o∞19691024 Amougies 19700801 Festival d Aix-en-Provence 19760619 Festival de Louveciennes 19771119 Fête du nouveau populaire de Paris 19790505 Fête du 0 de conduite (Lannion) 19810610 Fête du temps libre (Place de la république) 198109 Festival indigène 52° Biennale de Venise A Study in Scarlet AC/DC 1976 AC/DC 1981 * Aksak Maboul Alain Bashung Alan Stivell Albert Marcoeur Alkan Andy Warhol Ange Angelo Branduardi Anna Teresa De Keersmaeker Archie Shepp Areski/Fontaine Art Bears B Movie Barricade Beat Generation Beatles Story Bejart Bernard Benoit Bill Deraime Blue Oyster Cult Bob Dylan Boot/Live Brian Eno Bridget Riley Buzzcocks Can Canterbury Captain Beefheart Caravan Carla Bley Catherine Ribeiro Charles Bobuck / Hardy Fox Charlélie Couture Chelsea Chris and Cosey Chris Cutler Christo et Jeanne-Claude Ciment (Heiner Müller) CocoRosie Coil Colin Stetson Colosseum Cosey Fanni Tutti Crium Delirium Crumb CSN Cunningham / Noureev Dagmar Krause Dali Dan ar Bras 1979 * Dan Ar Bras 1981 Dan Ar Bras 1982 Daniel Humair Danser sa vie Dark Star David Byrne David Crosby Doc Watson documenta  8 documenta 13 documenta 14 Dogs Donovan Dr Feelgood Earl Okin Edward Primrose Einstürzende Neubauten Eric Dolphy Face à Face (Ingmar Bergman) Faust Faust I et II (Robert Wilson) Festival d Automne 1980/82 Festival Elixir 1 (19790714 Irvillac) Festival Elixir 2 (19800816 Plouneour-Trez) Festival Elixir 3 (19810711 Plomodiern) Festival Elixir 4 (19820717 Saint Pabu) Festivals Elixir Festivals Elixir suite Fête de l Huma 19800913 Fête de l Huma 20120915 Films Festival d Aix-en-Provence 1970 Florian Hecker Fred Frith Frida Kahlo (Lupe Velez) Gary Wright Gentle Giant Gershwin Glenn Branca * Glenn Branca 1988 Glenn Branca 2013 Glenn Branca 2015 Gong * Gong 1971 Gong 1973 Gong 1974 Grateful Dead Grateful Dead * Grayson Perry Haco Harold Budd Hatfield and the North Hector Zazou Henry Cow Ianis Xenakis Incredible String Band Indoor life Ironing Board Sam Jacques Higelin James Bowman Jandek japrocksampler Jazz Jean-Claude Gallotta Jean-Luc Ponty Jean-Michel Basquiat Jeanne Added Jefferson Airplane Jenny Hval Jimi Hendrix Jo Lemaire John Cage John Cale John Coltrane John Greaves John Lennon John Renbourn John Zorn Johnny Winter Jon Auer Joseph Racaille Juan Carmona Habichuela nieto Julie Ferrier Julos Beaucarne Keith Haring Kevin Ayers 1971 Kevin Ayers 1972 * Kim Gordon King Crimson L Eglise St Etienne L Esplanade (Lille Fairgrounds) L homme à tête de chou L oreille oubliée La Faculté Catholique La MJC Marx Dormoy (Lille) La Monte Young La Rotonde (Faches Thumesnil) La Salle Industrielle (Lille) La Salle Roger Sallengro (Lille) La Volupté Numérique Laurie Anderson Laurie Anderson et Lou Reed Le Bataclan (Paris) Le Cinéma Le Capitole (Lille) Le Mal court (Jacques Audiberti) Le Mery Le Palais des Sports (Lille) Le Palais Rameau (Lille) Le Palais St Sauveur (Lille) Le Quatuor  /La confrérie des fous Le Retour (Harold Pinter) Le Roi se meurt (Ionesco) Le Théâtre Sebastopol Leonard Cohen Les années POP (1956-1968) Les Bas-fonds (Maxime Gorki) Les Nus Lili Fisher Lille 2004 Linder Liverpool 2008 Liverpool 2010 Lol Coxhill Lou Reed Lounge Lizard Loupideloupe Ludus Luis de Luis Magazine Magma * Magma 1976 Magma 1981 Magma 2009 Malicorne Mama BEA Tekielski Manchester 2018 Marc Seberg Marieta Marquis de Sade Marquis de Sade 2018 Matching Mole Matthew Barney Maxime Le Forestier Merzbow Michael Levinas Michael Nyman Michel Portal Mike Heron Mike Oldfield Miles Davis Moondog Moriarty Morton Feldman National Health Neil Young * Neil Young 2008 New York Extravaganza Nick Cave Nico Nouvelle Biennale de Paris 1985 Parade / Les mamelles de Tiresias Parov Stelar Band Patti Smith Paul Haig Paul McCartney Paula Rego Pegi young PERRO Pete Brown Pete Doherty 2010 * Pete Doherty 2012 Peter Frampton Peter Gabriel Peter Hammill Père Ubu Philippe Deschepper Pink Floyd * Pink Floyd 1970 Pink Floyd 1972 Pipiloti Rist Presence Panchounette PSY Psychic TV Psy[k]é/Off the Wall Quicksilver Messenger Service Rainbow Rallizes Denudes Raymond Devos Return To the Forbidden Planet Rhys Chatham 2005 * Rhys Chatham 2010 Robert Charlebois 1980 * Robert Charlebois 2016 Robert Fripp Robert Wood Robert Wyatt Rock and Roll 39-59 Roland Becker Rory Gallagher 1976 * Rory Gallagher 1980 Rubberworks Museum Sachiko M Sax Pustuls Scorpions Scott Taylor Serge Gainsbourg Shakti Simples Minds Slapp Happy SMJ Snakefinger Soft Machine Sonic Youth Sophie Calle Sore Throat Spheres d Influence Spirit Splendid s (Jean Genet) Status Quo Stefan Grossman Stephan Eicher Stephen Stills Steve Hillage Steve Reich Sugar Blue Sun Ra Supertramp Syd Barrett Taj Mahal Travellers Taj Mahal Travellers Takis Taku Sugimoto Talking Heads Tania Mouraud Ted Nugent Téléphone The Beatles * The Beatles 1969 The Beatles Show The Boomtown Rats The Clash The Dream Syndicate 2017 * The Dream Syndicate 2019 The Honeymoon Killers The London Dungeon The Old Woman (Robert Wilson) The present day composers refuse to die... 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vendredi 12 avril 2019

