Late May 1995 Tour Reports

Mon 22 San Francisco, CA, Warfield Theatre
Tue 23 San Francisco, CA, Warfield Theatre
Thu 25 Berkeley, CA, Berkeley Community Theatre
Fri 26 Berkeley, CA, Berkeley Community Theatre
Sun 28 Reno, NV, Reno Hilton Ampitheatre
Tue 30 Eugene, OR Wed 31 Eugene, OR

Mon 22 May 1995, San Fransisco
Date:    Wed, 24 May 1995 15:51:47 GMT
From:    Craig Jamieson (rcj10@CUS.CAM.AC.UK)
Subject: Joel Selvin reviews Monday 22 May 1995 Warfield San Francisco...


 JOEL SELVIN, Chronicle Staff Critic

In a powerful and engaging two-hour show Monday at the
Warfield Theatre, Bob Dylan plumbed his extensive repertoire for a
glistening handful of his finest songs -- some well known, others
less so -- twisting each one into a new shape, forcing his audience
to hear them in a different light, revealing previously undisclosed
facets and, once again, proving himself one of the great songwriters
of his time.

Wearing a gold embroidered toreador jacket over an untucked and
belted purple satin shirt, Dylan took the stage without guitar to
blast off with a gale force ``Down In the Flood,'' a torrent of words
and music he delivered tilted on one leg, harmonica in his hand.

It was a surprising opening number -- an unreleased outtake from
his famed collaboration with the Band, ``The Basement Tapes,'' that
Dylan included as an inconsequential footnote to his album,
``Greatest Hits, Vol. 2.'' But with the scorching performance he gave
it at the Warfield he served notice that this would not be a routine

One of the keys to Dylan's renewed strength as a performer is the
four-piece band with which he has traveled for several years now, a
unit muscular enough to detonate his most explosive songs and limber
enough to curl delicately around his silken ballads. Dylan was right
in there with them, trading licks with his guitarist, John Jackson,
knocking off old blues lines like a champion.

Steel guitarist Bucky Baxter stitched fine-point detail into the
edge of the sound, while bassist Tony Garnier warm
ly rounded out the bottom end, even resorting to bowing his upright
bass through the verses of ``It's All Over Now, Baby Blue.'' Drummer
Winston Watson drove the engine with piston-like surety.

In the course of the two-hour, 14-number set the band stretched
out song after song like a freight train barely contained on the

The accomplished, sympathetic accompaniment allowed Dylan to bring
``When You Go Your Way and I Go Mine'' into crunching overdrive, to
reclaim ``All Along the Watchtower'' from Jimi Hendrix and to bring
the concert to a close with a rejuvenated ``Obviously Five
Believers,'' guitars ringing out the vintage blues lick from ``You
Don't Love Me'' that Dylan originally played on harmonica.

The quartet could carefully knit together a quiet, lacy tapestry
to make the understated ``Desolation Row'' glow like a dying fire or
give ``She Belongs to Me'' an elegant, laid-back, contemplative mood,
borrowing more than a few licks from Ricky Nelson's arrange
ment of the song.

Dylan wrenched the old bouncing melody away from ``Mr. Tambourine
Man,'' singing the song in a droning monotone that brought the
jarring lyrical images starkly back to life. Similarly, ``It's All
Over Now, Baby Blue,'' in the slowed-down arrangement he debuted at
last year's Woodstock Festival, sprung back vividly.

Dylan brooded his way through ``Tears of Rage,'' a song best known
in the version on the Band's ``Music From Big Pink.'' He returned for
the encore with ``Lenny Bruce,'' a powerful elegy many missed on the
1981 album, ``Shot Of Love,'' but that few at the Warfield will
forget thanks to the sturdy backing and Dylan's convincing vocal.

Dylan did not speak a word, other than to introduce the band
members, but what he communicated to the audience was nothing less
than a reaffirmation of his commitment. He did this with the dignity
of someone confident enough in his ability to let the songs do the
talking. Once again, they did.
DATE: 5/24/95
5/24/95 San Francisco Chronicle

