.The Man In Me

Concert # 13 of the 1978 US Fall Tour.
1978 concert # 62.
Concert # 39 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-7601;
from lk 78 series

Poor sound [C+].

***

The Spectrum
Philadelphia, Pennsylvania
6 October 1978

42.It Takes A Lot To Laugh, It Takes A Train To Cry

Concert # 16 of the 1978 US Fall Tour.
1978 concert # 65.
Concert # 42 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Only performance of It Takes A Lot To Laugh, It Takes A Train To Cry during the 1978 World tour.

BobTalk

All right, weÂ’re gonna do this as a special request for you. It's for this (....).
He's another guy who's been doing nothing but writing ever since he started. He's been writin' and writin'.
(before It Takes A Lot To Laugh, It Takes A Train To Cry)

LB-1755;
1978 World Tour Anthology -
Renaldo Gets The Repossession Blues (White Bear / 019-024);
6CD box set

***

Civic Center
Providence, Rhode Island
7 October 1978

43.IÂ’m Ready (Willie Dixon)
44.Is Your Love In Vain?
45.Shelter From The Storm
46.It's All Over Now, Baby Blue
47.It Ain't Me, Babe
48.Am I Your Stepchild?
49.Señor (Tales Of Yankee Power)
50.Masters Of War
51.Just Like A Woman
52.All Along The Watchtower
53.All I Really Want To Do
54.Changing Of The Guards

Concert # 17 of the 1978 US Fall Tour.
1978 concert # 66.
Concert # 43 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on:
It's All Over Now, Baby Blue,
Am I Your Stepchild?,
Just Like A Woman.

Bob Dylan solo (vocal, harmonica & guitar) on It Ain't Me, Babe.

BobTalk

All right, this is a song I wrote on a train trip from Monterey, uh, down in Mexico to San Diego, California.
I wrote this thing on the train. I tried not to write this song, but I just had to.
(before Señor (Tales Of Yankee Power))

LB-7604;
Compiler: Les Kokay (LK)

Very good to excellent sound [B+].

***

Maple Leaf Gardens
Toronto, Ontario, Canada
12 October 1978

55.Going, Going, Gone
56.To Ramona

Concert # 19 of the 1978 US Fall Tour.
1978 concert # 68.
Concert # 45 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

LB-7392;
Taper: Legendary Taper G (LTG);
Equipment: Superscope one-point stereo mic > Sony TC158SD, analog master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc Wavelab, levels raised > cdwave, tracking > tlh

Very good to excellent sound [B+].

***

Chicago Stadium
Chicago, Illinois
18 October 1978

57.The Times They Are A-Changin'
58.Girl Of The North Country

Concert # 24 of the 1978 US Fall Tour.
1978 concert # 73.
Concert # 50 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-4097;
Location: 6th or 8th row left center main floor;
Equipment: Technics RS-646DS,
Mics: Teac ME-80's (CM-300 Naks),
Dolby On for recording;
Tapes: Maxell XLI C90 normal bias first 90 minutes;
TDK SA-90 High Bias for the second tape;
2nd tape, in the middle of Maggie's Farm, bias switched from normal to high;
Tape master played back on Rotel RD-870 with speed and tape alignment adjusted.
Dolby Off for playback;
Using Chord Company cables from Naim;
Played through the Naim Audio NAC-52 pre-amp, to the Teac CDR-2000;
Mastered to Taiyo Yuden 74-ZY CDR's;
PC drive.....Plextor UltraPlex40max CDR-Rom SCSI W/adaptec 2930;
EAC > FLAC

Very good to excellent sound [B+].

***

Richfield Coliseum
Richfield, Ohio
20 October 1978

59.My Back Pages
60.Mr Tambourine Man
61.Shelter From The Storm
62.Tangled Up In Blue
63.Ballad Of A Thin Man
64.I Shall Be Released
65.Where Are You Tonight? (Journey Through Dark Heat)
66.Simple Twist Of Fate

Concert # 25 of the 1978 US Fall Tour.
1978 concert # 74.
Concert # 51 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

My Back Pages instrumental without Bob Dylan.

Bob Dylan (harmonica) on Simple Twist Of Fate

BobTalk

LB-10749;
The Endless Road (Thinman / 155-56);
Equipment: Original silver CDs >
EAC safe ripping (correctly configured) > FLAC (flacfrontend)

Excellent sound [A-].

***

Centennial Arena
University Of Toledo
Toledo, Ohio
21 October 1978

67.Love Minus Zero/No Limit
68.Maggie's Farm
69.I DonÂ’t Believe You (She Acts Like We Never Have Met)
70.Like A Rolling Stone
71.One Of Us Must Know (Sooner Or Later)
72.One More Cup Of Coffee (Valley Below)
73.Blowin' In The Wind
74.Don't Think Twice, It's All Right
75.It's Alright, Ma (I'm Only Bleeding)
76.Forever Young

Concert # 26 of the 1978 US Fall Tour.
1978 concert # 75.
Concert # 52 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on:
Love Minus Zero / No Limit,
Don't Think Twice, It's All Right.

BobTalk

All right, this is a little tune I learned off a Bruce Springsteen record.
(before Don't Think Twice, It's All Right)

LB-0352

Very good to excellent sound [B+].

***

Tim Chisholm

Timothy Chisholm was born and raised in a Chicago suburb and currently teaches at a middle school in Southern California.
He can be contacted at tchiz@snowline.net.

It's not a story I tell often. Like describing a secret handshake to the uninitiated, I feared cheapening the experience by retelling it to those unable to comprehend its significance.
It's been a secret treasure in my trunk of memories for 20 years. I expect, however, that anyone who purchases this book, or even takes the time to browse through it, is probably interested enough to appreciate the value this story holds for me.
It's all true, and until now, it's been all mine.

Saturday, October 28, 1978. I was a student at Southern Illinois University in Carbondale.
Halloween was being celebrated in an outrageously wild fashion of long-standing tradition.
It was also Homecoming, which added to the festive atmosphere. The town was overflowing with costume-clad revelers.
It was Mardi Gras in the Midwest. It was crazy. It was the day Bob Dylan came to town.

It seemed everyone I'd known since kindergarten was there. Some I hadn't seen in 10 years.
They were there to party, but they were also hoping to get a ticket to that night's historic concert.
I myself had camped out in front of the arena box office for three nights before tickets went on sale.
I wound up with 20th row, grateful to at least be on the main floor. But I had a surprise coming.

A good friend named Julie Szeszney worked at the box office, and unknown to me, managed to secure two tickets front-row, center.
I'd been a renowned Dylan fan for years, and Julie was genuinely pleased to give those tickets to me. I'm sure she knew no one who'd appreciate them more.

So when Dylan took the Carbondale stage, a stop on his Street Legal tour, I was there with high-school chum Dave Dewey at the foot of the altar.
My first Dylan concert had been just two weeks prior in Chicago, where I was a ceiling fan somewhere high in the nosebleed section.
This was much different. Dylan was just 10 feet away, and that put me over the top.

The moment Dylan hit the stage, I was on my feet. I stood on my chair the whole show, dancing, cheering, singing every word.
I played imaginary guitar and contributed my own percussion. Friends seated way in back told me later they spent as much time watching my performance as they did Dylan's. If I had known, or been in any condition to think logically about it, I would probably have toned it down a bit.
I certainly didn't want to disturb or distract anyone else from enjoying the show. It wasn't premeditated, wasn't conscious at all.
I was in my own world, transported by music and lyrics I knew so well, which meant so much

Except for a brief glance at the audience around me, wondering how they could possibly remain seated at a time like this, it was just me and the music - me and The Man. I didn't notice anyone else.

But Dylan noticed. He finished his first set with a scorching harmonica solo to close “It's All Over Now Baby Blue.”
Then, in slow motion, Dylan stepped to the edge of the stage and tossed his harmonica to me.

I was unprepared and caught it in self defense; it would've hit me in the face. Immediately, a surge of fans leaping for the sacred artifact crushed me.
I was on the floor, buried beneath a pile of hopeful lunatics. Dave frantically pulled the disappointed mob off and stared at me.
At first, I thought he was concerned for my physical well-being.
But the look on his face conveyed an understanding that a simple twist of fate had just propelled me into history.
He couldn't have been more awed if the Pope himself had just handed me his pointy hat.

Dave reverently asked if he could see it and touch it. Not wanting to seem possessive or greedy, I gave him the harmonica.
I was concerned for its safety, and wondered about its whereabouts for a bit, but soon I was back in the music, oblivious.
I had a camera I'd snuck in under my jacket, and I squeezed off some shots. But I didn't like the way it distanced me from the show.

The rest of the concert flew by. The band was tight and the music was red hot. But it was when the main concert ended, and Dylan and his band came out for an encore, that events turned toward a most memorable meeting.
The audience knew this was the final song, and they pushed past security.
The front of the stage was packed with screaming fans trying to get as close as possible. People were shouting for their favorite songs.
Someone near me kept screaming "I Want You!" It seemed everyone had a particular song they wanted to hear.

Dave and I were pressed against the edge of the stage, and we agreed that this screaming scene was ridiculous.
It's hard to explain our thinking; I guess we weren't. We were giddy, even hysterical with laughter.
We knew Dylan couldn't really see or hear anyone. He was squinting into the lights, and the noise was deafening.
Dave and I decided to have a good time shouting along with the crowd, screaming our own ridiculous lines at Dylan from 10 feet away.
It was a joke to us. We thought we were making fun of the Dylanmania around us.

As Dylan and his band launched into a rousing encore of “Changing Of The Guards,” I was shouting,
"Hey Bob! Look at me, man. It's me, Bob. You can look at me." Dave thought that was funny.
Pushing the limits of hilarity, he began shouting, "Hey, Dylan! Fuck you, man." That cracked us both up. After all, he couldn't hear us.
I'm sure the fans around us thought we were insane, but that just made things even more hysterically funny to us.

When the song ended, Dylan waved to the crowd and was gone. Along with some other friends whoÂ’d made their way to the stage,
we hung around until the house lights went up and it was obvious Dylan wasnÂ’t coming back. Then we headed for the exit.

I made it to the lobby and was heading out the door when someone I knew stopped me and said there was a man back inside looking for me.
I didn't question it. Perhaps I'd lost my wallet and someone was trying to return it. It didn't occur to me that I never had a wallet.
I was floating, unquestioning, as I made my way back inside.

There was a small crowd gathered in front of the stage, everyone looking wide-eyed as I approached.
A young man behind the security partition pointed at me and told me to follow.
He handed me a pass and led me to a gate in the partition off to the side of the stage.
I was thinking that the roadies were looking to invite a few locals to some post-concert party, for color, you know?
But as he opened the gate, I realized he wanted me to follow him backstage.

Suddenly I was nervous. What was this all about? Everyone was staring at me, slack-jawed.
I grabbed the arm of the nearest person, Kevin McGugan, another high-school friend in town for the festivities.
During the concert he been seated well in back, but he was here now, and I said, "He's coming with me."
Kevin was handed his own backstage pass, and we followed our guide. The SIU arena is where the basketball team holds court.
Our guide never said another word to us. He signaled us to wait, then disappeared down a long corridor, at the end of which was the men's locker room.

I was uneasy, scared even, but Kevin was looking around like a kid at Disneyland. I don't know why I was so apprehensive, but I knew something important was happening. I told Kevin, "Stick by me, man." Kevin understood.
He spoke the only words he uttered the whole time we were backstage. "Don't worry, Chiz. I won't let anything happen to you."

Our guide stepped out of the locker room and motioned to us. There were a handful of people loitering outside the locker-room door.
As we approached, I heard one say, "Oooooh, a command performance."

I still didn't get it. I should've known what was coming, but my mind couldn't wrap itself around the idea that Bob Dylan had requested to meet me.
I truly had no idea as we stepped into Bob Dylan's dressing room for the evening.

Dylan is standing there with his shirt off, and it's obvious he's just washed the stage makeup off his face.
I'm struck by how remarkably wide he is. I mean, he's lean – not an extra ounce on him. But his shoulders - they're so, well, wide.

Now my mind is racing a mile a minute, trying to make sense of this situation. There's Bob Dylan. Right there.
A thought flashes through my startled brain. This is so perfect, a dream come true.
It's like one of those last requests granted by the Make-A-Wish Foundation. That's it!
I must be dying of some insidious blood disease or a brain tumor or something. Yeah. And only my mom could know such a thing and keep it from me.
I'm dying and my mother has somehow set up this meeting with my idol.

The thought is gone in an instant. I step forward, and Dylan holds out his hand. As we shake, I ask, "Why are you doing this?"

"You really added to the show tonight," he says. And that's it. I have nothing further to accomplish in life, nothing more to live for.
I start to tell him how fantastic the concert was. I loved it. What a great show.

Dylan says, "I don't know what your one friend's problem was."

In retrospect, it's obvious he was talking about Dave and his shouting, "Fuck you, Bob", laughing all the while.
An hour later, I knew what Dylan was referring to. But at that moment, I honestly couldn't guess what he was talking about.

"Who?" I say. "The guy on my right? That would be your left."

"No," he says. "The guy on your left, would be my right."

I try to picture it, but I have to shake my head in confusion. I look to Kevin for help, but he's just watching this scene with a transcendent grin.

Dylan lets it go.

I tell Dylan how much I enjoyed the new versions of his old songs. I want to thank him for the harmonica,
but I don't know where it is. Dave told me when the show was over that he lost it. Dave is just screwing with my mind.
He has to have it, but I can't be sure, so I don't mention the harmonica to Dylan. (He did have it, I confirmed later.)

I'm incredibly cool. No way am I gonna act like a hysterical school girl. I don't ask for an autograph.
I don't question him about the meaning of obscure lyrics. Hell, I even have a camera under my jacket,
but I have no intention of asking him to pose for a picture. This is a notoriously private man, and I don't want anything to threaten this perfect moment.

Dylan asks, "So is there anything you want? Anything I can give you?"

As he says this, he gestures with his arm, a casual motion. For the first time, I look around the room and notice all the food laid out.
I'm not sure if Dylan is inviting us to eat something.

"Oh no thanks, man. You've already done more than enough."

In my mind, I'm thinking what I'd really like is to go have a beer with him and hang out together. Let him get to know me...become friends.
So I say, "There's not really time for what I'd like."

It's a strange thing to say, but Dylan nods his head in understanding. We both look at the floor, and then comes the moment I treasure most...shared silence.
He's not trying to get rid of us. There's no anxious need to fill the silence with pointless conversation. We simply stand together. Dylan taps his toe, not with impatience but in time to the music in his head.

We look at each other.

Dylan nods his head.

I nod back.

Cool.

Then reality comes rushing back in. There are dozens of people outside who will never believe this.
I need some concrete proof so I say, "Well, since you asked, how about some tickets for tomorrow night's show?"

"Yeah? Where is it?"

This elicits a giggle from Kevin.

"St. Louis," I say.

"How far is that from here?"

Kevin and I both laugh at the idea that he doesn't know where he is or where he's going.

"Oh, it's a couple hours."

"You'd go that far?" he asks.

"Are you kidding? That's nothing. We drove twelve hours round-trip to see you in Chicago."

Dylan looks impressed. "Sure. Okay," he says. "Just ask the guy outside the door. He'll take care of it."

And that's our cue. I thank him for everything. As Kevin and I head out the door, I call over my shoulder, "God bless you, man."

Back in the corridor, we're greeted by questioning stares from the group loitering outside the dressing room.

"He told us to ask someone out here about tickets for tomorrow night."

A fellow steps up with a small note pad in his hand. "How many you need?” Boy, that's a good question.
Everyone I know is in town. I'm sure they'd all like a ticket, but I don't want to overdo it.

"Uh, six?"

"Six!? Why don't you ask for six dozen?"

I've seen Don't Look Back a few times, so I'm aware of the tendency for mind games exhibited by Dylan's inner circle.
Is this guy one of them? Is he trying to give me shit? Well, I'm unflappable. Tonight, I'm bulletproof.

"Hey, he said to talk to someone out here about tickets," I say. "But if it's going to be a problem, just forget the whole thing."
I turn and walk off down the corridor. They're all caught off-guard, even Kevin who scurries to catch up.
It takes a moment, but the fellow with the note pad chases after us.

"Hey! Okay, okay. Six tickets. What's your name?"

"Chisholm."

"Okay." He writes it in his note pad.

"So what's the deal? Are there gonna be tickets or what?"

"Yeah, yeah." He says, "At the box office."

And he wasn't lying. Six tickets were waiting under my name at the box office in St. Louis the next night.
Another great show, although I'd lost my voice by then and was two days without sleep.
In fact, I was in a fog for at least two weeks after meeting Dylan.
I skipped a lot of classes and spent a lot of time grinning, reliving that once in a lifetime experience.
I find it extraordinary that such a private man would reach out and make a public connection in such a personal way.

Twenty years later, accepting his Time Out of Mind Grammy, Dylan told of being 16 or 17 and seeing Buddy Holly at the Duluth National Guard Armory.
"I was three feet away," Dylan said, "and he looked at me."

Yeah. I know just how that feels.

***

The Checkerdome
St Louis, Missouri
29 October 1978

77.True Love Tends To Forget

Concert # 32 of the 1978 US Fall Tour.
1978 concert # 81.
Concert # 58 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-1592;
xref-01037;
Remaster: JTT, May 2012;
Equipment: Low Generation Cassettes 2xTDK AD90 (GS) >
Akai GX95 11 > Soundforge PRO 10c > FLAC Level 8

Good sound [B].

***

Paul Williams

At the St Louis Checkerdome on 29 October 1978, my very favorite of all the 1978 concert tapes, Dylan's band starts with an unusually spirited, richly-textured reading of My Back Pages, just brimming with life, suggesting that it might have been the band's brightness that inspired Dylan to give so much this particular evening.
He walks on stage near the end of the instrumental (we hear the audience's response) and seconds later Dylan and band launch into a great version of She's Love Crazy – there is a special lilt in Dylan's voice and the other musicians (particularly the saxo¬phone and the back-up singers) tune themselves to it perfectly, just as he perfectly hooks into the fine rhythmic groove the band has going, and for two minutes we are rocking in blues heaven.

This could go on all night and I would not mind, but instead Dylan makes a quick and remarkable musical shift into the first (and most radical) of his song transformations – Mr Tambourine Man, sung with hypnotic slowness, as though a capella.
The performance is a duet with keyboardist Alan Pasqua, and he and Dylan create a mood that is powerfully evocative and totally fresh.
Four-fifths of the way through, the full band enters, playing the uptempo arrangement Dylan had used for the song earlier in the tour; the sense of release this brings is exquisite. Dylan sings a chorus in this style to complete the performance, and one is left with the impression of having been to a far-off, exotic, deeply beautiful island, a dream-space.
In this version, the song becomes a sort of brilliantly compact concerto for voice and keyboard, forerunner of a new music yet to be invented, thrown together by Dylan because he wanted a fresh, shocking, transformed Mr Tambourine Man, and he was not satisfied with what he had been doing, or else just got inspired to take it in a new direction.
The new arrangement reaches its peak in St Louis, I think; Dylan sings it with so much feeling, such great timing.
A powerful and moving performance; and arguably a more significant new work than any of the newly-written songs Dylan debuted in 1978.

The vulnerability and sensitivity of this Mr Tambourine Man are not at all typical of the 1978 tour.
Certainly this was a function of Dylan's emotional state (consider for contrast the Spring 1976 performances, when the artist's angers, fears, and desires seemed to pour out in every song), but the distanced professionalism of the shows was also dictated, as in 1974, by the size of the audience and the environment where the performances took place.
1978 was a stadium tour, one basketball arena after another.
I was less than halfway back from the stage at the shows I saw, in the Oakland Coliseum, 13 and 14 November 1978, but even so I wished I had a pair of binoculars to help me see the man who was singing to me.
The sensitivity of the new Mr Tambourine Man was lost in that environment;
I remember thinking, both nights, that it was weird, and theorizing that Dylan's tentativeness was because it was the start of the show and he was still warming up, trying to get loose. (My reaction also hints at the difficulty of what Dylan was doing – offering radically new and "unDylanish" arrangements of familiar songs to an audience that had very fixed ideas about how he and his songs should sound.)
What was actually true, I think, was that it took me a while to warm up, both nights, to what the performer was doing.
I did enjoy the shows, very much – and the songs that made the strongest impression on me at the time were all loud, uptempo numbers
whose musical ideas were bold and clear and easy to grasp at a distance – (You Treat Me Like A) Stepchild, One More Cup Of Coffee (Valley Below), Masters Of War, and All Along The Watchtower. The quieter, more intimate performances were harder to focus in on.

Certainly Dylan's 1978 concerts were extremely well-paced.
The Shelter From The Storm that follows Mr Tambourine Man on the St Louis tape is an easy return to a rocking, full band sound, and again it is an outstanding performance (though hardly an intimate one).
The chorus – back-up vocalists singing "From the storm, from the storm" – is charming, and offers some insight into what Dylan was up to when he added "the girls" (three black female back-up vocalists; the identity of the singers changed over the years, but the trio – occasionally a quartet – would be a stan¬dard feature of his live and recorded performances for the next nine years) to his band, his orchestra, his sound.

In effect, Dylan hears an echo, and here he sets out to express that echo in his music vocally as well as instrumentally, and to incorporate its subtleties and reverberations into the structure and arrangements of his songs.
He has done this before (the "no more!" chorus added to Maggie's Farm at the Isle of Wight, Danko's and Stoner's echoing vocals at Carnegie Hall in 1968 and on certain Rolling Thunder Revue songs);
now he institutionalizes it, adding female voices to his basic performing unit, as he had added bass and drums and lead guitar in 1965.

Shelter From The Storm on Blood On The Tracks is a beautiful performance – and a very intimate one, relying on the closeness of the studio microphone (picking up subtleties of guitar playing as well as voice) and the passionate commitment of the singer to create a delicate framework of call and response around a tune that would otherwise be rather monotonous in terms of melodic and verbal structure.
Such a performance cannot be reliably trans¬ferred to the stage – even granted an intimate enough setting, the song's success or failure in live performance would rest too directly on the singer's ability to be totally inside it and to feel it as some¬thing fresh and new each time (his technical proficiency as a guitar player would also be constantly on the line).
This is not a realistic expectation in terms of live performance, and has something to do with why Dylan has not done solo acoustic concerts since 1965 – the format does not fit his identity as a performer, it calls for perfection¬ism and technical virtuosity and a kind of uninterrupted intimacy or illusion of intimacy with the audience that he finds very drain¬ing – it takes away a certain freedom that is central to his ability to express himself as a performing artist.

Adding "the girls" can be seen as an attempt (sometimes successful, sometimes unsuccessful) to externalize something that had always been present in his music as he heard it in his mind, something that found other vehicles for expression when the back¬up singers were not there but which he has now chosen to incorpo¬rate as an overt part of his compositions and performances. In print (in Lyrics), Shelter From The Storm has no chorus.
On Blood On The Tracks it has a delightful, subtle chorus, a playful duet be¬tween guitar and bass, echoing and underscoring the melodic and emotional issues raised in the verses (or pairs of verses).
On stage in 1978, Dylan used Steve Douglas's saxophone as the focal point of a musical chorus in the spring and summer performances of the song.
I do not care for the execution of this, the performance as opposed to the arrangement, on the Budokan album; and indeed all year long this was the sort of song that singer and band could easily fall asleep on, and they often did.

But at its best – 5 June 1978 in Los Angeles is a good example – the spring / summer version of Shelter From The Storm is excellent Dylan: biting, meaningful, unsettling, inspiring. The chorus, though, is the weak point – it works well when guitar, sax, and the girls' moaning voices work together as equals, but it still lacks punch as a follow-up to Dylan's fierce vocalizing.
The new fall arrangement, with its verbalized chorus, transforms the whole structure of the song – fierceness is lost, or is no longer the issue, but the song as a song comes together as it never has before; this version is not as beautiful as the one on Blood On The Tracks but it is far more per-formable, to the point that one can imagine singers other than Dylan doing it effectively.
What was an internal power, relying entirely on the ability and willingness of the singer / guitar player to bare his heart at the moment of performance, has been successfully externalized. At its best (St Louis), the result is a great ensemble performance, a joyous celebration of the storminess of life and the ways we deal with it.

The next song (#6, starting with the instrumental) is one of Dylan's "singer's choice" slots –
two songs with similar arrange¬ments and identical intros, so the singer can decide which song he'll do after the band has started playing.
On the St Louis tape, the song is Love Minus Zero / No Limit – a spirited performance, but I find the arrangement bland and superficial.
This is not one of Dylan's more elastic songs; if it is not approached with a certain tenderness it loses its charm.
By contrast, It's All Over Now Baby Blue, the alternate song in this slot, is almost indestructible.
On a good night (3 July 1978, Paris, for example) the silly dit-dit arrangement is ennobled as the singer tears into the song, breathing a momen¬tum into it that immediately catches up both band and listener.
This is possible because there is an inherent dramatic structure in both the melody and the lyrics that is just made to be performed.
Song, story, and tune build and build in every verse, with a release in the repeated title line that sets up the instrumental break, pulling together everything that's been said and rolling it like a snowball into the next verse.
Compare the obligatory harmonica break in Love Minus Zero / No Limit (St Louis) with the impassioned harmonica of Paris's ItÂ’s All Over Now Baby Blue.
The latter is on fire, because the song, in this or any arrangement, has something to say; the former is a set piece.

Whichever song he sang in this slot at his 1978 shows, Dylan would perform it without his guitar (no object between him and his audience).
I recently saw some audience footage of Dylan singing ItÂ’s All Over Now, Baby Blue without guitar in Cleveland, 20 October 1978; it is very moving.
And yet the gesture is a calculated one, somehow quite different from the courageous and purposeful theatricality of Dylan performing Isis sans guitar in 1975.

Tangled Up In Blue in 1978 (like Girl Of The North Country, which occupied this #7 slot in the spring and later started showing up in the second half of the concert) was per¬formed as a torch song, a slow dramatic reading (stylized rather than vulnerable), accompanied only by keyboards and saxophone. Another interesting experiment, often sleep-inducing in the case of Girl Of The North Country
but strangely effective for Tangled Up In Blue.

This is Dylan as crooner, but not quite. He is not trying to be something he is not; rather, he is exploring a new side of his voice,
perhaps somewhat as he did on Nashville Skyline but this is limited to one or two songs per concert, and is more consciously experimental.
Girl Of The North Country does not work that well; it is occasionally very pretty, but most of the time it drowns in sentimen¬tality, and the accompaniment sounds like bad cocktail music. Tangled Up In Blue, on the other hand, is a real story, and Dylan leans into it, gets into the telling and the vocalizing. He sings to fill the room, to create something, to project this little movie before your eyes; the story is in the words, but the colors and textures and moods of the film are all in the sound of his voice.
And what is fascinating is that the sound of his voice is different every night, on every tape!
It is not a mechanical difference, as in changing the words or the arrangement (although he does do that, in subtle ways – Clinton Heylin cites one performance where "his vocals taper upwards towards the end of each line"); it is a qualitative difference, like the difference in sunlight at various moments in the late afternoon.

The St Louis performance of Tangled Up In Blue is excellent. My other favorite is from Los Angeles, 2 June 1978, the second time he performed this version in public. 2 June 1978 is chillingly emphatic in places, Dylan's voice strong and sharp and rich – not in nuance as on Blood On The Tracks but in texture. It is a dramatic reading, but the rising and falling is musical and rhythmic, not melodramatic.
The story and song have a pulse in them and it seems to drive the performance.
This is true each night, but the pulse is never quite the same, never calls forth the same expression.
Dylan's voice on 29 October 1978 (St Louis) has softer edges, individual lines and images do jump out but not as strongly; the force of the performance is spread more evenly, though in no way diminished. What comes across this time is the beauty of the musical situation.
"Written in my soul... from me to you ... tangled up in blue."
The pulse and colors of the performance are oceanic and (once you open yourself to them) irresistible.

The next song is Ballad Of A Thin Man and it is a quick trip from the sublime to the ridiculous if you are sitting close enough to watch Dylan vamping around the stage (again without his guitar), leaning back against his lead guitarist, pretending to be a 1970s rock ‘n’ roll star in a most inauthentic and bizarre manner.
What is he up to with these bits of business, and with his canned chatter that he hauls out on cue between certain songs?
There may be a touch of weird humor or put-on here somewhere, but mostly I think these are just misguided manifestations of his dazed state.
Road-weariness, perhaps cocaine-and-alcohol-weariness – and a certain cynicism, a degree of life-weariness as well. Some of the performances – individual songs and entire shows – also reflect this weariness and this isolation from and mistrust of the world.
Ballad Of A Thin Man, in fact, is often such a performance; he's done it too many times, he believes in it so much ("This is a song I wrote about 15 years ago, but it's just like I wrote it the other day – for me, anyway") he does not realize he has lost sight of it, and is singing it on automatic pilot. The band follows him dutifully, according to instructions, and nothing much of interest results.

The six songs starting with Ballad Of A Thin Man and continuing to the intermission may be joyous for members of the audience who have been waiting to see Dylan on stage singing exactly these songs – but on tape, most of the time, they tend to drag.
I love the bass-riff that dominates the 1978 arrangement of Maggie's Farm – but I can't find a performance of the song that really satisfies me.
The riff is right but there is something missing, what could be a great heavy metal rave-up loses its energy and focus partway through and turns into aimless hard rock chug-chugging. (Of the shows I have heard, Seattle, 10 November 1978, comes closest to the 1978 Maggie's Farm I would like to hear.) Like A Rolling Stone is given a very creditable performance most evenings;
the arrange¬ment, with the back-up singers joining in at the end of each line ("used to it!"), is straightforward and effective.
Clearly Dylan gave some thought to the placement of this one; it was the show-closer in 1966 and 1974, crowd-pleaser, national anthem, rousing climax; in 1975 and 1976 he declared his own independence by eliminat¬ing it altogether. Here he reintroduces it, in effect, as just another song – number ten of 13 tunes in the first part of the show. It is a good decision.
And now and then the song really comes alive: Los Angeles, 5 June 1978, is a great example.

5 June 1978 is also the source of a particularly wonderful Going Going Gone.
The new arrangement is more muscular and universal than the version on Planet Waves; on June 5 it's delightfully sloppy, it twists in some refreshingly unexpected directions, and all in all is very expressive of the performer's enthusiasm for his work.

I Don't Believe You (She Acts Like We Never Have Met) and I Shall Be Released are quite forgettable, most nights.
Dylan's voice is at times very appealing on the former (I like the lascivious way he stretches out the last word of "her mouth was watery and wet"); the latter is the victim of a bad arrangement. This is the sort of song Dylan holds in front of himself like a wooden mask.
The fact that he is singing the song is the extent of the message, all he wishes to communicate.

The classical violin-based arrangement (introduced 18 October 1978) of The Times They Are A-Changin' that opens the second part of the show is quite beautiful, a nice example of a new anthem born from the ashes of an old one. This was followed by It Ain't Me Babe, a moving performance in context – suddenly the big band steps aside and there is the old Dylan, with his folk guitar and harmonica, serenading us.
His voice sounds sweet, but at St Louis and on the other tapes I have heard Dylan sings the song like an object – here is my de facto acoustic number – rather than as an opportunity for communication.

Gates Of Eden, on the other hand, as performed solo acous¬tic in Paris 6 July 1978, is stunning.
I think a case could be made that it is even better – more sensitive, more heartfelt, more evocative – than the original album version.
A definitive rendition of a great song.

Why? Why does he open his mouth on a particular night in Paris and out comes a performance that sounds like he wrote the song yesterday and it sums up everything he has ever felt about a certain side of life and all he wants to do now is share it, sing it, get it across?
On 70 other nights he opens his mouth to sing a solo acoustic song and what comes out is very pleasant but nothing special – why? It is possible to make feeble guesses – that this was only the second time he sang Gates Of Eden in 1978 and the first time had caught him by surprise, got him really excited about the song, hearing it a new way; or that something about being in Paris, a non-English-speaking cultural center, fed his ambitions and set him free of his resistance, both at once, and he found himself reaching for greatness while letting go of his self-consciousness, and this was the result. Or that there was something stopping him from naked free expression in the solo spot in 1978, and it just happened that this one night (and maybe a few others, I have not heard them all) that something got dis¬tracted and the performing artist was set free.

And an even tougher question – what is it I am hearing? How do I know it is so good?

The truthful answer is, I feel it in my body. I play this perfor¬mance, and then I play a dozen others, and I do it again, and each time when I play this one my skin tingles, and my heart fills with longing, and my hand reaches out to turn up the volume.
This is not very scientific, but it seems to work. I believe most of you, listening to the same performance, would also immediately (and inexplicably) recognize its rare power and beauty.

The next song, that night in Paris, is only slightly less wonder¬ful – a full band performance of The Man In Me, a song I never cared for before, now rewritten and newly arranged and utterly delightful. We can list this right after the October 1978 Mr Tambourine Man as best new songs of the year.

The hits keep coming – One More Cup Of Coffee (Valley Below), the bril¬liant conga drum and saxophone 1978 arrangement, performed masterfully on 6 July 1978 (and almost as well on 29 October and 13 Novem¬ber 1978 and many many other nights; this was not one Dylan fell asleep on). It does not replace the Desire version but certainly de¬serves to be placed alongside it in the permanent archives.

Backing up for a moment, The Man In Me slot was filled in fall 1978 by (You Treat Me Like A) Stepchild, an electric blues newly written by Dylan.
The lyrics are simple (and a little surpris¬ing from a man who had a stepdaughter for 11 years), some¬times funny, sometimes disturbing ("I want to turn and walk all over you"); Dylan's blues vocal and the back-up singing and the combo sound achieved by keyboards, bass, drums and harmonica are terrific (Oakland, 13 November 1978, is recommended – and it is worth having more than one version of this one).

A gospel version of BlowinÂ’ In The Wind is a clever idea, and Dylan's arrangement, though a bit overblown, is not without merit.
The problem is, he does not really believe in what he is saying, or if he does he does not succeed in convincing me.
Some of the rearrangements in the course of the tour are quite intriguing - notably 11 November 1978 in Vancouver, a very different song from what he and the girls and Pasqua were doing a few weeks earlier. This one does convince me, at least a little bit.
Parts of it are lovely.

Blowin’ In The Wind and the two songs that follow it (I Want You and Senor (Tales Of Yankee Power) in the summer, often Girl Of The North Country and Where Are You Tonight? (Journey Through Dark Heat) in the fall) make up another slow spot in the show most nights; but just when you think you might want to slip out early and avoid the traffic, Dylan and band let loose with a firecracker string of anthems, great showman¬ship and a lot of very good music too, starting with the 1978 remake (hard rock version) of Masters Of War.

Most of Dylan's topical "protest" songs of the early-1960s dated quickly or else became so universal they lost their political edge.
Bringing back Masters Of War, a song too bitterly true to go out of date and too outspoken to be made into any kind of pablum, was a good idea (and a courageous one, given the supposed "naivete" of the song's sentiments).
Rearranging it into the hardest rocker of the night was inspired. Billy Cross is outstanding on lead guitar, and Dylan sings it like he means it.
There are many memorable performances of this one, but for obvious reasons the keeper has to be from Nuremberg, 1 July 1978.
Dylan tells the crowd, over the fierce rhythms of the song's opening chords, "It gives me great pleasure to sing it in this place."

Just Like A Woman, as performed in Los Angeles 5 June 1978, is a huge favorite of mine, a classic example of a song coming into existence not when it is written but at the moment when it is performed.
There already was a song called Just Like A Woman, and there already was a superb new arrangement of it, rehearsed by Dylan with this band and performed already at more than 25 concerts – the 3 June 1978 performance in Los Angeles is every bit as exquisite as this one, and so is 29 October 1978, St Louis – but something is communicated in this particular performance as unique as the look on a lover's face at a particular never-to-be-repeated moment in your lives together.

It starts with the first chords, little descending loops, a bit of music unique to this arrangement, and a quality in the sound of these chords – and in the sound of Dylan's voice as he comes in with the word "Nobody" – unique to this performance of this arrangement.
Listen enough, as I have, and the delicate melodic rhythms of these chords and the mood of the voice when it joins them will play in your mind, calling to you like a painting that demands to be seen again – and you will find it no other place.
Every moment of this performance has that kind of richness for me. If I am to cite favorite instants, there is the instrumental fill after the words "came in here" in the bridge, and the climax-and-transition contained in Dylan's vocalization of the word "dear!"
(each of the other two exquisite variants I mentioned, 3 June 1978, 29 October 1978, handles this moment very differently from this one, and from each other), and the sax solo after the last verse, and the epiphanous eruption of the harmonica out of that sax solo, accompanied by scattered fragments of vocal phrases painted onto the swirling music by the back-up singers as if overdubbing live.
This is what performing art is about. You just have to be fortunate enough to be there at the perfect moment, paying attention, in the right receptive mood.
(Or, if you're lucky, maybe someone will have made a tape.)

The new arrangement of Don't Think Twice It’s All Right is very distinc¬tive – it has been called "reggae," which is not quite right, but since there is no actual name for the rhythmic structure Dylan has created here it will have to do.
The emphatic cross-rhythms during the second half of each verse are astonishing. "I ain't saying / You treated me unkind" – these words become a whole new kind of poetry in their 1978 incarnation, Dylan and his organist and drum¬mer and conga player and rhythm guitarist interpolating a dozen new stresses into the cracks of these ten syllables.
At least they do in the excellent 5 June 1978 version; most other nights Dylan's performance on this one is sloppy.

To Ramona, the alternate song in this slot, is well performed (notably 3 June 1978), and again the ability of Dylan's lyrics to sound perfectly at home after a radical shift in emphasis is impressive.
But I find the lugubrious waltz-figure that dominates this arrangement oppressive, so much so that I cannot enjoy the song.

All Along The Watchtower, with David Mansfield's frenzied fiddling, is a dramatic high point of the evening, a real crowd-rouser.
The 3 June and 29 October 1978 performances are especially manic, and highly recommended.

The brilliant uptempo honky-tonk version of All I Really Want to Do on 5 June 1978 offers us Dylan the entertainer at his most delightful, and demonstrates once again the plasticity and depth of so many of his songs, ready always to be bent and reshaped into fresh wonders.
(The version on Budokan is similar but character¬less, it is still in transition, unformed – the 5 June 1978 performance is a whole new song, new creation, new art, a breakthrough.)

Finally it is time for the introduction of the band. Already in the Far East Dylan was introducing Jo Ann Harris as his "child¬hood sweetheart";
later he seems to be challenging himself to say something untrue about every band member, a charming, bizarre exercise.
This segues into the climax of the night, a satisfyingly explosive It's Alright Ma (IÂ’m Only Bleeding), followed by Forever Young as curtain-closer. Both performances tend to be overbearing on repeated listenings.
Dylan comes back to do Changing Of The Guards as an energetic but somehow perfunctory encore, and then it is time to pack everything up and drive all night to the next city and start over again.

It was a very long tour. At a 1979 San Diego show Dylan recalled an incident that happened in the same city a year earlier, 17 November 1978:

“Towards the end of the show, someone out in the crowd, they knew I wasn't feeling too well. I think they could see that.
And they threw a silver cross on the stage. Usually I don't pick things up in front of the stage, but I put it in my pocket.
I brought it with me to the next town. I was feeling even worse than I'd felt when I was in San Diego. I said, well, I need something tonight.
I didn't know what it was. I was used to all kinds of things. And I looked in my pocket and I had this cross.”

***

Civic Center
St. Paul, Minnesota
31 October 1978

78.SheÂ’s Love Crazy (Tampa Red)
79.Coming From The Heart (The Road Is Long) (Bob Dylan/Helena Springs)
80.I'll Be Your Baby Tonight

Concert # 33 of the 1978 US Fall Tour.
1978 concert # 82.
Concert # 59 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Live debut of Coming From The Heart (The Road Is Long). This was the only performance during the 1978 World tour.

BobTalk

Thank you! We're gonna take a short vacation right here. Take about ten minutes to regroup, load up.
Anyway, this is a new song that I wrote a while back, not yet recorded, but we'll try it out on you.
(before Coming From The Heart (The Road Is Long))

LB-4798;
xref-01254

Very good to excellent sound [B+].

***

Rock on, Bob!

XXX

1978-09-15 Augusta
1978-09-16 Portland
1978-09-17 New Haven
1978-09-22 Syracluse
1978-09-24 Binghamton
1978-09-26 Springfield
1978-09-29 New York
1978-09-30 New York
1978-10-03 Norfolk
1978-10-06 Philadelphia
1978-10-07 Providence
1978-10-12 Toronto
1978-10-18 Chicago
1978-10-20 Richfield
1978-10-21 Toledo
1978-10-29 St Louis
1978-10-31 St Paul

(812/1) Bob Dylan, 1978-11, Raging Glory, 1978 November & December highlights, (Pink Panther Records)

Audio/Flac, ?/?, (?)

Bob Dylan 1978-11-xx "Raging Glory" 1CD Compilation [Pink Panther Records] flac

Lineage:
downloaded from tracker 2019-07-22. with respect! rsx.
http://etree.org > blog > nontorrent dl. > iMac 3.2 GHz Intel Core i5 (os10.14.5 Mojave) > xACT 2.47 (md5, st5) > Transmission 2.94 >
checksums included in torrent.

1978 RAGING GLORY

Pink Panther Records
(with Bootlegger Banter)

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin, Mr/The/Maybe President Donald Trump & newcomer Boris Johnson.
Boris is at a bit of a loose end now that he is no longer Lord Mayor of London, & with Vladimir so busy personally flying bombing missions in Syria in between buzzing US air force & navy assets in the Baltic, along with The Donald busy taking over the republican party & laying bricks on the Mexican border, we need to spread the work load a bit & who better than Boris. Jacques, of course, is horrified at the prospect of working with the British.
Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow. Another absolutely brilliant production from Jacques, Vladimir, The Donald, Boris and the death metal specialists at Lubyanka.

***
A special production from Pink Panther - a single CD of some of the 1978 November & December highlights. Wild & feral music that soars all the way to heaven. FLAC in fantastic sound.
***

01. My Back Pages (11-15 Los Angeles)
02. Am I Your Stepchild (11-01 Madison)
03. Maggie's Farm (11-11 Vancouver)
04. Ballad Of A Thin Man Intro (11-15 Los Angeles)
05. Ballad Of A Thin Man (11-15 Los Angeles)
06. Bootlegger Banter (11-15 Los Angeles)
07. Shelter From The Storm (11-15 Los Angeles)
08. All I Really Want To Do (11-01 Madison)
09. Masters Of War (11-15 Los Angeles)
10. Bootlegger Banter (11-15 Los Angeles)
11. Rainy Day Women #12 & 35 (11-11 Vancouver)
12. Girl Of The North Country Intro (11-15 Los Angeles)
13. Girl Of The North Country (11-15 Los Angeles)
14. I Shall Be Released (11-15 Los Angeles)
15. One More Cup Of Coffee (Valley Below) Intro (12-02 Nashville)
16. One More Cup Of Coffee (Valley Below) (11-01 Madison)
17. It's Alright, Ma (I'm Only Bleeding) (11-11 Vancouver)
18. Senor (Tales Of Yankee Power Intro (12-10 Charlotte)
19. Senor (Tales Of Yankee Power) (12-10 Charlotte)
20. All Along The Watchtower (11-11 Vancouver)
21. Changing Of The Guards (11-11 Vancouver)

***

Rock on, Bob!

XXX


(232/1) Bob Dylan, 1978-11-01, Bass Player s Wearing A Tie, North America November & December, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

Bob Dylan

1978 BASS PLAYER'S WEARING A TIE - NORTH AMERICA NOVEMBER & DECEMBER

(Pink Panther Records)

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin, Mr/The/Maybe President Donald Trump & newcomer Boris Johnson.

Boris is at a bit of a loose end now that he is no longer Lord Mayor of London, & with Vladimir so busy personally flying bombing missions in Syria in between buzzing US air force & navy assets in the Baltic, along with The Donald busy taking over the republican party & laying bricks on the Mexican border, 'we need to spread the work load a bit & who better than Boris.
Jacques, of course, is horrified at the prospect of working with the British.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald, Boris and the death metal specialists at Lubyanka.

***

The final piece of Pink Panther's five part 1978 world tour, which consisted of 114 concerts (not the 115 often quoted by writers).
This has only been bettered by the 120 concerts in 1999 & 116 in 1995.
The year would take Bob to 10 countries - USA, Japan, New Zealand, Australia, UK, Netherlands, Germany, France, Sweden & Canada.

This final North American leg seems like it is light years away from the Japanese "greatest hits" shows.
It was not a happy time for Bob (as had been the American concerts in September & October), but Bob did make some radical decisions on how he would move forward & out of his situation.

The journalists were unrelenting in their criticism, Street Legal did not sell well, Renaldo & Clara was a commercial disaster, the single Baby Stop Crying flopped & was all but dropped from the setlist.

I have no idea what was going on in his head, but the rants about geeks, gypsy kings, & an old man on a train in Mexico with glowing eyes (God?, devil?) give some insight.

Whether the stories about crosses thrown on stage or hotel room visits from God are reliable is debatable, but he did play Slow Train at soundchecks & Do Right To Me Baby (Do Unto Others) on the final tour night in Hollywood, Florida.

However, when you listen objectively to the best examples of the circulating tapes, you get some wonderful music.
The setlist is fairly static but the night by night variation is amazing.
Despite everything, the standard of performance is very high - he does not give up.
Improvisation is the order of the day & the band & backup singers give their all.
It is far looser than September & October - to the point of being feral & unpredictable.

The music soars all the way to heaven - literally.

Sound quality is mostly excellent, but there are some lo-fi tracks of the rarely played songs (Baby Stop Crying was only played twice before being abandoned in mid-November).

A note on sound quality - Jokerman usually does a great job with sound ratings, but not here.
imo, Vancouver & LA are under-rated, Charlotte is over-rated, & Madison is incredible (although I concede that there are cuts & dropouts on some songs - most of which do not appear here).
I have never liked (& still don't like) Charlotte - I know everyone raves about it but all the versions I have heard are harsh, processed & clipped.
There are 11 Charlotte tracks here - the performances are great, but imo there are better examples of most of the songs.

Generally, there are two examples of each song (one each from November & December) but not always.

The title comes from bootlegger comments at 11-15 LA just before Shelter From The Storm (but I had to clean it up a bit).

Have fun. Blame Boris Johnson if you don't like it.

***

FLAC from best available sound sources.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

75 ball-tearing, sensational tracks
37 different songs
14 concerts are represented here (from the total of 32 concerts)
5 hours & 44 minutes of music
1 bob

***

All songs played on the tour leg are represented here.

Sound quality is, for the most part, very good to excellent.

***

DO RIGHT TO ME BABY (DO UNTO OTHERS)

DonÂ’t wanna judge nobody, donÂ’t wanna be judged
DonÂ’t wanna touch nobody, donÂ’t wanna be touched
DonÂ’t wanna hurt nobody, donÂ’t wanna be hurt
DonÂ’t wanna treat nobody like they was dirt

But if you do right to me, baby
IÂ’ll do right to you, too
Ya got to do unto others
Like youÂ’d have them, like youÂ’d have them, do unto you

DonÂ’t wanna shoot nobody, donÂ’t wanna be shot
DonÂ’t wanna buy nobody, donÂ’t wanna be bought
DonÂ’t wanna bury nobody, donÂ’t wanna be buried
DonÂ’t wanna marry nobody if theyÂ’re already married

But if you do right to me, baby
IÂ’ll do right to you, too
Ya got to do unto others
Like youÂ’d have them, like youÂ’d have them, do unto you

DonÂ’t wanna burn nobody, donÂ’t wanna be burned
DonÂ’t wanna learn from nobody what I gotta unlearn
DonÂ’t wanna cheat nobody, donÂ’t wanna be cheated
DonÂ’t wanna defeat nobody if they already been defeated

But if you do right to me, baby
IÂ’ll do right to you, too
Ya got to do unto others
Like youÂ’d have them, like youÂ’d have them, do unto you

DonÂ’t wanna wink at nobody, donÂ’t wanna be winked at
DonÂ’t wanna be used by nobody for a doormat
DonÂ’t wanna confuse nobody, donÂ’t wanna be confused
DonÂ’t wanna amuse nobody, donÂ’t wanna be amused

But if you do right to me, baby
IÂ’ll do right to you, too
Ya got to do unto others
Like youÂ’d have them, like youÂ’d have them, do unto you

DonÂ’t wanna betray nobody, donÂ’t wanna be betrayed
DonÂ’t wanna play with nobody, donÂ’t wanna be waylaid
DonÂ’t wanna miss nobody, donÂ’t wanna be missed
DonÂ’t put my faith in nobody, not even a scientist

But if you do right to me, baby
IÂ’ll do right to you, too
Ya got to do unto others
Like youÂ’d have them, like youÂ’d have them, do unto you

***

Michael Gray

Dylan began to hint that he must have undergone some kind of conversion to Christian faith halfway through the North American and last leg of his 1978 world tour, when Street Legal was his current album.
This section of the tour ran from 28 October 1978 (Carbondale, Illinois) through to 16 December 1978 (Hollywood, Florida).
On 24 November 1978 (Fort Worth, Texas) he wore a metal cross around his neck, which had been thrown onto the stage for him from the audience in San Diego on 17 November 1978.
On the 26 November 1978 (Houston), he began to perform what became a series of re-writes of a passage in Tangled Up In Blue: instead of “She opened up a book of poems and handed it to me / Written by an Italian poet from the thirteenth century”,
Dylan sang “She opened up the Bible and started quotin’ it to me / Gospel According to Matthew, verse 3, Chapter 33.”
This was either a mistake or a tease – there is no Chapter 33; nor does it work the other way round – there is no verse 33 in Chapter 3.
But at the next concert, two nights later, Dylan cited a passage that made a most pertinent sense, singing “She opened up the Bible, started quotin’ it to me / Jeremiah Chapter 31, verses 9–33.”

This passage states JeremiahÂ’s prophecy of a new covenant.
As Rod Anstee notes, “As a Jew, Dylan understood this to mean a remaking, a renewal of the old covenant of Moses.
But in 1978, when he read or was shown this passage his heart and mind was struck by the Christian interpretation of the passage, which is that it is a prophecy concerning the coming of Christ.”
Its core is the verse Dylan would reproduce on the sleeve of his 1980 album Saved, “Behold, the days come, saith the Lord, that I will make a new covenant with the house of Israel, and with the house of Judah” (31:31).
This is repeated verbatim in the New Testament, in PaulÂ’s Epistle to the Hebrews 8:8.

DylanÂ’s tour continued. On 2 December 1978, in Nashville, he sang an early version of Slow Train at the pre-concert soundcheck, and then during the final concert, he debuted another song later to appear on the Slow Train Coming album, Do Right To Me Baby (Do Unto Others).

DylanÂ’s move towards Christian faith was encouraged by at least three musicians in his band (though this was only possible if he were receptive to their persuasion).
It may be that this process goes right back to the 1975 Rolling Thunder Revue, on which T-Bone Burnett and Steven Soles were guitarists and David Mansfield played violin, mandolin and steel guitar.
All three were “born-again” Christians, and Soles and Mansfield were back in the band that toured with Dylan all through 1978.
Most of the backing singers were members of conventional black churches, with strong faiths.

***

Dane County Memorial Coliseum
Madison, Wisconsin
1 November 1978

1.My Back Pages
2.It's All Over Now, Baby Blue
3.Tangled Up In Blue
4.Ballad Of A Thin Man
5.Like A Rolling Stone
6.I Shall Be Released
7.Señor (Tales Of Yankee Power)
8.It Ain't Me, Babe
9.Am I Your Stepchild?
10.One More Cup Of Coffee (Valley Below)
11.Blowin' In The Wind
12.Girl Of The North Country
13.Masters Of War
14.Just Like A Woman
15.All I Really Want To Do
16.Forever Young

Concert # 34 of the 1978 US Fall Tour.
1978 concert # 83.
Concert # 60 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

My Back Pages instrumental without Bob Dylan.

Bob Dylan (harmonica) on: It's All Over Now, Baby Blue; Just Like A Woman

Bob Dylan solo (vocal, harmonica & guitar) on It Ain't Me, Babe.

LB-7674;
Compiler Les Kokay (LK);
from LK 78 series;
Equipment: Audience Master Cassette > PCM >
Betamax > PCM > HHBCDR-800 (pass thru) >
Panasonic SV3700 DAT Recorded >DAT;
Transfer: DAT > TCD-D10 proII > S/PDIF >
Audiomedia III PCI card > Powermac7200/80 >
Protools 3.4 > copied to Power Mac G3 >
Protools 4.1.1 > .WAV files > Flac

Jokerman: Good sound [B].

PP: Excellent sound [A-] but there are occasional dropouts.

***

Hec Edmondson Pavilion
University Of Washington
Seattle, Washington
10 November 1978

17.Mr Tambourine Man
18.Where Are You Tonight? (Journey Through Dark Heat)

Concert # 39 of the 1978 US Fall Tour.
1978 concert # 88.
Concert # 65 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-9353;
Taper: JEMS;
Equipment: Tandberg Model 11 R2R deck with Sony ECM-22P mic;
Transfer: Master Reels @ full track mono > Tandberg Model 11 >
Wavelab 96/24 1ch mono > wav 44.1/16 2ch mono > flac

Jokerman: Excellent sound [A].

PP: Very good to excellent sound [B+].

***

Pacific National Exhibition Hall
Vancouver, British Columbia, Canada
11 November 1978

19.SheÂ’s Love Crazy (Tampa Red)
20.Maggie's Farm
21.I DonÂ’t Believe You (She Acts Like We Never Have Met)
22.Like A Rolling Stone
23.Rainy Day Women #12 & 35
24.One More Cup Of Coffee (Valley Below)
25.All Along The Watchtower
26.It's Alright, Ma (I'm Only Bleeding)
27.Changing Of The Guards

Concert # 40 of the 1978 US Fall Tour.
1978 concert # 89.
Concert # 66 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Helena Springs, Jo Ann Harris, Carolyn Dennis (vocals) without Bob Dylan on Rainy Day Women #12 & 35.

LB-4116

Jokerman: Very good to excellent sound [B+].

PP Excellent sound [A-].

***

Alameda County Coliseum
Oakland, California
14 November 1978

28.Baby Stop Crying

Concert # 42 of the 1978 US Fall Tour.
1978 concert # 91.
Concert # 68 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Talk

All right, I donÂ’t know, maybe some of you heard this one or not.
This is a single record. I don't really make singles too much.
But ahh, I've released this as a single. I think it sold 100 copies. 25 in the Bay area.
So seeing as it sold so many up here we're gonna play it.
It's a little ballad called Baby Please Stop Crying.

(plays Baby Stop Crying)

Thank you. Wanna say hello to Van Morrison tonight. I know he's out there somewhere.
Van, I want you to record some of my songs now!

LB-3574

Fair sound [B-].

***

The Forum
Inglewood
Los Angeles, California
15 November 1978

29.My Back Pages
30.Mr Tambourine Man
31.Bootlegger Banter
32.Shelter From The Storm
33.Ballad Of A Thin Man Intro
34.Ballad Of A Thin Man
35.I Shall Be Released
36.The Times They Are A-Changin'
37.Am I Your Stepchild?
38.Girl Of The North Country
39.We Better Talk This Over
40.Masters Of War
41.Bootlegger Banter
42.To Ramona
43.All I Really Want To Do
44.It's Alright, Ma (I'm Only Bleeding)

Concert # 43 of the 1978 US Fall Tour.
1978 concert # 92.
Concert # 69 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

My Back Pages instrumental without Bob Dylan.

BobTalk

Thank you. You know back in the fifties in the Midwest they used to have these carnivals come through town.
There used to always be this character called a geek. I know some of you may have heard of a geek.
Some of you may not have heard of a geek. Anyway a geek is a man who's working as a job of eating a live chicken.
Bites his head off first and the he eats the rest of him. Head and all. Anyway it cost a quarter to see this dude.
I can tell you if you think you're funky, this dude is low-down all the way.
Anyway I didnÂ’t want to get too tight with him but regardless of that he did tell me one thing which helped me in years later.
He used to always think of other people as being freaks. And that's helped me a lot as I go through life.
(before Ballad Of A Thin Man)

Thank you, that was a new tune, called Am I Your Stepchild?
Anyway I was over in ..., the gypsies have a big festival every a year and it happens to be on my birthday.
They party for a week in the South of France. Anyway I was over there one year an I met the king of the gypsies.
He had 16 wives and 120 children! He still wasn't faithful and true either!
Anyway, I kind of got mixed up with him.
As I was ready to leave next morning and there was all kinds of faces saying do you want anything before you go?
I thought I could have had anything but I just didnÂ’t take the chance, all I said was just, only thing that came into my mind was one more cup of coffee. I thought IÂ’d play it safe you know.

The first girl I ever loved is in the house tonight. You know I wrote a song about her and she left me for an older man.
But in case I, ... How old? 21.
(before Girl From The North Country)

On the drums tonight, give him a warm hand, from Kingston, Jamaica, Ian Wallace.
All right, on the bass guitar, Jerry Scheff. On the keyboards, the one and only Alan Pasqua.
All right, on lead guitar, the oldest member of this group, born in 1921.
Anyway born in 1921, ladies and gentlemen, dangerous Billy Cross. He keeps himself in excellent shape.
On rhythm guitar, from Bogota, doesn't speak any English, but he plays his heart out, doesn't he?
Ladies and gentlemen, Steven Soles.
All right, on the violin, young violin player, been with me for five years now, he's only fifteen years old.
Give him a warm hand. He doesn't smoke dope, drink whiskey or go out with women. He's very cute and very boring.
Ladies and gentlemen, David Mansfield. All right, on the tenor saxophone, a man who's really a legend in his own time.
He used to play with Duane Eddy and made many of Phil SpectorÂ’s great records. Ladies and gentlemen, the phenomenal Steve Douglas.
On the backup vocals, three girls I can't do without. I just don't know what I'd do anymore without them.
My ex-girlfriend on the right, Jo Ann Harris. I like to eat and Jo Ann doesn't like to cook.
Anyway, she's Billy Cross' girlfriend now. My girlfriendÂ’s in the middle, Miss Helena Springs.
And on the other side, my fiancée, Carolyn Dennis. All these girls can sing. You know they really can.
On the conga drums, from Detroit, the most amazing Miss Bobbye Hall. This is an old song I wrote.
I know it doesn't need any introduction, called It's Alright Ma, I'm Only Bleeding.

LB-3738;
At The Forum (dylantree);
Equipment: Uher 240 Stereo Porta Deck with 2 Sennheiser MKH 404 Mics

Jokerman: Very good to excellent sound [B+].

PP: Excellent sound [A-].

***

Nigel Williamson

The news that Dylan had undergone a “born-again” conversion in 1978 was for many fans the ultimate betrayal.
At almost precisely the same moment, the Reaganite “moral majority” of Christian conservatives and fundamentalist reactionaries as planning its takeover of American politics. Did not organised religion represent everything Dylan had always stood against?
How could the most eloquent and articulate opponent of dogma now suddenly embrace it? In any case, was not he meant to be Jewish?

It happened in San Diego on 17 November 1978.
But it could have been any other station of the cross as he was winding up the hectic world tour that had seen him play 115 live dates in 1978.
He was not feeling too good. The set he was playing was perfunctionary. He was going through the motions and he knew it.
And then someone threw a small silver cross on stage.

The first surprise was that Dylan even noticed. The second was that he bent down to pick it up.
The next night, in Tucson, he took the cross out and examined it in his hotel room, undergoing a full-blown religious experience in which he claimed “the King of Kings and Lord of Lords” appeared to him.

Less than a week later, Dylan was wearing the cross (or another like it) when he appeared at a concert in Fort Worth, Texas.
On 2 December 1978, during the soundcheck for a gig in Nashville, he unveiled a new song called Slow Train, which spoke of his new faith.
On the last date of the tour in Miami on 16 December 1978, he performed another new song that spoke of his religious conversion, Do Right To Me Baby (Do Unto Others).

***

A.S.U. Activities Center
Tempe, Arizona
18 November 1978

45.True Love Tends To Forget

Concert # 45 of the 1978 US Fall Tour.
1978 concert # 94.
Concert # 71 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

This concert contains the first version of the long introduction to One More Cup Of Coffee (Valley Below), describing his visit to a gypsy festival in Saintes-Maries de-la-Mer in France on his 34th birthday in 1975.
Dylan uses the expression “high holy gypsy holiday”. A “high holy day” or a “high holiday” is in Judaism, Rosh Hashanah or Yom Kippur.
The expression “high holy days” refers to the period from Rosh Hashanah until the end of Yom Kippur, often spent in penitent self-examination.
So Bob Dylan is here actually referring to the gypsy equivalence to Yom Kippur!

LB-7736;
Compiler: Les Kokay (LK);
from lk 78 series

Good sound [B].

***

LLoyd Noble Center
Norman, Oklahoma
23 November 1978

46.Watching The River Flow

Concert # 48 of the 1978 US Fall Tour.
1978 concert # 97.
Concert # 74 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

BobTalk

I wanna play a request. We don't usually do this one.
(before Watching The River Flow)

LB-7741;
Compiler: Les Kokay (LK)

Fair sound [B-].

***

Paul Williams

On 24 November 1978, at a Fort Worth, Texas concert, Dylan could be seen wearing a large metal cross around his neck.

***

Paul Williams

And in Houston, 26 November 1978, he made a lyric change in Tangled Up In Blue; the book of poems the woman shared with him was no longer the work of an Italian poet from the 13th century.
Instead: "She opened up the Bible, and started quoting it to me / The Gospel according to Matthew, Verse 3, Chapter 33."

There is no such chapter, and the next night he changed it to Jeremiah, but the Bible stayed in the song right up through the last show of the tour, Hollywood, Florida, 16 December 1978, later im¬mortalized in Caribbean Wind ("I was playing a show in Miami in the Theater of Divine Comedy").

A change was in the air.

***

Mid-South Coliseum
Memphis, Tennessee
1 December 1978

47.SheÂ’s Love Crazy (Tampa Red)
48.Tangled Up In Blue

Concert # 54 of the 1978 US Fall Tour.
1978 concert # 103
Concert # 80 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-0263;
Taper: BS;

Equipment: 3-head portable cassette recorder and electret condenser mic

Poor sound [C].

***

Municipal Auditorium
Nashville, Tennessee
2 December 1978

49.It's All Over Now, Baby Blue
50.I DonÂ’t Believe You (She Acts Like We Never Have Met)
51.I Shall Be Released
52.One More Cup Of Coffee (Valley Below) Intro
53.One More Cup Of Coffee (Valley Below)
54.To Ramona
55.All I Really Want To Do

Concert # 55 of the 1978 US Fall Tour.
1978 concert # 104
Concert # 81 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on It's All Over Now, Baby Blue

BobTalk

Thank you. I was over in France for about four or five weeks, I donÂ’t remember how long.
My particular, ah the day I was born just happens to be the high holy gypsy holiday.
I know it sounds strange but it's true.
Anyway, I went over there to see what they were doing on my birthday, seeing it was some kind of holiday.
So, they all meet, all the gypsies from all over Europe.
From France, England, Holland, and ah, Romania, all these different countries come and meet in the South of France.
So I stayed over there with them for about a week, they partied for a week.
I was fortunate enough to meet a young man who was the king of the gypsies.
A young man who had 16 wives an 120 children and a whole lot of girlfriends.
He held court every day, and he kind of took me under his wing, but sooner or later it got time to go, so I was heading off this way and he was going down that way.
He said, "Well Bob, we have to go our separate ways, what would you like?"
And I had done everything that week at least twice.
Anyway I said, "Just One More Cup Of Coffee".
He said , "All right, black?" And he put it in a bag for me and give it to me, and I headed off down the road.

Slow Train was played at the soundcheck.

LB-4407;
Taper: BS

Good sound [B].

***

Municipal Auditorium
Mobile, Alabama
5 December 1978

56.One Of Us Must Know (Sooner Or Later)

Concert # 57 of the 1978 US Fall Tour.
1978 concert # 106
Concert # 83 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-7766;
Compiler Les Kokay (LK);
from LK 78 series

Poor sound [C+].

***

Greensboro Coliseum
Greensboro, North Carolina
7 December 1978

57.Where Are You Tonight? (Journey Through Dark Heat)

Concert # 58 of the 1978 US Fall Tour.
1978 concert # 107
Concert # 84 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-8724

Good sound [B].

***

Civic Center Arena
Savannah, Georgia
8 December 1978

58.Is Your Love In Vain?

Concert # 59 of the 1978 US Fall Tour.
1978 concert # 108
Concert # 85 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

LB-4823

Jokerman: Excellent sound [A-].

PP: Very good to excellent sound [B+].

***

Charlotte Coliseum
Charlotte, North Carolina
10 December 1978

59.My Back Pages
60.SheÂ’s Love Crazy (Tampa Red)
61.Shelter From The Storm
62.Ballad Of A Thin Man Intro
63.Ballad Of A Thin Man
64.Señor (Tales Of Yankee Power) Intro
65.Señor (Tales Of Yankee Power)
66.The Times They Are A-Changin'
67.Am I Your Stepchild?
68.We Better Talk This Over
69.Masters Of War
70.All Along The Watchtower
71.Changing Of The Guards

Concert # 61 of the 1978 US Fall Tour.
1978 concert # 110
Concert # 87 with the 1978 World Tour

Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

My Back Pages instrumental without Bob Dylan.

Bob Dylan (harmonica) on Am I Your Stepchild?

BobTalk

Thank you. You know when I was coming up in the fifties, not the sixties, but the fifties there used to be carnivals a coming through all the towns most of the towns.
Every carnival had what they call a geek.
I don't know if they still have them, but they used to have what they called geeks.
And a geek is a man who eats a live chicken, right before your eyes. He bites the head off an eats that.
Then he continues to eat the rest of them, sweeps all the feathers up with a broom.
Back then it cost a quarter to see him. Now it probably costs about 10 to 15 bucks.
But by then before inflation it only cost a quarter. Anyhow, nobody would hang out too much with the geek.
Nobody much. Left him alone to himself. And one day I was having breakfast with the bearded lady, she was telling me.
“You know the geek he's really funky. He's more low-down than low-down.
He doesn't like anybody and not only does he keep to himself, but he considers everybody else as being very strange an very freaky.”
I said, "hmmm hmmm". Later on, as I was traveling around making my money, it came back to me at a certain point in time, and I put it into this particular song.
(before Ballad Of A Thin Man)

I was riding on a train one time from Durango, Mexico to San Diego.
I fell asleep on the train and woke up in this town called Monterey. And there was, I guess it was about past midnight.
Not too much happening, but just maybe around that time. And a family was getting off the train.
An old man was stepping up on the platform to get up on the train.
And he came down the aisle and took a seat across the aisle from me. Meantime the train was still in the station.
Anyway, I was watching this whole thing through the window which was turned into a long mirror.
And finally I felt a strange vibration and I had to turn to look at this man. He wasn't wearing anything but a blanket.
So I turned my head to look at him. Both his eyes were on fire, I could easily see that, and there was smoke coming out of his nostrils.
I said well this is the man I had to talk to. So I turned back to look out the mirror again.
I finally got up the courage to talk to him. And the train started moving an the conversation went something like this.
(before Señor (Tales Of Yankee Power))

Thank you. I was over in France a few years back. On the particular day that I was born it happens to be a high holy gypsy holiday.
For the gypsies it's like Christmas time. So I went over there to check it out one time. And it was everything itÂ’s supposed to be.
All the gypsies from Europe, and Hungary, Romania, England, Germany, France, Spain, all them different countries.
And they all go there for a week and they party. They just party. Happens every Spring.
So the first day I got there I met the king of the gypsies, that's right.
The king of the gypsies, he was a young man, but I noticed he had, 16 wives and they said 130 children.
And he was quite somebody, couldn't have been more than 35. Anyway, IÂ’ve seen a lot of people in my time.
Some of them have power and they don't deserve it. And other people that do deserve it, don't have it.
Of all the people I've seen this man definitely did deserve it and he had it. So anyway, I stayed there for a week. Partied.
I stayed ..., longest party I ever attended. And about time to leave they said, ..., I'd done everything twice, just about,
in that week and I hadn't slept for a week, so they were pretty much aware of all this.
So they said, "What you want to take with you while you go?" I had to make my way out of there somehow.
So I just said, seeing that I had to stay up for a week, I just needed to stay up a little bit longer.
And, so I asked for one more cup of coffee for the road. And they were nice enough to put it in a bag for me.
They said, "How you want it?" I said, "Black". They gave it to me and I headed out.
(before One More Cup Of Coffee (Valley Below))

Thank you, all right. We gotta get out of here now. Thanks for coming out,
I hope we played something right. All right. (plays Forever Young)
Thank you for being so kind and understanding.
I'm not ready for the pasture yet so, we will be back. Goodnight!

LB-4625;
Equipment: Taped using a 3-head portable cassette recorder and electret condenser mic
which was possibly above-average equipment for the typical audience stealth taper in those days;
Stereo master cassette tapes for Hush, Hush Sweet Charlotte LB-7099

Jokerman: Excellent sound [A-].

PP: Very good to excellent sound [B+].

***

Interview with Lynne Allen, Atlanta, 12 December 1978

If I'd thought about it I never would have done it
I guess I would 'a let it slide
If I'd 'a lived my life by what others were thinkin'
This heart inside me would 'a died
I was just too stubborn to ever be governed by enforced insanity
Someone had to reach for the risin' star
I guess it was up to me

Dylan is a legend in his own time. Not a full-fledged commercial superstar, for he doesn't make platinum records nor sell out all of his live performances, Dylan is merely a legend, enigmatic and mysterious. Familiar, yet strange.

It has been said that Dylan is not half the myth he believes himself to be and that he himself is the myth-monger, selling us his every new phase while, like his descendant in style, David Bowie, he casually discards each old mask with the ease of an actor changing roles.
He has also at various times been accused of having sold out, of being too removed, aloof, of not revealing enough, of being cold and calculating, allowing us to see only what he wishes and no more.
No matter, in the final analysis he is what he has created.

If the 1960s were his formative years, the 1970s have seen Dylan subject to many changes in his life.
From the laid-back family man of Nashville Skyline and New Morning,
Dylan slowly turned and headed back into the more complex reaches of his mind, starting with Planet Waves, which signalled the return within, and following with Blood On The Tracks, which brought him even closer to his anima, his muse, who finally appeared to him as Isis on Desire.
(In a dream-scape not unlike Robert Graves' White Goddess, who could be found "among pack ice or where the track had faded," Dylan united with his goddess after he "came to the pyramids all imbedded in ice.")

With Desire in the stores, Dylan took to the road with his own gypsy troupe.
The Rolling Thunder Revue brought to mind the "Indiani Metropolitani," groups of young people who do street theatre in Italy.
They toured the U.S. playing moderately sized halls, picking up and dropping different performers along the way.
Renaldo And Clara, Dylan's mammoth and controversial movie, was filmed on the road with Rolling Thunder, during a tumultuous period in which his marriage reportedly took a turn for the worse and his life (along with his newly-built dream house) began to slide. Seemingly none the worse for wear and tear,
Dylan embarked on the most extensive tour of his career early in 1978.
Beginning in Japan, New Zealand and Australia, it finally wound up matters in the southeastern United States in December 1978.

The first time I saw Dylan was in Binghamton, New York, in September 1978. I had always admired him.
How could you not? No matter how one views Dylan and / or his music, it's difficult to deny the charismatic mystique that has afforded him widespread recognition and critical acclaim.
Personally, I had always responded favorably to whatever courses Dylan had chosen to take,
so approaching him live, I was already biased in favor of the man. I was shocked at his appearance.
He seemed ragged and worn (which later proved to be deceptive. Make-up, heavy black around the eyes,
cast strange shadows over his face under the lights). The music, though, was even more startling.

My initial reaction was thoroughly negative, to put it mildly. In comparison to what was then currently happening in rock, the music seemed, bluntly, quite lame. The new arrangements seemed clumsy and awkward, overriding the simplicity that had originally made the songs work. But as I listened closer it rang with a clear resonance.
The sound in the hall was exceptional, and the musicians excellent.
This was certainly not, as many reviews and reviewers had suggested, "Las Vegas" nor was it disco.
It was just Dylan, older, to be sure, scraggly and unkempt as always, even in his new black and white stage suit, his band playing behind him like a mini-orchestra in perfect synch.

I met Dylan a week later, at a typical record company bash held for him and his band after one of the Madison Square Garden shows.
A friend introduced me to him and, sitting at an adjacent table, I had ample opportunity to observe him at close quarters.
I sensed no animosity from him, no aggression nor defense; indeed, he seemed rather shy.
His expertise at deterring conversation from himself, at keeping the talk light and meaningless, was obvious.
He chain smoked and drank red wine all night. He appeared drunk at times, slurring words and laughing a lot, but it could easily have been an act, a way of retaining his one-upmanship in any situation.
Dylan, the enigmatic cynic, the infallible put-on artist remained in control.

Three months later, I caught up with the Dylan tour once again, this time, down south in Birmingham, Alabama.
Looking disheveled as ever, the Jack of Hearts had once again trumped those in his audience
who had been led to believe press reports of his new "slick" image.
The tour had almost reached its end and the band was much tighter than they had been earlier.
The songs no longer felt stiff, they were flowing now, having settled into their new forms.
Dylan spoke to the crowd a lot that night, introducing songs with brief stories or parables,
breathing new life into songs ten, even 15 years old. He ended the show with Forever Young, which he dedicated to one of his children.
"This is our last - look for us," he said, "We may be back. I'm not quite read to be put out to pasture just yet!"

On the way out of town, I left a note for Dylan with the desk clerk of his hotel, saying that I wished to interview him,
that I had no ulterior motive at all other than an interest and a desire to talk. I left a number for him to call and headed back home to Atlanta.

A week later, backstage at the Omni in Atlanta, an hour before going onstage, Dylan sat alone in his dressing room, strumming an old Martin guitar that had yellowed with age, the wood around the pick-guard chipped from years of use.
Dressed in a green flannel shirt, black leather pants and boots, his eyes hidden behind dark aviator shades, he was relaxed and friendly, the antithesis of the guarded creature which the media so often portrays him as.
His old black leather jacket lay crumpled up on one of the chairs, a small notebook peeked out of one of the pockets.
What appeared to be chicken scratchings made their way across the open page.
"I'm always writing something" he explained as he continued to pick a haunting blues melody on the guitar.

I mentioned to him that I had noticed a definite theme running through his more recent albums, culminating on 'Desire'.
He didn't seem too happy with the idea, though, and emphasized his disagreement with a forceful strum.
"That album didn't have a concept. It didn't have that type of concept.
Of course I wrote it with somebody else too, but I always kept it kinda on the track of where I thought it should be going.

I can look back on it just like anybody else...but when that particular album was happening, I didn't know what was happening at the time.
We tried it with a lot of different people in the studio, a lot of different types of sound and I even had back-up singers on that album for two or three days, a lot of percussion, a lot going on.
But as it got down, I got more irritated with all this sound going on and eventually just settled on bass, drums and violin.
"That was new," he stressed. "I didn't take that out as far as I wanted to, I didn't have a chance to do that.
I wanted to do more harmonica and violin together but we never got a chance to do that.
But, yeah, all that time, those songs like 'Isis' and and all that - gee, I haven't done that for a long time - I used to do that song all the time..."

Desire, Dylan's collaboration with writer Jacques Levy, was a deeply mystical statement, the violin capturing the free, gypsy spirit so inherent in the songs and later in the whole Rolling Thunder idea. "Yeah, it was that. It definitely was that.
Oh you know, we did it all night long, into the morning. I never slept when I made that album, I couldn't sleep.
I would have to listen to it again to really answer these questions in a coherent way."

"You've left it behind in a way," I said.

"No, I haven't left the songs behind. I never leave the songs behind.
I might leave the arrangements and the mood behind, but the songs, I never leave them behind."

At Newport in 1965, he unleashed his new-found electricity on an unsuspecting audience.
Or as he put it in Atlanta, when introducing Maggie's Farm: "I was invited to Newport in 1965.
I had been invited there before and never caused too much fuss, but I was invited in 1965 and I went and I played this particular song.
Anyway, people booted me out of town, actually, for playing this particular tune and it was hard to believe that this song caused such a disturbance, but it did! It's called "I Ain't Gonna Work on Maggie's Farm No More.'"

Years later, after a seemingly endless flow of changes in direction, he is still meeting with the same type of criticism.
Dylan steps in and out of musical forms these days with an unusual ease, echoes of carnival music blend harmoniously with primitive jungle rhythms and Chicago blues, while Dylan the Folksinger and Dylan the Newport Electric Poet still exist.
As at Newport, Dylan has not met with much favourable response to his new sound. People are disturbed by the strange changes. The unfamiliarity.

He refuses to stagnate, to be pinned down, categorized: "Art is the perpetual motion of illusion," he once observed. And he truly lives his belief.
I mentioned a line from Idiot Wind: "Your chestnut mare shoots through my head and is making me see stars!"
(Dylanologist AJ Weberman claims that equine references in Dylan songs refer to heroin.)

Interestingly, Idiot Wind was written before Dylan's teaming with Jacques Levy, co-writer (with Roger McGuinn) of Chestnut Mare years earlier.
"That's right! Yeah!" He laughed delightfully. "I'm sure it's all connected up y'know, way down the line."

"But yeah, I had a couple of years there, where I went out to be by myself quite a bit of the time, and that's where I experienced those kind of songs, on the Blood On The Tracks album – I'll do anything to write a song." he laughed. "I used to anyway."

Street Legal seems to backtrack through all the aforementioned albums. It is an acknowledgment of changes, both internal and external.

"You're right. Let's say with a song like True Love Tends To Forget.” He lit a cigarette. "The mood I was in on that song is –
I mean, that means a lot, if you think about it, y'know. True love tends to forget – it isn't like a possession trip, when you've been wronged, that type of thing – I was trying to ge the most out of that.
I thought that was my best album." I agreed.

"I hear it sometimes on the radio or a record player and I see that it's badly mixed and it doesn't sound very good, but what can you do?

I've got, on Columbia Records alone, 21 or 22 albums out. So every time you make an album, you want it to be new, good and different, but personally, when you look back on them--for me--all my albums are, are just measuring points for wherever I was at at a certain period of time.
I went into the studio, recorded the songs as good as I could, and left.

Basically, realistically, I'm a live performer and want to play onstage for the people and not make records that may sound really good."

I mentioned how the current show had changed each time that I had seen him, and how much tighter the band had become as the tour progressed.

"Yeah, well it's never gonna be the same two nights in a row."

Dylan has made many comments in the press recently about the 1980s. In his Rolling Stone interview with Jonathan Cott he said,
"Anyone who's going to be doing anything will have his or her cards showing. You won't be able to get back in the 1980s."

What did he mean by that? "I don't know what I meant by that," he chuckled. "Me and Jonathan, every time he does an interview, we just get drunk.
I don't think you should show all of your cards all of the time, I didn't mean that."

He continued: "It's like, when I started out playing – it's hard to put into words – I don't know what the ‘80s are going to be like.
I imagine a lot of the glue is gonna hold a lot of things together which are sort of scattered now.
Appearances of people you know, some wearing blue uniforms with badges, they are probably going to be standing side by side with housewives with their hair up in curlers, wanting the same things.
All these different elements are going to – I think – be molded together.
I think people are going to be more honest in the 1980s." Like the '60s, I wondered?

"No, never. I don't think so." He answered adamantly. Dylan remembers the '60s very well.
They were years that shaped him, that produced the inspiration for him to create some of the most potent art of the decade.
His strange song-poems mirrored the turbulence and chaos of the times.
He spoke for an entire generation, it seemed, and then suddenly he wanted no involvement with the movement he had given voice to.

Some say it was the motorcycle accident. That it almost killed him, sent him crashing headlong into a nightmare of his own making.
Others just say that he fell in love, settled into a more even existence in which politics and protest had not part.
Radical critics like Weberman flatly accuse him of "drifting into indifference during a period whe resistance was called for."

"I was always more tied up with the Beat Movement," he admits. "I don't know what the hippie movement was all about, that was a media thing, I think, “Rent A Hippie” –I don't know what that was about.
A lot of people, people that I knew, were in the early 1960s up 'til 1965 or 1966. There was a different comradeship.
There was drugs, but drugs were something that was just a playful thing or something which wasn't that romanticized.
Drugs were always in the folk clubs and in the jazz clubs, but outside of those places I never really saw too many drugs."
"The drugs at the end of the 1960s were artificial. They were those – ah – L.S...acid, all that stuff made in a laboratory.
Well I guess it's all make in a laboratory one way or another. I don't know. I was never involved in the acid scene either."

By 1968 the Beatles had released Sgt. Pepper.
Rock and roll had moved primarily into studios and electronics began to become more and more a part of the music.
Acid rock flourished on the West Coast and the new art form was just becoming self-consciously aware of itself with a little help from its friends (often in the form of a little Kool-Aid).
Dylan chose this time to put out the album he had been working on since the cataclysmic accident.
'John Wesley Harding' totally contradicted everything happening musically at the time.
The deceptively simple folk melodies only served to draw one's attention even closer to the intensity of the lyrical message.

Eventually, the 1960s came to a close, The Beatles broke up, the war ended in a stale-mate and we stumbled into the 1970s in a catatonic daze.
The music reflected the times. Rock had a few casualties of its own. Madison Avenue and Wall Street moved in as the voice of the people turned into a multibillion dollar industry. A few couldn't handle it, and destroyed themselves by becoming victims of their own myths.
Others, like Jagger and Dylan, survived.

"People are always talking about the 1960s and now we are almost into the 1980s and everybody wants to know what happened back then.
Well," he answered himself, "in the 1960s, everything that happened you did because you wanted to.
You didn't do it because you thought you should do it or because it was the thing to do. Something inside of you told you you wanted to do it.
There was a network all across the country--really.

Very small, but very close, I still see those people travelling around y'know, they're still hanging in there.
But as far as what happened, it will always be felt just the same as the Civil War was always felt into 1870 and 1880.
It was just something which was felt by everyone whether they knew it or not and a lot of people in the '60s started all this which is happening now.
They just don't realize it, you know."

He put down the guitar, lit another cigarette. "But the 1950s gave birth to the 1960s too, don't forget, and in the 1950s it was even rarer...
like in the 1960s it was people caught up on all the be-bop and the beat movement, or the subterranean culture that was going on, but it was home-like and it gave you identity."

It is interesting that Dylan's material has always dealt with the opposing forces of black and white, whether on a material level – as during the 1960s when songs like The Lonesome Death Of Hattie Carroll clarified the issues of the civil rights movement – or on the spiritual level of his most recent work. Dylan has taken to wearing black and white on stage of late, costuming his entire band in the same.
The effect is one of total balance. Yin and yang, darkness and light.

"Well, I think I'm more of an extremist. But no, I'm more active than someone who is balancing," he said.
"If you play the game all by yourself and you're the only one playing the game, then you want to balance the game, but if you're playing the game with someone else, you've got to ride up when it's time for someone else to ride down." Like a see saw?
"Yeah right, and then you get the same kind of balance, but if you're playing by yourself then you've got to move to the middle." Which you don't do.

"No, I'm uncomfortable in the middle, too easily blown down."

When questioned about his unusual relationship with his record company – of being able to release any product he wants – he became edgy, his answer accompanied once again by the guitar.
(As I am writing this, Bob Dylan is in the process of forming his own record company, Accomplice, to be distributed by CBS.)
"CBS doesn't pay me, except for a royalty rate. They don't support these tours for me so they don't have any say.
It they supported them, maybe they'd have some say in it."

With Renaldo And Clara, Dylan took a new approack by filming the characters of his dreams.
The film was an unconstructed, symbolic comment, a bold and original epic (its original four-hour length was the major complaint from most of its critics), visually combining the same elements Dylan uses in the written word.
The actors and actresses, real people from his life, cast in fantasy roles.

American film critics on the whole were not impressed with Dylan's work.
They accused him of over-indulgence and blamed his "careless treatment" of people close to him for the break-up of his marriage, which followed shortly on the heels of the film's release.
The Village Voice sent an entire battalion of reviewers to see it and they all came back with negative impressions.
However, the film was hailed at last year's Cannes Film Festival as one of the most innovative presentations there, an honor bestowed on Dylan by Europe's most discriminating cinema elite, which must have more than made up for the confused and confusing reviews it received in the US.

Filmed by Sam Shepard, Dylan claims Renaldo And Clara was ten years in the works but has decided that, "For me, film wouldn't be the right thing to do right now. It's not live enough.
You're acting for a camera, a director, you can't really see the results."
Renaldo And Clara seemed to be spontaneous. "That was great! Yeah, but I can't do that no more.
It costs too much money for one, to make your own movie, and then if you make a movie for another man who's putting up the money, then he'll want what he wants."

As the 1950s gave way to the 1960s, the age of the media superstar was born.
James Dean gave way to Elvis Presley who gave way to Bob Dylan, each gigantic myths in their own time. While Elvis found his way into Middle America's heart, the chasm James Dean left wasn't filled until Bob Dylan formed a new link in the ever-growing chain of super-anti-heroes.
When compared to the people he once strived to be like, he denies all similarity of public persona.

"It's not as heavy as it probably was to deal with being Elvis Presley. Elvis didn't write any of his songs don't forget, I write all this stuff so I know what I'm saying. I'm behind it so I don't feel like I'm a mystery or anything."
Does he consider himself an artist as opposed to a musician or a songwriter?
"Well yeah, it's like all the artists have had their periods right, and that they've changed – most people in history that have done anything at all have always been put down – so it don't bother me a bit.
I don't care what people say. Whether I'm an artist, or a musician, or a poet, or a songwriter or just anything."

***

Hollywood Sportatorium
Hollywood, Florida
16 December 1978

72.Love Minus Zero/No Limit
73.It Ain't Me, Babe
74.Do Right To Me Baby (Do Unto Others)
75.I'll Be Your Baby Tonight

Concert # 65 of the 1978 US Fall Tour. 1978 concert # 114.

Concert # 91 with the 1978 World Tour Band: Bob Dylan (vocal & guitar), Billy Cross (lead guitar), Alan Pasqua (keyboards), Steven Soles (rhythm guitar, backup vocals), David Mansfield (violin & mandolin), Steve Douglas (horns), Jerry Scheff (bass), Bobbye Hall (percussion), Ian Wallace (drums), Helena Springs, Jo Ann Harris, Carolyn Dennis (background vocals).

Bob Dylan (harmonica) on:
Love Minus Zero / No Limit,
It Ain't Me, Babe

Bob Dylan solo (vocal, harmonica & guitar) on It Ain't Me, Babe

Live debut of Do Right To Me Baby (Do Unto Others).

BobTalk

You know in the 50Â’s they used to have carnivals that came trough town.
I know that youÂ’re familiar with carnivals here.
Anyway, back then every carnival had what they called a geek.
Everyone know what a geek is?
A geek is a man who eats a live chicken.
He bites the head off, and then he bites the rest of it off.
Anyway, he drinks up the blood, eats the heart, everything.
Sweeps up the feathers with a broom.
In those days it cost a quarter to see him.
Nowadays I suppose it'd be 15-20 dollars, back then it was still a quarter.
Anyway, no one much get too tight with a geek, you know?
I was having breakfast one day with a bearded lady
and she tells me that a geek is so low down that he can't be believable.
He thinks that everyone else in the whole crew is freakier than he was. (....).
I remembered that years later when I was walking down a street in Nashville you know,
about 1960 something, when Al Kooper was playing organ for me at the time.
And we were walking down the street, we had long hair, and nobody in Nashville, at that time, did have long hair.
Willie Nelson, Waylon Jennings, none of those people had long hair at this particular time.
Anyway, we were walking down the street and the buses used to stop,
people would come running out of there tores just to look at us.
I thought this was kind of peculiar really because we hadn't done anything.
Somewhere along the line I put, tried to put all of it into this particular song.
(before Ballad Of A Thin Man)

Thank you. WeÂ’re gonna get out of here now. Hit that long road home.
So, here's a song I wrote for one of my babies when he was a baby. He's not a baby anymore but wanny play it anyway.
Thanks for coming. Thanks you for your love and understanding!
(before Forever Young)

LB-0212

Very good to excellent sound [B+].

***

Howard Sounes

Yet on the last night of the tour, in Miami, Florida, on 16 December 1978, Dylan joined the band for drinks in the hotel and talked about keeping the show on the road into the following year.
He seemed reluctant to get back to his normal life and its problems, just as he had at the end of The Rolling Thunder Revue, and had been calling Weintraub to book more concerts. In many ways he seemed an unhappy and lonely figure.
“We sat up until the early hours of the morning talking, and he was telling me about all the plans he'd got for 1979, what we were going to do, and everything,” says Wallace. That was the last he or the other musicians saw of Dylan, however.
Over the Christmas break, Dylan changed his mind and fired the whole band, having decided to take a radical new direction in both his life and his music.

The 1978 world tour had consisted of a year of frenetic and hedonistic activity, a diversion from Dylan's failed marriage and wrecked home life.
But in its final stages it was as unsatisfying as Tour '74 had been four years earlier.
Dylan was earning a fortune on the road, but he took little pleasure in playing formulaic greatest-hits shows to football stadium-sized crowds.
At a time when he was feeling low, needing someone or some thing to lift him up, he found himself surrounded by Christians, particularly Christian women. His girlfriend Carolyn Dennis came from a midwestern gospel background.
Mary Alice Artes had recently been “saved.”
A third girlfriend, Helena Springs, had suggested Dylan pray when he was experiencing doubt and confusion.
Some of the men in the 1978 band, as well as other musician friends, had become Christians in the recent past.
Indeed, there was something of a vogue for Christianity in the music business at the time, perhaps partly as a reaction to the excess of the 1960s and early-1970s and the fact that many musicians' lives had been blighted by drug abuse, alcoholism, and other problems in the aftermath of that self-indulgent era.
“Beginning in 1976, something happened all across the world,” says T-Bone Burnett, who was a convert, as were colleagues David Mansfield and Steven Soles. “It happened to Bono and Edge and Larry Mullens in Ireland.
It happened to Michael Hutchence in Australia, and it happened here in Los Angeles: there was a spiritual movement.”

There were signs during the latter stages of the 1978 tour that Dylan had become caught up in this enthusiasm for Jesus Christ.
Dylan met his old college friend Dave Whitaker after a concert in Oakland, California, in mid-November 1978, and spoke to Dave's 11-year-old son, Ubi. “Would you send me a guitar?” asked the kid.
The next day a truck pulled up with a gift from Dylan – a brand-new Fender Stratocaster decorated with quotations from the Book of Paul.
A few days later Dylan played a show in San Diego. He picked up a cross that a fan had thrown on stage and started wearing it.
Shortly after this incident Dylan felt what he later described as “this vision and feeling,” which he believed to be the presence of Jesus Christ in the room. Billy Cross was sitting next to Dylan on the bus when he looked over and noticed that he seemed to be writing a spiritual song – Slow Train Coming – the lyrics of which were only partly formed at this time but which described a resurgence of faith in God.
The band played the song at a sound check in Nashville on 2 December 1978.

***

John Aizlewood

It happened in San Diego, but it could have been anywhere.
Dylan, grumpy, road-frazzled and in a generally foul mood, was playing yet another dreary date in yet another dreary auditorium.

The album he was half-heartedly promoting on 17 November 1978 was the muffled Street Legal, a half-hearted affair despite containing his last British hit single, Baby Stop Crying.
The previously uncritical critical fraternity had berated these shows, the recent four-hour Renaldo And Clara film and Street Legal itself.
The public seemed to agree – despite Dylan not having toured America in four years, these shows rarely sold out, Street Legal had failed to make the American Top-10 (its three predecessors had reached #1), while Baby Stop Crying did not even reach the Top-100.

That sweaty night, Dylan was not well, which ensured his performance was far from vintage, even by the sloppy standards of this tour.
Midway through a song – nobody quite remembers which one – somebody threw a small silver cross on stage, for reasons nobody has ever quite discovered.
When the song finished, in two somewhat out of character moves, Dylan first noticed it and, second, retrieved it, stiffing it in his back pocket.

After the show, the tour rolled disconsolately on to Tucson, Arizona, where it was even hotter and Dylan felt even worse.
Usually he would seek solace in sultry but God-fearing backing singer and occasional songwriting partner Helena Springs – or that period’s drug of choice, sometimes marijuana, sometimes cocaine.

That night, alone in his hotel room, he was plumbing the depths of depression once more.
He began fondling his cross and had, he claimed to the Los Angeles Times, a vision.

“I had a “born-again” experience. Jesus put his hand on me. It was a physical thing. I felt it all over me. I felt my body tremble.
The glory of the Lord knocked me down and picked me up. Jesus appeared to me as lord of lords and king of kings.
It’s like waking one day and being reborn, turning into another person. It’s pretty scary if you think about it.”

And that was it. Just, as Tommy Cooper might have said, like that, the Jewish author of With God On Our Side – who had sneered at the Sermon On The Mount on the Blood On The Tracks reject Up To Me – had suddenly embraced Christianity.

If it seemed unnaturally chilly when Dylan shuffled on the Tucson stage later that night, that was simply because as he looked towards Heaven and saw Jesus Christ seated beside God, Hell had actually frozen over.

Dylan was not the first to turn to the Lord.
Van Morrison, his British equivalent in so many ways, had dabbled in orthodox Christianity as well as offshoots such as Scientology and the JehovahÂ’s Witness movement, without ever becoming less curmudgeonly.

Al Green had taken a ministry, Barry “Eve Of Destruction” Maguire was a bonkers evangelist and, over in Ireland, U2 were just about to bring their own peculiar brand of confused Christianity to a wider world, but this was Dylan.
People did not only listen to him, they listened to what he was saying.

In truth – and, typically, what the actual truth is will always be yet another Dylan secret – there had been signs, albeit with the cavert that anyone can read signs of anything in Dylan’s behaviour.

The rustic country-blues of Hank Williams, Leadbelly, Jimmie Rodgers and HowlinÂ’ Wolf, which Dylan had been raised to love, had always had a stark, hellfire, Devil-on-my-tail morality.
It is there, surprisingly overtly, in The Times They Are A-ChanginÂ’, and When The Ship Comes In, which confirm that for someone Jewish, Dylan was awfully familiar with the New TestamentÂ’s Revelations.

Once he hit his Christian stride, in clear recognition of Jesus in the Jerusalem temple, Dylan would coruscate the moneymen, the thieves and the harlots.
Where there is anger in The Bible, Dylan was in simpatico.
Remember, though, that in Woody Guthrie, with his martyrÂ’s death, Dylan had his own distinctly mortal Christ, before he too occasionally donned the trappings of a martyr.

Initially, Dylan kept touring and kept his peace, consulting gently with Springs and Christian band members David Mansfield and Steven Soles. He gave Tangled Up In Blue a new religious slant and, by 24 November 1978 in Fort Worth, he was wearing a showy cross around his neck. He also wrote and performed new songs as he often did while touring.
These songs underlined the rumours of conversion that had seeped out of the tour, rumours which even the wiliest Dylanologist had simply sniggered at before they became impossible to ignore.

Once the 115 date world tour had run its course, Dylan soon realised there was one obvious catch to his new obsession.
He might have had his experience with Christ; he might have used Biblical imagery throughout his career and he might have had a JewÂ’s understanding of the Old Testament, but he did not actually know very much about Jesus Christ.

***

Rock on, Bob!

XXX

1978-11-01 Madison
1978-11-10 Seattle
1978-11-11 Vancouver
1978-11-14 Oakland
1978-11-15 Los Angeles
1978-11-18 Tempe
1978-11-23 Norman
1978-12-01 Memphis
1978-12-02 Nashville
1978-12-05 Mobile
1978-12-07 Greensboro
1978-12-08 Savannah
1978-12-10 Charlotte
1978-12-16 Hollywood

(254/1) Bob Dylan, 1981-06-21, Stade Municipal Des Minimes, Toulouse, France

Audio/Mp3, ?/?, (?)

683254001a683254001b
Stade Municipal des Minimes
Toulouse, France
21 June 1981

Carolyn Dennis, Regina Havis, Madelyn Quebec
01 - Come on in the House of the Lord
02 - It's Gonna Rain (But it Won't be Water but Fire next Time)
03 - Show me the Way Lord
04 - Saved by the Grace of the Lord


05 - Gotta Serve Somebody
06 - I Believe In You
07 - Like A Rolling Stone
08 - Till I Get It Right (Red Lane/Larry Henley)
09 - Man Gave Names To All The Animals
10 - Maggie's Farm
11 - Simple Twist Of Fate
12 - Ballad Of A Thin Man
13 - Girl From The North Country
14 - Dead Man, Dead Man
15 - We Just Disagree (Jim Krueger)
16 - Knockin' On Heaven's Door
17 - Slow Train


Carolyn Dennis:
18 - Walk Around Heaven All Day (Rev. James Cleveland/Cassietta George)
19 - Please Be Patient With Me (?)


20 - Lenny Bruce
21 - Mr. Tambourine Man
22 - Solid Rock
23 - Just Like A Woman
24 - Watered-Down Love
25 - Forever Young
26 - Masters Of War
27 - When You Gonna Wake Up
28 - In The Garden

(encore)

29 - Blowin' In The Wind
30 - Don't Think Twice, It's All Right


First concert of The Europe Summer Tour 1981. 1981 concert #5.
Bob Dylan (vocal & guitar),
Fred Tackett (guitar),
Steve Ripley (guitar),
Willie Smith (keyboards),
Tim Drummond (bass),
Jim Keltner (drums),
Carolyn Dennis,
Regina Havis,
Madelyn Quebec (background vocals).

8 Regina Havis (vocal).
30 Bob Dylan solo (vocal & guitar).

Notes:
- Clydie King did not perform this evening.
- 22, 23 & 24 partly broadcast by Antenne 2 TV, France, 221 June 1981.
- This show was recorded by DylanÂ’s crew.

BobTalk:

- Thank you. We're gonna slow it down some with Regina McCreary from Nashville, Tennessee, a voluntary state! She's gonna sing a song called
Gonna Keep On Falling In Love Until I Get It Right.

- Thank you, that was an animal song, this is a farm song. (before Maggie's Farm)

- We just recorded a new album. Does anybody out there speak English?
Right, this is on our new album we just did it's called Dead Man Dead Man When Will You Arise.

- I wish you'd said that before. What key is that in? (before Knockin' On Heaven's Door)

- .... three long years, nameÂ’s Carolyn Dennis. She came here with me before she's
gonna sing a song, same song she sang last time, called Walking Around Heaven All Day.
Carolyn Dennis.

- All right here's another new song recently recorded on our forthcoming album.
Should be released by (....). Anyway it's called Watered Down Love.
You don't want a love that's pure. You wanna drown love, you want a watered-down love.

- Thank you. Merci Beaucoup! We enjoyed playing for you tonight.
I hope you heard something that you came to hear. Over on the left there is Carolyn Dennis. Standing next to her is Regina McCreary, Madelyn Quebec.
On the keyboards tonight, I think William S. Smith from Philadelphia, Pennsylvania.
On guitars, Fred Tackett and Steve Ripley. I'm not gonna say which one's which!
On the drums Jimmy Lee Keltner from Tulsa Oklahoma. If you ever come over to the United States you come and see us now. We're always playing around someplace over there. Anyway on the bass guitar of course, Mr. Tim Drummond from Cincinnati, Ohio.
See you again! (at the end of In The Garden)

Stereo audience recording, 135 minutes.

Audience video recording, 60 minutes.


LB-00328 xref-00160 ; 75min +65min ; 2CDR ; Rating: B+

6/21/81 Toulouse, France

master aud,
--------------------------------------------------------------------------------
very good to excellent sound, a little hiss; a little talking;

(a bittorrent from 4/07 was an exact eac match on d1t4, was flac, and described using this info file);
(a bittorrent from 02/10 as part of the lk series has matching flac fingerprints to shntool md5 hash;
described as "File names & tags edited by Chopen, November 2009" with filenames like
"01 Come on in this house.flac"; xref-00160))
--------------------------------------------------------------------------------
some mic noise on d1t4; d1t7 has blip at 2:15, static d1t7 3:5x;
d1t18 is shorter version of d2t1; blip d2t6 2:11;
drop end of d1t11, between cdrs, end of d2t10, d2t12 0:15, d2t4 5:57, d2t11 3:59
--------------------------------------------------------------------------------
CD1
1 Come On In This House ( ? ), 2 It's Gonna Rain Again (C Johnson), 3 Show Me The Way Lord ( ? ), 4 Saved By The Grace Of Your Love (Willie Smith/David Palmer), 5 Gotta Serve Somebody, 6 I Believe In You, 7 Like A Rolling Stone, 8 Till I Get It Right (R Lane/L Henley), 9 Man Gave Names To All The Animals, 10 Maggie's Farm, 11 Simple Twist Of Fate, 12 Ballad Of A Thin Man, 13 Girl Of The North Country, 14 Dead Man, Dead Man, 15 We Just Disagree (J Krueger), 16 Knockin' On Heaven's Door, 17 Slow Train, 18 Walk Around Heaven All Day (Rev J Cleveland/C George) (end cut),

CD2
1 Walk Around Heaven All Day (Rev J Cleveland/C George), 2 Please Be Patient With Me ( ? ), 3 Lenny Bruce, 4 Mr. Tambourine Man, 5 Solid Rock, 6 Just Like A Woman, 7 Watered-Down Love, 8 Forever Young, 9 Masters Of War, 10 When You Gonna Wake Up ?, 11 In The Garden, 12 Blowin' In The Wind, 13 Don't Think Twice, It's All Right
--------------------------------------------------------------------------------


(254/16) Bob Dylan, 1981-06-21, Stade Municipal Des Minimes, Toulouse, France

Doc/, ?/?, (?)




Commentaires


198106 GIG N07 a
198106 GIG N07 a

198106 GIG N07 b
198106 GIG N07 b

198108 best N157 028
198108 best N157 028

198108 best N157 030
198108 best N157 030

198108 best N157 032
198108 best N157 032


(255/1) Bob Dylan, 1981-06-23, Stade Yves du Manoir, Colombes, France

Audio/Mp3, ?/?, (?)

Bob Dylan
23 June 1981
Stade de Colombes
Colombes, France

Dennis-King-Havis-Quebec: Come On In This House (?)
It's Gonna Rain (C Johnson)
Show Me The Way Lord (?)
Saved By The Grace Of Your Love (Willie Smith/David Palmer)

0. (Announcement)
1. Gotta Serve Somebody
2. I Believe In You
3. Like A Rolling Stone
4. Till I Get It Right (Red Lane/Larry Henley)
5. Man Gave Names To All The Animals / Maggie's farm
6. Maggie's Farm
7. Simple Twist Of Fate
8. Ballad Of A Thin Man
9. Girl From The North Country
10. Dead Man, Dead Man
11. Mr. Tambourine Man
12. Slow Train

Carolyn Dennis: Walk Around Heaven All Day (Rev. James Cleveland/Cassietta George)

13. Let It Be Me (Pierre Delanoé/Gilbert Bécoud/Mann Curtis)
14. Lenny Bruce
15. Solid Rock
16. Just Like A Woman
17. Masters Of War
18. Watered-Down Love
19. What Can I Do For You?
20. When You Gonna Wake Up
21. In The Garden
—
22. Blowin' In The Wind
23. It's All Over Now, Baby Blue

Second concert of The Europe Summer Tour 1981. 1981 concert #6.

Bob Dylan (vocal & guitar), Fred Tackett (guitar), Steve Ripley (guitar),
Willie Smith (keyboards), Tim Drummond (bass), Jim Keltner (drums), Clydie
King, Carolyn Dennis, Regina Havis, Madelyn Quebec (background vocals).

4 Regina Havis (vocal).
13 Bob Dylan (piano & vocal), Clydie King (shared vocal).
23 Bob Dylan solo (vocal & guitar).

Notes
· Live debut of Let It Be Me.
· This show was recorded by Dylan’s crew.

BobTalk
Merci Beaucoup! Thank you very much. We're gonna slow things down here some. This is Regina McCreary from Nashville Tennessee. Where they make all them country and western records. She's gonna sing a song for you called, what you gonna sing tonight Regina? Keep On Falling? Keep On Falling In Love Until I Get It Right.
Thank you. We're gonna do another animal song here. Kind of different, different kind of animal. This animal, this is a man animal. (before Maggie's Farm)
Thank you. We have a new song we recently recorded about a month ago. Called ....., should be coming out sometime soon. if you know exactly when, you call up the record company I record for. whatever one that is today. actually, that is CBS records. Anyway, this song should be on that album, I hope it is anyway. It's called Dead Man Dead Man When Will You Arise.
I'm gonna turn the stage over right now to Carolyn Dennis. Girl who's been with me now for oh, maybe 4...., 4 or 5 years. Came here last time I came here. She was with me, Carolyn Dennis. She's gonna sing a song called Walking Around Heaven All Day. Thank you. We're gonna do another new song. This song is uhh, I don't
know if any of you ever heard of a comedian named Lenny Bruce? Anybody ever heard of him? Anyway this is about err, one day I was just outside, just wrote this song in about five minutes.
Merci. This is another song off that forthcoming album, called Shot Of Love. This is called Watered-Down Love. You don't want a love that's pure, you want a drowned love, you want a watered-down love.
Thank you. Merci, Merci, and another Merci. Merci beaucoup. I wanna introduce these girls over here.
Fine girls, you have to go a long ways to hear singers as good as that, you know that. Anyway on the left, you met this young girl earlier. Actually she's not so young! Miss Carolyn Dennis. Standing next to her is Madelyn Quebec. You met this young girl earlier from Nashville, Tennessee. All the way from Nashville,
Tennessee, Regina McCreary. Standing next to her is Clydie King. The man over here is playing the keyboards all night long. He may stay here and play keyboards all for you when we're gone. Anyway, from Birmingham, Alabama, Willie Smith. On the guitars tonight, Fred Tackett, Steve Ripley. On the bass, Tim Drummond. On the drums, Jimmy Lee Keltner from Tulsa, Oklahoma. I tell you we came a long way. And it hasn't been easy to recover from that trip either. So we're gonna go now. If you ever come over to the States, the United States, you come and see us; weÂ’re usually playing some place all the time. Somewhere. You drive safely now. Be good.
Be good, yeah! (during the end of In The Garden)

3 new songs (13%) compared to previous concert. 3 new songs for this tour.

Stereo audience recording, 145 minutes.

Audience video recording, 18 minutes.

Session info updated 1 September 2003.

File names & tags edited by Chopen, November 2009


(256/1) Bob Dylan, 1981-07-25, Palais des Sports, Avignon, France

Audio/Mp3, ?/?, (?)

683256001a683256001b
Bob Dylan

Palais Des Sports Avignon, France
July 25, 1981

Setlist

Disc 1
01 Saved
02 I Believe In You
03 Like A Rolling Stone
04 'Till I Get It Right [Regina](Lane/Henley)*
05 Man Gave Names To All The Animals
06 Maggie's Farm
07 Girl Of The North Country
08 Ballad Of A Thin Man
09 In The Summertime10 Shot Of Love **
11 Walk Around Heaven [Carolyn Dennis]*
12 The Times
13 Let's Begin (Jim Webb) [duet w/ Clydie King]
14 Lenny Bruce

Disc 2
01 Slow Train
02 Solid Rock
03 Just Like A Woman
04 Saved By Grace [Willie Smith] (Smith/Palmer)*
05 Watered Down Love
06 Jesus Is The One
07 Heart Of Mine
08 When You Gonna Wake Up?
09 Forever Young
10 In The Garden (w / band introduction)encore:
11 Blowin' In The Wind
12 It Ain't Me Babe (acoustic Dylan solo)
13 Knockin' On Heaven's Door


(230/1) Bob Dylan, 1984-05-28, I d Rather Be Lucky Than Rich, Rehearsals & European Tour, (Pink Panther Records)

Audio/flac, ?/?, (20190501)

Bob Dylan

1984 I'D RATHER BE LUCKY THAN BE RICH - REHEARSALS & EUROPEAN TOUR

(Pink Panther Records)

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin,
Mr/The/Maybe President Donald Trump & newcomer Boris Johnson.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald, Boris
and the death metal specialists at Lubyanka.

***

You have got to give Bob an A+ for getting hold of quality musicians.
Here we get John Mayall & The Bluesbreakers (1969 version) alumini Mick Taylor & Colin Allen,(with Mick Taylor having added to his CV being an ex-member of The Rolling Stones in the interim);
Faces legendary keyboard player Ian "MacHooligan" MacLagan;
Latin fusion guitarist Carlos Santana; & a relatively obscure American bass player named Greg Sutton.

So what happens when you put Bob together with blues purists & latin fusion - the shambolic 84 European Tour of course.

There was also a half-hearted attempt to integrate Joan Baez into the mess, but after a couple of failed attempts, she packed up & went home.

However, there is plenty of good music to keep you interested here & it is much better than the official Real Live album
mainly culled from the final two concerts in Wembley, London & Slane Castle, Ireland.

There are two very good sounding tapes from the circulating rehearsals in LA & Verona.

The concerts are more variable in performance & sound quality - when Mick Taylor is great he is really great, but when he is off - oh well. Ian MacLagen's keyboards are usually low in the sound mix, but not always - there is some great electric piano to be heard here when the sound engineer turns him up.
& then there is Carlos Santana - if you think Mick Taylor is erratic, wait until you hear Carlos.

The setlists have a lot of surprises - while the shows have a large number of core songs, this does not stop Bob from performing a lot of songs only occasionally.

There is also a lot of improvisation here - core songs get different treatments night after night - so the music is never boring.

Best concerts - Brussels, Goteborg, Offenbach & Nantes.

This tour is far better than many give it credit for - just stay away from the London & Slane "superstar" concerts.

***

ENOUGH IS ENOUGH (Bob Dylan)

Performed occasionally during the 1984 European Tour, always with a different set of lyrics.

Transcribed by Eyolf Østrem

*

Barcelona, 28 June 1984

Hands off your feet, baby,
listen to this
This is what I can't be
Often it hurt me honey,
I'm looking at you but
You're looking at me too.

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

Face on the gutter baby,
which is which but
I'D RATHER BE LUCKY THAN BE RICH
Off with the money honey
that is true, but I'm
Satisfied with you.

'cause a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

All cities, honey, hard, is soakin' wet,
but there's no more gold you can get
I'm facin' the wall, but
baby you took it all.

Because a dollar is a dollar
And the downtown boys play rough
You tell 'em baby,
That enough is enough.

Got a gold mining fever, baby, but, ah
which is which, but
I'd rather be lucky than be rich
[...]
that is true, but
I'm satisfied with you

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

Got a gold mining fever baby, which is which but
I'd rather be lucky than be rich
Go off with the money honey, that is true, but
I'm satisfied with you.

*

Paris, 1 July 1984

Well, I don't mind eating funny honey,
sleep down in the ditch, but
I'd rather be lucky than be rich
[well, all the time I'm]
soakin' wet, but
you got all the gold that you gonna get

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

[Fall through the sugar, I
Fall through the glue], but
I'm satisfied with you
[oh, Moneypenny,
I should let it go, so
I just wanna know our show]

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

[......show]
Go back as far as you can go
I don't mind honey, 'bout
Sleepin' in the ditch, tell 'em you'd
rather be lucky than be rich

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby
Tell 'em enough is enough.

*

London, 7 July 1984

Hold your seat, honey,
back in the ditch, cause
I'd rather be lucky than be rich
Oh, yeah, [...
...]
I love you, and that is all.

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby,
tell 'em enough is enough.

[...] motor, honey,
up and down the line,
you tell them that you are mine
[if they heard of you I must obey,]
you tell them you belong to me

Because a dollar is a dollar
And the downtown boys play rough
Go all the way back, baby,
tell 'em enough is enough.

She's from love, honey,
back against the wall, but
you all had it done, got it all.
Oh, pretty honey, I
tell her you're sick but
I wish you'd do it mighty quick

Because a dollar is a dollar
And the downtown boys sure play rough
Go all the way back, baby,
tell 'em enough is enough.

Oh let me see if the
face is soaking wet,
you already got what you gonna get
If they ever ask you to
sleep in the ditch, you tell 'em
you'd rather be lucky than be rich.

Because a dollar is a dollar
And the downtown boys sure play rough
Now, go all the way back, baby,
tell 'em enough is enough.

***

FLAC from best available sound sources.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

104 ball-tearing, sensational tracks
49 different songs
21 concerts & 2 rehearsals are represented here (from the total of 27 concerts & 2 rehearsals)
8 hours & 30 minutes of music
1 bob

***

All songs played on the tour leg and rehearsals are represented here.

Sound quality is, for the most part, very good to excellent.

***

11 songs were played 25 times or more.
15 songs were played 20 times or more.
21 songs were played 15 times or more.
25 songs were played 10 times or more.
33 songs were played 5 times or more.
1 song was played 4 times.
5 songs were played 3 times.
1 song was played twice.
11 songs were played once.

***

4 songs were played 29 times:All Along The Watchtower,Ballad Of A Thin Man,I & I,Just Like A Woman
4 songs were played 28 times:Highway 61 Revisited,License To Kill,Maggie's Farm,Masters Of War
2 songs were played 27 times:Every Grain Of Sand,Jokerman
1 song was played 26 times:It's Alright, Ma (I'm Only Bleeding)
1 song was played 24 times:Tombstone Blues
1 song was played 23 times:It Ain't Me, Babe
1 song was played 22 times:Blowin' In The Wind
1 song was played 20 times:Simple Twist Of Fate
1 song was played 18 times:Tangled Up In Blue
3 song were played 17 times:Forever Young,Mr Tambourine Man,The Times They Are A-Changin'
1 song was played 16 times:A Hard Rain's A-Gonna Fall
1 song was played 15 times:It's All Over Now, Baby Blue
2 songs were played 13 times:Don't Think Twice, It's All Right,Leopard-Skin Pill-Box Hat
1 song was played 12 times:When You Gonna Wake Up?
1 song was played 11 times:Enough Is Enough
1 song was played nine times:Why Do I Have To Choose?
1 song was played seven times:Knockin' On Heaven's Door
4 songs were played six times:Angel Of Rain (Almost Done),Love Minus Zero / No Limit,Man Of Peace,Shelter From The Storm
2 songs were played five times:I Shall Be Released,The Lonesome Death Of Hattie Carroll
1 song was played four times:To Ramona
3 songs were played three times:Heart Of Mine,Like A Rolling Stone,Senor (Tales Of Yankee Power)
1 song was played twice:Forever Young

11 songs were played only once:
Always On My Mind
Around And Around
Desolation Row
Dirty Lies
It Takes A Lot To Laugh, It Takes A Train To Cry
Just Like Tom Thumb's Blues
Lay, Lady, Lay
To Each His Own
Tupelo Honey
Watered-Down Love
With God On Our Side

***

Clinton Heylin

In the years 1974 to 1984, Dylan continued his pre-accident practice of debuting songs in concert that he had already recorded but not released; or not even yet recorded, but felt like trying out live.
Less than 12 months after the end of his European 1984 tour, though, he was telling Musician's Bill Flanagan, ?When I'm making a record, I'll need some songs and I'll start digging through my pockets and drawers trying to find these songs.
But regardless of what happens, when I do it in the studio it's the first time I've ever done it.?
This new credo he has stuck to ever since.
In the past 25 years, he has simply stopped performing any original songs in concert not already released.

But in May 1984, prepping for a six-week tour of Europe, he was still working on a number of unrecorded originals.
And though he only ended up performing one of them ? Enough Is Enough ? he clearly intended to do more.
At the Verona press conference, the day after the opening show (cum dress-rehearsal), journalists were given a set list for the tour which included three new song titles: the aforementioned Enough Is Enough, Dirty Lie and something called Angel Of Rain.

As evocative titles for unknown Dylan songs go, Angel Of Rain is right up there. But no song containing such a line ever revealed itself.
Even the emergence of two pre-tour rehearsal tapes ? one from Los Angeles six days before the press conference, the other from Verona itself ? failed to yield forth such fruit. Unless, that is, she is wearing a disguise, as I suspect she is.

What can be found on these two invaluable recordings are a number of attempts at a rather beautiful original song,which on the evidence of multiple versions from the Verona rehearsal has the repeated refrain, "Almost Done".
Four days earlier, in Los Angeles, it began life as a snatch of melody and a few half-strangled phrases about how ?the dawn in gonna shine?, and a snatched chorus of ?Almost done, you're still the one?.
Even on the first Verona rehearsal ? which is largely devoted to working on all three new songs (and a couple of country covers) ? the words are a lot less developed than the melody or the rat-a-tat arrangement. Almost done? Maybe not.

Again, Dylan seems to enjoy a real rapport with Mick Taylor, who still remembered that Sweetheart Like You began this way.
Though there is no shortage of dummy lyrics, the focus of the song remains: ?Trust in me, I'll trust in you.?
In all likelihood, he continued to work on the lyric over the next couple of days.
This would fit former patterns, the song resolving itself around another Rose of Sharon-like figure.
By then, though, band rehearsals had transferred to the stages of Europe and, as he quickly discovered, stadium and arena audiences were notoriously reluctant to stand and listen to some slow, semi-defined song they had never heard before.
The slot one imagines this song would have filled he instead devoted to a Willie Nelson cover of a similar hue, Why Do I Have To Choose?

By the time Dylan returned to New York, the second week in July 1984,he had already decided that all three songs rehearsed in Verona were surplus to requirements.
This gorgeous melody went unused, even as he set about recording four songs with nary a decent tune between them.
Also discarded, this time before he even boarded the plane for Italy, was another snatch of a song he was working on at the Los Angeles rehearsals.
I See You Round And Round, perhaps a leftover from the garage jam-sessions, amounted to little more than a riff that went around and around,
as the 90-second fragment from the Beverly Theatre attests.

***

Beverly Theater
Los Angeles, California
23 May 1984

Rehearsal before tour

01.Maggie's Farm
02.All Along The Watchtower
03.Just Like A Woman
04.When You Gonna Wake Up
05.Shelter From The Storm
06.Watered-Down Love
07.Masters Of War
08.Jokerman
09.Simple Twist Of Fate
10.Man Of Peace
11.I & I
12.Ballad Of A Thin Man
13.Heart Of Mine
14.Around And Around
15.Leopard-Skin Pill-Box Hat
16.It's All Over Now, Baby Blue
17.Angel Of Rain (Almost Done)
18.Always On My Mind (Mark James/Johnny Christopher/Wayne Carson)
19.Every Grain Of Sand

Bob Dylan (vocal, guitar, harmonica), Mick Taylor (guitar), Ian McLagan (keyboards), Gregg Sutton (bass), Colin Allen (drums).

LB-7910;
Angel Of Rain (Rattle Snake / RS-226);
Equipment: CD-R from source >
dBpowerAMP set to co0mpression level 6 > flac

Very good to excellent sound [B+].

***

Unidentified Studio
Verona, Italy
27 May 1984
Rehearsal before tour

20.Highway 61 Revisited
21.Girl Of The North Country
22.License To Kill
23.When You Gonna Wake Up?
24.To Ramona
25.Angel Of Rain (Almost Done)
26.Enough Is Enough
27.Dirty Lies
28.Why Do I Have To Choose? (Willie Nelson)
29.To Each His Own (Ray Evans - Jay Livingstone)

Bob Dylan (vocal, guitar, harmonica), Mick Taylor (guitar), Ian McLagan (keyboards), Gregg Sutton (bass), Colin Allen (drums).

1-20 Carlos Santana (guitar) on:Angel Of Rain, Enough Is Enough, Dirty Lies, Why Do I Have To Choose?, To Each His Own.

LB-6752;
Dirty Lies (Wanted Man / WMM 045-046)

Very good to excellent sound [B+].

***

Robert Shelton

By summer 1984, Dylan was ready to surface again in Europe on an ambitious concert tour with Santana, produced by Bill Graham.
At a press conference in Verona, Italy, in early June 1984, 150 European reporters and photographers turned out, although Dylan did not have much to say to them and it ended in a customary shambles.
But by the time he arrived in Madrid, he had some lucid views: "I don't think I'm gonna be really understood until maybe one hundred years from now.
What I've done, what I'm doing, nobody else does or has done.
When I'm dead and gone maybe people will realize that, and then figure it out.
I don't think anything I've done has been even mildly hinted at."

From Rotterdam to Goteborg, from Berlin to Nice, from Barcelona to Newcastle to Dublin, Dylan performed to about three quarters of a million people.
Joan Baez sang on the same bill with him and Santana at Hamburg, Munich, Offenbach, Berlin, Cologne, and Nice.
But they actually sang together only at Hamburg and Munich. Joan told my journalist associate, Liz Thomson:
"I sang with Dylan at two concerts. The press have blown it up. It really isn't the coming together of two myths.
Dylan's doesn't consider the audience. I said, 'We owe it to them to sing together.'
But the more insistent I got that it was expected, the less interested he became. In order to perform together professionally, you have to be asked."
There were many other guest stars along the way who appeared either on the bill or with Dylan ? Eric Clapton, Chrissie Hynde, and Van Morrison at Wembley, and Hugues Aufray in Paris, among them.
While Dylan was not doing any preaching this time around, ironically his appearances followed European evangelizing tours of Luis Palau and Billy Graham.

Dylan still displayed antagonism toward the press.
The West German weekly Stern was said to have offered him a front-cover story in exchange for a very brief visit, but Dylan said, "Nein."
When a reporter at Verona asked about his current religious views, he was scornful.
?Why didn't people ask Billy Joel about his religious views??, he asked, refusing to countenance how important he had made religion in his music.

When Mick Brown, this time with The (London) Sunday Times, heard him at a Madrid football stadium, among 25 thousand others, he saw him looking like "some avenging backwoods preacher" and sounding like "an uncompromising moralist," despite the absence of Christian songs.
Dylan denies this was a nostalgia tour: "A Tale of Two Cities was written 100 years ago. Is that nostalgia? Just another label," he told Mick Brown.

Dylan recalled that the worst reaction toward the born-again Christian period (another label he could not tolerate) was in 1979 on university campuses where "the so-called intellectual students showed their true monstrous selves."
(That was when stunned listeners had called out again, "We want the old Dylan," until the power of the gospel performances turned it all from disaster to triumph.
That's when he had sung in Sant Monica for World Vision, an international Christian group, to raise money for Cambodia relief, nd Dylan preached his way into songs as in black churches: "Christ will return to set up His Kingdom in Jerusalem.
There really is a slow train coming and it is picking up speed. Satan has been defeated by the Cross.")

Although he was not talking in those terms by 1984, he still was thinking about Apocalypse as forecast in the Book Of Revelations, and still saw the false gods of corporate Mammon all around. He remembered the 1960s with warmth: "America is not like that anymore. But what happened, happened so fast that people are still trying to figure it out.
The TV media wasn't so big then. Woodstock wasn't about anything, just a whole new market for tie-dyed T-shirts. It was about clothes.
All those people are in computers now. It seemed [then] there was room to be different.
I came along at just the right time, and I understood the times I was in.
If I was starting out right now, I don't know where I'd get the inspiration from, because you need to breathe the right air to make that creative process work.
There's never been any glory in it for me.
For me, the fulfillment was always in just doing it. That's all that really matters."

***

Arena di Verona
Verona, Italy
28 May 1984

Not used.

First concert of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),Ian MacLagan (keyboards), Greg Sutton (bass),Colin Allen (drums).

Live debuts of I & I, Man Of Peace.

First live version of Tombstone Blues since Berkeley, California, 4 December 1965.

First live version of Shelter From The Storm since Hollywood, Florida, 16 December 1978

***

Arena di Verona
Verona, Italy
29 May 1984

30.It's Alright, Ma (I'm Only Bleeding)

Second concert of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: It's Alright, Ma (I'm Only Bleeding).

LB-1781;
Taper: Fendert (FD)

Fair sound [B-].

***

St. Pauli Stadion
Hamburg, West Germany
31 May 1984

Not used.

Third concert of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

***

Press Conference, Clubhaus, St Pauli Stadion, Hamburg, 31 May 1984

Broadcast on Tele-Illustrierte on ZDF-TV in West Germany, 1 June 1984, and by Radio HR3 in West Germany, 11 June 1984

Q: Mr Dylan, you sing a lot of old songs. Do you still have the old feelings when you sing them?

Dylan: Oh absolutely.

Q: No?

Dylan: More so now.

Q: What do you want to say when you sing the old songs, or is it just a compliment for the public?

Dylan: I wanna say this what's in the songs, you know. A few of the songs I've changed lyrics too, bringing them more up to date, you know.

Q: How do you feel being on stage again with Joan Baez?

Dylan: I haven't been on the stage with Joan yet. It hasn't happened yet, but I'm sure it will be a wonderful experience.

Q: Are there any other singers you would like to sing with?

Dylan: Mmmm, sure ? Elvis Presley.

Q: Will you keep the band you have now on tour, or is it just for this tour?

Dylan: Well, what ? that's hard to say you know.

Q: Do you think you have been lucky to get that band?

Dylan: Oh, I'm always lucky to get any band.

Q: It is said that your '77 [sic] concert in Nuremberg was one of your most beautiful.
What do you feel ? how do you feel about coming back to Germany?

Dylan: Well, we just got here today you know, so it's still hard to tell, I just woke up a little while ago.

Q: Why did you decide to make a European tour?

Dylan: No particular reason... It's just, you know doing this, you just play all over, all over the place.

Q: Do you think it's possible the two of you, you will sing with Joan Baez?

Dylan: It's possible. I'm not sure if it's likely, but it's possible.

Q: Mr Santana, I saw you in Verona playing with Bob Dylan

Carlos Santana: Yeah, the real food is when we play music, and especially with another musician like Bob.
The audience should be commended, they stayed for more than four, five hours it seems, in the cold, and they didn't want us to go, and I didn't want to go.
But hopefully next time, we won't go, and if somebody needs to go, they can go, and the rest of the people who want to play should play; because we have, I feel we have a deep reservoir, you know, of inspiration.
And people who run out, they should go home, and people who do have inspiration left to play, they should stay and play.

Q: I have a question. Will you keep this formation you have now?

Carlos Santana: I beg your pardon ? that was for Bob or me?

Q: To you ? will you stay with this formation?

Carlos Santana: You mean with the band? Sure, I love to. I love these musicians.
They're all individuals, great individuals in their own rights, they inspire me all the time, so... ah, a great family, thank you.

Q: How did you get together with Sly Dunbar and Robbie Shakespeare for the last record?

Dylan: Mmmm, it just happened.

Q: You wrote a song, I & I

Dylan: I & I !

Q: You write rastafarian music too?

Dylan: Is that? Could be.

Q: Is touring such a big thrill for you as it was in the early days?

Dylan: Oh yeah.

Q: Thrill or bore?

Dylan: Eh?

Q: A thrill or a bore?

Dylan: Oh it's a thrill.

Q: You look a bit tired.

Q: Bob Dylan, could you try to explain the stupid reactions to Slow Train Coming and Sla- uh, Saved?
That rea ? the stupid reaction, we had for example here in the press?

Dylan: Ah, who's that singing (Baez can be heard in the background)?

Slow Train was a big album, yeah. I don't know what was in the press here about it, but Slow Train did all right.
I think Saved was a little light, you know. Some are big, some aren't, you know...

Q: Mr Dylan, how do you feel about the American Freeze Movement and the German Peace Movement here and in the world?

Dylan: Well, I heard about that, yeah.

Q: So what do you feel about it, I mean what do you know about it?

Dylan: Ah... is there missiles here? There's miss ? yeah, yeah (Sighs deeply), ah well, I'd probably ? I probably wouldn't [want] them in in my backyard either, you know.

Q: Do you consider any political activities for yourself? I mean as you were a protest singer?

Dylan: No. I might have been a protest singer, but I've always... never been, you know... into politics, whatever.

Q: In rock 'n' roll and reggae, there's a lot of politics...

Dylan: Yeah, there might be, there might be some. Well, you could make anything politic ? political, you know.
You can turn a love song, you know, a love song can be political too.

Q: Do you wish your lyrics would have any effect?

Dylan: Was that to me?

Q: Yeah.

Dylan: To have effect ? oh sure!

Q: Could you specify that please?

Dylan: The effect? Well, they affect ?me?, so I don't know, maybe they affect somebody else (sighs deeply)

Q: Did you sleep last night?

Dylan: No. You know how it is on these tours. So much going on, it's so hard to get some sleep.

Q: I presume you two will play together with Joan Baez tonight. Has there been time to...
to practise before, would it be just like friends playing the first time together?

Carlos Santana: I'm sorry, can you repeat that question again? I thought you were asking him. This is ? What did you say?

Q: Did you practice before? You are playing together, did you improvise?

Carlos Santana: All the time as much as possible. We rehearse the band enough time to get acquainted with...
I'm a believer that freedom comes from discipline, so first you gotta have discipline, consistency and regularity in your rehearsal.
Once you become acquainted with each other, then you can do anything you want to, because you have confidence -- ...
in what you're there for, and in what the musicians can do. So yeah, I rehearsed enough to...
when I come here I can maintain a standard as a professional, yeah.

Q: The question was, whether or not you rehearsed with Joan Baez before you played with her today?

Carlos Santana: No, I never. But it was fun, I was delighted.

Q: Is it fun to play with Bob Dylan too?

Carlos Santana: Oh, it's a deep honor to play with Bob Dylan. Mmmm, I mean, I'm looking forward to making it even more fun.
At least for my part, for him you know, and for the rest of the audience, you know.
That's all we can do, is really to serve, and enhance, and make people happy, and touch 'em the way that you people touch us, with your convictions, and our beliefs.

Q: Mr Dylan, how many songs does it take you to wake up on stage?

Dylan: Oh, maybe six.

Q: How many do you play, five?

Dylan: (LAUGHS)

Q: Mr Dylan, do you have any aims?

Dylan: Who? ? oh-oh...

Q: Mr Santana, why are you wearing a hat like that?

Carlos Santana: For the same reason you're wearing a dress like that, or a ... pants like that.
It's ... they're neat, nice colors, keep my head warm.

Q: That's all?

Carlos Santana: So far.

Dylan: Okay? Is there any more questions?

Q: I didn't get my answer.

Q: Do you listen to any contemporary rock music now? What kind of music do you listen to?

Dylan: Let's see, listen ? is that for Carlos or me?

Q: For you, Mr Dylan.

Dylan: Oh. What music do I listen to?

Q: Yeah.

Dylan: Oh, I listen to just about anything.

Q: There's been happening a lot, say, for the last five years in rock music.
What do you think about it, are you part of the new...?

Dylan: Yeah, well... (applause as Joan Baez arrives)

Dylan: This woman can really talk, so all...

Q: Why can't you?

Dylan: I don't know. I've never, uh, practised it.

Q: What means pleasure to you?

Dylan: Huh?

Joan Baez (TO DYLAN): What do you want to do?

Dylan: What do ... like to do? Oh ... I like to dance and I like to sing.

Joan Baez: This an open press conference? Can anybody ask anybody what they want?

Q: Bob's a bit sleepy.

Joan Baez: How long has it been going on?

Q: Twenty minutes.

Joan Baez: Really?

Q: Did you like the Hamburg audience?

Joan Baez: They're superb.

Q: And in comparison to the Italian audience, what's the difference?

Joan Baez: To the which?

Q: Italians.

Joan Baez: They're a little less hysterical, but they're certainly as bright.

Q: Did you expect more young people in the audience?

Joan Baez: My German audiences are, like, young. Mine is a young audience, for me, you have to remember, young for Bob too.

Dylan: Well, I am young!

Joan Baez: Happy Birthday Bob!

Q: How do you come along together, the two of you?

Joan Baez: Pardon?

Q: How do you get along with each other?

Joan Baez: I don't know, I haven't seen him in two years, and before that, I hadn't seen him in five years.
We probably don't get along too well if we see each other more (laughs). How do we get along, Bob?

Dylan: Oh, fabulous.

Q: A question to all three of you whoever wants to answer. Do you think you will get the next generation of audience and public?
You are looking into the audience, maybe it's the 30s or 40s, no?

Joan Baez: It's not. I would assume that it would be, and I would think it would be for Bob, and I would think it might be for Carlos.
But you better look again. There's some of course our age...

Dylan: There's a lot of people our age.

Q: Yeah.

Joan Baez: But in the audience, there's a lot of very young people.

Q: But it's difficult for them to find a babysitter when you're going to a festival?

Dylan: That's true, that's right.

Q: Miss Baez, would you comment on the American Freeze movement? I asked that question before.

Joan Baez: I think the American Freeze movement is the only movement big enough to call an actual movement, and I think that's the useful thing about it. See ya, Bob! The useful thing about it is that it, uhmmmm, helps some people who are very frightened of talking about disarmament in any way that sounds like unilateral.
So it introduced middle class... middle class America to talking about disarmament.
People who are too terrified to talk about it before... The thing about that isn't... that I'm not quite comfortable with is that it isn't enough.
Now, it doesn't really ? If you can do it from your living room, it's probably not gonna stop World War III.

Q: What you just said is that more knowledge or awareness of nuclear threat is needed?

Joan Baez: Yeah, and that's useful. Definitely.

Q: But that's something you can do from your living room?

Joan Baez: Yes, and then the problem is that it's not just...
We could dismantle everything magically in a period of six months, but if we didn't change our basic assumptions that we all work on, which is that it's okay to kill each other, then we could build them all up again in... a year, or however long it takes.

Q: Bob, which period in your career are you most satisfied with?

Dylan: Mmmm, this one right now.

Q: You make music for so long a time, is it not the moment to give it up? What's the end to your career?

Dylan: Huh? I hope it's not...

Q: Bob, are you Christian or Jewish?

Dylan: Well, that's hard to say.

Q: Some more?

Dylan: It's a long story.

Q: I'd like to know it.

Dylan: It'd take too long to tell you.

Q: Mr Dylan, you wrote ? rumor has it that you wrote some songs for The Clash and The Psychedelic Furs, is that true?
Why did you choose those people as, er ? to write a song for?

Dylan: Is that a question? Was that a question?

Q: It is, yes.

Dylan: Do I like The Psychedelic Furs?

Joan Baez: Why did you write songs for them? Did you write songs for them?

Q: The Psychedelic Furs told in an interview that you sent them a song?

Dylan: (after some further prompting from Joan Baez): Oh, I can't remember.

Joan Baez: If anybody is interested in a serious press conference, I'd be happy to stay for ten minutes, okay?

Dylan: Joan's gonna stay and answer some more questions.

Joan Baez: That's right, whichever you like.

Q: Joan Baez, you know him for a really long time, why is it so difficult to have some answers?

Joan Baez: I've known Bob for a long time, and I've never tried to understand him...
and I've never shared a press conference with him (laughing).

Q: You'll never do it again?

Joan Baez: No, I'll never do it again (laughing).

Q: Is he like that in private life?

Joan Baez: I don't know that either. Literally, I never see him.

Q: Carlos Santana, have you played together with Joan Baez, or is it the first time now in Hamburg?

Carlos Santana: We played before. She took the time to invite me to perform for some prisoners in Soledad, and, oh, we had a lot of fun.
I enjoy being and playing and offering and receiving from Joan Baez.

Q: Do you have the same sort of political engagements as Joan Baez?

Carlos Santana: No.

Q: Same spiritual?

Carlos Santana: Same spiritual, uh. We have different ways of doing it, but I'd rather change the world by being an example, rather than by opening my mouth and just pointing out fingers and stuff like that.

Joan Baez: I open my mouth a lot, he's right!

Q: Joan Baez, what do you think about Jackson, the candidate?

Joan Baez: Jesse Jackson?

Q: Yeah.

Joan Baez: Well, I started off when Jesse started to run. I didn't like Jesse, because I knew him years ago and I didn't trust him.
But he started to say things, I liked almost everything he said.
He was refreshing, he wasn't lying, he even admitted when he made a mess, you know, which is very rare.

***

St. Pauli Stadion
Hamburg, West Germany
31 May 1984

31.Blowin' In The Wind

Third concert of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan (vocal & guitar), Joan Baez (vocal & guitar), Carlos Santana (guitar) on: Blowin' In The Wind.

Blowin' In Thw Wind partly broadcast ZDF-TV, West Germany, 1 June 1984, in the program ?Tele-Illustrierte?.

BobTalk

Carlos is gonna come back on now, remember?
Joan Baez is coming back on too. I like to introduce Joan. Joan Baez. Joan gave me my first start.
I think she put me on my first stage, I don't know. She sure is a wonderful lady, give her a hand.
(before Blowin' In The Wind)

LB-0881;
Taper: Christian Behren (CB)

Very good to excellent sound [B+].

***

St. Jakob Stadion
Basel, Switzerland
2 June 1984

Not used.

Concert #4 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Live debut of Why Do I Have To Choose?.

***

Olympia Stadion
Munich, West Germany
3 June 1984

32.I Shall Be Released
33.Forever Young

Concert #5 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Joan Baez (shared vocal & guitar) On I Shall Be Released.

Carlos Santana (guitar) on: I Shall Be Released, Forever Young.

LB-6753;
The Jokerman Has Just Left The Stadium (Sound Bites / SB001-2)

Very good to excellent sound [B+].

***

Sportpaleis Ahoy
Rotterdam, The Netherlands
4 June 1984

Not used.

Concert #6 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

First live version of Tangled Up In Blue since Hollywood, Florida, 16 December 1978.

***

Sportpaleis Ahoy
Rotterdam, The Netherlands
6 June 1984

34.Just Like A Woman

Concert #7 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan (harmonica) on: Just Like A Woman.

LB-3894;
Taper: SM;
Equipment: Transferred from first generation source > (dBpowerAMP) flac

Very good to excellent sound [B+].

***

Stade de Schaerbeek Stadion
Brussels, Belgium
7 June 1984

35.I & I
36.License To Kill
37.It Ain't Me, Babe
38.Tangled Up In Blue
39.Girl Of The North Country
40.Tombstone Blues

Concert #8 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: It Ain't Me, Babe, Tangled Up In Blue, Girl Of The North Country.

Bob Dylan (harmonica) on: It Ain't Me, Babe, Tangled Up In Blue.

Carlos Santana (guitar) on: Tombstone Blues.

Tangled Up In Blue broadcast in part on Belgian TV, 8 July 1984.

LB-7098;
Still Walking Towards The Sun
(Southside Butcher Production)

Good sound [B].

***

Ullevi Stadion
Gothenburg, Sweden
9 June 1984

41.Jokerman
42.All Along The Watchtower
43.License To Kill
44.Mr Tambourine Man
45.It Ain't Me, Babe
46.It's Alright, Ma (I'm Only Bleeding)
47.It's All Over Now, Baby Blue
48.Masters Of War
49.Ballad Of A Thin Man
50.Don't Think Twice, It's All Right
51.Love Minus Zero/No Limit

Concert #9 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Mr Tambourine Man, It Ain't Me, Babe, It's Alright, Ma (I'm Only Bleeding), Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on: Mr Tambourine Man, It Ain't Me, Babe.

Carlos Santana (guitar) on: Love Minus Zero / No Limit.

Mr Tambourine Man partly broadcast live by Danish TV with sound recorded from the audience.

LB-6975;
A Dying Voice Within Me (Thinman / 072-73)

Very good to excellent sound [B+].

***

Idraetsparken
Copenhagen, Denmark
10 June 1984

Not used.

Concert #10 of the 1984 Europe Tour.

Band: Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

***

Stadion Bieberer Berg
Offenbach, West Germany
11 June 1984

52.Highway 61 Revisited
53.Maggie's Farm
54.I & I
55.Ballad Of A Thin Man
56.Man Of Peace
57.Every Grain Of Sand
58.Like A Rolling Stone
59.Why Do I Have To Choose? (Willie Nelson)

Concert #11 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar), Armando Peraja, Raul Rekow, Oresta Vilato (percussion) on Why Do I Have To Choose?

Maggie's Farm and I & I broadcast by HR3 Radio, West Germany, 11 June 1984 with sound from the audience.

LB-1812

Very good to excellent sound [B+].

***

Waldbühne
West Berlin, West Germany
13 June 1984

60.Maggie's Farm
61.Tangled Up In Blue
62.Like A Rolling Stone
63.Blowin' In The Wind

Concert #12 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Tangled Up In Blue.

Bob Dylan (harmonica) on: Tangled Up In Blue

Carlos Santana (guitar) on: Blowin' In The Wind.

LB-9857;
Taper: Legendary Taper D (LTD);
Transfer: JF;
Equipment: Sennheiser MKE 2002 Binaural mics >
Sony WM-TCD-5 Cassette Recorder;
JF Equipment: Cassette Masters >
Nakamichi CR-7A (manual azimuth adjustment) >
Adobe Audition > Flac

Very good to excellent sound [B+].

***

Wiener Stadthalle-Kiba
Vienna, Austria
14 June 1984

64.Heart Of Mine

Concert #13 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar), Armando Peraja, Raul Rekow, Oresta Vilato (percussion) on Heart Of Mine.

LB-6301;
xref-01234;
Taper: Fendert (FD);
Additional soundmastering (ASM);
Equipment: flacs derived from LB-1829 > wav (flac frontend) >
asm (Adobe Audition 1.0) >
flac (flac frontend - align on SB option - level 6 - verify on)

Good sound [B].

***

Müngersdorfer Stadion
Cologne, West Germany
16 June 1984

65.Just Like Tom Thumb's Blues

Concert #14 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar) on Just Like Tom Thumb's Blues.

LB-9797;
Compiler: Les Kokay (LK);
Equipment: my Tape > Tascam102 >
cooledit pro (normalisation, edits, fades) >
CDWave > CDR > EAC > traders little helper

Very good to excellent sound [B+].

***

Stade De L'Ouest
Nice, France
17 June 1984

Not used.

Concert #15 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

***

Roma Palaeur
Rome, Italy
19 June 1984

66.Just Like A Woman
67.License To Kill
68.Simple Twist Of Fate

Concert #16 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan (harmonica) on: Just Like A Woman

LB-2969

Excellent sound [A-].

***

Roma Palaeur
Rome, Italy
20 June 1984

Not used.

Concert #17 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

***

Roma Palaeur
Rome, Italy
21 June 1984

69.Desolation Row
70.I Shall Be Released

Concert #18 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Desolation Row

Carlos Santana (guitar) on: I Shall Be Released.

First live version of Desolation Row since St. Louis, Missouri, 4 February 1974.

LB-10784;
Taper: Legendary Taper B (LTB);
Sony ECM 150 t > Sony D6, cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Stadion San Siro
Milan, Italy
24 June 1984

71.Knockin' On Heaven's Door
72.Leopard-Skin Pill-Box Hat

Concert #19 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar) on: Knockin' On Heaven's Door, Leopard-Skin Pill-Box Hat.

Alphonso Johnson replaces Greg Sutton on bass on: Knockin' On Heaven's Door, Leopard-Skin Pill-Box Hat.

LB-0362

Very good to excellent sound [B+].

***

Estadio del Rayo Vallecano
Madrid, Spain
26 June 1984

73.Jokerman
74.License To Kill
75.Enough Is Enough
76.Mr Tambourine Man

Concert #20 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Mr Tambourine Man.

Bob Dylan (harmonica) on: Mr Tambourine Man.

LB-9860;
Taper: Legendary Taper D (LTD);
Remaster: JF December 2011;
Equipment LTD: Sennheiser MKE 2002 Binaural mics >
Sony WM-TCD-5 Cassette Recorder;
Equipment JF: Cassette Masters >
Nakamichi CR-7A (manual azimuth adjustment) >
Adobe Audition > Flac

Very good sound [B+].

***

Minestadio del F.C. Barcelona
Barcelona, Spain
28 June 1984

77.I & I
78.Lay, Lady, Lay
79.Tombstone Blues

Concert #21 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar) on: Tombstone Blues.

First live version of Lay, Lady, Lay since Salt Lake City, Utah, 25 May 1976.

LB-9861;
Taper: Legendary Taper D (LTD);
Remaster: JF;
Equipment: Sennheiser MKE 2002 Binaural mics >
Sony WM-TCD-5 Cassette Recorder;
JF Equipment: Cassette Masters >
Nakamichi CR-7A (manual azimuth adjustment) >
Adobe Audition > Flac

Excellent sound [A-].

***

Stade Marcel Saupin
Nantes, France
30 June 1984

80.All Along The Watchtower
81.Just Like A Woman
82.Simple Twist Of Fate
83.Like A Rolling Stone
84.The Lonesome Death Of Hattie Carroll
85.The Times They Are A-Changin'
86.It Takes A Lot To Laugh, It Takes A Train To Cry

Concert #22 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar),
Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on: Just Like A Woman, The Lonesome Death Of Hattie Carroll.

Bob Dylan (vocal & guitar), Carlos Santana (guitar) on: The Times They Are A-Changin'.

Carlos Santana (guitar) on: It Takes A Lot To Laugh, It Takes A Treain To Cry.

First live version of It Takes A Lot To Laugh, It Takes A Train To Cry since Philadelphia, Pennsylvania, 6 October 1978.

BobTalk

Thank you for being so kind tonight. I wanna introduce the band to you now.
On the keyboards, Ian MacLagan. On the bass guitar, Greg Sutton.
On the drums, Colin Allen. On the guitar, Mick Taylor.
I don't have to introduce to you. I know who you are. (near the end of Like A Rolling Stone)

LB-9862;
Taper: Legendary Taper D (LTD);
Transfer: JF;
LTD Equipment: Sennheiser MKE 2002 Binaural mics >
Sony WM-TCD-5 Cassette Recorder;
JF Equipment: Cassette Masters >
Nakamichi CR-7A (manual azimuth adjustment) >
Adobe Audition > Flac

Very good to excellent sound [B+].

***

Parc de Sceaux
Paris, France
1 July 1984

87.Tangled Up In Blue
88.Simple Twist Of Fate
89.Masters Of War
90.The Times They Are A-Changin'
91.It's All Over Now, Baby Blue

Concert #23 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Tangled Up In Blue.

Bob Dylan (harmonica) on: Tangled Up In Blue.

Carlos Santana (guitar) on: The Times They Are A-Changin', It's All Over Now, Baby Blue.

Hughes Aufray (shared vocal & guitar) on: The Times They Are A-Changin'.

Van Morrison (shared vocal & guitar) on: It's All Over Now, Baby Blue.

BobTalk

I wanna introduce a friend of mine, I first met when I came to Paris..., came here in 1962. Just the other day actually. He-he.
Anyway, he's made a few records here.
I wanna introduce you to him now. Hughes Aufray. (after It Ain't Me, Babe)

Van Morrison! (after It's All Over Now, Baby Blue)

LB-9863;
Taper: Legendary Taper D (LTD);
Remaster: JF;
LTD Equipment: Sennheiser MKE 2002 Binaural mics > Sony WM-TCD-5 Cassette Recorder;
JF Equipment: Cassette Masters >
Nakamichi CR-7A (manual azimuth adjustment) > Adobe Audition > Flac

Very good to excellent sound [B+].

***

Paul Williams

Paris is my favorite show of the 1984 tour (based on the tapes).
Dylan is in front of a huge crowd (100,000 people) in a city he has always loved to perform in;
he is probably still feeling the glow from his wonderful reception in Spain earlier in the week;
in any case, his voice sounds great ? rich in musical texture and full of aliveness and personality ? throughout the concert.

In the first set, even such tired chestnuts as All Along The Watchtower and Maggie's Farm are exciting to listen to, at least when Dylan's singing.
I & I, always a high point at these concerts, is full of vocal fire, stepped on somewhat by insensitive accompaniment and overly long guitar solos, but a thrilling perfor¬mance nonetheless.

Tangled Up In Blue in Paris, second song of the second set, marks perfectly that mysterious transition into work filled with spirit,
and capable of reaching deep into the soul of both performer and listener.
The version on Real Live (from London, 7 July 1984) is so similar I am not sure I can articulate what makes the two performances different;
yet the difference is as unmistakable as that between an ordinary starry night and the same night the instant after a lightning bolt has shattered the sky.

The key to the differentness may possibly be found (and in this search for the source of greatness I am also listening to the transition
from a well-sung but uninspired and uninspiring A Hard Rain?s A-Gonna Fall, opener of the acoustic set in Paris, to this astonishing performance of Tangled Up In Blue) in the way Dylan plays the guitar.
On Real Live's Tangled Up In Blue the guitar seems to me to follow the vocal, dutifully doing its part, whereas in Paris the guitar from the first moment seems pulled by some great unknowable relentless force.
The surprising punch in the vocal phrasing in the Paris version is, I suggest, a response to the tempo set by the guitar ? a very specific rhythm that in itself gives the song a whole new meaning, one that the phrasing must instinctively find a way to express.

Close attention to these similar-but-different concerts and individual songs forces us to notice that, in the act of performance, there is a "click!" sometimes and then greatness happens.
To say that in this case the click may have occurred when heart and brain found a tempo with which fingers could express new and necessary feeling ? or, equally likely, that it occurred when fingers happened upon that tempo, and heart and brain responded and reinforced ? is helpful I think if it calls our attention to felt rhythm as a key to the emotions music calls forth, both from the performer of the music and from the person listening to the performance.
We feel a rhythm, and parts of us that we have no name for respond.
And the greatness of vocal music lies very often in the relationship between the singing and the rhythmic accompaniment, a meta-rhythm if you will (the pulse of rhythm and voice dancing together).

Whatever. This Paris performance of Tangled Up In Blue gets to me. It makes me scream.
And its impact as far as I can tell has nothing to do with the new words, except in the not insignificant fact that the new words change the singer's relation¬ship with the song: it is new for him, filled with the excitement of discovery, freshness, new creation.
On the other hand I do not mean to suggest that the impact of the performance stems mainly from the guitar playing.
Its impact is in Dylan's diction this particular evening, and in the sound of his voice as he tells the story.
The importance of the guitar playing is that it creates the environment in which this diction and this voice are drawn forth.

Dylan in a 1985 conversation with Bill Flanagan, included in Flanagan's collection of interviews with songwriters, Written in My Soul, says of this version of Tangled Up In Blue: "I always wanted it to be the way I recorded it on Real Live.
The old (words) were never quite filled in. I rewrote it in a hotel room somewhere.
I wanted to sing that song so I looked at it again, and I changed it. When I sang it the next day I knew it was right.
It was right enough so that I wanted to put it down and wipe the old one out."

Fortunately, of course, new versions of already-performed songs do not wipe out the old ones;
if they did Dylan's body of great work would be much smaller.
If I had to choose, I would say the earlier lyrics are more effective at what Dylan says in this interview he wanted to do in the song,
which is "defy time, so that the story took place in the present and the past at the same time."
But it does not matter. I love the line "I could feel the heat and the pulse of her" in the 1984 version.
And I think it is ironic that if "the old one" had been wiped out, Flanagan would not have had a tide for his book
(such a perfect title, such a classic line) ? that whole verse disap¬peared when Dylan did his hotel room update.

Tangled Up In Blue was followed in Paris by the single best live version of It's Alright, Ma (I'm Only Bleeding) that I have ever heard.
This time the transition (greatness to greatness) does not seem so strange.
It makes sense for fine performances to come in bunches, one ricocheting off another till entropy and friction have their way.
Again the flawless tempo seems at the heart of the matter (so easy to be too fast or too machine-like with this one), but this time it is more apparent what force it is that impels those flying fingers (tongue, lips, vocal cords) forward.
It is conviction. I do not think I have heard a performance of this song since the original album version in which the singer is so able to inhabit every phrase, see every image, feel every expressed feeling.
Nothing is thrown away, no part of the song is sung on automatic pilot. The performer is awake. The result is frightening, and beautiful. And awakening.

But these moments of breakthrough are rare. For the most part, Tour '84 adds to our understanding of Dylan's artistry by demonstrating what it is not.
It is not these huge long wonderfully entertaining shows sung in rich, emotive voice that send the crowds home fulfilled and happy.
You and I might really enjoy attending such a show, once or twice anyway ? but I say this is not an example of Dylan's artistry simply because, to my own ears, very little new ground is broken. Dylan either is choosing not to take risks,
or else is unable to take risks because of the limitations of the band he is working with.
On 30 July 1984, just after returning from this tour, Dylan told interviewer Bert Kleinman:

Dylan: I'm usually in a numb state of mind before my shows, and I have to kick in at some place along the line, usually it takes me one or two songs, or sometimes now it takes much longer. Sometimes it takes me to the encore!

Kleinman: The band I would imagine has an effect on that.

Dylan: Oh, absolutely. I've played with some bands that have gotten in my way so much that it's just been a struggle to get through the show.

Dylan is quick to add that he thought his last band was "pretty good," but maybe he is just being polite.

So if we make a distinction between performer and performing artist ? and admittedly this is a difficult, subjective, dangerous, judg¬mental activity ? I think we can say, on the evidence of the tapes, that in the spring of 1984 that artist was biding his time.
He was, let us say, allowing "the performer" to take care of business, the rather import¬ant business of reestablishing both a career and a positive relation¬ship with an audience. Dylan's recalcitrant, unpredictable side is unusually restrained at these shows (he did allow it to do a few press conferences).
What this suggests is how very vital Dylan's recalcitrance, his orneriness, his refusal to do what's expected of him, is to his body of work.
If he were a nicer guy, we might have nothing.

Nothing but fragments. Every Grain Of Sand recast as a rock anthem is the other major innovation at these shows (along¬side the rewritten Tangled Up In Blue; Simple Twist Of Fate also gets a whole new rewrite, and it can be delightfully outrageous, as in Paris,or surprisingly tender, as in Barcelona, but it is not innovative, just one more variant on a now-familiar theme ? the dummy lyrics and shifting verses add to the fun, especially if you listen to more than one concert, but this is a song Dylan plays with in 1984 ? he never gets challenged by it). The first verse of Every Grain Of Sand in Paris strikes me as a great fragment,
a moment of truly powerful singing and self-expression (the guitar playing on this song ? and Paris is more restrained than many of the other concerts ? is Taylor at his most misguided). The last 20 seconds of singing on the Barcelona version (to get really picky) are also quite amazing.

***

Interview with Mick Brown, Sunday Times, 1 July 1984

Dylan: ?Jesus, who's got time to keep up with the times??

This week Bob Dylan comes to Britain. The folksinger-cum-folk hero of the 1960s has not always had a good reception here.
In 1965 purists attacked him for "going electric". In 1981 his new-found evangelism left many of his fans cold.
What should they expect this time? Last week Mick Brown had an exclusive interview.

Bob Dylan tugged at a cigarette, stroked the beginnings of an untidy beard and gazed pensively at the stream of traffic passing down the Madrid street.
"What you gotta understand," he said at length,"is that I do something because I feel like doing it.
If people can relate to it, that's great; if they can't, that's fine too. But I don't think I'm gonna be really understood until maybe 100 years from now.
What I've done, what I'm doing, nobody else does or has done."

The messianic tone grew more intense. "When I'm dead and gone maybe people will realise that, and then figure it out.
I don't think anything I've done has been evenly mildly hinted at. There's all these interpreters around, but they're not interpreting anything except their own ideas. Nobody's come close."

But a lot of people, it seems, still want to. Bob Dylan may no longer sell records in the consistently enormous quantities he once did ? a fact to which he will allow a tinge of regret - but his capacity to hold his audience in thrall seems undiminished.

By the time Bob Dylan arrives in Britain this week for performances at St. James's Park, Newcastle, on Tuesday and Wembley Stadium on Saturday, he will already have performed to almost half a million people throughout Europe - half a million people singing the chorus of Blowing In The Wind, an esperanto that is as much a testament to Dylan's abiding influence and charisma as the insatiable interest of the world's press in his activities.
This interest is equalled only by Dylan's determination to keep his own counsel whenever possible.
As Bill Graham, the tour's garrulous American promoter and Dylan's closest adviser, keeps reminding you, Bob "is not your everyday folksinger."

All the German magazine Stern had wanted to do was touch base for five minutes in return for a front cover. Dylan declined.
The press conference that he had been persuaded to hold in Verona, attended by 150 excitable European journalists, had been a fiasco: photographers barred, and the first question from the floor - "What are your religious views nowadays?" - met by Dylan irritably brushing the table in front of him, as if to sweep aside that and all other questions to follow.

"I mean, nobody cares what Billy Joel's religious views are, right?" he tells me with a wry smile.
"what does it matter to people what Bob Dylan is? But it seems to, right? I'd honestly like to know why it's important to them."
One expects many things of Bob Dylan, but such playful ingenuousness is not one of them.

Dylan protects himself well, not with bodyguards but with a smokescreen of privacy and elusiveness of the sort that encourages speculation and myth.
Meeting him involves penetrating a frustrating maze of "perhapses" and "maybes", of cautions and briefings - suggestive of dealing with fine porcelain - culminating in a telephone call summoning you to an anynonymous cafeteria filled with Spanish families who give not a second glance to the figure in a hawaiian shirt and straw hat who at last comes ambling through the door.

He is surprisingly genial, youthful for his 43 years, lean, interested and alert, who treat the business of being Bob Dylan with an engagingly aw-shucks kind of bemusement.

It was in striking contrast to the apparition Dylan had presented the previous night, on stage in front of 25,000 people in a Madrid football stadium, his black smock coat, high boots and hawkish profile suggesting some avenging backwoods preacher.

The emphasis in his performance has shifted from the overtly evangelical songs heard in Dylan's last visit to Britain three years ago.
Now it spans every phase of his 21-year career. The themes of social protest, personal love and religious faith have never been more of a piece.
Dylan remains what he has always been, an uncompromising moralist. And to hear songs such as Masters Of War, A Hard Rain's A-Gonna Fall (about nuclear war), and Maggie's Farm (about rebellious labour) invested with fresh nuances of meaning, not to say vitriol, is to realise that, while the sentiments may have become unfashionable in popular music, they are no less pertinent. Nobody else is writing songs like Bob Dylan. Nobody ever did.

"For me, none of the songs I've written has really dated," he says. "They capture something I've never been able to improve on, whatever their statement is.
A song like "Maggie's Farm" - I could feel like that just the other day, and I could feel the same tomorrow.
People say they're 'nostalgia', but I don't know what that means really. A Tale of Two Cities was written 100 years ago; is that nostalgia?
This term 'nostalgia', it's just another way people have of dealing with you and putting you some place they think they understand. It's just another label."

Labels exercise Bob Dylan greatly. People have been trying to put them on him since he started, he says, "and not one of them has ever made any sense."

The furore about his religious beliefs puzzled him most of all, "like I was running for pope or something."
When the word first spread that he had eschewed Judaism and embraced Christianity, and he toured America in 1979 singing overtly religious songs, the most hostile reception came not from rock audiences but when he played university campuses, "and the so-called intellectual students showed their true monstrous selves."

"Born-again christians" is just another label, he says. He had attended bible school in California for three months, and the book was never far from his side, but the idea that faith was a matter of passing through one swing door and back out another struck him as ridiculous.
"I live by a strict disciplinary code, you know, but I don't know how moral that is or even where it comes from really. These things just become part of your skin after a while; you get to know what line not to step over - usually because you stepped over it before and were lucky to get back." Was he an ascetic? Dylan lit another cigarette and asked what the word meant.
"I don't think so. I still have desires, you know, that lead me around once in a while. I don't do things in excess, but everybody goes through those times.
They either kill you, or make you a better person."

