FALL 1990 - PART ONE ==================== From: BUCK@vax.museum.upenn.edu PLEASE YOU GUYS DOWN SOUTH. LET'S FIND OUT ABOUT OXFORD, ET AL. THANKS! Updates and changes, note those with stars (*): October 8-10 Rehearsals, Montana Studios, NYC October 11 Greenvale, New York, Tilles Center, C.W. Post College October 12 Springfield, Massachusetts, Paramount Performing Arts Center October 13 West Point, New York, Eisenhower Center October 15 New York, New York, Beacon Theater October 16 New York, New York, Beacon Theater October 17 New York, New York, Beacon Theater October 18 New York, New York, Beacon Theater October 19 New York, New York, Beacon Theater October 21 Richmond, Virginia, Richmond Mosque October 22 Pittsburgh, Pennsylvania, Syria Mosque October 23 Charleston, West Virginia October 24 Oxford, Mississippi October 26 Tuscaloosa, Alabama October 27 Nashville, Tennessee October 28 Athens, Georgia, Coliseum, U. of Georgia October 30 Boone, North Carolina *October 31 Charlotte, North Carolina November 2 Lexington, Kentucky November 3 Carbondale, Illinois November 4 St. Louis, Missouri, Fox Theater November 6 DeKalb, Illinois November 8 Iowa City, Iowa November 9 Chicago, Illinois, Chicago Theater November 10 Milwaukee, Wisconsin, Riverside Theater *November 12 East Lansing, Michigan *November 14 Normal, Illinois These two have switched dates. ?November 13 Dayton, Ohio Probably the same, the 13th. November 16 Columbus, Ohio November 17 Cleveland, Ohio *November 18 Detroit, Fox Theater, tickets on sale 10/14/90 At the rehearsals yesterday (10/9), our undercover friend got there about 8 and got thrown out twice. But the following list was played: Shelter From The Storm Wiggle Wiggle (a slow version) 10,000 Men Under The Red Sky 2 x 2 Masters Of War Man In The Long Black Coat ? unknown to listener In The Garden The Water Is Wide ? unknown to listener I Shall Be Released Unbelievable (four tries) Shooting Star Just Like A Woman Maggie's Farm (part) Part of Rolling Stone Under The Red Sky Rebecca From: BUCK@vax.museum.upenn.edu Notes on the first three shows of this leg of the tour: GREENVALE, NEW YORK OCTOBER 11, 1990 C. W. POST COLLEGE, LONG ISLAND UNIVERSITY ROSE AND GILBERT TILLES PERFORMING ARTS CENTER Bob Dylan with G. E. Smith, Steve Bruton, Cesar Diaz, Tony Garnier, Christoper Parker 1 Marine Hymn 2 Masters Of War 3 Tomorrow Is A Long Time 4 Man In The Long Black Coat 5 Watching The River Flow Solos by Cesar 6 Simple Twist Of Fate 7 Gotta Serve Somebody Dylan on acoustic guitar, G. E. Smith on electric, Cesar Diaz on electric, Tony Garnier electric bass, Parker on drums 8 John Brown 9 Song To Woody 10 Mr. Tambourine Man 11 Boots Of Spanish Leather Dylan on acoustic guitar, G. E. acoustic guitar, Garnier on stand up bass (stands right up), Parker on drums, Steve Bruton on electric mandolin 12 Under The Red Sky 13 T.V. Talkin' Song 14 Friend Of The Devil 15 I Shall Be Released Second solo by Cesar 16 Like A Rolling Stone Same set-up as first electric set 17 Blowing In The Wind Dylan acoustic, G.E. acoustic, Parker drums, Garnier on acoustic bass guitar 18 Maggie's Farm Same as other electric except Dylan plays electric guitar. That's how the first show looked --- the fantastic part was that he played the eighteen songs in about 70 minutes, and the 70 minutes included the break before the encore. Dylan grinning, in another poorly fitted suit jacket, this one a gray and black plaid "formal" type with black velvet lapels. And the East German army hat, the one a friend called a busby. Close, it's fur but it has the ear flaps and the hammer and sickle symbol in red on a white or gold background. Interesting. Grazia Cioffi, the Italian friend, said the soldiers were selling parts of their uniforms in the alleys. Wonder if Dylan bought one there during that latest European tour. Probably. That's where she saw it. I was disappointed. It all went by too fast. And there was Tomorrow Is A Long Time, exquisite in electric but without "there's beauty in .." And Boots without the last verse? What was that about? And a truly abbreviated Mr. Tambourine Man, much to my liking, abbreviate it all you want, Bob. As for I Shall Be Released, I don't care if I hear that again or not. But it was flat. Good tidings about Cesar Diaz as a guitarist came to