Bob Dylan

Grand REX, Paris, France

p:683/500/1...M/16
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Bob Dylan

 

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
1964Bob DylanThe Times They Are A-Changin CBS62251, BPG 62251, CS 8905LP
1965Bob DylanBringing It All Back HomeCBSSBPG 62515, 62515LP
1974Bob DylanPlanet WavesAsylum Records53003, 53.003LP
1975Bob DylanThe Basement TapesCBSS 809182xLP
1979Bob DylanSlow Train ComingCBSCBS 86095LP
1983Bob DylanInfidelsCBSCBS 25539, 25539LP
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
2015Bob DylanFM LiveThe Great American Broadcast Company Uk Ltd.GABC104LPCDLP
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
1965Bob DylanHighway 61 RevisitedM1969
1966Bob Dylan1966 - The Real Albert Hall 1966 ConcertM32015
1966Bob DylanBlonde On BlondeM16014
1967Bob 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 DylanInfidelsM3208
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
1994Bob DylanThe Dylancash SessionsM14618
1995Bob DylanPossum Belly OverallsM19718
1995Bob DylanUnplugged MtvM12812
1997Bob DylanTime Out Of MindM12811
1998Bob DylanStreet-legalM1609
2001Bob DylanLive 1961-2000: Thirty-nine Years Of Great Concert PerformancesM12816
2001Bob DylanLove And TheftM12812
2002Grateful Dead, Bob DylanPostcards Of The HangingM19213
2004Bob DylanThe Dylan Cash Sessions 1969M19221
2005Bob DylanLive At Carnegie Hall 1963M1286
2005Bob DylanLive At The Gaslight 1962M12810
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 NightF58610
2016Bob DylanFallen AngelsM32012
2016Bob DylanThe 1966 Live RecordingsM178296
2017Bob DylanTriplicateM32030