By this time in the conversation it did not seem awkward to ask: did he believe in evil?

"Sure I believe in it. I believe that ever since Adam and Eve got thrown out of the garden that the whole nature of the planet has been heading in one direction - towards apocalypse. It's all there in the Book of Revelations, but it's difficult talking about these things to most people because most people don't know what you're talking about, or don't want to listen.

"What it comes down to is that there's a lot of different gods in the world against the god - that's what it's about.
There's a lot of different gods that people are subjects of. There's the god of mammon. Corporations are gods. Governments?
No, governments don't have much to do with it anymore, I don't think. Politics is a hoax. The politicians don't have any real power.
They feed you all this stuff in the newspapers about what's going on, but that's not what's really going on.

"But then again, I don't think that makes me a pessimistic person. I'm a realist. Or maybe a surrealist. But you can't beat your head against the wall forever."

He had never, he said, been a utopian: that was always a foreign term to him, something to do with moving to the country, living communally,
and growing rice and beans. "I mean, I wanted to grow my own rice and beans - still do - but I never felt part of that movement."

But he could still look back on the 1960s with something approaching affection. "I mean, the Kennedys were great-looking people, man, they had style," he smiles.
"America is not like that anymore. But what happened, happened so fast that people are still trying to figure it out. The tv media wasn't so big then.
It's like the only thing people knew was what they knew; then suddenly people were being told what to think, how to behave, there's too much information.

"It just got suffocated. Like Woodstock ? that wasn't about anything. It was just a whole new market for tie-dyed t-shirts. It was about clothes.
All those people are in computers now."

This was beyond him. He had never been good with numbers, and had no desire to stare at a screen.
"I don't feel obliged to keep up with the times. I'm not going to be here that long anyway. So I keep up with these times, then I gotta keep up with the 1990s.
Jesus, who's got time to keep up with the times?"

It is at moments such as this that Dylan ? once, misleadingly perhaps, characterised as a radical - reveals himselfas much of a traditionalist; an adherent of biblical truths; a firm believer in the family and the institution of marriage - despite his own divorce from his wife, Sara; a man disenchanted with many of the totems and values of modern life, mass communications, the vulgarity of popular culture, the "sameness" of everything.
Personally he had been reading Cicero, Machiavelli and John Stuart Mill. Contemporary literature?
"Oh yeah, I read a detective story, but I can't remember what it was called."

"At least in the 1960s it seemed there was room to be different. For me, my particular scene, I came along at just the right time, and I understood the times I was in. If I was starting out right now I don't know where I'd get the inspiration from, because you need to breathe the right air to make the creative process work. I don't worry about it so much for me; I've done it; I can't complain.
But the people coming up, the artists and writers, what are they gonna do, because these are the people who change the world."

Nowadays, he admits, he finds writing harder than ever. A song like "Masters of War" he would despatch in 15 minutes,
and move onto the next one without a second thought. "If I wrote a song like that now I wouldn't feel I'd have to write another one for two weeks.
There's still things I want to write about, but the process is harder.
The old records I used to make, by the time they came out I wouldn't even want them released because I was already so far beyond them."

Much of his time nowadays is spent travelling. He was in Jerusalem last autumn for his son Jesse's bar-mitzvah - "his grandmother's idea", he smiles. Israel interests him from " a biblical point of view", but he had never felt that atavistic Jewish sense of homecoming.
In fact he lives principally on his farm in Minnesota, not far from the town of Hibbing where he spent his adolescence.
Then there is the domed house in Malibu, California, originally built to accomodate his five children ? good schools nearby, he says ? but which he has seldom used since his divorce, and a 63 foot sailing boat with which he cruises the Caribbean "when I can't think of anything else to do."

He had never contemplated retirement: the need to make money was not a factor ? he is a wealthy man ? but the impulse to continue writing was.
"There's never really been any glory in it for me," he says. "Being seen in the places and having everybody put their arms around you, I never cared about any of that. I don't care what people think. For me, the fulfilment was always in just doing it. That's all that really matters."

As the conversation had progressed, more and more people had realised who the man in the straw hat was.
A steady stream had made their way to his table, scraps of paper in hand.
Dylan had signed them all, with a surprisingly careful deliberation ? almost as if he was practising ? but his discomfort at being on view was becoming more apparent. As peremptorily as he arrived, Dylan made his excuses and left.

***

Grenoble Alpexpo
Grenoble, France
3 July 1984

92.Ballad Of A Thin Man
93.When You Gonna Wake Up
94.Girl Of The North Country
95.Señor (Tales Of Yankee Power)

Concert #24 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Girl Of The North Country.

Carlos Santana (guitar) on: Senor (Tales Of Yankee Power)

LB-12141;
Taper: Net Taper B (NTB);
Equipment: Sennheiser MKE-2002 Binaural Microphones >
Uher CR 240 AV Autoreverse > Maxell UD XL II Cassettes >
FLAC 0.6663 (22 files) > HungerCity 2010-02-14 by momo

Good sound [B].

except When You Gonna Wake Up?

LB-6759;
Real Live Outtakes 1984 (Yellow Cat / YC-022)

Fair sound [B-]

***

St. James' Park
Newcastle, England
5 July 1984

96.Mr Tambourine Man

Concert #25 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: Mr Tambourine Man.

Bob Dylan (harmonica) on: Mr Tambourine Man.

***

Wembley Stadium
London, England
7 July 1984

97.Señor (Tales Of Yankee Power)

Concert #26 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Carlos Santana (guitar), Eric Clapton (guitar) on: Senor (Tales Of Yankee Power).

LB-6759;
Real Live Outtakes 1984 (Yellow Cat / YC-022)

Fair sound [B-].

***

Robert Shelton

What was remarkable about Dylan's 1984 visit to London, in contrast with 1981, was the absence of much preconcert buildup in the press,
but still a turnout of one hundred thousand at Wembley Stadium. Only The Times seemed to be regarding Dylan's visit as vital.
The five pop weeklies were not even publishing, because of industrial action.
The audience I observed was made up of, say, 20 percent older people, "the wrinklies."
The bulk of those within my sight, and I moved around, seemed to be 17 to 23 year-olds.
And they were responsive to any intro that signaled a familiar song.
With such a huge turnout paying eleven pounds for tickets, Dylan may have been making as much as ten thousand pounds a song as he went through a retrospective of his songwriting career, with nothing more religious than Knockin? On Heaven's Door.
But he had already turned his back on more fortunes than most of us can ever hope to see in a lifetime.
The age of the audience proved that nothing he had done could shatter himself as an idol and prevent vast numbers of fans in Europe from revering him and what he stood for. That still another generation had tuned in on him was visible in Europe in 1984. When Alan Franks, The Times journalist who had written an appreciation of Dylan a few weeks earlier, was later invited to talk about him to a sixth-form college (students from sixteen to eighteen), he concluded that youth interest in Dylan may have become less frenzied, but that it was still keen.

***

Johnathan Cott, Rolling Stone Magazine, 16 August 1984.

It was his biggest concert in England since the 1969 Isle of Wight Festival, and Dylan, appearing before 72,000 people at London's open-air Wembley Stadium on the evening of 7 July 1984, turned it into one of the highlights of his performing career.

The show was Dylan's next-to-last appearance on a 25-date European tour, and as he sat backstage before the concert, he seemed positively relaxed, cheerfully greeting such old friends and musical colleagues as Mick Jagger, Mark Knopfler, Chrissie Hynde, Steve Winwood, Van Morrison and Eric Clapton.
But when Dylan bounded out onstage later that evening, wearing a black frock coat and sporting a shock of wild, curly hair, he looked, from a distance, like nothing less than a holy man possessed.
And from the moment he and his band (ex-Faces' keyboard player Ian McLagan, ex-Stone The Crows drummer Colin Allen, bassist Greg Sutton and ex-Rolling Stone Mick Taylor) broke into an electrifying Chuck Berryish version of Highway 61 Revisited, it was clear that Dylan was once again a devoted rock ?n? roller.
Moreover, his voice ? full of passionate declamations and dramatic vocal leaps, and displaying an emotional palette that ranged from proud anger to unabashed tenderness ? immediately brought his audience back to the days of Highway 61 Revisited and Blonde On Blonde.

During his two-and-a-half-hour performance, Dylan sang 25 songs.
The first part of the concert included excellent renditions of three tracks from his recent Infidels album: Jokerman, I & I and License To Kill.
But Dylan and the band were most impressive in the way they gave new life to his older songs, turning Just Like A Woman into a rollicking waltz, Simple Twist Of Fate into a sensual rock samba, Every Grain Of Sand into a haunted Basement Tapes meditation and Maggie's Farm ? with the rhythmic riff of Obviously Five Believers ? into a sardonic and fierce protest song (lately the unofficial anthem of "Maggie" Thatcher's opposition, the British Labour party).

Dylan also performed three acoustic numbers: a gentle version of A Hard Rain's A-Gonna Fall, a folk-and bluegrass-tinged rendition of Tangled Up In Blue and a searing reinterpretation of It's Alright, Ma (I?m Only Bleeding).
With only his guitar and harmonica, Dylan somehow made the vast spaces of Wembley Stadium shrink into what seemed like an intimate circle around a campfire, as the crowd accompanied him in the refrains to each of these songs.

The audience continued to sing along when Dylan brought the band back to conclude the first part of the concert with an ecstatic version of Like A Rolling Stone.

For his encore, Dylan did three more acoustic numbers: Mr Tambourine Man, Girl Of the North Country and It Ain't Me, Babe.
Then, from out of the wings, the band reemerged, along with Eric Clapton, Carlos Santana and Chrissie Hynde, and the entire entourage proceeded to give an amazing performance of Leopard-Skin Pill-Box Hat.
As if that were not enough, Van Morrison joined everyone onstage and sang a soulful, unsurpassable version of It's All Over Now, Baby Blue, with Chrissie Hynde and Dylan providing backup vocals.
After receiving a tremendous ovation, Morrison left the stage, and the remaining musicians launched into high-powered performances of Tombstone Blues, Senor (Tales Of Yankee Power), The Times They Are A-Changin' and, finally, Blowin' In The Wind.

Thousands of people danced, and matches were lit. A half moon appeared, then one nearby star.

***

Slane Castle
Slane, Ireland
8 July 1984

98.A Hard Rain's A-Gonna Fall
99.To Ramona
100.It's Alright, Ma (I'm Only Bleeding)
101.Shelter From The Storm
102.With God On Our Side
103.Tupelo Honey (Van Morrison)
104.Blowin' In The Wind

Concert #27 of the 1984 Europe Tour.

Bob Dylan (vocal & guitar), Mick Taylor (guitar), Ian MacLagan (keyboards), Greg Sutton (bass), Colin Allen (drums).

Bob Dylan solo (vocal & guitar) on: A Hard Rain's A-Gonna Fall, To Ramona, It's Alright, Ma (I'm Only Bleeding), With God On Our Side

Carlos Santana (guitar) on: Tupelo Honey, Blowin' In The Wind.

Van Morrison (shared vocal & guitar) on:Tupelo Honey.

Bono & Leslie Dowdell (shared vocal) on Blowin' In The Wind.

Live debut of Tupelo Honey.

First live version of With God On Our Side
since the Sunday Peace Rally in Pasadena, California, 6 June 1982
and before that, Providence, Rhode Island, 4 November 1975.

LB-2573;
Complete soundboard;
Incomplete concert

Very good to excellent sound [B+].

except Shelter From The Storm

LB-6759;
Real Live Outtakes 1984 (Yellow Cat / YC-022)

Fair sound [B-].

***

Interview with Bono Vox, Slane Castle, Dublin, 8 July 1984

Bono: You have been to Ireland before, haven't you?

Dylan: Yeah, I was in Belfast and in Dublin, and we travelled around a little bit too.

Bono: Have you ever spent any time here? Have you ever been here on holiday?

Dylan: Yeah, well, when I was here, we travelled by car, so we stayed in different places ? but Irish music has always been a great part of my life because I used to hang out with The Clancy Brothers.
They influenced me tremendously.

Bono: Yeah, they have so much balls as a sound, you know, when they sing, it's like punk rock.

Dylan: Yeah, they were playing clubs as big as this room right here and the place ? you couldn't put a pin in it, it would be so packed with people.

Bono: You could smell their breath?

Dylan: Yeah!

Bono: I bet you could. They blow you over with their lungs. God, I'd love to sing like that.

Dylan: Yeah, I spent years with them running around, 61, 62, 63.

Bono: Greenwich Village?

Dylan: All over the place, I played on the same bill with them once.

Bono: Get their autographs? (laughs)

Dylan: No, I didn't get their autograph. But you know one of the things I recall from that time is how great they all were ? I mean there is no question, but that they were great. But Liam Clancy was always my favorite singer, as a ballad singer.
I just never heard anyone as good, and that includes Barbara Streisand and Pearl Bailey.

Bono: You got to be careful here!

Dylan: He's just a phenomenal ballad singer.

Bono: Yeah, you know what I envy of you is that my music, and the music of U2 is like, it's in space somewhere.
There is no particular musical roots or heritage that we plug into. In Ireland there is a tradition, but I've never plugged into it.
It's like as if we're caught in space. There's a few groups now who are caught in space.

Dylan: Well, you have to reach back.

Bono: We never did play a 12 bar.

Dylan: You have to reach! There's another group I used to listen to called The McPeake Family. I don't know if you ever heard of them?

Bono: The McPeake Family! I'd love to have heard of them, with a name like that.

Dylan: They are great. Paddy Clancy recorded them. He had a label called Tradition Records, and he used to bring back these records; they recorded for Prestige at the time, and Tradition Records, his company. They were called The McPeake family.
They were even more rural than the Clancy Brothers. The Clancy Brothers had always that touch of commerciality to them - you didn't mind it, but it was still there, whereas the McPeake Family sang with harps.
The old man, he played the harp - and it was that (gestures) big - and the drums.

Bono: Were they a real family?

Dylan: Yeah, they were a real family; if you go to a record store and as for a McPeake Family record, I Don't know, I'm sure you could still get them in a lot of places.

Bono: Have you heard of an Irish group that are working now in this middle ground between traditional and contemporary music called Clannad?
Clannad is Gaelic for family, and they've made some very powerful pieces of music, including a song called "Theme From Harry's Game", it's from a film, and it knocked over everyone in Europe. It didn't get played in the US.
It's just vocal and they used some low bass frequencies in it as well - it's just beautiful.
They're a family, they come from Donegal, and have worked from that same base of traditional music.

Dylan: There's a group you have here, what's it called, Plankston?

Bono: Planxty.

Dylan: They're great!

Bono: Another rock'n'roll band!

Dylan: Yeah, but when I think of what's happening ? I think they're great.

Bono: There's another group called De Dannan. The name De Dannan has something to do with with the lost tribes of Dan.
You heard of the disappearing tribe of Dan? They say they came from Ireland.

Dylan: Yeah, I've heard that, I've heard that.

Bono: I'm not a musicologist or expert in this area, but it would appear that this is true.
Also, you know they say the Irish musical scale has no roots in Europe whatsoever, rather it comes from Africa and India.
The Cartesian people, the Egyptian people, what gave them supremacy in the Middle East was the sail they developed.
I forget what they call it, I forget the name of the sail, but this sail allowed them to become successful sea farers and traders
and they dominated as a result of their reading, and that same sail which was used on those boats, is used on the West of Ireland.

Dylan: Is that right?

Bono: Bob Quinn made a film called Atlanteans in which this theory was elaborated. H
e suggests that the book of Kells, which is a manuscript, part of it has it's roots in Coptic script, not in Europe.
It's not a European thing at all - it's linked from Africa, Spain, Brittany and Ireland, because that was a sea route.
I'm not an expert. I shouldn't be talking about it really. But it's of interest when you think of it.

Dylan: Sure it is.

Bono: I might be able to send you over some tapes of that actually.

Dylan: I'd like to have them. You know Planxty? I also like Paul Brady a lot.

Bono: Yeah, he's great. He's a real song writer. Tell me - have you ever approached a microphone, not with words, but just to sing?
I had to do this as a necessity once when some lyrics of mine were stolen - and I learnt to sing on the microphone just singing and working the words into it later. I find when I put a pen in my hand it gets in the way!
Do you have words first?

Dylan: I do at certain times.

Bono: In Portland, Oregon a number of years ago two pretty girls walked in the dressing room, smiled and walked out with some of our songs, in a brief case.

Dylan: I used to have that happen to me all the time, except they used to take clothes!

Bono: Is that right?

Dylan: They used to take all my best clothes, but never took my songs.

Bono: After that we had to go in to record our second LP, October, without any songs -
there was a lot of pressure having to sing under that stress without any words, I found out a lot of things about myself that I didn't even know were there.
I'd wondered, had some of the things that have come out of you ever been a surprise to you?

Dylan: That usually happens at concerts or shows I'm doing, more than recording studios, Also, I never sit around, I usually play ... I'll play my guitar, rather than just have something to say, to express myself.
I can express it better with my guitar.

Bono: I wondered had the songs that you were writing ever frightened you in some way?

Dylan: Oh yeah, I've written some songs that that did that. The songs that I wrote for the 'Slow Train' album did that. I wrote those songs.
I didn't plan to write them, but I wrote them anyway. I didn't like writing them, I didn't want to write them.
I didn't figure ... I just didn't want to write them songs at that period of time.
But I found myself writing these songs and after I had a certain amount of them, I thought I didn't want to sing them, so I had a girl sing them for me at the time, and what I wanted to do was .... she's a great singer ....

Bono: Who is this?

Dylan: A girl I was singing with at the time, Carolyn Dennis her name was. I gave them all to her and had her record them, and not even put my name on them.
But I wanted the songs out; I wanted them out, but *I* didn't want to do it because I knew that it wouldn't be perceived in that way.
It would just mean more pressure. I just did not want that at that time.

Bono: But are you a trouble maker? Is there something in you that wants trouble that an album like 'Slow Train' stirs up? Do you wanna fight? Do you wanna box!?

Dylan: I don't know! I mean, I wanna piss people off once in a while, but boxing or fighting - it would be an exercise to do it.
You know, I love to do it, but not with anything at stake.

Bono: Chess, do you play chess?

Dylan: Yeah, I play chess. Are you a chess player?

Bono: I am a chess player.

Dylan: I'm not that good actually.

Bono: I'll challenge you to a game of chess.

Dylan: I don't have it right now actually, I just don't have one on me, but the next time you see me!

Bono: Oh, you can get these little ones you know, that you can carry around.

Dylan: Yeah, I take them on tour all the time, but nobody in the band will play me.

Bono: Really?

Dylan: Yeah, they say it's an ego trip. They say I want to win, I don't want to win, I just like to play.

Bono: When you put out a record that causes trouble - is it part of an overall plan, or do you just do it?

Dylan: No, I don't ever put out a record to cause trouble - if it causes trouble, it causes trouble, that's apart from me.
If it causes trouble, that's other people's problem. It's not my problem.
I'm just not going to put out a record that I just feel - you know, if I feel like I'm inspired to make a statement, I'll make that statement.
But what happens after I do it, I don't care about that.

Bono: What's your opening game?

Dylan: My opening game, you mean king's pawn up two - and all that? I don't know.

Bono: You just takes it as it comes.

Dylan: Yeah. I don't really play that seriously.

Bono: Well, I thought I did until I played Adam's brother Sebastian - he was only about 13 years old and he beat me!

Dylan: Somebody may have a chess game here.

Bono: I'd love to play.

searching for a chess board ... enter Van Morrison

Bono: You haven't used any synthesizers on your records so far?

Dylan: No, I've never used those machines.

Bono: The Fairlight Music Computer - have you heard of that?

Dylan: Fairlight?

Bono: Van, what do you think of electronic music?

Morrison: I like the music Brian Eno plays.

Bono: He speaks very highly of you. He's producing our record right now.

Morrison: Say hello.

Bono: (to Bob) Do you know Brian Eno?

Dylan: Brian Eno? I don't know Brian Eno, but I know some of his work.

Bono: When you're working with a producer, do you give him the lee-way to challenge you?

Dylan: Yeah, if he feels like it. But usually we just go into the studio and sing a song, and play the music, and have, you know ...

Bono: Have you had somebody in the last five years who said "That's crap, Bob"?

Dylan: Oh, they say that all the time!

Bono: Mark Knopfler, did he say that?

Dylan: I don't know, they spend time getting their various songs right, but with me, I just take a song into the studio and try to rehearse it, and then record it, and then do it. It's a little harder now though to make a good record - even if you've got a good song and a good band.
Even if you go in and record it live, it's not gonna sound like it used to sound, because the studios now are so modern, and overly developed, that you can take anything good and you can press it and squeeze it and squash it, and constipate it and suffocate it.
You do a great performance in the studio and you listen back to it because the speakers are all so good, but, ah, no!

Bono: All technology does is - you go into a dead room with dead instruments and you use technology to give it life that it doesn't have, and then it comes out of the speakers and you believe it. What I've been trying to do is find a room that has life in itself.

Dylan: Yeah.

Bono: A ?living? room.

Dylan: The machines though, can even take the life out of that room, I've found. You can record in St Peter's Cathedral, you know, and they still make it sound like, eh, ...

Bono: Somebody's backyard.

Dylan: Yeah.

Dylan: That's a good idea. I'd love to record in a cathedral.

Dylan: You know the studios in the old days were all much better, and the equipment so much better, there's no question about it in my mind.
You just walked into a studio, they were just big rooms, you just sang, you know, you just made records; and they sounded like the way they sounded there.
That stopped happening in the late Sixties, for me anyway. I noticed the big change.
You go into a studio now and they got rugs on the floor, settees and pinball machines and videos and sandwiches coming every ten minutes.
It's a big expensive party and you're lucky if you come out with anything that sounds decent.

Bono: Yeah, records haven't got better, have they?

Dylan: No, you go in now, you got your producer, you got your engineer, you got your assistant engineer, usually your assistant producer, you got a guy carrying the tapes around. I mean, you know, there's a million people go into recording just an acoustic song on your guitar.
The boys turn the machines on and it's a great undertaking.

Bono: There's a system called Effanel which Mick Fleetwood from Fleetwood Mac brought to Africa.
It was built for him because he wanted to get some real African drummin', for Tusk. We've used that system.
It comes in a light suitcase, very small, no bullshit studio, and it just arrives, you can literally bring it to your living room.

Morrison: I think all the same they'll go back to 2-track eventually.

Bono: There's a guy called Conny Plank, who lives in Germany. He's a producer I think.
He produced Makem and Clancy and some Irish traditional bands, also orchestral and funnily enough a lot of the new electronic groups, DAF, Ultravox, and so on. He used to record orchestras by just finding a position in the room where they were already balanced
and he applies this in his thinking, in recording modern music: he finds a place in the room where it's already mixed.

Morrison: I don't know, when I started we didn't think about that! You didn't even think about recording ... (laughs)

Bono: You didn't even think!

Morrison: You didn't even know what was on the cards. One day you were in the room, they turned the tape on.
After about eight hours or so, they'd say, 'OK, tea break, it's over'.

Dylan: Yeah, next song, next song!

Morrison: And that was that - it was an album.

Dylan: Yeah, you'd make an album on three days or four days and it was over - if that many! It's that long now ... it takes four days to get a drum sound.

Bono: Do you know the Monty Python team, they're comedians, British comedians, Monty Python And The Holy Grail.
They have a sketch that reminds me of you guys - sitting back talking of days gone by:
"You tell that to the young people of today and they'd never believe you".
But you can't go backwards, you must go forward. You try to bring the values that were back there, you know, the strength,
and if you see something that was lost, you got to find a new way to capture that same strength.
Have you any idea of how to do that? I think you've done it by the way ... I think Shot Of Love, that opening track has that.

Dylan: I think so too, You're one of the few people to say that to me about that record, to mention that record to me.

Bono: That has ?that? feeling.

Dylan: It's a great record, it suits just about everybody.

Bono: The sound from that record makes me feel like I'm in the same room as the other musicians. I don't feel like they're over *there*.
Some of our records, I feel like they're over there because we got into this cinema type sound, not bland like FM sound, but we got into this very broad sound.
Now we're trying to focus more of a punch, and that's what we are after, this intimacy .... I've never interviewed anybody before, by the way.
I hate being interviewed myself.

Morrison: You're doing a good job!

Bono: Is this OK?. Good! What records do you listen to?

Dylan: What records do I listen to? New records? I don't know, just the old records really. Robert Johnson.
I still listen to those records that I listened to when I was growing up - they really changed my life. They still change my life.
They still hold up, you know. The Louvain Brothers, Hank Williams, Muddy Waters, Howlin' Wolf, Charlie Patton, I always liked to listen to him.

Bono: I just bought Woody Guthrie's Bound For Glory. I'm just a beginner when it comes to America. I mean, it's changed me.
When you go the US, coming from this country, it's more than a different continent ....

Morrison: It's shell shock.

Bono: Yeah, coming from troubled Ireland, it's the real shell shock!
I'm just getting acquainted with American music and literature. Do you still see Allen Ginsberg?

Dylan: I run across Allen from time to time, yeah, Gregory Corsos's back now, he's doing some readings, I think he's just published a new book.

Bono: I've just been reading this book Howl.

Dylan: Oh, that's very powerful. That's another book that changed me. Howl, On The Road, Dharma Bums.

Morrison: (to Bono) Have you read On The Road?

Bono: Yes I have, I'm just starting that. You have a reference in one of your songs to John Donne, Rave On John Donne. Have you read his poetry?

Morrison: I was reading it at the time.

Dylan: (to Bono) You heard the songs - Brendan Behan's songs?

Bono: Yeah.

Dylan: Royal Canal, you know the Royal Canal?

Morrison: His brother wrote it. His name is Dominic.

Dylan: Oh, Dominic wrote Royal Canal?

Bono: You know Brendan's son hang out around here in Dublin. He's a good guy, I believe.

Dylan: I know the solo lyrics to the Royal Canal. I used to sing it all the time.

Bono: How does it go?

Dylan: (sings) ?The hungry feeling came over me stealing, as the mice were squalling in my prison cell?.

Bono: That's right, yeah!

Dylan: (continues) ?That old triangle went jingle jangle, all along the banks of the Royal Canal?.

Bono: That's right, when did you read that?

Dylan: (there's no way stopping him now) ?In the female prison there's seventy women. It's all over there that I want to dwell.
And that old triangle goes jingle jangle, all along the banks of the Royal Canal?.

Bono: Have you been to the Royal Canal?

Dylan: No I used to sing that song though. Every night.

Bono: Our music - as I was saying earlier - it doesn't have those roots.

Morrison: Yeah, there was a break in the lineage. I sussed that out when I went to see Thin Lizzy years ago, the first night in L.A. and I was watching at the back of the stage and I realized that the music was a complete cut
in the connection between the end of the Sixties and the middle of the Seventies - a severing of the traditional lineage of groups.

Bono: I like to know more about roots music. I'm hungry for a past.

Morrison: You know you should listen to some of that stuff.

Bono: I will. I've been listening to some gospel music, you know, like the Swan Silvertones, and stuff like that.

Dylan: That's US stuff though.

Morrison: US stuff, but the British stuff you should listen to, you know, like some of the old stuff, like The Yardbirds.

Bono: Yeah, I've got some of their tapes recently, some real good tapes.

Dylan: You can still hear the McPeakes. The next generation may not be able to though. Who knows? I would hate to think that.
Listen we're gonna have to get ready to play. Are you gonna stay for the show?

Bono: Certainly, that's what I'm here for actually.

Dylan: To record it, HA!

Conducted at the Slane Castle, Dublin, Ireland prior to Dylan's show.
Both Bono and Van Morrison were later guests at the show, Van Morrison doing his usual It's All Over Now, Baby Blue and Bono joining Dylan on Blowin' In The Wind.

***

Rock on, Bob!

XXX

1984-05-28 Verona
1984-05-29 Sirmione
1984-05-29 Verona
1984-05-31 Hamburg
1984-05-31 Hamburg
1984-06-02 Basel
1984-06-03 München
1984-06-04 Rotterdam
1984-06-06 Rotterdam
1984-06-07 Brussels
1984-06-09 Göteborg
1984-06-10 Copenhagen
1984-06-11 Offenbach
1984-06-13 Berlin
1984-06-14 Vienna
1984-06-16 Köln
1984-06-17 Nice
1984-06-19 Roma
1984-06-20 Roma
1984-06-21 Roma
1984-06-24 Milano
1984-06-26 Madrid
1984-06-28 Barcelona
1984-06-30 Nantes
1984-07-01 Paris
1984-07-03 Grenoble
1984-07-05 Newcastle
1984-07-07 London
1984-07-08 Slane



(257/1) Bob Dylan, 1984-06-17, Stade De L Ouest, Nice, France

Audio/Mp3, ?/?, (?)

Bob Dylan
June 17 1984
Stade De L'Ouest
Nice, France

Taper: Not certain.

Source: Audio disks said to be low-gen > (dBpowerAMP set to compression level 6) flac.

(Thanks, SF!)

Disk One

Highway 61 Revisited
Jokerman
All Along The Watchtower
Just Like A Woman
Maggie's Farm
I And I
License To Kill

Greg Sutton: I've Got To Use My Imagination (Gerry Goffin & Barry Goldberg)

A Hard Rain's A-Gonna Fall (acoustic)
Tangled Up In Blue (acoustic)
It's Alright, Ma (I'm Only Bleeding) (acoustic)

Disk Two

Simple Twist Of Fate
Masters Of War
Ballad Of A Thin Man
Every Grain Of Sand
Like A Rolling Stone
It Ain't Me, Babe (acoustic)
Don't Think Twice, It's All Right (acoustic)
The Times They Are A-Changin'
Leopard-Skin Pill-Box Hat
Why Do I Have To Choose


(257/16) Bob Dylan, 1984-06-17, Stade De L Ouest, Nice, France

Doc/, ?/?, (?)




Commentaires


198407-08 RnF N210 P103
198407-08 RnF N210 P103


(214/1) Bob Dylan, 1984-06-30, Stade Marcel Saupin, Nantes, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan
June 30, 1984
Stade Marcel Saupin,
Nantes, France

Conversion: ?>CDR>Wav(EAC)>flac
Conversion by: Fendert@aol.com
Quality: Very Good / Audience

DO NOT CONVERT TO .MP3

This is the 22nd Show of Bob Dylan's 1984 tour with former Rolling Stones guitarist Mick Taylor. A very solid show here is highlighted by the inclusion of "It Takes a Lot to Laugh, It Takes a Train to Cry" which is the ONLY time ever played during this tour.
I listened to this on actually the last week of June and I can't remember specific details of the show other than the fact that it is very good quality and performance.
If someone wants to write a review I'll post it. I'm sure you all are tired of my endless, rambling nonsense about the shows, lol.
Also, I am compiling (as suggested) all of the BEST performances of each song during the 1984 tour to create a composite show of the best of all. This will include every song played on the tour (43) even if it was played only once but also the best version of each performance of each song. So, how about a little feedback. What I need the most is the songs played at every venue. There are SO many of those that it is hard for one person to listen to them all, so any help would be great!!!
Right now is the 20th Anniversary of those shows and I thought it would be cool to release each show to STG on the date of the actual show plus 20 years. When the STG tracker was down it really screwed up getting the shows out on the correct dates and we are a little behind but I want to complete the project in context so, here is the twenty-second show; only 5 more!!!

Disc 1
1. Highway 61 Revisited
2. Jokerman
3. All Along The Watchtower
4. Just Like A Woman
5. Maggie's Farm
6. I And I
7. License To Kill
8. A Hard Rain's A-Gonna Fall (acoustic)
9. Girl From The North Country (acoustic)
10. It's Alright, Ma (I'm Only Bleeding) (acoustic)
11. Simple Twist Of Fate
12. Masters Of War
13. Ballad Of A Thin Man
14. Enough Is Enough

Disc 2
1. Every Grain Of Sand
2. Like A Rolling Stone
3. Mr. Tambourine Man (acoustic)
4. The Lonesome Death Of Hattie Carroll (acoustic)
5. The Times They Are A-Changin'
6. It Takes A Lot To Laugh, It Takes A Train To Cry
7. Leopard-Skin Pill-Box Hat
8. Blowin' In The Wind
9. Tombstone Blues


(258/1) Bob Dylan, 1984-07-01, Parc de Sceaux, Paris, France

Audio/Mp3, ?/?, (?)

683258001a683258001b683258001c
Bob Dylan
Parc de Sceaux
Paris, France
July 1, 1984

Taper: "Legendary Taper D"
Transfer: "JF" 12/2011

"Legendary Taper D" Equipment: Sennheiser MKE 2002 Binaural mics > Sony WM-TCD-5 Cassette Recorder
"JF" Equipment: Cassette Masters > Nakamichi CR-7A (manual azimuth adjustment) > Adobe Audition > Flac

101. Highway 61
102. Jokerman
103. All Along the Watchtower
104. Just Like A Woman
105. Maggie's Farm
106. I and I
107. License To Kill
108. Just My Imagination (Greg Sutton)
109. A Hard Rain's A-Gonna Fall
110. Tangled Up In Blue
111. It's Alright Ma
112. Simple Twist of Fate
201. Masters of War
202. Ballad of A Thin Man
203. Enough is Enough
204. Every Grain of Sand
205. Like A Rolling Stone
206. audience
207. Mr. Tambourine Man
208. It Ain't Me Babe
209. The Times They Are A-Changin' (Hughes Aufray-vocal + guitar)
210. It's All Over Now, Baby Blue (Van Morrison-vocal + guitar)
211. Leopard Skin Pill-Box Hat
212. Tombstone Blues
213. Blowin' in the Wind
214. Knockin' On Heaven's Door

Please:
-Share freely
-Retain all info files
-Do not convert to lossy format
-Do not "remaster" or "fix"
-Enjoy!
_____________________________________________________
Bob Dylan

Les Temps Changent

Silver Rarities – SIRA 143/144
1995

Tracklist
1-1 Highway 61 Revisited
1-2 Jokerman
1-3 All Along The Watchtower
1-4 Just Like A Woman
1-5 Maggie's Farm
1-6 I And I
1-7 License To Kill
1-8 Hard Rain
1-9 Tangled Up In Blue
1-10 It's Alright Ma
1-11 Simple Twist Of Fate
1-12 Masters Of War
1-13 Ballad Of A Thin Man
1-14 Enough Is Enough
2-1 Every Grain Of Sand
2-2 Like A Rolling Stone
2-3 Mr Tambourine Man
2-4 It Ain't Me Babe
2-5 The Times They Are A-Changin'
2-6 It's All Over Now Baby Blue
2-7 Leopard-Skin Pill-Box Hat
2-8 Tombstone Blues
2-9 Blowin' In the Wind
2-10 Knockin' On Heaven's Door
2-11 Every Grain Of Sand
2-12 Lay Lady Lay
2-13 Knockin' On Heaven's Door
2-14 Señor

Parc De Sceaux, Paris, France July 1, 1984
Bonus tracks: 2-11 to 2-14 Minestadio, Barcelona, Spain June 28, 1984


(259/1) Bob Dylan, 1984-07-03, Alpexpo, Grenoble, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Alpexpo
Grenoble, France
3 July 1984

1 Highway 61 Revisited
2 Jokerman
3 All Along The Watchtower
4 Just Like A Woman
5 Maggies Farm
6 I And I
7 License To Kill
8 Greg Sutton: (Got to use My ) Immagination (Goffin/Goldberg)
9 A Hard Rains a-gonna fall (acoustic)
10 Tangled up in Blue (acoustic)
11 Its Alright Ma (I'm only Bleeding) (acoustic)

12 Simple Twist of Fate
13 Masters Of War
14 Ballad Of A Thin Man
15 When You Gonna Wake up?
16 Every Grain of sand
17 Like A Rolling Stone
18 Mr Tambourine Man (acoustic)
19 Girl From the North Country(acoustic)
20 Les Temps Changent - with Hughes Aufray
21 Knocking on Heaven's door
22 Leopard-Skin Pill-Box Hat
23 Senor(Tales of yankee Power)

Bob Dylan
Mick Taylor (guitar)
Ian MacLagan (keyboards)
Gregg Sutton (bass)
Colin Allen (drums)

Carlos Santana (guitar) during the encores

Source my Tape -> Tascam 102 -> cooledit pro (normalisation, speed correction, edits, fades) -> traders little helper.

This show also has Hughes Aufray on 'Les Temps Changent'.


(218/1) Bob Dylan, 1987-10-07, Accorhotels Arena, Paris, France

Audio/shn, dime/?, (20190420)

Bob Dylan, 10/7/87, Paris, France, 2CDR

(41min+51min), from the Christian Behrand master audience excellent sound,
shns have cd numbers reversed (I reversed them - CowWarD, 04/25/03)

CD1

1 Man Gave Names To All The Animals
2 Like A Rolling Stone
3 Maggie's Farm
4 Forever Young
5 Seeing The Real You At Last
6 Watching The River Flow
7 Simple Twist Of Fate
8 John Brown

CD2
1 Intro
2 I And I
3 Joey
4 Don't Think Twice, It's All Right
5 In The Garden
6 Gotta Serve Somebody
7 Tomorrow Is A Long Time
8 House Of The Risin' Sun
9 Shot Of Love

(242/1) Bob Dylan, 1988-06-07, I Walk With My Shadow, Summer Tour of North America, Interstate 88 (Part, (Pink Panther Records)

Audio/flac, dime/?, (20190525)

1988 I WALK WITH MY SHADOW, I TALK WITH MY ECHO

Pink Panter Records

1988 Interstate 88 (Part 1) North America Summer Tour

Lazarus Rising - the beginning of the Never Ending Tour (NET)
(Bob's quiet, dignified retirement - a band of rock ‘n’ roll gangsters from the wrong side of the tracks)

***

1988 was a turning point for Bob. He was now 47 years old (well, not exactly old, but certainly not young).
He had spent the last few years putting out uninspired albums with a large dose of covers
& hiding behind "events" like Live Aid & big-name bands like The Grateful Dead & Tom Petty & The Heartbreakers.
Jerry Garcia, who Bob trusted, had told him that he needed to reconnect with his old songs & then perform them with conviction.
He started this process in Europe in 1987 when he agreed to play "requests" from The Heartbreakers.
He needed to take control of his own destiny - not rely on others.
So we get a stripped down proto-punk guitar band without frills.

Neil Young appeared in three of the first four shows & may have also been scheduled to play at the second show in Sacramento,
which Bob abandoned early in a rage.
Maybe the plan was for Neil to continue for the full tour leg, but he disappeared after Mountain View.

The press were hostile & the audiences were depressingly small. The NET could have ended after the disasterous second show in Sacramento.
But a miricle happened - the third show in Berkeley was an unqualified success (in no small part to Neil Young).
The electric Gates Of Eden from Berkeley with the Neil Young solo is one of the great Dylan live tracks from any era.

After Berkeley, everything (apart from Neil Young) settled down.

GE Smith was an inspired choice as guitarist. Kenny Aaronson's "big rubber band" bass sound was interesting
& so was Christopher Parker on drums.

This tour leg, despite all the garbage that preceded it, was an unqualified success.
Bob dipped deeply into his songbook & played many, many songs that had not appeared for decades.

Bob played 80 different songs in 40 different concerts during this tour leg - they are all here.

A large number of soundboards have appeared over the years from these shows, probably taped so Bob could hear the results for himself.
This was still the era of portable analogue concert recording (no digital yet) but there are many excellent analogue audience tapes to supplement the soundboards.

Of all the unexpected miracles in Bob's career, this is the biggest & most unexpected one - the successful birth of the NET.

Bob had successfully reconnected with his past catalogue & played it with conviction. Performance quality was also generally excellent.

As Bob says, "I walk with my shadow, I talk [well, maybe mumble] with my echo."

***

Wikipedia

Lazarus

Lazarus of Bethany, also known as Saint Lazarus or Lazarus of the Four Days, is the subject of a prominent miracle
attributed to Jesus in the Gospel of John, in which Jesus restores him to life four days after his death.
The Eastern Orthodox and Roman Catholic traditions offer varying accounts of the later events of his life.

In the context of the seven signs in the Gospel of John, the Raising of Lazarus is the climactic narrative:
exemplifying the power of Jesus "over the last and most irresistible enemy of humanity—death.
For this reason it is given a prominent place in the gospel."

A figure named "Lazarus" (Latinised from the Aramaic: El?azar, cf. Heb. Eleazar—"God is my help") is also mentioned in the Gospel of Luke.
The two Biblical characters named "Lazarus" have sometimes been conflated historically, but are generally understood to be two separate people.

The name "Lazarus" is frequently used in science and popular culture in reference to apparent restoration to life;
for example, the scientific term "Lazarus taxon" denotes organisms that reappear in the fossil record after a period of apparent extinction.
There are also numerous literary uses of the term.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

all sourced from 100% lossless FLAC from best available sound sources.

***

Highly variable setlists here with a core of 60s and 70 Dylan classics
backed up with a large number of songs that only appeared once or twice, including many cover songs.
The concerts were evenly split between electric songs played with the full band,
along with acoustics songs played as a duo with GE Smith.

Performance, sound & setlists are all consistently high on this tour leg.

It was a wild & unpredictable setlist ride from night to night.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

80 ball-tearing, sensational tracks
80 different songs
29 concerts are represented here (from the total of 40 concerts)
6 hours & 34 minutes of music
1 bob

***

All 80 songs played on the tour leg are represented here.

The setlists were highly variable from night to night, with
3 songs being played thirty or more times,
10 songs being played twenty or more times,
23 songs being played ten or more times,
38 songs being played five or more times, and
31 songs only played once or twice.

*

1 song was played 40 times:

Subterranean Homesick Blues

*

1 song was played 38 times:

Like A Rolling Stone

*

1 song was played 30 times:

Silvio

*

1 song was played 28 times:

Maggie's Farm

*

1 song was played 24 times:

I Shall Be Released

*

1 song was played 22 times:

Stuck Inside Of Mobile With The Memphis Blues Again

*

1 song was played 21 times:

All Along The Watchtower

*

3 songs were played 20 times:

Highway 61 Revisited
It Ain't Me, Babe
The Times They Are A-Changin'

*

1 song was played 19 times:

A Hard Rain's A-Gonna Fall

*

1 song was played 17 times:

Masters Of War

*

1 song was played 15 times:

You're A Big Girl Now

*

2 songs were played 14 times:

Boots Of Spanish Leather
Simple Twist Of Fate

*

2 songs were played 13 times:

Blowin' In The Wind
In The Garden

***

3 songs were played 12 times:

Absolutely Sweet Marie
Ballad Of A Thin Man
Tangled Up In Blue

*

2 songs were played 11 times:

Barbara Allen
Driftin' Too Far From Shore

*

1 song was played 10 times:

Mr Tambourine Man

*

3 songs were played eight times:

Gates Of Eden
It's All Over Now, Baby Blue
The Lonesome Death Of Hattie Carroll

*

6 songs were played seven times:

Don't Think Twice, It's All Right
Eileen Aroon
Gotta Serve Somebody
I'll Remember You
Lakes Of Pontchartrain
To Ramona

*

3 songs were played six times:

Girl Of The North Country
Just Like A Woman
Trail Of The Buffalo

*

3 songs were played five times:

Mama, You Been On My Mind
My Back Pages
Shelter From The Storm

*

4 songs were played four times:

I Want You
I'll Be Your Baby Tonight
Joey
Love Minus Zero / No Limit

*

7 songs were played three times:

Forever Young
John Brown
Knockin' On Heaven's Door
The Man In Me
The Ballad Of Frankie Lee And Judas Priest
Two Soldiers
Watching The River Flow

*

12 songs were played twice:

Every Grain Of Sand
Everybody's Movin'
Had A Dream About You, Baby
Hallelujah
It Takes A Lot To Laugh, It Takes A Train To Cry
It's Alright, Ma (I'm Only Bleeding)
Just Like Tom Thumb's Blues
Leopard-Skin Pill-Box Hat
Man Of Constant Sorrow
San Francisco Bay Blues
Seeing The Real You At Last
Song To Woody

*

19 songs were played only once:

Across The Borderline
Baby Let Me Follow You Down
Ballad Of Hollis Brown
Big River
Clean-Cut Kid
Give My Love To Rose
I Dreamed I Saw St Augustine
I'm Glad I Got To See You Once Again
I'm In The Mood For Love
License To Kill
Nadine
One More Cup Of Coffee (Valley Below)
One Too Many Mornings
Pretty Peggy-O
Rank Strangers To Me
She Belongs To Me
Tomorrow Is A Long Time
We Three (My Echo, My Shadow And Me)
Wild Mountain Thyme

***

WE THREE (MY ECHO, MY SHADOW AND ME) (D. Robertson, N. Cogane, S. Mysels)

We three, we're all alone,
Living in a memory,
My echo, my shadow, and me.
We three, we're not a crowd,
We're not even company,
My echo, my shadow, and me.

What good is the moon,
The silvery moon,
That shines above?
I WALK WITH MY SHADOW,
I TALK WITH MY ECHO
But where is the one I love?

We three, we'll wait for you
Even 'til eternity,
My echo, my shadow, and me.

***

David Sheppard, Q Magazine

Long-term Dylan fans are hardy folk. Used to the object of their worshipÂ’s wilful distain for his own reputation, his erratic peaks and troughs,
the frustrating habit of leaving his finest compositions mouldering in the studio cupboard et al, they soldier on. Dylan, they argue, is worth the extra effort.

Back in 1988, however, even his most diehard apologists must have been secretly praying that Dylan would soon opt for quiet, dignified retirement.
With each post-Christian period album becoming inexorably more ragged and desultory –
things had reached a wretched nadir with 1987Â’s grimly unengaging Down In The Groove LP,
on which even the most ardent Dylan disciple found difficulty locating a saving grace.
Similarly, a rarely-inspired mid-1980s live coupling with Tom Petty And The Heartbreakers
and a dull subsequent road-marriage with The Grateful Dead both suggested DylanÂ’s performing capabilities were shot.

Significantly, his induction into the Rock ‘n’ Roll Hall Of Fame earlier in 1988 felt like a nostalgic salute to former glories.
The likelihood of Bruce SpringsteenÂ’s induction speech being the catalyst to a future of wold, mercurial Dylan possibilities seemed, frankly, unlikely.
BobÂ’s once coruscating supernova, it seemed, would soon be a distant, dimming star.

So it was with weary gait on 7 June 1988 that West Coast “Bobcats” herded toward the Pavilion auditorium in Concord, California
to mark the start of Dylan’s first American trek in two years – a date that would later be inscribed in Dylan lore as gig #1 ot the Never Ending Tour.

It was in an interview with Q the following year that Dylan first used The Never Ending Tour handle
to describe what was by then already a marathon 18 month hike around the North American continent,
a tour destined to unwind into a globe-trotting, 12-years and counting [as of 2000] odyssey.
“You can pick and choose better when you’re out there all the time and your show is already set up,” he explained,
“It’s all the same tour, the Never Ending Tour.”

For all that, what the battle-fatigued punters of Concord witnessed on the Never Ending TourÂ’s opening night was anything but auspicious.
Used to Dylan being surrounded by backing singers, keyboards and massed guitarists,
they looked on agast as a raucous, stripped-down three-piece electric band hurtled through their heroÂ’s back pages at an irreverent, breakneck pace.

Allegedly inspired by his son JacobÂ’s enthusiasm for The Clash, DylanÂ’s new sound was closer to raw garage punk
than one or other of his habitual variations of folk-rock.
The new ensemble scorched the ears for little over an hour, with the 47-year old singer in a black matadorÂ’s suit, hoarse and wild-eyed,
apparently swept along by the musicÂ’s sheer velocity, vainly attempting to carve out a recognisable melody amidst the tumult.

Initial press reports were scathing – worse still the following night in Sacramento when, after a set of under 60 minutes duration,
only a fraction of it vaguely recognisable, the crowd adjourned to the bar, wrongly believing theyÂ’d sat through the opening half of a full two-hour show.

But it was not long thus. The band, initially under-rehearsed and wilting under the weight of Dylan’s vast repertoire –
not to mention his predilection for ignoring niceties like set-lists and song endings – quickly adsorbed their boss’s new schtick,
coalescing into a razor sharp unit that soon had critics comparing them to DylanÂ’s earlier mould-breaking electric accompanists, the 1966 Hawks, aka The Band.

These latest accomplices – pony-tailed session guitarist and Saturday Night Live TV band-leader GE Smith,
ex-Billy Idol bassist Kenny Aaronson and drummer Christopher Parker – galvanised Dylan into re-addressing his stage art.
Forced to address the fundaments of the electric guitar rather than just give it an indolent and inaudible pawing, as had become the norm,
Dylan was now relishing his instrument’s role – even if his rudimentary two-finger “solo” seemed to be applicable to any song he fancied.

More noteworthy was his singing. Still as likely to mumble his way through a set in full distracted curmudgeon mode,
most nights saw him summoning up at least one emotion-soaked vocal that alone justified the ticket price.
Many noted the visceral thrill of hearing Dylan swaggering through the proto-punk-rap of 1965Â’s Subterranean Homesick Blues,
a song never before performed live, or taut electric reworkings of Tangled Up In Blue and Shelter From The Storm.

Increasingly, however, the finer moments were to be found in the acoustic section that was soon established at the heart of every show.
Here, Dylan could trawl his early albums and, pleasingly, a vast archve of arcane folk and blues standards,
often turning in performances of heartbreaking poignancy. Suddenly, traditional Irish and Scottish ballads (Eileen Aaroon, Barbara Allen)
and American folkloric gems (Lakes Of Pontchartrain, Trail Of The Buffalo) were throwing new light on DylanÂ’s own compositions.

For Dylan, the Never Ending Tour seemed to be both a revisiting of the troubadour tradition in which he had cut his teeth
and a celebration of rock’s liberating spirit – which he had helped define.
If the audience could see beyond his scowling death-mask of a face, his choked vocals, the “re-invented” melodies and the predictable, throwaway encores
(always a permutation of Like A Rolling Stone, Highway 61 Revisited, MaggieÂ’s Farm, Rainy Day Woman #12 & 35 or It AinÂ’t Me Babe),
they could see Dylan stealthily completing an enigmatic musical circle.

In the Never Ending Tour’s first three months, he played over 90 different songs –
some feat given that he was generally playing no more than 14 songs a night.
1989 proved equally prodigious, and he also found time to record Oh Mercy with Daniel Lanois in New Orleans,
an album whose unexpected excellence exactly paralleled his live renaissance
(though the touring band, much to many fanÂ’s chagrin, was not invited to record).

The late-1980s, in fact, set the tone for DylanÂ’s next dozen years of performance.
With such a proliferation of gigs drawing on so vast a pool of songs, it was not long before the bootleggers were in their element
and a huge, international network of tape-swapping and set-list comparison was flourishing,
further fuelling wider interest in DylanÂ’s activities and helping to stoke up the fire of a myth that was previously in danger of fizzling out.

***

Paul Williams

"When your environment changes, you change. You've got to go on, and you find new friends.
Turn around one day and you're on a different stage, with a new set of characters," Dylan to Jonathan Cott of Rolling Stone, 1978.

On 7 June 1988, at the Concord Pavilion in Northern California, he found himself on stage with a new band,
quite different from Tom Petty And The Heartbreakers or The Grateful Dead:
Christopher Parker, drums; Kenny Aaronson, electric bass; and GE Smith, electric lead guitar
(and accompanying Dylan as second acoustic guitar on the acoustic songs – the 1988 equivalent of the solo acoustic sets included in the 1986, 1974 and 1966 shows).
No backup singers this year, no keyboards and no harmonica at all. A new year, a new sound.
New friends, in the sense that old songs become new friends (to the performer) when their forms change
because the players and the instrumentation and the musical environment (and the performer's self-image) have changed.

I was in the audience at that first show of 1988, and was thrilled when my hero opened the show by performing Subterranean Homesick Blues,
a great song he had never played on stage before. The surprises kept corning.
The second song was the first-ever live performance of Absolutely Sweet Marie from Blonde On Blonde.
The seventh selection was Man Of Constant Sorrow from Dylan's first album, another song he had never played on stage before
(though there are tapes of him singing it at a party and in a friend's apartment in 1961).
The acoustic set also included Boots Of Spanish Leather – which Dylan had last sung publicly at a television taping in 1965 –
and a traditional song he is not known to have performed before, The Lakes Of Pontchartrain.
Wow. We also got the first "electric" version of Gates Of Eden, and the first-ever live performance of Driftin' Too Far From Shore,
a 1984 Dylan song included on his 1986 album Knocked Out Loaded.

It was the singer's first North American concert since the shows with The Grateful Dead in July 1987.
As on the 1986 tour with The Heartbreakers, the 1988 shows had a basic format,
a dramatic structure based on the alternation of electric (band) sets and acoustic sets.
At Concord and at most of the shows for the rest of 1988, Dylan and the band opened with Subterranean Homesick Blues, then played five more electrified songs,
followed by the band walking off stage and Dylan and Smith performing a three-song acoustic set, followed by the return of the band and three electric songs,
the last of these a rousing show-closer (Like A Rolling Stone at Concord and most other nights in 1988).
The audience would then play its part, calling for an encore, so the fourth and last set would be the encores.
At Concord Dylan played only one encore, Maggie's Farm. For the rest of the year he played two or three or more encores,
at least one of them acoustic (accompanied by Smith).
A striking exception was the second show of the tour, Sacramento, 9 June 1988, at which Dylan refused the audience's request for an encore.
Clinton Heylin in A Life In Stolen Moments suggests he was disappointed at the poor turnout ("the venue was only half-full, fewer than six thousand fans attending").
Other variations as 1988 went on (Dylan played 71 shows in 1988, all in the United States or Canada) were the occasional seven-song opening set
or four-song second set (or, rarely, a four-song third set). Concord was 13 songs long, about 70 minutes.
At most 1988 shows, Dylan played 15, 16, or 17 songs. A notable exception: 13 October 1988 in Upper Darby, Pennsylvania, he played 21 songs –
seven in the first set, four in the second, three in the third, and then seven encores.

After Concord, the next three 1988 shows were also in the San Francisco Bay Area, at Sacramento, Berkeley and Mountain View.
During the rest of June 1988, Dylan and his new stripped-down three-piece band played in Utah, Colorado, Missouri, Wisconsin, Ohio, New Jersey, and New York.
In July and August 1998 they did shows in Massachusetts, Maine, Pennsylvania, Quebec, Ontario, Michigan, Illinois, Indiana, Maryland, Tennessee, Georgia,
Texas, Arizona, southern California, Oregon, Washington, British Columbia, Alberta, Manitoba, Ontario again, and New York state again.
The September 1988 itinerary included New York, New England, New Jersey, Pennsylvania, Virginia, the Carolinas, Tennessee, Florida, and Louisiana.
The tour ended in October 1988 with two more shows in Pennsylvania and four shows at Radio City Music Hall in New York City.
There was an 11-day break in August 1988 and 17 days off in late-September and early-October 1988; otherwise it was a straight 19 weeks on the road.
Most of the shows, until the last six weeks, were at outdoor venues.

The T-shirts and hats sold at the start of the tour referred to it as "Interstate '88."
But Dylan fans have come to know it as the first leg of the Never Ending Tour, which they regard as still continuing in 2001,
even though Dylan said in 1993, in the liner notes to his album World Gone Wrong:

“By the way, dont be bewildered by the Never Ending Tour chatter, there was a Never Ending Tour but it ended in '91 with the departure of guitarist GE Smith,
that one's long gone but there have been many others since then. The Money Never Runs Out Tour (fall of '91) Southern Sympathizer Tour (early '92)
Why Do You Look at Me So Strangely Tour (European '92) The One Sad Cry of Pity Tour (Australia & West Coast American '92)
Principles of Action Tour (Mexico-South American '92) Outburst of Consciousness Tour ('92) Dont Let Your Deal Go Down Tour ('93)
and others too many to mention each with their own character & design, to know which was which consult the playlists.”

The Never Ending Tour "chatter" began as a result of Adrian Deevoy's October 1989 interview with Dylan (published in the December 1989 issue of Q Magazine).
At the start of the interview Deevoy said, "Tell me about the live thing. The last tour has gone virtually straight into this one."

Dylan replied: "Oh, it's all the same tour. The Never Ending Tour."

Deevoy: "What's the motivation to do that?"

Dylan: "Well, it works out better for me that way. You can pick and choose better when you're just out there all the time and your show is already set up.
You know, you just don't have to start it up and end it. It's better just to keep it out there with breaks, you know, with extended breaks."

The interview continued with some valuable insights into the mind and method of this performing artist:

Deevoy: Does that lend itself to reassessing stuff? The songs are being constantly reinterpreted, almost.

Dylan: Like which one? Like what? People do say that. To me it's never different. To me there's never any change.

Deevoy: The live show is quite improvisational.

Dylan: It can be. Some nights more than others! Heh heh. Some nights it's very structured.
Some nights it just sticks right to the script and other nights it'll skip.

Deevoy: What makes it take off?

Dylan: It's hard to say. It's hard to say. It's the crowd that changes the songs.

Deevoy: You stopped playing the harmonica for a while recently.

Dylan: Uh – yeah. When was that? Oh yeah. Sometimes I do, yeah. Those are the things that get set up and it's hard to bury them.
Once there's no harmonicas on the stage, you don't play them. Then there's always some problem with harmonicas.

Deevoy: Like picking up the wrong one.

Dylan: That can be very unfortunate when that happens. You've probably seen that happen a few times. Heh heh heh. Very unfortunate.
You can be playing an entire harmonica solo and not be able to hear it and you'll be in the wrong key.
You can usually tell by the faces in the crowd, you look and see if it's in the right key.
If it's in the wrong key it's, Aauugh! (he puts his hands over his ears and grimaces.) Then you can make an adjustment to it. Heh heh heh.

Deevoy: What about your voice? Are you pleased with the way it's sounding at the moment?

Dylan: Mmmmm. Ah, that's a thing that's very hard to really pin down. You know, whether you want it that way or not.
Trying to adjust the moods of the different songs can be tricky sometimes.

Deevoy: Do you ever feel limited by it?

Dylan: Yeah. Sure. My voice is very limiting. Vocally, it's just good enough for me. It's good for my songs. It really is good for my songs. My type of songs.

"I'm bound to ride that open highway" Dylan sang/announced 7 June 1988, at the first show of his Never Ending Tour.
This was during Man Of Constant Sorrow, the opening song of his first acoustic set in almost two years.
This line is not included in the performance of the song on Dylan's first album.
Nor is it in The Stanley Brothers' 1950 recording of Man Of Constant Sorrow, which Dylan may have been listening to when re-familiarizing himself with this song
before the start of the tour. It is clear he made reference to something other than his own recording of Man Of Constant Sorrow
when preparing to include it in his 1988 repertoire, because the state he now bids farewell to and says he is from is "old Kentucky"
as on The Stanley Brothers' recording, rather than "Colorado" as on Bob Dylan.

There are two verses included in the 1988 performances (Concord and again four nights later in Mountain View) that are not in Dylan's 1961 recording
but are new adaptations of verses in The Stanley Brothers' version.

Dylan would be the first person to tell you that songs can have a life of their own. In 2001, as I write this,
“I Am A Man Of Constant Sorrow" is reaching millions of listeners as the centerpiece of a surprise hit album,
the multi-platinum hillbilly music soundtrack to a film called 0 Brother, Where Art Thou? about the adventures of three prisoners
who escape from a chain gang in Mississippi in 1937. Stumbling upon a guy who offers them a couple of dollars if they'll sing something into his tape recorder,
they sing Man Of Constant Sorrow and it immediately becomes a huge hit record, and they are treated like celebrities
when they are recognized as The Soggy Bottom Boys.

The first known publication of the song was in a 1913 song-book that a blind singer from Kentucky printed to sell at his performances.
He called it Farewell Song. Sixty years later a song scholar asked him, "What about this Farewell Song – “I Am A Man Of Constant Sorrow” –
did you write it?" Richard Burnett answered, "No, I think I got the ballad from somebody. I dunno. It may be my song."
He certainly made it his own, even if he got it from somebody. Burnett sang:

"Oh, six long years I've been blind, friends. My pleasures here on Earth are done. In this world I have to ramble, for I have no parents to help me now."

When bluegrass pioneers The Stanley Brothers recorded the song, which they had learned from their father, they sang this verse as:

"For six long years I've been in trouble, no pleasure here on Earth I've found. For in this world, I'm bound to ramble. I have no friends to help me now."

Dylan at Concord sang this as:

"For six long years, I've been in trouble, no pleasure here on Earth I've found. I'm bound to ride that open highway. I have no friend to help me now."
(Or, perhaps, "I have no Friend to help me now.")

The other Stanley Brothers (and Burnett) verse Dylan did not sing in 1961 but does include in 1988 is:

"You may bury me in some deep valley, where many years I may lay. Then you might learn to love another, when I am sleeping in my grave."

The fact that Burnett called this Farewell Song, calling attention to his song's musical and emotional climax in the lines
"So fare you well my own true lover, I fear I never see you again" makes me notice that Dylan left these lines out of his 1961 recorded version
(he reinstates them powerfully in 1988) but made up for it in 1962 when he wrote in Don't Think Twice, ItÂ’s All Right
"Goodbye's too good a word gal, so I'll just say fare thee well" ... and wrote another song called "Farewell" that starts, "Oh it's fare thee well my darlin' true."

It is a song with a life of its own. Emry Arthur's 1928 "hillbilly record" of I Am A Man Of Constant Sorrow touched many people,
and in 1936 Sarah Ogan Gunning recorded it as A Girl Of Constant Sorrow. Judy Collins named her first album (Maid Of Constant Sorrow, 1962)
after her own version of the song.

The acoustic set at Concord, even without harmonica (which was the heart and soul of Dylan's 1961 Man Of Constant Sorrow), was and is the high point of a strong show. The second song of the set, The Lakes Of Pontchartrain, powerfully expresses Dylan's interest, at this moment in his life, in using his voice and guitar and the attention of his audience, to tell stories. Indeed, it seemed at the time and still seems now, that the 1988 shows where he sang The Lakes Of Pontchartrain or Trail Of The Buffalo or Two Soldiers or Barbara Allen were built around and seemed to fulfill their purpose at these dramatic moments of musical storytelling. GE Smith's role in this, although his playing as second guitarist in the acoustic sets was skillful and tasteful, often intelligent and always appropriate, seems to have been primarily to boost Dylan's confidence by taking away the possibility that he would make a very audible mistake in his guitar playing, a possibility that would have worried him and made it difficult for him to be as present in his singing during the "solo" sets as he needed and wanted to be. Because of this new two-guitar format,
and Dylan's confidence in GE Smith's ability to "cover" him, Dylan was able to be more ambitious in the songs he chose to play and sing,
and to set higher goals for what he hoped to achieve, musically and emotionally, during this part of the show.

Now that it has been revealed, in Howard Sounes' biography Down The Highway, that Dylan secretly married one of his backup singers, Carolyn Dennis,
in June 1986, four months after the birth of their daughter Desiree, we can see that along with its many other attractions,
this song appealed to Dylan because it gave him a chance to sing about the beauty of a black or partly black woman:

"A dark girl towards me came, and I fell in love with a Creole girl on the lakes of Pontchartrain." "The hair upon her shoulders in jet black ringlets fell.
To try to paint her beauty, I'm sure 'twould be in vain, so handsome was my Creole girl."

This is a theme that has made oblique appearances in various Dylan songs over the years:

"The night is pitch black, come and make my pale face fit into place, ah, please!" (Spanish Harlem Incident, 1964);

"I return to the Queen of Spades and talk with my chambermaid. She knows that I'm not afraid to look at her." (I Want You, 1966);

"We are covered in blood, girl, you know our forefathers were slaves." (Precious Angel, 1979).

Sounes, writing about Dylan's 1978 tour, says, "It was not lost on the band that all these girlfriends were black.
“Bob is really into black culture. He likes black women. He likes black music. He likes black style,” says [guitar player] Billy Cross.
“When he asked for musical attitudes, they would always be black.” When [percussionist] Bobbye Hall was invited to Bob's suite for dinner,
she was surprised to find a banquet of soul food. “He ate soul food after every show. He seems to be infatuated by going out with black women.
He was infatuated with that whole black thing, even eating the food”.”

It is likely that Dylan in 1988 learned The Lakes Of Pontchartrain from an album by Irish folksinger Paul Brady.
Brady's album is called Welcome Here, Kind Stranger, the key phrase in the Pontchartrain ballad.
It seems worth noting that these words are like a rephrasing of a key line in a Dylan song (and, perhaps, in the story of his life):

"”Come in”, she said, “I’ll give you shelter from the storm”.”

The songs, Dylan told us in Newsweek in 1997, are his lexicon, the source of his religiosity and philosophy.
A lexicon is a dictionary, or the vocabulary of a particular person or group of people.
Shortly after seeing the Concord and Mountain View concerts, I wrote that
"I wasn't completely surprised to hear Dylan sing Man Of Constant Sorrow at Concord, because Rank Strangers To Me
[from his newly released album] is the Dylan performance that speaks most powerfully to my heart this year, and every time I hear the lines:

“They've all moved away, said the voice of a stranger
To that beautiful shore by the bright crystal sea

I think of Man Of Constant Sorrow:

“Your mother says I'm a stranger
My face you'll never see no more
But there's one promise, darling,
I'll see you on God's golden shore."

The recurrence of this word and image "shore" struck something in me as I listened to Dylan in spring 1988. "Stranger," of course,
is another word and image from this lexicon that links Rank Strangers To Me and Man Of Constant Sorrow,
and it could also be heard at Concord in Dylan's beautiful rendering of The Lakes Of Pontchartrain:

"All strangers there no friends to me, till a dark girl towards me came" and " 'You're welcome here, kind stranger,
our home is very plain but we never turn a stranger out, on the lakes of Pontchartrain.'"

Such recurrences, whether delivered and received consciously or unconsciously, do contribute to the overall impact of a concert performance
(and the cumulative impact of a series of performances heard via albums and at concerts and on concert tapes).
It is intriguing that "My face you'll never see no more" also recurs in Lakes Of Pontchartrain: "So faretheewell my Creole girl, I'll never see no more."
How does this resonate (consciously or unconsciously) with the fact that the next song in the Concord acoustic set,
Boots Of Spanish Leather, starts, "I'm sailing away my own true love, I'm sailing away in the morning"?
I think we feel the narrator's unspoken anguish at the possibility that he will never see her again.
And maybe on some deep level that word "morning" brings us back to these powerful lines from Man Of Constant Sorrow:

"I'm bound to ride that morning railroad / Perhaps I'll die on that train."

Boots Of Spanish Leather (first-ever concert performance) is quite moving. And then the mood changes abruptly and meaningfully
("trying to adjust the moods of the different songs can be tricky sometimes") with a surprisingly powerful Driftin' Too Far From Shore –
at Concord is an example of Dylan leading his band so successfully, with his voice and his presence and his rhythm guitar playing,
that the entire ensemble performance becomes an expression of one man's personality and spontaneous creative intent.
The sound is very different from the two-guitar solo acoustic set we've just been listening to, but the narrative flow of the concert is uninterrupted –
the juxtaposition of sounds and images and words and melodies and rhythms and situations continues to enthrall us
and stir us up in powerful ways that charmingly violate any expectations or ideas we may have had about who this artist is
and what he probably wants to say and achieve tonight. "I didn't know that you'd be leavin',
or who you thought you were talkin' to / I tried to reach you, honey, but you're driftin' too far from shore."
This could be addressed to the "you" of Boots Of Spanish Leather, though Dylan at Concord doesn't sing the first of these sentences
from the "official" album version (and, now, website lyrics) of the song. He does not seem to remember the words to the verses of this song,
so he ad-libs slurred "dummy" lyrics suitable to the meter and mood but in any case, the important thing is that it sounds so wonderful!
The drums, the guitars, the voice blend into a single, very expressive, nonverbal voice. Indeed, at moments like this
(including each of the marvelous acoustic performances at Concord, and the earnest reading of In The Garden that ends the first electric set
and opens us for the revelations of the next few songs),
we listeners have an opportunity to meet the new, June 1988, evolution of the performing artist whose name is on the marquee tonight.
He clearly has something to tell us. There is a feel to the overall sound of each song that seems equivalent to the ambitious self-expression
found in this artist's early writings and performances.
Dylan might not be able to answer our questions about what it is he is trying to say. But he says it with such conviction,
such charming and inventive artistry, that we find ourselves finding meaning here, recognizing ourselves, our world, our feelings in these songs and performances.
For the performer and the audience, the gateway to a new kind of audience-artist relationship is opening.
In this case, it is the gateway to Dylan's Never Ending Tour, a new art form and format which, he says,
he was inspired to create or search for after watching The Grateful Dead perform in the summers of 1986 and 1987.

As he did at the start of the fall 1987 tour, Dylan varied his set lists considerably, Grateful-Dead-fashion, at his first 1988 shows.

The second concert, Sacramento, only included two songs that had been played at the first concert. The third concert included nine songs from the previous shows, and eight that were new to the tour. Nine more songs were introduced at the next show, so that 40 different songs were played in the first four concerts of 1988. By the 15th show, 62 different songs had been played. And in spite of a few predictable slots – Subterranean Homesick Blues first every night, Like A Rolling Stone closing the show (before the encores) every night, Maggie's Farm the last encore most nights, and Silvio the first or second song in the second electric set almost every night after its introduction at the ninth show – the set lists continued to vary significantly night after night, with few repeating sequences. The last ten shows of the year, from 22 September to 19 October 1988, offered three different songs in the #2 position, five different songs in the #3 lot, five different #4s, and five different #5s. Highway 61 Revisited closed he first set nine times during those last ten shows, followed by One Too Many Mornings three times and by an acoustic Gates Of Eden four times. The acoustic sets at those ten shows featured nine different songs, although the acoustic set at the last four shows of the year (all at Radio City Music Hall) did repeat the same three songs in the same order almost every night. Altogether, 33 different songs were played during the last ten shows of 1988 (not including a post-tour Dylan appearance when he did six acoustic songs at a benefit concert in December 1988). And Dylan managed to surprise ind delight his fans at the 66th show of the year, Upper Darby on 13 October 1988, by singing Bob Dylan's 115th Dream ("I was ridingin the Mayflower, when I thought I spied some land"), a song he had never played live before, and then ending the show with Every Grain Of Sand – his fourth performance of this major work during 1988, a song he had not sung on stage since 1984.

The leader of Dylan's 1988-1989 band, GE (George Edward) Smith, had been the frontman of the Saturday Night Live television how band since 1985.
He played lead guitar for the "blue-eyed soul" duo Hall And Oates from 1979 to 1985, and can be heard on heir #1 hit singles Kiss On My List, Private Eyes and I Can't Go For That. Bass player Kenny Aaronson had also had the experience of playing in a group with a #1 record, Stories (their hit was Brother Louie, summer 1973). Aaronson joined Dylan's band only a few weeks before the 1988 tour started, after Dylan decided original bassist Marshall Crenshaw's six-string bass "did not fill the sound out enough." The third bandmember, Christopher Parker, also a New Yorker, was an experienced recording session drummer who played with GE Smith in the Saturday Night Live band. This was the smallest backing band Dylan had ever toured with. Clinton Heylin calls them "a tough, punchy, no-frills band." Andrew Muir, in Razor's Edge: Bob Dylan & The Never Ending Tour says, "They looked and sounded like a band of rock ‘n’ roll gangsters from the wrong side of the tracks."

At Concord, and the other three Bay Area shows that opened the 1988 tour, Dylan and the band were joined onstage by Neil Young. He played guitar on all of the electric songs, all four nights. That is, he could be seen playing – few of us who were at the shows could actually hear him playing; nor is there much evidence of the distinctive sound of Young's electric guitar on the recordings of the shows, though I hear an attractive solo that sounds very much like it could be his near the end of You're A Big Girl Now on the Concord tape. One friend of mine swears he hears Young's guitar on the Berkeley Gates Of Eden. In any case, Young's enthusiastic presence onstage (and his playing, as heard in the monitors if not the PA) may have helped spark the particularly spirited band and vocal performance of Like A Rolling Stone at Concord (leagues above the Rock ‘N’ Roll Hall Of Fame all-star jam version).

Dylan, in rehearsing the songs he was likely to include in his 1988 tour, paid uncharacteristic attention to songs he was singing at the very start of his career,
in 1961. The first song of his acoustic set at each of the first four 1988 shows is one he recorded in 1961 for his first album –
Man Of Constant Sorrow at Concord and Mountain View, Baby, Let Me Follow You Down at Sacramento, and San Francisco Bay Blues at Berkeley.
Three weeks later, in Mansfield, Massachusetts on 2 July 1988, he sang another song from that album, Pretty Peggy-O, early in the first electric set.
14 July 1988, on the outskirts of Chicago, he opened his acoustic set with Song To Woody, also from his first album.
25 June 1988, the acoustic set opened with Trail Of The Buffalo, a song that can be heard (like San Francisco Bay Blues)
on a recording of Dylan performing at the home of some friends of Woody Guthrie's very early in 1961. 22 June 1988,
he opened his second set with Wild Mountain Thyme, another song that turns up on an early-1961 recording of Dylan performing for friends.
Other songs performed on the 1988 tour that he was probably singing as early as 1961 are Barbara Allen and Wagoner's Lad.

We can infer that Dylan in spring 1988 devised a strategy for "getting back there" to the meaning of his own work without emergency assistance from Jerry Garcia.
Remember what he said in 1993 he heard in U2: "Just more of a thread back to the music that got me inspired and into it.
They are actually rooted someplace and they respect that tradition. They work within a certain boundary which has a history to it,
and then they can do their own thing on top of that. I don't know how anybody can do anything and not be connected someplace back there."
Hence this 1988 gambit. Listen to Dylan sing (and emphasize, stretch out) the word "I" in the lines "I am a man of constant sorrow"
and "I bid farewell to old Kentucky" and "I'm bound to ride that open highway" in spring 1988, and I think you can actually hear a person getting connected,
and discovering and creating a platform on which to do his work as a performer.

I saw (attended) ten of the 71 shows Dylan and his new band played during their 1988 tour of North America.
I enjoyed all of them thoroughly, and felt deeply enriched every time. But the primary source material for this study of one performer's work must be –
for the sake of accuracy and some possibility of common ground between reader and author – recorded performances rather than recollections of concerts attended.
And the 1988 shows, as recorded performances, offer few examples of this artist doing his very best work.
Yes, Gates Of Eden from 13 June 1988 is extraordinary, and Lakes Of Pontchartrain from 7 June 1988 and Two Soldiers from 9 June 1988
and various other 1988 acoustic "cover" song performances are quite wonderful.
But there do not seem to be as many such moments scattered among the tapes of the shows as I would wish.
And it is not easy for me to find a full recorded show from 1988 about which I can wax as enthusiastic as I did in chapters four and five
about Dortmund and Munich and other fall 1987 tapes.

1988 was the start of something exceptional: Dylan's Never Ending Tour. Like almost every new environment Dylan has created for himself
or found himself in as a performing artist, the "Interstate '88" band and tour concept was an experiment.
Its longevity (not with the original players, but as a format and as an approach to the task of being Dylan, live performer)
bespeaks its success at meeting the needs of the singer and of his audiences. Like a long-running Broadway show, it evidently has pleased somebody.
But the success of the artistry is another matter – and my particular interest in this study.
The Never Ending Tour has produced a remarkable number of great performances, great works of art, over the years.
But not quite as many in its maiden year as I had expected to find, based on my memories of seeing the shows and of listening to the tapes back then.

What I am trying to say, I guess, is that these books have been (and will continue to be) an argument for and exegesis about Dylan's greatness as an artist,
specifically a performing artist, and my approach has tended to be to focus on examples of that greatness
as they turn up in the course of this chronological survey – but 1988, although a turning point, was not a bumper year for greatness.
It was a year when almost any of the shows was a true pleasure and very rewarding for the Dylan fans who happened to be there.
But listening to the recordings (tapes, CDs, etc.), one finds a lot of very good (though seldom "great") performances
alongside a lot of disappointingly routine stretches (depending on the mood the listener is in, these can be quite enjoyable;
but seldom are they examples of the artist being particularly awake and present within his song and performance).
Dylan is comfortable with his band in 1988, and that means he is able to be as reliable an entertainer as live performers are expected to be.
But for connoisseurs of Dylan's "accidental" art, good entertainment is not satisfying.
We prefer moments of transcendent awakeness, those moments when, to quote the man again,
"songs are heroic enough to give the illusion of stopping time" and "to hear a song is to hear someone's thought, no matter what they're describing."

***

Andrew Muir

"The people themselves will tell you when to stop touring"
"I really don't have any place to put my feet up. We want to play because we want to play. Why tour? It's just that you get accustomed to it over the years.
The people themselves will tell you when to stop touring." Dylan, 5 August 1988, Interview by Kathryn Baker, Associated Press.

I cannot recall exactly who told me, but early in the summer of 1988 I became aware that Dylan had started a new tour with a small band,
was playing some hard-hitting, rock-driven shows and was looking far healthier than in 1987.
I also knew that Neil Young had guested on guitar for a number of shows and that Dylan was tending to play theatres rather than arenas.
It all sounded very exciting. As I had been living abroad and was not part of the world of Dylan fandom at the time,
I had to settle for what few scraps of information were given out by the regular music press and what I garnered from my cousin Andy.
This only heightened my anticipation, so it was with great expectation that I awaited the tapes Andy would forward to me.
Unsurprisingly, the first ones I received were from the opening shows. So let us go back in time to Concord, to where it all began.

After the years of big bands, string sections, horns and female backing singers, it must have been quite a shock to see Dylan take the stage
flanked only by a three-piece band: Chris Parker on drums, GE Smith on lead guitar and Kenny Aaronson on bass.
They looked and sounded like a band of rock ‘n’ roll gangsters from the wrong side of the tracks.
Neil Young was there too, though his presence was barely audible.

The opening show started with a shock as a fairly throaty Dylan sped through his first ever live performance of Subterranean Homesick Blues.
This proved so successful an opener that it remained in the starting slot throughout 1988.
It was followed by an even greater live debut in Absolutely Sweet Marie,
a point often overlooked by commentators in their excitement over Subterranean Homesick Blues.
This classic Blonde On Blonde song was treated to an aggressive rendition, with Dylan's voice exploding into action
as though he had been longing to get back to stripped-down rockers.

Guitars riffing like machine guns propelled Dylan next into an ominous Masters Of War. After this opening hard-hitting three-song salvo,
Dylan's voice had shed all vestiges of rustiness and the subsequent You're A Big Girl Now had strong, clear vocals.
Dylan now allowed himself a bit of space to squeeze tremendous emotion from phrases such as "back in the rain".
There were many more fine versions of this song to come in 1988, Dylan even rewriting a verse as the shows progressed.
This was hardly remarked upon at the time, as rewriting a song from Blood On The Tracks for live performance was not unusual in those days;
it certainly would cause more than a ripple in fan circles in later years.

Dylan's first address to an NET audience followed: "All right, thank you; we got Neil Young here playing tonight."
Then he swung into Gotta Serve Somebody, a song that allows him the pleasure of playing around with rhyming couplets without changing the import of the chorus.
Despite being given a kick-ass treatment it displayed a refreshing jauntiness, with Dylan enjoying changing the emphasis and playing with the song's title line.

A dramatic, declamatory In The Garden was next, just in case anyone had missed the previous song's Christian message amidst the exuberant, playful delivery.
As a song, In The Garden just shades the early finger-pointing of Who Killed Davey Moore? in subtlety; the browbeating, rhetorical questioning
has the same bludgeoning effect. When Dylan is into the song, though, as he was here, it drives along with power and sweeps you up in the moment.
He performed it in a challenging, ranting style to close the first electric set; setting a trend for this spot in NET sets to be occupied by a theatrically key song.
A trend which was, with only a few exceptions, to last for a long time.

The shocks did not stop. The acoustic set opened with Man Of Constant Sorrow, a traditional song that Dylan had covered on his debut album so many years before.
This alternate version was beautiful, a splendid arrangement with expressive vocals.
It was a worthy beginning to the extraordinary procession of traditional songs that Dylan would cover over the years of the NET.
Night after night, year after year, they have supplied many of the high points.
So fully does Dylan inhabit these numbers that they often sound more like Dylan songs than some he has penned himself.
This was especially obvious in some later years, when, unlike 1988, he would sometimes toss off his own most familiar material
with no feeling of being engaged in his own songs at all, and then suddenly come to life when interpreting a folk standard.

Back at Concord 1988, he was about to play another: The Lakes Of Pontchartrain, a magnificent, timeless song of unfulfilled love
("I asked her if she would marry me, she said that never could be / For she had got a lover, and he was far off at sea").
In Dylan's hands, both here and many times since, you live the story with and through him.
The same theme of unfulfilled love shot through Dylan's contemporary album Down In The Groove in songs such as Ninety Miles An Hour (Down A Dead End Street):
"You're not free to come along with me / And you know I could never be your own".

So, the new record seemed, at this moment, to be present in spirit, though I doubt that this was much comfort to the record company executives
who would surely have preferred to hear Dylan sing actual tracks from Down In The Groove.
Then again fans who bought that release, which was so short on quality and in length,
would have preferred the inclusion on the record of a few more traditional songs like The Lakes Of Pontchartrain.

Dylan brought this riveting acoustic set to an end with one of his own 'traditional' sounding songs, giving us an appealing version of Boots Of Spanish Leather.

Somewhere along the way the audience may have noticed they had no opportunity to give the customary rousing acclaim to Dylan's harmonica-playing.
In yet another surprise, Dylan never played harmonica on the 1988 tour.

The second electric set opened with another debut, Driftin' Too Far From Shore.
It was too much to expect this feeble work to follow comfortably in the footsteps of the marvellous songs just played.
Nonetheless, the first live outing of a newish Dylan song was exciting in itself, even if it was played as though it was the Julius And Ethel out-take from Infidels.
The song itself is such a minor one that it was held over from the impoverished Empire Burlesque album
and released on its near-catastrophic successor, Knocked Out Loaded. It shows. Driftin' Too Far From Shore also formed the B-side of Dylan's current single.
The A-side, Silvio, was soon to be unveiled in concert and would feature prominently for years to come.

Another surprise followed in an electric version of the usually acoustic Gates Of Eden; it was slow, but punchy and dramatic with a biting delivery.
The guitar parts had obviously been worked on, and formed a compelling backdrop against which Dylan revealed his vision.

Like A Rolling Stone was the crowd-pleasing closer; Dylan was clearly enjoying himself too, giving an open throated laugh as he sang "secrets to conceal".
The audience's rapture was further increased by a foot-stomping encore of Maggie's Farm, preceded by Dylan thanking, with marvellous intonation,
"You people for being so nice".

And that was that: 13 songs, approximately 70 minutes of prime Dylan, classic rock 'n' roll with an acoustic set from folk heaven,
a hugely enthusiastic crowd and a patently in-high-spirits performer. What more could you want?
Well, quite a lot more if you were writing for the San Francisco newspapers. With a history of antipathy towards Dylan, they launched yet another offensive.

The Examiner's Philip Elwood, in an article entitled "Dylan Show Sinks Like A Lolling Stone", gleefully crowed that the Concord Pavilion was "barely half full",
that Dylan "mumbled" and that nearly all the songs were "both unrecognisable and unintelligibly sung",
while "Dylan's vocals were so poorly defined and so lacking in melody that most were at a loss to catch any lyric thread or phrase."

Now this book is not going to claim that all of Dylan's thousands of shows have been magical and I freely,
admit to having been to shows where Mr Elwood's comments would have been very hard to refute.
However, even though my original tape was rather lo-fi, I could always tell that he was misreporting here.
Most songs were played at a fast pace, but the vocals were clearly intelligible.
In more recent years a soundboard recording has emerged which further underlines the point that this review is a wilful misrepresentation
of Dylan's singing that night. Mr Elwood may have been right that Neil Young's guitar was "kept so low his playing was seldom clearly defined";
however, Neil was just a guest dropping in, his prominence or lack thereof was no great matter.

Joel Selvin of The Chronicle also accused Dylan of "mumbling" and even went to the unforgivable length of unfavourably comparing Dylan's rendition
of Like A Rolling Stone to a live version by John Cougar Mellencamp. He also wrote, in comments that make one doubt he actually heard, say, You're A Big Girl Now:
"(Dylan) failed utterly to appear as if he cared in the slightest about what he was doing.... Dylan managed to perform the set in relative darkness....
There were ragged endings, a sloppy mix and a tentative, uncertain ensemble sound.... There were no particular highlights or dramatic moments,
just a flat, uninspired, almost rote recitation of inconsequential selections."

Selvin further complained that Dylan stuck to "an undistinguished lot of songs drawn from throughout his career".
This is 'criticism' that should surely be praise; needless to say, Dylan often gets castigated for doing the opposite.
For many years after this, Dylan's set-lists relied heavily on songs from a handful of famous albums.
When asked in an interview why he played all the old “hits”, Dylan replied that when he tried to play new songs people did not like it.

With comments such as "He boasts one of the deepest repertoires of great songs anybody could claim but roundly ignored the cornerstones,
other than the obligatory Like A Rolling Stone", this journalist might be one of those responsible for Dylan's frequent reliance on old material.
It was such a ridiculous complaint and meant that the audiences, who wanted something new,
were denied it due to Dylan's stated perception that when he tried to play new songs "people didn't like it".
People did like it; the more influential San Francisco journalists, alas, did not.

Dylan was also criticised for the brevity of his Concord set, an extremely odd reaction when you consider the superlative quality of those 70 minutes.
It makes one wonder if the reviewers would prefer two hours of someone in third gear followed by a high energy encore to over an hour
of someone in top gear throughout.

A soundboard recording comes directly from the mixing board at a concert.
The sound quality is obviously much superior to that of a concert recording as the sound is captured close to the artist's mouth.
In many cases these give a more faithful impression of the show than even officially released live albums which are often edited,
spliced from various shows and enhanced in the studio. The downside is that although the lack of audience noise is usually a boon,
the lack of it also changes the atmosphere. Audiences are not necessarily totally unheard on soundboard tapes
but they are so muted that you often can lose the feel of “being at” a show.
Another drawback is that the mixing board sound is not intended for audiences' ears and can be rather flat sounding.
Overall, however, their near studio quality makes them highly prized and they give the best chance to relive the event.

***

Concord Pavilion
Concord, California
7 June 1988

1.Man Of Constant Sorrow (trad. arr. by Bob Dylan)

First concert of The Never-Ending Tour.
First concert of the Interstate 88 Tour, part 1: Summer Tour of North America.
First concert with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Man Of Constant Sorrow.

First live performance of Man Of Constant Sorrow since 1961.

LB-0252;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE-2002 > Sony WM 6

Very good to excellent sound [B+].

***

Cal Expo Amphitheatre
Sacramento, California
9 June 1988

2.The Man In Me
3.I Shall Be Released
4.Baby Let Me Follow You Down (Eric von Schmidt)
5.Two Soldiers (trad.)
6.Had A Dream About You, Baby

Second concert of The Never-Ending Tour.
Second concert of the Interstate 88 Tour, part 1: Summer Tour of North America.
Second concert with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Baby Let Me Follow You Down,
Two Soldiers.

Live debuts:
Two Soldiers,
Had A Dream About You, Baby.

No encores.

LB-0546

Excellent sound [A].

***

Andrew Muir

Dylan's next stop was at Sacramento. After an opening show that was wonderful for the fans, but rocky in terms of attendance and press reaction,
the tour was about to nearly run aground. If Concord was not a long set, the Sacramento show, 12 songs and no encore,
clocking in at under one hour, was to be by far the shortest of the tour.

The story goes that Dylan was in a foul mood and stormed off without encores as he was disappointed by the size of the crowd,
which was less than half the 12,000 capacity. It is also possible that he had seen the San Francisco Examiner and Chronicle reviews.
Dylan may say that he ignores reviews but there has been many a bitter retort from him to negative press comments over the years,
and he was to answer one of the newspapers' jibes just a couple of shows later.
Certainly the show was so much shorter than any other gig on the tour that you feel Dylan must have been disturbed by something,
but writing the whole show off as a disaster simply cannot be supported by the recorded evidence.
By the end of the set Dylan may well have been upset, but there seems no indication that he was at the beginning when one listens to the audio.

The first thing to mention about the Sacramento show is that only two songs – the opener and closer – were repeated from the first night,
repaying fans who went to consecutive shows as well as highlighting that the tour was in its formative days.

A typically rambunctious 1988 performance of Subterranean Homesick Blues was followed by an unexpected electric set slot for It's All Over Now, Baby Blue.
A brave choice this, especially before his voice had warmed up, but it was a fine performance,
although there are elements of what Mick Ronson once termed Dylan's 'Yogi Bear' voice.
Considering Mr Ronson was referring to the Rolling Thunder Tour he could not have been more wrong at the time,
though there have certainly been times in the NET when the remark has been ruefully recalled.

The Man In Me was another bolt from the blue and another excellent delivery. With the story surrounding this show,
I was prepared for a Verona 1984-type shambles, where Dylan treated the opening gigs of the tour as rehearsals;
however, this is not at all what you hear when listening to the opening of the show.
A scorching Stuck Inside Of Mobile With The Memphis Blues Again got the biggest cheer of the night so far,
and was followed by I Shall Be Released and Ballad Of A Thin Man with both featuring strong vocals.

Even though the songs changed so much between the opening nights you can see that Dylan had a fixed set structure in his mind.
As at Concord, the acoustic set opened with a song covered by Dylan at the beginning of his career,
then there was a traditional folk song and finally an old favourite from the early days.
Then, again as at Concord, Dylan opened the second electric set with a new song, or “obscure song”, as the press would call them.
In another indication that he does indeed read the press coverage, this led to Dylan's remarking, after playing I'll Remember You at the fourth show of the tour,
at Mountain View, California: "I don't think that's an obscure song. Do you think that's an obscure song? I don't think so!"

Baby, Let Me Follow You Down, a song that saw sterling service in 1966 and at The Band's farewell concert, The Last Waltz,
appeared in the same slot as Man Of Constant Sorrow, another cover song that appeared on Dylan's first LP.
It was great to hear it again and the audience responded enthusiastically.
The Lakes Of Pontchartrain was replaced by a cover of another traditional folk song, Two Soldiers.
Dylan was straining his voice, a little uneasy at having to hit some difficult notes, and yet this was far from a poor performance.
On first receiving the tape I already knew of the furore surrounding the gig but re-listening to it later, searching, as I did back then,
for things that sound wrong, I cannot hear them. If you start to look for something, you can wrongly convince yourself you have found it
and I think that may have affected some commentators looking back at this controversial night.
Unsurprisingly, given the quality of the performance, there was loud applause at the song's end.
So, there has been no sign yet that Dylan was in the reported “sulk”, “foul mood” or “rage”.

Certainly, the noise the crowds made throughout Dylan's beautifully crafted and executed acoustic set would give him just cause for being angry.
However, this happens every night and either he does not hear it or he rises above it.
There is no reason to suppose Sacramento should be regarded differently to every other night in this regard.
Girl Of The North Country followed Two Soldiers, it was not outstanding but it was more than passable.
You can hear somebody shouting: "Everybody back! Everybody back!" followed by an excited melee and much cheering.
Perhaps there was a stage rush, but this usually delights rather than irritates Dylan.
Nonetheless, it was from this point onwards that the show began to deteriorate.

The electric set opened with yet another debut, and for a new Dylan song at that, from Down In The Groove.
Unfortunately, it was the sub-standard Had A Dream About You, Baby, but at least live Dylan and the audience could have some fun with it.
Not surprisingly, given that the song dates from the ill-advised and ill-fated 1986 Hearts Of Fire movie, Dylan sounded more like he did in 1986 than 1988.
It is not possible to tell if there is a real problem with Dylan singing this song or not as it is just a thrash.
However it is undeniable that the feeling of the more “distant” Dylan of 1986 rather than the, up to now, vibrant 1988 version persisted
in the old favourite that followed, Just Like A Woman.

Some of the early part of the show's freshness and vitality had been lost; nonetheless, Dylan does not sound like he was merely going through the motions
and it is significant that the crowd certainly were loving it. When the predictable choice of Maggie's Farm closed the second electric set,
there was still no sign that Dylan was annoyed. Granted, he was galloping through the set, but then he did so throughout the 1988 tour.
Granted also, he sounded nowhere near as strong at the end of the show as he did at the beginning; but, again, this is hardly shocking.
We were only on the second night of a new tour, and his voice and energy levels might just have been flagging before he got back into the touring routine.

Whatever the problem was, Dylan left after 12 songs and did not return. The set was only one song shorter than at Concord,
but the unannounced, abrupt ending and the psychological effect of the show being under an hour made it seem far shorter.
Encores were expected, at the very least. Some in the audience no doubt hoped that Dylan's departure signalled only a mid-show break,
with the second half still to come. Their disappointment soon turned to anger and the night ended in acrimony
that further inflamed the long-standing bad feeling toward Dylan in the local press.
A vicious circle was in danger of dragging down the tour that had started so well at Concord.

***

Greek Theatre
University Of California
Berkeley, California
10 June 1988

7.Joey (Bob Dylan & Jacques Levy)
8.San Francisco Bay Blues (Jesse Fuller)
9.It Takes A Lot To Laugh, It Takes A Train To Cry
10.In The Garden
11.Gates Of Eden
12.Rank Strangers To Me (A. Brumley)
13.Everybody's Movin' (Glen Trout)

Third concert of The Never-Ending Tour.
Third concert of the Interstate 88 Tour, part 1: Summer Tour of North America.
Third concert with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
DSan Francisco Bay Blues,
Rank Strangers To Me.

Neil Young (guitar) on:
It Takes A Lot To Laugh, It Takes A Train To Cry,
In The Garden,
Gates Of Eden,
Everybody's Movin'.

Live debuts of:
Rank Strangers To Me,
Everybody's Movin'.

First live performance of San Francisco Bay Blues since 1961.

LB-1187;
Taper: Christian Behrand (CB)

Very good to excellent sound [B+].

***

Andrew Muir

After the dust had settled on Sacramento, renowned concert promoter Bill Graham is alleged to have informed Dylan that this would not do;
that he would have to make a greater effort to please his audience or he would lose it altogether. The result?
Dylan pulled up his socks and delivered a brilliant 17 song, 90-minute plus set at Berkeley and went on to complete a glorious tour.
This is the received wisdom, yet it just does not sound at all like Dylan.
It seems absurd, given his career, to view him as a naughty schoolboy, who, when rebuked, turns into a star pupil.
In addition, Berkeley is often blessed with special shows, and opening concerts are often greatly at variance with what follows on Dylan tours.
As a strong example of that, the first four shows in 1988 contained about half of the songs played in the whole year.

Whether the alleged warning from Bill Graham changed Dylan's plans for the tour, or whether Dylan just had an “off” ending to the night
after the acoustic set at Sacramento for some reason or another, we will probably never know for sure.

Still, after Berkeley's 17-song feast (including many songs that were not played in the first two shows, Rank Strangers To Me among them),
the set lists/ structure settled down to a fairly consistent pattern of 15 or 16 songs per night (though there were a large number of 14s and 17s too),
rising on special occasions and peaking with a 21-song set at Upper Darby, Pennsylvania on 13 October 1988,
as Dylan warmed up for the concluding dates that had been added at New York's Radio City Music Hall in response to the rave notices posted as the tour progressed.

Generally speaking there were six or seven electric songs, followed by three or four acoustic numbers (on which GE Smith accompanied Dylan).
Dylan would then return for another three or four electric numbers and round it all off with a one- or two-song encore.
Surprises continued throughout the 71-date tour, with some 87 different songs being played.

Contrary to the poor turnouts early in the tour, the Radio City residency was a complete sell-out; and, in the middle of those shows, The Travelling Wilburys
(a 'supergroup' consisting of Bob Dylan Roy Orbison, George Harrison, Tom Petty and Jeff Lynne) released their first album, to huge acclaim and impressive sales.
Throughout 1988 I continued to receive tapes of the tour, and it soon became evident that a key facet of the shows was the way in which Dylan was, yet again,
defying attempts to pigeon-hole him. Though set-lists were dominated by the greatest hits from his folk and rock phases from the 1960s,
the mixture of songs played included country, rockabilly, gospel, Tin Pan Alley and traditional folk.
I remember various shows that I carried around on my Walkman; the one from George on 20 August 1988, for example,
where there was the following comment from the audience after Highway 61 Revisited: "It's much better than I thought it would be".
This simple statement could stand as a verdict on the whole tour.

I remember from that show, too, the pile-driving rhythm and the glorious extended "eee" endings in "Absolutely Sweet Marie",
and I recall listening intently to the way he enthusiastically pronounced the words to fit a new stop-start rhythm in "You're A Big Girl Now".
There were so many other gems from other shows that people started making and trading compilation tapes.
These tapes included celebrated performances such as that of the rarely played, exquisite I Dreamed I Saw St Augustine from John Wesley Harding.
It was almost as if Dylan had deliberately plucked out a song from his own back catalogue which, although seldom played live,
would surely survive for as many hundreds of years as the treasures from the trove of traditional songs that he was performing nightly with such care and intensity.

There was even a splendid Joey, a modern tale told as a fable with truth so far removed in its words that it seems at home amongst the myths from yesteryear.
This song would often be attempted live in the years that followed (albeit seldom with its lyrics correctly remembered), but never more successfully than in 1988.
Then there was My Back Pages, which was totally recast with, aptly enough, Byrds-like celebratory guitars chiming while Dylan's voice veered from anxious
to a laughing, dismissive tone on "rip down all hate". As the performance progressed, the song regained its original,
confident declamation due to the driving beat of the tight band.

There were tremendous single outings, too, for License To Kill, One More Cup Of Coffee (Valley Below), and Tomorrow Is A Long Time.
Dylan also gave us, though you would be forgiven for thinking this was not the musical setting for it, a one-off performance of Visions Of Johanna.
When he played Ballad Of Hollis Brown at Alpine Valley on 18 June 1988 (another "Walkman" favourite show, incidentally)
it was interpreted as an oblique sign of support for local farmers then enduring a drought.
Since it was the sole performance in the year, this seemed a reasonable assumption; and even though its next appearances would be at Helsinki, Dublin and London
(in 1989) and would be harder to fit into this theory, the 1989 performances were electric, while the 1988 one was both unique to that year and acoustic.
Song To Woody made it four songs from Dylan's debut album, and there were a few outings for The Ballad Of Frankie Lee And Judas Priest,
for which, presumably, we have to credit The Grateful Dead. Even Bob Dylan's 115th Dream was unexpectedly debuted in one of the Upper Darby 'warm-up' gigs
for the Radio City Music Hall residency. It was a year of surprises and of magnificent shows.

Most of all, though, I remember marvelling at the wonderful cover versions. They sprang up all over the place, in show after show,
compilation tape after compilation tape. Some were played but once, some a few times and others became commonplace.
But it was the breadth of sources that was most impressive: from Across The Borderline to Give My Love To Rose; Eileen Aroon to Pretty Peggy-O;
Wagoner's Lad to Wild Mountain Thyme and I'm In The Mood For Love to Trail Of The Buffalo.jk

Of these, the first to strike home were the traditional songs. As far back as 1966, in the Playboy interview with Nat Hentoff,
Dylan had hinted at how important these songs were to him:

"Traditional music is based on hexagrams. It comes about from legends, bibles, plagues, and it revolves around vegetables and death.
All these songs about roses growing out of people's brains and lovers who are really geese and swans that turn into angels.
I mean you'd think that the traditional-music people could gather from their songs that mystery is a fact,
a traditional fact I could give you a descriptive detail of what they do to me, but some people would probably think my imagination had gone mad."

The NET has been honoured, year after year, by Dylan singing traditional songs and giving us every descriptive detail his immense interpretative powers
can imbue them with.

Barbara Allen, played in a variety of ways, was a regular standout. I swear that on some nights the way he sang the words:
"Oh yes oh yes, I'm very sick, and I will not be better" was worth the admission price alone.
The same could be said for any version of Lakes Of Pontchartrain or Eileen Aroon both of which consistently provided yet further evidence
of how incomparable a communicator Dylan is. Here, in later life, if he could not manage the vocal brilliance of his staggering early-1960s rendition
of the traditional Moonshiner Blues, as his vocal range was already diminished (relative to those heady days), he could still manage a breathtaking delivery.

The brilliance of the song, with a melody, lyric and conceit that seem as old as expression itself, was given full and deserved embodiment in Dylan's delivery.
The following lines, when sung by Dylan in 1988, surpassed even Robert Browning's masterly poetic encapsulation of the identical sentiment in Love Among The Ruins.

Youth will in time decay,
Eileen Aroon
Beauty must fade away
Eileen Aroon
Castles are sacked in war
Chieftains are scattered far
Truth is a fixed star
Eileen Aroon

The deliberate emphasis on the ending of fixed was only one of many “goose-bump” moments.

And all this from a man they say cannot sing. You want to ask such detractors to define “singing”,
for whatever they mean by the word can only be a limited sub-branch of what we hear when Dylan performs like this.
We are not just listening to a singer, accomplished or otherwise, retelling a tale and pushing the buttons of our emotional responses.
Instead we are involved in the story, in myth. We are dragged, perhaps even reluctantly,
towards what Dylan described in that famous 1966 Playboy interview as "the one true, valid death you can feel today off a record player".

Dylan could also cover modern songs to similar dramatic effect. The pick of these was Leonard Cohen's Hallelujah, unveiled in Montreal on 8 July 1988,
presumably as a tribute to the Canadian poet and songwriter. The way Dylan performed it made it sound like a brand new masterpiece of his own.
I first heard the song when Cohen closed a fine show in Helsinki with it three years earlier; but listening to Dylan perform this notable song,
which was later to become a hit in more than one cover version, was like hearing it for the first time.
Cohen was reportedly delighted when hearing the news of the tribute, but he would have been ecstatic if he had heard what a majestic version it was.
(Dylan played it one more time, and in a very different but equally effective style, on 24 August 1988,
the last of three splendid nights at the Greek Theatre, Hollywood.)

***

Shoreline Amphitheatre
Mountain View, California
11 June 1988

14.My Back Pages
15.I Dreamed I Saw St. Augustine
16.Shelter From The Storm

Concert # 4 of The Never-Ending Tour.
Concert # 4 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 4 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Neil Young (guitar) on:
I Dreamed I Saw St Augustine,
Shelter From The Storm.

BobTalk:

Everything's all right? (after My Back Pages)

LB-2565;
Taper: markp;
Equipment: Nakamichi CM300(cp4) > Sony tcd5m > nakamichi cr-1a >
hhb cdr830 > EAC > Flac 1.1.2 with tags > easytree

Good sound [B].

***

Park West
Park City
Salt Lake City, Utah
13 June 1988

17.I'll Be Your Baby Tonight
18.License To Kill

Concert # 5 of The Never-Ending Tour.
Concert # 5 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 5 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

BobTalk:

OK! Everything's alright? Everything's OK?
(after I'll Be Your Baby Tonight)

LB-0992;
xref-00010;
Leave No Stone Unturned (Southside Butcher Production)

Very good to excellent sound [B+].

***

Paul Williams

I need to step out of time and chronology for a moment and advance to 13 June 1988 in Park City, Utah,
and a performance of Gates Of Eden by Dylan, GE Smith, Kenny Aaronson and Christopher Parker that – similar to “Visions Of Madonna" on 26 July 1999
and Like A Rolling Stone (second run-through) on 15 June 1965 – cuts to the heart of who Dylan is and what his songs mean
(that riddle he had had such a hard time grasping a year before) and what he lives and performs for.

It was the fifth show of the Never Ending Tour and the third time Dylan and his 1988 band played this song onstage.
The first time (at the opening show of the NET, in Concord, California, 7 June 1988) was in fact the first time Dylan had ever performed Gates Of Eden onstage
in an electric version (with an amplified band rather than solo acoustic). It was also the first time he had performed the song publicly since 1978.

I am going to go on for a while about this one performance (and for good reason), and first I would like to share with you
what the six-thousand-year-old Chinese oracle the I Ching just told me about Dylan's 13 June 1988 performance of Gates Of Eden:

“A crane calling in the shade.
Its young answers it.
I have a good goblet.
I will share it with you.”

This refers to the involuntary influence of a man's inner being upon persons of kindred spirit. The crane need not show itself on a high hill.
It may be quite hidden when it sounds its call; yet its young will hear its note, will recognize it and give answer.
Where there is a joyous mood, there a comrade will appear to share a glass of wine.

“This is the echo awakened in men through spiritual attraction. Whenever a feeling is voiced with truth and frankness,
whenever a deed is the clear expression of sentiment, a mysterious and far-reaching influence is exerted.
The root of all influence lies in one's own inner being; given true and vigorous expression in word and deed, its effect is great.
The effect is but the reflection of something that emanates from one's own heart.
Any deliberate intention of an effect would only destroy the possibility of producing it.”
Richard Wilhelm / Cary Baynes translation of the I Ching, 1967 edition, Inner Truth.

Spiritual attraction. Dylan's reputation rests, in my way of looking at it, not only on his songwriting
but on individual performances of songs like A Hard Rain's A-Gonna Fall and Desolation Row and Gates Of Eden and It's Alright, Ma (IÂ’m Only Bleeding)
and Like A Rolling Stone, live performances in a recording studio that were released on records
and that delivered the "meanings” of these songs with such conviction and impact (such "true and vigorous expression")
that multitudes of listeners then and since have recognized and celebrated these works as the uncanny,
brilliant reflection of something that emanates from their own hearts as well as his.
The genius of the man, I argue, is not so much located in his writing as in his performing – at certain remarkable and memorable moments – of those writings.
I believe that neither Jerry Garcia nor anyone else could have "grasped the meaning" of Dylan's songs nor "understood the spirit of them"
without having been exposed to recordings of Dylan performing them at moments when the singer/author was able to be completely present within
and at one with these musical and verbal creations.

Such a moment is captured in the 13 June 1988 performance of Gates Of Eden. Believe it or not, Dylan actually seems to sing it with more authority,
as much or more conviction and clarity of understanding, than he put into the original album version of the song.
The lamppost that stands with folded arms at the start of verse two has never stood with such dignity before.
This is a function both of Dylan's vocal and of the instrumental passage / band performance that leads up to this image.
Indeed, the beauty and power of this Gates Of Eden are as much a product of the band's playing as of Dylan's singing, which is not surprising,
because at moments like this the two are inseparable.

Evidence that the mysterious and far-reaching influence of a performance like this is not the result of deliberate intention
can be found by listening to the two 1988 performances of Gates Of Eden that precede this Park City version and the two that closely follow it.
All are good, and were certainly rewarding experiences for the people at those shows,
but all pale in comparison to what Dylan and his band happen to be doing with this song at this particular moment.
So it is not so much a matter of a good arrangement worked out in rehearsals.
As the I Ching said, it is a matter of a feeling being "voiced with truth and frankness."
I was fascinated, when previously unheard takes of Like A Rolling Stone were released on the 1995 CD-ROM Highway 61 Interactive,
by the fact that, to my ears, the take of Like A Rolling Stone performed a few minutes after the officially released version
is lacking most of the power of that great performance. Yeah, they (including the singer; in fact, singer and musicians were inseparable) got it that once;
but that did not guarantee that they could get there again. How fortunate we are,
I tell myself, that the "right" take did make it onto the record and the radio and into our lives.
Dylan, as much as any artist of his era, has exerted a mysterious and far-reaching influence.
But he has not produced this effect through deliberate intention. Maybe that is why so many of us collect and study his "accidental art"
as well as his official releases.

The Park City 1988 Gates Of Eden is six minutes long – 20 seconds longer than the original album version,
although three of the original nine verses are omitted. It starts like a great rock ‘n’ roll single, with a series of assertive, expressive drum hits,
tastefully and effectively reinforced by loud bass guitar/lead guitar grunts. ''Something's coming!!" is the unmistakable message,
and right away the singer justifies this build-up by singing the opening verse with a vigor and spirit appropriate to Henry V working up his troops
before the Battle of Agincourt. Right away his diction and phrasing are irresistible,
with the result that the cowboy angel riding four-legged forest clouds becomes quite visible.
Dylan's remarkable presence in the vocal throughout the song dramatically underlines its powerful visual imagery and the skilful / playful language
and theatricality of its lyrics. This is most striking in the "savage soldier" verse, when we see (and identify with) the savage soul (dier)
as he sticks his head in sand like an ostrich – and because we also see the shoeless hunter,
we realize he has probably "gone deaf" because of the soldier's complaining.
The cinematic movement in this verse's lines becomes evident and very pleasing. We see that the shoeless hunter
“still remains" beside the soldier despite the complaining, and the next words, "upon the beach"
suddenly give us a new, more specific picture of where this action is occurring.
This is immediately rumped when the phrase "upon the beach" is modified by the dependent clause "where hound dogs bay at ships with tattooed sails,
heading for the Gates of Eden." It is as though I never really saw this movie until I heard this performance.
Dylan's phrasing in “heading for" sounds very meaningful,
and the band's rhythmic break right after Gates Of Eden underlines this quite convincingly,
and suddenly I am amazed at how cleverly the presence of the cowboy angel astride clouds in the first verse directed our listening minds
to an image of Eden as Heaven, mythical place in the sky where angels are found.
And then how wonderful when the camera keeps pulling back during the "savage" verse, and we see that the soldier and hunter are walking on a beach,
and then we see these ominous, thrilling ships with tattooed sails moving across the set in the distance,
and with the next line we are not surprised to hear that they are "heading for the Gates of Eden."
If this causes us to picture those Gates as just ahead of the ships, stage right somewhere, we get a semiconscious adrenaline rush
as we experience Dylan, who often violates and challenges the listeners' sense of time, challenging our sense of space,
as suddenly Heaven or Eden is felt as being on the same plane as this human world with its beach and soldier-hunter conversation.
Wow – as in Greek and Roman myths, Gods and mortals interact, coexist on the same plane,
while the narrator keeps reminding us that the important distinction is not high and low but horizontal:
inside or outside the Gates of Eden. Psychedelic indeed.

And what is really remarkable is that Dylan the singer is so totally at one with this song this night, as though he were reliving its moment of creation,
as though it were a vision that came to him irrepressibly as he wrote it, and this night onstage,
thanks particularly to the stimulus of Christopher Parker's inspired drumming, he is evidently seeing and smelling and hearing that vision,
reliving it, and sharing it with us. The Park City 1988 Gates Of Eden is the sound of "I've got to go out and play these songs –
that's just what I must do!" And it is the precise opposite of "I can't remember what it means – is it just a bunch of surrealistic nonsense?"
If any Dylan song were to be impenetrable to its author decades later, Gates Of Eden seems a likely candidate; but here it is, seemingly more lucid than ever before.
How did he get there? It has to do with his relationship with his band – and it is not something that happens in rehearsals.
It is something that only happens for this kind of artist onstage, in front of an audience. And that, I insist, is the reason for his never-ending touring.
He lives his life onstage because he lives his life primarily for moments like this, and onstage, "nowhere" or just anywhere in the world,
unplanned and unexpected, with a band, is where they happen. "Sometimes I think there are no words but these to tell what's true!"
See why a committed artist would have to keep touring, keep working with a band? Listen to the texture of Dylan's voice as he sings
"It doesn't matter inside the Gates of Eden" in Park City – you have the opportunity to encounter a truth (share a lover's dream) not available anywhere else.

At Park City, Dylan sings the first two verses of the original Gates Of Eden followed by the "motorcycle black madonna" verse,
which in turn is followed by the "savage soldier" verse. Then the song is completed with the "kingdoms of experience" verse
("what's real and what is not") and the usual final verse ("At dawn my lover comes to me").
There is a slight lyric change in the first verse (the cowboy angel rides "with his candle burning in the sun" instead of "lit into the sun"),
and an even subtler change at the end of the second verse: "No sound at all ever comes from the Gates of Eden" instead of "No sound ever comes from."

These line changes are the same in all of the first five 1988 performances of Gates Of Eden, so they may have been preplanned.
In Berkeley, 10 June 1988, Dylan sang the same six verses of the song, but not in the same sequence. "Savage soldier" is third,
"kingdoms of experience" fourth, and "motorcycle black madonna" fifth. In Concord, he only sang five verses, dropping "savage soldier"
(probably accidentally; we hear the band vamping for a while before he starts singing the last verse,
suggesting he knows he forgot something and he is thinking about what to do).
The next Gates Of Eden after Park City, in East Troy, Wisconsin, 18 June 1988, features seven verses; "motorcyle" is dropped
and "With a time-rusted compass blade" and "The foreign sun, it squints upon" are added, perhaps spontaneously.
A week later, in Holmdel, New Jersey, "motorcycle" is back, "time-rusted compass" is retained, but "foreign sun" and "savage soldier" are dropped.

Dylan made an important and revealing statement about his aesthetic as a performing artist sometime in 1988 when he wrote a 500-word essay
about Jimi Hendrix for use in a traveling exhibition celebrating Hendrix's work.
In the course of this piece, he said, "my songs were not written with the idea in mind that anyone else would sing them,
they were written for me to play live & that is the sort of end of it." After discussing how easy it is to "get into"
and sing a Chuck Berry song or a Beatles song, he said:

“my songs are different & i don't expect others to make attempts to sing them because you have to get somewhat inside
& behind them & it's hard enough for me to do it sometimes & then obviously you have to be in the right frame of mind,
but even then there would be a vague value to it because nobody breathes like me so they couldn't be expected to portray
the meaning of a certain phrase in the correct way without bumping into other phrases & altering the mood, changing the understanding
& just giving up so that they then become only verses strung together for no apparent reason, patter for a performer to kill time,
take up space, giving a heartless rendition of what was it to begin with, jimi knew my songs were not like that,
he sang them exactly the way they were intended to be sung & he played them the same way. he played them the way i would have done them if i was him.
never thought too much about it at the time but now that years have gone by, i see that the message must have been his message thru & thru,
not that i could ever articulate the message that well myself, but in hearing jimi cover it, i realize he must have felt it pretty deeply inside & out &
that somewhere back there his soul & my soul were on the same desert.”

Dylan "obviously" was in the right frame of mind while singing Gates Of Eden in Utah 13 June 1988, and because of the way he breathes
during this performance I find myself with a new and satisfying (to me) idea of the meaning of a certain phrase which had puzzled me until now.
The phrase as printed in Dylan's book Lyrics is "it shadows metal badge" but in this wonderfully articulated version I realize he is actually saying
(in reference to the lamppost), its shadow's metal badge. Going back to the 1965 album version, I find the word has always been "its" in spite of what Lyrics says.
This opens the door to me hearing the possibility and likelihood of an apostrophe before the final "s" in "shadows"
and this and the particular breath of this performance allow me to recognize that the subject of the next phrase,
"all in all can only fall with a crashing but meaningless blow" must be the metal badge of the lamppost's shadow.
I also find myself easily hearing "holes" (in "to curbs 'neath holes where babies wail") as a clever substitution for "homes" –
the sort of place from which one might occasionally hear babies wailing.
Now, with the phrases not bumping into each other inappopriately, it's easy for me to hear the poet / performer
as describing an old-fashioned urban lamppost with protrusions ("iron claws") attaching it to street curbs,
casting shadows that may look ominous ("metal badge") to young persons in nearby homes,
finally symbolizing a modern city-animus like Ginsberg's Moloch that "all in all [sooner or later] can only fall with a crashing but meaningless blow."
See how helpful the right breathing (singer getting inside & behind the songs) can be?

Dylan spoke of how Hendrix played his songs as well as how he sang them, and said, "he played them the way I would have done them,"
acknowledging that the message of the songs depends on how the music is played, as well as on the singing.
The Park City Gates Of Eden is an example of Dylan's 1988 band at its best – very tuned in to him (and thus to his "message") and very expressive collectively.

But why are they less tuned in (and the resultant performances of the song less thrilling) three days earlier and five days later?
This is where the I Chinas commentary is helpful. When it speaks of "the involuntary influence of a man's inner being upon persons of kindred spirit"
and "the echo awakened in men through spiritual attraction," it casts light directly upon the mystery of Dylan or John Coltrane
and their accompanists and the works of art they have created together, always in moments of live performance. "A crane calling in the shade.
Its young answers it." Everything depends on the musicians' and vocalist/bandleader's responses to each other.
The part the drummer plays before and betweeen verses is similar in each of these Gates Of Eden performances,
but its execution this day is exceptional, and the singer's response to Parker's "clear expression of sentiment"
and the drummer's and guitarists' responses to the "feeling voiced with truth and frankness" in the resultant vocal all work together
to create a great effect, a "true and vigorous expression in word and deed" of these persons' and this song's message.
A work of art. The triumph of this 1988 tour (originally called "Interstate '88") and of the Never Ending Tour
that it evolved into is the creation of a creative environment (a "joyous mood") in which moments like this can and do happen.
Not every night, of course. But often enough to greatly enrich and bring fulfillment to these performing artists and their [present and future] listeners.

In a discussion of Blood On The Tracks, I wrote, "I need to say again that Dylan performs a song not only with his voice
but also through the musicians around him; the brilliant success of these recordings is proof again that the power of his presence as a performer
can transform whoever is playing with him into a perfect extension of his instincts and his unconscious will.
Dylan short-circuits any intellectual approach to music ['deliberate intention of an effect'] and conducts his bands from his gut,
his solar plexus, invisibly, intuitively, trusting the music to find its way into existence if they (he and the band) will just lean into it enough,
press through their own limits and surrender to the sound that is trying to happen."
The I Ching explains that this occasional transformation of one's comrades into a perfect extension of one's aesthetic instincts
and non-verbalized will is an influence that has its root in one's inner being, and describes it
as "the reflection of something that emanates from one's own heart." "No words but these to tell what's true. Bam! bam! bam!"

Parker and the band's glorious intro to Gates Of Eden on 13 June 1988 is played in some exotic time signature like 12/8,
and when Dylan comes in with the start of the first verse ("War and peace, the truth just twists") the band shifts into 3/4 (waltz) time.
It is a fabulous transition, and Dylan's extraordinary vocal performance seems an expression of his delight at the intuitive and bizarre rightness
of the sound the four of them are creating. At the end of the verse, the word "Eden" is the cue for a brief return of the exotic time signature
and an expressive drum-led instrumental break, which again transitions gracefully and thrillingly into the second verse and back to waltz time.
This charming dance is repeated, with variations, every time Dylan says "Eden" and every time he returns to start another verse / episode.
The variations are the increasing expressiveness of GE Smith's lead guitar playing as the breaks between verses get longer,
climaxing in a particularly wonderful instrumental break between verses five and six (after Dylan sings,
"what's real and what is not doesnÂ’t matter inside the Gates of Eden"). One can't help feeling that Smith is reading Dylan's mind at this moment,
painting the pictures Dylan sees by skillfully and mysteriously producing the sounds Dylan hears in the back of his mind; it is a drum / guitar duet
(punctuated and held together by very sparse and tasteful bass notes
from Kenny Aaronson), similar to and full of the excitement of the drum / vocals duet the entire performance seems to be.
The closing instrumental break after the last verse is as satisfying and fulfilling as the opening instrumental passage was provocative and inviting.
Dylan's presence in the song is extraordinary throughout every verse of this unforgettable vocal performance,
but is just as palpable in the instrumental breaks, when we hear him singing wordlessly through GE Smith and Parker and Aaronson
(and his own barely audible rhythm guitar playing).

This is it. This is the message Dylan assembled this band and embarked on this tour to deliver.
And as with the Like A Rolling Stone sessions, I am baffled that they could perform the song so magnificently
and not come close to this level the next times they played and sang it. But that is because I forget it is not a product of deliberate intention.
It is more like a moment of grace, a lot of different factors working together to create the circumstances whereby a feeling (a "message")
can be collectively voiced with truth and frankness and genuine joy.

***

Fiddler's Green Amphitheatre
Denver, Colorado
15 June 1988

19.Subterranean Homesick Blues
20.One More Cup Of Coffee (Valley Below)
21.It's All Over Now, Baby Blue
22.You're A Big Girl Now
23.Ballad Of A Thin Man
24.Mama, You Been On My Mind
25.Eileen Aroon (trad., arr. Clancy Brothers and Tommy Makem)
26.Don't Think Twice, It's All Right
27.Just Like A Woman
28.Seeing The Real You At Last
29.Simple Twist Of Fate
30.Like A Rolling Stone

Concert # 6 of The Never-Ending Tour.
Concert # 6 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 6 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Mama, You Been On My Mind,
Eileen Aroon,
Don't Think Twice, It's All Right

One More Cup Of Coffee (Valley Below) first performance since 1978.

Mama, You Been On My Mind first performance since 1975.

Live debut of Eileen Aroon.

LB-7234;
Denver 1988 (Scorpio / BD-08021-1/2);
Soundboard

Excellent sound [A-].

***

The Muny
Forest Park
St. Louis, Missouri
17 June 1988

31.Lakes Of Pontchartrain (trad.)
32.Nadine (Chuck Berry)

Concert # 7 of The Never-Ending Tour.
Concert # 7 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 7 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Lakes Of Pontchartrain.

BobTalk:

Thank you! We're gonna play this as a request tonight. Somebody asked us to play it, and we're gonna play it.
(before Nadine).

LB-9118;
dat from master analog cassette

Excellent sound [A-].

***

Alpine Valley Music Theatre
East Troy, Wisconsin
18 June 1988

33.Ballad Of Hollis Brown
34.Blowin' In The Wind

Concert # 8 of The Never-Ending Tour.
Concert # 8 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 8 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Ballad Of Hollis Brown,
Blowin' In The Wind.

Only 1988 performance of Ballad Of Hollis Brown.

LB-2723;
Taper: Rob Berger (RB);
Equipment: AKG 451 mics > Sony TCD-D10

Very good to excellent sound [B+]

***

Blossom Music Center
Cuyahoga Falls, Ohio
21 June 1988

35.Across The Borderline (Ry Cooder/John Hiatt/Jim Dickinson)

Concert # 9 of The Never-Ending Tour.
Concert # 9 of the Interstate 88 Tour,
part 1: Summer Tour of North America.
Concert # 9 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

LB-4102;
Equipment: Audience recording (full spectrum) > Unknown transfer > CDR(x) >
EAC (Secure/Offset) > WAV > FLAC (Level 8) > DVD > HD > DIME

Very good to excellent sound [B+].

***

Riverbend Music Center
Cincinnati, Ohio
22 June 1988

36.Clean-Cut Kid
37.Wild Mountain Thyme (trad.)

Concert # 10 of The Never-Ending Tour.
Concert # 10 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 10 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Wild Mountain Thyme.

Clean-Cut Kid is the only 1988 performance.

LB-6085;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Garden State Performing Arts Center
Holmdel, New Jersey
24 June 1988

38.Masters Of War
39.Driftin' Too Far From Shore
40.Boots Of Spanish Leather
41.Silvio (Bob Dylan & Robert Hunter)
42.The Times They Are A-Changin'

Concert # 11 of The Never-Ending Tour.
Concert # 11 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 11 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Boots Of Spanish Leather,
The Times They Are A-Changin'.

G.E. Smith (back-up vocal) on:
Driftin' Too Far From Shore,
Silvio.

BobTalk:

Thank you! Everythings OK? Everythings OK? (after The Times They Are A-Changin')

LB-7235;
New Jersey 1988 (Scorpio / BD-08022)

Excellent sound [A].

***

Garden State Performing Arts Center
Holmdel, New Jersey
25 June 1988

43.The Lonesome Death Of Hattie Carroll

Concert # 12 of The Never-Ending Tour.
Concert # 12 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 12 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on The Lonesome Ceath Of Hattie Carroll.

First performance of Trail Of The Buffalo since The Basement Tapes sessions in 1967.

LB-1892;
Equipment: CD-Rs > EAC (secure mode) > CoolEdit Pro >
CD Wave > FLAC Frontend > .flac;
Mild treble lift all tracks;
Mild bass trim electric tracks;
All tracks normalized.

Excellent sound [A-].

***

Saratoga Performing Arts Center
Saratoga Springs, New York
26 June 1988

44.Watching The River Flow
45.I'll Remember You
46.It Ain't Me, Babe
47.Tomorrow Is A Long Time

Concert # 13 of The Never-Ending Tour.
Concert # 13 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 13 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
It Ain't Me, Babe,
Tomorrow Is A Long Time.

The only Tomorrow Is A Long Time during 1988.

LB-8375;
Taper: Legendary Taper D (LTD);
Legendary Tapers Series #13

Excellent sound [A-].

***

Finger Lakes Performing Arts Center
Canandaigua, New York
28 June 1988

48.I Want You
49.Give My Love To Rose (Johnny Cash)

Concert # 14 of The Never-Ending Tour.
Concert # 14 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 14 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Give My Love To Rose.

Live debut of Give My Love To Rose.

LB-6284

Very good to excellent sound [B+].

***

Jones Beach Theater
Jones Beach State Park
Wantagh, New York
30 June 1988

50.Just Like Tom Thumb's Blues
51.All Along The Watchtower
52.Maggie's Farm

Concert # 15 of The Never-Ending Tour.
Concert # 15 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 15 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

First performance of Just Like Tom Thumb's Blues during Never-Ending Tour.
One of only three performances 1988.

LB-2844;
Live At Jones Beach Theatre 1988 (Shamrock / SR-201005/6)

Excellent sound [A].

***

Jones Beach Theater
Jones Beach State Park
Wantagh, New York
1 July 1988

53.Absolutely Sweet Marie
54.Barbara Allen (trad.)
55.Gotta Serve Somebody

Concert # 16 of The Never-Ending Tour.
Concert # 16 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 16 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Barbara Allen.

BobTalk:

How am I doing, baby? (after Barbara Allen)

LB-2189

Very good to excellent sound [B+].

***

Paul Williams

The difference between "comfort" and "heroism" is split nicely on those few 1988 nights when Dylan and his band work together so well
that they manage to create a sound and mood unique to that particular concert, as if the entire show were a single thought we are privileged and thrilled
to be able to hear, a single moment of seemingly stopped time lasting well over an hour.
By way of example, I call your attention to the 16th show of 1988, 1 July 1988 in the Jones Beach Theater, Wantagh, New York.

What is striking about this 1 July 1988 show is the consistent feeling of connectedness between Dylan and the band, song after song, all night.
This results in and is expressed in the unusual (for 1988 electric sets) freedom and confidence of the vocals.
Too often in 1988, Dylan sings as though he is trying too hard to sound like “Bob Dylan”, giving words and phrases a little extra spin,
and unfortunately not because he is connected to the sentiment of the lines he is singing or the story he is telling.
No, it often sounds like he is just doing what he thinks he is supposed to do, not really trying to get close to us.

The second and third songs of the 30 June 1988 show, also at Wantagh, Just Like Tom Thumb's Blues and You're A Big Girl Now
are to my ears clear examples of the sporadic musical disconnectedness and inauthentic vocals that may be encountered on too many of these 1988 tapes.
It is remarkable that Dylan can sound so wooden on these particular songs. In the first case, the tempo and feel of the playing seem way off,
which of course helps explain the awkwardness of the singing. This was Just Like Tom Thumb's Blues first appearance on the tour
(or at any Dylan concert for more than two years). According to bass player Kenny Aaronson (as quoted in Heylin's biography),
"On the road, every so often before the show GE would come back and go, “Fellows, Bob wants us to do this tune and here's how it goes.”
And GE would show it to me and Chris Parker right before the show."
Dylan has made some great recordings by asking musicians to back him live in the studio on a song they have never heard before.
If his terrific results on those occasions are a function of the power of his presence,
one has to wonder why there are so many performances on this tour when that power seems absent.
In the case of YouÂ’re A Big Girl Now, Dylan and band had performed the song at seven shows already this month,
so the stiffness of the singing and playing cannot be explained by unfamiliarity. Maybe overfamiliarity (comfort) is the problem.
Or there may be other factors causing the performer to go in and out of connection with his band and his songs.
The 30 June 1988 show does eventually come to life with the fifth song – a surprisingly bright Masters Of War,
which gets a new musical feel and even some new lyrics ("though I'm no smarter than you"). Things go well after that.

On 1 July 1988, Dylan and Smith and Aaronson and Parker startoff with arguably the best Subterranean Homesick Blues of the tour.
Most nights, this song suffers from its placement in the opening slot. Dylan sings words and sometimes whole lines off-mike as he warms up to being on stage.
The band does not so much play the song as provide a standard rock ‘n’ roll shuffle accompaniment, presumably as instructed by Dylan at an early rehearsal.
They play fast, Dylan sings a lot of words fast, and it is usually a good example of showmanship replacing interaction and respect for the material.
But 1 July 1988 is a happy exception. Every word of the song is audible, and singer and rhythm section sound like a team,
conscious artists creating something together. The resultant performance is nothing particularly memorable,
certainly not comparable to the original 1965 performance, but a credible statement of intent by singer and band which kicks off a flow of songs
and music that is very satisfying, and as close as we get all year to a concert-length expression of who Dylan feels himself to be
and what his songs and his body of work mean to him at this moment in his life.

Simple Twist Of Fate shines like a jewel in its setting between Subterranean Homesick Blues and Driftin' Too Far From Shore.
The fourth song, Absolutely Sweet Marie, is another high point. The band truly nails this one from the opening notes,
and the singer responds with a vocal performance that actually is comparable to the Blonde On Blonde original.
This is an instance of Dylan's 1988-style emphatic phrasing sounding connected and authentic and even rich in nuance and presence.
And it is clearly the result of his being inspired by what the rhythm section is doing, and thus being able to lean into the song
so that it comes to life rather ecstatically.

The last two songs of the 1 July 1988 first electric set are a particularly well-realized Ballad Of A Thin Man and an equally alive It's All Over Now, Baby Blue.
Listen to that man sing "great lawyers and scholars" and "on your sheets"!! It could only be one singer who's ever lived.
And only at this specific moment in his trajectory. We connoisseurs live for such instants.

The acoustic set begins with an unusual choice: Mama, You Been On My Mind, written in 1964 and not released on a Dylan album
until The Bootleg Series in 1991 (and performed five times in 1988). Dylan sings it well at the Jones Beach Theater
and follows it with another 1964 love song, It Ain't Me, Babe – also a very fine performance. The quality of this 1 July 1988 acoustic set,
which continues with a powerful, heartfelt The Lonesome Death Of Hattie Carroll and concludes with the fourth 1988 Barbara Allen,
makes me wonder if subtle changes from night to night in the chemistry of the relationship between Dylan
and electric set bandleader and acoustic set co-guitarist GE Smith could be a factor in the noticeable fluctuations in the extent
to which Dylan sounds present in his singing, and connected to the music being made, from show to show and even from song to song in 1988.
This kind of fluctuation is normal for him on most of his tours. However, until 1988 his live acoustic performances were explorations of a dynamic in which his
(usually rhythmic) guitar playing and his playful, emotive voice spoke to and stimulated, influenced, each other.
The introduction of a second guitar player (with responsibilities very different from the tasteful highlighting of Bruce Langhorne's
and Charlie McCoy's second guitars on the 1965 recordings of Mr Tambourine Man and Desolation Row) must certainly have changed the dynamic
of these no-longer solo acoustic performances.

In listening to recordings of Dylan shows over the years, there have been times when it has seemed to me that an unusually powerful
and fresh vocal performance of, say, A Hard Rain's A-Gonna Fall has resulted from Dylan being inspired by the particular rhythmic riff he
(seemingly unexpectedly) has just fallen into in his guitar playing. This sort of thing may occasionally happen in the GE Smith-assisted performances,
though I have not found many 1988 examples and it is difficult for me, with my untrained ears,
to guess who is playing what or to what extent what I am hearing is just GE Smith "covering" Dylan's playing by strumming or playing patterns
in the appropriate chords.

On this 1 July 1988 tape, it does seem to me that the interplay between voice and guitar(s) is an important element in the excellence of Mama, You Been On My Mind
and It Ain't Me, Babe, although the power of the performances is primarily located in the vocals.
But then Dylan delivers his finest vocal performance of the night on The Lonesome Death Of Hattie Carroll
and the contribution of the guitar or guitars seems quite minimal – that is, to provide accompaniment without getting in the way of the singer's passion.
It sounds as though the fiery vocal just builds on itself, that this particular evening Dylan reconnects with
and is genuinely inspired by the song's rhythmic language ("emptied the ashtrays on a whole other level") and the power of the story these words tell – i
s in fact suddenly feeling the presence of this woman and drawing the strength of his singing directly from her.
GE Smith plays a nice solo or two between verses, but the important thing – which perhaps GE Smith does deserve some credit for –
is that Dylan feels very at home with his song tonight.

Barbara Allen is not exceptional this evening, but it contributes to the impact of the whole show by giving us another side of Dylan,
and even a rather different Dylan-voice, just when we might have been lulled into thinking we know who this artist is
and what he wants to accomplish tonight. What he wants to accomplish is to put on a good show, and play music he loves.
So he starts the next set with Silvio, his latest single (Driftin' Too Far From Shore, played earlier in the show,
another song that the crowd does not know and that he enjoys playing and identifies keenly with the "sentiment" of, is the B-side of that single).

The second electric set continues with In The Garden, another song-choice intended to assert this performer's right
to be true to himself regardless of who his fans think he should and should not be. You can hear in his voice, his voices,
that he is having a great time going from protest song to traditional ballad to uptempo Grateful-Dead-style rocker to the story of Jesus Christ
(sung with love and gusto) to a signature song and greatest hit he can still sink his teeth into, Like A Rolling Stone.
The drumbeat that kicks off Like A Rolling Stone a few seconds after the dramatic closing notes of In The Garden can be felt as a moment of joyful irony
when you let Dylan get you on his wavelength, his 1 July 1988 mindset. Every song, every transition, has a message,
and the artist on a good night like this one delights in rising to the challenge of thrilling an audience without feeling like a prisoner of their expectations.
So his encores are a greatest hit from the acoustic protest era, Blowin' In The Wind, followed by a Christian era rocker/hit,
Gotta Serve Somebody, wrapped up as usual in 1988 with his perennial declaration of independence, Maggie's Farm. "I try my best to be just like I am." He does.
And in this work of accidental art, he succeeds gloriously.

I recently told my friend Gary Schulstad of my difficulty coming to terms with my mixed feelings about what I am hearing now listening to the 1988 shows,
and he wrote back: "From what I remember of the '88 Dylan performances I attended, I empathize with what you are going through.
There seemed to be an energy in the music that wasn't really directed to the audience." Well said. That word "energy,"
quite applicable to what I am calling Dylan's emphatic (or overemphatic) 1988 singing style, helps me make a connection that eluded me until now.
In 1985, Dylan said of his 1974 tour of America, "I think I was just playing a role on that tour. It was all sort of mindless – an emotionless trip.
The greatest praise we got on that tour was “incredible energy, man” – it would make me want to puke."

Dylan's exaggerated, "energetic" approach to singing on the 1974 tour does have something in common with some of his 1988 singing;
and I would guess that in both cases it arose from a part of himself that had doubts about his ability to give the people what they must want
and that therefore decided he had to push the words of the songs out forcefully in order to get them across successfully.
In 1974, he was back on tour and on stage after a seven-year hiatus; in 1988, he was trying to make a personal comeback after a year
when he' had felt he had "reached the end of the line" and "couldn't do his old songs" onstage. Such circumstances naturally make us push harder,
which can have good results, but can also be a kind of obstacle in itself. Interestingly, one week ago as I write this,
Dylan brought up the topic of his dissatisfaction with the 1974 tour again, in an interview (about his new album, Love And Theft,
with Robert Hilburn of the Los Angeles Times. Dylan: "I always felt that if I'm going to do anything in life, I want to go as deep as I can."
Hilburn: "Have you always lived'up to that goal? Have you ever felt you were just a superficial artist?"
Dylan: "Sure, I think the tour I did with The Band in 1974 was superficial. I had forgotten how to sing and play.
I had been devoting my time to raising a family, and it took me a long time to recapture my purpose as a performer.
You'd find it at times, then it would disappear again for a while."

If we apply this 2001 recollection of 1974's seven-week tour (and cogent self-observation) to 1987-1988, it seems reasonable
(based on what I hear in the show-recordings) to suppose that the voice in Dylan's head in October 1987 telling himself
"I'm determined to stand!" was a decision to recapture his purpose as a performer, and that the strangely uneven 1988 results are another painful portrait
of an artist finding it at times, then watching it disappear again for a while.
I said in the last chapter that listening to Dylan sing the word "I" in Man Of Constant Sorrow at the start of the 1988 tour,
we can hear an artist getting connected to something and discovering and creating a platform on which to do his work as a performer.
I have also referred to the 1988 tour, in this chapter, as an experiment that was successful as measured by the longevity of the format
and the enthusiasm with which Dylan has toured the world as a performing artist and bandleader ever since –
and unsuccessful artistically in the short term as measured by what can be heard on the show-recordings.
What happened, what got in the way of Dylan's purpose as a performer to go as deep as he can into whatever he does, was, I hypothesize,
the result of fear of failure, fear of not being loved, leading to trying too hard to be safe up there on that stage,
leading to singer/performer being lulled to sleep by the safeness and lack-of-aliveness of his working environment.
Particularly in the electric sets, but also in the acoustic sets, Dylan tried to get songs across in 1988 by shouting their words.
This was damaging to his voice, as well as being an obstacle to being melodically and emotionally present within the songs themselves.
So by the end of the tour, as Clinton Heylin has written of the four October 1988 shows at Radio City Music Hall,
"his voice was in very poor shape, and he shouted his way through songs, stripping them of nuance and subtlety."

Dylan seldom spoke between songs in 1988, but at that opening show in Concord, there was a surprising moment just before the encore when he said,
"I want to thank you people for being so nicel" This was not formulaic (indeed was not repeated night after night or ever again),
but sounded like a warm, spontaneous expression of sincere appreciation, as though the speaker really had not expected such kind treatment
(the applause after the last song? the attentiveness of the audience throughout the show?).
The fact that Dylan uncharacteristically refused to play an encore at the end of the next concert feels closely related,
as though the sensitivity that made him so appreciative on 7 June 1988 made him feel wounded when the audience appeared inattentive on 9 June 1988.
At this 9 June 1988 show he was also unhappy about harsh reviews in the San Francisco newspapers that asserted that the audience he had called "nice"
at Concord were actually "exasperated" that he did not play more "familiar classics" and that so many of the songs he did perform were "unrecognizable."
These newspaper comments led to Dylan's next between-song soliloquy, at the 11 June 1988 show
(still in the San Francisco area) after singing I'll Remember You: "I don't think that's an obscure song, do you? Was that an obscure song? I don't think so."

Two months later, near the end of a concert at the Santa Barbara County Bowl on 7 August 1988, Dylan spoke to the crowd again:
"Sometimes I feel that I should be down there and you should be up here."

Listening to a tape of the 2 August 1988 show at the Greek Theater in Hollywood, a particularly heartfelt performance of I'll Remember You caught my attention.
Obscure or not, and in spite of several lyric errors in the first verse, the song takes on new life and rare beauty this night.
Captivated by the sweetness and freshness of both the music and the vocal, I found myself wondering for the first time why a lover would say,
in a song praising a beloved partner, "There's some people that you don't forget, even though you've only seen them one time or two."
Could the "you" who to me was "the best," the one I'll remember "at the end of the trail," actually be a one-night stand?
The question and the special flavor of this performance turned the song on its head for me, and for the first time it struck me
that he could be addressing a very immediate "you," the audience in front of him now. I tend to think of Seeing The Real You At Last,
another song from Empire Burlesque, as being addressed to Dylan's live audience, because most of the many times I saw him perform it in 1986
he would point an arm and finger at the crowd while singing the chorus.
But I'll Remember You had always hit my ears as a song to a very special romantic partner, until this 2 August 1988 version
recently transformed for me the possible "message" of "Didn't I, didn't I try to love you? Didn't I, didn't I try to care?"
and "Though I'd never say that I done it the way that you would have liked me to, in the end, my dear sweet friend, I'll remember you."
I want to thank you for being so nice, indeed.

Dylan's often troubled love affair with his live audience ("A million faces at my feet, but all I see are dark eyes")
surely is central to the weaknesses and too infrequent strengths of his 1988 tour. A performing artist's urge to please can take away his creative freedom
in subtle ways. The essence of creativity is awakeness, aliveness, presence in the moment.
But the "safe" structures stage performers invent so they can more reliably do good work in the face of everchanging external and internal conditions
can often lull them to sleep, rob them of their aliveness, of the source of their power to stop time,
their power to awaken something in the other players and in themselves and in their audiences through spiritual attraction.

Dylan's dissatisfaction with the results of his energetic efforts to reach out to audiences in 1974 is documented in his 1985 and 2001 comments on that tour.
The only indication we have that he was not too sure at the end of 1988 that his new band and approach to touring had allowed him or would allow him
to recapture his purpose as a performer is his strange impulse in February 1989 to call The Grateful Dead asking to become a member of their band.
What was it he wanted? We cannot be certain, because the Dead said no, and after taking a few months off to record Oh Mercy,
Dylan reassembled his 1988 band and resumed his Never Ending Tour in May 1989.

In the winter 1988-1989 issue of The Telegraph, the editor, John Bauldie, quotes a tour insider he spoke to at a midsummer show as saying:
"Bob wants to go on playing shows all the time. He wants an audience to follow him around from place to place, like the Dead.
That's what he wants the fan club [the "Entertainment Connection" advertised on the inner sleeve of Down In The Groove] for –
to encourage that kind of following." On another page of John Bauldie's tour diary in that issue,
another manifestation of Dylan's new ideas about the importance of audience involvement is described:
"A funny thing. At each show the security men work really hard for about 40 minutes to keep people out of the aisles and away from the stage,
and then suddenly on a prearranged signal they get up, pack up their chairs and walk away, leaving approach to the stage free.
Lately it's been happening on the second verse of Silvio [first song of the second electric set], and the audience are “allowed” to rush the stage.
In fact, at the 25 June 1988 show nobody moved, and the security men had to wave people down, to encourage them to cluster at Bob's feet at the front of the stage."
This practice continued for the next few years, reportedly because Dylan likes to be able to see people standing,
and responding to the music, while he is performing.

Bauldie's editorial in the next issue (spring 1989) apologizes to readers for his "negative" review in a United Kingdom music magazine
of the recently released Dylan And The Dead: "It took a bit of heart-searching for me to go slagging Bobby off in public,
but there are some things that I dislike so much that I can't help but say it right out loud. I think that it's a rotten record,
and that it's such a shame that it stands as official testament of live performance since 1984. Especially after the 1988 shows, which were so terrific.
My favorite at the moment is the Manchester concert, with its sparkling Visions Of Johanna.
Give me that track alone and you can stuff the Dylan And The Dead record."

We all (everybody I talked with and saw commentary by) thought the 1988 shows were terrific at the time.
Note that Bauldie is referring to both the shows he saw (eight in late-June and early-July 1988) and the tapes he has been listening to.
I am sympathetic with his enthusiasm for the 3 September 1988 performance of Visions Of Johanna in Manchester, New Hampshire,
but I find the rest of that recorded show a typically (for 1988) bleak listening experience, dull at best and embarrassing at worst
(I will cite the badly slurred vocal and shapeless, characterless band performance on Like A Rolling Stone as an example).
This brings me to the awkward issue of the essentially subjective nature of all art criticism and commentary, including, of course,
the study you are presently reading. Dylan raises this issue when he asks, "I don't think that's an obscure song, do you?"
and when he speaks disparagingly of people praising his "emotionless" 1974 tour performances as "incredible energy, man."
I also believe he expresses his sensitivity to and contempt for criticism (of himself and especially of his work) when he says, "The judge, he holds a grudge,
he's gonna call on you / but he's badly built and he walks on stilts, watch out he don't fall on you" in his 1966 song
Most Likely You Go Your Way (And I'll Go Mine).

So, like John Bauldie, I am uncomfortable with the role of judge, especially when honesty and sincerity require me to be negative
about certain works of the artist whom I came here to praise. I could be wrong, of course. Or I could change my view at some future time of relistening,
as I have changed my view years later about certain excellent Dylan albums and songs that I had failed to appreciate on first encounter.
I suppose I could also change my mind about my enthusiasms, though I do not like to confront that possibility (and happily it has not happened to me much, so far).
The truth is, all history of art which we are taught in schools or which we absorb otherwise is based on individual subjective judgments
that have become consensus judgments and have thereby created the canons of "great" literature and visual art and music. Big responsibility.
"Am I sure?" I do ask myself this, and spend a lot of time listening to the performances like Gates Of Eden on 13 June 1988
that I find myself praising enthusiastically herein, to be as sure as possible of my opinion. This is pleasant work.
Repeated listening to performances I have decided to dismiss as mediocre is not so rewarding.
And I find certainty about mediocrity more elusive than certainty about greatness.

Consensus helps, of course. Early in the process of writing this volume, I struggled with my displeasure at almost everything I heard on the tapes
of the Dylan / Grateful Dead summer 1987 performances – but I was comforted by the almost universal agreement among Dylan commentators
about the poor quality of these shows. Such consensus is not yet available to me regarding my judgment that most of the 1988 shows
described by John Bauldie in 1989 as "terrific" are in fact mediocre. Mediocrity, in any case, is the absence of excellence,
so the crux of the matter is – can we trust our own abilities to detect excellence in such subjective realms as art appreciation
and listening to recordings of live musical performances?

Probably not. But we can trust that if we go on record with our views, they will be disputed, leaving observers to wonder, "Whom should we believe?"
The history of human art and culture, I repeat, is based on such processes. Let me share with you a slightly self-serving example
of how this functions in the realm of Dylan scholarship. The reader will recall that I did find one performance
to be very enthusiastic about from the Dylan / Grateful Dead concerts.
Long after I wrote my resultant praises of Queen Jane Approximately as performed in Eugene on 19 July 1987
and included on the otherwise unfortunate Dylan And The Dead album, I was delighted to read an essay
(in a Dylan symposium in Mojo magazine, June 2001) by Richard Williams, author of Bob Dylan, A Man Called Alias and longtime music critic on London's broadsheets,
dedicated to expressing his enthusiasm for this particular performance ("In a humdrum year, one transcendent moment," reads the tag line above the article).
Williams describes the Eugene Queen Jane Approximately as "a Dylan moment to put alongside all the precious ones from an earlier time,"
and ends his essay with this paragraph:

“When it came out, I wrote something in The Times about the track's "wrecked majesty" and, ten years later,
got slapped on the wrist by Michael Gray in the third edition of Song & Dance Man. "This was wishful thinking," he wrote.
"Wrecked, yes; majesty, no." Which only goes to show how easily preconceptions can hinder genuine perception,
and how people who spend too much time listening to the words so often miss the music.”

Reading this, I was of course pleased to see a fellow listener / scholar going out on a limb to defend and praise a beloved and "obscure" performance
that I also admired and had recently found myself praising publicly. Agreement is heartening, even though, like Dylan,
I am committed to not being disheartened by disagreement.

Preconceptions do indeed hinder genuine perception, as Richard Williams notes, and I find it ironic to realize that –
although I tend to be critical of fans who are unable to appreciate live Dylan performances because their expectations are so shaped
by their familiarity with and attachment to the way he sounded as a performer/ recording artist back in the past –
the greatest hindrance to my appreciation of these 1988 show-recordings is that I am looking in them for, and failing to find,
the sort of excellence and quality of presence and inventive interaction between singer and band that I have become accustomed to
in listening to recordings of Dylan's Never Ending Tour shows from the 1990s – the future, which he was still struggling to invent,
seemingly unsuccessfully, during these 1988 performances.

***

Great Woods Performing Arts Center
Mansfield, Massachusetts
2 July 1988

56.Pretty Peggy-O (trad. arr. Bob Dylan)
57.Love Minus Zero/No Limit

Concert # 17 of The Never-Ending Tour.
Concert # 17 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 17 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Love Minus Zero / No Limit.

Live debut of Pretty Peggy-O.

First Never Ending Tour performances of Love Minus Zero / No Limit.

LB-7283;
Soundboard

Very good to excellent sound [B+].

***

Old Orchard Beach Ballpark
Old Orchard Beach
Portland, Maine
3 July 1988

58.Tangled Up In Blue
59.The Ballad Of Frankie Lee And Judas Priest
60.Trail Of The Buffalo (trad. arr. Woody Guthrie)
61.A Hard Rain's A-Gonna Fall

Concert # 18 of The Never-Ending Tour.
Concert # 18 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 18 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Trail Of The Buffalo,
A Hard Rain's A-Gonna Fall.

LB-5582;
By The Waterfront Docks (Scorpio / BD-07008);
Stereo Soundboard Recording

Very good to excellent sound [B+].

***

Ottawa Civic Centre Arena
Ottawa, Ontario, Canada
9 July 1988

62.It's Alright, Ma (I'm Only Bleeding)

Concert # 21 of The Never-Ending Tour.
Concert # 21 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 21 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on It's Alright, Ma (I'm Only Bleeding).

First Never-Ending Tour performance of It's Alright, Ma (I'm Only Bleeding), one of only three 1988 renditions.

LB-3188;
xref-00014

Good sound [B].

***

Indiana State Fairground Grandstand
Indianapolis, Indiana
15 July 1988

63.John Brown

Concert # 25 of The Never-Ending Tour.
Concert # 25 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 25 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

LB-3151

Very good to excellent sound [B+].

***

Troy G. Chastain Memorial Park Amphitheatre
Atlanta, Georgia
24 July 1988

64.Highway 61 Revisited

Concert # 30 of The Never-Ending Tour.
Concert # 30 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 30 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

G. E. Smith (electric slide guitar) on Highway 61 Revisited.

LB-10951;
Taper: Legendary Taper C (LTC);
Equipment: ?? > cassette master > audio-CD > audio-CD >
eac > wavelab, left channel raised > tlh

Very good to excellent sound [B+].

***

Mud Island Amphitheatre
Memphis, Tennessee
26 July 1988

65.Stuck Inside Of Mobile With The Memphis Blues Again
66.Forever Young

Concert # 32 of The Never-Ending Tour.
Concert # 32 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 32 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

G. E. Smith (electric slide guitar) on Stuck Inside Of Mobile With The Memphis Blues Again.

Joe Walsh (guitar) on Forever Young.

LB-7841;
Mudplex Part 1 (Mudrock / 1-2-3)

Good sound [B].

***

Mesa Amphitheater
Mesa, Arizona
30 July 1988

67.Mr Tambourine Man

Concert # 34 of The Never-Ending Tour.
Concert # 34 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 34 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Mr Tambourine Man.

LB-1833

Excellent sound [A-].

***

Pacific Amphitheater
Costa Mesa, California
31 July 1988

68.Song To Woody
69.Girl Of The North Country
70.To Ramona

Concert # 35 of The Never-Ending Tour.
Concert # 35 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 35 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Song To Woody,
Girl Of The North Copuntry,
To Ramona.

LB-3166

Good sound [B].

***

Greek Theatre
Hollywood
Los Angeles, California
2 August 1988

71.Every Grain Of Sand
72.She Belongs To Me

Concert # 36 of The Never-Ending Tour.
Concert # 36 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 36 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on She Belongs To Me.

First of three 1988 performances of She Belongs To Me.

LB-3153

Good sound [B].

***

Greek Theatre
Hollywood
Los Angeles, California
3 August 1988

73.I'm In The Mood For Love (Dorothy Fields/Jimmy McHugh)

Concert # 37 of The Never-Ending Tour.
Concert # 37 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 37 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on I'm In The Mood For Love.

LB-3154

Very good to excellent sound [B+].

***

Greek Theatre
Hollywood
Los Angeles, California
4 August 1988

74.Hallelujah (Leonard Cohen)
75.I'm Glad I Got To See You Once Again (Hank Snow)
76.Knockin' On Heaven's Door

Concert # 38 of The Never-Ending Tour.
Concert # 38 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 38 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on I'm Glad I Got To See You Once Again.

Mike Peters (shared vocals), Dave Sharp (guitar) and Eddie McDonald & Nigel Twist (backing vocals) on Knockin' On Heaven's Door.

Second and last performance of Hallelujah.

Only known performance of I'm Glad I Got To See You Once Again.

First Never-Ending Tour version of Knockin' On Heaven's Door.

LB-1269

Very good to excellent sound [B+].

***

Sammis Pavilion
Batiquitos Lagoon
Carlsbad, California
6 August 1988

77.We Three (My Echo, My Shadow And Me) (Robertson/Cogane/Myalls)

Concert # 39 of The Never-Ending Tour.
Concert # 39 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 39 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on We Three (My Echo, My Shadow And Me).

Only Never-Ending Tour performance of We Three (My Echo, My Shadow And Me).

LB-4730

Good sound [B].

***

Santa Barbara County Bowl
Santa Barbara, California
7 August 1988

78.Leopard-Skin Pill-Box Hat
79.One Too Many Mornings
80.Big River (Johnny Cash)

Concert # 40 of The Never-Ending Tour.
Concert # 40 of the Interstate 88 Tour, part 1: Summer Tour of North America.
Concert # 40 with the first G. E. Smith

band: Bob Dylan (vocal & guitar),G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on One Too Many Mornings.

First Never-Ending Tour performance of One Too Many Mornings.

LB-8028

Fair sound [B-].

***

Rock on, Bob!

XXX

1988-06-07 Concord
1988-06-09 Sacramento
1988-06-10 Berkeley
1988-06-11 Mountain View
1988-06-13 Salt Lake City
1988-06-15 Denver
1988-06-17 St Louis
1988-06-18 East Troy
1988-06-21 Cuyahoga Falls
1988-06-22 Cincinnati
1988-06-24 Holmdel
1988-06-25 Holmdel
1988-06-26 Saratoga Springs
1988-06-28 Canandaigua
1988-06-30 Wantagh
1988-07-01 Wantagh
1988-07-02 Mansfield
1988-07-03 Portland
1988-07-09 Ottawa
1988-07-15 Indianapolis
1988-07-24 Atlanta
1988-07-26 Memphis
1988-07-30 Mesa
1988-07-31 Costa Mesa
1988-08-02 Los Angeles
1988-08-03 Los Angeles
1988-08-04 Los Angeles
1988-08-06 Carlsbad
1988-08-07 Santa Barbara


(219/1) Bob Dylan, 1988-10-13, The Flower of Belton & The Rose of Seline, Fall Tour of US, (Pink Panther Records)

Audio/flac, dime/?, (20190420)

Bob Dylan

1988 Pink Panther Belton Seline USF all Tour dime Flac

1989 THE FLOWER OF BELTON & THE ROSE OF SELINE
Pink Panther Records
1988 Fall Tour of the United States

***

A Lineage is included with this file:

http://expectingrain.com/ blog > http://www.themidnightcafe.org blog > nontorrent dl > iMac (OSX 10.13.6) > xACT 2.46 (fingerprint.ffp, md5sum.md5) > Transmission 2.94 > Dime

see checksums file for ffp's and md5 and verifications.
(jokerman.uk files are included for reference in all cases)
All venues are located within the United States of America.

***

Let's start with some background before we deal with the 88 US Fall Tour.
In April and May 1988, Bob, George Harrison, Roy Orbison, Tom Petty, Jeff Lynne & Jim Keltner (uncredited) recorded a laid-back collection of bouncy "pop" songs as a favour for George Harrison. The resulting and unexpected Traveling Wilburys Vol.1 was released on 18 October 1988, the day of Bob's last concert of his NYC residency. It surprised everybody when the album reached #3 in the US & #16 in the UK, selling 2 million copies in the first 6 months. The Traveling Wilburys Vol.1 stayed in the charts for over 50 weeks. The album was eventually certified triple-platinum by the RIAA. At that time, no Bob album had ever exceeded 2 million in sales.
It was all too much for Roy Orbison, who died of a heart attack on 6 December 1988.
Late in 1988, The Neville Brothers recorded the acclaimed Yellow Moon album in a hired "room" in New Orleans with producer Daniel Lanois. Yellow Moon included two Dylan covers, with God On Our Side (with the new Vietnam verse) and The Ballad Of Hollis Brown. Yellow Moon was released on 14 March 1989. It sold 300,000 copies & peaked at #67 on Billboard's Top-100. The album broke The Neville Brothers into the mainstream from R&B. Music critics loved it and heavyweights Keith Richards, Lou Reed & Linda Ronstadt praised it.
The first Oh Mercy session was on 28 Febuary 1989, in the very same "room" that Yellow Moon had been recorded in. Not only that, but Yellow Moon session musicians Daniel Lanois, Brian Stoltz, Cyril Neville, Malcolm Burn, Mason Ruffner, Willie Green and Tony Hall all appeared on Oh Mercy. Daniel Lanois also produced the Oh Mercy sessions. Bob has "borrowed" this sort of thing before - check out Elvis Presley's Tomorrow Is A Long Time from 26 May 1966 at RCA Studio B in Nashville, recorded with Charlie McCoy & Pete Drake. That "sound" was adopted for John Wesley Harding - McCoy & Drake appeared on JWH too. & where was JWH recorded? Nashville of course in October and November 1967. & then to add to the confusion, Dylan & The Dead (recorded live in July 1987) was released on 6 February 1989. For whatever reason, despite being vilified by music critics, the album sold very well, reaching #37 on the Billboard charts in the US, #38 in the UK, and earning gold status in the US.
There is little doubt that the 88 US Fall Tour set out to record a live album in NY (& successfully did so). The final night, 19 October, circulates as a pristine soundboard which appears to have been carefully mixed. The other NY nights were probably recorded to.
Therefore, the first half of 1989 was very crowded in the charts for Bob - another live album competing with Traveling Wilburys Vol.1 and Dylan & The Dead was not a good marketing idea - it was never going to happen. Also, an early-1989 release of Oh Mercy would draw the inevitable comparisons with Yellow Moon, which was recorded first. The "Vietnam" verse in With God On Our Side is interesting - it was used in Bob's 88 US Fall shows & also on the Yellow Moon version. Whether Bob wrote it & The Neville Brothers adopted it or vice versa is unclear - presumably the Yellow Moon version was recorded after the NY concerts.
The 19 October NY soundboard appears here complete (except for All Along The Watchtower, which does not circulate as a soundboard). It is by far the best sounding tape of the tour. However, a few songs (including With God On Our Side) have better versions from other concerts. Bob Dylan's 115th Dream from 19 October NY is definitive, so is Wagoner's Lad from 13 October Upper Darby.
19 October NY is artistically a infinitely better Bob album than Dylan & The Dead, but as a business decision, Bob was right. How many Bobcats actually admit to buying Dylan & The Dead when it came out? I did. Did you? Obviously lots of people did. Must have been all the Deadheads.
This is very good & interesting music - enjoy it.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow. Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

all sourced from 100% lossless FLAC from best available sound sources.
(jokerman.uk files are included for reference in all cases)
All venues are located within the United States of America.