Date: Wed, 24 May 1995 13:34:32 -0400 From: Braitman (braitman@AOL.COM) Subject: Warfield/22 May 95 It occurred to me last night while seeing the first of four Bay Area Bob Dylan shows, that we've been perceiving old Bob rather inaccurately for a long time. What he is-his being-ness, as it were-has always been too complex for the instant analyses of the pop media, and has always made pedantic windbags out of the earnestly sincere Bobophiles who write for the fan press. Last night it was clear that the nature of the confusion over Bob's Being is the triadic nature of his expression. The pop media has always admired him as a Songwriter, but usually this admiration is tinged with uncertainty over his abilities as a Performer. They've always had a bit of guilt at enjoying someone whom they couldn't really call a "singer" and whose performing style often seemed bizarre or alienating. Ah, but the writer of "Blowin' in the Wind" and "Like A Rolling Stone" could be excused for his performing shortcomings. Well, as we know, Bob's Being is intimately tied up with the Performance part of the triad, and in a live setting the surprises and challenges of what will happen to old and even new songs is a major part of what continues to make him interesting. That is why we see him four times in a week, because anything can happen. He and his band are a machine of vital moving parts, each connected to the whole. Every note is important, thought driving the musical form to constant seeking, constant exploration of sound and effect. I realized that as Performer, Bob could be compared to Frank Sinatra, a stylist whose best work is in the constant reevaluation and reenergizing of older material. Last night's two revelations were a stripped down, acoustic band version of "Mr. Tambourine Man," and a blazingly passionate final encore of "My Back Pages." The former was dark and steaming, the latter painfully heartfelt. His harp playing was inspired, his voice open and full. He has discovered the truth again of both songs, and our experience of his discovery was thrilling. The third part of the equation gets much less play than the others, but it was much in evidence last night. Bob Dylan-Guitar Man. Yes, he's not well known or much respected as a guitarist, but he's played for years and knows exactly what he wants out of soft twangs and loud clangs. He had a few solos last night that were emotionally and lyrically perfect, as well as loudly satisfying. So he's no Clapton, so what; he's someone else entirely. I'm looking forward to the next three shows this week. Some of the instrumental combinations are sure to differ; the energies to be changed; the rapport between the two guitars, drums, bass and pedal steel bound to be altered in ways unimagined. O boy.
Date: Thu, 25 May 1995 00:53:51 GMT From: Jeff Hawkins (jhawkins@CRUZIO.COM) Subject: Dylan At The Warfield I was at the show Monday night, and thought y'all might be interested in the set list It Takes A Lot To Laugh It Takes A Train To Cry The Man In The Long Black Coat All Along The Watchtower Most Likely You Go Your Way I'll Go Mine Tears Of Rage Tombstone Blues Mr. Tambourine Man Desolation Row It's All Over Now Baby Blue Seeing The Real You At Last She Belongs To Me Obviously 5 Believers 1st encore: Lenny Bruce 2nd encore: My Back Pages It was a fantastic show. IMHO, it was probably the best Bob I'd seen in 15 years. He was animated, sang a couple of songs just holding a mike (no guitar, no harmonica)(we decided this was either Bob Sinatra or Bob Diamond). He did some great rasty electric lead guitar (this was Bob Young, or Neil Dylan), and did a beautiful acoustic rendition of Mr. Tambourine Man. It was a wonderful evening Jeff
Date: Fri, 26 May 1995 15:27:12 -0400 From: Ragman10 (ragman10@AOL.COM) Subject: Concert Review 5/22/95 So, I arrived at the Warfield at about 3 in the afternoon and was surprised to see about ten people on line...I was expecting many more. Most people seemed to not want to talk or anything, so I took my spot in line and waited. Luckily, I had a nice chat with the man in front of me who, though not really a Dylan fan, was a cab driver from Oakland and had many stories to tell. To make things even better, he was giving out fortune cookies. At about 4:30, a worker from the Warfield comes out and tells us that we must brake up the line and reassemble at 5:30. He said something about not wanting to disturb the neighboring businesses. Though most people are upset, we agree to reassemble in the same order later using the honor system. Let's just say that it didn't work. However, coming from New York, I reallize that it could have gone worse. Well, at 7 the doors open and I rush in. The usher accidently tells me to run and not walk (Freudian slip?). The Warfield is simply beautifull and it takes we a few seconds to find my way to the stage. Once I do, I end up in the second row, center. I am very pleased. To my right is a female college student and we immediately start up a conversation about San Francisco, Dylan and, of course, Heike. Ms. Shiff (sp?), if you read this, get in touch with me and I'll send you the Supper tape. The floor is much less crowded than Roseland and the chance to sit down and avoid back pain is a welcome opportunity. Directly in front of me is Stephan, a German medical student in America doing a residency. He is a very experienced and knowledgeable fan and, through the next few days, we get to know each other very well. We were both very pleased to be near someone else who knew the songs and we spent much time discussing concerts, both in Europe and the USA. I sense his excitement and it adds to my own. At 8:20, "Crash on the Levee" begins. I'm beginning to love this song. Just watching Dylan with no guitar, practically screaming the lyrics...what a great start. "Man In A Long Black Coat" follows and, after I thank God that he didn't play Lay Lady Lay, I am practically in a trance as the song continues. Watching the expression on Bob's face as he holds the line endings, what a thrill. Much like "Senor" the night before, I would describe the song as haunting. "Watchtower"- a crowd favorite and I'm once again impressed that, even after hearing this song hundereds of times, I still find myself rocking along. The first chords of "Most Likely" let me know that it was gonna be a special evening. Once again, I'm surprised and pleased that "Just Like A Woman" has been put away. "Most Likely" is rocking like that "Woman" never could, The crowd is very excited as Dylan plays solo after solo. I see JJ playing along with a smile on his face and I'm reminded that this is why I waited on line. Why I love Dylan so much. I find myself singing along, jumping up in the air as those three chords are played over and over again. I'm in heaven. "Tears of Rgae" is anything but a let down. Though slower than "Most Likely", both JJ and Dylan do excellent solos whil the singing is excellent. Throughout the show, Dylan has not appeared as animated as other shows as I've seen and this trend cotinues. However, his singing is strong and the delivery powerful. "Tombstone Blues" is one of the reasons I made the trip in the first place. It, along with "Dignity" and "I Want You" were the three songs I wanted to hear most. With it following the two previous songs, I'm left asking if the electric set could have been any better. The songs is bluesy and rocking. The first few lines sound like Dylan is just talking, but I'm quickly aware that the song is picking up. Dylan is really enjoying himself and he plays verses that I have not heard since the album version. The drums seem to really carry this song. The song recieves a rousing ovation. "Tambourine Man" was once again excellent. "Desolation Row" was considered by most to be the highlight of the show. Dylan, with guitar, delivered a passionate, moving delivery. This song is not my favorite but this did not blind me of the fact that the song was nearly perfect. Dylan's acoustic solo's left us all in awe. He played solo after solo after solo moving up and down the guitar, seeminlg impressing the band. The ovation was tremendous. "Baby Blue" was fine. I think the delivery is too slow and I don't think the song moved the crowd like "Desolation". After "Desolation" it might have been nice to play a faster song, perhaps "Don't Think Twice". Hell, what do I know? "Real You" seemed to have more energy than the night before. It does not seem to rck the crowd like "God Knows", but the arrangement is still pretty good. "She Belongs To Me" was surprisingly good. It started out slowly but, towards the end, it seemed to speed up and become much more rocking. I think, at times, it's a bit soupy (too much Bucky) but, on this night, the drums seemed to have more energy. Dylan and JJ both played solos and, after hearing both 1992 and 1994 versions of this song, I was left surprised and impressed. "5 Believers" was a pleasant surprise. People I spoke to who had seen other shows, said the song had improved greatly. It seemed to alternate between fast and slow with the buildupo to the fast, pounding drums being very exciting. The lyrics were fast and a bit muffled but, considering how many times I sat through Maggie's farm, this was great. Dylan took off his guitar with the song almost over and took a few bows. "Lenny Bruce" was the first encore and, though Dylan had trouble remembering the lyrics, the song was well done. Dylan regrouped after a horrible first verse and saved the song. If it was a choice between this and Mr. Jones, I was happy to hear it. Dylan put a lot of passion into this song and I at least got the feeling that he was recalling his respect for Lenny Bruce. "My Back Pages" was, like Santa Barbara, a fine ending. This time, to a great night. In other news, "Lay Lady Lay" was the alternate for the #2 song. "Tom Thumb Blues" was the alternate for the #4 song. "Me Babe" was the alternate for the final song. "Gates of Eden" was the alternate for "Desolation". "In The Garden" was the alternae to "She Belongs To Me.