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

200I Was So Much Younger Then (Dandelion (DL 075/076/077/078)) 01
195In Concert (Capricorn Records (CR-2025)) 01
203CThe Genuine Never Ending Tour Covers Collection 1988-2000 (scorpio/wild wolf (NET1-9)) 01
201Peco s Blues aka Lucky Luke (Vagabound Wilbury Records (LUCKY VW 001)) 01
202Plymouth Rock (Colosseum (97-C-015)) 01
197The Road Is Long 01

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

199+Yellow Dog Records (YD 017)1962-01-13Folksingers Choice WBAI Studios; Cynthia Gooding Radio Show, New York, NY, US01
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
194+Rattle Snake (RS 068)1962-10The Gaslight Tapes Gaslight Cafe, New York, NY, US01
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

1969

71969-08-31 Isle Of Wight, England01

1970

61970-05-01 Columbia Studio, New York, NY, US01

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
196+The Razor s Edge (GWW 001/2)1975-12-08Knight of the hurricane Madison Square Garden, New York, NY, US01

1978

36T+February 20 - December 18, 19781978-02-20World Tour 114
240C+LA Spring Sessions, Rehearsals & Concerts1978-05-01Pink Panther LA Spring Sessions 01
241C+European Summer Tour1978-06-17Pink Panther Southern Mountain Reggae 01
2081978-07-06 Pavilon De Paris, Paris, France01
233C+North America September & October1978-09-15Pink Panther Fourth Time Around 01
232C+North America november & december1978-11-01Pink Panther Bass Player s Wearing A Tie 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

1984

39T+May 28 - July 8, 19841984-05-28European Tour 27
230C+Rehearsals & European Tour1984-05-28Pink Panther 1984 I d Rather Be Lucky Than Rich 01
2141984-06-30 Stade Marcel Saupin, Nantes, 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 Paris, France01

1988

43T+June 7 - October 19, 19881988-06-07Never Ending Tour 1988 71
242C+Interstate 88 (Part 1) North America Summer Tour1988-06-07Pink Panther I Walk With My Shadow 01

1998

219C+US Fall Tour1988-10-13Pink Panther 1988 Belton Seline 01

1989

44T+May 25 - November 15, 19891989-05-25Never Ending Tour 1989 100
220C+Europe SummerTour1989-05-27Pink Panther 1989 You Don t Know Me 01
124C+North America Summer Tour1989-07-01Pink Panther 1989 Legend In My Time 01
243C+Summer Tour of North America1989-10-10Pink Panther People Sleeping In Broken Beds 01

1990

45T+January 12 - November 18, 19901990-01-12Never Ending Tour 1990 93
221C1990-01-12Pink Panther 1990 Fastbreak Tour 01
2041990-01-31 Grand Rex, Paris, France01
238C+Fall US Tour1990-10-11Pink Panther Heads In Mississippi 01

1991

46T+January 28 - November 20, 19911991-01-28Never Ending Tour 1991 101
234C+Summer Tour of Europe1991-06-06Pink Panther People Putting People Down 01
229C+US Fall Tour1991-10-25Pink Panther 1991 Whatever You Feel Like 01

1992

47T+March 18 - November 15, 19921992-03-18Never Ending Tour 1992 92

1993

48T+February 5 - October 9, 19931993-02-05Never Ending Tour 1993 76
2091993-06-29 Marseille, France01