naught, G. E. seemed as arrogant as usual, and Dylan just grinned, didn't seem too in touch with the music or the crowd. Maybe all just bored, don't know. Perhaps the remaking of the Dylan fan's life is at hand, who knows? _________________________________________________________________________ _________________________________________________________________________ SPRINGFIELD, MASSACHUSETTS OCTOBER 12, 1990 PARAMOUNT PERFORMING ARTS CENTER Dylan with G. E. Smith, Steve Bruton, Cesar Diaz, Tony Garnier, Christoper Parker 1 Marine Hymn 2 To Be Alone With You 3 Lay Lady Lay 4 All Along The Watchtower Cesar solos 5 Stuck Inside Of Mobile (With The Memphis Blues Again) Cesar second solos 6 Highway 61 Revisited Dylan on acoustic guitar, G. E. Smith on electric, Cesar Diaz on electric, Tony Garnier electric bass, Parker on drums All unnoted solos by G. E. Smith 7 It's All Over Now, Baby Blue 8 Gates Of Eden Dylan acoustic guitar, Steve Bruton acoustic guitar, Tony Garnier standup bass, Parker on drums 9 Desolation Row 10 It Ain't Me Babe Same as 7 and 8 except G. E. Smith replaces Bruton 11 Under The Red Sky 12 Wiggle Wiggle 13 Seeing The Real You At Last Cesar solos 14 Willing 15 In The Garden 16 Like A Rolling Stone Same as first electric set. 17 Blowing In The Wind G.E. acoustic, Dylan acoustic, Parker drums, Garnier on acoustic bass guitar, Bruton on electric mandolin. 18 Maggie's Farm Same as electric with Dylan on electric guitar Better, much much better. No, we won't remake the life yet. The Paramount is a small theater, the crowd is mixed yuppie, ex-hippie, farmer, and most are drunk. Oh, and one very wild looking Lesbian pair are fascinating. But drunk, the crowd is so much drunk, perhaps (and as a matter of tradition), that the security is tighter than I've seen in a long while and the lights stay on all during the show. It's one of those gold embossed small theaters that have seen better times. The beer is flowing, the lines are long for the bathrooms, the strangely dressed New England crowd wanders --- they look like everything from Buffalo Bill to Arlo's sister. Roy Cougle, the Chicago guy, keeps one crazy girl from going up on stage, and the security force escorts another guy who climbs up. We're so close down front that we can see the lack of eyelashes, the beard that looks scraggly but surpasses all his youthful beards, the sweat pouring off under the fur cap and the most ill-fitting ugly coat again. I wonder if Dylan should not consider murdering his tailor? Does he pick these outfits out by himself, or can he possibly have help? There are, again, only two songs from the new album, but Wiggle brings everyone to their feet and seems like the best thing going. It's a tighter show, the songs are not truncated, and the band seems to be coming along. Still a bit bored, but I'm pretty sure it's me, there are other Dylan fans around "flying." Some from England and Ireland, some from mid-west and New York. And the strange "Sara Dylan" was there, of course, with two suitcases, moving about and playing her harmonica (I hear Bob gives her cues from the stage); she just annoyed most everyone. It was really a fine evening. I expect Ron Mura will give an adequate critique. _________________________________________________________________________ _________________________________________________________________________ WEST POINT, NEW YORK OCTOBER 13, 1990 EISENHOWER HALL THEATER Dylan with Christopher Parker, G. E. Smith, Cesar Diaz, Tony Garnier Steve Bruton did NOT appear 1 Tangled Up In Blue 2 I Want You 3 Man In The Long Black Coat 4 Masters Of War 5 Stuck Inside Of Mobile (With The Memphis Blues Again) Cesar on first two solos, G. E. on third 6 Gotta Serve Somebody Dylan acoustic guitar, Cesar Diaz and G. E. Smith electric guitars, Parker drums, Garnier electric bass 7 It's All Right, Ma (I'm Only Bleeding) 8 Gates Of Eden 9 Don't Think Twice, It's All Right 10 Trail Of The Buffalo Dylan and G. E. Smith acoustic guitars, Garnier standup bass, Parker drums 11 Under The Red Sky 12 Wiggle Wiggle 13 I'll Remember You 14 All Along The Watchtower Cesar solos, G. E. last solo 15 I Shall Be Released Cesar solos first, G. E. second 16 Like A Rolling Stone Same as first electric set 17 Blowing In The Wind Acoustic bass guitar by Garnier