Tue 23 May 1995, San Fransisco Date: Wed, 24 May 1995 06:25:27 GMT From: "Jay S. Luxenberg, M.D." (naj@ITSA.UCSF.EDU) Subject: Warfield 5/23 This a feeble attempt at a setlist for tonight from an addled memory. Watching The River Flow I Want You All Along The Watchtower Queen Jane Approximately Sylvio Mr. Tambourine Man (a) Boots Of Spanish Leather (a) Dont Think Twice, Its Alright God Knows Jokerman Never Gonna Be The Same Again Obviously 5 Believers Stuck Inside Of Mobile The Times They Are A Changin' (a) An excellent concert. The first two songs were done sans guitar for Dylan, and he was animated and articulated the lyrics well. Extremely rockin' version of 5 Believers and very interesting arrangement of Never Gonna Be The Same Again with introduction were highlights for me. -- Jay Luxenberg
Date: Wed, 24 May 1995 06:38:02 GMT From: Arthur Siegel (arto@WELL.SF.CA.US) Subject: Re: Warfield 5/23 Good show indeed! Corrections to Jays setlist: first song was Down in the Flood Jokerman came between Queen jane and Silvio. Sitting behind the mixer, I could see the printed setlist. Shooting Star was the other choice for the Never Gonna Be the Same slot. Tombstone Blues or Obviously 5 believers. It Aint me babe or "Times they are a'changin'" Glad Bob picked Times as the final encore. It was an excellent version.
Date: Wed, 24 May 1995 13:34:42 -0400 From: Braitman (braitman@AOL.COM) Subject: Warfield/23 May 95 Last night's show (5/23) was very different in spirit. Only four songs repeated from Monday ("Down in the Flood" as opener, "All Along the Watchtower," the poignant "Mr. Tambourine Man," and a pumping iron version of "Obviously 5 Believers"). Generally, I felt the band was less fiery, less insistent on the beats, but perhaps more genuinely emotive at times. Surprises included a slow, soulful "Spanish Boots of Spanish Leather," and a set-closer of "The Times They Are A-Changin'. This latter was substitute for Monday's highlight of "My Back Pages" (disappointingly missing), though "Times" was close and attempted the same stately grandeur of singing and instrumentation. My favorite was a totally blasting version of "God Knows," which minimized his vocal participation and gave all the musicians a long robust turn at hard, hard rock. Excellent tempo changes and dynamic modulation. Riveting! Examiner and Chronicle reviews out of the Monday show, and they're typically stupid boosterism. Craig Marine of the Ex has now shown himself a real silly writer a few times, with such banalities as "one of his most inspired, moving and beautiful performances, leaving those lucky enough to be in attendance with a lasting vision of greatness." Yawn, yeh yeh yeh. Joel Selvin, of course, is beneath contempt, and-typical-he left before the end of the show (as revealed by his comment that "Lenny Bruce" was the encore. Wrong. There were at least four songs after that.) Speaking of "Lenny Bruce," I think I've finally figured out what Dylan is trying to do with this. The lyrics are so straightforward and plain, very mundane in fact, and the melody almost so. I think he's written a song in the style of the very early rustic folk ballads, using as a kind of modern irony a quintessentially sophisticated subject. The problem is in making the two elements works together, and I don't think Bob has ever done this successfully. It doesn't work as a full modern rock band version, and it doesn't work (like Monday's version) as a moody modern acoustic string band piece. Better, perhaps, to do it true primitive style, solo acoustic guitar and voice. Give it a try, Bob. Bob even made a couple jokes and laughed once when he was introducing his pedal steel player. Couldn't make out the words, though; have to wait for the bootleg.
Date: Wed, 24 May 1995 13:40:10 -0400 From: Braitman (braitman@AOL.COM) Subject: Re: Warfield 5/23 "Times" was neat to hear, but not as effective as MOnday night's "My Back Pages," where his voice had greater emotional power. Also, his harp was stellar.
Date: Wed, 24 May 1995 14:13:51 -0400 From: Fess (fess@AOL.COM) Subject: Re: Warfield/23 May 95 I'm afraid Lenny Bruce was in fact the first of 2 encores.
Date: Wed, 24 May 1995 18:52:23 GMT From: Raegen Rasnic (raygin@NETCOM.COM) Subject: Re: Warfield/23 May 95 Braitman ( wrote: : Joel Selvin, of : course, is beneath contempt, and-typical-he left before the end of the : show : (as revealed by his comment that "Lenny Bruce" was the encore. Wrong. : There : were at least four songs after that.) Well, I was there too, and I definitely remember it as the encore, just before "My Back Pages". It was great, though, wasn't it? : Bob even made a couple jokes and laughed once when he was introducing his : pedal steel player. Couldn't make out the words, though; have to wait for : the bootleg. I didn't see a pedal steel from where I was sitting, but when he introduced the dobro player, he made some reference to the guy being "the ex-mayor of Buckley, West Virginia". Must be a private joke or something. Just helping keep the record straight. -RR
Date: Wed, 24 May 1995 19:45:31 GMT From: Seth Kulick (skulick@ZEBULON.CIS.UPENN.EDU) Subject: 5/23 SF Examiner Review This just came over the Van Morrison mailing list. A bit silly, yes, but it's nice to see Bob get such good press. Sheesh, all these positive comments almost make me want to go to Giants Stadium. Actually, I think it would be really great if Bob took advantage of playing a small theatre like the Warfield by opening up, with, say, "Gotta Serve Somebody" and "I Believe in You" and then playing all new songs, never before performed live, with a good chunk not even officially released yet. Top it off with lots of talking to the audience, and maybe standing at the mike singing without a guitar, for, say, "Pressing On", and that would be guaranteed to get even better reviews. ---------------------------------------------------------------------- Thought this might be of interest to the Van group: oo The best side of Bob Dylan by Craig Marine Tuesday, May 23, 1995 TWO days shy of his 54th birthday, Bob Dylan treated San Francisco to one of his most inspired, moving and beautiful performances, leaving those lucky enough to be in attendance with a lasting vision of greatness. As anyone who has ever seen more than one Dylan show can tell you, going to a Dylan concert is a bit of a crap shoot. When he is in a foul mood, there is no one in show business who can touch Dylan for tossing away a song in a mass of mumbles or frustrating his own band members with such petty annoyances as neglecting to inform them as to which song he might be playing next. But when he is fully present and focused on his material, as he was Monday night at the Warfield Theater, Bob Dylan shows why he is far and away the most gifted singer / songwriter of the latter part of the 20th century. The wealth of the material he can choose from is staggering, and Monday he was in a generous mood, reaching into his catalog for such gems as "Obviously Five Believers" from "Blonde on Blonde," "Tears of Rage" from "The Basement Tapes," and "Lenny Bruce" from the underrated "Shot of Love" album. This was not, however, a trip through the arcane Dylan. Instead, it was a masterful demonstration of musicianship by Dylan and his four man backup band. The group, the same basic quartet that backs Dylan on his latest "Unplugged" record, has worked up fascinating and original new arrangements of some Dylan classics that prove how vital these songs -- some of them more than 30 years old -- remain today. During the course of two hours, Dylan played just 14 songs, giving each his full attention and drawing every possible hint of emotion from each. Although this was a full-on rock band, they were also capable of nuance, lending a country sound with Bucky Baxter's slide guitar to tunes such as "Man in the Long Black Coat" and "She Belongs to Me." Lead guitarist John Jackson let fly with some dog-whistle high notes during a rollicking "All Along the Watchtower," which, as the show's third song, served notice that Dylan had come to play this night. However loud the music was, it wasn't necessary to strain to hear the lyrics, as Dylan was in an enunciating frame of mind and the band brought the sound down some when it came time to sing, making some of the songs clearer even than they sound on the original recordings. Dylan, while not exactly a chatterbox, did acknowledge the crowd's applause after each song and -- surprise of surprise -- even cracked a bit of a smile once or twice. This last development may have accounted for his refusal to allow photographers into the hall. More than anything, however, what lent Monday night's show its magnificence was a stunning, three-song, half hour acoustic segment in the middle of the show. Following a particularly rocking "Tombstone Blues," Dylan stood alone in a spotlight holding a microphone in one hand and a harmonica in the other and sang the most tender and pure version of "Mr. Tambourine Man" imaginable, accompanied softly by his band. The effect was mesmerizing, as Dylan seemed to put his soul into the song, allowing a glimpse into the vulnerable heart of the man capable of writing such a gem in the first place. He then picked up an acoustic guitar for a monumental version of "Desolation Row" and closed the acoustic segment with a version of "It's All Over Now, Baby Blue" that made it clear to all that they were in the presence of genius. There may be only three true geniuses in the history of rock: Dylan, Brian Wilson and John Lennon. All right, four if you toss in Boy George. But rarely does the public get an opportunity to witness genius at work. That said, Monday night's brilliance is no guarantee of the quality of any of the many Dylan shows taking place around the Bay Area in the next several days, including two shows at the Berkeley Community Theatre this Thursday and Friday and an appearance atop this coming Saturday's bill at the Laguna Seca Days outside of Monterey. It may be difficult for Dylan to stay attentive night after night, or perhaps more accurately year after year, as he continues the "Neverending Tour" through which he is attempting at least partially to separate Dylan the man from Dylan the myth. By making himself so accessible and touring so constantly, Dylan becomes less the reclusive genius of years gone by and more as he views himself, as a troubadour with a guitar and a few songs to share. When Dylan closed Monday's show with an acoustic rendition of "My Back Pages," finally standing alone after yet another wonderful harmonica solo, he seemed all of his nearly 54 years. Yet the song never sounded better, and the chorus, with Dylan singing, "But I was so much older then, I'm younger than that now," never seemed more suited to an artist who clearly still has so much to offer the world. 05/23/95 18:09 PST (c)Tuesday, May 23, 1995 San Francisco Examiner, All Rights Reserved, Unauthorized Duplication Prohibited.
Date: Mon, 29 May 1995 13:50:35 -0400 From: Ragman10 (ragman10@AOL.COM) Subject: Belated Concert Review 5/23 Ok, it's a bit late but I took a few notes after the show... I arrived at the Warfield at around 3 pm to find the same people who had been there the day before, just in a slightly different order. Seeing my friend Stephan in front, I, being a New Yorker, immediately jumped in line with him. He had arrived at 10:30 and was the third person on line. There were Taco Bell wrappers everywhere and the whol setting had a "picnic in the park" sort of feeling. Well, I sat down and, after meeting the two guys in front of me, talked about Dylan for hours. People are usually interested when I tell them that I attended an Unplugged taping and we spent a good deal of time discussing the song selections, the European CD...Bob's shirt. Anyway, the line was not as large as the day before and, to everyone's surprise, unlike the night before, they did not brake up the line at 4:30. At 4:30, I took my customary trip for dinner. After visiting Wendy's for the second time (I had gotten locked IN the bathroom the day before), I returned to the line, quite pleased with my spot. At 7, the doors opened and, even though this annoying and rude lady tripped me and stormed through security, Stephan saved me a spot, front row between Dylan and Garnier. I had never been at the rail for a whole show and I was very excited. Once again, compared to Roseland, there was no crowd. Big Bob took the stage at about 8:25 and performed a very strong version of "Crash". The vocals were clearer than the night before and he appeared to be a bit more physically animated. At one point towrds the end, he took his arms and covered up his face, almost as if he were a boxer covering his face. He appeared to be enjoying himself. Along with "Tombstone", "I Want You" was the other song I desperately wanted to hear and Bob did not dissapoint. The tempo was much like Brixton March 29 and, though I was thrilled he played it, I didn't think his singing was as powerful as that show. Still, it really is beautiful how he has slowed it down. I thought the Unplugged version was too slow but, on this night, I was still very moved. I think Bob not playing the guitar makes this one somehow more powerful...more sacred. "Watchtower" was, well "Watchtower". "Queen Jane" sounded a bit different than 1994 versions. Not in terms of vocals, but in terms of the instrumental introduction. I usually recognize the first few chords but, on this night, it took me awhile. For what it's worth, Stephan recognized it immediately. Nothing particular stands out about this song except I have a vision of Dylan, up at the mike, the light striking his face so perfectly, enunciating "Jaaaaaaaaane". It is not my favorite song but I still recognize that it was very well done. "Jokerman" was my highlight. It amazes me how, after playing it at every 1994 show (sans Paris), he can still make it sound different. While the instrumental part is the same, the vocals are somehow more poignant. Perhaps the song has been slowed down a bit. Whatever, maybe it's the fact that, with it being played first in 1994, Dylan's voice was not warmed up. He seems to sing a bit higher on it now. Though he continues to sing the same verses as 1994, it is all more meaningful. Before the show, out on line, I told my friends how great 1995 "Silvio" was...and they just laughed it off. Well, on this night, this song rocked like no other. Winston changed the drums a bit from Santa Barbara, and the excitement in the crowd was unmatched. The chorus just explodes. This song was Stephan's favorite. "Tambourine" was excellent as usual. "Boots" was the last of the songs that I desperately wanted to hear and Bob did not dissapoint me again. For anyone who has not heard a 1995 tape of this song, get one. It is as powerful as "Tambourine" but it just gets played less frequently. JJ playing on the song is really breathtaking, not to mention Bob's vocals. I have heard enough versions of "Don't Think Twice" that I thought that I could never enjoy it again. Well, for one night at least, I was wrong. This one was very well placed (after the relatively slow and beautiful songs before it) it picked up and woke up the crowd. In the middle of the song, the stagelights went off. Then, to make up for the darkness, they turned on the houselights. A few seconds later, they got it fixed. Dylan smiled and just kept on playing. It was a funny moment. "God Knows" was "God Knows". "Never Gonna Be The Same Again" was very well done. Dylan's vocals were once again as powerful as "Jokerman" and I felt very lucky to hear this one live. It's not much of a song,IMHO, but it seems to mean a lot to Bob. I have its chorus stuck in my head. "Five Believers" was good, but did not rock like the night before. It seemed to be a bit shorter as well. It seems to me that the quality of this songs varies by night. On this night it was good, not great. "Mobile", my favorite song (ie. Ragman hah,hah, get the point) was well done. Dylan seemed to stumble through some of the lyrics but he picked it up in the chorus. As usual the song was very long but was a real crowd pleaser. "Times", with a complete band, was excellent. Very powerful, very moving. Excellent Dylan solos on both guitar and harp. They do something with the red lights on the final song of the hight which makes them all stand out in my mind. Compared to "Me Babe", thank God he chose this one. Though we all expected an additional encore, we left very happy. In other news, "Same again" could have been "Shooting Star", "5 Believers" could have been "Tombstone" and "Times" could have been "Me Babe". All in all, a very good to excellent show.