1994

49T+February 5 - November 13, 19941994-02-05Never Ending Tour 1994 104
2101994-07-04 Palais Des Sports, Besançon, France01

1995

50T+March 11 - December 17, 19951995-03-11Never Ending Tour 1995 115

1996

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

1997

52T+February 9 - December 20, 19971997-02-09Never Ending Tour 1997 93
235C1997-08-03Pink Panther Almost Went to See Elvis 01

1998

53T+January 13 - November 7, 19981998-01-13Never Ending Tour 1998 110
236C+winter and spring tours of north and south america1998-01-13Pink Panther My Soul Has Turned Into Steel 01
237C+summer tour of europe1998-05-30Pink Panther You Ain t Seen Nothing Like Me Yet 01
2051998-06-30 Le Zenith, Paris, France01

1999

54T+January 26 - November 20, 19991999-01-26Never Ending Tour 1999 119
223C+European Spring Tour1999-04-07Pink Panther 1999 She Buttoned Her Boot 01
2241999-04-23 Le Dome, Marseille, France01
239C+summer & fall Paul Simon concerts1999-06-05Pink Panther I Got Rosie On My Chest 01
222C+US Fall Tour with Phil Lesh1999-09-28Pink Panther 1999 I Got A Black Cat Bone 01

2000

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

2001

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

2002

57T+January 31 - November 22, 20022002-01-31Never Ending Tour 2002 107
582002-02-27 Staples Center, Los Angeles, CA, US
225+Crystal Cat Records (625-626)2002-04-28 Forest National, Brussels, Belgium01

2003

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

2004

60T+February 28 - November 27, 20042004-02-28Never Ending Tour 2004 111
612004-03-28 Apollo Theater, New York, NY, US
622004-05-05 Wiltern Theatre, Los Angeles, CA, US
632004-06-07 Apollo Theater, New York, NY, US
2262004-06-29 Museumsplatz, Bonn, Germany01

2005

64T+March 7 - November 27, 20052005-03-07Never 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

2006

67T+April 1 - November 20, 20062006-04-01Never Ending Tour 2006 99

2007

68T+March 27 - October 29, 20072007-03-27Never Ending Tour 2007 98

2008

69T+February 2 - November 21, 20082008-02-02Never Ending Tour 2008 97
2112008-06-19 Palais des Sports, Grenoble, France01

2009

70T+March 22 - November 19, 20092009-03-22Never Ending Tour 2009 97
2162009-04-07 Palais des Congrès, Paris, 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, 20102010-03-11Never Ending Tour 2010 102
2062010-06-22 Palais Nikaia, Nice, France01

2011

742011-02-13 Staples Center, Los Angeles, CA, US
75T+April 3 - November 21, 20112011-04-03Never Ending Tour 2011 89
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, 20122012-04-15Never Ending Tour 2012 86
231C+European Tour 2012 Compilation2012-06-30Mr Piano Man tinkles the ivories 01
2072012-07-20 Bayonne Arena, Bayonne, France01

2013

78T+April 5 - November 28, 20132013-04-05Never Ending Tour 2013 85

2014

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

2015

2132015-01-18 Palais de Sports, Paris, France01
81T+April 10 - November 22, 20152015-04-10Never Ending Tour 2015 87
822015-05-19 Ed Sullivan Theater, New York, NY, US

2016

107T+April 4 - November 23, 20162016-04-04Never 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, 20172017-04-01Never Ending Tour 2017 84
2172017-04-20 Le Zenith, Paris, France01

2018

109T+March 22 - December 3, 20182018-03-22Never 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

157T+March 31, 2019 / July 14, 20192019-03-31Never Ending Tour 2019
158AfficheA2019-03-31O Mitsubishi Electric Halle, Düsseldorf, Germany01 / 02
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, France
167AfficheA2019-04-13 Grand Rex, Paris, France
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, Norway
183AfficheA2019-06-24 Hartwall Arena, Helsinki, Finland
1842019-06-26 Ericsson Globe, Stockholm, Sweden
1852019-06-28 Scandinavium, Göteborg, Sweden
1862019-06-29 Oslo Spektrum, Oslo, Norway
1872019-07-05 Barclaycard Arena, Hamburg, Germany
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, England
1932019-07-14 Nowlan Park, Kilkenny, Ireland