instead of standup. Dylan and G. E. acoustic, Parker drums 18 Highway 61 Revisited Only song on which Dylan plays an electric guitar _________________________________________________________________________ _________________________________________________________________________ Dylan was kind. He dropped the Marine Hymn but didn't have time to learn about the cassons, evidently. He brought them along there at West Point and then socked it to them with Masters Of War. He was still wearing the East German army hat. And he was perfect tonight, on the guitar and with his vocals. Trail of the Buffalo was exquisite, and his voice soared when it needed, expressed those things we wait for it to do. The set list was the same length, he dropped Shooting Star, but the length in minutes was much more. Much better, this show. He was relaxed, it seemed, and sure. But Steve Bruton didn't appear, though his addition to the acoustic set the night before made for an interesting change. I just hope it was previous commitments and not that he was out for good. And Cesar did a lot lot better, he did some solos that verged on superb. For the first time in this tour, I responded, enjoyed and felt that once again Dylan was worth close watching. His clothes even fit this night. So, there are the sets for the first three and some fast impressions. I could go on for hours about West Point itself and the people there, but this isn't the place. New York, The Beacon, it begins on Monday night! Til later, Rebecca Buck From: rmura@world.std.com (Ron Mura) Springfield, Mass. October 12, 1990 ------------------ ---------------- The show was sold out in advance, the Paramount Theater being a faily small place. Scalpers were getting $5 to $15 over the face price for tickets. The doors opened at 7:00 and we went in, not knowing that they wouldn't let you into the theater itself. Until 7:50, ten minutes before the start of the show, we were restricted to the lobby, in an obvious effort to sell more beer. It was hot (probably 90 degrees), humid, crowded, smokey and sweaty. Not a pleasant start, to say the least. (I know some other halls do the same thing, but it's still not a nice way to treat a customer. Reminded me why I go to so few shows these days.) They also don't seem to have a fire code in Springfield, since they didn't even pretend to prohibit smoking in any part of the building. Even the ushers smoked. The opening act started almost on time, at about 8:03. It was Lenny Kravitz, a rocker from New York City. The guy in the box office told me they didn't know who the opening act would be until 4:00 p.m. that day. Kravitz was OK, not bad for an opening act. They played for 40 minutes. Dylan came on a couple of minutes after nine o'clock. And--surprise-- G. E. Smith and crew were still with him! (Garnier was definitely in the band; I'm pretty sure Parker was too, although I don't know his face well enough to make a positive identification.) I had suspected the possibility because a guy who has tickets for an upcoming show in Iowa told me they said "with G. E. Smith" on them. There was also a fifth band member (whom I'll refer to as #5 since I don't know who he was), another guitarist. We had suspected an extra guitarist due to the large number of guitars on the stage. #5 wore a straw hat, looked Hispanic, and seemed technically very competent. He played on all of the electric songs but none of the acoustic numbers. Anyone know who he is? It turned out that there would also be a sixth musician, who played on three acoustic songs. He had long, blond hair (not as long or as blond as G. E.'s) and was tall and skinny. He looked a bit like Roger McGuinn. Garnier played stand-up bass on the first four acoustic numbers and an oversize acoustic bass guitar (not stand-up) on the encore acoustic number. Dylan seemed to enjoy himself throughout the show. At different times he bantered with each of the other musicians and once he pointed emphatically at G. E. when it was G. E.'s turn to take a guitar solo. So, even though the song selection was a bit disappointing, the performance was very enjoyable after not seeing Dylan live for a year. The show was very good, not great. Most of the renditions were solid, not what you would call "greatest ever." His singing was stronger