Thu 25 May 1995, Berkeley Date: Fri, 26 May 1995 06:57:12 PDT From: James Fox (JWF5%ENG%SFBPP@BANGATE.PGE.COM) Subject: 5/25 Berkeley Berkeley Community Theater, 5/25 Down in the Flood I Want You Watchtower Just Like a Woman Pledging My Time Seeing the Real You At Last Mr. Tamborine Man (a) Masters of War (a), phenomenal To Ramona (a), beautiful Memphis Blues I and I Positively 4th Street e1) Ballad of a Thin Man e2) It Ain't Me Babe Bob was reaaly good this evening, as he has been during this entire birthday week. Lots of dancing and smiles. He even high fived a front rower as he left the stage after Positively and gave his harmonica to a lucky person after It Aint Me Babe. Can't wait for this evening!
Date: Fri, 26 May 1995 04:36:02 -0700 From: "jules n. binoculas" (p00518@PSILINK.COM) Subject: berkeley community theater 25 may 1995 flood want you watchtower (-- kind of original tonight just like woman (-- swings gently pledging time (license kill) (-- always a rare pleasure; loosely sublime real you @mr t-man (-- spiritual bullseye by last verse; standing o; slow, elegiac delivery and instrumentation nearly impossible to tarnish; recent renditions pregnant with regret for what may never be again; each performance is new song in itself, and the genius is that it all seems so unplanned; check it out before it's too late and you're sorry you missed it @masters (eden) @ramona (too many mornings) (-- nice, clear vocal; waltz time mobile (-- lilting tone; genial; little uneven, good to hear again i & i (-- gently vicious, incantatory, primitive, sensual 4th st (5 believers/grain sand) (-- loose as a goose, yet scalding; unique thin man (-- happily cruel, elliptical: likeable ain't me (-- sounded better than most nights (for once); sharper teeth scratch notes: enthusiastic, appreciative audience; many standing ovs; venue acoustics serviceable, but too barnlike for consistent clarity -- yet he did an excellent job filling it. afterwards, i heard people complaining that it was great, but they "couldn't hear everything." don't blame 'em, but, like anything else, it helps to study a writer's corpus before expecting to feel nuances; the band seemed oddly tossed at sea rhythmically and melodically by rare under-rehearsed and conducted reduxes of _mobile, _ix2, _ramona -- but the ultimate result was far more interesting and spontaneous than an off-the-shelf delivery; i've noticed recently that his voice doesn't hit stride until almost 1 hour into the show -- in the middle of the acoustic set; i suggested to the sound mixers that the old man do everyone a favor and either play an hour longer, or warm up awhile. they said: "yeah, you tell him." i said: "i scream it to him every night. it does absolutely no good! -- ella fitzgerald does it, why can't he?" them: "ella fitzgerald is a singer. he's...uh...a legend." overall rating: 92