Discographie officielle

700O+(Albums studio)(Columbia)BD-1962-03-19Bob Dylan N
701O+(Albums studio)(Columbia)BD-1963-05-27The Freewheelin Bob Dylan N
702O+(Albums studio)(Columbia)BD-1964-01-13The Times They Are a-Changin MN
703O+(Albums studio)(Columbia)BD-1964-08-08Another Side of Bob Dylan N
704O+(Albums studio)(Columbia)BD-1965-03-22Bringing It All Back Home MN
705O+(Albums studio)(Columbia)BD-1965-08-30Highway 61 Revisited N
706O+(Albums studio)(Columbia)BD-1966-05-16Blonde on Blonde N
707O+(Compilations)BD-1967-03-27Bob Dylan s Greatest Hits M
708O+(Albums studio)(Columbia)BD-1967-12-27John Wesley Harding N
709O+(Albums studio)(Columbia)BD-1969-04-09Nashville Skyline N
710O+(Albums studio)(Columbia)BD-1970-06-08Self Portrait N
711O+(Albums studio)(Columbia)BD-1970-10-19New Morning N
712O+(Compilations)BD-1971-11-17Bob Dylan s Greatest Hits Vol. 2
713O+(Apparitions)BD-1971-12-20The Concert for Bangladesh M
714O+(Albums studio)(Columbia)BD-1973-07-16Pat Garrett and Billy the Kid N
715O+(Albums studio)(Columbia)BD-1973-11-19Dylan N
716O+(Albums studio)(Asylum Records)BD-1974-01-17Planet Waves M
717O+(Albums en concert)(Asylum Records)BD-1974-06-20Before the Flood N
718O+(Albums studio)(Columbia)BD-1975-01-17Blood on the Tracks N
719O+(Albums studio)(Columbia)BD-1975-06-26The Basement Tapes MN
720O+(Albums studio)(Columbia)BD-1976-01-05Desire N
721O+(Albums en concert)(Columbia)BD-1976-09-13Hard Rain N
722O+(Compilations)BD-1978-03Masterpieces
723O+(Apparitions)BD-1978-04-26The Last Waltz M
724O+(Albums studio)(Columbia)BD-1978-06-15Street-Legal N
725O+(Albums en concert)(CBS/Sony)BD-1979-04-23Bob Dylan at Budokan N
726O+(Albums studio)(Columbia)BD-1979-08-18Slow Train Coming M
727O+(Albums studio)(Columbia)BD-1980-06-23Saved N
728O+(Albums studio)(Columbia)BD-1981-08-12Shot of Love N
729O+(Albums studio)(Columbia)BD-1983-10-27Infidels N
730O+(Albums en concert)(Columbia)BD-1984-12-03Real Live N
731O+(Albums studio)(Columbia)BD-1985-06-10Empire Burlesque N
732O+(Compilations)BD-1985-11-08Biograph M
733O+(Albums studio)(Columbia)BD-1986-08-14Knocked Out Loaded N
734O+(Albums studio)(Columbia)BD-1988-05-31Down in the Groove N
735O+(Apparitions)BD-1988-10-18Traveling Wilburys Vol. 1 N
736O+(Albums en concert)(Columbia)BD-1989-01-30Dylan and the Dead M
737O+(Albums studio)(Columbia)BD-1989-09-18Oh Mercy M
738O+(Albums studio)(Columbia)BD-1990-09-10Under the Red Sky N
739O+(Apparitions)BD-1990-10-29Traveling Wilburys Vol. 3 N
110O+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V01-1961 1991 N01
111O+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V02-1961 1991 N01
112O+(The Bootleg Series)(Columbia)BD-1991-03-26The Bootleg Series V03-1961 1991 N01
740O+(Albums studio)(Columbia)BD-1992-11-03Good as I Been to You N
741O+(Albums en concert)(Columbia)BD-1993-08-24The 30th Anniversary Concert Celebration N
742O+(Albums studio)(Columbia)BD-1993-10-26World Gone Wrong N
743O+(Compilations)BD-1994-11-15Bob Dylan s Greatest Hits Vol. 3
744O+(Albums en concert)(Columbia)BD-1995-06-02MTV Unplugged N
745O+(Compilations)BD-1997-06-02The Best of Bob Dylan
746O+(Albums studio)(Columbia)BD-1997-09-30Time Out of Mind N