***

BOB DYLAN'S 115TH DREAM

I was riding on the Mayflower
When I thought I spied some land
I yelled for Captain Arab
I have yuh understand
Who came running to the deck
Said, "Boys, forget the whale
Look on over yonder
Cut the engines
Change the sail
Haul on the bowline"
We sang that melody
Like all tough sailors do
When they are far away at sea

"I think I'll call it America"
I said as we hit land
I took a deep breath
I fell down, I could not stand
Captain Arab he started
Writing up some deeds
He said, "Let's set up a fort
And start buying the place with beads"
Just then this cop comes down the street
Crazy as a loon
He throw us all in jail
For carryin' harpoons

Ah me I busted out
Don't even ask me how
I went to get some help
I walked by a Guernsey cow
Who directed me down
To the Bowery slums
Where people carried signs around
Saying, "Ban the bums"
I jumped right into line
Sayin', "I hope that I'm not late"
When I realized I hadn't eaten
For five days straight

I went into a restaurant
Lookin' for the cook
I told them I was the editor
Of a famous etiquette book
The waitress he was handsome
He wore a powder blue cape
I ordered some suzette, I said
"Could you please make that crepe"
Just then the whole kitchen exploded
From boilin' fat
Food was flying everywhere
And I left without my hat

Now, I didn't mean to be nosy
But I went into a bank
To get some bail for Arab
And all the boys back in the tank
They asked me for some collateral
And I pulled down my pants
They threw me in the alley
When up comes this girl from France
Who invited me to her house
I went, but she had a friend
Who knocked me out
And robbed my boots
And I was on the street again

Well, I rapped upon a house
With the U.S. flag upon display
I said, "Could you help me out
I got some friends down the way"
The man says, "Get out of here
I'll tear you limb from limb"
I said, "You know they refused Jesus, too"
He said, "You're not Him
Get out of here before I break your bones
I ain't your pop"
I decided to have him arrested
And I went looking for a cop

I ran right outside
And I hopped inside a cab
I went out the other door
This Englishman said, "Fab"
As he saw me leap a hot dog stand
And a chariot that stood
Parked across from a building
Advertising brotherhood
I ran right through the front door
Like a hobo sailor does
But it was just a funeral parlor
And the man asked me who I was

I repeated that my friends
Were all in jail, with a sigh
He gave me his card
He said, "Call me if they die"
I shook his hand and said goodbye
Ran out to the street
When a bowling ball came down the road
And knocked me off my feet
A pay phone was ringing
It just about blew my mind
When I picked it up and said hello
This foot came through the line

Well, by this time I was fed up
At tryin' to make a stab
At bringin' back any help
For my friends and Captain Arab
I decided to flip a coin
Like either heads or tails
Would let me know if I should go
Back to ship or back to jail
So I hocked my sailor suit
And I got a coin to flip
It came up tails
It rhymed with sails
So I made it back to the ship

Well, I got back and took
The parkin' ticket off the mast
I was ripping it to shreds
When this coastguard boat went past
They asked me my name
And I said, "Captain Kidd"
They believed me but
They wanted to know
What exactly that I did
I said for the Pope of Eruke
I was employed
They let me go right away
They were very paranoid

Well, the last I heard of Arab
He was stuck on a whale
That was married to the deputy
Sheriff of the jail
But the funniest thing was
When I was leavin' the bay
I saw three ships a-sailin'
They were all heading my way
I asked the captain what his name was
And how come he didn't drive a truck
He said his name was Columbus
I just said, "Good luck"

***

PRETTY BOY FLOYD (Woody Guthrie)

If you'll gather 'round me, people
A story I will tell
'Bout Pretty Boy Floyd, an outlaw
Oklahoma knew him well

It was in the town of Shawnee
On a Saturday afternoon
His wife beside him in a wagon
As into town they rode

There a deputy sheriff approached him
In a manner rather rude
Using vulgar words of language
An' his wife she overheard

Pretty Boy grabbed a log chain
And the deputy grabbed his gun
In the fight that followed
He laid that deputy down

Now, he took to the hills and timber
To live a life of shame
Every crime in Oklahoma
Was added to his name

He took to the trees and timber
On the Canadian river shore
And pretty Boy found a welcome
At every farmer's door

Others tell you of a stranger
That come to beg a meal
And underneath the napkin
Left a thousand dollar bill

T'was in Oklahoma City
It was on a Christmas Day
There come a whole car load of groceries
And a letter that did say:

You say that I'm an outlaw
You say that I'm a thief
Well, here's a Christmas dinner
For the families on relief

Well, it's through this world I've rambled
I've seen lots of funny men
Some will rob you with a six-gun
And some with a fountain pen

Well, it's through this world you ramble
It's through this world you roam
You won't never see an outlaw
Drive a family from their home

***

WAGONER'S LAD (As performed 19 October 1988)

Oh hard is the fortune of all womankind
It's always controlled, it's always confined
Controlled by her parents until she's a wife
Then slave to her husband for the rest of her life

She is a poor girl, and her fortune is sad
always been courted by the wagoner's lad
He courted her truly both night and by day
But now he is a-loaded and a-going away

Your parents don't like me they say I'm too poor
They say I'm not worthy to enter your door
But I work for a living, my money's my own
And them that don't like it can leave me alone

My horses ain't hungry, and they don't need your hay
Come sit down beside me for as long as you stay
I'd go to Montana if the moon showed any light,
But my pony can't travel this dark road tonight.

I once had a sweetheart and her age was sixteen
She's THE FLOWER OF BELTON AND THE ROSE OF SELINE.
But her parents was against me, now she is the same,
If I'd writ on your book, love, you just blot out my name.

Hard is the fortune of all womankind
It's always controlled, and it's always confined
Controlled by her parents until she's a wife
Then slave to her husband for the rest of her life

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

41 ball-tearing, sensational tracks
35 different songs
6 concerts are represented here (from the total of 7 concerts).
3 hours & 37 minutes of music
1 bob

***

All 35 songs played on the tour leg are represented here.
The setlists were fairly consistent from night to night, with 11 songs being played five or more times, and 16 songs only played once or twice.

*

1 song was played seven times:With God On Our Side
5 songs were played six times:Bob Dylan's 115th Dream,Gates Of Eden,Like A Rolling Stone,Silvio,Subterranean Homesick Blues
5 songs were played five times:Highway 61 Revisited,In The Garden,One Too Many Mornings,Stuck Inside Of Mobile With The Memphis Blues Again,Wagoner's Lad
5 songs were played four times:All Along The Watchtower,I Shall Be Released,I'll Remember You,Knockin' On Heaven's Door,Maggie's Farm
3 songs were played three times:Girl Of The North Country,John Brown,Simple Twist Of Fate
7 songs were played twice:Barbara Allen,Don't Think Twice, It's All Right,Masters Of War,Shelter From The Storm,The Lonesone Death Of Hattie Carroll,The Times They Are A-Changin',You're A Big Girl Now
9 songs were played only once:Absolutely Sweet Marie,Ballad Of A Thin Man,Every Grain Of Sand,Forever Young,It Ain't Me, Babe,Just Like A Woman,Pretty Boy Floyd,San Francisco Bay Blues,To Ramona

***

Andrew Muir

The tour "ended" on 24 September 1988 in New Orleans, but this was not quite the finish. As previously mentioned, popular demand had led to four further nights being added at Radio City Music Hall in New York. These shows quickly became a focus for the press and fans alike. The former, previously misguided critics of the tour, now praised Dylan to the skies; the latter, trying to read the runes of relatively unchanging set-lists, talked of a live album being released from the shows. All this is rather ironic as the shows themselves, although fine, were far from being the best, or even up to the average standard, of the year.

Certainly, press coverage of Dylan has always been extremely erratic, but to be fair to the journalists Dylan's NET shows are bound to be challenging for music critics uninitiated in his current art of performing.
If a writer prepared for a Dylan show by playing "greatest hits" or his latest album, the scribe would be lucky to recognise any of the former until the song was well underway, and in the case of the latter he might be lucky to hear any tracks from it at all at this point in Dylan's touring. At times on the NET, inspired reinvention can seem much the same to the layman as massacring a classic song. In later decades it was to become a matter of confusion amongst fans too, come to that.

Dylan's performing art during the NET is not beyond reproach, but much of the ill-founded criticism he has garnered can get wearing:

The Guardian newspaper fulminated against Dylan's delivery of Blowin' In The Wind at a festival one year. It was not played at all. This has happened in other reviews too and it makes you wonder when some reviewers actually write their reviews in advance at times, or if they actually attend the shows. Upper Darby from 13 October is a great audience analogue tape of a great show. These shows are quite different from those earlier in the year - the setlists have a consistent core for about half the songs, which is unusual for 88 Bob.

***

see checksums file for ffp's and md5 and verifications.
(jokerman.uk files are included for reference in all cases)
All venues are located within the United States of America.

Setlists and Venues:

The Tower Theatre
Upper Darby, Pennsylvania, USA
13 October 1988
(1988-10-13)

1.Absolutely Sweet Marie
2.Masters Of War
3.Shelter From The Storm
4.With God On Our Side
5.Girl Of The North Country
6.Don't Think Twice, It's All Right
7.I Shall Be Released
8.The Times They Are A-Changin'
9.Every Grain Of Sand

Concert # 66 of The Never-Ending Tour.
First concert of the Interstate 88 Tour, part 3: East Coast Fall tour.
Concert # 66 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar),G. E. Smith (guitar),Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:With God On Our Side,Girl Of The North Country,Don't Think Twice, It's All Right,The Times They Are A-Changin'.

Live debut of Bob Dylan's 115th Dream.

First live version of With God On Our Side since Slane, Ireland, July 8, 1984.
It now contains a new verse about the Vietnam war.
This verse is probably written by one of the Neville Brothers.

LB-5294

Jokerman: Very good to excellent sound [B+].
PP: Excellent sound [A-].

***

The Tower Theatre
Upper Darby, Pennsylvania, USA
14 October 1988
(1988-10-14)

10.Wagoner's Lad (trad.)
11.It Ain't Me, Babe

Concert # 67 of The Never-Ending Tour.
Second concert of the Interstate 88 Tour, part 3: East Coast Fall tour.
Concert # 67 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:Wagoner's Lad,It Ain't Me, Babe.

Live debut of Wagoner's Lad.

LB-5233

Very good to excellent sound [B+].

***

Radio City Music Hall
New York City, New York, USA
17 October 1988
(1988-10-17)

12.Ballad Of A Thin Man
13.You're A Big Girl Now
14.Knockin' On Heaven's Door

Concert # 69 of The Never-Ending Tour.
Concert # 4 of the Interstate 88 Tour, part 3: East Coast Fall tour.
Concert # 69 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Kenny Aaronson (bass), Christopher Parker (drums).

Knockin' On Heaven's Door starts acoustic and ends electric.

LB-0454

Very good to excellent sound [B+].

***

Radio City Music Hall
New York City, New York, USA
18 October 1988
(1988-10-18)

15.Just Like A Woman
16.To Ramona
17.All Along The Watchtower

Concert # 70 of The Never-Ending Tour.
Concert # 5 of the Interstate 88 Tour, part 3: East Coast Fall tour.
Concert # 70 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on To Ramona.

LB-1252;
xref-00136;
Old Men With Broken Teeth

Fair Sound [B-].

***

Radio City Music Hall
New York City, New York, USA
19 October 1988
(1988-10-19)

18.Subterranean Homesick Blues
19.I'll Remember You
20.John Brown
21.Stuck Inside Of Mobile With The Memphis Blues Again
22.Simple Twist Of Fate
23.Bob Dylan's 115th Dream
24.Highway 61 Revisited
25.Gates Of Eden
26.With God On Our Side
27.One Too Many Mornings
28.Barbara Allen (trad.)
29.Silvio (Bob Dylan & Robert Hunter)
30.In The Garden
31.Like A Rolling Stone
32.Wagoner's Lad (trad.)
33.The Lonesome Death Of Hattie Carroll
34.Knockin' On Heaven's Door

XX.All Along The Watchtower (missing)

35.Maggie's Farm

Concert # 71 of The Never-Ending Tour.
Concert # 6 of the Interstate 88 Tour, part 3: East Coast Fall tour.
Concert # 71 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Gates Of Eden,
With God On Our Side,
One Too Many Mornings,
Barbara Allen,
Wagoner's Lad,
The Lonesome Death Of Hattie Carroll.

Knockin' On Heaven's Door starts acoustic and ends electric.

G.E. Smith (backup vocal) on:Subterranean Homesick Blues,Silvio.

G.E. Smith (electric slide guitar) on Highway 61 Revisited.

BobTalk:

Thank you! I was really honored,
last year the Amnesty Tour chose a Bob Dylan song as their theme song.
A song called Chimes Of Freedom.
This year, to my great surprise, they chose another Bob Dylan song.
Actually that one was last year, I Shall Be Released was the one they chose this year.
Anyway, I guess they're gonna have another Amnesty Tour next year.
I think they're gonna use another Bob Dylan song called "Jokerman".
But I'm trying to get them to change their mind, trying to get them to use this one.
(before In The Garden ).

LB-3243;
Stuck Inside Of New York (Kiss The Stone KTS 012/13);
Speed corrected & filler upgrade;
Source/Lineage: line >? > boot silvers > EAC> shn >
wav (md5 verified) > speed correction > flac

Jokerman: Excellent sound [A-].
PP: Excellent sound [A].

***

Andrew Muir

It is clear that under pressure to produce copy some journalists will simply echo the bad reviews of the shows preceding the one in their town. Still, it works the other way too: when somebody is 'hot', good reviews beget more good reviews - merited or otherwise. As the Radio City Music Hall shows became hot news, so the good reviews multiplied.
As for the fans, they were pleased with the attention and praise Dylan was receiving, but also rather miffed that the shows which attracted all this press euphoria were attended by those drawn solely to this month's 'hot ticket'. This was in stark contrast to the previous months' shows, when diehard fans had witnessed Dylan in top vocal form with a rapidly changing set-list. Also, by the time he got to Radio City Music Hall, Dylan's voice was under pressure both from the year's touring and a cold which coincided with the residency. This is not to say that the Radio City shows were poor, but they became, due to the wide circulation of soundboard tapes of the closing show allied to the media buzz, falsely representative of the whole year.
Still, at least they were more typical than the February 1989 release of the shambolic Dylan And The Dead live album (from the 1987 shows), which might as well have been subtitled "the very worst songs from a very poor tour".
As mentioned above, by now Dylan's voice was showing some wear and tear, but he started this last show in New York on 19 October 1988 in strong form by ripping through Subterranean Homesick Blues, before calming things down with I'll Remember You, a slight song redeemed by a few well-chosen couplets and Dylan's powers of delivery. The subsequent John Brown, while laudable for its sentiments, remains one of my least favourite songs in Dylan's entire catalogue; but he performed it splendidly. In fact, this was about as good as you could ever expect to hear it.
A splendid Simple Twist Of Fate was the next treat, but Dylan's voice was starting to go in places and the song came to a hesitant, oddly stumbling end. One of the revelations of the tour had been saved for the October 1988 shows, with the first ever live version of Bob Dylan's 115th Dream at Upper Darby on 13 October 1988. I do not think there was any fan who could have envisaged this long, comic monologue being pulled from his back pages; but Dylan clearly enjoyed tackling it. You could hear the relish in his voice, particularly when he sang the words "my way" near the song's conclusion.
Gates Of Eden was back in the acoustic set, while Dylan's old protest classic With God On Our Side now included a verse on Vietnam, which had been added by The Neville Brothers in their version. It was strange in 1988 to hear Dylan, the definitive 1960s protest-singer, for the first time ever sing lyrics explicitly about the Vietnam War. Stranger still that he was singing someone else's words in one of his own songs; the new verse brought a huge cheer from the audience.
If you wanted two songs to round off an acoustic set and were allowed to pick one Dylan original and one traditional, you would be hard pressed to beat the 19 October 1988 pairing of One Too Many Mornings and Barbara Allen.
Silvio opened the second electric set, Dylan having decided to promote his current single and album by playing this regularly from 21 June 1988 onwards. The 1988 version was certainly better than the bloated, falsely theatrical renditions he was to inflict on us in future years, though even here it still sounded somewhat like a Dylan parody.
In The Garden was preceded by a little speech, the impish Dylan of yore well evident as he managed to be charming while giving a pointed barb to those who are not as keen on this song as its author is.
"Thank you, I was really honoured last year when the Amnesty tour chose a Bob Dylan song as a theme song. A song called Chimes Of Freedom. This year, to my great surprise, they chose another Bob Dylan song. Actually that one was this year. I Shall Be Released was the song they chose last year. Anyway I guess they're gonna have another Amnesty tour next year. I think the theme song they're gonna use is another Bob Dylan song called Jokerman. But I'm trying to get them to change their minds. Trying to get 'em to use this one."
With that he swung into a strong, clear rendition; a bit less actively aggressive than the one at Sacramento, but in the same basic style.
Having made his point Dylan gave the crowd the rousing Like A Rolling Stone. However, by the time he got to "secrets to conceal" his voice had been reduced to a growl, and sounded shot. He left the stage when the song finished.
Somehow Dylan's vocal powers recovered sufficiently for him to pull out a half-acoustic / half-electric five-song encore. He accomplished this feat by making the third song of the five, Knocking On Heaven's Door, start acoustic but switch to electric midway through.
The encores opened with that wondrous traditional lament to woman's lot, The Wagoner's Lad, sung with such empathy it is hard to believe he is the same man who in life, interview and song has often seemed far from understanding the female perspective. All that is forgotten whenever you play a recording and hear Dylan sing the opening lines:

"Hard is the fortune of all womankind
It's always controlled, it's always confined
Controlled by her parents until she's a wife
Then a slave to her husband for the rest of her life."

Following the yearning pleas of this heartbreaking traditional song, Dylan's voice becomes stronger and deeper for one of his own masterly songs about injustice and the hard lot of womankind, the remarkable and humbling The Lonesome Death Of Hattie Carroll.

That remarkable pairing was succeeded, without pause, by the half acoustic/ half electric Knockin' On Heaven's Door. The evening, the residency and the 1988 tour then closed with the double-barrelled electric blast of All Along The Watchtower and Maggie's Farm.
After the disappointment of the Down In The Groove album, Dylan fans had been boosted by Dylan's blistering June 1988-onwards live performances. What would make 1989 perfect would be for the tour to continue and Dylan to release an album of impressive original songs.

***

Oakland Coliseum
Oakland, California, USA
4 December 1988
(1988-12-04)

An all acoustic evening of music to benefit The Bridge School.

36.San Francisco Bay Blues (Jesse Fuller)
37.Pretty Boy Floyd (Woody Guthrie)
38.With God On Our Side
39.Girl Of The North Country
40.Gates Of Eden
41.Forever Young

Bob Dylan (vocal, guitar) and G.E. Smith (guitar).

First performance of Pretty Boy Floyd since September 1961 on Gerde's Folk City.
Only performance during the Never Ending Tour.

LB-0634

Excellent sound [A].

***

Andrew Muir

A footnote to 1988's touring was Dylan and GE Smith performing an acoustic set at Neil Young's annual Bridge School Benefit; where along with four of his own songs Dylan sang San Francisco Bay Blues and Pretty Boy Floyd.

***

Paul Williams

Six weeks after ending his 1988 tour on 19 October 1988 in New York City, Dylan contributed a six-song acoustic performance (with GE Smith on second guitar) to a benefit concert in Oakland, California organized by Neil Young on behalf of a school for disabled children. Young introduced Dylan at this Bridge School Benefit as "my favorite songwriter in the world for many many years," and Dylan then began his set with two songs he did not write: Jesse Fuller's San Francisco Bay Blues and Woody Guthrie's Pretty Boy Floyd. Again, selections from his 1961 repertoire (although Pretty Boy Floyd was also the most recently released Dylan recording;
A Vision Shared, the Guthrie tribute album with Dylan's 1987 version of the song, had been in stores since 24 August 1988). The next three songs played by Dylan and GE Smith at their Bridge Benefit appearance were With God On Our Side, Girl Of The North Country and Gates Of Eden, all songs that had been included frequently in acoustic sets at the end of the tour.

The sixth song, Forever Young, had been played in concert only once before in 1988 in an acoustic version (it was also performed three times in 1988 in an electric version). The tape of the benefit performance shows that Dylan's voice had recovered significantly during his six weeks off; unfortunately, it also suggests again that the two-guitar acoustic set format was not very stimulating for Dylan as a performer in 1988. These are again lackluster, uninspired performances, interesting solely because this was only the third time in his career
that Dylan is known to have performed Pretty Boy Floyd on stage and because, as he had at the October 1988 shows, Dylan added to With God On Our Side a verse about the Vietnam War that he did not write - The Neville Brothers had added it when they recorded the song on an album produced by Daniel Lanois earlier that autumn.
Dylan learned it when he visited a recording session for that album (Yellow Moon) after playing a show in New Orleans in late-September 1988.

***

The standard ethical appeals apply to this and all subsequent offers -
Please...
1) Continue seeding after DL
2) Trade freely
3) Never for sale
4) Enjoy thoroughly!

***

Rock on, Bob!

XXX

1988-10-13 Upper Darby
1988-10-14 Upper Darby
1988-10-17 New York
1988-10-18 New York
1988-10-19 New York
1988-12-04 Oakland

(220/1) Bob Dylan, 1989-05-27, You Don t Know Me, Summer Tour of Europe, (Pink Panther Records)

Audio/flac, dime/?, (20190420)

Bob Dylan

1989 Pink Panther You Don't Know Me Europe Summer Tour dime Flac

1989 YOU DON'T KNOW ME
Pink Panther Records
1989 Summer Tour of Europe


***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow. Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

all sourced from 100% lossless FLAC from best available sound sources.
(jokerman.uk files are included for reference in all cases)

***

A Lineage is included with this file:

http://expectingrain.com/ blog > http://www.themidnightcafe.org blog > nontorrent dl >
iMac (OSX 10.13.6) > xACT 2.46 (ffp, st5, in checksums file) > Transmission 2.94 > TTD

***

The 1989 European summer tour is a major highlight of the NET in terms of performance & setlists, & thanks to Legendary Taper D (LTD) with an equipment combination of the best Sennheiser microphones of the time feeding the legendary Sony Walkman WM-6 Professional portable recorder & the best available Maxwell tapes, along with attendance at almost all the concerts, we have at out disposal a collection of truly wonderful tapes. Everything is recorded in analogue - DAT recorders were very rare & expensive at the time.

The LTD tapes dominate, but there are exceptions: the New York rehearsal is a soundboard, but a generation copy; LTB did a better job at The Hague, which is the best-sounding tape here; Istanbul only appears as an incomplete amateur tape in poor sound, which is a pity because it was a great performance; & BBC2 TV recorded the Athens TV documentary with Van Morrison in excellent sound.

These recordings cover a vast collection of Bob's pre-Oh Mercy songs - that album was recorded immediately before this tour but was not released until late-1989 & done of its songs appear here.

It also marks the beginning of the Tony Garnier era.

Provided with a twin narrative from the late Paul Williams & the very present Andrew Muir (aka homertheslut), we visit the very murky world of the late-1980s European bobcats, including the king of them all - the now departed Lambchop.

You can't go wrong with this.

***

Many thanks to those who made this possible, particularly 10haaf, chambre, lilraven, homertheslut & the departed hardcore bobcats, Paul Williams & Lambchop. & lets not forget guest appearances from Van Morrison, Bono, Ringo Starr & an (almost) Traveling Wilburys reunion with George Harrison & Jeff Lynne who were present at Birmingham where Bob played Congratulations.

***

Highly variable setlists here with a core of 60s and 70 Dylan classics backed up with a large number of songs that only appeared once or twice, including a lot of cover songs. The concerts were evenly split between electric songs played with the full band, along with acoustics songs played as a duo with GE Smith. Performance, sound & setlists are all consistently high on this tour leg. It was a wild & unpredictable setlist ride from night to night.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

84 ball-tearing, sensational tracks
79 different songs
18 concerts are represented here (from the total of 21 concerts) plus 1 rehearsal and 1 TV documentary
6 hours & 27 minutes of music
1 bob

***

All sound played on the tour leg are represented here.

The setlists were highly variable from night to night, with
9 songs being played ten or more times,
29 songs being played five or more times, and
37 songs only played once or twice.

*

1 song was played 20 times:Like A Rolling Stone
1 song was played 18 times:Silvio
2 songs were played 16 times:Knockin' On Heaven's Door, Mr Tambourine Man
2 songs were played 15 times:All Along The Watchtower, Maggie's Farm
1 song was played 14 times:I Shall Be Released (including 1 rehearsal)
1 song was played 13 times:Highway 61 Revisited
1 song was played 11 times:Most Likely You Go Your Way (And I'll Go Mine) (including 1 rehearsal)
2 songs were played nine times:Subterranean Homesick Blues, You're A Big Girl Now
3 songs were played eight times:Ballad Of A Thin Man (including 1 rehearsal), Blowin' In The Wind, Stuck Inside Of Mobile With The Memphis Blues Again
7 songs were played seven times:Ballad Of Hollis Brown, Barbara Allen, Don't Think Twice, It's All Right, In The Garden, Just Like A Woman, Shelter From The Storm (including 1 rehearsal), The Times They Are A-Changin'
6 songs were played six times:Gates Of Eden, Girl Of The North Country, It Ain't Me, Babe, Just Like Tom Thumbs Blues (including 6 rehearsals), Simple Twist Of Fate, To Ramona
2 songs were played five times:Masters Of War, One Too Many Mornings
5 songs were played four times:Boots Of Spanish Leather, John Brown, The Lonesome Death Of Hattie Carroll, When Did You Leave Heaven? (including 1 rehearsal), You Don't Know Me
8 songs were played three times:And It Stoned Me (including 2 takes for BBC2 TV documentary), Eileen Aroon, I'll Remember You (including 1 rehearsal), It's All Over Now, Baby Blue, Lakes Of Ponchartrain, Mama, You Been On My Mind, Man Gave Names To All The Anilals (including 2 rehearsals), Shot Of Love (including 1 rehearsal)
15 songs were played twice:, Congratulations, Crazy Love (including 1 take for BBC2 TV documentary), Early Morning Rain (including 2 rehearsals), Every Grain Of Sand, Everyday (including 2 rehearsals), Give My Love To Rose (including 1 rehearsal), Hey La La (Hey La La), House Of Gold, I Don't Believe You (She Acts Like We Never Have Met), I'll Be Your Baby Tonight, Little Queen Of Spades (including 2 rehearsals), Making Believe (including 1 rehearsal), Not Fade Away (including 2 rehearsals), Peace In The Valley (including 1 rehearsal), The Water Is Wide
22 songs were played only once:A Hard Rain's A-Gonna Fall, Absolutely Sweet Marie, Confidential (To Me), Everybody's Movin' (including 1 rehearsal), Foreign Window (including 1 take for BBC2 TV documentary), Forever Young, I Want You, I'm Not Supposed To Care (including 1 rehearsal), It Takes A Lot To Laugh, It Takes A Train To Cry, Leopard-Skin Pill-Box Hat, Lonesome Town, Lonesome Whistle Blues (including 1 rehearsal), One Irish Rover (including 1 take for BBC2 TV documentary), Pancho And Lefty, Seeing The Real You At Last, Song To Woody, Tangled Up In Blue, Tears Of Rage, The Man In Me, Tomorrow Is A Long Time (including 1 rehearsal), Trail Of The Buffalo, Two Soldiers

***

YOU DON'T KNOW ME (Cindy Walker & Eddy Arnold)

You give your hand to me
And then you say goodbye
I watch you walk away
Beside you lose and why
And anyone can tell
You think you know me well,
but you don't know me

You remember me
Now you say hello
I want to walk away
Beside I love you so
And anyone can tell
That you think you love me
But you don't know me

You never knew the art of making love
But my heart it burns for you
Afraid and shy I let my chance go by
I could have love in you

You give your hand to me
And then you say goodbye
I watch you walk away
Beside the lucky guy
But you think you know me well
Anyone can tell
But you don't know me

But I never knew the art of making love
But my heart it burns for you
Alone and shy I let my chance go by
But I could have had you too

You give your hand to me
And then you say goodbye
I watch you walk away
Beside the lucky guy
And anyone can tell
You think you know me well
But you don't know me

***

HOUSE OF GOLD (Hank Williams)

People steal, they cheat and they lie
For silver and gold and what it will buy.
But don't they know on Judgment Day
Silver and gold will melt away.
I'd rather be in a deep, dark grave
I know that my poor soul was saved
Than live in this world in a house of gold
Deny my God and doom my soul.

If your heart's not good and true?
What good is gold and silver too,
Sinner, hear me when I say,
Fall down on your knees and pray.

I'd rather be in a deep, dark grave
Know that my poor soul was saved
Than live in this world in a house of gold
Deny my God and doom my soul.

***


(jokerman.uk files are included for reference in all cases)

Setlists and Venues:


The Power Station
New York City, New York, USA
May 1989
(1989-05-xx)

Rehearsals for the 1989 European Summer Tour.

01.Making Believe (Jimmy Work)
02.Early Morning Rain (Gordon Lightfoot)
03.Lonesome Whistle Blues (Hank Williams - Jimmie Davis)
04.Little Queen Of Spades (Instrumental)
05.Little Queen Of Spades (Robert Johnson)
06.I'm Not Supposed To Care (Gordon Lightfoot)
07.Not Fade Away (Charles Hardin)
08.Everyday
09.Everybody's Movin' (Glen Trout)
10.I'll Remember You
11.Ballad Of A Thin Man
12.Just Like Tom Thumb's Blues
13.Tomorrow Is A Long Time

Bob Dylan (guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Mindy Jostyn (harmonica) on:Lonesome Whistle Blues, Not Fade Away, Tomorrow Is a Long Time.

Mindy Jostyn (violin) on:Early Morning Rain, Little Queen Of Spades, I'm Not Supposed To Care, Not Fade Away, Everybody's Movin', I'll Remember You, Ballad Of A Thin Man, Just Like Tom Thumb's Blues.

In The Clinton Heylin interview Kenny Aaronson calls the violin player, Mindy, "she's the girl in Billy Joel's new band".

LB-6802;
Never Ending Tour Rehearsals (Moonlight / ML-9623-24)

Very good to excellent sound [B+].

***

Paul Williams

In 1989, Dylan toured from late-spring to mid-autumn, beginning 27 May 1989 at a castle in Andrarum, Sweden, and ending 15 November 1989 at a performing arts center in Tampa, Florida. There was one break in the tour, 11 September to 9 October 1989. Otherwise, Dylan and his band worked steadily, playing twenty concerts a month, for a total of 99 shows. It was the most shows he had done in a year since 1978, when he played 115 in a tour that ran from February through December 1978.

The 1989 tour did not have a name until Dylan referred in that October interview to "the Never Ending Tour, " which fans immediately accepted as a name for his ongoing tour with roughly the same band that had begun in early-June 1988. The 1988 band (Smith, Parker, Aaronson) backed Dylan at the first three shows of 1989 and at the fifth through the eighth. At the fourth show, and at every show beginning with the ninth (10 June 1989), Kenny Aaronson, who had to return to the United States for health reasons, was replaced on bass by Tony Garnier, who had played with GE Smith in one of his former bands. In late-July 1989, Aaronson tried to get his job back, but was told by Dylan, "I'm not sure if I wanna change the band right now." In the long run, Garnier outlasted Parker and Smith, and is still playing bass in Dylan's touring band in April 2002.

So 1989 was when Dylan started scheduling and performing close to one hundred shows a year (after only 71 in 1988), as he has done every year from age 48 to age 60. Why does he choose to live his life this way, on the road nearly 11 months a year, most years? I recently read a comment from a thespian that I think sheds some light on the call of performing. Jeffrey King, an actor with the Oregon Shakespeare Festival, was asked, "What led you to become an actor?" He replied:

"When I was a senior in high school, I got into a drama class because the physical education class I wanted to be in was closed. In the drama class I started to feel a kind of release, a contact with something really deep, a feeling of being a conduit. The only way I knew to continue to follow that feeling was to act. And still that's the reason I do it, to experience that kind of heightened and widened awareness. It feels like having been introduced to an experience that was so necessary and essential in my life, I just followed it."

This resonates nicely with Dylan's remarks in a 1981 interview:

"What I do is more of an immediate thing: to stand up on stage and sing - you get it back immediately. It's not like writing a book or even making a record. What I do is so immediate it changes the nature, the concept, of art to me. It's like the man who made that painting there [points to a painting on wall of hotel room] has no idea we're sitting here now looking at it, or not looking at it, or anything. Performing is more like a stage play."

At the first 1989 show, Dylan performed the whole concert wearing a hooded anorak (with a cap on under it)
hat completely covered his head and upper body. He wore the same outfit at the next three shows, until (in Clinton Heylin's words), "on the second night in Dublin, Dylan finally abandoned the hood, performing for the remainder of 1989 in full view of the paying customer." During this European leg of the 1989 tour (21 shows in May and June in Sweden, Finland, Ireland, Scotland, England, the Netherlands, Belgium, France, Spain, Italy, Turkey, and Greece), Dylan also kept the stage as darkly lit as possible, and performed from the darkest parts of center stage he could find. In Patras, Greece, he interrupted a song to ask that the lights be turned down,
and played the rest of the show in virtual darkness (the audience booed). So we can assume that although Dylan was determined to stand (and had told his manager to book him as many shows as possible), he still had mixed feelings about being looked at while he did his work.

***

Christinehofs Slottspark
Christinehofs Slott, Sk?ne, Sweden
27 May 1989
(1989-05-27)

14.Gates Of Eden
15.Give My Love To Rose (Johnny Cash)

Concert # 72 of The Never-Ending Tour.
First concert of the 1989 Tour Of Europe.
Concert # 72 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Gates Of Eden.

Give My Love To Rose starts acoustic and ends electric.

Bob Dylan (harmonica) on Give My Love To Rose.

LB-7209;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 48kHz > Hard Drive >
ssrc 44.1kHz > wave convert to > flac (dbpoweramp Music Converter) > md5summer

Very good to excellent sound [B+].

***

Andrew Muir

At Glasgow and Wembley I had heard plenty of stories about the start of the 1989 leg of the tour: like 1988, controversy had dogged the opening concerts. The tour kicked off on the 27 May 1989 with a ragged show at Christinehof Slott, Andrarum, in Sweden, that nonetheless had its moments, like a splendid Gates Of Eden. Dylan seemed very unhappy and his peculiar get-up of windcheater, cap, and hood pulled up over the cap meant that not only did the Swedes get a surly, non-communicative Dylan but a mostly hidden one to boot. Covered up though Dylan was, he still clove to the darkness on stage, revealing as little of himself as possible.

***

Globe Arena
Stockholm, Sweden
28 May 1989
(1989-05-28)

16.Hey La La (Hey La La) (McBride)
17.It Ain't Me, Babe
18.Eileen Aroon (trad., arr. Clancy Brothers and Tommy Makem)
19.When Did You Leave Heaven? (W. Bullock/R. Whiting)
20.Boots Of Spanish Leather

Concert # 73 of The Never-Ending Tour.
Second concert of the 1989 Tour Of Europe.
Concert # 73 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:It Ain;t Me, Babe, Eileen Aroon'Boots Of Spanish Leather.

Bob Dylan (harmonica) on:Hey La La (Hey La La), It Ain't Me, Babe, Eileen Aroon, Boots Of Spanish Leather.

First show during Never Ending Tour not to start with Subterranean Homesick Blues.

First of three performances of Hey La La (Hey La La) .

First performance of When Did You Leave Heaven?

LB-7218;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 >
Sony WM 6 (Maxell XLIIS) > DAT 48kHz >
Hard Drive > ssrc 44.1kHz >
wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Andrew Muir

A similarly bizarre appearance and erratic performance the next night at Stockholm was at least partly redeemed by an adventurous set list that included Hey La-La (Hey La La), Eileen Aroon and When Did You Leave Heaven?.

The Swedish press were taken aback. "Bob Dylan doesn't smile - the mouth grimaces in a grotesque manner at times but his eyes never smile. Somehow, he might as well be in pain, " said one. The tabloid Kvallsposten had a photo of the strangely garbed Dylan on its front page under the banner headline: "Skandal" (no translation necessary!) and deemed the show "pure catastrophe". "Dylan appeared stand-offish both on and off the stage, " the article continued. "He ignored the audience as well as the many journalists who attended. Kvallsposten can reveal that Dylan earned nearly 1 .5 million Swedish kroner for the scandalous performance."

Other reports were fairer; one even stressed that "Differently from so many other performers Dylan does not go on auto-pilot when he performs. His mood, how he feels, always becomes apparent - whether good or bad." Nonetheless, all the Swedish journalists were baffled or outraged, or both, by the short sets and by Dylan's appearance - hidden in hood, cap and darkness.

***

Paul Williams

The recordings of the first two concerts of the tour show them to be kind of ragged (although they do have the virtue of including three songs Dylan had never sung on stage before). In the summer 1989 Telegraph, John Bauldie quotes his friend Felix Ganares, who said he had "a strange feeling all through the Stockholm show [the second 1989 concert], like anything could happen. I was really worried that he would not survive the show in a way - that he'd do something totally bizarre. He seemed to be so confused, started this really bad version of The Times They Are A-Changin', and his harmonica playing was terrible, really embarrassing. He mixed up everything, started several songs in the wrong places. His singing was very low, rough voice, he wasn't even singing into the mike. He was really drunk, or influenced by drugs."

***

J??halli
Helsinki, Finland
30 May 1989
(1989-05-30)

21.Confidential (To Me) (Dolinda Morgan)
22.Just Like A Woman
23.All Along The Watchtower
24.Mr Tambourine Man

Concert # 74 of The Never-Ending Tour.
Third concert of the 1989 Tour Of Europe.
Concert # 74 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Mr Tambourine Man.

Bob Dylan (harmonica) on:Confidential (To Me), Just Like A Woman, All Along The Watchtower, Mr Tambourine Man.

First performance of Confidential (To Me).

LB-7229;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 48kHz >
Hard Drive > ssrc 44.1kHz >wave convert to > flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Andrew Muir

This did not sound like the man I had seen at Glasgow, and it was the next show in Helsinki, Finland, that proved the turning point on his road to the stunning performances later in the year. That night was also when a contrast between the European tours of 1989 and 1987 began to emerge - a theme that would run throughout that summer so it is worth exploring briefly here.

My own feelings on 1987 are very mixed: there were plenty of high points, but I find it an incredibly erratic tour. While the peaks are mountainously high, so the low points are buried way below what you expect from someone of Dylan's stature.

I had lived in Helsinki in 1985-1986 so, typically, Dylan popped up there for his first ever visit the very next year, on 23 September 1987. The anticipation amongst my Finnish friends for Dylan's first show in their country was acute. Their expectations were dashed, and they came out bitterly complaining that Dylan looked and sounded appalling, and did not seem to care. Dylan had played for approximately one hour and appeared and acted as though he had the worst hangover of his life. Looking 25 years older than he had in 1986, he contemptuously mangled the melodies and spat out the lyrics to his audience's favourite songs.

And yet, and yet, one man's "mangled melody" is another man's "artistic bravery". "Spat out lyrics", for some, mark a "stunning re-creation, evoking new emotions from tired old words". I defy anyone to say that Helsinki will ever again hear anything of the quality of 1987's sublime Simple Twist Of Fate, the brooding yet hopeful Senor (Tales Of Yankee Power), and the moving It's All Over Now, Baby Blue - to say nothing of a magnificent, first encore, Desolation Row, and a set-list that mixed the familiar 1960s songs with less well-known material like Dead Man, Dead Man and Gotta Serve Somebody.

At that first Helsinki show in 1987, as with most performances from that year's inconsistent but often mesmeric European tour, there was golden wheat to be found among the chaff. However, the presentation of the show, not least Dylan's overall demeanour and startling appearance, made this hard to appreciate at the time.
Not just for live Dylan "newbies" like my Finnish friends, but also for even the most experienced Bob-cats such as The Wicked Messenger's Ian Woodward, who was particularly disappointed by Dylan's own indifference to his performance during "the glum 1987 shows".

Initially, to be frank, I also preferred 1989. However, having listened to numerous shows many times since then, 1987 seems to grow better and better in retrospect. Which is not to say that the 1989 Helsinki gig I am about to focus on was a poor show, very far from it; it is just that to praise it to the rafters while pouring scorn on the 1987 show seems unjustified, and I want to make it clear that I am not following that oft-quoted but to these ears patently inaccurate, comparison.

Putting all that to one side, as far as 1989 is concerned, it is fair to say that Helsinki saw the first satisfactory show of what was to be a very gratifying year.

After the standard opener, Confidential (To Me) was a real treat. Dylan's vocals, awakened by the blistering opening song, caressed the words, extracting the most out of line endings like "To my hee-e-e-aa-art".
He also embellished the song with a sympathetic little harp flourish.

His early protest classic Ballad Of Hollis Brown was moody and magnificent; after the words "ocean's pounding roar", there was the added effect of a thrashy electric guitar approximation of that sound. Then it was straight into a marvellous, inventive rendition of perennial classic Just Like A Woman. And so it went on: an enthusiastic crowd served with Stuck Inside Of Mobile With The Memphis Blues Again and All Along The Watchtower, the latter having a striking guitar opening, piercing the night air even more sharply than the harmonica that punctuated the song.

Although To Ramona was far from convincing, it was well received and formed part of an acoustic set that included a powerful Mr Tambourine Man and Eileen Aroon, which was received in the silence it deserved, in contrast to the cacophony of audience chatter that had spoiled it a year before in the United States. The audience's fervent applause for this classic old folk song had not subsided when Dylan and the band ripped straight into Knockin' On Heaven's Door. This was introduced with a strange and effective start-stop - mournful harp - start tempo that brought the crowd's euphoria back up to the "greatest electric hits" level of the pre-acoustic slot. Dylan was experimenting with the lyrics and tempo on stage, though not for a moment leaving the audience behind.

It was a pretty impressive show thus far and while Silvio and In The Garden simply did not belong in this company, you could not have faulted Dylan's commitment to performing them. In The Garden segued into a barnstorming Like A Rolling Stone and when Dylan sang "kicks for you" it sounded as if he really remembered what it meant.

***

Paul Williams

The third show, however, in Helsinki, Finland, 30 May 1989, sounds terrific. Dylan's vocals and his harmonica playing are exemplary, and his rapport with the band, and with co-guitarist GE Smith on the acoustic songs, seems much improved over many of the 1988 shows. Helsinki is a tape worth pursuing (imagine a version of All Along The Watchtower noteworthy just for the excellence and inventiveness of the harmonica parts) and, along with Athens (the last show of the European leg, 28 June 1989), a solid example of the spring 1989 tour at its best. The Never Ending Tour was starting to do what it would do well for at least another 13 years:
provide thrilling live concert experiences and produce occasional works of accidental art able to please and speak to listeners miles and years away from the space-time location of the original performance. Dylan and his band would achieve this, like The Grateful Dead before them, by constantly going on - going on from the nights of confusion and poor sound and overindulgence, to the next towns and the next shows and better conditions - going on from a year of rival bandleaders awkwardly getting to know each other and struggling to find ways to work together, to subsequent years of frequent instances of happy and inspired collaboration.

The three songs included in the first two shows that Dylan had never sung on stage before were all covers: You Don't Know Me (a country song co-written by Eddy Arnold that was a pop hit for Jerry Vale in 1956 and for Ray Charles in 1962) 27 May 1989 and When Did You Leave Heaven? and Hey La La 28 May 1989. When Did You Leave Heaven? is the 1936 Guy Lombardo hit Dylan had included on Down In The Groove. Hey La La (Hey La La) is a country song co-written by Ray Price and recorded by Ernest Tubb in the early-1950s. At Helsinki in the number two slot, where he had introduced You Don't Know Me and Hey La La at the earlier shows, Dylan sang for the first time on stage a song he can be heard singing on one of the 1967 Basement Tapes home recordings, Confidential (To Me). This was a 1956 pop hit for rhythm and blues singer Sonny Knight, which Robert Zimmerman probably heard on the radio when he was 15.

A small but significant part of Dylan's work as a performing artist is writing set lists before concerts determining what songs he might play tonight and in what sequence. Related to this is deciding before a tour what songs to refamiliarize himself with and rehearse with his band and co-guitarist. The 1988 tour was given much of its flavor and character by Dylan's decision to include in most shows old folk songs he had recorded on his first album in 1961, or that he had been playing in performances around that time, or similar selections. Sometime before the 1989 tour started, Dylan seems to have made a conscious decision to broaden his choice of songs to cover at this year's shows in order to embrace and explore another aspect of "the music that got me inspired and into it." He continued to sing Eileen Aroon and Barbara Allen and (occasionally) Two Soldiers and Trail Of The Buffalo and Lakes Of Pontchartrain, but now he also added to his shows, during the electric sets, a broad variety of country songs and rock/pop/rhythm and blues songs he had heard and probably played in his youth, most of them united by the fact that few in the audience were likely to be familiar with them or even to be able to guess what sort of song this is and why he is singing it tonight. An exception (a song probably familiar to many European Dylan concert attendees) was his performance in Cava de Tirreni, Italy, of Pancho And Lefty (written by Townes van Zandt, and popularized by Willie Nelson and Merle Haggard in 1983).

Other cover songs considered and rehearsed for this tour (according to drummer Christopher Parker in a 1989 interview) included The Who's I Can See For Miles, The Beach Boys' God Only Knows, Vanilla Fudge's slow rock version of the Supremes' You Keep Me Hanging On, Rodgers and Hart's Where Or When (a hit for Dion And The Belmonts in 1960), The Coasters' Poison Ivy, Buddy Holly's Everyday and Love's Made A Fool Of You, Patsy Cline's Walking After Midnight, Robert Johnson's Little Queen Of Spades, Johnny Cash's Ring Of Fire, Hank Williams' Lonesome Whistle Blues (which Dylan had attempted at the sessions for his first album), and Jimmy Work's country standard Making Believe. Of these, only Making Believe was actually performed on the Europe 1989 tour, on which Dylan did sing Hank Williams' A House Of Gold, Thomas A Dorsey's gospel standard Peace In The Valley, Ricky Nelson's 1958 hit Lonesome Town (sung regularly by Dylan at his 1986 shows), and The Water Is Wide (a folk song Dylan and Joan Baez sang together at seven of the 1975 Rolling Thunder shows).

The inclusion of many unfamiliar and unexpected covers in the early shows of 1989 helps to give these shows a feeling of freedom (anything can happen!) similar to the freewheeling and unpredictable fall 1987 Dylan shows with Tom Petty And The Heartbreakers. In both cases, the fact that the set lists and the structuring of the shows were so much looser than on Dylan's United States tour with the same band in 1988 was a reflection not only of Dylan's wish to apply what he had learned about show-structuring and song-sequencing by watching The Grateful Dead, but also of Dylan's ideas about European audiences and the freedoms available to him because of their open-mindedness. In a transatlantic telephone interview on the eve of a European tour in 1981, a journalist asked him, "Are you looking forward to coming back to London?" Dylan replied:

"Oh, sure. It seems like they appreciate different things in Europe than they do here. Here they take a lot of things for granted. We've been playing some new songs that nobody has ever heard before. I think people in England react more spontaneously to the stuff that I do than the people here. You sit here for so long and they take you for granted, you know."

This tells us something about what Dylan wants and needs from his audiences. "It's the crowd that changes the songs, " he said to Adrian Deevoy in 1989 on the topic of the improvisational nature of his shows.

Even though Dylan could barely be seen by the Helsinki crowd under his big hood on the darkened stage in May 1989, he presumably could see and hear and feel them - and listening to the tape of this show you can feel him responding to their presence (and to his ideas about their ability and willingness to react spontaneously) as he expresses himself very freely through his band and his voice and his harmonica playing on Confidential (To Me) and Ballad Of Hollis Brown and Just Like A Woman and All Along The Watchtower and To Ramona and Mr Tambourine Man and The Times They Are A-Changin'. Yes, he is playing harmonica again after not doing so throughout 1988, and he seems to be playing his band as an instrument again after some apparent difficulty with that aspect of his performing artistry at many of the 1988 shows.

"My love for you will always be / Confidential to me! Our love is a precious secret." Hearing the conviction with which Dylan sings these lines in Helsinki in 1989, two things come to my mind. This quote from Howard Sounes's biography: "The wedding of Bob and Carolyn Dennis took place in Los Angeles on 4 June 1986. The certificate was filed with the county registrar as a "confidential marriage." There was not even a hint in the press. "We were [all] sworn to secrecy never to mention it, " says [personal friend] Ted Permian." And one of my favorite "lost" (unrecorded) Dylan compositions, Let's Keep It Between Us, which he sang (accompanying himself on piano) at all of his shows in November and December 1980.

The next performance at Helsinki, Ballad Of Hollis Brown (a 1962 song Dylan performed once on the 1988 tour -
for the first time since he sang it at Live Aid in 1985 - and seven times in Europe in May-June 1989) makes me think of the compassion / empathy theme in Oh Mercy. Except for the first and last verses, the song is written in the second person: "Your brain is a-bleedin'/And your legs can't seem to stand." It is a song in which the singer/writer puts himself (and the listener) inside the mind of a killer/suicide, a madman, a tragic figure.
"What good am I if I see and don't say?" What young Dylan saw and said in 1962, he is still saying on stage almost three decades later. "You looked for work and money / And you walked a rugged mile." The way the singer breathes in this particular arrangement and performance of the song is worthy of note. It is simple and very effective. No one else does it quite like this.

Just Like A Woman, the next performance after Ballad Of Hollis Brown at the Helsinki show, provides a good example of Dylan successfully playing his band as an instrument and expressing himself freely through his voice and harmonica. Other particularly fine examples of him expressing himself very freely through voice, harp, and band at Helsinki 1989 are Mr Tambourine Man and The Times They Are A-Changin' - even though in these cases the "band" is just himself and GE Smith on two acoustic guitars.

When the 1989 European shows were first announced, the concert after Helsinki was going to be in Leningrad. But that changed. John Bauldie had a conversation in a bar the day before the Glasgow show with Dylan's assistant tour manager. Bauldie asked, "How come Leningrad was cancelled?" "It was the government, " he was told. "They said we couldn't go. Everyone was real disappointed. When we got word of the tour, we said,
"Oh Europe, OK." But then they said, "You're playing Leningrad." And this made it real exciting for all of us - it became the main purpose of the trip, Leningrad, yayay! But then they said, 'Er, Leningrad's off.' Oh dear. "But, you're going to Istanbul!" And then it was, "Istanbul's off." Oh. "But you got two shows in Leningrad!" Yayayayay! And then, last week, "Leningrad's off and Istanbul's off, " and everyone was real disappointed. But now it looks like Istanbul's back on. Yayayay!"

***

Simmonscourt
R.D.S.
Dublin, Ireland
3 June 1989
(1989-06-03)

25.The Lonesome Death Of Hattie Carroll
26.The Water Is Wide (trad.)

Concert # 75 of The Never-Ending Tour.
Concert # 4 of the 1989 Tour Of Europe.
First concert with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on The Lonesome Death Of Hattie Carroll

Tony Garnier's first show.

First performance of The Water Is Wide during Ther Never-Ending Tour.

LB-7212;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) >
DAT 48kHz > Hard Drive > ssrc 44.1kHz > wave convert to >
flac (dbpoweramp Music Converter) > md5summer

Very good to excellent sound [B+].

***

Andrew Muir

After Helsinki and just before the Glasgow show, Dylan played two nights in Dublin, still swathed in darkness and sporting the same ridiculous outfit as in Sweden. The shows were improving, though. The first Dublin concert's splendid set-list boasted You're A Big Girl Now, Every Grain Of Sand, Gates Of Eden, The Lonesome Death Of Hattie Carroll, The Water Is Wide and Eileen Aroon, the last two traditional songs being particularly outstanding. The electric take on The Water Is Wide was, in fact, one of the highlights of 1989 and would be a contender in a list of best ever NET performances. As Dylan's vocals took off, the band cut loose and proved their worth in a classic performance.

***

Simmonscourt
R.D.S.
Dublin, Ireland
4 June 1989
(1989-06-04)

27.It's All Over Now, Baby Blue
28.Masters Of War
29.Barbara Allen (trad.)
30.In The Garden
31.One Too Many Mornings

Concert # 76 of The Never-Ending Tour.
Concert # 5 of the 1989 Tour Of Europe.
Concert # 75 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:Barbara Allen, One Too Many Mornings.

Bob Dylan (harmonica) on:It's All Over Now, Baby Blue, Masters Of War, Barbara Allen, One Too Many Mornings.

LB-7214;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) >DAT 48kHz >
Hard Drive > ssrc 44.1kHz > wave convert to >
flac (dbpoweramp Music Converter) > md5summer

Very good to excellent sound [B+].

***

Andrew Muir

The next day was also a good show, although it had two fewer songs, a less adventurous set-list and the horror of that walking ego, U2's Bono, joining Dylan on stage.

***

Andrew Muir

"It's not stand-up comedy or a stage play - it breaks up my concentration to have to think of things to say or to respond to the crowd. The songs themselves do the talking." Dylan talking to Edna Gundersen, USA Today, 1989.

The 1989 tour, just like the 1988 one, started amidst controversy and recriminations, but I was still not part of the Dylan fan world and did not know much about that until later in the year. My Dylan year really began with my first NET show, at Glasgow on the 6 June 1989, Dylan's 6th show of a year that was to encompass 93 more.

In 1989 I had very little cash available for Bob-trekking. I certainly could not afford to take leave to see Dylan, particularly as at the very time he was touring the United Kingdom I was working in Eastbourne on the southern coast of England, just about as far from Glasgow as one could get without leaving the country.

My boss kindly covered my evening duties, so I did a morning shift and then headed for the train to Gatwick Airport to catch a flight to Glasgow and meet my parents, who were going to the show with me.

My parents, like most parents of obsessive Dylan fans, I guess, were long-suffering; though I am certain they were more open to Dylan's charms than most who had endured his voice permeating every corner of their homes for years on end. Their healthy approach to parenting, which seemed almost revolutionary at the time, was to take an interest in what their teenage offspring were "into". And, as we all know, if Dylan is approached with an open mind he will captivate it, if it is at all worth captivating. So, long before this concert, both my parents had become "fans" to an extent themselves; what with my father using John Wesley Harding in a lecture he was giving on poetry and both having a number of songs that they particularly related to.

Still, it had never occurred to my parents to go and see Dylan themselves, although this may have been partly because he had not played in Scotland since 1966. Anyway, they expressed a convincing display of delight when I suggested they go. Also going with us would be my aforementioned cousin, Andy, who was once described as my "Frankenstein creation" because of the convenient way he got into Dylan and started collecting tapes with fanatical completism just as I left the United Kingdom for mainland Europe and, perforce, stopped collecting them myself.

So you can see why this concert, Dylan's first in my homeland for 23 years, was so very special despite there being more United Kingdom dates to follow for me. Besides, I had not seen a Dylan show since October 1987.

So, 6 June 1989 found me in Eastbourne in a state of some excitement. I was on my way to see Bob.

Or was I? Because the kind of panic-inducing crisis that seems to occur so often to fans on their way to see Dylan was waiting for me at Eastbourne station. Oblivious to the fact that the station was almost deserted, already in the holiday spirit, I happily strode straight up to the designated platform only to be confronted by a big metal barrier with a sign that said "Train to London cancelled".

While I was on a comfortable enough schedule given the proviso that I had made this (now cancelled) train, the next one would not guarantee that I caught the plane. This was presuming the next one would run. I had already decided, with the inherent fatalism of a panicking fan, that it would probably be cancelled too. In fact, I was in the icy cold grip of a creeping realisation that I might not make it at all.

I was quickly reduced to a gibbering wreck and reeled about the station moaning, unable to deal with the reality of my situation. And then I spotted a woman reacting to the sign on the platform with horror.
Given that there was no mirror for me to see myself in, I could declare that I had never seen anyone so distressed at missing a train. "Taxi", we both intoned simultaneously, "we could share a taxi." And so we did.
The cost nullified the whole point of me working in Eastbourne but this seemed totally irrelevant as long as we still had a chance of making our plane(s). I did make mine and got to Glasgow in time to meet my family before the concert, seeing old friends from years before as we went in. I have every reason to believe that my fellow taxi traveller caught her flight too. I hope so.

The Glasgow show took place in the Scottish Exhibition Centre, a hangar-like place built for exhibitions of ideal homes and yachts, copper kettles for fake mahogany kitchen ranges or whatever - the kind of absurd events thronged by people who think that following Dylan around is a sign that one needs to get a life.
It is a cavernous venue with appalling acoustics; I would only ever consider visiting it in order to see Dylan. The year 1989 would be the first but far from the last time I would do so.

***

Hall 4
Scottish Exhibition And Conference Centre
Glasgow, Scotland
6 June 1989
(1989-06-06)

Not used.

Concert # 77 of The Never-Ending Tour.
Concert # 6 of the 1989 Tour Of Europe.
Concert # 76 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

***

Andrew Muir

There is only a small area in the hall where the acoustics are not completely ruined and none of the experienced tapers with expensive equipment happened to be seated there, so the best tapes of this event actually came from less costly recorders that just happened to be in the right place. As, by pure luck, were we, although I only realised this later when talking to others who had not been so fortunate.

Subterranean Homesick Blues was the first song. Though predictable, it was a great opener for this band and,
as has become increasingly important as the years have passed, allowed Dylan's vocals to warm up. Not having to listen too carefully to a surprise song choice also permitted me to soak in every image of the man that my Dylan-starved-for-nearly-two-years retinas could absorb. Unlike many, we could hear every word as Dylan attacked the song with gusto, throwing in the odd bit of inspired intonation.

The second song, Congratulations, was as unexpected as the opener was predictable, but it was equally enthusiastically received. Well, this was Glasgow, after all: if the audience there love you, they really love you; if they do not, well, it is safest to go to Edinburgh. Dylan sang in a deep growl of disenchantment, and played some neat harp, too.

A magnificent rendition of Stuck Inside Of Mobile With The Memphis Blues Again followed and then came a driving Ballad Of A Thin Man which emphasised how much stronger Dylan's voice was compared to 1987's frequent bouts of frailty. Most live versions of this song are much more declamatory than the original, sometimes even just shouted. However, there was still a clarity and force in this take. His vocals had fully warmed up and this was well sung, with the spirit of the original still intact. I loved the way his voice descended into the "You've been with the professors" line.

Yet another mid-1960s classic, Just Like A Woman, followed. There was no way the 1989 Glasgow performance of it could have the warmth, depth, control and wit of the 1966 incarnations (or, for that matter, the beautiful 1981 versions) but nonetheless it was utterly splendid. Dylan was clearly alive to the song, still exploring its (endless?) possibilities, and producing all kinds of interesting stresses.

The first electric set closed with a hard-rocking, guitar-driven All Along The Watchtower pushing the crowd to further heights of passion.

The acoustic set opened with the traditional Scottish ballad, Barbara Allen. It had featured in nearly half the 1988 shows, so there was good reason to hope for it; yet, with a paranoid fan's dread, I had feared it would be dropped. Now it was magical to be back home with my family, who were hearing Dylan sing a ballad they had known long before they had heard of the Minnesota Minstrel who brought us together that night.

The Glasgow Herald not only reviewed the show, but even included a wonderful editorial extolling Dylan's unique ability to "transcend the transitory". At the same time they claimed that despite Dylan not saying a word to the audience he acknowledged them by playing this song. Given the song's presence in almost half of the 1988 shows and its occurrence in Dublin two nights earlier, The Herald's comment is factually inaccurate; nonetheless it conveyed the feeling within the hall that Dylan was singing this song specifically for us, a Scottish ballad for a Scottish audience.

The opening chords of Mr Tambourine Man brought huge applause, practically drowning out the first words
until Dylan's strong, confident vocals came sailing through the quickly quietening hubbub. Dylan was now in complete control of everything: the crowd, the night, his vocals, the band and the entire venue. We were indeed "ready to go anywhere", following this musician as he followed that famous Mr Tambourine Man.

The audience tried to show its appreciation with a determined effort to sing along on It Ain't Me, Babe,
though this was easier said than done. There was a huge guitar build-up as the groundswell of crowd approval rose; then Dylan pulled back and tricked the crowd before singing "melt back into the night".

One of the inevitable effects of Dylan's relentless touring over the last quarter of a century, for those that follow his every step, is that over-exposure to certain songs affects one's judgement and memory. when I first wrote of this show, in Razor's Edge, my feelings about the third song were totally dominated by an overwhelming sense of joy that it was not All Along The Watchtower. This was because, at the time of my writing it, show after show had featured All Along The Watchtower as the set's third song for year after year after year. This had driven myself and many other Dylan followers into a peculiarly intense state regarding the possibility of the third song being something else every time we went to a show, and had become so pervasive I even felt it when listening to recordings of shows.

Similarly, my memories of "It Ain't Me, Babe, " like all Dylan's classics that I have by now heard live so very often, suffer from this over-exposure. Notwithstanding this, it was just so well performed in Glasgow that it still sounds irresistible; take the "die for you and more" line, for example; I cannot remember when I last heard it sung like this. Silvio kicked off the second electric set, a song that, following the pattern above, Dylan touring fans lost all patience with after a decade's worth of repeated, near ever-present outings. In addition it was very far from being a Dylan classic and so tolerance was much more quickly eviscerated amongst the demanding diehards. Back in 1989 however that was all ahead of us, and it provided a release of rock energy after the acoustic set.

I Shall Be Released was next, another "greatest hit"; though "hit" is meant in a very Dylanesque way. It was famous, yet had never been a hit single nor even properly released. To my mind there are only two versions which really get to the heart of this song: the original Big Pink sessions take, criminally omitted from The Basement Tapes, and the extraordinary, one-off adaptation Dylan unveiled for the Martin Luther King birthday celebration show in 1986. This version in Glasgow 1989 was passable, though the lovely finale surpassed that description.

Then, in time-honoured fashion, the opening chords of Like A Rolling Stone were the crowd's cue to "go nuts". I still had the "this is the special song that going to Dylan's shows is all about" attitude back then. The whole "Royal Albert Hall" legend, the intrinsic value of the song itself and its pivotal role in Dylan's career make it so very special. So even Dylan was not going to be able to stop the Glasgow crowd singing along to this one, especially as by now a large portion of the crowd had surged to the front of the stage to party in front of him.

Suddenly we were into the encores; the night had simply flown by. The Times They Are A-Changin' quietened things down to an extent, with Dylan somehow playing it simultaneously as a crowd-rousing anthem and an attempt to discourage a sing-along. Eventually, he managed to wrestle it back from the audience, rediscovering the song beneath the anthem. From there he launched into Knocking On Heaven's Door, a superb choice of song at his stage; elastic enough to encompass everything from meaningful communication to catchy pop, and, in this arrangement, to serve as both an acoustic and electric rock treat. Dylan sounded, unsurprisingly, a bit strained in the opening verses. However, just when I thought he had given us all he could, he got a second (third? fourth?) wind and pulled off a strong verse and a fine second harmonica solo before launching into a blistering rendition of the show's closer, Maggie's Farm, of which a long term Dylan disdainer wrote, in a grudgingly enthusiastic review in The Glasgow Herald: "During Maggie's Farm I swear I heard a government topple."

The reporter's name was David Belcher, a fine man really though he does enjoy winding up Dylan fans, and he was taken aback by the sheer power of the show and the experience, summing up the whole evening as: "an experience much more intense than I had bargained for and one I'll always be glad I felt". Ian Woodward, in his splendid diary of all things Dylan, The Wicked Messenger, was equally enthusiastic: "There was an energy and urgency in these shows we have not seen for a long time."

"Energy and urgency" were indeed much in evidence and I do not know if it the whole experience had been draining for Dylan, but I was exhausted. Thankfully the adrenaline boost of seeing Dylan kept me going. I had little time for sleep as I had to reach Eastbourne and start work by 9am. I made it with a comfortable two minutes to spare.

***

International Arena
National Exhibition Center
Birmingham, England
7 June 1989
(1989-06-07)

32.Lonesome Town (Baker Knight)
33.You're A Big Girl Now
34.John Brown
35.Girl Of The North Country
36.Congratulations

Concert # 78 of The Never-Ending Tour.
Concert # 7 of the 1989 Tour Of Europe.
Concert # 77 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Girl Of The North Country.

Bob Dylan (harmonica) on:Lonesome Town, You're A Big Girl Now, Girl Of The North Country.

First performance of Lonesome Town during The Never-Ending Tour.

LB-7250;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 >
Sony WM 6 (Maxell XLIIS) > DAT 48kHz >
Hard Drive > ssrc 44.1kHz > wave convert to >
flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Andrew Muir

By all accounts that evening's Birmingham show was one that I should not have missed. The Guardian's Bob Flynn was gushingly enthusiastic: "What we got was the happy shock of Dylan not only playing the best of his extraordinary song book but playing it with the glorious intensity of that star-burning ruthless youth. We were expecting an old man to be wheeled into the arc lights, we were faced with this extraordinary vision of a withered priest somehow plugging himself back into his unique, mystic jukebox of hits." I could not really enjoy reading Bob Flynn's fine writing as I really should have been in Birmingham that night when Congratulations was played again, this time in the encores.

"""

Paul Williams

In the course of these Europe 1889 shows, Dylan sang two of his own songs that he had never performed publicly before: Congratulations from The Traveling Wilburys, Volume One and Tears Of Rage from The Basement Tapes. The first Congratulations (at Glasgow, 6 June 1989) is not well sung, although I like the way he uses his harmonica in the course of the song. The other Congratulations (at Birmingham, 7 June 1989) is much improved; no harp but a very spirited vocal performance (better than on the album). Two of The Traveling Wilburys, George Harrison and Jeff Lynne, were at the Birmingham show, and the placement of the song on the set list as next-to-last encore suggests that this was intended to be a joint performance. But - perhaps due to a communication error - that did not happen.

***

Wembley Arena
London, England
8 June 1989
(1989-06-08)

Not used.

Concert # 79 of The Never-Ending Tour.
Concert # 8 of the 1989 Tour Of Europe.
Concert # 78 with the first Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Kenny Aaronson (bass), Christopher Parker (drums).

Kenny Aaronson's last concert with Bob Dylan.

***

Andrew Muir

Never mind, two nights after Glasgow I was as bowled over by Wembley as Bob Flynn had been by Birmingham. With the first rush of seeing Dylan over, I was able to concentrate harder on the actual performances. Remembering back now, the clearest song in my mind was a spectacular, edge-of-despair rendition of Ballad Of Hollis Brown. Then, fittingly enough, another from the same album, The Lonesome Death of Hattie Carroll. There was no Congratulations here, in the encores or anywhere else; the surprise #2 slot was taken by When Did You Leave Heaven? (in Birmingham it had been the gorgeous Lonesome Town).

The heavyweight music press was full of praise for the Wembley show. "Oh yes: this was a rejuvenated Dylan, " Melody Maker's Allan Jones concluded, "the master in all his raging glory. Unforgettable, unsurpassable." NME's Gavin Martin enthused: "Tonight all the images of Dylan fused into the crucible of his raw genius - poet, seer, mystic, iconic rocker, ravaged Salvationist, virulent misanthrope - such descriptions are paltry. The meaning of the songs were not simply buried in nostalgia or in the lyrics, it was in the way he played with inflections and the sounds of the words, the way he changes the timbre of his voice to exact the most from the frazzling guitar cauldron or the weird, disfigured acoustic interludes - tonight he proved that on form he was still unimpeachable, miles ahead of pretenders both young and old."

There was a coda to the Wembley show, something that became of relevance to my NET over the next few years.

The Monday morning after the Wembley show finds me back on my way to Eastbourne, tired and laden down with luggage. I collapse on to the London tube, put down my bags and cases, and switch on my Walkman to listen to the Glasgow show. Out of the corner of my eye, I spot someone in the next carriage, also wearing a Walkman. This guy has long hair, an eccentric hat, a wolf-like grin and an alarmingly intense stare. He looks like a "nutter" and the music in his Walkman appears to be driving him mad. Impossible as this sounds, his arm seems to be beating the empty air and to be angry with the air for being empty, while his right leg simultaneously pounds the floor. I assume he is listening to heavy metal.

In these situations, you simultaneously wish to distance yourself from attracting the nutter's attention and are so drawn by their eccentric behaviour and appearance that you cannot look away. My excuse for staring was that I needed to confirm my earlier thoughts regarding his choice of listening. I glanced across to sneak a look at his T-shirt... and, yes, you have guessed it, it was a Dylan T-shirt (Temples In Flames, if I recall correctly).

The inevitable result of not resisting the temptation to look at a nutter is that said nutter immediately homes in on you. He caught my eye as it left his T-shirt and he appeared to notice that the Walkman-listening eccentric in the next carriage to him, i.e. me, was wearing a Dylan T-shirt too. He immediately came over to talk. Within about 33 seconds he had announced that the tape in his Walkman was not only more recent than mine from Glasgow (true - by all of a day!) but also, without hearing mine, he absolutely guaranteed that his was better quality. We swapped tapes for a moment to test his theory, which was quickly proved.

We gibbered Dylantg at high speed for the next couple of stops; he informed me that he had been on his way to give this Birmingham tape to Melody Maker's Allan Jones, but would now leave it with me, as he clearly thought someone with such a dated tape in his Walkman was in need of charity. With a scribble of his phone number he was off, taking the tube in the opposite direction to return home and dub another copy for Allan Jones. This was my first encounter with the man they called Lambchop.

As you can guess from my comments here, there is more to come about Lambchop later in this book. Sadly, I have to report, as is perhaps inevitable given the timescales involved, that some fans who feature in these pages are no longer with us. Lambchop is amongst those whom death has claimed.

And that was my NET year as far as attending live shows went; for Dylan these concerts came after the European tour had got off to a shaky start, and there were months of touring to follow afterwards.

***

Statenhal
The Hague, The Netherlands
10 June 1989
(1989-06-10)

37.Most Likely You Go Your Way (And I'll Go Mine)
38.Ballad Of Hollis Brown
39.I'll Be Your Baby Tonight
40.Shelter From The Storm
41.Knockin' On Heaven's Door
42.Trail Of The Buffalo (trad. arr. Woody Guthrie)
43.I Shall Be Released
44.Like A Rolling Stone
45.To Ramona

Concert # 80 of The Never-Ending Tour.
Concert # 9 of the 1989 Tour Of Europe.
Second concert with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on To Ramona.

Knockin' On Heaven's Door starts acoustic and ends electric.

Bob Dylan (harmonica) on:
I'll Be Your Baby Tonight,
Shelter From The Storm,
Knockin' On Heaven's Door,
To Ramona.

G. E. Smith (backup vocal) on Knockin' On Heaven's Door.

First electric version of Trail Of The Buffalo during The Never-Ending Tour.

LB-6591;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6, master cassette > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Andrew Muir

After the three already-discussed United Kingdom shows which followed Dublin, bass player Kenny Aaronson left the band to return to the United States for an operation. His place was taken by Tony Garnier, who has remained in every NET line-up since. the band now consisted of GE Smith on lead guitar and occasional backing vocals, Christopher Parker on drums and Tony Gamier on bass.

After London, Dylan went a-rocking other parts of Europe, in outfits that varied from leather waistcoat to the kind of horrible jackets that he seems to specialise in. The concerts were looser than his 1988 United States shows, though they followed the same basic structure: a mixture of the ragged and the swagger. These were enjoyable shows, with sterling rock 'n' roll performances punctuated with some more sensitive readings. The crowds were enthusiastic and the reviews generally good. One big difference to the 1988 United States shows was Dylan's use of harmonica, though this was not always successful.

By now we were used to odd songspopping up in Dylan's live shows, and this leg of the tour did not disappoint in this respect. Immediately after London, The Hague got that fine traditional song Trail Of The Buffalo.
There were two outings for the rarely played Song To Woody in July 1989, Tangled Up In Blue appeared in the opening slot one night in Spain, and one of my all time favourite non-Dylan songs, Townes Van Zandt's remarkable Pancho And Lefty, appeared on 21 June 1989. The 13 June 1989 concert at Frejus in France included outings for Hey La La (Hey La La), The Lakes Of Pontchartrain and, most startling of all, a spellbinding rendition of Thomas Dorsey's Peace In The Valley.

***

Paul Williams

The ninth show of Tour '89, and the second show with Tony Garnier replacing Kenny Aaronson on bass, was at Statenhal in The Hague, the Netherlands, on 10 June 1989. After opening all of his 1988 concerts with Subterranean Homesick Blues (and almost all of the first eight 1989 shows - the exception being Stockholm, where he opened with The Times They Are A-Changin'), the roving gambler finally shuffled the deck by opening at The Hague with Most Likely You Go Your Way (And I'll Go Mine). During the remaining 12 shows in Europe, Dylan opened with Most Likely You Go Your Way (Amd I'll Go Mine) seven times, Subterranean Homesick Blues twice, The Times They Are A-Changin' once, Hey La La (Hey La La) once, and Tangled Up In Blue once (the only time he played it on this European tour).

As is often the case with opening songs at Dylan shows, Most Likely You Go Your Way (And I'll Go Mine) gets fairly scrambled at The Hague. Dylan comes in late with his vocal, constructs a first verse out of lyrics from three different verses, and awkwardly improvises the second verse (one line is appropriate: "Can't be this way every time!"). After the bridge, Dylan lets the band play the last verse without benefit of his vocals (sounds good) and eventually does sing the last verse. The sound of his voice is unusual and attractive here and throughout the show, notably in the next song, another powerful electric Ballad Of Hollis Brown.
John Bauldie, who attended this concert, wrote in The Telegraph, in a piece called Diary Of A Bobcat: "In The Hague, Dylan doesn't really seem to care that he's messing things up for too much of the time. He's in one of his "funny" moods again. Is he drunk? The more I think about it, the more it seems to me that he was drunk, not long before, but that he's swallowed or sniffed something else to pull himself together for long enough to do the show." And from Bauldie's next diary entry: "Further consideration of the show in The Hague, a show which is, a little to my surprise, I must confess, spoken of with enormous enthusiasm by some long-term Dylan watchers, prompts more serious discussion as to whether, or how much, Dylan takes drugs. Is this, like 1978, a coke-fuelled tour? Or a whisky-and-brandy tour? Or both? Outside the hall, I bump into my friend Nigel, the electrician. "Things seemed a little "loose" at times last night, " I observe. "Rotterdam, " he replies. "No, The" "We stopped in Rotterdam. Scored some great hash. The Americans really enjoyed themselves afterwards"."

One of these Americans was surely Victor Maymudes, Dylan's close friend and dope-loving traveling companion in the 1960s, whom he had rehired as his road manager in 1988. In any case, some sort of intoxicant seems to give an unusual edge and presence to many of Dylan's vocals at The Hague (and again, three nights later, at the show in Frejus, France).

It is characteristic of the Europe 1989 concerts that a recorded show becomes notable for one unusual
(and very striking and memorable) song selection and performance. The Hague is a good show, but its other high points (including a soulful Mr Tambourine Man, a spirited Shelter From The Storm, and a particularly pleasing electric I Don't Believe You (She Acts Like We Never Have Met)) are overshadowed by a remarkable electric (full band) performance of Trail Of The Buffalo. This was the first of only two electric Trail Of The Buffalo's that Dylan has ever performed, as of this writing. What makes it so special is not just its rarity but the intensity of the sound and feel of this musical performance, chiefly as a result of the interaction between GE Smith and Dylan's electric guitars - Dylan playing an inspired rhythm guitar part and GE Smith offering melodic lead lines played in a very appealing tone, and occasionally doubling or answering Dylan's rhythm lines. Bass and drums offer appropriate support and Dylan's voice also responds to and further extends the great mood the guitars are creating. Hot stuff. Here the techniques and rapport Dylan and GE Smith have developed during their acoustic duos spill over into and result in an exceptional band performance.

The Rotterdam hash is probably helpful, too, and it occurs to me that tonight Dylan could be singing the song
partly from the point of view of Garnier or Parker or even Smith or Aaronson as workers recruited for a fateful summer of hard traveling by a swift-talking "well-known famous drover" who, of course, is Dylan. "Yes, I will pay good wages, an' transportation too." (Though he does not actually sing this line and occasionally finds himself improvising: "Well I couldn't drink the water, could not sleep or drown.")

***

Vorst National
Brussels, Belgium
11 June 1989
(1989-06-11)

Not used.

Concert # 81 of The Never-Ending Tour.
Concert # 10 of the 1989 Tour Of Europe.
Third concert with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

***

Les Arènes
Frejus, France
13 June 1989

46.I Don't Believe You (She Acts Like We Never Have Met)
47.Lakes Of Pontchartrain (trad.)
48.Highway 61 Revisited
49.Peace In The Valley (Thomas A. Dorsey)
50.Man Gave Names To All The Animals

Concert # 82 of The Never-Ending Tour.
Concert # 11 of the 1989 Tour Of Europe.
Concert # 4 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Lakes Of Pontchartrain,

Ringo Starr (drums) on Highway 61 Revisited.

Bob Dylan (harmonica) on:
I Don't Believe You (She Acts Like We Never Have Met),
Lakes Of Pontchartrain,
Peace In The Valley.

Only known performance of Peace In The Valley.

First performance of Man Gave Names To All The Animals during The Never-Ending Tour.

LB-7248;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Paul Williams

At Frejus, a small city in the south of France, on 13 June 1989, Dylan sang as his first encore an especially attractive version of his 1963 song Boots Of Spanish Leather. Perhaps inspired by the grace of the interplay between his and GE Smith's acoustic guitars, he sang this true account of a difficult moment in a youthful love affair as if he were reliving it, and wrapped up the story and performance with a wonderfully sweet and expressive harmonica solo. This should be reason enough for the recording of this concert to be a sought-after work of "accidental art." But the next performance that night, though not as pretty or as well-realized,
has the distinction of being Dylan's only known performance (to date) of a familiar gospel song recorded by Elvis Presley early in his career, Thomas A Dorsey's Peace In The Valley.

"Well, I'm tired, and so weary, " Dylan sings (though he's so tired the word sounds more like "tried"),
"but I must travel along / till the Lord come and take me away."
He's not sure of the next words, so he slurs and improvises:

"Well, I survive till the night, but the night so bright, but the night as bright as the day."
(The words Dorsey wrote here are, "Where the morning's so bright, and the Lamb is the light, and the night is as bright as the day, oh yes."

These lyrics might have stuck in Dylan's mind, but his teacher Elvis Presley also fudged them when he sang this song late in the night at the session where he recorded his sixth #1 record, All Shook Up. Elvis sang something like:

"Well, the morning's so bright, and the lamp is alight, and the night, night is as black as the sea, oh yes.")
Dylan, well supported by his band who have clearly rehearsed this number, continues passionately:

"There will be peace in the valley for me one of these days.
There will be peace, peace in the valley for me, oh Lord I pray.
There'll be no trouble, no trouble and pain, no problem releasing from the higher gain."

This last line is also improvised, and the second time he sings this chorus he sings, "no trouble and pride" -
evoking for me his sincere awareness of the suffering caused by the disease of conceit. Dorsey's original line, which Elvis Presley sings, is: "There'll be no sadness, no sorrow, no trouble I see."

Alcohol and road-weariness seem to interfere with the quality of Dylan's singing of Peace In The Valley at Frejus, but it is still fascinating and moving to listen to this aural snapshot of him being washed by feelings about his relationship with Elvis Presley ("I thank God for Elvis") and his relationship with the Lord ("This is the flat-out truth: I find the religiosity and philosophy in the music, I don't find it anywhere else") at this weary moment on stage near the end of a concert and in the middle of a tour. Indeed, Elvis Presley's death in 1977 (and its reminders for Dylan of his own mortality) was a primary link
in the chain of events leading to Dylan's Christian conversion in 1978- 1979. It is moving to hear him sing hoarsely, "And the beasts from the wild, they will be led, led by a child and I'll be changed from this creature that I am!" and then to hear his gentle and emotive harmonica playing for 40 seconds at the close of the performance.

And then it is intriguing and amusing to hear Dylan and his band segue from Peace In The Valley into Man Gave Names To All the Animals, a song Dylan wrote in his own "gospel" era. It is on the set list because Dylan remembers that it was a hit in 1979 in France. Such footnotes can be meaningful in the life of a songwriter and recording artist and performing artist. Thomas A Dorsey, composer of Peace In The Valley, led Ma Rainey's backing band on her tours from 1924 to 1928 ("Where Ma Rainey and Beethoven once unwrapped their bedroll/Tuba players now rehearse around the flagpole" Dylan, 1965) and recorded a million-selling record (It's Tight Like That) with another Dylan hero, Tampa Red, in 1928, and went on to found the National Convention of Gospel Choirs and Choruses. He is credited with coining the term "gospel music."

***

Palacio De Los Deportes
Madrid, Spain
15 June 1989
(1989-06-15)

51.It Takes A Lot To Laugh, It Takes A Train To Cry
52.Stuck Inside Of Mobile With The Memphis Blues Again
53.Song To Woody
54.Silvio (Bob Dylan & Robert Hunter)
55.The Times They Are A-Changin'

Concert # 83 of The Never-Ending Tour.
Concert # 12 of the 1989 Tour Of Europe.
Concert # 5 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar & harmonica), G.E. Smith (guitar) on:Song To Woody, The Times They Are A-Changin'.

Bob Dylan (harmonica) on:It Takes A Lot To Laugh, It Takes A Train To Cry, Song To Woody, The Times They Are A-Changin'.

G. E. Smith (backup vocal) on Silvio.

First of performance of House Of Gold during The Never-Ending Tour.

LB-7244;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Palacio Municipal Deportes Montju?c
Barcelona, Spain
16 June 1989
(1989-06-16)

56.Absolutely Sweet Marie
57.A Hard Rain's A-Gonna Fall
58.Forever Young

Concert # 84 of The Never-Ending Tour.
Concert # 13 of the 1989 Tour Of Europe.
Concert # 6 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on A Hard Rain's A-Gonna Fall.

Forever Young starts acoustic and ends electric.

Bob Dylan (harmonica) on Forever Young.

LB-7233;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Velodromo De Anoeta
San Sebastian, Spain
17 June 1989
(1989-06-17)

59.I'll Remember You
60.Don't Think Twice, It's All Right

Concert # 85 of The Never-Ending Tour.
Concert # 14 of the 1989 Tour Of Europe.
Concert # 7 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on:I'll Remember You, Don't Think Twice, It's All Right.

First performance of Shot Of Love during The Never-Ending Tour.

LB-7252;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 >
Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (Trader's Little Helper) >
md5summer

Excellent sound [A-].

***

Palatrussadi di Milano
Milano, Italy
19 June 1989
(1989-06-17)

61.Tangled Up In Blue
62.Ballad Of A Thin Man
63.Blowin' In The Wind

Concert # 86 of The Never-Ending Tour.
Concert # 15 of the 1989 Tour Of Europe.
Concert # 8 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Blowin' In The Wind.

Bob Dylan (harmonica) on:Tangled Up In Blue, Blowin' In The Wind.

LB-7254;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac and MD5summer (Trader's little Helper)

Excellent sound [A-]

***

Andrew Muir

Italy saw some hard-rocking shows, with enthusiastic crowds feeding back the energy. A compilation double bootleg CD, All The Way Down To Italy, carried the Italian electric charge around the Dylan world. Next, Dylan marked the NET's first foray into Turkey with an extended 21-song set, including four acoustic songs in the encore.

***

Palazzo Della Civilta E Del Lavoro
Rome, Italy
20 June 1989
(1989-06-20)

64.You Don't Know Me (Eddy Arnold/Cindy Walker)
65.Simple Twist Of Fate
66.Mama, You Been On My Mind
67.Maggie's Farm

Concert # 87 of The Never-Ending Tour.
Concert # 16 of the 1989 Tour Of Europe.
Concert # 9 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Mama, You Been On My Mind.

Bob Dylan (harmonica) on:
You Don't Know Me,
Simple Twist Of Fate,
Mama, You Been On My Mind.

LB-7203;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 >
Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac
(dbpoweramp Music Converter) > md5summer

***

Stadio Lamberti
Cava de'Tirreni, Italy
21 June 1989
(1989-06-21)

68.Ontro
69.Subterranean Homesick Blues
70.Pancho And Lefty (Townes van Zandt)

Concert # 88 of The Never-Ending Tour.
Concert # 17 of the 1989 Tour Of Europe.
Concert # 10 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Pancho And Lefty.

G. E. Smith (backup vocal) on Subterranean Homesick Blues.

First performance of Pancho And Lefty.

LB-7224;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Stadio di Ardenza
Livorno, Italy
22 June 1989
(1989-06-22)

71.Shot Of Love
72.Seeing The Real You At Last
73.I Want You
74.The Man In Me

Concert # 89 of The Never-Ending Tour.
Concert # 18 of the 1989 Tour Of Europe.
Concert # 11 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on:Shot Of Love, I Want You

LB-7237;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Very good to excellent sound [B+].

***

Acikhava Tiyatrosu
Istanbul, Turkey
24 June 1989
(1989-06-24)

75.Making Believe (Jimmy Work)
76.Leopard-Skin Pill-Box Hat

Concert # 90 of The Never-Ending Tour.
Concert # 19 of the 1989 Tour Of Europe.
Concert # 12 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on:Making Believe, Leopard-Skin Pill-Box Hat.

First performance of Making Believe.

LB-1718

Fair sound [B-].

***

Paul Williams

Dylan's own excitement and fulfillment at playing to a responsive crowd in Istanbul, one of the great historic cities of the world, can be heard and felt in a magical 17-minute sequence of performances from that 24 June 1989 concert: Mr Tambourine Man, Don't Think Twice, It's All Right, and Knockin' On Heaven's Door. The magic here is not so much in the singing but in the music, with the vocal functioning as another instrument dancing with and alongside the guitars and the harmonica. These four instruments together (eventually joined by bass and drums halfway through the third segment) make extraordinarily expressive music, always magical and occasionally ecstatic, this night in "the largest and most splendid European city of the Middle Ages, "
called Constantinople until 11 years before the birth of Abraham and Beatty Zimmerman's son Robert. The moment at which the closing melody notes of Don't Think Twice, It's All Right turn out to be the opening melody notes of Knockin' On Heaven's Door is thrilling, and so is almost every harmonica reentry, particularly the ones near the ends of each of the three segments of this love song to Istanbul and to the life of a performer.

***

Patras Festival
Ethniko Stadio
Patras, Greece
26 June 1989
(1989-06-26)

77.Tears Of Rage (Bob Dylan & Richard Manuel)
78.Two Soldiers (trad.)

Concert # 91 of The Never-Ending Tour.
Concert # 20 of the 1989 Tour Of Europe.
Concert # 13 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Two Soldiers.

First performance of Tears Of Rage.

LB-7246;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 >Sony WM 6 (Maxell XLIIS) >DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Excellent sound [A-].

***

Paul Williams

Tears Of Rage, which Christopher Parker has said he and GE Smith had asked Dylan to play at rehearsals sometime, was debuted at Patras, 26 June 1989. In this case, Dylan's southern Europe hoarseness is an obstacle, and he does not find a way to deliver the song's melody via his singing (and, perhaps as a result, the band's playing is rather tentative). The performance is unsatisfying - but breaking the ice was important, Dylan would go on to include Tears Of Rage at seven shows later in 1989 and at ten more shows in 1990.

***

Andrew Muir

Greece, appropriately enough, staged some classic Dylanesque drama. Patras, on 26 June 1989, found Dylan in a foul mood; the fact that his nose sounded completely blocked did not help. His temper completely snapped part-way through Silvio, when he stopped playing and shouted to the light engineers: "Shut that light off please!"
Given the minimal lighting normal for Dylan shows in those days it meant that for the rest of the show the stage was in near complete darkness. Meanwhile the star act was apparently more concerned with the effort of drawing breath than with projecting his voice around the darkened arena. This low point of Dylan's performing year drew predictable boos at the end.

The shouted instruction and the darkness of so many stage sets had fans worried that Dylan had a serious eye problem. A long-standing back complaint was also presumed to be playing up at the time, given his relative immobility on stage. In addition, he had been pushing his voice to the limit with his barnstorming electric sets, so perhaps it all came to a head that night. At least the Patras audience got the first-ever live performance of Tears Of Rage as some consolation. Technically, as neither Quinn The Eskimo (The Mighty Quinn) nor I Shall Be Released feature on the official release of The Basement Tapes, this was the first performance at a Dylan show of any song from that album, 22 years after it was recorded and 14 years after it was released. (Though Crash On The Levee (Down In The Flood) and Don't Ya Tell Henryoll were performed when Dylan guested at a Band show in 1972).

***

Paul Williams

Two weeks after singing Peace In The Valley in Frejus, Dylan found himself in Greece, on the Hill of the Muses (Philopappos) in Athens, singing and playing guitar and harmonica with Van Morrison for a British film crew collecting footage for a BBC-TV documentary to be called One Irish Rover: Van Morrison in Performance. This resulted in one of Dylan's finest spring 1989 performances: his harmonica accompaniment to Morrison's Philopappos rendition of Foreign Window, a song from Van's 1986 album No Guru, No Method, No Teacher. In the television programme, this is introduced by part of an audiotape interview with Morrison in which he talks about songwriting in words very similar to the 1968 Dylan comment ("some kind of wild line will just come into your head."):

"A line will come into your head, and out of nowhere. And you'll wonder, "What is this? Why am I saying this? Why is it coming in my head? I think I'll write that down." And then that line will lead to another line that will lead to your verse and lead to your chorus, and that will lead to your song.

I'll give you an example: "I saw you from a foreign window, bearing down the suffering road." I'm reading about Lord Byron, and then there's a line about Rimbaud. So one line might be about something and another line might be about something else, you know, but the song itself is about suffering. It's about someone who is having to either travel in other countries or live in countries other than where he would like to be, and he feels like there's entanglement, arid this is causing suffering, and that's basically what the song's about.
But it's not about any one person, or any two people. It's an idea, leading to redemption through suffering.
When I was singing it with Dylan, it just occurred to me that part of it could be about him; and I didn't realize it until that second."

In spite of Dylan's various efforts to hide his face from onlookers at his concerts this spring, the 48-year-old singer's face looks very attractive in this Greek footage. The three Morrison / Dylan performances included in this documentary, Crazy Love, Foreign Window, and One Irish Rover, are another opportunity for anyone interested to spend some fairly intimate moments with the "real" Dylan. In tight close-ups ("hold" shots such as Dylan favored as a director in Renaldo And Clara), we watch him listening intently, and with evident respect and appreciation, to a peer's songwriting and performance at the very moment that he is participating in these song-performances himself, singing a faint (because he is not sure of the words of these songs he probably first heard an hour or two earlier) harmony vocal, and playing expressive and inventive second acoustic guitar on Crazy Love and One Irish Rover - and playing marvelously responsive and expressive harmonica lines alongside and between Morrison's vocals on Foreign Window.

In these shots we can watch Dylan thinking as a musician and as a music lover. We can see him getting smitten with the lyrics and musical feel and "message" of Crazy Love as though he had just written or discovered it himself. In this case, his participation in the song is minimal, almost inaudible, though the expressions on Dylan's face do add to Van Morrison's excellent performance. The background - the Hill of the Muses overlooks the Acropolis, with the Aegean Sea between them - also enriches this film portrait of two rather similar roving performers crossing paths. In each of the other two performances, Dylan clearly communicates his enthusiasm for and sensitivity to the song's musical and lyrical sentiment (and adds significantly to each performance) by way of his harmonica playing (on Foreign Window) and his guitar accompaniment (developing and extending a riff implicit in Morrison's playing on One Irish Rover). It is fascinating to watch Dylan, a singer and songwriter who tours the world supported by and interacting with other musicians, function as a sideman musician himself (and to watch him so closely we can see him thinking). His innate respect for the art of the song and of the collaborative performance is evident, and in a sense we are given an intimate glance at his artistic process and values, as he seems to accompany Morrison as he himself wishes to be accompanied and joined in the art of song-presentation when he's singing and playing (with GE Smith or with his band). Dylan's love of music and of this form of communicating with the world come through quite charmingly, and he does indeed make strong and meaningful statements of his own, always respectful of and in service to the song and singer, through his harmonica and guitar contributions.

***

Philopappos (The Hill Of The Muses)
Athens, Greece
27 June 1989
(1989-06-27)

79.Crazy Love (Van Morrison)
80.Foreign Window (Van Morrison)
81.One Irish Rover (Van Morrison)

Bob Dylan and Van Morrison (shared vocals).

Van Morrison (guitar).

Bob Dylan (guitar) on:Crazy Love, One Irish Rover.

Bob Dylan (harmonica) on Foreign Window.

Broadcast by BBC2 TV 16 March 1991 in the programme Arena:
One Irish Rover - Van Morrison in Performance.

LB-2148;
BBC 2 TV program broadcast 3/16/91

Excellent sound [A].

***

Panathena?kos Stadio
Athens, Greece
28 June 1989
(1989-06-28)

82.Every Grain Of Sand
83.House Of Gold (Hank Williams)
84.And It Stoned Me (Van Morrison)

Concert # 92 of The Never-Ending Tour.
Concert # 21 of the 1989 Tour Of Europe.
Concert # 14 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Every Grain Of Sand.

Van Morrison (guitar and shared vocals) on And It Stoned Me.

Bob Dylan (harmonica) on Every Grain Of Sand.

The first acoustic version of Every Grain Of Sand during The Never-Ending Tour.

Second performance of House Of Gold during The Never-Ending Tour.

First concert performances of Crazy Love and And It Stoned Me.

LB-7240;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > Sony WM 6 (Maxell XLIIS) > DAT 44.1kHz >
Hard Drive > wave convert to flac (dbpoweramp Music Converter) > md5summer

Very good to excellent sound [B+].

***

Paul Williams

Still in Athens, on the night of 28 June 1989, at Panathanaikos Stadium, Dylan and GE Smith and Tony Garnier and Christopher Parker played the last concert of the Europe 1989 leg of the Never Ending Tour, with a guest appearance by Van Morrison on two of the 19 songs, two of the five encores, Crazy Love and And It Stoned Me, both songs from Morrison's superb 1970 album Moondance. And It Stoned Me had also been performed by Van Morrison and Dylan for the BBC film crew on the Hill of the Muses, but was not included in the documentary. Perhaps a copy will emerge someday.

Athens, Dylan's 21st show of spring 1889, two nights after the "turn down the lights" concert in Patras and four nights after the memorable evening in Istanbul, is arguably the best single show of the 21, not a transcendent masterpiece but a solid and pleasing portrait of a man in motion:

"I saw you from a foreign window / You were trying to find your way back home / You were carrying your defects / Sleeping on a pallet on the floor / In the palace of the Lord, "
as Morrison put it, doing his life's work on the stages of a hundred nations, experiencing a kind of heightened and widened and very immediate awareness by standing up on stage and singing to the people in the room, feeling like some sort of conduit, a performing artist.

The Athens concert gets off to a good start with a few assertive drum hits from Christopher Parker at the start of Most Likely You Go Your Way (And I'll Go Mine) that provoke the rest of the band into following inventively and moving the arrangement they've been playing for the last week into new territory, something like a 12/8 time signature (as with Gates Of Eden at Park City in 1988). Dylan responds with a rather inspired vocal, happily shouting every line of the song (that he can remember tonight) so it fits snugly within the exotic rhythmic riff Parker is creating (supported by Dylan on rhythm guitar, Garnier on bass, and GE Smith on melodic lead, all clearly enjoying themselves as the singer is). A pleasant mood of barely controlled chaos is established. "I just can't do what I've done before!" But in fact he can and he does, using this song as a doorway through which to become himself with his band and onstage. The shot of energy seems to sustain singer and band all through an excellent 100-minute performance.

The second song, You're A Big Girl Now, demonstrates very well that Dylan has a sense of purpose at this concert: moved and impressed a few hours earlier by the music and the performing of Van Morrison, who is in the audience tonight, he now wants to respond by making the best presentation he can of the music of Dylan. In this performance of You're A Big Girl Now, and especially in the two heartfelt harmonica solos Dylan plays after the fourth and fifth verses, you can hear his confidence in his band and their ability to speak for him, and his satisfaction with the beauty and intelligence of the music he and they are making together.

Ballad Of Hollis Brown follows, and is again a very impressive (and fresh) musical creation. With the fourth song, Shelter From The Storm in its new uptempo arrangement, one cannot help being struck by the versatility of this band. And of this singer. Some of the shows in Italy this past week, particularly Livorno on 22 June 1989, were marred by the extreme hoarseness of Dylan's voice, but tonight he seems able both to make the hoarseness disappear when he wants his voice to be sweet and tender (You're A Big Girl Now, Ballad Of Hollis Brown) and to use the hoarseness to his advantage, both to communicate feeling (in Shelter From The Storm) and to bring out the humor of his songs' lyrics - he does this skillfully on the fifth and sixth songs, Ballad Of A Thin Man and Highway 61 Revisited. On Ballad Of A Thin Man, he sings: "No one has any respect / They just expect / You to sign over your check" rhyming two hoarse "ect"s with a hoarse "eck" before spitting out
"To some tax-deductible charity organization." Funny stuff. Yet later in the evening he can give us as tender a rendition of The Lakes Of Pontchartrain as one might hope for.

By the end of the electric set, Dylan has offered two songs from Blood On The Tracks, two from Highway 61 Revisited, one from Blonde On Blonde and one from The Times They Are A-Changin'. A dozen years of work, well represented, and here presented as though each song is clearly relevant to the human situation - in Athens and anywhere else - in 1989. Which it is. It is indicative of the depth of this performer's art that I have to tell you that as terrific as Shelter From The Storm is at Athens (I particularly like the way the backing music drops out momentarily to transform

"I'm living in a foreign country / But I'm bound to cross the line / Beauty walks on a razor's edge / Someday I'll make it mine" into a dramatic monologue),

you will also want to hear the same song as performed at Milan on 21 June 1989. It's the same arrangement, but in Milan it has a motion to it, a rock ?n' roll feel, that is unique and very appealing. Either performance could be your favorite, or you might find you like them equally, for different and perhaps mysterious reasons.

The acoustic set at Athens begins with Don't Think Twice, It's All Right. It is the seventh time Dylan and GE Smith have played this song during the spring 1989 tour, and a good example of how musically alive their acoustic collaboration has become. With Dylan's guitar taking the lead, the two find themselves at times here getting into an exploration of the song's rhythmic core that is as vibrant and fulfilling as Dylan and Morrison's guitar exploration of One Irish Rover at the BBC filming the day before. Dylan responds with an excellent "fast blues style" vocal performance, and several extended harmonica passages that are delightful -
further evidence of what an effective and versatile instrument for self-expression the harmonica has become for him at these spring 1989 shows. It is as though picking up the instrument on stage again after a year off,
and listening at the early-May 1989 mixing sessions to all the fine harp playing he did on Oh Mercy, have both stimulated him to a renewed confidence in his ability to speak his musical heart and serenade his Muse through this simple instrument. He plays harmonica on eight of the Athens songs, the six acoustic performances and You're A Big Girl Now and Shelter From The Storm. Dylan played harmonica a lot throughout the Europe 1989 tour, in many different ways and sometimes in unexpected places: there are a number of playful and colorful harmonica explorations in the second half of Most Likely You Go Your Way (And I'll Go Mine) at the start of the Rome concert.

The next song at Athens is one of those striking spring 1989 rarities I spoke of earlier: the only time, as of this writing, that Dylan has ever performed an acoustic version of Every Grain Of Sand in concert. It is a very good performance, and mostly what makes it special is not the vocal (although Dylan puts a lot of feeling in it and makes some very aesthetically satisfying use of hoarseness, like a painter experimenting with alternate shades of familiar colors) but what could be called the shadow of the vocal, the singer's expressive and earnest harmonica playing at strategic moments, notably before the start of the vocal and after its conclusion. In these harmonica passages it is easy to believe we are hearing the frail, questing voice referred to in this song's portentous opening lines:

"In the time of my confession, in the hour of my deepest need
There's a dyin' voice within me, reaching out somewhere"

The ninth Athens song is Mr Tambourine Man, which Dylan has played at 16 of these spring shows - and particularly well at Helsinki, The Hague, Istanbul, and now Athens. This is why, given the opportunity, a connoisseur of the performing arts will attend a series of shows in the same season by the same performer.
He or she may play Hamlet or Ophelia every night with the same skill and intent, and yet each of the performances may be a unique and enriching work of art, not at all interchangeable with the others and not to be missed if one appreciates such artistry and can somehow arrange to be there. The Athens Mr Tambourine Man is one of the best Dylan performances of any song on this tour. And the version of Blowin' In The Wind that comes next at this 28 June 1989 concert is almost as good. Why are these old chestnuts, these "greatest hits, " suddenly so alive? I do not know, but unfortunately the same cannot be said for Like A Rolling Stone
or I Shall Be Released or Maggie's Farm at Athens or other spring 1989 shows. Dylan sings these and the band plays them fairly mechanically, as though he and they are just doing their job - a job they enjoy, but not necessarily one that is particularly meaningful to them at this moment. On some other Dylan tours, of course, Like A Rolling Stone has been the high point, the summation of the whole evening, for Dylan as well as for the audience and on some, Mr Tambourine Man and Blowin' In The Wind have been fairly routine performances.
But in Athens in spring 1989 at the end of this tour of Europe, Dylan seems to be saying with every line of Mr Tambourine Man: "I'm Bob Dylan, and very happy to be the author of this song that you are clapping along to so joyfully. You are my tambourine man as I am yours, and in this 'jingle jangle' evening I happily come following you."

The clarity and confidence of the single guitar notes (Dylan?) that arise out of the strumming (GE Smith?) at the start of this Mr Tambourine Man offer some hint of the powerful and intimate-yet-anthemic performance that is to come. As the vocal starts (hoarse but quite beautiful), the audience begins clapping along and a fine groove is soon established between handclaps and guitars. At these shows, Dylan omitted the song's third verse ("Though you might hear laughin', spinnin'") and replaced it with a two-guitar instrumental break. Again, high strong single guitar notes ring out, sounding like they really have something to say. The joyous tension of the performance is ratcheted up another notch, and suddenly Dylan shouts and pleads, with gleeful urgency,
"Take me disappearing!!" His presence in this last verse, especially the first few lines, is surprising. And then this is trumped by the remarkable two-minute harmonica solo that completes the performance, in which the harmonica player lovingly and eruditely explores the meaning of every note of this song's melody and every word of its lyrics. This is the sort of harmonica-and-guitar-and-voice performance that caused many people to fall in love with Dylan's persona and music in the first place, and it is not a replay of anything but very much an expression of what the singer and player is feeling and experiencing at this moment in his life.
He sounds like he is feeling the same very special kind of freedom now on this Athens stage that he felt and wanted to sing about when he first wrote this song.

Blowin' In The Wind at Athens inspires the same sort of audience clap-along as the previous song, and again GE Smith and Dylan's guitars sound very responsive to and well-synched with the rhythm line the crowd is providing. And again Dylan sings his song in a very awake voice that sounds full of purpose (and keenly aware of the unchanging relevance of the questions the song is asking). Again, he sounds inspired by the interplay between his guitar and GE Smith's, and grateful to have found a format where he can explore very personal and subtle musical impulses in his acoustic guitar playing onstage, and to have arrived at a moment in time when this format is really opening doors for him and allowing him the confidence to create spontaneously.
And again his harmonica playing - two extended solos, one after the second verse, another a whole verse in itself at the end of the song - is as eloquent and heartfelt and rewarding as any Dylan fan, past or future, could ask for - or dream of.

The second electric set at Athens starts (as it so often did in 1988-1989) with Silvio, and continues with I Shall Be Released, and ends with Like A Rolling Stone. The third song in this set is Hank Williams' House Of Gold, which Dylan had sung in concert for the first time ever 13 days earlier, in Madrid. Although written by Hank himself (to the tune of one of his earlier hits, Lost Highway, which he did not write), House Of Gold is as much a gospel song as Peace In The Valley. The message is strong, practically a sermon:

"People steal, they cheat and they lie
For silver and gold and what it will buy
But don't they know on Judgment Day
Silver and gold will melt away?
I'd rather be in a deep, dark grave
And know that my poor soul was saved
Than live in this world in a house of gold,
Deny my God and doom my soul."

Clearly, it is the message conveyed in the lyrics that led Dylan to put this song on his set list tonight (along with a desire to keep himself connected to his own musical roots). Interesting that Madrid, where he first attempted this cover, was the next show after the one where he sang Peace In The Valley. Something was on his mind. He also, of course, put Every Grain Of Sand on his set list for Athens, as though there was a side of himself he needed to go public with before leaving Europe and completing this tour or this leg of the tour. And very interesting that three days after the Athens show, on 1 July 1989 in Peoria, Illinois, Dylan would sing his most direct statement of faith, I Believe In You, for the first time in more than seven years.

None of these (Silvio, I Shall Be Released, House Of Gold and Like A Rolling Stone at Athens) are particularly inspired performances. But as always, each performance illuminates the others, and the excellence of the Athens concert is best appreciated by listening to the whole show and feeling the flow of the performance, and thus connecting oneself with the context in which each song was sung and played. "I'd rather be in a deep, dark grave" comes after "I see my light come shining"; and "live in this world in a house of gold" is followed by "Once upon a time you dressed so fine." What is this singer / concert-maker trying to say to us? And to himself?

After the two electric sets, and the four-song acoustic set between them, the last segment of this concert is the encores - five of them, two acoustic songs, then two songs sung by guest artist Van Morrison (Dylan singing with him, though not always on-mike), and finally, as at 16 of these 21 shows, Maggie's Farm to declare the evening over ("I ain't gonna / no more"). The acoustic encores are done well, and with feeling; Maggie's Farm is almost a throw-away, as usual; Morrison's guest songs are well sung, and it's fun to hear Dylan joining in, sometimes enthusiastically, on every third or fourth word. A meandering end to a fine show and to an uneven but increasingly promising tour.

Two "travel days" between the end of a European leg and the start of a North American one is certainly evidence of a "never ending tour" mind-state setting in ("You can pick and choose better when you're just out there all the time and your show is already set up [and] you don't have to start it up and end it").

***

Andrew Muir

This European jaunt came to an end at Athens on 28 June 1989. Dylan gave an extended 19-song set and Highway 61 Revisited was filmed for a Greek TV special. In addition, Van Morrison joined Dylan for two of the Ulsterman's songs in the encores. These were filmed for, but not shown in, a BBC TV Arena special on Morrison. The programme did, however, show us the pair at large in Greece.

The Greek segment of the show opened with a shot of Dylan on the Hill of Muses. It was a wonderful treat for fans, used to Dylan's murky appearance on a darkened stage, to see him so clearly in brilliant sunlight;
though it did not appear to be a pleasure for Dylan, who squinted uncomfortably in the glare. As the camera panned out, it revealed the marvellous, classical Greek scenery in the background and Dylan and Van Morrison in the foreground, performing the latter's Crazy Love. Well, Van Morrison performed it, while Dylan hesitantly joined in late as he studied Van intently to glean the words as they went along.

Interestingly, during the Dylan section of this Van Morrison TV special the camera concentrated on Dylan as though he were the subject of the programme; it rarely left his face during a duet on One Irish Rover, which once again found him trying to figure out the words as Van sang them, and then eventually giving up singing altogether. Still, the film clip acts as a nice footnote to this leg of the NET. It provides some of the best Dylan visuals you could wish for; and, having learnt the words subsequently, Dylan would feature One Irish Rover some 14 times in the United States legs of 1989's tour. It would also be far from the last time in the NET that Dylan and Van Morrison would prove that they could not duet.


The standard ethical appeals apply to this and all subsequent offers -
Please...
1) Continue seeding after DL
2) Trade freely
3) Never for sale
4) Enjoy thoroughly!

***

Rock on, Bob!

XXX

1989-05-00 New York
1989-05-27 Christinehofs Slott
1989-05-28 Stockholm
1989-05-30 Helsinki
1989-06-03 Dublin
1989-06-04 Dublin
1989-06-06 Glasgow
1989-06-07 Birmingham
1989-06-08 London
1989-06-10 The Hague
1989-06-11 Brussels
1989-06-13 Frejus
1989-06-15 Madrid
1989-06-16 Barcelona
1989-06-17 San Sebastian
1989-06-19 Milan
1989-06-20 Rome
1989-06-21 Cava de'Tirreni
1989-06-22 Livorno
1989-06-24 Istanbul
1989-06-26 Patras
1989-06-27 Athens
1989-06-28 Athens

(260/1) Bob Dylan, 1989-06-13, Arènes, Fréjus, France

Audio/Mp3, ?/?, (?)

683260001a
Bob Dylan
Frejus, France Les Arènes
13 June 1989

Taper: Legendary Taper: D
Lineage: Sennheiser MKE 2002 >Sony WM 6 (Maxell XLIIS) >DAT 44.1kHz >
Hard Drive >wave convert to flac (dbpoweramp Music Converter) >md5summer

CD1
Intro (in french Language)
01. Hey La La (Hey La La)
02. Most Likely You Go Your Way (And I'll Go Mine)
03. You're A Big Girl Now
04. All Along the Watchtower
05. Just Like A Woman
06. I Don't Believe You (She Acts Like We Never Have Met)
07. Lakes of Pontchartrain
08. Gates of Eden
09. Knockin' On Heaven's Door
10. In the Garden

CD2
01. Highway 61 Revisited
02. Like A Rolling Stone
03. Boots of Spanish Leather
04. Peace In the Valley
05. Man Gave Names to All the Animals
06. Maggie's Farm

Enjoy!!

(124/1) Bob Dylan, 1989-07-01, Legend In My Time, Summer Tour of North America, (Pink Panther Records)

Audio/?, ?/?, (?)

Bob Dylan

1989 LEGEND IN MY TIME

Pink Panter Records

1989 Summer Tour of North America

***

This may well be Bob's best-ever NET tour leg, at least as a rock-star.

Bob tore apart & re-assembled everything from his past catalogue & many of his influences.

The depth & breadth of this huge artistic achievement is simply astonishing.

Bob played 21 concerts in Europe & 51 concerts in North America (total of 72) after recording Oh Mercy & played nothing from the new album, which would completely change the direction of his career, at any of them. It was almost as if he was considering not releasing Oh Mercy.
Since there was only a two day break between Athens, Greece (the last European concert) and Peoria, Illinois, it is technically a continuous 72 show tour.

Here we have Bob ramming down our throats where he came from & what he had achieved up to that point in no uncertain terms.

This is not subtle music - most of it is in-your-face confronting. It takes no prisoners.

Bob could see his youth fading & the need to change course & "grow up" if he wanted to continue in the music business
- but not just yet. He wanted to prove something.

So we get this scary sonic heaven / hell with all the stops pulled out. It is nothing short of enlightening & invigorating.

Bob did something similar in 1966 & from 1978-1980. He was doing what he wanted to do - not what we wanted him to do.

These performances are the essence of Dylan - what he was trying to say & how he said it.

GE Smith is the perfect foil here - forget about Michael Bloomfield & Robbie Robertson.
They had egos which set out to undermine Bob - GE just goes along for the ride (as long as it is bumpy & rough).

This music howls, screams, carresses & seduces - it is real, it is true, it is raw & bloody,
it slams together religion, philosophy & sex, men & women, dark & light. It is messy & it hurts. It does the job - it works brilliantly.

So Bob has his final fling sowing his wild oats as a rock star & then gets serious & mature with Oh Mercy.

This is the sort of dangerous stuff your mother warned you about - you love it but you are not supposed to.

Sound is variable (compact digital recording devices were still very expensive and uncommon), but the sound is mostly great analogue.

Unfortunately, the early concerts are, shall we say, sonically challanged. However, the performances are wonderful.

If you don't want to be wonderfully challenged, use the skip function & start at Rochester.

Perfect Dylan here.

***
Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump
Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.
Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.
***
all sourced from 100% lossless FLAC from best available sound sources.
***
Highly variable setlists here with a core of 60s and 70 Dylan classics backed up with a large number of songs that only appeared once or twice, including a lot of cover songs.
The concerts were evenly split between electric songs played with the full band, along with acoustics songs played as a duo with GE Smith.
There are also a number of instrumental performances late in the tour leg.

Performance, sound & setlists are all consistently high on this tour leg.

It was a wild & unpredictable setlist ride from night to night.
***
Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

99 ball-tearing, sensational tracks
97 different songs
34 concerts are represented here (from the total of 51 concerts) plus 1 TV telethon
8 hours & 20 minutes of music
1 bob
***
All 97 songs played on the tour leg are represented here.
The setlists were highly variable from night to night, with
10 songs being played twenty or more times,
30 songs being played ten or more times,
51 songs being played five or more times, and
30 songs only played once or twice.
***
1 song was played 51 times (out of 51 concerts played): Like A Rolling Stone
1 song was played 39 times: Mr Tambourine Man
1 song was played 35 times: I Shall Be Released
1 song was played 34 times: All Along The Watchtower
1 song was played 31 times: Silvio
1 song was played 29 times: Most Likely You Go Your Way (And I'll Go Mine)
1 song was played 26 times: Maggie's Farm
1 song was played 24 times: Highway 61 Revisited
2 song was played 21 times: Ballad Of A Thin Man, It's Alright, Ma (I'm Only Bleeding)
1 song was played 18 times: I Want You
2 songs were played 17 times: It's All Over Now, Baby Blue, Knockin' On Heaven's Door
3 songs were played 16 times: Don't Think Twice, It's All Right, Stuck Inside Of Mobile With The Memphis Blues Again
2 songs were played 15 times: Love Minus Zero / No Limit, Masters Of War
1 song was played 14 times: Positively 4th Street
3 songs were played 13 times: Gates Of Eden, I'll Remember You, One Irish Rover
3 songs were played 12 times: Ballad Of Hollis Brown, One Too Many Mornings, Rank Strangers To Me
3 songs were played 11 times: Boots Of Spanish Leather, It Ain't Me, Babe, Shelter From The Storm
3 songs were played 10 times: Gotta Serve Somebody, It Takes A Lot To Laugh, It Takes A Train To Cry, Just Like A Woman
3 songs were played nine times: Barbara Allen, Leopard-Skin Pill-Box Hat, You're A Big Girl Now
5 songs were played eight times: Blowin' In The Wind, In The Garden, Queen Jane Approximately, Rainy Day Women #12 & 35, Simple Twist Of Fate
4 songs were played seven times: Forever Young, Girl Of The North Country, The Times They Are A-Changin', To Ramona
4 songs were played six times: E-Thang [instrumental], John Brown, Pretty Peggy-O, The Man In Me
5 songs were played five times: I'll Be Your Baby Tonight, Mama, You Been On My Mind, Seeing The Real You At Last, The Lonesome Death Of Hattie Carroll, Trouble
7 songs were played four times: Absolutely Sweet Marie, Early Morning Rain, I Don't Believe You (She Acts Like We Never Have Met), Man Of Constant Sorrow, She Belongs To Me, The Harder They Come, then Did You Leave Heaven?
9 songs were played three times: Baby Let Me Follow You Down, I Believe In You, I'm In The Mood For Love, Legend In My Time, Nothing But You, Shot Of Love, Tears Of Rage, Watching The River Flow, You Don't Know Me
13 songs were played twice: , A Hard Rain's A-Gonna Fall, Confidential (To Me), El Paso [instrumental - twice in one night], Just Like Tom Thumb's Blues, Lakes Of Pontchartrain, Lonesome Town, Man Gave Names To All The Animals, Pledging My Time, Subterranean Homesick Blues, Tomorrow Is A Long Time, Trail Of The Buffalo, Two Soldiers, Visions Of Johanna,
17 songs were played only once: Adelita, And It Stoned Me, Don't Pity Me, Driftin' Too Far From Shore, Einsleipt Mein Kind Dein Eigalach, Everybody's Movin', Hava Negilah, Heart Of Mine, Hey La La (Hey La La), I Dreamed I Saw St Augustine, In The Pines, Lenny Bruce, Lonely Is A Man Without Love [instrumental], More And More, Pancho And Lefty, Song To Woody, Wagoner's Lad
***

Civic Center Arena
Peoria, Illinois
1 July 1989

1.Pancho And Lefty (Townes van Zandt)
2.I Believe In You

Concert # 93 of The Never-Ending Tour.
First concert of the 1989 USA Summer Tour.
Concert # 15 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

G. E. Smith (backup vocal) on Pancho And Lefty.

First performance of I Believe In You since Lakeland, Florida, 21 November 1981.

LB-7039;
Taper: Legendary Taper F (LTF);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > Wavelab, levels raised > cdwave, tracking > tlh

Very good to excellent sound [B+].

***
Andrew Muir

After the exertions of his European tour, you would have been forgiven for thinking that Dylan was ready for a rest.
He had other thoughts: the European leg ended on 28 June 1989, and by 1 July 1989, Dylan was on stage in Peoria, Illinois to kick off a 47-date tour, the first of two separate United States legs in 1989.

Not only that, but he opened the Peoria concert with a triple surprise blast of Pancho And Lefty, One Irish Rover and I Believe In You.
The first was making only its second-ever appearance on a Dylan set-list, the second was a debut performance, and the third was having its first outing since November 1981.
***
Paul Williams

On 1 July 1989 in Peoria, Illinois, Dylan started the second leg of his 1989 tour.
He opened the concert boldly with his second-ever public performance of Townes van Zandt's Pancho And Lefty
(not half as good as the song's debut in Italy 21 June 1989 ? Dylan in 1989 tended to sing his first song of the night rather tentatively, more focused on getting used to being in front of an audience than on delivering a song's "message" or even articulating its lyrics clearly).
This was followed with his first-ever concert performance of Van Morrison's One Irish Rover, a song he had learned four days earlier during the BBC filming on the Hill of the Muses.
The third song at this first North American show of 1989 was I Believe In You (which Dylan had last performed in Lakeland, Florida on 21 November 1981; he sang it at every one of his concerts in 1979, 1980 and 1981, and then did not sing it for seven and a half years). It is a memorable performance ? well worth seeking out, although the rest of the Peoria show is not especially noteworthy,
except that Stuck Inside Of Mobile With The Memphis Blues Again sounds particularly good coming right after One Irish Rover and I Believe In You, as though Dylan were consciously creating a collection of song-statements and performances as resonant with each other and as full of the joy and mystery of being himself right now as his album Blonde On Blonde, where Stuck Inside Of Mobile With The Memphis Blues Again first appeared, and where it fit in as perfectly as it does at Peoria on 1 July 1989 as the third part of this very expressive impromptu trilogy on the subject of being in love with God and life and the absurdity of it all.

One Irish Rover was a relatively recent Van Morrison composition. Like Foreign Window, it is from his 1986 album No Guru, No Method, No Teacher.
I was very struck with it the first two times I heard Dylan sing it, at concerts in southern California 6 and 10 September 1989.
After trying out his own arrangement of his peer's song in Peoria, Dylan performed One Irish Rover at 12 more 1989 shows.
It got better as he and the band grew into it more, but the Peoria performance is quite satisfying, especially the one-minute "duelling guitars" instrumental passage at the end.

The opening lines of the song are clearly a songwriter / poet talking to his Muse, or to that part of himself that romanticizes his own life experiences:

"Tell me a story / Now that it's over / Wrap it in glory / For one Irish rover."

These last two lines are the chorus, repeated throughout the song. Of course, when Morrison sings the song, he is describing himself in the title phrase; and when Dylan sings his version, this is unchanged.
Dylan, just back from a tour of 12 European countries including Ireland, playing a show in the midwestern United States, where he was raised by his Jewish parents, is describing himself, with a flourish and a hint of ironic pride, as "one Irish rover."
This works because the author of the performance sees himself as an international being, connected to many true homelands through music and song, "walkin' a road other men have gone down."

I Believe In You from the Peoria Civic Center Arena, 1 July 1989, is memorable because there is an earnestness and a grace to the performance that is impressive even though the vocal is uneven ? sometimes fiery and full of conviction, other times slurred and unconvincing.
What we feel is not so much the strength of the singer / performer's faith, but the sense of purpose in this music which he seems to be conducting with his heart, a feeling that he is very conscious of making an offering here (to a Higher Power, not to the audience) and that he cares passionately about the quality of the offering, that is, the beauty and grace of the music as a whole, as if that were much more the conveyor of the message than the words of the song.
So the sound of his voice may be more important to him than his phrasing or his presence with the story he is telling.

The performance is memorable because it seems such a strong example of Dylan working with a small combo of musicians to create genuine (and new) Dylan music.
Not necessarily spontaneously ? in fact, this performance seems quite well rehearsed ? but with a keen awareness that the time is now, we have an opportunity (a moment of inspiration) and we have to seize it.
One imagines that some of the fine small combo performances on Dylan's early albums were created with this sort of urgency and commitment (and silent leadership).
I also imagine that I can feel Dylan's heart beating as I listen to this performance of I Believe In You.
GE Smith really shines here: the inventiveness and responsiveness of the parts he has come up with and of his solos in the second half of the performance ? and the tone of his guitar, which contributes significantly to the ensemble sound and thus to the realization of Dylan's auditory vision of what he wants and needs this song to be on this occasion.
Interestingly, Dylan concludes the vocals of both One Irish Rover and I Believe In You (and leads into each song's closing instrumental passage) by repeating the song's title phrase five times. In the latter case, he shouts "Yeah!" before the second and fourth "I believe in you."

From a "mind out of time" perspective, a Never Ending Tour can have many opening nights (can also be considered an Always Beginning Tour).
Milwaukee, 3 July 1989, the third show of the North American leg and the 24th Dylan concert of the year, seems to me a place where the Never Ending Tour as we know it starts to take shape ? a beginning in spirit, if not on the calendar.

In preparing his set lists for his first United States shows of the year, Dylan did not play it safe.
It seems to have been more important to him to challenge himself, to write scripts that would keep him and his band awake and on their toes.
Only seven of the 15 songs performed at Peoria were ones he had included at his previous show, in Athens.
Two of the new eight were songs he had not yet sung in 1989; three others were ones he had only sung once during the 21 shows in Europe.

***
Poplar Creek Music Theater
Hoffman Estates
Chicago, Illinois
2 July 1989

3.Everybody's Movin' (Glen Trout)

Concert # 94 of The Never-Ending Tour.
Second concert of the 1989 USA Summer Tour.
Concert # 16 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier(bass), Christopher Parker (drums).

LB-7057;
Taper: Legendary Taper F (LTF),
Equipment: Sennheiser MKE 2002 > cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab > ssrc >
Wavelab, levels raised > cdwave, tracking > tlh

Good sound [B].

***

Andrew Muir

Clearly in the mood to experiment, Dylan opened the next night's show with the rarely-played Glen Trout song Everybody's Movin', following it with Absolutely Sweet Marie, Ballad Of Hollis Brown, Tears Of Rage, Seeing The Real You At Last, and Gotta Serve Somebody.
Usually only one or two of those songs featured in any given show.

***

Paul Williams

At the second North American show, at Poplar Creek Music Theater in the suburbs of Chicago, 2 July 1989, Dylan sang 12 songs he had not sung the night before in Peoria. Five of these were songs he had not performed yet in a 1989 concert; three more were songs he had performed only once in the previous 22 shows.

***

Marcus Amphitheatre
Milwaukee, Wisconsin
3 July 1989

4.Driftin' Too Far From Shore
5.I Dreamed I Saw St Augustine
6.In The Pines (Huddie "Leadbelly" Leadbetter)
7.Just Like Tom Thumb's Blues

Concert # 95 of The Never-Ending Tour.
Third concert of the 1989 USA Summer Tour.
Concert # 17 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan on acoustic guitar and Tony Garnier on upright bass on I Dreamed I Saw t Augustine.

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on In The Pines.

Bob Dylan (harmonica) on:
I Dreamed I Saw St Augustine,
In The Pines.

G. E. Smith (backup vocal) on Driftin' Too Far From Shore.

One of only three performances of In The Pines,
the first one being from Carnegie Chapter Hall in New York City, 4 November 1961, and
the last one being the electric version from Toad's Place on 12 January 1990.

LB-7071;
Taper: Legendary Taper F (LTF);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta;
audiophile 2496 > Wavelab > ssrc > Wavelab;
levels raised > cdwave, tracking > tlh

Good sound [B].

***

Andrew Muir

The next day, Gordon Lightfoot's Early Morning Rain (like Pancho And Lefty, a song tailor-made for Dylan) was followed by the sole 1989 outing for both Driftin' Too Far From Shore, and (a few songs later) I Dreamed I Saw St Augustine.
Even more startlingly, two songs after that, Leadbelly 's In The Pines made its first appearance since the 1960s.
Things generally settled down after this, though surprises continued:
from Van Morrison's And It Stoned Me on 6 July 1989 right through to Rank Strangers To Me in September 1989.
Not for the first or last time on an NET leg, most of the highlights were to be found in these covers.

Despite all this, some fans were disappointed not to have heard songs from Dylan's completed, but yet to be released, Oh Mercy album.
It was said that Dylan was not playing this material for fear of bootleggers distributing the songs before the album appeared.

Notably for later NET developments, Steve Earle was the support act during this part of the tour and Bucky Baxter, Earle's steel guitarist, sat in on some sets.

The reviews of these shows were mainly positive ? though there were some familiar criticisms, especially:
"It doesn't sound like the records"; "He can't sing"; and "He doesn't speak".

A few months later Dylan gave journalist Edna Gundersun a fairly straightforward explanation as to why he does not talk to audiences.
"It just doesn't seem relevant anymore," he told her. "It's not stand-up comedy or a stage play.
Also it breaks up my concentration to have to think of things to say or to respond to the crowd. The songs themselves do the talking."
Later in the NET, Dylan would give completely different answers to the same question.

***

Paul Williams

Continuing in this vein, for the third show of this leg, Milwaukee, 3 July 1989, Dylan wrote a 17-song set list that included only four songs he had played at the previous show and only seven he had played at either of his last two shows.
He sang five songs he had not yet sung in a 1989 concert.
One of these he had never played live before; another one he had not performed on stage since 1961.

The Milwaukee show, like Peoria and Poplar Creek, opened with a cover song.
At Poplar Creek, it was Everybody's Movin', a rockabilly song Dylan had played twice in 1988 ? both times as an encore.
The Milwaukee opener was a scrambled version of Early Morning Rain, a song by Gordon Lightfoot ("every time I hear a song of his, it's like I wish it would last forever," Dylan said in 1985) that Dylan sang on his 1970 album Self Portrait but had never performed live before.
This mini-trend of opening with unexpected cover songs ended 3 July 1989.
Dylan opened his next seven shows with Most Likely You Go Your Way (And I'll Go Mine);
after that he opened with Subterranean Homesick Blues twice, then back to Most Likely You Go Your Way (And I?ll Go Mine) three times, and then on 21 July 1989 he opened a New Jersey show with his first-ever live performance of Trouble (from Shot Of Love).

Milwaukee 1989 foreshadows much of the Never Ending Tour in that it is an unspectacular yet excellent show in which Dylan is clearly working at creating opportunities to express himself.
Listening to a recording of the show, we can feel his keen interest in being true to his own musical instincts and impulses.
And we can hear him squandering a few of the resultant opportunities mysteriously, and seizing others gleefully.

As connoisseurs of the Never Ending Tour know well, seized opportunities and squandered ones can occur in the course of the same song-performance.
One imagines the notion to add Early Morning Rain to his live repertoire came to Dylan in an airport somewhere between Athens and Peoria.
So it is not mysterious that he found it difficult to acquire and memorize the song's lyrics in the next day or two.
What is disappointing is that in singing the lyrics he does remember (half the first verse combined with half of the second, a largely improvised middle verse, and all of the original last verse ? the one that includes the phrase "stuck here on the ground," a phrase he inserts into two other verses in the course of this performance), Dylan never manages to evoke any of the strong feelings this song evidently stirs in him.
I say "evidently" because of the beauty and depth of feeling in the music and the instrumental sound he and his band achieve here.
In 1969, Dylan told Jann Wenner that the sound he was aspiring to when he went in to record his album John Wesley Harding was "the sound that Gordon Lightfoot was getting [on his recordings] with Charlie McCoy and Kenny Buttrey."
I take this as an indication that when Dylan said later "every time I hear a song of [Lightfoot's] I wish it would last forever," he was referring to his appreciation of the song's sound as well as of its lyrics and its melody.
In any case, the music Smith, Parker, Garnier and Dylan make in the course of this Milwaukee Early Morning Rain inspires Dylan to a marvelous and very evocative bit of self-expression in the form of his harmonica solo after the last verse and leading into the lovely instrumental passage that closes the performance. The harmonica player/bandleader is soaring ? not stuck on the ground at all.

The second song at Milwaukee is a ragged Driftin' Too Far From Shore, a song Dylan played at 13 shows in 1988, but only at this one in 1989, and never once since then (as of this writing, June 2002).
I believe he put it on the set list in Milwaukee and all those times in 1988 because he likes the song and feels it can open him up in some way during a show.
And perhaps also because he recently had a conversation, by phone or in person, with a female friend to whom he now wishes to say, "I tried to reach you honey, but you're driftin' too far from shore."
And I guess he has not performed it since this show because he got tired of having to sing dummy lyrics through every verse of a song he does not know the words to (except for the chorus, which he loves and sings here with gusto) and that he cannot familiarize himself with on the road because it is from a 1986 album and so is not included in his book Lyrics 1962-1985.

Next in the electric set 3 July 1989 is John Brown, a song Dylan sang four times in the spring 1989 leg and nine times in 1988, and which he will go on to perform eight more times during this 1989 tour and another 13 times in 1990.
I had never particularly liked this song, lyrics or music or as a whole, so I was not too pleased when he rediscovered it after 24 years and played it three times with The Grateful Dead in summer 1987 and 11 more times with The Heartbreakers in the fall, then made it a staple of the first three years of the Never Ending Tour. Why did he place it on this Milwaukee set list and on so many others? It is certainly not a ?greatest hit" or a Dylan song people in the audience are hungry to hear.
As of 1989 it had never been on a Dylan record (it was going to be on a never-released 1963 album called Bob Dylan In Concert and did eventually get included on Unplugged in 1995).
So the set list writer must have known it would be as unfamiliar to almost everyone in the Milwaukee crowd as Driftin' Too Far From Shore '"Hey," says the set list writer, "that was a song from one of my two most recently released studio albums; what do you mean, ?unfamiliar??")
or Confidential To Me or Hey La La.

My guess is that Dylan in preparing his set lists is trying to balance a variety of strong considerations:
to include a reasonable number of songs he thinks the audience wants to hear (but not too many ? that would feel stifling to him), to have an appropriate mix of "rockers" and "slow songs," to pace the show according to certain notions of drama and musical dynamics that satisfy his aesthetic sense as a concert performer and that will stimulate him and his band to do their best, to select songs that will make this show fun for him and the other players and for the imagined audience.
He does sometimes read his own press, reviews or previews of shows in local newspapers, so he is aware that he is still thought of by much of the public as a "protest singer," some kind of historical / cultural figure (a "legend") who symbolizes the antiwar/ counterculture spirit of the 1960s.
I think that this is why Masters Of War has been regularly played on his concert tours since 1978, because he would try to think of a song other than Blowin' In The Wind and The Times They Are A-Changin' that would fit this mass audience image of what you might hear if you paid to see 1960s protest legend Dylan in concert (and, preferably, that could be done during the electric sets, and as a crowd-arousing rocker) and Masters Of War seemed to fit the bill.

So when The Grateful Dead encouraged him to resurrect John Brown, and then when Tom Petty And The Heartbreakers demonstrated that it could be performed with a satisfying rock crunch, I think Dylan filed it in his set-list-writing mind as "another Masters of War ? another antiwar Dylan "protest" song suitable for inclusion in his present-day electric sets.
And he must also have found that he liked the song, enjoyed performing it, maybe because it is a story song (like Barbara Allen or Joey or Two Soldiers) and one that does not require too much concentration on the part of the singer / storyteller, or maybe because he liked the way it would feel coming out of his mouth on stage to his band's accompaniment, the drama of some oi its images and musical / lyrical language.
Another possible explanation of Dylan's affection for John Brown is that he's never forgotten his pleasure when legendary American journalist (and friend o: the working man) Studs Terkel told Dylan, during a 1963 radio interview, that he had heard Dylan sing this and requested that he perform it again, referring to it (twice) as "a powerful one" and comparing it to the traditional antiwar song Johnny I Hardly Knew You (which had been in Dylan's repertoire at the start of his performing life, in 1960).

At Milwaukee in 1989, Dylan performed both John Brown and Masters Of War. Both are better-than-average versions o these too frequently performed selections, in both cases because Dylan's vocals are not oversold, as often happened on these songs in 1988 and 1989, and because the band, following the singer's lead, succeed in playing attractive, fresh and engaging music on songs that ofter ended up sounding bombastic.
John Brown at Milwaukee does suffer from some lyric errors (swallowed words and phrases, and lines from different verses jumbled together), making it difficult to follow the story song's narrative (particularly for the majority of the audience who had never heard this song before).
Since there were similar problems with the first two songs at this show, this makes me wonder if some kind of intoxication was a factor in this concert;
weaknesses and strengths, a question that would often arise during the next few years of the Never Ending Tour (as of course it had throughout Dylan's performing career up to this time).

In 2001, Dylan told interviewer Robert Hilburn: "Every time sing Masters Of War, someone writes that it is an antiwar song.
But there is no antiwar sentiment in that song. I am not a pacifist. I don't think I've ever been one.
If you look closely at the song, it's about what Eisenhower was saying about the dangers of the military industrial complex in this country."
The song is indeed a sermon denouncing war profiteering rather than a denunciation of war itself, although the undesirable effects of wars are cited ("fear to bring children into the world") ("young people's blood flows out of their bodies and is buried in the mud") to make the speaker's case against "you [who] fasten the triggers for the others to fire." Similarly, John Brown can be heard as an inquiry into the causes of war and resultant human suffering, rather than as an attack on war itself.
In fact, if Dylan had included it in his 2001 rant to Hilburn ("A lot of my songs were definitely misinterpreted by people who didn't know any better, and it goes on today"), he could have said, with some justification, that John Brown is actually about the disease of conceit.
The mother's pride at having her son be a soldier in a "good old-fashioned war" is referred to throughout the song along with her interest in how impressed her neighbors will be as a result. So although Dylan told Hilburn, "I believe strongly in everyone's right to defend themselves by every means necessary," John Brown does not question that principle but points out that this young man who was maimed beyond recognition in a "war on a foreign shore" was not defending himself or his country, but rather "couldn't help but think that I was just a puppet in a play" largely written by his mother's pride and her sense of what would impress the neighbors.

So did he sing Masters Of War and John Brown so often because they let him feel he was giving the public what they wanted and because he got some masochistic satisfaction out of being misunderstood?
("I've always said the organized media," he told Hilburn of the Los Angeles Times, "propagated me as something I never pretended to be ? all this ?spokesman of conscience? thing.") I don't know, but the Oh Mercy empathy theme does come through clearly when Dylan sings in Milwaukee, "But the thing that scared me most, when my enemy come close, I could see that his face looked just like mine!"

During the fourth, fifth and sixth songs at Milwaukee (and at the first two North American shows the two nights before that), new bassist Tony Garnier played upright acoustic bass and Dylan played acoustic guitar.
So songs 4-6 at these shows, the second half of the first electric set, were an experiment, a forerunner of the fully acoustic band sets that would become a standard feature of the Never Ending Tour starting in 1990.
This experiment was abandoned after 3 July 1989, although Dylan did play his acoustic guitar on songs 4-6 (while Tony Garnier stayed on electric bass) at three shows later in July 1989.
The difference in the sound of the songs because of this early-July 1989 experiment (only GE Smith left on an electric instrument; drums still in the mix, but now sometimes played with brushes) is not immediately obvious to the untrained ear (to my ears, anyway).
But the stimulus of changing the instrumentation and trying something different may have a lot to do with the aliveness of the vocals and the music in these three songs, this third night of the blue-eyed prodigal son's return to American theaters.

Indeed, when Dylan sings the phrase "I'm back in the rain" during the fourth song at Milwaukee, You're A Big Girl Now, I find myself imagining that he is consciously referring to the fact that he is back in the United States, back in the wash of mixed emotions that he feels performing before a crowd of American "Bob Dylan fans" (and whoever else might come to a show like this, for whatever reason).

It is a particularly sweet performance of this song which is already a Never Ending Tour regular (played at 26 1988 shows, and at ten shows in spring 1989). Why Dylan keeps putting this one on the set list is no mystery.
Blood On The Tracks is his most acclaimed post-1960s album, so he can reasonably suppose that playing something from that album is one way to keep the customers satisfied. He also seems very happy with his band's arrangement of this song (the distinctive opening guitar chords make it a "signature" piece) and feels confident of it as a love song and sweet-and-slow selection to include in any electric set. It is a crowd-pleaser he likes and feels comfortable singing, so of course he keeps including it. On 3 July 1989 he sings it quite tenderly, and with a clarity of articulation that had eluded him in the three previous songs.
When he sings the tide/chorus phrase, the "you" he is speaking to seems to be right in front of him ? thus one naturally thinks he could be addressing his audience ("I'm just like that bird, singin' just for you / I hope that you can hear, hear me singing through these tears").

So it occurs to me, listening to this fine performance of You're A Big Girl Now, that being onstage in an outdoor amphitheater in the Midwest in July 1989 could easily turn Dylan's mind to where he thought, for a few days back in February 1989, he had be performing right about now, summer 1989: big outdoor American venues in front of huge crowds as a member of The Grateful Dead.
He came that close to walking away from his long-term relationship with his own audience and so, feeling good about these people in front of him listening to him tonight and the thing he and they have together and realizing how close he came to throwing it all away, suddenly he can feel and picture himself singing to them through these tears.
Thus the song takes on a new and immediate significance (not surprisingly, because Dylan has often realized and demonstrated that any man/woman "I" / "you" song can also be about the relationship between an individual human and God or about the relationship between a singer / performer and his audience).

"Ah, but what a shame, if all we've shared can't last!" GE Smith follows the last vulnerable words of this verse ("I can make it through / You can make it too") with an inspired and inspiring guitar solo that can stand beside other impressive instances over the years of Mike Bloomfield or Robbie Robertson or Fred Tackett reading Dylan's heart and mind during a performance and becoming an eloquent vehicle for everything the man is feeling and longing to say right now. It's a precious moment.
And when the solo and the instrumental break are over, Dylan responds with a marvelously wry and appropriate (it is the lightness of how he says it) delivery of "A change in the weather is known to be extreme" ? we can feel the weather changing inside him as he is standing there listening to GE Smith and himself, and looking at the audience, and thinking with both pleasure and regret of how extreme his abandoning his solo identity and becoming a member of The Grateful Dead would have seemed to his public, if he had pulled it off. "Ah, but what's the sense of changing horses in the middle of the stream?"
He's singing the words as they're written in his script/songbook, but it's as if he's speaking on behalf of his audience in this alternate July 1989 that could easily have been a reality.
"I'm going out of my mind, with a pain that stops and starts," he sings, as if trying to describe and explain his own ambivalence and his Locarno "I'm determined to stand!" experience to the jilted lovers he imagines standing in front of him, while simultaneously describing his own pain and regret in that alternate reality if he had in fact gotten away with his intended escape.

The last words of this verse ("ever since we've been apart") are then followed by a rich and expressive harmonica solo which, it seems to me (as it often does), is a very personal, indeed naked, weather report on what it feels like to be Dylan right at this moment.
Not painful or ambivalent, actually. Based on what I hear in this harp solo, he is in fact feeling very good about himself and his work (and, by extension, his audience) at this moment, very moved by the fullness of what he's hearing and feeling, and ready and keen to give his audience and himself a gift, an expression of gratitude as much as a plea for reconciliation.
The band takes it from there, responding to this earnest and expressive long harmonica solo with keen sensitivity, closing the song well with a little instrumental benediction built around a solo in which Smith's guitar sounds like a harmonica.

Imagine yourself standing in the audience at this moment, hearing the band, including Garnier on string bass and Dylan on acoustic guitar and harmonica, starting the next song with a very pretty bit of harmonica playing ? and suddenly realizing that the melody they are playing is I Dreamed I Saw St Augustine! Wow.
It is the first time Dylan has played it in 1989, and in fact will be his only performance of this song this year.
He was saving it for just the right moment, it seems, though in fact he probably wrote it onto the set list hours earlier, thinking it would sound good in the middle of the string bass / acoustic guitar / electric guitar / drums set. A gift indeed.
To himself and to us. Listen to the unusual flavor he gives the word "accordingly," and to the way he breathes between "was" and "amongst" in the phrase "I dreamed I was amongst the ones that put him out to death."
Moments like this are what the Never Ending Tour is all about. For him and for us.

Dylan sings I Dreamed I Saw St Augustine in Milwaukee 3 July 1989, very deliberately and clearly, with a lot of affection (not for the saint, but for this little song he wrote 22 years ago).
Again, he sounds like he feels good about himself, as a songwriter and performer, and very good about the people listening to him do his work tonight, as though (I conjecture) he did indeed have a moment of regret at the possibility that he might have separated himself from them by "changing horses in the middle of the stream." One does get the feeling that the appearance of rarely performed songs like this (and I Believe In You 1 July 1989, and Tears Of Rage and Pledging My Time 2 July 1989) on his set list is an effort to challenge himself as a performer, Grateful-Dead-style, to create something totally new and deeply meaningful at this show, by making a new meta-song out of the elements available in the song-book in his head and in the talents of himself and his musicians, and by leaning on and trusting the private language cultivated over the years between himself and his listeners.

The sixth song at Milwaukee, Highway 61 Revisited, is a familiar touchstone (he had performed Highway 61 Revisited in this #6 spot, last song of the first electric set, at 12 shows already in the past two months and 26 times in 1988), made pleasantly fresh by the decision to perform it on acoustic bass and acoustic rhythm guitar, with electric lead guitar and drums.
Dylan starts it off on acoustic guitar, a few clear, exploratory notes ringing out before the drums and the rest of the band join in.
The vocal that results, though fun at times, is not particularly inspired and the song still closes with the same already overfamiliar (and tiresome) lead guitar riff, but all this is forgiven when Highway 61 Revisited is followed by In the Pines, a song recorded by Leadbelly in 1944 and last performed by Dylan at his first non-club show, at Carnegie Chapter Hall in New York City, 4 November 1961.
This is a new addition to the Never Ending Tour repertoire of songs Dylan performed at the start of his professional career, his effort to keep himself connected to the music "back there" "that got me inspired and into it."

In a preview of the sort of song scholarship that informs Dylan's 1997 song cycle and album Time Out Of Mind, this 1989 In The Pines is not the Leadbelly version Dylan sang at Carnegie Chapter Hall, but bits of the Leadbelly version about an unfaithful lover (instead of "black girl," Dylan in Milwaukee sings "dark girl," linking this song to Lakes Of Pontchartrain, which he last sang at his Athens show five days before) added in to what is primarily the version of the song recorded by bluegrass pioneer Bill Monroe in 1952.
"The longest train I ever seen," Dylan sings at the start of his acoustic set in Milwaukee, "Was on that Georgia line. The engine passed at six o'clock, the cab passed by at nine."
He starts the next verse with a Monroe line that sounds like it could easily be from one of several songs on Dylan's 2001 album Love And Theft: "I asked my captain for the time of day/He threw his watch away."

After this verse and the In The Pines chorus, there is an earnest harmonica solo, making a bridge to the Leadbelly-based "Dark girl / where did you sleep last night?" verse, which here concludes with the Monroe lines "You caused me to weep / And you caused me to mourn / And you caused me to leave my home."
Then the chorus, another harmonica solo, and some guitar picking wrap up the performance, which can certainly be heard as an essay on American history and culture as measured by the distance and relationship between Leadbelly and Bill Monroe, with young (and, later, not-so-young) Dylan as the observer. In the pines, freight trains pass and lovers cheat, and songs are written and performed.
"I asked my captain for the time of day."

Any thought that the singer who slurred and swallowed and misplaced lyrics during the first three songs might be under the influence of intoxicants at this Milwaukee concert disappears when we hear him sing in the middle of the acoustic set (song #8) every word of verses one, two, three and five (ninety-two long lines in all) of It's Alright, Ma (I?m Only Bleeding) with clarion diction and almost flawless articulation.
He is so present with the song's language that he recovers instantly from his one (understandable) error: "For them that think" instead of "For them that defend" at the start of a verse that does include the phrase "For them that think" a few lines later.
He skips the fourth verse ("For them that must obey authority.") only because that is the way he has chosen to shorten the song for these five performances (2, 3, 5, 6 and 8 July 1989). Of course, skipping this verse does mean he omits the line "one who sings with his tongue on fire," as if he feared he could not live up to it this week. He does sing very well, though, delivering the song with the clarity and presence of a spoken word performance, without losing a note of its melody.
He apparently leaves most of the guitar playing to GE Smith, letting his partner provide the riff while he focuses on getting the words right.
It's a stirring performance, and certainly another loving gift to anyone who's come out to see him tonight.

But the greatest gifts are still to come: an exceptional (very sweet, very loving) performance of To Ramona and, immediately after it (start of the second electric set), an unusual (twice in '1989, thrice in 1988, once in 1990) and quite delightful Just Like Tom Thumb's Blues.

This wonderful Milwaukee 1989 performance of To Ramona has a timeless quality about it, as though it has "always existed and always will exist," as Dylan said of Johnny Cash's songs. The entire performance, harmonica, vocals and two acoustic guitars, is so magical that the one tiny lyric error ("your magnetic movements still captures" instead of "capture") is painful because it momentarily breaks the spell, the feeling that this is a true story and Ramona a real person whom he and we can see before us at this moment, the feeling that there is something extraordinary about the singer / musician's presence in this performance, as though a lifetime love affair with music and song and performing is being consummated right here right now, every word and every harmonica note filled with great love for this song and for the person (and people) he's singing it to. "Ramona, come closer."

In 1980, Dylan said, "You really are still that person [who wrote the song] someplace deep down. You don't really get that out of your system.
So you can still sing it if you can get in touch with the person you were when you wrote the song."
I say Dylan sees himself as and aspires to be a "mind out of time" as a songwriter and performer because of statements he has made in interviews and writings over the years about the tyranny of time and the liberation an artist experiences when his work frees him (and the observer / listener) from that straitjacket. I believe the fulfillment Dylan finds in performing (which he has also spoken of often over the years), the sort of conduit that he sometimes feels himself becoming on stage, is that of a consciousness interacting with other consciousnesses in a manner that is "so immediate" it seems to be outside of time as we know it. A place where he can forever talk to Ramona, and successfully convey to her how her magnetic movements perpetually capture the minutes he's in.
This performing artist / mind out of time can create To Ramona on stage on a good night as genuinely and miraculously as at the moment when he wrote the song, or the moment when he recorded it for his 1964 album Another Side Of Bob Dylan because he still is that person, always is, when he can get out of time and get in touch with the 23-year-old songwriting Dylan and album-making Dylan someplace deep down inside him.

And I further assert that the performer got to this remarkable space from which he sings this luminous 3 July 1989 To Ramona by singing I Dreamed I Saw St Augustine and In The Pines and It's Alright, Ma (I?m Only Dreaming) (and Driftin' Too Far From Shore and Highway 61 Revisited and You?re A Big Girl Now and John Brown and Early Morning Rain) with his band and his accompanist in this amphitheater tonight. The sequence in which he performed them may also have been a factor in his getting in touch with and arriving at this very special place. So the set list writer certainly deserves some credit ? as do the other musicians, and the audience. Each word, each line of this performance ("Everything passes!" "Everything changes!") is thrilling, filled with the essence of Dylan's unique artistry. The music is just as pleasing.
The instrumental break in the middle of the song sounds like a band performance, because one of the acoustic guitars (probably GE Smith's) is accompanying the other with a sort of bass line.
The harmonica-solo-with-guitars that so evocatively follows the last words of the song ("I'll come and be cryin' to you") builds to an evident climax that sets the audience to clapping and cheering, and then continues in a series of mini-climaxes that eloquently convey the rest of what the story's speaker wants and needs to say to this attractive country girl in her moment of sorrow and confusion.

The Milwaukee 1989 Just Like Tom Thumb's Blues is a perfect example of what Dylan was trying to explain when he said in 1966 (in the Playboy interview), "My songs are pictures, and the band makes the sound of the pictures." Again, a seemingly timeless state is achieved (as in many of Dylan's favorite works of art, such as Cezanne's paintings and the film Les Enfants du Paradis), and we (future listeners to this show as a work of accidental art) find ourselves enjoying an example of the essence of Dylan's artistry ? this time primarily as a result of the sound the band makes throughout this performance.
True, the vocals are marvelous, but it is clear that this is a function of how good Dylan's voice sounds against this sonic backdrop, how free and playful he feels singing to music that is so expressive of what this song means to him, music he experiences as precisely the sound of this poem-picture. To start with, Parker, Garnier and Smith (and Dylan) have found a way to make a splendid and compact version of the delicious musical figure that opens the original 1965 album recording of this song, even though the recording studio band included two keyboard players. And that is just the beginning of a 1989 work of music that is as fluid an example of the "wild mercury sound" Dylan has talked about getting on his mid-1960s albums as are the 1965 album version of Just Like Tom Thumb?s Blues and the two 1966 live versions with The Band that have so far been officially released ? Liverpool and Manchester.

Silvio comes next, and to my surprise I enjoy it.
I like the quick segue from the luminous instrumental passage that ends Just Like Tom Thumb's Blues into the opening riff of Silvio.
In this context, the first words of the song, "Stake my future on a hell of a past / Look like tomorrow is coming on fast," can only be heard as a direct reference to having written the likes of To Ramona and Just Like Tom Thumb?s Blues and to standing here right now creating a new art form and finding a new purpose in life (both called the Never Ending Tour) based on being the singer / performer of these songs and anything else the legendary Dylan chooses to include in his stage shows.
He wants to use these elements to create new montages every night, fresh and fulfilling works of art that surprise and stimulate and speak to and for both himself and the paying audiences, as he has watched The Grateful Dead do in their shows and sets.

Just imagine (he ponders) going from Early Morning Rain to Driftin' Too Far From Shore and from You're A Big Girl Now to I Dreamed I Saw St Augustine and from Highway 61 Revisited to In The Pines to It's Alright, Ma (I?m Only Bleeding), all in the same hour-plus and never to be put together in quite this sequence or with this particular spin and spirit again!

After the last verse of the song, the band gets into a nice groove on the chorus, as Dylan sings this chorus ("Silvio, silver and gold / Won't buy back the beat of a heart grown cold / Silvio, I gottta go find out something only dead men know") twice, repeating its last four words four times after each run-through (accompanied by GE Smith, who uses his falsetto and manages to make himself and Dylan sound like the return of the 1986-1987 Queens Of Rhythm). After the fourth repetition following the second chorus, Dylan uncharacteristically (for this song) interjects an extemporaneous "Every, every day!!" before singing "Only dead men know" four more times and then repeating the chorus again as a lead-in to the band finale. Because this is a song where Dylan wrote music to lyrics provided by The Grateful Dead's primary lyricist (Robert Hunter) and because of the way Dylan's mind works as indicated by him playing his song Dead Man, Dead Man at some of the concerts he performed with The Grateful Dead, I am certain Dylan is particularly aware of The Grateful Dead and what they mean to him while he performs this song, and I suspect his "Every, every day!!" outburst is an allusion to the familiar Grateful Dead line "I need a miracle every day!"
And when he repeats, "Only dead men know," I believe he is including in this mantra his sense that Grateful Dead men (the players and their audience) know something about the creation of a kind of live music that he now aspires to, and so he is honoring and acknowledging them and in a friendly way challenging himself as he sings these repetitions and presents Silvio as just the right piece of the puzzle to follow Just Like Tom Thumb's Blues in Milwaukee (and to follow It Ain't Me, Babe in Peoria, and Pledging My Time at Poplar Creek).

The song that follows Silvio (and the segue is very pleasing) on 3 July 1989 is When Did You Leave Heaven?
I find this a very attractive performance, easily the best of the four times he has performed this so far in 1989.
It still does not offer the "spine-tingling presence" of lover speaking to genuine loved one that I wished for but found missing in the Down In The Groove version. But Dylan in Milwaukee sings the song with great tenderness and gets an equivalent tenderness from his band, a sweet evocative sound that can also be heard in his harmonica solo (soon after the first "I am only human / and you are so divine," a line he includes twice in this performance).
My friend Bev Martin, who was at this concert, recently wrote to me: "The Milwaukee show was at Summerfest, a huge festival with lots of beer and a partying audience pumped to rock. He knew it and threw them the occasional bone, but his heart was in the slower stuff. The whole performance was hung over with a feel of nostalgia and melancholy, tinged with regret ? bubbling up from some fountain of sorrow. It was subtle and lost on the crowd, but beautifully clear on Early Morning Rain, a conversational John Brown, You?re A Big Girl Now, It's Alright, Ma (I?m Only Bleeding), I DrwAmed I Saw St Augustine, To Ramona, and an out-of-the-blue one-off of In The Pines. Before the encores he stepped back and was doing back bends and stretches and hair fluffs, as if to shake himself out of the mood."

Bev's recollection fits what I am hearing in this lovely performance of When Did You Leave Heaven?
? a rich (and melancholic) affection not for the "angel" being addressed but for the song's melody ? possibly a journey on the timeless wings of American song to a childhood moment when Dylan had not yet heard Leadbelly or Bill Monroe or Little Richard or Hank Williams or Woody Guthrie, but was already feeling the first stirrings of a lifetime love affair.

When Did You Leave Heaven? ends with another tight (well-rehearsed?) segue ? into Like A Rolling Stone.
But it is a false start, and in a few seconds the Like A Rolling Stone intro is deftly replaced with the opening notes of Masters Of War.
Clearly Dylan changed his mind at the last moment ? probably because he wanted to give the audience another rocker before ending this part of the show, but it is also possible that he wanted to preserve the excellent flow he and the band had gotten into.
He knew he was on a roll, inspired to lean into each new song as if it were all one big statement, and when he heard the first notes of Like A Rolling Stone he realized either that it was not time for the "closer" yet or that this was not the right song at the right moment to keep the juice flowing, so he got Tony Garnier's attention and passed the word that Masters Of War should be next. And it works: Masters Of War is bright and fresh, and then when Like A Rolling Stone follows, the spirit of the night stays alive in the singer and his band (and, presumably, in the crowd, always an important part of the equation), and we get a spirited, better-than-average Like A Rolling Stone ? not great, which seldom seemed an option for this early-1989 incarnation of the song, but certainly a crowd-pleaser, and probably a more satisfying conclusion to the pre-encore montage, a more fulfilling work of performing artistry for the artist and us listeners, than it would have been if he had not followed his hunch and inserted Masters Of War between When Did You Leave Heaven? and Like A Rolling Stone.

So the back bends and stretches and hair fluffs could have been to shake himself out of a mood, or an attempt to keep a certain mood alive.
In any case, the encores are good, with Mr Tambourine Man not equal to the best of the previous month's performances of this one but still quite pleasing and full of love for the song and respect for the people out there who want to hear it.
When he sing-shouts "I'm ready to go anywhere!", it sounds like a spontaneous reaffirmation of his commitment to the life of a performer.
Knockin' On Heaven's Door, the second encore, is rich in such moments of unexpected aliveness, notably the excitement in his vocals early in the song, seemingly in response to a fine beat set up by his rhythm section (and possibly by an audience clap-along as well).
The sound of his voice is very full and appealing here. It's a "greatest hit," but Dylan seems inclined to put a lot into it this time.

Even Maggie's Farm, which often sounded dismissive in 1988-1989, is more spirited and a little fresher in rhythm and vocal presence than at most of these shows.
This suggests that on a Never Ending Tour the singer-bandleader's experience of being stimulated by a series of songs ? a fresh creation ? at the start or at the heart of his show can awaken something in him that will help him bring a freshness even to the most routine parts of his act.
This is why he is ready to go anywhere, because he never knows when he will find himself unusually awake and full of creative juice out there somewhere.
"Just like so many times before." Often he is praising the Muse when he repeats this phrase.
At one point in Milwaukee he shouts a broken and loud and heartfelt "Yeah!" after singing it. The message to the audience is: "We're doing this together, knockin' on heaven's door (just like so many times before), following the tambourine man and going under his dancing spell, refusing to work on Maggie's farm no more. Not because I say so, but because we share a love and enthusiasm for the power of music and the joy of live music and of the singer-band-audience experience."
Dylan is saying this even as he conducts his band in playing the riff from To Ramona at the end of Maggie's Farm and of the night's festivities.

***

Howard C. Baldwin Memorial Pavilion
Meadowbrook
Rochester Hills, Michigan
5 July 1989

8.Lonesome Town (Baker Knight)
9.Seeing The Real You At Last
10.Shelter From The Storm
11.Girl Of The North Country
12.I Shall Be Released
13.Like A Rolling Stone

Concert # 96 of The Never-Ending Tour.
Concert # 4 of the 1989 USA Summer Tour.
Concert # 18 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar, harmonica), G.E. Smith (guitar) on Girl Of The North Counry.

Bob Dylan (harmonica) on:Shelter From The Storm,Simple Twist Of Fate,Girl Of The North Country.

LB-1421

Very good to excellent sound [B+].

***

Howard C. Baldwin Memorial Pavilion
Meadowbrook
Rochester Hills, Michigan
6 July 1989

14.I Don't Believe You (She Acts Like We Never Have Met)
15.Tomorrow Is A Long Time
16.She Belongs To Me
17.It's Alright, Ma (I'm Only Bleeding)
18.The Lonesome Death Of Hattie Carroll
19.And It Stoned Me (Van Morrison)

Concert # 97 of The Never-Ending Tour.
Concert # 5 of the 1989 USA Summer Tour.
Concert # 19 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:She Belongs To Me,It's Alright, Ma (I'm Only Bleeding),The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on:Tomorrow Is A Long Time,She Belongs To Me,The Lonesome Death Of Hattie Carroll.

The only performance of And It Stoned Me without Van Morrison on shared vocal.

LB-5777;
Half A Mile From The County Fair (Southside Butcher)

Good sound [B].

***

Deer Creek Music Center
Noblesville, Indiana
8 July 1989

20.Wagoner's Lad (trad.)

Concert # 98 of The Never-Ending Tour.
Concert # 6 of the 1989 USA Summer Tour.
Concert # 20 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Wagoner's Lad.

Bob Dylan (harmonica) on Wagoner's Lad.

LB-0939;
xref-00443;
Taper: Paul Loeber (PL)

Very good to excellent sound [B+].

***

Allentown Fairgrounds
Allentown, Pennsylvania
12 July 1989

21.Forever Young
22.Rainy Day Women #12 & 35

Concert # 101 of The Never-Ending Tour.
Concert # 9 of the 1989 USA Summer Tour.
Concert # 23 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on:
Forever Young,
Rainy Day Women #12 & 35.

First performance of Rainy Day Women #12 & 35 during The Never-Ending Tour.

LB-2214

Very good to excellent sound [B+].