Fri 26 May 1995, Berkeley Date: Sat, 27 May 1995 08:13:49 GMT From: Ron Taylor (fatron@IX.NETCOM.COM) Subject: Berkeley, 5-26 observations My first impression is how GOOD Dylan looks compared to a couple years ago. (A little nip & tuck, perhaps?). He starts the show without a guitar, and pulls it off like the old pro he is. He shifts his weight slightly to one hip, holds the mic chord up about shoulder height in his right hand; dips his shoulder toward the mic in his left hand. He is COOL! Light blue, silk shirt with French cuffs, shirttails out. Black jacket (velvet?) with silver thingamajigs on the lapels. Black pants with one shining stripe down each leg, over black, pointed boots (more cowboy than hobnails). Hair, bushy Dylanesque! This is absolutely DYLAN'S band!!! For my money, his best ever. I've seen him more than 30 times over the years, with various backing ensembles, including the Band. These guys are great! And they cut figures every bit as cool as the man himself. This band without a name! Dylan's voice, tonight, was incredibly strong. (Although, walking out afterwards I actually overheard someone criticising his range). While he doesn't cover scales, his skills, stylings as great as ever. He brought hoots and yips from the crowd with both loudly belted, and softly growled inflections. He plays lead guitar more prominately than with any group I can remember (although I had a similar impression last year). No Bloomfields, Robertsons, Taylors, Tacketts, Smiths - no more back seat on lead. He and JJ Jackson work very well off each other, at times both playing leads. This is about the only time I can remember actually preferring the electric to the acoustic in a Dylan show; and this is not to in any way belittle the acoustic set. Tonight's songs: Down In The Flood - good kick-out-the-jams-warmup got a standing O from many Senor Watchtower - Best I've ever heard him do it (but he hasn't taken it back from Jimi, yet) Born In Time - every set needs one, I guess Silvio - hand to hang on tight through that one, whew! Tombstone Blues - Yes, Dylan's a master bluesman! Mr. Tamborine Man - magic! Gates of Eden - powerful Baby Blue - OK Jokerman - great guitar work from both Dylan and Jackson I Remember You - All Dylan's lead Obviously 5 Believers - flat out kicked butt! Knockin On Heaven's Door - not one of my favorite Dylan songs, but as good as I've ever heard it - hard driving guitars Now things get a little fuzzy, he started One Too Many Mornings with an acoustic guitar, then ended up without it, singing and playing his harmonica through his hand held mic. It seems like there was another song, either before or after Mornings, but for the life if me, I can't be sure. Dylan's still the man! Regards, Ron ------------------------------ Date: Sat, 27 May 1995 08:58:46 GMT From: Ron Taylor (fatron@IX.NETCOM.COM) Subject: 1 Final Observation, Berkeley, 5-26 Each time Dylan left the stage (before & after encore) he leaned into the audience to "slap five" with extended hands. I can't remember for sure, maybe he did this when I saw him last year, also. Regardless, this is a fairly recent phenomina. (sp?) Ron
Date: Sat, 27 May 1995 10:24:43 -0700 From: "jules n. binoculas" (p00518@PSILINK.COM) Subject: berkeley community theater 26 may 1995 flood (-- each vocal verse more powerful than last; punchy harp senor (-- uneven, but takes fiery risks watchtower (-- mildly infectious monotony; (another day, another apocalypse) born in time (-- wistful vocals (slightly muffled); warm feeling stays with you silvio (-- caustic, uninhibited; blazing by instrumental bridge tombstone (-- *highlight*: spunky, sloppy, happy, loud; priceless elliptical phrasings of: "momma's in the factory, she AIN'T GOT NO shoes; papa's in the alleyWAYYYY, LOOK-IN for the *FUSE*; i'm in the kitchen with the TOMB -- STONE blues" @mr t-man (-- ! (why spoil the magic with mundane superlatives) @eden (-- mystical, measured; meditative purring about original sin @baby blue (-- slow, dark & handsome jokerman (god knows) (-- lacking orchestral momentum from old days in #1 slot; variable voicing; oddly friendly; still has punch i'll dismember you ;) (-- interesting, off-center melodic line; good instrumentation; awkward transitions, but very *inspired* near end 5 believers (-- all over the rhythmic map, but well worth the confusion encores: heaven's door (-- _unplugged arrangement slashed by barbed wire, healed with soft bandage; full-standing audience *swaying* @one too many mornings (-- inspired choice!; _supper club arrangement with sad pedal steel tumbleweeds; soft hohner at end turns explosive; notes: looser than last night; more uneven musically, but more inspired, varied setlist: 13 DIFFERENT ALBUMS represented tonight alone! major themes: death, and men: no civil rights-era humanism; no gospel redemption; no _blood on the tracksian concilations to fate; mostly ominous images of worldly demise and lonely, death-obsessed *MALE* archetypes, e.g., senor, mr. tambourine man, jokerman, silvio, etc... tone was warmed by _born in time, and _i'll remember you. audience was so admiringly exuberant that dylan couldn't cop his favorite "stand inside my shoes" hostility poses -- making him gesturally less expressive. the voice was distinctly *resonant*, though only intermittently dominating; mostly just happening across poignant, cutting phrases. band seemed uncertain at times -- not knowing who should take charge -- but found pockets of heat. after _tombstone, i could've sworn dylan said something like: "we're gonna come back later and play that song right." sounded okay from here, fellas. with the theme of unfulfilled manhood, and all the *different* musical periods represented, it was difficult to maintain a coherent orchestral feel, but it made arbitrary moments more exciting. i happened to walk by the backstage door at 19:35 as bob was stepping out of his blue van. he was wearing a gray sweatshirt hood to hide his famous countenance. we had this short exchange: jnb: bob, nail it. nail it, bob! dylan:
Date: Sat, 27 May 1995 15:34:56 GMT From: "Jay S. Luxenberg, M.D." (naj@ITSA.UCSF.EDU) Subject: Berkeley 5/26/95 5/26/95 Down In The Flood Senor All Along The Watchtower Born In Time Silvio Tombstone Blues Mr. Tambourine Man (a) Gates of Eden (a) Baby Blue (a) Jokerman I'll Remember You Obviously Five Believers Knockin' On Heaven's Door One Too Many Mornings (a) Somewhat trunkated version of Senor, and Dylan's voice not fully "in front" in mix until Born In Time, but excellent song choices tonight. I normally would be disappointed with another Knockin' On Heaven's Door, but this version is absolutely chiming, with a twin guitar sound reminding me of early Allman Bros sound. Tombstone Blues was a highlight for me, but Dylan started off Tambourine Man by saying that they would be playing the last song (Tombstone) over again later to get it right. --
Date: Sun, 28 May 1995 00:43:47 -0400 From: Braitman (braitman@AOL.COM) Subject: berkeley community theatre 26 may 1995 I'll have to put in my "two or three cents" here about last night's concert. Of the four I saw this week (2 Warfield, 2 Berkeley), this was the weakest. Something was definitely "off" with Dylan and the guys, there were few "magic" moments of trancendence like previous. I guess starting about 45 minutes late was some preview that this was not to be the greatest Bob Dylan concert. Some of the early songs seemed simply done by rote, as if going through the motions, and the messiness of the musicians, like on "Watchtower" and "Tombstone", made them seem like an ordinary bar band at times. Like my friend said, the basic sound of the group is Lynyrd Skynyrd/Allman Brothers with a touch of Derek & the Dominos. Dylan's guitar soloing was definitely monotonous and uninspired last night (generally, though there were a few hot licks here and there). "Born in Time" was a surprise to me, never having heard him do it in concert before, so it was a pleasure on that level. But it certainly was strangely "straight" and pop for Dylan. Very neat and efficient song, very superficial. Better was "Sylvio," which I didn't recognize for awhile. A very good attempt at transforming that which was originally "pop" into something bigger and better. Almost came off. "Obviously 5 Believers" not as good as (Tues?) night, but fine nonetheless, a musical highpoint. "One Too Many Mornings" was great to hear too, but I was a bit put off by Dylan using the same arrangement for it that he has for every closing song of the previous shows. Whether it was "My Back Pages" or "Blowin' in the Wind" or "Mornings," he used the same form...slow and impassioned, good acoustic picking, then slowing the song down even more, getting very quiet...then picking it up with the harp, blowing into larger and larger sound, a "grand finale." It worked most impressively with "My Back Pages" on Monday night...but seemed to be reduced in emotional impact every night afterwards because with the luxury of having seen him in concert more than one night, it was apparant that it was a transparent FORMULA. Sorry, I don't mean that to sound harsh, but there I was sitting with my wife and best friends and this was the first show of the series they had seen, and I just knew they were not getting the top quality performance I had experienced in previous nights. Sigh. Oh well. You takes your chances with Old Bob. But bless 'im.
Date: Sun, 28 May 1995 00:42:36 -0800 From: "jules n. binoculas" (p00518@PSILINK.COM) Subject: some are mathematicians... i was slightly mistaken when i posted that the 26 may 95 berkeley show had songs from 13 different albums. actually, it's 12 different albums. song num title album 1> _down in the flood _basement tapes 2> _senor _street legal 3> _watchtower _john wesley harding 4> _born in time _red sky 5> _silvio _down in the groove 6> _tombstone _highway 61 7> @_mr t-man _bringing it all back home 8> @_gates of eden " 9> @_baby blue " 10>_jokerman _infidels 11>_i'll remember you _empire burlesque 12>_five believers _blonde on blonde 13>_heaven's door _pat garrett 14>_one too many mornings _times a-changin curiously, the only songs repeated from a single album (_mr t-man, _eden, and _blue), all came consecutively in the acoustic set -- and all from _bringing it all back home. more curiously, despite the show's dramatically high variance, _blood on the tracks_ was again absent. thus: 12 different albums ------------------- x 100 = (almost 90 per cent chance 14 original songs in show of next song being from a different album) question for dylanese statisticians: is it possible that this represents the highest album variance in any full-length dylan show? looking through krogskaard, there seem to be a bunch of shows with more _different albums_, yet most would appear to have a lower variance, since there were more songs in each show (and more repetitions of albums). also, what was the show with the _lowest variance_, i.e, the _least_ chance of the next song being from another album? logic dictates that concerts around the first album would be up there, along with the gospel period (79-80) -- when most songs came from only two albums. is there a comprehensive database (with album fields) for easy calculation of variances? i don't have an olof file handy, but i remember it only listing the _percentage of songs from a given album_, but not the variance in the number of albums per show. even more curiously: since the three recent hollywood shows seemed to focus on _blonde on blonde_ and _highway 61 -- are we in a phase where a group of shows on a tour will have a no set pattern of variance at all (or a very abstruse one)? -- or -- based on past tours -- is this a statistically tolerable *variance of variances*? also: the youngest original dylan song in the above set was _born in time_ (5 years old), and the oldest: _one too many mornings_ (31 years old) -- a span of about 26 years. what are the records for greatest (and least) timespans (between original songs) within a show? wouldn't it be variantly amusing if a new album came out and a whole show came from it? the variance would be zero! the odds? get a construction permit to build an extension on your abacus.... jnb
Date: Sun, 28 May 1995 02:05:25 -0800 From: "jules n. binoculas" (p00518@PSILINK.COM) Subject: Re: berkeley community theatre 26 may 1995 >DATE: 28 May 1995 00:43:47 -0400 >FROM: Braitman ( > >I'll have to put in my "two or three cents" here about last night's >concert. Of the four I saw this week (2 Warfield, 2 Berkeley), this was >the weakest. i only saw the two in berkeley; and musically, i kinda know what you mean -- since the first berkeley show may have been more awe-striking in the slow parts, and more sustained in the rocking sections -- yet, the cool thing about 26 may was a more coherent and thematic song cycle -- the first three songs: _flood, _senor_, _watchtower, were all cold, threatening, apocalyptic warnings of natural disasters, armageddon, and god knows what -- this set the tone.... conspicuously absent in slot #2 was the slower-tempo romance: "_if not for you_," "_i want you_," "_lay lady lay_." it became clear, early, that "the deputy would walk on hard nails." (without a tetanus shot) then, things alternated between stately, warm reminiscences (_born in time, _i'll remember you), crooked blues rockers, and haunting hymns to imaginary anti-heroes, i.e., _mr tamb-man, _jokerman, _silvio). it was as dramatic as the musical presentation was uneven (which i didn't mind so much anyway, as the mistakes seemed more spontaneous). >Something was definitely "off" with Dylan and the guys, >there were few "magic" moments of trancendence like previous. good thing he's not a brain surgeon > I guess >starting about 45 minutes late was some preview that this was not to be >the greatest Bob Dylan concert. what! you missed that part? no wonder.... :) >Some of the early songs seemed simply done by rote, i frequently gripe about this, but lately it hasn't bothered me. i think not having seating (palladium, warfield) makes things more spontaneous. >as if going through >the motions, and the messiness of the musicians, like on "Watchtower" and >"Tombstone", made them seem like an ordinary bar band at times. who're gonna call? dylanbusters? >Like my >friend said, the basic sound of the group is Lynyrd Skynyrd/Allman >Brothers with a touch of Derek & the Dominos. got any quaaludes? no, seriously, i guess that sounds right. is it a good or bad thing? >Dylan's guitar soloing was >definitely monotonous and uninspired last night (generally, though there >were a few hot licks here and there). those 54th-birthday all-nighters can wreck havoc on your reproducibility quotient... ;) > >"Born in Time" was a surprise to me, never having heard him do it in >concert before, so it was a pleasure on that level. But it certainly was >strangely "straight" and pop for Dylan. >Very neat and efficient song, >very superficial. as always, i found the vocal hard to hear, but didn't mind -- though if the singing's not powerful, it's a little static -- >Better was "Sylvio," which I didn't recognize for >awhile. A very good attempt at transforming that which was originally >"pop" into something bigger and better. Almost came off. progress > >"Obviously 5 Believers" not as good as (Tues?) night, but fine >nonetheless, a musical highpoint. second that mo' > "One Too Many Mornings" was great to >hear too, but I was a bit put off by Dylan using the same arrangement for >it that he has for every closing song of the previous shows. ... >slow and impassioned, good acoustic picking, then slowing the >song down even more, getting very quiet...then picking it up with the >harp, blowing into larger and larger sound, a "grand finale." i agree in principle, but felt _one too many, was a poignant summation of how he felt after decades of sporadic greatness: ragged. in any case, thank god it wasn't _ain't me, babe_. there should be a tariff if he insists on it. >it was apparant that it >was a transparent FORMULA. yeah, but they've been grumbling the same things about homer's _odyssey for 2500 years. i like to think of it as a "style" -- sometimes it works, sometimes everybody gets stoned -- >Sorry, I don't mean that to sound harsh, but i didn't even notice until you just mentioned it. think of your disappointment as an invitation to see more shows before that guy with the hood and sycthe wanders into the "D" section of tower records. i figure dylan's doing some long-term estate-planning, and's gonna retire from touring within 5 years max (though i hope i'm wrong). admittedly, chuck berry, and b.b. king, etc., are in their 60's -- but they have less historical baggage under their eyes. >there I was sitting with my >wife and best friends and this was the first show of the series they had >seen, and I just knew they were not getting the top quality performance I >had experienced in previous nights. there's a 35-year-old line of dissatisfied customers ahead of them! (helps cut down ticket-price inflation) >Sigh. Oh well. You takes your chances >with Old Bob. But bless 'im. again, for me, the breadth, and thematics in the setlist more than compensated for any erratic technique or structural weaknesses. it's becoming clear, that if an arbitrary concertgoer doesn't know the words to every song, he/she is in for a bumpy ride at best. but fixing that problem requires only diligence... sorry to hear you were disappointed (lower expectations and different libations often help). i'd like to hear your detailed impressions of the other shows -- jnb