than at some of the 1990 shows I've heard, but not in a class with 1988 and some earlier years. Dylan played acoutic guitar for the whole show except the final encore. The songs were for the most part short, often with only one significant solo and with quick endings. Quite a contrast to the "never-ending songs" of 1989. Even though he played 18 songs, the show was barely 75 minutes, including encores. Our seats were near the back of the balcony, which had a steep incline. Fortunately we had brought binoculars. I was not able to get into the main floor to see Rebecca and another friend that I've never met in person. Both of them had seats way up front. The ushers were checking tickets and, not being too devious by nature, I didn't make an effort to sneak in. The songs: 1. Montezuma The show opened with a few bars of this song, played mostly by G. E. 2. To Be Alone with You Not the greatest opener, in my opinion, but Dylan seemed into the music from the beginning. 3. Lay, Lady, Lay (harmonica) Even though we were way back, my wife was able to read this song from the cue sheet before the show started. Maybe we should bring a telescope to go with the binoculars! 4. All Along the Watchtower The crowd really got into it at this point. #5 took a nice guitar solo, although Dylan cut him off early by starting to sing the next verse. 5. Memphis Blues Again Dylan omitted the first verse and started with the Shakepeare verse. #5 got another solo. This song is getting a bit tired. 6. Highway 61 Revisited Standard but very solid version with G. E. on slide guitar. 7. It's All Over Now, Baby Blue (harmonica) Nice version. #6 played acoustic guitar on this and the next one, with G. E. and #5 sitting them out. During this song (and one other in this show), Dylan went back and got a harmonica at the start, then went back and changed harmonicas before playing it--almost as if he didn't know what key the song would end up in! In the middle of this solo, he took the harmonica out of the holder, looked at it, put it back in, and resumed playing. 8. Gates of Eden A stand-out, the band playing along well and Dylan singing with real feeling. 9. Desolation Row (harmonica) G. E. is now back, replacing #6. New (to me) was the harmonica at the beginning and end. The audience really enjoyed it, giving about a 1/4th standing ovation at the end. He only sang four verses, however, and it wasn't quite as stunning I guess if you've heard tapes of the earlier versions. Still quite enjoyable. 10. It Ain't Me, Babe (harmonica) 11. Under the Red Sky An electric version, not sensational but it was great to hear a song from the new album. One of the highlights of the show for me. At the end Dylan said something like: that was a song from the new album and here's another one. 12. Wiggle, Wiggle Fast, rocking version, faster than on the album. A fun rocker, at least. The crowd liked it. 13. Seeing the Real You at Last Before they started, Dylan and the rest of the band conferred for a moment. I would like to see the cue sheet, because they might have deviated at this point. This was a really strong version of a song that has never been one of my top favorites. 14. Willin' Fairly short song. The band sounded good. Lyrics were inaudible at some points. Some people in the audience around me recognized it and enjoyed it. 15. In the Garden Standard version. 16. Like a Rolling Stone Standard version. G. E. played his solo a bit slower than usual, a nice variation. 17. Blowin' in the Wind (harmonica) #6 played mandolin. 18. Maggie's Farm Standard version. I don't think he sang the last verse. At the end Dylan went over to G. E. and clapped a few times. -- - Ron Mura, Boston, Mass. rmura@world.std.com From: BUCK@vax.museum.upenn.edu Beacon Theater, New York City October 15, 1990 Bob Dylan opened his run of five shows at the Beacon Theater in New York City last night with a solid 80 minute show. He dressed in the same type of outfit he's been wearing the last few nights -- ugly formal black and white plaid jacket with velvet lapels, a white shirt, black trousers, heavy boots and his red army hat. Steve Bruton appears to be gone from the act. The musicians now are G. E. Smith, Tony Garnier, Christopher Parker with Cesar Diaz still on guitar. Since Cesar is not picking up a lot of