***

Lake Compounce Festival Park
Bristol, Connecticut
16 July 1989

23.Subterranean Homesick Blues
24.Nothing But You (Steve Earle)
25.A Hard Rain's A-Gonna Fall

Concert # 104 of The Never-Ending Tour.
Concert # 12 of the 1989 USA Summer Tour.
Concert # 26 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar, harmonica), G.E. Smith (guitar) on A Hard Rain's A-Gonna Fall.

1 G. E. Smith (backup vocal) on Subterranean Homesick Blues

LB-9840;
Taper De Weez;
Equipment: 2 Neumann KMF4 microphones > Sony TC-D5M - analog master cassettes;
Transfer: Sony TC-D5M (original record deck) > Pre Sonus Inspire GT >
Sound Forge > .wav files > Trader's Little Helper > flac files

Very good to excellent sound [B+].

***

Bally's Grand Hotel
Atlantic City, New Jersey
20 July 1989

26.Lenny Bruce
27.John Brown
28.You're A Big Girl Now
29.Boots Of Spanish Leather
30.Leopard-Skin Pill-Box Hat
31.Legend In My Time (Don Gibson)
32.In The Garden
33.It Ain't Me, Babe

Concert # 107 of The Never-Ending Tour.
Concert # 15 of the 1989 USA Summer Tour.
Concert # 29 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (acoustic guitar) on You're A Big Girl Now.

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:Boots Of Spanish Leather,It Ain't Me, Babe.

Bob Dylan (harmonica) on:Lenny Bruce,You're A Big Girl Now,Boots Of Spanish Leather,It Ain't Me, Babe.

First performance of Lenny Bruce during The Never-Ending Tour.

LB-2217

Excellent sound. PP rates this [A-], Jokerman gives it a [B].

***

Andrew Muir

However, not all the media coverage was positive. In the first of many NET "Bob's sold out, the 60?s are dead" stories, Dylan's decision to play at an Atlantic City casino on 20 July 1989 caused something of a press furore.
This served as a stark reminder of just how big an icon Dylan still was, regardless of his current record sales.
The reaction of The Montreal Gazette's Michael Farber was fairly typical. "The revolution is over," Farber fulminated.
"We lost. On the 20th anniversary of Woodstock the man who wrote ?money doesn't talk it swears? and meant it, sang for the first time in capitalism's playground."

Intriguingly, The New York Daily News's David Hinckley saw Dylan as following in the footsteps of rock' n' roll's first icon.
"It's Elvis and Dylan," he explained, "and their common ground, which begins with youths of talent, fire and charisma, when they were so good that even people who did not understand or like them often sensed, correctly, that there was reason to be afraid of them."
Dylan came out of the comparison on top, as Hinckley contrasted Elvis's unchallenging casino days with Dylan "ripping into songs" at Atlantic City.
The reviewer placed particular emphasis on the way Dylan used It Ain't Me, Babe as a personal anthem, "because it is both close to and far from the hollow My Way with which Elvis tried to convince himself, and maybe the world, that he controlled his life.
Dylan, more modestly and accurately, says only that he will not be what he ?ain't?.

***

Garden State Arts Center
Holmdel, New Jersey
21 July 1989

34.Ballad Of A Thin Man
35.Shot Of Love
36.Love Minus Zero/No Limit

Concert # 108 of The Never-Ending Tour.
Concert # 16 of the 1989 USA Summer Tour.
Concert # 30 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (acoustic guitar) on:Ballad Of A Thin Man,Shot Of Love.

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Love Minus Zero / No Limit.

Bob Dylan (harmonica) on:
Shot Of Love,
Love Minus Zero / No Limit.

LB-1424

Very good to excellent sound [B+].

***

Jones Beach Theater
Jones Beach State Park
Wantagh, New York
23 July 1989

37.I'll Be Your Baby Tonight
38.Stuck Inside Of Mobile With The Memphis Blues Again
39.Song To Woody
40.To Ramona
41.Mr Tambourine Man
42.Pledging My Time
43.Maggie's Farm

Concert # 109 of The Never-Ending Tour.
Concert # 17 of the 1989 USA Summer Tour.
Concert # 31 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (acoustic guitar) on:I'll Be Your Baby Tonight,Stuck Inside Of Mobile With The Memphis Blues Again.

Kenny Aaronson (bass) on:Pledging My Time,Maggie's Farm.

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:Song To Woody,To Ramona,Mr Tambourine Man.

7-9, Bob Dylan (harmonica) on:I'll Be Your Baby Tonight,Song To Woody,To Ramona,Mr Tambourine Man.

LB-8760;
Taper: Da Weez;
Master: D5scott;
Location: 4th row;
Equipment: 2 Sennheiser KMF4 Microphones (4th row) >
Sony TC-D5M - analog master cassette - Maxwell MX90;
Transfer: Sony TC-D5M (original record deck) >
Pre Sonus Inspire GT > Sound Forge > .wav files >
Trader's Little Helper > flac and ffp files

Excellent sound [A-].

***

Andrew Muir

The Boston Herald's Greg Reibman opened a rave notice with an interesting comparison that was echoed by a number of other critics.
"The summer of 1989 will be remembered as a time when tours by The Who, The Rolling Stones, Ringo Starr and other veteran rockers dominated the concert stages and rock headlines," Reibman noted.
"In contrast, without the now customary hype, tour sponsorships and press conferences, Dylan practically snuck into Great Woods Thursday night.
It turned out to be an inspired concert that his fellow 1960s superstars would be hard pressed to match ? the 90-minute career-spanning concert was a Dylan fan's dream come true. To 15 of his best songs, he brought fresh arrangements and vitality.
The show did not come across as a night of nostalgia, nor as an attempt to capitalise on past glories."

"He slammed through his 90-minute set like a small gale passing through the beach," Newsday's Stephen Williams enthused of the Jones Beach show.
"Dylan's no-nonsense posture ? he would lean forward sometimes, his guitar neck pointed at the wings like a machine gun ? supplemented hisaura of aggression."
It was a posture he adopted for most of 1989.

***

Finger Lakes Performing Arts Center
Canandaigua, New York
25 July 1989

44.Confidential (To Me) (Dolinda Morgan)

Concert # 110 of The Never-Ending Tour.
Concert # 18 of the 1989 USA Summer Tour.
Concert # 32 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on:Confidential (To Me).

LB-0851

Good sound [B].

***

Kingswood Music Theatre
Maple, Ontario, Canada
29 July 1989

45.Early Morning Rain (Gordon Lightfoot)
46.Tears Of Rage (Bob Dylan & Richard Manuel)
47.Just Like A Woman
48.Simple Twist Of Fate
49.Hey La La (Hey La La) (McBride)
50.The Times They Are A-Changin'

Concert # 113 of The Never-Ending Tour.
Concert # 21 of the 1989 USA Summer Tour.
Concert # 35 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on The Times They Are A-Changin'.

Bob Dylan (harmonica) on:Early Morning Rain,
Just Like A Woman,Simple Twist Of Fate, 'The Times They Are A-Changin'.

G.E. Smith (backup vocal) on Hey La La (Hey La La).

Third and last performance of Hey La La (Hey La La).

LB-7256;
Taper: Legendary Taper E (LTE);
Equipment: Sennheiser MKE 2002 > cassette master >
audio-CD (> audio-CD ?) > eac > Wavelab > tlh

Excellent sound [A-].

***

Ottawa Civic Centre Arena
Ottawa, Ontario, Canada
30 July 1989

51.Masters Of War
52.Highway 61 Revisited
53.It's All Over Now, Baby Blue
54.One Irish Rover (Van Morrison)
55.Silvio (Bob Dylan & Robert Hunter)
56.Blowin' In The Wind

Concert # 114 of The Never-Ending Tour.
Concert # 22 of the 1989 USA Summer Tour.
Concert # 36 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:It's All Over Now, Baby Blue,Blowin' In The Wind.

Bob Dylan (harmonica) on:It's All Over Now, Baby Blue,Blowin' In The Wind.

G.E. Smith (electric slide guitar) on Highway 61 Revisited.

G.E. Smith (backup vocal) on Silvio.

LB-3793;
Taper: Legendary Taper E (LTE)

Excellent sound [A-]. Jokerman rates it [B+], it's not.

***

L'Amphitheatre
Joliette, Quebec, Canada
31 July 1989

57.Don't Pity Me (?)

Concert # 115 of The Never-Ending Tour.
Concert # 23 of the 1989 USA Summer Tour.
Concert # 37 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Only performance of Don?t Pity Me.

There are various songs called Don't Pity Me, but none seem to match this. It may be a Dylan original.

LB-2252

Good sound [B].

***

Harriet Island
St. Paul, Minnesota
3 August 1989

58.Don't Think Twice, It's All Right

Concert # 116 of The Never-Ending Tour.
Concert # 24 of the 1989 USA Summer Tour.
Concert # 38 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar & harmonica), G.E. Smith (guitar) on Don't think Twice, It's All Right.

LB-0312

Good sound [B].

***

Welsh Auditorium
Grand Rapids, Michigan
5 August 1989

59.You Don't Know Me (Eddy Arnold/Cindy Walker)

Concert # 118 of The Never-Ending Tour.
Concert # 26 of the 1989 USA Summer Tour.
Concert # 40 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

LB-7993

Very good to excellent sound [B+].

***

Savage Hall
Toledo, Ohio
8 August 1989

60.Most Likely You Go Your Way (And I'll Go Mine)
61.Gotta Serve Somebody
62.Gates Of Eden
63.Mama, You Been On My Mind
64.One Too Many Mornings
65.I'm In The Mood For Love (Fields/Jimmy McHugh)
66.Barbara Allen (trad.)

Concert # 120 of The Never-Ending Tour.
Concert # 28 of the 1989 USA Summer Tour.
Concert # 42 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:Gates Of Eden,Mama, You Been On My Mind,One Too Many Mornings,I'm In The Mood For Love.

Bob Dylan (harmonica) on:Mama, You Been On My Mind,One Too Many Mornings,I'm In The Mood For Love,Barbara Allen.

First performance of I'm In The Mood For Love. Only acoustic performance.

LB-0970;
Taper: Legendary Taper C (LTC);
Legendary Tapers Series #17

Excellent sound [A-].

***

The Muny, Forest Park
St. Louis, Missouri
9 August 1989

67.Watching The River Flow
68.Heart Of Mine

Concert # 121 of The Never-Ending Tour.
Concert # 29 of the 1989 USA Summer Tour.
Concert # 43 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith
Tony Garnier (bass), Christopher Parker (drums).

First of only two electric performances of I'm In The Mood For Love (as of revision date).

Only performance of Heart Of Mine in 1989.

LB-2302

Very good to excellent sound [B+].

***

Kings Dominion Amusement Park
Doswell, Virginia
12 August 1989

69.Two Soldiers (trad.)

Concert # 123 of The Never-Ending Tour.
Concert # 31 of the 1989 USA Summer Tour.
Concert # 45 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar & harmonica), G.E. Smith (guitar) on Two Soldiers.

LB-4167;
Taper: Gary Knight;
Equipment: Master Aud Cassette (Maxell XL II) >
Sony TC-K620 > Dynaco PAS 3X > Soundforge > CDWav > Flac

Poor sound [C+].

***

The Paladium
Carowinds Amusement Park
Charlotte, North Carolina
13 August 1989

70.Man Of Constant Sorrow (trad. arr. Bob Dylan)
71.I'll Remember You

Concert # 124 of The Never-Ending Tour.
Concert # 32 of the 1989 USA Summer Tour.
Concert # 46 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, guitar & harmonica), G.E. Smith (guitar) on Man Of Constant Sorrow.

LB-2300

Excellent sound [A-].

***

Troy G. Chastain Memorial Park Amphitheatre
Atlanta, Georgia
15 August 1989

72.Pretty Peggy-O (trad. arr. Bob Dylan)

Concert # 125 of The Never-Ending Tour.
Concert # 33 of the 1989 USA Summer Tour.
Concert # 47 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

LB-11001

Very good to excellent sound [B+].

***

Troy G. Chastain Memorial Park Amphitheatre
Atlanta, Georgia
16 August 1989

73.Trouble
74.Trail Of The Buffalo (trad. arr. Woody Guthrie)
75.Queen Jane Approximately
76.Lakes Of Pontchartrain (trad.)
77.All Along The Watchtower

Concert # 126 of The Never-Ending Tour.
Concert # 34 of the 1989 USA Summer Tour.
Concert # 48 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Lakes Of Pontchartrain

Second and last electric version of Trail Of The Buffalo.

Debut for Queen Jane Approximately during The Never-Ending Tour.

LB-1202;
Taper: Paul Loeber (PL)

Excellent sound [A-].

***

Freedom Hall
Louisville, Kentucky
18 August 1989

78.Absolutely Sweet Marie

Concert # 127 of The Never-Ending Tour.
Concert # 35 of the 1989 USA Summer Tour.
Concert # 49 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

LB-1207;
Taper: Paul Loeber (PL)

Very good to excellent sound [B+].

***

Kiefer UNO Lakefront Arena
New Orleans, Louisiana
25 August 1989

79.Ballad Of Hollis Brown
80.Rank Strangers To Me (A. Brumley)
81.It Takes A Lot To Laugh, It Takes A Train To Cry

Concert # 132 of The Never-Ending Tour.
Concert # 40 of the 1989 USA Summer Tour.
Concert # 54 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Rank Strangers To Me starts acoustic and ends electric.

Bucky Baxter (pedal steel guitar) on It Takes A Lot To Laugh, It Takes A Train To Cry.

First instrumental opener during The Never-Ending Tour.

LB-2282

Excellent sound [A-].

***

The Summit
Houston, Texas
26 August 1989

82.More And More (Webb Pierce/Merle Kilgore)

Concert # 133 of The Never-Ending Tour.
Concert # 41 of the 1989 USA Summer Tour.
Concert # 55 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica On More And More.

Bucky Baxter (pedal steel guitar) on More And More.

The only performance of More And More.

LB-1430

Fair sound [B-].

***

Pan American Center
Las Cruces, New Mexico
29 August 1989

83.El Paso (Marty Robbins)

Concert # 135 of The Never-Ending Tour.
Concert # 43 of the 1989 USA Summer Tour.
Concert # 57 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

8-10 and 16 Bob Dylan (vocal & guitar), G.E. Smith (guitar).

El Paso instrumental.

LB-2239

Good sound [B].

***

Fiddler's Green
Englewood, Colorado
31 August 1989

84.E-Thang

Concert # 136 of The Never-Ending Tour.
Concert # 44 of the 1989 USA Summer Tour.
Concert # 58 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

E-Thang instrumental.

LB-2269;
xref-00066

Very good to excellent sound [B+].

***

Park West
Park City, Utah
1 September 1989

85.Positively 4th Street
86.Man Gave Names To All The Animals
87.Knockin' On Heaven's Door

Concert # 137 of The Never-Ending Tour.
Concert # 45 of the 1989 USA Summer Tour.
Concert # 59 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on:
Positively 4th Street,
Man Gave Names To All The Animals,
Knockin' On Heaven's Door.

Knockin' On Heaven's Door starts acoustic and ends electric.

LB-8627

Good sound [B].

***

Greek Theatre
University Of California
Berkeley, California
3 September 1989

88.Lonely Is A Man Without Love (Jesse Winchester)
89.The Harder They Come (Jimmy Cliff)
90.Baby Let Me Follow You Down (Eric von Schmidt)

Concert # 138 of The Never-Ending Tour.
Concert # 46 of the 1989 USA Summer Tour.
Concert # 62 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), GE Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Lonely Is A Man Without Love instrumental.

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Baby Let Me Follow You Down.

Bob Dylan (harmonica) on Lonely Is A Man Without Love.

Last performance of The Harder They Come.

LB-2566;
Taper: markp;
Equipment: master cassettes > Nakamichi CM300(cp4) >
Sony tcd5m > nakamichi cr-1a > hhb cdr830 > EAC >
Flac 1.1.2 with tags > bt.dylantree.com (April 2005)

Good sound [B].

***

Santa Barbara County Bowl
Santa Barbara, California
5 September 1989

91.When Did You Leave Heaven? (W. Bullock/R. Whiting)

Concert # 139 of The Never-Ending Tour.
Concert # 47 of the 1989 USA Summer Tour.
Concert # 61 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

LB-1811;
Equipment: CD-Rs > EAC (secure mode) > CoolEdit Pro >
CD Wave > FLAC Frontend (level 5, align on sector boundaries);
normalized in CoolEdit Pro

Excellent sound [A-].

***

Starlight Bowl
San Diego, California
6 September 1989

92.Visions Of Johanna

Concert # 140 of The Never-Ending Tour.
Concert # 48 of the 1989 USA Summer Tour.
Concert # 62 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Visions Of Johanna.

During this concert only songs from the 60s were performed.

LB-5706;
xref-00749;
Sixties Again (Improved Air Remaster / IAR-022)

Fair sound [B-].

***

Greek Theatre
Hollywood
Los Angeles, California
9 September 1989

93.The Man In Me

Concert # 142 of The Never-Ending Tour.
Concert # 50 of the 1989 USA Summer Tour.
Concert # 64 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), GE Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on The Man In Me.

LB-0532

Fair sound [B-].

***

Greek Theatre
Hollywood
Los Angeles, California
10 September 1989

94.I Want You

Concert # 143 of The Never-Ending Tour.
Concert # 51 of the 1989 USA Summer Tour.
Concert # 65 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on I Want You.

LB-0535;
xref-00288

Fair sound [B-].

***

Chabad TV Studio
Los Angeles, California
24 September 1989

Broadcast live by Chabad Telethon in the program L'Chaim To Life!, Telethon '89.

95.Intro
96.Einsleipt Mein Kind Dein Eigalach (trad.)
97.Adelita (trad.)
98.Hava Negilah (trad.)
99.Closing Remarks

Bob Dylan (flute & recorder), Peter Himmelman (vocals & guitar), Harry Dean Stanton (harmonica) on Einsleipt Mein Kind Dein Eigalach.

Bob Dylan (vocals & recorder), Peter Himmelman (guitar), Harry Dean Stanton (vocals & harmonica) on Adelita.

Bob Dylan (harmonica), Peter Himmelman (vocals & guitar), Harry Dean Stanton (vocals & guitar) on Hava Negilah.

LB-1286;
Taper: AJ;
Chabad Telethon;
Equipment: TV broadcast > VHS tape > VHS tape >
DVDr > audio ripped, with SoundForge 6.0 >
SoudForge 6.0 corrections (noise red., channel levels, fade in/out) >
CDr > SHN

Excellent sound [A-].

***

Rock on Bob!

XXX

1989-07-01 Peoria
1989-07-02 Chicago
1989-07-03 Milwaukee
1989-07-05 Rochester Hills
1989-07-06 Rochester Hills
1989-07-08 Noblesville
1989-07-12 Allentown
1989-07-16 Bristol
1989-07-20 Atlantic City
1989-07-21 Holmdel
1989-07-23 Wantagh
1989-07-25 Canandaigua
1989-07-29 Maple
1989-07-30 Ottawa
1989-07-31 Joliette
1989-08-03 St Paul
1989-08-05 Grand Rapids
1989-08-08 Toledo
1989-08-09 St Louis
1989-08-12 Doswell
1989-08-13 Charlotte
1989-08-15 Atlanta
1989-08-16 Atlanta
1989-08-18 Louisville
1989-08-25 New Orleans
1989-08-26 Houston
1989-08-29 Las Cruces
1989-08-31 Englewood
1989-09-01 Park City
1989-09-03 Berkeley
1989-09-05 Santa Barbara
1989-09-06 San Diego
1989-09-09 Los Angeles
1989-09-10 Los Angeles
1989-09-24 Los Angeles


(243/1) Bob Dylan, 1989-10-10, People Sleeping In Broken Beds, Summer Tour of North America, (Pink Panther Records)

Audio/flac, dime/?, (20190525)

1989 PEOPLE SLEEPING IN BROKEN BEDS

Pink Panter Records

1989 Summer Tour of North America

***

Bob finished recording what would become Oh Mercy early in 1989 and then played 72 concerts before finally releasing the album on 18 September.
These 72 prior concerts are amazing in terms of high & consistent performance standard which revisited a very large number of his songs & the songs of others.
He had finally achieved what Jerry Garcia had told him he must do - reconnect with the songs from is vast catalogue & play them with conviction.
Bob started this process immediately after his strange 1987 concerts with The Grateful Dead. In late 1987, he toured Europe with Tom Petty and The Heartbreakers.
Bob played with The Heartbreakers in 86, but the 87 tour was completely different with Bob agreeing to play band requests for his past songs.
1988 brought the unexpected success of The Traveling Wilburys which gave his failing career a much needed boost & exposure to a new audience.
He also came up with a new business model - a small, stripped down road band doing large numbers of "never ending" concerts
& playing ever-changing setlists of his own songs & other people's songs that he liked.

Back to Oh Mercy, an album almost as famous for the songs left off it (God Knows, Series Of Dreams, Dignity, Born In Time) as it was for those on it.
Bob had a long time to think about what he wanted to include on Oh Mercy, & I suspect he considered not releasing it at all.
Bob had to make a decision - continue as a "wilbury" (Roy Orbison's death on 6 December 1988 made that unlikely), stick with the old songs,
or push forward into the future with new songs that he believed in. So Bob pushed the reset button - all the way back to 1981 & Shot Of Love,
the last Christian album which Bob had worked hard & long on & was very proud of but which sold very poorly. This was a very high risk career move & Bob knew it.

The released Oh Mercy (like Infidels) has heavily disguised, but it had a far more potent religious message than any previous album.
What Bob does with Oh Mercy is to actually answer some questions raised by some of his old songs - he tells you what he really believes, & more importantly, why.

Everything Is Broken is Trouble Part 2, Man In The Long Black Coat is Blowin' In The Wind Part 2, Ring Them Bells is Chimes Of Freedom Part 2.

The "message" of Oh Mercy goes something like this:

- people are incapable of managing or understanding the world without religious guidance.
- people revert to the dark side without such guidance - every man's conscience is vile and depraved.
- the world is a harsh and dangerous place and always will be - trouble and damage are everywhere.
- temptation & sexual love is the only "escape" in this world but it takes you to the dark side and does not last.
- life on earth is simply a test of character for the life beyond.
- life & death are the same thing if you pass the test - people don't live or die, people just float.
- the force of God is everywhere - blowin' in the wind, hurricane breeze.
- not everyone will pass the test for the life beyond - ring them bells for the chosen few.

Now you can accept that or reject it, but Bob had decided to return to religious songs - a high risk move based on past experience,
but after 72 concerts to think about it, Oh Mercy hit the streets on 18 September 1989, & a new tour leg started in New York on 10 October.

The NY concerts are bizarre - there is a new Bob on stage with something new & powerful to say.
Andrew Muir refers to the "demonic rage" of the four show NY residency which kicked off the tour.

This is scary stuff, & there is overt & covert religion everywhere.
Five new songs (Everything Is Broken, Disease Of Conceit, Most Of The Time, What Good Am I?, Man In The Long Black Coat)
are played most nights along with Like A Rolling Stone, All Along The Watchtower, I Shall Be Released & A Hard Rain's A-Gonna Fall.
The setlists are far more consistent for core songs that the concerts earlier in the year.
Shot Of Love is back - Shot Of Love, Dead Man, Dead Man, Trouble, Lenny Bruce.
There are mainstream hymns - Precious Memories & Rank Strangers To Me. There are Bob hymns - In The Garden, I Believe In You, Man Of Peace.

The most startling & serious performances are reserved for Bob on piano (the first piano Bob of the NET).
Check out Disease Of Conceit (Ithaca), Ring Them Bells (Poughkeepsie), Gotta Serve Somebody (Troy)
& the unbelievable rewrite of When You Gonna Wake Up? (Poughkeepsie) - the song has been drastically shortened
with only the first verse remaining from the original song. You cannot even make out the words - just fragments
(-left me in peace-another hungry mouth to feed-where he belongs-ain't that strong-schools-every time-),
but it is so profound & played with such conviction that it stops you in your tracks.
He achieved something like it with I'm Not There (1956) from the Basement Tapes.

Poughkeepsie is the best concert & is available in excellent sound. It is one of Bob's best concerts ever.

Just to ram it all home, immediately after the tour Bob retreats to a recording studio in Bloomington with Barry Goldberg
to record People Get Ready. You have got to wonder what else he recorded that day.

& you know what - Oh Mercy became the successful comeback album - praised by critics & fans alike.

The religion was ignored by almost everybody - as The Traveling Wilburys said, The Devil's Been Busy. He got away with it!

You have to ask yourself how all those beds got broken - one of the great Bob mysteries.

You have gotta hear this stuff.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr/The/Maybe President Donald Trump

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

***

All sourced from 100% lossless FLAC from best available sound sources.


***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

85 ball-tearing, sensational tracks
80 different songs
18 concerts are represented here (from the total of 27 concerts) plus 1 studio recording session.
7 hours & 37 minutes of music
1 bob

***

All 80 songs played on the tour leg are represented here.

The setlists were highly variable from night to night, with
3 songs being played twenty or more times,
12 songs being played ten or more times,
37 songs being played five or more times, and
26 songs only played once or twice.

*

Songs from Norfolk played but not recorded. Statistics below include missing songs.

Chrysler Hall
Norfolk, Virginia
7 November 1989

9.It Ain't Me, Babe
10.Everything Is Broken
11.What Good Am I?
12.I Shall Be Released
13.Man In The Long Black Coat
14.Like A Rolling Stone
15.Barbara Allen (trad.)
16.Maggie's Farm

*

2 song were played 27 times (out of 27 concerts):

Everything Is Broken (Oh Mercy)
Like A Rolling Stone

1 song was played 23 times:

Most Of The Time (Oh Mercy)

*

1 song was played 18 times:

What Good Am I? (Oh Mercy)

*

1 song was played 15 times:

Man In The Long Black Coat (Oh Mercy)

*

1 song were played 14 times:

All Along The Watchtower

*

1 song was played 12 times:

I Shall Be Released

*

4 songs were played 11 times:

Disease Of Conceit (Oh Mercy)
I Want You
Maggie's Farm
Man Of Peace

*

1 song was played 10 times:

It Takes A Lot To Laugh, It Takes A Train To Cry

*

5 songs were played nine times:

A Hard Rain's A-Gonna Fall
Highway 61 Revisited
It's All Over Now, Baby Blue
Mr Tambourine Man
Stuck Inside Of Mobile With The Memphis Blues Again

*

7 songs were played eight times:

Don't Think Twice, It's All Right
Gates Of Eden
Leopard-Skin Pill-Box Hat
Masters Of War
Positively 4th Street
Seeing The Real You At Last
Simple Twist Of Fate

*

3 songs were played seven times:

I'll Remember You
In The Garden
It Ain't Me, Babe

*

4 songs were played six times:

Ballad Of A Thin Man
It's Alright, Ma (I'm Only Bleeding)
My Back Pages
You're A Big Girl Now

*

6 songs were played five times:

Ballad Of Hollis Brown
Boots Of Spanish Leather
I'll Be Your Baby Tonight
Lay, Lady, Lay
Rainy Day Women #12 & 35
Shelter From The Storm

*

7 songs were played four times:

Barbara Allen
Dead Man, Dead Man
Knockin' On Heaven's Door
Love Minus Zero / No Limit
Tears Of Rage
The Lonesome Death Of Hattie Carroll
To Be Alone With You

*

9 songs were played three times:

Girl Of The North Country
I Believe In You
I Don't Believe You (She Acts Like We Never Have Met)
Just Like A Woman
Lakes Of Pontchartrain
One Too Many Mornings
Song To Woody
Subterranean Homesick Blues
Two Soldiers

*

8 songs were played twice:

Dark As A Dungeon
John Brown
Mama, You Been On My Mind
Most Likely You Go Your Way (And I'll Go Mine)
Precious Memories
The Times They Are A-Changin'
To Ramona
Trouble

*

18 songs were played only once:

Absolutely Sweet Marie
Bunkhouse Theme [instrumental]
Everybody's Movin'
Forever Young
Gotta Serve Somebody
One Irish Rover
People Get Ready (recording studio)
Queen Jane Approximately
Rank Strangers To Me
Ring Them Bells (Oh Mercy)
Shot Of Love
Silvio
Tangled Up In Blue
The Man In Me
Visions Of Johanna
Wagoner's Lad
When First Unto This Country
When You Gonna Wake Up?

***

The Beacon Theatre
New York City, New York
10 October 1989

1.75th Street Autograph Signing
2.Rank Strangers To Me (A. Brumley)
3.Girl Of The North Country
4.Bunkhouse Theme

Concert # 144 of The Never-Ending Tour.
First concert of the 1989 USA Fall Tour.
Concert # 66 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Rank Strangers To Me starts acoustic and ends electric.

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on Girl Of The North Country.

LB-6808;
Shining At The Beacon (Cosmic Thrills / CT 50003-4)

Good sound [B}.

***

The Beacon Theatre
New York City, New York
11 October 1989

Not used.

Concert # 145 of The Never-Ending Tour.
Second concert of the 1989 USA Fall Tour.
Concert # 67 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

The Beacon Theatre
New York City, New York
12 October 1989

5.What Good Am I?
6.I Don't Believe You (She Acts Like We Never Have Met)
7.You're A Big Girl Now
8.Boots Of Spanish Leather
9.Lakes Of Pontchartrain (trad.)
10.Gates Of Eden
11.Queen Jane Approximately
12.Masters Of War
13.Most Of The Time

Concert # 146 of The Never-Ending Tour.
Third concert of the 1989 USA Fall Tour.
Concert # 68 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Boots Of Spanish Leather,
Lakes Of Pontchartrain,
Gates Of Eden.

Bob Dylan (harmonica) on:
I Don't Believe You (She Acts Like we Never Have Met,
You're A Big Girl Now,
Boots Of Spanish Leather,
Lakes Of Pontchartrain,
Queen Jane Approximately.

LB-7268;
Equipment: CD-R of unknown generation sent by DM >
wav (EAC secure mod) > flac [flac frontend 1.1.2
(except for Lakes Of Pontchartrain - version 1.1.3);
align on sb option - level 8 - verify on]

Excellent sound [A-].

***

The Beacon Theatre
New York City, New York
13 October 1989

14.Precious Memories (arr. by Bob Dylan)
15.Stuck Inside Of Mobile With The Memphis Blues Again
16.Don't Think Twice, It's All Right
17.Song To Woody
18.In The Garden
19.Like A Rolling Stone
20.Man In The Long Black Coat
21.Leopard-Skin Pill-Box Hat

Concert # 147 of The Never-Ending Tour.
Concert # 4 of the 1989 USA Fall Tour.
Concert # 69 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Don't Think Twice, It's All Right,
Song To Woody.

Bob Dylan (harmonica) on:
Precious Memories,
Don't Think Twice, It's All Right,
Song To Woody,
Like A Rolling Stone,
Man In The Long Black Coat,
Leopard-Skin Pill-Box Hat.

Live debuts of Man In The Long Black Coat and Precious Memories.

At the end of Leopard-Skin Pill-Box Hat Dylan starts to play hand-held harmonica sitting on his heels
at the edge of the left side of the stage (seen from the audience).
After a while he jumps down and walks up the aisle, still playing the harmonica, and disappears through one of the exit doors.
The other members of the band look totally confused, but continue to play for quite awhile, not knowing if Dylan is coming back or not.
But he does not and the band ends the song somewhat abruptly.
The Dylan folklore has it that his bicycle was waiting for him outside the theater and that he simply cycled home to his apartment on Manhattan.

LB-1872

Jokerman: Very good to excellent sound [B+].
Pink Panther: Excellent sound [A-].

***

The Tower Theatre
Upper Darby, Pennsylvania
15 October 1989

22.Two Soldiers (trad.)
23.Everything Is Broken

Concert # 148 of The Never-Ending Tour.
Concert # 5 of the 1989 USA Fall Tour.
Concert # 70 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Two Soldiers.

Bob Dylan (harmonica) on Two Soldiers.

Live debut of To Be Alone With You.

LB-2301

Very good to excellent sound [B+].

***

The Tower Theatre
Upper Darby, Pennsylvania
16 October 1989

24.The Man In Me
25.I Shall Be Released

Concert # 149 of The Never-Ending Tour.
Concert # 6 of the 1989 USA Fall Tour.
Concert # 71 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on The Man In Me.

During Leopard-Skin Pill-Box Hat Dylan does his disappearing act for the second and last time.
Please refer to the note for October 13.

LB-8444;
Transfer: JTT;
Equipment: Master Cassette > Cassette (JG) > Cassette (TDK SA90 Dolby B) >
Akai GX95 Mk 2 (Dolby B) > Line in to Soundforge PRO 10 >
FLAC Level 6 align on sector boundaries

Good sound [B].

***

Constitution Hall
Washington, District Of Columbia
17 October 1989

Not used.

Concert # 150 of The Never-Ending Tour.
Concert # 7 of the 1989 USA Fall Tour.
Concert # 72 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Constitution Hall
Washington, District Of Columbia
18 October 1989

26.One Irish Rover (Van Morrison)
27.Silvio (Bob Dylan & Robert Hunter)

Concert # 151 of The Never-Ending Tour.
Concert # 8 of the 1989 USA Fall Tour.
Concert # 73 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

G.E. Smith (back-up vocal) on One Irish Rover.

LB-5504

Good sound [B].

***

Incredible concert - one of Bob's best ever - in great sound.

Mid-Hudson Arena
Poughkeepsie, New York
20 October 1989

28.The Times They Are A-Changin'
29.Absolutely Sweet Marie
30.Seeing The Real You At Last
31.Dead Man, Dead Man
32.I'll Remember You
33.Love Minus Zero/No Limit
34.One Too Many Mornings
35.When You Gonna Wake Up?
36.Ring Them Bells
37.Tears Of Rage (Bob Dylan & Richard Manuel)
38.Everybody's Movin' (Glen Trout)
39.Most Of The Time
40.All Along The Watchtower

Concert # 152 of The Never-Ending Tour.
Concert # 9 of the 1989 USA Fall Tour.
Concert # 74 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Love Minus Zero / No Limit,
One Too Many Mornings.

Bob Dylan (harmonica) on:
The Times They Are A-Changin',
Love Minus Zero / No Limit,
One Too Many Mornings.

Bob Dylan (piano) on:
When You Gonna Wake Up?,
Ring Them Bells.

Debut for Ring Them Bells.

First and so far the only rendition of When You Gonna Wake Up during The Never-Ending Tour.

First concert where Bob Dylan plays piano during The Never-Ending Tour.

Last performance of Dead Man, Dead Man.

LB-1777

Excellent sound [A-].

***

Keaney Auditorium
University Of Rhode Island
South Kingston, Rhode Island
22 October 1989

41.John Brown

Concert # 153 of The Never-Ending Tour.
Concert # 10 of the 1989 USA Fall Tour.

Concert # 75 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

LB-4338;
Taper: Kevin Hall;
Taping Equipment:
Sony WM-D6C Professional Walkman recorder,
2 Beyer M-700 microphones;
Mastering: Carl Morstadt;
Mastering Equipment: Master Cassette >
Sony K707ES cassette deck >
M-Audio Firewire Audiophile 2496 >
CDWAV 24-bit/96-KHz wav files >
Goldwave (normalizing and crossfades) >
CD Wave (track breaks),
dBpowerAMP Audio Converter
(24-bit/96-KHz wav files converted to 16-bit/44.1 KHz wav files) >
FLAC Front End (with sector boundary alignment)

Very good to excellent sound [B+].

***

The Opera House
Boston, Massachusetts
23 October 1989

42.Trouble
43.My Back Pages
44.Simple Twist Of Fate
45.Wagoner's Lad (trad.)
46.It's Alright, Ma (I'm Only Bleeding)
47.Shelter From The Storm
48.I Shall Be Released

Concert # 154 of The Never-Ending Tour.
Concert # 11 of the 1989 USA Fall Tour.
Concert # 76 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Wagoner's Lad,
It's Alright, Ma (I'm Only Bleeding).

Bob Dylan (harmonica) on:
Simple Twist Of Fate,
Wagoner's Lad,
Shelter From The Storm.

Last live performance of Trouble.

LB-8443;
Remaster: JTT;
Equipment: Master Cassette > Cassette (JG) >
Cassette (TDK SA90 Dolby B) > Akai GX95 Mk 2 (Dolby B) >
Line in to Soundforge PRO 10 > FLAC Level 6 align on sector boundaries

Jokerman: Fair sound [B-].
Pink Panther: Very good to excellent sound [B+]. Jokerman really stuffed up here.

***

The Opera House
Boston, Massachusetts
24 October 1989

49.Man Of Peace
50.I Believe In You
51.Forever Young
52.Highway 61 Revisited
53.Mr Tambourine Man
54.The Lonesome Death Of Hattie Carroll
55.It Takes A Lot To Laugh, It Takes A Train To Cry
56.Maggie's Farm

Concert # 155 of The Never-Ending Tour.
Concert # 12 of the 1989 USA Fall Tour.
Concert # 77 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Mr Tambourine Man,
The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on:
I Believe In You,
Forever Young,
Mr Tambourine Man,
The Lonesome Death Of Hattie Carroll.

G.E. Smith (electric slide guitar) on Highway 61 Revisited.

LB-2237

Excellent sound [A-].

***

The Opera House
Boston, Massachusetts
25 October 1989

Not used.

Concert # 156 of The Never-Ending Tour.
Concert # 13 of the 1989 USA Fall Tour.
Concert # 78 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Houston Fieldhouse
Rensselaer Polytechnic Institute
Troy, New York
27 October 1989

57.Gotta Serve Somebody
58.Lenny Bruce
59.Mama, You Been On My Mind
60.To Ramona

Concert # 157 of The Never-Ending Tour.
Concert # 14 of the 1989 USA Fall Tour.
Concert # 79 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Mama, You Been On My Mind,
To Ramona.

Bob Dylan (piano) on Gotta Serve Somebody.

Bob Dylan (harmonica) on:
Mama, You Been On My Mind,
To Ramona.

Live debut of Disease Of Conceit.

LB-1894

Excellent sound [A-].

***

Ben Light Gymnasium
Ithaca College
Ithaca, New York
29 October 1989

61.Positively 4th Street
62.Lay, Lady, Lay
63.Knockin' On Heaven's Door
64.A Hard Rain's A-Gonna Fall
65.Disease Of Conceit

Concert # 158 of The Never-Ending Tour.
Concert # 15 of the 1989 USA Fall Tour.
Concert # 80 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on:
Knockin' On Heaven's Door,
A Hard Rain's A-Gonna Fall.

Bob Dylan (harmonica) on Knockin' On Heaven's Door.

Bob Dylan (piano) on Disease Of Conceit.

LB-2246;
Taper: Paul Loeber (PL)

Very good to excellent sound [B+].

***

Arie Crown Theater
Chicago, Illinois
31 October 1989

66.I Want You
67.Ballad Of A Thin Man
68.Rainy Day Women #12 & 35
69.Ballad Of Hollis Brown
70.I'll Be Your Baby Tonight
71.Love Minus Zero / No Limit
72.Man In The Long Black Coat

Concert # 159 of The Never-Ending Tour.
Concert # 16 of the 1989 USA Fall Tour.
Concert # 81 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Love Minus Zero / No Limit.

Bob Dylan (harmonica) on:
I Want You,
Ballad Of A Thin Man,
Love Minus Zero / No Limit,
Man In The Long Black Coat.

LB-5461

Jokerman: Very good to excellent sound [B+],
Pink Panther: Excellent sound [A-].

***

Hill Auditorium
University Of Michigan
Ann Arbor, Michigan
1 November 1989

73.Visions Of Johanna

Concert # 160 of The Never-Ending Tour.
Concert # 17 of the 1989 USA Fall Tour.
Concert # 82 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on Visions Of Johanna.

***

State Theater
Cleveland, Ohio
2 November 1989

74.Shot Of Love
75.Just Like A Woman
76.It's All Over Now, Baby Blue
77.It Ain't Me, Babe

Concert # 161 of The Never-Ending Tour.
Concert # 18 of the 1989 USA Fall Tour.
Concert # 83 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal, harmonica & guitar), G.E. Smith (guitar) on:
It's All Over Now, Baby Blue,
It Ain't Me, Babe.

Last live performance of Shot Of Love.

LB-2362

Very good to excellent sound [B+].

***


University Of Pennsylvania
Indiana, Pennsylvania
4 November 1989

Not used.

Concert # 162 of The Never-Ending Tour.
Concert # 19 of the 1989 USA Fall Tour.
Concert # 84 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Cassell Coliseum
Virginia Polytechnic Institute
Blacksburg, Virginia
6 November 1989

Not used.

Concert # 163 of The Never-Ending Tour.
Concert # 20 of the 1989 USA Fall Tour.
Concert # 85 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Chrysler Hall
Norfolk, Virginia
7 November 1989

78.Most Likely You Go Your Way (And I'll Go Mine)
79.When First Unto This Country (trad.)

Concert # 164 of The Never-Ending Tour.
Concert # 21 of the 1989 USA Fall Tour.
Concert # 86 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Most Likely You Go Your Way (And I'll Go Mine)

The circulating tape is incomplete and contains only 1-7 and a fragment of 8.

First of only two performances of When First Unto This Country (as of revision date).
The second was in Budapest 12 June 1991.

LB-0216

Fair sound [B-].

***

Duke University
Durham, North Carolina
8 November 1989

Not used.

Concert # 165 of The Never-Ending Tour.
Concert # 22 of the 1989 USA Fall Tour.
Concert # 87 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

The Fox Theater
Atlanta, Georgia
10 November 1989

80.To Be Alone With You
81.Dark As A Dungeon (Merle Travis)

Concert # 166 of The Never-Ending Tour.
Concert # 23 of the 1989 USA Fall Tour.
Concert # 88 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Dark As A Dungeon.

***

Sunrise Musical Theater
Miami, Florida
12 November 1989

Not used.

Concert # 167 of The Never-Ending Tour.
Concert # 24 of the 1989 USA Fall Tour.
Concert # 89 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Sunrise Musical Theater
Miami, Florida
13 November 1989

82.Subterranean Homesick Blues
83.Lay, Lady, Lay
84.Tangled Up In Blue

Concert # 168 of The Never-Ending Tour.
Concert # 25 of the 1989 USA Fall Tour.
Concert # 90 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Tangled Up In Blue.

First acoustic version of Tangled Up In Blue since Slane, Ireland, 9 July 1984.
Next acoustic version was performed in Washington, DC, 24 June 1995.

***

Festival Hall
Tampa Bay Performing Arts Center
Tampa, Florida
14 November 1989

Not used.

Concert # 169 of The Never-Ending Tour.
Concert # 26 of the 1989 USA Fall Tour.
Concert # 91 with the second Never-Ending Tour

***

Festival Hall
Tampa Bay Performing Arts Center
Tampa, Florida
15 November 1989

Not used.

Concert # 170 of The Never-Ending Tour.
Concert # 27 of the 1989 USA Fall Tour.
Concert # 92 with the second Never-Ending Tour

Band: Bob Dylan (vocal & guitar), G. E. Smith (guitar),
Tony Garnier (bass), Christopher Parker (drums).

***

Belmont Hall Studio
Brown County
Bloomington, Indiana
20 November 1989

Produced by Barry Goldberg

85.People Get Ready (Curtis Mayfield)

Bob Dylan vocal backed by unidentified musicians.

***

Rock on, Bob!

XXX

1989-10-10 New York
1989-10-12 New York
1989-10-13 New York
1989-10-15 Upper Darby
1989-10-16 Upper Darby
1989-10-18 Washington
1989-10-20 Poughkeepsie
1989-10-22 South Kingston
1989-10-23 Boston
1989-10-24 Boston
1989-10-27 Troy
1989-10-29 Ithaca
1989-10-31 Chicago
1989-11-01 Ann Arbor
1989-11-02 Cleveland
1989-11-07 Norfolk
1989-11-10 Atlanta
1989-11-13 Miami
1989-11-20 Bloomington

(221/1) Bob Dylan, 1990-01-12, Fastbreak Tour, (Pink Panther Records)

Audio/flac, dime/?, (20190420)

Bob Dylan

1990 FASTBREAK TOUR

(Pink Panther Records)

The short 1990 tour of one small US club, two US east coast colleges, two giant South American festivals, then residencies in Paris & London.

***

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

All sourced from 100% lossless FLAC from best available sound sources.

***

Wedged between the first & second recording sessions for Under The Red Sky, Bob did this.

One of the greatest, strangest & least understood tour legs of all time from Bob - he called it the Fastbreak Tour which is now referred to as the First Fastbreak Tour because there was a disasterous Second Fastbreak Tour in 1991.

Over a four week period (not even a full month), he plays 98 songs in 15 shows, 56 of which were only played one or two times.

It starts in a small club with 700 people, where Bob plays 50 songs in five hours, many of them covers never heard before of since.

He then tackles student crowds at two Ivy League US universities (Penn State & Princeton), then heads south for two massive festivals/carnivals Brazil (Sao Paolo & Rio de Janeiro) to audiences exceeding 100, 000.
To finish, our man does a four night residency at the stately Theatre de Grand Rex in Paris, followed by six nights at the Hammersmith Odeon in London.
The last London concert was Bob's longest concery ever (if you don't count New Haven).

These shows, although legendary to those who attended them, have always been a black hole to tape collectors because the North & South American shows circulated in poor sound & complete European concerts were hard to come by.

This compilation uses the best currently available sources. Only Penn State, Princeton & Sao Paolo how have sub-standard sound.

The music here is revelatory - the extraordinary setlist, generally great sound, incredible performances with both Bob & GE Smith at their best.

Bob sings clearly & coherently with no hint of the nasal whine which would derail late 1990 & most of 1991.

GE Smith's guitar playing in 1990 is much more sophisticated than the balls-to-the wall, proto-punk pyrotechnics of late 1988 & 1989.

Setlists vary radically each outing. Bob must have some kind of checklist as the rare songs simply keep coming.
Even some of the old chestnuts like A Hard Rain's A-Gonna Fall & Visions of Johanna (acoustic) blow you away.
The electric songs from Blood On The Tracks are simply beautiful.

Good music is music which makes you stop what you are going to simply listen - you will do this a lot with this one.

Forget about the chaos later in 1990 - all is great here.

So what are you doing over the next 28 days?? Bet you can't beat this.

Thanks to 10haaf, chambre, various spanish jedi knights, lilraven, vladimir, jacques, lambchop (how can I forget lambchop) etc.
for locating some extremely difficult to find recordings to make this possible.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

98 ball-tearing, sensational tracks
98 different songs
14 concerts are represented here (from the total of 15 concerts)
7 hours & 47 minutes of music
1 bob

***

The setlists alternated radically from night to night.

1 song played 16 times : Political World (3 times at New Haven)
2 songs played 14 times : All Along The Watchtower, Like A Rolling Stone
1 song played ten times : Stuck Inside Of Mobile With The Memphis Blues Again
3 song played nine times: Highway 61 Revisited, Tight Connection To My Heart (Has Anybody Seen My Love), What Was It You Wanted?
2 songs played eight times:Maggie's Farm, Mr Tambourine Man
3 songs played seven times:It Takes A Lot To Laugh, It Takes A Train To Cry, Man In The Long Black Coat, Rainy Day Women #12 & 35*
4 songs played six times:Forever Young, It Ain't Me, Babe, Lay, Lady, Lay, Seeing The Real You At Last
7 songs were played five times:Gates Of Eden, I Shall Be Released, In The Garden, I've Been All Around This World, Leopard-Skin Pill-Box Hat, Where Teardrops Fall, You're A Big Girl Now
5 songs played four times:Ballad Of A Thin Man, It's All Over Now, Baby Blue, Just Like A Woman, The Lonesome Death Of Hattie Carroll, What Good Am I?

14 songs played three times:
A Hard Rain's A-Gonna Fall
Ballad Of Hollis Brown
Boots Of Spanish Leather
I Believe In You
I Want You
I'll Remember You
Lenny Bruce
Most Likely You Go Your Way (And I'll Go Mine)
One More Cup Of Coffee (Valley Below)
One Too Many Mornings
Pretty Peggy-O
Simple Twist Of Fate
Subterranean Homesick Blues
Watching The River Flow

21 songs were played twice:
Across The Borderline
Blowin' In The Wind
Girl Of The North Country
Gotta Serve Somebody
I Don't Believe You (She Acts Like We Never Have Met)
I'll Be Your Baby Tonight
It's Alright, Ma (I'm Only Bleeding)
John Brown
Knockin' On Heaven's Door
Lonesome Whistle Blues
Love Minus Zero / No Limit
Mama, You Been On My Mind
Man Of Peace
Masters Of War
Most Of The Time
Positively 4th Street
Tears Of Rage
The Times They Are A-Changin'
To Be Alone With You
Wiggle Wiggle
You Angel You

35 songs were played only once:
Absolutely Sweet Marie
Barbara Allen
Confidential To Me
Congratulations
Dancing In The Dark
Dark As A Dungeon
Disease Of Conceit
Don't Think Twice, It's All Right
Every Grain Of Sand
Everybody's Movin'
Everything Is Broken
Help Me Make It Through The Night
I Dreamed I Saw St Augustine
In The Pines
Joey
Key To The Highway
Lakes Of Pontchartrain
Man Gave Names To All The Animals
Man Of Constant Sorrow
My Back Pages
Oh Babe, It Ain't No Lie
Paid The Price
Pledging My Time
Precious Memories
Queen Jane Approximately
She Belongs To Me
Shelter From The Storm
So Long, Good Luck And Goodbye
Song To Woody
To Ramona
Tonight I'll Be Staying Here With You
Trouble No More (Worried Life Blues)
Visions Of Johanna
Walk A Mile In My Shoes
When Did You Leave Heaven

***

Andrew Muir

1990: "Better than quittin? anyway"

"Don't be bewildered by the Never Ending Tour chatter, there was a Never Ending Tour but it ended with the departure of guitarist GE Smith.", Dylan, Liner Notes to 1993?s World Gone Wrong

Though Glasgow 1989 was the first NET show I attended, in many ways 1990 marked the true beginning of the NET for me.
It was the first time I saw him in a small hall; the line-up of Dylan's band began to change;
and the concert locations ranged from the smallest venues to large outdoor festivals.
The year also saw a huge inconsistency in the quality of Dylan's shows ?from drunken rambling messes to compelling art and exhilarating entertainment.
All these factors, to varying degrees, were to become integral features of the NET proper as it progressed through the 1990s.

The year also saw a sudden key realisation dawn amongst British fans ?
that 1989's tour was not merely Dylan's fifth three-yearly UK visit (after 1978, 1981, 1984, and 1987) one year early.
Instead, you could begin to count on seeing him again at a venue nearby, and soon, playing a set with a greatest hits backbone that was usually filled out with surprise originals and delicious covers.

Before the first real 1990 leg of the NET, Dylan astonished everyone by booking into Toad's Place, a 700-capacity United States venue, and playing four sets, across five hours from 9pm onwards, in a single night.
Once word started to travel about the content of those sets, the questions began to fly:
Key To The Highway ? are you sure?
Tight Connection To My Heart (Has Anybody Seen My Love)? ? you must be kidding, surely?
Bruce Springsteen's Dancing In The Dark? ? are you mad?
The eagerness to get one's hands on tapes of all this was incredible.
The hype just grew and grew as those lucky enough to have been there talked about Dylan chatting at length between songs and the special feeling there was between performer and audience.

***

Toad's Place
New Haven, Connecticut
12 January 1990

01.Walk A Mile In My Shoes (Joe South)
02.Trouble No More (Worried Life Blues) (McKinley Morganfield)
03.I Dreamed I Saw St Augustine
04.Everybody's Movin' (Glen Trout)
05.Watching The River Flow
06.Oh Babe, It Ain't No Lie (Elizabeth Cotton)
07.Wiggle Wiggle
08.Paid The Price (Moon Martin)
09.Help Me Make It Through The Night (Kris Kristofferson)
10.Congratulations
11.Dancing In The Dark (Bruce Springsteen)
12.Lonesome Whistle Blues (Hank Williams-Jimmy Davies)
13.Confidential To Me (Dolinda Morgan)
14.So Long, Good Luck And Goodbye (Weldon Rogers)
15.Pretty Peggy-O (trad. arr. Bob Dylan)
16.Key To The Highway (Charles Segar/Willie Broonzy)
17.Joey (Bob Dylan & Jacques Levy)
18.When Did You Leave Heaven? (W. Bullock/R. Whiting)
19.In The Pines (Huddie "Leadbelly" Leadbetter)
20.Highway 61 Revisited
21.Precious Memories (arr. by Bob Dylan)

Concert # 171 of The Never-Ending Tour.
First concert of the 1990 Fastbreak Tour.
1990 concert # 1.
Concert # 93 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

G.E. Smith (back-up vocal):So Long, Good Luck And Goodbye, In The Lines.

G.E. Smith (electric slide guitar):In The Pines, Precious Memories.

The show had four sets:

Live debuts:
Walk A Mile In My Shoes,
Trouble No More (Worried Life Blues),
I've Been All Around This World,
Political World,
Where Teardrops Fall,
Oh Babe, It Ain't No Lie,
Tight Connection To My Heart (Has Anybody Seen My Love),
Dancing In The Dark,
Key To The Highway.

BobTalk:

What song do you want to hear? A ballad song?
I'll think of one ... Joey? Joey? Ha! Joey!
OK, it'll take all night. You sing it You sing it!
We'll play for you if you sing it. Joey... OK, Joey.
Here's a song about ... sort of a hero story.
God knows there's so few heroes left.
We'll give it a bash and see if we can...

LB-6611;
Toads Place Vol 1 and 2 (Wanted Man Music / WMM 027-28-29-30)

Excellent sound [A-].

***

Rolling Stone, 8 March 1990

?Every once in a while we play requests, " Dylan said to the audience at Toad's Place, in New Haven, Connecticut, where he and his band were playing what amounted to an open rehearsal.
When a voice from the front row of the club called out for Congratulations, from The Traveling Wilburys album, Dylan's face lit up.
Turning his back on the audience of 700, Dylan ? who had only performed the song once before ?was forced to show his band the chords for the mocking ballad.

And for the benefit of any listeners who still doubted that they were witness to an extraordinary evening, the band next went straight into Bruce Springsteen's Dancing In The Dark.
Dylan's failure to remember all the lyrics was more than compensated by the grin on his face as he proved that he was still capable of delivering a surprise or two.

The 12 January 1990 show was a striking contrast to Dylan's recent lackluster, perfunctory performances, a t which he has appeared so indifferent that the audience has been lucky if he acknowledged its presence, much less invested any of himself in his songs. But at Toad's Place, he rose to the challenge of his first scheduled club date in countless years with a brilliant marathon show.
Dylan and his usual touring trio ? featuring Saturday Night Live guitarist GE Smith ?blazed through an even 50 songs in four hour-long sets.

It was also one more feather in the cap of Toad's Place, where stars such as Cyndi Lauper have kicked off tours in recent years and which, five months to the day before Dylan's appearance, had hosted a surprise visit by The Rolling Stones at the start of their Steel Wheels tour.
The nominal reason for the Toad's Place date ? announced only four days before the show ?was to prepare the band for Dylan's first tour of South America, which began in late-January 1990 and was to be followed by a swing through Europe.
Dylan reportedly chose Toad's Place on the condition that he receive 100% of the box office, but considering that his appearance spanned six hours, the club must have easily made up for that sacrifice in bar receipts.

Dylan's song selection was as unlikely as his mood. He generally avoided his most familiar hits, leaning instead on personal favorites and unexpected covers. After opening with Joe South's Walk A Mile In My Shoes, the first two sets included such seldom-heard Dylan gems as I Dreamed I Saw St Augustine, from John Wesley Harding, and a heart-wrenching Tears Of Rage. By the 14-song third set, though, Dylan sounded like a bar-band veteran, playing such country and blues standards as Kris Kristofferson's Help Me Make It Through The Nightand a convincing version of Big Bill Broonzy's Key To The Highway.

Dylan also played most of the songs from Oh Mercy; the highlight was a chilling rendition of Man In The Long Black Coat.
Explaining that "we're working on our endings tonight, " he played his latest single, Political World, three times, increasing the intensity and adding new verses with each rendition.

Dylan picked up an acoustic guitar only once, to lead the band through Watching The River Flow.
It was a night for rock ?n? roll, with Dylan turning in a majestic electric performance of the folk classic Pretty Peggy-O, which he originally recorded for his 1961 debut album. He traded frequent Fender solos with Smith, who deferred to Dylan's genial attitude and concentrated on playing strong, blistering leads.

Even lesser Dylan numbers came off well this night. The maudlin Lenny Bruce, from the 1981 album Shot Of Love, was passionate and moving. After initial resistance to a request for Joey ? "We'll be up here all night if I sing that one" ? Dylan gave in.
"I ought to do it ? God knows we don't have many heroes left these days, "he explained before launching into the epic tribute to the slain mobster Joe "Crazy Joey" Gallo.

Though most of his choices ran toward the obscure, Dylan did not neglect some of his more familiar compositions, including Maggie's Farm and Lay, Lady, Lay, which he introduced as "one of my favorites."
Dylan's tendency of late has been to toss this material off with an apathy bordering on disdain, but these versions were rich and impassioned, full of the humor and bite that he seemed to have lost.

After almost four hours of singing, Dylan launched into a stinging Highway 61 Revisited and the wistful Precious Memories, from Knocked Out Loaded.
Finally, after a few false starts, Dylan swung into Like A Rolling Stone, requisite even on such an unprecedented night.
hough his voice was starting to show signs of fatigue from its arduous workout, and the audience was exhausted, it was a final, exultant moment, releasing everyone for home at 2:30 am.

Dylan is only one year away from his 50th birthday and his 30th year as a recording artist.
Yet here he was, in close contact with his fans once again, still experimenting with new songs, still working on numbers he has been playing for decades. It was an awe-inspiring performance, as close to a comprehensive retrospective as Dylan is ever likely to offer onstage.

***

Andrew Muir

All this raised fans already heightened anticipation of the forthcoming Paris and London shows ?due after Dylan spent a brief sojourn in South America playing for massive, six-figure festival audiences.
When the Toad's Place tapes finally arrived, it soon became apparent that, extraordinary event though it was, that marathon night had been merely a public rehearsal. Nothing wrong with that, I wish he would do it every year, but it was ironic at the time that this most sought-after of tapes was soon blown away by recordings of proper gigs.

Two warm-up shows in the United States acted as a kind of half-way house between the rehearsals and the real concerts.
The first of them was, like Toad's Place, all-electric and found Dylan still working on Tight Connection To My Heart (Has Anybody Seen My Love), as well as making a stab at You Angel You. Both of these held significance for the shows to come, though Dylan's recollection of the latter's lyrics at this point stretched to the title only.

***

Recreation Hall
Pennsylvania State University
State College, Pennsylvania
14 January 1990

22.Gotta Serve Somebody
23.Across The Borderline (Ry Cooder/John Hiatt/Jim Dickinson)

Concert # 172 of The Never-Ending Tour.
Second concert of the 1990 Fastbreak Tour.
1990 concert # 2.
Concert # 94 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

LB-10097

Very good to excellent sound [B+].

***

McCarter Theater
Princeton University
Princeton, New Jersey
15 January 1990

24.Lakes Of Pontchartrain (trad.)

Concert # 173 of The Never-Ending Tour.
Third concert of the 1990 Fastbreak Tour. 1990 concert # 3.
Concert # 95 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Lakes Of Pontchartrain.

LB-3105

Very good to excellent sound [B+].

***

Sambodromo
Rio de Janeiro, Brazil
25 January 1990

25.One Too Many Mornings

Concert # 175 of The Never-Ending Tour.
Concert # 5 of the 1990 Fastbreak Tour.
1990 concert # 5.
Concert # 97 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on One Too Many Mornings.

Bob Dylan (harmonica) on One Too Many Mornings.

LB-1628;
Carnival To Rio (Vintage Masters / VMCDR-153A-B)

Very good to excellent sound [B+].

***

Theatre de Grand Rex
Paris, France
29 January 1990

26.Don't Think Twice, It's All Right
27.Man Gave Names To All The Animals
28.Forever Young

Concert # 176 of The Never-Ending Tour.
Concert # 6 of the 1990 Fastbreak Tour. 1990 concert # 6.
Concert # 98 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar) on Don't Think Twice, It's All Right.

Forever Young starts acoustic and ends electric.

Bob Dylan (harmonica):Don't Think Twice, It's All Right, Forever Young.

First band credits during the Never-Ending Tour.

LB-1267;
Taper: Holy Grail (HG);
xref-01270

Very good to excellent sound [B+].

***

Theatre de Grand Rex
Paris, France
30 January 1990

29.Subterranean Homesick Blues
30.All Along The Watchtower
31.I Believe In You
32.Leopard-Skin Pill-Box Hat
33.The Times They Are A-Changin'
34.Boots Of Spanish Leather
35.Seeing The Real You At Last
36.Simple Twist Of Fate
37.Masters Of War

Concert # 177 of The Never-Ending Tour.
Concert # 7 of the 1990 Fastbreak Tour.
1990 concert # 7.
Concert # 99 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):The Times They Are A-Changin', Boots Of Spanish Leather.

Bob Dylan (harmonica):The Times They Are A-Changin', Boots Of Spanish Leather, Simple Twist Of Fate.

G.E. Smith (back-up vocal) on Subterranean Homesick Blues.

LB-1304;
Holy Grail (HG)

Excellent sound [A-].

***

Theatre de Grand Rex
Paris, France
31 January 1990

38.Ballad Of A Thin Man
39.Stuck Inside Of Mobile With The Memphis Blues Again
40.John Brown
41.Shelter From The Storm
42.It's All Over Now, Baby Blue
43.A Hard Rain's A-Gonna Fall
44.Lay, Lady, Lay
45.I'll Remember You

Concert # 178 of The Never-Ending Tour.
Concert # 8 of the 1990 Fastbreak Tour.
1990 concert # 8.
Concert # 100 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):It's All Over Now, Baby Blue, A Hard Rain's A-Gonna Fall.

Bob Dylan (harmonica):Ballad Of A Thin Man, Shelter From The Storm, It's All Over Now, Baby Blue.

LB-9934;
A Clown Who Cried In The Alley (Southside Butcher)

Very good to excellent sound [B+].

***

Theatre de Grand Rex
Paris, France
1 February 1990

46.Most Likely You Go Your Way (And I'll Go Mine)
47.Political World
48.What Was It You Wanted
49.Tears Of Rage (Bob Dylan & Richard Manuel)
50.Visions Of Johanna
51.Mama, You Been On My Mind
52.Gates Of Eden
53.It Ain't Me, Babe
54.It Takes A Lot To Laugh, It Takes A Train To Cry
55.Lenny Bruce
56.Man Of Peace
57.You're A Big Girl Now
58.Like A Rolling Stone
59.Barbara Allen (trad.)

Concert # 179 of The Never-Ending Tour.
Concert # 9 of the 1990 Fastbreak Tour.
1990 concert # 9.
Concert # 101 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):Visions Of Johanna, Mama, You Been On My Mind, Gates Of Eden, Barbara Allen.

Bob Dylan (harmonica):What Was It You Wanted?, Visions Of Johanna, Mama, You Been On My Mind, It Ain't Me, Babe, You're A Big Girl Now.

LB-8699;
Taper: Schnuckelpferd;
Equipment: Master Aud mit Sony WWD6C + Microphon Sony ECM 155 double + Maxell MX

Excellent sound [A].

***

Andrew Muir

The six United Kingdom dates were scheduled for the Hammersmith Odeon in West London.
By a lucky coincidence I had recently moved house to the Hammersmith area, which left me a mere 15-minute walk away from both venue and box office for this residency-to-die-for.
I was all set to rush there the minute Lambchop contacted me from the head of the queue.

Naturally, life did not go so smoothly. Once again I was working in Eastbourne and my pager (younger readers may need to ask their parents what this means) was going wild with so-called urgent messages.
The only really urgent one was from Lambchop, telling me that those in the know were queuing all night for Dylan tickets just up the road from my flat.
I was stunned and distraught at missing out. The excitement of the approaching concerts had to be held inabeyance long enough for me to dash off a letter to the Hammersmith Odeon, carefully following Lambchop's detailed instructions.

Days passed slowly. Cousin Andy phoned to say he had six tickets for various parts of the venue.
Fear set in, I should have heard something by now. By this time everyone else seemed to have their tickets yet, still, I had none.

I went to the Odeon to find short tempers and confusion a-plenty at the ticket desk, with Dylan fans much in evidence.
Finally, the Odeon staff located my letter. They had not sent out any tickets because I had appeared to have asked for seven in my first paragraph, one over the limit per application. They had ignored the rest of my letter, which made it clear I would accept any number anywhere at any price.

As I was breaking into a state which only the similarly obsessed can possibly imagine, along came yet another agitated Dylan fan in an identical predicament.
The staff were getting a bit fed up with this, while the rest of the queue who had turned up for tickets to other eventswere looking on in bewilderment as various Dylan fans and members of staff were verging on nervous breakdowns.

Eventually pity welled in the breast of one member of staff at my predicament and I got my tickets; seven at that.
They were dotted all round the venue and, unsurprisingly by now, none were near the front.
So, after many phone calls, and much frenetic upgrade buying, swapping and buying and swapping and buying again,
I had to settle for two very good seats, two in the balcony and two in the middle, plus various others spread around the hall for those I was taking along.

As the opening London show approached, mouth-watering reports filtered back from France, culminating in a call from Lambchop in a state of ecstasy at the latest Paris date.
I assumed he was exaggerating in understandable post-concert excitement, but was impressed that he was so blown away by the show.
The subsequent arrival of a tape proved that he was telling it just the way it happened.

Eventually the great day of the first concert dawned. My wife Pia and cousin Andy were going with me.
Andy was down for the week with his usual goodies. An inspired electric Pretty Peggy-O on video was the last song he played for me before leaving the flat.
It was the best version I had ever heard, an opinion I would shortly have to revise.

On the way to the show, we stopped at the Novotel, which was full of people I would get to know over the next year or so, involved in a massive ticket-swapping session of quite extraordinary complexity and intricacy, all for the sake of a foot or so worth of ?advancement?.
It was almost distracting enough to fill in the time before Dylan came on stage.

***

Hammersmith Odeon
London, England
3 February 1990

60.Love Minus Zero / No Limit
61.Queen Jane Approximately

Concert # 180 of The Never-Ending Tour.
Concert # 10 of the 1990 Fastbreak Tour.
1990 concert # 10.
Concert # 102 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):Love Minus Zero / No Limit

Bob Dylan (harmonica):Love Minus Zero / No Limit.

LB-6061;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6, master cassette >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > r8brain > cdwave for tracking > tlh

Excellent sound [A-].

***

Andrew Muir

As show-time approached, the whole front area could hear Lambchop shouting at the top of his voice, "Bobby Bobby Bob. Stand up".
Then Dylan took to the stage and the opening guitar lines signalled the arrival of Stuck Inside Of Mobile With The Memphis Blues Again.
The screams of joy were pure teeny-bopper stuff, as was my stunned wonder that he was so close.
The music pounded in my eardrums, and when Dylan started singing the hall erupted all over again.

It was to be too much for some; near the beginning of the show two people actually ran onto the stage.
Dylan looked momentarily alarmed but then just stepped out of the way and kept playing his guitar.

The energy poured from the stage as Dylan and the band tore into the song like your favourite garage band.
By the end of the first verse I could have died and gone to heaven. As the song continued, I revelled in Dylan's every word; his every facial expression; his every movement. My senses were in overdrive.
I tried to tell myself that there were six whole nights of this to come, to pace myself. But such reserve was inconceivable.
Then the guitar break brought another outbreak of fan hysteria.

"Stand-up for Bobby ? show some respect", shouted Lambchop as the song ended to tumultuous applause. "Show some respect!
Bobby's standing for you, you stand for him."

The clapping died down as the opening chords of Pretty Peggy-O emerged. Back at the flat, Andy and I had joked about how wonderful it would be if Dylan played this, and how wonderful it was indeed.
This was the most heavenly part of heaven itself. My reverie was broken by Lambchop's dulcet tones:

"Fuck 'em all Bobby, fuck 'em all, they don't fucking deserve it. Show them who is boss".

Tight Connection To My Heart (Has Anybody Seen My Love) followed. Dylan slowed down enough to give a pointed delivery, making the audience actually think about what he was saying, even as they continued to act like star-crazed teeny-boppers.
The coming together of these two elements is what Dylan appreciation in the NET is all about.
Dylan repeated the line "Has anybody seen my love?" so many times that it became the de facto title of the song in this guise,
which was far removed from the Empire Burlesque prototype. As it drew to a close, Larry Lambchop was off again.

"Bobby, Bobby, Bobby, " he started to scream. At which point, Lambchop's voice suddenly packed in (it was amazing it had lasted so long).
Then, after a pause during which it sounded like it had cracked for the very last time, he was back at full throttle:

"Too good, too fucking good for them. Bobby you are the best."

Dylan then swung into a breathless run-through of Political World, his demeanour mercifully far removed from how he looks in the depressing, poorly-staged video that had been used to promote the song. In contrast to the album version's biblical mood, this live version stressed the contemporary in the mixed modern and ancient imagery that is so typical of Oh Mercy songs.

An utterly classy You're A Big Girl Now ensued, with the phrase "singing just for you" bringing cheers from the crowd.
What Was It You Wanted? started suddenly, before the applause for the previous song had tailed off, while the insistent beat made the questions seem menacing rather than contemplative.

"ThankyouBobbyThankyouBobbythankyouthankyouthankyou", Lambchop yelled without pause for breath.

The driving intensity of Leopard-Skin Pill-Box Hat was beyond belief. If the 1989 version had been fine, this was pure ecstasy.
The band were playing fabulously and everyone in the hall was having a ball.
By the time the band abruptly slammed into All Along The Watchtower Larry's throat was getting pretty hoarse, but he hung in there:
"Thanks for coming! Anything you want Bobby, anything you like."
A woman cried "We love you" as Dylan launched into a beautiful performance of Love Minus Zero / No Limit.

Much as singing along at concerts is anathema to me, I found it hard to decry the spontaneous crowd accompaniment
to the first chorus of It Ain't Me, Babe ? for all I know, I was joining in.

"We're going change the title now to 'Ain't it me babe?'" Dylan quipped at the song's conclusion.

"Thank you Bob thank you Bob", replied our feather-in-the-hat friend.

The Lonesome Death Of Hattie Carroll was almost perfect. Although Dylan forgot some words,
he was firmly in control and his illuminating harmonica break preceded a great, guitar-driven end to the song.
Gates Of Eden was attacked at a break-neck pace and then the whole crowd was clapping along to Everything Is Broken.

"God bless you Bobby God bless you", cried Lambchop.

Bless Bob indeed, for going into the transcendent Queen Jane Approximately. His voice hit a high note in the song's opening, surging over the band's thrilling accompaniment, and then there was the totally wonderful Dylanesque-to-the-nth-degree vocalisation
of the stretched-out line endings.

At its end we were breathless, but Dylan was not: with hardly a pause he was into It Takes A Lot To Laugh, It Takes A Train To Cry.
As he ended the lines "And if I don't make it / You know my baby will" by stretching the last word to ?willlllllllI",
a classic was reinvented in front of our eyes.

It was hard to imagine that life could get better, but it immediately did with the appearance of Man In The Long Black Coat;after which, a show-stopping In The Garden had everyone partying.

As for Like A Rolling Stone, it had to be experienced rather than heard. We could tangibly feel we were at an?event?, a pinnacle even in Dylan's peak-strewn career. Naturally, Like A Rolling Stone had to be the closer, and just as naturally we all went crazy.

"Thank you everybody, " Dylan remarked restrainedly to the baying, happy mob as the song closed the main set for the night.
The encores opened with some lovely guitar picking to introduce Mr Tambourine Man.
Dylan's ambitious staccato delivery changed the pace of the song completely before it finished with a splendid harmonica break.
Finally, a storming finale of Highway 61 Revisited brought this perfect evening to a close.

So many things shone out on the opening night: Dylan's mobility (in such contrast to 1989); his happiness;
the hugely appreciative reception given to Oh Mercy songs; the brilliant recasting of "Tight Connection" into "Has Anybody Seen My Love?".
It Takes A Lot To Laugh. It Takes A Train To Cry alone would have been more than enough to satisfy me for the entire week.
Instead, the residency was to supply jewel upon jewel, night after night.

***

Hammersmith Odeon
London, England
4 February 1990

62.One More Cup Of Coffee (Valley Below)
63.My Back Pages
64.The Lonesome Death Of Hattie Carroll
65.Man Of Constant Sorrow (trad. arr. Bob Dylan)
66.What Good Am I?
67.Maggie's Farm

Concert # 181 of The Never-Ending Tour.
Concert # 11 of the 1990 Fastbreak Tour.
1990 concert # 11.
Concert # 103 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):The Lonesome Death Of Hattie Carroll, Man Of Constant Sorrow.

Bob Dylan (harmonica):My Back Pages, The Lonesome Death Of Hattie Carroll.

LB-6070;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6, master cassette >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Hammersmith Odeon
London, England
5 February 1990

68.Just Like A Woman
69.In The Garden

Concert # 182 of The Never-Ending Tour.
Concert # 12 of the 1990 Fastbreak Tour.
1990 concert # 12.
Concert # 104 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

LB-6079;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6, master cassette >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Hammersmith Odeon
London, England
6 February 1990

70.I Don't Believe You (She Acts Like We Never Have Met)
71.Ballad Of Hollis Brown
72.Blowin' In The Wind
73.Song To Woody
74.Knockin' On Heaven's Door
75.Tight Connection To My Heart (Has Anybody Seen My Love)
76.Man In The Long Black Coat
77.I Shall Be Released
78.Dark As A Dungeon (Merle Travis)

Concert # 183 of The Never-Ending Tour.
Concert # 13 of the 1990 Fastbreak Tour.
1990 concert # 13.
Concert # 105 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):Blowin' In The Wind, Song To Woody, Dark As A Dungeon.

Knockin' On Heaven's Door starts acoustic and ends electric.

Bob Dylan (harmonica):
I Don't Believe You (She Acts Like We Never Have Met),
Blowin' In The Wind,
Song To Woody.

LB-6091;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6, master cassette >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > wavelab, levels raised > cdwave for tracking > tlh

Excellent sound [A-].

***

Hammersmith Odeon
London, England
7 February 1990

79.To Be Alone With You
80.Most Of The Time
81.I'll Be Your Baby Tonight
82.It's Alright, Ma (I'm Only Bleeding)
83.Girl Of The North Country
84.Tonight I'll Be Staying Here With You
85.Everything Is Broken

Concert # 184 of The Never-Ending Tour.
Concert # 14 of the 1990 Fastbreak Tour.
1990 concert # 14.
Concert # 106 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):It's Alright, Ma (I'm Only Bleeding), Girl Of The North Country.

Bob Dylan (harmonica):Girl Of The North Country

First Tonight I'll Be Staying Here With You since Clearwater, Florida, April 22, 1976.

LB-6115;
xref-00174;
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t -> Sony D6, master cassette >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh.

Excellent sound [A-].

***

Andrew Muir

There were many highlights for me. On 5 February 1990, I got lost on my way out of the venue, finally alighting by a side door that led straight to the waiting tour bus. I got on it and chatted to Chris Parker, the drummer.
On 6 February we got one of the week's highlights: Merle Travis's Dark As A Dungeon, performed in a dark, deep voicethat croaked and crackled with emotion and emphasis.

The 7 February 1990 show featured a rapturously received Forever Young that brought memories of 1978 and would have made a fitting finale.
Dylan began it as a benediction to the audience, but it grew into a defiant declaration of intent.
That same night, there was also an oddly arranged Tonight I'll Be Staying Here With You (making its first appearance since 1976) ?the almost shouted lyrics intimating that the narrator was moving on rather than staying.
It is reasonable to assume that most people's favourite on 7 February was Most Of The Time.
"I can survive, I can endure", Dylan sang, with his voice making clear that it was at a terrible cost.

Other standouts that night included It's Alright, Ma (I?m Only Bleeding) from the acoustic set and, from the electric, the quintessential city blues, It Takes A Lot To Laugh, It Takes A Train To Cry, which boasted additional guitar embellishment that made it even better than on the opening night.
The walls of the Hammersmith Odeon seemed to vibrate as bass lines snaked and drums relentlessly pounded;above it all Dylan's vocals soared in tandem with the lead guitar. Exhilarating, exhausting, magical.

***

Hammersmith Odeon
London, England
8 February 1990

86.Absolutely Sweet Marie
87.Positively 4th Street
88.Pledging My Time
89.I Want You
90.You Angel You
91.To Ramona
92.She Belongs To Me
93.Mr Tambourine Man
94.Disease Of Conceit
95.Where Teardrops Fall
96.Every Grain Of Sand
97.Rainy Day Women #12 & 35
98.I've Been All Around This World (trad.)

Concert # 185 of The Never-Ending Tour.
Concert # 15 of the 1990 Fastbreak Tour.
1990 concert # 15.
Concert # 107 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (vocal & guitar), G.E. Smith (guitar):To Ramona, She Belongs To Me, Mr Tambourine Man.

Bob Dylan (piano:Disease Of Conceit.

Bob Dylan (harmonica):Positively 4th Street, Pledging My Time, I Want You, She Belongs To Me, Mr Tambourine Man, Where Teardrops Fall, Every Grain Of Sand

LB-6137
Taper: Legendary Taper B (LTB);
Equipment: Sony ECM 150 t > Sony D6 master cassette > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab > ssrc >
Wavelab levels raised > cdwave for tracking > tlh

Excellent sound [A].

***

Andrew Muir

I was not alone in worrying that the last show would prove to be an anti-climax.
It seemed impossible that Dylan could top his previous performances; but that is exactly what he did.
As in Paris, good hands were played during each show, but all the aces were saved for the final night.

As the band stormed through the opening Absolutely Sweet Marie, Dylan steered the song through the electric maelstrom.
Man In The Long Black Coat was next, understandably similar to the opening night.

A complete mood change was wrought with a driving Positively 4th Street. As the aisles swayed in hymnal response to this most cruel of put-downs, Dylan sounded more resigned than overtly scornful: the cawing sneer of the young man was replaced by a more mature voice, one so used to being let down that he accepts it as part of life.

"'Kyou, " Dylan told the enthusiastic audience and launched straight into a monumental Ballad Of A Thin Man.
Menacing, dark and wonderful, the questions pierced the thick air like stabs of lightning.
A harmonica break slowed things down before Dylan had us all just staring (or dancing) in awe as he exploded through the final verses.

'"Kyou."

Pledging My Time made a rare and welcome appearance, as somehow Dylan conjured up a sense of intimacy in the crowded, stuffy auditorium.
At the gorgeous harp break the crowd went nuts all over again.

Next was the third Blonde On Blonde song of the night, I Want You, taken far too fast, but the sound of celebration in Dylan's voice made it clear he was having a ball and wanted us to have one with him.

Political World provided us with a needed break from the intensity, before You Angel You, so surprisingly played in response to a request at the warm-up show on 14 January 1990, reappeared to a roar of shocked delight.
Dylan had clearly been re-learning the lyrics and gave an exuberant performance, following it with a menacing version of All Along The Watchtower.

"Play anything you like, Bob", Lambchop wisely suggested over the ensuing hubbub of requests.
What we got was a sharply focused Boots Of Spanish Leather that quietened everything down again.

Dylan's punchy delivery sounded simultaneously ravaged and sensuous on the following To Ramona, and She Belongs To Me continued our acoustic feast.

'"Ankyou, " expounded Dylan at length.

Some hesitant guitar playing strengthened into the unmistakable sound of Mr Tambourine Man ?a fine clear version with a lovely brief harp break early on.

"Thank you", said our man, becoming positively verbose, before walking over to the piano that had remained untouched throughout the residency.
A huge roar went up. All week long Dylan had been teasing us by circling the piano without ever touching its keys.
As Dylan now approached the piano once again, the crowd's anticipation was tinged with apprehension that this was another put-on.
The cheer redoubled when we realised that this time it was for real. Dylan briefly went back to the front of the stage to revel in the applause, before returning to the piano for an inspired rendition of Disease Of Conceit.

I'll Remember You was followed by Where Teardrops Fall, the next glorious surprise of this week of never-ending treats.
I was brought back to earth with Seeing The Real You At Last. Even Dylan in such resplendent form could not redeem this bombast, occasional good lines notwithstanding.

Every Grain Of Sand is one of those songs that should never be played live because the studio versions are so perfect.
At the end of this week, however, it seemed he could do anything, and he pulled it off with aplomb.

A change of mood followed with Rainy Day Women #12 & 35; from metaphysical insight to all-out rave-up in one easy movement.
The song sounded fresher in those earlier NET years and this was great fun.
Dylan's voice almost gave out at one moment but he just came back with a big, bear-like roar of a "yeah-eah!"
and ended the song, before instantly ripping into Like A Rolling Stone. It was an all-out rocking climax to an entire week of euphoria.
Never have such scathing lyrics sounded so celebratory.
t felt as if the energy both on and off the stage could fuel a starship to the farthest reaches of the galaxy.
As GE Smith went through his showcase solo I would never have imagined that this would be the last time I would see him on stage with Dylan.
The band just seemed so happy and so together.

Suddenly, unbelievably, the residency was approaching its end. We had reached the encores of the last show.
Each passing moment was becoming ever more precious.A strong version of the acoustic classic It Ain't Me, Babe opened the encores.
This had grown into one of his most bonding live songs: both singer and audience aware of the irony of greeting its lyrics of denial with such a rapturous reception.

The traditional Hang Me, Oh Hang Me (aka. I've Been All Around The World or The Blue Ridge Mountains) was sung by Dylan in a throaty but deeply satisfying growl. Deep bass lines and simple guitar strokes lent gravity.
For a man who had been criss-crossing continents for the past five years, the sentiments of "Lord, Lord, I've been all around this world" seemed fitting.
A hush came over the hall. It was one of the most perfect moments of my life.

Then a blistering, rip-the-paint-off-the-walls Highway 61 Revisited brought the whole thing to a rousing, exhausting finish.
It was a long time before many of us left the hall, so reluctant were we to leave the scene of our extraordinary experience.

There was a huge over-reaction from fans in the following weeks. "The best since 75", said many; "since "66", said others.
I joined in this daft game, to a slightly lesser extent, by affirming it "the best I'd seen him since 1978".
Though easily dismissed by later perspectives, these heady claims certainly felt right at the time.
The high standard of performance and the intimacy of the venue provoked an immediate need to elevate the Hammersmith 1990 residency over past triumphs such as the 1979 and 1980 tours, or if one was thinking of United kingdom-only gigs the sumptuous 1981 concerts.

In any case, the experience was a transforming, uplifting one and very far from over.
Hammersmith 1990 may have ended on stage but the tapes were already out and the videos, vinyl and CDs would follow.
To this day, I find it hard to accept that these were just 'six more shows in the NET'.
For me they were the turning point, and the beginning of a time when I could regularly see Dylan in concert at close range; when all sorts of weird and wonderful things would happen to the set-lists; when I would start to know more and more of the audience who, like me, were going to a number of shows and listening to them all. My own NET had started with a vengeance.

I had discovered the door to a magical kingdom, and felt like Charles Ryder in Evelyn Waugh?s Brideshead Revisited when he first encountered the world of Sebastian Flyte.

"I went there uncertainly. But I was in search of love in those days, and I went full of curiosity and the faint, unrecognized apprehension that here, at last, I should find that low door in the wall, which others, I knew had found before me, which opened on an enclosed and enchanted garden, which was somewhere, not overlooked by any window, in the heart of that grey city."
Brideshead Revisited

This "enchanted garden" of endless touring and Dylan-watching was open to anyone who wanted to step into the enclosure.
From now on I would be collecting as many shows as I could on tape, and subscribing to all those Dylan magazines I had heard so much about.
In fact I even started one myself; the first issue of that magazine, Homer, the slut came out later in 1990.
Producing and distributing it would take up most of my free time over the next four years.

***

Paul Williams

The short European tour concluded with a six-show residency at the Hammersmith Odeon in London.

The Hammersmith residency of 3-8 February 1990, according to many reports, was a tremendously rewarding experience for most of those in attendance, as was true of the Beacon residency in October 1989.
How does a transcendent experience for concert-goers (and thus a very successful work of intentional art for the performer), translate into the "accidental art" form of archivable amateur audio recordings? This is a big question.
Queen Jane Approximately from 12 October 1989 is an impressive and very stimulating work of art, but probably not, for most who hear it in recorded form, one of the very greatest performances of the Never Ending Tour, as it was for the two experienced and trustworthy observers quoted earlier who happened to be present at the creation.

The very high praise accorded the 1990 Hammersmith shows by the experienced Dylan observers who were there ('?The best since '75, ? said many, ?since '66, ? said others; I joined in this daft game, to a slightly lesser extent, by affirming it ?the best I'd seen him since 1978?? ? Andrew Muir) tended to be for the residency as a whole, or in some cases for the sixth show in particular. But if we turn our attention to the recorded "accidental art" version of one performance that did get singled out for high praise by some commentators, Dark As A Dungeon from 6 February 1990, I think it is fair to say we find an intense, moving performance worthy of repeated listenings, but not in itself conclusive evidence that the performer was doing some of the best work of his career at these six shows.
Maybe you had to be there. That, of course, is the general rule for performed art.
What makes Dylan's "accidental art" worth chronicling and well worth seeking out is that here and there in the body of work (43 years of live performances, as I write this in June, 2003) are quite a few recordings that seem to have the power in themselves to transport the listener to the concert hall and place him or her inside the skin of the singer, the musicians and the audience in that room far away in space and time where this musical art was being improvised, invented, breathed into existence.

Not that the point is the re-creation of anyone's experience, but rather the opportunity here and now via a recording to have a powerful and unique and deeply rewarding experience of human artistry.
One can find this again and again amidst the 16 years so far (and more than a thousand recorded shows) of Never Ending Tour performances.
Instead of saying, "you had to be there, " we can say with some sincerity, "it's not too late to go there."
In saying this, we are just thinking of a few particularly powerful works of accidental art that we as individual listener-appreciators have found to be reliable conveyors of the genius of Dylan as a singer and song-creator and bandleader and maker of timeless music.
Someone who has been able to exist in the moment so strong as to stop time in a way that can be experienced and recognized by anyone who comes in contact with what he has done (provided they have ears to hear:
It's for myself and my friends my stories are sung").

There is no machine, mechanical or human, that can reliably find all or most of the great works of this sort of art that are available in the form of show recordings from a particular month or year of an artist's work.
I resign the task which my subconscious persists in telling me I have assumed by undertaking this chronicle or study.
The best I can do is find something now and again that I truly believe in and am repeatedly and reliably enriched by.
Um, there will be another such example cited before the end of this chapter you are now reading and I am now writing.
But do not ask me, or do not let me ask myself, to identify in these pages the relative merits of any particular batch of shows ?for example the three momentous residencies, New York October 1989, Paris and London February 1990 ?when experienced as archived audience recordings ("accidental art").
My subconscious would have me shovel the glimpse into the ditch of what each one means (or how it rates) and cares not to come up any higher, but would rather get me down in the hole that he's in ? and it's dark as the dungeon way down there.
By the way, this 6 February 1990 performance of Dark As The Dungeon does, in its opening moments, make a fairly convincing case for the origin of the memorable opening phrase ("Come gather round people, wherever YOU roam") of The Times They Are A-Changin'.

***

Rock on Bob!

XXX

1990-01-12 New Haven
1990-01-14 Penn State
1990-01-15 Princeton
1990-01-25 Rio De Janeiro
1990-01-29 Paris
1990-01-30 Paris
1990-01-31 Paris
1990-02-01 Paris
1990-02-03 London
1990-02-04 London
1990-02-05 London
1990-02-06 London
1990-02-07 London
1990-02-08 London

(261/1) Bob Dylan, 1990-01-29, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Le Grand Rex
Paris
1990-01-29

CD 1

01 Annonce - Subterranean Homesick Blues
02 Lay, Lady, Lay
03 All along the Watchtower
04 Stuck Inside of Mobile with the Memphis Blues Again
05 Highway 61 Revisited
06 You're a Big Girl Now
07 Seeing the Real You at Last
08 Gates of Eden
09 Love Minus Zero/No Limit
10 Mr. Tambourine Man
11 One Too Many Mornings
12 Don't Think Twice, It's All Right

62:37

CD 2

13 Just Like a Woman
14 Political World
15 What Good Am I > Third Stone from the Sun
16 Man Gave Names to All the Animals
17 Everything Is Broken
18 I Shall Be Released
19 Like a Rolling Stone - Band Introduction

(encore)

20 Forever Young
21 Rainy Day Women #12 & 35

43:17

2

CDs 105:55

------------------------------------------------------------------------------------------------------------------------
taper: Legendary Taper A
location: Orchestre-mezzanine
lineage:
Sennheiser MKE-2002 Binaural Microphones >Sony TC-D5 Stereo Cassette-Corder >2x Maxell XL-II C90s (m) >JVC TD-W501 Stereo Double Cassette Deck >Behringer U-Control UCA-222 >iMac 2.9 GHz Intel Core i5 / OS X El Capitan 10.11.3 >Burr Brown from Texas Instruments USB Audio CODEC (44.1 KHz/16 bit/stereo/512 samples) >AIFF >HairerSoft Amadeus Pro 2.1.3 (1544) (tracking, markers aligned to CD sectors) >xACT 2.37 (7448) >FLAC 0.5800 (21 files), tags, md5, ffp >Transmission/2.92 (14714) Build#8533 >Dime 2016-03-10 by serge

Note: PA noise "Gates of Eden" @ 1:40
------------------------------------------------------------------------------------------------------------------------



(262/1) Bob Dylan, 1990-01-30, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan 01/30/90
Theatre de Grand Rex, Paris, France

Taped by a German friend of mine, HCE-C with Senn2oo2 and Sony D6>put on dat and
mailed to me>dat cloned to file via microtrack>Goldwave split>TLH

very nice sounding show.i think this is around but not sure if directly from C master,
which this is, virgin no tampering with the sound.


Subterranean Homesick Blues,
I Want You,
Maggie's Farm,
All Along The Watchtower,
I Believe In You,
Where Teardrops Fall,
What Was It You Wanted,
Leopard-Skin Pill-Box Hat
The Times They Are A-Changin',
It's Alright Ma (I'm Only Bleeding),
The Lonesome Death Of Hattie Carroll,
Boots Of Spanish Leather
Seeing The Real You At Last,
Political World,
Man In The Long Black Coat,
Tight Connection To My Heart (Has Anybody Seen My Love),
Simple Twist Of Fate,
Masters Of War,
I Shall Be Released,
Like A Rolling Stone,
E: Forever Young,
Rainy Day Women No. 12 & 35


(204/1) Bob Dylan, 1990-01-31, Grand Rex, Paris, France

Audio/flac, tradersden/?, (20190414)

artist: Bob Dylan
date: 31. Januar 1990
venue: Grand Rex
city: Paris
state: France
source: Aud
gen: Master


Tracklist total playtime 98:20

CD 01
01.) To Be Alone With You 4:54
02.) Ballad Of A Thin Man 5:52
03.) Stuck Inside Of Mobile With The Memphis Blues Again 6:49
04.) John Brown 5:18
05.) Political World 3:11
06.) Shelter From The Storm 5:41
07.) Highway 61 Revisited 4:49
08.) It's All Over Now, Baby Blue (a) 5:49
09.) A Hard Rain's A-Gonna Fall (a) 8:38
10.) Girl From The North Country (a) 6:24

CD 02
11.) All Along The Watchtower 3:18
12.) Lay Lady Lay 5:30
13.) Everything Is Broken 3:57
14.) I'll Remember You 3:57
15.) In The Garden 5:35
16.) Like A Rolling Stone 5:51 between cut - tapeflip
Encore
17.) Mr. Tambourine Man (a) 7:18
18.) Maggie's Farm 5:28

Note: Never-Ending Tour Concert #178

Note: New Transfer. My original Flacs lost about a HDD Crash.

Source: Master Aud mit Sony WWD6C + Microphon Sony ECM 155 double + Maxell MX

---------- ---------- ---------- -------++
---------- +Do not convert to MP3---------- ++
---------- ---------- ---------- -------++
---------- Do not buy oder sell it---------- +
---------- ---------- ---------- -------++
---------- the takes not from any bootleg+++++
---------- ---------- ---------- -------++

Bob Dylan, 1/31/90, Paris, 2CDR

LB-8695, (58min+41min), version "c"
source: Aud
gen: Master
Tracklist total playtime 98:20
Note: New Transfer.
My original Flacs lost about a HDD Crash.
Source: Master Aud mit Sony WWD6C + Microphon Sony ECM 155 double + Maxell MX
bittorrent download 06/10
same recording as LB-3187 with similar sound
that has a less noisy spectral view in the upper end but did not hear the difference
that has the fades between tracks and this does not; (did not listen to all of this)


(297/1) Bob Dylan, 1990-02-01, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

683297001a683297001b
Bob Dylan

Le Grand Rex
Paris, France
1 February 1990

1. Most Likely You Go Your Way (And I'll Go Mine)
2. Ballad Of Hollis Brown
3. Political World
4. What Was It You Wanted
5. Tears Of Rage (Bob Dylan & Richard Manuel)
6. Stuck Inside Of Mobile With The Memphis Blues Again
7. All Along The Watchtower
8. Visions Of Johanna
9. Mama, You Been On My Mind
10. Gates Of Eden
11. It Ain't Me, Babe

12. It Takes A Lot To Laugh, It Takes A Train To Cry
13. Everything Is Broken
14. Lenny Bruce
15. Man Of Peace
16. You're A Big Girl Now
17. Like A Rolling Stone
—
18. Barbara Allen (trad.)
19. Forever Young
20. Maggie's Farm


(238/1) Bob Dylan, 1990-10-11, Heads In Mississippi, Fall Tour of US, (Pink Panther Records)

Audio/flac, dime/?, (20190108)

Bob Dylan

1990 Fall US Tour, HeadsInMississippi, Pink Panther dime Flac

MY HEAD'S IN MISSISSIPPI
Pink Panther Records
1990 Fall Tour of the United States

A Lineage is included with this file:

http://expectingrain.com/ blog > http://www.themidnightcafe.org blog > nontorrent dl >
iMac (OSX 10.13.6) > xACT 2.46 (fingerprint.ffp, md5sum.md5, see checksums file)
> Transmission 2.94 > Dime

***

This complex tour leg contains some of the great lost gems of the NET.
The endless "books" on Dylan almost universally ignore this period or just make mention to what the authors consider to be the "highlights". It is sometimes dismissed as dreadful Bob because it immediately precedes the very difficult period in early-1991. The tapes are also variable in sound quality & have been difficult to assemble until recently. So what have we got here?

The tour leg starts as an extension of the desperado gunfight to find a replacement for the departing GE Smith. Bob seems to have narrowed the list to Cesar Diaz, John Staehely and tenor sax player Carl Denson who are "auditioned" here. GE is still around until the end of the New York residency. After that, Denson gets the boot & Diaz / Staehely get the job. This is quite interesting because Bob had worked his way through some very good lead guitar players, and decided that none of them were up to it (for reasons known only to him). So we end up with three rhythm guitar players (Bob, Cesar & John) with Bob taking on "lead guitar" duties on the harmonica, & we sure get a lot of harp here. Quite an interesting experiment really.

This "lost" music is much better than many believe. There is no sign of the slurred words, forgotten lyrics & nasal whine of early 1991. This is coherent music & much of it is beautiful. Over 30 concerts, Bob played 90 different songs, many for the first & last time. & the covers, ZZ Top?? Wonderful. Just listen to Visions Of Johanna (played once) if you think this tour leg is rubbish. Sometimes gunfights have good outcomes like this - an unlikely but welcome result. & there was also a new album to promote - Under The Red Sky - which was recorded early in 1990 which seems light years away from this.

Any tour leg where Joey, Wiggle Wiggle & TV Talkin' Song are the core songs has got to be great - right??
Good luck.

***

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin & Mr Donald Trump Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.
Another absolutely brilliant production from Jacques, Vladimir, The Donald and the death metal specialists at Lubyanka.

all sourced from 100% lossless FLAC from best available sound sources.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

92 ball-tearing, sensational tracks
90 different songs
26 concerts are represented here (from the total of 30 concerts)
6 hours & 42 minutes of music
1 bob

***

The setlists were highly variable from night to night, with
18 songs being played ten or more times,
45 songs being played five or more times, and
27 songs only played once or twice.

*
1 song was played 30 times:Like A Rolling Stone
1 song was played 25 times:Joey
2 song were played 24 times:All Along The Watchtower,Wiggle Wiggle
1 song was played 23 times:Gotta Serve Somebody
1 song was played 20 times:TV Talkin' Song
1 song was played 19 times:Blowin' In The Wind
2 song were played 18 times:Highway 61 Revisited,Under The Red Sky
1 song was played 17 times:I Shall Be Released
1 songs was played 15 times:Mr Tambourine Man
1 song was played 14 times:It Ain't Me, Babe
2 song was played 13 times:Desolation Row,Masters Of War
1 song was played 12 times:
1 song was played 11 times:Maggie's Farm
2 songs were played ten times:Marine Hymn,Silvio
1 song played nine times:Don't Think Twice, It's All Right

7 songs were played eight times:
Gates Of Eden
I'll Be Your Baby Tonight
Man In The Long Black Coat
My Back Pages
Tangled Up In Blue
The Times They Are A-Changin'
To Be Alone With You

6 song was played seven times:
Ballad Of A Thin Man
I Believe In You
In The Garden
It's All Over Now, Baby Blue
Lay, Lady, Lay
Rainy Day Women #12 & 35

5 songs were played six times:
Boots Of Spanish Leather
Dixie
It's Alright, Ma (I'm Only Bleeding)
Positively 4th Street
What Good Am I?

8 songs were played five times:
I'll Remember You
Most Likely You Go Your Way (And I'll Go Mine)
Shooting Star
Simple Twist Of Fate
Subterranean Homesick Blues
The Lonesome Death Of Hattie Carroll
What Was It You Wanted?
You're A Big Girl Now

8 songs played four times:
John Brown
Knockin' On Heaven's Door
Love Minus Zero / No Limit
Seeing The Real You At Last
Song To Woody
Stuck Inside Of Mobile With The Memphis Blues Again
Two Soldiers
Watching The River Flow

11 songs played three times:
A Hard Rain's A-Gonna Fall
Absolutely Sweet Marie
Ballad Of Hollis Brown
Every Grain Of Sand
My Head's In Mississippi
Ol' MacDonald
One Too Many Mornings
She Belongs To Me
Shelter From The Storm
Shenandoah
To Ramona

8 songs were played twice:
Girl Of The North Country
I Want You
Just Like A Woman
Queen Jane Approximately
Tears Of Rage
The Man In Me
Tomorrow Is A Long Time
Willing

19 songs were played only once:
Barbara Allen
Buckets Of Rain
Clean-Cut Kid
Dark As A Dungeon
Detroit City
Everything Is Broken
Friend Of The Devil
Hey, Good Lookin'
It Takes A Lot To Laugh, It Takes A Train To Cry
I've Been All Around This World
Leopard-Skin Pill-Box Hat
Man Of Peace
Oxford Town
Political World
Tight Connection To My Heart (Has Anybody Seen My Love)
Tonight I'll Be Staying Here With You
Trail Of The Buffalo
Visions Of Johanna
Wagoner's Lad

***
(jokerman.uk files are included for reference in all cases)
All venues are located within the United States of America.

Setlists and Venues:

Rose And Gilbert Tilles Performing Arts Center
C.W. Post College, Long Island University
Brookville, New York, USA
11 October 1990
(1990-10-11)

Steve Bruton and Cesar Diaz audition

01.Friend Of The Devil (Jerry Garcia/Robert Hunter/John Dawson)

Concert # 234 of The Never-Ending Tour.
First concert of the 1990 USA Fall Tour.
1990 concert # 64.
Concert # 156 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and Steve Bruton (guitar), Cesar Diaz (guitar).

LB-4856

Good sound [B].

***

Paramount Performing Arts Center
Springfield, Massachusetts, USA
12 October 1990
1990-10-12)

Steve Bruton and Cesar Diaz audition

Not used.

Concert # 235 of The Never-Ending Tour.
Second concert of the 1990 USA Fall Tour.
1990 concert # 65.
Concert # 157 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums).

***

Eisenhower Hall Theater
West Point, New York, USA
13 October 1990
(1990-10-13)

Cesar Diaz audition

2.I Want You
3.It's Alright, Ma (I'm Only Bleeding)
4.Trail Of The Buffalo (trad. arr. Woody Guthrie)

Concert # 236 of The Never-Ending Tour.
Third concert of the 1990 USA Fall Tour.
1990 concert # 66.
Concert # 158 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and Cesar Diaz

Cesar Diaz (guitar) on I Want You

Bob Dylan (harmonica) on I Want You

Acoustic with Bob Dylan (vocal & guitar), G.E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums): It's Alright, Ma (I'm Only Bleeding); Trail Of The Buffalo.

LB-3898;
Remaster: Improved Air Remasters (IAR) (IA023)

Excellent sound [A-].

***

Andrew Muir

If Dylan's 1989 casino show provoked a newspaper debate, his decision to play the military academy at West Point on 13 October led to an avalanche of press. Although the set-list included Masters Of War and Blowin' In The Wind, Dylan laid no special emphasis on them or on the venue; the standout track, in fact, was Trail Of The Buffalo. For Dylan, it was just another show.

As is often the case, while Dylan drew no significance from his actions, others were more than willing to do so. The New York Times could not overlook the irony of the man "who galvanised the 1960's anti-war movement"
performing Blowin' In The Wind for an audience of future army commanders:

"Many hard core Dylan fans shook their heads in disbelief as they entered the auditorium," the paper's critic continued, "walking under banners for the Screaming Eagles (101st Airborne Division) and Hell On Wheels (2nd Armored Division). They said the concert, in a setting they variously described as 'weird', 'bizarre' and 'the belly of a beast', had a special intensity."

Well it may have had that for them, but there is no indication that for Dylan it was any more than another show on the NET.

***

The Beacon Theatre
New York City, New York, USA
15 October 1990
(1990-10-15)

Cesar Diaz audition

5.Man Of Peace

Concert # 237 of The Never-Ending Tour.
Concert # 4 of the 1990 USA Fall Tour. 1990 concert # 67.
Concert # 159 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and Cesar Diaz (guitar).

Cesar Diaz (guitar) on Man Of Peace.

LB-1176;
Taper: JF

Fair sound [B-].

***

Andrew Muir

After the West Point gig, Dylan stayed in New York for another Beacon Theatre residency, starting on 15 October 1990. This was GE Smith's last stand, with John Staeheley and Cesar Diaz being tried out onstage too.
In this five-night series of shows Dylan veered from the sublime to the ridiculous, via the successful and the awful. "He shuffled his song-deck with dizzying inconsistency," David Fricke wrote of the opening night in "alternatively flashing aces and jokers like a schizo cardsharp - all too willing, it seemed, to play a losing hand just to upend our expectations. The Protest Prince, The Voice Of A Generation, The Folk-Rock Avenger - none of those Dylans showed up tonight. What we got was the Imp Perverse."
There were various highlights throughout the residency, as there were throughout the remainder of 1990. I was collecting all the shows by now and listening to them avidly, but as the NET progressed and more and more shows clamoured for attention, I returned, perhaps inevitably, to compilation bootleg CDs when I wanted to hear late-1990.
With an average of some 100 shows a year, it was almost impossible to keep listening to all the shows (as well as all the other material that was released officially or surfaced amongst collectors), so compilation CDs became very popular. The summer and autumn United States tours spawned a double-CD selecting the best or most unusual performances, while the Beacon shows were represented by discs presenting a full show plus the highlights of each night.
All the Beacon shows started with a short instrumental, usually Dixie, though even Old MacDonald Had A Farm and The Battle Hymn Of The Republic were tried.

***

The Beacon Theatre
New York City, New York, USA
16 October 1990
(1990-10-16)

John Staeheley and Cesar Diaz audition

6.Silvio (Bob Dylan & Robert Hunter)
7.Everything Is Broken
8.Joey (Bob Dylan & Jacques Levy)

Concert # 238 of The Never-Ending Tour.
Concert # 5 of the 1990 USA Fall Tour.
1990 concert # 68.
Concert # 160 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and John Staeheley (guitar) and Cesar Diaz (guitar).

Cesar Diaz (guitar) on:
Silvio;
Everything Is Broken;
Joey.

Bob Dylan (harmonica) on Silvio.

LB-1175;
Taper: JF

Very good to excellent sound [B+].

***

Jon Pareles, New York Times, 17 October 1990

In three years of continuous touring, Dylan has been retraining his audience along the lines of The Grateful Dead's Deadheads. Fans have learned to expect uneven but improvisatory concerts in which some songs are throwaways, some are near misses, a few are set pieces and some glean new insights from well-worn words and music. Uptempo songs bring dancers to the aisles.
On Monday night at the Beacon Theater, Dylan opened his annual three-night (sic) stand in New York with a show that treated most of his songs like longtime friends, familiar and casual. Where Dylan once sounded wounded or corrosive, the songs became reflective, almost avuncular. Through the years, Dylan has done all he can to divest his songs of their status as anthems. He retools arrangements and ignores his own melodies; Monday's version of Blowin' In The Wind was upside-down, rising where the original fell and vice versa. After hearing his songs as everything from rallying cries to background music, Dylan has virtually guaranteed that no one in his current audiences will sing along.
But a surprising number of his songs still have an oracular power, even when he plays down their words to toy with their music. One recurring topic in Monday's set was war, and songs that he wrote a quarter-century ago are appropriate now.
Perhaps as an oblique response to the stir generated by news that he had played at West Point on Sunday, Dylan opened the concert with The Marines' Hymn, followed by nearly unintelligible versions of Rainy Day Women #12 & 35, with its chorus "Everybody must get stoned," and Masters Of War. Dylan and his band – GE Smith and Steven Bruton on guitars, Tony Garnier on bass and Christopher Parker on drums - cranked up the riffs like a blues-rock group while Mr Dylan crammed verses in between, nearly destroying the songs in order to remake them.
His singing grew a little less perverse as the concert progressed. By the time he and GE Smith had switched to acoustic guitars and Tony Garnier moved to bass fiddle, Dylan relaxed his phrasing, bringing a wary tenderness to songs like It's All Over Now Baby Blue and It Ain't Me, Babe; with quick-strummed guitars, the version of Don't Think Twice, It's All Right recalled Peter Paul And Mary.
Dylan performed a few songs from his recent albums, with the band plugged in and chugging away, but the audience was there for oldies, and Dylan obliged, easing through Like A Rolling Stone as if it were La Bamba. Yet only in the finale, Highway 61 Revisited - with GE Smith's slide guitar screaming like a siren - did Dylan offer a glimpse of his youthful vehemence. Opening the concert was Lenny Kravitz, a songwriter in his 20's who is an ardent 1960s revivalist. Mr Kravitz tries to re-create the passion of musicians like John Lennon, but comes across more like Joe Cocker and The Grease Band. While he wore appropriate bell-bottom pants, his grasp of other 1660s details was a little off; he introduced his version of Jimi Hendrix's If 6 Was 9 as If 6 Were 9.

***

The Beacon Theatre
New York City, New York, USA
17 October 1990
(1990-10-17)

John Staehely and Cesar Diaz audition

9.Absolutely Sweet Marie
10.Man In The Long Black Coat
11.Willing (Lowell George)
12.The Lonesome Death Of Hattie Carroll
13.What Good Am I?
14.It Takes A Lot To Laugh, It Takes A Train To Cry

Concert # 239 of The Never-Ending Tour.
Concert # 6 of the 1990 USA Fall Tour.
1990 concert # 69.
Concert # 161 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and John Staehely (guitar) and Cesar Diaz (guitar).

John Staehely (guitar), Cesar Diaz (guitar) on: Absolutely Sweet Marie, Man In The Long Black Coat, Willing.

Bob Dylan (vocal & guitar), G.E. Smith (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums): What Good Am I?, It Takes A Lot To Laugh, It Takes A Train To Cry.

Acoustic with Bob Dylan (vocal & guitar), G.E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums): The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on:Willing, The Lonesome Death Of Hattie Carroll.

LB-8938;
Taper: JF

Very good to excellent sound [B+].

***

The Beacon Theatre
New York City, New York, USA
18 October 1990
(1990-10-18)

Cesar Diaz, John Staehely and Carl Denson audition

Not used.

Concert # 240 of The Never-Ending Tour.
Concert # 7 of the 1990 USA Fall Tour.
1990 concert # 70.
Concert # 162 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums), and John Staehely (guitar), Cesar Diaz (guitar) and Carl Denson (tenor saxophone).

***

The Beacon Theatre
New York City, New York, USA
19 October 1990
(1990-10-19)

John Staehely, Cesar Diaz and Carl Denson audition

15.Dixie (Daniel Decatur Emmett)
16.Wiggle Wiggle
17.Dark As A Dungeon (Merle Travis)
18.Tight Connection To My Heart (Has Anybody Seen My Love)
19.Gotta Serve Somebody

Concert # 241 of The Never-Ending Tour.
Concert # 8 of the 1990 USA Fall Tour.
1990 concert # 71.
Concert # 163 with the second Never-Ending Tour

band: Bob Dylan (vocal & guitar), G. E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums) and John Staehely (guitar), Cesar Diaz (guitar) and Carl Denson (tenor saxophone)

John Staehely (guitar) on Dixie.

Cesar Diaz (guitar) on: Wiggle Wiggle, Tight Connection To My Heart (Has Anybody Seen My Love), Gotta Serve Somebody.

Carl Denson (tenor saxophone) on Gotta Serve Somebody.

Acoustic with Bob Dylan (vocal & guitar), G.E. Smith (guitar), Tony Garnier (bass), Christopher Parker (drums): Dark As A Dungeon.

Bob Dylan (harmonica) on Dark As A Dungeon.

G.E. Smith (back-up vocal) on Dark As A Dungeon.

Dixie short instrumental.

G.E. Smith's last show.

LB-1181;
xref-00800;
Taper: JF

Very good to excellent sound [B+].

***

Andrew Muir

The 19 October 1990 show had a subdued start with To Be Alone With You, which was strangely at odds with the Dixie opening. It was a lovely choice as first song, though, and we had become accustomed by now to Dylan taking time to warm up. Warm applause greeted the song's close and also the opening of the next song, the unfairly-maligned Joey. The fire of Hammersmith and Paris way back in February 1990 was now replaced by a more sombre shading.
An instantly forgettable Silvio at least got Dylan and the band going before a forceful Masters Of War launched the show properly; there was a good range to Dylan's vocals, from punchy to cantillating. This set him up for a powerful, deep-voiced rendition of Under The Red Sky. Sticking with the new album, Dylan then presented us with an enjoyable, up-tempo Wiggle Wiggle.
The acoustic set opened with the impressive Dark As A Dungeon, sung with great feeling. She Belongs To Me was followed by a rapturously received It's Alright, Ma (I'm Only Bleeding). This sumptuous acoustic set ended with Love Minus Zero / No Limit, played with an experimentally exaggerated melody.
TV Talkin' Song live sounded more like the menacing outtakes that dwarf the released version of the song, without being as powerful as those right-on-the-edge recordings. From there it was straight into Oh Mercy for a memorable Shooting Star. Following that, there was another outing for the re-christened wonder from the start of the year, Tight Connection To My Heart (Has Anybody Seen My Love). It was still very welcome here, although Dylan could not quite match February 1990's control.
Things loosened up with Gotta Serve Somebody, which saw saxophonist Karl Denham, from support act Lenny Kravitz's band, appear onstage. He remained for All Along The Watchtower and made a positive contribution to a chaotic, urgent version.
Like A Rolling Stone closed the set, but, disappointingly for a song that has changed lives if not worlds, this fell into the category of live grunge. Similarly, the encores lived up to their normal standard and function - magnificent when you are there, but less impressive on tape. On It Ain't Me, Babe, to his great credit, Dylan made a determined effort to raise the song above a mere sing-along, but no-one told the crowd.
There was a slam bam thank you ma'am Highway 61 Revisited and then the evening came to a close with an even more raucous Maggie's Farm, with Kravitz and his band onstage for a full-blast rock-out.

***

Andrew Muir

There was a significant change, however; a difference so marked that one can see Dylan's point in saying "there was a Never Ending Tour but it ended with the departure of guitarist GE Smith."
After the departure of GE Smith, shows that were great from the first to the last song with no filler, no mumbled lyrics, no coasting along for a few numbers could no longer be expected. Being searingly, life-changingly, on the ball for every moment of a complete performance no longer seemed within Dylan's grasp; or at least not on a regular basis.
The closing leg of 1990 produced mighty swings between the shambolic and the transcendent – sometimes happening between one song and the next. Notable moments in mid-August to mid-September included some astonishing covers. The first show featured The Beatles' Nowhere Man, a song that seemed to have been composed under Dylan's influence. It's nice to know that Dylan covered it, but not so pleasant to actually hear it.
It is hard to know what prompted these one-off covers, but The Beatles had been on Dylan's mind at the Hamburg show in Germany. Besides his inane comment about Germany and Hitler, Dylan introduced his final song that day like this:
"Thank you. It's always a pleasure to play here in this city here. Hamburg, where The Beatles started. Anybody remember The Beatles? Shout 'Yeah', if you remember The Beatles...[Nobody did]... Nobody knows The Beatles?... They started right here. This is one of their songs, which they inspired way back when." The song he actually then played was his own, Highway 61 Revisited.

***

Richmond Mosque
Richmond, Virginia, USA
21 October 1990
(1990-10-21)

Not used.

Concert # 242 of The Never-Ending Tour.
Concert # 9 of the 1990 USA Fall Tour.
1990 concert # 72.
First concert with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

***

Syria Mosque
Pittsburgh, Pennsylvania, USA
22 October 1990

Not used.

Concert # 243 of The Never-Ending Tour.
Concert # 10 of the 1990 USA Fall Tour.
1990 concert # 73.
Second concert with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).


***

Charleston Municipal Auditorium
Charleston, West Virginia, USA
23 October 1990
(1990-10-23)

20.Wagoner's Lad (trad.)

Concert # 244 of The Never-Ending Tour.
Concert # 11 of the 1990 USA Fall Tour.
1990 concert # 74.
Third concert with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums) on Wagoner's Lad.

Bob Dylan (harmonica) on Wagoner's Lad.

B-6343

Poor sound [C-].

***

Ted Smith Coliseum
University Of Mississippi
Oxford, Mississippi, USA
25 October 1990
(1990-10-25)

21.Oxford Town
22.Barbara Allen (trad.)
23.Highway 61 Revisited

Concert # 245 of The Never-Ending Tour.
Concert # 12 of the 1990 USA Fall Tour.
1990 concert # 75.
Concert # 4 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums): Oxford Town, Barbara Allen.

Oxford Town is the only known live rendition.

LB-3228;
Equipment: AUD Cassette Master > ? > CD > WAV > Soundforge 6.0 > CD Wave > FLAC

Very good to excellent sound [B+].

***

Andrew Muir

The last leg of an incredibly packed 1990 saw Dylan and the band pull out many fine performances.
The 25 October show in Oxford, Mississippi opened with a great rendition of ZZ Top's then current single, My Head's In Mississippi, and he also performed, for the only time, his 1962 cry against injustice, Oxford Town.
Other treats included a moving One Too Many Mornings, an understated Visions Of Johanna, an interesting new take on Every Grain Of Sand, and a surprising cover of Hank Williams's Hey, Good Lookin'.

***

Coleman Coliseum
Tuscaloosa, Alabama, USA
26 October 1990
(1990-10-26)

24.Hey, Good Lookin' (Hank Williams)

Concert # 246 of The Never-Ending Tour.
Concert # 13 of the 1990 USA Fall Tour.
1990 concert # 76.
Concert # 5 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Live debut of Hey, Good Lookin'.

LB-0103

Fair sound [B-].

***

Memorial Hall
Vanderbilt University
Nashville, Tennessee, USA
27 October 1990
(1990-10-27)

25.Queen Jane Approximately

Concert # 247 of The Never-Ending Tour.
Concert # 14 of the 1990 USA Fall Tour.
1990 concert # 77.
Concert # 6 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Queen Jane Approximately.

BobTalk:

Neil Young did that once, played one note on the harmonica, all night long!
(after Queen Jane Approximately).

LB-6345

Fair sound [B-].

***

The Coliseum
University Of Georgia
Athens, Georgia, USA
28 October 1990
(1990-10-28)

26.Tomorrow Is A Long Time

Concert # 248 of The Never-Ending Tour.
Concert # 15 of the 1990 USA Fall Tour.
1990 concert # 78.
Concert # 7 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Tomorrow Is A Long Time.

BobTalk:

Thank you. It's always a pleasure to play in a school of higher learning, you know.
Billy Joel, you know, he never finished high school. It's true, he never did.
(before Tomorrow Is A Long Time).

LB-6347

Poor sound [C+].

***

Appalachian State University
Boone, North Carolina, USA
30 October 1990
(1990-10-30)

27.The Man In Me
28.I've Been All Around This World (trad.)
29.Gotta Serve Somebody
30.A Hard Rain's A-Gonna Fall
31.Two Soldiers (trad.)
32.It Ain't Me, Babe
33.Leopard-Skin Pill-Box Hat

Concert # 249 of The Never-Ending Tour.
Concert # 16 of the 1990 USA Fall Tour.
1990 concert # 79.
Concert # 8 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band on: A Hard Rain's A-Gonna Fall, Two Soldiers, It Ain't Me, Babe.

Bob Dylan (harmonica) on: The Man In Me, I've Been All Around This World, It Ain't Me, Babe, Leopard-Skin Pill-Box Hat

LB-8198;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab >
ssrc > wavelab,levels raised > cdwave for tracking > tlh

Excellent sound [A-].

***

Ovens Auditorium
Charlotte, North Carolina, USA
31 October 1990
(1990-10-31)

34.Seeing The Real You At Last
35.Boots Of Spanish Leather
36.The Times They Are A-Changin'

Concert # 250 of The Never-Ending Tour.
Concert # 17 of the 1990 USA Fall Tour.
1990 concert # 80.
Concert # 9 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band: Boots Of Spanish Leather, The Times They Are A-Changin'.

LB-8230;
Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Memorial Coliseum
Lexington, Kentucky, USA
2 November 1990
(1990-11-02)

37.Ballad Of Hollis Brown
38.Don't Think Twice, It's All Right

Concert # 251 of The Never-Ending Tour.
Concert # 18 of the 1990 USA Fall Tour.
1990 concert # 81.
Concert # 10 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band: Ballad Of Hollis Brown, Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on Don't Think Twice, It's All Right.

LB-1196;
Taper Christian Behrand (CB)

Excellent sound [A-].

***

S.U. Arena
Carbondale, Illinois, USA
3 November 1990
(1990-11-03)

39.To Be Alone With You
40.Gates Of Eden
41.TV Talkin' Song
42.I Shall Be Released
43.Blowin' In The Wind

Concert # 252 of The Never-Ending Tour.
Concert # 19 of the 1990 USA Fall Tour.
1990 concert # 82.
Concert # 11 with third Never-Ending Tour
]
band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band: Gates Of Eden, Blowin' In The Wind.

Bob Dylan (harmonica) on: To Be Alone With You, Blowin' In The Wind.

LB-8202;
Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc wavelab, levels raised > cdwave for tracking > tlh

Excellent sound [A-].

***

The Fox Theater
St. Louis, Missouri, USA
4 November 1990
(1990-11-04)

44.Shenandoah (trad, arr. by Bob Dylan)
45.Ballad Of A Thin Man

Concert # 253 of The Never-Ending Tour.
Concert # 20 of the 1990 USA Fall Tour.
1990 concert # 83.
Concert # 12 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Shenandoad short instrumental.

Bob Dylan (harmonica) on:
Shenandoah,
Ballad Of A Thin Man.

LB-8232;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Chick Evans Fieldhouse
University Of Northern Illinois, USA
DeKalb, Illinois
6 November 1990
(1990-11-06)

46.My Head's In Mississippi (Billy Gibbons/Dusty Hill/Frank Beard)
47.Watching The River Flow
48.Positively 4th Street
49.She Belongs To Me
50.It's All Over Now, Baby Blue
51.Visions Of Johanna
52.I'll Remember You
53.Like A Rolling Stone

Concert # 254 of The Never-Ending Tour.
Concert # 21 of the 1990 USA Fall Tour.
1990 concert # 84.
Concert # 13 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band: She Belongs To Me, It's All Over Now, Baby Blue, Visions Of Johanna.

Bob Dylan (harmonica) on: Watching The River Flow, She Belongs To Me, It's All Over Now, Baby Blue, I'll Remember You.

LB-8240;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Carver-Hawkeye Auditorium
Iowa City, Iowa, USA
8 November 1990
(1990-11-08)

54.Most Likely You Go Your Way (And I'll Go Mine)
55.Simple Twist Of Fate
56.Desolation Row
57.John Brown

Concert # 255 of The Never-Ending Tour.
Concert # 22 of the 1990 USA Fall Tour.
1990 concert # 85.
Concert # 14 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), (go hawkeyes), Christopher Parker (drums).

Acoustic with the band: Desolation Row, John Brown.

Bob Dylan (harmonica) on:Simple Twist Of Fate, Desolation Row

Desolation Row features the "Dr Filth" verse.

LB-7094;
Don't Turn A Slow Waltz Into Techno (Southside Butcher)

Very good to excellent sound [B+].

***

Fox Theater
Chicago, Illinois, USA
9 November 1990
(1990-11-09)

58.Marine Hymn (trad.)
59.Tangled Up In Blue
60.Lay, Lady, Lay
61.What Was It You Wanted?
62.I'll Be Your Baby Tonight
63.My Back Pages
64.I Believe In You
65.Rainy Day Women #12 & 35
66.Shooting Star
67.Knockin' On Heaven's Door

Concert # 256 of The Never-Ending Tour.
Concert # 23 of the 1990 USA Fall Tour.
1990 concert # 86.
Concert # 15 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Marine Hymn short instrumental.

Bob Dylan (harmonica) on: Tangled Up In Blue, Lay, Lady, Lay, Shooting Star,Knockin' On Heaven's Door.

After the first verse of Rainy Day Women #12 & 35, Dylan says "stop that now" and the song ends prematurely.

BobTalk:

LB-5574;
Whats Going On In Your Show (Southside Butcher)

Very good to excellent sound [B+].

***

Riverside Theater
Milwaukee, Wisconsin, USA
10 November 1990
(1990-11-10)

68.Subterranean Homesick Blues
69.Every Grain Of Sand

Concert # 257 of The Never-Ending Tour.
Concert # 24 of the 1990 USA Fall Tour.
1990 concert # 87.
Concert # 16 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Every Grain Of Sand.

LB-7138;
See Through Your Mask (Southside Butcher)

Good sound [B].

***

Wharton Center
University Of Michigan
East Lansing, Michigan, USA
12 November 1990
(1990-11-12)

70.Detroit City (Danny Dill-Mel Tillis)
71.Girl Of The North Country
72.Political World
73.Masters Of War
74.Tears Of Rage (Bob Dylan & Richard Manuel)

Concert # 258 of The Never-Ending Tour.
Concert # 25 of the 1990 USA Fall Tour.
1990 concert # 88.
Concert # 17 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band on Girl Of The North Country.

Bob Dylan (harmonica) on: Girl Of The North Country, Political World, Tears Of Rage.

LB-5594;
Still In This All-Night Cafe (Southside Butcher)

Very good to excellent sound [B+].

***

University Of Dayton Arena
Dayton, Ohio, USA
13 November 1990
(1990-11-13)

75.Just Like A Woman
76.All Along The Watchtower
77.To Ramona
78.One Too Many Mornings
79.Mr Tambourine Man
80.Under The Red Sky
81.Maggie's Farm

Concert # 259 of The Never-Ending Tour.
Concert # 26 of the 1990 USA Fall Tour.
1990 concert # 89.
Concert # 18 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band: To Ramona, One Too Many Mornings, Mr Tambourine Man.

Bob Dylan (harmonica) on: Just Like A Woman, To Ramona, One Too Many Mornings, Mr Tambourine Man, Under The Red Sky.

LB-8288;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master >
DAT - clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Brayden Auditorium
Normal, Illinois, USA
14 November 1990
(1990-11-14)

82.Ol' MacDonald (trad.)
83.Shelter From The Storm
84.Stuck Inside Of Mobile With The Memphis Blues Again
85.You're A Big Girl Now

Concert # 260 of The Never-Ending Tour.
Concert # 27 of the 1990 USA Fall Tour.
1990 concert # 90.
Concert # 19 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Ol' MacDonald short instrumental.

Bob Dylan (harmonica) on: Shelter From The Storm, Stuck Inside Of Mobile With The Memphis Blues Again, You're A Big Girl Now.

LB-5872;
A Blessing In Disguise (Southside Butcher)

Very good to excellent sound [B+].

***

Palace Theater
Columbus, Ohio, USA
16 November 1990
(1990-11-16)

86.Clean-Cut Kid
87.Tonight I'll Be Staying Here With You
88.Man In The Long Black Coat
89.In The Garden

Concert # 261 of The Never-Ending Tour.
Concert # 28 of the 1990 USA Fall Tour.
1990 concert # 91.
Concert # 20 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Man In The Long Black Coat.

LB-8331:
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab >
ssrc > Wavelab, levels raised > cdwave for tracking > tlh

Excellent sound [A-].

***

Music Hall
Cleveland, Ohio, USA
17 November 1990
(1990-11-17)

90.Love Minus Zero / No Limit
91.Song To Woody

Concert # 262 of The Never-Ending Tour.
Concert # 29 of the 1990 USA Fall Tour.
1990 concert # 92.
Concert # 21 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Acoustic with the band:
Love Minus Zero / No Limit,
Song To Woody.

Bob Dylan (harmonica) on Song To Woody.

LB-1227;
xref-01282;
Taper: Christian Behrand (CB)

Excellent sound [A-].

***

The Fox Theater
Detroit, Michigan, USA
18 November 1990
(1990-11-18)

92.Buckets Of Rain

Concert # 263 of The Never-Ending Tour.
Concert # 30 of the 1990 USA Fall Tour.
1990 concert # 93 .
Concert # 22 with third Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Staehely (guitar), Cesar Diaz (guitar), Tony Garnier (bass), Christopher Parker (drums).

Bob Dylan (harmonica) on Buckets Of Rain.

Buckets Of Rain is played here live for the first time ever.

LB-8335;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 > cassette master > DAT clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab > ssrc > Wavelab >
levels raised > cdwave for tracking > tlh

Excellent sound [A-].

***

Andrew Muir

The 1990 year's touring ended on 18 November at The Fox Theatre in Detroit. This show opened with yet another surprising live debut, Buckets Of Rain. This gem from Blood On The Tracks was a most welcome farewell present to mark the end of an exhilarating 1990.

***

The standard ethical appeals apply to this and all subsequent offers -
Please...
1) Continue seeding after DL
2) Trade freely
3) Never for sale
4) Enjoy thoroughly!


Rock on, Bob!

XXX

1990-10-11 Brookville
1990-10-13 West Point
1990-10-15 New York
1990-10-16 New York
1990-10-17 New York
1990-10-19 New York
1990-10-23 Charleston
1990-10-25 Oxford
1990-10-26 Tuscaloosa
1990-10-27 Nashville
1990-10-28 Athens
1990-10-30 Boone
1990-10-31 Charlotte
1990-11-02 Lexington
1990-11-03 Carbondale
1990-11-04 St Louis
1990-11-06 De Kalb
1990-11-08 Iowa City
1990-11-09 Chicago
1990-11-10 Milwaukee
1990-11-12 East Lansing
1990-11-13 Dayton
1990-11-14 Normal
1990-11-16 Columbus
1990-11-17 Cleveland
1990-11-18 Detroit



(234/1) Bob Dylan, 1991-06-06, People Putting People Down, Summer Tour of Europe, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

PEOPLE PUTTING PEOPLE DOWN

(Pink Panther Records)

1991 Summer Tour of Europe.

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin,
Mr/The/Maybe President Donald Trump & newcomer Boris Johnson.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald, Boris
and the death metal specialists at Lubyanka.

***

Every song played during the 1991 summer tour of Europe is represented here.

***

Sourced from best available FLAC sources.

Sound is generally very good to excellent.

***

The 1991 Summer Tour of Europe is often referred to as the worst tour leg of Bob's worst year.

Sure, it was a bumpy ride, but when you use the Pink Panther technique of compiling all songs played in the best versions, you end up with more than a surprise - there is plenty of brilliant music here & a vast collection of different songs.

So, don't condemn a whole tour leg because of Stuttgart.

& talking about Stuttgart, Boris Johnson (who is also a hardcore rock opera fan of The Who)
has finally worked out what is going on here.
It is a mini-opera in three parts (New Morning, I Believe In You & What Good Am I?)
which leaves The Who's A Quick One While He's Away in its wake.

The story (according to Boris):

A drunk is sitting in a bar when a beautiful woman sits down beside him.
He is so excited at his luck that he cannot get a coherent sentence out to his new woman.
After eight minutes, he is so nervous that all he can get out is "happy to be alive" (New Morning).

He then confesses his ever lasting love to the woman beside him (I Believe In You).

The woman then stands up & tips his beer all over his head, swears at him & walks out.

The drunk then becomes very depressed & sings the drunk's lament - What Good Am I?

It is all sung by Bob in a perfect immitation of a drunk's voice & behaviour - it is so good you almost believe it is real.

That's Boris' story anyway. It only took 25 years to decode the enigma of Stuttgart & it's brilliant!

Happy listening - it is much, much better than you think.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

73 ball-tearing, sensational tracks
62 different songs
18 concerts are represented here (from the total of 18 concerts)
6 hours & 11 minutes of music
1 bob

***

The setlists alternated radically from night to night.

- 6 songs were played 15 times of more
- 11 songs were played 10 times or more
- 29 songs were played 5 times or more
- 4 songs were played only 4 times
- 3 songs were played only 3 times
- 6 songs were played only twice
- 19 songs were played only once

***

1 song played 18 times:All Along The Watchtower
4 songs played 16 times:Gotta Serve Somebody,Highway 61 Revisited,New Morning,Shelter From The Storm
1 song played 15 times:Wiggle Wiggle
1 song played 14 times:Lay, Lady, Lay
1 song played 13 times:Everything Is Broken
2 songs played 12 times:Ballad Of A Thin Man,It Ain't Me, Babe
1 song played 11 times:Don't Think Twice, It's All Right
4 songs played eight times:I Believe In You,Knockin' On Heaven's Door,Like A Rolling Stone,Man In The Long Black Coat
4 songs played seven times:Bob Dylan's Dream,I Shall Be Released,Just Like A Woman,Mr Tambourine Man
1 song played six times:Blowin' In The Wind

9 songs played five times:
Gates Of Eden
I'll Be Your Baby Tonight
It's All Over Now, Baby Blue
Lenny Bruce
Leopard-Skin Pill-Box Hat
Maggie's Farm
Rainy Day Women #12 & 35
What Good Am I?
When I Paint My Masterpiece

4 songs played four times:Barbara Allen,Girl Of The North Country,Man Gave Names To All The Animals,Positively 4th Street
3 songs played three times:Shooting Star,Trail Of The Buffalo,Two Soldiers
6 songs were played twice:A Hard Rain's A-Gonna Fall,Homeward Bound,I'll Remember You,Love Minus Zero / No Limit,One Too Many Mornings,The Lonesome Death Of Hattie Carroll*

19 songs were played only once:
Acoustic Jam
Ballad Of Hollis Brown
Desolation Row
Enlightment (with Van Morrison)
I Want You
In The Garden
It Takes A Lot To Laugh, It Takes A Train To Cry
Man Of Peace
One More Cup Of Coffee (Valley Below)
People Putting People Down
Seeing The Real You At Last
Simple Twist Of Fate
The Man In Me
The Times They Are A-Changin'
Under The Red Sky
Watching The River Flow
When First Unto This Country
Whenever God Shines His Light (with Van Morrison)
You're A Big Girl Now


***

Roma Palaeur
Rome, Italy
6 June 1991

01.The Man In Me
02.People Putting People Down (John Prine)
03.I Want You

Concert # 302 of The Never-Ending Tour.
First concert of the 1991 Summer Tour Of Europe.
1991 concert # 39.
Concert # 18 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:I Want You

Bob Dylan (harmonica) on:The Man In Me, I Want You.

Bob Dylan (electric piano) on: I Want You

First acoustic I Want You during The Never-Ending Tour.

BobTalk:

OK! That was on my mind too!
(response to a request from the audience before People Putting People Down).

LB-3583;
xref-00719;
Equipment: AUD Cassette Master > DAT > DAT > DAT > WAV > Soundforge 6.0 > FLAC

Very good to excellent sound [B+].

***

Arena di Bologna
Bologna, Italy
7 June 1991

Concert performed in pouring rain.

4.Lay, Lady, Lay
5.All Along The Watchtower
6.Man Of Peace
7.Shelter From The Storm
8.Watching The River Flow
9.Love Minus Zero/No Limit
10.A Hard Rain's A-Gonna Fall
11.It Ain't Me, Babe
12.Just Like A Woman
13.Everything Is Broken
14.I'll Remember You
15.Under The Red Sky
16.In The Garden
17.Like A Rolling Stone

Concert # 303 of The Never-Ending Tour.
Second concert of the 1991 Summer Tour Of Europe.
1991 concert # 40.
Concert # 19 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: Love Minus Zero / No Limit, A Hard Rain's A-Gonna Fall,It Ain't Me, Babe,

Bob Dylan (harmonica) on:Lay, Lady, Lay,Shelter From The Storm,Watching The River Flow,Love Minus Zero / No Limit

Bob Dylan (electric piano) on:Just Like A Woman, Under The Red Sky.

The concert was held in pouring rain.

The only 1991 performance of Man Of Peace.

Second 1991 performance of Watching The River Flow & I'll Remember You.

Last 1991 performances of Under The Red Sky & In The Garden.

BobTalk:

Thank you! It was one of my songs about somebody everybody knows so well,
but so little about!
(after Man Of Peace).

Thanks everybody.
Alright, it's a song here about what's going on sometimes.
Everything is broken. Sometimes I might get broken.

Thanks a lot!
This is an old song of mine called - named after - a special kind of farm - just like Ol' MacDonald's Farm.

LB-8950;
Taper: Legendary Taper J (LTJ)

Excellent sound [A-].

***

Palatrussardi di Milano
Milano, Italy
8 June 1991

Guest appearance at Van Morrison's opening concert.

18.Whenever God Shines His Light (Van Morrison)
19.Enlightenment (Van Morrison)

Van Morrison (vocal) backed by his band.

Bob Dylan (harmonica).

***

Palatrussardi di Milano
Milano, Italy
8 June 1991

20.One Too Many Mornings
21.Man In The Long Black Coat

Concert # 304 of The Never-Ending Tour.
Third concert of the 1991 Summer Tour Of Europe.
1991 concert # 41.
Concert # 20 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: One Too Many Mornings.

Bob Dylan (harmonica) on: Man In The Long Black Coat.

LB-11648;
Taper: JTT;
Equipment: 1st or 2nd Generation TDK SA90 (Dolby B) >
Akai GX95 11 (Dolby B) > Soundforge PRO 10c > FLAC Level 8

Good sound [B].

Whenever God Shines His Light (Van Morrison),Enlightenment (Van Morrison).

LB-1837;
xref-01676;
Taper: Holy Grail (HG)

Excellent sound [A-].

One Too Many Mornings, Man In The Long Black Coat.

***

Olympic Stadium
Ljubljana, Yugoslavia
10 June 1991

22.Wiggle Wiggle
23.Knockin' On Heaven's Door
24.I Shall Be Released
25.The Times They Are A-Changin'
26.Maggie's Farm

Concert # 305 of The Never-Ending Tour.
Concert # 4 of the 1991 Summer Tour Of Europe.
1991 concert # 42.
Concert # 21 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: The Times TRhey Are A-Changin'.

Bob Dylan (harmonica) on: Knockin' On Heaven's Door, The Times They Are A-Changin',Maggie's Farm.

Bob Dylan (electric piano) on:I Shall Be Released; Maggie's Farm.

BobTalk:

This song is off my last record. It's all about fish. In a pond.
(before Wiggle Wiggle).

LB-4465;
Taper: Legendary Taper D (LTD)

Excellent sound [A].

***

Zadjan Stadium
Belgrade, Yugoslavia
11 June 1991

27.Ballad Of A Thin Man
28.Gotta Serve Somebody
29.It's All Over Now, Baby Blue
30.Gates Of Eden
31.Don't Think Twice, It's All Right
32.Girl Of The North Country
33.Knockin' On Heaven's Door
34.Rainy Day Women #12 & 35
35.Shooting Star
36.One More Cup Of Coffee (Valley Below)
37.Blowin' In The Wind
38.Highway 61 Revisited

Concert # 306 of The Never-Ending Tour.
Concert # 5 of the 1991 Summer Tour Of Europe.
1991 concert # 43.
Concert # 22 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (vocal & guitar), John Jackson (guitar) on: It's All Over Now, Baby Blue.

Acoustic with the band on: Gates Of Eden, Don't Think Twice, It's All Right, Girl Of The North Country, Blowin' In The Wind.

Bob Dylan (harmonica) on: Ballad Of A Thin Man, Gotta Serve Somebody, It's All Over Now, Baby Blue, Don't Think Twice, It's All Right, Girl Of The North Country, Blowin' In The Wind

Bob Dylan (electric piano) on: Gotta Serve Somebody, Knockin' On Heaven's Door,Shooting Star.

One More Cup Of Coffee (Valley Below) was last played in London, 4 February 1990.

LB-4403;
Taper: Legendary Taper D (LTD);
Equipment: Audio disks (low-gen) > (dBpowerAMP set to compression level 6) > flac

Excellent sound [A-].

***

Kisstadion
Budapest, Hungary
12 June 1991

39.You're A Big Girl Now
40.When First Unto This Country (trad.)
41.Mr Tambourine Man
42.Acoustic Jam

Concert # 307 of The Never-Ending Tour.
Concert # 6 of the 1991 Summer Tour Of Europe.
1991 concert # 44.
Concert # 23 with the 5th Never-Ending

Tour band: Bob Dylan (vocal & guitar), John Jackson (guitar),
Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (vocal, harmonica & guitar), John Jackson (guitar) on: When First Unto This Country.

Acoustic with the band on: Mr Tambourine Man, Acoustic Jam.

Bob Dylan (harmonica) on: Mr Tambourine Man, Acoustic Jam.

Second performance of First Came Unto This Country.
First time was in Norfolk, Virginia, 7 November 1989, when it was done "electric".

BobTalk:

Thank you everybody! That was my foreign language song.
It's my only foreign language song.
(after When First Unto This Country).

LB-1839;
Taper: Holy Grail (HG)

Very good to excellent sound [B+].

***

Eissportshalle
Olympic Stadium
Innsbruck, Austria
14 June 1991

43.Simple Twist Of Fate
44.Positively 4th Street
45.Homeward Bound (Paul Simon)
46.Seeing The Real You At Last

Concert # 308 of The Never-Ending Tour.
Concert # 7 of the 1991 Summer Tour Of Europe.
1991 concert # 45.
Concert # 24 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

BobTalk:

Thank you that was of my real early songs.
Here's a later one.
(before Seeing The Real You At Last).

LB-4385;
Taper: Legendary Taper D (LTD);
Equipment: Sennheiser MKE 2002 mics. No information as to DAT recorder;
Lowgen sourced audio disks > (dBpowerAMP set to compression, level 6) flac

Excellent sound [A-].

***

Sporthalle
Linz, Austria
15 June 1991

47.Bob Dylan's Dream

Concert # 309 of The Never-Ending Tour.
Concert # 8 of the 1991 Summer Tour Of Europe.
1991 concert # 46.
Concert # 25 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: Bob Dylan's Dream.

Bob Dylan (harmonica) on: Bob Dylan's Dream.

LB-6114;
Taper: legendary taper J (LTJ);
Equipment: Sennheiser MKE2002 >
portable DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

***

Beethovensaal, Liederhalle
Stuttgart, Germany
17 June 1991

"Name That Tune" concert.

48.New Morning
49.I Believe In You
50.What Good Am I?

Concert # 310 of The Never-Ending Tour.
Concert # 9 of the 1991 Summer Tour Of Europe.
1991 concert # 47.
Concert # 26 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on: New Morning, I Believe In You,What Good Am I?

Bob Dylan (electric piano) on: New Morning.

Last show with electric piano in 1991.

LB-6681;
Taper: legendary taper J (LTJ);
Equipment: Sennheiser MKE2002 > portable DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 > Wavelab >
ssrc > cdwave for tracking > tlh

Excellent sound [A].

***

Sporthalle
Essen, Germany
18 June 1991

51.I'll Be Your Baby Tonight
52.Trail Of The Buffalo (trad. arr. Woody Guthrie)
53.Desolation Row

Concert # 311 of The Never-Ending Tour.
Concert # 10 of the 1991 Summer Tour Of Europe.
1991 concert # 48.
Concert # 27 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with Bob Dylan (vocal & guitar) and John Jackson (guitar) on: Trail Of The Buffalo.

Acoustic with the band on: Desolation Row.

BobTalk:

Thank you everybody!!
That was one of Whitney Houston's new songs: I'll Be Your Baby Tonight!

Anybody seen a movie called Dancing With Wolves? Yeah, Right.
That's ???? kind of like that but not quite.
Sort of, though. Almost.
(sings Trail Of The Buffalo).

Thank you! Thank you everybody!
That was written ???? time before that Dancing With Wolves thing.
Not any wolves in there but buffalo.

LB-6823;
New Morning (Great Live Records / GLR 9120-21)

Excellent sound [A].

***

Stadthalle
Offenbach, Germany
19 June 1991

54.It Takes A Lot To Laugh, It Takes A Train To Cry
55.Leopard-Skin Pill-Box Hat
56.Two Soldiers (trad.)
57.Lenny Bruce

Concert # 312 of The Never-Ending Tour.
Concert # 11 of the 1991 Summer Tour Of Europe.
1991 concert # 49.
Concert # 28 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with Bob Dylan (vocal & guitar) and John Jackson (guitar) on: Two Soldiers.

Bob Dylan (harmonica) on: Leopard-Skin Pill-Box Hat.

BobTalk:

This is my fashion song for the evening, you won't hear anymore like it!
(after Leopard-Skin Pill-Box Hat).

Thank you everybody! That was a song from another place,
another time ... just like this one!
(after Two Soldiers).

LB-1660;
Taper: Holy Grail (HG)

Excellent sound [A-].

***

Zirkus Krone
München, Germany
21 June 1991

58.All Along The Watchtower
59.Shelter From The Storm
60.Gotta Serve Somebody
61.Wiggle Wiggle
62.When I Paint My Masterpiece

Concert # 313 of The Never-Ending Tour.
Concert # 12 of the 1991 Summer Tour Of Europe.
1991 concert # 50.
Concert # 29 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on: Shelter From The Storm, Gotta Serve Somebody.

BobTalk:

Thanks everybody!
That's a song called Shelter From The Storm ???? one that has been released.

Here's one of my anti-religion songs. There are many in my repertoire. This is one of them ????
(plays Gotta Serve Somebody.

This is my ecology song for tonight.
It's my one and only ecology song right here off of my last record.
(plays Wiggle Wiggle).
Thanks for making that record such a big hit!! Now I've done my duty!

LB-7180;
Taper: Legendary Taper J (LTJ);
Equipment: DAT clone > audio disks >
(dBpowerAMP set to compression level 6) flac

Excellent sound [A].

***

Schlösshof
Bad Mergentheim, Germany
22 June 1991

63.Girl Of The North Country

Concert # 314 of The Never-Ending Tour.
Concert # 13 of the 1991 Summer Tour Of Europe.
1991 concert # 51.
Concert # 30 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: Girl Of The North Country.

Bob Dylan (harmonica) on: Girl Of the North Country.

LB-5526;
Equipment: Audience DAT

Excellent sound [A].

***

Stadtpark
Hamburg, Germany
23 June 1991

64.New Morning
65.Man Gave Names To All The Animals
66.When I Paint My Masterpiece
67.Barbara Allen (trad.)

Concert # 315 of The Never-Ending Tour.
Concert # 14 of the 1991 Summer Tour Of Europe.
1991 concert # 52.
Concert # 31 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with Bob Dylan (vocal & guitar) on: Barbara Allen.

Bob Dylan (harmonica) on: New Morning, When I Paint My Masaterpiece.

Man Gave Names To All The Animals again features the rare duck verse:

He saw an animal upon a lake.

He was afraid that (?) his heart would break

He was tryin' to drive a truck

I think I'll call it a duck.

BobTalk:

Oh, you know, they're digging up Presidents again.
They just dug up another President now. So in (?) all these years you can still dig up a body.
This about the first song anybody ever dug up a body.
And I found that everything they said about the body was true. That's somebody, everybody.
(before Barbara Allen).

LB-1849;
xref-00575;
Taper: Holy Grail (HG)

Excellent sound [A-].

***

Cirkus
Kungliga Djurgården
Stockholm, Sweden
25 June 1991

The ABBA concert.

68.I'll Be Your Baby Tonight
69.Man In The Long Black Coat

Concert # 316 of The Never-Ending Tour.
Concert # 15 of the 1991 Summer Tour Of Europe.
1991 concert # 53.
Concert # 32 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on: I'll Be Your Baby Tonight.

BobTalk:

It's really a great pleasure to play here.
One of my favourite groups of all times is ABBA. ABBA!!
(after Man In The Long Black Coat).

LB-7804;
Equipment: 1st gen cassette > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Good sound [B].

***

Cirkus
Kungliga Djurgården
Stockholm, Sweden
26 June 1991

70.I'll Be Your Baby Tonight
71.Ballad Of Hollis Brown

Concert # 317 of The Never-Ending Tour.
Concert # 16 of the 1991 Summer Tour Of Europe.
1991 concert # 54.
Concert # 33 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: Ballad Of Hollis Brown.

BobTalk:

Some people think that's a Whitney Houston song but it's one of mine!
(after I'll Be Your Baby Tonight).

LB-8873

Very good to excellent sound [B+].

***

Kalvøya
Sandvika, Norway
28 June 1991

Kalvøya-Festivalen

72.Girl Of The North Country

Concert # 318 of The Never-Ending Tour.
Concert # 17 of the 1991 Summer Tour Of Europe.
1991 concert # 55.
Concert # 34 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: Girl Of The North Country.

Bob Dylan (harmonica) on:Girl Of The North Country.

BobTalk:

Well, here's one of my favourite songs of all times!
(before Girl Of The North Country).

LB-4879

Good sound [B].

***

Midtfyns Festival
Ringe, Denmark
29 June 1991

73.The Lonesome Death Of Hattie Carroll

Concert # 319 of The Never-Ending Tour.
Concert # 18 of the 1991 Summer Tour Of Europe.
1991 concert # 56.
Concert # 35 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on: The Lonesome Death Of Hattie Carroll.

Bob Dylan (harmonica) on: The Lonesome Death Of Hattie Carroll.

LB-6824;
The Never Ending Tour (Deep Records / MIK 012/13);
Soundboard

Good sound [B].

***

Rock on, Bob!

XXX

1991-06-06 Rome
1991-06-07 Bologna
1991-06-08 Milan
1991-06-10 Ljubljana
1991-06-11 Belgrade
1991-06-12 Budapest
1991-06-14 Innsbruck
1991-06-15 Linz
1991-06-17 Stuttgart
1991-06-18 Essen
1991-06-19 Offenbach
1991-06-21 Munich
1991-06-22 Bad Mergentheim
1991-06-23 Hamburg
1991-06-25 Stockholm
1991-06-26 Stockholm
1991-06-28 Kalvoya
1991-06-29 Ringe

(229/1) Bob Dylan, 1991-10-25, Whatever You Feel Like, Fall Tour of US, (Pink Panther Records)

Audio/flac, ?/?, (20190428)

Bob Dylan

WHATEVER YOU F***ING FEEL LIKE

(Pink Panther Records)

1991 Fall Tour of the United States of America.

Co-produced by Detective Inspector Jacques Clouseau, President Vladimir Putin,
Mr/The/Maybe President Donald Trump & newcomer Boris Johnson.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir, The Donald, Boris
and the death metal specialists at Lubyanka.

***

The popular theory is that all 91 concerts are rubbish & the popular theory is wrong.
There is also a view that there are a few decent concerts buried in the mess of the 91 US Fall tour.
So what is really happening here if we are objective about it & stick to the facts from the circulating tapes.
Over four weeks (28 days), Bob performed 21 concerts & played 65 songs (25 of them only once or twice).
The songs are very well performed & two-thirds of the concerts are circulating in very good to excellent sound.
The Donald Duck on helium vocals from earlier in the year are absent.
Bob & the band play enthusiastically, coherently & consistently.

Like most Bob things from 91, someone has a wacky theory - the most weird one about the vocals is that it took Bob's sinuses almost a year to recover from all the Traveling Wilburys coke.
I have no idea, but the improvement in the vocals is dramatic.

The constant experimentation with the songlist shows Bob focused on what he is doing, & doing it well.

These are very good to excellent performances in very good to excellent sound.

There is no typical Fall 91 concert setlist - it changed considerably every night.

Every song played during Fall 91 is represented here.

***

Sourced from best available FLAC sources.

Sound is generally very good to excellent, but this set opens & closes with some lo-fi songs.
If it upsets you, just use the skip button.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

74 ball-tearing, sensational tracks
65 different songs
19 concerts are represented here (from the total of 21 concerts)
7 hours & 6 minutes of music
1 bob

Missing in action: 1991-10-24 Corpus Christi (no recording circulates & setlist unknown)

***

The setlists alternated radically from night to night, except for the joint Dylan-Simon collaborations.

- 2 songs were played 20 times
- 6 songs were played 15 times of more
- 11 songs were played 10 times or more
- 27 songs were played 5 times or more
- 5 songs were played only 4 times
- 8 songs were played only 3 times
- 9 songs were played only twice
- 16 songs were played only once

So much for the theory that the setlists were static night after night.

***

2 songs played 20 times:All Along The Watchtower,Gotta Serve Somebody
1 song played 19 times:Everything Is Broken
1 song played 18 times:I'll Be Your Baby Tonight
1 song played 16 times:Highway 61 Revisited
1 song played 15 times:Maggie's Farm
1 song played 13 times:Watching The River Flow
2 songs played 11 times:Man In The Long Black Coat,Simple Twist Of Fate
2 songs played ten times:Rainy Day Women #12 & 35,Trail Of The Buffalo
1 song played nine times:What Good Am I?
3 songs played eight times:Ballad Of A Thin Man,It Ain't Me, Babe,The Man In Me
7 songs played seven times:Answer Me (My Love),Confidential (To Me),Don't Think Twice, It's All Right,Friend Of The Devil,Mr Tambourine Man,Shelter From The Storm,To Be Alone With You
4 songs played six times:Desolation Row,It's All Over Now, Baby Blue,New Morning,You Don't Know Me
1 song played five times:Lenny Bruce
5 songs played four times:Gates Of Eden,I'll Remember You,Lay, Lady, Lay,Shooting Star,When I Paint My Masterpiece
8 songs played three times:Bob Dylan's Dream,Golden Vanity,I Believe In You,I Don't Believe You (She Acts Like We Never Have Met),Just Like A Woman,One Irish Rover,Senor (Tales Of Yankee Power),The Lonesome Death Of Hattie Carroll
9 songs were played twice:Early Morning Rain,Every Grain Of Sand,Girl Of The North Country,One Too Many Mornings,Pancho And Lefty,Queen Jane Approximately,The Times They Are A-Changin',Two Soldiers,Visions Of Johanna

16 songs were played only once:
20-20 Vision
Across The Borderline
Ballad Of Hollis Brown
Boots Of Spanish Leather
Dust My Broom
Folsom Prison Blues
Joey
John Brown
Love Minus Zero / No Limit
Moondance
Roving Gambler
Tears Of Rage
That Lucky Old Sun
Wiggle Wiggle
Willing
You're A Big Girl Now

Songs not played:Like A Rolling Stone,Tangled Up In Blue

***

Andrew Muir

By the end of the summer, even Dylan was tiring and, after ending the South American jaunt on 21 August 1991 he did not resume the NET until 24 October in Corpus Christi, Texas.
Exactly a week prior to that, however, he made a high-profile, filmed stage appearance at the 1960s night of the Guitar Greats Festival in Seville, Spain, though without his regular NET band.

The Jack Bruce Band backed Dylan on his opening song before Bob switched to acoustic mode for the next three songs.
Richard Thompson was on stage for these but seemed unsure of what Dylan was doing.
Finally Dylan introduced his former Live Aid partner in crime Keith Richards for a criminal deconstruction of Shake Rattle And Roll.

Given his poor performances in the year so far, trepidation levels amongst Dylan followers were sky-high as Dylan took the stage.
In the opening song, All Along The Watchtower, he was clearly struggling; not particularly badly by 1991 standards, but struggling nonetheless.
For a Guitar Legend event the guitar playing sounded, to put it mildly, inappropriate.
No one seemed to know what they were supposed to be doing, and Dylan was having too much trouble of his own to give any directions.
That very predictable choice, Boots Of Spanish Leather, started very shakily too, and it looked for all the world as if tomorrow would once again be a day spent excusing Dylan's TV appearance.

Then, out of nowhere, something magical happened. Dylan began to find his voice and his control.
The improvement continued apace with a decent stab at Across The Borderline and a magnificent reading of Mutterlein, Winkler, Rausch and Sigman's Answer Me My Love.
He had suddenly rediscovered the power of enunciation and seemed engaged in his performance in a way that had been lacking previously.
It was not enough to get him good reviews ? and to be fair, of the four songs we had two poorly performed, one quite decent and one good, so that is hardly surprising ? but it gave people like myself hope that the year was not going to be a complete wash-out.

After the closing, chaotic Keith Richards "duet", I spun the video back and watched Answer Me My Love again, and again, and again.
It was a charming harbinger of better nights to come in 1991.

Seville proved a crucial turning point. Dylan steadily improved, I am not saying it was all plain sailing but if we look at the show from Tulsa, we can see the contrast to earlier in the year, and the way he turned the November 1991 shows into triumphs.

It should also be noted that the band had transformed themselves into a much better unit.
According to Olof Bjorner they had taken to calling themselves "the undesirables" in response to all the criticism they had received.
Perhaps it was this "us vs. them" spirit of unity that inspired them to greater heights.

***

Bayfront Auditorium
Corpus Christi, Texas
24 October 1991

No information available - tape and setlist has never circulated.

Concert # 344 of The Never-Ending Tour.
First concert of the 1991 US Fall Tour.
1991 concert # 81.
Concert # 60 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),
Tony Garnier (bass), Ian Wallace (drums).

***

City Coliseum
Austin, Texas
25 October 1991

00.Intro
01.20/20 Vision (Milton Estes/Joe Allison)

Concert # 345 of The Never-Ending Tour.
Second concert of the 1991 US Fall Tour.
1991 concert # 82.
Concert # 61 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on 20/20 Vision.

Bob Dylan (harmonica) on 20/20 Vision.

BobTalk:

Thank you everybody!
That's my confessional song for the evening!
(after 20/20 Vision).

LB-8887

Good sound [B].

***

Sunken Garden Theater
San Antonio, Texas
26 October 1991

02.Pancho And Lefty (Townes van Zandt)
03.Visions Of Johanna

Concert # 346 of The Never-Ending Tour.
Third concert of the 1991 US Fall Tour.
1991 concert # 83.
Concert # 62 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on Visions Of Johanna.

Bob Dylan (harmonica) on Pancho And Lefty.

LB-8721

Poor sound [C].

***

Lubbock Memorial Center
Lubbock, Texas
27 October 1991

4.Wiggle Wiggle

Concert # 347 of The Never-Ending Tour.
Concert # 4 of the 1991 US Fall Tour.
1991 concert # 84.
Concert # 63 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

BobTalk:

Here's a song about fishing.
(before Wiggle Wiggle).

LB-0635;
xref-00481

Good sound [B].

***

Bradey Theater
Tulsa, Oklahoma
30 October 1991

05.All Along The Watchtower
06.Early Morning Rain (Gordon Lightfoot)
07.I'll Remember You
08.Gotta Serve Somebody
09.Simple Twist Of Fate
10.I'll Be Your Baby Tonight
11.Trail Of The Buffalo (trad. arr. Woody Guthrie)
12.Answer Me (Gerhard Winkler/Fred Rauch/Carl Sigman)
13.It Ain't Me, Babe
14.Every Grain Of Sand
15.Everything Is Broken
16.Man In The Long Black Coat
17.Maggie's Farm
18.What Good Am I?
19.Ballad Of A Thin Man

Concert # 348 of The Never-Ending Tour.
Concert # 5 of the 1991 US Fall Tour.
1991 concert # 85.
Concert # 64 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (guitar & vocal, John Jackson (guitar) on Trail Of The Buffalo.

Acoustic with the band;Answer Me,It Ain't Me, Babe.

Bob Dylan (harmonica) on:
I'll Remember You,
Simple Twist Of Fate,
It Ain't Me, Babe,
Every Grain Of Sands,
Man In The Long Black Coat,
What Good Am I?,
Ballad Of A Thin Man.

Steve Ripley (guitar) on:
Every Grain Of Sand
Everything Is Broken
Man In The Long Black Coat
Maggie's Farm
Ballad Of A Thin Man

BobTalk:

Thanks everybody! That's one of my romance songs. (after Lay, Lady, Lay).

Thank you everybody! That was one of my real old songs there,
that's so old that it wasn't even written by me.
(after Early Morning Rain).

Thank you everybody!
That's my song that is a response to Arlo Guthrie's song Alice's restaurant.
(after Gotta Serve Somebody).

Thank you everybody. That was a tricky ending!
(after Simple Twist Of Fate).

Thank you everybody! It's my animal prevention song here!
(before Trail Of The Buffalo).

This is my new song. My new single coming out.
(before Answer Me).

Thank you everybody!
Steve Ripley playing guitar here! Steve used to play with me a few years ago.
Almost like time stands still.
(after Everything Is Broken).

Thanks everybody! Give Steve Ripley a hand!
(after Maggie's Farm).

Thanks everybody! This is my theme song.
(before Ballad Of A Thin Man).

LB-1687;
Soundboard

Very good to excellent sound [B+].

***

Andrew Muir

At Tulsa on 30 October, New Morning was still the opener and, even though Dylan now seemed to know more of the words than he did in the summer,it was still dreadful; even his "thanks" at the end sounded weary.
On a messy Lay, Lady, Lay, Dylan's self-parodic whining was punctuated by ham-fisted instrumentals.
Dylan seemed oblivious that things sounded as bad as earlier in the year. Yet the improvement was just about to take root and grow steadily.