Sun 27 May 1995, Laguna Seca Daze Date: Sun, 28 May 1995 15:11:44 GMT From: Sylvia Shafto (sshafto@IX.NETCOM.COM) Subject: Laguna Seca -- 5/27/95 Laguna Seca Daze, 5/27/95 East of Monterey, CA First day of annual 2-day Memorial Day weekend festival Unusual in that Bob had 3 opening bands :-) Beth Hart, George Clinton, Black Crowes Highlights of these performances -- Beth Hart did a great reincarnation of Janis without actually doing any Janis material; and the announcer asked for another big thank you for "Counting Crows" instead of "Black Crowes," then corrected it to "Counting Black Crow(e)s." A few idiots left at this point (because it was getting "cold") thereby missing the main event. Bob did a 12-song set plus one encore. Fan efforts to elicit a second encore were fruitless. Opening electric set seemed exceptionally strong. 1. Down in the Flood 2. It Takes a Lot to Laugh (It Takes a Train to Cry) 3. All Along the Watchtower 4. Simple Twist of Fate 5. Silvio 6. Tombstone Blues Acoustic with Bob in lounge-lizard mode (hand-held mike, no guitar, with harmonica) 7. Tambourine Man 8. Masters of War 9. To Ramona (with acoustic guitar) Closing electric set was excellent, perhaps not quite at the same level as 1-6. 10. Seeing the Real You At Last 11. Every Grain of Sand 12. Stuck Inside of Mobile Encore with full band electric 13. Knockin' on Heaven's Door Singing was clear & focused. Lyrics sung by Bob were far more distinct and comprehensible than the warm-up acts Overall, a great performance, with Bob relaxed & in good audience-rapport form Mike & Jay here, using Mom's account