113O+(The Bootleg Series)(Columbia)BD-1998-10-13The Bootleg Series Volume 04-live 1966 the royal albert hall concert N01
747O+(Compilations)BD-2000-10-31The Essential Bob Dylan
748O+(Albums studio)(Columbia)BD-2001-09-11Love and Theft N
749O+(Grateful Dead : Apparitions : Man Of Peace)BD-2002-03-01Postcards of the Hanging N
114O+(The Bootleg Series)(Columbia)BD-2002-11-26The Bootleg Series V05-Rolling Thunder Revue N01
115O+(The Bootleg Series)(Columbia)BD-2004-03-30The Bootleg Series Volume 06-Live 1964 Concert at Philharmonic Hall N01
750O+(Sony BMG)BD-2005-05-02Bob Dylan: Les Chroniques, Vol. 1
751O+(Albums en concert)(Columbia)BD-2005-08-30Live at the Gaslight 1962 N
116O+(The Bootleg Series)(Columbia)BD-2005-08-30The Bootleg Series Volume 07-No Direction Home The Soundtrack A Martin Scorsese Picture N01
752O+(Simon & Schuster)BD-2005-09-13The Bob Dylan Scrapbook 1956-1966 - Interviews
754O+(Albums studio)(Columbia)BD-2006-08-29Modern Times N
755O+(Compilations)(Columbia)BD-2007-10-02Dylan M
756O+(Chrome Dreams)BD-2008Bob Dylan s Theme Time Radio Hour : Season 1
117O+(The Bootleg Series)(Columbia)BD-2008-10-06The Bootleg Series Volume 08-Tell Tale Signs Rare And Unreleased 1989-BD-2006 N01
757O+(Chrome Dreams)BD-2009Bob Dylan s Theme Time Radio Hour : Season 3
758O+(Albums studio)(Columbia)BD-2009-03-28Together Through Life N
759O+(Albums studio)(Columbia)BD-2009-10-13Christmas in the Heart N
760O+(Chrome Dreams)BD-2010Bob Dylan s Theme Time Radio Hour : Season 2
761O+(Compilations)BD-2010-09-27The Essential Bob Dylan
118O+(The Bootleg Series)(Columbia)BD-2010-10-18The Bootleg Series V09-The Witmark Demos N01
762O+(Albums en concert)BD-2011-03-11In Concert: Brandeis University 1963
763O+(Albums studio)(Columbia)BD-2012-09-10Tempest N
764O+(Compilations)(Sony Music)BD-2012-12The 50th Anniversary Collection
765O+(Golden Masterworks)BD-2013Highway Blues 1962 Unplugged
766O+(DM Digital)BD-2013-01-21Bob Dylan and The New Folk Movement
119O+(The Bootleg Series)(Columbia)BD-2013-08-23The Bootleg Series V10-Another Self Portrait N01
767O+(Compilations)(Columbia)BD-2013-11The 50th Anniversary Collection 1963
120O+(The Bootleg Series)(Columbia)BD-2014-11-04The Bootleg Series V11-The Basement Tapes Complete N01
768O+(Compilations)(Columbia)BD-2014-12The 50th Anniversary Collection 1964
769O+(Albums studio)(Columbia)BD-2015-02-03Shadows in the Night N
121O+(The Bootleg Series)(Columbia)BD-2015-11-06The Bootleg Series V12-The Cutting Edge 1965 1966 N01
770O+(Albums studio)(Columbia)BD-2016-05-20Fallen Angels N
771O+(Albums en concert)(Columbia)BD-2016-12-02Live In Sydney 1966 N
772O+(Albums studio)(Columbia)BD-2017-03-31Triplicate N
122O+(The Bootleg Series)(Columbia)BD-2017-11-03The Bootleg Series V13-Trouble No More 1979 1981 N01
773O+(Albums en concert)(Popular Demand)BD-2018-07-27Live 1962 – 1966: Rare Performances From The Copyright Collections
774O+(Cornbread Records)BD-2018-10-12Come Back, Baby: Rare And Unreleased 1961 Sessions
775O+(Cornbread Records)BD-2018-10-12The Karen Wallace Tape, May 1960
123O+(The Bootleg Series)(Columbia)BD-2018-11-02The Bootleg Series V14-More Blood, More Tracks N01
776O+(Albums en concert)BD-2019-06-07The Rolling Thunder Revue: The 1975 Live Recordings N01