An impossible-to-identify intro led into a passable All Along The Watchtower,before a throaty but stoic take on Gordon Lightfoot's Early Morning Rain raised the show to a new level.
"That's one of my real old songs," Dylan told the audience. "So old it wasn't even written by me."
An acceptable run-through on I'll Remember You led to a Gotta Serve Somebody that saw Dylan having his usual fun with this song.
"That's my response to, er, Arlo Guthrie's song called Alice's Restaurant, Dylan quipped afterwards.

The audience were then treated to a wonderfully understated Simple Twist Of Fate, enlivened by daring experiments with the line endings.
The opening few bars of this magical song, even before Dylan started singing, elevated the evening and things moved on to a whole other level.
Even the ending harmonica solo and band playing in this seemed to have a point as opposed to the mindless doodling evident earlier.
It disintegrated at the end, alas, as a coughing Dylan excused what he called "a trick ending".

I'll Be Your Baby Tonight was lazy-good-time-Dylan. He then found an assured voice for Trail Of The Buffalo ? "my animal preservation song".
He always performs this well, but, even so, the contrast between his vocals here and on the preceding song was extraordinary.
Mr Tambourine Man started somewhat hurriedly, then there was a nice little conspiratorial whisper on the second line's final word, "you".
Dylan seemed to play around it, eternally circling the song for further new meanings and intonations.

Still in whimsical mood, Dylan introduced Answer Me My Love, the song that had so impressed me at Seville, as "My new song, we've got a single coming out".
Despite still being bedevilled by an intrusive throatiness he was in full expressive mode, ably abetted by some nifty guitar work.
It was a good example of what going to shows on the NET is so often about: a working musician going out night after night and attempting to convey to the audience the very core of what a particular song means to him at that particular moment.

As though it had inspired him as well as us, Dylan got thoroughly into the succeeding, and lyrically contrasting, It Ain't Me, Babe.
He was now singing in an impassioned, deeper, voice.
The (successful) attempt at fully communicating Answer Me My Love had freed him from the tinny wheeze that had plagued the earlier material.
It Ain't Me, Babe, along with Simple Twist Of Fate, Answer Me My Love and Trail Of The Buffalo were light years ahead of the rest of the show,and they hinted at Dylan's newly re-discovered commitment to his performing art.

This tape kicked off a period of shows which I have played and enjoyed ever since.
To this day when I hear the names Ames, Wichita, South Bend, Evanston, Dayton, Wilkes-Barre or Madison, it is Dylan's November 1991 shows I think of.

***

Civic Center
31 Octobre 1991
Wichita, Kansas

20.Willing (Lowell George)
21.You're A Big Girl Now

Concert # 349 of The Never-Ending Tour.
Concert # 6 of the 1991 US Fall Tour.
1991 concert # 86.
Concert # 65 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass),Ian Wallace (drums).

Bob Dylan (harmonica) on:Willing, You're A Big Girl Now.

LB-4697;
Taper: PDub;
Equipment: Sonic Studios 6p mics > Sony D6 > Unknown transfer >
CDR(1) > EAC (Secure/Offset) > FLAC (Level 8) > HungerCity

Excellent sound [A-].

***

Midland Theater
Kansas City, Missouri
1 November 1991

22.Two Soldiers (trad.)
23.Bob Dylan's Dream
24.Highway 61 Revisited

Concert # 350 of The Never-Ending Tour.
Concert # 7 of the 1991 US Fall Tour.
1991 concert # 87.
Concert # 66 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (guitar & vocal), John Jackson (guitar) on:Two Soldiers.

Acoustic with the band:Bob Dylan's Dream.

Bob Dylan (harmonica) on:Two Soldiers.

LB-4707;
Taper: PDub;
Equipment: Sonic Studios 6p mics > Sony D6 >
Unknown transfer > CDR(1) > EAC (Secure/Offset) >
FLAC (Level 8) > HungerCity

Very good to excellent sound [B+].

***

CY Stevens Auditorium
Ames, Iowa
2 November 1991

25.Across The Borderline (Ry Cooder/John Hiatt/Jim Dickinson)
26.Answer Me (My Love) (Gerhard Winkler/Fred Rauch/Carl Sigman)
27.Lenny Bruce

Concert # 351 of The Never-Ending Tour.
Concert # 8 of the 1991 US Fall Tour.
1991 concert # 88.
Concert # 67 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band:Answer Me (My Love)

Bob Dylan harmonica on:Across The Borderline

BobTalk:

Thanks everybody! That's a song for my friends south of the border.
(after Across The Borderline).

Thanks everybody! There's a song about a real person.
At least he used to be real. Here's one of my songs about the state of the world.
Don't know quite what state it is ...
(after Lenny Bruce).

LB-2498

Excellent sound [A-].

***

McCaw Hall
The Northwestern University
Evanston, Illinois
4 November 1991

28.Golden Vanity (trad.)
29.Don't Think Twice, It's All Right
30.Folsom Prison Blues (Johnny Cash)
31.I'll Remember You

Concert # 352 of The Never-Ending Tour.
Concert # 9 of the 1991 US Fall Tour.
1991 concert # 89.
Concert # 68 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (guitar & vocal), John Jackson (guitar) on:Golden Vanity.

Acoustic with the band on:Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on:Don't Think Twice, It's All Right

LB-0854;
Taper: MJS

Very good to excellent sound [B+].

***

Dane County Memorial Coliseum
Madison, Wisconsin
5 November 1991

The "useless gig" concert

32.New Morning
33.Lay, Lady, Lay
34.Simple Twist Of Fate
35.Gotta Serve Somebody
36.It's All Over Now, Baby Blue
37.Mr Tambourine Man
38.That Lucky Old Sun (Haven Gillespie-Beasley Smith)
39.Rainy Day Women #12 & 35
40.Shooting Star
41.I Believe In You

Concert # 353 of The Never-Ending Tour.
Concert # 10 of the 1991 US Fall Tour.
1991 concert # 90.
Concert # 69 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:It's All Over Now, Baby Blue,Mr Tambourine Man,That Lucky Old Sun

Bob Dylan (harmonica) on:Lay, Lady, Lay,Simple Twist Of Fate,It's All Over Now, Baby Blue,Mr Tambourine Man,Rainy Day Women #12 & 35,I Believe In You.

First acoustic version of That Lucky Old Sun.

LB-10660

Excellent sound [A-].

***

Andrew Muir

At Madison, Dylan gave a revealing interview about the NET to Robert Hilburn of The Los Angeles Times.

"Dylan paces impatiently backstage at the Dane County Memorial Coliseum in Madison" Hilburn began.
"A snowstorm had snarled traffic, and it has taken Dylan's bus four hours instead of two to get here from Chicago.
He seems anxious to get the whole evening over with. Finally, he goes back to the bus to wait out the opening act,"
After the show, Dylan tells Hilburn flatly, "That was a useless gig."
When someone mentioned that the audience seemed to enjoy it, Dylan dismissed them with a wave of his hand.
"Naw, it just wasn't there. Nothin' wrong with the audience. Sometimes the energy level just doesn't happen the way it should.
We didn't invite this weather to follow us around." Dylan then lapsed into silence.

This is fascinating, as, far from being " useless", the gig was excellent.
As for the dismissive comment "it just wasn't there", Dylan could hardly have been more unfair on his performance.
Still, it was refreshing to hear him demanding more and more of himself.
What a contrast to the shambling, uninterested figure that had visited the United Kingdom back in February 1991.

"The night before, after the Northwestern show, he had been more talkative, and more philosophical about the ups and downs of touring,"
Hilburn was relieved to report. "'You hear sometimes about the glamour of the road,' he said then, 'but you get over that real fast.
There are a lot of times that it's no different from going to work in the morning. Still, you're either a player or you're not a player.
It didn't really occur to me until we did those shows with The Grateful Dead (in 1987).
If you just go out every three years or so, like I was doing for a while, that's when you lose touch.
If you are going to be a performer, you've got to give it your all'."

1992 beckoned, and Dylan continued to give it his all.

***

Clinton Heylin

One particular moment, at the tenth show that fall, in Madison, Wisconsin, on 5 November 1991,
showed that he was also coming to terms with this world of toil and trouble, even as he continued to yearn for release.
Ironically, Dylan himself would dismiss what was one of his finest performances in ten years as ?useless ? it just wasn't there.?
Confiding in Robert Hilburn, temporarily along for the ride, with a sincerity borne of recent missed opportunities, he asserted,?If you are going to be a performer, you've got to give it your all.?
One song he certainly gave his all that night was an acoustic version of That Lucky Old Sun, one of a number of acoustic,or semi-acoustic, performances he had given on the Never Ending Tour, which contrasted this life of strife, implicitly or explicitly,with a better place. One of that decreasing number of songs he could place himself in,
That Lucky Old Sun yearns for the Lord above to ?show me that river, take me across, wash all my troubles away?;just as, in Frejus in 1989, he sought a place ?where the lion will lie down with the lamb? (Peace In The Valley);or, on the occasional Rank Strangers To Me, for ?a beautiful home by the bright crystal sea / where no one will be a rank stranger to me.?

Paul Williams, in a piece he wrote on Bob Dylan And Death in 1988, recounts Dylan handing him Howard Alk's phone number backstage at the Warfield in 1980.
Alk was a fan of Williams's heartfelt, of-the-moment monograph on Dylan's conversion, the self-published What Happened?
When Williams finally visited Alk, a couple of months later, he found a surprisingly earnest Alk had something on his mind:

Paul Williams: ?He said some nice things about my book, but what he really wanted to talk about was the fact that I had overlooked,in his opinion, a major possible factor in Dylan's conversion to Christianity ? awareness of and fear of death.?

That ?awareness of and fear of death? had increasingly drained the color from Dylan's work in the decade now gone.
By the end of 1991, though, he was no longer seeking to obliterate a disturbed sense of his own mortality by whatever means were available.
Even as he continued to envy that lucky old sun, with ?nothing to do but roll around heaven all day,?the man of constant sorrow knew he was ?bound to ride that open highway? for a while yet.

***

Morris Civic Auditorium
South Bend, Indiana
6 November 1991

42.One Irish Rover (Van Morrison)
43.Shelter From The Storm
44.You Don't Know Me (Eddy Arnold/Cindy Walker)
45.Roving Gambler (trad.)
46.John Brown
47.Everything Is Broken
48.Highway 61 Revisited

Concert # 354 of The Never-Ending Tour.
Concert # 11 of the 1991 US Fall Tour.
1991 concert # 91.
Concert # 70 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (guitar & vocal), John Jackson (guitar) on:Roving Gambler.

Acoustic with the band on:John Brown.

Bob Dylan (harmonica) on:Shelter From The Storm,Roving Gambler,Highway 61 Revisited.

First or second version of Roving Gambler,depending on whether you believe that the St Paul tape is done by Dylan or not.

LB-7410;
Taper: Net Taper A (NTA);
Equipment: cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

The Whitney Hall
Louisville, Kentucky
8 November 1991

49.Watching The River Flow
50.To Be Alone With You
51.Girl Of The North Country
52.Just Like A Woman
53.The Times They Are A-Changin'

Concert # 355 of The Never-Ending Tour.
Concert # 12 of the 1991 US Fall Tour.
1991 concert # 92.
Concert # 71 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Girl Of The North Country,The Times They Are A-Changin'.

Bob Dylan (harmonica) on:Watching The River Flow,Girl Of The North Country.

LB-7405;
Taper: Legendary taper G (LTG);
Equipment: Sennheiser MKE2002 >
Sony D6,cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > Wavelab, levels raised >
cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Memorial Hall
Dayton, Ohio
9 November 1991

54.Confidential (Dolinda Morgan)
55.When I Paint My Masterpiece
56.Boots Of Spanish Leather
57.The Lonesome Death Of Hattie Carroll
58.One Too Many Mornings
59.I'll Be Your Baby Tonight
60.What Good Am I?
61.Friend Of The Devil (Jerry Garcia/Robert Hunter/John Dawson)

Concert # 356 of The Never-Ending Tour.
Concert # 13 of the 1991 US Fall Tour.
1991 concert # 93.
Concert # 72 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Boots Of Spanish Leather,The Lonesome Death Of Hattie Carroll,One Too Many Mornings.

Bob Dylan (harmonica) on:When I Paint My Masterpiece,Boots Of Spanish Leather,The Lonesome Death Of Hattie Carroll,One Too Many Mornings,What Good Am I?,

BobTalk:

You like an old song? Coming out in video ...
(after Confidential).

Thank you everybody. That was my art song for tonight.
True story, yeah, autobiographical. Most of my songs are autobiographical.
I wish (bet?) you could ???? them.
(after When I Paint My Masterpiece).

Well, it's just tonight though. Ending soon...
This is my song about the rain forests.
This is my one song that is politically correct, Oh, incorrect that is.
This is politically incorrect. Most of my other ones are mostly correct.
(before What Good Am I?).

LB-7402;
Taper: Legendary Taper F (LTF);
Equipment: Sennheiser MKE2002 >
cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Murat Temple
Indianapolis, Indiana
10 November 1991

62.Desolation Row
63.Señor (Tales Of Yankee Power)
64.Man In The Long Black Coat

Concert # 357 of The Never-Ending Tour.
Concert # 14 of the 1991 US Fall Tour.
1991 concert # 94.
Concert # 73 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Desolation Row.

Bob Dylan (harmonica) on:Desolation Row.

LB-0027

Excellent sound [A-].

***

The Fox Theater
Detroit, Michigan
12 November 1991

65.Tears Of Rage (Bob Dylan & Richard Manuel)
66.The Man In Me
67.Gates Of Eden
68.Dust My Broom (Elmore James)
69.Maggie's Farm

Concert # 358 of The Never-Ending Tour.
Concert # 15 of the 1991 US Fall Tour.
1991 concert # 95.
Concert # 74 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Gates Of Eden.

Bob Dylan (harmonica) on:Tears Of Rage,The Man In Me.

Martin Gross (guitar) on:Dust My Broom.

BobTalk:

Thank you! Detroit City! Some folks say all's well in Detroit City.
(after Tears Of Rage).

Thanks everybody! Tonight's show is being broadcast live over WCAI in Detroit!!
(after I'll Be Your Baby Tonight).

Thank you! That was one of my controversial songs there,
????? you want to hear that kind of song.
(after The Man In Me).

Thanks everybody! We love you Detroit! Thank you Ted Nugent!
(after Dust My Broom).

LB-7419;
Taper: Legendary Taper G (LTG);
Equipment: Sennheiser MKE2002 >
Sony D6, cassette master > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > Wavelab, levels raised >
cdwave, tracking > tlh

Excellent sound [A-].

***

EJ Thomas Performing Arts Hall
University Of Akron
Akron, Ohio
13 November 1991

70.Love Minus Zero/No Limit

Concert # 359 of The Never-Ending Tour.
Concert # 16 of the 1991 US Fall Tour.
1991 concert # 96.
Concert # 75 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Love Minus Zero / No Limit.

Bob Dylan (harmonica) on:Love Minus Zero / No Limit.

LB-9163;
Equipment: Xfered from cassette > DR07 > WAV >
audio cleaning lab, edit marks > TLH > FLAC 8

Very good to excellent sound [B+].

***

FM Kirby Center
Wilkes-Barre, Pennsylvania
15 November 1991

71.I Don't Believe You (She Acts Like We Never Have Met)

Concert # 360 of The Never-Ending Tour.
Concert # 17 of the 1991 US Fall Tour.
1991 concert # 97.
Concert # 76 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on:I Don't Believe You (She Acts Like We Never Have Met)

BobTalk:

All right, that was one of those nights ????
(after I Don't Believe You (She Acts Like We Never Have Met)).

LB-1205

Very good to excellent sound [B+].

***

Woolsey Hall
Yale University Campus
New Haven, Connecticut
16 November 1991

Not used. Poor sound.

Concert # 361 of The Never-Ending Tour.
Concert # 18 of the 1991 US Fall Tour.
1991 concert # 98.
Concert # 77 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

***

Stanley Performing Arts Center
Utica, New York
18 November 1991

72.Ballad Of Hollis Brown

Concert # 362 of The Never-Ending Tour.
Concert # 19 of the 1991 US Fall Tour.
1991 concert # 99.
Concert # 78 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Acoustic with the band on:Ballad Of Hollis Brown.

BobTalk:

It's my Jimmy Page trick here! .... Uh oh... He's better than me at this.
??? It's easier for him though.
(talking of John Jackson at the beginning of Hollis Brown).

LB-0096;
xref-00488

Fair sound [B-].

***

Warner Theatre, Civic Center
Erie, Pennsylvania
19 November 1991

73.Moondance (Van Morrison)
75.Queen Jane Approximately

Concert # 363 of The Never-Ending Tour.
Concert # 20 of the 1991 US Fall Tour.
1991 concert # 100.
Concert # 79 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on:Moondance, Queen Jane Approximately.

LB-0803;
xref-00502

Poor sound [C].

***

University Hall
University Of Virginia
Charlottesville, Virginia
20 November 1991

75.Joey (Bob Dylan & Jacques Levy)

Concert # 364 of The Never-Ending Tour.
Concert # 21 of the 1991 US Fall Tour.
1991 concert # 101.
Concert # 80 with the 5th Never-Ending Tour

band: Bob Dylan (vocal & guitar), John Jackson (guitar),Tony Garnier (bass), Ian Wallace (drums).

Bob Dylan (harmonica) on:Joey

LB-8879;
Fixed LosslessBob-0105 xref-00501 >
Wave Repair 4.9.3 to fix double index clicks
(with occasional micro gaps) and
various scattered digi clicks
(DigiFlawFinder before and after logs included) >
FLAC lvl 8, sector align

Very poor sound [D+].

***

Rock on, Bob!

XXX

1991-10-25 Austin
1991-10-26 San Antonio
1991-10-27 Lubbock
1991-10-30 Tulsa
1991-10-31 Wichita
1991-11-01 Kansas City
1991-11-02 Ames
1991-11-04 Evanston
1991-11-05 Madison
1991-11-06 South Bend
1991-11-08 Louisville
1991-11-09 Dayton
1991-11-10 Indianapolis
1991-11-12 Detroit
1991-11-13 Akron
1991-11-15 Wilkes-Barre
1991-11-16 New Haven
1991-11-18 Utica
1991-11-19 Erie
1991-11-20 Charlottesville

(813/1) Bob Dylan, 1992-03-18, Dr Michael Ks 1992 Aussie Holiday Tapes, 1992 March & April of Australian Tour, (Pink Panther Records)

Audio/Flac, ?/?, (?)

683813001a683813001b683813001c
Bob Dylan 1992 Compilation Dr Michael K's Aussie Holiday Tapes PP setlist

A Bob Dylan 1992 Compilation - Pink Panther Records
Dr Michael K's 1992 Aussie Holiday Tapes (Upgrade)

Original torrented 2015-05-27. Had only been available in mp3 for some time, but flac files put up again to the delight of all! Along with the three other parts of the 1992 Dylan PP Compilation Extravaganza form a solid document of this important year in the Dylan canon.

Lineage:
downloaded from http://expectingrain.com 2019-10-10. r5
nontorrent dl > iMac 3.6 GHz (OS 10.15 Catalina) > xACT 2.47 ( st5 ) > Transmission 2.94 >

PLEASE
Please take the time to read the Full Information File - The Product of much research, data collection, networking, fact, rumor, lies, damned lies and statistics. Text files reference Olaf Bjorner, LK, LB files and #'s. A solid 5:01:32 of Bob.

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin. Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow. Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

Pink Panther Records Presents

A Bob Dylan 1992 Compilation -
Dr Michael K's 1992 Aussie Holiday Tapes (Upgrade)

Setlist:

01 Lay, Lady, Lay (3-18).flac
02 Dolly Dagger (3-18).flac
03 When I Paint My Masterpiece (3-18).flac
04 Gates Of Eden (3-18).flac
05 Little Maggie (3-18).flac
06 West LA Fadeaway (3-18).flac
07 Most Likely You Go Your Way (And I'll Go Mine) (3-21).flac
08 Love Minus Zero No Limit (3-21).flac
09 I'll Be Your Baby Tonight (3-23).flac !
10 Maggie's Farm (3-23).flac
11 Desolation Row (3-23).flac
12 The Times They Are A-Changin' (3-23).flac
13 Highway 61 Revisited (3-23).flac
14 Rainy Day Women #12 & 35 (3-23).flac
15 She Belongs To Me (3-24).flac
16 Female Rambling Sailor (3-24).flac
17 To Be Alone With You (3-24).flac
18 Trail Of The Buffalo (3-25).flac
19 It's All Over Now, Baby Blue (3-25).flac
20 Simple Twist Of Fate (3-25).flac
21 Two Soldiers (3-28).flac
22 The Lonesome Death Of Hattie Carroll (4-1).flac
23 It Ain't Me, Babe (4-1).flac
24 Cat's In The Well (4-1).flac
25 Watching The River Flow (4-1).flac
26 Tonight I'll Be Staying Here With You (4-2).flac
27 It Takes A Lot To Laugh, It Takes A Train To Cry (4-5).flac
28 Little Moses (4-5).flac
29 Idiot Wind (4-5).flac
30 Absolutely Sweet Marie (4-5).flac
31 New Morning (4-6).flac
32 All Along The Watchtower (4-6).flac
33 Tangled Up In Blue (4-6).flac
34 Black Muddy River (4-6).flac
35 Leopard-Skin Pill-Box Hat (4-6).flac
36 Golden Vanity (4-6).flac
37 Mr Tambourine Man (4-6).flac
38 I Believe In You (4-7).flac
39 I'll Remember You (4-10).flac
40 Visions Of Johanna (4-10).flac
41 Most Of The Time (4-11).flac
42 John Brown (4-11).flac
43 I Want You (4-11).flac
44 You're A Big Girl Now (4-11).flac
45 Don't Let Your Deal Go Down (4-13).flac
46 Blowin' In The Wind (4-13).flac
47 Shelter From The Storm (4-14).flac
48 The Lady Of Carlisle (4-14).flac
49 Delia (4-15).flac
50 Union Sundown (4-15).flac
51 Just Like A Woman (4-15).flac
52 Stuck Inside Of Mobile With The Memphis Blues Again (4-15).flac
53 If Not For You (4-15).flac
54 A Hard Rain's A-Gonna Fall (4-15).flac
55 Ballad Of A Thin Man (4-15).flac
55 Sally Sue Brown (4-16).flac
56 Man In The Long Black Coat (4-16).flac
57 Girl Of The North Country (4-16).flac

***

Rock on, Bob!!

XXX


(263/1) Bob Dylan, 1992-06-30, Côte d Opale, Dunkerque, France

Audio/Mp3, ?/?, (?)

Cote d'Opale, Kursaal
Dunkerque, France
30 June 1992

Lineage: CD'rs received in trade -> EAC -> Flac level 8 -> Maketorrent 7 -> uTorrent->Hungercity

No artwork unfortunately

Disc One
1. Don't Let Your Deal Go Down (trad.)
2. You're A Big Girl Now
3. Seeing The Real You At Last
4. Just Like A Woman
5. Tangled Up In Blue
6. What Good Am I?
7. Maggie's Farm
8. Love Minus Zero/No Limit
9. The Girl On The Green Briar Shore (trad.)
10. A Hard Rain's A-Gonna Fall
11. It's All Over Now, Baby Blue

Disc Two:
1. Everything Is Broken
2. Idiot Wind
3. I And I
4. Highway 61 Revisited
5. Silvio (Bob Dylan & Robert Hunter)
6. All Along The Watchtower
7. Blowin' In The Wind

Concert # 408 of The Never-Ending Tour. Third concert of the 1992 Summer Festival Tour Of Europe. 1992 concert #44.

Concert # 22 with the 7th Never-Ending Tour band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar &
electric slide guitar), John Jackson (guitar), Tony Garnier (bass), Ian Wallace (drums), Charlie Quintana (drums &
percussion).
Disc one: 8, 9, Bob Dylan (acoustic guitar & vocal)
Disc two: 7 Bob Dylan (acoustic guitar & vocal).
Disc one: 10, 11 acoustic with the band.
Disc one: 1, 4, 5, 8 Bob Dylan harmonica.
Disc two: 7 Bob Dylan harmonica.
Disc one: 5 Bucky Baxter (mandolin).
6 Cesar Diaz (electric guitar).
10 Cesar Diaz (dobro).
Disc two: 2 Bucky Baxter (acoustic guitar).

Note. First I And I during the Never-Ending Tour.

(info taken from Olof Bjorner's chronicles at www.bjorner.com)


(264/1) Bob Dylan, 1992-07-01, Parc des Expositions, Reims, France

Audio/Mp3, ?/?, (?)

683264001a683264001b683264001c
Bob Dylan

19920701 Reims

01 Hazy shade of winter
02 You're a big girl now
03 All along the watchtower
04 Simple twist of fate
05 Watching the river flow
06 I and I
07 Stuck inside of Mobile with the Memphis blues again
08 Love minus zero-no limit
09 The roving blade
10 Desolation row
11 Don't think twice, it's all right
12 Everything is broken
13 I 'll remember you
14 The times they are a-changin'
15 Maggie's farm
16 Rainy day women # 12&35
17 Ballad of a thin man
18 It ain't me, babe


(265/1) Bob Dylan, 1992-07-02, Base Nautiques Des Maulsaucy, Belfort, France

Audio/Mp3, ?/?, (?)

683265001a683265001b
Bob_Dylan

19920702 Belfort

101 - Hazy Shade Of Winter
102 - You're A Big Girl Now
103 - All Along The Watchtower
104 - Simple Twist Of Fate
105 - I And I
106 - Tangled Up In Blue
107 - It Ain't Me, Babe
108 - Little Moses
109 - Gates Of Eden
110 - Mr. Tambourine Man
201 - Like A Rolling Stone
202 - Rainy Day Women # 12&35
203 - Blowin' In The Wind


(266/1) Bob Dylan, 1993-02-23, Zenith, Paris, France

Audio/Mp3, ?/?, (?)

683266001a683266001b
Bob Dylan

19930223 Paris

01 - Rainy Day Women #12 & 35
02 - The Man In Me
03 - All Along The Watchtower
04 - Tangled Up In Blue
05 - Shelter From The Storm
06 - Stuck Inside Of Mobile
07 - She Belongs To Me
08 - Tomorrow Night
09 - Jim Jones
10 - Mr. Tambourine Man
11 - Don't Think Twice, It's All Right
12 - Cat's In The Well
13 - I And I
14 - Simple Twist Of Fate
15 - Highway 61 Revisited
16 - What Good Am I
17 - Everything Is Broken
18 - It Ain't Me, Babe


(209/1) Bob Dylan, 1993-06-29, Palais des Sports, Marseille, France

Audio/flac, tradersden/?, (20190414)

683209001f683209001b
Bob Dylan
Hard Times in Marseille

Marseille, France
June 29 1993


SQ: SBD EX

It’s really a nice sounding, warm recording and good mix - all the instruments are clear and Bob’s voice is right up front but not at the expense of the band.

Disc One
Hard Times (Come Again No More) [SC Foster]
Stuck Inside of Mobile With the Memphis Blues Again
All Along the Watchtower
Just Like a Woman
Tangled Up in Blue
Shelter From the Storm
Watching the River Flow
Little Moses
Tomorrow Night [Coslow / Grosz]

Disc Two
It's All Over Now Baby Blue
Desolation Row
Cat's in the Well
I and I
My Back Pages
Maggie's Farm
Rainy Day Women #12 & 35
It Ain't Me Babe


Bob plays a crisp Desolation Row seemingly in response to calls for it from an audience member.



Band:


Bob Dylan (vocal & guitar)

Bucky Baxter (pedal steel guitar & electric slide guitar)

John Jackson (guitar)

Tony Garnier (bass)

Winston Watson (drums & percussion)


(267/1) Bob Dylan, 1993-06-30, Palais des Sports, Toulouse, France

Audio/Mp3, ?/?, (?)

683267001a683267001b
Bob Dylan

19930630 Toulouse

01 Hard times
02 Stuck inside of Mobile with the Memphis blues again
03 All along the watchtower
04 Just like a woman
05 Tangled up in blue
06 Born in time
07 Watching the river flow
08 Little Moses
09 Tomorrow night
10 The lonesome death of Hattie Carroll
11 Gates of eden
12 Cat's in the well
13 I and I
14 What good am I
15 Maggie's farm
16 Man in the long black coat
17 It ain't me, babe


(268/1) Bob Dylan, 1994-07-03, Parc Departemental Du Bourget, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Napoleon In Rags
Razors Edge RAZ 007/008
CDBOOT>EAC>FLAC

Parc de Bourget Paris France
03 July 1994

Disc 1
01 To Be Alone With You
02 If You See Her, Say Hello
03 All Along The Watchtower
04 Just Like A Woman
05 Tangled Up In Blue
06 Don't Think Twice, It's Alright
07 Masters Of War
08 Mama You Been On My Mind
09 Highway 61 Revisited
10 In The Garden
11 Maggie's Farm
12 What Good Am I?

Disc 2
13 It Ain't Me, Babe
14 Lady Came From Baltimore
15 Love Minus Zero-No Limit
16 Boots Of Spanish Leather
17 It's All Over Now Baby Blue
18 Girl Of The North Country
19 Tears Of Rage
20 She Belongs To Me
21 I Shall Be Released
22 Shooting Star
23 Positively 4th Street

Disc 2 Bonus
02 07 08 Palais Des Sportes Besancon France 04 July
03 04 Tanzbrunnen Cologne Germany 10 July
05 06 11 Ostseehalle Kiel Germany 25 July
09 Messegelande Balingen Germany 09 July
10 Montreux Jazz Festival Switzerland 12 July

http://www.bobsboots.com/CDs/cd-n03.html
http://www.angelfire.com/wa/monicasdude/387.htm


(210/1) Bob Dylan, 1994-07-04, Palais Des Sports, Besançon, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan
Palais Des Sports
Besançon, France
July 4, 1994

This is most likely the circulated analog source of this show, different recording than LB-1059.
Received this one in trade from the late Jan Tempelman; however, different than his upload at dime, LB-4033, which looks like same as LB-1059.
As with many Jan's sets, no info on lineage or taper was provided. But I can tell it was coming as flac, straight from a reliable source who made an eac extraction off his audio discs (original log files are included). His original version had gaps at track transitions and some drops I slightly rectified to make them as seamless as possible when a certain appearence of continuity was viable. Didn't harm the sound of the recording in any way, though, at least no further than the mentioned details. Sounds to me like running a little bit faster than the recording device, but didn't want to try a pitch correction work without success guaranteed.

Corrections made:

d1t01 @ [0:02.450-464] drop patched
d1t09 @ [0:25.408-841][0:26.590-885] some scratches removed
d2t03 @ [2:09.741-832] small pop removed (still flawed, but less audible)

gaps of about 155 samples removed at track transitions but for d1t07-8 where a single patch was performed.

still a few drops and minor flaws remain as they were; these are the most noticeable ones, as far as I could detect:

d1t01 starts abruptly just before the very beginning of the actual song
d1t01 @ [7:08.350] a feeble vibration briefly apparent
d1t03 @ [0:00.000] 32 samples gap
d1t04 @ [0:00.000] 33 samples gap
d1t05 @ [8:53.587] 7 samples gap
d1t06 @ [0:00.000] 14 samples gap
d1t06 @ [5:39.388] 153 samples gap
d1t07 @ [0:00.000] 32 samples gap
d1t07 @ [0:04.563-05.546] dropout
d1t09 @ [0:01.335-604] dropout
d1t12 @ [6:23.030] drop at discs split

d2t02 @ [0:01.131] 786 samples drop
d2t03 @ [0:10.650-11.340][0:16.516-17.186] light scratchiness

Lineage: audio discs (unknown gen) > wav (eac) > flac (flac frontend) > flac (data DVD) > wav (flac frontend 1.1.3) > wav (adobe audition 1.0/corrections) > flac (flac frontend 1.1.3 - align on sb option - level 8 - verify on)

Renamed tracks like this (using rename-it.exe freeware): "bd1994-07-04d1t??"

Tracklist:

CD 1 [71:02:820]

01. [07:17:686] Jokerman
02. [05:58:760] Lay, Lady, Lay
03. [05:20:899] All Along the Watchtower
04. [05:46:646] Under the Red Sky
05. [08:35:595] Tangled Up In Blue
06. [05:39:541] I'll Be Your Baby Tonight
07. [03:20:114] Lady Came From Baltimore
08. [05:21:893] Masters of War
09. [04:06:961] Mama, You Been On My Mind
10. [05:40:573] God Knows
11. [07:30:706] Tears Of Rage
12. [06:23:446] She Belongs To Me

CD 2 [20:19:477]

01. [05:39:392] Maggie's Farm
02. [05:43:186] What Good Am I ?
03. [08:56:899] It Ain't Me, Babe

Global Time [91:22.297]

Bob Dylan - vocal, guitar, harmonica
Bucky Baxter - pedal steel, lap steel, mandolin, dobro
Tony Garnier - bass
John Jackson - guitar
Winston Watson - drums

further info:
http://www.bjorner.com/DSN15100%20-%201994%20Europe%20Summer%20Tour.htm#DSN15110

Enjoy!


(269/1) Bob Dylan, 1994-07-05, Théâtre Antique, Lyon, France

Audio/Mp3, ?/?, (?)

Bob Dylan And His Band
1994/07/05 Lyon, Théâtre Antique de Fourvière

Schubert asm (remaster) -
not found on losslessbob yet.
Received as flac from a trusted source, and track distribution
and CD running length verified from Schubert.

Disc 1 (45:24)

01 Announcement
02 Jokerman
03 If Not For You
04 All Along The Watchtower
05 You're A Big Girl Now
06 Tangled Up In Blue
07 Watching The River Flow
08 Love Minus Zero/No Limit

Disc 2 (58:49)

01 Masters Of War
02 Boots Of Spanish Leather
03 God Knows
04 I'll Remember You
05 She Belongs To Me
06 Maggie's Farm
encore
07 Man In The Long Black Coat
08 It Ain't Me, Babe

Enjoy!

-ts-


(270/1) Bob Dylan, 1995-07-27, Espace Grammont, Montpellier, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Espace Grammont, Montpellier
France
27 July, 1995

Alternative recording to LB-121/LB-2725

Shorter festival set. Not a great recording.

Trade cd-rs from many years ago > eac > flac
I am not the taper....sorry, no further source info available.
As far as I am aware this recording has not been torrented in any form until now.

Disc One:
01 Drifters Escape
02 It Takes a Lot to laugh, It Takes a Train to Cry
03 All Along The Watchtower
04 I Shall be Released
05 Silvio
06 Tangled up in Blue
07 It's all Over Now, Baby Blue
08 Seeing the Real You at last
09 Rainy Day Woman # 12 & 35

(Total Time :)


(298/1) Bob Dylan, 1995-07-28, Theatre Romain Antique, Vienne, France

Audio/Mp3, ?/?, (?)

Bob Dylan 07/28/95
Theatre Roman Antique, Vienne, France

Dat clone>File cloned in Microtrack>Goldwave tracking>TLH8

Produced by Dolphinsmile for the Dolphinsmile Archive

Real nice sound. I dont think its mono, probably recorded with attenuator

Drifter's Escape,
Señor (Tales Of Yankee Power),
All Along The Watchtower,
Ring Them Bells,
I Don't Believe You,
Silvio
Tangled Up In Blue,
Desolation Row,
Love Minus Zero/No Limit
Tombstone Blues,
What Good Am I?,
Highway 61 Revisited,
E: Ballad Of A Thin Man,
The Times They Are A-Changin',
Rainy Day Women No. 12 & 35


(235/1) Bob Dylan, 1997-08-03, Almost Went to See Elvis, After Bob Got Sick, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

Bob Dylan

1997 ALMOST WENT TO SEE ELVIS

Pink Panther Records

probably the best pink panther so far & also one of the best periods of the NET

many, many thanks to chambre (& the ancient jedi knights), 10haaf & lilraven for their enormous & generous assistance to help find & assemble the FLAC tapes. also, thanks to andrew muir & his analysis of late 1997.

mainly fantastic sound & even more fantastic performances

***

1997 After Bob Got Sick

***

98 ball-tearing, sensational tracks
85 different songs
12 song debuts
44 concerts
10 hours & 30 minutes of music
1 bob

***

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

100% lossless FLAC from best available sound sources.

***

Song Debuts on the NET:

Tough Mama (8/3) (last played 1974/01/06)
Cocaine Blues (8/3) (last played late 1962)
Blind Willie McTell (8/5)
One Of Us Must Know (Sooner Or Later) (8/12) (last played 1978/12/05)
Love Sick (10/1)
Cold Irons Bound (10/24)
Can't Wait (10/24)
'Til I Fell In Love With You (10/24)
Not Dark Yet (10/30)
I'll Not Be A Stranger (11/7)
White Dove (12/2)
Ragtime Annie (12/14)

***

Loon Mountain
Lincoln, New Hampshire
3 August 1997

1.Absolutely Sweet Marie
2.Tough Mama
3.You Ain't Goin' Nowhere
4.Cocaine Blues (trad.)
5.Maggie's Farm
6.Highway 61 Revisited

Concert # 879 of The Never-Ending Tour.
First concert of the 1997 US and Canada Summer Tour.
1997 concert # 37.
Concert # 26 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Cocaine Blues acoustic with the band.

You Ain't Goin' Nowhere, Cocaine Blues - Larry Campbell & Bucky Baxter (backup vocal).

First live version of Tough Mama since the afternoon show in Philadelphia, 6 January 1974.

First known live version of Cocaine Blues since Gaslight Café in New York City in late 1962.

LB-2956;
Taper: RB-Canada

Excellent sound [A].

Andrew Muir

Nothing seems to stop Dylan in his tracks for long.
Amazingly, he resumed the NET on 3 August 1997 and kept going all the way to the end of the year, to complete ten more shows than in 1996 and, once again, play almost 100 shows in a year.

The 3 August 1997 “comeback” show, at Lune Mountain in Lincoln New Hampshire, will always retain a special place in fans' hearts.
Press attention centred on Dylan in a way it had not been for years.
The media interest was nothing, however, compared to the ferment the fans were in.
My friends from Germany were among the large number of people who flew over from Europe.
I got a phone call straight after the show from Stephan to tell me that Dylan was in fine voice though looking, understandably, very tired and a little bit shaky.

It was tremendous to hear that he was back on the road and well enough to do a show.
There was, though, a genuine fear that he was pushing himself back too soon, a fear not allayed by his need to sit down for a rest between songs, nor by the fact that his latest touring leg started with shows on the 3, 4, 5, 7 and 8 August 1997.

Dylan assured Edna Gundersen in her interview for USA Today that the doctors had told him it was fine to proceed with the tour.
However, more than one night off in the opening six might have been more prudent.
Dylan, though, was not in a cautious mood.
Running at about 20 minutes shorter than the spring tour, and without any harmonica, Dylan managed his 22-date stint between 3 to 31 August 1997 with aplomb and no little daring.
Not only was the road again, but he was also still experimenting with the set-list.

Dylan opened with an infectious, good-time Absolutely Sweet Marie, the mood of which quite belied its cynical lyrics, the gorgeous upbeat pop melody seeming to be a celebration of Dylan being back on the road.
Then came I Want You, with the "took his flute" verse restored.
You could hear Dylan forcing himself, you could almost feel his physical exertion, in his determination to ensure he put on a good show for this “return” gig.

The next song was, astonishingly, Tough Mama, which had not been played since the year of its release on 1974's Planet Waves album.
The melody was tfaithful to the original and, if Dylan's vocal and lung power were sadly diminished in the interim and by his illness, he gamely carried it as best he could. For those who have not noticed, Tough Mama was the third song of the night.
Its selection would have been remarkable in itself, but Dylan's illness had clearly caused a rip in the space-time continuum.
For the first time in hundreds and hundreds of shows and many, many years All Along The Watchtower was not at #3 in the set list.

Planets did not fall out of orbit, however, as it was played as the next number.
Nevertheless, it was the first thing that was reported to me after the fact that Dylan was "looking alright if a little tired".
It was mentioned before anything was said about Tough Mama or the introduction of the wonderful Cocaine Blues in the acoustic set, a traditional song Dylan had last played in 1962, and one which was to become a welcome addition to many an NET set-list.

***

Tanglewood Music Shed
Lenox, Massachusetts
4 August 1997

7.Seeing The Real You At Last

Concert # 880 of The Never-Ending Tour.
Second concert of the 1997 US and Canada Summer Tour.
1997 concert # 38.
Concert # 27 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

First regular Never-Ending Tour concert, not counting the Supper Club dates in New York City in 1993, without All Along The Watchtower since Los Angeles, California, 14 May 1992.

LB-4785;
Taper: RB Canada

LB Rating [A-]

Andrew Muir

The next day, 4 August 1997, saw this rip in the space-time continuum become a tear that threatened existence throughout the galaxy.
For the first time in seven years and approximately 700 shows, All Along The Watchtower was nowhere on the set-list.
Having earlier that year, on 7 April 1997, become the first Dylan song to have been performed live over 1,000 times – it was gone.
Worldwide, Dylan fans receiving tapes of the show must have thought that they had been given an edited version.
All Along The Watchtower made a brief return about six days later at Montage Mountain and was then dropped for the rest of the year.

***

Du Maurier Stadium
Montreal, Quebec, Canada
5 August 1997

08.Blind Willie McTell

Concert # 881 of The Never-Ending Tour.
Third concert of the 1997 US and Canada Summer Tour.
1997 concert # 39.
Concert # 28 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Blind Willie McTell - Larry Campbell (Irish bouzouki).

First live version of Blind Willie McTell.

LB-2958;
Taper: RB-Canada

Excellent sound [A-].

Andrew Muir

Blind Willie McTell is one of Dylan's finest-ever songs.
While it lay in a vault, officially, at least, unreleased,
between 1984 and the release of The Bootleg Series in 1991, it acquired a mythic stature amongst Dylan fans.
If you had asked a group of us which songs we would most like to be played live, Blind Willie McTell would have been very high on that list.
After all these years, Dylan blessed Montreal on 5 August 1997 with this “lost” touchstone.

***

Molson Amphitheatre
Toronto, Ontario, Canada
7 August 1997

9.If You See Her, Say Hello
10.One Too Many Mornings
11.Forever Young
12.Rainy Day Women #12 & 35

Concert # 882 of The Never-Ending Tour.
Concert # 4 of the 1997 US and Canada Summer Tour.
1997 concert # 40.
Concert # 29 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

One Too Many Mornings - acoustic with the band.

Forever Young - Bob Dylan (harmonica).

Forever Young, Rainy Day Women #12 & 35 - Larry Campbell & Bucky Baxter (backup vocal).

LB-2965;
Taper: RB-Canada

Excellent sound [A].

***

Darien Lake Performing Arts Center
Darien Center
Syracuse, New York
8 August 1997

13.It's All Over Now, Baby Blue
14.Masters Of War

Concert # 883 of The Never-Ending Tour.
Concert # 5 of the 1997 US and Canada Summer Tour.
1997 concert # 41.
Concert # 30 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It's All Over Now, Baby Blue, Masters Of War - acoustic with the band.

LB-0762

Excellent sound [A-].

***

Coca Cola Star Lake Amphitheater
Burgettstown, Pennsylvania
9 August 1997

15.Roving Gambler (trad.)

Concert # 884 of The Never-Ending Tour.
Concert # 6 of the 1997 US and Canada Summer Tour.
1997 concert # 42.
Concert # 31 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Roving Gambler - acoustic with the band.

Roving Gambler - Larry Campbell & Bucky Baxter (backup vocal).

LB-7035

Excellent sound [A-].

***

Montage Mountain Performing Arts Center
Scranton, Pennsylvania
12 August 1997

16.Joey (Bob Dylan–Jacques Levy/Bob Dylan)
17.All Along The Watchtower
18.Born In Time
19.Oh Babe, It Ain't No Lie (Elizabeth Cotton)
20.She Belongs To Me
21.Everything Is Broken
22.One Of Us Must Know (Sooner Or Later)
23.Girl Of The North Country

Concert # 886 of The Never-Ending Tour.
Concert # 8 of the 1997 US and Canada Summer Tour.
1997 concert # 44.
Concert # 33 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Oh Babe, It Ain't No Lie, Girl Of The North Country - acoustic with the band.

Oh Babe, It Ain't No Lie, One Of Us Must Know (Sooner Or Later)
- Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

Here’s a song about — me! (before All Along The Watchtower).

First One Of Us Must Know (Sooner Or Later) since the concert in The Municipal Auditorium in Mobile, Alabama, 5 December 1978.

LB-5750;
Taper: Legendary Taper F aka Glen Dundas(LTF);
Equipment: Transfer from master by taper 2007 >
audio disks > (dBpowerAMP set to compression level 6) flac

Excellent sound [A].

Andrew Muir

It was as if Dylan was going out of his way to make this post-illness return to the stage as memorable as possible, an impression strengthened by the appearance, a week later, of One Of Us Must Know (Sooner Or Later) for the first time since 1978.
Dylan's massive back catalogue of songs allowed him to keep the surprises coming without upsetting the standard set-list construction
that had held for so many years of the NET.
For example, even that 3 August 1997 set list that caught everyone by surprise had a very predictable “spread” amongst its fifteen songs: ten songs from the 1960s, three from the 1970s, one from the 1980s and one cover.

This was an exciting and rewarding time of the NET, but it was shadowed by one particularly negative development that would have a lasting effect on Dylan's choice of song and style of performance in future years.
Dylan's vocal powers were, already damaged from continuous years of touring and his recent illness had clearly ravaged them further.

At the time this was hardly a fan priority. It was a miracle that Dylan was up and touring so well, so quickly.
However, from this point on Dylan has seemed physically unable to sing in certain ways.
His vocal range was narrowing, and the possibility of fully expressive vocal inflections night after night, month after month now appeared unattainable.
This is something that an ageing, and only human, Dylan would probably have had to face eventually in any case; it is not as though the difficulties first appeared at this point of the NET. The illness, however, accelerated the inevitable.

Dylan would deal with the problem by choosing songs and arrangements more suited to his restricted vocal range, and by finding a way of performing that was not so taxing night after night.
This was to particularly influence shows from | late 1997 onwards.
On this leg, and for obvious reasons, the vocal problem appeared almost randomly as far as type of song was concerned.
You could get a Man In The Long Black Coat performed with a despairing whine rather than a yearning keen, or a Tough Mama that musically excited you but was painful to listen to, so enfeebled was Dylan's voice.

***

Star Pavilion
Hershey, Pennsylvania
13 August 1997

24.Ballad Of A Thin Man
25.Cocaine Blues (trad.)
26.Simple Twist Of Fate

Concert # 887 of The Never-Ending Tour.
Concert # 9 of the 1997 US and Canada Summer Tour.
1997 concert # 45.
Concert # 34 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Cocaine Blues - acoustic with the band.

Cocaine Blues - Larry Campbell & Bucky Baxter (backup vocals).

LB-9097;
How Sweet The Sound (Godfather Records / GR 569-570)

Excellent sound [A-].

***

Oakdale Theater
Wallingford, Connecticut
18 August 1997

27.Pretty Peggy-O (trad.)
28.This Wheel's On Fire (Bob Dylan/Rick Danko)
29.Cat's In The Well
30.I Shall Be Released

Concert # 891 of The Never-Ending Tour.
Concert # 13 of the 1997 US and Canada Summer Tour.
1997 concert # 49.
Concert # 38 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Rick Danko (acoustic guitar & shared vocal) on This Wheel's On Fire, Cat's In The Well, I Shall Be Released.

I Shall Be Released - acoustic with the band.

This Wheel's On Fire, I Shall Be Released - Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

We have Rick DankoÂ’s here from The Band. He just got himself out of <mumble>.
I think heÂ’s looking better than ever really.
This is a song we recorded a long while back.
(before This WheelÂ’s On Fire).

LB-8943;
Taper: Net Taper M (NTM);
Equipment: Sennheiser MKE 2002 > portable DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A].

Andrew Muir

Even songs that should come comfortably to him at any stage of life, like Stone Walls And Steel Bars and Oh Babe, It Ain't No Lie, were laid to waste by a raw, pinched voice that simply had nothing more to draw on.
Yet Dylan's vocal strength would return intermittently.
On another night, or at a different time in the same show (especially later in the month), he produced a powerful One Of Us Must Know (Sooner Or Later),
an assured Blind Willie McTell or (as on 18 August 1997) a masterly, mournful Pretty Peggy-O.

You just never knew what was coming next; a mangled and wheezy Tangled up In Blue could be followed by a clear, dramatic reading of Cocaine Blues.
There was even a show where I found Under The Red Sky for once unappealing, due to Dylan's vocals, and then during the following song, Silvio of all things, everything changed: though raspy, Dylan was doing something effective with his voice. This was a strange and unique time in the unfolding drama of the NET.

***

Mann Music Center
Philadelphia, Pennsylvania
20 August 1997

31.It Takes A Lot To Laugh, It Takes A Train To Cry
32.Tough Mama
33.Shelter From The Storm
34.Silvio (Bob Dylan & Robert Hunter)
35.It Ain't Me, Babe

Concert # 892 of The Never-Ending Tour.
Concert # 14 of the 1997 US and Canada Summer Tour. 1997 concert # 50.
Concert # 39 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It Ain't Me, Babe - acoustic with the band.

Silvio - Larry Campbell & Bucky Baxter (backup vocal).

LB-4851;
Taper: Travitz;
Location: Orchestra A Center Row F Seat 110;
Equipment: Schoeps MK4's > Schoeps VMS02IB > Sony SBM-1 > Sony TCD-D3

Excellent sound [A].

***

GTE Amphitheater
Virginia Beach, Virginia
22 August 1997

36.Just Like Tom Thumb's Blues

Concert # 893 of The Never-Ending Tour.
Concert # 15 of the 1997 US and Canada Summer Tour.
1997 concert # 51.
Concert # 40 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-3739

Excellent sound [A-].

Andrew Muir

It should be remembered too that, Dylan, on form, can turn even his hoarseness to great communicative effect, as he did on the 22 August 1997 with I Want You.
A broken and despairing voice was quite fitting for lines like "Cracked bells and washed out horns".
He paced it perfectly that night, growing a bit more defiant by the end of the song.

Dylan's illness meant that both fans and press would feel an extra significance to many of his lyrics that late summer.
On the opening night, no one present could fail to hear special meaning in lines like "You knew that we would meet again" from This Wheel's On Fire or "I'm still on the road" from Tangled Up In Blue.

***

Filene Center
Wolf Trap Farm Park For The Performing Arts
Vienna, Virginia
23 August 1997

37.Like A Rolling Stone
38.Alabama Getaway (Robert Hunter/Jerry Garcia)

Concert # 894 of The Never-Ending Tour.
Concert # 16 of the 1997 US and Canada Summer Tour.
1997 concert # 52.
Concert # 41 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass),
David Kemper (drums & percussion).

Alabama Getaway - Larry Campbell & Bucky Baxter (backup vocals).

LB-11130;
After The Heartattack (Midas Touch / MD 731-21/22);
Stereo soundboard

Excellent sound [A-].

Andrew Muir

Reviewing a Vienna Wolftrap show in The Washington Post, Mike Joyce was startled by how, during the encore Don't Think Twice, It's All Right, "each time he sang the chorus, the song seemed transformed, as if it had been inspired not by a lover's farewell but by a friend's recovery."

Indeed, the press responded warmly towards the shows and especially Dylan's performances.
The media's former scorn appeared to have dissipated with the realisation that Dylan was a treasure that we might have lost earlier that summer.
A sea-change occurred in media coverage of Dylan and ever since he has received, in general, a very favourable press.
Of course, there would be exceptions to this rule, and an event which would provoke Bob's critics was just around the corner.

***

Filene Center
Wolf Trap Farm Park For The Performing Arts
Vienna, Virginia
24 August 1997

39.Watching The River Flow

Concert # 895 of The Never-Ending Tour.
Concert # 17 of the 1997 US and Canada Summer Tour.
1997 concert # 53.
Concert # 42 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-8800;
Equipment: SBD > DAT @ 48k >
HT OMega 7.1 Soundcard (Optical Inputs) > WAV (48) >
Syntillium Cool Edit Downsample to 44.1 WAV >
CD WAV (Track Split) > FLAC

Excellent sound [A-].

***

Blossom Music Center
Cuyahoga Falls, Ohio
26 August 1997

40.The Man In Me

Concert # 896 of The Never-Ending Tour.
Concert # 18 of the 1997 US and Canada Summer Tour.
1997 concert # 54.
Concert # 43 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-4286;
Taper: Net Taper A (NTA)

Excellent sound [A-].

***

Deer Creek Music Center
Noblesville, Indiana
27 August 1997

41.Leopard-Skin Pill-Box Hat

Concert # 897 of The Never-Ending Tour.
Concert # 19 of the 1997 US and Canada Summer Tour.
1997 concert # 55.
Concert # 44 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-3300

Excellent sound [A].

***

Main Stage
Liberty Park
Kansas City, Missouri
31 August 1997

Spirit Fest

42.Mr Tambourine Man
43.Tangled Up In Blue
44.Tears Of Rage (Bob Dylan & Richard Manuel)
45.DonÂ’t Think Twice, ItÂ’s All Right

Concert # 900 of The Never-Ending Tour.
Concert # 22 of the 1997 US and Canada Summer Tour.
1997 concert # 58.
Concert # 47 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Mr Tambourine Man, Tangled Up In Blue - acoustic with the band.

LB-8180;
Taper: Net Taper A (NTA);
Equipment: ?? > portable DAT recorder > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A].

***

Unidentified venue
Bologna, Italy
27 September 1997

World Eucharistic Congress.

46.Knockin' On Heaven's Door
47.A Hard Rain's A-Gonna Fall
48.Forever Young

Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & backup vocal), Larry Campbell (guitar & backup vocal), Tony Garnier (bass), David Kemper (drums & percussion).

First electric version of A Hard Rain's A-Gonna Fall since Lakeland 21 November 1981.

Broadcast live by Italian TV RAI Uno.

LB-6330;
Never Mind the Bollocks, Here's Bob Dylan (Digital Sounds / MACH 08-09)

Excellent sound [A-].

Andrew Muir

The NET's first post-illness leg ended in Kansas City on 31 August 1997, but Dylan's restless spirit saw him back on stage again within a month, in truly unexpected circumstances.
Dylan's already high press profile went into hyper-drive when it was announced that he was to play the satellite TV-syndicated World Eucharistic Congress in Bologna, Italy on 27 September 1997, sharing an audience with the Pope.
The event was a Vatican attempt to convince Italian youth that the Catholic Church was modern and relevant.
However, Dylan aside, the show was a bland mixture of anodyne native pop and watered-down gospel.

The press that seemed so delighted Dylan was still with us could not resist weighing in with references to two "tired old spiritual leaders, revered by a multitude of followers".
The Pope was in far from the best of health, but most writers seemed to think that the 77-year-old Pontiff looked in better shape than his 21-year-younger star turn.
Dylan did look frail, and given that he was due to play a very short set and that he normally takes a few songs to warm up, I feared the worst.

Dylan took to the stage in full “riverboat gambler” mode with his embroidered suit, white shirt, crossed leather black tie and cowboy hat proving quite a counterpoint to the Pope's white robes and somewhat smaller headgear.
He opened with Knockin' On Heaven's Door, a song to launch a thousand post-hospital newspaper headlines, playing it straight while Tony Garnier beside him guarded his master like a dutiful spaniel. Even Bucky Baxter was concentrating.

During a very short pause before A Hard Rain's A-Gonna Fall a wide-angle TV shot revealed a distinctly unimpressed Pope on a raised dais.
Dylan's performance appeared to have sapped John Paul ll's will to live.

After just two songs, the legendary iconoclast of "don't follow leaders" fame climbed the dais steps to meet the Pope.
After stumbling on the first few stairs, an ill-at-ease Dylan recovered his composure in time to remove his hat as he approached the Pontiff.
The Pope rose from his seat to greet Dylan and in a touching if somewhat surreal scene the two men shook hands.

John Paul II then stepped forward to speak, and in an instant the frail old man came alive in front of the microphone.
Eyes that had seemed asleep were suddenly alert and darting around the audience.
Here was someone else who lived for an audience, for putting his message across. His speech went down well and he revelled in making the crowd laugh by saying:

"You say the answer is blowing in the wind my friend," – presumably addressing the audience, rather than the composer of the line – to warm laughter and applause. "And so it is, but it is not the wind that blows things away, it is the wind that is the breath and the life of the Holy Spirit."

The Pope also had an answer to that song's thorny question of "How many roads must a man walk down?"

"One," he told the rapturous audience, "there is only one road for man and it is the road of Jesus Christ."

By now II Papa was really enjoying himself, though he appeared bemused at the football-terrace style reception he got when he finished his speech and retired from view. It was quite an act to follow.
Had even Dylan ever experienced a crowd so in awe of a “performer”, one wondered.
It would be interesting to know if the same question crossed Dylan's mind, or what other, very pertinent questions were raised by the sight of such blind devotion from a massed audience to a preacher pontificating platitudes.
The echoes of the Dylan of 1963 and 1979 were surely inescapable to at least one of the two main men here.

With his hat still off, Dylan played a delicate, heartfelt Forever Young – a song that was appropriate for a youth festival and that was alleged to have been requested by the Pope himself.
Rumour also had it that the Pope had asked for Blowin' In The Wind, which had more credence as it tied in with his speech.
This song's absence from Dylan's set was rectified, at least in terms of the Pope's oratory,
by its performance by a number of local singers. Forever Young brought Dylan's performance to an end,
his three-song set falling considerably short of the half-hour that had been promised in the press.

Three days after the World Eucharistic Congress performance in Bologna, on 30 September 1997, the long wait for an album of new Dylan-penned material ended with the release of Time Out Of Mind.

***

Bournemouth International Centre
Bournemouth, England
1 October 1997

49.Love Sick

Concert # 901 of The Never-Ending Tour.
First concert of the 1997 UK Fall Tour. 1997 concert # 59.
Concert # 48 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass),
David Kemper (drums & percussion).

Live debut of Love Sick.

LB-6915;
Tailgates And Substitutes (No Label / TS 1-2)

Excellent sound [A].

Andrew Muir

As Dylan took to the Bournemouth venue's smoky incense-filled stage on 1 October 1997, the day after Time Out Of Mind's release, it was an emotional moment.
For most of us present that night, it was the first time we had seen him on stage since his illness.
In contrast to the Papal audience, Dylan looked completely at ease.
His lively expressions of sly humour in the first song, Absolutely Sweet Marie, were to be repeated throughout this and the following shows.
The ovation that greeted this opener was rewarded by the opening chords of Man In The Long Black Coat.
This show provided me with two magnificent Dylan songs, Tough Mama and Blind Willie McTell, live for the first time, as well as a very affecting Cocaine Blues, a simple song that was nevertheless one of the highlights of the period.

None of this was enough though to detract from fans' greedy need for the new.
As the concert progressed without any Time Out Of Mind material, it seemed more and more likely we would not hear anything off the new album.
As usual, tapes of the album had been circulating for some time before the actual release, so hardcore fans were already familiar with the entire record. Our hope was finally rewarded, in the encores of all places, with Love Sick.

Dylan performed Love Sick so well at Bournemouth that I cannot think of a later performance that bettered it.
The band were magnificently menacing, the clock the tormented narrator hears ticking in the lyrics was incarnate in the drums we heard beating as they relentlessly drove Dylan, and all of us in the audience, towards the end of this love that he is / was so sick of.

***

Bournemouth International Centre
Bournemouth, England
2 October 1997

50.God Knows

Concert # 902 of The Never-Ending Tour.
Second concert of the 1997 UK Fall Tour.
1997 concert # 60.
Concert # 49 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass),
David Kemper (drums & percussion).

LB-3003

Excellent sound [A-].

***

Cardiff International Centre Arena
Cardiff, Wales
3 October 1997

51.I'll Be Your Baby Tonight

Concert # 903 of The Never-Ending Tour.
Third concert of the 1997 UK Fall Tour.
1997 concert # 61.
Concert # 50 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6330;
Never Mind the Bollocks, Here's Bob Dylan (Digital Sounds / MACH 08-09)

Excellent sound [A].

***

Wembley Arena
London, England
5 October 1997

52.Rank Strangers To Me (A. Brumley)

Concert # 904 of The Never-Ending Tour.
Fourth and last concert of the 1997 UK Fall Tour.
1997 concert # 62.
Concert # 51 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Rank Strangers To Me - acoustic with the band.

Rank Strangers To Me - Larry Campbell and Bucky Baxter (backup vocal).

First Rank Strangers To Me since New York City 10 October 1989.

LB-8265;
Taper: Bach;
Lineage: OKM II Rockversion > Sony DAT TCD-D7 (48 kHz-16bit) >
TASCAM DA-40 professional >WaveTerminal 2496 > HD >
ssrc 44.1 kHz > WaveLab 6.10 > flac dBpowerAMP

Excellent sound [A-].

***

Humphrey Coliseum
Mississippi State University
Starkville, Mississippi
24 October 1997

53.If Not For You
54.Cold Irons Bound
55.Can't Wait
56.'Til I Fell In Love With You
57.Blind Willie McTell

Concert # 905 of The Never-Ending Tour.
First concert of the 1997 US Fall Tour.
1997 concert # 63.
Concert # 52 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Cold Irons Bound - Bucky Baxter (organ).

Live debut of Cold Irons Bound, Can't Wait and ´Til I Fell In Love With You.

LB-8183;
Taper: Net Taper A (NTA);
Equipment: ?? > portable DATrecorder > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > Wavelab, levels raised > cdwave for tracking > tlh

Very good to excellent sound [B+].

Andrew Muir

Showing no signs of weariness, Dylan began another leg of the NET at the Humphrey Coliseum, Starkville Mississippi.
The soundcheck tantalizingly included a run through of Time Out Of Mind's epic closing track, Highlands.
Although it was not played that night, three more Time Out Of Mind songs were added to Love Sick – Cold Irons Bound, Can't Wait and ‘Til I Fell In Love With You.
Shortly afterwards, Make You Feel My Love was also unveiled, so that with the exception of Million Miles and the ill-fitting Dirt Road Blues all the songs from the new album had been played live – except the four standout pieces.

***

Thalia Mara Hall
City Auditorium
Jackson, Mississippi
25 October 1997

58.Lay, Lady, Lay

Concert # 906 of The Never-Ending Tour.
Second concert of the 1997 US Fall Tour.
1997 concert # 64.
Concert # 53 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-2012;
Equipment: DAT master

Excellent sound [A].

***

Mobile Civic Center Arena
Mobile, Alabama
26 October 1997

59.Stone Walls And Steel Bars (Ray Pennington / Ray Marcum)
60.Stuck Inside Of Mobile With The Memphis Blues Again

Concert # 907 of The Never-Ending Tour.
Third concert of the 1997 US Fall Tour.
1997 concert # 65.
Concert # 54 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Stone Walls And Steel Bars - acoustic with the band.

Stone Walls And Steel Bars - Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

<mumble mumble> special request tonight. About 200 people wanted to hear this.
(before Stuck Inside Of Mobile With The Memphis Blues Again).

LB-2260

Excellent sound [A-].

***

Exhibition Hall
Classic Center
Athens, Georgia
28 October 1997

61.Friend Of The Devil (Jerry Garcia - Robert Hunter - John Dawson)

Concert # 908 of The Never-Ending Tour.
Concert # 4 of the 1997 US Fall Tour.
1997 concert # 66.
Concert # 55 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Friend Of The Devil - acoustic with the band.

LB-6314;
Taper: Net Taper K (NTK);
Equipment: ?? > portable DATrecorder > DAT - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Very good to excellent sound [B+].

***

Exhibition Hall
Classic Center
Athens, Georgia
29 October 1997

62.Love Sick

Concert # 909 of The Never-Ending Tour.
Concert # 5 of the 1997 US Fall Tour.
1997 concert # 67.
Concert # 56 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

7 new songs (43%) compared to previous concert. 4 new songs for this tour.

LB-7979;
Taper: Net Taper K (NTK);
Equipment: dat (unknown equipment) > ? >
taiyo yuden lowgen audio discs / verbatim (Nero) >
wav (eac secure mode) > wav (digi flaw finder) > wav (adobe audition 1.0) >
flac (flac frontend 1.1.3 - align on sb option - level 8 - verify on)

Good sound [B].

***

Columbus Civic Center
Columbus, Georgia
30 October 1997

63.Not Dark Yet

Concert # 910 of The Never-Ending Tour.
Concert # 6 of the 1997 US Fall Tour.
1997 concert # 68.
Concert # 57 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Live Debut of Not Dark Yet.

LB-5307;
Fixed version of LB-5306

Good sound [B].

***

Township Auditorium
Columbia, South Carolina
2 November 1997

64.Tomorrow Is A Long Time
65.Make You Feel My Love

Concert # 913 of The Never-Ending Tour.
Concert # 9 of the 1997 US Fall Tour.
1997 concert # 71.
Concert # 60 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tomorrow Is A Long Time - acoustic with the band.

First version of Tomorrow Is A Long Time since London 12 February 1991.

LB-10582

Excellent sound [A].

Andrew Muir

Not that many in the American audiences were complaining; these were auspicious times when the nature of the shows went through a transformation.
For example – the set list from 2 November 1997, at the Township Auditorium, Columbia, South Carolina.

What a change from what came before.
As well as the extra song in the acoustic set, the split of songs was now radically altered.
Here we had five songs from the 1960s; one from the 1970s; two from the 1980s (I include Born In Time here as although it was released on 1990s Under The Red Sky it came from the 1989 Oh Mercy sessions); five from the 1990s and three covers. Quite a contrast to the 1960s-based sets that had dominated for so long.

Certainly the new songs were all written by a man conscious that his voice was I more restricted.
Songs from Oh Mercy, Under The Red Sky and Time Out Of Mind suit his NET range.
Traditional folk pieces, by their very nature, suit anybody's range.
With these kinds of more balanced set-lists Dylan can exploit his current voice and limit the amount of times he needs to stretch to hit the notes of his younger days.
Experiments with changing set-lists would continue over I the succeeding dates.

In general terms, the Time Out Of Mind songs were still finding their feet.
Dylan was working on how best to present them and how they should sit in the set.
Cold Irons Bound particularly benefited from escaping the cold, clangy production that drowns it on the album,
while 'Til I Fell In Love With You live implied a deeper meaning than on record,
though it has to be acknowledged that this was hardly a difficult achievement.
Perhaps most surprising of all, Make You Feel My Love,
a song so mawkish as to make Emotionally Yours sound like Visions Of Johanna, became something quite moving.
It was to assume the position of “big, overblown ballad” in many a set-list in years to come, and really it should not have worked.

***

Civic Auditorium
Knoxville, Tennessee
4 November 1997

66.Shooting Star
67.The Times They Are A-Changin'

Concert # 914 of The Never-Ending Tour.
Concert # 10 of the 1997 US Fall Tour.
1997 concert # 72.
Concert # 61 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

The Times They Are A-Changin' - acoustic with the band.

LB-2476

Very good to excellent sound [B+].

***

Huntington Civic Center Arena
Huntington, West Virginia
5 November 1997

68.I Want You

Concert # 915 of The Never-Ending Tour.
Concert # 11 of the 1997 US Fall Tour.
1997 concert # 73.
Concert # 62 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-4269

Excellent sound [A-].

***

Veterans Memorial Auditorium
Columbus, Ohio
7 November 1997

69.I'll Not Be A Stranger (Trad. arr. R. & L. Williams / J. Watson / K. Maul)
70.To Ramona

Concert # 916 of The Never-Ending Tour.
Concert # 12 of the 1997 US Fall Tour.
1997 concert # 74.
Concert # 63 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

To Ramona - acoustic with the band.

I'll Not Be A Stranger - Larry Campbell and Bucky Baxter (backup vocal).

Live debut of I'll Not Be A Stranger.

LB-0872

Excellent sound [A-].

***

Dayton Hara Arena
Dayton, Ohio
8 November 1997

71.Señor (Tales Of Yankee Power)
72.Every Grain Of Sand

Concert # 917 of The Never-Ending Tour.
Concert # 13 of the 1997 US Fall Tour.
1997 concert # 75.
Concert # 64 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-3753;
Remaster: Olav;
Equipment: CoolEdit2000: TAO silence removed between tracks > all tracks appended sequently;
then split correctly > T-RackS v2.0: Output Stage Output: volume boost +9.0dB;
Output Stage Level +1,2dB; stereo enhancement +3.3dB; no EQ

Good sound [B].

***

Auditorium
University Of Indiana
Bloomington, Indiana
9 November 1997

73.Never Gonna Be The Same Again

Concert # 918 of The Never-Ending Tour.
Concert # 14 of the 1997 US Fall Tour.
1997 concert # 76.
Concert # 65 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-3318

Excellent sound [A].

***

Dan and Ada Rice Athletic Center
Benedictine University
Lisle, Illinois
11 November 1997

74.Man In The Long Black Coat
75.Cold Irons Bound
76.Can't Wait
77.'Til I Fell In Love With You

Concert # 919 of The Never-Ending Tour.
Concert # 15 of the 1997 US Fall Tour.
1997 concert # 77.
Concert # 66 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-9042;
Taper: Sullylove;
Location: 13th row center just a few seats off dead center;
Equipment: Scheops CMC64's > With MK4's Active Cables >
Beyer MV-100 Microphone Amplifier > Sony TCD-D10PROII DAT;
Transfer: M-Audio MicrotrackII Via spdif Coaxial Cable >
flac FrontEnd, tlh, wav > Wavelab, fades, some seconds at end deleted >
cdwave, tracking > tlh, flac, Wavelab, fades, some seconds at end deleted

Excellent sound [A].

***

San José Arena
San José, California
14 November 1997

Private event not open to the general public sponsored by Applied Materials.

78.Tonight I'll Be Staying Here With You

Concert # 921 of The Never-Ending Tour.
1997 concert # 79.
Concert # 68 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6225;
The Private Affairs Of Bob Dylan (Satintone / 001-02)

Excellent sound [A].

***

Roxy
Atlanta, Georgia
1 December 1997

79.Shake Sugaree (Elisabeth Cotton)

Concert # 922 of The Never-Ending Tour.
First concert of the 1997 Winter Club Tour.
1997 concert # 80.
Concert # 69 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6512;
Remaster of LB-3250;
Equipment: 2 TDK CD-R80 > Max 0.8.1 (cdparanoia, check for C2 errors,
error connection enabled, full paranoia) > AIFF >, Amadeus II 3.8.7 > Retracked

Very good to excellent sound [B+]

***

Roxy
Atlanta, Georgia
2 December 1997

80.White Dove (Carter Stanley)

Concert # 923 of The Never-Ending Tour.
Second concert of the 1997 Winter Club Tour.
1997 concert # 81.
Concert # 70 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Live debut of White Dove.

LB-7701

Excellent sound [A-].

Andrew Muir

On 1 and 2 December 1997 Dylan played at the Roxy Theatre in Atlanta and set the scene for this welcome tour by mixing up covers (Shake Sugaree and White Dove, for example) and originals.

***

9:30 Club
Washington, D. C.
5 December 1997

81.I'll Not Be A Stranger (Trad. arr. R. & L. Williams / J. Watson / K. Maul)

Concert # 925 of The Never-Ending Tour.
Concert # 4 of the 1997 Winter Club Tour.
1997 concert # 83.
Concert # 72 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

I'll Not Be A Stranger - Larry Campbell & Bucky Baxter (backup vocals).

LB-3909;
Location: Near speaker,
microphone hidden during last encore reduces sound quality on it;
Equipment: CSB > Sony TCD-D7;
Transfer: 48k dat (from trade with taper) >
delta dio 2496 > cooledit2000 > wav > flac

Excellent sound [A-].

***

Irving Plaza
New York City, New York
8 December 1997

Hale House Benefit Concert

82.You're A Big Girl Now

Concert # 926 of The Never-Ending Tour.
Concert # 5 of the 1997 Winter Club Tour.
1997 concert # 84.
Concert # 73 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

This was a benefit show for the Hale House,
a home for the treatment of drug-addicted and AIDS babies.

LB-2102;
White Dove (Dandelion / DL083-84);
Soundboard

Excellent sound [A].

***

Avalon
Boston, Massachusetts
9 December 1997

83.Positively 4th Street
84.The Lonesome Death Of Hattie Carroll

Concert # 927 of The Never-Ending Tour.
Concert # 6 of the 1997 Winter Club Tour.
1997 concert # 85.
Concert # 74 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

The Lonesome Death Of Hattie Carroll - acoustic with the band.

LB-6532;
Taper: local Taper from Boston;
Location: 15th Row;
Equipment: Nakamichi CM 300 > Sony Dat TCD D-8 > Clone >(48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz >WaveTerminal > HD > WaveLab 6 >
convert to flac dBpowerAMP > md5summer

Excellent sound [A-].

***

Trocadero
Philadelphia, Pennsylvania
11 December 1997

85.I Don't Believe You (She Acts Like We Never Have Met)

Concert # 929 of The Never-Ending Tour.
Concert # 8 of the 1997 Winter Club Tour.
1997 concert # 87.
Concert # 76 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-7305;
Taper: G2;
Equipment: SONY D8 DAT Master > Stand alone burner > WAV > FLAC

Very good to excellent sound [B+].

***

Metro
Chicago, Illinois
14 December 1997

86.Ragtime Annie (David Bromberg)

Concert # 931 of The Never-Ending Tour.
Concert # 10 of the 1997 Winter Club Tour.
1997 concert # 89.
Concert # 78 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Ragtime Annie - Acoustic instrumental with David Bromberg (guitar), Larry Campbell (fiddle).

LB-3755;
Incomplete;
A>D conversion by Mike Stillman (e-mail: mikebvc at ripco dot com),
DAT > DAT > Maxell cassette recorded and played on Nakamichi RX-505 >
20-bit digital conversion using Burr-Brown DAC,
dithered to 16 bits for output >, HHB CDR-830 > EAC, no errors >
Sector boundaries split and verified with SHNtool >
FLAC Level 8 encoding > these files

Excellent sound [A-].

***

El Rey Theater
Los Angeles, California
16 December 1997

87.This Wheel's On Fire (Bob Dylan/Rick Danko)

Concert # 932 of The Never-Ending Tour.
Concert # 11 of the 1997 Winter Club Tour.
1997 concert # 90.
Concert # 79 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

This Wheel's On Fire - Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

I wish we had Lindsey Buckingham up here but, we just couldnÂ’t get him He-he. Maybe next time
(after This WheelÂ’s On Fire).

LB-2732

Excellent sound [A].

Andrew Muir

Dylan ended 1997 with an exhilarating run of five sold-out shows at Los Angeles' El Rey Theatre, from 16 to 20 December.
The shows also featured notable opening acts each night, including Joan Osborne, with whom Dylan recorded a version of Chimes Of Freedom for a TV show in October 1998.
Sheryl Crow not only opened on the 19 December 1997 but joined Dylan onstage for the first two of the encores.

***

El Rey Theater
Los Angeles, California
17 December 1997

88.Tangled Up In Blue
89.White Dove (Carter Stanley)
90.My Back Pages

Concert # 933 of The Never-Ending Tour.
Concert # 12 of the 1997 Winter Club Tour.
1997 concert # 91.
Concert # 80 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tangled Up In Blue, My Back Pages - acoustic with the band.

White Dove - Larry Campbell & Bucky Baxter (backup vocals).

LB-4932

Excellent sound [A-].

***

El Rey Theater
Los Angeles, California
19 December 1997

91.Just Like A Woman
92.Love Minus Zero/No Limit
93.When I Paint My Masterpiece
94.Knockin' On Heaven's Door

Concert # 935 of The Never-Ending Tour.
Concert # 14 of the 1997 Winter Club Tour.
1997 concert # 93.
Concert # 82 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Love Minus Zero / No Limit, Knockin' On Heaven's Door - acoustic with the band.

Knockin' On Heaven's Door - Sheryl Crow (accordion & vocals).

Knockin' On Heaven's Door - Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

We want to acknowledge Sheryl Crow whoÂ’s played earlier tonight,
one of the bright, luminary females on the scene. (before Â’Til I Fell In Live With You).

LB-2465;
Don't Be Late (Zipperman / 001)

Excellent sound [A].

***

El Rey Theater
Los Angeles, California
20 December 1997

95.Under The Red Sky
96.John Brown
97.I & I
98.I'll Remember You

Concert # 936 of The Never-Ending Tour.
Concert # 15 of the 1997 Winter Club Tour.
1997 concert # 94.
Concert # 83 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

John Brown - acoustic with the band.

LB-7211;
Location: a foot away from the right stack in the vip box;
Equipment: Sonic Studio Mics PA-6 > Sony D8, Transfer: DAT > Sony Standalone CD Burner >
FreeRIP (FLAC) > Bulk Rename Utility (Track ID) > Trader's Little Helper (FFP) > Torrent

Excellent sound [A].

***

rock on bob!

XXX

1997-08-04 Lenox
1997-08-05 Montreal
1997-08-07 Toronto
1997-08-08 Syracuse
1997-08-09 Burgettstown
1997-08-12 Scranton
1997-08-13 Hershey
1997-08-18 Wallingford
1997-08-20 Philadelphia
1997-08-22 Virginia Beach
1997-08-23 Vienna
1997-08-24 Vienna
1997-08-26 Cuyahoga Falls
1997-08-27 Noblesville
1997-08-31 Kansas City
1997-09-27 Bologna
1997-10-01 Bournemouth
1997-10-02 Bournemouth
1997-10-03 Cardiff
1997-10-05 London
1997-10-24 Starkville
1997-10-25 Jackson
1997-10-26 Mobile
1997-10-28 Athens
1997-10-29 Athens
1997-10-30 Columbus
1997-11-02 Columbia
1997-11-04 Knoxville
1997-11-05 Huntington
1997-11-07 Columbus
1997-11-08 Dayton
1997-11-09 Bloomington
1997-11-11 Lisle
1997-11-14 San Jose
1997-12-01 Atlanta
1997-12-02 Atlanta
1997-12-05 Washington
1997-12-08 New York
1997-12-09 Boston
1997-12-11 Philadelphia
1997-12-14 Chicago
1997-12-16 Los Angeles
1997-12-17 Los Angeles
1997-12-19 Los Angeles
1997-12-20 Los Angeles

(236/1) Bob Dylan, 1998-01-13, My Soul Has Turned Into Steel, Winter and spring tours of north and south america, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

1998 MY SOUL HAS TURNED INTO STEEL

Pink Panther Records

the 1998 winter and spring tours of north and south america.

***

premium never ending tour material by any measure.

bob might have survived histoplasmosis, but the "rock star" did die in mid-1997.

1998 was when bob started to get serious & grow up.

many, many thanks to chambre (& the ancient jedi knights), 10haaf & lilraven for their enormous & generous assistance to help find & assemble the FLAC tapes. also, thanks to andrew muir & his analysis of 1998.

also, thanks to the rolling stones, van morrison, carl perkins, frank sinatra, joni mitchell & bobby bourbon.

mainly fantastic sound & even more fantastic performances.

***

100% lossless FLAC from best available sound sources.

***


***

75 ball-tearing, sensational tracks
72 different songs
27 concerts
7 hours & 15 minutes of music
1 bob

***

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

***

NOT DARK YET

Shadows are falling and IÂ’ve been here all day
ItÂ’s too hot to sleep, time is running away
Feel like MY SOUL HAS TURNED INTO STEEL
IÂ’ve still got the scars that the sun didnÂ’t heal
ThereÂ’s not even room enough to be anywhere
ItÂ’s not dark yet, but itÂ’s getting there

Well, my sense of humanity has gone down the drain
Behind every beautiful thing thereÂ’s been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writing what was in her mind
I just donÂ’t see why I should even care
ItÂ’s not dark yet, but itÂ’s getting there

Well, IÂ’ve been to London and IÂ’ve been to gay Paree
IÂ’ve followed the river and I got to the sea
IÂ’ve been down on the bottom of a world full of lies
I ainÂ’t looking for nothing in anyoneÂ’s eyes
Sometimes my burden seems more than I can bear
ItÂ’s not dark yet, but itÂ’s getting there

I was born here and IÂ’ll die here against my will
I know it looks like IÂ’m moving, but IÂ’m standing still
Every nerve in my body is so vacant and numb
I canÂ’t even remember what it was I came here to get away from
DonÂ’t even hear a murmur of a prayer
ItÂ’s not dark yet, but itÂ’s getting there

***

Andrew Muir

1998: "I've found a different audience"

“I've found a different audience. I'm not good at reading how old people are,
but my audience seems to be livelier than they were ten years ago.
They react immediately to what I do,
and they don't come with a lot of preconceived ideas about who they would like me to be, or who they think I am.” Dylan, Guitar World interview, March 1999.

You would think Dylan would want a break and a nice easy start in 1998 after the December 1997 tour, which brought the final tally of NET shows in the year of Dylan's illness to 110, but not a bit of it.
He was already playing shows on 13 and 14 January 1998, in New London Connecticut, to warm up for some United States east coast dates with Van Morrison.
Dylan and Morrison alternated as headliners on the tour, which ran from 16 to 21 January 1998 at New York's Madison Square Garden Theatre, followed by two shows in Boston on 23 and 24 January 1998.

The press praised Morrison and Dylan for playing in the small, intimate confines of the Madison Square Garden Theatre, while The Rolling Stones strutted their stuff in front of capacity crowds in the Garden itself.
In comparison to the size of the venues The Rolling Stones were playing the Garden Theatre was intimate,
but compared to the venues the NET had become accustomed to in the 1990s, it was a large arena.

Dylan's proximity to The Rolling Stones led to a plan that Dylan would leave the Garden Theatre one night and go and join the Rolling Stones at Madison Square Garden itself for Like A Rolling Stone.
Although it is believed Dylan got to the side of the stage in time, he was never called on.
Unfortunately for lovers of the song everywhere, he was to play it with them later in the year.
Dylan is hard enough to control on stage when he is totally in charge, far more when he has to interact with other stars.

Given Dylan's recent high profile and the success of Time Out Of Mind, this was his first chance in years to fill arenas
(though at this stage this was only as long as he had another big crowd-puller with him).
Dylan also continued to play smaller shows of his own throughout the year, refuting any claims that he was “selling out” the NET.

***

18860

Garde Arts Center
New London, Connecticut
13 January 1998

1.Desolation Row
2.Make You Feel My Love
3.Tears Of Rage (Bob Dylan & Richard Manuel)

Concert # 937 of The Never-Ending Tour.
First concert of the 1998 Winter Tour.
First 1998 concert.
Concert # 84 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Desolation Row acoustic with the band.

Make You Feel My Love - Bob Dylan (organ).

Second live version of Make You Feel My Love.

First live keyboard playing by Bob Dylan since Stuttgart 16 June 1991.

LB-1969;
xref-00381

Excellent sound [A-].

***

Garde Arts Center
New London, Connecticut
14 January 1998

4.Silvio (Bob Dylan & Robert Hunter)
5.The Times They Are A-Changin'
6.Love Minus Zero/No Limit
7.Million Miles
8.This Wheel's On Fire (Bob Dylan/Rick Danko)
9.Don't Think Twice, It's All Right
10.Love Sick

Concert # 938 of The Never-Ending Tour.
Second concert of the 1998 Winter Tour.
Second 1998 concert.
Concert # 85 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:The Times They Are A-Changin', Love Minus Zero / No Limit, Don't Think Twice, It's All Right.

Larry Campbell & Bucky Baxter (backup vocals): Silvio, This Wheel's On Fire, Love Sick.

Live debut of Million Miles.

LB-9082

Excellent sound [A].

***

The Theater
Madison Square Garden
New York City, New York
16 January 1998

11.John Brown
12.My Back Pages

Concert # 939 of The Never-Ending Tour.
Third concert of the 1998 Winter Tour.
Third 1998 concert.
Concert # 86 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

John Brown, My Back Pages - acoustic with the band.

Double bill with Van Morrison.

LB-4351;
Taper: Bach

Excellent sound [A-].

***

The Theater
Madison Square Garden
New York City, New York
17 January 1998

13.Absolutely Sweet Marie
14.Señor (Tales Of Yankee Power)
15.Not Dark Yet
16.Tomorrow Is A Long Time
17.The Lonesome Death Of Hattie Carroll
18.Million Miles
19.Leopard-Skin Pill-Box Hat
20.Like A Rolling Stone

Concert # 940 of The Never-Ending Tour.
Concert # 4 of the 1998 Winter Tour.
1998 concert # 4.
Concert # 87 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tomorrow Is a Long Time, The Lonesome Death Of Hattie Carroll - acoustic with the band.

Double bill with Van Morrison.

LB-4352

Excellent sound [A].

***

The Theater
Madison Square Garden
New York City, New York
18 January 1998

21.More And More (Webb Pierce/Merle Kilgore)

Bob Dylan and Van Morrison (shared vocal)
backed by Van MorrisonÂ’s band: Pee Wee Ellis (tenor saxophone), Matt Holland (trumpet), Ronnie Johnson (electric guitar), Robin Aspland (piano), Nicky Scott (bass), Liam Bradley (percussion), Geoff Dunn (drums).

Bob Dylan last performed this song at the concert at The Summit in Houston, 26 August 1989.

Double bill with Van Morrison.

LB-6919;
Madison Square Garden (Crystal Cat / CC 452-53)

Excellent sound [A].

***

The Theater
Madison Square Garden
New York City, New York
18 January 1998

22.Cold Irons Bound
23.You're A Big Girl Now
24.Stuck Inside Of Mobile With The Memphis Blues Again
25.Knockin' On Heaven's Door

Concert # 941 of The Never-Ending Tour.
Concert # 5 of the 1998 Winter Tour.
1998 concert # 5.
Concert # 88 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Knockin' On Heaven's Door - acoustic with the band.

Double bill with Van Morrison.

LB-3190

Excellent sound [A].

***

The Theater
Madison Square Garden
New York City, New York
20 January 1998

26.Tonight I'll Be Staying Here With You
27.Born In Time
28.A Hard Rain's A-Gonna Fall
29.Girl Of The North Country
30.Rainy Day Women #12 & 35

Concert # 942 of The Never-Ending Tour.
Concert # 6 of the 1998 Winter Tour.
1998 concert # 6.
Concert # 89 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

A Hard Rain's A-Gonna Fall, Girl Of the North Country - acoustic with the band.

Double bill with Van Morrison.

LB-4300;
Taper: Bobby Bourbon;
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D7

Excellent sound [A].

***

Andrew Muir

The most exciting set-list news for long-term fans was the frequent appearance of Not Dark Yet, the integration of Million Miles into the “standard numbers” and the occasional duets with Van Morrison, such as More And More on 18 January 1998, though these were strictly for curio hunters only.
Van Morrison and Dylan did produce one duet of intrinsic merit with their rehearsed cover of Blue Suede Shoes.
This was played as a tribute to the great Carl Perkins, who had died aged 65 on 19 January 1998.
At Perkins' funeral, in what was becoming a depressingly regular occurrence, Dylan issued a stately tribute.
Wynona Judd read it out: "He really stood for freedom. That whole sound stood for all the degrees of freedom.
It would just jump right off the turntable. We wanted to go where that was happening."

***

The Theater
Madison Square Garden
New York City, New York
21 January 1998

31.Blue Suede Shoes (Carl Perkins)

Bob Dylan and Van Morrison (shared vocal) backed by Van MorrisonÂ’s band: Pee Wee Ellis (tenor saxophone), Matt Holland (trumpet), Ronnie Johnson (electric guitar), Robin Aspland (piano), Nicky Scott (bass), Liam Bradley (percussion), Geoff Dunn (drums).

LB-6919;
Madison Square Garden (Crystal Cat / CC 452-53)

Excellent sound [A].

***

The Theater
Madison Square Garden
New York City, New York
21 January 1998

32.Shelter From The Storm
33.Mr Tambourine Man

Concert # 943 of The Never-Ending Tour.
Concert # 7 of the 1998 Winter Tour.
1998 concert # 7.
Concert # 90 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Mr Tambourine Man - acoustic with the band.

Double bill with Van Morrison.

LB-10448:
Equipment: Schoeps mics, dat clone from the master

Beginning of Absolutely Sweet Marie cut.

Excellent sound [A].

***

Fleet Center
Boston, Massachusetts
23 January 1998

34.One Too Many Mornings
35.Ballad Of A Thin Man

Concert # 944 of The Never-Ending Tour.
Concert # 8 of the 1998 Winter Tour.
1998 concert # 8.
Concert # 91 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

One Too Many Mornings - acoustic with the band.

Double bill with Van Morrison.

LB-0884

Excellent sound [A-].

***

Fleet Center
Boston, Massachusetts
24 January 1998

36.Just Like A Woman
37.Positively 4th Street

Concert # 945 of The Never-Ending Tour
Concert # 9 of the 1998 Winter Tour
1998 concert # 9
Concert # 92 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion)

Double bill with Van Morrison

LB-4645

Excellent sound [A-].

***

Mid-Hudson Arena
Poughkeepsie, New York
27 January 1998

38.If Not For You
39.Boots Of Spanish Leather

Concert # 946 of The Never-Ending Tour.
Concert # 10 of the 1998 Winter Tour.
1998 concert # 10.
Concert # 93 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Boots Of Spanish Leather - acoustic with the band.

Only performance of If Not For You, Boots Of Spanish Leather.

LB-4989

Fair sound [B-].

***

Landmark Theater
Syracuse, New York
28 January 1998

40.The Man In Me
41.I Don't Believe You (She Acts Like We Never Have Met)

Concert # 947 of The Never-Ending Tour.
Concert # 11 of the 1998 Winter Tour.
1998 concert # 11.
Concert # 94 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-7646

Excellent sound [A].

***

Tilles Center
C.W. Post College
Brookville, New York
30 January 1998

42.Pretty Peggy-O (trad.)
43.Under The Red Sky
44.Masters Of War
45.Queen Jane Approximately

Concert # 948 of The Never-Ending Tour.
Concert # 12 of the 1998 Winter Tour.
1998 concert # 12.
Concert # 95 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Masters Of War - acoustic with the band.

LB-10949;
Taper: dolphinsmile;
Equipment: Schoeps MK4 > SBM1 24/48 k Pure dat clone

Excellent sound [A].

***

Mark G. Etess Arena
Taj Mahal
Atlantic City, New Jersey
31 January 1998

46.Can't Wait
47.Cocaine Blues (trad.)

Concert # 949 of The Never-Ending Tour.
Concert # 13 of the 1998 Winter Tour.
1998 concert # 13.
Concert # 96 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Cocaine Blues - acoustic with the band.

LB-4157;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D100

Excellent sound [A-].

***

Prudential Hall
New Jersey Performing Arts Center
Newark, New Jersey
1 February 1998

48.Just Like Tom Thumb's Blues

Concert # 950 of The Never-Ending Tour.
Concert # 14 of the 1998 Winter Tour.
1998 concert # 14.
Concert # 97 with the 11th Never-Ending

Tour Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-8191

Excellent sound [A-].

***

Symphony Hall
Springfield, Massachusetts
2 February 1998

49.Shooting Star
50.Blind Willie McTell
51.‘Til I Fell In Love With You

Concert # 951 of The Never-Ending Tour.
Concert # 15 of the 1998 Winter Tour.
1998 concert # 15.
Concert # 98 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-9181

Excellent sound [A-].

***

Public Hall
Cleveland Convention Center
Cleveland, Ohio
14 February 1998

52.Simple Twist Of Fate
53.Highway 61 Revisited

Concert # 952 of The Never-Ending Tour.
Concert # 16 of the 1998 Winter Tour.
1998 concert # 16.
Concert # 99 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

BobTalk

Say hello to the guitar player Larry Campbell, whoÂ’s been playing with me for a while, heÂ’s only playing a few guitars too, none of us play a whole lot of guitars.
On the drums David Kemper is playing tonight.
Bucky BaxterÂ’s on the steel guitar and on bass guitar Tony Garnier.
I wanna say Happy ValentineÂ’s Day to You, You and You, yeah!!

LB-2247;
xref-01358;
Equipment: AUD > ? > CD-R > EAC (secure) > WAV > FLAC

Excellent sound [A].

***

John F. Savage Hall
University Of Toledo
Toledo, Ohio
15 February 1998

54.I Want You
55.It Ain't Me, Babe

Concert # 953 of The Never-Ending Tour.
Concert # 17 of the 1998 Winter Tour.
1998 concert # 17.
Concert # 100 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It Ain't Me, Babe - acoustic with the band.

LB-6446;
Taper: Net Taper G (NTG);
Equipment: ?? > portable DAT-recorder > clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A].

***

Fox Theater
St. Louis, Missouri
17 February 1998

56.Man In The Long Black Coat

Concert # 954 of The Never-Ending Tour.
Concert # 18 of the 1998 Winter Tour.
1998 concert # 18.
Concert # 101 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-2391

Excellent sound [A-].

***

Cameo Theater
Miami Beach, Florida
30 March 1998

57.To Be Alone With You
58.White Dove (Carter Stanley)
59.It's All Over Now, Baby Blue
60.All Along The Watchtower

Concert # 958 of The Never-Ending Tour.
First concert of the 1998 South American Tour With The Rolling Stones.
1998 concert # 22.
Concert # 105 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

White Dove, It's All Over Now, Baby Blue - acoustic with the band.

LB-10178;
Remaster: Schubert

Excellent sound [A-].

***

Cameo Theater
Miami Beach, Florida
31 March 1998

61.Jokerman

Concert # 959 of The Never-Ending Tour.
Second concert of the 1998 South American Tour With The Rolling Stones.
1998 concert # 23.
Concert # 106 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-3498;
Remaster: Schubert

Excellent sound [A].

***

Andrew Muir

By 4 April 1998, Dylan was back on the road for a rather strange little South American jaunt which took in two small venues and four dates as support to The Rolling Stones.
The support slots brought the added trauma of the previously mooted Dylan and The Rolling Stones collaboration, with a joint performance of Like A Rolling Stone each night. These were even worse than expected.
Dylan appeared not to know what to do on stage, and The Rolling Stones appeared not to know what to do with Dylan.
The audiences, however, usually clapped wildly. Clearly it was being at the “event” that mattered, not the performances.
Some of the photographs from the shows let us see that Dylan and Jagger appeared to be having great fun, so maybe you “just had to be there”, as the quote to cover up a multitude of performance sins, puts it.

***

Sambodromo
Praça da Apoteose
Rio de Janeiro, Brazil
11 April 1998

62.Like A Rolling Stone

Bob Dylan (vocal & guitar), Mick Jagger (vocal), Keith Richards (guitar), Ron Wood (guitar), Charlie Watts (drums), Chuck Leavell (keyboards), Bobby Keys (saxophone), Darryl Jones (bass), Bernard Fowler and Lisa Fisher (backup vocal), The New West Horns: Michael Davis (trombone), Andy Snitzer (saxophone), Kenth Smith (trumpet).

Bob Dylan guesting The Rolling Stones.

Stoned In Rio De Janeiro (Sister Morphine)

***

Andrew Muir

Next it was back to America for a further stint on the road with Van Morrison.
However, Morrison pulled out and Joni Mitchell stepped in to fill his place.
Van Morrison then did a U-turn, so the tour now comprised three “singer-songwriter legends”.
Dylan and Morrison alternated as headliners, with Joni Mitchell remaining in the middle slot on each of the seven nights.

***

The Rage
Vancouver, British Columbia
13 May 1998

63.Not Fade Away (Norman Petty/Charles Hardin)
64.Stone Walls And Steel Bars (Ray Pennington / Ray Marcum)

Concert # 966 of The Never-Ending Tour.
First concert of the 1998 US And Canada West Coast Tour with Joni Mitchell and Van Morrison. 1998 concert # 30.
Concert # 113 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Stone Walls And Steel Bars - acoustic with the band

Warm up show at small 1000 seater venue.

LB-7081

Rating [A-].

***

The Gorge Amphitheatre
George, Washington
16 May 1998

65.I Shall Be Released
66.Rainy Day Women #12 & 35

Concert # 968 of The Never-Ending Tour.
Third concert of the 1998 Us And Canada West Coast Tour with Joni Mitchell and Van Morrison.
1998 concert # 32.
Concert # 115 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

I Shall Be Released - Joni Mitchell and Van Morrison (shared vocal).

Triple bill with Joni Mitchell and Van Morrison. Van Morrison and Joni Mitchell were the opening acts.

LB-4641;
Location: FOB;
Equipment: Neumans km140 dat clone from master > cd ripped and uploaded

Excellent sound [A-].

***

The Gorge Amphitheatre
George, Washington
17 May 1998

67.Maggie's Farm
68.Lay, Lady, Lay
69.Roving Gambler (B. Flick.)
70.Tangled Up In Blue

Concert # 969 of The Never-Ending Tour.
Fourth concert of the 1998 Us And Canada West Coast Tour with Joni Mitchell and Van Morrison.
1998 concert # 33.
Concert # 116 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Roving Gambler, Tangled Up In Blue - acoustic with the band.

Triple bill with Joni Mitchell and Van Morrison. Bob Dylan and Joni Mitchell were the opening acts.

LB-10636

Excellent sound [A].

***

Andrew Muir

Having all three veterans on the same bill once again led to acres of newsprint about "the old days".
NET followers were less impressed, aware that when faced with a large audience, many of whom are not there just to see him, Dylan normally plays safe.
Dylan did indeed stick to conservative sets, breaking the habit only on 21 May 1998 when he performed Restless Farewell as a tribute to the recently deceased Frank Sinatra.

"I played at the Frank Sinatra Tribute show a few years back, and I played the next song," Dylan told the audience. " We had it all worked out and everything, but then they said they wanted to hear this one instead so ...
I hadn't played it up till that time and I haven't played it since, I'll try my best to do it."

It was time for another on-the-mark obituary note from Dylan, and he provided the following:

"Right from the beginning, he was there with the truth of things in his voice.
His music had an influence on me, whether I knew it or not.
He was one of the very few singers who sang without a mask. It's a sad day".

***

Pauley Pavilion
UCLA
Los Angeles, California
21 May 1998

71.Rank Strangers To Me (A. Brumley)
72.Restless Farewell

Concert # 971 of The Never-Ending Tour.
Sixth concert of the 1998 Us And Canada West Coast Tour
with Joni Mitchell and Van Morrison.
1998 concert # 35.
Concert # 118 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Rank Strangers To Me, Restless Farewell - acoustic with the band.

Rank Strangers To Me - Larry Campbell & Bucky Baxter (backup vocals).

BobTalk

I played at the Frank Sinatra Tribute show a few years back, and I played this next song. We had it all worked out and everything, but then they said they wanted to hear this one instead so Â…
I hadnÂ’t played it up till that time and I havenÂ’t played it since, IÂ’ll try my best to do it. (before Restless Farewell).

Triple bill with Joni Mitchell and Van Morrison.

Van Morrison and Joni Mitchell were the opening acts.

Restless Farewell was dedicated to Frank Sinatra who passed away the day before this show.
The second known live rendition of Restless Farewell, the first being performed at the Frank Sinatra 80th birthday in Los Angeles 19 November 1995.
There is also a rumoured live version from Royal Festival Hall in London 17 May 1964.

LB-2485;
Sick Love (Zipperman Records / 003-04)

Excellent recording [A-].

***

Pauley Pavilion
UCLA
Los Angeles, California
22 May 1998

73.If You See Her, Say Hello

Concert # 972 of The Never-Ending Tour.
Seventh concert of the 1998 Us And Canada West Coast Tour with Joni Mitchell and Van Morrison.
1998 concert # 36.
Concert # 119 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Triple bill with Joni Mitchell and Van Morrison. Van Morrison and Joni Mitchell were the opening acts.

LB-7652

Excellent sound [A-].

***

Arena
Pond Of Anaheim
Anaheim, California
23 May 1998

74.I'm Not Supposed To Care (Gordon Lightfoot)
75.Forever Young

Concert # 973 of The Never-Ending Tour.
Eighth and last concert of the 1998 US And Canada West Coast Tour with Joni Mitchell and Van Morrison.
1998 concert # 37.
Concert # 120 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Forever Young - acoustic with the band.

Forever Young - Larry Campbell & Bucky Baxter (backup vocals).

Triple bill with Joni Mitchell and Van Morrison. Van Morrison and Joni Mitchell were the opening acts.

LB-4648

Excellent sound [A-].

***

rock on, bob!

XXX

1998-01-13 New London
1998-01-14 New London
1998-01-16 New York
1998-01-17 New York
1998-01-18 New York
1998-01-20 New York
1998-01-21 New York
1998-01-23 Boston
1998-01-24 Boston
1998-01-27 Poughkeepsie
1998-01-28 Syracuse
1998-01-30 Brookville
1998-01-31 Atlantic City
1998-02-01 Newark
1998-02-02 Springfield
1998-02-14 Cleveland
1998-02-15 Toledo
1998-02-17 St Louis
1998-03-30 Miami Beach
1998-03-31 Miami Beach
1998-04-11 Rio de Janeiro
1998-05-13 Vancouver
1998-05-16 George
1998-05-17 George
1998-05-21 Los Angeles
1998-05-22 Los Angeles
1998-05-23 Anaheim


(237/1) Bob Dylan, 1998-05-30, You Ain t Seen Nothing Like Me Yet, Summer tour of europe, (Pink Panther Records)

Audio/flac, dime/?, (20190506)

1998 YOU AIN'T SEEN NOTHING LIKE ME YET

Pink Panther Records

the 1998 summer tour of europe

***

premium never ending tour material by any measure.

bob might have survived histoplasmosis, but the "rock star" did die in mid-1997.

1998 was when bob started to get serious & grow up.

there is a great diversity of opinion about the 1998 european tour - some love it & some hate it

compare the gopherstick & andrew muir reviews of individual concerts - both these people are very knowledgable about bob & their opinions differ wildly - you can't say one is right & one is wrong - it's all about perception.

we also need to remember we are listening mainly to digital tapes recorded close to the stage here - the live audience experience is a different thing altogether

the reality is that you have to listen to all the 33 concerts if you want to make sense of it - all shows are different

bob played a huge number of songs across his entire catalogue - it was anything but a TOOM promotion - only Cold Irons Bound & Love Sick appeared most nights.

bob is obviously working to some sort of plan here

many, many thanks to chambre (& the ancient jedi knights), 10haaf & lilraven for their enormous & generous assistance
to help find & assemble the FLAC tapes. also, thanks to andrew muir & his analysis of 1998.

mainly fantastic sound & even more fantastic performances.

sony might like to consider dublin 1998 for a bootleg series release one day - it only circulates in very poor sound

***

100% lossless FLAC from best available sound sources.

***

Statistics for this compilation

81 ball-tearing, sensational tracks
81 different songs
26 concerts
7 hours & 55 minutes of music
1 bob

all 81 songs appear in this compilation

***

Statistics for the 1998 European Tour

30 May to 12 July (44 calendar days)

33 concerts

i'm not normally into statistics but this tour leg is astonishing:

81 different songs were played in 33 concerts (if you include Happy Birthday)

* 7 songs were played more than 25 times
* 8 songs were played more than 15 times
* 13 songs were played more than 10 times
* 26 songs were played more than 5 times
* 14 songs were played only 3 times
* 11 songs were played twice
* 22 songs were played once!! (think about it)

* All Along The Watchtower was played 6 times
* Like A Rolling Stone was not played at all

***

Statistics for Time Out Of Mind songs played in europe 1998

* Cold Irons Bound (31)
* Love Sick (30
* Can't Wait (14)
* Make You Feel My Love (14)
* 'Til I Fell In Love With You (9)
* Not Dark Yet (1)

hardly a TOOM promotion

***

Andrew Muir

With Dylan's energy levels apparently fully recovered from 1997's scare, on 30 May 1998 he embarked on a long summer tour of Europe.
This leg took him all the way through to 12 July 1998 with hardly a night off.
Unfortunately, Dylan brought Van Morrison along for some of the dates, resulting, again, in fairly unadventurous set-lists.

REALLY ANDREW????

***

this is what happened

* 2 songs were played at all 33 concerts :Silvio (33),Tangled Up In Blue (33)
* 1 song was played at 31 concerts :Cold Irons Bound (31)
* 2 songs were played 30 times :Love Sick (30),Rainy Day Women #12 & 35 (30)
* 1 song was played 27 times :Highway 61 Revisited (27)
* 1 song was played 25 times:Blowin' In The Wind (25)
* 1 song was played 15 times:Masters Of War (15)
* 2 songs were played 14 times:Can't Wait (14),Make You Feel My Love (14)
* 1 song was played 13 times:Forever Young (13)
* 1 song was plated 12 times:Gotta Serve Somebody (12)
* 1 song was played 11 times:Don't Think Twice, It's All Right (11)
* 2 songs were played 9 times:Leopard-Skin Pill-Box Hat (9),'Til I Fell In Love With You (9)
* 3 songs were played 8 times:It Ain't Me, Babe (8),Mama, You Been On My Mind (8),Mr Tambourine Man (8)
* 3 songs were played 7 times:Desolation Row (7),The Times They Are A-Changin' (7),Tonight I'll Be Staying Here With You (7)
* 2 songs were played 6 times:All Along The Watchtower (6),Senor (Tales Of Yankee Power) (6)
* 3 songs were played 5 times:A Hard Rain's A-Gonna Fall (5),Just Like A Woman (5),Man In The Long Black Coat (5)

* 8 songs were played 4 times
Blind Willie McTell (4)
Cocaine Blues (4)
If Not For You (4)
I'll Be Your Baby Tonight (4)
It's All Over Now, Baby Blue (4)
Knockin' On Heaven's Door (4)
One Too Many Mornings (4)
To Ramona (4)

* 14 songs were played 3 times
Boots Of Spanish Leather (3)
Born In Time (3)
Girl Of The North Country (3)
I Shall Be Released (3)
I Want You (3)
Love Minus Zero / No Limit (3)
My Back Pages (3)
She Belongs To Me (3)
Simple Twist Of Fate (3)
Stuck Inside Of Mobile With The Memphis Blues Again (3)
Tears Of Rage (3)
This Wheel's On Fire (3)
Under The Red Sky (3)
You Ain't Goin' Nowhere (3)

* 11 songs were played twice
Ballad Of A Thin Man (2)
Ballad Of Hollis Brown (2)
If You See Her, Say Hello (2)
John Brown (2)
Lay, Lady, Lay (2)
Maggie's Farm (2)
Positively 4th Street (2)
Tough Mama (2)
Watching The River Flow (2)
What Good Am I? (2)
You're A Big Girl Now (2)

* 22 songs were played once
Every Grain Of Sand (1)
Everything Is Broken (1)
Friend Of The Devil (1)
Happy Birthday (1)
I & I (1)
I Don't Believe You (She Acts Like We Never Have Met) (1)
I'll Remember You (1)
It Takes A Lot To Laugh, It Takes A Train To Cry (1)
License To Kill (1)
The Lonesome Death Of Hattie Carroll (1)
The Man In Me (1)
Not Dark Yet (1)
Oh Babe, It Ain't No Lie (1)
Pretty Peggy-O (1)
Rank Strangers To Me (1)
Roving Gambler (1)
Seeing The Real You At Last (1)
Shelter From The Storm (1)
Shooting Star (1)
To Be Alone With You (1)
Tomorrow Is A Long Time (1)
White Dove (1)

*

Like A Rolling Stone (0)

***

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

MAKE YOU FEEL MY LOVE

When the rain is blowing in your face
And the whole world is on your case
I could offer you a warm embrace
To make you feel my love

When the evening shadows and the stars appear
And there is no one there to dry your tears
I could hold you for a million years
To make you feel my love

I know you havenÂ’t made your mind up yet
But I would never do you wrong
IÂ’ve known it from the moment that we met
No doubt in my mind where you belong

IÂ’d go hungry, IÂ’d go black and blue
IÂ’d go crawling down the avenue
ThereÂ’s nothing that I wouldnÂ’t do
To make you feel my love

The storms are raging on the rollinÂ’ sea
And on the highway of regret
The winds of change are blowing wild and free
YOU AIN'T SEEN NOTHING LIKE ME YET

I could make you happy, make your dreams come true
Nothing that I wouldnÂ’t do
Go to the ends of the earth for you
To make you feel my love

***

Nürburgring
Nürburg, Germany
30 May 1998

Home of German motorsport

Rock Am Ring Festival

1.Señor (Tales Of Yankee Power)
2.Cocaine Blues (trad.)
3.Mr Tambourine Man
4.Watching The River Flow
5.Ballad Of A Thin Man

Concert # 974 of The Never-Ending Tour.
First concert of the 1998 Europe Summer Tour.
1998 concert # 38.
Concert # 121 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Cocaine Blues, Mr Tambourine Man - acoustic with the band.

LB-5424;
Taper: zimmy21;
Equipment : AKG Stereo Microphones > Sony D8 DAT Recorder >
Pioneer CD recorder > PC > EAC > Wav > Flac Frontend > Flac

Excellent sound [A].

Gopherstick

Good enough show, but Dylan's guitar playing is quite dreadful
and he plays bully in the sandbox and hogs all the leads tonight.
Still, the sound is good and if you do not mind festival crowds then check this show out, it is a fun one for an overcast afternoon.

***

Center Stage
Frankenstadion
Nurnberg, Germany
31 May 1998

Rock Im Park Festival

Twin and parallel festival to Rock Am Ring (Nurnburgring) but different location.

6.Lay, Lady, Lay
7.Tough Mama
8.I'll Be Your Baby Tonight
9.Friend Of The Devil (Jerry Garcia - Robert Hunter - John Dawson)
10.It Takes A Lot To Laugh, It Takes A Train To Cry

Concert # 975 of The Never-Ending Tour.
Second concert of the 1998 Europe Summer Tour.
1998 concert # 39.
Concert # 122 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Friend Of The Devil - acoustic with the band.

Friend Of The Devil - Bob Dylan harmonica.

Friend Of The Devil - Larry Campbell & Bucky Baxter (backup vocals).

LB-6113;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 > TASCAM DA-40 >
professional >WaveTerminal > HD > ssrc >, WaveLab 6 > dBpoweramp > md5summer

Excellent sound [A].

Gopherstick

Dylan sounds bored so skip it. There are far better shows to hear before this one.

***

Messehalle 7
Leipzig, Germany
2 June 1998

11.Maggie's Farm
12.Shelter From The Storm

Concert # 976 of The Never-Ending Tour.
Third concert of the 1998 Europe Summer Tour.
1998 concert # 40.
Concert # 123 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6457;
Taper: Bach;
Lineage: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A].

Gopherstick

Fantastic concert; if you are willing to hunker down and listen up you'll hear an outstanding show,
and to that end this is highly recommended.

Andrew Muir

There was a change to the set structure in Leipzig on 2 June 1998, however, when the crowd refused to vacate the hall after the show.
Dylan fans have often tried to win further encores with this tactic, but to no avail.
I am not sure what was particularly special in Leipzig, but when over 10 minutes after Dylan's last encore, with the house lights on, the enthusiastically applauding crowd had still not dissipated at all, Dylan and the band returned to reward them with an extra encore of Blowin' In The Wind.
This extension of the encores obviously pleased Dylan because he retained this format for the forthcoming shows.
However, the biggest change to the set-lists' structure was to come after I saw him that summer.

***

Waldbühne
Berlin, Germany
3 June 1998

13.Everything Is Broken
14.If You See Her, Say Hello
15.Under The Red Sky
16.Not Dark Yet
17.Don't Think Twice, It's All Right

Concert # 977 of The Never-Ending Tour.
Concert # 4 of the 1998 Europe Summer Tour.
1998 concert # 41.
Concert # 124 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Don't Think Twice, It's All Right - Bob Dylan harmonica.

LB-6440;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz >WaveTerminal >
HD > WaveLab 6 >, convert to flac dBpowerAMP > md5summer

Excellent sound [A].

Gopherstick

Pretty good show, however I would recommend trading for the 2 June 1898 Leipzig or 4 June 1998 Rostock before this one, but the highlights here make this worth your time for sure.

***

Stadthalle
Rostock, Germany
4 June 1998

18.What Good Am I? (The Pink Panther Source that I have is corrupt, I substituted in this song from LB-04470 - Mat)
19.Tears Of Rage (Bob Dylan/Richard Manuel)
20.You Ain't Goin' Nowhere
21.My Back Pages
22.It Ain't Me, Babe

Concert # 978 of The Never-Ending Tour.
Concert # 5 of the 1998 Europe Summer Tour.
1998 concert # 42.
Concert # 125 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tears Of Rage, It Ain't Me, Babe - Bob Dylan harmonica.

You Ain't Goin' Nowhere - Larry Campbell & Bucky Baxter (backup vocals).

LB-5734;
Taper: Net Taper I (NTI);
Equipment: OKMII > portable Sony DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > cdwave for tracking > tlh

Excellent sound [A].

Gopherstick

Very highly recommended, great show, fine bootleg.

***

Sibbarps Strand
Malmö, Sweden
6 June 1998

Brofastivalen

23.Pretty Peggy-O (trad.)
24.Positively 4th Street
25.Roving Gambler (trad.)
26.Rainy Day Women #12 & 35

Concert # 979 of The Never-Ending Tour.
Concert # 6 of the 1998 Europe Summer Tour.
1998 concert # 43.
Concert # 126 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Roving Gambler - acoustic with the band.

Roving Gambler, Rainy Day Women #12 & 35 - Larry Campbell & Bucky Baxter (backup vocals).

LB-4847

Excellent sound [A-].

Gopherstick

My favorite Don't Think Twice, It's All Right of the year, and a great show besides. A keeper.

***

Frognerbadet
Oslo, Norway
7 June 1998

Norwegian Wood Festival

27.White Dove (Carter Stanley)

Concert # 980 of The Never-Ending Tour.
Concert # 7 of the 1998 Europe Summer Tour.
1998 concert # 44.
Concert # 127 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

White Dove - acoustic with the band.

White Dove - Larry Campbell & Bucky Baxter (backup vocals).

LB-8116

Excellent sound [A].

Gopherstick

Not as fun as Malmo 6 June 1998 nor as focused as Stockholm 9 June 1998 - a wholly decent, average show.

***

Globe Arena
Stockholm, Sweden
9 June 1998

28.Every Grain Of Sand
29.Desolation Row
30.One Too Many Mornings
31.This Wheel's On Fire

Concert # 981 of The Never-Ending Tour.
Concert # 8 of the 1998 Europe Summer Tour.
1998 concert # 45.
Concert # 128 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Desolation Row, One Too Many Mornings - acoustic with the band.

One Too Many Mornings - Bob Dylan harmonica.

This Wheel's On Fire - Larry Campbell & Bucky Baxter (backup vocals).

LB-6920;
At the Globe Arena (Crystal Cat / CC 464-66)

Excellent sound [A].

Gopherstick

Excellent performance and sound, with a wealth of bonus tracks spanning one disc and a half, this is my favorite bootleg set of the year.

Andrew Muir

Whilst admitting that the amount of time, energy and enthusiasm one has to put into touring as an audience member is influential, there were still a number of developments that made 1998 a low point of the NET for myself and for the majority of my long-term NET-going friends.
As ever, there were many who loved the year, indeed many who liked every show.

In re-listening to the shows for the purpose of this book I began to see why.
Although I did not find any show I liked all the way through, I could see someone having a good night at the show in Stockholm, for example, where both Desolation Row and Every Grain Of Sand were performed with a mixture of dignity and vulnerability, and where the despairing chorus in "Forever Young" truly reflected the impossibility of the verses' altruistic pleas.
The inner contradiction of a song that exhorts someone to grow up true and strong and yet to remain forever young has rarely been voiced so movingly.
Love Sick was as powerful as ever, and even All Along The Watchtower was given a different arrangement.

For me, though, Dylan had become quite distanced from his audience and detached from what had, until comparatively recently, driven the NET.
Many elements that I had found concerning as they began to surface in previous years seemed to come to a head in 1998.
For me, these combined to render a Dylan gig less of an event in the sense of something magical and special and more of an “event” in the sense of a deliberately calculated stage show.
The staged duck-walks and rock guitar hero poses that had initially seemed endearing were growing stale.
Once you realised that it was all pre-planned, like Dylan's increasingly premeditated tease of picking up harmonicas and putting them down without playing them, the appeal rapidly diminished.
It was as if Dylan was constantly checking his watch to see if it was time for another imitation of Chuck Berry in need of the toilet.

Worse by far was the increasing North American trend for carefully choreographed crowd invasions, keeping people back from the stage until a pre-set time or signal from the stage and then letting them flock forward, thus creating a false sense of sudden heightening of audience excitement.
Then it developed further; in certain songs, like Rainy Day Women #12 & 35, for example, people would get ready to invade the stage.
If the time was right, security was given instructions to let them do so.
Not all of them, though, just a select number of young, preferably good-looking women.
It must be good fun for Dylan to be surrounded by all these young babes,
jiggling their assets in front of his face and planting the occasional smacker on him,
but since it is all pre-planned it has a tawdry look. Following on from Woodstock '94,
it appeared that Dylan's courting of a younger audience was threatening to run out of control.

If you look at the hand-picked audiences at MTV Unplugged and the 1998 Grammies,
you are faced with the stench of manipulation and false representation of what Dylan's audience actually looked like at the time.
These “spontaneous” crowd rushes were just more of the same thing.
How much of this was Dylan's idea, I do not know, but he must at the very least have agreed to it.
I know that this is a stage show, but does it have to be such a staged show?
Dylan shows, and especially Dylan NET shows, had always been something far more spontaneous and meaningful, involving a more direct communication between artist and audience.

Dylan and his band's performances all seemed too similar to me too. Each show sounded much like the one before.
Naturally, he kept changing songs around but they were usually like for like and Girl Of The North Country replacing Boots Of Spanish Leather or Maggie's Farm replacing Highway 61 Revisited did not make for a different 1998 NET experience.

This was probably necessitated by the amount of double and triple headers Dylan was playing, but again these are not what the NET was meant to be, or had been, in my eyes.
Dana Parsons, of The Times Orange County Edition, pointed out all the expensive cars in the car park at one Dylan show, and captured the appeal of the triple-header show to many of the audience: "We've all come a long way, I guess, and these three superstars aged right along with us.
They all wrote much of their best material while we were going to high school, graduating college, getting married,
having first babies, signing for first mortgages, taking first jobs.
It is a powerful bond many baby boomers have with the rock stars of our generation."
"He's representative of the culture I grew up with, he's inside me," fan Elizabeth Gumming told Parsons.
"I love Van Morrison, too, he's exceptional in his own right. It's one of those things.
If we don't do it now, when are we going to get the chance to see Van Morrison, Bob Dylan and Joni Mitchell together?
It's an epic moment. How many more epic moments are we all going to get? So I want to take my epic moments when I can get them."

This was a viewpoint as different from mine as could be had between two people wanting to see Dylan.
I want to see a Dylan gig, not some travelling nostalgia show. These shows were deliberately designed, with cold-hearted commercial rationale, to cash in on the burgeoning economic power of a generation that was “born in the ‘50s”.

Looking back on the period from mid-1997 to mid-1999, John Scher, president of New Jersey's Metropolitan Entertainment, explained to The Philadelphia Inquirer the change in the way concerts were being packaged and sold:

"There are a lot of baby-boomer artists seeing the end of their careers who are less sensitive to appearing greedy.
If you have to pay $200 for a pair of tickets, you will if you feel a strong emotional connection to your favorite artist.
And the artists are saying, They're giving us so much money, how can we turn it down?'"

1988 and that opening one-hour rush of primal rock suddenly seemed far away.
The other highly sellable qualities of these shows were the ages of the artists and Dylan's recent illness.
Dana Parsons quoted another fan as saying: "With this kind of line-up, and with people dropping like flies."

What is perhaps most remarkable is that these shows attracted the very fans, like those cited above, that Dylan specifically claimed to have finally freed himself from.

"I've found a different audience," Dylan told Guitar World's Murray Engleheart in 1998.
"I'm not good at reading how old people are, but my audience seems to be livelier than they were ten years ago.
They react immediately to what I do, and they don't come with a lot of pre-conceived ideas about who they would like me to be, or who they think I am. Whereas a few years ago they couldn't react quickly.”

"I was still kind of bogged down with a certain crowd of people. It has taken a long time to bust through that crowd.
Even the last time I toured with Tom Petty, we were kind of facing that same old crowd. But that's changed.
We seem to be attracting a new audience. Not just those who know me as some kind of figurehead from another age or a symbol for a generational thing.
I don't really have to deal with that any more, if I ever did."

What Dylan said here was true for the majority of the normal NET audience.
He has toured so often now that the 'tick-seeing-a-legend' masses have had chance after chance to see him.
However, with these big co-headliner shows, and the following year's double-headers with Paul Simon,
Dylan was appealing to those very audiences he claimed to have happily lost, and to keep them satisfied he had to play in a different, more “professional”, for want of a better expression, way, which made him more detached from his material.

There is clearly a difficult balancing act needed between spontaneity and a premeditated show.
In early 1991 I complained about the complete lack of professionalism, while in 1998 I complain of too much professionalism.
In 1993 I objected to the sloppy, long-drawn-out endings, in 1998 I began to object to the band being too polished.
I am aware of how hard to please I seem and how difficult it is to pitch a series of shows so that they avoid such problems, but these “complaints” tell only part of the story. They come from me comparing them to more successful stints for one thing, but for another they are not by themselves the cause of a less-inspiring run of shows.
For example, the elements I disliked in 1998 would still be present in the following two years,
yet those years would see me return me to the NET fold, and would renew my faith in Dylan's ability to still perform killer shows.

***

Scandinavium
Göteborg, Sweden
10 June 1998

32.To Be Alone With You
33.Man In The Long Black Coat
34.Born In Time
35.The Times They Are A-Changin'
36.It's All Over Now, Baby Blue
37.She Belongs To Me
38.'Til I Fell In Love With You

Concert # 982 of The Never-Ending Tour.
Concert # 9 of the 1998 Europe Summer Tour.
1998 concert # 46.
Concert # 129 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

The Times They Are A-Changin, It's All Over Now, Baby Blue - acoustic with the band.

It's All Over Now, Baby Blue - Bob Dylan harmonica.

LB-3033;
Source: Unreleased Crystal Cat audio disks > (Audio Catalyst) wav > (flacfrontend) flac8

Excellent sound [A].

Gopherstick

What can I say, this is a blistering hot month for Dylan and this show is no different.
Recommended, great singing and energy by the man and the sound is superb.

***

Forum
Copenhagen, Denmark
11 June 1998

39.All Along The Watchtower
40.Tonight I'll Be Staying Here With You
41.Shooting Star
42.Masters Of War
43.Love Minus Zero/No Limit
44.Tangled Up In Blue
45.Can't Wait
46.Blind Willie McTell
47.Highway 61 Revisited

Concert # 983 of The Never-Ending Tour.
Concert # 10 of the 1998 Europe Summer Tour.
1998 concert # 47.
Concert # 130 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Masters Of War, Love Minus Zero / No Limit, Tangled Up In Blue - acoustic with the band.

LB-6308;
Taper: MM;
Equipment: Marantz mics > portable DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > cdwave for tracking > tlh

Excellent sound [A-].

Gopherstick

Fantastic show, excellent filler, great bootleg.

***

Freileichtbühne
Stadtpark
Hamburg, Germany
12 June 1998

48.I Want You
49.Oh Babe, It Ain't No Lie (Elizabeth Cotton)

Concert # 984 of The Never-Ending Tour.
Concert # 11 of the 1998 Europe Summer Tour.
1998 concert # 48.
Concert # 131 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Oh Babe, It Ain;t No Lie - acoustic with the band.

LB-6465;
Taper: Net Taper F (NTF);
Equipment: OKMII > portable Sony DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > ssrc > Wavelab, levels raised > cdwave for tracking > tlh

Excellent sound [A].

Gopherstick

Another June 1998 winner, Dylan is on a roll, the taper is on a roll, I am on a roll, check these shows out.

Andrew Muir

In June 1998 I was regularly travelling back and forth to Europe for both work and pleasure.
I was also preparing to move house. The Dylan tour found me having to squeeze the shows into a frenetic itinerary.
I did manage, with the aid of yet another taxi dash from the airport, to make Hamburg on 12 June 1998, once again at the Stadtpark.
The venue was as lovely as ever but the Dylan I saw in 1998 was a travesty compared with what I had witnessed there before.

By the time Dylan elected to sing into his microphone, rather than away from it, one wished he had not, though at least it left us under no illusion as to what a foul mood he was in.
To make matters worse, the band were lacklustre and the sound was appalling.
I later heard various explanations for this, ranging from lack of accommodation the night before to a broken sound system and illness.
Whichever the reason, I felt I had not yet really seen him at all.

***

Stadthalle
Bremen, Germany
14 June 1998

50.You're A Big Girl Now
51.John Brown

Concert # 985 of The Never-Ending Tour.
Concert # 12 of the 1998 Europe Summer Tour.
1998 concert # 49.

Concert # 132 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

John Brown - acoustic with the band.

LB-5505;
Taper: Net Taper I (NTI);
Equipment: OKMII > portable Sony DATrecorder - clone >
(digital transfer) m-audio delta audiophile 2496 >
wavelab > cdwave for tracking > tlh

Excellent sound [A].

Gopherstick

Outstanding, please trade for this one, you will thank yourself for being such a savvy trader afterwards.

***

Sportpaleis Ahoy
Rotterdam, The Netherlands
15 June 1998

52.Make You Feel My Love

Concert # 986 of The Never-Ending Tour.
Concert # 13 of the 1998 Europe Summer Tour.
1998 concert # 50.
Concert # 133 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Double bill with Van Morrison.

LB-4490

Excellent sound [A].

Gopherstick

Mostly harmless.

Andrew Muir

Following the NET was immensely tricky that summer. The World Cup meant that every mode of transport to France, and every hotel in France, was fully booked. There was a knock-on effect in neighbouring countries, and since I was both going to the World Cup in France and working there and in London while Dylan toured elsewhere it was going to be hard to fit in another show, especially as I was also preparing to move away from London that July. Somehow, with much manoeuvring, I managed to get to Rotterdam for the show on 15 June 1998.

Hamburg had really hit me hard, and the unexciting way the year had being going had reduced my customary over-the-top anticipation of seeing Dylan to something more resembling curiosity. It may also have had something to do with the longevity of the NET itself; back in 1998, ten consecutive years seemed a lot. I had first seen Dylan live when I was 19, and having then got used to seeing him every three years I now found myself approaching 40 and my 10th consecutive year of seeing him live. At the beginning of the NET there was always the thought that it was going to end soon, which created a nerv¬ous energy and a certain desperation to miss as little of it as possible. Perhaps I was just struggling to become accustomed to its ongoing nature. Whatever the truth of the matter, I felt a little distanced from my usual total immersion in the upcoming show. So to try and get in the mood I played a couple of tracks from Time Out Of Mind before heading to the airport. It kind of worked but felt a little forced, a staged re-enactment of what once came naturally.

At this point I still did not have a ticket. Despite all the years of going into concerts with enough tickets to cover an extended family and despite always seeing concert-goers (far less touts) selling spares, this situation always worries me. The nearer I got to the venue, the more worried I got. I took a taxi from Rotterdam Central to the arena, which was in a godforsaken wasteland some distance away. Heavy machinery, rather than touts, greeted me.
As ever, I met up with people I knew. Both Carsten from Germany and Josh from America were following the tour around, as usual, and both told me that Dylan played a much better show in Bremen than in Hamburg. I was relieved that they thought Hamburg was as bad as I had. If that show had been held up as typical of what was going on in the summer of 1998, the outlook would have been bleak.
Encouraged, I wandered around the tout-free zone looking for someone sell¬ing tickets. Finally, when I was just about to give up, a fan sold me one at face value. It was “up in the gods” but at least it was a ticket, and there was still some time to go before Van Morrison, far less Dylan, was due on stage.
At this point I had no intention of watching Van Morrison's set, but I wanted to go in and have a beer and a chat with Josh. After a couple of stewards refused to let us go in together, because our tickets were for different parts of the venue, I poured out a series of “sob stories” regarding why it was imperative I talked to Josh immediately. These, coupled with my vehement, and frankly heartfelt, explanation that I would leave the minute I thought Van Morrison was coming onstage, got me past security.
I had also promised not to steal anyone's seat, a promise I managed to keep rather easily as the snack bar offered a remarkably clear view of the stage. Once there I knew I was going to stay even though it meant going back on my word and, worse still, enduring Van Morrison's set. A glance up the steep sloped seats to the third tier where I was supposed to go was all the proof I needed that this little bar was the place for me. A seat for an absent attendant for the adjacent lavatories completed my comfortable little perch. It was all reminiscent of the show at the Tempodrom in Berlin in 1995 where my best view of the night came from a spot near a bar, an upturned litter-bin providing an added height advantage.
Van Morrison was distant and uninterested; standing centre stage, moving one arm in time to the beat, but otherwise motionless. Even Cleaning Windows and Tupelo Honey were poor. I have seen a number of Van Morrison shows over the years, ranging from the so-so to the exhilarating; this was the dullest I had ever seen him. The 90-minute set dragged on interminably.
As Dylan's set approached, I felt, self-indulgently, I had suffered so much that I needed a good Dylan performance to reaffirm my wavering commitment. When he finally appeared, I was just happy to see him rip into Leopard-Skin Pill-Box Hat. After a pretty neat You Ain't Goin' Nowhere a hard-rocking Cold Irons Bound was next, and it was clear already that Dylan was much more pumped up than he had been in Hamburg. It was just a shame for me that I had to listen to this instead of, say, Tears Of Rage from the previous set-list.
In contrast, a dazzling Just Like A Woman redeemed things before Silvio. I thought back over the last three songs and how the beauty of Just Like A Woman was highlighted by the torpid thumped-out hard rock on either side. "Does Dylan not notice this contrast?" I wondered to myself.
Silvio received a football-terrace-like acclaim then, as with Just Like A Woman, Desolation Row invoked a great cheer of recognition. So did The Times They Are A-Changin', particularly from the back and sides of the auditorium, as opposed to the front, which was much more demonstrative for Silvio.
The ovation for The Times They Are A-ChanginÂ’ was oddly contradicted by the bar suddenly getting busy, so much so that for the first time my spot looked like a bad choice. Luckily for me this was the only time during Dylan's set that this happened. I found it hard to comprehend why there was a busy bar during The Times They Are A-Changin' after it had been empty during Silvio. The answer seemed to lie in the different responses to songs from the various sections of the audience.
From my further-from-stage-than-normal position I could observe what DylanÂ’s songs mean to people, particularly the older songs. The people around the sides of the auditorium and up where I should have been had clearly come to hear Dylan perform the classic songs they had listened to throughout their lives. They would have been paying rapt attention to The Times They Are A-ChanginÂ’ unlike the throng nearer the front who saw it as a reason to rush to the bar. Dylan sometimes views these folk as his audience, and at other times feels he is playing to people who always embrace his newest work. He also often seems to confuse the two, both in terms of their constituents and their preferences as we shall see. It probably is confusing, however, if you always apprehend the audience from the same place. At this show I had a vantage point that allowed me to see almost two different audiences in the one hall.
Suddenly it was time for Dylan to mangle Tangled Up In Blue. As Dylan ran through his 1998 desecration, I survived by casting my mind back to the original recording, a 1978 version, and a snatch of Barcelona 1984, or was I thinking of Brussels? Never mind, he was nearly finished and it was time for me to pay attention again.
Except that the next song was the dull, unmelodic Can't Wait. Appropriately large chunks of the audience agreed with the title's sentiment and headed to the toilets in an exodus reminiscent of Earls Court in 1981 when Dylan played a “religious” song. In 1981 I thought it sacrilege (towards Dylan, I mean), but I found it hard to condemn in 1998.
Time Out Of Mind was mined again for the next song, Make You Feel My Love. However well performed, this remains an overblown ballad. Why could it not have been Standing In The Doorway or Tryin' To Get To Heaven? Not that the crowd seemed to be worried, they were showering the song and Dylan with acclaim. As for the coolest man the planet has seen, he was playirig up to his front row groupies like the hammiest of hams. The grandeur of the arrangement for Make You Feel My Love had stretched his voice, and It Ain't Me, Babe found his fractured vocals now sounding imbued with grace and even a hint of majesty; like a ruined cathedral, its beauty and magnificence still was present in the shards that remain.
It was extremely moving and I was once again in the palm of Dylan's hand. Highway 61 Revisited found me down at the front bopping away and gaining a good viewing position for Love Sick, which sounded as good as it had back in Bournemouth in 1997. Dylan stood bathed in red light: Ah, those curls, that profile; what a powerful image he still presented. This visual side to a Dylan show is hugely important to many fans.
The chorus of Rainy Day Women #12 & 35 was belted out by the occupants of the land of the “coffee shops” and it was all over. I faced a trek back to Amsterdam and a couple of hours sleep before heading off to Bordeaux for the football.

***

Grugahalle
Essen, Germany
16 June 1998

53.The Lonesome Death Of Hattie Carroll

Concert # 987 of The Never-Ending Tour.
Concert # 14 of the 1998 Europe Summer Tour.
1998 concert # 51.
Concert # 134 with the 11th Never-Ending

Tour Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

The Lonesome Death Of Hattie Carroll - acoustic with the band.

LB-6454;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A].

Gopherstick

Fantastic show, great filler tracks, two thumbs way up.

***

Forest National
Brussels, Belgium
17 June 1998

54.License To Kill
55.Ballad Of Hollis Brown
56.I Don't Believe You (She Acts Like We Never Have Met)

Concert # 988 of The Never-Ending Tour.
Concert # 15 of the 1998 Europe Summer Tour.
1998 concert # 52.
Concert # 135 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric sli
David Kemper (drums & percussion).

Ballad Of Hollis Brown - acoustic with the band.

LB-4319;
Taper: zimmy21;
Equipment: AKG Stereo Microphones > Sony TCD-D8 DAT Recorder >
Pioneer CD recorder > PC > EAC > Wav > Flac Frontend > Flac

Excellent sound [A].

Gopherstick

No filler tracks on the second disc drag this down as a bootleg set, but that does not really matter when you consider the setlist and performance, both of which are superb. Highly recommended.

***

Botanic Gardens,
Belfast, Northern Ireland,
19 June 1998

Gopherstick

Hell I like this. Might be one of the Top-5 Never Ending Tour shows in desperate need of a sonic upgrade.
If you can battle the sound you will hear an amazing show.
Not for everybody as it is, but oh brother it is worth hearing if you have got the notion.

***

Newcastle Arena
Newcastle, England
20 June 1998

57.Gotta Serve Somebody
58.If Not For You
59.Cold Irons Bound
60.Simple Twist Of Fate
61.To Ramona
62.Forever Young
63.A Hard Rain's A-Gonna Fall

Concert # 990 of The Never-Ending Tour.
Concert # 17 of the 1998 Europe Summer Tour.
1998 concert # 54.
Concert # 137 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

To Ramona, Forever Young, A Hard Rain's A-Gonna Fall - acoustic with the band.

Double bill with Van Morrison.

LB-6947;
Jack The Cowboy Went Up North (Shadow Blaster / SB 01-02)

Excellent sound [A].

Gopherstick

Good show in great sound, Dylan sang far better than he played, but that probably is not surprising you.
The filler tracks are nice as well, making this a very solid set.
This probably will not blow you away but it is still recommended.

Andrew Muir

Back in 1998 Dylan was on his way, sans me for once, around the United Kingdom.
Before the Newcastle show he made a change to the long-standing set structure, extending the middle acoustic set from four songs to six.
It was a most beneficial change, and one that stayed in place for the remaining double headers with Van Morrison.
Other than this the United Kingdom gigs, interspersed with a quick return to the European mainland, were more of the same; mainly greatest hits sets plus Time Out Of Mind selections.
There were some enjoyable enough shows, with certain standout individual song performances, but all in all it was generally very safe and predictable.

Most reviewers spent their time marvelling that the combined age of the two "old buzzards"
was in three figures and compared their relative abilities to still perform at this stage of their lives.
Like most critics, Hot Press's Stuart Baillie placed Dylan firmly on top.

"You want extraordinary?" Baillie asked his readers. "Look at Bob Dylan on the stage up yonder, blowing at his mouth harp, bucking at the knees, shaking those ancient hips.
It is a wonderful testimony to the life-fizzing power of music, especially since old Bob was dangerously sick a while back – tonight, he looks great in his western cut tuxedo and his white boots, the scratchplate of his battered Fender flashing in the sun, his voice rejuvenated.
On tonight's evidence, it may be debatable whether Van is still “the man”.
But thankfully, Bob's yer uncle after all these years. In a harp-blowing, blues-wailing, gut-bucket, soul-believin' kind of a way."

The Guardian's Pat Kane was one of the minority of reviewers who begged to differ, praising Van Morrison as a "magnificent old bastard":
"The truth is that Dylan stands much, much closer to that mausoleum moment than Morrison," Kane opined.
"Dylan was a man desperately fighting against what the passing years have done to his talent and ambition and only occasionally winning through.”

"Mr Zimmerman's two-note guitar solos and gingerly executed rock poses suggest someone who is doing this music for therapy as much as artistic statement. And the trademark vocal drone – which once spoke truth and authenticity – has now permanently split between a frog-like gurgle and a thoroughly shattered falsetto scrambling the words of songs."

***

Hall 4
S.E.C.C.
Glasgow, Scotland
21 June 1998

64.Boots Of Spanish Leather
65.Blowin' In The Wind

Concert # 991 of The Never-Ending Tour.
Concert # 18 of the 1998 Europe Summer Tour.
1998 concert # 55.
Concert # 138 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Boots Of Spanish Leather, Blowin' In the Wind - acoustic with the band.

Double bill with Van Morrison.

LB-4637;
Equipment: DAT clone(s) > Sony DAT Deck DTC-59 ES >
Marantz PMD 670 Professional > SanDisc 2.0 GB CompactFlash Card >
Peak Pro 4.14 (sector boundaries) > Xact 1.59 > FLACs

Excellent sound [A].

Gopherstick

Decent, average show but nothing special. Pass on this one.

***

The Arena
Sheffield, England
23 June 1998

66.Just Like A Woman

Concert # 992 of The Never-Ending Tour.
Concert # 19 of the 1998 Europe Summer Tour.
1998 concert # 56.
Concert # 139 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Double bill with Van Morrison.

LB-8617;
Taper: Bt;
Equipment: DPA 4061 microphones and Sony TCD-100 DAT recorder >
Original Master DAT > GINA24 digital sound card > PC (Audacity) >
CD Wave > FLAC > MD5 created by MD5summer

Excellent sound [A-].

Gopherstick

Average show with an especially pretty acoustic set. Recommended if you love acoustic 1998.

***

NEC Arena
National Exhibition Center
Birmingham, England
24 June 1998

67.Girl Of The North Country
68.Mama, You Been On My Mind
69.Knockin' On Heaven's Door
70.Love Sick

Concert # 993 of The Never-Ending Tour.
Concert # 20 of the 1998 Europe Summer Tour.
1998 concert # 57.
Concert # 140 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Girl Of the North Country, Mama, You Been On My Mind, Knockin' On Heaven's Door - acoustic with the band.

Knockin' On Heaven's Door - Van Morrison (vocal & harmonica).

Double bill with Van Morrison.

LB-6921;
Bette Davies Style (no label / NECZIM 001-002)

Excellent sound [A].

Gopherstick

Solid show here, and with a generous nine filler tracks from the Wembley 27 June 1998 show in excellent quality
(that might have better vocals from Dylan in fact than the main show does)
there is no reason not to trade for this one. Recommended.

***

NYNEX Arena,
Manchester, England,
25 June 1998

Gopherstick

Average at best. Everything is decent but nothing stands out enough to make me recommend it to anybody.

***

Dyrskuepladsen,
Orange Stage,
Roskilde, Denmark,
26 June 1998

Gopherstick

Nor reviewed.

***

Wembley Arena
London, England
27 June 1998

71.Tomorrow Is A Long Time

Concert # 996 of The Never-Ending Tour.
Concert # 23 of the 1998 Europe Summer Tour.
1998 concert # 60.
Concert # 143 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tomorrow Is a long Time - acoustic with the band.

Tomorrow Is A Long Time - arry Campbell & Bucky Baxter (backup vocals).

Double bill with Van Morrison.

LB-6921;
Bette Davies Style (no label / NECZIM 001-002)

Excellent sound [A].

Gopherstick

A couple nice tunes but nothing special.

***

Glastonbury Festival,
Worthy Farm, Pyramid Stage,
Pilton, England, 28 June 1998

Gopherstick

Eh, Greatest hits show, the band plays much better than Dylan sings. Skip it.

Andrew Muir

One of the many rumours that has reappeared virtually every year of the Never Ending Tour
is that Dylan would appear at the Glastonbury Festival.
This rumour is about as frequent as the one that the NET is about to come to a close.
I am not sure which of the two rumours worried fans more.
The idea of having to go to Glastonbury because Dylan was there was all too much for some of us oldsters.
However, 1998 was the fateful year that Dylan did work on Michael Eavis' farm, and his brief festival set was very well received by the massive Glastonbury crowd.

***

Le Zenith
Paris, France
30 June 1998

72.Happy Birthday

Concert # 998 of The Never-Ending Tour.
Concert # 25 of the 1998 Europe Summer Tour.
1998 concert # 62.
Concert # 145 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Happy Birthday - acoustic with the band.

Double bill with Van Morrison.

After Mama, You Been On My Mind, Dylan had a short discussion
with Tony Garnier who told Larry Campbell to come over.
A few smiles later Dylan stepped up to the microphone and started Happy Birthday, Tony and Larry following close behind.
I do not think that he actually got neither the chords nor the melody right, but it is the thought that counts, right?
It was sung for a mysterious Suzie, that is all I know.
After he had finished the song, Dylan laughed and said: "We did play it in a different key at the end, didn't we?" and then he played it again!

LB-4959;
Taper: LTJ;
Equipment: DAT clone(s) > Sony DAT Deck DTC-59 ES > Marantz PMD 670 Professional >
SanDisc 2.0 GB CompactFlash Card > Peak Pro 4.14 (tracking) > Xact 1.59 > FLACs

Excellent sound [A].

Gopherstick

Not especially well played or sung (most of the time) but a fun time nonetheless.

***

The Forum
Dijon, France
1 July 1998

73.Seeing The Real You At Last
74.Stuck Inside Of Mobile With The Memphis Blues Again
75.I & I

Concert # 999 of The Never-Ending Tour.
Concert # 26 of the 1998 Europe Summer Tour.
1998 concert # 63.
Concert # 146 with the 11th Never-Ending
Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-5181;
Taper: Legendary Taper J (LTJ);
Equipment: DAT clone(s) > Sony DAT Deck DTC-59 ES >
Marantz PMD 670 Professional > SanDisc 2.0 GB CompactFlash Card >
Peak Pro 4.14 (tracking) > Xact 1.59 > FLAC

Excellent sound [A].

Gopherstick

As a show this is a great concert in nice sound, but as a bootleg it sucks.
The only filler track is Like A Rolling Stone with The Rolling Stones in Rio de Janeiro back from 11 April 1998, and it is in dire sound. Why did they even bother?

***

Stravinsky Hall
Montreux, Switzerland
3 July 1998

32nd Montreux Jazz Festival

76.The Man In Me

Concert # 1000 of The Never-Ending Tour!!!
Concert # 27 of the 1998 Europe Summer Tour.
1998 concert # 64.
Concert # 147 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6472;
Taper: Bach;
Lineage: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz >WaveTerminal > HD > WaveLab 6 >
convert to flac dBpowerAMP > md5summer.

Very good to excellent sound [B+].

Gopherstick

Nice show, if you are willing to adjust to the sound you will hear a decent performance.

***

Castello Scaligero
Villafranca, Italy
4 July 1998

77.Leopard-Skin Pill-Box Hat
78.Silvio (Bob Dylan & Robert Hunter)
79.I'll Remember You

Concert # 1001 of The Never-Ending Tour.
Concert # 28 of the 1998 Europe Summer Tour.
1998 concert # 65.
Concert # 148 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6450;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit)
> TASCAM DA-40 professional > ssrc convert to 44.1 kHz >WaveTerminal > HD > WaveLab 6 >
convert to flac dBpowerAMP > md5summer

Excellent sound [A].

Gopherstick

Bottom Line: Skip it.

***

La Scalinata
Rome, Italy
5 July 1998

80.Rank Strangers To Me (A. Brumley)

Concert # 1002 of The Never-Ending Tour.
Concert # 29 of the 1998 Europe Summer Tour.
1998 concert # 66.
Concert # 149 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Rank Strangers To Me - acoustic with the band.

Rank Strangers To Me - Larry Campbell & Bucky Baxter (backup vocals).

LB-6453;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A].

Gopherstick

Excellent setlist. The band is a step off here and there but Dylan is interested and it is a fun show.
Recommended if you do not mind some musical miscues in exchange for choice vocals.

***

Summer Festival 1998,
Piazza Napoleone,
Lucca, Italy,
6 July 1998

Gopherstick

Average show with a few memorable gems sprinkled throughout.

***

Torino, Italy,
9 July 1998

Collegno Pellerossa Festival

Gopherstick

Great show, recommended.

***

Escalarre, Spain,
11 July 1998

Doctor Music Festival

Gopherstick

Unless a major sonic upgrade comes along, stay far away from this thing.

***

Racetrack
Frauenfeld
Zürich, Switzerland
12 July 1998

Out In The Green Festival

81.I Shall Be Released

Concert # 1006 of The Never-Ending Tour.
Concert # 33 of the 1998 Europe Summer Tour.
1998 concert # 70.
Concert # 153 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

I Shall Be Released - Larry Campbell & Bucky Baxter (backup vocals).

LB-4632;
Taper: Vito;
Equipment: OKM II R > Sony DAT TCD D-100

Excellent sound [A].

Gopherstick

Solid show, but nothing to use that last padded envelope on.

***

Rock on Bob!

XXX

1998-05-30 Nurburg
1998-05-31 Nurnberg
1998-06-02 Leipzig
1998-06-03 Berlin
1998-06-04 Rostock
1998-06-06 Malmo
1998-06-07 Oslo
1998-06-09 Stockholm
1998-06-10 Goteborg
1998-06-11 Copenhagen
1998-06-12 Hamburg
1998-06-14 Bremen
1998-06-15 Rotterdam
1998-06-16 Essen
1998-06-17 Brussels
1998-06-20 Newcastle
1998-06-21 Glasgow
1998-06-23 Sheffield
1998-06-24 Birmingham
1998-06-27 London
1998-06-30 Paris
1998-07-01 Dijon
1998-07-03 Montreux
1998-07-04 Villafranca
1998-07-05 Rome
1998-07-12 Zurich


(205/1) Bob Dylan, 1998-06-30, Le Zenith, Paris, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan
Le Zenith
Paris, France
30 June 1998

Off DAT clone(s)

Taper: LTJ

Source/Linage:
DAT clone(s) > Sony DAT Deck DTC-59 ES > Marantz PMD 670 Professional
> SanDisc 2.0 GB CompactFlash Card > Peak Pro 4.14 (tracking) > Xact 1.59 > FLACs

disc 1
01. Leopard-Skin Pill-Box Hat
02. Lay Lady Lay
03. Cold Irons Bound
04. Make You Feel My Love
05. Silvio (Bob Dylan & Robert Hunter)
06. The Times They Are A-Changin'
07. Masters Of War
08. Desolation Row
09. Mama, You Been On My Mind
10. Happy Birthday
11. Tangled Up In Blue
12. My Back Pages

disc 2
01. Highway 61 Revisited
02. Love Sick
03. Rainy Day Women # 12 & 35
04. Blowin' In The Wind

---------- ---------
Bob Dylan, 6/30/98, Paris, France, Le Zenith, 2CDR

LB-4959, (71min+24min), Off DAT clone(s)
Taper: LTJ
Source/Linage:, DAT clone(s) > Sony DAT Deck DTC-59 ES > Marantz PMD 670 Professional, > SanDisc 2.0 GB CompactFlash Card > Peak Pro 4.14 (tracking) > Xact 1.59 > FLACs
bittorrent download 05/07
has low levels with left channel even lower
different recording than LB-4795 based on different crowd at begin of d1t8; excellent sound [A]


(271/1) Bob Dylan, 1998-07-01, Forum, Dijon, France

Audio/Mp3, ?/?, (?)

Bob Dylan

Dijon, France
The Forum

1 July 1998

01 - Seeing The Real You At Last
02 - Tonight I'll Be Staying Here With You
03 - Cold Irons Bound
04 - You're A Big Girl Now
05 - Silvio (Bob Dylan & Robert Hunter)

06 - Mr. Tambourine Man
07 - A Hard Rain's A-Gonna Fall
08 - Mama, You Been On My Mind
09 - Tangled Up In Blue
10 - Forever Young

11 - Stuck Inside Of Mobile With The Memphis Blues Again
12 - I And I
13 - Highway 61 Revisited

(encore)

14 - Don't Think Twice, It's All Right
15 - Love Sick
16 - Rainy Day Women #12 & 35

17 - Blowin' In The Wind

Concert # 999 of The Never-Ending Tour.
Concert # 26 of the 1998 Europe Summer Tour. 1998 concert # 63.
Concert # 146 with the 11th Never-Ending Tour Band:
Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar),
Tony Garnier (bass),
David Kemper (drums & percussion).

6-10, 14, 17 acoustic with the band.
9, 14 Bob Dylan harmonica.

9 new songs (52%) compared to previous concert. 3 new songs for this tour.

Stereo audience recording, 105 minutes.

LB-05181 ; 67min+49min ; 2CDR ; Rating: A

7/1/98 Dijon, France, The Forum

Off DAT clone(s)

Taper: LTJ

Source/Linage:
DAT clone(s) > Sony DAT Deck DTC-59 ES > Marantz PMD 670 Professional
> SanDisc 2.0 GB CompactFlash Card > Peak Pro 4.14 (tracking) > Xact 1.59 > FLACs
--------------------------------------------------------------------------------
bittorrent download 07/07 right channel seems recorded at a higher level than left channel but limited so not as much dynamic range;
same recording as still on the road LB-2057 based on same clapping and wav at end of d1t4 except this has lower levels and otherwise similar wav and spectral views;
(did not listen to all of this)
--------------------------------------------------------------------------------
disc 1,
01. Seeing The Real You At Last, 02. Tonight I'll Be Staying Here With You, 03. Cold Irons Bound, 04. You're A Big Girl Now, 05. Silvio (Bob Dylan & Robert Hunter), 06. Mr. Tambourine Man, 07. A Hard Rain's A-Gonna Fall, 08. Mama, You Been On My Mind, 09. Tangled Up In Blue, 10. Forever Young,

disc 2,
11. Stuck Inside Of Mobile With The Memphis Blues Again, 12. I And I, 13. Highway 61 Revisited, 14. Don't Think Twice, It's All Right, 15. Love Sick, 16. Rainy Day Women # 12 & 35, 17. Blowin' In The Wind
--------------------------------------------------------------------------------


(223/1) Bob Dylan, 1999-04-07, She Buttoned Her Boot, European Spring Tour, (Pink Panther Records)

Audio/flac, dime/?, (20190420)

Bob Dylan

1999 SHE BUTTONED HER BOOT & STRAIGHTENED HER SUIT

Pink Panther Records

The 1999 European Spring Tour

The final PP installment of the four 1999 tour legs

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

sourced from 100% lossless FLAC and best available sound sources.

Bob's "men are from Mars, women are from Venus" song.
A love/hate/sex song from the 5th (or maybe its the 6th) dimension.
Some claim it was a rip-off of The Beatles' Norwegian Wood.
Bob claims the opposite - The Beatles stole it from him!!
Whatever, it sure made John Lennon sit up and listen hard.

FOURTH TIME AROUND

When she said
?Don?t waste your words, they?re just lies?
I cried she was deaf
And she worked on my face until breaking my eyes
Then said, ?What else you got left??
It was then that I got up to leave
But she said, ?Don?t forget
Everybody must give something back
For something they get?

I stood there and hummed
I tapped on her drum and asked her how come
And SHE BUTTONED HER BOOT
AND STRAIGHTENED HER SUIT
Then she said, ?Don?t get cute?
So I forced my hands in my pockets
And felt with my thumbs
And gallantly handed her
My very last piece of gum

She threw me outside
I stood in the dirt where ev?ryone walked
And after finding I?d
Forgotten my shirt
I went back and knocked
I waited in the hallway, she went to get it
And I tried to make sense
Out of that picture of you in your wheelchair
That leaned up against . . .

Her Jamaican rum
And when she did come, I asked her for some
She said, ?No, dear?
I said, ?Your words aren?t clear
You?d better spit out your gum?
She screamed till her face got so red
Then she fell on the floor
And I covered her up and then
Thought I?d go look through her drawer

And when I was through
I filled up my shoe
And brought it to you
And you, you took me in
You loved me then
You didn?t waste time
And I, I never took much
I never asked for your crutch
Now don?t ask for mine

***

NORWEGIAN WOOD (This Bird Has Flown)

I once had a girl, or should I say, she once had me...
She showed me her room, isn't it good, Norwegian Wood?

She asked me to stay and she told me to sit anywhere,
So I looked around and I noticed there wasn't a chair.

I sat on a rug, biding my time, drinking her wine
We talked until two and then she said, "It's time for bed"

She told me she worked in the morning and started to laugh.
I told her I didn't and crawled off to sleep in the bath

And when I awoke, I was alone, this bird had flown
So I lit a fire, isn't it good, Norwegian Wood.

***

Norwegian Wood (This Bird Has Flown)

Song by The Beatles

Album: Rubber Soul

Released: 3 December 1965

Recorded:
12 and 21 October 1965,
EMI Studios, London

Writer: Lennon?McCartney

Producer: George Martin

"Norwegian Wood is my song completely. It was about an affair I was having.
I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household.
I'd always had some kind of affairs going, so I was trying to be sophisticated in writing about an affair.
But in such a smoke-screen way that you couldn't tell.
But I can't remember any specific woman it had to do with. ...
[What about the title itself?] I don't know how the hell I got to Norwegian Wood."

John Lennon, The Playboy Interviews, 1980

"I came in and he had this first stanza, which was brilliant:
'I once had a girl, or should I say, she once had me.'
That was all he had, no title, no nothing.
I said, 'Oh yes, well, ha, we're there.' And it wrote itself.
Once you've got the great idea, they do tend to write themselves, providing you know how to write songs.
So I picked it up at the second verse, it's a story. It's him trying to pull a bird, it was about an affair.
John told Playboy that he hadn't the faintest idea where the title came from but I do.
Peter Asher had his room done out in wood, a lot of people were decorating their places in wood.
Norwegian wood. It was pine really, cheap pine. ...
So it was a little parody really on those kind of girls who when you'd go to their flat there would be a lot of Norwegian wood.
It was completely imaginary from my point of view but in John's it was based on an affair he had.
This wasn't the décor of someone's house, we made that up.
So she makes him sleep in the bath and then finally in the last verse I had this idea to set the Norwegian wood on fire as revenge, so we did it very tongue in cheek. ... It could have meant I lit a fire to keep myself warm, and wasn't the décor of her house wonderful?
But it didn't, it meant I burned the x place down as an act of revenge, and then we left it there and went into the instrumental.

George had become very interested in Indian music and it was his first sitar solo.
"It's 60-40 to John because it's John's idea and John's tune.
But I filled out lyrically and had the idea to set the place on fire, so I take some sort of credit.
And the middle was mine, those middle eights, John never had his middle eights."

Paul McCartney, Many Years From Now by Barry Miles, 1994


"George had just got the sitar, and I said, 'Can you play this piece?'
We went through many different sorts of versions of the song, but it was never right, and I was getting angry about it.
It wasn't coming out like I said. They said, 'We'll just do it how you want to do it.'
And I said, 'Well, I just want to do it like this.'
They let me go and I did the guitar very loudly into the mike and sang it at the same time."

John Lennon, The Beatles Off The Record, 2000

"We were growing very quickly and there were a lot of influences.
That was the best thing about our band, we were very open-minded to everything.
We were listening to all kinds of music, and they liked the sound of the sitar.
On Norwegian Wood it was one of those songs which needed that something extra.
I had bought a very cheap sitar in a shop called India Craft in London,and it fitted on to the song and gave it that little extra thing.
Even though the sound of the sitar was bad, they were still quite happy with it."

George Harrison, The Beatles Off The Record, 2000

"This Bird Has Flown was recorded in just one take although much rehearsing,head-scratching and overdubbing meant that it took 4 1/2 hours to complete.
John's droll vocal, double-tracked in places, of lyrics which gave a new dimension to the usual boy-meets-girl situation (the song was an oblique reference to an extra-marital relationship),being augmented by George Harrison's double-tracked sitar, the Indian instrument being used on a pop record for the first time,by subperb Paul McCartney vocal harmonies ? a naturally acquired and underrated forte ?and by Ringo's interesting percussion work, in which he forsook drums in favour of finger cymbals, tambourine and maraca.
The Beatles felt that it wasn't right and gave the song a somewhat heavier approach on the remake."

Mark Lewisohn, The Beatles Recording Sessions, 1988


"[Regarding Bob Dylan's "version" on Blond On Blond - Fourth Time Around] I was very paranoid about Dylan's version of it.
I remember he played it to me when he was in London. He said, 'What do you think?' I said, 'I don't like it.'
I didn't like it. I was very paranoid. I just didn't like what I was feeling.
I thought it was an out and out shit, you know, but it wasn't. It was great.
I mean, he wasn't playing any tricks on me. I was just going through the bit."

John Lennon, Rolling Stone interview, Nov 23 1968

***

Andrew Muir

By the time I heard Malaga and Granada, two of a number of standout Spanish shows, I was no longer declining the kind offers of full shows on CD-R.
No matter how busy I was, I simply had to make time for them all.
The long-awaited change of set structure had made a dramatic impact on the NET.
The hitherto dominant 5-6 electric songs, 3-4 acoustic, 2-3 electric and then encores
had become 5-6 acoustic songs followed by up to 6 electric songs and then the encores.
Now we had classic Dylan acoustic songs and covers followed by electric rockers,paced so as to build, and then subside into a more please-pay-attention-to-this Time Out Of Mind selection or a one-off, a rarity or a new arrangement.
The sets would then build up to full-on, rave-out encores.

I could not get enough of them, and so you find me scurrying across Europe in late April 1999,once again caught up in the excitement and whirl of following Dylan on tour.
As war and atrocities raged in the ongoing break-up of the former Yugoslavia,there was something profoundly moving in Dylan singing songs like Masters Of War, Blowin' In The Wind and A Hard Rain's A-Gonna Fall,especially as he was singing them with a passion, clarity and engagement I had feared was lost forever.
Dylan was clearly pumped for these shows, and after the reflective brilliance of the acoustic sets was looking for a party atmosphere to propel him to ever greater rock-outs in the electric sets.

Now there are many Dylan fans, especially among the older ones, who do not like this side of the modern Dylan shows.
They prefer the idea of the audience sitting in rapt attention and only moving and clapping in between the songs.
While this would certainly make for better tapes, it is undoubtedly not what Dylan usually wants.
Having had the pleasure of hearing his carefully presented and perfectly delivered acoustic sets, if Dylan wanted an all-out rocking second half to the night that was fine by me. It was like getting two concerts in one.