Sun 28 May 1995, Reno Date: Tue, 30 May 1995 20:40:34 GMT From: Andreas Kreusch (andreas@SBL.SALK.EDU) Subject: setlist Reno 05/28 - Down in the flood - I'll be your baby tonight - all along the watchtower - just like a woman - man in the black coat ---- (The setlist I posted to r.m.d. missed one song: "Seein' the real you at last" as song No 6 after "Black coat".) - Tambourine man - Masters of war - Don't think twice --- - Silvio - She belongs to me - Highway 61 rev. -- encore: Knockin' on heaven's door It ain't me Rainy day women
Date: Tue, 30 May 1995 21:31:33 -0400 From: SadieJane (sadiejane@AOL.COM) Subject: SADIEJ GOES AROUND THE BAY WITH BOB (5/25-5/27 notes) FOR WHATEVER IT'S WORTH, BETTER LATE THAN NEVER, YAHDA, YAHDA, YAHDA The bad news first: while I was romping with my childhood best friend at bob concerts in the bay area, unbeknownst to me, tic's were selling apace in my own home town of Boston. shucks. can't win 'em all. Good news: saw three shows in the bay area. Berkeley 5/25 and 5/26 and Laguna Seca 5/27 5/25/95 the best show musically of the three, but the worst seats (rear center orch). Luckily the guy sitting next to me and my friend got wasted the minute the lights went out and didn't seem to mind us monopolizing his binoculars. worth mentioning: Down in the Flood Never heard it live before. Nice warmup song. I want you most lyrical I've ever heard it, gentle country love song / lullabye. Understated and elegant with Bucky's beautiful pedal steel. Seeing the Real You at Last He was in his zone on this one - playing around with the meter of the lyric so that it jived unexpectedly with the meter of the music. Typical Dylan trick. Mr. Tambourine Man Don't need to say much about this new version that has had much mention already. He does his best Tony Bennett routine with the mike and chord and undersings in most dramatic fashion. Just like a good painter, using negative space to fill the voids in our imagination. He seemed to really enjoy the singing and for the first time I began to understand that he may just have a good reason to be putting the ol' ax down. A risk worth taking. He's got this new thing now about adding clever little retorts to the band introductions, something about JJ being from Memphis and Bucky being a former mayor from somewhere (West Virginia one night, Alabama the next). HE DID GIVE HIS HARP to a young girl (12 years?) sitting in the front row after his encore. Nice touch Bob. And another thing: the woman sitting behind me starting weeping during Mr. T. Man. poor dear. 5/26/95 This time I went solo and had a better seat (2nd row left balc), AND had a long chat with Ron Chester (former and craig hopes future EDLIS bibliographic agent) during the long wait before the show (started 45 min. late). Most humorous moment: Classical Musician (me) trying to define Funk (as in George Clinton who was to appear at Laguna Seca with Bob on the next day) for Long Time Dylan Fan (Ron). "Funky. Funk know, sort of like rock and disco put together with some serious attitude. Get down. Be funky." Oh well, maybe in another lifetime..... Not very interesting musically. Competent bob. No surprises and so a bit boring. worth mentioning: Tombstone Blues new version. Hello J. Winter - Hello Allman Bros. *Serious* red neck R&B. Took me until the first refrain before I recognized it. Serious Fun Gates of Eden Only because I was sitting there thinking to myself: I would love to hear Gates of Eden right now, and then I hear it. An arrangement I've heard before and heard better, like in New Haven last October. Baby Blue Only because I've been working on an version of it that I swiped from the Napoleon in Rags CD boot (somewhere in Europe 94). Again, the same basic arrangement but not quite as shockingly beautiful as on that CD. Jokerman Only because it was nice to hear it being played in the middle of a set and not as a warmup. On the otherhand, after hearing it soooo many times last year, I'm ready for a rest....(again apologies for being so jaded). One Too Many Mornings Only because anything is better than another It ain't me babe. (sorry for being so jaded) Bob talk: best Bucky intro, something about Bucky being a child protegee who can be heard on some of the early Bob Monroe albums. ha ha ha. 5/27/95 I LOVE GENERAL ADMISSION SHOWS!!!!!!! Bad news: I was too close to hear anything but what was coming out of the monitors on stage. Good news: I was at the front of the stage for the whole show. Attended this with a friend. We got there in time to hear George "Free you mind, your ass will follow" Clinton. I schmoozed with some Dylan heads who had come from Albuq., NM - blew them away when I told them I had come ALL THE WAY FROM BOSTON to see Bob. They immediately made room for me on their blanket. We skipped the Black Crows and headed for Monterey for what we thought would be a nice dinner somewhere but ended up being prepackaged sandwiches and a pint of Ben and Jerry's (Cherry Garcia) from the local pier supply store. After exploring Cannery Row, and finding it lacking in atmosphere (plenty of timeshares and fancy hotels) we decided to take our chances with Wavy Gravy, the garrulous MC of the Laguna Seca Daze, a two day outdoor music festival at a race track about 15 min. inland from Monterey. We walked right up to the front of the stage (I have a few good years of "cute girl" left and I take advantage of male fans young and old, stoned and sobor when I absolutely must to make it to the front) where the serious Bob fans of all shapes and sizes were gathering to wait for his set to begin. I immediately befriended and set up camp behind some young and friendly x'ers who had prime spots in the very front (one of them let me hang onto to him whenever the dancing (mostly mine) got off balance AND he took care of my coat for me too, very polite and well mannered. This front of stage crowd was made up of the old-timer fans (a resource for all albums prior to BOTT) and the new-timer fans (who know the words to EVERY song on Greatest Hits Vol 1 and 2) and Me (apparently the only one in group able to identify "recent" material such as Grain of Sand, Sylvio, Real You at Last ..... oivey). Bob was having a great time, (wearing a sort of mexican style boleroish jacket and a blue silk shirt) smiling and styling almost as much as JJ. worth mentioning: Watchtower Searing, with great guitar duetting Simple Twist electrically lyrical, full of regret and resignation. Tombstone Blues Best ever, again noone (except me) saw it coming until the first refrain. Serious blues. Tambourine Man Plenty of audience singalong here. Never quite sure if bob likes having people join in like that or not. He seems to be aware it is going on but doesn't acknowledge it at all. I of course only sing along if I have a good harmonization to add... I must add that after seeing him do this version up close, that his performance brought to mind the last song of Schubert's Winterreise - The young man identifying with the derelict, Hurdy Gurdy Man. Wow. I wonder if Bob knows Die Winterreise. bob is the greatest singer. Right up there with Fischer-Dieskau if you ask me. It takes a Lot to Laugh Great guitar work here, very hard-driving and SEXY. I'll ride *that* Mail train any ol' day. Every Grain of Sand One of the most lyrically significant songs ever, personal fav. Not as good as the excellent Tulsa 91 boot version. But worthy just the same. Bob talk: nothing new or noteworthy here. I must add however that a number of politically incorrect young women were tossing their panties and bras onto the stage all through the set (I was tempted but declined out of frugality rather than modesty). At the end of the show as Bob was coming forward to take his last bow he looked down to check out the debris laying around his monitor. Just at that moment JJ leaned in and whispered something to him (something naughty I hope) and Bob cracked THE HUGEST GRIN and then laughed and pointed to the screaming females bouncing and shaking below him. This is probably the biggest smile I've ever seen on Bob. Worth the whole show. Next time I think I'll bring an old bra with me, you know, one of those bras you buy and never end up liking but can't throw away because it was too expensive. Yeah, I'll just bring it in my coat pocket and then toss it up enthusiastically during Just Like a Woman or I Want You.... Bob only played one encore, Knockin' on Heavens Door (electric) probably because of the cold. But for the same reason (to keep his hands warmed up) he also graced us with almost non-stop solid guitar playing (Mr. T. Man being the only exception). It was cold-cold enough to see their breath on stage. So all is forgiven. Anyway, who needs another It ain't me babe! The only other really cool thing I did was eat at Cafe Intermezzo and see the Crumb documentary in Berkeley. Oh yeah, then before taking the red-eye back to Beantown I had a midnight dinner in Chinatown and cappucino with cognac at Tosca's.....(though I didn't get kicked out) The good news: my '53 gibson made it through every flight and change of plane without having to be stowed underneath. Small victories over the airline establishment. The bad news: I got a sunburn while sitting on a big rock overlooking the bay. your everlovin' schubert singin' soul sista sadiej KEEP ON TRUCKIN' Delia ain't dead, she done gone down under
Date: Wed, 31 May 1995 03:08:32 -0400 From: RickR1 (rickr1@AOL.COM) Subject: Re: Is there a list from Reno out there? Christine, I was at the Reno show last night and though I didn't keep track of everything he did I'll try to remember as many of them for you as I can...In no particular order, except that he started with Crash on the Levee. All Along the Watchtower Don't Think Twice It Ain't Me Babe Masters of War Seeing the Real You At Last Mr. Tambourine Man Knockin' On Heaven's Door Rainy Day Women Hiway 61 Just Like A Woman She Belongs To Me Silvio I'll Be Your Baby Tonight Man in the Long Black Coat I can't swear that these are all the songs he did, but I think this is pretty complete. As I said the order here is not accurate. Fantastic show, BTW....I've been a Dylan fan for 25 years, but my wife became one last night. Rick