Enregistrements

(195/1) Bob Dylan, , In Concert

Audio/mp3, ?/?, (?)

Notes

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

(197/1) Bob Dylan, , The Road Is Long

Audio/mp3, ?/?, (?)

683197001a683197001b
Notes

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!


(200/1) Bob Dylan, , I Was So Much Younger Then

Audio/mp3, ?/?, (?)

683200001a
Notes

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

(201/1) Bob Dylan, , Peco s Blues aka Lucky Luke

Audio/mp3, ?/?, (?)

683201001a683201001b
Notes

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)


(202/1) Bob Dylan, , Plymouth Rock

Audio/mp3, ?/?, (?)

683202001a683202001b
Notes

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


(203/1) Bob Dylan, , Never Ending Tour Covers Collection

Audio/mp3, ?/?, (?)

683203001a683203001b
Notes

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


(199/1) Bob Dylan, 1962-01-13, Folksingers Choice, WBAI Studios; Cynthia Gooding Radio Show, New York, NY, US

Audio/mp3, ?/?, (?)

683199001a
Notes

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


(194/1) Bob Dylan, 1962-10, The Gaslight Tapes, Gaslight Cafe, New York, NY, US

Audio/mp3, ?/?, (?)

683194001a683194001b
Notes

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


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

Audio/?, ?/?, (?)

Notes

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/?, ?/?, (?)

Notes

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



(6/1) Bob Dylan, 1970-05-01, Columbia Studio, New York, NY, US

Audio/?, ?/?, (?)

Notes

Bob Dylan and George Harrison

19700501
live at columbia studio b ny

honey just allow me one more chance
i'd have you any time with zimmy
when's my swamp gonna catch fire


(196/1) Bob Dylan, 1975-12-08, Knight of the hurricane, Madison Square Garden, New York, NY, US

Audio/mp3, ?/?, (?)

683196001a683196001b
Notes

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.


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

Audio/flac, dime/?, (20190525)

Notes

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, Pink Panther Southern Mountain Reggae

Audio/flac, dime/?, (20190525)

Notes

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)

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

There’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

There’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 couldn’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

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

I fought with my twin, that enemy within
’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 lovin’ couldn’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, who’d never known about loss
And who always was too proud to beg

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

There’s a new day at dawn and I’ve finally arrived
If I’m there in the morning, baby, you’ll know I’ve survived
I can’t believe it, I can’t believe I’m alive
But without you it just doesn’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 Don’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 it’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 I’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

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

Audio/flac, tradersden/?, (20190414)

Notes

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)


(233/1) Bob Dylan, 1978-09-15, Pink Panther Fourth Time Around

Audio/flac, dime/?, (20190506)

Notes

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-Changin’.
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 (I’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,
Knockin’ 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)