***

Anchored by a dozen songs:
the Grateful Dead covers Friend Of The Devil, Not Fade Away;
early 60s classics Masters Of War, Blowin' In The Wind, Mr Tambourine Man, Don't Think Twice, It's All Right;mid 60s electric mayhem standards Highway 61 Revisited, Stuck Inside Of Mobile With The Memphis Blues Again, Like A Rolling Stone;the 70s essential Tangled Up In Blue; and two recent songs Love Sick, Can't Wait,Bob took off on a sort of extended semi-holiday through the Iberian Peninsula,and then on to France, Switzerland, Austria (another mini-holiday), Slovenia and ending with a single concert in Germany.

This was Bucky Baxter's last stand. Bucky had been with Bob since the March 1992 Australian tour.
He had seen Bob's band evolve from erratic confusion to polished professionalism. He had lived with Bob's moods and wants for seven years.
But Bob's rock star era was in decline - he was evolving/morphing into something quite different to the past.
After Munich 99, Bucky was out and Charlie Sexton was in - Bob was looking for a different sound.
But history will show that Bucky Baxter was as important as Tony Garnier in the success of the NET. Well done, Bucky!
In May 1999, soon after the final 1999 European concert in Munich,Bob entered Sterling Sound Studio in New York to record Things Have Changed - one of his major latter-day songs.

***

THINGS HAVE CHANGED

A worried man with a worried mind
No one in front of me and nothing behind
There?s a woman on my lap and she?s drinking champagne
Got white skin, got assassin?s eyes
I?m looking up into the sapphire-tinted skies
I?m well dressed, waiting on the last train

Standing on the gallows with my head in a noose
Any minute now I?m expecting all hell to break loose

People are crazy and times are strange
I?m locked in tight, I?m out of range
I used to care, but things have changed

This place ain?t doing me any good
I?m in the wrong town, I should be in Hollywood
Just for a second there I thought I saw something move
Gonna take dancing lessons, do the jitterbug rag
Ain?t no shortcuts, gonna dress in drag
Only a fool in here would think he?s got anything to prove

Lot of water under the bridge, lot of other stuff too
Don?t get up gentlemen, I?m only passing through

People are crazy and times are strange
I?m locked in tight, I?m out of range
I used to care, but things have changed

I?ve been walking forty miles of bad road
If the Bible is right, the world will explode
I?ve been trying to get as far away from myself as I can
Some things are too hot to touch
The human mind can only stand so much
You can?t win with a losing hand

Feel like falling in love with the first woman I meet
Putting her in a wheelbarrow and wheeling her down the street

People are crazy and times are strange
I?m locked in tight, I?m out of range
I used to care, but things have changed

I hurt easy, I just don?t show it
You can hurt someone and not even know it
The next sixty seconds could be like an eternity
Gonna get low down, gonna fly high
All the truth in the world adds up to one big lie
I?m in love with a woman who don?t even appeal to me

Mr. Jinx and Miss Lucy, they jumped in the lake
I?m not that eager to make a mistake

People are crazy and times are strange
I?m locked in tight, I?m out of range
I used to care, but things have changed

***

1999 is a very, very great year for Dylan and the Never Ending Tour. The preceding American leg was great (but underated),next was the European tour (this one), and then followed the testosterone-fuelled dual-billing North American concerts/battles with first Paul Simon and then Phil Lesh.

1999 Europe offers beautiful, laid-back and majestic performances of a large portion of his repertoire.
Like the rest of 1999, Bob performed a small core of songs regularly and a huge number of songs only once or twice.

Europe 1999 is one of the great performance peaks of the NET, and thanks to Schubert, Bach and others, it is almost all available in wonderful sound.
Bach v Schubert? Bach is brighter and more transparent, Schubert is rich and full due to sound-processing.
Generally, Bach is better for acoustic songs and Schubert for electric but it is not that simple - there are many exceptions.

All the known generally circulating Bach and Schubert FLAC, along with many other unspecified tapers, were tracked down for this compilation.
The FLAC was then converted to mp3@320kbps for comparison, song by song, on a 160GB ipod with high-end earplugs.

High art by any standard - performed everywhere from classic opera houses to bullrings to flying saucers to snow-covered mountain tops (outdoor concert, of course!).

66 different songs were played in Europe in 1999 - they are all represented here. So are all 21 concerts played over four weeks from early-April to early-May.

Have fun!

***

12 songs played 10 times or more
23 songs played 5 times or more
66 songs played in total

***

2 songs played 21 times
2 songs played 19 times
3 songs played 15 times
1 song played 12 times
2 songs played 11 times
2 songs played 10 times
1 song played 9 times
1 song played 8 times
4 songs played 7 times
3 songs plaped 6 times
2 songs played 5 times
5 songs played 4 times
6 songs played 3 times
14 songs played twice
18 songs played only once

***

2 songs played 21 times:

Highway 61 Revisited
Tangled Up In Blue

*

2 songs played 19 times:Love Sick,Masters Of War
3 songs played 15 times:Blowin' In The Wind,Mr Tambourine Man,Stuck Inside Of Mobile With The Memphis Blues Again
1 song played 12 times:Friend Of The Devil
2 songs played 11 times:Can't Wait,Not Fade Away
2 songs played ten times:Don't Think Twice, It's All Right,Like A Rolling Stone
1 song played nine times:Not Dark Yet
1 song played eight times:Make You Feel My Love
4 songs played seven times:It's All Over Now, Baby Blue,Just Like A Woman,Maggie's Farm,Rainy Day Women #12 & 35
3 songs played six times:Leopard-Skin Pill-Box Hat,Mama, You Been On My Mind,The Times They Are A-Changin'
2 songs played five times:Fourth Time Around,Girl Of The North Country
5 songs played four times:A Hard Rain's A-Gonna Fall,Desolation Row,It Ain't Me, Babe,My Back Pages,One Too Many Mornings
6 songs played three times:Cocaine Blues,Forever Young,Simple Twist Of Fate,Tryin' To Get To Heaven,Watching The River Flow,You're Gonna Quit Me

14 songs played twice:
All Along The Watchtower
Boots Of Spanish Leather
Cold Irons Bound
Everything Is Broken
I Don't Believe You (She Acts Like We Never Have Met)
It Takes A Lot To Laugh, It Takes A Train To Cry
The Lonesome Death Of Hattie Carroll
Oh Babe, It Ain't No Lie
Senor (Tales Of Yankee Power)
She Belongs To Me
'Til I Fell In Love With You
To Be Alone With You
Tomorrow Is A Long Time
Visions Of Johanna

18 songs played only once:
Blind Willie McTell
Every Grain Of Sand
God Knows
Gotta Serve Somebody
I Shall Be Released
I Want You
If Not For You
Lay, Lady, Lay
Love Minus Zero / No Limit
Positively 4th Street
Roving Gambler
Silvio
To Ramona
Tombstone Blues
Tough Mama
Under The Red Sky
What Good Am I?
You're A Big Girl Now

***

a flying saucer UFO parked by the sea

Pavilhão do Atlântico
Parque das Nações
Lisbon, Portugal
7 April 1999

1.Roving Gambler (trad.)
2.Tryin' To Get To Heaven
3.Maggie's Farm
4.Lay, Lady, Lay
5.Blind Willie McTell
6.Like A Rolling Stone

Concert # 1075 of The Never-Ending Tour.
First concert of the 1999 Europe Spring Tour.
1999 concert # 29.
Concert # 222 with the 11th Never-Ending Tour Band:

Bob Dylan (vocal & guitar),Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar),Tony Garnier (bass), David Kemper (drums & percussion).

Roving Gambler acoustic with the band.

Bucky Baxter and Larry Campbell (backup vocal) on Roving Gambler.

Dylan played acoustic guitar on the live debut of Tryin' To Get To Heaven.

There was a 15 minute break before Maggie's Farm.

LB-1862;
Remaster: Schubert;
Additional sound mastering (ASM)

Excellent sound [A].

***

art deco grandeur

Colisio Oporto
Oporto, Portugal
8 April 1999

7.Watching The River Flow
8.Tough Mama

Concert # 1076 of The Never-Ending Tour.
Second concert of the 1999 Europe Spring Tour.
1999 concert # 30.
Concert # 223 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

BobTalk

I know we try to play a little bit of everything,and I know people want to hear this and that, but we can't play it all.

LB-4134;
Remaster: Schubert;
Additional sound mastering (ASM)

***

a sports stadium

Pavillón Multiusos do Sar
Santiago de Compostela, Spain
9 April 1999

9.The Times They Are A-Changin'
10.Fourth Time Around
11.God Knows

Concert # 1077 of The Never-Ending Tour.
Third concert of the 1999 Europe Spring Tour.
1999 concert # 31.
Concert # 224 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:The Times RThey Are A-Changin',Fourth Time Around.

LB-4098;
Remaster: Schubert

Excellent sound [A].

except The Times They Are A-Changin'

LB-6411;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 >, convert to flac dBpowerAMP > md5summe

Excellent sound [A].

***

100 year old classic theatre rebuilt after the Spanish civil war.

Teatro Jovellanos
Gijón, Spain
10 April 1999

12.You're Gonna Quit Me (Mance Lipscomb)
13.Desolation Row
14.All Along The Watchtower
15.Rainy Day Women #12 & 35

Concert # 1078 of The Never-Ending Tour.
Concert # 4 of the 1999 Europe Spring Tour.
1999 concert # 32.
Concert # 225 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:You're Gonna Quit Me,Desolation Row.

Bucky Baxter and Larry Campbell (backup vocal) on Rainy Day Women #12 & 35.

LB-4126;
Remaster: Schubert

Excellent sound [A].

except Desolation Row

Bob Dylan,
4/10/99,
Gijon, Spain

LB-6395;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 >, convert to flac dBpowerAMP > md5summer

Excellent sound [A].

***

a cycling velodrome

Velodrômo Anoeta
San Sebastian, Spain
11 April 1999

16.Everything Is Broken
17.Not Dark Yet

Concert # 1079 of The Never-Ending Tour.
Concert # 5 of the 1999 Europe Spring Tour.
1999 concert # 33.
Concert # 226 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-4208;
Taper: Bach

Excellent sound [A-]

***

conservatorium of music

Sala Ataulfo Argenta
Palacio de Festivales
Santander, Spain
13 April 1999

18.Gotta Serve Somebody
19.Positively 4th Street
20.Silvio (Bob Dylan & Robert Hunter)

Concert # 1080 of The Never-Ending Tour.
Concert # 6 of the 1999 Europe Spring Tour.
1999 concert # 34.
Concert # 227 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Bob Dylan (harmonica) on Silvio.

Bucky Baxter and Larry Campbell (backup vocal):
Gotta Serve Somebody,
Silvio.

LB-4194;
Taper: Bach

Excellent sound [A].

***

gigagic, modern indoor sporting and concert arena

Palacio de deportes de la Comunidad de Madrid
Madrid, Spain
14 April 1999

21.Love Minus Zero/No Limit
22.Señor (Tales Of Yankee Power)
23.Simple Twist Of Fate

Concert # 1081 of The Never-Ending Tour.
Concert # 7 of the 1999 Europe Spring Tour.
1999 concert # 35.
Concert # 228 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Love Minus Zero / No Limit acoustic with the band.

LB-4115;
Taper: Bach

Excellent sound [A].

***

another cycling velodrome

Velódromo Lluis Puig
Valencia, Spain
15 April 1999

24.My Back Pages
25.Mr Tambourine Man
26.Forever Young

Concert # 1082 of The Never-Ending Tour.
Concert # 8 of the 1999 Europe Spring Tour.
1999 concert # 36.
Concert # 229 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:My Back Pages,Mr Tambourine Man,Forever Young.

Bucky Baxter and Larry Campbell (backup vocal) Forever Young.

LB-4171;
Taper: Bach

Excellent sound [A].

***

a dirty old bull ring

La Malagueta Bull Ring
Plaza de Toros
Málaga, Spain
17 April 1999

27.To Ramona
28.I Want You
29.I Shall Be Released
30.Not Fade Away (Norman Petty/Charles Hardin)

Concert # 1083 of The Never-Ending Tour.
Concert # 9 of the 1999 Europe Spring Tour.
1999 concert # 37.
Concert # 230 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

To Ramona acoustic with the band.

Bucky Baxter and Larry Campbell (backup vocal):I Shall Be Released,Not Fade Away.

LB-1873;
Volume 9 - Was That Some Kind Of Joke? From Lisbon To Barcelona -Spring '99 - The Complete Collection

Excellent sound [A-].

except To Ramona

LB-6401;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A-].

***

basketball arena

Palacio Municipal de Deportes
Granada, Spain
18 April 1999

31.Love Sick

Concert # 1084 of The Never-Ending Tour.
Concert # 10 of the 1999 Europe Spring Tour.
1999 concert # 38.
Concert # 231 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-6400;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz > WaveTerminal >
HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A-].

***

symphony hall, modern auditorium and congress centre

Narciso Yepes Hall
Auditorio y Centro de Congresos de Murcia
Murcia, Spain
19 April 1999

32.Tomorrow Is A Long Time
33.Tombstone Blues
34.You're A Big Girl Now
35.Don't Think Twice, It's All Right

Concert # 1085 of The Never-Ending Tour.
Concert # 11 of the 1999 Europe Spring Tour.
1999 concert # 39.

Concert # 232 with the 11th Never-Ending Tour Band: Bob Dylan (vocal & guitar),Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar),Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:Tomorrow Is A Long Time.Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on Don't Think Twice, It's All Right.

Bucky Baxter and Larry Campbell (backup vocal) on Tomorrow Is A Long Time.

LB-4093;
Taper: Bach

Excellent sound [A].

***

basketball arena

Pabellón Príncipie Felipe
Zaragoza, Spain
21 April 1999

36.A Hard Rain's A-Gonna Fall
37.Blowin' In The Wind
38.What Good Am I?
39.'Til I Fell In Love With You
40.Make You Feel My Love

Concert # 1086 of The Never-Ending Tour.
Concert # 12 of the 1999 Europe Spring Tour.
1999 concert # 40.
Concert # 233 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:A Hard Rain's A-Gonna Fall,Blowin' In The Wind

Bob Dylan (harmonica) on Blowin' In The Wind.

Bucky Baxter and Larry Campbell (backup vocal):A Hard Rain's A-Gonna Fall,Blowin' In The Wind.

LB-6409;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) >
TASCAM DA-40 professional > ssrc convert to 44.1 kHz >
WaveTerminal > HD > WaveLab 6 > convert to flac dBpowerAMP > md5summer

Excellent sound [A-].

***

multi-purpose indoor arena

Palau Municipal dels Esports
Barcelona, Spain
22 April 1999

41.Mama, You Been On My Mind
42.To Be Alone With You

Concert # 1087 of The Never-Ending Tour.
Concert # 13 of the 1999 Europe Spring Tour.
1999 concert # 41.
Concert # 234 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Mama, You Been On My Mind acoustic with the band.

Bob Dylan (harmonica) on Mama, You Been On My Mind.

LB-6394;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) > TASCAM DA-40 professional
> ssrc convert to 44.1 kHz > WaveTerminal > HD > WaveLab 6 >, convert to flac dBpowerAMP > md5summer

Excellent sound [A-].

***

another flying saucer UFO by the sea (seriously!) - spooky

Le Dome
Marseille, France
23 April 1999

43.Cocaine Blues (trad.)
44.Masters Of War
45.Visions Of Johanna
46.It Ain't Me, Babe
47.Tangled Up In Blue
48.Can't Wait
49.Just Like A Woman
50.Stuck Inside Of Mobile With The Memphis Blues Again

Concert # 1088 of The Never-Ending Tour.
Concert # 14 of the 1999 Europe Spring Tour.
1999 concert # 42.
Concert # 235 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar),Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:Cocaine Blues,Masters Of War,Visions Of Johanna,It Ain't Me, Babe,Tangled Up In Blue.

Bob Dylan (harmonica) on It Ain't Me, Babe.

Bucky Baxter and Larry Campbell (backup vocal) on Cocaine Blues.

Bob sings ?these visions of Madonna? in the last verse of Visions Of Johanna.
Bob reprises this at Tramps, New York on 9 July 1999 with Madonna in the audience!

LB-10186;
Remaster: Schubert;
Additional sound mastering (ASM)

Excellent sound [A].

except:

Visions Of Johanna,
It Ain't Me, Babe.

LB-4183;
Taper: Bach

Excellent sound [A].

***

multi-purpose stadium

Hallenstadion
Zürich, Switzerland
25 April 1999

51.Highway 61 Revisited

Concert # 1089 of The Never-Ending Tour.
Concert # 15 of the 1999 Europe Spring Tour.
1999 concert # 43.
Concert # 236 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-4099;
Remaster: Schubert;
Additional sound mastering (ASM)

Excellent sound [A-].

***

tennis and football arena

Sporthalle
Linz, Austria
27 April 1999

52.She Belongs To Me
53.Leopard-Skin Pill-Box Hat

Concert # 1090 of The Never-Ending Tour.
Concert # 16 of the 1999 Europe Spring Tour.
1999 concert # 44.
Concert # 237 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-4121;
Taper: Schubert;
Additional sound mastering (ASM)

Excellent sound [A].

***

multi-purpose indoor sports arena

Hala Tivoli
Ljubljana, Slovenia
28 April 1999

54.It's All Over Now, Baby Blue
55.Every Grain Of Sand

Concert # 1091 of The Never-Ending Tour.
Concert # 17 of the 1999 Europe Spring Tour.
1999 concert # 45.
Concert # 238 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It's All Over Now, Baby Blue acoustic with the band.

LB-6422;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 (48 kHZ - 16 bit) > TASCAM DA-40 professional
> ssrc convert to 44.1 kHz >WaveTerminal > HD > WaveLab 6 >, convert to flac dBpowerAMP > md5summer

Excellent sound [A].

***

ice-hockey arena

Eishalle
Graz, Austria
29 April 1999

56.Friend Of The Devil (Jerry Garcia - Robert Hunter - John Dawson)
57.The Lonesome Death Of Hattie Carroll
58.One Too Many Mornings
59.Girl Of The North Country

Concert # 1092 of The Never-Ending Tour.
Concert # 18 of the 1999 Europe Spring Tour.
1999 concert # 46.
Concert # 239 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar),Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:Friend Of The Devil,The Lonesome Death Of Hattie Carroll,One Too Many Mornings,Girl Of The North Country.

Bucky Baxter and Larry Campbell (backup vocal) on Friend Of The Devil.

LB-4539;
Taper: Bach;
Equipment: OKM II Rockversion > Sony DAT TCD-D8 >
TASCAM DA-40 professional > WaveTerminal > HD >
WaveLab 6 > flac dBpowerAMP > md5summer

Excellent sound [A].

except:

Friend Of The Devil

LB-2980;
Taper: Schubert;
Additional sound mastering (ASM)

Excellent sound [A].

***

multi-purpose indoor arena and convention centre

Stadthalle
Wien, Austria
30 April 1999

60.Boots Of Spanish Leather
61.Cold Irons Bound

Concert # 1093 of The Never-Ending Tour.
Concert # 19 of the 1999 Europe Spring Tour.
1999 concert # 47.
Concert # 240 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),
Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar), Tony Garnier (bass),
David Kemper (drums & percussion).

Boots Of Spanish Leather acoustic with the band.

LB-7731;
Source: Unknown > Audio CDR's > EAC (secure mode) >
wav (adobe audition - checking tracks / spectral analysis)
> (Traders Little Helper (Flac Level 8) with align on SB option) >
Traders Little Helper - torrent

Excellent sound [A].

***

outdoor concert on top of a mountain in the snow

Silvretta Ski And Funsport Arena
The Idalpe
Ischgl, Austria
1 May 1999

Top of the Mountain Concert

62.Oh Babe, It Ain't No Lie (Elizabeth Cotton)
63.Under The Red Sky
64.It Takes A Lot To Laugh, It Takes A Train To Cry
65.If Not For You

Concert # 1094 of The Never-Ending Tour.
Concert # 20 of the 1999 Europe Spring Tour.
1999 concert # 48.
Concert # 241 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric slide guitar),
Larry Campbell (guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Oh Babe, It Ain't No Lie acoustic with the band.

1, 14 Bucky Baxter and Larry Campbell (backup vocal) on Oh Babe, It Ain't No Lie.

BobTalk

It?s such a thrill to play at this place, I only play here because Elton John played here!
Any place Elton plays, I have to play!
(after If Not For You).

LB-4122;
Taper: Schubert;
Additional sound mastering (ASM)

Excellent sound [A].

***

multi-purpose mega-arena

Olympiahalle
München, West Germany
2 May 1999

66.I Don't Believe You (She Acts Like We Never Have Met)

Concert # 1095 of The Never-Ending Tour.
Concert # 21 of the 1999 Europe Spring Tour.
1999 concert # 49.
Concert # 242 with the 11th Never-Ending Tour

Band: Bob Dylan (vocal & guitar),Bucky Baxter (pedal steel guitar & electric slide guitar), Larry Campbell (guitar),Tony Garnier (bass), David Kemper (drums & percussion).

LB-9642

Excellent sound [A].

***

rock on Bob!

XXX

1999-04-07 Lisbon
1999-04-08 Oporto
1999-04-09 Santiago de Compostela
1999-04-10 Gijon
1999-04-11 San Sebastian
1999-04-13 Santander
1999-04-14 Madrid
1999-04-15 Valencia
1999-04-17 Malaga
1999-04-18 Granada
1999-04-19 Murcia
1999-04-21 Zaragoza
1999-04-22 Barcelona
1999-04-23 Marseille
1999-04-25 Zurich
1999-04-27 Linz
1999-04-28 Ljubljana
1999-04-29 Graz
1999-04-30 Vienna
1999-05-01 Ischgl
1999-05-02 Munich

(224/1) Bob Dylan, 1999-04-23, Le Dome, Marseille, France

Audio/flac, dime/?, (20190420)

Bob Dylan, 4/23/99, Marseilles, 2CDR, (56min+46min)

unknown cd > eac > wav >shn

CD1
1. Cocaine Blues (acoustic)
2. Mr. Tambourine Man (acoustic)
3. Masters Of War (acoustic)
4. Visions Of Johanna (acoustic) (Thanks, Bob!!)
5. It Ain't Me Babe (acoustic, with harp)
6. Tangled Up In Blue (acoustic)
7. The Times They Are A-Changin' (acoustic)
8. Can't Wait

CD2
1. Just Like A Woman
2. Stuck Inside Of Mobile With The Memphis Blues Again
3. Not Dark Yet
4. Highway 61 Revisited
5. Love Sick
6. Rainy Day Women # 12 & 35
7. Blowin' In The Wind (acoustic)

(239/1) Bob Dylan, 1999-06-05, I Got Rosie On My Chest, Summer & Fall Paul Simon concerts, (Pink Panther Records)

Audio/flac, dime/?, (20190108)

Bob Dylan

1999 I GOT ROSIE ON MY CHEST

(Pink Panther Records)

the 1999 summer & fall "Paul Simon" concerts

***

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

100% lossless FLAC from best available sound sources.

***

WHO IS ROSIE

IÂ’m going down to Rose MarieÂ’s
She never does me wrong
She puts it to me plain as day
And gives it to me for a song

ItÂ’s a wicked life but what the hell
The stars ainÂ’t falling down
IÂ’m standing outside the Taj Mahal
I donÂ’t see no one around

Goin’ to Acapulco–goin’ on the run
Goin’ down to see fat gut–goin’ to have some fun
Yeah–goin’ to have some fun

Now, whenever I get up
And I ainÂ’t got what I see
I just make it down to Rose MarieÂ’s
Â’Bout a quarter after three

There are worse ways of getting there
And I ainÂ’t complaininÂ’ none
If the clouds donÂ’t drop and the train donÂ’t stop
IÂ’m bound to meet the sun

Goin’ to Acapulco–goin’ on the run
Goin’ down to see fat gut–goin’ to have some fun
Yeah–goin’ to have some fun

Now, if someone offers me a joke
I just say no thanks
I try to tell it like it is
And keep away from pranks

Well, sometime you know when the well breaks down
I just go pump on it some
Rose Marie, she likes to go to big places
And just set there waitinÂ’ for me to come

Goin’ to Acapulco–goin’ on the run
Goin’ down to see fat gut–goin’ to have some fun
Yeah–goin’ to have some fun

OR

The festival was over, the boys were all planninÂ’ for a fall
The cabaret was quiet except for the drillinÂ’ in the wall
The curfew had been lifted and the gamblinÂ’ wheel shut down
Anyone with any sense had already left town
He was standinÂ’ in the doorway lookinÂ’ like the Jack of Hearts

He moved across the mirrored room, “Set it up for everyone,” he said
Then everyone commenced to do what they were doinÂ’ before he turned their heads
Then he walked up to a stranger and he asked him with a grin
“Could you kindly tell me, friend, what time the show begins?”
Then he moved into the corner, face down like the Jack of Hearts

Backstage the girls were playinÂ’ five-card stud by the stairs
Lily had two queens, she was hopinÂ’ for a third to match her pair
Outside the streets were fillinÂ’ up, the window was open wide
A gentle breeze was blowinÂ’, you could feel it from inside
Lily called another bet and drew up the Jack of Hearts

Big Jim was no oneÂ’s fool, he owned the townÂ’s only diamond mine
He made his usual entrance lookinÂ’ so dandy and so fine
With his bodyguards and silver cane and every hair in place
He took whatever he wanted to and he laid it all to waste
But his bodyguards and silver cane were no match for the Jack of Hearts

Rosemary combed her hair and took a carriage into town
She slipped in through the side door lookinÂ’ like a queen without a crown
She fluttered her false eyelashes and whispered in his ear
“Sorry, darlin’, that I’m late,” but he didn’t seem to hear
He was starinÂ’ into space over at the Jack of Hearts

“I know I’ve seen that face before,” Big Jim was thinkin’ to himself
“Maybe down in Mexico or a picture up on somebody’s shelf”
But then the crowd began to stamp their feet and the houselights did dim
And in the darkness of the room there was only Jim and him
StarinÂ’ at the butterfly who just drew the Jack of Hearts

Lily was a princess, she was fair-skinned and precious as a child
She did whatever she had to do, she had that certain flash every time she smiled
SheÂ’d come away from a broken home, had lots of strange affairs
With men in every walk of life which took her everywhere
But sheÂ’d never met anyone quite like the Jack of Hearts

The hanginÂ’ judge came in unnoticed and was being wined and dined
The drillinÂ’ in the wall kept up but no one seemed to pay it any mind
It was known all around that Lily had JimÂ’s ring
And nothing would ever come between Lily and the king
No, nothinÂ’ ever would except maybe the Jack of Hearts

Rosemary started drinkinÂ’ hard and seeinÂ’ her reflection in the knife
She was tired of the attention, tired of playinÂ’ the role of Big JimÂ’s wife
She had done a lot of bad things, even once tried suicide
Was lookinÂ’ to do just one good deed before she died
She was gazinÂ’ to the future, riding on the Jack of Hearts

Lily washed her face, took her dress off and buried it away
“Has your luck run out?” she laughed at him, “Well, I guess you must
have known it would someday
Be careful not to touch the wall, thereÂ’s a brand-new coat of paint
I’m glad to see you’re still alive, you’re lookin’ like a saint”
Down the hallway footsteps were cominÂ’ for the Jack of Hearts

The backstage manager was pacing all around by his chair
“There’s something funny going on,” he said, “I can just feel it in the air”
He went to get the hanginÂ’ judge, but the hanginÂ’ judge was drunk
As the leading actor hurried by in the costume of a monk
There was no actor anywhere better than the Jack of Hearts

LilyÂ’s arms were locked around the man that she dearly loved to touch
She forgot all about the man she couldnÂ’t stand who hounded her so much
“I’ve missed you so,” she said to him, and he felt she was sincere
But just beyond the door he felt jealousy and fear
Just another night in the life of the Jack of Hearts

No one knew the circumstance but they say that it happened pretty quick
The door to the dressing room burst open and a cold revolver clicked
And Big Jim was standinÂ’ there, ya couldnÂ’t say surprised
Rosemary right beside him, steady in her eyes
She was with Big Jim but she was leaninÂ’ to the Jack of Hearts

Two doors down the boys finally made it through the wall
And cleaned out the bank safe, itÂ’s said that they got off with quite a haul
In the darkness by the riverbed they waited on the ground
For one more member who had business back in town
But they couldnÂ’t go no further without the Jack of Hearts

The next day was hanginÂ’ day, the sky was overcast and black
Big Jim lay covered up, killed by a penknife in the back
And Rosemary on the gallows, she didnÂ’t even blink
The hanginÂ’ judge was sober, he hadnÂ’t had a drink
The only person on the scene missinÂ’ was the Jack of Hearts

The cabaret was empty now, a sign said, “Closed for repair”
Lily had already taken all of the dye out of her hair
She was thinkinÂ’ Â’bout her father, who she very rarely saw
ThinkinÂ’ Â’bout Rosemary and thinkinÂ’ about the law
But most of all she was thinkinÂ’ Â’bout the Jack of Hearts

***

Bob played 49 concerts between 6/5 Denver & 9/18 Dallas.

These concerts were mainly double-header concerts with Paul Simon (where they alternated opening for each other every night), along with some breakout club shows which were performed without Paul Simon, along with the Crossroads benefit concert in New York with Eric Clapton.

Due to Bob playing with both the Paul Simon & Eric Clapton bands on occasions, some songs are duplicated in this compilation.

Some songs were played jointly with Paul Simon, with backup from the "opening" band.

All 81 songs played on this tour leg are included here.

This is a very misunderstood tour leg, which was widely criticized as a commercial money-grab at the time.

Having listened carefully to the available tracks from best possible sources (& all in FLAC),
I can assure you that the quality of both performance & sound is up there with the best of the NET.

What surprised me most were Bob's sincere efforts to make the collaborations with Paul Simon interesting.
The band alternated each night (depending on who opened), but each joint song also varied in structure from night to night with some great vocals from Bob (doing his best Art Garfunkel impersonation) & some very interesting harmonica.
Bob probably drove Paul Simon nuts doing it but it worked.
This might sound totally weird but lining up these collaboration songs & playing them one after the other is actually quite interesting!

49 concerts is a lot of concerts for one tour leg, but it holds up from start to finish.

Sound is generally excellent. You won't be disappointed with this one.

PS - Bob also told a lot of jokes - I'm glad he did nor pursue a career in comedy.

***

Statistics for this compilation (yes, lies, damn lies & statistics masquerading as facts)

86 ball-tearing, sensational tracks
81 different songs
31 concerts are represented here (from the total of 49 concerts)
8 hours & 33 minutes of music
1 bob

***

The setlists alternated radically from night to night, except for the joint Dylan-Simon collaborations.

- 5 songs were played 40 times or more
- 8 songs were played 30 times or more
- 16 songs were played 20 times or more (4 of them with Paul Simon)
- 22 songs were played 10 times or more
- 35 songs were played 5 times or more
- 8 songs were played only 4 times
- 6 songs were played only 3 times
- 10 songs were played only twice
- 21 songs were played only once

So much for the theory that the setlists were static night after night.

***

2 songs played 46 times:Like A Rolling Stone,Tangled Up In Blue
2 songs played 43 times:All Along The Watchtower,Highway 61 Revisited
1 song played 40 times:Not Dark Yet
1 song played 37 times:Knockin' On Heaven's Door (with Paul Simon)
1 song played 32 times:Mr Tambourine Man
1 song played 31 times:The Sound Of Silence (with Paul Simon)
1 song played 28 times:Stuck Inside Of Mobile With The Memphis Blues Again
1 song played 26 times:Not Fade Away
1 song played 25 times:Masters Of War
1 song played 24 times:Blowin' In The Wind
2 songs played 22 times:I Walk The Line (with Paul Simon),Just Like A Woman
1 song played 21 times:The Wanderer (with Paul Simon)
1 song played 20 times:It Ain't Me, Babe
1 song played 19 times:Blue Moon Of Kentucky (with Paul Simon)
1 song played 18 times:That'll Be The Day (with Paul Simon)
3 songs played 13 times:It's All Over Now, Baby Blue,Love Sick,Silvio
1 song played 11 times:My Back Pages
2 songs played nine times:The Boxer (with Paul Simon),Hallelujah, I'm Ready To Go
3 songs played eight times:Cocaine Blues,I Am The Man, Thomas,It's Alright, Ma (I'm Only Bleeding)

6 songs played seven times:
Desolation Row
Girl Of The North Country
Love Minus Zero / No Limit
Make You Feel My Love
Oh Babe, It Ain't No Lie
Somebody Touched Me

2 songs played six times:Friend Of The Devil,Lay, Lady, Lay

8 songs played four times:
Boots Of Spanish Leather
Down Along The Cove
Maggie's Farm
One Too Many Mornings
Positively 4th Street
Rainy Day Women #12 & 35
To Ramona
Tryin' To Get To Heaven

6 songs played three times:
A Hard Rain's A-Gonna Fall
Forever Young
Leopard-Skin Pill-Box Hat
Most Likely You Go Your Way (And I'll Go Mine)
Simple Twist Of Fate
The Times They Are A-Changin'

10 songs were played twice:
Highlands
I'll Be Your Baby Tonight
It Takes A Lot To Laugh, It Takes A Train To Cry
The Lonesome Death Of Hattie Carroll
Mama, You Been On My Mind
Roving Gambler
Seeing The Real You At Last
Tombstone Blues
Tomorrow Is A Long Time
Watching The River Flow

21 songs were played only once:
Alabama Getaway
Ballad Of A Thin Man
Blind Willie McTell
Born In Time
Bright Lights, Big City
Can't Wait
Cold Irons Bound
Crossroads
Every Grain Of Sand
The Heart That You Own
I Don't Believe You (She Acts Like We Never Have Met)
I Shall Be Released
John Brown
Just Like Tom Thumb's Blues
Lenny Bruce
Man In The Long Black Coat
Rank Strangers To Me
Senor (Tales Of Yankee Power)
Shelter From The Storm
Visions Of Johanna
You Ain't Goin' Nowhere

***

Howard Sounes

In 1999 Dylan teamed up with Paul Simon for a summer tour of the United States, performing in arenas and large outdoor venues.
The two singer-songwriters had known each other since the late-1960s and although they were not particularly close friends the combination of two such major artists – who would perform part of the concerts together on stage – drew big crowds willing to pay dearly to share a unique experience.
Ticket prices were set high, reaching $423 for the best seats at Madison Square Garden in New York.

Bucky Baxter was dropped from the band before the start of the Dylan-Simon tour.
Playing with Dylan had been a mixed experience. The fans, in particular, were strange.
“I always felt people weren't listening to what I was doing,” he says.
There was something odd about the way the same faces would be in the crowd night after night.
“What kind of person would want to go see the same shit over and over again? I think most of them were pretty crazy – kooky, you know.”
Dylan replaced Baxter with Charlie Sexton, a guitar prodigy from Austin, Texas, who had a pop career in the mid-1980s.

***

Andrew Muir

In between the Europe shows and the summer tour of the United States, Bucky Baxter (over 700 shows behind him) left the band.
He was replaced by Charlie Sexton, a guitarist held in high regard and one who could bring, amongst many other benefits, a cutting edge to the increasingly blues-dominated sound. With Sexton on board the band could roll as well as rock; swinging from a plaintive country sound to a howling blues at the flick of a switch.
It would take a while before Sexton bedded in, but it was well worth the wait.

As a critic of Dylan's double and triple headers with Van Morrison et al, I was especially depressed by news of the summer plans, an extortionately priced joint arena tour with Paul Simon. Art was losing out to Mammon as the promoters chased baby-boomer bucks.

After recent big money tours by The Eagles, Fleetwood Mac and The Rolling Stones, Bruce Springsteen was also touring that summer.
Meanwhile, Crosby, Stills, Nash And Young, Tom Petty, Steely Dan, John Mellencamp, Rod Stewart and James Taylor were amongst others chasing older rock fans' dollars.
Gary Bongiovanni, editor of Pollstar, was quoted as saying: "The baby boomers typically don't go out to more than a couple of shows a season – to appeal to that audience, you have to do things that reach “event” status, in their minds at least."

"It's the summer of the outrageously priced concert ticket," The Philadelphia Inquirer's Dan DeLuca bemoaned.
"Nationwide, prices for premium seats are going through the amphitheatre roof, particularly for superstar acts favored by baby boomers – Bob Dylan and Paul Simon are getting $100 for tickets to their July concert at Camden's Waterfront Entertainment Centre – Industry buzz has it that Dylan and Simon will split $525,000 a night."

However, Once In A Lifetime Event or not, it seemed a hundred bucks for a ticket might be too much.
"A study in contrasts, Dylan and Simon have indelibly shaped and broadened pop's musical landscape", George Varga reflected in The Union Tribune.
"[They] had never performed together before – making their unlikely-to-ever-be-repeated tour even more special, as do the on-stage duets.
So why are the ticket sales lagging for this historic tour? In a word: money.
For those fans who can afford it, hearing them together may be worthwhile at any price.
But for many more, this tour may be remembered more for its prohibitive cost to attend than for its music."

Dylan, as you would expect, played the line of "I'm just a travelling musician, I'll play for anybody, I'll do what it takes to get on stage."
More shocking were Dylan's comments that implied he considered Simon to be on an artistic par with himself.

"I consider him one of the pre-eminent songwriters of the times," Dylan commented. "Every song he does has got a vitality you don't find everywhere. "
Edna Gundersen, Two Titans On Tour Dylan And Simon Mix And Match, USA Today. Arlington, 5 April 1999.

Robert Hilburn, a writer convinced of Dylan's pre-eminence in the song-writing field, concurred.
Elevating Simon above such celebrated Dylan concert partners as The Band, Joni Mitchell and Van Morrison, Hilburn concluded, "Simon deserves a place alongside Dylan on the list of the half-dozen most enduring songwriters of the modern pop era."

As it turned out, my fears re the Paul Simon double headers were not fully realized, Dylan turning in HIGH-LEVEL PERFORMANCES DESPITE RELATIVELY UNCHANGING SET-LISTS.
He was in better voice in many of the joint shows than in the much-lauded Tramps, New York show on 26 July 1999.
This show quickly passed into legend among Dylan fans because of its appealing set-list (including Every Grain Of Sand, Visions Of Johanna and an extra encore with special guest Elvis Costello),
the more intimate venue and, most of all, its lack of Paul Simon.
Hardly reasons I would disagree with, but on hearing the show I was disappointed.
Dylan's voice was thin and reedy and he was straining for effect.
Naturally, I would love to report that a Dylan-only show with an inspired set-list showed up the money-making Simon shows for the rip-off they were, but I just do not hear it.

I should also point out that all those at the Tramps show found it to be amongst the best they had ever witnessed.
Given that most who were there would be faced with Madison Square Garden the next night, I can understand their enthusiasm for the location.
For the record they were treated to a Visions Of Johanna that repeatedly spoke of "visions of Madonna", for some reason known only to the man himself.

Despite the Simon shows sounding better than I had feared, I did not want to listen to all of them.
As a long-term Dylan listener I had heard too many of the songs too often in their current guise – Tangled Up In Blue, The Times They Are A-Changin', Silvio, Seeing The Real You At Last, Ballad Of A Thin Man, Tombstone Blues, Maggie's Farm, Highway 61 Revisited, Like A Rolling Stone, It Ain't Me, Babe, Not Fade Away, Blowin’ In The Wind and All Along The Watchtower could no longer hold my interest in these incarnations.

One of the selling points of this tour (of which there was another leg in September 1999) was the NIGHTLY CRINGE-MAKING DUETS of The Sound Of Silence, I Walk The Line / Blue Moon Of Kentucky (medley), and Knockin' On Heaven's Door.
The whole idea of these duets was silly in the extreme, but the contrast between the two singers was illuminating.
It was instructive for us Dylan fans bemoaning the RIGIDITY OF THE SET-LISTS night after night that Dylan was praised for the variations in his performance over Simon's bland professionalism.
Where we see predictability by Dylan's standards, the standard reviewer sees a wealth of creative exploration in Dylan's attitude to performance compared with the “professional” approach of someone like Paul Simon.
These particular duets were fairly nice in a very bland way. Amusing too for their very awkwardness, but not too obnoxious.
Or at least not until a reggae-lite KnockinÂ’ On Heaven's Door was jarred by the monstrous perversion
of incorporating some lines from a Simon song into the Dylan original. This nearly cost me a CD player and a replacement window.

***

THE WANDERER (Ernie Maresca)

The Wander was a 1962 hit for Dion And The Belmonts, reaching #2 in the US and #10 in the UK. The 1976 re-release made the UK Top-20.

Dion DiMucci said of The Wanderer:

"At its roots, it's more than meets the eye.
The Wanderer is black music filtered through an Italian neighborhood that comes out with an attitude.
It's my perception of a lot of songs like I'm A Man by Bo Diddley or Hoochie Coochie Man by Muddy Waters.
But you know, The Wanderer is really a sad song. A lot of guys don't understand that.
Bruce Springsteen was the only guy who accurately expressed what that song was about.
It's "I roam from town to town and go through life without a care, I'm as happy as a clown with my two fists of iron, but I'm going nowhere."
In the fifties, you didn't get that dark. It sounds like a lot of fun but it's about going nowhere."

+++

Oh well, I'm the type of guy who will never settle down
Where pretty girls are well, you know that I'm around
I kiss 'em and I love 'em 'cause to me they're all the same
I hug 'em and I squeeze 'em they don't even know my name

They call me the wanderer
Yeah, the wanderer
I roam around, around, around

Oh well, there's Flo on my left and there's Mary on my right
And Janie is the girl with that I'll be with tonight
And when she asks me, which one I love the best?
I tear open my shirt I GOT ROSIE ON MY CHEST

'Cause I'm the wanderer
Yeah, the wanderer
I roam around, around, around

Oh well, I roam from town to town
I go through life without a care
And I'm as happy as a clown
I with my two fists of iron and I'm going nowhere

I'm the type of guy that likes to roam around
I'm never in one place, I roam from town to town
And when I find myself fallin' for some girl
I hop right into that car of mine and ride around the world

Yeah I'm the wanderer
Yeah, the wanderer
I roam around, around, around

Oh yeah, I'm the type of guy that likes to roam around
I'm never in one place, I roam from town to town
And when I find myself a-fallin' for some girl
I hop right into that car of mine and drive around the world

Yeah, 'cause I'm a wanderer
Yeah, a wanderer
I roam around, around, around

'Cause I'm a wanderer
Yeah, a wanderer
I roam around, around, around

'Cause I'm a wanderer
Yeah, a wanderer

***

Fillmore Auditorium
Denver, Colorado
5 June 1999

Tour opener in small venue.

Warm up show with Paul Simon but without Paul Simon's band.

First concert with Charlie Sexton as a member of the touring band, replacing Bucky Baxter.

1.Friend Of The Devil (Jerry Garcia - Robert Hunter - John Dawson)
2.Mr Tambourine Man
3.Tomorrow Is A Long Time
4.Rank Strangers To Me (A. Brumley)
5.Cold Irons Bound
6.Just Like A Woman
7.Highway 61 Revisited
8.Maggie's Farm
9.Blue Moon Of Kentucky (Bill Monroe)
10.Forever Young

Concert # 1096 of The Never-Ending Tour.
First concert of the 1999 US Summer Tour with Paul Simon.
1999 concert # 50.
First concert with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:Friend Of The Devil, Mr Tambourine Man,Tomorrow Is a Long Time, Rank Strangers To Me.

Bob Dylan (harmonica) on Just Like A Woman.

Charlie Sexton and Larry Campbell backup vocal: Friend Of The Devil, Tomorrow Is A Long Time, Rank Strangers To Me.

Paul Simon (vocal & acoustic guitar) on Blue Moon Of Kentucky and Forever Young.

Larry Campbell (fiddle) on Blue Moon Of Kentucky and Forever Young..

BobTalk

We played that last song for everybody here who doesnÂ’t know anybody.
(after Rank Strangers To Me).

We got a very special guest. <mumble mumble mumble>. Ha-ha-ha. All right.
Very special guest. Too special guest. Mr Paul Simon is here. He-he.
WeÂ’re gonna try to do something.
(before The Sound Of Silence).

Live debuts of:
The Sound Of Silence,
I Walk The Line, and
Blue Moon Of Kentucky.

LB-1573;
xref-01384

Excellent sound [A].

***

General Motors Arena
Vancouver, British Columbia
11 June 1999

11.Tangled Up In Blue
12.Tryin' To Get To Heaven

Concert # 1100 of The Never-Ending Tour.
Concert # 5 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 54.
Concert # 5 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Tangled Up In Blue acoustic with the band.

Bob Dylan (harmonica) on Tangled Up In Blue.

Dylan was the opening act.

LB-5531

Excellent sound [A-].

***

Rose Garden Arena
Portland, Oregon
12 June 1999

13.Hallelujah, I'm Ready To Go (trad.)

Concert # 1101 of The Never-Ending Tour.
Concert # 6 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 55.
Concert # 6 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Hallelujah, I'm Ready To Go acoustic with the band.

Charlie Sexton and Larry Campbell (backup vocal) on Hallelujah, I'm Ready To Go.

Dylan was the opening act.

LB-5547;
Equipment: DAT, clone (?) >
(digital transfer) m-audio delta audiophile 2496 >
Wavelab > cdwave for tracking > tlh

Excellent sound [A-].

***

The Gorge Amphitheatre
George, Washington
13 June 1999

14.Stuck Inside Of Mobile With The Memphis Blues Again
15.Love Sick

Concert # 1102 of The Never-Ending Tour.
Concert # 7 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 56.
Concert # 7 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Paul Simon was the opening act.

LB-5540;
Taper: NET Taper G (NTG);
Equipment: DAT clone > (digital transfer) m-audio delta audiophile 2496 >
Wavelab > cdwave for tracking > tlh

Excellent sound [A-].

***

Erb Memorial Union Ballroom
University of Oregon
Eugene, Oregon
14 June 1999

16.Cocaine Blues (trad.)
17.My Back Pages
18.Boots Of Spanish Leather
19.A Hard Rain's A-Gonna Fall
20.Love Minus Zero/No Limit
21.Don't Think Twice, It's All Right
22.Down Along The Cove
23.Blind Willie McTell
24.Simple Twist Of Fate
25.Can't Wait

Concert # 1103 of The Never-Ending Tour.
Concert # 8 of the 1999 US Summer Tour with Paul Simon. 1999 concert # 57.
Concert # 8 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:
Cocaine Blues,
My Back Pages,
Boots Of Spanish Leather,
A Hard Rain's A-Gonna Fall
Don't Think Twice, It's All Right.

Bob Dylan (harmonica) on My Back Pages and Don't Think Twice, It's All Right..

Larry Campbell (fiddle) on My Back Pages.

Larry Campbell (bouzouki) on Blind Willie McTell.

Charlie Sexton and Larry Campbell (backup vocal): Cocaine Blues,A Hard Rain's A-Gonna Fall.

BobTalk

I wanna say hello to all the ex-hippies tonight.
IÂ’ve never been a hippie myself but Â… IÂ’m an honorary hippie!
(before Blind Willie McTell).

This was a breakout gig without Paul Simon.

Live debut of Down Along The Cove.

LB-1683;
Remaster: allalongthewatchtower.dk;
Soundboard-Audience mix

Excellent sound [A].

***

LB-9620 (the best available Sacramento tape) was reviewed but did not make the cut for any song.

LB-9620;
Taper: Hide;
Equipment: Sanken COS-11PT's > CPS161 > SONY TCD-D100 (16bit/44.1kHz) >
DAT-master > Roland UA-1EX > WAV (16bit/44.1kHz)

Excellent sound [A].

Andrew Muir

Nonetheless, as I say, I liked these shows more than I thought I would. Especially one I listened to repeatedly, from 16 June 1999 at Sacramento.
That night's opener, Cocaine Blues, is a song he always does well, but I particularly loved the Sacramento version.
Another song that regularly fully engages Dylan is the superlative My Back Pages and the Sacramento show was no let-down here.
The "younger than that now" phrase here became a howl of independence and the band's playing was splendid, as was Bob on the harmonica.

Sacramento also featured a very fine Don't Think Twice, It's All Right. Here was a song he performed as well as when he was much younger.
This served as a reminder that I (and we all, I suspect) take great versions of songs like Don't Think Twice, It's All Right, Girl Of The North Country, Boots Of Spanish Leather etc. for granted when often, despite being not exciting in terms of the set-list, they are amongst the best-performed songs in a show. Masters Of War followed it and was equally impressive.

In fact, throughout 1999 this song was brilliantly played time after time.
Dylan's somewhat aged and ragged voice perhaps perfectly expressed the appalling never-ending relevance of the blunt unforgiving words.
When I heard it again, live, that year in Europe with the bombs, bullets and torturers at close quarters, it was chilling.
As Robert Hilburn wrote of the performance he witnessed four days later at Arrowhead Pond in Anaheim, "This version of 1963's Masters Of War carried the urgency of a news bulletin."

Tangled Up In Blue was the next song to be delivered.
It was ever present again in 1999, be it a greatest hits night like this or a one-off club date with an otherwise more adventurous set-list.
Dylan was struggling to overcome a hoarse voice as the run of acoustic songs reached its climax, with a performance of this magnificent song that added absolutely nothing to the transcendent versions of yore.
It was as close to boring as such a masterly song sung by the master could ever be. The crowd loved it, naturally.

Then All Along The Watchtower appeared, or “old #3” as I think of it, with a reasonably understated opening.
The unmistakable melody is still a foot-tapper and still an audience favourite.
Positively 4th Street was taken slowly; Dylan sang it with a warm rasp, sounding more understanding than vindictive.
Stuck Inside Of Mobile With The Memphis Blues Again was given a passable rendition, although the vocals developed a whine by the song's conclusion.
Not Dark Yet, on the other hand, was a flawless reading of a song that was consummately performed more than once in 1999.

After the introduction of the band it was into the slam-bam rock encore of Highway 61 Revisited, which sounded fresher than it often had been.
Love Sick sounded much as it had on its debut back in Bournemouth, United Kingdom, 1997;
still atrnospheric and film noir-ish, still marred, though not for much longer, by the calamitous "thunder / plunder / wonder" triplet.

Then it was time to please the audience with that greatest of greatest hits: Like A Rolling Stone.
I must admit to preferring Love Sick in these 1999 end-of-show settings.
Although it is an immeasurably slighter piece of work it was consistently performed with a commitment missing
from the done-a-thousand-times-and-more” other electric encores.

As had become common, the best of all encore performances was to be found in the penultimate slot, reserved for the last acoustic song of the night.
In Sacramento, it was It Ain't Me, Babe that reminded us of Dylan's power and glory with words and music before he and the band attempted to destroy any similar memories of Buddy Holly's gifts by trashing the life out of Not Fade Away.

Dylan's interview comments that the Simon shows would be the same as he would normally play can be easily disproved by comparing this show with those performed in the upcoming November leg.
However, although I was not representative of the target audience I found it had much of merit, and I obtained a great deal of enjoyment from my repeated listenings.
You may well wonder, given my antipathy to this leg, why I ended up playing it at all, far less repeatedly. It was all down to luck.

I was sent Sacramento by one of those lovely people who like to send on rarities the minute they get them.
In this case the rarities were to be found as bonus tracks at the end of the Sacramento show.
As one of these tracks was much sought after, I inevitably ended up copying the discs for many friends.
Out of curiosity, I listened to the show itself, in addition to the extra tracks, and found myself drawn to it from the first listen.

The surprise songs and covers included, for example, Down Along The Cove. This was from 10 July 1999 at Maryland Heights, Missouri.
Sadly, hearing about this one being played was much more exhilarating than actually hearing it. Somebody Touched Me was also on my double disc.
I know it is a trifling piece but I thoroughly enjoyed it. This made you want to slap your thighs, get out that banjo and join in the shindig.
It was a joyful, religious celebration of a hands-on experience from the Lord Himself.
However the greatest of summer buzzes, and one in which the headiest of anticipations were met in full,
was the stunning live debut of Highlands on 25 June 1999.

This was why I was repeatedly copying the CDs for friends.
It is hard to describe the excitement amongst Dylan fans when we heard he had done this song, though this excitement, it must be said, was tinged with a fear that he would not do it justice.
Many of us have never recovered from hearing that he had sung Brownsville Girl in 1986 only to discover on playing it that although he had indeed sung Brownsville Girl a few more words certainly would not have gone amiss.
There were no such problems with Highlands on 25 June 1999. Anchored to a steady beat Dylan sang it with panache and, praise be, he remembered the lyrics.
The performance is a bit jauntier than that on the album, the humour and the fun elements more stressed.
The “Neil Young” verse and the superb waitress interlude were particularly effective.
They are also so on the studio track, but they seemed to stand out even more here.
All in all it was fabulous, "worth all of 1998 on its own" was my immediate, perhaps jaundiced, reaction.

***

Hollywood Bowl
Los Angeles, California
22 June 1999

26.It's All Over Now, Baby Blue

Concert # 1108 of The Never-Ending Tour.
Concert # 13 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 62.
Concert # 13 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It's All Over Now, Baby Blue acoustic with the band.

BobJoke

Almost didnÂ’t get here tonight. Had a flat tire, there was a fork in the road!

Paul Simon was the opening act.

LB-6961

Excellent sound [A].

***

Coors Amphitheatre
Chula Vista, California
25 June 1999

27.Highlands
28.I Don't Believe You (She Acts Like We Never Have Met)
29.It Takes A Lot To Laugh, It Takes A Train To Cry
30.It Ain't Me, Babe

Concert # 1109 of The Never-Ending Tour.
Concert # 14 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 63.
Concert # 14 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It Ain't Me, Babe acoustic with the band.

Bob Dylan (harmonica) on It Ain't Me, Babe.

BobJoke

All right, weÂ’re awfully tired, we slept all night in a trailer park.
Yeah, we had to be really quiet, we didnÂ’t want to wake up the sleeping bags.
(after Highlands).

Dylan was the opening act.

Live debut of Highlands.

LB-7562

Excellent sound [A-].

***

Garden Arena
MGM Grand
Las Vegas, Nevada
26 June 1999

31.Not Fade Away (Norman Petty/Charles Hardin)

Concert # 1110 of The Never-Ending Tour.
Concert # 15 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 64.
Concert # 15 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Paul Simon was the opening act.

LB-1711;
xref-00900

Excellent sound [A-].

***

Blockbuster Desert Sky Pavillion
Phoenix, Arizona
27 June 1999

32.Watching The River Flow

Concert # 1111 of The Never-Ending Tour.
Concert # 16 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 65.
Concert # 16 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

BobJoke

That was a song about water. I had to play that.
I was talkin’ to Neil Young yesterday actually. He said “there’s no cool music”.
I said “Neil, put your radio in the refrigerator”.
(after Watching The River Flow).

Dylan was the opening act.

LB-8779;
Unprocessed (raw) version of Olav ASM LB-3411

Excellent sound [A].

***

Madison Square Garden
New York City, New York
30 June 1999

Eric Clapton & Friends To Benefit Crossroads Centre Antigua

33.Born In Time
34.Leopard-Skin Pill-Box Hat
35.Not Dark Yet
36.Crossroads (Robert Johnson)
37.Bright Lights, Big City (Jimmy Reed)

Bob Dylan (vocal & guitar), Eric Clapton (guitar), Andy Fairweather Low (guitar), Nathan East (bass), Tim Carmon (keyboards), Steve Gadd (drums).

Eric Clapton (vocal & guitar):Born In Time, Crossroads,Bright Lights, Big City.

Katie Kissoon (backing vocals), Tessa Niles (backing vocals): Crossroads,Bright Lights, Big City.

Sheryl Crow (vocal & accordion) on Bright Lights, Big City.

LB-10464;
Soundboard

Excellent sound [A-].

***

Bayside Festival Park
Duluth, Minnesota
3 July 1999

38.Knockin' On Heaven's Door

Bob Dylan (acoustic guitar), Paul Simon (electric guitar), Mark Stewart (electric guitar), Vincent Nguini (electric guitar), Chris Botti, Jay Ashby, Andy Stitzer (horns), Tony Cedras (keyboards), Alain Mallet (keyboards), Bakhithi Kumalo (bass), Jamie Haddad (percussion), Steve Shehan (percussion), Steve Gadd (drums).

BobJoke

I was born right up on that hill.
IÂ’m so happy to see thatÂ’s itÂ’s still there.
Alright. My first girlfriend came from here. Yeah.
She was so conceited I used to call her Mimi.
She lives up there too.
(after TryinÂ’ To Get To Heaven).

Paul Simon was the opening act.

LB-9640;
Taper: Bt (Net Taper P);
Location: immediately in front of a speaker to the left of the stage;
Equipment: DPA 4061 microphones and Sony TCD-100 DAT recorder;
Original Master DAT > GINA24 digital sound card >
PC (Audacity) > CD Wave > FLAC

Excellent sound [A].

***

Howard Sounes

The Dylan-Simon tour crisscrossed the United States between June and October 1999.
On Saturday, 3 July 1999, in the middle of a heat wave, the band gave an outdoor show in Duluth, at the Bayfront Festival Park, a piece of parkland jutting into Lake Superior.
It was a major event, only the second time in his career that Dylan had played the town of his birth, and it serves as an example of the income generated by such a tour.
Tickets for the Duluth concert were $40 and the open admission capacity crowd was 25,000.
In theory, the show could have generated a gross of $1 million.
But Duluth was a small town and there was a threat of rain on the day so only about 20,000 people came.
After the promoter, the opening act, and Paul Simon were paid, East-West Touring would receive approximately $340,000.
Dylan had to pay his band, production staff, touring costs, and tax out of that sum before he took a profit as sole shareholder of East-West.
He was left with a net profit of about $200,000 for one night's work.

Before the Duluth show Dylan welcomed Sam Shepard and his wife, the actress Jessica Lange, into his customized Prevost tour bus, its panels painted with a swirling abstract mural in black and off-white. The bus looked austere from the outside, with impenetrable black windows and expanses of shiny chrome, but was homey inside with folksy handcrafted wood fittings, leaded glass panels, and a breakfast nook and bar. “He's a gypsy at heart, you know, and loves it.
I think he'd rather live in his bus than anything else,” says Shepard, laughing.

Paul Simon played first, giving a polished but unexciting performance. Dylan joined him on stage for three songs.
Seeing the two near-contemporaries side by side, one was impressed by Dylan's abundant personal charisma in direct contrast to Paul Simon, whose music was affecting but whose stage presence was minimal.

The stage was struck and then set for Dylan's show, with two burning braziers positioned on either side, smoke driving back as a freshening north-easterly wind rolled banks of fog in from the lake.
Dressed in black, Dylan began his set at dusk with acoustic songs.
There was a change of gear on the fifth number, Tangled Up In Blue.
The band kicked in hard at the end of the first verse and people got up from their deck chairs at the back of the park and started swaying to the music. Younger people at the front bounced up and down with exuberance.
There was loud applause at the end of the number. Dylan then swapped his acoustic for a Fender Stratocaster and blazed through All Along The Watchtower.

Dylan did not say anything to the crowd the first time he played in Duluth – just the previous October 1998 – other than to introduce the band.
Now he spoke in staccato bursts, accompanied by self-conscious gestures. “You know, I was born right up on that hill over there,” he said,
nodding to the north of town. There in the gloaming, on the other side of the 35 freeway – an extension of Highway 61 –
was the outline of St Mary's Hospital where he was born.
Above the hospital on the steep incline of 3rd Avenue was the woodframe duplex he had lived in as a small boy, before the family moved to Hibbing.
House lights glinted faintly.

“l'm glad to see it's still there,' he said, although he was not able to see the actual house, or make out the hospital clearly.
Presumably he meant the neighborhood itself. Then came one of those curious aliments that added to Dylan's reputation as an eccentric.
This serious man, who came on stage 50 minutes ago with a severe expression, made a joke so childish he might have learned it from one of his grandchildren.
“You know, my first girlfriend came from there. She was so conceited,” he said, emphasizing the word giddily as if he had just discovered it.
“I called her Mimi.”

Dylan stepped back, laughing. David Kemper smote the drums and the band rolled into Stuck Inside Of Mobile With The Memphis Blues Again.
Between verses, Dylan lifted his head and regarded the audience with pride and amusement.
“He's an extraordinary writer but he's also one of the most amazing live performers l've ever seen,” says Sam Shepard, who sat at the side of the stage with his wife and children.
“When you see his nature on stage, his true rhythmic soul, it just blows you away.”
He adds: “He's like a little Banty rooster with his tail up.”
Dylan twisted his body into contortions as he howled the pin-sharp words of Highway 61 Revisited. White stage lights flashed.
Fireflies glowed green as they danced between the gantries. Smoke from the braziers drifted back from the stage. Fog rolled in.
Sailboats rocked on the choppy water, their rigging jiggling against metal masts.
Dylan dragged out the last line of the song “Highway sixteeeeee – one” - dropping the last syllable like a bomb, his lips curling over large, horsehide teeth. Twisting down into a crouch, he traded guitar licks with his band, making eye contact with fans who urged him on, arms aloft, heads nodding vigorously.
Two more songs and then encores. Like A Rolling Stone sucked words out of the crowd: “How does it “feel”.”
One wondered at the store of malevolence they drew upon. The band changed to acoustic instruments for Blowin' In The Wind, which Dylan delivered with more feeling than anyone might expect of an artist who had been singing the song for almost 40 years.
Then they changed back to electric instruments and rocked out with a cover of Buddy Holly's Not Fade Away.
As Dylan said at the Grammy Awards, he saw Holly play the nearby Duluth Armory when he was a kid.
It was thrilling and incongruous to see the 58-year-old, careworn Dylan singing a pop song from his youth in three-part harmony with his guitar players.
Larry Campbell and Charlie Sexton looked young enough to be contemplating a love bigger than a Cadillac.
But Dylan obviously felt it too. His eyes sparkled. He grinned, bending his left leg and twisting his body into a crouch, holding up the neck of the Fender and making pantomime looks of surprise.
They reached a crescendo of sound, propelled along by the swing of the drums. Jessica Lange leaned forward in her chair clapping with delight.
A fake ending, a switchback – kerpow – white lights flashed and Dylan handed his guitar to a roadie.
He fluffed his hair and bowed low as the final sonic boom echoed across the dark lake. Fireworks shot into the sky.
At the other end of the park a ferris wheel revolved – electric yellow – and carnival music played.

***

Saint Andrews Hall
Detroit, Michigan
6 July 1999

39.Mama, You Been On My Mind
40.Man In The Long Black Coat
41.Just Like Tom Thumb's Blues

Concert # 1115 of The Never-Ending Tour.
Concert # 20 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 69.
Concert # 20 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Mama, You Been On My Mind acoustic with the band.

BobJoke

I thought IÂ’d go to the Motown Museum today <audience cheers> Yeah! Yeah.
I was looking for all the, you know all the Smokey Robinson stuff.
I asked the guy where all the Smokey Robinson stuff was.
“I don’t know”, he said, “but you know, ah, you know what happens to Clark Kent when he gets hungry?”
I said “What???” He said “He turns into Supperman”.
I said “I still want to know where all the Smokey Robinson stuff is”.
(after Silvio).

This was a breakout gig without Paul Simon.

LB-5443;
Location: stage centre right;
Equipment: DPA4061 > M1 > Zefiro ZA2 >
Sound Forge > CDR > EAC > FLAC

Very good to excellent sound [B+].

***

Pine Knob Music Theatre
Clarkston, Michigan
7 July 1999

42.Roving Gambler (trad.)
43.Leopard-Skin Pill-Box Hat
44.Señor (Tales Of Yankee Power)
45.Like A Rolling Stone
46.That'll Be The Day (Jerry Allison, Buddy Holly & Norman Petty)
47.The Wanderer (E. Maresca)

Concert # 1116 of The Never-Ending Tour.
Concert # 21 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 70.
Concert # 21 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band: Roving Gambler, That'll Be The Day, The Wanderer.

Charlie Sexton and Larry Campbell (backup vocal) on Roving Gambler.

Larry Campbell (fiddle) on Senor (Tales Of Yankee Power).

Paul Simon (vocal & acoustic guitar) on That'll Be The Day and The Wanderer.

Dylan was the opening act.

LB-3259

Excellent sound [A].

***

World Music Theatre
Tinley Park, Illinois
9 July 1999

48.Masters Of War
49.Rainy Day Women # 12 & 35

Concert # 1117 of The Never-Ending Tour.
Concert # 22 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 71.
Concert # 22 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar),
Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar),
Tony Garnier (bass), David Kemper (drums & percussion).

Masters Of War acoustic with the band.

Bob Dylan (harmonica) on Rainy Day Women #12 & 35.

Paul Simon was the opening act.

LB-1540

Excellent sound [A-].

***

Bogart's
Cincinnati, Ohio
11 July 1999

50.Girl Of The North Country
51.You Ain't Goin' Nowhere

Concert # 1119 of The Never-Ending Tour.
Concert # 24 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 73.
Concert # 24 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Girl Of The North Country acoustic with the band.

Charlie Sexton and Larry Campbell (backup vocal) on You Ain't Goin' Nowhere.

Larry Campbell (fiddle) on You Ain't Goin' Nowhere.

BobJoke

Charlie went over to the Hamilton County Jail today to see his cousin and bring him a cell phone.
He just about made it back to the gig. (during band intro before Highway 61 Revisited).

This was a breakout gig without Paul Simon.

LB-1836;
Transfer: Doug N;
Equipment: Oade Micro Mics > D8 (44.1);
Transfer:, DA-P1 > Audiophile 2496 > Wavelab 4 > CDWave > FLAC

Very good to excellent sound [B+].

***

GTE Virginia Beach Amphitheater
Virginia Beach, Virginia
13 July 1999

52.The Lonesome Death Of Hattie Carroll
53.All Along The Watchtower
54.That'll Be The Day (Jerry Allison, Buddy Holly & Norman Petty)

Concert # 1120 of The Never-Ending Tour.
Concert # 25 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 74.
Concert # 25 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band: The Lonesome Death Of Hattie Carroll,That'll Be The Day.

Paul Simon (vocal & acoustic guitar) on That'll Be The Day.

Dylan was the opening act.

LB-4156;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 >
Sony SBM-1 > Sony TCD-D100

Excellent sound [A].

***

Nissan Pavillion At Stone Ridge
Bristow, Virginia
16 July 1999

55.Somebody Touched Me (trad.)

Concert # 1122 of The Never-Ending Tour.
Concert # 27 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 76.
Concert # 27 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Somebody Touched Me acoustic with the band.

Dylan was the opening act.

LB-4302;
Remaster: Schubert

Excellent sound [A].

***

Sony Music Entertainment Center
Camden, New Jersey
17 July 1999

56.Make You Feel My Love

Concert # 1123 of The Never-Ending Tour.
Concert # 28 of the 1999 US Summer Tour with Paul Simon. 1999 concert # 77.
Concert # 28 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

BobJoke

WeÂ’re gonna play a song right now,
number one on the country charts by my buddy Garth Brooks.
Anyway, I wrote this song about my ex-wife and I had to get it out of my system,
so IÂ’ve written this song for her.
My ex-wife left me again tonight.
She was a tennis player and love means nothing to her.
(before Make You Feel My Love).

Paul Simon was the opening act.

LB-4135;
Taper: Bobby Bourbon & Wklitz;
Location: Section 102 Row A;
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D100

Excellent sound [A-].

***

Pepsi Arena
Albany, New York
20 July 1999

57.Oh Babe, It Ain't No Lie (Elizabeth Cotton)
58.I'll Be Your Baby Tonight

Concert # 1125 of The Never-Ending Tour.
Concert # 30 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 79.
Concert # 30 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Oh Babe, It Ain't No Lie acoustic with the band.

Larry Campbell pedal (steel guitar) on I'll Be Your Baby Tonight.

BobJoke

He almost wrote his first song today about his bed but it's not made up yet.
(during the introduction of David Kemper before Silvio).

Dylan was the opening act.

LB-3075

Excellent sound [A].

***

Tweeter Center For The Performing Arts
Mansfield, Massachusetts
22 July 1999

59.Silvio (Bob Dylan & Robert Hunter)

Concert # 1126 of The Never-Ending Tour.
Concert # 31 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 80.
Concert # 31 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Charlie Sexton and Larry Campbell (backup vocal) on Silvio.

Dylan was the opening act.

LB-5731;
Taper: Unwanted Man Music (UMM);
Location: right side, 7th row;
Equipment: AT853H > D7 > Tascam CD-RW750 > CD Wave > FLAC

Excellent sound [A-].

***

Tweeter Center For The Performing Arts
Mansfield, Massachusetts
23 July 1999

60.Lay, Lady, Lay

Concert # 1127 of The Never-Ending Tour.
Concert # 32 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 81.
Concert # 32 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Larry Campbell (pedal steel guitar) on Lay, Lady, Lay.

Paul Simon was the opening act.

LB-5724;
Taper: Unwanted Man Music (UMM);
Equipment: AT853H > D7 > Tascam CD-RW750 > CD Wave > FLAC

Excellent sound [A-].

***

Tramps
New York City, New York
26 July 1999

61.The Times They Are A-Changin'
62.John Brown
63.Visions Of Johanna
64.Seeing The Real You At Last
65.Ballad Of A Thin Man
66.Most Likely You Go Your Way (And I'll Go Mine)
67.Every Grain Of Sand
68.Tombstone Blues
69.Not Dark Yet
70.Highway 61 Revisited
71.Blowin' In The Wind
72.Alabama Getaway (Robert Hunter/Jerry Garcia)
73.I Shall Be Released

Concert # 1129 of The Never-Ending Tour.
Concert # 34 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 83.
Concert # 34 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band: The Times They Are A-Changin',John Brown,Visions Of Johanna.

Bob Dylan (harmonica) on The Times They Are A-Changin'.

Charlie Sexton and Larry Campbell (backup vocal): Blowin' In The Wind, Alabama Getaway.

Larry Campbell (bouzouki) on John Brown.

Larry Campbell (pedal steel guitar): Ballad Of A Thin Man,Every Grain Of Sand.

Elvis Costello (vocal & guitar) on I Shall Be Released.

This was a breakout gig without Paul Simon.

LB-4136;
Taper: Bobby Bourbon & Mike Inhatt;
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D100

Excellent sound [A-].

***

Madison Square Garden
New York City, New York
27 July 1999

74.The Sound Of Silence (Paul Simon)
75.I Walk The Line (Johnny Cash)

Concert # 1130 of The Never-Ending Tour.
Concert # 35 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 84.
Concert # 35 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band The Sound Of Silence and I Walk The Line.

Bob Dylan (harmonica) on The Sound Of Silence.

Paul Simon (vocal & acoustic guitar) on The Sound Of Solence and I Walk The Line.

Larry Campbell (fiddle) on I Walk The Line.

Dylan was the opening act.

LB-6038;
No More Alibis (Rattlesnake / RS 003-4-5)

Excellent sound [A-].

***

PNC Bank Arts Center
Holmdel, New Jersey
28 July 1999

76.Lenny Bruce

Concert # 1131 of The Never-Ending Tour.
Concert # 36 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 85.
Concert # 36 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Larry Campbell (pedal steel guitar) on Lenny Bruce.

Paul Simon was the opening act.

LB-2970;
Remaster: Schubert

Good sound [B].

***

Jones Beach Theater
Jones Beach State Park
Wantagh, New York
30 July 1999

77.Desolation Row
78.Shelter From The Storm

Concert # 1132 of The Never-Ending Tour.
Concert # 37 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 86.
Concert # 37 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Desolation Row acoustic with the band.

Larry Campbell (pedal steel guitar) on Shelter From The Storm.

Paul Simon was the opening act.

LB-7200;
Remaster: OctopusRider;
SBD/AUD Matrix by OctopusRider;
SBD: Something Is Happening On Mr Jones' Beach (Rattlesnake) LB-5099;
AUD: Sony D3 Walkman > Sony CDRs > FLAC (A Doinker Tape) LB-5100

Very good to excellent sound [B+].

***

Jones Beach Theater
Jones Beach State Park
Wantagh, New York
31 July 1999

79.Positively 4th Street
80.The Sound Of Silence (Paul Simon)

Concert # 1133 of The Never-Ending Tour.
Concert # 38 of the 1999 US Summer Tour with Paul Simon.
1999 concert # 87.
Concert # 38 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

The Sound Of Silence acoustic with the band.

Bob Dylan (harmonica) on The Sound Of Silence.

Larry Campbell (pedal steel guitar) on Positively 4th Street.

Paul Simon (vocal & acoustic guitar) on The Sound Of Silence.

Dylan was the opening act.

LB-5209

Excellent sound [A].

***

Andrew Muir

After a break, September 1999 saw Dylan continuing to tour with Simon for another ten dates.
It was more of the same with the most surprising song selection being a one-off cover of Dwight Yoakam's The Heart That You Own on 2 September 1999 at West Palm Beach.

***

Coral Sky Amphitheatre
West Palm Beach, Florida
2 September 1999

81.The Heart That You Own (Dwight Yoakam)

Concert # 1134 of The Never-Ending Tour.
First concert of the 1999 US Fall Tour with Paul Simon.
1999 concert # 88.
Concert # 39 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Larry Campbell (pedal steel guitar) on The Heart That You Own.

Dylan was the opening act.

Live debut of The Heart That You Own.

LB-10787;
Taper: Dolphinsmile;
Equipment: akg391 > Sony D8 > wav (48/16) > flac (flac 1.2.1) >
wav (TLH w/flac 1.2.1b) > wav (44.1/16) [Adobe Audition 1.5/fix-downsample*] >
flac (TLH w/flac 1.2.1b - align on SB 'fix' option - level 8)

Excellent sound [A-].

***

Andrew Muir

It also included the novelty of having a guest on for the entire Dylan half of the show.
This happened on 8 September 1999 at the First American Music Centre in Antioch.
The guest was country multi-instrumentalist and singer Marty Stuart, and so inspired was Dylan by his presence that he turned in a performance which Dylan chronicler for the last five decades,
Paul Williams, described as: "quite possibly the best Dylan concert I've ever seen".
That is quite a quote from a man who had seen Dylan at his peak in the 1960s and 1970s, even allowing for the rush of enthusiasm one gets from catching Dylan on a hot night.

***

First American Music Center
Antioch, Tennessee
8 September 1999

82.I Am The Man, Thomas (Ralph Stanley/Larry Sparks)

Concert # 1137 of The Never-Ending Tour.
Fourth concert of the 1999 US Fall Tour with Paul Simon.
1999 concert # 91.
Concert # 42 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

I Am The Man, Thomas acoustic with the band.

Charlie Sexton and Larry Campbell (backup vocal) on I Am The Man, Thomas.

Marty Stuart (mandolin) on I Am The Man, Thomas.

Dylan was the closing act.

Probably the first show ever with the same guest, Marty Thomas, on all songs.

LB-3627;
Equipment: neumann km140 > sonosax >
pcm-m1 > trade cdrs > eac > flac

Excellent sound [A-].

***

The Pyramid
Memphis, Tennessee
11 September 1999

83.One Too Many Mornings

Concert # 1139 of The Never-Ending Tour.
Sixth concert of the 1999 US Fall Tour with Paul Simon.
1999 concert # 93.
Concert # 44 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

One Too Many Mornings acoustic with the band.

Bob Dylan (harmonica) on One Too Many Mornings.

Larry Campbell (pedal steel guitar) on One Too Many Mornings.

Dylan was the closing act.

LB-2007

Excellent sound [A-].

***

The Cajundome
University Of Southwestern Louisiana
Lafayette, Louisiana
12 September 1999

84.To Ramona
85.The Boxer (Paul Simon)

Concert # 1140 of The Never-Ending Tour.
Seventh concert of the 1999 US Fall Tour with Paul Simon.
1999 concert # 94.
Concert # 45 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

To Ramona and The Boxer acoustic with the band.

Paul Simon (vocal & acoustic guitar) on The Boxer.

Dylan was the opening act.

LB-1483

Excellent sound [A-].

***

Special Events Center Arena
University Of Texas At Austin
Austin, Texas
15 September 1999

86.It's Alright, Ma (I'm Only Bleeding)

Concert # 1141 of The Never-Ending Tour.
Eighth concert of the 1999 US Fall Tour with Paul Simon.
1999 concert # 95.
Concert # 46 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

It's Alright, Ma (I'm Only Bleeding) acoustic with the band.

Dylan was the closing act.

LB-7010

Very good to excellent sound [B+].

***

Rock on Bob!

XXX

1999-06-05 Denver
1999-06-11 Vancouver
1999-06-12 Portland
1999-06-13 George
1999-06-14 Eugene
1999-06-22 Los Angeles
1999-06-25 Chula Vista
1999-06-26 Las Vegas
1999-06-27 Phoenix
1999-06-30 New York
1999-07-03 Duluth
1999-07-06 Detroit
1999-07-07 Clarkston
1999-07-09 Tinley Park
1999-07-11 Cincinnati
1999-07-13 Virginia Beach
1999-07-16 Bristow
1999-07-17 Camden
1999-07-20 Albany
1999-07-22 Mansfield
1999-07-23 Mansfield
1999-07-26 New York
1999-07-27 New York
1999-07-28 Holmdel
1999-07-30 Wantagh
1999-07-31 Wantagh
1999-09-02 West Palm Beach
1999-09-08 Antioch
1999-09-11 Memphis
1999-09-12 Lafayette
1999-09-15 Austin


(222/1) Bob Dylan, 1999-09-28, I Got A Black Cat Bone, Fall Tour of US with Phil Lesh, (Pink Panther Records)

Audio/flac, dime/?, (20190420)

Bob Dylan

1999 I GOT A BLACK CAT BONE

The 1999 United States Fall Tour with Phil Lesh

Pink Panther Records

Co-produced by Detective Inspector Jacques Clouseau and President Vladimir Putin.

Mastered at Lubyanka Sound Studios, KGB Headquarters, Moscow.

Another absolutely brilliant production from Jacques, Vladimir and the death metal specialists at Lubyanka.

***

100% lossless FLAC from best available sound sources.

***

I was going to call this 20th Century Blues, but marianne faithful beat me to it.

one of the most productive four weeks in NET history - in terms of both quality & quantity - & most of it in great sound.

bob finished the 20th century with a short, sharp tour where he looked both forward & back -
a sort of parallel to elvis's '68 comeback special, pieced together from two sitdown & another two standing sets.
bob had a month-long party with 22 concerts - all of which are represented here.

the commentary is from Relix Magazine & is from the perspective of a deadhead who sees Phil Lesh as a cosmic hippie god & bob as the support act.

if you don't like this, you don't like bob - astonishing music with lots of pleasant surprises.

PS - the jokes have not improved.

+++

101 tracks
96 different songs (excluding the Dharma & Greg TV appearance)
22 different concerts
1 TV appearance
1 bob

***

the setlists varied radically each night
over half the songs were played only once or twice

only Not Fade Away, Tangled Up In Blue, Love Sick, Like A Rolling Stone & I Am The Man, Thomas appeared most nights.

***

1 song played 20 times:Not Fade Away
1 song played 19 times:Tangled Up In Blue
1 song played 17 times:Love Sick
1 song played 15 times:Like A Rolling Stone
1 song played 13 times:I Am The Man, Thomas
3 songs played 11 times:Blowin' In The Wind, Don't Think Twice, It's All Right, Highway 61 Revisited
2 song played ten times:Rainy Day Women #12 & 35
1 song played nine times:It's Alright, Ma (I'm Only Bleeding)
1 song played eight times:Not Dark Yet
1 song played seven times:All Along The Watchtower
7 songs played five times:Desolation Row, Girl Of The North Country, It Ain't Me, Babe, Mama, You Been On My Mind, Mr Tambourine Man, Stuck Inside Of Mobile With The Memphis Blues Again, Tombstone Blues
5 songs played four times:Just Like Tom Thumb's Blues, Leopard-Skin Pill-Box Hat, One Too Many Mornings, Silvio, Visions Of Johanna

16 songs played three times:
A Hard Rain's A-Gonna Fall
Blind Willie McTell
Cat's In The Well
Everything Is Broken
Joey
Maggie's Farm
Make You Feel My Love
Man Of Peace
Masters Of War
My Back Pages
Senor (Tales Of Yankee Power)
Somebody Touched Me
Song To Woody
The Times They Are A-Changin'
To Ramona
Tomorrow Is A Long Time

23 songs played twice:
Alabama Getaway
Ballad Of A Thin Man
Boots Of Spanish Leather
Down Along The Cove
Every Grain Of Sand
Folsom Prison Blues
Friend Of The Devil
Highlands
Hootchie Cootchie Man
I Want You
If You See Her, Say Hello
It Takes A Lot To Laugh, It Takes A Train To Cry
It's All Over Now, Baby Blue
Love Minus Zero / No Limit
Oh Babe, It Ain't No Lie
Positively 4th Street
Ring Them Bells
Rock Of Ages
Roving Gambler
Shelter From The Storm
Stone Walls And Steel Bars
This Wheel's On Fire
Watching The River Flow

33 songs played only once:
A Satisfied Mind
Absolutely Sweet Marie
Big River
Can't Wait
Cocaine Blues
Duncan And Brady
Everybody Loves Somebody
Forever Young
Hallelujah, I'm Ready To Go
I & I
I Don't Believe You (She Acts Like We Never Have Met)
I Shall Be Released
I'll Be Your Baby Tonight
John Brown
Just Like A Woman
The Lonesome Death Of Hattie Carroll
The Man In Me
Man In The Long Black Coat
Money Honey
Most Likely You Go Your Way (And I'll Go Mine)
Queen Jane Approximately
Seeing The Real You At Last
Shooting Star
Simple Twist Of Fate
Tears Of Rage
This World Can't Stand Long
'Til I Fell In Love With You
To Be Alone With You
West LA Fadeaway
What Good Am I?
When I Paint My Masterpiece
You Ain't Goin' Nowhere
You're A Big Girl Now

***

HOOTCHIE COOTCHIE MAN (Willie Dixon)

The gypsy woman told my mother
Before I was born
I got a boy child's comin'
He's gonna be a son of a gun
He gonna make pretty women's
Jump and shout
Then the world wanna know
What this all about
But you know I'm him
Everybody knows I'm him
Well you know
I'm the hoochie coochie man
Everybody knows I'm him

I GOT A BLACK CAT BONE
I got a mojo too
I got the Johnny Concheroo
I'm gonna mess with you
I'm gonna make you girls
Lead me by my hand
Then the world will know
The hoochie coochie man
But you know I'm him
Everybody knows I'm him
Oh you know I'm the hoochie coochie man
Everybody knows I'm him

On the seventh hours
On the seventh day
On the seventh month
The seven doctors say
He was born for good luck
And that you'll see
I got seven hundred dollars
Don't you mess with me
But you know I'm him
Everybody knows I'm him
Well you know I'm the hoochie coochie man
Everybody knows I'm him

***

BLACK CAT BONE (Wikipedia)

A black cat bone is a type of lucky charm used in the African American magical tradition of hoodoo.
It is thought to ensure a variety of positive effects, such as invisibility, good luck, protection from malevolent magic, rebirth after death, and romantic success.

sounds like bob

***

ABC TV Studios,
New York City, New York,
28 September 1999

Play, Lady, Play episode Dharma & Greg

1.Instrumental #1
2.Instrumental #2
3.Instrumental #3
4.Dialogue

Two untitled instrumentals performed during episode 4 of season 3 of the US ABC TV comedy series Dharma & Greg, first broadcast 12 Oct 1999 - not named individually but copyrighted as part of the collective work.
Bob appears with a band including T-Bone Burnett, with Dharma (Jenna Elfman) playing drums, Dharma & Greg - US ABC TV comedy series broadcast from 1997 to 2002 - Bob appeared in the episode first broadcast on 12 Oct 1999 playing two unnamed instrumentals collectively copyrighted as Play, Lady, Play.

LB-6541

Excellent sound [A-].

***

Howard Sounes

After a short break in the tour, during which Dylan had a cameo in the Dharma & Greg television sit-com, he was back on the road in October 1999 co-headlining with former Grateful Dead member Phil Lesh.
Ironically, according to Bob Weir, it was Lesh who had vetoed Dylan joining The Grateful Dead back in 1989.

***

Andrew Muir

On 26 October 1999, Dylan played another small club gig at Park West, Chicago; two shortened sets in the one night, announced only a few days prior to the event.
The two sets augured well for the upcoming leg with Phil Lesh.
Even songs like Tombstone Blues and, a differently paced Like A Rolling Stone, benefited from a freshness and renewal of energy.
You know when a throwaway number like Everything Is Broken is enjoyable that Dylan is really on song.

***

Park West
Chicago, Illinois
26 October 1999

Early show

5.I Want You
6.Just Like Tom Thumb's Blues

Concert # 1144 of The Never-Ending Tour.
First concert of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 98.
Concert # 49 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

This was a show without Phil Lesh.

LB-4725

Noise from beer bottles and plastic cups.

Excellent sound [A].

***

Park West
Chicago, Illinois
26 October 1999

Late show

7.Stone Walls And Steel Bars (Ray Pennington / Ray Marcum)
8.Watching The River Flow
9.Everything Is Broken

Concert # 1145 of The Never-Ending Tour.
Second concert of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 99.
Concert # 50 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Stone Walls And Steel Bars acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals) on Stone Walls And Steel Bars.

BobJoke

David is the only drummer around who tried to make a slow horse fast by just not feeding him!
(during band credits before Everything Is Broken).

This was a show without Phil Lesh.

LB-4728

Excellent sound [A].

***

JC Juanis, Watching The River Flow: On Tour With Phil Lesh And Bob Dylan (Fall 1999), Relix Magazine, April 2000

Back in the fall of 1999 Phil Lesh And Friends took to the road for a tour with Dylan.
Lesh?s band on most of these days included 80% of the what would be known as the Phil Lesh Quintet
as the bassist was joined by Warren Haynes, Rob Barraco and John Molo.
Rather than Jimmy Herring, a young Derek Trucks appeared on guitar for many of these gigs with Jorma Kaukonen (and others) contributing as well.

***

JC Juanis, Relix Magazine

When it was first announced that former Grateful Dead bassist Phil Lesh would be embarking on an extensive tour with Dylan, rock fans were overjoyed.
The two artists have crossed paths many times over the years as Dylan and The Grateful Dead shared both a common musical vision and an audience made up of many of the same devoted fans.

This tour was the biggest excursion undertaken by Lesh since his liver transplant provided him with a new lease on life less than a year earlier.
The tour would cover 17 dates in mostly college arenas, as well as touching down in some of the favorite touring stops that The Grateful Dead enjoyed for so many years. The shows were advertised with both artists receiving equal billing on the posters and advertisements.
Shortly before the tour began, Lesh and Dylan decided that for the sake of the ease of production process and soundchecks, they would agree to a coin toss to determine who would perform first. Lesh, having won the toss, elected to play first at each of the shows.
The tour was set; the only thing left to do was to prepare for the road. For Lesh, though, that meant some unexpected detours along the way.

Phil Lesh And Friends decided to do some warm up shows at The Fillmore Auditorium in Denver with Paul Barrere and Billy Payne from Little Feat who were signed on to perform with Lesh on the first leg of the Dylan tour.
By all accounts, these shows were a resounding success as the Little Feat members blended perfectly with the hard jamming sounds of Phil Lesh And Friends.

While Steve Kimock had always been the cornerstone of all the previous Phil Lesh And Friends shows, the guitarist walked off the tour after the opening performance with Dylan in Champaign, Illinois.
Since his abrupt departure, the guitarist has never given a full accounting of the reasons for bailing, leaving many fans bewildered.
That said, Kimock returned to San Francisco on the eve of the biggest showcase of his life.
Also complicating matters was the dismissal of roadies Steve Parish and Ramrod.
The reasons for their dismissal appeared to be some old issues between the Dylan and Grateful Dead road crews.
Lesh addressed this matter on his website several days later when he posted a message under his pen name Reddy Kilowatt.
?I will not allow old politics and ego to poison what I am striving to do, ? he said, ?a tour where the only mission is to do our best to honor the music, the musicians, and the community.?

While the loss of such a significant musical partner such as Kimock could have spelled doom to a lesser band, the departure actually opened new doors for the bassist as Lesh quickly discovered.
Phil Lesh And Friends played its next two dates with Paul Barrere and Billy Payne
before guitarist Derek Trucks signed on to the tour in time for a rollicking Halloween show in Chicago, which was the last show on the tour with the Little Feat guys.

Like a young Jedi knight wielding his light saber, Trucks? soulful, high-soaring, slide-guitar playing added an unheard element in the Phil Lesh And Friends sound.
Trucks? arrival came at just the right time as Gov?t Mule guitarist Warren Haynes and Zen Tricksters keyboardist Rob Barraco joined the tour at the next gig, providing what would be the core band for most of the remaining shows on the tour.

While the Internet chat groups debated what was occurring on the state of affairs with Phil Lesh And Friends, we left San Francisco to embark on our first Grateful Dead related tour since the band?s 20th Anniversary shows back in 1985.
The following recounts some of the moments that occurred on the last half of the tour.

***

Assembly Hall
University Of Illinois
Champaign, Illinois
27 October 1999

10.One Too Many Mornings
11.This Wheel's On Fire (Bob Dylan/Rick Danko)
12.It Ain't Me, Babe

Concert # 1146 of The Never-Ending Tour.
Third concert of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 100.
Concert # 51 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

One Too Many Mornings acoustic with the band.

Bob Dylan (harmonica) on One Too Many Mornings.

LB-11335

Excellent sound [A].

***

Millett Assembly Hall
Miami University
Oxford, Ohio
29 October 1999

13.Mr Tambourine Man
14.Masters Of War
15.It's All Over Now, Baby Blue
16.When I Paint My Masterpiece
17.Blowin' In The Wind

Concert # 1147 of The Never-Ending Tour.
Concert # 4 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 101.
Concert # 52 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:
Mr Tambourine Man
Masters Of War
It's All Over Now, Baby Blue
Blowin' In The Wind

Larry Campbell & Charlie Sexton (backup vocals) on Blowin' In The Wind.

BobJoke

On my right is Larry Campbell playing the guitar.
Larry is a little tired, Larry busted up his toe last night.
We sent for a tow-truck, but the tow-truck never came!
(during band credits before Highway 61 Revisited).

LB-2495;
Equipment: Schoeps CMC64 > Sonosax p/s >
sv255 > DAT > CDRMaster > CDwave > FLAC

Very good to excellent sound [B+].

***

Milwaukee Arena
Milwaukee, Wisconsin
30 October 1999

18.The Times They Are A-Changin'
19.Mama, You Been On My Mind
20.All Along The Watchtower
21.Every Grain Of Sand
22.Love Sick

Concert # 1148 of The Never-Ending Tour.
Concert # 5 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 102.
Concert # 53 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar),
Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar),
Tony Garnier (bass), David Kemper (drums & percussion).

The Times They Are A-Changin, Mama, You Been On My Mind acoustic with the band.

Bob Dylan (harmonica) on Mama, You Been On My Mind.

LB-9972

Excellent sound [A].

***

University Of Illinois
Conference Center Pavilion
Chicago, Illinois
31 October 1999

23.Simple Twist Of Fate

Concert # 1149 of The Never-Ending Tour.
Concert # 6 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 103.
Concert # 54 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

LB-5625;
xref-01439;
Equipment: AUD DAT Master [Sonic Studios 6P] >
DAT clone(s) > CD > EAC > WAV > Soundforge 6.0 > FLAC

Excellent sound [A].

***

Breslin Student Events Center
Michigan State University
East Lansing, Michigan
2 November 1999

24.Don't Think Twice, It's All Right
25.Can't Wait
26.Just Like A Woman

Concert # 1150 of The Never-Ending Tour.
Concert # 7 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 104.
Concert # 55 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Don't Think Twice, It's All Right acoustic with the band.

Bob Dylan (harmonica) on Don't Think Twice, It's All Right.

BobJoke

And it?s me playing on the bass! No, no, no Tony Garnier is playing on the bass!
(during band intro before Highway 61 Revisited).

LB-0023;
Equipment: Schoeps MK4V > Schoeps Box > SBM1 > DAT > CDR1 > CDWAVE > FLAC

Excellent sound [A].

***

Value City Arena
Jerome Schottenstein Center
Ohio State University
Columbus, Ohio
3 November 1999

27.A Hard Rain's A-Gonna Fall
28.Tomorrow Is A Long Time
29.To Be Alone With You
30.Señor (Tales Of Yankee Power)
31.I Don't Believe You (She Acts Like We Never Have Met)
32.It Takes A Lot To Laugh, It Takes A Train To Cry
33.If You See Her, Say Hello
34.Silvio (Bob Dylan & Robert Hunter)

Concert # 1151 of The Never-Ending Tour.
Concert # 8 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 105.
Concert # 56 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

A Hard Rain's A-Gonna Fall, Tomorrow Is A Long Time acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals):A Hard Rain's A-Gonna Fall, Tomorrow Is A Long Time, Silvio

Larry Campbell (fiddle) on Senor (Tales Of Yankee Power).

Bob Dylan (harmonica) on Senor (Tales Of Yankee Power).

LB-4749;
Equipment: AUD DAT Master [Sonic Studios 6P] > DAT clone(s) > WAV >
Soundforge 6.0 > CD Wave > CD > EAC > WAV > FLAC

Excellent sound [A].

***

Civic Arena
Pittsburgh, Pennsylvania
5 November 1999

35.Roving Gambler (trad.)
36.Love Minus Zero/No Limit
37.Cocaine Blues (trad.)
38.You Ain't Goin' Nowhere
39.Cat's In The Well

Concert # 1152 of The Never-Ending Tour.
Concert # 9 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 106.
Concert # 57 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Roving Gambler, Love Minus Zero / No Limit, Cocaine Blues acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals):Roving GamblerCocaine Blues, You Ain't Goin' Nowhere

Bob Dylan (harmonica) on You Ain't Goin' Nowhere.

Larry Campbell (pedal steel guitar) on You Ain't Goin' Nowhere.

First performance of Cat's In The Well since Wallingford 18 August 1997.

LB-2445;
Equipment: Schoeps Mics > asterDAT > CDR1 > CDR2 > CDWAVE > FLAC

Excellent sound [A-].

***

Bryce Jordan Center
Penn State University
State College, Pennsylvania
6 November 1999

40.Shelter From The Storm
41.Seeing The Real You At Last
42.Tears Of Rage (Bob Dylan/Richard Manuel)

Concert # 1153 of The Never-Ending Tour.
Concert # 10 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 107.
Concert # 58 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Larry Campbell & Charlie Sexton (backup vocals) on Tears Of Rage.

Larry Campbell (pedal steel guitar) on Tears Of Rage.

LB-5145;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1(@44.1khz) >
Sony TCD-D7 > DAT MASTER > Sony TCD-D100 > Ediril R-04>Wavelab 5 > CDWAV > FLAC

Excellent sound [A].

***

Baltimore Arena
Baltimore, Maryland
8 November 1999

43.I Am The Man, Thomas (Ralph Stanley/Larry Sparks)
44.Ring Them Bells
45.Big River (Johnny Cash)
46.Man In The Long Black Coat

Concert # 1154 of The Never-Ending Tour.
Concert # 11 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 108.
Concert # 59 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

I Am The Man, Thomas, Ring Them Bells acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals) on I Am The Man, Thomas.

Larry Campbell (pedal steel guitar) on Ring Them Bells, Man In The Long Black Coat.

First performance of Ring Them Bells since Differdange, France, 24 June 1996.

Only second live performance of Big River, the first was in Santa Barbara, California, 7 August 1988.

LB-4720;
Equipment: daud fob sonic studios > tree trade 48k dat >
midiman delta dio 2496 > cooledit > wav > flac

Excellent sound [A].

***

JC Juanis, Relix Magazine

After an afternoon exploring our nation?s first capital, we descended on Temple University.
Philadelphia is an old city, and this newly constructed venue stands in stark contrast to the surrounding buildings, many of which are over 100 years old. While we do not make it back east very often, we were greeted by many old friends including Relix publisher, Toni Brown.
Toni is a celebrity in her own right in these parts and while we chatted, many fans came by and gave us their warm wishes.
We were heartened to learn that Phil had jammed with Dylan the previous night in Delaware performing Friend Of The Devil.
In recent years, Dylan has included The Grateful Dead classic in his set.

Proving that the world is indeed a small place we also ran into Carolyn ?Mountain Girl? Adams, who had come out to catch her first sets of Phil Lesh And Friends shows.
Jerry Garcia?s former wife gave a big thumbs-up to what she had heard the evening before.
Throughout the tour, the venues employed a reserved seat policy in the stands, with an open general admission for fans on the floor.
Admission to the floor required a wristband, which caused some delays for folks who were trying to make it down to the floor area.

The show?s format had changed a bit since the last Phil Lesh And Friends shows at the Warfield Theater.
As the house lights remained on, Lesh and the band ? drummer John Molo, keyboardist Rob Barraco, and guitarists Derek Trucks and Warren Haynes ? eased into a jam that increased in volume and energy.
As the lights dimmed a good five minutes into the beginning jam, Lesh and the guitarists floated like butterflies
with some sensitive passages that soon increased in intensity. Trucks and Haynes certainly work well together, and in this context, they were simply awesome. Quoting instrumental passages from Mountain Jam and Blue Sky, Lesh?s bass always ringing at full throttle, the band embarked on what had to be a good 25-minute jam before morphing into Crazy Fingers.
Rob Barraco?s tenure with one of America?s best jam bands, The Zen Tricksters, certainly served him well as his vocals hit the mark.
Barraco was playing a Hammond B-3 organ that was previously used by none other than the late Ron ?Pigpen? McKernan.

Unbroken Chain was greeted like a long-lost friend. Lesh?s voice was met with a thunderous ovation, and the song?s intricate middle section was performed masterfully.
Phil Lesh And Friends were joined by blues queen Susan Tedeschi for Dupree?s Diamond Blues and Turn On Your Lovelight, which proved to be the highlight of the show. Tedeschi demonstrated her prowess as a masterful guitarist, adding some fiery guitar licks with Trucks and Haynes.

Dylan, it must be said, is at the top of his game musically these days.
His band has also undergone some personnel changes in recent months as guitarist Larry Campbell filled the void left by departing pedal steel guitarist Bucky Baxter.
Guitarist Charlie Sexton is now a full-fledged player in Dylan?s crack band as well.
His show has also undergone some revamping as the legendary rocker performs a first-half acoustic set, followed by an electric set.
Some standouts of his set included, The Lonesome Death Of Hattie Carroll, Boots Of Spanish Leather and Shooting Star.
Instead of playing from a short list of songs, Dylan?s live set list has expanded considerably as he performed rare versions of Porter Wagoner?s A Satisfied Mind and Johnny Cash?s Folsom Prison Blues, the latter featuring a scorching guitar solo by Sexton.

***

The Apollo Of Temple
Temple University
Philadelphia, Pennsylvania
9 November 1999

47.Hallelujah, I'm Ready To Go (trad.)
48.The Lonesome Death Of Hattie Carroll
49.Boots Of Spanish Leather
50.A Satisfied Mind (Red Hayes/Jack Rhodes)
51.Tangled Up In Blue
52.Ballad Of A Thin Man
53.Man Of Peace
54.I'll Be Your Baby Tonight
55.Shooting Star
56.Maggie's Farm
57.Rainy Day Women # 12 & 35

Concert # 1155 of The Never-Ending Tour.
Concert # 12 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 109.
Concert # 60 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:
Hallelujah, i'm Ready To Go
The Lonesome Death Of Hattie Carroll
Boots Of Spanish Leather
A Satisfied Mind
Tangled Up In Blue

Larry Campbell & Charlie Sexton (backup vocals) on:
Hallelujah, I'm Ready To Go
A Satisfied Mind

Bob Dylan (harmonica) on Tangled Up In Blue.

BobTalk

I always wanted to play here, because one of my buddies, Bill Cosby, I know, went here.
I used to work with him all the time, just about every night, a few years back.
(after Ballad Of A Thin Man).

Live debut of A Satisfied Mind from Saved.

First performance of Folsom Prison Blues since Petange, France, 21 February 1993

First performance of Man of Peace since Austin, Texas, 26 October 1996.

First performance of Shooting Star since Copenhagen, Denmark, 11 June 1998.

LB-9841;
Taper: Mendo-Steve;
Master: D5scott;
Location: - right in front of the speakers;
Equipment: 2 Sonic Studios DSM-6P microphones >
Sony DAT * My 1st generation analog cassette;
Transfer: Sony KA1ESA > Pre Sonus Inspire GT > Sound Forge >
.wav files > Trader's Little Helper > flac files

Incomplete tape.

Missing:

End of Ballad Of A Thin Man
Not Fade Away,
Blowin' In The Wind,
Highway 61 Revisited

Excellent sound [A].

***

JC Juanis, Relix Magazine

The next evening?s show at the Veterans Memorial Coliseum in New Haven brought out several ?friends? - Phish?s Mike Gordon, Zen Tricksters? Jeff Mattson and Max Creek?s Scott Murowski, to check out the show.
The revamping of Phil Lesh And Friends? show to include a freewheeling opening jam continued to yield much in the way of musical fireworks.
The band once again performed as an ensemble, not just a collection of soloists, with the group locking into some solid grooves before coalescing into a joyous rendition of Uncle John?s Band.
During the 90-minute medley, Lesh delivered the first ever East Coast performance of The Grateful Dead classic Pride Of Cucamonga, while Warren Haynes was sensational during his original Phil Lesh and Friends original, Patchwork Quilt.

Dylan?s set also produced some powerful musical moments.
Opening with the gospel tinged, Ralph Stanley-penned bluegrass tune, I Am The Man, Thomas, Dylan, the fiery folksinger, displayed some awesome acoustic power during My Back Pages, John Brown and One Too Many Mornings.
The song selection was sensational, as was Dylan?s rock solid rhythm section of bassist Tony Garnier and drummer David Kemper, who was a mainstay of The Jerry Garcia Band.
Dylan continued to mine gold performing stellar versions of Positively 4th Street, Most Likely You Go Your Way (And I?ll Go Mine) and Leopard-Skin Pill-Box Hat. During the encore, Lesh came out to join Dylan?s band for a rollicking arrangement of West LA Fadeway and Not Fade Away to close the evening.
Apparently, Dylan?s band had rehearsed several Grateful Dead songs in anticipation of performing with the former Grateful Dead bassist and the preparation was rewarded with a razor-sharp rendition.

fiery folksinger??

***

Veterans Memorial Coliseum
New Haven, Connecticut
10 November 1999

58.My Back Pages
59.John Brown
60.Folsom Prison Blues (Johnny Cash)
61.'Til I Fell In Love With You
62.Positively 4th Street
63.Most Likely You Go Your Way (And I'll Go Mine)
64.I & I
65.Leopard-Skin Pill-Box Hat
66.West L.A. Fadeaway (Jerry Garcia ? Robert Hunter)

Concert # 1156 of The Never-Ending Tour.
Concert # 13 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 110.
Concert # 61 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:My Back Pages, John Brown

Larry Campbell & Charlie Sexton (backup vocals) on West LA Fadeaway.

Bob Dylan (harmonica) on My Back Pages.

Larry Campbell (fiddle) on My Back Pages.

Larry Campbell (bouzouki) on John Brown.

Larry Campbell (pedal steel guitar) on Positively 4th Street.

Phil Lesh (bass) on West LA Fadeaway.

First performance of I & I since Dijon, France 1 July 1998

First performance of West L.A. Fadeaway since Philadelphia, Pennsylvania, 17 December 1995.

LB-4770;
Equipment: AUD DAT Master [unknown equipment] >
DAT clone(s) > WAV > Soundforge 6.0 > CD Wave > FLAC

Excellent sound [A].

***

Civic Center
Augusta, Maine
11 November 1999

67.Absolutely Sweet Marie
68.I Shall Be Released
69.Queen Jane Approximately
70.What Good Am I?

Concert # 1157 of The Never-Ending Tour.
Concert # 14 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 111.
Concert # 62 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Larry Campbell & Charlie Sexton (backup vocals) on I Shall Be Released.

Larry Campbell (pedal steel guitar) on:
I Shall Be Released
Queen Jane Approximately
What Good Am I?

Bob Dylan (harmonica) on Absolutely Sweet Marie.

First performance of Song To Woody since New York City, New York, October 16, 1992.

First performance of Absolutely Sweet Marie since Anaheim, California, 23 May 1998.

Live debut of Hootchie Cootchie Man.

LB-4773;
Equipment: AUD DAT Master [unknown equipment] >
DAT clone(s) > WAV > Soundforge 6.0 > CD Wave > FLAC

Excellent sound [A-].

***

JC Juanis, Relix Magazine

One of the most anticipated shows of the tour was the 13 November 1999 performance at the Continental Airlines Arena, located in the Meadowlands Complex in East Rutherford, New Jersey.
This show was long sold out, attesting to the enormous drawing power of these two world-class artists.
The parking lots surrounding the venue were packed with fans early and it was nice to be back on Shakedown Street.
The carnival atmosphere was reminiscent of the glory days when The Grateful Dead made this venue a popular spot during its East Coast tours.

Inside the arena, anticipation reached a fever pitch as Phil Lesh And Friends began its show typically with a nearly half-hour jam.
Derek Trucks was incredible and his incendiary slide guitar playing was one of the early highlights of the show.
Phil Lesh And Friends totally revamped version of Dino Valente?s anthem, Get Together, was also a stroke of genius as the song was given a very upbeat, calypso arrangement featuring some relentless poly-rythems by drummer John Molo.

Warren Haynes delivered a sensational version of the Traffic tune Dear Mr Fantasy that also displayed the awesome strengths of this band.
The die-hard New Jersey crowd exploded in approval from the opening strains of Cryptical Envelopment that was only surpassed when Lesh lobbed one of his patented ?bombs? during a ferocious Other One.
The jam that followed included Days Between and John Coltrane?s Blue Train, before coming back full circle with Cryptical.
The set-ending Help On The Way, Slipknot and Franklin?s Tower was thrilling.

As if energized by the exciting set by Lesh, Dylan performed an emotional show that included many of the touchstones of his folk rock origins.
Despite performing before a sold-out throng of 18, 000 people, the room became an intimate folk club, as one could hear a pin drop in the hushed arena.
The crowd reacted to some of the singer/songwriter?s tunes in quiet reverence, and they were rewarded mightily as Dylan delivered a sermon that included Song To Woody, It?s Alright, Ma (I?m Only Bleeding)
and Visions Of Johanna with stunning power and clarity.

The electric set was no less impressive as Dylan broke out Muddy Waters? Hootchie Cootchie Man, Tombstone Blues, Joey and a haunting Not Dark Yet.
During the set-closing Leopard-Skin Pill-Box Hat, someone from the audience tossed up a leopard print hat, which landed perfectly on Dylan?s microphone.
Dylan, who had his back turned when it happened, broke into uncharacteristic laughter when he turned back to sing the song?s final verse.
The good vibes continued well into the encore when Dylan was again joined by Lesh for a rousing version of Alabama Getaway and Rainy Day Woman #12 & 35.
Dylan, Lesh, and Dylan?s bassist, Tony Garnier, stood close together, all grinning ear-to-ear during the tasty jam.

After the show, a party was held at the nearby Sheraton Hotel where guitarist Jeff Mattson and bassist Klyph Black from the Zen Tricksters entertained.

***

Continental Airlines Arena
East Rutherford, New Jersey
13 November 1999

71.Song To Woody
72.Hootchie Cootchie Man (Willie Dixon)
73.Blind Willie McTell
74.Not Dark Yet
75.Like A Rolling Stone
76.Alabama Getaway (Robert Hunter/Jerry Garcia)
77.Not Fade Away (Norman Petty/Charles Hardin)

Concert # 1158 of The Never-Ending Tour.
Concert # 15 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 112.
Concert # 63 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Song To Woody acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals) on:
Alabama Getaway
Not Fade Away

Phil Lesh (bass) on Alabama Getaway.

BobJoke

On the drums David Kemper, the only drummer who never lies, except when he?s in bed!
(during band credits after Not Dark Yet).

LB-4260;
Equipment: Schoeps MK4V's >
Sonosax SX-M2 > Sony SBM-1 >
Sony TCD-D100, Sony PCM-2600 >
HHB CDR, CD > Soundforge 8.0 > CD Wav > FLAC

Excellent sound [A].

***

JC Juanis, Relix Magazine

If there was one Phil Lesh And Friends show to pick as the best, one would be hard pressed to exclude the show held 14 November 1999 at The Centrum in Worcester, Massachusetts. From the opening notes of the jam that began the show, to the ending strains of Not Fade Away,
this show certainly hit the high water mark with many. After a long, sinewy jam that explored every nook and cranny of space, the band exploded into the classic, Dark Star, with Lesh, Haynes and Rob Barraco sharing each of the song?s verses.
Trucks and Haynes proved that they are consummate jammers, each taking a new pathway into the uncharted waters of outer space.
The freewheeling jam led into a wonderful arrangement of Sugaree that featured some great vocals by Haynes.
The jam that followed led into Cosmic Charlie and was welcomed like a long-lost friend by the sold-out arena audience.
The group continued in the spacy mode, again reprising Dark Star, including the song?s second verse, before again dropping a bomb on the audience with an explosive St Stephen that would not be complete without an equally pyrotechnic The Eleven Jam.
Lesh?s joyous celebration was beautifully capped by Not Fade Away.

Despite the rousing opening set by Phil Lesh And Friends, Dylan and his band continued the relentless pacing of the show.
Opening with the seldom performed gospel hymn Somebody Touched Me, Dylan?s acoustic set included To Ramona, Don?t Think Twice, It?s All Right and A Hard Rain?s A-Gonna Fall, which may be as powerful a song as has ever been written.
Also featured was Everything Is Broken, Like A Rolling Stone and a very rare, 15-minute rendition of Highlands, that showed a jazzy, poetic side of the rock superstar. Dylan proved again to be a man of many surprises.

rock superstar??

***

Centrum Arena
Worcester, Massachusetts
14 November 1999

78.To Ramona
79.Highlands
80.Stuck Inside Of Mobile With The Memphis Blues Again
81.Girl Of The North Country

Concert # 1159 of The Never-Ending Tour.
Concert # 16 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 113.
Concert # 64 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:
To Ramona
Girl Of The North Country

BobJoke


On the drums is David Kemper. He?s the only drummer that never lies, unless he?s in bed! (during band credits after Not Dark Yet).
LB-4636

Excellent sound [A].

***

JC Juanis, Relix Magazine

The show the next evening at Cornell University?s Barton Hall in Ithaca, New York, also yielded a different twist, as Phil Lesh And Friends included not only Derek Trucks and Warren Haynes, but also Hot Tuna?s Jorma Kaukonen on guitar.
Besides being the smallest venue on the tour, Barton Hall also holds many fond memories of what is considered to be one of the greatest Grateful Dead shows of all time, 8 May 1977. The surrounding area also includes such historic Grateful Dead venues as Harpur College,
the site of another historic show on 2 May 1970, and the Broome Country Arena in nearby Binghamton.

Barton Hall is an ancient place that has not changed a bit since 1977.
Because of its historical significance to Deadheads, this show proved to be the toughest ticket with legions of ticket-less Heads, fingers held high, some with $100 bills, searching in vain for that all elusive ?miracle ticket.?
Adding to the frigid mix of driving snow and bitter cold, the venue had one small doorway through which every person had to enter.

Once inside, the arena contained a spongy surface very conducive for dancing, with painted lines used for track and field events.
The security consisted solely of students wearing some snappy looking Dylan and Phil Lesh And Friends T-shirts, giving the event the air of a psychedelic sock hop.

Despite the fact that the show was long sold out, by the time Phil Lesh And Friends took to the stage, the place was barely one-third full.
Jorma Kaukonen plugged in between Trucks and Barraco, and during the show?s opening jam, was unobtrusive, content to allow Haynes and Trucks lead the charge. Eyes Of The World was serene in its majesty, picking up considerably into a thunderous Caution Jam that wove magically into Mountains Of The Moon.
The hall provided a surreal echo, as the drums and music bounced back toward the stage.
Kaukonen finally stepped out during Haynes? Soulshine, delivering a breathtaking guitar solo before diving headfirst into the old Pigpen-era Dead classic, Mr Charlie.
The Cold Rain And Snow that followed was appropriate, and the interesting jam that ensued drove into Goin? Down The Road Feelin? Bad.
We Bid You Goodnight was heartfelt as the room?s acoustics added to the a cappella tune.
During the band introductions, Phil acknowledged, ?It?s great to be back in a place that has so much historical significance for all of us.?
For Trucks, this was his last appearance of the tour, as his own band was scheduled to hit the road.

Dylan continued to seek out some gems from his considerable songbook and favorites, performing a seldom played Tomorrow Is A Long Time,
Cat?s In The Well, Senor (Tales Of Yankee Power), I Want You and Money Honey, a song that had previously never been performed.
Senor (Tales Of Yankee Power) was superb, with Larry Campbell playing a wonderful fiddle solo, and Dylan adding some rich, full blasts from his harmonica.

now bob is covering elvis

***

Barton Hall
Cornell University
Ithaca, New York
15 November 1999

82.Money Honey (Jesse Stone)
83.Forever Young

Concert # 1160 of The Never-Ending Tour.
Concert # 17 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 114.
Concert # 65 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Forever Young acoustic with the band.

Larry Campbell & Charlie Sexton (backup vocals) on:
Money Honey
Forever Young.

Live debut of Money Honey.

LB-4780

Excellent sound [A].

***

JC Juanis, Relix Magazine

If Cornell University was full of childhood exuberance, the show at Wittemore Center on the University of New Hampshire campus
in Durham, New Hampshire, was sobering in its contrast.
The show was delayed for nearly an hour as campus police, assisted by New Hampshire State Police, converged en masse to bust anyone in the parking lot that was vending.
The crackdown prevented the doors to the venue from being opened as all the security was focused on the parking lots.
Inside the crowded arena, police waded into the center of the crowded floor to bust possibly hundreds people for smoking illegal substances.
Such police action has not been seen in a docile concert setting since the early-1970s at Nassau Coliseum.
Viewing the constant dragging out of fans from the crowd cast an eerie pall on the proceedings as the police, in some cases,
brought their handcuffed suspects through the backstage and dressing room areas.

The fans that did manage to see the show were rewarded with a wonderful selection of songs.
The jam that opened the show was more conservative in structure than previous shows, but was no less satisfying.
Kaukonen and Haynes sparred like old prizefighters as Lesh, Barraco and Molo provided a solid launching pad for them to shoot into space.
The performance of Attics Of My Life was astonishing as Barraco, Lesh and Kaukonen hit their mark vocally on this inspired Grateful Dead classic.
The set focused more on the songs than jams as Kaukonen?s version of Jimmy Reed?s Big Boss Man and Haynes? working of Howlin? Wolf?s Smokestack Lightning gave the set a definite blues feel.
Also outstanding was Kaukonen?s Good Shepherd, which was performed perfectly.
The inclusion of Get Together was masterful in its newfound execution, and Blue Sky featured soaring guitar work by Kaukonen and Haynes that was a marvel to hear.

Dylan?s set was also filled with more gems as the talented songwriter continued to deal aces from the bottom of the deck.
Breaking out another tune ? Duncan And Brady ? to open his set, Dylan?s Girl Of The North Country was weepy and potent in its delivery.
Peppering his set with such nuggets as Desolation Row, If You See Her, Say Hello and Just Like Tom Thumb?s Blues,
with the seldom performed Rock Of Ages and Down By The Cove, displayed the artist at the top of his craft.
His band is tight, and Dylan?s guitar playing was fast and furious. He ended songs on a dime with one backward glance towards drummer David Kemper.
Nevertheless, it can be safely said that both the Dylan and Lesh camps were glad that the tour did not end in New Hampshire.

talented songwriter??

***

Wittemore Center
University Of New Hampshire
Durham, New Hampshire
17 November 1999

84.Duncan And Brady (trad.)
85.Desolation Row
86.Rock Of Ages (trad.)
87.Down Along The Cove

Concert # 1161 of The Never-Ending Tour.
Concert # 18 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 115.
Concert # 66 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:
Duncan And Brady
Desolation Row
Rock Of Ages

Larry Campbell & Charlie Sexton (backup vocals) on:Duncan And Brady, Rock Of Ages

Live debut of Duncan And Brady.

LB-5455;
Taper: Unwanted Man Music (UMM),
in association with Clean Cut Kid Productions (2000);
Equipment: CD-R trade > Extracted on Power Mac via Plextor drive > SHN (ca. 2001)

Excellent sound [A-].

***

JC Juanis, Relix Magazine

The University of Massachusetts at Amherst has a well-deserved reputation as being a party school.
Renowned in the pages of Playboy Magazine?s annual college review issue, the school is known as ?The Zoo?.
So it was understood that the show would be a far cry from the previous night?s debacle in New Hampshire.

Phil Lesh And Friends rose to the occasion performing an opening jam that was sublime, featuring Kaukonen and Haynes.
The ensemble playing was magnificent as Lesh, Barraco and Molo provided solid support in workmanlike fashion, really allowing the guitarists to hit their mark. The jam magically wove into the opening strains of St Stephen, that was met with a deafening roar from the crowd. Haynes? and Kaukonen?s guitar playing was as frenzied as two pit bulls fighting over a piece of meat, as Lesh?s bass playing shook the foundations of the arena during The Eleven Jam. Robbie Robertson?s Broken Arrow is another tune in Lesh?s song canon to which the former Grateful Dead bassist does justice. Featured on Phil Lesh And Friends? recent release, Love Will See You Through (Grateful Dead Merchandising), Lesh?s sensitive vocal delivery awakes many emotions, and this performance was no exception. Besides being a world class guitarist, Haynes is also a fine vocalist as he displayed during his wonderful rendition of Traffic?s The Low Spark Of High Heeled Boys.
And let us not forget Jorma Kaukonen whose participation in this final leg of the Phil Lesh And Friends tour was highly anticipated as well.
Kaukonen was sensational as the Hot Tuna founder pulled I Am The Light Of This World out of his considerable musical bag of songs.
His bluesy voice and folksy guitar playing were tasty throughout the show.
It was hard to believe after the sensational Scarlet Begonias and Franklin?s Tower, that the tour was coming to an end.

The set by Dylan that followed will probably go down in the annals of rock ?n? roll as one of those truly special musical moments.
Dylan began his acoustic set with the gospel flavored Somebody Touched Me, before preaching the gospel of his legendary songbook of tunes for which he is so well known. He performed Mr Tambourine Man, Boots Of Spanish Leather and Tangled Up In Blue before strapping on his black Fender Stratocaster guitar for electric versions of Man Of Peace and You?re A Big Girl Now.
Dylan then announced to a stunned crowed, ?I want to bring out a friend of mine for this next song, ? and out from the wings stepped Haynes.
The Gov?t Mule guitarist wasted no time in getting down to business performing a hair-raising version of All Along The Watchtower, while Larry Campbell wailed on his pedal steel. Dylan appeared to relish his jam with Haynes as the two stood toe-to-toe, each unleashing a volley of guitar solos as the crowd howled in appreciation.

After another rare marathon version of Highlands, Dylan brought out Haynes and Kaukonen for Highway 61 Revisited.
Again, Dylan turned his smiling face to Haynes as the Gov?t Mule guitarist ripped into an exciting slide guitar solo.
After the obligatory encores of Love Sick and Like A Rolling Stone, Lesh joined Dylan on stage.
?It has been an honor and a privilege to be playing with Phil Lesh and I hope we can do it again, ? Dylan announced to the crowd.
Lesh joined Dylan for a wonderful acoustic arrangement of Friend Of The Devil that featured a trademark harmonica solo from the iconoclastic rocker.
With Lesh standing at his side, Dylan then brought Haynes and Kaukonen back out for a rollicking version of Not Fade Away, followed by Alabama Getaway with the cast of musicians each taking a generous solo while backed by Dylan?s crack band.
After Lesh, Haynes and Kaukonen left the stage, Dylan continued his seven-song encore with thrilling performances of Blowin? In The Wind and Rainy Day Women #12 &35, after which he put on a white cowboy hat and strolled straight to his waiting tour bus.

In what was truly a testament to both artists, Lesh and Dylan undertook what turned out to be one of finest tours of the decade.
The stellar musicianship and camaraderie was both real and infectious as was demonstrated by the numerous jams and musical magic that occurred during the performances.
There were more than a few misty eyes in both camps after the final note had been played, and the unanimous opinion was that both artists would again share a stage together in the future. This is welcome news, indeed.

seven song encore??

the zoo??

***

Mullins Center
University of Massachusetts
Amherst, Massachusetts
18 November 1999

88.Somebody Touched Me (trad.)
89.It's Alright, Ma (I'm Only Bleeding)
90.You're A Big Girl Now
91.Friend Of The Devil (Jerry Garcia - Robert Hunter - John Dawson)

Concert # 1162 of The Never-Ending Tour.
Concert # 19 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 116.
Concert # 67 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the band:Somebody Touched Me, It's Alright, Ma (I'm Only Bleeding)

Larry Campbell & Charlie Sexton (backup vocals) on:Somebody Touched Me, Friend Of The Devil

Bob Dylan (harmonica) on Friend Of The Devil.

Larry Campbell (mandolin) on Friend Of The Devil.

Phil Lesh (bass) on Friend Of The Devil.

BobTalk

It?s been an honor for me, just to appear on a bill with, on a bill with Phil Lesh & Friends.
I don?t know if we?re gonna see each other again, but I hope so.
Anyway, Phil?s comin on, we?re gonna play one of the songs that he, well, ah, famous for doing. (before Friend Of The Devil).

LB-4786;
Equipment: Schoeps CMC6 > kc-5 > MK41 >
Sonosax > Sony TCD D-100 > DAT clone(s) >
WAV > Soundforge 6.0 > CD Wave > FLAC

Excellent sound [A].

***

Copa Room
Sands Casino
Atlantic City, New Jersey
19 November 1999

Early show

92.Everybody Loves Somebody (Irving Taylor/Ken Lane)

Concert # 1163 of The Never-Ending Tour.
Concert # 20 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 117.
Concert # 68 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Everybody Loves Somebody acoustic with the band.

Everybody Loves Somebody is aborted after one verse.

This was a show without Phil Lesh.

LB-4158;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D100

Excellent sound [A].

***

Copa Room
Sands Casino
Atlantic City, New Jersey
19 November 1999

Late show

93.Oh Babe, It Ain't No Lie (Elizabeth Cotton)
94.Visions Of Johanna
95.The Man In Me
96.Tombstone Blues
97.Make You Feel My Love

Concert # 1164 of The Never-Ending Tour.
Concert # 21 of the 1999 US Fall Tour with Phil Lesh and Friends.
1999 concert # 118.
Concert # 69 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion).

Acoustic with the ban:Oh Babe, It Ain't No Lie, Visions Of Johanna

Larry Campbell & Charlie Sexton (backup vocals) on Oh Babe, It Ain't No Lie.

Larry Campbell (pedal steel guitar) on The Man In Me.

This was a show without Phil Lesh.

Audience invades stage during Like A Rolling Stone.

LB-4158;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 > Sony TCD-D100

Excellent sound [A].

***

Newark, Delaware
November 20, 1999
University Of Delaware
Bob Carpenter Center

98. This World Can't Stand Long (Jim Anglin)
99. Joey (Bob Dylan?Jacques Levy/Bob Dylan)
100. Highway 61 Revisited
101. Rainy Day Women #12 & 35

Concert # 1165 of The Never-Ending Tour
Concert # 22 of the 1999 US Fall Tour with Phil Lesh and Friends
1999 concert # 119
Concert # 70 with the 12th Never-Ending Tour

Band: Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), David Kemper (drums & percussion)

This World Can't Stand Long acoustic with the band

Larry Campbell & Charlie Sexton (backup vocals) on This World Can't Stand Long.

Susan Tedeschi (guitar) on:Highway 61 Revisited, Rainy Day Women #12 & 35.

Larry Campbell (lap steel guitar) on Highway 61 Revisited.

Opening act was Susan Tedeschi.

Live debut of This World Can?t Stand Long.

LB-5147;
Taper: Bobby Bourbon (BB);
Equipment: Schoeps MK4V's > Sonosax SX-M2 > Sony SBM-1 >
Sony TCD-D100(@44.1khz), DAT MASTER > Sony TCD-D100 >
Edirol R-4 > Wavelab 5 > CDWAV > FLAC

Excellent sound [A].

***

Howard Sounes

Dylan and Phil Lesh were on the road in November 1999 when Dylan's old friend Doug Sahm died of a heart attack.
He was 58, the same age as Dylan. A month later Rick Danko died at his home near Woodstock.
In recent years Danko had struggled with health problems and had become grossly overweight.
The fortunes of The Band members had dwindled considerably since Robbie Robertson's decision to retire from touring.
Richard Manuel had killed himself, and then Levon Helm decided to work on his own.
That left just Danko and Garth Hudson, whom Danko called affectionately ?HB?, for ?honey boy, ?
because he sweetened the sound of whatever music they played.
The two friends toured in Danko's mobile home, often traveling long distances to play clubs.
Despite the dichotomy between this modest life and the enormous success The Band enjoyed in the 1970s,
Danko and Hudson remained good-humored.
Danko had returned home from a short tour when he died of a heart attack on 10 December 1999, the day after his 56th birthday.

***

Rock on Bob!

XXX

1999-09-28 New York
1999-10-26 Chicago early
1999-10-26 Chicago late
1999-10-27 Champaign
1999-10-29 Oxford
1999-10-30 Milwaukee
1999-10-31 Chicago
1999-11-02 East Lansing
1999-11-03 Columbus
1999-11-05 Pittsburgh
1999-11-06 State College
1999-11-08 Baltimore
1999-11-09 Philadelphia
1999-11-10 New Haven
1999-11-11 Augusta
1999-11-13 East Rutherford
1999-11-14 Worcester
1999-11-15 Ithaca
1999-11-17 Durham
1999-11-18 Amherst
1999-11-19 Atlantic City early
1999-11-19 Atlantic City late
1999-11-20 Newark

(272/1) Bob Dylan, 2000-10-03, Paris, France

Audio/Mp3, ?/?, (?)

683272001a683272001b
Bob Dylan

20001003 Paris

01. Bob Dylan - Introduction [3-10-2000]
02. Bob Dylan - Duncan and Brady [3-10-2000]
03. Bob Dylan - To Ramona [3-10-2000]
04. Bob Dylan - It's Alright, Ma (I'm Only Bleeding) [3-10-2000]
05. Bob Dylan - Love Minus Zero-No Limit [3-10-2000]
06. Bob Dylan - Tangled Up In Blue [3-10-2000]
07. Bob Dylan - Searching For a Soldiers Grave [3-10-2000]
08. Bob Dylan - Country Pie [3-10-2000]
09. Bob Dylan - Standing in the Doorway [3-10-2000]
10. Bob Dylan - Maggie's Farm [3-10-2000]
11. Bob Dylan - Tryin' To Get To Heaven [3-10-2000]
12. Bob Dylan - The Wicked Messenger [3-10-2000]
13. Bob Dylan - Make You Feel My Love [3-10-2000]
14. Bob Dylan - Leopard-Skin Pill-Box Hat [3-10-2000]
15. Bob Dylan - Things Have Changed [3-10-2000]
16. Bob Dylan - Like a Rolling Stone [3-10-2000]
17. Bob Dylan - If Dogs Run Free [3-10-2000]
18. Bob Dylan - All Along the Watchtower [3-10-2000]
19. Bob Dylan - I Shall Be Released [3-10-2000]
20. Bob Dylan - Highway 61 Revisited [3-10-2000]
21. Bob Dylan - Blowin in the Wind [3-10-2000]
22. Bob Dylan - Silvio [15-3-2000]
23. Bob Dylan - Highlands [16-3-2000]
24. Bob Dylan - Boots of Spanish Leather [29-3-2000]
25. Bob Dylan - You Aint Goin' Nowhere [3-4-2000]
26. Bob Dylan - Visions of Johanna [18-6-2000]


(228/1) Bob Dylan, 2001-07-12, Kings Dock, Liverpool, England

Audio/flac, ?/?, (20190428)

683228001f683228001b
Bob Dylan

Liverpool 2001

Crystal Cat Records ?– CC 608-09

Tracklist

1-1 Intro 0:43
1-2 Oh, Babe, It Ain't No Lie 3:56
1-3 To Ramona 6:20
1-4 Desolation Row 8:03
1-5 Maggie's Farm 5:58
1-6 Just Like A Woman 7:13
1-7 This Wheel's On Fire 6:18
1-8 Visions Of Johanna 7:50
1-9 Fourth Time Around 3:50
1-10 Boots Of Spanish Leather 6:31
1-11 Stuck Inside Of Mobile With The Memphis Blues Again 7:57

2-1 Positively 4th Street 6:33
2-2 Cold Irons Bound 6:15
2-3 Leopard-Skin Pill-Box Hat 6:42
2-4 Things Have Changed 5:42
2-5 Like A Rolling Stone 6:47
2-6 Knockin' On Heaven's Door 4:35
2-7 All Along The Watchtower 4:16
2-8 I Shall Be Released 4:51
2-9 Highway 61 Revisited 5:42
2-10 Blowin' In The Wind 4:45

Thursday 12th July 2001, Kings Dock, Liverpool, England.

Includes An 8 Pages Booklet.

CD1: 68:09 Minutes
CD2: 72:11 Minutes.

CD2 Track 4 Bob shows his Oscar statuette to the audience.


(273/1) Bob Dylan, 2002-04-25, Strasbourg, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Hall Rhenus
Strasbourg, France
25 April, 2002

Alternative recording to (LB-275 Sennheiser) / (LB-81/LB-2054/LB-8214) / (LB-10074 Schubert)

Trade cd-rs from many years ago > eac > flac
I am not the taper....sorry, no further source info available.
As far as I am aware this recording has not been torrented in any form until now.

Disc One:
01 I Am The Man, Thomas
02 Girl Of The North Country
03 It's Alright, Ma (I'm Only Bleeding)
04 I Want You
05 Tweedle Dee & Tweedle Dum
06 I Don't Believe You (She Acts Like We Never Have Met)
07 Sugar Baby
08 Cry A While
09 Don't Think Twice, It's All Right
10 A Hard Rain's A-Gonna Fall
11 Tangled Up In Blue

(Total Time 74:03)

Disc Two:
01 Summer Days
02 Shooting Star
03 Cold Irons Bound
04 Rainy Day Women #12 & 35
05 Man Of Constant Sorrow
06 Like A Rolling Stone
07 Forever Young
08 Honest With Me
09 Blowin' In The Wind
10 All Along The Watchtower

(Total Time 77:14)


(225/1) Bob Dylan, 2002-04-28, Forest National, Brussels, Belgium

Audio/flac, dime/?, (20190420)

68322500116832250012683225001b
2002 Bob Dylan - BRUSSELS 2002 - 28 April 2002 (Crystal Cat Records 625-626)

silver discs > EAC > WAV > FLAC
Label: Crystal Cat Records 625-626

Disc One
01. Intro
02. Hallelujah, I'm Ready To Go (a) [Lm]
03. When I Paint My Masterpiece (a) [Lm]
04. It's Alright, Ma (a) [Lc / Cd]
05. It Ain't Me, Babe (a) [Bh]
06. Tweedle Dee & Tweedle Dum
07. If You See Her, Say Hello [Lf]
08. Cry A While [Ls]
09. Moonlight [Ta]
10. Mama, You Been On My Mind (a) [Bh]
11. Visions Of Johanna (a)
12. Masters Of War (a) [Cd]
13. Summer Days [Ta]

Disc Two
01. I Believe In You
02. The Wicked Messenger [Bh]
03. Rainy Day Women #12 & 35 [Lsg]

1st Encore:
04. Love Sick
05. Like A Rolling Stone
06. Knockin' On Heaven's Door (a) [Ce]
07. Honest With Me [Ls]
08. Blowin' In The Wind (a) [Bh]

2nd Encore
09. All Along The Watchtower

Bonus:
10. Shooting Star [Bh / Lp]
11. Every Grain Of Sand [Bh]

Legend
(a) - acoustic
[Bh] -Bob on harp
[Cd] -Charlie on dobro
[Ce] -Charlie on electric guitar
[Lc] -Larry on cittern
[Lf] -Larry on fiddle
[Lm] -Larry on mandolin
[Lp] -Larry on pedal steel
[Ls] -Larry on slide guitar
[Lsg] -Larry on electric guitar
[Ta] -Tony on acoustic upright bass
Jim Keltner plays drums on all songs

Source:
Brussels, Belgium, Forest National / Sun. April 28, 2002
bonus:
Strasbourg, France, Hall Rhenus April 25, 2002
Arena, Oberhausen Germany, April 27 2002

(274/1) Bob Dylan, 2002-04-29, Le Zenith, Paris, France

Audio/Mp3, ?/?, (?)

683274001a683274001b
Bob Dylan

Improved Air Catalog Number: IA49
TITLE: "Paris First" (2cd)
DATE: 29.04.02
VENUE: Paris, France
SOURCE/COMMENTS: audience "Remastered version of Crystal Cat release."
CIRCULATION DATE: January 24, 2003

CD 1

01 Intro.wav
02 Humming Bird.wav
03 She Belongs To Me.wav
04 It's Alright, Ma (I'm Only Bleeding).wav
05 It's All Over Now, Baby Blue.wav
06 Tweedle Dee & Tweedle Dum.wav
07 Moonlight.wav
08 Cry A While.wav
09 Subterranean Homesick Blues.wav
10 Don't Think Twice, It's All Right.wav
11 A Hard Rain's A-Gonna Fall.wav
12 Tangled Up In Blue.wav

CD 2

01 Summer Days.wav
02 Make You Feel My Love.wav
03 Cold Irons Bound.wav
04 Rainy Day Women # 12 & 35.wav
05 Love Sick.wav
06 Like A Rolling Stone.wav
07 Forever Young.wav
08 Honest With Me.wav
09 Blowin' In The Wind.wav
10 All Along The Watchtower.wav


(275/1) Bob Dylan, 2002-04-30, Le Zenith, Paris, France

Audio/Mp3, ?/?, (?)

683275001a683275001b
Bob Dylan

PARIS SECOND 2002 - 30 April 2002 (Crystal Cat Records 629-630)

silver discs > EAC > WAV > FLAC
Label: Crystal Cat Records 629/630

1.I Am The Man, Thomas (Ralph Stanley/Larry Sparks)
2.I Want You
3.Desolation Row
4.It Ain't Me, Babe
5.Highway 61 Revisited
6.Simple Twist Of Fate
7.Lonesome Day Blues
8.Floater (Too Much To Ask)
9.Fourth Time Around
10.Visions Of Johanna
11.Don't Think Twice, It's All Right
12.Summer Days
13.Not Dark Yet
14.Drifter's Escape
15.Leopard-Skin Pill-Box Hat
16.Things Have Changed
17.Like A Rolling Stone
18.Knockin' On Heaven's Door
19.Honest With Me
20.Blowin' In The Wind
21.All Along The Watchtower

Bob Dylan (vocal & guitar), Charlie Sexton (guitar), Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar), Tony Garnier (bass), Jim Keltner (drums & percussion).

1–4, 9-11, 18, 20 acoustic with the band.
4, 6, 11, 14, 20 Bob Dylan (harmonica).
1, 18, 20 Larry Campbell & Charlie Sexton (backup vocals).

Source:
Le Zenith, Paris, France 4/30/2002


(215/1) Bob Dylan, 2003-11-13, Le Zenith, Paris, France

Audio/shn, tradersden/?, (20190414)

Bob Dylan, 11/13/03, Paris, France, Le Zenith, 2CDR

(50min+78min)
version "a", excellent sound;
upgrade in sound over previous version;
levels lower on right channel than left;
left channel overloads sometimes mainly on clapping;
downloaded from a.b.m.s.d. 12/03

CD1
1 intro + Maggie's Farm (Bob on piano)
2 Senor (Tales Of Yankee Power) (Bob on piano and harp)
3 Tweedle Dee & Tweedle Dum (Bob on piano)
4 Visions Of Johanna, (Bob on piano, Larry on acoustic guitar, Freddy on electric guitar, Tony on electric bass)
5 It's Alright, Ma (I'm Only Bleeding), (Bob on piano, Larry on cittern, Freddy on electric guitar, Tony on electric bass)
6 Boots Of Spanish Leather (acoustic), (Bob on piano and harp, Larry on cittern, Freddy on electric guitar)
7 Things Have Changed (Bob on piano)
8 Highway 61 Revisited (Bob on piano, Freddy on slide guitar)
(20 minute break),

CD2
1 Down Along The Cove (Bob on piano)
2 Mr. Tambourine Man (acoustic), (Bob on piano and harp, Larry on acoustic guitar, Freddy on electric guitar)
3 Cold Irons Bound (Bob on piano)
4 Most Likely You Go Your Way (And I'll Go Mine) (Bob on piano and harp)
5 The Lonesome Death Of Hattie Carroll (acoustic), (Bob on piano, Larry on acoustic guitar, Freddy on electric guitar, Tony on standup bass)
6 Honest With Me (Bob on piano, Larry on slide guitar)
7 Every Grain Of Sand (Bob on piano and harp)
8 Summer Days (Bob on piano, Tony on standup bass)
9 (encore), Cat's In The Well (Bob on piano)
10 Like A Rolling Stone (Bob on piano)
11 All Along The Watchtower (Bob on piano and harp)


(226/1) Bob Dylan, 2004-06-29, Museumsplatz, Bonn, Germany

Audio/flac, dime/?, (20190420)

Bob Dylan
Bonn, Germany Museumsplatz
29-June-2004

Taper: "Bach"
Lineage: Neumann AK40 > MTX 191 A > Sony DAT TCD-D100 > WaveTerminal > WaveLab 6.01 > dBpower AMP Music Converter > MD5summer

CD1
01. Rainy Day Women # 12 & 35
02. The Times They Are A-Changin'
03. Lonesome Day Blues
04. Under the Red Sky
05. It's Alright, Ma (I'm Only Bleeding)
06. Love Minus Zero / No Limit
07. Tweedle Dee & Tweedle Dum
08. This Wheel's On Fire
09. Floater (Too Much To Ask)
10. I Don't Believe You (She Acts Like We Never Have Met)
11. Masters of War
12. Honest With Me

CD2
01. It Ain't Me, Babe
02. Summer Days
03. Don't Think Twice, It's All Right
04. Like A Rolling Stone
05. All Along the Watchtower

Enjoy!!


(276/1) Bob Dylan, 2004-07-05, Palais des Spectacles, Saint Étienne, France

Audio/Mp3, ?/?, (?)

Bob Dylan

St. Etienne, France
Palais des Spectacles --(Monday)

July 5, 2004

Address: Bd Jules Janin
Showtime: 8:00 PM
General admission
Ticket prices were euro 41, euro 48
Tickets were on sale through www.fnac.com

01 - Drifter's Escape
02 - I'll Be Your Baby Tonight
03 - Stuck Inside Of Mobile With The Memphis Blues Again
04 - Moonlight
05 - It's Alright, Ma (I'm Only Bleeding)
06 - Tweedle Dee & Tweedle Dum
07 - Man In The Long Black Coat
08 - Highway 61 Revisited
09 - Standing In The Doorway
10 - I Don't Believe You (She Acts Like We Never Have Met)
11 - It Takes A Lot To Laugh, It Takes A Train To Cry
12 - Honest With Me
13 - Every Grain Of Sand
14 - Summer Days

(encore)

15 - Like A Rolling Stone
16 - All Along The Watchtowe

Band Members:
Bob Dylan - piano, harp
Larry Campbell - guitar, slide guitar, cittern, pedal steel
Stu Kimball - guitar
Tony Garnier - bass
George Recile - drums

LB-02066 ; 65min+60min ; 2CDR ; Rating: A

7/5/04 St. Etienne, France, Palais des Spectacles

Recorded and Mastered by Schubert.
--------------------------------------------------------------------------------
bittorrent download 09/04; excellent sound

(a bittorrent from 1/07 had same md5's was described as
"Schubert with additional SoundMastering (a raw-version without soundmastering is
available too), Soundquality: 14+,
Technical Info: Neumann SKM140 / Neumann BS48i-2 / Sony TDC-D100
- no DAE - ( = digital audio extraction), ");

(a bittorrent from 06/07 is this flac file set but support files are missing and
directory is flat; described with a generic info file that inlcudes timings )
--------------------------------------------------------------------------------
cd1
1 Intro, 2 Drifter's Escape, 3 I'll Be Your Baby Tonight, 4 Stuck Inside Of Mobile With The Memphis Blues Again, 5 Moonlight, 6 It's Alright, Ma (I'm Only Bleeding), 7 Tweedle Dee & Tweedle Dum, 8 Man In The Long Black Coat, 9 Highway 61 Revisited, 10 Standing In The Doorway,

cd2
1 I Don't Believe You (She Acts Like We Never Have Met), 2 It Takes A Lot To Laugh, It Takes A Train To Cry, 3 Honest With Me, 4 Every Grain Of Sand, 5 Summer Days, 6 (encore), Like A Rolling Stone, 7 All Along The Watchtower
--------------------------------------------------------------------------------


(277/1) Bob Dylan, 2004-07-06, Jardin des Plantes, Montauban, France

Audio/Mp3, ?/?, (?)

Bob Dylan and His Band

Jardin des Plantes
Montauban, France
July 6, 2004

Montauban Festival de Jazz

Derived from LB-1991 (A-); unknown taper (sk)
excellent sound; similar quality to previous but without the flaws

01 To Be Alone With You
02 It's All Over Now, Baby Blue
03 Lonesome Day Blues
04 Desolation Row
05 It's Alright, Ma (I'm Only Bleeding)
06 Tweedle Dee And Tweedle Dum
07 Under The Red Sky
08 Highway 61 Revisited
09 It Ain't Me, Babe
10 Cold Irons Bound
11 This Wheel's On Fire
12 Honest With Me
13 Masters Of War
14 Summer Days
15 Don't Think Twice, It's All Right
16 Like A Rolling Stone
17 All Along The Watchtower

Concert # 1640 of The Never-Ending Tour
Concert # 13 of the 2004 Europe Summer Tour
2004 concert # 52

Concert # 19 with the 18th Never-Ending Tour Band:
Bob Dylan (vocal & piano)
Stu Kimball (guitar)
Larry Campbell (guitar, mandolin, pedal steel guitar & electric slide guitar)
Tony Garnier (bass)
George Receli (drums& percussion)

2, 4, 5, 9, 13, 15 acoustic with the band

NOTE: First Bob Dylan concert in Montauban, France

10 new songs (58%) compared to previous concert
No new songs for this tour

Stereo audience recording, 120 minutes


(198/1) Bob Dylan, 2005-11-03, Zenith, Paris, France

Audio/mp3, ?/?, (?)

683198001a
*****One Night Only!********

Dylan en concert au Zenith de Paris le 3 Nov.2005
Prise de son Dat faite dans la salle. Qualité OK.

Bonne écoute!...et diffusez!

KeroZen
---------- ---------___
Ci-dessous un article du Nouvel Ob's chroniquant le concert.

Triomphe pour
Bob Dylan à Paris

NOUVELOBS.COM | 10.11.05 | 15:24

La légende du folk-rock a été ovationnée par un Zénith comble jeudi soir. Un autre concert est prévu vendredi à Amnéville.

Bob Dylan, légende américaine du folk-rock, était en concert jeudi 3 novembre au Zénith de Paris. Accompagné par cinq excellents musiciens, au son très rock sudiste, Dylan a chanté pendant une heure quarante-cinq environ, ovationné par une salle comble.
Il a interprété des titres récents, tirés notamment de son dernier album, "Love and Theft" (2001), ainsi que certains de ses standards des années 60 durant la deuxième partie, dont "Highway 61 Revisited", "A Hard Rain's a-Gonna Fall" ou, pendant le rappel, le mythique "Like a Rolling Stone".
Vêtu de noir et un chapeau sur la tête, Dylan a joué du clavier et de l'harmonica mais n'a pas touché une guitare de la soirée.
Des personnalités comme Francis Cabrel ou Vincent Delerm étaient venues assister au concert. Tous les âges étaient représentés dans le public, cependant majoritairement composé de quadragénaires et de quinquagénaires. De nombreux étrangers étaient présents.
Bob Dylan doit se produire vendredi soir à Amnéville. Ces deux concerts s'inscrivent dans le cadre d'une tournée européenne qui s'achèvera le 27 novembre.
---------- ---------_

Dylan in concert In Paris Zenith France 11/03/2005
DAT . Quality OK .Tag Itune.

Enjoy!....and release!

KeroZen


(278/1) Bob Dylan, 2005-11-04, Arènes de Metz, Amnéville, France

Audio/Mp3, ?/?, (?)

Amneville, France
Metz -- (Friday)
November 4, 2005

Showtime: 8:30 PM
Reserved seating
Ticket prices: 45,45 50,45 55,45 60,45 EUR

01 - To Be Alone With You
02 - The Times They Are A-Changin'
03 - Things Have Changed
04 - Most Likely You Go Your Way (And I'll Go Mine)
05 - If Dogs Run Free
06 - Highway 61 Revisited
07 - Positively 4th Street
08 - Stuck Inside Of Mobile With The Memphis Blues Again
09 - Shelter From The Storm
10 - Down Along The Cove
11 - Make You Feel My Love
12 - Tweedle Dee & Tweedle Dum
13 - Chimes Of Freedom
14 - Summer Days

(encore)

15 - Don't Think Twice, It's All Right
16 - All Along The Watchtower

Concert # 1795 of The Never-Ending Tour. Concert # 14 of the 2005 Europe Fall Tour.
2005 concert # 96. Concert # 66 with the 20th Never-Ending Tour Band:
Bob Dylan (vocal & piano),
Stu Kimball (guitar),
Denny Freeman (guitar),
Donnie Herron (violin, mandolin, pedal steel guitar),
Tony Garnier (bass),
George Recile (drums & percussion).

1 Donnie Herron (violin).

Note: First Bob Dylan concert in Amneville, France.

12 new songs (75%) compared to previous concert. 2 new songs for this tour.

LB-03618 ; 66min+53min ; 2CDR ; Rating: A

11/4/05 Amneville, France, Metz

Taper: HV
Lineage: Audio disks (from taper) > (feurio) wav > (flacfrontend) flac
------------------------------------------------------------------------
in comparison to LB-3340 this one does not have that compressed sound processed sound
that was annoying but some will not be bothered by that; excellent sound [A];
(bittorrented 5/06)
------------------------------------------------------------------------
Disk One,
1. To Be Alone With You, 2. The Times They Are A-Changin', 3. Things Have Changed, 4. Most Likely You Go Your Way (And I'll Go Mine), 5. If Dogs Run Free, 6. Highway 61 Revisited, 7. Positively 4th Street, 8. Stuck Inside Of Mobile With The Memphis Blues Again, 9. Shelter From The Storm,

Disk Two,
10. Down Along The Cove, 11. Make You Feel My Love, 12. Tweedle Dee & Tweedle Dum, 13. Chimes Of Freedom, 14. Summer Days, (encore), 15. Don't Think Twice, It's All Right, 16. All Along The Watchtower
------------------------------------------------------------------------


(279/1) Bob Dylan, 2006-07-03, Le Zenith, Lille, France

Audio/Mp3, ?/?, (?)

Bob Dylan

Lille, France
Lille Grand Palais
Le Zénith

July 3, 2006

01. Maggie's Farm (Bob on keyboard)
02. The Times They Are A-Changin' (Bob on keyboard and harp)
03. Down Along The Cove (Bob on keyboard)
04. Positively 4th Street (Bob on keyboard)
05. It's Alright, Ma (I'm Only Bleeding) (Bob on keyboard, Donnie on violin)
06. Queen Jane Approximately (Bob on keyboard and harp)
07. Highway 61 Revisited (Bob on keyboard)
08. Mr. Tambourine Man (Bob on keyboard and harp)
09. Honest With Me (Bob on keyboard)
10. To Ramona (Bob on keyboard and harp, Donnie on electric mandolin, Stu on acoustic guitar, Tony on standup bass)
11. Watching The River Flow (Bob on keyboard)
12. Masters Of War (Bob on keyboard)
13. Rainy Day Women #12 & 35 (Bob on keyboard and harp)

(encore)
14. Like A Rolling Stone (Bob on keyboard)
15. All Along The Watchtower (Bob on keyboard)

Band Members
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel


(280/1) Bob Dylan, 2006-07-04, Zenith d auvergne, Clermont Ferrand, France

Audio/Mp3, ?/?, (?)

683280001a683280001b
Bob Dylan

Clermont-Ferrand, France
Zenith d'Auvergne

July 4, 2006

1. Maggie's Farm (Bob on keyboard)
2. The Times They Are A-Changin' (Bob on keyboard and harp)
3. Down Along The Cove (Bob on keyboard)
4. Mr. Tambourine Man (Bob on keyboard and harp)
5. Tweedle Dee & Tweedle Dum (Bob on keyboard)
6. To Ramona (Bob on keyboard and harp, Donnie on electric mandolin, Stu on acoustic guitar, Tony on standup bass)
7. Highway 61 Revisited (Bob on keyboard)
8. Boots Of Spanish Leather (Bob on keyboard and harp, Donnie on vioilin, Stu on acoustic guitar, Tony on standup bass)
9. Honest With Me (Bob on keyboard)
10. Positively 4th Street (Bob on keyboard and harp)
11. Stuck Inside Of Mobile With The Memphis Blues Again (Bob on keyboard)
12. Masters Of War (Bob on keyboard)
13. Summer Days (Bob on keyboard)
(encore)
14. Like A Rolling Stone (Bob on keyboard)
15. All Along The Watchtower (Bob on keyboard)


Band Members
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel


(281/1) Bob Dylan, 2006-07-12, Perpignan, France

Audio/Mp3, ?/?, (?)

Bob Dylan and His Band
12 July 2006

Campo Santo, Les Estivales de Perpignan, Perpignan, France

Taped by Bach with [Sony T-CD 100 > Neumann MK 140]

TT: 107:26.59

CD1 58:37.74
01. [07:19.38] Maggie's Farm
02. [07:10.17] The Times They Are A-Changin'
03. [07:03.53] Down Along The Cove
04. [06:34.02] Positively 4th Street
05. [08:44.45] Stuck Inside Of Mobile With The Memphis Blues Again
06. [05:44.51] Love Sick
07. [05:58.28] Watching The River Flow
08. [10:02.65] Desolation Row

CD2 48:48.60
09. [06:35.10] Highway 61 Revisited
10. [06:34.00] Just Like A Woman
11. [06:40.74] Honest With Me
12. [06:33.35] A Hard Rain's A-Gonna Fall
13. [09:40.18] Rainy Day Women #12&35

14. [07:21.08] Like A Rolling Stone
15. [05:23.65] All Along The Watchtower

Complete concert.


(282/1) Bob Dylan, 2006-07-13, La Palestre, Le Cannet, France

Audio/Mp3, ?/?, (?)

Le Cannet, France
La Palestre
July 13, 2006

Bach Master
TCD-D100 Sony > Neumann KM 140

CD1
01 MaggieÂ’s Farm
02 The Times They Are A-ChanginÂ’
03 Tweedle Dee & Tweedle Dum
04 Mr. Tambourine Man
05 ItÂ’s Alright, Ma (IÂ’m Only Bleeding)
06 Every Grain Of Sand
07 Stuck Inside Of Mobile With The Memphis Blues Again
08 Blind Willie McTell
09 Most Likely You Go Your Way (And IÂ’ll Go Mine)
10 Just Like A Woman

CD2
11 Honest With Me
12 Girl Of The North Country
13 Highway 61 Revisited
Encore
14 Like A Rolling Stone
15 All Along The Watchtower

Complete Concert

Enjoy!


(283/1) Bob Dylan, 2007-04-23, Palais Omnisports de Paris, Paris, France

Audio/Mp3, ?/?, (?)

683283001a683283001b
Bob Dylan

2007 Palais Omnisports de Paris

Disc one
Intro
Cat's In The Well
It Ain't Me, Babe
Just Like Tom Thumb's Blues
It's Alright, Ma
Under The Red Sky
The Levee's Gonna Break
Death Of Hattie Carroll
Rollin' And Tumblin'
Intermission
Stuck Inside Of Mobile
When The Deal Goes Down
Things Have Changed

Disc two
Spirit On The Water
Highway 61 Revisited
Nettie Moore
Summer Days
Like A Rolling Stone

encore:
Thunder On The Mountain
All Along The Watchtower

bonus:
God Knows
Cold Irons Bound
I Shall Be Released
Lay, Lady, Lay
Forever Young


(284/1) Bob Dylan, 2008-06-18, Parco Castello Baron Gamba, Châtillon, Italy

Audio/Mp3, ?/?, (?)

Bob Dylan

20080618 Chatillon

01 Intro
02 Leopard-Skin Pill-Box Hat
03 It Ain't Me, Babe
04 Stuck Inside Of Mobile
05 Tangled Up In Blue
06 High Water
07 Boots Of Spanish Leather
08 Spirit On The Water
09 The Levee's Gonna Break
10 Positively 4Th Street
11 Honest With Me
12 Moonlight
13 Highway 61 Revisited
14 Nettie Moore
15 Summer Days
16 All Along The Watchtower
17 Thunder On The Mountain
18 Band Intro
19 Like A Rolling Stone


(211/1) Bob Dylan, 2008-06-19, Palais des Sports, Grenoble, France

Audio/flac, tradersden/?, (20190414)

683211001f683211001b
Bob Dylan

Grenoble, France
Palais des Sports
June 19, 2008

Audience recording
Neumann km140 > M-Audio MicroTrack 24/96 (44100 16bit) > CD Wave > Cool Edit
taper: romeo

Disc One
1. Intro
2. Watching The River Flow
3. Girl Of The North Country
4. Lonesome Day Blues
5. Love Sick
6. Tangled Up In Blue
7. Rollin' And Tumblin'
8. Love Minus Zero/No Limit
9. High Water (For Charlie Patton)
10. A Hard Rain's A-Gonna Fall
11. I'll Be Your Baby Tonight
12. Workingman's Blues #2
13. Highway 61 Revisited

Disc Two
1. Ain't Talkin'
2. Summer Days
3. All Along The Watchtower
4. (encore)
5. Thunder On The Mountain
6. Band Intros
7. Blowin' In The Wind


Band Members
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, viola, banjo, electric mandolin, pedal steel, lap steel


(285/1) Bob Dylan, 2008-06-20, Toulouse, France

Audio/Mp3, ?/?, (?)

Bob Dylan

Toulouse, France
Le Zénith
June 20, 2008

Audience recording
Neumann km140 > M-Audio MicroTrack 24/96 (44100 16bit) > CD Wave > Cool Edit
taper: romeo

Disc One
1. Intro
2. Cat's In The Well
3. Lay, Lady, Lay
4. Just Like Tom Thumb's Blues
5. Rollin' And Tumblin'
6. Simple Twist Of Fate
7. The Levee's Gonna Break
8. Spirit On The Water
9. Things Have Changed
10. Desolation Row
11. Honest With Me
12. Sugar Baby

Disc Two
1. It's Alright, Ma (I'm Only Bleeding)
2. Nettie Moore
3. Highway 61 Revisited
4. All Along The Watchtower
5. (encore)
6. Thunder On The Mountain
7. Band Intros
8. Like A Rolling Stone


Band Members
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, viola, banjo, electric mandolin, pedal steel, lap steel


(216/1) Bob Dylan, 2009-04-07, Palais des Congrès, Paris, France

Audio/flac, tradersden/?, (20190414)

683216001f683216001b
Bob Dylan

Paris, France
Palais des Congrès de Paris
April 7, 2009

Audience recording
Neumann km140 > M-Audio MicroTrack 24/96 (44100 16bit) > CD Wave > Cool Edit
taper: romeo

Disc One
1. Intro
2. Cat's In The Well
3. The Times They Are A-Changin'
4. I'll Be Your Baby Tonight
5. Stuck Inside Of Mobile With The Memphis Blues Again
6. John Brown
7. Rollin' And Tumblin'
8. Chimes Of Freedom
9. Tweedle Dee & Tweedle Dum
10. Masters Of War
11. Honest With Me
12. Beyond The Horizon
13. Highway 61 Revisited

Disc Two
1. Po' Boy
2. Thunder On The Mountain
3. Like A Rolling Stone
4. (encore)
5. All Along The Watchtower
6. Spirit On The Water
7. Band intros
8. Blowin' In The Wind


Band Members
Bob Dylan - keyboard, guitar, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

(286/1) Bob Dylan, 2009-04-08, Paris, France

Audio/Mp3, ?/?, (?)

683286001a
Bob Dylan

20090407 Paris

01. Bob Dylan - Cat's In The Well [7-4-2009]
02. Bob Dylan - The Times They Are A-Changin' [7-4-2009]
03. Bob Dylan - I'll Be Your Baby Tonight [7-4-2009]
04. Bob Dylan - Stuck Inside Of Mobile With The Memphis Blues Again [7-4-2009]
05. Bob Dylan - John Brown [7-4-2009]
06. Bob Dylan - Rollin' And Tumblin' [7-4-2009]
07. Bob Dylan - Chimes Of Freedom [7-4-2009]
08. Bob Dylan - Tweedle Dee & Tweedle Dum [7-4-2009]
09. Bob Dylan - Masters Of War [7-4-2009]
10. Bob Dylan - Honest With Me [7-4-2009]
11. Bob Dylan - Beyond The Horizon [7-4-2009]
12. Bob Dylan - Highway 61 Revisited [7-4-2009]
13. Bob Dylan - Po' Boy [7-4-2009]
14. Bob Dylan - Thunder On The Mountain [7-4-2009]
15. Bob Dylan - Like A Rolling Stone [7-4-2009]
16. Bob Dylan - Encore [7-4-2009]
17. Bob Dylan - All Along The Watchtower [7-4-2009]
18. Bob Dylan - Spirit On The Water [7-4-2009]
19. Bob Dylan - Blowin' In The Wind [7-4-2009]


(287/1) Bob Dylan, 2009-04-21, Strasbourg, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Strasbourg, France Zenith
21-April-2009

Taper: "Bach"
Lineage: Neumann AK40 > MTX 191 A > 16bit/44.1kHz >Marantz PMD 661 >
WaveLab 6.01 > cdwave, tracking -> tlh

CD1
01. Introduction
02. Cat's In The Well
03. Masters of War
04. It's All Over Now, Baby Blue
05. Lonesome Day Blues
06. Under the Red Sky
07. Rollin' and Tumblin'
08. Beyond The Horizon
09. John Brown
10. Tweedle Dee & Tweedle Dum
11. This Wheel's On Fire

CD2
01. Highway 61 Revisited
02. Just Like A Woman
03. Thunder On The Mountain
04. Like A Rolling Stone
05. All Along the Watchtower
06. Spirit On The Water
07. Blowin' in the Wind

Enjoy!!


(288/1) Bob Dylan, 2010-06-20, Halle Tony Garnier, Lyon, France

Audio/Mp3, ?/?, (?)