solos or taking over as band leader, we wonder whether G. E. might not just be staying. Set list: First electric set: 1 Marine Hymn 2 Rainy Day Women #12 & 35 3 Masters Of War 4 Joey 5 Watching The River Flow 6 Shelter From The Storm 7 Man Of Peace Acoustic: 8 It's All Over Now, Baby Blue 9 John Brown 10 Don't Think Twice, It's All Right 11 It Ain't Me Babe Second electric: 12 Under The Red Sky 13 Man In The Long Black Coat 14 Silvio 15 I Shall Be Releasedd 16 Like A Rolling Stone Noncore (he didn't leave the stage at all): 17 Blowing In The Wind 18 Highway 61 Revisited The surprise was that there was only one song from the new album, but for all that the show was immensely satisfying. Dylan's voice is really strong and for the amount of touring he's done that's amazing. He also seems to be relaxed and enjoying the experience. The acoustic set was particularly fine, with one of the sweetest Baby Blues that I've heard. John Brown literally brought chills, it pounded through. And then there was the strange combination of Don't Think Twice and It Ain't Me Babe. The latter was wonderful with Dylan attempting (and sometimes succeeding with) some creative guitar harmonics. The New York crowd was pretty young, obviously into the music. And the Dylan people were there from all over the world --- hi Olof! Another set list for tomorrow? Rebecca From: BUCK@vax.museum.upenn.edu The Beacon, October 16, 1990 The second show at the Beacon came and went --- wonderful and very different. It was a bit uneven (I'll note below when something seems to warrant it) but the most thing I noticed most was the different feel of the sets. It started without G. E. on stage, and the lack of G.E.'s very forceful physical presence and very forceful guitar seemed to give Cesar Diaz some of the energy he had seemed to lack earlier. When G. E. appeared, finally, after Silvio, the show began to go up and down, as if no-one knew who was really in charge in this time of transition. Even the opening number was a bit different! And Olof, I told Olof that he should be doing the reviews when he gets back, I'll give mostly the outlines and stuff. Fits me more, anyway. The "word" by those who supposedly know is that Steve Bruton is gone, will not be back, had either a bad attitude, the wrong equipment, or maybe was just not in the right place at the right time. And that Cesar will take over for good after G. E. 's last night, this Friday at the Beacon. But of course we've heard that before, and G. E. is playing the leads on most of the new songs. Hmm. Anyway, Olof, you be the one to tell us about these concerts in depth, ok? Here's last night's (October 16, 1990) set list: 1 Dixie 2 Most Likely You Go Your Way (And I'll Go Mine) 3 Man In The Long Black Coat --- best LBC done to date, I'd guess 4 Silvio 5 T.V. Talkin' Song --- I thought this was a bit jarring, sharp 6 Under the Red Sky --- and they almost lost it here, I thought that maybe they'd go over the edge into total dissonance 7 Wiggle, Wiggle --- Dylan went from acoustic to electric guitar 8 It's All Right, Ma (I'm Only Bleeding) 9 One Too Many Mornings --- Exquisite, made me cry and remember most of the best and worst of my life 10 Two Brothers --- horrid version, the voice crackling and nasal, I think he just couldn't find it for this one 11 Mr. Tambourine Man Acoustic set: G. E. played, Cesar did not, Garnier on standup bass. 12 Everything Is Broken 13 Joey 14 Positively Fourth Street --- Superb! 15 All Along The Watchtower 16 Like A Rolling Stone 17 Blowing In The Wind --- Garnier on acoustic bass 18 Highway 61 Revisited --- Dylan on electric guitar This Philly-New York thing for work and play is a bit tiring, but this has really proven to be worth it. Good shows this time around. Oh, the coat looked even worse, I hadn't noticed the blue bits in the plaid. And the red army hat stayed on. Rebecca From: BUCK@vax.museum.upenn.edu October 17, 1990 Beacon Theater, New York, New York Every night, it seems, he is a bit better than he was the night before. Last night, I was tired, everything was swirling, the voice was soft and solid, feeling, moving through songs we had not heard in a long time. And Bob wasn't drunk, as several of us thought he had been (most likely) the night before. Someone pointed out Sally Kirkland to