Tue 30 May 1995, Eugene, OR Date: Wed, 31 May 1995 05:48:22 -0500 From: "Heike C. Strand" (hcs@DELPHI.COM) Subject: *** Setlist...Eugene, OR 5/30/95 *** Down In The Flood I'll Be Your Baby Tonight All Along The Watchtower You're A Big Girl Now Just Like Tom Thumb's Blues Silvio ----- Mr. Tambourine Man Masters of War To Ramona ----- Seeing The Real You At Last In The Garden Highway 61 Revisted ----- Ballad of A Thin Man The Times They Are A Changin' A friend called me tonight after the show...he said a strong performance overall. The crowd was attentive, yet somewhat subdued. The "deadheads" finally got a stage rush going & then it livened up. The only thing that I really heard was that the box office had front row center seats just before showtime. The guy really knows how to break my heart! *********************************************************************** The beautiful thing about '95 & Bob to me is that he is so full of that makes one feel he's happy. A performance is a performance & we certainly cannot expect to know what lays beyond it... but my bet would be that he is feeling quite good about life.... And as silly as it seems to me...for some reason, that makes the experience rise into a higher level...if you are embracing another human being's emotions at the moment...somehow this has great relevance. Heike C. Strand
Date: Wed, 31 May 1995 09:21:52 -0500 From: Gary (gpalmer@MAGNUS.ACS.OHIO-STATE.EDU) Subject: Re: *** Setlist...Eugene, OR 5/30/95 *** In article (, Heike C. Strand ( wrote: [text deleted] > The beautiful thing about '95 & Bob to me is that he is so full of > that makes one feel he's happy. A performance is a > performance & we certainly cannot expect to know what lays beyond it... > but my bet would be that he is feeling quite good about life.... > > And as silly as it seems to me...for some reason, that makes the experience > rise into a higher level...if you are embracing another human being's > emotions at the moment...somehow this has great relevance. > > Heike C. Strand That is so true! I've seen performances by Dylan in the past that were technically on a par with current performances, but he was silent, and immobile. It's so much more enjoyable to see him smiling, interacting with the audience, rockin' it up. It's perhaps a bit odd, but as a fan I WANT to believe that Dylan is happy, and enjoying what he's doing, and that he enjoys performing. Before this time, it seemed more like Dylan felt compelled to tour, rather than wanting contact with an audience. It's nice to feel wanted...:-) I remember hearing a comment during the Under the Red Sky album and tour that Dylan was happier than ever with the new material and with what he was doing. I hope this trend's certainly a treat for us! See ya, Gary

Wed 31 May 1995, Eugene, OR >Date: Thu, 1 Jun 95 08:48:39 -0800 >To: >From: (Jason Auguste Schwartz) >Subject: Dylan Concert Review (NNC) NOTE: ANYONE WHO KNOWS HOW TO DO SUCH A THING IS ENCOURAGED TO FORWARD THIS TO THE BOB DYLAN LIST (ASSUMING THERE IS ONE). Rusties, Last night I attended the second of two Bob Dylan concerts in Eugene, OR. It was fantastic! Admittedly I was only familiar with about two-thirds of the material, but he played among others All Along the Watchtower, Tambourine Man, Don't Think Twice It's Alright, Rainy Day Woman, Shelter from the Storm, Gates of Eden, Like a Rolling Stone, and My Back Pages. His band (the same as on Bob Dylan Unplugged) was fantastic. About half of the songs were played electric and rocked pretty hard (I don't normally associate this with Dylan...), and the remainder were acoustic often with cello and slide guitar complementing Bob's guitar playing. I would have liked Dylan to play his harmonicas more (he only used one on Mr. Tambourine Man and Rainy Day Woman), but when he did, he sounded great. I think his harmonica playing on MTM was worth the price of admission just by itself. I was lucky enough to sit in the 12th row and had a great view of the stage. Dylan was dressed very nicely and looked to be in great shape (albeit somewhat loaded!!). He was gracious to the crowd (doing two songs for an encore, and one more for a second encore!), although he didn't have much to say. His words were limited to a "Thank you" after almost every song, and a brief introduction of his band. I think he made some jokes while introducing the band, but to be honest, I couldn't really understand what he was saying. The girl next to me commented that his concerts should come with subtitles! :-) Dylan also played Eugene the night before and got a very favorable review by the local paper. The reviewer even wrote that his Watchtower that night matched or surpassed performances by Hendrix and our man Neil Young! The crowd seemed to really appreciate Dylan's performance and a large portion of them had no trouble shelling out the $35 necessary to purchase a souvenir t-shirt. All in all, I'd recommend this tour highly. Jason
Date: Thu, 1 Jun 1995 13:46:29 PDT From: Peggy Fitzgerald (pjfitzge@SP-EUG.COM) Subject: DYLAN WAS GREAT LAST NIGHT IN EUGENE (5/31) I went to the Dylan show last night for his second show in Eugene and he was _HOT_! I love this new persona where he is open and interacting with the audience. He played some good lead licks and came out from behind his guitar for a couple of songs. I would have liked more harmonica but ...oh well. A special highlights for me was Mr. Tambourine Man sung slow with feeling. The drummer was memorable and energetic. He reminds me of Animal of the Muppets. The other musicians were good and particularly able to showcase Bob's musical talents. They never overpowered him. I think it takes a special unselfish talent to let the star _Star_. This was truly a performance that ranked high in my thirty years of Bob concerts, mainly because there was so much BOB out there. At the least, it was the best I've seen in the last ten years. He looked so much more healthy and alert than he has for a while. That old man in black and silver can still turn me on! Peggy
Date: Fri, 2 Jun 1995 01:13:30 GMT From: Leonard Coop (coopl@AVA.BCC.ORST.EDU) Subject: Re: EUGENE setlist 5/31/95 as posted by (TAPE BOY), here are a few of my comments on the show: Hult Center, Eugene 5/31/95 1 Down in the Flood ( great opener, would be even better acoustic? 2 Senor ( powerful, still warming up 3 All Along the Watchtower ( nailed it, many commented a favorite of eve. 4 Under the Red Sky ( vocals incomprehensible, not a hit at all 5 Positively 4th St. ( vocals need some relaxation, kind of strained 6 Silvio ( rocked out 7 Mr. Tamborine Man (a) ( this song alone covers the ticket value for oldfans 8 Gates of Eden (a) ( loved it, vocals tough to follow at times 9 Don't Think Twice (a) ( amazing band, nuances galore 10 Seeing the Real You At Last ( well done weaker song 11 Shelter From the Storm ( not used to such a rocked out approach 12 Obviously 5 Believers ( built up to best rock performance of eve. encore 1 13 Like A Rolling Stone ( crowd pleaser, very good overall 14 My Back Pages (a) ( SO MUCH OLDER THEN YOUNGER NOW - now i get IT encore 2 15 Rainy Day Women ( not a favorite but rocked all - shook the Hult good >a Great show, much much better than the previous nights performance. For me it is a toss up. Vocals a little better the night before. >Bob began both shows on guitar, only taking it off for Mr. Tamborine Man >in the main set. Very energized!!! The crowd had trouble dancing through much of the show - gradually increased to the point where ushers were not a problem. Bob repeated the joke about not having anything to say about Tony Garnier except he once tried to milk a cow with a monkey wrench. He took a rose from someone and slapped hands at end, was pointing and smiling at someone on right. Bob looked very good, seemed to be having a real good time, was very in the moment, as evidenced by very different performances of several of the songs played both nights. The Hult center was made for Bob and Co. - just the right size, upscale for the fashion impaired, the BEST acoustics - look for some great tapes from these shows (I know where a seed may reside..). Len Coop
Date: Sat, 3 Jun 1995 16:34:50 -0700 From: Merry Young (merryy@GLADSTONE.UOREGON.EDU) Subject: Bob in Eugene, OR 5/31/95 I was also at the show on Wednesday, and i have to agree, bob was fantastic. I've never seen a crowd so energetic and enthusiastic at the Hult Center before. The sound quality was great, and from the 5th row it sounded like bob was singing in my ear. his voice was strong and the words were clear, but best of all, like others have already said, bob seemed like he was having a great time. The second encore was an added bonus, i wasn't expecting it. The crowd was left wanting even more. if anyone knows of a tape floating around out there, i'd die for a copy--this was a concert not to forget.

Early June 1995 Mid June 1995 Late June, early July