683288001a
Bob Dylan

Lyon, France
Halle Tony Garnier
June 20, 2010

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Disc One
1 Intro
2 Leopard-Skin Pill-Box Hat
3 It's All Over Now, Baby Blue
4 I'll Be Your Baby Tonight
5 Just Like A Woman
6 High Water (For Charley Patton)
7 Simple Twist Of Fate
8 The Levee's Gonna Break
9 Blind Willie McTell
10 Cold Irons Bound
11 Tryin' To Get To Heaven
12 Highway 61 Revisited

Disc Two
13 Ain't Talkin'
14 Thunder On The Mountain
15 Ballad Of A Thin Man
16 (encore break)
17 Like A Rolling Stone
18 Band intros
19 Blowin' In The Wind


Band Members
Bob Dylan - guitar, keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - viola, violin, banjo, electric mandolin, pedal steel, lap steel

Notes:
MP3s are OK
Please, ask for permission before posting any remaster from these files

(206/1) Bob Dylan, 2010-06-22, Palais Nikaia, Nice, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan

Nice, France
Palais Nikaia
June 22, 2010

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Disc One
1. Intro
2. Leopard-Skin Pill-Box Hat
3. This Wheel's On Fire
4. I'll Be Your Baby Tonight
5. Just Like A Woman
6. John Brown
7. Under The Red Sky
8. Honest With Me
9. Tangled Up In Blue
10. Cold Irons Bound
11. What Good Am I?
12. Highway 61 Revisited

Disc Two
13. Masters Of War
14. Thunder On The Mountain
15. Ballad Of A Thin Man
16. (encore break)
17. Like A Rolling Stone
18. Jolene
19. Band intros
20. All Along The Watchtower


Band Members
Bob Dylan - guitar, keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - banjo, electric mandolin, pedal steel, lap steel

---------- ----

Bob Dylan, 6/22/10, Nice, France, Palais Nikaia, 2CDR

LB-8714, (69min+43min), km140 romeo
Audience recording, Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo
bittorrent download 06/10
background talking t3, t4
excellent sound [A]


(289/1) Bob Dylan, 2010-06-23, Le Dome, Marseille, France

Audio/Mp3, ?/?, (?)

683289001a683289001b
Bob Dylan

20100623 Marseille

01. Bob Dylan - Introduction [23-6-2010]
02. Bob Dylan - Leopard-Skin Pill-Box Hat [23-6-2010]
03. Bob Dylan - It Aint Me, Babe [23-6-2010]
04. Bob Dylan - Stuck Inside Of Mobile With The Memphis Blues Again [23-6-2010]
05. Bob Dylan - Just Like A Woman [23-6-2010]
06. Bob Dylan - I Don't Believe You (She Acts Like We Never Have Met) [23-6-2010]
07. Bob Dylan - High Water (For Charley Patton) [23-6-2010]
08. Bob Dylan - Desolation Row [23-6-2010]
09. Bob Dylan - Blind Willie McTell [23-6-2010]
10. Bob Dylan - Honest With Me [23-6-2010]
11. Bob Dylan - Shelter From The Storm [23-6-2010]
12. Bob Dylan - Highway 61 Revisited [23-6-2010]
13. Bob Dylan - Forgetful Heart [23-6-2010]
14. Bob Dylan - Thunder On The Mountain [23-6-2010]
15. Bob Dylan - Ballad Of A Thin Man [23-6-2010]
16. Bob Dylan - Like A Rolling Stone [23-6-2010]
17. Bob Dylan - Band Introductions [23-6-2010]
18. Bob Dylan - Forever Young [23-6-2010]


(290/1) Bob Dylan, 2011-10-16, Le Zenith, Lille, France

Audio/Mp3, ?/?, (?)

Bob Dylan

Lille, France
Le Zenith
October 16, 2011

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Disc One (55:03)
1. Intro
2. Leopard-Skin Pill-Box Hat
3. Don't Think Twice, It's All Right
4. Things Have Changed
5. Tangled Up In Blue
6. Honest With Me
7. Not Dark Yet
8. Jolene
9. A Hard Rain's A-Gonna Fall
10. Highway 61 Revisited

Disc Two (41:18)
11. Tryin' To Get To Heaven
12. Thunder On The Mountain
13. Ballad Of A Thin Man
14. All Along The Watchtower
15. band intros
16. Like A Rolling Stone
17. (encore break)
18. Forever Young

Total time 1:36:21

Band Members
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - electric mandolin, pedal steel, lap steel


(212/1) Bob Dylan, 2011-10-17, Palais Omnisport de Paris-Bercy, Paris, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan

Paris, France
Palais Omnisport de Paris-Bercy
October 17, 2011

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Disc One (61:55)
1. Intro
2. Leopard-Skin Pill-Box Hat
3. It's All Over Now, Baby Blue
4. Things Have Changed
5. Tangled Up In Blue
6. Honest With Me
7. Spirit On The Water
7. Summer Days
7. Desolation Row
10. Highway 61 Revisited

Disc Two (30:48)
11. Blind Willie McTell
12. Thunder On The Mountain
13. Ballad Of A Thin Man
14. All Along The Watchtower
15. band intros
16. Like A Rolling Stone

Total time 1:32:44

Band Members
Bob Dylan - guitar, keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - banjo, electric mandolin, pedal steel, lap steel


(299/1) Bob Dylan, 2012-07-15, Festival de Nimes, Nimes, France

Audio/Mp3, ?/?, (?)

Bob Dylan

Nimes, France
Festival de Nimes
July 15, 2012

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

CD 1 (65:43)
1. Leopard-Skin Pill-Box Hat
2. Don't Think Twice, It's All Right
3. Things Have Changed
4. Tangled Up In Blue
5. Rollin' And Tumblin'
6. Tryin' To Get To Heaven
7. Summer Days
8. Sugar Baby
9. Tweedle Dee & Tweedle Dum
10. Visions Of Johanna
11. Highway 61 Revisited

CD 2 (38:29)
12. Simple Twist Of Fate
13. Thunder On The Mountain
14. Ballad Of A Thin Man
15. Like A Rolling Stone
16. All Along The Watchtower
17. (encore break)
18. Blowin' In The Wind

total time: 1:44:13

Band Members
Bob Dylan - guitar, keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel


(291/1) Bob Dylan, 2012-07-18, théâtre de Fourvière, Lyon, France

Audio/Mp3, ?/?, (?)

683291001a
Bob Dylan

20120718 Lyon

01. Bob Dylan - Absolutely Sweet Marie [18-7-2012]
02. Bob Dylan - Man In The Long Black Coat [18-7-2012]
03. Bob Dylan - Things Have Changed [18-7-2012]
04. Bob Dylan - Tangled Up In Blue [18-7-2012]
05. Bob Dylan - Rollin' And Tumblin' [18-7-2012]
06. Bob Dylan - Desolation Row [18-7-2012]
07. Bob Dylan - High Water (For Charley Patton) [18-7-2012]
08. Bob Dylan - Sugar Baby [18-7-2012]
09. Bob Dylan - Tweedle Dee & Tweedle Dum [18-7-2012]
10. Bob Dylan - Forgetful Heart [18-7-2012]
11. Bob Dylan - Highway 61 Revisited [18-7-2012]
12. Bob Dylan - Blind Willie McTell [18-7-2012]
13. Bob Dylan - Thunder On The Mountain [18-7-2012]
14. Bob Dylan - Ballad Of A Thin Man [18-7-2012]
15. Bob Dylan - Like A Rolling Stone [18-7-2012]
16. Bob Dylan - Band Introductions [18-7-2012]
17. Bob Dylan - All Along The Watchtower [18-7-2012]
18. Bob Dylan - Blowin' In The Wind [18-7-2012]

(207/1) Bob Dylan, 2012-07-20, Bayonne Arena, Bayonne, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan

Bayonne, France
Bayonne Arena
July 20, 2012

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

CD 1 (69:02)
1. Leopard-Skin Pill-Box Hat
2. Love Minus Zero/No Limit
3. Things Have Changed
4. Tangled Up In Blue
5. Tweedle Dee & Tweedle Dum
6. Desolation Row
7. The Levee's Gonna Break
8. Make You Feel My Love
9. Honest With Me
10. Spirit On The Water
11. Highway 61 Revisited

CD 2 (38:02)
12. Forgetful Heart
13. Thunder On The Mountain
14. Ballad Of A Thin Man
15. Like A Rolling Stone
16. Band intros
17. All Along The Watchtower
18. (encore break)
19. Blowin' In The Wind

total time: 1:47:05

Band Members
Bob Dylan - guitar, keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

---------- ----
Bob Dylan, 7/20/12, Bayonne, France, Bayonne Arena, 2CDR

LB-10315, (70min+39min)
km140 romeo
Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo
bittorrent download 07/12; excellent sound [A-]
discontinuity pop t15 0:07

(842/1) Bob Dylan, 2012-07-22, Vieilles Charrues, Carhaix, France

Audio/Mp3, ?/?, (?)

683842001a
Carhaix, France
Vieilles Charrues Festival -- (Sunday)

July 22, 2012

01 - Leopard-Skin Pill-Box Hat
02 - This Wheel's On Fire
03 - Things Have Changed
04 - Tangled Up In Blue
05 - Summer Days
06 - Sugar Baby
07 - Rollin' And Tumblin'
08 - A Hard Rain's A-Gonna Fall
09 - Highway 61 Revisited
10 - Simple Twist Of Fate
11 - Thunder On The Mountain
12 - Ballad Of A Thin Man
13 - Like A Rolling Stone
14 - All Along The Watchtower

(encore)

15 - Blowin' In The Wind

Band Members:
Bob Dylan - guitar, keyboard, piano, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Source : Tascam DR-2d (internal mics) (24/48) > Audacity >TLH>FLAC8

Uploaded on Dimeadozen 2012/08/01


(292/1) Bob Dylan, 2013-11-12, Grand Rex, Paris, France

Audio/Flac, ?/?, (?)

Bob Dylan

2013-11-12

Paris, FR
Le Grand Rex

Taper : saxophonejoe
source : Tascam DR-2d
Lineage : Audacity (boost) > cdwave >TLH>flac

01. Things Have Changed
02. She Belongs To Me
03. Beyond Here Lies Nothin'
04. What Good Am I?
05. Duquesne Whistle
06. Waiting For You
07. Pay In Blood
08. Tangled Up In Blue
09. Love Sick
10. High Water (For Charley Patton)
11. Simple Twist Of Fate
12. Early Roman Kings
13. Forgetful Heart
14. Spirit On The Water
15. Scarlet Town
16. Soon After Midnight
17. Long And Wasted Years
18. All Along The Watchtower
19. Blowin' In The Wind


(293/1) Bob Dylan, 2013-11-13, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

683293001a
Bob Dylan
Paris, France
Le Grand Rex
November 13, 2013

Taper: saxophonejoe;
Equipment: Tascam DR-2d >
Audacity (boost) > cdwave > TLH > flac

Bob Dylan
Paris, France
Le Grand Rex
November 13, 2013

Taper: Thelonious
Position: Orchestre, Rang J, Bob's side
Lineage: Core Sound Binaurals [w/ Bass Roll-off Filter] > Edirol R-09
Transfer: Panasonic SD Card > HD > Soundforge 10.0b > CDWave 1.98 > TLH 2.70 > FLAC

Many thanks to c and Icewalt for the taping gear and to my wife for three great days in Paris !
And à bientôt to Serge, we'll try to be back soon, maybe for the Henri Cartier-Bresson exhibition.

Olof Bjorner

XXX

Bill Pagel

Paris, France
Le Grand Rex
November 13, 2013

1. Things Have Changed (Bob center stage)
2. She Belongs To Me (Bob center stage with harp)
3. Beyond Here Lies Nothin' (Bob on grand piano, Donnie on electric mandolin)
4. What Good Am I? (Bob on grand piano, Tony on standup bass)
5. Duquesne Whistle (Bob on grand piano, Tony on standup bass)
6. Waiting For You (Bob on grand piano)
7. Pay In Blood (Bob center stage)
8. Tangled Up In Blue (Bob on grand piano)
9. Love Sick (Bob center stage with harp, Donnie on electric mandolin)

(intermission)

10. High Water (For Charley Patton) (Bob center stage with harp, Donnie on banjo, Tony on standup bass)
11. Simple Twist Of Fate (Bob on grand piano)
12. Early Roman Kings (Bob on grand piano)
13. Forgetful Heart (Bob center stage with harp, Donnie on violin, Tony on standup bass)
14. Spirit On The Water (Bob on grand piano, Tony on standup bass)
15. Scarlet Town (Bob on grand piano, Donnie on banjo, Tony on standup bass)
16. Soon After Midnight (Bob on grand piano)
17. Long And Wasted Years (Bob center stage)

(encore)

18. All Along The Watchtower (Bob on grand piano)
19. Blowin' In The Wind (Bob on grand piano with harp then center stage with harp, Donnie on violin)

Band Members

Bob Dylan - piano, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton on lead guitar
Donnie Herron - banjo, violin, electric mandolin, pedal steel, lap steel

Reviews

Paris, France
Le Grand Rex
November 13, 2013

--------------------------------------------------------------------------------
Review by Robert Clary
This was only my 3rd Bob gig, but it was the best so far. Le Grand Rex is a wonderful setting, the songs were very well chosen for Bob’s current voice and his band accompanied him with great sensitivity. Every song had its own distinctive rhythm and feel: groovy minor blues for Beyond Here Lies Nothin’, old time swing for Duquesne Whistle, lovely lilt for Spirit On The Water, relaxed waltz for Waiting For You, slow descending chords for Simple Twist Of Fate, relentless drama for Love Sick and each of the “Tempest” songs had its own special riff and pace.
It was good to see Bob at ease up at the microphone, singing as sweetly as he can and growling and spitting it out in character on songs like Pay In Blood, Love Sick and Long And Wasted Years. His stand-up piano playing stayed under control and the one-handed harp sounded like the old days.
The real highlight of the show was Forgetful Heart where DonnieÂ’s violin and TonyÂ’s bowed bass set a really effective backing for BobÂ’s vocals. It actually sounded beautiful.
Stu set up both halves with some promising blues strumming, then stayed strictly rhythm. Tony was as sensitive as always, switching to stand-up with great effect on a memorably rhythmical Duquesne Whistle and using lovely bowing on Waiting For You and Forgetful Heart. George played with great restraint, but still has that second line New Orleans touch which perfectly retightens the spring just as it is starting to get slightly wound down. Charlie was allowed to play quite freely, including some singing blues on Beyond Here Lies Nothin’ and a couple of cool choruses of “Blue Moon” on Soon After Midnight. Finally, it was great to hear Donnie’s very effective pedal steel and all his other instruments, especially the fiddle on Forgetful Heart.
Whereas on previous Paris shows some of the crowd have at times been restless and unhappy, this time there was a really warm enthusiastic reaction to the songs, especially to Forgetful Heart. The playing wasnÂ’t too loud and you could hear the words if you knew them. It was hardly a rock show, almost a chamber concert of well-chosen songs individually presented with great care by Bob and his band. I shall leave it to others to describe BobÂ’s hat, his few words of French, his gesture to his left lapel as he left the stage, the lack of the old keyboard and Oscar on stage and the unused guitar laid ready for him in front of the drums. For me this was a night of memorable music.

Review by Yves Toupin
Excellent concert at the intimate Rex Theatre in Paris. I enjoyed every minute of it. I even got to see Bob real close after the show as he walked out of the theatre and climbed in his limo parked on the street. Bob showed great class by saying merci beaucoup et vive la France in French before the intermission. About class, I attended Bob's concerts in Berlin and Paris. Both audiences were very appreciative of Bob's performance.
Contrary to what I'm used to see too often in North America, people didn't leave early nor blocked other people's view intentionnally. I noticed only one idiot going row to row trying to steal an unoccupied seat someone paid for to get closer. Come on people, this is not a game. Show some respect and enjoy the show. Merci beaucoup Bob. Vive Bob Dylan!

XXX


(294/1) Bob Dylan, 2013-11-14, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

683294001a
Bob Dylan
Paris, France
Le Grand Rex

November 14, 2013

01. Things Have Changed
02. She Belongs To Me
03. Beyond Here Lies Nothin'
04. What Good Am I?
05. Duquesne Whistle
06. Waiting For You
07. Pay In Blood
08. Tangled Up In Blue
09. Love Sick
10. High Water (For Charley Patton)
11. Simple Twist Of Fate
12. Early Roman Kings
13. Forgetful Heart
14. Spirit On The Water
15. Scarlet Town
16. Soon After Midnight
17. Long And Wasted Years
18. All Along The Watchtower
19. Blowin' In The Wind

Taper : saxophonejoe
source : Tascam DR-2d
Lineage : Audacity (cut and amplification) > cdwave >TLH>flac


(213/1) Bob Dylan, 2015-10-18, Palais des Sports, Paris, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan

Paris, France
Palais de Sports
October 18, 2015

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

Disc One (43:07)
01. Things Have Changed
02. She Belongs To Me
03. Beyond Here Lies Nothin'
04. What'll I Do
05. Duquesne Whistle
06. Melancholy Mood
07. Pay In Blood
08. I'm A Fool To Want You
09. Tangled Up In Blue

Disc Two (56:14)
01. High Water (For Charley Patton)
02. The Night We Called It A Day
03. Early Roman Kings
04. Why Try To Change Me Now
05. Spirit On The Water
06. Scarlet Town
07. All Or Nothing At All
08. Long And Wasted Years
09. Autumn Leaves
10. (encore break)
11. Blowin' In The Wind
12. Love Sick

Band Members
Bob Dylan - piano, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Charlie Sexton on lead guitar
Donnie Herron - banjo, viola, violin, electric mandolin, pedal steel, lap steel


(213/16) Bob Dylan, 2015-10-18, Palais des Sports, Paris, France

Doc/, ?/?, (?)




Commentaires


201510 RnF N578 P009
201510 RnF N578 P009

201512 RnF N580 P122
201512 RnF N580 P122


(295/1) Bob Dylan, 2015-10-19, Palais des Sports, Paris, France

Audio/Mp3, ?/?, (?)

683295001a683295001b
Bob Dylan & His Band
Le Dôme de Paris - Palais des Sports
Paris
2015-10-19
CD 1

Set I

01 The Foggy Dew (Instrumental) - Things Have Changed
02 She Belongs to Me
03 Beyond Here Lies Nothin'
04 What'll I Do
05 Duquesne Whistle
06 Melancholy Mood
07 Pay in Blood
08 I'm a Fool to Want You
09 Tangled up in Blue - audience
43:57

===Intermissision===

CD 2

Set II

10 Instrumental - High Water (For Charley Patton)
11 The Night We Called It a Day
12 Early Roman Kings
13 Why Try to Change Me Now
14 Spirit on the Water
15 Scarlet Town
16 All Or Nothing at All
17 Long and Wasted Years
18 Autumn Leaves - audience

(encore)
19 Blowin' in the Wind
20 Love Sick - audience
57:37

2 CDs 101:35

The Foggy Dew F. P. O'Neill
Beyond Here Lies Nothin' Bob Dylan, Robert Hunter [Robert Christie Hunter]
What'll I Do Irving Berlin [Israel Isidore Baline]
Duquesne Whistle Bob Dylan, Robert Hunter [Robert Christie Hunter]
Melancholy Mood Vick Knight, William Schumann [William Howard Schuman]
The Night We Called It a Day Tom Adair [Thomas Montgomery Adair], Matt Dennis [Matthew Loveland Dennis]
Why Try to Change Me Now Cy Coleman [Seymour Kaufman], Joseph Allen McCarthy
All Or Nothing at All Jack Lawrence , Arthur Altman
Autumn Leaves Joseph Kosma [József Kozma], Jacques Prévert, Johnny Mercer [John Herndon Mercer]

-------------------------------------------------------------------------------------------------
Title: Bob Dylan 2015-10-19 Paris (LTA)

***Contrast clause***
This is a different recording by a different taper from

http://www.dimeadozen.org/torrents-details.php?id=543387
*********************

taper: LTA
location: Orchestre, Rang 04, Place 06
lineage:
TASCAM DR-05 Linear PCM Recorder (Built-in Microphone)
SanDisk microSD 2 GB / SanDisk microSD Card Adapter >
iMac 2.9 GHz Intel Core i5 (card slot) >
WAV >
Amadeus Pro 2.1.3 (1544) (raised level, crowd edited at beginning and end) >
xACT 2.36 (7202) >
FLAC 0.4146 (20 files), tags, md5, ffp

--serge
-------------------------------------------------------------------------------------------------

taper: LTA
location: Orchestre, Rang 04, Place 06
lineage:
TASCAM DR-05 Linear PCM Recorder (Built-in Omnirection Stereo Electret Condenser Microphone)
(recorder "upright" position held with three fingers by the base, hidden with a scarf) >
SanDisk microSD 2 GB (MS-DOS (FAT 16) / SanDisk microSD Card Adapter >
iMac 2.9 GHz Intel Core i5 / OS X Yosemite 10.10.5 >
Apple SDXC Reader Media (card slot) >
WAV DR0000_0015.wav >
HairerSoft Amadeus Pro 2.1.3 (1544) (raised level, crowd edited at beginning and end, tracking) >
xACT 2.36 (7202) >
FLAC 0.4146 (20 files), tags, md5, ffp >
Transmission/2.84+ (14576) Build#6308 >
Dime 2015-10-22 by serge

Le Dôme de Paris - Palais des Sports
34 Boulevard Victor
75015 Paris

BobTalk:

All right, thank you! Merci beaucoup!
We're going to leave the stage for just a bit, but we won't be gone long.

Annoucement:
Mesdames et Messieurs, vingt minutes d'entr'acte.
Ladies and Gentlemen, there will now be twenty minutes intermission.


(105/1) Bob Dylan, 2016-10-07, Coachella Fairgrounds, Indio, CA, US

Audio/flac, ?/?, (?)

801105001f801105001b
Thanks to ijwthstd for sharing at the traders den. Hope you don't mind me sharing this great recording of such a momentous performance. I was waiting for you to share here but no show so far. You must be knqckered after a big week. This truly unique performance from Bob is too good to not share everywhere. Thank you!!

Here is the description from TTD:

Bob Dylan - 2016-10-07, Indio, CA
Desert Trip
Empire Polo Club
Indio, CA
2016-10-07

At831 -> Bb -> R-09hr -> Soundforge -> Flac

01. -intro-
02. Rainy Day Women #12 & 35
03. Don't Think Twice, It's Alright
04. Highway 61 Revisited
05. It's All Over Now, Baby Blue
06. High Water (For Charley Patton)
07. Simple Twist Of Fate
08. Early Roman Kings
09. Love Sick
10. Tangled Up In Blue
11. Lonesome Day Blues
12. Make You Feel My Love
13. Pay In Blood
14. Desolation Row
15. Soon After Midnight
16. Ballad Of A Thin Man
17. Masters Of War


This all came together so last minute. If I didn't go hundreds over budget I would go again next weekend but it's just not going to happen.

Only my 2nd time, I thought he was great and as you can tell by the recording, I was probably the only one.

A more detailed:

Even as recent as the night before Desert Trip was Desert Mirage, the more money I sank in, the more remote the reality of this experience became.

I had zero interest in this show whatsoever when originally announced. Too expensive, too far, too much of a hassle, I have seen all these bands so many times and I always do Culture Collide this time of year. The first domino to fall was when it looked like Culture Collide wasn't happening.

Then a week prior, prices on the secondary market were in total freefall. Started putting out feelers, had an offer on a room across the street at regular pre event pricing. Suddenly wanted to do this so hard. Got the ticket ($182 for Grandstand S4) and locked in the room. Should be able to find someone to drive me out there and share the cost of the room, right?

Turns out none of my friends - many of whom were talking nonstop about this for months - were the least bit interested, even with "cheap" tickets and place to stay.

Even the night before I still had no way out there. Texted every professional driver I know saying name a price. First response back was over 12 hours later. Went to go see Deap Valley followed by ZZ Top on Thursday, still working it the whole time but my phone stopped working up in the hills of Griffith Park so I had no choice but to enjoy the show.

Get home from ZZ Top and in one last ditch effort look at Greyhound, who never seems to go anywhere I need to be. Turns out they have buses to Indio every 2 hours around the clock. And I am on my way! Still never found anyone to share the room which is kind of a sore spot as it put me a few hundred over budget, otherwise I would be scheming for this weekend as I had a great time.

All the bands were great but this is how I would rank them:

The Who
Neil Young & The Promise Of The Real
Roger Waters
Paul McCartney
Rolling Stones
Bob Dylan

There was no last place. Maybe if they had more bands? Might have ranked Dylan higher but I was apparently the only one seemingly into it. Would have ranked Roger Waters higher but everybody was tired by that point.

(106/1) Bob Dylan, 2016-10-14, Coachella Fairgrounds, Indio, CA, US

Audio/flac, ?/?, (?)

Bob Dylan
Desert Trip 2016 Weekend 2
Empire Polo Grounds
Indio, Ca
October 14, 2016

Recorded by Daspyknows

Recorded from back wall of the Pit At Right Stack
Schoeps MK4/NBox Platinum Tascam DR-2D 24 Bit 48K

Processed using Soundforge 11, resample, to 16bit 44.1K
TLH to convert to Flac


Master 2016.74

01. Rainy Day Women #12 & 35
02. Don't Think Twice, It's All Right
03. Highway 61 Revisited
04. It's All Over Now, Baby Blue
05. High Water (For Charley Patton)
06. Simple Twist of Fate
07. Early Roman Kings
08. Love Sick
09. Tangled Up in Blue
10. Lonesome Day Blues
11. Make You Feel My Love
12. Pay in Blood
13. Desolation Row
14. Soon After Midnight
15. Ballad of a Thin Man
16. Crowd
Encore:
17. Like a Rolling Stone
18. Why Try to Change Me Now

Just the basic taper requests here and please no vitriol:
Don't be an ass by selling this or using it in a video that is sold
Don't modify the info file
Don't remaster and/or post on other sites that are not 100% free
If shared keep info file intact but create a second file with any changes
Don't convert to lossy formats except for personal use
Do support the artists

(217/1) Bob Dylan, 2017-04-20, Le Zenith, Paris, France

Audio/flac, tradersden/?, (20190414)

Bob Dylan
Zenith,
Paris, France
April 20, 2017

Bob Dylan - voc, piano
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar, maracas
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, pedal steel, lap steel

lineage: dpa4061 > Tascam DR-100 @24/48 > PC (Sound Forge; TLH(sbeok; flac(8)))
taped & edited & transferred by hhtfp
seeded by helm

CD 1: [54:15]
01. intro (Stu Kimball) [1:16]
02. Things Have Changed [4:57]
03. Don't Think Twice, It's All Right [5:03]
04. Highway 61 Revisited [4:21]
05. Beyond Here Lies Nothin' [4:15]
06. I Could Have Told You [4:10]
07. Pay In Blood [4:24]
08. Melancholy Mood [3:13]
09. Duquesne Whistle [6:38]
10. Stormy Weather [3:30]
11. Tangled Up In Blue [5:47]
12. Early Roman Kings [6:40]

CD 2: [54:47]
13. Spirit On The Water [6:46]
14. Love Sick [5:31]
15. All Or Nothing At All [3:26]
16. Desolation Row [8:08]
17. Soon After Midnight [4:06]
18. That Old Black Magic [3:12]
19. Long And Wasted Years [4:02]
20. Autumn Leaves [5:44]
encore:
21. Blowin' In The Wind [5:46]
22. Ballad Of A Thin Man [8:06]
tt: 1:49:01 h

note: The transition between disc 1 and disc 2 is seamless

info: http://bobdylan.com

Free trade only!
SUPPORT THE ARTISTS!
BUY THEIR OFFICIAL RELEASES & GO To THEIR CONCERTS!
Enjoy!


(217/16) Bob Dylan, 2017-04-20, Le Zenith, Paris, France

Doc/, ?/?, (?)




Commentaires


201704 RnF N596 P076
201704 RnF N596 P076

201706 RnF N598 P108
201706 RnF N598 P108


(296/1) Bob Dylan, 2017-04-21, La Seine Musicale, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan
La Seine Musicale,
Boulogne-Billancourt, France
April 21, 2017

Bob Dylan - voc, piano
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar, maracas
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, pedal steel, lap steel

lineage: dpa4061 > Tascam DR-100 @24/48 > PC (Sound Forge; TLH(sbeok; flac(8)))
taped & edited & transferred by hhtfp
seeded by helm

CD 1: [54:13]
01. intro (Stu Kimball) [1:20]
02. Things Have Changed [4:51]
03. Don't Think Twice, It's All Right [5:02]
04. Highway 61 Revisited [4:09]
05. Beyond Here Lies Nothin' [4:19]
06. I Could Have Told You [4:08]
07. Pay In Blood [4:47]
08. Melancholy Mood [3:20]
09. Duquesne Whistle [6:34]
10. Stormy Weather [3:34]
11. Tangled Up In Blue [5:41]
12. Early Roman Kings [6:28]

CD 2: [53:41]
13. Spirit On The Water [6:45]
14. Love Sick [5:14]
15. All Or Nothing At All [3:20]
16. Desolation Row [7:44]
17. Soon After Midnight [4:05]
18. That Old Black Magic [3:09]
19. Long And Wasted Years [3:56]
20. Autumn Leaves [5:47]
encore:
21. Blowin' In The Wind [5:41]
22. Ballad Of A Thin Man [7:58]
tt: 1:47:54 h

note: The transition between disc 1 and disc 2 is seamless

info: http://bobdylan.com

Free trade only!
SUPPORT THE ARTISTS!
BUY THEIR OFFICIAL RELEASES & GO To THEIR CONCERTS!
Enjoy!


(150/1) Bob Dylan, 2018-10-12, Paradise Cove, Tulsa, OK, US

Audio/flac, ?/?, (?)

Bob Dylan and His Band
Paradise Cove
Tulsa, Oklahoma
October 13, 2018

01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
(encore)
19. Blowin' In The Wind
20. Ballad Of A Thin Man

Band Members
Bob Dylan - vocals, piano, harp
Donnie Herron - steel guitar, violin, mandolin, banjo
Charlie Sexton - guitar
George Receli - drums
Tony Garnier - bass

Source: soomlos
microtech gefell m21 > nbob actives > sound devices mixpre-3 (24/41.1)
sdmp3 > usb > pc > wave agent > sound forge pro10 > tlh > flac (16/44.1)


(151/1) Bob Dylan, 2018-10-26, Walt Disney Theater, Orlando, FL, US

Audio/flac, ?/?, (?)

Bob Dylan and His Band
Walt Disney Theater
Orlando, Florida
October 26, 2018

01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
(encore)
19. Blowin' In The Wind
20. Ballad Of A Thin Man

Band Members
Bob Dylan - vocals, piano, harp
Donnie Herron - steel guitar, violin, mandolin, banjo
Charlie Sexton - guitar
George Receli - drums
Tony Garnier - bass

Source: soomlos
neumann skm140 > sound devices mixpre-3 (24/48)
sdmp3 > usb > pc > wave agent > sound forge pro10 > cd wave > tlh > flac (16/44.1)


(152/1) Bob Dylan, 2018-10-27, Macon City Auditorium, Macon, GA, US

Audio/flac, ?/?, (?)

Bob Dylan and His Band
Macon City Auditorium
Macon, Georgia
October 27, 2018

01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
(encore)
19. Blowin' In The Wind
20. Ballad Of A Thin Man

Band Members
Bob Dylan - vocals, piano, harp
Donnie Herron - steel guitar, violin, mandolin, banjo
Charlie Sexton - guitar
George Receli - drums
Tony Garnier - bass

Source: soomlos
neumann skm140 > sound devices mixpre-3 (24/48)
sdmp3 > usb > pc > wave agent > sound forge pro10 > tlh > flac (16/44.1)


(153/1) Bob Dylan, 2018-10-28, Tivoli Theatre, Chattanooga, TN, US

Audio/flac, ?/?, (?)

Bob Dylan and His Band
Tivoli Theatre
Chattanooga, Tennessee
October 28, 2018

01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
(encore)
19. Blowin' In The Wind
20. Ballad Of A Thin Man

Band Members
Bob Dylan - vocals, piano, harp
Donnie Herron - steel guitar, violin, mandolin, banjo
Charlie Sexton - guitar
George Receli - drums
Tony Garnier - bass

Source: soomlos
neumann skm140 > sound devices mixpre-3 (24/48)
sdmp3 > usb > pc > wave agent > sound forge pro10 > tlh > flac (16/44.1)


(154/1) Bob Dylan, 2018-11-26, Beacon Theatre, New York, NY, US

Audio/flac, ?/?, (?)

683154001a683154001b
Bob Dylan
And his band

11-26-2018
Beacon Theatre
New York City, USA

Setlist:
1. Things Have Changed
2. It Ain't Me, Babe
3. Highway 61 Revisited
4. Simple Twist Of Fate
5. Cry A While
6. When I Paint My Masterpiece
7. Honest With Me
8. Tryin' To Get To Heaven
9. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody

(encore)
19. All Along The Watchtower
20. Blowin' In The Wind


==========

* some loud cheers during Things Have Changed, mostly good after that

==========

Recording Details
taper Clapberry
source Edirol R-09 recorded at 2496
transferred by Clapberry SD card PC WAV (24bit96kHz) Audition (edit, hard limiting on obtrusive applause) sampling rate convert to 2444 SSFCP Flac
Artwork Clapberry

==========

Don't sell or buy this recording.
Don't convert to any lossy format.

(155/1) Bob Dylan, 2018-11-27, Beacon Theatre, New York, NY, US

Audio/flac, ?/?, (?)

683155001a683155001b
Bob Dylan
And his band

11-27-2018
Beacon Theatre
New York City, USA

Setlist:
1. Things Have Changed
2. It Ain't Me, Babe
3. Highway 61 Revisited
4. Simple Twist Of Fate
5. Cry A While
6. When I Paint My Masterpiece
7. Honest With Me
8. Tryin' To Get To Heaven
9. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody

(encore)
19. All Along The Watchtower
20. Blowin' In The Wind


==========

Recording Details
taper Clapberry
source Edirol R-09 recorded at 2496
transferred by Clapberry SD card PC WAV (24bit96kHz) Audition (edit, hard limiting on obtrusive applause) sampling rate convert to 2444 SSFCP Flac
Artwork Clapberry

==========

Don't sell or buy this recording.
Don't convert to any lossy format.

(156/1) Bob Dylan, 2018-12-01, Beacon Theatre, New York, NY, US

Audio/flac, ?/?, (?)

683156001a683156001b
Bob Dylan
And his band

12-01-2018
Beacon Theatre
New York City, USA

Setlist:
1. Things Have Changed
2. It Ain't Me, Babe
3. Highway 61 Revisited
4. Simple Twist Of Fate
5. Cry A While
6. When I Paint My Masterpiece
7. Honest With Me
8. Tryin' To Get To Heaven
9. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody

(encore)
19. It Takes A Lot To Laugh, It Takes A Train To Cry
20. Blowin' In The Wind


==========

Recording Details
taper Clapberry
source Edirol R-09 recorded at 2496
transferred by Clapberry SD card PC WAV (24bit96kHz) Audition (edit, hard limiting on obtrusive applause) sampling rate convert to 2444 SSFCP Flac
Artwork Clapberry

==========

Don't sell or buy this recording.
Don't convert to any lossy format.

(158/1) Bob Dylan, 2019-03-31, Mitsubishi Electric Halle, Düsseldorf, Germany

Audio/flac, dime/RCM, (20190409)

Bob Dylan (USA)

Dusseldorf, Germany
Mitsubishi Electric Halle
2019-March-21 (Sunday)
---------- ---------- *******

Contrast Clause:

different recording to this
http://www.dimeadozen.org/torrents-details.php?id=646617
another taper with different equipment

this is a"robert71" recording
all thanks and kudos to "rob71" for taping and sharing
http://www.dimeadozen.org/account-details.php?id=54637

---------- ---------- ********

Roland-R-05 internal mics (wav 16/44) > Secure Digital SD-card > HD > We Transfer >
My HD > Splitting > soundforge/audioedit > flac lev.8 > torrent

---------- ---------- *******
tracked and mastered by RCM
uploaded to DIME by RCM 2019/April/07
---------- ---------- *******

size: 747 mb
time: 1 h: 52 m: 16 s


Setlist [112:16]

01. Intro Theme
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Cry A While
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody
//
20. -audience-
21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Enjoy!

---------- **
PLEASE - support the artists! Buy their CDs and go to their shows!

NOT FOR SALE
---------- **


(158/2) Bob Dylan, 2019-03-31, Mitsubishi Electric Halle, Düsseldorf, Germany

Audio/flac, dime/Spot, (20190409)

BOB DYLAN
MITSUBISHI ELECTRIC HALLE
DUSSELDORF
GERMANY

31 March 2019

Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Trying To Get To Heaven (Before They Close The Door)
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody

Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

stereo audience recording 113 mins a Spot Recording

Heres a taster for this year. Spot was not intending to do any at the start (is that a pig I see going over?)
But in th eend the lure of opening night was too much.
This is not the start of a run though. there may be more later in the tour though I expect.
You'llbe the first (almost) to know!


Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week,
if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(159/1) Bob Dylan, 2019-04-02, s.Oliver Arena, Würzburg, Germany

Audio/flac, dime/RCM, (20190409)

Bob Dylan (USA)

Wuerzburg, Germany
s.Oliver Arena
2019-April-02 (Tuesday)
---------- ---------- *******

this is a"robert71" recording
all thanks and kudos to "rob71" for taping and sharing
http://www.dimeadozen.org/account-details.php?id=54637

Roland-R-05 internal mics (wav 16/44) > Secure Digital SD-card > HD > We Transfer >
My HD > Splitting > soundforge/audioedit > flac lev.8 > torrent

---------- ---------- *******
tracked and mastered by RCM
uploaded to DIME by RCM 2019/April/05
---------- ---------- *******

size: 702 mb
time: 1 h: 55 m: 19s

Setlist [115:19]

01. Intro Theme
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Cry A While
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody
//
20. -audience-
21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Enjoy!

---------- **
PLEASE - support the artists! Buy their CDs and go to their shows!

NOT FOR SALE
---------- **

(160/1) Bob Dylan, 2019-04-04, Mercedes-Benz Arena, Berlin, Germany

Audio/flac, dime/wb, (20190409)

Bob Dylan
with his band

Mercedes-Benz Arena, Berlin (Germany) April 4, 2019

Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist of Fate
Cry a While
When I Paint My Masterpiece
Honest With Me
Tryin' to Get to Heaven
Scarlet Town
Make You Feel My Love
Pay in Blood
Like a Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder on the Mountain
Soon After Midnight
Gotta Serve Somebody
Blowin' in the Wind
It Takes a Lot to Laugh, It Takes a Train to Cry

recorded by wb
OKM IIR > A3 > PCM-M10


(160/2) Bob Dylan, 2019-04-04, Mercedes-Benz Arena, Berlin, Germany

Audio/flac, dime/TOM MOORE, (20190409)

PLEASE, don't convert these soundfiles
PLEASE, don't sell (or buy) this recording

---------- ---------- ~~~~
BOB DYLAN
---------- ---------- ~~~~

Date: 2019-04-04
Country: Germany
Town: Berlin
Venue: Mercedes-Benz Arena


Technical Information:

Taper: TOM MOORE
Microphones: dpa 4061 + DAD4099
Recorder: Tascam DR-100 MK III

1. Intro
2. Things Have Changed
3. It Ain't Me, Babe
4. Highway 61 Revisited
5. Simple Twist Of Fate
6. Cry A While
7. When I Paint My Masterpiece
8. Honest With Me
9. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

(encore)
20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry

total times: 113:00.72

Band Members
Bob Dylan - vocal, piano, harp
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - banjo, violin, electric mandolin, pedal steel, lap steel

enjoy

TOM MOORE
2019-04-06

(161/1) Bob Dylan, 2019-04-05, GETEC Arena, Magdeburg, Germany

Audio/flac, dime/TOM MOORE, (20190409)

PLEASE, don't convert these soundfiles
PLEASE, don't sell (or buy) this recording

---------- ---------- ~~~~
BOB DYLAN
---------- ---------- ~~~~

Date: 2019-04-05
Country: Germany
Town: Magdeburg
Venue: GETEC Arena

Technical Information:

Taper: TOM MOORE
Microphones: dpa 4061 + DAD4099
Recorder: Tascam DR-100 MK III

1. Intro
2. Things Have Changed
3. It Ain't Me, Babe
4. Highway 61 Revisited
5. Simple Twist Of Fate
6. Cry A While
7. When I Paint My Masterpiece
8. Honest With Me
9. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

(encore)
20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry

total times: 113:37.27

Band Members
Bob Dylan - vocal, piano, harp
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - banjo, violin, electric mandolin, pedal steel, lap steel

enjoy

TOM MOORE
2019-04-07

(162/1) Bob Dylan, 2019-04-07, Lucerna Great Hall, Praha, Czech Republic

Audio/flac, dime/pavelkaa, (20190411)

683162001f683162001b
Prague, Czech Republic
Lucerna Palace
Great Hall
April 7, 2019

1. Things Have Changed (Bob on piano)
2. It Ain't Me, Babe (Bob on piano)
3. Highway 61 Revisited (Bob on piano)
4. Simple Twist Of Fate (Bob on piano and harp)
5. Cry A While (Bob on piano)
6. When I Paint My Masterpiece (Bob on piano and harp)
7. Honest With Me (Bob on piano)
8. Tryin' To Get To Heaven (Bob on piano)
9. Scarlet Town (Bob center stage)
10. Make You Feel My Love (Bob on piano and harp)
11. Pay In Blood (Bob on piano)
12. Like A Rolling Stone (Bob on piano)
13. Early Roman Kings (Bob on piano)
14. Don't Think Twice, It's All Right (Bob on piano and harp)
15. Love Sick (Bob on piano)
16. Thunder On The Mountain (Bob on piano)
17. Soon After Midnight (Bob on piano)
18. Gotta Serve Somebody (Bob on piano)

(encore)
19. Blowin' In The Wind (Bob on piano)
20. It Takes A Lot To Laugh, It Takes A Train To Cry (Bob on piano)


Band Members
Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Taper: ap
Edit: pb
Lineage: Zoom H1n@24/48 > PC > WAV > Edit > FLAC@16bit/48kHz

Free Trade Only!
SUPPORT THE ARTISTS! BUY THEIR OFFICIAL RELEASES & VISIT THEIR SHOWS!

Enjoy!


(163/1) Bob Dylan, 2019-04-08, Lucerna Great Hall, Praha, Czech Republic

Audio/flac, dime/pavelkaa, (20190411)

Prague, Czech Republic
Lucerna Palace
Great Hall
April 8, 2019

1. Things Have Changed (Bob on piano)
2. It Ain't Me, Babe (Bob on piano)
3. Highway 61 Revisited (Bob on piano)
4. Simple Twist Of Fate (Bob on piano and harp)
5. Cry A While (Bob on piano)
6. When I Paint My Masterpiece (Bob on piano and harp)
7. Honest With Me (Bob on piano)
8. Tryin' To Get To Heaven (Bob on piano)
9. Scarlet Town (Bob center stage)
10. Make You Feel My Love (Bob on piano)
11. Pay In Blood (Bob on piano)
12. Like A Rolling Stone (Bob on piano)
13. Early Roman Kings (Bob on piano)
14. Don't Think Twice, It's All Right (Bob on piano and harp)
15. Love Sick (Bob on piano)
16. Thunder On The Mountain (Bob on piano)
17. Soon After Midnight (Bob on piano)
18. Gotta Serve Somebody (Bob on piano)

(encore)
19. Blowin' In The Wind (Bob on piano)
20. It Takes A Lot To Laugh, It Takes A Train To Cry
(Bob on piano)
21. Just Like Tom Thumb's Blues (instrumental)

After song 20 Bob left stage without lights and bow,
band starting "Just Like Tom Thumb's Blues" and played it instrumental,
one musician after another left stage, first Donnie, then Charlie,
then Tony and George finished with his drum alone


Band Members
Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Taper:pb
Edit: pb
Lineage: Sony PCM-M10@24/48 > PC > WAV > Edit > FLAC@16bit/48kHz

Free Trade Only!
SUPPORT THE ARTISTS! BUY THEIR OFFICIAL RELEASES & VISIT THEIR SHOWS!

Enjoy!


(164/1) Bob Dylan, 2019-04-09, Lucerna Great Hall, Praha, Czech Republic

Audio/flac, dime/pavelkaa, (20190411)

Prague, Czech Republic
Lucerna Palace
Great Hall
April 9, 2019

1. Things Have Changed (Bob on piano)
2. It Ain't Me, Babe (Bob on piano)
3. Highway 61 Revisited (Bob on piano)
4. Simple Twist Of Fate (Bob on piano and harp)
5. Cry A While (Bob on piano)
6. When I Paint My Masterpiece (Bob on piano)
7. Honest With Me (Bob on piano)
8. Tryin' To Get To Heaven (Bob on piano)
9. Scarlet Town (Bob center stage)
10. Make You Feel My Love (Bob on piano and harp)
11. Pay In Blood (Bob on piano)
12. Like A Rolling Stone (Bob on piano)
13. Early Roman Kings (Bob on piano)
14. Don't Think Twice, It's All Right (Bob on piano and harp)
15. Love Sick (Bob on piano)
16. Thunder On The Mountain (Bob on piano)
17. Soon After Midnight (Bob on piano)
18. Gotta Serve Somebody (Bob on piano)

(encore)
19. Blowin' In The Wind (Bob on piano)
20. It Takes A Lot To Laugh, It Takes A Train To Cry
(Bob on piano)
21. Just Like Tom Thumb's Blues (instrumental)

After song 20 Bob left stage without lights and bow,
band starting "Just Like Tom Thumb's Blues" and played it instrumental,
one musician after another left stage, first Donnie, then Charlie,
then Tony and George finished with his drum alone


Band Members
Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel


Taper:pb
Edit: pb
Lineage: Sony PCM-M10@24/48 > PC > WAV > Edit > FLAC@16bit/48kHz

Free Trade Only!
SUPPORT THE ARTISTS! BUY THEIR OFFICIAL RELEASES & VISIT THEIR SHOWS!

Enjoy!


(165/1) Bob Dylan, 2019-04-11, Grand Rex, Paris, France

Audio/flac, dime/Spot, (20190501)

Bob Dylan
Grand Rex
Paris, France
2019-April-11
---------- ---------- *******

Intro Theme
Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
//
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry
Just Like Tom Thumb's Blues (Inst)

117 mins

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 112 mins a Spot Recording
This recording has not been previously availble in any format on any site.

Heres the another from ol' Spot! Up to that usual impressive quality we have learnt to expect.

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium

(166/1) Bob Dylan, 2019-04-12, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan

2019.04.12 Paris GandhavarSounds

01. Intro + Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Can't Wait
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody

19. audience

Encore

20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry
22. Just Like Tom Thumb's Blues (Band only)

Unfortunatly, we have to bear a very ill fan doing his noises sometimes, which led to changing of the guards (mic), sorry.

Note: ERK and BITW

recorder: H2zoom

This is the original wav, just edited.

A GandharvaSounds production


(167/1) Bob Dylan, 2019-04-13, Grand Rex, Paris, France

Audio/Mp3, ?/?, (?)

Bob Dylan
Grand Rex,
Paris, France
April 13, 2019

Bob Dylan - voc, piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

lineage: Schoeps ccm4(smp) > Tascam DR-100@1644 > PC (Sound Forge; TLH(sbeok; flac(8)))
taped & edited by hhtfp


CD 1: [57:03]
01. intro [1:25]
02. Things Have Changed [5:03]
03. It Ain't Me, Babe [4:24]
04. Highway 61 Revisited [4:43]
05. Simple Twist Of Fate [5:32]
06. Cry A While [5:02]
07. When I Paint My Masterpiece [6:16]
08. Honest With Me [4:48]
09. Tryin' To Get To Heaven [4:53]
10. Scarlet Town [5:45]
11. Make You Feel My Love [4:46]
12. Pay In Blood [4:27]

CD 2: [60:09]
13. Like A Rolling Stone [7:28]
14. Early Roman Kings [6:20]
15. Don't Think Twice, It's All Right [7:28]
16. Love Sick [5:12]
17. Thunder On The Mountain [6:28]
18. Soon After Midnight [4:49]
19. Gotta Serve Somebody [6:52]
encore:
20. Blowin' In The Wind [5:38]
21. It Takes A Lot To Laugh, It Takes A Train To Cry [4:59]
22. Just Like Tom Thumb's Blues (instrumental) [4:57]
tt: 1:57:11 h

note: The transition between disc 1 and disc 2 is seamless

info: http://bobdylan.com/

Free trade only!
SUPPORT THE ARTISTS!
BUY THEIR OFFICIAL RELEASES & GO TO THEIR SHOWS!
Enjoy!



(227/1) Bob Dylan, 2019-04-16, Konzerthaus, Vienna, Austria

Audio/flac, dime/?, (20190420)

Bob Dylan (USA)


Vienna, Austria
Konzerthaus
2019-April-16 (Tuesday)
---------- ---------- *******


this is a"robert71" recording
all thanks and kudos to "rob71" for taping and sharing
http://www.dimeadozen.org/account-details.php?id=54637

Roland-R-05 internal mics (wav 16/44) > Secure Digital SD-card > HD > We Transfer >
My HD > Splitting > soundforge/audioedit > flac lev.8 > torrent


---------- ---------- *******
tracked and mastered by RCM
uploaded to DIME by RCM 2019/April/18
---------- ---------- *******

size: 686 mb
time: 1 h: 55 m: 15s


Setlist [115:15]

01. Intro Theme
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Cry A While
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody
//
20. -audience-
21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry
23. Just Like Tom Thumb's Blues


Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel



Enjoy!


---------- **

PLEASE - support the artists! Buy their CDs and go to their shows!

NOT FOR SALE
---------- **

(227/2) Bob Dylan, 2019-04-16, Konzerthaus, Vienna, Austria

Audio/flac, dime/Spot, (20190428)

Bob Dylan
Konzerthaus
Vienna, Austria
2019-April-16 (Tuesday)

---------- ---------- *******

01. Intro Theme
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Cry A While
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody
//
20. -audience-
21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry
23. Just Like Tom Thumb's Blues


Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 116 mins a Spot Recording
This recording has not been previously availble in any format on any site.

Heres the second for this year.
There may be more later in the tour though I expect.
You'll be the first (almost) to know!

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium

(169/1) Bob Dylan, 2019-04-17, Konzerthaus, Vienna, Austria

Audio/flac, dime/Spot, (20190501)

Bob Dylan
Konzerthaus
Vienna, Austria
2019-April-17 (Wednesday)

---------- ---------- *******

Intro Theme
Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
//
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry
Just Like Tom Thumb's Blues (Inst)


Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 112 mins a Spot Recording
This recording has not been previously availble in any format on any site.

Heres the second Vienna show. By all accounts the audience have learnt after last night and this a more subdued, camera shy crowd. But Bob has also leaarnt and th efinal instrumental track enables Bob to slip quietly away before the crowd leave. Hey perhaaps some one could say "Bob has left the building" (the Elvis touch)
There may be more later in the tour though I expect.
You'll be the first (almost) to know!

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium

(170/1) Bob Dylan, 2019-04-19, Olympiahalle, Innsbruck, Austria

Audio/flac, dime/The Caretaker, (20190428)

Bob Dylan

Olympiahalle
Innsbruck, Austria
2019-April-19

---------- ---------- *******

Intro Theme
Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
//
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 112 mins another fine Spot Recording
This recording has not been previously available in any format on any site.

Well lets plod on a little further, personally I think this is a better performance than the two Vienna shows. Why not snatch it and find out for yourself?


Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium

(171/1) Bob Dylan, 2019-04-20, Schwabenhalle, Augsburg, Germany

Audio/flac, dime/crox, (20190428)

Bob Dylan
Schwabenhalle
Augsburg, Germany
20 April 2019


01. Preshow announcement > The Rite of Spring (PA playback)
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Cry A While
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry


Taper: crox
AT-933, 4.7k mod > Sony PCM-M10 > 16/44.1, Limiter ON, lvl 4.5 > WAV > CEP 2.1 seamless hard limit of audience peaks, normalization to 0db > Wave Repair 4.9.3 indexing > Flac 8.


Band members:
Bob Dylan - vocals, piano, harp
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel


For free trade only.



(172/1) Bob Dylan, 2019-04-22, Palexpo Locarno, Locarno, Switzerland

Audio/flac, dime/?, (20190501)

Bob Dylan

Locarno, Switzerland
Palazzetto Fevi
April 22, 2019

Audience recording
Neumann km140 > Denecke PS-2 > Marantz PMD661 (16 bit - 44.1 KHz) > Cool Edit > CD Wave
taper: romeo

01. Intro Theme > Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
19. (encore break)
20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry


total time: 1:52:37

Band Members
Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel


(173/1) Bob Dylan, 2019-04-25, Navarra Arena, Pamplona, Spain

Audio/flac, dime/Luisbp51, (20190506)

Bob Dylan
Navarra Arena
Pamplona, Spain
April 25, 2019

Audience Recording (44.1k/16bit)

Taper: Francisco Sanz Rojo
Lineage: Samsung Galaxy Alpha > wav (44.1k/16bit) [Audio Rec. (Android app.) - HD sound option (PCM)] > wav (44.1k/16bit) [adobe audition 1.5 (tracksplit/declipping)] > flac (TLH v2.7.0 w/flac 1.2.1b - align on SB 'fix' option - level 8 - verify on)

Screenshot of Spectral View and Freq. Analysis attached.

Luisbp51 (May 7, 2019)

Setlist:

Disc 1 [63:30.435]

01. [05:55.480] 01 Things Have Changed
02. [04:22.266] 02 It Ain't Me, Babe
03. [04:36.986] 03 Highway 61 Revisited
04. [05:27.413] 04 Simple Twist Of Fate
05. [04:43.346] 05 Cry A While
06. [06:29.186] 06 When I Paint My Masterpiece
07. [04:36.226] 05 Honest With Me
08. [05:07.960] 08 Tryin' To Get To Heaven
09. [05:45.493] 09 Scarlet Town
10. [04:42.346] 10 Make You Feel My Love
11. [04:35.413] 11 Pay In Blood
12. [07:08.320] 12 Like A Rolling Stone

Disc 2 [46:47.370]

01. [06:20.000] 13 Early Roman Kings
02. [06:32.626] 14 Don't Think Twice, It's All Right
03. [05:07.933] 15 Love Sick
04. [06:31.880] 16 Thunder On The Mountain
05. [04:08.720] 17 Soon After Midnight
06. [04:43.906] 18 Gotta Serve Somebody

07. [02:19.373] 19 Encore (audience)

08. [05:46.186] 20 Blowin' In The Wind
09. [05:16.746] 21 It Takes A Lot To Laugh, It Takes A Train To Cry

[110.17.805] Total Time

Band Members:

Bob Dylan (vocals, piano)
Tony Garnier (bass)
George Recile (drums)
Charlie Sexton (lead guitar)
Donnie Herron (violin, banjo, electric mandolin, pedal steel, lap steel)

For additional info check Bill Pagel site: http://www.boblinks.com/042619s.html

(174/1) Bob Dylan, 2019-04-26, Bizkaia Arena, Bilbao, Spain

Audio/flac, dime/Luisbp51, (20190501)

Bob Dylan
Bizkaia Arena
BEC (Bilbao Exhibition Centre)
Barakaldo (Bilbao), Spain
April 26, 2019

Audience recording (44.1k/16 bit)

Taper: Markitospb
Lineage: BQ Aquarius U Plus > wav (44.1k/16bit) [Audio Rec. (Android app.) - HD sound option (PCM)] > wav (44.1k/16bit) [adobe audition 1.5 (tracksplit/manual declipping)] > flac (TLH v2.7.0 w/flac 1.2.1b - align on SB 'fix' option - level 8 - verify on)

Screenshot of Spectral View and Freq. Analysis attached.

Luisbp51 (April 30, 2019)

Setlist:

Disc 1 [65.46.834]

01. [06.29.973] 01 Things Have Changed
02. [04.22.106] 02 It Ain't Me, Babe
03. [04.51.226] 03 Highway 61 Revisited
04. [05.28.413] 04 Simple Twist Of Fate
05. [06.02.866] 05 Dignity
06. [06.35.293] 06 When I Paint My Masterpiece
07. [04.49.546] 07 Honest With Me
08. [04.48.546] 08 Tryin' To Get To Heaven
09. [05.36.093] 09 Scarlet Town
10. [04.43.906] 10 Make You Feel My Love
11. [04.45.413] 11 Pay In Blood
12. [07.13.453] 12 Like A Rolling Stone

Disc 2 [45.53.636]

01. [05.43.733] 13 Early Roman Kings
02. [06.27.106] 14 Don't Think Twice, It's All Right
03. [05.08.813] 15 Love Sick
04. [06.58.946] 16 Thunder On The Mountain
05. [04.07.466] 17 Soon After Midnight
06. [04.48.693] 18 Gotta Serve Somebody

07. [01.06.560] 19 Encore (audience)

08. [05.54.373] 20 Blowin' In The Wind
09. [05.37.946] 21 It Takes A Lot To Laugh, It Takes A Train To Cry

[111.40.470] Total Time

Band Members:

Bob Dylan (vocals, piano)
Tony Garnier (bass)
George Recile (drums)
Charlie Sexton (lead guitar)
Donnie Herron (violin, banjo, electric mandolin, pedal steel, lap steel)

For additional info check Bill Pagel site: http://www.boblinks.com/042619s.html


(175/1) Bob Dylan, 2019-04-28, Palacio de Deportes de Gijon, Gijón, Spain

Audio/flac, dime/?, (20190506)

Bob Dylan
Palacio de los Deportes Presidente Adolfo Suarez
Gijon, Spain
April 28, 2019

Audience recording (44.1k/16bit)

Taper: Markitospb
Lineage: BQ Aquarius U Plus > wav (44.1k/16bit) [Audio Rec. (Android app.) - HD sound option (PCM)] > wav (44.1k/16bit) [adobe audition 1.5 (tracksplit/manual declipping/eq)] > flac (TLH v2.7.0 w/flac 1.2.1b - align on SB 'fix' option - level 8 - verify on)

Screenshot of Spectral View and Freq. Analysis attached.

Luisbp51 (May 3, 2019)

Setlist:

Disc 1 [65:25.262]

01. [05:56.240] 01 Things Have Changed
02. [04:18.933] 02 It Ain't Me, Babe
03. [04:18.746] 03 Highway 61 Revisited
04. [04:54.066] 04 Simple Twist Of Fate
05. [05:33.080] 05 Dignity
06. [06:51.626] 06 When I Paint My Masterpiece
07. [04:49.973] 07 Honest With Me
08. [04:42.693] 08 Tryin' To Get To Heaven
09. [05:47.653] 09 Scarlet Town
10. [04:49.333] 10 Make You Feel My Love
11. [04:47.666] 11 Pay In Blood
12. [07:15.253] 12 Like A Rolling Stone

Disc 2 [45:21.823]

01. [06:20.640] 13 Early Roman Kings
02. [06:35.080] 14 Don't Think Twice, It's All Right
03. [05:24.146] 15 Love Sick
04. [06:18.426] 16 Thunder On The Mountain
05. [04:16.826] 17 Soon After Midnight
06. [04:28.146] 18 Gotta Serve Somebody

07. [01:08.533] 19 Encore (audience)

08. [05:29.933] 20 Blowin' In The Wind
09. [05:20.093] 21 It Takes A Lot To Laugh, It Takes A Train To Cry

[110:47.085] Total Time

Band Members:

Bob Dylan (vocals, piano)
Tony Garnier (bass)
George Recile (drums)
Charlie Sexton (lead guitar)
Donnie Herron (violin, banjo, electric mandolin, pedal steel, lap steel)

For additional info check Bill Pagel site: http://www.boblinks.com/042619s.html


(176/1) Bob Dylan, 2019-04-29, Pavillón Multiusos Fontes do Sar, Santiago de Compostella, Spain

Audio/flac, dime/Luisbp51, (20190506)

Bob Dylan
Pavillon Multiusos Fontes do Sar
Santiago de Compostela, Spain
April 29, 2019

Audience recording (44.1k/16bit)

Taper: Markitospb
Lineage: BQ Aquarius U Plus > wav (44.1k/16bit) [Audio Rec. (Android app.) - HD sound option (PCM)] > wav (44.1k/16bit) [adobe audition 1.5 (tracksplit/declipping/eq)] > flac (TLH v2.7.0 w/flac 1.2.1b - align on SB 'fix' option - level 8 - verify on)

Screenshot of Spectral View and Freq. Analysis attached.

Luisbp51 (May 7, 2019)

Setlist:

Disc 1 [65:08.474]

01. [06:05.533] 01 Things Have Changed
02. [04:25.133] 02 It Ain't Me, Babe
03. [05:05.733] 03 Highway 61 Revisited
04. [05:38.866] 04 Simple Twist Of Fate
05. [06:08.266] 05 Dignity
06. [06:28.586] 06 When I Paint My Masterpiece
07. [04:31.440] 07 Honest With Me
08. [04:42.866] 08 Tryin' To Get To Heaven
09. [05:34.586] 09 Scarlet Town
10. [04:43.666] 10 Make You Feel My Love
11. [04:18.186] 11 Pay In Blood
12. [07:25.613] 12 Like A Rolling Stone

Disc 2 [45:53.622]

01. [05:49.826] 13 Early Roman Kings
02. [06:28.546] 14 Don't Think Twice, It's All Right
03. [04:45.186] 15 Love Sick
04. [06:22.960] 16 Thunder On The Mountain
05. [04:10.666] 17 Soon After Midnight
06. [04:37.546] 18 Gotta Serve Somebody

07. [02:54.946] 19 Encore (audience)

08. [05:38.893] 20 Blowin' In The Wind
09. [05:05.053] 21 It Takes A Lot To Laugh, It Takes A Train To Cry

[111:02.096] Total Time

Band Members:

Bob Dylan (vocals, piano)
Tony Garnier (bass)
George Recile (drums)
Charlie Sexton (lead guitar)
Donnie Herron (violin, banjo, electric mandolin, pedal steel, lap steel)

For additional info check Bill Pagel site: http://www.boblinks.com/042619s.html


(177/1) Bob Dylan, 2019-05-01, Coliseu do Porto, Porto, Portugal

Audio/flac, dime/?, (20190513)

Bob Dylan
Coliseu do Porto
Porto, Portugal
2019-May 1

---------- ---------- *******

Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Dignity
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
//
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 115 mins another fine Spot Recording
This recording has not been previously available in any format on any site.

My pal is recovering from his excesses right now, but he has asked me to post this as he considers it the best show he went to. if Spot says its the best then it's worth chwecking out. It certainly sounds like a good one!


Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(178/1) Bob Dylan, 2019-05-03, Fibes Sevilla Auditorio, Sevilla, Spain

Audio/flac, dime/dopersan, (20190506)

torrent title: Bob Dylan 2019-05-03 Seville, Spain (dopersan)

Bob Dylan
Fibes Auditorium
Seville, Spain
3 May 2019

Description: audience recording by dopersan

01. The Rite of Spring (PA playback) > band entrance
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Dignity
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

20. encore break

21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry


Lineage: Olympus LS-11 Linear PCM Recorder (built-in-mics; SanDisk SDHC card 16 GB; wav 44.1k/16bit) >
HDD > Realtek HD audio card (-1.7 dB mid-range anti-clipping; minor retracking; fades; Audition CS6) > FLAC > YOU

Notes: The recordist was seated in front row, stage centre

Band members:
Bob Dylan - vocals, piano, harp
Tony Garnier - bass guitar, upright bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel






(179/1) Bob Dylan, 2019-05-04, Marenostrum Castle Park, Málaga, Spain

Audio/flac, dime/dopersan, (20190506)

torrent title: Bob Dylan 2019-05-04 Fuengirola, Spain (dopersan)

Bob Dylan
Marenostrum Music Castle Park
Fuengirola, Spain
4 May 2019

Description: audience recording by dopersan

01. The Rite of Spring (PA playback) > band entrance
02. Things Have Changed
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Dignity
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Scarlet Town
11. Make You Feel My Love
12. Pay In Blood
13. Like A Rolling Stone
14. Early Roman Kings
15. Don't Think Twice, It's All Right
16. Love Sick
17. Thunder On The Mountain
18. Soon After Midnight
19. Gotta Serve Somebody

20. encore break

21. Blowin' In The Wind
22. It Takes A Lot To Laugh, It Takes A Train To Cry


Lineage: Olympus LS-11 Linear PCM Recorder (built-in-mics; SanDisk SDHC card 16 GB; wav 44.1k/16bit) > HDD > Realtek HD audio card (-1.7 dB mid-range anti-clipping; minor retracking; fades; Audition CS6) > FLAC > YOU

Notes: The recordist was seated in second row (for tracks 1-19), then front row, both stage centre

Band members:
Bob Dylan - vocals, piano, harp
Tony Garnier - bass guitar, upright bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel






(180/1) Bob Dylan, 2019-05-05, Plaza de Toros de Murcia, Murcia, Spain

Audio/flac, dime/?, (20190513)

Bob Dylan with His Band
Plaza de Toros
Murcia, Spain
May 5, 2019

01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Cry A While
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Don't Think Twice, It's All Right
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
(encore)
19. Blowin' In The Wind
20. It Takes A Lot To Laugh, It Takes A Train To Cry

Band Members
Bob Dylan - vocals, piano, harp
Donnie Herron - steel guitar, violin, mandolin, banjo
Charlie Sexton - guitar
George Receli - drums
Tony Garnier - bass

Source: soomlos
microtech gefell m21 > nbob actives > sound devices mixpre-3 (24/48)
sdmp3 > usb > pc > wave agent > sound forge pro10 > tlh > flac (16/44.1)


(181/1) Bob Dylan, 2019-05-07, Plaza de Toros de Valencia, Valencia, Spain

Audio/flac, dime/?, (20190513)

Bob Dylan
PLAZA DE TOROS DE VALENCIA
VALENCIA
SPAIN
2019-May 7

---------- ---------- *******

Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
//
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 112 mins another fine Spot Recording
This recording has not been previously available in any format on any site.

Heres the final night for you. Once we used toget little surprises at the end but sadly those days are over. Guess the only surprise now is that we are all still there! You almost never got this one. There was a bit of a crowd stage rush for theencores and Spot is a real perfectionist about these things. So Enjoy


Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(182/1) Bob Dylan, 2019-06-21, Koengen, Bergen, Norway

Audio/Mp3, ?/?, (?)

BOB DYLAN
KOENGEN
BERLIN
NORWAY

JUNE 21, 2019

Things Have Changed (inst. used as walk on)
Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry A While
When I Paint My Masterpiece
Honest With Me
Trying To Get To Heaven (Before They Close The Door)
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't Think Twice, It's All Right
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
*
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 109 mins another fine Spot Recording

Heres the first night of the lastest tour
At first glance this looks like a continuation of the previous leg, but its certainly not just so. Bearing in mind that this was an outdoor gig the audience is surprisngly quiet, just the odd cheer and chatter, so its pretty easy to assess the music.
First thing you have to say is that the band are very T I G H T these days. I guess time together and familiarity with the setlist must bring some benefits.
Bob himself sounds pretty focused also. He certainly has arranged a very sympathetic sound to support his vocal range. It comes over as pretty masterful actually.
So hey OK! This ain't 1966 anymore. Are you as quick as you were then? I'm not. But give this a listen, celebrate the fact we still have him out there, on the endless road.

Enjoy

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(183/1) Bob Dylan, 2019-06-24, Hartwall Arena, Helsinki, Finland

Audio/Mp3, ?/?, (?)

BOB DYLAN
HARTWELL ARENA
HELSINKI
FINLAND

JUNE 24, 2019

Things Have Changed
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Cry Awhile
When I Paint My Masterpiece
Honest With Me
Trying To Get To Heaven (Before They Close The Door)
Scarlet Town
Make You Feel My Love
Pay In Blood
Like A Rolling Stone
Early Roman Kings
Don't THink Twice, Its Alright
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
*
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Line up:

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton on lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

stereo audience recording 112 mins another fine Spot Recording

Lets carry on then. My man felt Bobs expression was not good at the start of this show. Maybe thats why thi sshow seems less together than the first night. Maybe this si also why the band seem too be experimenting with the tunes a bit. Several songs have a kind of "staggered" ending which first time I noticed it was "Honest" but which loses some of its charm when they keep doing it with most songs.
As for the recording well I think it is simply terrific, one of Spots better ones certainly. An if Bob wasa little pissed off about something it's not very obvious in his performance

Enjoy

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(184/1) Bob Dylan, 2019-06-26, Ericsson Globe, Stockholm, Sweden

Audio/Mp3, ?/?, (?)

Bob Dylan
Stockholm, Sweden
Ericsson Globe
26 June 2019

1 intro
2 Things Have Changed
3 It Ain't Me, Babe
4 Highway 61 Revisited
5 Simple Twist Of Fate
6 Can't Wait
7 When I Paint My Masterpiece
8 Honest With Me
9 Tryin' To Get To Heaven
10 Scarlet Town
11 Make You Feel My Love
12 Pay In Blood
13 Like A Rolling Stone
14 Early Roman Kings
15 Girl From The North Country
16 Love Sick
17 Thunder On The Mountain
18 Soon After Midnight
19 Gotta Serve Somebody
20 Blowin' In The Wind
21 It Takes A Lot To Laugh, It Takes A Train To Cry

Stereo audience recording 106 mins another fine Spot Recording

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

So on we go another day, another Bob show....
Of course here we have some renewed interest. Forgetteing the obvious attraction of a few song changes Bob sounds in better voice and far happier than Helsinki. The band remain remarkably tight also. Haave you noticed how the tune up gaps between songs have virtually disappeared this time?
I know you'll allgrab this one, frankly it deserves that even if it was the same setlist.

Enjoy

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(185/1) Bob Dylan, 2019-06-28, Scandinavium, Göteborg, Sweden

Audio/Mp3, ?/?, (?)

Bob Dylan
Scandinaviumn
Gothenberg, Sweden
28 June 2019

1 intro
2 Things Have Changed
3 It Ain't Me, Babe
4 Highway 61 Revisited
5 Simple Twist Of Fate
6 Can't Wait
7 When I Paint My Masterpiece
8 Honest With Me
9 Tryin' To Get To Heaven
10 Scarlet Town
11 Make You Feel My Love
12 Pay In Blood
13 Like A Rolling Stone
14 Early Roman Kings
15 Girl From The North Country
16 Love Sick
17 Thunder On The Mountain
18 Soon After Midnight
19 Gotta Serve Somebody

20 Blowin' In The Wind
21 It Takes A Lot To Laugh, It Takes A Train To Cry

Stereo audience recording 106 mins another fine Spot Recording


Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

So on we arrive at the last of this batch...we'll be back before the tour ends though.
Of course the song changes remain
To my ear both song sare3 done better tonighth
The band remain the highlight in some ways
I know you'll all grab this one.

Enjoy

Spot and I thank you for the fine comments and thanks.
We have no issue with these recordings being placed elsewhere, after a week, if we are credited and would prefer not to see remixes, but thats up to you.

The Caretaker

TECH STUFF

This is a SPOT recording (thanks again as ever) and the equipment used was:
Core Sound High End Binaural (HEB) DPA 4061's with Edirol by Roland R-09
Edited with Magix Audio Premium


(186/1) Bob Dylan, 2019-06-29, Oslo Spektrum, Oslo, Norway

Audio/Mp3, ?/?, (?)

Bob Dylan
Oslo Spektrum
June 29, 2019

Bob Dylan - voc, piano, harp
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

lineage: Panasonic cardioids WM-55A103 on glasses > Roland R-05 (96000 kHz, 24 bit) > Audacity > mic compensation > convert sample (44100 kHz, 16 bit) > flac files

taped, edited & transferred by JOY
seeded by JOYYOJJOY

01 Walk on
02 Things Have Changed
03 It Ain't Me, Babe
04 Highway 61 Revisited
05 Simple Twist Of Fate
06 Can't Wait
07 When I Paint My Masterpiece
08 Honest With Me
09 Tryin' To Get To Heaven
10 Scarlet Town
11 Make You Feel My Love
12 Pay In Blood
13 Like A Rolling Stone
14 Early Roman Kings
15 Boots of Spanish Leather
16 Love Sick
17 Thunder On The Mountain
18 Soon After Midnight
19 Gotta Serve Somebody
20 Blowin' In The Wind
21 It Takes A Lot To Laugh, It Takes A Train To Cry

Free trade only!


(187/1) Bob Dylan, 2019-07-05, Barclaycard Arena, Hamburg, Germany

Audio/Mp3, ?/?, (?)

BOB DYLAN (USA)

Hamburg
Barclaycard Arena
Germany
2019-July-05 (Friday)

*****************************
taped by: RCM
uploaded by: RCM

size: 655 mb
time: 1 h: 48 m: 19 s
RC.427a_aud.bmc-10.ls11.flac.16

SP-BMC-10 > SP-SPSB-11 > Olympus LS-11 (24bit/96khz downsampled>16bit/44.1kHz) >
Secure Digital SD-card>USB2.0 Interface>soundforge/audioedit>Wav-Splitter>flac.frontend lev.8>flac

SETLIST (108:19)
=======
01. Things Have Changed
02. It Ain't Me, Babe
03. Highway 61 Revisited
04. Simple Twist Of Fate
05. Can't Wait
06. When I Paint My Masterpiece
07. Honest With Me
08. Tryin' To Get To Heaven
09. Scarlet Town
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Girl From The North Country
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody
//
19. -audience-
20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry

Line-up:

Bob Dylan - vocals, piano, harp
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - banjo, electric mandolin, pedal steel, lap steel,violin

Enjoy!

*********************************************************
PLEASE - support the artists! Buy their CDs and go to their shows!
NOT FOR SALE - FREE TRADE ONLY
Please! Don't upload any other trackers.
*********************************************************


(192/1) Bob Dylan, 2019-07-12, Hyde Park, London, England

Audio/Mp3, ?/?, (?)

Bob Dylan
London, England
Hyde Park
12 July 2019

01. Intro
02. Ballad Of A Thin Man
03. It Ain't Me, Babe
04. Highway 61 Revisited
05. Simple Twist Of Fate
06. Can't Wait
07. When I Paint My Masterpiece
08. Honest With Me
09. Tryin' To Get To Heaven
10. Make You Feel My Love
11. Pay In Blood
12. Like A Rolling Stone
13. Early Roman Kings
14. Girl From The North Country
15. Love Sick
16. Thunder On The Mountain
17. Soon After Midnight
18. Gotta Serve Somebody

19. audience

20. Blowin' In The Wind
21. It Takes A Lot To Laugh, It Takes A Train To Cry

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel

Taper: "Bach"
Lineage: >Neumann AK40 >Neumann MTX 191 A >Marantz PMD 661 (44,1kHz-16bit)
>USB 2.0 >PC >dbPowerAmp14 (ssrc) >WaveLab 6.10 >tagging Foobar >
> TotalCommander (md5) >µTorrent 2.0

Enjoy!!


(192/2) Bob Dylan, 2019-07-12, Hyde Park, London, England

Audio/Mp3, ?/?, (?)

Bob Dylan

12 July 2019
Hyde Park
London, England

Disc 1
Ballad Of A Thin Man
It Ain't Me, Babe
Highway 61 Revisited
Simple Twist Of Fate
Can't Wait
When I Paint My Masterpiece
Honest With Me
Tryin' To Get To Heaven
Make You Feel My Love
Pay In Blood

Disc 2
Like A Rolling Stone
Early Roman Kings
Girl From The North Country
Love Sick
Thunder On The Mountain
Soon After Midnight
Gotta Serve Somebody
- encores -
Blowin' In The Wind
It Takes A Lot To Laugh, It Takes A Train To Cry

Recorded by zuma66

3th row on right

Lineage: Edirol R05-HR >
Sound Professional SP-SPSB + battery box
CompactFlash card reader >
PC > WAV editing with Goldwave > Audacity 1.3
CD Wave Editor > Traders Little Helper level 8

Bob Dylan - piano
Tony Garnier - bass
George Recile - drums
Charlie Sexton - lead guitar
Donnie Herron - violin, banjo, electric mandolin, pedal steel, lap steel


(374/1) Bob Dylan, 2022-09-25, Oslo Spektrum, Oslo, Norway

Audio/Flac, Dime/?, (20221127)

Bob Dylan
Oslo Spektrum
Norway
September 25, 2022

Bob Dylan - piano, guitar, harp
Tony Garnier - bass
Charley Drayton - drums
Bob Britt - guitar
Doug Lancio - guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel

01 Intro-Watching The River Flow
02 Most Likely You Go Your Way (and I'll Go Mine)
03 I Contain Multitudes
04 False Prophet
05 When I Paint My Masterpiece
06 Black Rider
07 My Own Version of You
08 I'll Be Your Baby Tonight
09 Crossing The Rubicon
10 To Be Alone With You
11 Key West (Philosopher Pirate)
12 Gotta Serve Somebody
13 I've Made Up My Mind To Give Myself To You
14 That Old Black Magic
15 Mother of Muses
16 Goodbye Jimmy Reed - Band introductions
17 Every Grain of Sand

lineage: Panasonic cardioids WM-55A103 on glasses > Roland R-05 (96000 kHz, 24 bit) > Audacity > mic compensation >convert sample (44100 kHz, 16 bit) > flac files

taped, edited & transferred by JOY
seeded by JOYYOJJOY

Free trade only!


(378/1) Bob Dylan, 2022-10-02, Flens-Arena, Flensburg, Germany

Audio/Flac, Dime/?, (20221127)

BOB DYLAN (USA)

Flensburg
Flens Arena
Germany
2022-October-02 (Sunday)
*****************************
Note/Contrast Clause
this is the 24/96 version
*****************************
taped + mastered by: RCM
uploaded by: RCM

filesize: 2,30 gb
time: 1 hr 48 min 02 sec
RC.502a_aud.ca14.ls11.flac24

CA-14 (card) > SP-SPSB-11 > Olympus LS-11 >24bit/96khz
Secure Digital SD-card>USB2.0 Interface>soundforge/audioedit>Wav-Splitter>flac.frontend lev.8>flac

Setlist [108:02]

01. Intro
02. Watching The River Flow
03. Most Likely You Go Your Way (and I'll Go Mine)
04. I Contain Multitudes
05. False Prophet
06. When I Paint My Masterpiece
07. Black Rider
08. My Own Version of You
09. I'll Be Your Baby Tonight
10. Crossing The Rubicon
11. To Be Alone With You
12. Key West (Philosopher Pirate)
13. Gotta Serve Somebody
14. I've Made Up My Mind To Give Myself To You
15. That Old Black Magic
16. Mother of Muses
17. Goodbye Jimmy Reed > Band introductions
18. Every Grain of Sand

Line up:

Bob Dylan - piano, harp
Tony Garnier - bass
Charley Drayton - drums
Bob Britt - guitar
Doug Lancio - guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel
*********************************************************
PLEASE - support the artists! Buy their CDs and go to their shows!

NOT FOR SALE
*********************************************************


(380/1) Bob Dylan, 2022-10-05, Verti Music Hall, Berlin, Germany

Audio/Flac, Dime/?, (20221127)

Artist: Bob Dylan
title: 1st night in Berlin
Date: 2022-10-05
Venue: Verti Music Hall
City: Berlin
Taper: W.

Lineage:
CA 11 > A3 Adapter > Line in > Edirol R-09 (16/44) > audacity 1.3 (16/44) > flac 8

Setlist:

1. Watching the River Flow
2. Most Likely You Go Your Way and I'll Go Mine
3. I Contain Multitudes
4. False Prophet
5. When I Paint My Masterpiece
6. Black Rider
7. My Own Version of You
8. I'll Be Your Baby Tonight
9. Crossing the Rubicon
10. To Be Alone With You
11. Key West (Philosopher Pirate)
12. Gotta Serve Somebody
13. I've Made Up My Mind to Give Myself to You
14. That Old Black Magic
15. Mother of Muses
16. Goodbye Jimmy Reed
17. Every Grain of Sand

Running time: 1h 49'


(388/1) Bob Dylan, 2022-10-16, AFAS Live, Amsterdam, Netherlands

Audio/Flac, Dime/?, (20221127)

Bob Dylan
Amsterdam,Netherlands AFAS Live
October 16, 2022

01. Intro + Watching The River Flow
02. Most Likely You Go Your Way (and I'll Go Mine)
03. I Contain Multitudes
04. False Prophet
05. When I Paint My Masterpiece
06. Black Rider
07. My Own Version of You
08. I'll Be Your Baby Tonight
09. Crossing The Rubicon
10. To Be Alone With You
11. Key West (Philosopher Pirate)
12. Gotta Serve Somebody
13. I've Made Up My Mind To Give Myself To You
14. That Old Black Magic
15. Mother of Muses
16. Goodbye Jimmy Reed
17. Band introductions
18. Every Grain of Sand (Bob on piano with harp)

Band Members
Bob Dylan - piano, harp
Tony Garnier - bass
Charley Drayton - drums
Bob Britt - guitar
Doug Lancio - guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel

Taper: "Bach"
Lineage: >Neumann AK40 >Neumann MTX 191 A >Marantz PMD 661 (44,1kHz-16bit)>USB 2.0 >PC >dbPowerAmp14 >WaveLab 6.11>TotalCommander (md5) >µTorrent 2.0

(389/1) Bob Dylan, 2022-10-17, AFAS Live, Amsterdam, Netherlands

Audio/Flac, Dime/?, (20221127)

Amsterdam, The Netherlands
AFAS Live

October 17, 2022

1. Intro + Oh Susanna (short instrumental)
2. Watching The River Flow (Bob on piano)
3. Most Likely You Go Your Way (and I'll Go Mine) (Bob on piano)
4. I Contain Multitudes (Bob on piano)
5. False Prophet (Bob on piano)
6. When I Paint My Masterpiece (Bob on piano with full backing band)
7. Black Rider (Bob on piano)
8. My Own Version of You (Bob on piano)
9. I'll Be Your Baby Tonight (Bob on piano)
10. Crossing The Rubicon (Bob on piano)
11. To Be Alone With You (Bob on piano)
12. Key West (Philosopher Pirate) (Bob on piano)
13. Gotta Serve Somebody (Bob on piano)
14. I've Made Up My Mind To Give Myself To You (Bob on piano)
15. That Old Black Magic (Bob on piano)
16. Mother of Muses (Bob on piano)
17. Goodbye Jimmy Reed (Bob on piano)
18. Band introductions
19. Every Grain of Sand (Bob on piano with harp)

Band Members
Bob Dylan - piano, harp
Tony Garnier - bass
Charley Drayton - drums
Bob Britt - guitar
Doug Lancio - guitar
Donnie Herron - violin, electric mandolin, pedal steel, lap steel

Recorded by BW with Edirol-Roland R-09 at 24 bits 96 khz wav from row 9.
The recorded parts were transfered to an Acer Helios laptop.
Audacity was used to join the parts and amplify the recording slightly Cd Wave for cutting the tracks. Dbpoweramp for creating flacs level 6.
Tag&Rename for tagging.

Does play seamless. As such -the recording as being 24 bits- can't be burned to a cd.
Please no lossy converting except for personal use. No remastering.


(392/1) Bob Dylan, 2022-10-23, London Palladium, London, England

Audio/Flac, Dime/?, (20221127)

Bob Dylan
The Palladium, London

Oct 23 2022

1. Watching The River Flow
2. Most Likely You Go Your Way (And I'll Go Mine)
3. I Contain Multitudes
4. False Prophet
5. When I Paint My Masterpiece
6. Black Rider
7. My Own Version Of You
8. I'll Be Your Baby Tonight
9. Crossing The Rubicon
10. To Be Alone With You
11. Key West
12. Gotta Serve Somebody
13. I've Made Up My Mind To Give Myself To You
14. That Old Black Magic
15. Mother Of Muses
16. Goodbye Jimmy Reed
17. Band Introductions
18. Every Grain Of Sand
19. Outro

Sonic Studios DSM-6>PA6-XP>Tascam DR100 MkIII>
Wavelab>CD Wave Editor>FLAC Level 8

An EBR Recording


(707/1) Bob Dylan, BD-1967-03-27, Bob Dylan s Greatest Hits, {01.02.01}

Audio/LP, ?/?, (?)

683707001a683707001b683707001c683707001d
Bob Dylan

Bob Dylan's Greatest Hits

Columbia – KCS 9463
1970
sortie : 27 mars 1967

Tracklist
A1 Rainy Day Women #12 & 35
A2 Blowin' In The Wind
A3 The Times They Are A-Changin'
A4 It Ain't Me Babe
A5 Like A Rolling Stone

B1 Mr. Tambourine Man
B2 Subterranean Homesick Blues
B3 I Want You
B4 Positively 4th Street
B5 Just Like A Woman


(707/2) Bob Dylan, BD-1967-03-27, Bob Dylan s Greatest Hits, {01.02.01}

Audio/LP, ?/?, (?)

683707002a683707002b683707002c683707002d
Bob Dylan

Greatest Hits

CBS – S 62847
1969
sortie : 1966

Tracklist
A1 Blowin' In The Wind 2:46
A2 It Ain't Me Babe 3:50
A3 The Times They Are A-Changin' 3:12
A4 Mr. Tambourine Man 5:25
A5 She Belongs To Me 2:48
A6 It's All Over Now Baby Blue 4:13

B1 Subterranean Homesick Blues 2:17
B2 One Of Us Must Know 4:55
B3 Like A Rolling Stone 5:59
B4 Just Like A Woman 4:52
B5 Rainy Day Women Nos. 12 & 35 2:06
B6 I Want You 2:57


(110/1) Bob Dylan, BD-1991-03-26, The Bootleg Series V01-1961 1991, {01.02.06}

Audio/?, ?/?, (?)

Bob Dylan

The Bootleg Series Volume 01
1961 1991

01_BobDylanHardTimesInNewYorkTown
02_HeWasAFriendOfMine
03_ManOnTheStreet
04_NoMoreAuctionBlock
05_HouseCarpenter
06_Talkin'BearMountainPicnicMassacreBlues
07_LetMeDieInMyFootsteps
08_Rambling,GamblingWillie
09_Talkin'HavaNegeilahBlues
10_QuitYourLowDownWays
11_WorriedBlues
12_KingsportTown
13_Walkin'DownTheLine
14_WallsOfRedWing
15_PathsOfVictory
16_Talkin'JohnBirchParanoidBlues
17_WhoKilledDaveyMoore
18_OnlyAHobo
19_Moonshiner
20_WhenTheShipComesIn
21_TheTimesTheyAreA-Changin'
22_LastThoughtsOnWoodyGuthrie

(111/1) Bob Dylan, BD-1991-03-26, The Bootleg Series V02-1961 1991, {01.02.06}

Audio/?, ?/?, (?)

Bob Dylan

The Bootleg Series Volume 02
1961 1991

23 seven curses
24 eternal circle
25 suze (the cough song)
26 mama, you been on my mind
27 farewell, angelina
28 subterranean homesick blues
29 if you gotta go, go now (or else you got to stay all night
30 sitting on a barbed wire fence
31 like a rolling stone
32 it takes a lot to laugh, it takes a train to cry
33 i`ll keep it with mine
34 she`s your lover now
35 i shall be released
36 santa-fe
37 if not for you
38 wallflower
39 nobody `cept you
40-tangled_up_in_blue_(9-16-74)_192_lame_cbr
41 call letter blues
42 idiot wind

(112/1) Bob Dylan, BD-1991-03-26, The Bootleg Series V03-1961 1991, {01.02.06}

Audio/?, ?/?, (?)

Bob Dylan

The Bootleg Series Volume 03
1961 1991

01_IfYouSeeHer,SayHello
02_GoldenLoom
03_Catfish
04_SevenDays
05_YeShallBeChanged
06_EveryGrainOfSand
07_YouChangedMyLife
08_NeedAWoman
09_Angelina
10_Someone'sGotAHoldofMyHeart
11_TellMe
12_LordProtectMyChild
13_FootOfPride
14_BlindWillieMcTell
15_WhenTheNightComesFallingFromTheSky
16_SeriesOfDreams

(113/1) Bob Dylan, BD-1998-10-13, The Bootleg Series V04-live 1966 the royal albert hall concert, {04.02.01}

Audio/?, ?/?, (?)

683113001a683113001b
Bob Dylan

The Bootleg Series Volume 04
live 1966 the royal albert hall concert

1.01 she belongs to me
1.02 fourth time around
1.03 visions of johanna
1.04 it's all over now, baby blue
1.05 desolation row
1.06 just like a woman
1.07 mr. tambourine man

2.01 tell me, momma
2.02 i don't believe you (she acts l
2.03 baby, let me follow you down
2.04 just like tom thumb's blues
2.05 leopard-skin pill-box hat
2.06 one too many mornings
2.07 ballad of a thin man
2.08 like a rolling stone


(799/1) Bob Dylan, BD-2001-02-28, Live 1961-2000 Thirty-Nine Years Of Great Concert Performances, {09.02.01}

Audio/Mp3, ?/?, (?)

683799001a683799001b
Bob Dylan

Live 1961-2000 Thirty-Nine Years Of Great Concert Performances

SME Records – SRCS 2438
28 févr. 2001

1 Somebody Touched Me 2:42
2 Wade In The Water 2:59
3 Handsome Molly 2:47
4 To Ramona 4:27
5 I Don't Believe You 6:00
6 Grand Coulee Dam 2:56
7 Knockin' On Heaven's Door 3:49
8 It Ain't Me, Babe 5:16
9 Shelter From The Storm 5:25
10 Dead Man, Dead Man 3:56
11 Slow Train 4:59
12 Dignity 6:35
13 Cold Irons Bound 6:49
14 Born In Time 5:19
15 Country Pie 2:48
16 Things Have Changed 5:52


(114/1) Bob Dylan, BD-2002-11-26, The Bootleg Series V05-Rolling Thunder Revue, {06.02.02}

Audio/?, ?/?, (?)

Bob Dylan

The Bootleg Series Volume 05
Rolling Thunder Revue

1-01 tonight i'll be staying here with you
1-02 it ain't me babe
1-03 a hard rain's a-gonna fall
1-04 the lonesome death of hattie carroll
1-05 romance in durango
1-06 isis
1-07 mr. tambourine man
1-08 simple twist of fate
1-09 blowin' in the wind
1-10 mama, you been on my mind
1-11 i shall be released
2-01 it's all over now, baby blue
2-02 love minus zero_no limit
2-03 tangled up in blue
2-04 the water is wide
2-05 it takes a lot to laugh, it takes a train to cry
2-06 oh, sister
2-07 hurricane
2-08 one more cup of coffee (valley below)
2-09 sara
2-10 just like a woman
2-11 knockin' on heaven's door

(115/1) Bob Dylan, BD-2004-03-30, The Bootleg Series V06-Live 1964 Concert at Philharmonic Hall, {03.02.04}

Audio/?, ?/?, (?)

683115001a683115001b
Bob Dylan

The Bootleg Series Volume 06
Live 1964 Concert at Philharmonic Hall

01. bob dylan - the times they are a-changin'
02. bob dylan - spanish harlem incident
03. bob dylan - talkin' john birch paranoid blues
04. bob dylan - to ramona
05. bob dylan - who killed davey moore
06. bob dylan - gates of eden
07. bob dylan - if you gotta go, go now
08. bob dylan - it's alright, ma (i'm only bleeding)
10. bob dylan - mr. tambourine man
11. bob dylan - a hard rain's a-gonna fall
12. bob dylan - talkin' world war iii blues
13. bob dylan - don't think twice, it's all right
14. bob dylan - the lonesome death of hattie carroll
15. bob dylan - mama, you been on my mind
16. bob dylan - silver dagger
17. bob dylan - with god on our side
18. bob dylan - it ain't me, babe
19. bob dylan - all i really want to do

(116/1) Bob Dylan, BD-2005-08-30, The Bootleg Series V07-No Direction Home The Soundtrack A Martin Scorsese Picture, {04.03.01}

Audio/?, ?/?, (?)

Bob Dylan

The Bootleg Series Volume 07
No Direction Home The Soundtrack A Martin Scorsese Picture

CD 1
CD 1\101 - when i got troubles
CD 1\102 - rambler, gambler (home recording)
CD 1\103 - this land is your land
CD 1\104 - song to woody
CD 1\105 - dink's song (home recording)
CD 1\106 - i was young when i left home (home recording)
CD 1\107 - sally gal (alternate take)
CD 1\108 - don't think twice, it's all right (demo)
CD 1\109 - man of constant sorrow
CD 1\110 - blowin' in the wind
CD 1\111 - masters of war
CD 1\112 - a hard rain's a-gonna fall
CD 1\113 - when the ship comes in
CD 1\114 - mr. tambourine man (alternate take)
CD 1\115 - chimes of freedom
CD 1\116 - it's all over now, baby blue (alternate take)
CD 2
CD 2\201 - she belongs to me (alternate take)
CD 2\202 - maggie's farm (live version)
CD 2\203 - it takes a lot to laugh, it takes a train to cry (alternate take)
CD 2\204 - tombstone blues (alternate take)
CD 2\205 - just like tom thumb's blues (alternate take)
CD 2\206 - desolation row (alternate take)
CD 2\207 - highway 61 revisited (alternate take)
CD 2\208 - leopard-skin pill-box hat (alternate take)
CD 2\209 - stuck inside of mobile with the memphis blues again (alternate take)
CD 2\210 - visions of johanna (alternate take)
CD 2\211 - ballad of a thin man (live version)
CD 2\212 - like a rolling stone (live version)


(117/1) Bob Dylan, BD-2008-10-06, The Bootleg Series V08-Tell Tale Signs Rare And Unreleased 1989-BD-2006, {09.03.01}

Audio/?, ?/?, (?)

Bob Dylan

Tell Tale Signs (Rare And Unreleased 1989-2006) : The Bootleg Series Vol.8

1-1 Mississippi (Unreleased, Time Out Of Mind) 6:04
1-2 Most Of The Time (Alternate Version, Oh Mercy) 3:35
1-3 Dignity (Piano Version, Oh Mercy) 2:12
1-4 Someday Baby (Alternate Version, Modern Times) 5:58
1-5 Red River Shore (Unreleased, Time Out Of Mind) 7:34
1-6 Tell Ol' Bill (Alternate Version, North Country Soundtrack) 5:30
1-7 Born In Time (Unreleased, Oh Mercy) 4:14
1-8 Can't Wait (Alternate Version, Oh Mercy) 5:44
1-9 Everything Is Broken (Alternate Version, Oh Mercy) 3:11
1-10 Dreamin' Of You (Unreleased, Time Out Of Mind) 5:50
1-11 Huck's Tune (From Lucky You Soundtrack) 4:04
1-12 Marchin' To The City (Unreleased, Time Out Of Mind) 6:32
1-13 High Water (For Charley Patton) (Live, 2003) 6:46

2-1 Mississippi (Unreleased Version #2, Time Of Mind) 6:22
2-2 32-30 (Unreleased, World Gone Wrong) 3:06
2-3 Series Of Dreams (Unreleased, Oh Mercy) 6:26
2-4 God Knows (Unreleased, Oh Mercy) 3:07
2-5 Can't Escape From You (Unreleased, December 2005) 5:12
2-6 Dignity (Unreleased, Oh Mercy) 5:24
2-7 Ring Them Bells (Live At The Supper Club, 1993) 4:59
2-8 Cocaine Blues (Live, 1997) 4:41
2-9 Ain't Talkin' (Alternate Version, Modern Times) 6:09
2-10 The Girl On The Greenbriar Shore (Live, 1992) 2:24
2-11 Lonesome Day Blues (Live, 2002) 7:36
2-12 Miss The Mississippi (Unreleased, 1992) 3:22
2-13 The Lonesome River (With Ralph Stanley, From Clinch Mountain Country) 3:05
2-14 'Cross The Green Mountain (From Gods And Generals Soundtrack) 8:15

3-1 Duncan And Brady (Unreleased, 1992) 3:47
3-2 Cold Irons Bound (Live, 2004) 5:57
3-3 Mississippi (Unreleased Version #3, Time Out Of Mind) 6:24
3-4 Most Of The Time (Alternate Version #2, Oh Mercy) 5:10
3-5 Ring Them Bells (Alternate Version, Oh Mercy) 3:18
3-6 Things Have Changed (Live, 2000) 5:32
3-7 Red River Shore (Unreleased Version #2, Time Out Of Mind) 7:08
3-8 Born In Time (Unreleased Version #2, Oh Mercy) 4:19
3-9 Tryin' To Get To Heaven (Live, 2000) 5:10
3-10 Marchin' To The City (Unreleased Version #2, Time Out Of Mind) 3:39
3-11 Can't Wait (Alternate Version #2, Time Out Of Mind) 7:24
3-12 Mary And The Soldier (Unreleased, World Gone Wrong) 4:23

(118/1) Bob Dylan, BD-2010-10-18, The Bootleg Series V09-The Witmark Demos, {03.03.01}

Audio/?, ?/?, (?)

Bob Dylan

The Witmark Demos: 1962-1964 : The Bootleg Series Vol.9

1 Man On The Street (Fragment) 01:08
2 Hard Times In New York Town 01:58
3 Poor Boy Blues 03:02
4 Ballad For A Friend 02:24
5 Rambling, Gambling Willie 03:39
6 Talking Bear Mountain Picnic Massacre Blues 03:43
7 Standing On The Highway 02:33
8 Man On The Street 01:31
9 Blowin' In The Wind 02:38
10 Long Ago, Far Away 02:30
11 A Hard Rain's A-Gonna Fall 06:50
12 Tomorrow Is A Long Time 03:47
13 The Death Of Emmett Till 04:32
14 Let Me Die In My Footsteps 01:37
15 Ballad Of Hollis Brown 04:08
16 Quit Your Low Down Ways 02:50
17 Baby, I'm In The Mood For You 01:37
18 Bound To Lose, Bound To Win 01:20
19 All Over You 03:53
20 I'd Hate To Be You On That Dreadful Day 02:01
21 Long Time Gone 03:47
22 Talkin' John Birch Paranoid Blues 03:17
23 Masters Of War 04:24
24 Oxford Town 02:34
25 Farewell 03:59
26 Don't Think Twice, It's All Right 03:39
27 Walkin' Down The Line 03:24
28 I Shall Be Free 04:30
29 Bob Dylan's Blues 01:58
30 Bob Dylan's Dream 03:53
31 Boots Of Spanish Leather 05:50
32 Girl From North Country 03:09
33 Seven Curses 03:13
34 Hero Blues 01:36
35 Watcha Gonna Do? 03:37
36 Gypsy Lou 03:45
37 Ain't Gonna Grieve 01:29
38 John Brown 04:20
39 Only A Hobo 02:26
40 When The Ship Comes In 02:57
41 The Times They Are A-Changin' 03:04
42 Paths Of Victory 04:12
43 Guess I'm Doing Fine 04:09
44 Baby, Let Me Follow You Down 01:56
45 Mama, You Been On My Mind 02:14
46 Mr. Tambourine Man 05:56
47 I'll Keep It With Mine 03:35


(795/1) Bob Dylan, BD-2012-12-27, The 50th Anniversary Collection The Copyright Extension Collection Vol.1, {02.03.01}

Audio/Mp3, ?/?, (?)

683795001a
Bob Dylan

The 50th Anniversary Collection / The Copyright Extension Collection Vol. I

27 déc. 2012

1 Going Down To New Orleans (Mx. CO 70085-1)
2 Going Down To New Orleans (Mx. CO 70085-2)
3 Sally Gal (Mx. CO 70086-2)
4 Sally Gal (Mx. CO 70086-3)
5 Rambling Gambling Willie (Mx. CO 70087-1)
6 Rambling Gambling Willie (Mx. CO 70087-3)
7 Corrina, Corrina (Mx. CO 70088-1)
8 Corrina, Corrina (Mx. CO 70088-2)
9 The Death Of Emmett Till (Mx. CO 70089-1)
10 (I Heard That) Lonesome Whistle (Mx. CO 70091-2)
11 Rocks And Gravel (Solid Road) (Mx. CO 70096-3)
12 Sally Gal (Mx. CO 70086-4)
13 Sally Gal (Mx. CO 70086-5)
14 Baby, Please Don't Go (Mx. CO 70099-1)
15 Baby, Please Don't Go (Mx. CO 70099-3)
16 Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-1)
17 Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-3)
18 Wichita Blues (Going To Louisiana) (Mx. CO 70101-1)
19 Talking Bear Mountain Picnic Massacre Blues (Mx. CO 70102-2)
20 Milk Cow (Calf's) Blues (Good Morning Blues) (Mx. CO 70100-4)
21 Wichita Blues (Going To Louisiana) (Mx. CO 70101-2)
22 Baby, I'm In The Mood For You (Mx. CO 75717-2)
23 Blowin' In The Wind (Mx. CO 75719-1)
24 Blowin' In The Wind (Mx. CO 75719-2)
25 Worried Blues (Mx. CO 75723-1)
26 Baby, I'm In The Mood For You (Mx. CO 75717-4)
27 Bob Dylan's Blues (Mx. CO 75718-2)
28 Bob Dylan's Blues (Mx. CO 75718-3)
29 Corrina, Corrina (Mx. CO 76981-2)
30 Corrina, Corrina (Mx. CO 76981-3)
31 That's All Right, Mama (Mx. CO 76983-1)
32 That's All Right, Mama (Mx. CO 76983-3)
33 That's All Right, Mama (Mx. CO 76983-5)
34 Mixed Up Confusion (Mx. CO 76982-3)
35 Mixed Up Confusion (Mx. CO 76982-5)
36 Mixed Up Confusion (Mx. CO 76982-6)
37 Mixed Up Confusion (mx. CO 76982-7)
38 Mixed Up Confusion (Mx. CO 76982-9)
39 Mixed Up Confusion (Mx. CO 76982-10)
40 Mixed Up Confusion (Mx. CO 76982-11)
41 That's All Right, Mama (remake/overdub CO76893-3)
42 Rocks And Gravel (Solid Road) (Mx. CO 76986-2)
43 Ballad Of Hollis Brown (Mx. CO 77003-2)
44 Kingsport Town (Mx. CO 77004-1)
45 When Death Comes Creepin' (Whatcha Gonna Do?) (Mx. CO 77005-1)
46 Hero Blues (mx. CO 77020-1)
47 When Death Comes Creepin' (Whatcha Gonna Do?) (Mx. CO 77021-1)
48 I Shall Be Free (Mx. CO 77023-3)
49 I Shall Be Free (Mx. CO 77023-5)
50 Hero Blues (Mx. CO 77020-2)
51 Hero Blues (Mx. CO 77020-4)
52 Hard Times In New York Town (Mackenzie Home Tapes)
53 The Death Of Emmett Till (Mackenzie Home Tapes)
54 I Rode Out One Morning (Mackenzie Home Tapes)
55 House Of The Rising Sun (Mackenzie Home Tapes)
56 See That My Grave Is Kept Clean (Mackenzie Home Tapes)
57 Ballad Of Donald White (Mackenzie Home Tapes)
58 Honey, Just Allow Me One More Chance (Gerde's Folk City)
59 Talkin' New York (Gerde's Folk City)
60 Corrina, Corrina (Gerde's Folk City)
61 Deep Ellum Blues (Gerde's Folk City)
62 Blowin' In The Wind (Gerde's Folk City)
63 The Death Of Emmett Till (Finjan Club, Montreal)
64 Stealin' (Finjan Club, Montreal)
65 Hiram Hubbard (Finjan Club, Montreal)
66 Blowin' In The Wind (Finjan Club, Montreal)
67 Rocks And Gravel (Solid Road) (Finjan Club, Montreal)
68 Quit Your Low Down Ways (Finjan Club, Montreal)
69 He Was A Friend Of Mine (Finjan Club, Montreal)
70 Let Me Die In My Footsteps (Finjan Club, Montreal)
71 Two Trains Runnin' (Finjan Club, Montreal)
72 Ramblin' On My Mind (Finjan Club, Montreal)
73 Muleskinner Blues (Finjan Club, Montreal)
74 Muleskinner Blues (part 2) (Finjan Club, Montreal)
75 Sally Gal (Carnegie Hall Hootenanny)
76 Highway 51 (Carnegie Hall Hootenanny)
77 Talking John Birch Paranoid Blues (Carnegie Hall Hootenanny)
78 The Ballad Of Hollis Brown (Carnegie Hall Hootenanny)
79 A Hard Rain's A-Gonna Fall (Carnegie Hall Hootenanny)
80 See That My Grave Is Kept Clean (The Gaslight Café, NYC)
81 No More Auction Block (The Gaslight Café, NYC)
82 A Motherless Child (The Gaslight Café, NYC)
83 Kindhearted Woman Blues (The Gaslight Café, NYC)
84 Black Cross (The Gaslight Café, NYC)
85 The Ballad of Hollis Brown (The Gaslight Café, NYC)
86 Ain't No More Cane (The Gaslight Café, NYC)


(119/1) Bob Dylan, BD-2013-08-23, The Bootleg Series V10-Another Self Portrait, {05.02.04}

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Bob Dylan

Another Self Portrait (1969-1971) : The Bootleg Series Vol.10

CD1
1 Went To See The Gypsy (Demo) 03:01
2 Little Sadie (Without Overdubs, Self Portrait) 02:02
3 Pretty Saro (Unreleased, Self Portrait) 02:17
4 Alberta #3 (Alternate Version, Self Portrait) 02:37
5 Spanish Is The Loving Tongue (Unreleased, Self Portrait) 03:52
6 Annie's Going To Sing Her Song (Unreleased, Self Portrait) 02:24
7 Time Passes Slowly #1 (Alternate Version, New Morning) 02:18
8 Only A Hobo (Unreleased, Greatest Hits II) 03:26
9 Minstrel Boy (Unreleased, The Basement Tapes) 01:42
10 I Threw It All Away (Alternate Version, Nashville Skyline) 02:26
11 Railroad Bill (Unreleased, Self Portrait) 02:48
12 Thirsty Boots (Unreleased, Self Portrait) 04:08
13 This Evening So Soon (Unreleased, Self Portrait) 04:50
14 These Hands (Unreleased, Self Portrait) 03:43
15 In Search Of Little Sadie (Without Overdubs, Self Portrait) 02:29
16 House Carpenter (Unreleased, Self Portrait) 06:01
17 All The Tired Horses (Without Overdubs, Self Portrait) 01:15

CD2
1 If Not For You (Alternate Version, New Morning) 02:30
2 Wallflower (Alternate Version, 1971) 02:19
3 Wigwam (Without Overdubs, Self Portrait) 03:11
4 Days Of '49 (Without Overdubs, Self Portrait) 05:14
5 Working On A Guru (Unreleased, New Morning) 03:44
6 Country Pie (Alternate Version, Nashville Skyline) 01:27
7 I'll Be Your Baby Tonight (Live With The Band, Isle Of Wight, 1969) 03:32
8 Highway 61 Revisited (Live With The Band, Isle Of Wight, 1969) 03:39
9 Copper Kettle (Without Overdubs, Self Portrait) 03:36
10 Bring Me A Little Water (Unreleased, New Morning) 04:00
11 Sign On The Window (With Orchestral Overdubs, New Morning) 03:52
12 Tattle O'Day (Unreleased, Self Portrait) 03:49
13 If Dogs Run Free (Alternate Version, New Morning) 04:11
14 New Morning (With Horn Section Overdubs, New Morning) 04:05
15 Went To See The Gypsy (Alternate Version, New Morning) 03:34
16 Belle Isle (Without Overdubs, Self Portrait) 02:36
17 Time Passes Slowly #2 (Alternate Version, New Morning) 03:03
18 When I Paint My Masterpiece (Demo) 03:53

CD3 - Isle Of Wight Concert 1969
1 Intro 00:40
2 She Belongs To Me 03:02
3 I Threw It All Away 03:07
4 Maggie's Farm 04:01
5 Wild Mountain Thyme 02:52
6 It Ain't Me Babe 03:09
7 To Ramona 02:26
8 Mr. Tambourine Man 03:09
9 I Dreamed I Saw St. Augustine 03:32
10 Lay Lady Lay 03:59
11 Highway 61 Revisited 03:50
12 One Too Many Mornings 02:39
13 I Pity The Poor Immigrant 04:09
14 Like A Rolling Stone 05:25
15 I'll Be Your Baby Tonight 04:00
16 (Quinn, The Eskimo) The Mighty Quinn 03:23
17 Minstrel Boy 03:59
18 Rainy Day Women # 12 & 35 03:17

CD4 - The Original "Self Portrait" Release, 1969 (Remastered, 2013)
1 All The Tired Horses 03:13
2 Alberta # 1 02:58
3 I Forgot More Than You'll Ever Know 02:25
4 Days Of '49 05:29
5 Early Mornin' Rain 03:38
6 In Search Of Little Sadie 02:31
7 Let It Be Me 03:01
8 Little Sadie 02:02
9 Woogie Boogie 02:09
10 Belle Isle 02:33
11 Living The Blues 02:44
12 Like A Rolling Stone 05:22
13 Copper Kettle 03:36
14 Gotta Travel On 03:11
15 Blue Moon 02:31
16 The Boxer 02:49
17 (Quinn, The Eskimo) The Mighty Quinn 02:50
18 Take Me As I Am (Or Let Me Go) 03:04
19 Take A Message To Mary 02:47
20 It Hurts Me Too 03:16
21 Minstrel Boy 03:35
22 She Belongs To Me 02:46
23 Wigwam 03:12
24 Alberta # 2 03:15


(120/1) Bob Dylan, BD-2014-11-04, The Bootleg Series V11-The Basement Tapes Complete, {05.02.02}

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Bob Dylan And The Band

The Basement Tapes Complete: The Bootleg Series Vol. 11

CD1
1 Edge Of The Ocean 02:21
2 My Bucket's Got A Hole In It 01:35
3 Roll On Train 02:00
4 Mr. Blue 01:52
5 Belshazzar 03:22
6 I Forgot To Remember To Forget 03:19
7 You Win Again 02:43
8 Still In Town 03:05
9 Waltzing With Sin 02:49
10 Big River (Take 1) 00:43
11 Big River (Take 2) 02:23
12 Folsom Prison Blues 02:46
13 Bells Of Rhymney 03:16
14 Spanish Is The Loving Tongue 03:53
15 Under Control 02:50
16 Ol' Roison The Beau 04:55
17 I'm Guilty Of Loving You 01:09
18 Cool Water 03:04
19 The Auld Triangle 05:47
20 Po' Lazarus 01:00
21 I'm A Fool For You (Take 1) 01:06
22 I'm A Fool For You (Take 2) 02:34

CD2
1 Johnny Todd 02:05
2 Tupelo 02:22
3 Kickin' My Dog Around 02:44
4 See You Later Allen Ginsberg (Take 1) 00:30
5 See You Later Allen Ginsberg (Take 2 00:51
6 Tiny Montgomery 02:57
7 Big Dog 00:24
8 I'm You're Teenage Prayer 03:52
9 Four Strong Winds 03:42
10 The French Girl (Take 1) 02:12
11 The French Girl (Take 2) 03:00
12 Joshua Gone Barbados 02:46
13 I'm In The Mood 01:58
14 Baby Ain't That Fine 02:11
15 Rock, Salt And Nails 04:37
16 A Fool Such As I 02:57
17 Song For Canada 04:31
18 People Get Ready 03:16
19 I Don't Hurt Anymore 02:15
20 Be Careful Of Stones That You Throw 03:04
21 One Man's Loss 03:52
22 Lock Your Door 00:23
23 Baby, Won't You Be My Baby 02:53
24 Try Me Little Girl 01:38
25 I Can't Make It Alone 03:34
26 Don't You Try Me Now 03:12

CD3
1 Young But Daily Growing 05:40
2 Bonnie Ship The Diamond 03:21
3 The Hills Of Mexico 03:05
4 Down On Me 00:43
5 One For The Road 04:50
6 I'm Alright 01:46
7 Million Dollar Bash (Take 1) 02:52
8 Million Dollar Bash (Take 2) 02:35
9 Yea! Heavy And A Bottle Of Bread (Take 1) 01:50
10 Yea! Heavy And A Bottle Of Bread (Take 2) 02:16
11 I'm Not There 05:13
12 Please Mrs. Henry 02:34
13 Crash On The Levee (Take 1) 02:11
14 Crash On The Levee (Take 2) 02:06
15 Lo And Behold! (Take 1) 02:54
16 Lo And Behold! (Take 2) 02:50
17 You Ain't Goin' Nowhere (Take 1) 02:48
18 You Ain't Goin' Nowhere (Take 2) 02:46
19 I Shall Be Released (Take 1) 04:04
20 I Shall Be Released (Take 2) 03:58
21 This Wheel's On Fire 03:54
22 Too Much Of Nothing (Take 1) 03:03
23 Too Much Of Nothing (Take 2) 02:51

CD4
1 Tears Of Rage (Take 1) 04:04
2 Tears Of Rage (Take 2) 02:31
3 Tears Of Rage (Take 3) 04:15
4 Quinn The Eskimo (Take 1) 02:03
5 Quinn The Eskimo (Take 2) 02:16
6 Open The Door Homer (Take 1) 02:53
7 Open The Door Homer (Take 2) 00:58
8 Open The Door Homer (Take 3) 03:14
9 Nothing Was Delivered (Take 1) 04:26
10 Nothing Was Delivered (Take 2) 03:44
11 Nothing Was Delivered (Take 3) 00:33
12 All American Boy 03:59
13 Sign On The Cross 07:21
14 Odds And Ends (Take 1) 01:48
15 Odds And Ends (Take 2) 01:49
16 Get Your Rocks Off 03:46
17 Clothes Line Saga 02:59
18 Apple Suckling Tree (Take 1) 02:41
19 Apple Suckling Tree (Take 2) 02:51
20 Don't Ya Tell Henry 02:31
21 Bourbon Street 05:05

CD5
1 Blowin' In The Wind 06:36
2 One Too Many Morning 03:23
3 A Satisfied Mind 02:01
4 It Ain't Me, Babe 03:33
5 Ain't No More Cane (Take 1) 02:41
6 Ain't No More Cane (Take 2) 01:58
7 My Woman She's A-Leavin' 02:30
8 Santa-Fe 02:08
9 Mary Lou, I Love You Too 02:30
10 Dress It Up, Better Have It All 02:53
11 Minstrel Boy 01:40
12 Silent Weekend 03:01
13 What's It Gonna Be When It Comes Up 03:04
14 900 Miles From My Home 02:14
15 Wildwood Flower 02:11
16 One Kind Favor 03:33
17 She'll Be Coming Round The Mountain 01:39
18 It's The Flight Of The Bumblebee 02:09
19 Wild Wolf 03:35
20 Goin' To Acapulco 05:37
21 Gonna Get You Now 01:31
22 If I Were A Carpenter 02:23
23 Confidential 01:37
24 All You Have To Do Is Dream (Take 1) 03:56
25 All You Have To Do Is Dream (Take 2) 03:20

CD6
1 2 Dollars And 99 Cents 02:35
2 Jelly Bean 02:58
3 Any Time 03:17
4 Down By The Station 01:29
5 Hallelujah, I've Just Been Moved 03:04
6 That's The Breaks 04:18
7 Pretty Mary 03:12
8 Will The Circle Be Unbroken 02:09
9 King Of France 03:53
10 She's On My Mind Again 04:19
11 Goin' Down The Road Feeling Bad 03:21
12 On A Rainy Afternoon 02:53
13 I Can't Come In With A Broken Heart 02:42
14 Next Time On The Highway 02:20
15 Northern Claim 02:05
16 Love Is Only Mine 01:50
17 Silhouettes 01:52
18 Bring It On Home 03:07
19 Come All Ye Fair And Tender Ladies 02:09
20 The Spanish Song (Take 1) 02:47
21 The Spanish Song (Take 2) 02:16
22 900 Miles From My Home / Confidential 02:27


(121/1) Bob Dylan, BD-2015-11-06, The Bootleg Series V12-The Cutting Edge 1965 1966 Deluxe edition, {04.03.03}

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Bob Dylan

The Cutting Edge: The Bootleg Series Vol. 12

CD1
101 Love Minus Zero/No Limit – Take 1 (1/13/1965) Breakdown 01:35
102 Love Minus Zero/No Limit – Take 2 (1/13/1965) Complete 03:12
103 I’ll Keep It With Mine – Take 1 (1/13/1965) Released on Biograph, 1985 04:12
104 It’s All Over Now, Baby Blue – Take 1 (1/13/1965) Released on The Bootleg Series, Vol. 7, 2005 03:35
105 Bob Dylan’s 115th Dream – Take 1 (1/13/1965) Fragment. Released on Bringing It All Back Home, 1965 00:27
106 Bob Dylan’s 115th Dream – Take 2 (1/13/1965) Complete 05:51
107 She Belongs To Me – Take 1 (1/13/1965) Complete 02:59
108 Subterranean Homesick Blues – Take 1 (1/13/1965) Released on The Bootleg Series, Vol. 1-3, 1991 03:09
109 Outlaw Blues – Take 1 (1/13/1965) Complete 02:17
110 On The Road Again – Take 1 (1/13/1965) Complete 03:22
111 Farewell Angelina – Take 1 (1/13/1965) Released on Bootleg Series, Vol. 1-3, 1991 05:30
112 If You Gotta Go, Go Now – Take 1 (1/13/1965) Complete 02:55
113 You Don’t Have to Do That – Take 1 (1/13/1965) Incomplete 00:52
114 California – Take 1 (1/13/1965) Complete 03:07
115 Love Minus Zero/No Limit – Take 3 remake (1/13/1965) Complete 03:42
116 She Belongs To Me – Take 2 remake (1/13/1965) Complete 03:21
117 Outlaw Blues – Take 1 remake (1/13/1965) False start 00:29
118 Outlaw Blues – Take 2 remake (1/13/1965) Complete 03:30
119 Love Minus Zero/No Limit – Take 1 remake (1/14/1965) Complete 02:44
120 Love Minus Zero/No Limit – Take 2 remake (1/14/1965) Released on Bringing It All Back Home, 1965 02:58
121 Love Minus Zero/No Limit – (1/14/1965) Insert 01:53
122 Subterranean Homesick Blues – Take 1 remake (1/14/1965) Complete 02:40
123 Subterranean Homesick Blues – Take 2 remake (1/14/1965) False start 00:25
124 Subterranean Homesick Blues – Take 3 remake (1/14/1965) Released on Bringing It All Back Home, 1965 02:29
125 Outlaw Blues – Take 1 remake (1/14/1965) False start 00:31
126 Outlaw Blues – Take 2 remake (1/14/1965) Fragment/breakdown 01:01
127 Outlaw Blues – Take 3 remake (1/14/1965) Released on Bringing It All Back Home, 1965 03:11

CD2
201 She Belongs To Me – Take 1 remake (1/14/1965) Complete 02:49
202 She Belongs To Me – Take 2 remake (1/14/1965) Released on Bringing It All Back Home, 1965 02:50
203 Bob Dylan’s 115th Dream – Take 1 (1/14/1965) False start 00:08
204 Bob Dylan’s 115th Dream – Take 2 (1/14/1965) Released on Bringing It All Back Home, 1965 06:09
205 On The Road Again – Take 1 (1/14/1965) False start 00:28
206 On The Road Again – Take 2 (1/14/1965) Complete 02:55
207 On The Road Again – Take 3 (1/14/1965) False start 00:43
208 On The Road Again – Take 4 (1/14/1965) Complete 02:33
209 Maggie’s Farm – Take 1 (1/15/1965) Released on Bringing It All Back Home, 1965 04:02
210 On The Road Again – Take 1 remake (1/15/1965) Complete 02:31
211 On The Road Again – Takes 2-6 remake (1/15/1965) False starts/complete 02:48
212 On The Road Again – Take 7 remake (1/15/1965) Complete 02:50
213 On The Road Again – Takes 8-9 remake (1/15/1965) False starts 00:38
214 On The Road Again – Take 11 remake (1/15/1965) False start 00:46
215 On The Road Again – Take 12 remake (1/15/1965) False start 00:16
216 On The Road Again – Take 13 remake (1/15/1965) Released on Bringing It All Back Home, 1965 02:39
217 It’s Alright, Ma (I’m Only Bleeding) – Take 1 (1/15/1965) False start 01:11
218 It’s Alright, Ma (I’m Only Bleeding) – Take 2 (1/15/1965) Released on Bringing It All Back Home, 1965 07:34
219 Gates Of Eden – Take 1 (1/15/1965) Released on Bringing It All Back Home, 1965 05:45
220 Mr. Tambourine Man – Takes 1-2 (1/15/1965) False starts 01:52
221 Mr. Tambourine Man – Take 3 (1/15/1965) Breakdown 03:25
222 Mr. Tambourine Man – Takes 4-5 (1/15/1965) Breakdown 00:28
223 Mr. Tambourine Man – Take 6 (1/15/1965) Released on Bringing It All Back Home, 1965 05:56
224 It’s All Over Now, Baby Blue – Take 1 remake (1/15/1965) Released on Bringing It All Back Home, 1965 04:15

CD3
301 If You Gotta Go, Go Now – Take 1 (1/15/1965) Complete 02:51
302 If You Gotta Go, Go Now – Take 2 (1/15/1965) Complete 02:51
303 If You Gotta Go, Go Now – Take 3 (1/15/1965) Complete 03:13
304 If You Gotta Go, Go Now – Take 4 (1/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991 02:56
305 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (6/15/1965) Complete 02:41
306 It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 2-3 (6/15/1965) Fragments 00:18
307 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 4 (6/15/1965) Breakdown 01:54
308 It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 5 (6/15/1965) False start 00:17
309 It Takes A Lot To Laugh, It Takes A Train To Cry – Takes 6 (6/15/1965) Breakdown 01:47
310 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 7 (6/15/1965) Insert 00:57
311 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 8 (6/15/1965) Complete 03:30
312 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 9 (6/15/1965) Released on The Bootleg Series, Vol. 7, 2005 03:43
313 Sitting On A Barbed-Wire Fence – Take 1 (6/15/1965) Rehearsal and breakdown 01:26
314 Sitting On A Barbed-Wire Fence – Take 2 (6/15/1965) Complete 04:00
315 Sitting On A Barbed-Wire Fence – Take 3 (6/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991 05:30
316 Sitting On A Barbed-Wire Fence – Take 2 (6/15/1965) Edited version. Complete 03:55
317 It Takes A Lot to Laugh, It Takes A Train To Cry – Take 1 remake (6/15/1965) Released on The Bootleg Series, Vol. 1-3, 1991 03:31
318 Sitting On A Barbed-Wire Fence – Takes 4-5 (6/15/1965) False starts 00:42
319 Sitting On A Barbed-Wire Fence – Take 6 (6/15/1965) Complete 04:54
320 Like A Rolling Stone – Takes 1-3 (6/15/1965) Rehearsal 05:52
321 Like A Rolling Stone – Take 4 (6/15/1965) Rehearsal. Partially released on The Bootleg Series Vol. 1-3, 1991 02:57
322 Like A Rolling Stone – Take 5 (6/15/1965) Breakdown 02:16

CD4
401 Like A Rolling Stone – Rehearsal remake (6/16/1965) Rehearsal 02:34
402 Like A Rolling Stone – Take 1 remake (6/16/1965) Rehearsal 01:58
403 Like A Rolling Stone – Takes 2-3 remake (6/16/1965) False starts 00:36
404 Like A Rolling Stone – Take 4 remake (6/16/1965) Released on Highway 61 Revisited, 1965 06:30
405 Like A Rolling Stone – Take 5 remake (6/16/1965) Rehearsal 01:55
406 Like A Rolling Stone – Take 6 remake (6/16/1965) False start 00:22
407 Like A Rolling Stone – Take 8 remake (6/16/1965) Breakdown 04:19
408 Like A Rolling Stone – Takes 9-10 remake (6/16/1965) False starts 00:36
409 Like A Rolling Stone – Take 11 remake (6/16/1965) Complete 05:58
410 Like A Rolling Stone – Take 12 remake (6/16/1965) False start 00:10
411 Like A Rolling Stone – Take 13 remake (6/16/1965) Breakdown 01:37
412 Like A Rolling Stone – Take 14 remake (6/16/1965) False start 00:24
413 Like A Rolling Stone – Take 15 remake (6/16/1965) Breakdown 03:09
414 Like A Rolling Stone – (6/16/1965) Master take, guitar 06:26
415 Like A Rolling Stone – (6/16/1965) Master take, vocals, guitar (BD) 06:26
416 Like A Rolling Stone – (6/16/1965) Master take, piano, bass 06:26
417 Like A Rolling Stone – (6/16/1965) Master take, drums, organ 06:29

CD5
501 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (7/29/1965) Breakdown 01:52
502 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 2 (7/29/1965) False start 00:25
503 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 3 (7/29/1965) Incomplete 03:13
504 Tombstone Blues – Take 1 (7/29/1965) Complete 07:31
505 Tombstone Blues – Takes 2-3 (7/29/1965) False starts 01:16
506 Tombstone Blues – Take 4 (7/29/1965) Complete 07:00
507 Tombstone Blues – Takes 5-7 (7/29/1965) False starts, rehearsal 01:54
508 Tombstone Blues – Take 9 (7/29/1965) Released on The Bootleg Series, Vol. 7, 2005 03:37
509 Tombstone Blues – Take 10 (7/29/1965) False start 00:25
510 Tombstone Blues – Take 11 (7/29/1965) Breakdown 03:16
511 Tombstone Blues – Take 12 (7/29/1965) Released on Highway 61 Revisited, 1965 06:14
512 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 1 (7/29/1965) Complete 03:52
513 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 2 (7/29/1965) False start 00:24
514 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 3 (7/29/1965) Complete 03:43
515 It Takes A Lot To Laugh, It Takes A Train To Cry – Take 4 (7/29/1965) Released on Highway 61 Revisited, 1965 04:15
516 Positively 4th Street – Takes 1-3 (7/29/1965) False starts 00:58
517 Positively 4th Street – Take 4 (7/29/1965) Complete 04:25
518 Positively 4th Street – Take 5 (7/29/1965) Complete 04:26
519 Positively 4th Street – Take 6 (7/29/1965) Breakdown 00:53
520 Positively 4th Street – Take 7 (7/29/1965) Breakdown 01:14
521 Positively 4th Street – Take 8 (7/29/1965) Breakdown 02:56
522 Positively 4th Street – Take 10 (7/29/1965) Breakdown 01:03
523 Positively 4th Street – Take 12 (7/29/1965) Released as a single, 1965 04:24

CD6
601 Desolation Row – Take 1 (7/29/1965) Released on The Bootleg Series Vol. 7, 2005 11:49
602 From A Buick 6 – Take 1 (7/30/1965) False start 00:24
603 From A Buick 6 – Take 2 (7/30/1965) False start 00:17
604 From A Buick 6 – Take 4 (7/30/1965) Accidentally released on the first pressing of Highway 61 Revisited, 1965 03:13
605 Can You Please Crawl Out Your Window? – Takes 1-4 (7/30/1965) False starts 03:42
606 Can You Please Crawl Out Your Window? – Takes 1-4 (7/30/1965) False starts 01:42
607 Can You Please Crawl Out Your Window? – Take 1 (7/30/1965) Complete 04:39
608 Can You Please Crawl Out Your Window? – Take 2 (7/30/1965) False start 00:36
609 Can You Please Crawl Out Your Window? – Take 3 (7/30/1965) Complete 04:11
610 Can You Please Crawl Out Your Window? – Take 4 (7/30/1965) False start 00:26
611 Can You Please Crawl Out Your Window? – Take 5 (7/30/1965) Complete 04:09
612 Can You Please Crawl Out Your Window? – Take 6 (7/30/1965) Rehearsal/false start 01:02
613 Can You Please Crawl Out Your Window? – Take 7 (7/30/1965) False start 00:27
614 Can You Please Crawl Out Your Window? – Take 8 (7/30/1965) False start 00:43
615 Can You Please Crawl Out Your Window? – Takes 10-11 (7/30/1965) False starts 00:50
616 Can You Please Crawl Out Your Window? – Take 12 (7/30/1965) Complete 03:49
617 Can You Please Crawl Out Your Window? – Take 14 (7/30/1965) Breakdown 01:06
618 Can You Please Crawl Out Your Window? – Take 15 (7/30/1965) Breakdown 02:50
619 Can You Please Crawl Out Your Window? – Take 17 (7/30/1965) Accidentally Released as B-side of first pressing of Positively 4th Street single 04:01
620 Highway 61 Revisited – Take 1 (8/02/1965) False start 00:23
621 Highway 61 Revisited – Take 2 (8/02/1965) False start 00:28
622 Highway 61 Revisited – Take 3 (8/02/1965) Complete 03:31
623 Highway 61 Revisited – Take 4 (8/02/1965) False start 00:09
624 Highway 61 Revisited – Take 5 (8/02/1965) Complete 03:41
625 Highway 61 Revisited – Take 5 (mis-slate) (8/02/1965) Complete 03:20
626 Highway 61 Revisited – Take 6 (8/02/1965) Released on The Bootleg Series, Vol. 7, 2005 03:39
627 Highway 61 Revisited – Take 7 (8/02/1965) False start 00:35
628 Highway 61 Revisited – Take 8 (8/02/1965) False start 00:27
629 Highway 61 Revisited – Take 9 (8/02/1965) Released on Highway 61 Revisited, 1965 03:35

CD7
701 Just Like Tom Thumb’s Blues – Take 1 (8/02/1965) Breakdown 01:10
702 Just Like Tom Thumb’s Blues – Take 3 (8/02/1965) Complete 05:41
703 Just Like Tom Thumb’s Blues – Take 4 (8/02/1965) Rehearsal 00:20
704 Just Like Tom Thumb’s Blues – Take 5 (8/02/1965) Released on The Bootleg Series Vol. 7, 2005 05:46
705 Just Like Tom Thumb’s Blues – Takes 9-10 (8/02/1965) Breakdown 01:15
706 Just Like Tom Thumb’s Blues – Takes 11-12 (8/02/1965) False starts 00:24
707 Just Like Tom Thumb’s Blues – Take 13 (8/02/1965) Complete 05:30
708 Just Like Tom Thumb’s Blues – Takes 14-15 (8/02/1965) False starts 00:43
709 Just Like Tom Thumb’s Blues – Take 16 (8/02/1965) Released on Highway 61 Revisited, 1965 05:36
710 Queen Jane Approximately – Take 1 (8/02/1965) Rehearsal 00:24
711 Queen Jane Approximately – Take 2 (8/02/1965) Complete 05:20
712 Queen Jane Approximately – Take 3 (8/02/1965) False start 00:45
713 Queen Jane Approximately – Take 4 (8/02/1965) False start 00:08
714 Queen Jane Approximately – Take 5 (8/02/1965) Complete 06:04
715 Queen Jane Approximately – Take 6 (8/02/1965) Complete 05:30
716 Queen Jane Approximately – Take 7 (8/02/1965) Released on Highway 61 Revisited, 1965 05:26
717 Ballad Of A Thin Man – Take 1 (8/02/1965) False start 00:43
718 Ballad Of A Thin Man – Take 2 (8/02/1965) Breakdown 03:54
719 Ballad Of A Thin Man – Take 3 (8/02/1965) Released on Highway 61 Revisited, 1965 05:57
720 Ballad Of A Thin Man – Take 4 (8/02/1965) Insert 01:00

CD8
801 Desolation Row – Takes 1-2 remake (8/02/1965) False start/breakdown 00:42
802 Desolation Row – Take 3 remake (8/02/1965) Breakdown 01:57
803 Desolation Row – Take 4 remake (8/02/1965) False start 00:18
804 Desolation Row – Take 5 remake (8/02/1965) Complete 10:53
805 Tombstone Blues – Take 1 (8/03/1965) Complete. Vocal overdub 02:48
806 Tombstone Blues – Take 2 (8/03/1965) Complete. Vocal overdub 06:07
807 Tombstone Blues – Take 3 (8/03/1965) Complete. Vocal overdub 06:07
808 Desolation Row – Take 1 (8/04/1965) Rehearsal 01:12
809 Desolation Row – Take 2 (8/04/1965) Rehearsal 02:01
810 Desolation Row – Take 1 (8/04/1965) Complete (with insert) 11:19
811 Desolation Row – Take 5 (8/04/1965) Complete master without acoustic guitar overdub. Released on Highway 61 Revisited, 1965 11:20
812 Desolation Row – Take 6 (8/04/1965) Guitar overdub 11:20
813 Desolation Row – Take 7 (8/04/1965) Guitar overdub 00:12
814 Tombstone Blues – Take 1 (8/04/1965) Harmonica overdub 01:04
815 Medicine Sunday – Take 1 (10/05/1965) Incomplete 01:02
816 Medicine Sunday – Take 2 (10/05/1965) Incomplete 01:00
817 Jet Pilot – Take 1 (10/05/1965) Released on Biograph, 1985 01:28
818 I Wanna Be Your Lover – (10/05/1965) Rehearsal 05:34
819 Can You Please Crawl Out Your Window? – Take 1 (10/05/1965) Fragment 00:57
820 Can You Please Crawl Out Your Window? – Take 2 (10/05/1965) Fragment 01:21

CD9
901 I Wanna Be Your Lover – Take 1 (10/05/1965) Fragment 01:07
902 I Wanna Be Your Lover – Take 1 Edit 1 (10/05/1965) Complete 01:47
903 I Wanna Be Your Lover – Take 1 Edit 2 (10/05/1965) Complete 02:11
904 I Wanna Be Your Lover – Take 2 (10/05/1965) Complete 02:03
905 I Wanna Be Your Lover – (10/05/1965) Rehearsal 01:42
906 I Wanna Be Your Lover – Take 3 10/05/1965) Complete 02:47
907 I Wanna Be Your Lover – Take 4 (10/05/1965) Complete 02:50
908 I Wanna Be Your Lover – Take 5 (10/05/1965) Complete 03:38
909 I Wanna Be Your Lover – Take 6 (10/05/1965) Complete 03:31
910 Instrumental – Take 1 (10/05/1965) Fragment 03:31
911 Instrumental – Take 1 (10/05/1965) Fragment 00:07
912 Instrumental – Take 2 (10/05/1965) Complete 04:04
913 Visions Of Johanna – Take 1 (11/30/1965) Rehearsal 01:44
914 Visions Of Johanna – Take 2 (11/30/1965) Rehearsal 01:57
915 Visions Of Johanna – Take 3 (11/30/1965) Rehearsal 02:53
916 Visions Of Johanna – Take 4 (11/30/1965) Complete 07:44
917 Visions Of Johanna – Take 5 (11/30/1965) Complete 07:42
918 Visions Of Johanna – Take 6 (11/30/1965) Rehearsal 01:57
919 Visions Of Johanna – Take 7 (11/30/1965) Complete 09:12
920 Visions Of Johanna – Take 8 (11/30/1965) Released on The Bootleg Series, Vol.7, 2005 07:05

CD10
1001 Visions Of Johanna – Takes 9-12 (11/30/1965) False starts 02:18
1002 Visions Of Johanna – Take 13 (11/30/1965) Breakdown 01:31
1003 Visions Of Johanna – Take 14 (11/30/1965) Complete 07:33
1004 Can You Please Crawl Out Your Window? – Take 1 (11/30/1965) False start 00:12
1005 Can You Please Crawl Out Your Window? – Take 2 (11/30/1965) False start, rehearsal 01:15
1006 Can You Please Crawl Out Your Window? – Take 3 (11/30/1965) False start 00:15
1007 Can You Please Crawl Out Your Window? – Take 4 (11/30/1965) False start, rehearsal 01:34
1008 Can You Please Crawl Out Your Window? – Take 6 (11/30/1965) Complete 03:49
1009 Can You Please Crawl Out Your Window? – Take 7 (11/30/1965) Breakdown 00:43
1010 Can You Please Crawl Out Your Window? – Take 8 (11/30/1965) Complete 03:50
1011 Can You Please Crawl Out Your Window? – Take 9 (11/30/1965) False start 00:14
1012 Can You Please Crawl Out Your Window? – Take 10 (11/30/1965) Released as a single in October, 1965 03:58
1013 She’s Your Lover Now – Take 1 (1/21/1966) Breakdown 03:01
1014 She’s Your Lover Now – Take 2 (1/21/1966) Rehearsal 00:16
1015 She’s Your Lover Now – Take 3 (1/21/1966) Breakdown 01:00
1016 She’s Your Lover Now – Take 4 (1/21/1966) Incomplete 04:45
1017 She’s Your Lover Now – Take 5 (1/21/1966) Rehearsal 01:49
1018 She’s Your Lover Now – Take 6 (1/21/1966) Complete 05:00
1019 She’s Your Lover Now – Take 7 (1/21/1966) False start 01:19
1020 She’s Your Lover Now – Take 8 (1/21/1966) Rehearsal 01:05
1021 She’s Your Lover Now – Take 9 (1/21/1966) Rehearsal 01:32
1022 She’s Your Lover Now – Takes 10-11 (1/21/1966) Rehearsal 11:30
1023 She’s Your Lover Now – Take 12 (1/21/1966) Rehearsal 02:52
1024 She’s Your Lover Now – Take 13 (1/21/1966) Rehearsal 02:57

CD11
1101 She’s Your Lover Now – Take 14 (1/21/1966) Breakdown 03:13
1102 She’s Your Lover Now – Take 15 (1/21/1966) Released on The Bootleg Series, Vol. 1-3, 1991 06:25
1103 She’s Your Lover Now – (1/21/1966) Rehearsal 03:56
1104 She’s Your Lover Now – Take 16 (1/21/1966) Complete 09:06
1105 Leopard-Skin Pill-Box Hat – Take 1 (1/25/1966) Released on The Bootleg Series, Vol. 7, 2005 06:25
1106 Leopard-Skin Pill-Box Hat – Take 2 (1/25/1966) Complete 04:16
1107 One Of Us Must Know (Sooner Or Later) – Take 1 (1/25/1966) Rehearsal 04:12
1108 One Of Us Must Know (Sooner Or Later) – Take 2 (1/25/1966) Rehearsal 02:18
1109 One Of Us Must Know (Sooner Or Later) – Take 3 (1/25/1966) Fragment 00:27
1110 One Of Us Must Know (Sooner Or Later) – Take 4 (1/25/1966) Rehearsal 01:54
1111 One Of Us Must Know (Sooner Or Later) – Take 5 (1/25/1966) Rehearsal 02:05
1112 One Of Us Must Know (Sooner Or Later) – Takes 6-8 (1/25/1966) Rehearsal 01:43
1113 One Of Us Must Know (Sooner Or Later) – Take 9 (1/25/1966) Rehearsal 02:57
1114 One Of Us Must Know (Sooner Or Later) – Takes 10-14 (1/25/1966) Rehearsal 02:46
1115 One Of Us Must Know (Sooner Or Later) – Take 15 (1/25/1966) Complete 05:53
1116 One Of Us Must Know (Sooner Or Later) – Takes 16-17 (1/25/1966) False starts 00:36
1117 One Of Us Must Know (Sooner Or Later) – Take 18 (1/25/1966) Complete 05:49
1118 One Of Us Must Know (Sooner Or Later) – (1/25/1966) Rehearsal 01:51
1119 One Of Us Must Know (Sooner Or Later) – Take 19 (1/25/1966) Complete 05:13
1120 One Of Us Must Know (Sooner Or Later) – Takes 21-22 (1/25/1966) Breakdown 01:51

CD12
1201 One Of Us Must Know (Sooner Or Later) – Take 23 (1/25/1966) Complete 05:12
1202 One Of Us Must Know (Sooner Or Later) – Take 24 (1/25/1966) Released on Blonde On Blonde, 1966 04:59
1203 One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, guitar (BD) and organ 04:59
1204 One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, vocal 04:59
1205 One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, piano and drums 04:59
1206 One Of Us Must Know (Sooner Or Later) – (1/25/1966) Master take, guitar and bass 04:58
1207 Lunatic Princess – Take 1 (1/27/1966) Incomplete 01:21
1208 Leopard-Skin Pill-Box Hat – Takes 1-2 (1/27/1966) False start, incomplete 03:01
1209 Leopard-Skin Pill-Box Hat – (1/27/1966) Insert 01:06
1210 I’ll Keep It With Mine – (no date listed) Rehearsal. Partially released on The Bootleg Series, Vol.1-3, 1991 05:41
1211 Fourth Time Around – Take 1 (2/14/1966) Rehearsal 00:12
1212 Fourth Time Around – Take 2 (2/14/1966) Breakdown 04:01
1213 Fourth Time Around – Takes 3-4 (2/14/1966) Rehearsal 00:46
1214 Fourth Time Around – Take 5 (2/14/1966) Complete 04:09
1215 Fourth Time Around – Takes 6-7 (2/14/1966) Rehearsal 03:04
1216 Fourth Time Around – Take 8 (2/14/1966) Rehearsal 02:03
1217 Fourth Time Around – Takes 9-10 (2/14/1966) False starts 00:34

CD13
1301 Fourth Time Around – Take 11 (2/14/1966) Complete 04:28
1302 Fourth Time Around – Takes 12-13 (2/14/1966) False starts 00:48
1303 Fourth Time Around – Takes 14-16 (2/14/1966) False starts 00:53
1304 Fourth Time Around – Takes 17-18 (2/14/1966) False starts 01:16
1305 Fourth Time Around – Take 19 (2/14/1966) Breakdown 01:51
1306 Fourth Time Around – Take 19 again (2/14/1966) Released on Blonde On Blonde, 1966 04:38
1307 Visions Of Johanna – Take 1 (2/14/1966) False start 00:23
1308 Visions Of Johanna – Take 2 (2/14/1966) Breakdown 02:45
1309 Visions Of Johanna – Take 3 (2/14/1966) False start 00:34
1310 Visions Of Johanna – Take 4 (2/14/1966) Released on Blonde On Blonde, 1966 07:35
1311 Leopard-Skin Pill-Box Hat – Takes 1-2 (2/14/1966) Rehearsal 01:18
1312 Leopard-Skin Pill-Box Hat – Take 3 (2/14/1966) Complete 04:28
1313 Leopard-Skin Pill-Box Hat – Takes 4-5 (2/14/1966) Rehearsal 01:14
1314 Leopard-Skin Pill-Box Hat – Take 6 (2/14/1966) Breakdown 01:21
1315 Leopard-Skin Pill-Box Hat – Take 6 again (2/14/1966) Rehearsal 00:42
1316 Leopard-Skin Pill-Box Hat – Take 8 (2/14/1966) Complete 03:27
1317 Leopard-Skin Pill-Box Hat – Take 9 (2/14/1966) Breakdown 01:56
1318 Leopard-Skin Pill-Box Hat – Take 10 (2/14/1966) False start 01:00
1319 Leopard-Skin Pill-Box Hat – Take 11 (2/14/1966) Breakdown 01:47
1320 Leopard-Skin Pill-Box Hat – Take 12 (2/14/1966) False start 00:15
1321 Leopard-Skin Pill-Box Hat – Take 13 (2/14/1966) Complete 02:42
1322 I’ll Keep It With Mine (instrumental) – Take 1 (2/15/1966) Rehearsal 00:31
1323 I’ll Keep It With Mine (instrumental) – Take 2 (2/15/1966) Rehearsal 01:09
1324 I’ll Keep It With Mine (instrumental) – Take 3 (2/15/1966) Rehearsal 00:07
1325 I’ll Keep It With Mine (instrumental) – Take 4 (2/15/1966) Rehearsal 02:02
1326 I’ll Keep It With Mine (instrumental) – Take 5 (2/15/1966) Rehearsal 01:49
1327 I’ll Keep It With Mine (instrumental) – Takes 6-7 (2/15/1966) Rehearsal 01:18
1328 I’ll Keep It With Mine (instrumental) – Take 8 (2/15/1966) Rehearsal 02:07
1329 I’ll Keep It With Mine (instrumental) – Take 8 again (2/15/1966) Complete 03:14
1330 I’ll Keep It With Mine (instrumental) – Take 9 (2/15/1966) Complete 03:12

CD14
1401 Sad-Eyed Lady Of The Lowlands – Take 1 (2/16/1966) Complete 10:10
1402 Sad-Eyed Lady Of The Lowlands – Take 2 (2/16/1966) Rehearsal 02:07
1403 Sad-Eyed Lady Of The Lowlands – Take 3 (2/16/1966) Complete 12:22
1404 Sad-Eyed Lady Of The Lowlands – Take 4 (2/16/1966) Released on Blonde On Blonde, 1966 11:26
1405 Stuck Inside Of Mobile With The Memphis Blues Again – Take 1 (2/17/1966) Rehearsal 03:24
1406 Stuck Inside Of Mobile With The Memphis Blues Again – (2/17/1966) Rehearsal 04:55
1407 Stuck Inside Of Mobile With The Memphis Blues Again – Take 1 (2/17/1966) Breakdown 01:52
1408 Stuck Inside Of Mobile With The Memphis Blues Again – Takes 2-3 (2/17/1966) Rehearsal 01:14
1409 Stuck Inside Of Mobile With The Memphis Blues Again – Take 4 (2/17/1966) Breakdown 02:45
1410 Stuck Inside Of Mobile With The Memphis Blues Again – Take 4 (mis-slate) (2/17/1966) False start 00:11
1411 Stuck Inside Of Mobile With The Memphis Blues Again – Take 5 (2/17/1966) Released on The Bootleg Series, Vol. 7, 2005 05:53
1412 Stuck Inside Of Mobile With The Memphis Blues Again – Takes 6-8 (2/17/1966) False starts 00:40
1413 Stuck Inside Of Mobile With The Memphis Blues Again – Take 9 (2/17/1966) Breakdown 00:33
1414 Stuck Inside Of Mobile With The Memphis Blues Again – Take 10 (2/17/1966) False start 00:21
1415 Stuck Inside Of Mobile With The Memphis Blues Again – Takes 11-12 (2/17/1966) Breakdown 01:44
1416 Stuck Inside Of Mobile With The Memphis Blues Again – Take 13 (2/17/1966) Breakdown 04:09

CD15
1501 Stuck Inside Of Mobile With The Memphis Blues Again – Take 14 (2/17/1966) Complete 07:05
1502 Stuck Inside Of Mobile With The Memphis Blues Again – Take 15 (2/17/1966) Released on Blonde On Blonde, 1966 07:08
1503 Absolutely Sweet Marie – (3/07/1966) Rehearsal 03:19
1504 Absolutely Sweet Marie – Take 1 (3/07/1966) Complete 05:03
1505 Absolutely Sweet Marie – Take 2 (3/07/1966) False start 00:23
1506 Absolutely Sweet Marie – Take 3 (3/07/1966) Released on Blonde On Blonde, 1966 04:58
1507 Absolutely Sweet Marie – (3/07/1966) Insert 01:17
1508 Just Like A Woman – Take 1 (3/08/1966) Complete 04:33
1509 Just Like A Woman – Take 2 (3/08/1966) Complete 05:14
1510 Just Like A Woman – Take 3 (3/08/1966) Complete 05:13
1511 Just Like A Woman – Take 4 (3/08/1966) Complete 05:21
1512 Pledging My Time – Take 1 (3/08/1966) Breakdown 03:27
1513 Pledging My Time – (3/08/1966) Rehearsal 01:12
1514 Pledging My Time – Take 2 (3/08/1966) False start 00:22
1515 Pledging My Time – Take 3 (3/08/1966) Released on Blonde On Blonde, 1966 04:05
1516 Just Like A Woman – Take 5 (3/08/1966) False start 01:15
1517 Just Like A Woman – Take 6 (3/08/1966) Breakdown 03:26

CD16
1601 Just Like A Woman – Take 8 (3/08/1966) Complete 05:22
1602 Just Like A Woman – Takes 9-10 (3/08/1966) False start, breakdown 03:47
1603 Just Like A Woman – Takes 11-12 (3/08/1966) Rehearsal 01:21
1604 Just Like A Woman – Take 13 (3/08/1966) Breakdown 03:55
1605 Just Like A Woman – Takes 14-15 (3/08/1966) Rehearsal 01:31
1606 Just Like A Woman – Take 16 (3/08/1966) Complete 05:11
1607 Just Like A Woman – Take 17 (3/08/1966) Breakdown 00:52
1608 Just Like A Woman – Take 18 (3/08/1966) Released on Blonde On Blonde, 1966 04:54
1609 Most Likely You Go Your Way (And I’ll Go Mine) – Take 1 (3/09/1966) Complete 03:39
1610 Most Likely You Go Your Way (And I’ll Go Mine) – Take 2 (3/09/1966) Rehearsal 01:05
1611 Most Likely You Go Your Way (And I’ll Go Mine) – Take 3 (3/09/1966) Rehearsal 01:43
1612 Most Likely You Go Your Way (And I’ll Go Mine) – Take 4 (3/09/1966) Rehearsal 01:35
1613 Most Likely You Go Your Way (And I’ll Go Mine) – Take 5 (3/09/1966) Breakdown 01:11
1614 Most Likely You Go Your Way (And I’ll Go Mine) – Take 6 (3/09/1966) Released on Blonde on Blonde, 1966 03:30
1615 Temporary Like Achilles – Take 1 (3/09/1966) Complete 05:15
1616 Temporary Like Achilles – Take 2 (3/09/1966) False start 00:39
1617 Temporary Like Achilles – Take 3 (3/09/1966) Complete 05:42
1618 Temporary Like Achilles – Take 4 (3/09/1966) Released on Blonde On Blonde, 1966 05:20
1619 Rainy Day Women #12 & 35 – (3/10/1966) Rehearsal 01:36
1620 Rainy Day Women #12 & 35 – Take 1 (3/10/1966) Released on Blonde On Blonde, 1966 04:42

CD17
1701 Obviously Five Believers – Take 1 (3/10/1966) False start 00:59
1702 Obviously Five Believers – Take 2 (3/10/1966) Breakdown 01:14
1703 Obviously Five Believers – Take 3 (3/10/1966) Complete 03:47
1704 Obviously Five Believers – Take 4 (3/10/1966) Released on Blonde On Blonde, 1966 03:38
1705 Leopard-Skin Pill-Box Hat – Take 1 (3/10/1966) Released on Blonde On Blonde, 1966 03:59
1706 I Want You – (3/10/1966) Rehearsal 01:59
1707 I Want You – Take 1 (3/10/1966) Complete 03:01
1708 I Want You – Take 2 (3/10/1966) Breakdown 03:11
1709 I Want You – Take 3 (3/10/1966) Rehearsal, false start 00:44
1710 I Want You – Take 4 (3/10/1966) Complete 02:53
1711 I Want You – Take 5 (3/10/1966) Released on Blonde On Blonde, 1966 03:10
1712 I Want You – Take 5b (3/10/1966) Insert, guitar overdub 03:09

CD18
1801 Remember Me – (5/04/1965) Savoy Hotel, London 01:12
1802 More And More – (5/04/1965) Savoy Hotel, London 02:12
1803 Blues Stay Away From Me – (5/04/1965) Savoy Hotel, London 02:03
1804 Weary Blues From Waitin’ – (5/04/1965) Savoy Hotel, London 01:32
1805 Lost Highway – (5/04/65) Savoy Hotel, London 02:15
1806 I’m So Lonesome I Could Cry – (5/04/1965) Savoy Hotel, London 00:51
1807 Young But Daily Growing – (5/04/1965) Savoy Hotel, London 02:52
1808 Wild Mountain Thyme – (5/04/1965) Savoy Hotel, London 04:24
1809 I Can’t Leave Her Behind [1] – (5/13/1966) North British Station Hotel, Glasgow, Scotland 02:43
1810 I Can’t Leave Her Behind [2] – (5/13/1966) North British Station Hotel, Glasgow, Scotland 04:57
1811 On A Rainy Afternoon – (5/13/1966) North British Station Hotel, Glasgow, Scotland 01:38
1812 If I Was A King [1] – (5/13/1966) North British Station Hotel, Glasgow, Scotland 03:00
1813 If I Was A King [2] – (5/13/1966) North British Station Hotel, Glasgow, Scotland 02:38
1814 What Kind Of Friend Is This – (5/13/1966) North British Station Hotel, Glasgow, Scotland 02:45
1815 Positively Van Gogh [1] – (3/12/1966) Denver, Colorado Hotel Room 00:54
1816 Positively Van Gogh [2] – (3/12/1966) Denver, Colorado Hotel Room 06:16
1817 Positively Van Gogh [3] – (3/12/1966) Denver, Colorado Hotel Room 02:19
1818 Don’t Tell Him, Tell Me – (3/12/1966) Denver, Colorado Hotel Room 01:21
1819 If You Want My Love – (3/12/1966) Denver, Colorado Hotel Room 03:54
1820 Just Like A Woman – (3/12/1966) Denver, Colorado Hotel Room 04:30
1821 Sad-Eyed Lady Of The Lowlands – (3/12/1966) Denver, Colorado Hotel Room 13:20


(797/1) Bob Dylan, BD-2016-11-11, The 1966 Live Recordings, {04.03.05}, [1966]

Audio/Mp3, ?/?, (?)