We’re gonna take a break here. We’re just gonna take a short break (…..) fix the equipment.
This is a new song, we’ve never played it before, we’ll try to play it for you (…..).
(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.I’m Ready (Willie Dixon)
11.Is Your Love In Vain?
12.Love Minus Zero/No Limit
13.Tangled Up In Blue
14.I Don’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.I’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, we’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.I’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 Don’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 who’d made their way to the stage,
we hung around until the house lights went up and it was obvious Dylan wasn’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 It’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 It’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 Blowin’ 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 (I’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.She’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

(232/1) Bob Dylan, 1978-11-01, Pink Panther Bass Player s Wearing A Tie

Audio/flac, dime/?, (20190506)

Notes

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)

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

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

Don’t wanna shoot nobody, don’t wanna be shot
Don’t wanna buy nobody, don’t wanna be bought
Don’t wanna bury nobody, don’t wanna be buried
Don’t wanna marry nobody if they’re already married

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

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

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

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

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

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

But if you do right to me, baby
I’ll do right to you, too
Ya got to do unto others
Like you’d have them, like you’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 Jeremiah’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 Paul’s Epistle to the Hebrews 8:8.

Dylan’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).

Dylan’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.She’s Love Crazy (Tampa Red)
20.Maggie's Farm
21.I Don’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 don’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 didn’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 didn’t take the chance, all I said was just, only thing that came into my mind was one more cup of coffee. I thought I’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 Spector’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 girlfriend’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.She’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 Don’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 don’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.She’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 it’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, I’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 50’s they used to have carnivals that came trough town.
I know that you’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. We’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 Jehovah’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 Howlin’ 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-Changin’, and When The Ship Comes In, which confirm that for someone Jewish, Dylan was awfully familiar with the New Testament’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 martyr’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 Jew’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

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

Audio/flac, ?/?, (20190501)

Notes

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



(214/1) Bob Dylan, 1984-06-30, Stade Marcel Saupin, Nantes, France

Audio/flac, tradersden/?, (20190414)

Notes

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


(218/1) Bob Dylan, 1987-10-07, Paris, France

Audio/shn, dime/?, (20190420)

Notes

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, Pink Panther I Walk With My Shadow

Audio/flac, dime/?, (20190525)

Notes

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 worship’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 1987’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 Dylan’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 Springsteen’s induction speech being the catalyst to a future of wold, mercurial Dylan possibilities seemed, frankly, unlikely.
Bob’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 Tour’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 hero’s back pages at an irreverent, breakneck pace.

Allegedly inspired by his son Jacob’s enthusiasm for The Clash, Dylan’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 matador’s suit, hoarse and wild-eyed,
apparently swept along by the music’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 they’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 Dylan’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 1965’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 Dylan’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, Maggie’s Farm, Rainy Day Woman #12 & 35 or It Ain’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 fan’s chagrin, was not invited to record).

The late-1980s, in fact, set the tone for Dylan’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 Dylan’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, It’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 (I’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 doesn’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 You’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, Pink Panther 1988 Belton Seline

Audio/flac, dime/?, (20190420)

Notes

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, Pink Panther 1989 You Don t Know Me

Audio/flac, dime/?, (20190420)

Notes

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

(124/1) Bob Dylan, 1989-07-01, Pink Panther 1989 Legend In My Time

Audio/?, ?/?, (?)

Notes

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, Pink Panther People Sleeping In Broken Beds

Audio/flac, dime/?, (20190525)

Notes

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, Pink Panther 1990 Fastbreak Tour

Audio/flac, dime/?, (20190420)

Notes

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

(204/1) Bob Dylan, 1990-01-31, Grand Rex, Paris, France

Audio/flac, tradersden/?, (20190414)

Notes

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)


(238/1) Bob Dylan, 1990-10-11, Pink Panther Heads In Mississippi

Audio/flac, dime/?, (20190108)

Notes

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, Pink Panther People Putting People Down

Audio/flac, dime/?, (20190506)

Notes

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