me. And I guess I'm 90% certain it was her. Dressed in black, becoming the ultimate groupie. She was hanging out with some of the very strange followers, the heavily made-up Maggie, black hat and veils and Mark, the Dylan look-alike. These two were pointed out to me in '86, with the footnote that the woman kept saying the boy was Bob's son and she dragged him to concert after concert so that he could see his father. Oh, well. Anyway, there was Sally, blonde and bouncing, and I thought perhaps if she really was so close to Bob that he might at least have given her a seat. She kept sliding from one place to another, displaced by security until she finally happened upon a truly empty seat. There weren't many, but toward the end the scalpers were having some trouble. And maybe Dylan took the advice from yesterday --- murder your tailor and start over. He was wearing black trousers and motorcycle boots, a black shirt and an indiscriminately colored (slate gray, purple or blue) jacket with black satin piping at the pockets. And he joined the other bad hombres in the band (Garnier and Diaz) with a black fedora. Different headgear, a whole different Bob. Fantastic put together this time. The show opened with Garnier, Parker, Diaz and Dylan on stage. G. E. joined T.V. Talking Song and then a mystery guitarist appeared during Hard Rain in the acoustic set. We are pretty certain it was John de Staley, the first of the "Dylan of guitarists" (this phrase from Ian Woodward, something like a gaggle of geese, I think). Here's the set list: 1 Absolutely Sweet Marie 2 Man In The Long Black Coat 3 Willing 4 T.V. Talking Song 5 Simple Twist Of Fate 6 Wiggle Wiggle Dylan, Diaz, Garnier, Parker 1-3, with G. E. added from 4-6 7 Man Of Constant Sorrow 8 It's All Over Now, Baby Blue 9 A Hard Rain's A-Gonna Fall 10 The Lonesome Death Of Hattie Carroll Dylan, Garnier standup, Parker, G.E. on 7,8,10. John De Staley replaces G.E. on 9. Hmm, how long will HE last? 11 Tangled Up In Blue 12 Joey 13 What Good Am I 14 It Takes A Lot To Laugh, It Takes A Train to Cry 15 In The Garden 16 Like A Rolling Stone Same as 4-6 17 The Times They Are A-Changing 18 Highway 61 Revisited 90 Minutes, best sound yet of the October tour. Hard Rain was done with a soft voice, elongated phrasing; he forgot some of the words. The whole second electric set seemed very slow and bluesy, and the crowd moved up front on Tangled Up In Blue. Security was laid back and only moved in to take away a sick woman and then to discuss some video-taping with an idiot in the second row. I know, I know, but why watch the world through a view-finder? We removed enough as it is. Dylan talked a lot this evening, the most of the first few shows of this tour. After Man Of Constant Sorrow he said "Anybody out there wake up drunk this morning?" then something we couldn't quite get, followed by "This one's special for you" and right into Baby Blue. Later he asked if anyone out there was from New York. New York City. He really worked on this show. He had to take the fedora off once because he'd forgotten to put on his harmonica holder, so we know he still has hair. And he dripped from the acoustic set on. Ginsberg was in the audience (Bill Graham had been there on Tuesday night) and a really large contingent of known Dylan fans as well. We're beginning to think that the one or two thousand of us float around filling most of the orchestra most nights. Could this be true? This show had a soft and smooth feel. I can hardly believe that such a much-used voice could have so much contour. Some of the phrasing, incredible. There was one line ending on Baby Blue (though I won't remember which one until I can hear a tape) where the voice floated up a bit and cut through my mind. Toward the end of the show there was a bit of hoarseness, as well. But he smiled a lot, he took off the hat once more and waved it at the crowd, he did a Pete Townsend imitation wind-up, he gallumped off the stage then made his way around back of the drums and disappeared out the back door to the street. The Beacon really doesn't have a back stage, the back sits right on the street. And some guy came around in front a few minutes later trying to sell a cigarette butt that he said Dylan threw down as he came out. Only in New York. Later, Rebecca