683797001a683797001b683797001c
Bob Dylan

The 1966 Live Recordings

11 nov. 2016

Sydney, Australia, 13 April 1966
1-1 She Belongs To Me (Incomplete)
1-2 Fourth Time Around
1-3 Visions Of Johanna
1-4 It's All Over Now, Baby Blue
1-5 Desolation Row
1-6 Just Like A Woman
1-7 Mr. Tambourine Man
Sydney, Australia, 13 April 1966
2-1 Tell Me, Momma
2-2 I Don't Believe You (She Acts Like We Never Have Met)
2-3 Baby, Let Me Follow You Down
2-4 Just Like Tom Thumb's Blues
2-5 Leopard-Skin Pill-Box Hat
2-6 One Too Many Mornings
2-7 Ballad Of A Thin Man
2-8 Positively 4th Street
Melbourne, Australia, 20 April 1966
3-1 She Belongs To Me (Incomplete)
3-2 Fourth Time Around
3-3 Visions Of Johanna
3-4 It's All Over Now, Baby Blue
3-5 Desolation Row
3-6 Just Like A Woman
3-7 Tell Me, Momma (Fragment)
3-8 Baby, Let Me Follow You Down
3-9 Just Like Tom Thumb's Blues
Copenhagen, Denmark, 1 May 1966
4-1 She Belongs To Me
4-2 Fourth Time Around (Fragment)
4-3 Baby, Let Me Follow You Down
4-4 Just Like Tom Thumb's Blues
4-5 Leopard-Skin Pill-Box Hat (Incomplete)
4-6 Ballad Of A Thin Man
4-7 Like A Rolling Stone
Dublin, Ireland, 5 May 1966
5-1 She Belongs To Me
5-2 Fourth Time Around
5-3 Visions Of Johanna
5-4 It's All Over Now, Baby Blue
5-5 Desolation Row
5-6 Just Like A Woman
5-7 Mr. Tambourine Man
Dublin, Ireland, 5 May 1966
6-1 Tell Me, Momma
6-2 I Don't Believe You (She Acts Like We Never Have Met)
6-3 Baby, Let Me Follow You Down
6-4 Just Like Tom Thumb's Blues
6-5 Leopard-Skin Pill-Box Hat
6-6 One Too Many Mornings
6-7 Ballad Of A Thin Man
6-8 Like A Rolling Stone
Belfast, Ireland, 6 May 1966
7-1 She Belongs To Me
7-2 Fourth Time Around
7-3 Visions Of Johanna
7-4 Desolation Row
7-5 Just Like A Woman
7-6 Mr. Tambourine Man
Belfast, Ireland, 6 May 1966
8-1 Tell Me, Momma
8-2 I Don't Believe You (She Acts Like We Never Have Met)
8-3 Baby, Let Me Follow You Down
8-4 Just Like Tom Thumb's Blues
8-5 Leopard-Skin Pill-Box Hat
8-6 One Too Many Mornings
8-7 Ballad Of A Thin Man
8-8 Like A Rolling Stone
Bristol, England, 10 May 1966
9-1 Fourth Time Around
9-2 Mr. Tambourine Man
9-3 She Belongs To Me
9-4 Visions Of Johanna
9-5 It's All Over Now, Baby Blue
9-6 Desolation Row
9-7 Just Like A Woman
Bristol, England, 10 May 1966
10-1 Tell Me, Momma
10-2 I Don't Believe You (She Acts Like We Never Have Met)
10-3 Baby, Let Me Follow You Down
10-4 Just Like Tom Thumb's Blues
10-5 Leopard-Skin Pill-Box Hat
10-6 One Too Many Mornings (Incomplete)
10-7 Ballad Of A Thin Man
10-8 Like A Rolling Stone
Cardiff, Wales, 11 May 1966
11-1 Tell Me, Momma
11-2 I Don't Believe You (She Acts Like We Never Have Met)
11-3 Baby, Let Me Follow You Down
11-4 Just Like Tom Thumb's Blues
11-5 Leopard-Skin Pill-Box Hat
11-6 One Too Many Mornings
11-7 Ballad Of A Thin Man
11-8 Like A Rolling Stone
Birmingham, England, 12 May 1966
12-1 She Belongs To Me
12-2 Fourth Time Around
12-3 Visions Of Johanna (Incomplete)
12-4 It's All Over Now, Baby Blue
12-5 Desolation Row (Incomplete)
12-6 Just Like A Woman
12-7 Mr. Tambourine Man
Birmingham, England, 12 May 1966
13-1 Tell Me, Momma
13-2 I Don't Believe You (She Acts Like We Never Have Met)
13-3 Baby, Let Me Follow You Down
13-4 Just Like Tom Thumb's Blues
13-5 Leopard-Skin Pill-Box Hat
13-6 One Too Many Mornings
13-7 Ballad Of A Thin Man
13-8 Like A Rolling Stone
Liverpool, England, 14 May 1966
14-1 It's All Over Now, Baby Blue
14-2 Desolation Row
14-3 Just Like A Woman
14-4 Mr. Tambourine Man
14-5 Tell Me, Momma
14-6 I Don't Believe You (She Acts Like We Never Have Met)
14-7 Baby, Let Me Follow You Down
14-8 Just Like Tom Thumb's Blues
14-9 Leopard-Skin Pill-Box Hat
14-10 One Too Many Mornings
14-11 Ballad Of A Thin Man
14-12 Like A Rolling Stone
Leicester, England, 15 May 1966
15-1 She Belongs To Me
15-2 Fourth Time Around
15-3 Visions Of Johanna
15-4 It's All Over Now, Baby Blue
15-5 Desolation Row
15-6 Just Like A Woman
15-7 Mr. Tambourine Man
Leicester, England, 15 May 1966
16-1 Tell Me, Momma
16-2 I Don't Believe You (She Acts Like We Never Have Met)
16-3 Baby, Let Me Follow You Down
16-4 Just Like Tom Thumb's Blues
16-5 Leopard-Skin Pill-Box Hat
16-6 One Too Many Mornings
16-7 Ballad Of A Thin Man
16-8 Like A Rolling Stone
Sheffield, England, 16 May 1966
17-1 She Belongs To Me
17-2 Fourth Time Around
17-3 Visions Of Johanna
17-4 It's All Over Now, Baby Blue
17-5 Desolation Row
17-6 Just Like A Woman
17-7 Mr. Tambourine Man
Sheffield, England, 16 May 1966
18-1 Tell Me, Momma
18-2 I Don't Believe You (She Acts Like We Never Have Met)
18-3 Baby, Let Me Follow You Down
18-4 Just Like Tom Thumb's Blues
18-5 Leopard-Skin Pill-Box Hat
18-6 One Too Many Mornings
18-7 Ballad Of A Thin Man
18-8 Like A Rolling Stone
Manchester, England, 17 May 1966
19-1 She Belongs To Me
19-2 Fourth Time Around
19-3 Visions Of Johanna
19-4 It's All Over Now, Baby Blue
19-5 Desolation Row
19-6 Just Like A Woman
19-7 Mr. Tambourine Man
Manchester, England, 17 May 1966
20-1 Tell Me, Momma
20-2 I Don't Believe You (She Acts Like We Never Have Met)
20-3 Baby, Let Me Follow You Down
20-4 Just Like Tom Thumb's Blues
20-5 Leopard-Skin Pill-Box Hat
20-6 One Too Many Mornings
20-7 Ballad Of A Thin Man
20-8 Like A Rolling Stone
20-9 Just Like Tom Thumb's Blues (Incomplete) [Soundcheck]
Glasgow, Scotland, 19 May 1966
21-1 It's All Over Now, Baby Blue
21-2 Desolation Row (Incomplete)
21-3 Just Like A Woman
21-4 Mr. Tambourine Man
21-5 Tell Me, Momma
21-6 I Don't Believe You (She Acts Like We Never Have Met)
21-7 Baby, Let Me Follow You Down
21-8 Just Like Tom Thumb's Blues
21-9 Leopard-Skin Pill-Box Hat
21-10 One Too Many Mornings (Incomplete)
21-11 Ballad Of A Thin Man
21-12 Like A Rolling Stone
Edinburgh, Scotland, 20 May 1966
22-1 She Belongs To Me
22-2 Fourth Time Around
22-3 Visions Of Johanna
22-4 It's All Over Now, Baby Blue
22-5 Desolation Row (Incomplete)
22-6 Just Like A Woman
22-7 Mr. Tambourine Man
Edinburgh, Scotland, 20 May 1966
23-1 Tell Me, Momma
23-2 I Don't Believe You (She Acts Like We Never Have Met)
23-3 Baby, Let Me Follow You Down
23-4 Just Like Tom Thumb's Blues
23-5 Leopard-Skin Pill-Box Hat
23-6 One Too Many Mornings
23-7 Ballad Of A Thin Man
23-8 Like A Rolling Stone
Newcastle, England, 21 May 1966
24-1 She Belongs To Me (Incomplete)
24-2 Fourth Time Around
24-3 Visions Of Johanna
24-4 It's All Over Now, Baby Blue
24-5 Desolation Row (Incomplete)
24-6 Just Like A Woman
24-7 Mr. Tambourine Man
Newcastle, England, 21 May 1966
25-1 Tell Me, Momma
25-2 I Don't Believe You (She Acts Like We Never Have Met)
25-3 Baby, Let Me Follow You Down
25-4 Just Like Tom Thumb's Blues
25-5 Leopard-Skin Pill-Box Hat
25-6 One Too Many Mornings
25-7 Ballad Of A Thin Man
25-8 Like A Rolling Stone
Paris, France, 24 May 1966
26-1 She Belongs To Me
26-2 Fourth Time Around
26-3 Visions Of Johanna
26-4 It's All Over Now, Baby Blue
26-5 Desolation Row (Incomplete)
26-6 Just Like A Woman
26-7 Mr. Tambourine Man
Paris, France, 24 May 1966
27-1 Tell Me, Momma
27-2 I Don't Believe You (She Acts Like We Never Have Met)
27-3 Baby, Let Me Follow You Down
27-4 Just Like Tom Thumb's Blues
27-5 Leopard-Skin Pill-Box Hat
27-6 One Too Many Mornings
27-7 Ballad Of A Thin Man
27-8 Like A Rolling Stone
London, England, 26 May 1966
28-1 She Belongs To Me
28-2 Fourth Time Around
28-3 Visions Of Johanna
28-4 It's All Over Now, Baby Blue
28-5 Desolation Row
28-6 Just Like A Woman
28-7 Mr. Tambourine Man
London, England, 26 May 1966
29-1 Tell Me, Momma
29-2 I Don't Believe You (She Acts Like We Never Have Met)
29-3 Baby, Let Me Follow You Down
29-4 Just Like Tom Thumb's Blues
29-5 Leopard-Skin Pill-Box Hat
29-6 One Too Many Mornings
29-7 Ballad Of A Thin Man
29-8 Like A Rolling Stone
London, England, 27 May 1966
30-1 She Belongs To Me
30-2 Fourth Time Around
30-3 Visions Of Johanna
30-4 It's All Over Now, Baby Blue
30-5 Desolation Row
30-6 Just Like A Woman
30-7 Mr. Tambourine Man
London, England, 27 May 1966
31-1 Tell Me, Momma
31-2 I Don't Believe You (She Acts Like We Never Have Met)
31-3 Baby, Let Me Follow You Down
31-4 Just Like Tom Thumb's Blues
31-5 Leopard-Skin Pill-Box Hat
31-6 One Too Many Mornings
31-7 Ballad Of A Thin Man
31-8 Like A Rolling Stone
White Plains, NY, USA, 5 February 1966
32-1 She Belongs To Me
32-2 To Ramona
32-3 Visions Of Johanna
32-4 It's All Over Now, Baby Blue
32-5 Desolation Row
32-6 Love Minus Zero/No Limit
32-7 Mr. Tambourine Man
32-8 Tell Me, Momma
32-9 I Don't Believe You (She Acts Like We Never Have Met) (Incomplete)
Pittsburgh, PA, USA, 6 February 1966
33-1 She Belongs To Me
33-2 To Ramona
33-3 Visions Of Johanna
33-4 Desolation Row (Incomplete)
33-5 Love Minus Zero/No Limit (Incomplete)
33-6 Mr. Tambourine Man
33-7 Positively 4th Street
33-8 Like A Rolling Stone
Hempstead, NY, USA, 26 February 1966
34-1 She Belongs To Me (Incomplete)
34-2 Fourth Time Around
34-3 Visions Of Johanna
34-4 It's All Over Now, Baby Blue
34-5 Desolation Row
34-6 Love Minus Zero/No Limit
34-7 Mr. Tambourine Man
34-8 Tell Me, Momma
34-9 I Don't Believe You (She Acts Like We Never Have Met)
34-10 Baby, Let Me Follow You Down
34-11 Just Like Tom Thumb's Blues
34-12 Leopard-Skin Pill-Box Hat
34-13 One Too Many Mornings (Incomplete)
Melbourne, Australia, 19 April 1966
35-1 She Belongs To Me
35-2 Fourth Time Around
35-3 Visions Of Johanna
35-4 It's All Over Now, Baby Blue
35-5 Desolation Row
35-6 Just Like A Woman
35-7 Mr. Tambourine Man
35-8 Tell Me, Momma
35-9 I Don't Believe You (She Acts Like We Never Have Met)
35-10 Baby, Let Me Follow You Down
35-11 Just Like Tom Thumb's Blues
35-12 Leopard-Skin Pill-Box Hat (Fragment)
Stockholm, Sweden, 29 April 1966
36-1 She Belongs To Me
36-2 Fourth Time Around
36-3 Visions Of Johanna
36-4 It's All Over Now, Baby Blue
36-5 Desolation Row (Incomplete)
36-6 I Don't Believe You (She Acts Like We Never Have Met)
36-7 Baby, Let Me Follow You Down
36-8 Just Like Tom Thumb's Blues (Fragment)
36-9 Leopard-Skin Pill-Box Hat (Incomplete)
36-10 One Too Many Mornings (Incomplete)
36-11 Ballad Of A Thin Man (Incomplete)


(122/1) Bob Dylan, BD-2017-11-03, The Bootleg Series V13-Trouble No More 1979 1981 Deluxe edition, {08.03.01}

Audio/?, ?/?, (?)

Bob Dylan

Trouble No More: The Bootleg Series Vol.13: / 1979-1981

Disc 1: Live
101 Slow Train (San Francisco, CA - Nov. 16, 1979) 06:21
102 Gotta Serve Somebody (San Francisco, CA - Nov. 15, 1979) 06:30
103 I Believe In You (Pittsburgh, PA - May 16, 1980) 04:51
104 When You Gonna Wake Up? (Oslo, Norway - July 9, 1981) 05:28
105 When He Returns (Albuquerque, NM - Dec. 5, 1979) 05:01
106 Man Gave Names To All The Animals (Portland, OR - Jan. 16, 1980) 05:45
107 Precious Angel (San Francisco, CA - Nov. 16, 1979) 05:41
108 Covenant Woman (Santa Monica, CA - Nov. 20, 1979) 05:51
109 Gonna Change My Way Of Thinking (Memphis, TN - Jan. 31, 1980) 04:47
110 Do Right To Me Baby (Do Unto Others) (Kansas City, MO - Jan. 28, 1980) 05:08
111 Solid Rock (San Diego - Nov. 27, 1979) 04:42
112 What Can I Do For You? (San Diego, CA - Nov. 27, 1979) 05:53
113 Saved (Portland, OR - Jan. 12, 1980) 04:49
114 In The Garden (Kansas City, MO - Jan. 27, 1980) 06:34

Disc 2: Live
201 Slow Train (London, England - June 29, 1981) 04:35
202 Ain't Gonna Go To Hell For Anybody (Unreleased Song - Montreal, Canada - Apr. 24, 1980) 04:30
203 Gotta Serve Somebody (Bad Segeberg, Germany - July 15, 1981) 03:57
204 Ain't No Man Righteous, No Not One (Unreleased Song - San Francisco, CA - Nov. 16, 1979) 04:36
205 Saving Grace (San Francisco, CA - Nov. 6, 1979) 04:25
206 Blessed Is The Name (Unreleased Song - Santa Monica, CA - Nov. 20, 1979) 04:19
207 Solid Rock (Philadelphia, PA - Oct. 23, 1981) 04:20
208 Are You Ready? (Buffalo, NY - Apr. 30, 1980) 06:19
209 Pressing On (San Francisco, CA - Nov. 6, 1979) 06:53
210 Shot Of Love (Avignon, France - July 25, 1981) 04:45
211 Dead Man, Dead Man (Toulouse, France - June 21, 1981) 04:22
212 Watered-Down Love (Detroit, MI - June 12, 1981) 04:44
213 In The Summertime (Boston, MA - Oct. 21, 1981) 03:15
214 The Groom's Still Waiting At The Altar (San Francisco, CA - Nov. 13, 1980) 06:01
215 Caribbean Wind (San Francisco, CA - Nov. 12, 1980) 05:23
216 Every Grain Of Sand (Lakeland, FL - Nov. 21, 1981) 03:42

Disc 3: Rare And Unreleased
301 Slow Train (Soundcheck - Largo, MD - Oct. 5, 1978) 03:03
302 Do Right To Me Baby (Do Unto Others) (Soundcheck - Greensboro, NC - Dec. 7, 1978) 03:38
303 Help Me Understand (Unreleased Song - Largo, MD - Oct. 5, 1978) 02:41
304 Gonna Change My Way Of Thinking (Rehearsal With Horns - Oct. 2, 1979) 04:58
305 Gotta Serve Somebody (Take 1 - 'Slow Train Coming' Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - May 4, 1979) 05:41
306 When He Returns (Take 2 - 'Slow Train Coming' Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - May 4, 1979) 04:23
307 Ain't No Man Righteous, No Not One (Take 6 - 'Slow Train Coming' Studio Outtake, Unreleased Song - Muscle Shoals Sound Studio, Sheffield, AL - May 1, 1979) 05:00
308 Trouble In Mind (Take 1 - B-Side Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - April 30, 1979) 04:50
309 Ye Shall Be Changed ('Slow Train Coming' Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - May 2, 1979) 04:09
310 Covenant Woman (Take 3 - 'Saved' Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - February 11, 1980) 05:05
311 Stand By Faith (Rehearsal, Unreleased Song - Sept. 26, 1979) 02:35
312 I Will Love Him (Live, Unreleased Song - Toronto, Canada, Apr. 19, 1980) 05:19
313 Jesus Is The One (Live, Unreleased Song - Lorelei, Germany - Jul. 17, 1981) 02:46
314 City Of Gold (Live, Unreleased Song - San Francisco, CA - Nov. 22, 1980) 02:48
315 Thief On The Cross (Live, Unreleased Song - New Orleans, LA - Nov. 10, 1981) 04:06
316 Pressing On (Take 1 - 'Saved' Studio Outtake - Muscle Shoals Sound Studio, Sheffield, AL - Feb. 13, 1980) 05:50

Disc 4: Rare And Unreleased
401 Slow Train (Rehearsal With Horns - Oct. 2, 1979) 05:38
402 Gotta Serve Somebody (Rehearsal With Horns - Oct. 9, 1979) 04:35
403 Making A Liar Out Of Me (Rehearsal, Unreleased Song - Sept. 26, 1980) 05:45
404 Yonder Comes Sin (Rehearsal, Unreleased Song - Oct. 1, 1980) 04:11
405 Radio Spot For January 1980, Portland, OR Show 04:11
406 Cover Down, Pray Through (Live, Unreleased Song - Buffalo, NY - May 1, 1980) 04:20
407 Rise Again (Rehearsal - Oct. 16, 1980) 03:03
408 Ain't Gonna Go To Hell For Anybody (Live, Unreleased Song, Salem, OR - Dec. 2, 1980) 03:52
409 The Groom's Still Waiting At The Altar (Take 2, 'Shot Of Love' Studio Outtake - Clover Recorders, Los Angeles, CA - May 1, 1981) 05:27
410 Caribbean Wind (Rehearsal With Pedal Steel - Sept. 23, 1980) 05:59
411 You Changed My Life (Take 4 'Shot Of Love' Studio Outtake, Unreleased Song - Clover Recorders, Los Angeles, CA - April 23, 1981) 04:31
412 Shot Of Love ('Shot Of Love' Studio Outtake - Rundown Studios, Los Angeles, CA - March 25, 1981) 04:25
413 Watered-Down Love ('Shot Of Love' Studio Outtake - Clover Recorders, Los Angeles, CA - May 15, 1981) 04:16
414 Dead Man, Dead Man ('Shot Of Love' Studio Outtake - Clover Recorders, Los Angeles, CA - April 24, 1981) 07:22
415 Every Grain Of Sand (Rehearsal - Sept. 26, 1980) 04:49

Disc 5: Live At Massey Hall In Toronto 1980
501 Gotta Serve Somebody (April 18, 1980) 06:54
502 I Believe In You (April 18, 1980) 04:45
503 Covenant Woman (April 19, 1980) 06:08
504 When You Gonna Wake Up? (April 18, 1980) 05:42
505 When He Returns (April 20, 1980) 05:26
506 Ain't Gonna Go To Hell For Anybody (Unreleased Song - April 18, 1980) 04:15
507 Cover Down, Pray Through (Unreleased Song - April 19, 1980) 04:34
508 Man Gave Names To All The Animals (April 19, 1980) 05:40
509 Precious Angel (April 19, 1980) 05:23

Disc 6: Live At Massey Hall In Toronto 1980
601 Slow Train (April 18, 1980) 06:49
602 Do Right To Me Baby (Do Unto Others) (April 20, 1980) 04:42
603 Solid Rock (April 20, 1980) 04:50
604 Saving Grace (April 18, 1980) 04:42
605 What Can I Do For You? (April 19, 1980) 06:33
606 In The Garden (April 20, 1980) 06:17
607 Band Introductions (April 19, 1980) 02:06
608 Are You Ready? (April 19, 1980) 04:29
609 Pressing On (April 18, 1980) 05:26

Disc 7: Live At Earl's Court, London - June 27, 1981
701 Gotta Serve Somebody 04:30
702 I Believe In You 04:57
703 Like A Rolling Stone 06:26
704 Man Gave Names To All The Animals 04:49
705 Maggie's Farm 04:08
706 I Don't Believe You 03:46
707 Dead Man, Dead Man 04:54
708 Girl From The North Country 05:10
709 Ballad Of A Thin Man 03:26

Disc 8: Live At Earl's Court, London - June 27, 1981
801 Slow Train 04:52
802 Let's Begin 03:26
803 Lenny Bruce 04:30
804 Mr. Tambourine Man 05:15
805 Solid Rock 04:32
806 Just Like A Woman 03:51
807 Watered-Down Love 04:52
808 Forever Young 04:15
809 When You Gonna Wake Up 04:49
810 In The Garden 05:48
811 Band Introductions 04:06
812 Blowin' In The Wind 05:01
813 It's All Over Now, Baby Blue 05:00
814 Knockin' On Heaven's Door 05:02

Disc 9: Bonus DVD - Trouble No More - A Musical Film
901 Jesus Met The Woman At The Well
902 Are You Ready?
903 Solid Rock
904 Slow Train
905 When He Returns
906 Precious Angel
907 Saved
908 Do Right To Me Baby (Do Unto Others)
909 Ain't Gonna Go To Hell For Anybody
910 What Can I Do For You?
911 Pressing On
912 Abraham, Martin And John
913 DVD Extras:
914 Shot Of Love
915 Cover Down, Pray Through
916 Jesus Met The Woman At The Well (Alternate Version)
917 Ain't Gonna Go To Hell For Anybody (Complete Version)
918 Precious Angel (Complete Version)
919 Slow Train (Complete Version)


(123/1) Bob Dylan, BD-2018-11-02, The Bootleg Series V14-More Blood, More Tracks Deluxe edition, {06.03.02}

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Bob Dylan

More Blood, More Tracks - The Bootleg Series Vol. 14 Deluxe Edition

1.01 If You See Her, Say Hello (Take 1) 03:58
1.02 If You See Her, Say Hello (Take 2) 03:44
1.03 You're A Big Girl Now (Take 1) 05:38
1.04 You're A Big Girl Now (Take 2) 04:41
1.05 Simple Twist Of Fate (Take 1) 04:41
1.06 Simple Twist Of Fate (Take 2) 05:05
1.07 You're A Big Girl Now (Take 3) 04:14
1.08 Up To Me (Rehearsal) 00:20
1.09 Up To Me (Take 1) 06:04
1.10 Lily, Rosemary, And The Jack Of Hearts (Take 1) 03:15
1.11 Lily, Rosemary, And The Jack Of Hearts (Take 2) 09:49

2.01 Simple Twist Of Fate (Take 1a) 04:58
2.02 Simple Twist Of Fate (Take 2a) 01:24
2.03 Simple Twist Of Fate (Take 3a) 04:22
2.04 Call Letter Blues (Take 1) 04:42
2.05 Meet Me In The Morning (Take 1)* 05:43
2.06 Call Letter Blues (Take 2) 04:29
2.07 Idiot Wind (Take 1) 03:48
2.08 Idiot Wind (Take 1, Remake) 05:29
2.09 Idiot Wind (Take 3 with Insert) 07:11
2.10 Idiot Wind (Take 5) 00:30
2.11 Idiot Wind (Take 6) 08:52
2.12 You're Gonna Make Me Lonesome When You Go (Rehearsal and Take 1) 01:25
2.13 You're Gonna Make Me Lonesome When You Go (Take 2) 00:46
2.14 You're Gonna Make Me Lonesome When You Go (Take 3) 01:13
2.15 You're Gonna Make Me Lonesome When You Go (take 4) 03:12
2.16 You're Gonna Make Me Lonesome When You Go (take 5) 05:16
2.17 You're Gonna Make Me Lonesome When You Go (Take 6) 01:03
2.18 You're Gonna Make Me Lonesome When You Go (Take 6, Remake) 00:57
2.19 You're Gonna Make Me Lonesome When You Go (Take 7) 00:59
2.20 You're Gonna Make Me Lonesome When You Go (Take 8) 03:33

3.01 Tangled Up In Blue (Take 1) 07:19
3.02 You're A Big Girl Now (Take 1, Remake) 04:55
3.03 You're A Big Girl Now (Take 2, Remake) 04:23
3.04 Tangled Up In Blue (Rehearsal) 00:59
3.05 Tangled Up In Blue (Take 2, Remake) 06:38
3.06 Spanish Is The Loving Tongue (Take 1) 04:56
3.07 Call Letter Blues (Rehearsal) 02:03
3.08 You're Gonna Make Me Lonesome When You Go (Take 1, Remake) 03:11
3.09 Shelter From The Storm (Take 1) 06:03
3.10 Buckets Of Rain (Take 1) 02:57
3.11 Tangled Up In Blue (Take 3, Remake) 06:44
3.12 Buckets Of Rain (Take 2) 03:20
3.13 Shelter From The Storm (Take 2) 04:39
3.14 Shelter From The Storm (Take 3)* 02:23
3.15 Shelter From The Storm (Take 4) 05:02

4.01 You're Gonna Make Me Lonesome When You Go (Take 1, Remake 2) 03:43
4.02 You're Gonna Make Me Lonesome When You Go (Take 2, Remake 2)* 03:25
4.03 Buckets Of Rain (Take 1, Remake) 03:19
4.04 Buckets Of Rain (Take 2, Remake) 03:03
4.05 Buckets Of Rain (Take 3, Remake) 00:53
4.06 Buckets Of Rain (Take 4, Remake) 02:37
4.07 Up To Me (Take 1, Remake) 01:17
4.08 Up To Me (take 2, Remake) 06:48
4.09 Buckets Of Rain (Take 1, Remake 2) 03:08
4.10 Buckets Of Rain (Take 2, Remake 2) 01:03
4.11 Buckets Of Rain (Take 3, Remake 2) 01:55
4.12 Buckets Of Rain (Take 4, Remake 2)* 03:23
4.13 If You See Her, Say Hello (Take 1, Remake) 03:26
4.14 Up To Me (Take 1, Remake 2) 00:57
4.15 Up To Me (Take 2, Remake 2) 06:48
4.16 Up To Me (Take 3, Remake 2) 06:38
4.17 Buckets Of Rain (Rehearsal) 00:53
4.18 Meet Me In The Morning (Take 1, Remake) 04:57
4.19 Meet Me In The Morning (Take 2, Remake) 04:15
4.20 Buckets Of Rain (Take 5, Remake 2) 03:27

5.01 Tangled Up In Blue (Rehearsal and Take 1, Remake 2) 03:08
5.02 Tangled Up In Blue (Take 2, Remake 2) 01:32
5.03 Tangled Up In Blue (Take 3, Remake 2) 06:51
5.04 Simple Twist Of Fate (Take 2, Remake) 04:51
5.05 Simple Twist Of Fate (Take 3, Remake)* 04:22
5.06 Up To Me (Rehearsal and Take 1, Remake 3) 02:25
5.07 Up To Me (Take 2, Remake 3) 06:24
5.08 Idiot Wind (Rehearsal and Takes 1-3, Remake) 04:53
5.09 Idiot Wind (Take 4, Remake) 09:14
5.10 Idiot Wind (Take 5, Remake) 08:52
5.11 You're A Big Girl Now (Take 1, Remake 2) 03:06
5.12 Meet Me In The Morning (Take 1, Remake 2) 03:52
5.13 Meet Me In The Morning (Takes 2-3, Remake 2) 01:43

6.01 You're A Big Girl Now (Takes 3-6, Remake 2) 02:17
6.02 Tangled Up In Blue (Rehearsal and Takes 1-2, Remake 3) 05:09
6.03 Tangled Up In Blue (Take 3, Remake 3) 06:32
6.04 Idiot Wind* 07:53
6.05 You're A Big Girl Now* 04:38
6.06 Tangled Up In Blue* 05:47
6.07 Lily, Rosemary, And The Jack Of Hearts* 08:59
6.08 If You See Her, Say Hello* 04:44


(780/1) Bob Dylan, BT-1968, Just as Well

Audio/Mp3, ?/?, (?)

683780001a683780001b683780001c
Robert Zimmermann

Just As Well

Miracle Music – LS 25

A1 Morning glory (Baby, please don't go)
A2 Just As Well (Dink's song)
A3 This Is It (The Story Of East Orange)
A4 Come On Within (Man Of Constant Sorrow)
A5 Rolling Down The Road (If You Gotta Go, Go Now)
A6 In between (Only a Hobo)

B1 Exploding Wheel (Quinn the Eskimo (The Mighty Quinn))
B2 All Right Here It Comes (Wheels On Fire)
B3 Flying Ain't Wrong (Candy Man)
B4 I Let You Be In My Dream (Ramblin' around)
B5 Only In The Mind (Black Cross)


(785/1) Bob Dylan, BT-1969, Great White Wonder

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683785001a
Bob Dylan

Great White Wonder

1969

A1 Baby Please Don't Go 4:15
A2 Fare Thee Well / See That My Grave Is Kept Clean 6:20
A3 One Kind Favor 3:35
A4 Chess Story 1:28
A5 Man Of Constant Sorrow 3:34

B1 I Shall Be Released 3:46
B2 Open The Door, Richard 2:48
B3 Too Much Of Nothing 2:42
B4 Nothing You Can Say / Was Delivered 4:25
B5 Tears Of Rage 4:04
B6 Living The Blues 2:46

C1 Candy Man 3:06
C2 Rambling Round 3:15
C3 The Story Of Hezekiah 4:48
C4 I Ain't Got No Home Anymore / Emmet Tell 7:37
C5 Poor Lazarus 3:25

D1 103 / Bob Dylan's New Orleans Rag 1:00
D2 If You Got To Go, Go Now 2:27
D3 He Was Only A Hobo 3:23
D4 Bob Dylan's Blues / Barbed Wire Fence 3:57
D5 The Mighty Quinn 2:04
D6 This Wheel's On Fire 3:45


(777/1) Bob Dylan, BT-1970, John Birch Society Blues

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683777001a683777001b683777001c
Bob Dylan

John Birch Society Blues

(Double LP gwa 18)
http://bobsboots.com/boots/bt-j004gwa18.html

Side one: 
1 Can you please crawl out your window 
2 It takes a lot to laugh 
3 Love - 0/no limit 
4 She belongs to me 
5 It's all over now, Baby Blue 
6 That's all right Mama 
7 Hard times in New York town * 
8 Stealin' * 

Side two: 
1 I was young when I left home 
2 Percy's song (take 2) **
3 Corrina Corrina ***
4 In the evening 
5 Long John 
6 Suze (Cough Song)**
7 Crash on the levee (Down in the flood) *

Side three: 
1 Wade in the water * 
2 Cocaine * 
3 I'll keep it with mine 
4 Talking John Birch paranoid blues 
5 Who killed Davey Moore? * * 
6 Eternal circle 
7 Ramblin' gamblin' Willie 

Side four: 
1  Million dollar bash 
2 Yea! Heavy and a bottle of bread 
3 Please, Mrs. Henry 
4 Lo and behold 
5 Tiny Montgomery 
6 You ain't going nowhere 
7 Mixed up confusion* 
8 East Laredo blues** 

Sources:
Side 1 is '64 & '65 studio outtakes except for 
* Minnesota hotel tapes.
Side 2 is Minnesota hotel tapes except for 
* Basement tapes. 
** 'Times' outtake Oct. 63
*** 1963 45 rpm
Side 3 is '62 & '63 studio outtakes except for 
* Minnesota hotel tapes 
* * 10/26/63 Carnegie Hall.
Side 4 is Basement tapes except for 
*1962 45 rpm
** 'Another side'.. studio outtake



(196/1) Bob Dylan, BT-1975-12-08, Knight of the hurricane, Madison Square Garden, New York, NY, US, (The Razor s Edge (GWW 001/2))

Audio/mp3, ?/?, (?)

683196001a683196001b
Bob Dylan & The Rolling Thunder Revue

Knight Of The Hurricane (The Final Cut)

The Razor's Edge – GWW 001/2

1-1 When I Paint My Masterpiece
1-2 It Ain't Me Babe
1-3 Lonesome Death Of Hattie Carroll
1-4 Tonight I'll Be Staying Here With You
1-5 It Takes A Lot To Laugh ...
1-6 Romance In Durango
1-7 Isis
1-8 Times They Are A-Changin'
1-9 Dark As A Dungeon
1-10 Mamma You Been On My Mind
1-11 Never Let Me Go

2-1 I Dreamed I Saw St Augustine
2-2 I Shall Be Released
2-3 Love Minus Zero/No Limit
2-4 Simple Twist Of Fate
2-5 Oh Sister
2-6 Hurricane
2-7 One More Cup Of Coffee
2-8 Sara
2-9 Just Like A Woman
2-10 Knockin' On Heaven's Door
2-11 This Land Is Your Land


Madison Square Garden, New York.
8th December 1975.


(786/1) Bob Dylan, BT-1981, Another Shot of Love

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683786001a
Bob Dylan

Another Shot of Love

1981

01 Is It Worth It
02 High Away
03 Hallelujah
04 Magic
05 You're Still A Child To Me
06 Wind On The Water
07 All The way Down
08 My Oriental Home (Instrumental)
09 We're On Borrowed Time
10 I Want You To Know I Love You
11 On A Rocking Boat
12 Movin' (On The Water)
13 Almost
14 Don't Ever Take Yourself Away
15 Mystery Train
16 Heart Of Mine
17 Watered Down Love
18 Shot Of Love


(798/1) Bob Dylan, BT-1984, Every Grain of Sand, European Tour 1984 Compilation

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Bob Dylan

Possum Belly Overalls

Gold Standard – NASH 105
1994

1 Ghost Riders In The Sky
2 Cupid
3 All I Have To Do Is Dream
4 Gates Of Eden
5 I Threw It All Away
6 I Don't Believe You
7 Matchbox
8 True Love, Your Love
9 Wonder When My Swamp's Gonna Catch On Fire
10 I'm Goin' Fishing
11 Honey Just Allow Me One More Chance
12 Rainy Day Women #12 & 35
13 Song To Woody
14 Mama You Been On My Mind
15 Don't Think Twice, It's Alright (Instr.)
16 Yesterday
17 Just Like Tom Thumb's Blues
18 Da Doo Ron Ron
19 One Too Many Mornings
20 Folsom Prison Blues
21 Ring Of Fire

1-19 May 1970 Columbia Studios, Nashville
20-21 May 1969 Columbia Studios, Nashville


(778/1) Bob Dylan, BT-1985-1992, FM Live, Limited Edition, Numbered, Unofficial Release 2015

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683778001a683778001b
Bob Dylan

FM Live

2LPs + 1CD
2015

A1 Blowin' In The Wind
A2 Man Of Constant Sorrow
A3 With God On Our Side
A4 Hurricane
A5 Simple Twist Of Fate

B1 Oh Sister
B2 Jokerman
B3 Maggies Farm
B4 All Along The Watchtower

C1 My Back Pages
C2 Knockin' On Heavens Door
C3 Highway 61

D1 Rainy Day Women
D2 Girl From The North Country
D3 Forever Young

Recordings from;
Farm Aid 85, Woodstock 94, 30th Anniversary Concert 1993, TV Acoustic Live, Live TV Show, NY 1992.


(787/1) Bob Dylan, BT-1991, Long Distance Operator, Berkeley Community Theatre, Berkeley, CA, US [1965, (Wanted Man Music – WMM 001)

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683787001a683787001b
Bob Dylan

Long Distance Operator

Berkeley Community Theatre 1965-04-12

Wanted Man Music – WMM 001
1991

1 Tombstone Blues 5:00
2 I Don't Believe You 5:22
3 Baby Let Me Follow You Down 4:05
4 Just Like Tom Thumb's Blues 5:48
5 Long Distance Operator 4:03
6 It Ain't Me, Babe 5:42
7 Ballad Of A Thin Man 6:14
8 Positively 4th Street 4:44
9 Like A Rolling Stone


(788/1) Bob Dylan, BT-1992, John Birch Society blues, [1961-1965], (Exit Records – CDX-2504-S)

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683788001a683788001b
Bob Dylan

John Birch Society Blues

Exit Records – CDX-2504-S
1992

1 Talking John Birch Society Blues
2 Corrina Corrina
3 East Laredo
4 In The Evening When The Sun Goes Down
5 I'll Keep It With Mine
6 Ramblin' Gamblin' Willie
7 Mixed Up Confusion
8 Who Killed Davey Moore
9 Long John
10 Percy's Song


(830/1) Bob Dylan, BT-1992, Stadiums Of The Damned, [1981-11-10], (Kiss The Stone – KTS 056/57)

Audio/Mp3, ?/?, (?)

683830001a683830001b683830001c
Bob Dylan

Stadiums Of The Damned

Kiss The Stone – KTS 056/57
1992

Tracklist
1-1 Gotta Serve Somebody 3:29
1-2 I Believe In You 4:28
1-3 Like A Rolling Stone 5:59
1-4 I Want You 3:18
1-5 Man Gave Names To All The Animals 4:38
1-6 Maggie's Farm 3:20
1-7 Girl From The North Country 3:53
1-8 Ballad Of A Thin Man 3:28
1-9 Heart Of Mine 3:32
1-10 Simple Twist Of Fate 4:25
1-11 All Along The Watchtower 3:11
1-12 I'll Be Your Baby Tonight 2:24
1-13 Forever Young 4:15
1-14 Gamblin' Man 3:09
2-1 The Times They Are A-Changin' 3:03
2-2 Watered-Down Love 4:04
2-3 Shot Of Love 4:28
2-4 Masters Of War 2:59
2-5 Just Like A Woman 3:41
2-6 Thief On The Cross 3:59
2-7 Dead Man, Dead Man 4:06
2-8 In The Garden 6:19
2-9 Blowin' In The Wind 4:48
2-10 It's Alright Ma (I'm Only Bleeding) 5:35
2-11 It Ain't Me Babe 4:46
2-12 Knockin' On Heaven's Door 4:22


(789/1) Bob Dylan, BT-1994, Thin Wild Mercury Music, (Spank Records – SP-105)

Audio/Mp3, ?/?, (?)

683789001a683789001b
Bob Dylan

Thin Wild Mercury Music

Spank Records – SP-105
1994

1 If You Gotta Go, Go Now
2 She Belongs To Me
3 Freeze Out (Visions Of Johanna)
4 From A Buick 6
5 It's All Over Now, Baby Blue
6 Medicine Sunday (Temporary Like Achilles)
7 I Wanna Be Your Lover
8 Keep It With Mine (Instrumental)
9 Love Minus Zero/No Limit
10 Can You Please Crawl Out Your Window
11 Number One
12 Just A Little Glass Of Water (She's Your Lover Now)
13 Pilot Eyes (Jet Pilot)
Bonus Tracks
14 Can You Please Crawl Out Your Window
15 Freeze Out (Visions Of Johanna)
16 Just A Little Glass Of Water (She's Your Lover Now)
17 Miami Convention Message
18 If You Gotta Go, Go Now


(800/1) Bob Dylan, BT-1994, The Dylan/Cash Sessions, (Spank Records – SP-106)

Audio/Mp3, ?/?, (?)

683800001a683800001b
Bob Dylan

The Dylan/Cash Sessions

Red Robin Records – ROB-1008, Spank Records (4) – SP-106
1994

Bob Dylan & Johnny Cash - Studio Outtakes
1 One Too Many Mornings
2 Mountain Dew
3 I Still Miss Someone
4 Careless Love
5 Matchbox
6 That's Alright Mama
7 Big River
8 Girl Of The North Country
9 I Walk The Line
10 You Are My Sunshine
11 Ring Of Fire
12 Guess Things Happen That Way
13 Just A Closer Walk With Thee
14 Blue Yodel
15 Blue Yodel No. 5
"The Johnny Cash Show" - ABC-TV
16 I Threw It All Away
17 Living The Blues
18 Girl Of The North Country
Nashville Skyline Quad Mixes
19 Nashville Skyline Rag
20 I Threw It All Away
21 Peggy Day
22 Country Pie
23 Tonight I'll Be Staying Here With You

Tracks 1-15: Columbia Studios, Nashville, February 17-18, 1969
Tracks 16-18: Ryman Auditorium, Nashville, May 1, 1969
Tracks 19-23: Columbia Studios, Nashville, February 13-14, 1969


(805/1) Bob Dylan, BT-1994, Possum Belly Overalls, (Gold Standard – NASH 105)

Audio/Mp3, ?/?, (?)

683805001a683805001b
Bob Dylan

Possum Belly Overalls

Gold Standard – NASH 105
1994

1 Ghost Riders In The Sky
2 Cupid
3 All I Have To Do Is Dream
4 Gates Of Eden
5 I Threw It All Away
6 I Don't Believe You
7 Matchbox
8 True Love, Your Love
9 Wonder When My Swamp's Gonna Catch On Fire
10 I'm Goin' Fishing
11 Honey Just Allow Me One More Chance
12 Rainy Day Women #12 & 35
13 Song To Woody
14 Mama You Been On My Mind
15 Don't Think Twice, It's Alright (Instr.)
16 Yesterday
17 Just Like Tom Thumb's Blues
18 Da Doo Ron Ron
19 One Too Many Mornings
20 Folsom Prison Blues
21 Ring Of Fire

1-19 May 1970 Columbia Studios, Nashville
20-21 May 1969 Columbia Studios, Nashville


(818/1) Bob Dylan, BT-1994, The Minnesota Tapes, [1961], (Wanted Man Music – WMM 33/34/35)

Audio/Mp3, ?/?, (?)

683818001a683818001b
Bob Dylan

The Minnesota Tapes

Wanted Man Music – WMM 33/34/35
1994

Tracklist
May 1961
1-1 (As I Go) Ramblin Round
1-2 Death Don't Have No Mercy
1-3 It's Hard To Be Blind
1-4 This Train Is Bound For Glory
1-5 Harmonica Song
1-6 Talking Fish Blues
1-7 Pastures Of Plenty
1-8 Railroad Bill
1-9 Will The Circle Be Unbroken
1-10 Man Of Constant Sorrow
1-11 Pretty Polly
1-12 Railroad Boy
1-13 James Alley Blues
1-14 Why'd You Cut My Hair
1-15 This Land Is Your Land
1-16 Two Trains Running
1-17 Wild Mountain Thyme
2-1 How Did O
2-2 Car Car
2-3 Don't You Push Me Down
2-4 Come See
2-5 I Want It Now
2-6 San Francisco Bay Blues
2-7 A Long Time Growing
2-8 Devilish Mary

December 1961
2-9 Candy Man
2-10 Baby Please Don't Go
2-11 Hard Times In New York Town
2-12 Stealin'
2-13 Poor Lazarus
2-14 I Aint Got No Home
2-15 It's Hard To Be Blind
2-16 Dink's Song
2-17 Man Of Constant Sorrow
2-18 The Story Of East Orange, N.J.
3-1 Naomi Wise
3-2 Wade In The Water
3-3 I Was Young When I Left Home
3-4 In The Evening
3-5 Baby Let Me Follow You Down
3-6 Sally Girl
3-7 Gospel Plow
3-8 Long John
3-9 Cocaine
3-10 VD Blues
3-11 VD Waltz
3-12 VD City
3-13 VD Gunners Blues
3-14 See That My Grave Is Kept Clean
3-15 Ramblin Round
3-16 Blackcross

Disc 1 and Disc 2 Tracks 1-8 recorded May 1961
Disc 2 Tracks 9-18 and Disc 3 recorded December 1961


(833/1) Bob Dylan, BT-1994, Rough Cuts, [1983-(04/05)], (Black Nite Crash – BNC 001/002)

Audio/Mp3, ?/?, (?)

683833001a683833001b683833001c
Bob Dylan

Rough Cuts

Black Nite Crash – BNC 001/002
1994

Tracklist
1-1 Sweetheart Like You 4:21
1-2 Gotta Hold Of My Heart 5:13
1-3 Lord Protect My Child 4:49
1-4 Angel Flying Too Close 4:15
1-5 Foot Of Pride 6:08
1-6 I And I 4:38
1-7 Tell Me 5:04
1-8 Union Sundown 5:08
1-9 Julius And Ethel 4:50
1-10 Jokerman 6:23
1-11 License To Kill 3:38
1-12 Man Of Peace 6:33
1-13 Don't Fall Apart On Me 5:54
1-14 Neighbourhood Bully 9:26

2-1 Blind Willie McTell 4:45
2-2 This Was My Love 3:58
2-3 This Was My Love 4:17
2-4 Angel Flying Too Close 4:39
2-5 Dark Groove 2:50
2-6 Don't Fly Unless It's Safe 3:16
2-7 Clean Cut Kid 6:49
2-8 Death Is Not The End 5:05
2-0 Sweetheart Like You 4:15
2-10 Union Sundown 6:43
2-11 'Sweetheart' Rehearsals 21:25


(836/1) Bob Dylan, BT-1994, Real Live Outtakes 1984, [1984], (Yellow Cat Records – YC 022)

Audio/Mp3, ?/?, (?)

683836001a683836001b
Bob Dylan

Real Live Outtakes 1984

Yellow Cat Records – YC 022
1994

Tracklist
1 Just Like A Woman
2 When You Gonna Wake Up
3 Senor (Tales Of Yankee Power)
4 The Times They Are A-Changin'
5 Knockin' On Heaven's Door
6 Shelter From The Storm
7 To Ramona
8 With God On Our Side
9 It's All Over Now, Baby Blue
10 Tupelo Honey
11 Leopard-Skin Pill-Box Hat
12 Blowin' In The Wind
13 Mr. Tambourine Man
14 Enough Is Enough


(195/1) Bob Dylan, BT-1995, In Concert, Town Hall/Carnegie Hall New York 1963, (Capricorn Records (CR-2025))

Audio/mp3, ?/?, (?)

Subject: Re: Bob Dylan In Concert (Capricorn Records, CR-2025)...
From: rsweener@aol.com (RSweener)
Date: 1995/04/20
Newsgroups: rec.music.dylan

rcj@ULA.CAM.AC.UK wrote:
As this CD uses the cover of the unreleased 1963 live album planned by Columbia: Bob Dylan In Concert (Col. CL-2302, CS-9102) [062] you might expect it to be a CD of that album.
Especially as it uses those numbers on the insert and on the spine. It is not!
Do people just accept this kind of fraud as natural in dealing with bootlegs?
Craig

I really don't know who they're going to defraud with this, and I doubt it was their intention. Anyone who is versed enough in Dylan to know that there was such a live album in the works once will know by the track listings that it's notthe same.

And for that matter, it includes more material than the original planned release, so I much prefer it.
Also, even if it did have the same track listing, it's not as if someone could be fooled into thinking they've stumbled on some valuable artifact. It would have to be on vinyl for that to be a possiblity.

This is not meant to be argumentative, because I'm not sure what you're argument is.
Just adding my comments as you asked. :)

Oh, almost forgot. This cd was highly recommended to me by someone who bought it. At this time, it's the best source I know of for the Town Hall/Carnegie Hall material.
If anyone knows of a better sounding or more complete source, let me know, so I can look for it instead.

Also, here's info someone sent me on the cd.

Bob Dylan "In Concert"
Capricorn Records Col. Cl-2303 Cs-9102

1. Ramblin Through the World
2. Bob Dylan's Dream
3. Tomorrow's a Long Time
4. Bob Dylan's New Orleans Rag
5. Masters of War
6. Walls of Red Wing
7. Hero Blues
8. Who Killed Davey Moore?
9. With God On Our Side
10. Dusty Old Fairgrounds
11. John Brown
12. You've Been Hiding Too Long (Recorded at Town Hall, NYC 4/12/63)
13. Lay Down Your Weary Tune
14. When the Ship Comes In
15. Percy's Song
16. Seven Curses (Recorded at Carnegie Hall, NYC 10/26/63)

Note: Tracks 1-9 taken from acetate

The acetates have been cleaned up and are very clean sounding, noticably absent of clicks or surface noise.
The CD clocks in at 70 minutes. The cover is the unreleased Columbia cover for a live album they had planned but never put out.

Can anyone explain track #12?
It's not listed in the Town Hall set list by Krogsgaard.

Best wishes,
Rick Sweeney

(814/1) Bob Dylan, BT-1995, Broadside, [1962-1963], (Gunsmoke Records GSR2)

Audio/Mp3, ?/?, (?)

683814001a683814001b
Bob Dylan

Broadside

Gunsmoke Records GSR2
1995

Tracklist
1 Ballad Of Donald White 7:23
2 The Death Of Emmett Till 6:08
3 Blowin' In The Wind 3:42
4 I'd Hate To Be You On That Dreadful Day 1:01
5 Oxford Town 1:49
6 Paths Of Victory 2:26
7 Walkin' Down The Line 2:06
8 Playboys And Playgirls 4:02
9 Talkin' Devil 0:50
10 Farewell 3:16
11 Masters Of War 3:50
12 Let Me Die In My Footsteps 3:35
13 Only A Hobo 2:00
14 John Brown 2:57
15 I Shall Be Free 5:19
16 Train A-Travelin' 1:59
17 Cuban Missile Crisis 3:00
18 Only A Pawn In Their Game 8:55
19 Keep Your Eyes On The Prize 2:46

Notes
Tracks 1-3: Broadside Show, WBAI-FM Radio, New York City, New York, May 1962 This Programme Was Never Released
Tracks 4-17: Broadside Sessions, Broadside Office, New York City 1962-1963
Tracks 18 & 19: March On Washington, Washington Civil Rights March, Lincoln Memorial Washington, August 28th, 1963


(823/1) Bob Dylan, BT-1995, Hard To Find Vol. 1, 21 Rare Tracks Revisited, (Effective Mining Records – 4-345388)

Audio/Mp3, ?/?, (?)

683823001a683823001b
Bob Dylan

Hard To Find (21 Rare Tracks Revisited)

Effective Mining Records – 4-345388
1995

Tracklist
1 Playboys And Playgirls 3:17
2 House Of The Rising Sun 2:40
3 Boogie Woogie Country Girl 3:11
4 Pretty Boy Floyd 4:25
5 Ballad Of Hollis Brown 5:23
6 Heartland 4:34
7 Sign Language 2:56
8 The Usual 3:33
9 Night After Night 2:48
10 Hard Rain 7:24
11 Song To Woody 3:40
12 Nobody's Child 3:26
13 Band Of The Hand 4:33
14 Caribbean Wind 6:22
15 This Old Man 3:10
16 People Get Ready 3:17
17 You Belong To Me 3:06
18 Rita May 3:10
19 Baby Let Me Follow You Down 2:30
20 George Jackson (Acoustic) 3:32
21 David Allan Coe– Little Suzzie Shallow Throat 2:52


(824/1) Bob Dylan, BT-1995, Hard To Find Vol. 2, Extraordinary Performances 1975-95, (Home Records – 186165-2)

Audio/Mp3, ?/?, (?)

683824001a683824001b
Bob Dylan

Hard To Find Volume 2 - Extraordinary Performances 1975-95

Home Records – 186165-2, Columbus – 463368/2

Tracklist
1 It Ain't Me Babe
2 People Get Ready
3 One Of Us Must Know (Sooner Or Later)
4 Masters Of War
5 Precious Angel
6 Don't Start Me Talking
7 License To Kill
8 Why Do I Have To Choose
9 Every Grain Of Sand
10 Girl Of The North Country
11 I Dreamed I Saw St. Augustine
12 Mr. Tambourine Man
13 Love Minus Zero / No Limit
14 Pancho And Lefty
15 Man Gave Names To All The Animals
16 When I Paint My Masterpiece
17 Restless Farewell
18 Silvio (Robert Hunter / Bob Dylan) [unlisted] 3:53

Tracks 1,2 from Renaldo And Clara 4 track promo EP.
Tracks 3,4 from Zeppelinfeld, Nürnberg, West Germany 7/01/78.
Track 5 from Rainbow Music Hall, Denver, CO 1/22/80.
Tracks 6,7 from David Letterman TV Show March 22, 1984.
Tracks 8,9 from Olympia Stadion, München, Germany June 3, 1984.
Track 10 from Sydney, Australia 2/24/86 (Hard To Handle broadcast).
Track 11 from Olympiahalle, München, West Germany 9/30/87.
Tracks 12, 13 from Great Woods, Mansfield, MA July 2, 1988.
Track 14 from Stadio Lamberti, Cava dei Tirreni, Italy 6/21/89.
Track 15,16 from Hamburg, Germany June 23, 1991.
Track 17 from Frank Sinatra Birthday TV broadcast Nov. 1995.


(832/1) Bob Dylan, BT-1995, Rock Solid, [1980-04-(19/20)], (Junkyard Angel – JUNK 004)

Audio/Mp3, ?/?, (?)

683832001a683832001b
Bob Dylan

Rock Solid

Junkyard Angel – JUNK 004, Junkyard Angel – JUNK 004.A
1995

Tracklist
1 Gotta Serve Somebody 7:05
2 Covenant Woman 6:28
3 When You Gonna Wake Up? 6:09
4 Precious Angel 5:22
5 Slow Train 6:51
6 Solid Rock 4:33
7 In The Garden 6:52
8 Coverdown / Breakthrough 4:37

Unreleased live album.
Tracks 1-7: Recorded live at Massey Hall, Toronto, Canada on April 19, 1980.
Track 8: Soundcheck, Montreal, Canada on April 20, 1980.


(807/1) Bob Dylan, BT-1995-2008, The Genuine Bootleg Series Vol 1-4, {01.03.01}, [1960-2004], (Scorpio)

Audio/Mp3, ?/?, (?)

683807001a683807001b683807001c683807001d
Bob Dylan – The Genuine Bootleg Series

Scorpio

The Genuine Bootleg Series – Vol. I
1995

Tracklist
1-1 Black Cross 4:21
1-2 I Was Young When I Left Home 4:26
1-3 Ballad For A Friend 6:09
1-4 Hero Blues 4:50
1-5 Whatcha Gonna Do? 4:46
1-6 Tomorrow Is A Long Time 4:43
1-7 Milk Cow Blues 1:40
1-8 Rocks And Gravel 1:59
1-9 You've Been Hiding Too Long 2:42
1-10 Farewell 4:18
1-11 Baby Let Me Follow You Down 4:56
1-12 That's All Right Mama / Sally Free And Easy 5:15
1-13 New Orleans Rag 3:46
1-14 You Don't Have To Do That 3:45
1-15 Can You Please Crawl Out Your Window? 2:55
1-16 Desolation Row 4:17
1-17 (Seems Like A) Freeze Out 4:55
1-18 She's Your Lover Now 5:51
2-1 The Painting By Van Gogh 4:09
2-2 What Kind Of Friend Is This? 5:47
2-3 One Too Many Mornings 2:22
2-4 Sign Of The Cross 2:17
2-5 All American Boy 2:11
2-6 Nothing Was Delivered 3:44
2-7 I Threw It All Away 2:32
2-8 Honey, Just Allow Me 2:34
2-9 One More Chance 2:35
2-10 Working On A Guru 3:57
2-11 Down In The Flood 1:53
2-12 Goodbye Holly 3:09
2-13 Rock Me Mama 3:14
2-14 Nobody 'Cept You 0:53
2-15 Idiot Wind 3:49
2-16 Hurricane 11:58
2-17 Stop Now 7:37
2-18 (You Treat Me Like A) Stepchild 8:19
3-1 Trouble In Mind 5:01
3-2 Yonder Comes Sin 4:15
3-3 Caribbean Wind 6:22
3-4 Don't Ever Take Yourself Away 3:57
3-5 Thief On The Cross 3:57
3-6 Sweetheart Like You 4:16
3-7 Someones Got A Hold Of My Heart 5:05
3-8 Tell Me 4:32
3-9 Jokerman 6:21
3-10 Blind Willie McTell 4:45
3-11 New Danville Girl 11:23
3-12 Important Words 3:17
3-13 Dignity 5:50
3-14 Like A Ship 3:19
3-15 Series Of Dreams 4:22

Bob Dylan – The Genuine Bootleg Series Take 2
1996

Tracklist
1-1 The Two Sisters 2:03
1-2 Lang A-Growin 5:42
1-3 Corrina, Corrina 3:04
1-4 That's Alright Mama 3:22
1-5 Hero Blues 3:00
1-6 Long Time Gone 3:46
1-7 Lay Down Your Weary Tune 4:57
1-8 Guess I'm Doing Fine 4:06
1-9 Mr. Tambourine Man 1 6:50
1-10 Mr. Tambourine Man 2 7:35
1-11 It's All Over Now, Baby Blue 3:33
1-12 Lunatic Princess Revisited 1:11
1-13 I Don't Wanna Be Your Partner 1:03
1-14 Freeze Out 8:27
1-15 Does She Need Me 1 & 2 5:24
1-16 Like A Rolling Stone 10:59
2-1 I'm Not There 5:09
2-2 Lang A-Growin 3:02
2-3 Banks Of The Royal Canal 5:35
2-4 Silent Weekend 5:41
2-5 Wild Mountain Thyme 2:34
2-6 Tomorrow Is A Long Time 3:52
2-7 Spanish Is The Loving Tongue 3:30
2-8 George Jackson 3:37
2-9 Goodbye Holly 2:07
2-10 House Of The Rising Sun 1:27
2-11 Nobody 'Cept You 2:41
2-12 Tangled Up In Blue 6:51
2-13 Abandoned Love 4:39
2-14 People Get Ready 2:44
2-15 The Water Is Wide 3:39
2-16 Repossession Blues 4:07
2-17 If You See Her, Say Hello 4:02
2-18 Stop Now 2 5:37
2-19 Coming From The Heart 5:03
3-1 Ain't Gonna Go To Hell 4:21
3-2 Coverdown, Breakthrough 4:26
3-3 The Groom's Still Waiting At The Altar 6:08
3-4 Magic 4:51
3-5 Heart Of Mine 4:46
3-6 Nadine 4:43
3-7 We Three 1:40
3-8 The Dawn Is Gonna Shine (Almost Gone 1) 2:00
3-9 Almost Gone 2 2:42
3-10 Freedom For The Stallion 4:17
3-11 Something's Burning Baby 4:56
3-12 To Fall In Love With You 5:15
3-13 Got Love If You Want It 3:46
3-14 Don't Keep Me Waiting Too Long 3:45
3-15 Broken Days 2:55
3-16 Born In Time 4:17
3-17 Most Of The Time 4:55
3-18 Series Of Dreams 5:52

Bob Dylan – The Third One Now
1999

Tracklist
1-1 Hard Times In New York
1-2 Death Of Emmett Till
1-3 Sally Gal/The Girl I Left Behind
1-4 I Rode Out One Morning
1-5 House Of The Rising Sun
1-6 See That My Grave Is Kept Clean
1-7 Ballad Of Donald White
1-8 Farewell
1-9 Percy's Song
1-10 I Shall Be Free #10
1-11 If You Gotta Go, Go Now
1-12 It's Alright, Ma
1-13 Tombstone Blues
1-14 From A Buick 6
1-15 Visions Of Johanna
1-16 Leopard Skin Pillbox Hat
2-1 Mister Tambourine Man
2-2 This Wheel's On Fire
2-3 You Ain't Going Nowhere
2-4 I Shall Be Released
2-5 Too Much Of Nothing
2-6 You Ain't Going Nowhere #2
2-7 Folsom Prison Blues
2-8 Ring Of Fire
2-9 Went To See The Gypsy
2-10 If Not For You
2-11 Sign On The Window
2-12 Knocking On Heavens Door
2-13 Nobody 'Cept You
2-14 Lily, Rosemary And The Jack Of Hearts
2-15 If You See Her, Say Hello
2-16 Simple Twist Of Fate
2-17 Oh! Sister
2-18 Rita Mae
3-1 Never Let Me Go
3-2 Sign Language
3-3 Ballad Of A Thin Man
3-4 Blowin' In The Wind 1
3-5 Blowin' In The Wind 2
3-6 Shot Of Love
3-7 Watered Down Love
3-8 Tangled Up In Blue
3-9 A Couple More Years
3-10 The French Girl
3-11 Series Of Dreams
3-12 Ring Them Bells
3-13 Handy Dandy
3-14 T.V. Talking Song
3-15 Any Way You Want Me
3-16 Blue Eyed Jane
3-17 Blind Willie McTell
3-18 Hard Times
3-19 Restless Farewell

Bob Dylan – Fourth Time Around
2008

Tracklist
1-1 Rangers Command
1-2 Baby, Let Me Follow You Down
1-3 Midnight Special (Harry Belafonte)
1-4 It Makes A Long Time Man Feel Bad
1-5 Baby Please Don't Go
1-6 Ballad Of The Gliding Swan
1-7 James Alley Blues
1-8 Long Time Gone
1-9 Only A Hobo
1-10 Not The Cough Song
1-11 A Hard Rain's A-Gonna Fall
1-12 Troubled And I Don't Know Why
1-13 Ballad Of Hollis Brown
1-14 Boots Of Spanish Leather
1-15 North Country Blues
1-16 Seven Curses
1-17 Eternal Circle
1-18 Mr. Tambourine Man
1-19 Outlaw Blues
1-20 Can You Please Crawl Out Your Window?
1-21 I'll Keep It With Mine
2-1 Tell Me Momma
2-2 Ain't Got No Home
2-3 See That My Grave Is Kept Clean
2-4 One Too Many Mornings
2-5 Song To Woody
2-6 If Not For You
2-7 Put My Money Down
2-8 For You Babe, Oh Babe For You
2-9 Going, Going, Gone
2-10 What Will You Do When Jesus Comes?
2-11 No Man Righteous
2-12 I Will Sing
2-13 Let's Keep It Between Us
2-14 Shot Of Love
2-15 In The Summertime
2-16 Let It Be Me
2-17 The Grooms Still Waiting At The Alter
2-18 I And I
2-19 Sidewalks, Fences And Walls
3-1 Soon
3-2 Ring Them Bells
3-3 Dignity
3-4 Two By Two
3-5 Born In Time
3-6 Wiggle Wiggle
3-7 TV Talkin' Song
3-8 Unbelievable
3-9 Under The Red Sky
3-10 Polly Vaughn
3-11 Catskill Serenade
3-12 Miss The Mississippi
3-13 Sloppy Drunk
3-14 You Belong To Me
3-15 Anyway You Want Me
3-16 Lawday Miss Clawdy
3-17 Money Honey
3-18 Money Honey II
3-19 I Can't Get You Off My Mind
3-20 Return To Me
3-21 Red Cadillac & A Black Moustache
3-22 Tell Old Bill
3-23 A Change Is Gonna Come


(201/1) Bob Dylan, BT-1996, Peco s Blues aka Lucky Luke, {05.01.07}, [1973], (Vagabound Wilbury Records (LUCKY VW 001))

Audio/mp3, ?/?, (?)

683201001a683201001b
Bob Dylan

Lucky Luke

Vagabound Wilbury Records ?– LUCKY VW 001

1 Billy (1)
2 Billy (2)
3 Turkey
4 Turkey II Or Tom Turkey
5 Billy Surrenders
6 And He's Killed Me Too
7 Goodbye Holly
8 Peco's Blues (1)
9 Peco's Blues (2)
10 Billy (3)
11 Knockin' On Heaven's Door (1)
12 Sweet Amarillo
13 Knockin' On Heaven's Door (2)
14 Knockin' On Heaven's Door (3)
15 Final Theme (1)
16 Final Theme (2)
17 Rock Me Mama (1)
18 Rock Me Mama (2)
19 Billy (4)
20 Billy (5)
21 Instrumental (1)
22 Instrumental (2)
23 Final Theme (3)
24 Final Theme (4)


(819/1) Bob Dylan, BT-1996, All Hallows Eve & More, [1962/1964], (Midnight Beat – MB CD 079/80)

Audio/Mp3, ?/?, (?)

683819001a683819001b
Bob Dylan

All Hallows Eve & More

Midnight Beat – MB CD 079/80
1996

Tracklist
1-1 Intro 0:45
1-2 The Times They Are A-Changin' 3:14
1-3 Spanish Harlem Incident 2:58
1-4 Talking John Birch Paranoid Blues 4:28
1-5 To Ramona 5:13
1-6 Who Killed Davey Moore? 5:41
1-7 Gates Of Eden 7:47
1-8 If You Gotta Go, Go Now 4:52
1-9 It's Alright, Ma (I'm Only Bleeding) 8:51
1-10 I Don't Believe You (She Acts Like We Never Have Met) 5:40
1-11 Mr. Tambourine Man 6:26
1-12 A Hard Rain's A-Gonna Fall 7:39
2-1 Talking World War III Blues 5:53
2-2 Don't Think Twice, It's All Right 4:07
2-3 The Lonesome Death Of Hattie Carroll 7:35
2-4 Mama You've Been On My Mind 3:10
2-5 With God On Our Side 6:29
2-6 It Ain't Me Babe 5:20
2-7 All I Really Want To Do 4:06
2-8 Interview 2:37
2-9 Ballad Of Donald White 4:30
2-10 Interview 1:11
2-11 The Death Of Emmett Till 4:39
2-12 Interview 0:52
2-13 Blowin In The Wind 2:28

Recorded at Philharmonic Hall, New York City, New York, October 31 1964 and Broadside Show, WBAI-FM-Radio, New York City, New York, May 1962

(825/1) Bob Dylan, BT-1996, Hard To Find Vol. 3, Lost Recordings 1962-86, (Treasure Records – 1861656-2)

Audio/Mp3, ?/?, (?)

683825001a683825001b
Bob Dylan

Even Harder To Find - Vol. 3 - Lost Recordings 1962-86

Treasure Records – 1861656-2
1996

Tracklist
1 Mixed-Up Confusion
2 Corrina Corrina
3 With God On Our Side
4 Blowin' In The Wind
5 Troubled And I Don't Know Why
6 Mama You Been On My Mind
7 Just Like Tom Thumb's Blues
8 I Ain't Got No Home
9 Dear Mrs. Roosevelt
10 The Grand Coulee Dam
11 George Jackson
12 Spanish Is The Loving Tongue
13 You Ain't Goin' Nowhere
14 Never Let Me Go
15 Blowin' In The Wind
16 Trouble In Mind
17 Let It Be Me
18 Angel Flying Too Close To The Ground
19 Jokerman
20 I Shall Be Released
21 Couple More Years


(826/1) Bob Dylan, BT-1996, Hard To Find Vol. 4, Hardest To Find (Lost Diamonds 1986-96), (USA Treasure Records)

Audio/Mp3, ?/?, (?)

683826001a683826001b
Bob Dylan

Hard To Find Volume 4 - Hardest To Find (Lost Diamonds 1986-96)

USA Treasure Records – none

Tracklist
1 It Ain't Me Babe 4:51
2 Blowin' In The Wind 2:11
3 Got Love If You Want It 3:53
4 Important Words 3:08
5 Mr. Tambourine Man 5:19
6 Most Of The Time 3:47
7 Old Rock-n-roller 4:03
8 People Putting People Down 2:54
9 Tupelo Honey 3:32
10 Crazy Love 2:38
11 Foreign Window 4:07
12 One Irish Rover 2:46
13 One Irish Rover 7:49
14 Forever Young 4:40
15 Hard Times 4:15
16 I Shall Be Released 3:32
17 Ring Them Bells 3:18
18 Real, Real Gone 5:38
19 Ring Of Fire 4:17
20 Knockin' On Heaven's Door 2:42

(1) Radio version. From the Tacoma Dome, Tacoma, WA - USA. Released on the Superstar Concert Series Westwood One radio Station disc 7-31-86
(2) Dylan with Stevie Wonder & Peter, Paul, and Mary on Martin Luther King Day. JFK performing Arts Center Washington January 20, 1986
(3) Down In The Groove Argentinean release 1988
(4) Down In The Groove DJ promo 1988
(5) Bob Dylan, the Byrds, Roy Orbison, Remixed from the original master from the Orbison tribute 2/24/90
(6) Alternate single version (shorter edit)
(7) Only known performance of this song. Stadtpark, Hamburg, Germany 7-3-90
(8) Rare live performance Rome, Italy 6/06/91
(9) Dylan and Van Morrison. Belfast, North Ireland Feb. 6, '91
(10-12) Dylan & Van Morrison Hill of the Muses June 27, 1989. TV program 'One Irish Rover' March 16, 1991
(13) Fleadh Festival, Finsbury Park, London 6/12/93
(14) David Letterman show New York City 11-18-93
(15) Bob Dylan / Willie Nelson tribute birthday party May 1993
(16, 17) The great music experience, Nara City, Japan 5/22/94
(18) Bob Dylan and Van Morrison Dublin 4/12/95
(19) Pirated soundtrack 'Feeling Minnesota' 1996
(20) Ferrara, Italy 7/05/96


(202/1) Bob Dylan, BT-1997, Plymouth Rock, [1975], (Colosseum (97-C-015))

Audio/mp3, ?/?, (?)

683202001a683202001b
Bob Dylan

Plymouth Rock

Colosseum – 97-C-015


1 I Don't Believe You 3:47
2 Hurricane 8:20
3 Oh Sister 4:41
4 One More Cup Of Coffee 4:01
5 Sara 4:56
6 Just Like A Woman 4:45
7 This Land Is Your Land 4:07
8 A Hard Rains A Gonna Fall 6:16
9 Romance In Durango 5:33
10 Isis 5:28
11 Blowin' In The Wind 3:00
12 The Water Is Wide 4:52
13 I Dreamed I Saw St. Augustine 3:10
14 Never Let Me Go 2:34
15 I Shall Be Released 3:59
16 Knockin' On Heaven's Door 4:36

Track 1-7 Recorded live at War Memorial, Plymouth, MA 31st October 1975
Tracks 8-16 Recorded live at Palace Theatre, Waterbury, CT, November, 1975


(821/1) Bob Dylan, BT-1998, Folk Rogue, [1964/1965], (Wild Wolf – 6965)

Audio/Mp3, ?/?, (?)

683821001a
Bob Dylan

Folk Rogue

Wild Wolf – 6965
1998

Tracklist
1 It Ain't Me, Babe
2 All I Really Want To Do
3 To Ramona
4 Mr. Tambourine Man
5 Chimes Of Freedom
6 Don't Think Twice, It's Alright
7 All I Really Want To Do
8 Maggies Farm
9 Like A Rolling Stone
10 Phantom Engineer
11 Tombstone Blues
12 It Ain't Me, Babe
13 We Want Bobby
14 It's All Over Now, Baby Blue
15 Mr. Tambourine Man

Backing Band – The Paul Butterfield Blues Band
Backing Vocals – Joan Baez
Lead Vocals, Acoustic Guitar, Harmonica – Bob Dylan

Track 1 recorded July 24, 1964 at the Newport Folk Festival with Joan Baez
Tracks 2-5 recorded July 26, 1964 at the Newport Folk Festival
Track 6 recorded May 6, 1965 at City Hall, Newcastle, U.K.
Track 7 recorded July 24, 1965 at the Newport Folk Festival afternoon workshop
Tracks 8-10 recorded July 25, 1965 at the Newport Folk Festival with the Butterfield Blues Band
Tracks 11-12 recorded September 3, 1965 at the Hollywood Bowl, Hollywood, California
Tracks 13-15 recorded July 25, 1965 at the Newport Folk Festival


(827/1) Bob Dylan, BT-1998, Hard To Find Vol. 5, Lost Track Searcher, (Tashunka Witko Records)

Audio/Mp3, ?/?, (?)

683827001a683827001b
Bob Dylan

Lost Track Searcher - Hard To Find Volume 5

Tashunka Witko Records – none, Country Bob Records – none

Classic Rock
Tracklist
1 My Blue Eyed Jane
2 My Blue Eyed Jane
3 Love Sick
4 Grammy Acceptance Speech
5 Shelter From The Storm
6 My Back Pages
7 Tombstone Blues
8 Ballad Of A Thin Man
9 Boots Of Spanish Leather
10 Knockin' On Heaven's Door
11 Highway 61 Revisited
12 I Shall Be Released
13 Mr. Tambourine Man
14 Soon


(828/1) Bob Dylan, BT-1998, Hard To Find Vol. 6, Dylan s Zip Gun, (Magic Hand Records – 457 823-2)

Audio/Mp3, ?/?, (?)

683828001a683828001b
Bob Dylan

Dylan's Zip Gun - Hard To Find Vol. 6

Magic Hand Records – 457 823-2
1998

Tracklist
1 Love Sick 5:29
2 Cold Irons Bound 6:50
3 Cocaine Blues 5:43
4 Born In Time 5:21
5 Can't Wait 6:04
6 Roving Gambler 3:53
7 Blind Willie McTell 7:04
8 Handle With Care 5:15
9 (Is Anybody Going To) San Antone 3:03
10 Wallflower 2:34
11 Blues Stay Away From Me 4:38
12 Me And Paul 3:28
13 I Threw It All Away 2:37
14 I Don't Believe You 2:49
15 Honey Just Allow Me One More Chance 2:38
16 Oxford Town 1:59
17 Ain't Gonna Go To Hell For Anybody 4:22
18 Coming From The Heart 5:01


(829/1) Bob Dylan, BT-1998, Blood On The Tracks -New York Sessions, [1974], (A&R)

Audio/Mp3, ?/?, (?)

683829001a683829001b
Bob Dylan

Blood On The Tracks - New York Sessions

A&R
1998

Tracklist
1 Tangled Up In Blue
2 Simple Twist Of Fate
3 You're A Big Girl Now
4 Idiot Wind
5 You're Gonna Make Me Lonesome
6 Meet Me In The Morning
7 Lily, Rosemary & The Jack Of Hearts
8 If You See Her, Say Hello
9 Shelter From The Storm
10 Buckets Of Rain

Tracks 1, 3, 4, 6, 7 recorded at Columbia A&R Studios, New York City, New York, September 12, 1974.
Tracks 2, 5, 9, 10 recorded at Columbia A&R Studios, New York City, New York, September 16, 1974.
Track 8 recorded at Columbia A&R Studios, New York City, New York, September 23, 1974.
Tracks 1, 3, 4, 7, 8 are alternate takes recorded in New York City, they were not included on the original album, the same tracks recorded in Minneapolis were instead.


(839/1) Bob Dylan, BT-1998, Bob Dylan and the Grateful Dead - Studio rehearsals, [1987], (Outrider – OR-9802006/7/8)

Audio/Mp3, ?/?, (?)

683839001a683839001b
Bob Dylan & Grateful Dead

Studio Rehearsals 1987

Outrider – OR-9802006/7/8
Format:
1998

Tracklist
1-1 The Times They Are A-Changing 3:13
1-2 When I Paint My Masterpiece 4:02
1-3 Man Of Peace 4:08
1-4 I'll Be Your Baby Tonight 3:44
1-5 Ballad Of Ira Hayes 4:23
1-6 I Want You 3:37
1-7 Ballad Of A Thin Man 2:17
1-8 Stuck Inside Of Mobile 5:18
1-9 Dead Man Dead Man 4:50
1-10 Queen Jane Approximately 4:19
1-11 Boy In The Bubble 8:29
1-12 In The Summertime 4:49

2-1 Man Of Peace 3:37
2-2 Union Sun Down 4:11
2-3 It's All Over Now Baby Blue 5:43
2-4 Joey 9:13
2-5 If Not For You 3:32
2-6 Slow Train Coming 5:12
2-7 Tomorrow Is A Long Time 4:00
2-8 Walking Down The Lane 3:41
2-9 Gatta Serve Somebody 3:57
2-10 Gonna Change My Way Of Thinking 2:59
2-11 Maggie's Farm 3:48
2-12 Chimes Of Freedom 3:32
2-13 All I Really Want To Do 3:52
2-14 John Brown 3:45
2-15 Heart Of Mine 3:47

3-1 Rolling In My Sweet Baby's Arms 3:10
3-2 John Hardy 3:17
3-3 Heart Of Mine 3:58
3-4 Ballad Of Frankie West 6:11
3-5 John Brown 5:32
3-6 Baby Tonight 3:53
3-7 Don't Keep Me Waiting To Long 3:52
3-8 Stealin' I Want You 2:49
3-9 I Want You 4:10
3-10 Oh Boy 2:20
3-11 Tangled In Blue 5:45
3-12 Walkin' Down The Line 3:42
3-13 Simple Twist Of Fate 5:58


(194/1) Bob Dylan, BT-1999, The Gaslight Tapes, {02.04.10}, Gaslight Cafe, New York, NY, US [1962], (Rattle Snake (RS 068))

Audio/mp3, ?/?, (?)

683194001a683194001b
Bob Dylan

Gaslight Tapes

Rattle Snake ?– RS 068

1985

1 A Hard Rain's A-Gonna Fall 6:53
2 Hezekiah Jones (Black Cross) 2:09
3 No More Auction Block For Me 3:01
4 Rocks And Gravels 5:11
5 Don't Think Twice, It's All Right 3:17
6 Barbara Allen 8:05
7 Moonshine Blues 4:14
8 Motherless Children 3:11
9 Handsome Molly 2:46
10 John Brown 5:58
11 Ballad Of Hollis Brown 5:44
12 Kindhearted Woman Blues 2:30
13 See That My Grave Is Kept Clean 3:20
14 Ain't No More Cane (Cane On The Brazo) 1:58
15 Cocaine 2:52
16 Cuckoo Is A Pretty Bird 2:20
17 West Texas (Excerpt) 4:35

Recorded live at the Gaslight Cafe, NYC, NY, late October 1962


(817/1) Bob Dylan, BT-1999, Cocaine Blues, (BYG Records – CDB-2524-S)

Audio/Mp3, ?/?, (?)

683817001a683817001b
Bob Dylan

Cocaine Blues

BYG Records – CDB-2524-S
1999

Tracklist
1 Cocaine Blues 2:17
2 Candy Man 3:08
3 Who You Really Are 1:43
4 Wade In The Water 3:01
5 Farewell Angelina 2:29
6 Only A Hobo 2:24
7 California 3:07
8 Stealin 2:13
9 U.D. Blues 1:54
10 Baby Let Me Follow You Down 2:59
11 Hard Times In New York Town 2:21
12 Man Of Constant Sorrow 3:28


(200/1) Bob Dylan, BT-2000, I Was So Much Younger Then, {02.04.01}, [1958-1965], (Dandelion (DL 075/076/077/078) 2000)

Audio/mp3, ?/?, (?)

683200001a
Bob Dylan

I Was So Much Younger Then

Dandelion ?– DL 075/076/077/078

Volume 1 - Ten Million In A Week
1 Friendship In Music 1:21
2 Little Richard 0:30
3 Johnny Cash 0:26
4 A Good Place To Leave 0:46
5 Best Kind Of Music 0:28
6 Talent Show At School / Buzz Buzz Buzz / No Concern To Bob 1:24
7 Jenny / Ten Million In A Week 0:47
8 Scotty Moore 0:54
9 Blue Moon 0:52
10 Elvis Presley 0:58
11 Bass Player 1:40
12 Echo 0:36
13 Underground Folk Music 0:36
14 Bob Dillon 0:55
15 Red Rose Bush 3:23
16 Johnny I Hardly Knew You 4:23
17 Jesus Christ 2:48
18 Streets Of Glory 0:47
19 KC Moan 2:33
20 Blue Yodel #8 0:56
21 I'm A Gambler 2:06
22 Talking Columbia 0:38
23 Talking Merchant Marine 2:25
24 Talking Hugh Brown 1:29
25 Talking Lobbyist 2:40
26 San Francisco Bay Blues 3:12
27 Great Devide 3:37
28 Interview 4:10
29 Ballad Of Donald White 5:08
30 Chatter 1:17
31 Witchita 3:15
32 Chatter And Tuning 0:53
33 ACNE / Teenager In Love 2:57
34 Chatter 0:42
35 Rocks & Gravel 3:18
36 Long Time Man 1:56
37 Ranger's Commannd 3:11
38 Blowin' In The Wind 1:36
39 Swan On The Lake 0:40

Volume 2 - Ten Thousand For A Tape
1 The Two Sisters 2:11
2 Rising Sun Comment 0:55
3 Pastures Of Plenty 1:37
4 Muleskinner Blues 2:54
5 Payday At Coal Creek 1:07
6 Karen Wallace 1:05
7 One Eyed Jacks 0:32
8 Go Down You Murderers 0:33
9 This Land Is Your Land 0:48
10 Sara Jane 0:31
11 Nobody Knows You... 1:09
12 Great Historical Bum 0:40
13 Mary Ann 1:03
14 Sinner Man 0:42
15 Abner Young 1:23
16 Muleskinner Blues 0:45
17 One Eyed Jacks 0:45
18 Columbus Stockade Blues 0:35
19 Go Down You Murderers / This Land Is Your Land 0:38
20 Gotta Travel On 2:53
21 Rovin' Gambler 2:44
22 The Two Sisters 1:58
23 Go 'Way From My Window 2:56
24 Sara Jane 1:42
25 Nobody Knows You When You're Down & Out 2:58
26 Great Historical Bum 1:25
27 Mary Ann 3:42
28 Every Night When The Sun Goes Down 3:19
29 Sinner Man 0:59
30 Abner Young 0:52
31 900 Miles 1:58
32 Muleskinner Blues 2:09
33 One Eyed Jacks 2:35
34 Columbus Stockade Blues 1:35
35 Payday At Coal Creek 2:06
36 Wallace Sisters Interview 18:08

Volume 3 - Do It The Old Way
1 Hard Times In New York Town 1:01
2 Wayfaring Stranger 0:45
3 Long Time Man Feel Bad / Lonesome Whistle Blues 3:42
4 Baby Of Mine 1:00
5 Baby Let Me Follow You Down 1:58
6 San Francisco Bay Blues 1:55
7 You're No Good 1:25
8 House Of The Rising Sun 6:47
9 Instrumental 2:18
10 Rpll In My Sweet Baby's Arms / Bells Of Rhymney 0:39
11 Come All You Fair And Tender Ladies 1:58
12 Rpll In My Sweet Baby's Arms 1:45
13 Bells Of Rhymney 3:06
14 Highway 51 4:26
15 This Land Is Your Land 3:13
16 Instrumental 1:29
17 See That My Grave Is Kept Clean 1:01
18 Ballad Of Donald White 5:59
19 A Hard Rain's Gonna Fall 7:22
20 James Alley Blues 2:44
21 I Rode Out Onr Morning 3:03
22 Instrumental 2:20
23 Don't Think Twice 0:59
24 Instrumental 4:48
25 Long Time Gone 4:37
26 Only A Hobo 3:28
27 House Of The Rising Sun 4:11
28 Cocaine 0:55

Volume 4 - Columbia Discovered
1 Talking Columbia 3:54
2 Slipknot, Hang Not 5:03
3 Talking Fishing Blues 5:52
4 Sally Gal 3:09
5 The Girl I Left Behind 5:44
6 Introduction 0:44
7 Girl From The North Country 3:22
8 Only A Hobo 2:47
9 Introduction / Interview 5:38
10 Lonesome Death Of Hattie Caroll 6:13
11 Introduction 0:56
12 It's All Over Now Baby Blue 4:14
13 Interview 17:56
14 It's Alright Ma 7:27

(822/1) Bob Dylan, BT-2000, Hard To Find Vol. 7, [1997/1999], (Avengers-Records – DHF 7)

Audio/Mp3, ?/?, (?)

683822001a683822001b683822001c
Bob Dylan

Hard To Find Vol. 7 - Music From The Outlaw Hideout

Avengers-Records – DHF 7
2000

Tracklist
1 The Lonesome River3:05
2 Chimes Of Freedom4:12
3 Train Of Love 3:23
4 I'm Not Supposed To Care 4:05
5 The Wild And Wicked Youth 4:29
6 The Times We've Known 3:08
7 The White Dove 4:40
8 Oh Babe It Ain't No Lie 4:10
9 Handy Dandy 4:52
10 TV-Talking Song 3:44
11 My Blue Eyed Jane 3:06
12 Hallelujah I'm Ready To Go 2:36
13 I'll Not Be A Stranger 3:05
14 Long Black Veil 6:05
15 Viola Lee Blues 4:38
16 Rock Of Ages 3:54
17 Down Along The Cove 4:14
18 I Am The Man Thomas 2:38
19 Dark As A Dungeon 6:03
20 Pass Me Not Oh Gentle Savior 4:35

Track List:
(1) Clinch Mountain Country, Ralph Stanley & Friends
(2) The Sixties TV soundtrack album
(3) Johnny Cash Tribute (Broadcast April 6, 1999)
(4) Pond Of Anaheim, Anaheim, CA May 23, 1998
(5) Belfast, Ireland June 19, 1998
(6) Madison Square Garden, NY, NY Nov.1, 1998
(7) Irving Plaza, NY, NY December 8, 1997
(8) El Rey Theater, LA, CA. December 19, 1997
(9) Under The Red Sky sessions; January 6, 1990
(10) Under The Red Sky sessions; March 1990
(11) Ardent Studios, Memphis, TN May 1994
(12) The Gorge, George, WA. June 13, 1999
(13) VA Memorial Aud. Columbus, OH. Nov. 7, 1997
(14) Capitol Music Hall, Wheeling, WV. April 28, 1997
(15) Kosei Nenkin Kaikan, Sapporo, Japan Feb. 24, 1997
(16) Pensacola, FL. February 2, 1999
(17) EMU Ballroom, Eugene, OR. June 14, 1999
(18) Nashville, TN September 1999
(19) Mercury Lounge, Melbourne, Australia Aug. 19, 1998
(20) Mullins Center, Amherst, MA. February 24, 1999


(841/1) Bob Dylan, BT-2000, The Greatest Single Ever Made, [1966], (LRS101)

Audio/Mp3, ?/?, (?)

683841001a683841001b
Bob Dylan

The Greatest Single Ever Made

Reference Recording – LRS101
2000

Tracklist
1 House Of The Rising Sun
2 I Shall Be Free No. 10
3 Like A Rolling Stone Take 1 (False Start)
4 Like A Rolling Stone Take 1
5 Like A Rolling Stone Take 1 (remake)
6 Like A Rolling Stone Take 2 (False Start)
7 Like A Rolling Stone Take 2
8 Like A Rolling Stone Take 6 (First Try)
9 Like A Rolling Stone Take 6 (Second Try)
10 Like A Rolling Stone Take 8
11 Like A Rolling Stone Take 10
12 Like A Rolling Stone Take 2 More Extent (Acetate)
13 Like A Rolling Stone Piano Demo
14 Like A Rolling Stone Highway 61 Revisited Version
15 Like A Rolling Stone Mono Version (Take 4)


(203/1) Bob Dylan, BT-2001, The Genuine Never Ending Tour Covers Collection 1988-2000, (Scorpio/wild wolf (NET1-9))

Audio/mp3, ?/?, (?)

683203001a683203001b
The Genuine Never Ending Tour Covers Collection 1988-2000

2001 (rec. live 1988-2000)
scorpio/wild wolf [NET1-9]

Rehearsing On Stage
1-1 Walk A Mile In My Shoes
1-2 Trouble No More (Worried Life Blues)
1-3 Hang Me Oh Hang Me
1-4 Paid The Price Of Lovin' You
1-5 Help Me Make It Through The Night
1-6 Dancing In The Dark
1-7 I Heard That Lonesome Whistle
1-8 So Long, Good Luck & Goodbye
1-9 Key To The Highway
1-10 In The Pines
1-11 Everybody's Movin'
1-12 Oh Babe It Ain't No Lie
1-13 Real Real Gone
1-14 Tell Me It's Not Too Late
1-15 Willing
1-16 That Lucky Ol' Sun
1-17 West L.A. Fadeaway

Trad. Arr. Dylan
2-1 Eileen Aroon
2-2 Wild Mountain Thyme
2-3 San Francisco Bay Blues
2-4 Barbara Allen
2-5 Waggoner's Lad
2-6 Pretty Boy Floyd
2-7 Lakes Of Pontchartrain
2-8 In The Pines
2-9 Baby Let Me Follow You Down
2-10 Dark As A Dungeon
2-11 When First Unto This Country
2-12 20/20 Vision
2-13 Two Soldiers
2-14 Golden Vanity
2-15 Roving Gambler
2-16 Female Ramblin' Sailor
2-17 Lady Of Carlisle
2-18 Little Moses
2-19 Girl On The Green Briar Shore
2-20 Newlyn Town

Rock Of Ages
3-1 Man Of Constant Sorrow
3-2 Rank Strangers
3-3 Peace In The Valley
3-4 House Of Gold
3-5 Precious Memories
3-6 Stand By Me
3-7 Across The Borderline
3-8 That Lucky Ol' Sun
3-9 I'll Not Be A Stranger
3-10 It's Too Late
3-11 Pass Me Not
3-12 Hallelujah I'm Ready To Go
3-13 I Am The Man Thomas
3-14 Rock Of Ages
3-15 Satisfied Mind
3-16 Somebody Touched Me
3-17 This World Can't Stand Long
Contemporary Competition

4-1 Hallelujah
4-2 Pancho & Lefty
4-3 Early Morning Rain
4-4 And It Stoned Me
4-5 The Harder They Come
4-6 Nowhere Man
4-7 (Sittin' On) The Dock Of The Bay
4-8 Friend Of The Devil
4-9 Willing
4-10 My Head's In Mississippi
4-11 Homeward Bound
4-12 People Putting People Down
4-13 One Irish Rover
4-14 Dolly Dagger
4-15 Hazy Shade Of Winter
4-16 Alabama Getaway
4-17 I'm Not Supposed To Care
4-18 The Lady Came From Baltimore
4-19 Moondance

Folk-Rot
5-1 The Water Is Wide
5-2 Trail Of The Buffalo
5-3 Pretty Peggy-O
5-4 Little Maggie
5-5 Black Muddy River
5-6 Don't Let Your Deal Go Down
5-7 Farewell To The Gold
5-8 Jim Jones
5-9 Jack A Roe
5-10 Blackjack Davey
5-11 I've Got A Secret
5-12 Oh Babe It Ain't No Lie
5-13 Cocaine
5-14 Duncan And Brady
5-15 House Of The Rising Sun

Crooning 'Neath The Moon
6-1 We Three
6-2 Hey La La
6-3 Confidential
6-4 When Did You Leave Heaven?
6-5 Don't Pity Me
6-6 I'm In The Mood For Love
6-7 Lonesome Town
6-8 More And More
6-9 Let's Learn To Live & Love Again
6-10 Moon River
6-11 Answer Me, My Love
6-12 You Don't Know Me
6-13 Hey Joe
6-14 Tomorrow Night
6-15 Hard Times
6-16 Times We've Known
6-17 Across The Borderline
6-18 My Blue Bonnet Girl
6-19 The Heart That You Own

A Mingle O' Rhythm & Blues
7-1 Dust My Broom
7-2 Sally Sue Brown
7-3 I Can't Be Satisfied
7-4 You're Gonna Quit Me
7-5 Delia
7-6 Weeping Willow
7-7 Blood In My Eye
7-8 Ragged & Dirty
7-9 New Minglewood Blues
7-10 Viola Lee Blues
7-11 Hootchie Cootchie Man
7-12 Nadine
7-13 Around And Around
7-14 Matchbox
7-15 Not Fade Away
7-16 Money Honey
7-17 Blue Suede Shoes
7-18 She's About A Mover

Country Cousins
8-1 Give My Love To Rose
8-2 I'll Be Around
8-3 Big River
8-4 Nothin' But You
8-5 Legend In My Time
8-6 No More One More Time
8-7 Hang Me Oh Hang Me
8-8 Old Rock & Roller
8-9 Hey Good Lookin'
8-10 Detroit City
8-11 I'm Moving On
8-12 Folsom Prison Blues
8-13 Long Black Veil
8-14 Stone Walls & Steel Bars
8-15 White Dove
8-16 My Blue Eyed Jane
8-17 Honky Tonk Blues
8-18 Searching For A Soldier's Grave
8-19 Making Believe
8-20 I Heard That Lonesome Whistle

Alternates & Retakes
9-1 I'm In The Mood For Love
9-2 When Did You Leave Heaven?
9-3 The Water Is Wide
9-4 Trail Of The Buffalo
9-5 Answer Me, My Love
9-6 You Don't Know Me
9-7 One Irish Rover
9-8 When First Unto This Country
9-9 Confidential
9-10 Delia
9-11 Pretty Peggy-O
9-12 Roving Gambler
9-13 Rank Strangers To Me
9-14 Roving Blade
9-15 Dark As A Dungeon
9-16 Folsom Prison Blues
9-17 Big River


(835/1) Bob Dylan, BT-2001, Bob Dylan & George Harrison, Live at colomba studio [1970], (Dino Records GH-DB 001)

Audio/Mp3, ?/?, (?)

683835001a683835001b
George Harrison & Bob Dylan

Sessions at Columbia Studio

Dino Records GH-DB 001
2001

TRACKLIST:
01.Ghost Riders in the sky
02.Cupid
03.All i Have to do is Dream
04.Gates of Eden
05.I Threw it all away
06.I Don't believe you
07.Matchbox
08.True love
09.Telephone line
10.Honey, just allow me one more chance
11.Rainy Day Woman
12.Song to Woody
13.Mama you've been on my mind
14.Don't think twice it's allright (Instr.)
15.Yesterday
16.Just like Tom's Thumb
17.Da do run run
18.One to many mornings
19.Working on a guru
20.If not for you
21.One too many mornings
22.I's have you any time


(790/1) Bob Dylan, BT-2001-10, A Tree With Roots, (Scorpio – GBS 67)

Audio/Mp3, ?/?, (?)

683790001a683790001b
Bob Dylan

A Tree With Roots - The Genuine Basement Tapes Remastered

Scorpio – GBS 67, Wild Wolf – GBS 67
2001-10

1-1 Lock Your Door
1-2 Baby, Won't You Be My Baby
1-3 Try My Little Girl
1-4 Young But Daily Growin'
1-5 Bonnie Ship The Diamond
1-6 The Hills Of Mexico
1-7 Down On Me
1-8 I Can't Make It Alone
1-9 Don't You Try Me Now
1-10 One For The Road
1-11 I'm Alright
1-12 One Single River
1-13 People Get Ready
1-14 I Don't Hurt Anymore
1-15 (Be Careful) The Stones That You Throw
1-16 One Man's Loss
1-17 Baby, Ain't That Fine
1-18 Rock, Salt & Nails
1-19 A Fool Such As I
1-20 Silhouette
1-21 Bring It On Home
1-22 King Of France
1-23 Nine Hundred Miles
1-24 Goin' Down The Road
1-25 Spanish Is The Loving Tongue
1-26 Po' Lazarus

2-1 On A Rainy Afternoon
2-2 I Can't Come In With A Broken Heart
2-3 Come All Ye Fair & Tender Ladies
2-4 Under Control
2-5 Ol' Roison The Beau
2-6 I'm Guilty Of Loving You
2-7 Johnny Todd
2-8 Cool Water
2-9 Banks Of The Royal Canal
2-10 Belchezaar
2-11 I Forgot To Remember To Forget Her
2-12 You Win Again
2-13 Still In Town, Still Around
2-14 Waltzin' With Sin
2-15 Big River (Take 1)
2-16 Big River (Take 2)
2-17 Folsom Prison Blues
2-18 Bells Of Rhymney
2-19 I'm A Fool For You
2-20 Next Time On The Highway
2-21 Tupelo
2-22 You Gotta Quit Kickin' My Dog Aroun'
2-23 See You Later, Allen Ginsberg
2-24 Tiny Montgomery
2-25 The Spanish Song (Take 1)
2-26 The Spanish Song (Take 2)
2-27 I'm Your Teenage Prayer

3-1 Four Strong Winds
3-2 The French Girl (Take 1)
3-3 The French Girl (Take 2)
3-4 Joshua Gone Barbados
3-5 I'm In The Mood For Love
3-6 All-American Boy
3-7 Sing Of The Cross
3-8 Santa Fe
3-9 Silent Weekend
3-10 Don't Ya Tell Henry
3-11 Bourbon Street
3-12 Million Dollar Bash (Take 1)
3-13 Yeah! Heavy And A Bottle Of Bread (Take 1)
3-14 Million Dollar Bash (Take 2)
3-15 Yeah! Heavy And A Bottle Of Bread (Take 2)
3-16 I'm Not There
3-17 Please Mrs. Henry
3-18 Crash On The Levee (Down In The Flood) (Take 1)
3-19 Crash On The Levee (Down In The Flood) (Take 2)
3-20 Lo And Behold (Take 1)
3-21 Lo And Behold (Take 2)
3-22 You Ain't Going Nowhere (Take 1)
3-23 Too Much Of Nothing (Take 1)
3-24 This Wheel's On Fire
3-25 You Ain't Going Nowhere (Take 2)
3-26 I Shall Be Released

4-1 Too Much Of Nothing (Take 2)
4-2 Tears Of Rage (Take 1)
4-3 Tears Of Rage (Take 2)
4-4 Tears Of Rage (Take 3)
4-5 Quinn The Eskimo (The Mighty Quinn) (Take 1)
4-6 Quinn The Eskimo (The Mighty Quinn) (Take 2)
4-7 Open The Door Homer (Take 1)
4-8 Open The Door Homer (Take 2)
4-9 Open The Door Homer (Take 3)
4-10 Nothing Was Delivered (Take 1)
4-11 Nothing Was Delivered (Take 2)
4-12 Goin' To Acapulco
4-13 Gonna Get You Now
4-14 Wildwood Flower
4-15 See That My Grave Is Kept Clean
4-16 Comin' 'Round The Mountain
4-17 Instrumental Jam
4-18 Flight Of The Bumble Bee
4-19 Confidential To Me
4-20 Odds And Ends (Take 1)
4-21 Nothing Was Delivered (Take 3)
4-22 Odds And Ends (Take 2)
4-23 Get Your Rocks Off
4-24 Clothesline Saga
4-25 Apple Suckling Tree (Take 1)
4-26 Apple Suckling Tree (Take 2)
4-27 All You Have To Do Is Dream (Take 1)
4-28 All You Have To Do Is Dream (Take 2)


(791/1) Bob Dylan, BT-2002, Folk Singer - Humdinger, The Originals Recordings 1961-1962, (Smith & Co – SCCD 2488)

Audio/Mp3, ?/?, (?)

683791001a683791001b
Bob Dylan

Folk Singer-Humdinger - The Originals Recordings 1961-1962

Smith & Co – SCCD 2488
2012

1-1 Gospel Plow
1-2 Hard Times In New York Town
1-3 Baby Let Me Follow You Down
1-4 Highway 51 Blues
1-5 Talking New York
1-6 Roll On John
1-7 Hard Travellin'
1-8 In My Time Of Dyin'
1-9 You're No Good
1-10 Smokestack Lightning
1-11 Man On The Street
1-12 1913 Massacre
1-13 Talking Bear Mountain Picnic Massacre Blues
1-14 Fixin' To Die
1-15 Stealin' Stealin'
1-16 Baby Please Don't Go
1-17 A Hard Rain's Gonna Fall
1-18 Song To Woody
1-19 Don't Think Twice, It's Alright
1-20 Handsome Molly
1-21 Kind Hearted Woman Blues
1-22 See That My Grave Is Kept Clean
1-23 House Of The Risin' Sun
1-24 Acne
1-25 Freight Train Blues

2-1 Mean Old Southern Railroad
2-2 Rocks And Gravel
2-3 Pretty Peggy-O
2-4 Talking Merchant Marine
2-5 Cocaine
2-6 Ain't No More Cane On The Brazos
2-7 The Cuckoo
2-8 Sally Gal
2-9 Ballad Of Hollis Brown
2-10 Omie Wise
2-11 Motherless Children Have A Hard Time
2-12 I Heard That Lonesome Whistle Blow
2-13 No More Auction Block
2-14 Man Of Constant Sorrow
2-15 The Death Of Emmett Till
2-16 Po' Lazarus
2-17 Moonshine Blues
2-18 John Brown
2-19 In The Pines
2-20 Song To Woody


(820/1) Bob Dylan, BT-2004, Tell It Like It Is, (Alternative Edge Productions)

Audio/Mp3, ?/?, (?)

683820001a683820001b
Bob Dylan

Tell It Like It Is

Alternative Edge Productions – none
2004

Tracklist
1 A Hard Rain's A-Gonna Fall
2 Romance In Durango
3 Isis
4 Blowin' In The Wind
5 The Water Is Wide
6 I Dreamed I Saw St. Augustine
7 Never Let Me Go
8 I Shall Be Released
9 Hurricane
10 One More Cup Of Coffee
11 Sara
12 Just Like A Woman
13 Knockin' On Heaven's Door

Recorded live at the Palace Theatre, Waterbury, Connecticut 11.11.75


(792/1) Bob Dylan, BT-2005, Re-Transmissions, (Storming Music Company – SMC2642)

Audio/Mp3, ?/?, (?)

683792001a683792001b
Bob Dylan

Re-Transmissions

Storming Music Company – SMC2642, Edgehill Publishing Ltd – SMC2642
2005

1 Gotta Serve Somebody (Saturday Night Live 1979)
2 I Believe In You (Saturday Night Live 1979)
3 When You Gonna Wake Up (Saturday Night Live 1979)
4 I'll Remember You (Farm Aid 1985)
5 Maggie's Farm (Farm Aid 1985)
6 Mr Tambourine Man (L.A 1990 With The Byrds)
7 Masters Of War (Grammy Awards 1991)
8 It's Alright, Ma (I'm Only Bleeding) (30th Anniversary 1992)
9 My Back Pages (30th Anniversary 1992)
10 All Along The Watchtower (RnR Hall Of Fame 1995)
11 Seeing The Real You At Last (RnR Hall Of Fame 1995)
12 Highway 61 Revisited (RnR Hall Of Fame 1995)


(834/1) Bob Dylan, BT-2005, Transmissions, Broadcasting Live, (American Legends Ltd – SMC2520)

Audio/Mp3, ?/?, (?)

683834001a683834001b
Bob Dylan

Transmissions

American Legends Ltd – SMC2520
2005

Tracklist
T V Show Acoustic Live
1 Blowin' In The Wind
2 Man Of Constant Sorrow
3 With God On Our Side
Live T V Show
4 Hurricane
5 Simple Twist Of Fate
6 Oh, Sister
7 Jokerman
Live At Farm Aid, Illinois 1985
8 Maggie's Farm
Live, Unknown Location
9 All Along The Watchtower
Live In New York 1992
10 My Back Pages
11 Knockin' On Heavens Door
Live, Unknown Location
12 Highway 61 Revisited
Live Woodstock 1994
13 Rainy Day Women #12 & 35
Additional Enhanced Bonus Tracks
1 Girl From The North Country
2 Forever Young


(816/1) Bob Dylan, BT-2005-11-25, MTV Unplugged The Rehearsals, (Apocalypse Sound – AS 56)

Audio/Mp3, ?/?, (?)

683816001a683816001b
Bob Dylan

MTV Unplugged The Rehearsals

Apocalypse Sound – AS 56
25 Nov 2005

Tracklist
1 I Want You # 1
2 Tombstone Blues # 1
3 Tombstone Blues # 2
4 Tombstone Blues # 3
5 Tombstone Blues # 4
6 I Want You # 2
7 Don't Think Twice, It's Alright
8 Desolation Row
9 Hazel
10 Everything Is Broken
11 The Times They Are A Changin'
12 Love Minus Zero/No Limit
13 Dignity
14 With God On Our Side


(199/1) Bob Dylan, BT-2010, Folksingers Choice, {02.04.08}, Cynthia Gooding Radio Show, New York, NY, US [1962, (Yellow Dog Records (YD 017))

Audio/mp3, ?/?, (?)

683199001a
Bob Dylan

Folksingers Choice

Yellow Dog Records – YD 017

1 Lonesome Whistle Blues 4:15
2 Conversation 4:28
3 Fixin' To Die 4:29
4 Conversation 1:00
5 Tell Me Baby 3:12
6 Conversation 1:25
7 Hard Travel 3:41
8 Conversation 0:40
9 Death Of Emmett Till 5:19
10 Conversation 1:37
11 Standing On The Highway 3:19
12 Conversation 1:37
13 Long John 3:15
14 Conversation 1:06
15 Stealin' 3:24
16 Conversation 4:15
17 Long Time Man Feel Bad 3:30
18 Conversation 0:55
19 Baby Please Don't Go 2:14
20 Conversation 0:26
21 Hard Times In New York Town 3:01

recorded Jan. 13, 1962, Cynthia Gooding radio show, New York City
broadcast March 11, 1962


(838/1) Bob Dylan, BT-2011, Carnegie Chapter Hall, [1961], (BDA (2) – BDACD 102)

Audio/Mp3, ?/?, (?)

683838001a683838001b
Bob Dylan

Carnegie Chapter Hall 1961

BDA – BDACD 102
2011

Tracklist
1 Pretty Peggy-O 6:01
2 In The Pines 6:05
3 Gospel Plow 4:46
4 1913 Massacre 6:18
5 Backwater Blues 6:34
6 A Long Time A-Growin' 5:59
7 Fixin' To Die 4:44

8 Talking Bear Mountain Picnic Massacre Blues 4:37
9 Man On The Street 2:54
10 Talking Merchant Marine 4:16
11 Black Cross 6:01
12 Freight Train Blues 4:03
13 Song To Woody 4:14
14 Talking New York 3:42


(793/1) Bob Dylan, BT-2011-05-05, Studs Terkel s Wax Museum, (Leftfield Media – LFMCD504)

Audio/Mp3, ?/?, (?)

683793001a683793001b
Bob Dylan

Studs Terkel's Wax Museum

Leftfield Media – LFMCD504
5 mai 2011

1 Farewell 3:09
2 Conversation I 5:45
3 A Hard Rain's A-Gonna Fall 6:41
4 Conversation II 11:59
5 Bob Dylan's Dream 3:31
6 Conversation III 2:56
7 Boots Of Spanish Leather 4:43
8 Conversation IV 6:21
9 John Brown 4:31
10 Conversation V 6:49
11 Who Killed Davey Moore 3:04
12 Conversation VI 2:59
13 Blowin' In The Wind 2:37


(794/1) Bob Dylan, BT-2012, A Long Time A Growin, (Rock Melon Music LTD – RMBOX5)

Audio/Mp3, ?/?, (?)

683794001a683794001b
Bob Dylan

A Long Time A Growin'

Rock Melon Music LTD – RMBOX5
2012

East Orange Tape - Feb/Mar 1961
A1 San Francisco Bay Blues 1:46
A2 Jesus Met The Women At The Well 2:33
A3 Gypsy Davey 3:58
A4 Pastures Of Plenty 6:58
A5 Trail Of The Buffalo 6:18
A6 Jesse James/Car Car/Southern Cannonball/Bring Me Back, My Blue Eyed Boy 1:59
A7 Remember Me 2:50

Indian Neck Folk Festival - 6th May 1961
A8 Talking Columbia 3:54
A9 Hangknot, Slipknot 5:02
A10 Talking Fish Blues 5:49

Minnesota Party Tape - May 61
B1 Railroad Bill 4:08
B2 Will The Circle Be Unbroken 0:59
B3 Man Of Constant Sorrow 3:11
B4 Pretty Polly 5:28
B5 Railroad Boy 2:42
B6 James Alley Blues 3:27
B7 Bonnie, Why'd You Cut My Hair 1:26
B8 This Land Is Your Land 3:44
B9 Two Trains Runnin' 3:05
B10 Wild Mountain Thyme 2:27
B11 How'd You Do 1:49
B12 Car Car 2:03
B13 Don't Push Me Down 1:53
B14 Come See 2:28
B15 I Want My Milk 2:32
B16 San Francisco Bay Blues 2:03
B17 A Long Time A-Growin' 4:36
B18 Devilish Mary 1:36
B19 Ramblin' Round 4:06
B20 Death Don't Have No Mercy 1:59
B21 It's Hard To Be Blind 2:44
B22 This Train Is Bound For Glory 3:01
B23 Harmonica Solo 3:46
B24 Talking Fish Blues 6:00
B25 Pastures Of Plenty 5:53

Riverside Church, NYC, 29th July 1961; WRVR FM - Saturday Of Folk Music
C1 Handsome Molly 3:45
C2 (Naomi Wise) Omie Wise 4:03
C3 Poor Lazarus 4:41
C4 Mean Old Railroadn3:38
C5 Acne 3:33

Gaslight Cafe, NYC - Sept 61
C6 Man On The Street 2:04
C7 He Was A Friend Of Mine 4:37
C8 Talking Bear Mountain Picnic Massacre Blues 6:11
C9 Song To Woody 3:09
C10 Pretty Polly 6:31
C11 Car Car 2:27

Gerdes Folk City, NYC Sept 61
C12 San Francisco Bay Blues 3:10
C13 The Great Divide 3:31

WNYC Radio Studio, NYC, 29th October 61
C14 Sally Gal 2:05
C15 The Girl I Left Behind 4:14

Carnegie Chapter Hall, NYC, 4th November 61
D1 Pretty Peggy O 5:54
D2 In The Pines 6:04
D3 Gospel Plow 4:43
D4 1913 Massacre 6:16
D5 Backwater Blues 6:28
D6 A Long Time A-Growin' (Young But Daily Growing) 5:59
D7 Fixin' To Die 4:37
D8 Talking Bear Mountain Picnic Massacre Blues 4:37
D9 Man On The Street 2:24
D10 Talking Merchant Marine 4:16
D11 Black Cross 6:00
D12 Freight Train Blues 4:00
D13 Song To Woody 4:13
D14 Talkni' New York 3:40

Home Of Eve & Mac McKenzie, NYC, 23rd November 61
E1 Hard Times In New York Town 1:02
E2 Wayfaring Stranger 0:46
E3 (it Makes) A Long Time Man Feel Bad 3:43
E4 Lonesome Whistle Blues 3:00
E5 Worried Blues 0:51
E6 Baby Of Mine (Bury Me Beneath The Willow) 1:00
E7 Baby Let Me Follow You Down 1:58
E8 Fixin' To Die 1:59
E9 San Francisco Bay Blues 1:55
E10 You're No Good 1:21
E11 House Of The Rising Sun 6:47
E12 Unknown Instrumental 2:19

Home Of Eve & Mac McKenzie, NYC, 4th December 61
E13 Come All You Fair And Tender Ladies 1:58
E14 Roll In My Sweet Baby's Arms (Katy Cline) 1:46
E15 The Bells Of Rhymney 3:06
E16 Unknown Instrumental 1:06
E17 Unknown Instrumental 0:32
E18 Highway 61 4:26
E19 This Land Is Your Land 3:15

Home Of Bonnie Beecher, NYC, 22nd December 61
F1 Candy Man 3:05
F2 Baby Please Don't Go 4:10
F3 Stealin' Stealin' 2:12
F4 Poor Lazarus 4:20
F5 I Ain't Got No Home 2:05
F6 It's Hard To Be Blind 2:57
F7 Man Of Constant Sorrow 3:30
F8 Story Of East Orange 1:35
F9 Naomi Wise (Omie Wise) 2:59
F10 In The Evening 3:53
F11 Baby Let Me Follow You Down 2:54
F12 Sally Gal 1:41
F13 Gospel Plow 1:28
F14 Long John 6:17
F15 Cocaine Blues 2:15
F16 VD Blues 1:52
F17 VD Waltz 0:49
F18 VD City 1:45
F19 VD Gunner's Blues 2:35
F20 See That My Grave Is Kept Clean 3:34
F21 Ramblin' Round 3:16
F22 Black Cross 4:57


(796/1) Bob Dylan, BT-2012, The Minneapolis Party Tape 1961, (Let Them Eat Vinyl – LETV053LP)

Audio/Mp3, ?/?, (?)

683796001a683796001b
Bob Dylan

The Minneapolis Party Tape

Let Them Eat Vinyl – LETV053LP
2012

A1 Ramblin' Round
A2 Death Don't Have No Mercy
A3 It's Hard To Be Blind
A4 This Train Is Bound For Glory
A5 (Harmonica Solo)
A6 Talking Fish Blues

B1 Pastures Of Plenty
B2 This Land Is Your Land
B3 Two Trains Runnin'
B4 Wild Mountain Thyme
B5 Howdido
B6 Car Car (Riding My Car)

C1 Don't Push Me Down
C2 Come See
C3 I Want My Milk
C4 San Francisco Bay Blues
C5 Long Time A-Groovin'
C6 Devilish Mary
C7 Railroad Bill

D1 Will The Circle Be Unbroken
D2 Man Of Constant Sorrow
D3 Pretty Polly
D4 Railroad Boy
D5 James Alley Blues
D6 Bonnie, Why'd You Cut My Hair?


(231/1) Bob Dylan, BT-2012-06-30, Mr Piano Man tinkles the ivories, (European Tour 2012 Compilation)

Audio/flac, ?/?, (20190501)

683231001f683231001b683231001c683231001i
Bob Dylan

European tour 2012 compilation - Mr Piano Man tinkles the ivories in Europe 2012

Artist: Bob Dylan and his band
Description: 4-CD compilation from the European tour, 2012

tracklist:

CD1

01 Leopard-skin pill-box hat - Bayonne 2012-07-20 (romeo)
02 Watching the river flow - Salzburg 2012-07-07 (soomlos)
03 Just like Tom Thumb's blues - Bonn 2012-07-04 (hhtfp)
04 Absolutely sweet Marie - Lyon 2012-07-18 (Gray)
05 Man in the long black coat - Bonn 2012-07-04 (hhtfp)
06 Under the red sky - Dresden 2012-07-03 (Tom Moore)
07 This wheel's on fire - Carhaix 2012-07-22 (anon. (? saxophonejoe))
08 It's all over now, Baby Blue - Barolo 2012-07-16 (romeo)
09 Don't think twice, it's all right - Salzburg 2012-07-07 (soomlos)
10 My back pages - Montreux 2012-07-08 (Bach)
11 To Ramona - Cap Roig 2012-07-14 (JC)
12 It ain't me, babe - Berlin 2012-07-02 (hhtfp)
13 Love minus zero/No limit - Bayonne 2012-07-20 (romeo)
14 Things have changed - Bayonne 2012-07-20 (romeo)

CD2

01 Tangled up in blue - Barolo 2012-07-16 (romeo)
02 Cry a while - Paddock Wood 2012-06-30 (SPOT)
03 Rollin' & tumblin' - Nimes 2012-07-15 (romeo)
04 Tweedle Dee & Tweedle Dum - Bayonne 2012-07-20 (romeo)
05 Desolation Row - Bayonne 2012-07-20 (romeo)
06 Honest with me - Bad Mergentheim 2012-07-06 (hhtfp)
07 Every grain of sand - Salzburg 2012-07-07 (soomlos)
08 Summer days - Nimes 2012-07-15 (romeo)
09 Love sick - Paddock Wood 2012-06-30 (SPOT)
10 Sugar b:X-XML: aby - Carhaix 2012-07-22 (anon. (? saxophonejoe))
11 Tryin' to get to heaven - Montreux 2012-07-08 (Bach)
12 She belongs to me - Berlin 2012-07-02 (hhtfp)

CD3

01 John Brown - Dresden 2012-07-03 (Tom Moore)
02 Ballad of Hollis Brown - Salzburg 2012-07-07 (soomlos)
03 The lonesome death of Hattie Carroll - Salzburg 2012-07-07 (soomlos)
04 A hard rain's a-gonna fall - Carhaix 2012-07-22 (anon. (? saxophon:X-XML: ejoe))
05 Spirit on the water - Bonn 2012-07-04 (hhtfp)
06 The levee's gonna break - Berlin 2012-07-02 (hhtfp)
07 High water (for Charley Patton) - Berlin 2012-07-02 (hhtfp)
08 Blind Willie McTell - Dresden 2012-07-03 (Tom Moore)
09 Visions of Johanna - Nimes 2012-07-15 (romeo)
10 Make you feel my love - Bad Mergentheim 2012-07-06 (hhtfp)
11 Simple twist of fate - Barolo 2012-07-16 (romeo)
12 I'll be your baby tonight - Barolo 2012-07-16 (romeo)

CD4

01 Highway 61 revisited - Barolo 2012-07-16 (romeo)
02 Can't wait - Paddock Wood 2012-06-30 (Alan77)
03 Forgetful heart - Barolo 2012-07-16 (romeo)
04 Thunder on the mountain - Bayonne 2012-07-20 (romeo)
05 Ballad of a thin man - Barolo 2012-07-16 (romeo)
06 Like a rolling stone - Bayonne 2012-07-20 (romeo)
07 All along the watchtower - Paddock Wood 2012-06-30 (SPOT)
08 Blowin':X-XML: in the wind - Carhaix 2012-07-22 (anon. (? saxophonejoe))
09 bonus - Stu's blues - introductory riffs: Paddock Wood 2012-06-30 (Alan77); Berlin 2012-07-02 (hhtfp); Dresden 2012-07-03 (Tom Moore); Bonn 2012-07-04 (hhtfp); Bad Mergentheim 2012-07-06 (hhtfp) ; Salzburg 2012-07-07 (SPOT); Montreux 2012-07-08 (Bach) (inc. intro.by Quincy Jones); Bilbao 2012-07-11 (dopersan); Cap Roig 2012-07-14 (JC); Nimes 2012-07-15 (romeo); Barolo 2012-07-16 (romeo); Lyon 2012-07-10 (Gray); Bayonne 2012-07-20 (romeo); Carhaix 2012-07-22 (anon. (? saxophonejoe))
10 bonus - "Watching your brand new pill-box hat" - Dresden 2012-07-03 (Bach)
11 bonus - Blowin' in the wind - Bilbao 2012-07-11 (dopersan) (Does he REALLY sing "How many years must a river exist, before they're allowed to be free" ?)

Bob Dylan vocals, electric guitar, harmonica, keyboard, grand pi:X-XML: ano
Charlie Sexton electric guitar
Stu Kimball electric guitar, acoustic guitar
Donnie Herron pedal steel, electric mandolin, banjo, violin
Tony Garnier bass guitar, upright bass
George Recile drums

artwork included

Source: various recordings by various "tapers" upped to legit torrent trackers
Lineage: various recorded sources > Audigy 2 > 16-bit 44100 Hz wav > Cool Edit for track splitting and minor editing (volume equalization; inter-track
fading out and in) > TLH > FLAC level 8 > DIME

Notes: the various tracks have been selected subjectively from the available recordings, wit:X-XML: h more emphasis on performance than consistency in
recording characteristics. Every song performed is included, as far as possible in the same sequence as in the concerts. For each CD, the tracking has been
edited to be (nearly) seamless, while respecting each individual recording. Intersong tuning may therefore be a blend. No changes (apart from those noted
in "lineage") have been made to any recording.

A big thankyou to all the "tapers" and uploaders who make the ride possible.

XXX

2012-06-30 Paddock Wood
2012-07-02 Berlin
2012-07-03 Dresden
2012-07-04 Bonn
2012-07-06 Bad Mergentheim
2012-07-07 Salzburg
2012-07-08 Montreux
2012-07-10 Lyon
2012-07-11 Bilbao
2012-07-14 Cap Roig
2012-07-15 Nimes
2012-07-16 Barolo
2012-07-18 Lyon
2012-07-20 Bayonne
2012-07-22 Carhaix



(815/1) Bob Dylan, BT-2013, Live Finjan Club, Live Finjan Club, Montreal Canada, July 2, 1962, (Doxy – DOK 327)

Audio/Mp3, ?/?, (?)

683815001a683815001b
Bob Dylan

Live Finjan Club, Montreal Canada, July 2, 1962

Doxy – DOK 327
2013

Tracklist
Afficher Crédits
A1 Death Of Emmet Till 4:40
A2 Stealin' 2:39
A3 Hiram Hubbard 5:17
A4 Blowin' In The Wind 3:57
A5 Rocks And Gravel 4:52
B1 Quit Your Lowdown Ways 3:14
B2 He Was A Friend Of Mine 4:04
B3 Let Me Die In My Footsteps 5:02
B4 Two Trains Runnin' 4:04
B5 Ramblin' On My Mind 3:19
B6 Muleskinner Blues (Blu Yodel #8) 3:04


(840/1) Bob Dylan, BT-2015, Where s Your Gravity, (Jazz2Jazz)

Audio/Mp3, ?/?, (?)

683840001a
Bob Dylan

Where's Your Gravity

Label: Jazz2Jazz
2015

1 Naomi Wise 3:04
2 Baby, Please Don't Go 2:12
3 (I Heard That) Lonesome Whistle 4:17
4 House of the Risin' Sun 5:19
5 I Ain't Got No Home 2:10
6 Song to Woody 2:40
7 In the Pines 5:48
8 Talking Merchant Marine 4:05
9 Hard Times in New York Town 2:25
10 Candy Man 3:10
11 Talkin' Bear Mountain Picnic Massacre Blues 4:21
12 In My Time of Dyin' 2:39
13 Corrine, Corrina 2:53
14 Backwater Blues 4:49
15 Man on the Street 2:13
16 Cocaine 2:20
17 Man of Constant Sorrow 3:07
18 Poor Lazarus 4:28
19 Makes a Long Time Man Feel Bad 3:33
20 Emmitt Till 5:22
21 Talkin' New York 3:25
22 Baby, Let Me Follow You Down 2:35
23 You're No Good 1:38
24 Tell Me Baby 3:02
25 Dreamed a Dream 3:35

Total Length: 1:25:10


(808/1) Bob Dylan, BT-2017-10-23, Man On The Street, {02.04.02}, [1961-1965], (Reel To Reel – Dylan01)

Audio/Mp3, ?/?, (?)

683808001a683808001b683808001c
Bob Dylan

Man On The Street

Reel To Reel – Dylan01
23 Oct 2017

Tracklist
East Orange Tape – Feb/Mar 1961
1-1 San Francisco Bay Blues 1:46
1-2 Jesus Met The Women At The Well 2:33
1-3 Gypsy Davey 3:58
1-4 Pastures Of Plenty 6:18
1-5 Trail Of The Buffalo 6:18
1-6 Jesse James/Car Car/Southern Cannonball/Bring Me Back, My Blue Eyed Boy 1:59
1-7 Remember Me 2:50
Indian Neck Folk Festival – 6th May 1961
1-8 Talking Columbia 3:54
1-9 Hangknot, Slipknot 5:02
1-10 Talking Fish Blues 5:49
Riverside Church, WRVR-FM – Saturday Of Folk Music NYC 29th July 1961
2-1 Handsome Molly 3:45
2-2 (Naomi Wise) Omie Wise 4:03
2-3 Poor Lazarus 4:41
2-4 Mean Old Railroad 3:38
2-5 Acne 3:33
Gaslight Café, NYC – Sept 1961
2-6 Man On The Street 2:24
2-7 He Was A Friend Of Mine 4:37
2-8 Talking Bear Mountain Picnic Massacre Blues 6:11
2-9 Song To Woody 3:07
2-10 Pretty Polly 6:31
2-11 Car Car 2:27
Gerdes Folk City, NYC Sept 1961
2-12 San Francisco Bay Blues 3:10
2-13 The Great Divide 3:31
WNYC Radio Studio, NYC, 29th October 1961
2-14 Sally Gal 2:05
2-15 The Girl I Left Behind 4:14
Carnegie Chapter Hall, NYC, 4th November 1961
3-1 Pretty Peggy O 5:54
3-2 In The Pines 6:04
3-3 Gospel Plow 4:43
3-4 1913 Massacre 6:16
3-5 Backwater Blues 6:28
3-6 A Long Time A-Growin' (Young But DailyGrowing) 5:59
3-7 Fixin' To Die 4:37
3-8 Talking Bear Mountain Picnic Massacre Blues 4:37
3-9 Man On The Street 2:24
3-10 Talking Merchant Marine 4:16
3-11 Black Cross 6:00
3-12 Freight Train Blues 4:00
3-13 Song To Woody 4:13
3-14 Talkin' New York 3:40
Home Of Bonnie Beecher 22nd December 1961
4-1 Candy Man 3:05
4-2 Baby Please Don't Go 4:10
4-3 Stealin' Stealin' 2:12
4-4 Poor Lazarus 4:20
4-5 I Ain't Got No Home 2:05
4-6 It's Hard To Be Blind 2:57
4-7 Man Of Constant Sorrow 3:30
4-8 Story Of East Orange 1:35
4-9 Naomi Wise (Omie Wise) 2:59
4-10 In The Evening 3:53
4-11 Baby Let Me Follow You Down 2:54
4-12 Sally Gal 1:41
4-13 Gospel Plow 1:28
4-14 Long John 6:17
4-15 Cocaine Blues 2:15
4-16 VD Blues 1:52
4-17 VD Waltz 0:49
4-18 VD City 1:45
4-19 VD Gunner's Blues 2:35
4-20 See That My Grave Is Kept Clean 3:34
4-21 Ramblin' Round 3:16
4-22 Black Cross 4:57
WBAI Studio's, New York City, Recorded 13th January, 1962
Cynthia Gooding Show – Folksingers Choice
5-1 (I Heard That) Lonesome Whistle 4:14
5-2 Conversation 4:28
5-3 Fixin' To Die 4:29
5-4 Conversation 1:00
5-5 Smokestack Lightning 3:12
5-6 Conversation 1:24
5-7 Hard Travelin' 3:41
5-8 Conversation 0:39
5-9 The Death Of Emmett Till 5:19
5-10 Conversation 1:50
5-11 Standing On The Highway 3:18
5-12 Conversation 1:36
5-13 Roll On, John 3:15
5-14 Conversation 1:06
5-15 Stealin' Stealin' 3:24
5-16 Conversation 4:15
5-17 Makes A Long Time Man Feel Bad 3:30
5-18 Conversation 0:55
5-19 Baby Please Don't Go 2:14
5-20 Conversation 0:26
5-21 Hard Times In New York Town 2:57
WBAI Broadside Show, New York City – May 1962
6-1 The Ballad Of Donald White 7:18
6-2 The Death Emmett Till 6:03
6-3 Blowin' In The Wind 3:35
WBAI, New York City – October 1962
6-4 Baby Let Me Follow You Down 3:20
6-5 Talkin' John Birch Society Paranoid Blues 4:23
6-6 The Death Emmett Till 5:07
6-7 Make Me A Pallet On Your Floor 3:15
Studs Terkel Wax Museum – WFMT, Chicago – April 1963
7-1 Farewell 8:49
7-2 A Hard Rain's A-Gonna Fall 18:31
7-3 Bob Dylan's Dream 6:31
7-4 Boots Of Spanish Leather 10:56
7-5 John Brown 11:16
7-6 Who Killed Davy Moore 6:00
7-7 Blowin' In The Wind 2:35
WBAI – Skip Wesner Show – February 1963
7-8 Tomorrow Is A Long Time 1:11
7-9 Masters Of War 4:46
7-10 Bob Dylan's Blues 1:35
Oscar Brand Show WNYC New York – March 1963
8-1 Girl From The North Country 3:19
8-2 Only A Hobo 2:46
Quest – Canada CBC TV, February 1, 1964
8-3 Times They Are A Changing 2:33
8-4 Talkin' WW3 Blues 4:50
8-5 The Ballad Of Hattie Carroll 5:24
8-6 Girl From The North Country 3:17
8-7 A Hard Rain's A-Gonna Fall 6:00
8-8 Restless Farewell 5:02
Folk Songs And More Folk Songs – WBC TV May 1963
8-9 Blowin' In The Wind 2:54
8-10 Man Of Constant Sorrow
8-11 Ballad Of Hollis Brown 4:56
Steve Allen Show, February 25, 1964
8-12 The Ballad Of Hattie Carroll 6:09
Les Crane Show – ABC TV February 17, 1965
8-13 It's All Over Now Baby Blue 5:05
8-14 It's All Right Ma' (I'm Only Bleeding) 7:26
Free Trade Hall, Manchester, England 7th May, 1965
9-1 The Times They Are A Changing 3:28
9-2 To Ramona 4:56
9-3 Gates Of Eden 6:51
9-4 If You Gotta Go, Go Now 2:56
9-5 It's Alright Ma (I'm Only Bleeding) 8:23
9-6 Love Minus Zero 4:22
9-7 Mr. Tambourine Man 6:08
9-8 Talkin' World War III Blues 4:07
9-9 Don't Think Twice 3:41
9-10 With God On My Side 5:08
9-11 She Belongs To Me 4:13
9-12 It Ain't Me Babe 4:31
9-13 Lonesome Death Of Hattie Carroll 6:06
9-14 All I Really Want To Do 3:29
9-15 It's All Over Now, Baby Blue 5:21
Recorded Live At The BBC Studio's, Shepherds Bush, London, On 19th June, 1965
10-1 Ballad Of Hollis Brown 5:14
10-2 Mr. Tambourine Man 6:09
10-3 Gates Of Eden 7:05
10-4 If You Gotta Go, Go Now 2:44
10-5 Lonesome Death Of Hattie Carroll 6:13
10-6 It Ain't Me Babe 4:02
10-7 Love Minus Zero/No Limit 3:52
10-8 One Too Many Mornings 4:12
10-9 Boots Of Spanish Leather 6:41
10-10 It's Alright Ma (I'm Only Bleeding) 9:01
10-11 She Belongs To Me 4:45
10-12 It's All Over Now, Baby Blue 5:05


(831/1) Bob Dylan, BT-2018, Medicine Show, [1966], (soniclovenoize reconstruction)

Audio/Mp3, ?/?, (?)

683831001a
Bob Dylan – Medicine Sunday

(soniclovenoize reconstruction)

Side A:
1. Can You Please Crawl Out Your Window?
2. I Wanna Be Your Lover
3. Freeze Out
4. One Of Us Must Know (Sooner Or Later)
5. New York Instrumental #1

Side B:
6. Positively 4th Street
7. Brand New Leopard-Skin Pill-Box Hat
8. IÂ’ll Keep It With Mine
9. SheÂ’s Your Lover Now

This is a reconstruction of a theoretical album consisting of the early sessions for Bob DylanÂ’s seminal 1966 album Blonde On Blonde. Abandoning most of these New York-based recording sessions with The Band in favor of rerecording with session musicians in Nashville, these early sessions represent a different sound that would emerge on Blonde On Blonde -- looser but more energetic, closer to a studio capture of Bob DylanÂ’s live sound in 1965 and 1966. Using the best sources possible, most tracks feature unique edits and mixes I have created to offer a more finished album with a modern stereophonic soundstage.
After his ascension from folk hero to rock star with his groundbreaking “Like a Rolling Stone” and its accompanying album Highway 61 Revisited, Bob Dylan buckled down and rode the wave, intending to continue pushing the boundaries of rock music with symbolic, obtuse and intertextual lyrics, juxtaposed with a driving rock rhythm section and the twin chime of electric guitar and Hammond organ. For that, he would need a band. His ad hoc assemblage of players for his infamously electric July 1965 Newport Folk Festival performance, including Al Kooper and members of the Paul Butterfield Blues Band, were not available to continue. After recommendations from a few associates, Dylan recruited a group of Canadian rockers--Levon and The Hawks--to back him for the national concerts in support of Highway 61 Revisited, who would later rebrand themselves as The Band.
Meanwhile, Dylan’s management and label continued to feed the machine and keep this new “electric Dylan” product flowing. Just two months after the release of “Like a Rolling Stone”, “Positively 4th Street” was released as its follow-up single in September 1965. Despite being simply an outtake from the Highway 61 Revisited sessions from July, the song was a Top 10 hit and is considered one of Dylan’s most cherished tracks. With fear of losing momentum, Dylan was whisked back into the studio to pump out his next single. This time Dylan brought with him The Hawks, attempting to capture the electricity from his current live shows.
Unfortunately, Dylan had blown through all of his good material. Bob and his band gathered on October 5th to woodshed new material at Columbia Studios in New York, but with dismal results: two song fragments, “Jet Pilot” and “Medicine Sunday” (the later evolving into “Temporary Like Achilles”); a merely semi-interesting Robby Robertson-led instrumental; and a scant jam of another Highway 61 Revisited leftover “Can You Please Crawl Out Your Window?”. The only cut of real value tracked on this day was “I Wanna Be Your Lover”, an electrifying and rollicking tribute (or parody?) of the Fab Four, who allegedly influenced Dylan to form a backing band in the first place. Sometime after the session, drummer Levon Helm left The Hawks, fed up with being a sidesman, as well as the confrontational audiences on Dylan’s tour.
Returning to the studio on November 30th with session drummer Bobby Gregg (whom had already backed Dylan on both Bringing It All Back Home and Highway 61 Revisited) and a brand new composition he believed to be one of his best, Dylan was revitalized to create a follow-up single. Dylan had a special feeling about his latest epic poem “Freeze Out”—later retitled to “Visions of Johanna”—and special care was given to find the perfect arrangement. Dylan struggled to find the right sound for the song with The Hawks, and the group plowed through a number of completely different arrangements: Take 4 was a slow, uncertain romp that began quietly with just Dylan on electric guitar, adding instruments as the song built to a rocking end; Take 5 was a more organized version of the previous take, but lacked the suspense, danger and dynamic; Take 7 slowed the tempo but succumbed to typical bar rock trope; Take 8 was an icy, electric march with bursts of celeste; Take 14 was slowed down to ballad territory, the closest to its finial incarnation on Blonde On Blonde. Despite having several great takes—all sounding completely different (especially 4, 8 and 14)—Dylan was not satisfied with “Freeze Out” and set it aside… temporarily. Instead, the band focused on a new uptempo arrangement of “Can You Please Crawl Out Your Window?”, nailing Take 10, which was rush released as a single in December. It was a flop, stalling at #58 on the charts.
Refocusing his attention from a single to an album, Dylan reconvened with The Hawks (this time with fill-in drummer Sandy Konikoff) on January 21st, 1966, armed with new material intended to populate this follow-up LP. Beginning with another heartbreak-themed long-form poem, Dylan searched for the thin, wild mercury sound to accompany it. “Just Another Glass Of Water”—later published as “She’s Your Lover Now”—could have been one of Dylan’s masterpieces on Blonde On Blonde, on par with “Sad Eyed Lady of the Lowlands”. But Dylan could not find the sound he was looking for, struggling not only to communicate his ideas but for The Hawks to interpret him. Take 15 came very close, before breaking down halfway through the fourth verse. Exasperated, Dylan called off the session, the song lost forever. Before leaving the studio, Dylan recorded a demo of the complete 8-minute composition alone at a piano, at the very least immortalizing his idea before it was abandoned forever.
The next session on January 21st was more productive. With Bobby Gregg back behind the kit, the group hammered out another new Dylan composition, this time a tongue-in-cheek tribute to the Memphis Blues. Nailed in presumably one take, “Brand New Leopard-Skin Pill-Box Hat” seemed to fit The Hawks as this steady yet bombastic recording tops the eventual Nashville version released on Blonde on Blonde, in this listener’s humble opinion. Moving on to a dynamic breakup ballad driven by Paul Griffin’s exquisite piano, “One Of Us Must Know (Sooner or Later)” was eventually perfected by Take 24. Again rush-released as a single in February, the song did moderately well, charting at #33.
It was now obvious that the fruits of these New York sessions with the Hawks were few and far between and Dylan grew weary of only stumbling across the right arrangements. An additional session on January 27th proved mostly uneventful, resulting in yet another song fragment, “Lunatic Princess”. Despite the previous week’s results, a remake of “Leopard-Skin Pill-Box Hat” was attempted as well, but Dylan was not even bothered to see it through completion. Finally, Dylan takes his band through a mere rehearsal of a magnificent song dating back to the initial acoustic Bringing It All Back Home sessions almost exactly a year earlier. “I’ll Keep It With Mine” is loose, beginning with Dylan solo at a piano, with The Hawks individually coming in as they figured out the changes. With only this single run-through, Dylan was done with the band—and this city—for recording his follow-up.
At producer Bob Johnston’s suggestion, Dylan relocated to Nashville in February and March to finish the album that was barely begun, only bringing Robby Robertson and Al Kooper along. Re-recording both “Visions of Johanna” and “Leopard-Skin Pill-Box Hat”—as well as a sudden wealth of brand new compositions—Dylan completed Blonde On Blonde. Released to universal acclaim as Dylan’s masterpiece, the only New York recording to make the cut was “One Of Us Must Know”, a tombstone to the album Blonde On Blonde could have been under different conditions. Is it possible to reconstruct what a New York Blonde On Blonde would have sounded like?
For this reconstruction—which I have named Medicine Sunday, after the song fragment which isn’t actually featured here—we will try to create a single-LP follow-up to Highway 61 Revisited from these late ‘65/early ’66 sessions. Since the sessions were obviously never completed, it will be difficult to make a complete-sounding album. The only rule we will implement is to include material with some sort of precedent on other Dylan albums. Hence, all of the one-minute song fragments (“Jet Pilot”, “Medicine Sunday” and “Lunatic Princess”) will be excluded, as not only is there no precedent, but their inclusion would make Medicine Sunday sound less complete. With a lack of finished material, we will have to look at two filler-tracks: the untitled instrumental (here I appropriately titled “New York Instrumental #1”) and “Positively 4th Street”. While it is true Dylan is known for his distinctive voice and lyric, Dylan would go on to release instrumentals on both Nashville Skyline and Self Portrait. Just as well, “Positively 4th Street”, while not a part of the New York sessions proper, was the current single at the time. It is conceivable the label might have included it on the LP anyways as a cash cow, as previous singles like “Like a Rolling Stone” was included on Highway 61 Revisited and “One of Us Must Know” was included on Blonde On Blonde.
Side A begins with the lead single from these sessions, “Can You Please Crawl Out Your Window?”. Using the complete semi-stereo version found on The Bootleg Series Vol 12: The Cutting Edge, here I have widened the stereo spectrum to further separate the instruments to an ideal nine and three o’clock. It is followed by “I Wanna Be Your Lover”, again taken from The Cutting Edge with the stereo spectrum widened. Take 8 of “Visions of Johanna” (here we use its original working title “Freeze Out”) from The Bootleg Series Vol 8: No Direction Home follows, a version that tops the Blonde On Blonde recording in my humble opinion. Next is my own personal remix of “One of Us Must Know” from the multitrack stems, as provided on The Cutting Edge. My mix attempts to replicate the balance of the original mono mix, while retaining a modern stereophonic image with a centered drum track. Likewise, I have replicated the edit before the third verse, only ever heard on the rare mono single mix; thus, this is the first time that original edit has ever appeared in stereo! Side B concludes with “New York Instrumental #1” as a sort of intermission, again taken from The Cutting Edge with a widened stereophonic spectrum.
Much like many album from the 60s, Side B begins with the previously-released single “Positively 4th Street”, the original stereo mix taken from Side Tracks but with its stereo spectrum narrowed to match the rest of the album. Next is “Leopard-Skin Pill-Box Hat”, taken from No Direction Home, a personal favorite as aforementioned. Next is “I’ll Keep It With Mine”, taken from The Cutting Edge; in order to make this recording more complete, I have edited out Dylan’s vocal flub in the intro, as well as extracted and patched Bob Johnston’s talk-back interruption during verse one. Despite being a mere rehearsal and probably meant to have a more thorough and defined arrangement, this recording works as a loose arrangement precursor, as we would soon hear similarly-relaxed Dylan arrangements on The Basement Tapes and New Morning. Medicine Sunday appropriately concludes with the epic that never was, “She’s Your Lover Now”. Using pieces of Takes 15 and 16 on The Cutting Edge, I was able to create a complete performance of the song by editing a proper intro onto take 15 and crossfading into take 16 at the point where the band trails off, hopefully giving the illusion that The Hawks intentionally stopped playing and Dylan finished the song solo. A further edit was made at the outro so that Dylan concludes with the tonic of the song, giving it a resolve and a remorseful vocal improvisation to end the album.

320kp m3s

Lossless FLAC

Sources used:

Bootleg Series Vol 8: No Direction Home
Bootleg Series Vol 12: The Cutting Edge (CollectorÂ’s Edition)
Side Tracks
Flac/shn --> wav --> mixing & editing in SONAR & Goldwave --> flac encoding via TLH lv8
*md5, artwork and tracknotes included


(845/1) Bob Dylan, BT-2019, Man On The Street Vol 2, [1974-1993], (Reel To Reel DYLAN02)

Audio/CD, ?/?, (?)

683845001a683845001b
Bob Dylan

Man On The Street Volume Two

Reel To Reen – DYLAN02
2019

Tracklist
Bob Dylan & The Band, Boston Garden, MA, January 14th, 1974, WBCN-FM Broadcast
1-1 Rainy Day Women #12 & #35 2:43
1-2 Lay Lady Lay 3:07
1-3 Just Like Tom Thumb's Blues 5:48
1-4 It Ain't Me Babe 3:58
1-5 I Don't Believe You 5:09
1-6 Ballad Of A Thin Man 3:33
1-7 Stage Fright 4:26
1-8 The Night They Drove Old Dixie Down 4:14
1-9 King Harvest 3:21
1-10 This Wheel's On Fire 3:44
1-11 I Shall Be Released 3:31
1-12 Up On Cripple Creek 4:21
1-13 All Along The Watchtower 2:48
1-14 Ballad Of Hollis Brown 4:04
1-15 Knockin' On Heaven's Door 3:53
1-16 The Times They Are A-Changin' 2:49
1-17 Don't Think Twice, It's All Right 3:43
1-18 Gates Of Eden 4:42
1-19 Just Like A Woman 3:55
1-20 It's Alright, Ma (I'm Only Bleeding) 4:56
Bob Dylan & The Band, Madison Square Garden, NY, January 21st, 1974, WNEW-FM Broadcast
2-1 Most Likely You Go Your Way And I'll Go Mine 4:08
2-2 Lay Lady Lay 2:59
2-3 Just Like Tom Thumb's Blues 5:42
2-4 Rainy Day Women #12 & #35 3:22
2-5 It Ain't Me Babe 3:28
2-6 Ballad Of A Thin Man 4:00
2-7 Stage Fright 4:35
2-8 The Night They Drove Old Dixie Down 4:25
2-9 King Harvest (Has Surely Come) 3:31
2-10 When You Awake 3:17
2-11 Up On Cripple Creek 4:20
2-12 All Along The Watchtower 2:45
2-13 Ballad Of Hollis Brown 3:48
2-14 Knockin' On Heaven's Door 3:50
3-1 The Times They Are A-Changin' 3:15
3-2 Don't Think Twice, It's All Right 3:37
3-3 Gates Of Eden 5:09
3-4 Just Like A Woman 4:51
3-5 It's Alright, Ma (I'm Only Bleeding) 5:52
3-6 Rag Mama Rag 3:57
3-7 This Wheel's On Fire 3:42
3-8 The Shape I'm In 3:41
3-9 The Weight 4:45
3-10 Forever Young 4:44
3-11 Highway 61 Revesited 4:10
3-12 Like A Rolling Stone 5:45
3-13 Most Likely You Go Your Way And I'll Go Mine 3:26
3-14 Blowin' In The Wind 4:09
NBC TV Special, Hughes Stadium, Colorado State University, Fort Collins, Colorado, Mai 23rd, 1976, WBAI FM Broadcast
4-1 A Hard Rain's A-Gonna Fall 8:07
4-2 Blowin' In The Wind 3:28
4-3 Railroad Boy 2:49
4-4 Deportee 3:54
4-5 I Pity The Poor Immigrant 4:31
4-6 Shelter From The Storm 5:25
4-7 Maggie's Farm 5:00
4-8 One Too Many Mornings 3:44
4-9 Mozambique 3:47
4-10 Idiot Wind 9:43
The World Of John Hammond, December 13th, 1975, WBAI FM - New York
4-11 Oh Sister 4:29
4-12 Simple Twist Of Fate 4:08
4-13 Hurricane 8:30
Grammy Awards, 1980
4-14 Gotta Serve Somebody 6:28
The Sydney Entertainment Centre, Australia, (With Tom Petty & The Heartbreakers) February 24th, 1986, FM Broadcast
5-1 Justine 5:21
5-2 All Along The Watchtower 4:12
5-3 Positively 4th Street 5:18
5-4 Clean Cut Kid 3:35
5-5 I'll Remember You 4:46
5-6 Trust Yourself 3:26
5-7 That Lucky Old Sun 3:29
5-8 Masters Of War 5:22
5-9 Bye Bye Johnny 3:51
5-10 Straight Into Darkness 5:36
5-11 A Hard Rain's A-Gonna Fall 9:02
5-12 Girl From The North Country 5:18
5-13 It's Alright, Ma (I'm Only Bleeding) 7:26
5-14 I Forgot More Than You'll Ever Known 3:55
5-15 Just Like A Woman 5:19
5-16 I'm Moving On 2:38
6-1 Lenny Bruce 5:53
6-2 When The Night Comes Falling From The Sky 5:29
6-3 Lonesome Town 4:11
6-4 Ballad Of A Thin Man 4:21
6-5 So You Want To Be A Rock 'N' Roll Star 3:58
6-6 Refugee 6:03
6-7 Rainy Day Women #12 & #35 3:27
6-8 Seeing The Real You At Last 4:59
6-9 Across The Borderline 5:08
6-10 I And I 6:19
6-11 Like A Rolling Stone 7:10
6-12 In The Garden 6:41
6-13 Blowin' In The Wind 4:01
6-14 Uranium Rock 3:31
6-15 Knockin' On Heaven's Door 7:57
Bob Dylan And Tom Petty & The Heartbreakers, Rich Stadium, New York, July 4th, 1986, Broadcast VH1 And Their Radio Partners
7-1 Positively Fourth Street 3:40
7-2 Clean Out Kid 2:33
7-3 Emotionally Yours 4:36
7-4 Trust Yourself 3:12
7-5 We Had It All 3:00
7-6 Masters Of War 4:20
7-7 Straight Into Darkness 5:30
7-8 Think About Me 3:48
7-9 The Waiting 5:16
7-10 Breakdown 6:02
7-11 To Ramona 3:59
7-12 One Too Many Mornings 3:02
7-13 A Hard Rain's A-Gonna Fall 6:18
7-14 I Forgot More Than You'll Ever Know 3:35
7-15 Band Of The Hand 3:57
7-16 When The Night Comes Falling From The Sky 5:00
7-17 Lonesome Town 3:50
7-18 Ballad Of A Thin Man 4:42
8-1 Bye Bye Johnny 3:57
8-2 Spike 2:27
8-3 Refugee 5:28
8-4 Rainy Day Women #12 & #35 2:42
8-5 Seeing The Real You At Last 3:49
8-6 Across The Borderline 4:15
8-7 I And I 4:18
8-8 Band Intros 2:10
8-9 Like A Rolling Stone 4:59
8-10 In The Garden 6:30
8-11 Blowin' In The Wind 4:08
8-12 Uranium Rock 2:19
Woodstock 1994, Saugerties, New York, August 14th, 1994
9-1 Jokerman 7:27
9-2 Just Like A Woman 7:26
9-3 All Along The Watchtower 5:11
9-4 It Takes A Lot To Laugh, It Takes A Train To Cry 7:01
9-5 Don't think Twice, It's All Right 5:47
9-6 Masters Of War 4:57
9-7 It's All Over Now, Baby Blue 7:32
9-8 God Knows 5:03
9-9 I Shall Be Released 6:29
9-10 Highway 61 Revisited 6:06
9-11 Rainy Day Women #12 & #35 5:29
9-12 It Ain't Me Babe 8:17
Saturday Night Live 1979
10-1 Gotta Serve Somebody 6:55
10-2 I Believe In You 4:44
10-3 When You Gonna Wake Up 6:03
David Letterman Show, 1984
10-4 Don't Start Me Talkin' 2:32
10-5 License To Kill 4:52
10-6 Jokerman 5:04
Live Aid, July 1985
10-7 Ballad Of Hollis Brown 4:32
10-8 When The Ship Comes In 3:47
10-9 Blowin' In The Wind 5:09
Farm Aid, September 1985
10-10 Shake 2:38
10-11 I'll Remember You 4:11
10-12 Trust Yourself 3:23
10-13 Maggie's Farm 3:55
Chabad Telethon, August 5th, 1986
10-14 Thank God 2:12
The Byrds & Bob Dylan - Tribute Show, February 24th, 1990
10-15 Mr. Tambourine Man 5:11
Grammy Awards, February 1991
10-16 Masters Of War 3:28
David Letterman Show, January 1992
10-17 Like A Rolling Stone 5:49
David Letterman Show, November 1993
10-18 Forever Young 4:45


Films Bob Dylan

Release DateA+FilmRealisateurPaysTypeDureex
+DVD01 Just a Song and Dance ManDVD Compilation #01X
+DVD02 Moving With a Simple Twist of FateDVD Compilation #02X
+DVD03 Early 80sDVD Compilation #03X
+DVD04 Late 80sDVD Compilation #04X
+DVD05 Like a Rolling StoneDVD Compilation #05X
+DVD06 For the Pope and for the peopleDVD Compilation #06X
+DVD07 Letterman, Grammy, and moreÂ…DVD Compilation #07X
+DVD08 Shalom Aleichem!DVD Compilation #08X
+DVD09 The BobfestDVD Compilation #09X
+DVD10 Unplugged and PluggedDVD Compilation #10X
+DVD11 Seven Hard RainsDVD Compilation #11X
1963+[Actor](Bobby)The Madhouse on Castle StreetTV Series (BBC)
1967FestivalMurray LernerDocumentaires
1972Dont Look BackD.A. PennebakerDocumentaires88Y
1972+George Harrison and FriendsThe Concert for BangladeshSaul SwimmerDocumentaires
1973+[Director]Eat The DocumentDocumentaires52Y
1973+[Actor](Alias)Pat Garrett et Billy le KidSam PeckinpahLongs-métrages
1978+[Director][writer](Renaldo)Renaldo et ClaraLongs-métrages224Y
1978The Last WaltzMartin ScorseseDocumentaires259Y
1985+[writer]Emotionally YoursClip4Y
1985+[writer]Tight Connection to My Heart - Has Anybody Seen My LoveClip5Y
1986+[writer]Band of the HandClip5Y
1987Getting To DylanChristopher SykesDocumentaires53Y
1987Hearts of FireRichard MarquandDocumentaires
1988+[Actor](Lucky Wilbury)Traveling Wilburys : Handle with CareClip3
1990+[writer]Most of the TimeClip3Y
1990+[Actor](Artist)CatchfireDennis HopperLongs-métrages
1993The Thirtieth Anniversary TributeJeff Kramer, Jeff Rosen and Don DeVito148Y
1997+[Actor](Bob Dylan)Wyclef Jean : Gone Till NovemberVideo short
1999+[Actor](Alfred - Chauffeur)Paradise CoveRobert ClapsadleLongs-métrages
2003+[writer][Actor](Jack Fate)[co-scénariste]Masked and AnonymousLarry CharlesLongs-métrages
2004Dylan s Victoria s Secret Ad
2005No Direction HomeMartin ScorseseDocumentaires208Y
2007+the Newport Folk Festival 1963–1965The Other Side of the MirrorMurray LernerDocumentaires
2007+un film sur la vie de Bob DylanI m Not ThereTodd HaynesAutres
2009The People Speak
2013+[writer]Welcome to the BasementTV Series
2015+[writer]Visions of JohannaVideo short
2015+[writer]The Night We Called It a DayNash EdgertonClip3Y
2019Rolling Thunder Revue A Bob Dylan StoryMartin Scorsese142Y

Details Films Bob Dylan

(683/1) 01 Just a Song and Dance Man

683001a683001b
DVD Compilation #01

Just a Song and Dance Man

Greenwood, Mississippi (6 July 1963)
Only A Pawn In Their Game [last 2 verses only]

March on Washington (28 Aug 1963)
When The Ship Comes In
Only A Pawn In Their Game
Hold On

Quest, CBC TV (1 Feb 1964)
The Times They Are A-ChanginÂ’
TalkinÂ’ World War III Blues
The Lonesome Death Of Hattie Carroll
Girl From The North Country
A Hard RainÂ’s A-Gonna Fall
Restless Farewell

BBC Tonight Show (May 1964)
With God On Our Side [first three verses only]

Steve Allen Show (25 Feb 1964)
The Lonesome Death Of Hattie Carroll
[same take is shown twice, first with then without timing strip]

San Francisco Press Conference (3 Dec 1965)
In full


(683/2) 02 Moving With a Simple Twist of Fate

683002a683002b
DVD Compilation #02

Moving With a Simple Twist of Fate

Newport Folk Festival, 26 July 1964 (5:20)
All I Really Want To Do

Newport Folk Festival, 25 July 1965 (6:50)
MaggieÂ’s Farm
Mr Tambourine Man

Dylan/Cash Recording Session, Nashville, TN, 17 Feb 1969 (3:15)
One Too Many Mornings (duet with JC)

The Johnny Cash Show, 7 June 1969 (8:20)
I Threw It All Away
Living The Blues
Girl From the North Country (duet with JC)

Earl Scruggs, His Family and Friends, Jan 1971 (4:30)
East Virginia Blues
Nashville Skyline Rag (instrumental, with voice-over)

Madison Square Garden, NYC, 1 Aug 1971 (18:35)
A Hard RainÂ’s A-Gonna Fall
It Takes A Lot To Laugh Â…
BlowinÂ’ In The Wind
Just Like A Woman

The World Of John Hammond, 10 Sept 1975 (20:00)
Hurricane
Simple Twist Of Fate
Oh, Sister

Saturday Night Live, 20 Oct 1979 (19:50)
Gotta Serve Somebody
I Believe In You
When You Gonna Wake Up?

Nashville, TN, 2 Dec 1978 (15:10)
Mr Tambourine Man
Masters Of War
Changing Of The Guard

(683/3) 03 Early 80s

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DVD Compilation #03

Early 80s

Peace Sunday (6-Jun-82)
Verona, Italy (5/28-29/84)
Hamburg, Germany (31-May-84)
Barcelona, Spain (28-Jun-84)
Live Aid (13-Jul-85)
Farm Aid Rehearsal Clip (21-Sep-85)
Farm Aid I (22-Sep-85)

(683/4) 04 Late 80s

683004a683004b
DVD Compilation #04

Late 80s

Martin Luther King Birthday Tribute (20-Jan-86)
Amnesty Concert (6-Jun-86)
San Diego, California Raw News Clip (9-Jun-86)
Akron, Ohio Raw News Clip (2-Jul-86)
Washington, DC Raw News Clip (6-Jul-86)
Mansfield, Massachusetts Raw News Clip (8-Jul-86)
Gershwin Gala (11-Mar-87)
Tokyo, Japan (10-Mar-86)
The Bridge School Benefit (4-Dec-88)

(683/5) 05 Like a Rolling Stone

683005a683005b
DVD Compilation #05

Like a Rolling Stone

Rio de Janeiro (25-Jan-90)
Rio de Janeiro (with the Rolling Stones) (11-Apr-98)
Seville, Spain (17-Dec-91)
Nara, Japan (20-May-94)
Hyde Park, London, England (29-Jun-96)

(683/6) 06 For the Pope and for the people

683006a683006b
DVD Compilation #06

For the Pope and for the people

Also known as commercial bootleg "At Heaven'Gate With The Pope"

Athens, Greece with Van Morrison (27-Jun-89)
Athens, Greece with Van Morrison Raw Footage (27-Jun-89)
Athens, Greece (29-Jun-89)
Roy Orbison Tribute (24-Feb-90)
Bill Clinton Inaugural (17-Jan-93)
Nashville, Tennessee with Willie Nelson (13-Jan-93)
Willie Nelson's Big 6-0 (20-Apr-93)
Supper Club, New York, NY (11/16-17/93) (from Highway 61 Interactive)
Rock and Roll Hall of Fame Gala (2-Sep-95)
Frank Sinatra 80th Birthday Tribute (19-Nov-95) (complete "Restless Farewell")
Frank Sinatra 80th Birthday Tribute (19-Nov-95) (incomplete "Restless Farewell")
Tokyo, Japan (10-Feb-97) (fragment shot by Dave Stewart)
Bologna, Italy (27-Sep-97) (performance for the Pope)

(683/7) 07 Letterman, Grammy, and moreÂ…

683007a683007b
DVD Compilation #07

Letterman, Grammy, and more...

Also differently-authored versions "Don't Start Him Talking" and "Letterman, Grammys & More"

David Letterman Show Rehearsal (22 Mar 1984) (20m)
David Letterman Show (22 Mar 1984) (14:30)
David Letterman Anniversary Show (18 Jan 1992) (7m)
David Letterman Show (18 Nov 1993) (5:15)
David Letterman Show Clip (20 Oct 1994) (2m)
Grammy Awards (27 Feb 1980) (9m)
Grammy Awards with Stevie Wonder (28 Feb 1984) (3:30)
Grammy Awards (20 Feb 1991) (12m)
Grammy Awards (25 Feb 1998) (11m)
Grammy Awards with Lauryn Hill (23 Feb 2000) (4m)
Golden Globe Awards (21 Jan 2001) (3:45)
Academy Awards (25 Mar 2001) (9m)
Grammy Awards (27 Feb 2002) (4:40)
Johnny Cash Tribute (3/99) (4m)

(683/8) 08 Shalom Aleichem!

683008a683008b
DVD Compilation #08

Shalom Aleichem!

Los Angeles, California Press Conference (16-Dec-65)
Juno Awards with Gordon Lightfoot (10-Nov-86)
Chabad Telethon (8/86)
Chabad Telethon (24-Sep-89)
Chabad Telethon (15-Sep-91)
MTV Interview with Carlos Santana (9/93)
Dharma and Greg Appearance (1999)
East Rutherford, New Jersey (21-Jul-86) (audience video clips)

(683/9) 09 The Bobfest

683009a683009b
DVD Compilation #09

The Bobfest

Bobfest Rehearsals (15 Oct 1992)
30th Anniversary Concert (16 Oct 1992) (Dylan's performance)


(683/10) 10 Unplugged and Plugged

683010a683010b
DVD Compilation #10

Unplugged and Plugged

MTV Unplugged Rehearsals (16-Nov-94)
Eric Clapton Benefit for Drug Addiction (30-Jun-99)
The Last Waltz (25-Nov-76) (Dylan's performance)


(683/11) 11 Seven Hard Rains

683011a683011b
DVD Compilation #11

Seven Hard Rains

A Hard Rain's A-Gonna Fall (7 versions)
- Quest (1964)
- Bangladesh (1971)
- Montreal (1975)
- Ft. Collins, Colorado (1976)
- Buffalo, New York (1986)
- Nara, Japan (1994)
- Bologna, Italy (1997)

Renaldo and Clara (the Dylan performances)


ON TV

merci a hardprog pour le partage de son titanesque travail : Rock on TV *

1965-04-22Great BritainTop Of The Pops, Bob Dylan ,
1965-05-13Great BritainTop Of The Pops, Bob Dylan ,
1965-08-26Great BritainTop Of The Pops, Bob Dylan ,
1965-11-11Great BritainTop Of The Pops, Bob Dylan ,
1966-05-19Great BritainTop Of The Pops, Bob Dylan ,
1966-08-11Great BritainTop Of The Pops, Bob Dylan ,
1968-09-27DutchPuntje Puntje Puntje, Bob Dylan ,
1969-06-07UsaJohnny Cash Show, Bob Dylan ,
1969-08-02AustraliaHitscene, Bob Dylan ,
1969-09-25Great BritainTop Of The Pops, Bob Dylan ,
1970-07-04Great BritainDisco 2 Gb, Bob Dylan ,
1970-10-03AustraliaHitscene, Bob Dylan ,
1970-10-24AustraliaHitscene, Bob Dylan ,
1971-04-01AustraliaGet To Know, Bob Dylan ,
1971-05-05AustraliaGet To Know, Bob Dylan ,
1971-07-22Great BritainTop Of The Pops, Bob Dylan ,
1971-07-29Great BritainTop Of The Pops, Bob Dylan ,
1971-10-30GermanBeat Club, Bob Dylan ,
1971-10-30GermanBeat Club, Bob Dylan ,
1972-06-03FranceRockenstock, Bob Dylan ,
1972-08-19GermanDisco, Bob Dylan ,
1972-09-05AustraliaGet To Know, Bob Dylan ,
1973-10-18Great BritainTop Of The Pops, Bob Dylan ,
1976-03-09Great BritainOld Grey Whistle Test, Bob Dylan ,
1976-05-22GermanDisco, Bob Dylan ,
1976-05-29BelgiumFolllies, Bob Dylan ,
1976-06-02FrancePoint Chaud, Bob Dylan ,
1976-07-17GermanDisco, Bob Dylan ,
1976-08-22AustriaPopscope, Bob Dylan ,
1976-09-28Great BritainOld Grey Whistle Test, Bob Dylan ,
1977-01-16BelgiumFolllies, Bob Dylan ,
1977-02-27BelgiumFolllies, Bob Dylan ,
1977-04-01NorwayFlimra, Bob Dylan ,
1977-05-28SwedenSpotlight, Bob Dylan ,
1977-07-07SwedenSpotlight, Bob Dylan ,
1978-05-21FranceBlue Jean 78, Bob Dylan ,
1978-05-24FrancePoint Chaud, Bob Dylan ,
1978-08-10Great BritainTop Of The Pops, Bob Dylan ,
1979-02-09UsaThe Midnight Special, Bob Dylan ,
1979-10-20UsaSaturday Night Live, Bob Dylan ,
1983-04-28AustraliaNightmoves, Bob Dylan ,
1984-06-30FranceHouba Houba, Bob Dylan ,
1984-06-30FranceLes Enfants Du Rock, Bob Dylan ,
1985-07-16AustraliaRock Arena, Bob Dylan ,
1985-11-22Great BritainOld Grey Whistle Test, Bob Dylan ,
1986-02-11AustraliaRock Arena, Bob Dylan ,
1986-08-30AustraliaRock Arena, Bob Dylan ,
1991-10-26Great BritainSounds Of 60s, Bob Dylan ,
1994-12-14UsaMtv Unplugged, Bob Dylan ,
2001-01-01AustraliaGet To Know, Bob Dylan ,
2001-01-01AustraliaRock Relics, Bob Dylan ,

Bibliographie / Bibliography


DYL1
Bob Dylan / Daniel Kramer (1967 Castle Books New Jersey){04.04.03}


DYL2
Positively Main Street: An Unorthodox View of Bob Dylan / Toby Thompson (1972 New English Library)


DYL3
Dylan /François Ducray, Philippe Manoeuvre, Herve Muller, Jacques Vassal (1978 Albin Michel, Paris, France){13.02.02}


DYL11
Dylan par Dylan (Interviews 1961-2004) / Bob Dylan (2018 Points){09.05.01}


DYL4
Bob Dylan a la croisee des chemins / Greil Marcus (2007 Points){04.04.01}


DYL6
Bob Dylan / Nigel Williamson (2009 Tournon){13.02.03}


DYL7
Figures de Bob Dylan / Nicolas Rainaud (2009 Le Mot et le Reste)


DYL9
Not Dark Yet Chansons de Bob Dylan / Nicolas Rainaud (2015 Le Mot et le Reste){13.02.05}


DYL5
Discours a l Academie suedoise / Bob Dylan (2017 Fayard){09.05.03}


DYL10
Lyrics/Chansons 1961-2012 / Robert Louit, Didier Pemerle, Jean Luc Piningre (2018 Fayard){01.04.02}


DYL8
Dylanographie / Nicolas Livecchi (2021 Les Impressions Nouvelles)


Plus / Plus

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