Bob Dylan 970415 in Northampton, Massachusetts
Subject: Smith College, 4/15/97
From: Seth Rogovoy (rogovoy@berkshire.net)
Date: Wed, 16 Apr 1997 00:13:08 -0500
I understand set lists have already been posted, so I'll dispense with
that formality and get right to the meat of the issue and the show itself.
This is the first show I've seen on this swing, and the first since last
spring's show in Springfield, Mass. GIven the big picture -- I'm talking a
20-year stretch of Dylan shows -- this one definitely ranks up near the
top. I can see, however, that for those who have been going to many shows
over
the last year or so, this may not rank near the top of this great string
of great shows we're witnessing. Bob's voice was not in great shape, he
had a hard time hitting some high notes. The band is still jelling (that's
a real word, I looked it up), and some songs didn't quite work, and it
wasn't the best set list of the season, by far.
In spite of all that, it was a great show. A personal highlight was "John
Brown," a truly stirring song that I don't think I've ever heard him
perform before live, and frankly I've never paid much attention to it on
record. But it really grabbed me tonight, which says something about the
power of Dylan's performance, that basically he could introduce a totally
new song to me and have me gripped from the top. I have to admit I didn't
even realize this was "John Brown." Thanks go to Mark Troyer for filling
me in at the r.m.d. gathering after-show at Packard's. It was great
meeting Mark there, sorry I missed the rest of you.
Getting back to the show and highlights -- I was NOT looking forward to
the third song. I thought I'd heard it enough to last a thousand
lifetimes. But Dylan did something amazing with it, and it was truly BONE
CHILLING and SCARY tonight. To quote from my notes: "galloping into an
apocalyptic sunset."
I'm gonna just run through my notes now song by song, and I reserve the
right to take liberties with what I wrote and what I remember:
1. Down in the Flood: white cowboy hat, white tuxedo-style jacket.
country-rock. lotsa lead guitar.
2. Lay Lady Lay: pedal steel. Lotsa cowbell. very country gentleman in
sound and appearance. freshly clean shaven. no day old goatee stubble.
3. Watchtower: long solos, galloping rhythm, very serious expression,
scary as shit, dual guitar licks btwn Dylan and Larry
4. Shelter From the Storm: storytelling. kind of taken at "The Weight"
pace and chord progression and overall country-ish sound (I'm referring
here to the song by THe Band, which Dylan seems to have planted SFTS
inside in this version). almost country-2-step. plays blues solo against
the chords, even plays blue notes. vocals crackle and sneer with
character. they don't seem to have worked out this ending. sort of falls
apart before Larry and BB start soloing, then Bob joins in , all three
solo togehter, then it picks up again and ends.
5. Watching the River Flow: country-shuffle, double-time. with a hint of
the Band's Mystery Train in a guitar lick. totally unrecognizable at
first. long jam at end. great subtle communication among band members,
reminiscent of Dylan and the Band. Here I first noticed an occasional
similiarity between Larry Campbell's style and Robbie Robertson. not
alwyas, but sometimes he had a Robertson-like high-pitched, metallic sound
to his lead playing, also his rhythm in this song was very Robertsonlike.
I liked it, I think it works great against Dylan's playing. why shouldn't
it? It did in '66.
6. Silvio: Rolling Stones meets Grateful Dead. Dylan sings against line.
at the point where the song sort of stops, they seem to borrow/amalgamate
the rhythm hook from Mellencamp's "Paper and Fire." very Garcia-ish jam
at end, Dylan playhing almost psychedelic lines.
7. Friend of the Devil (A): slides on backdrop. rendered as a country-folk
ballad, slower than I'm familiar with this song. funny though, Dylan
really "sings" it melodically, more than his own songs. great acoustic
picking. a friend who knows better than I do says his picking resembles
Garcia's acoustic picking.
8. John Brown: tells great story.
9. Don't Think 2X: country 2-step. BB on mandolin. bouncy, jaunty version.
Tony plyas slap bass (acoustic standup). whole crowd sings along. Dylan
loosens up a bit (He seemed sad earlier on). he seems to come alive after
the seriousness and gravity of John Brown and with the crowd egging him
on. long acoustic jam which seems to take song into uncharted territory.
Flash a picture of Ginsberg at end. Crowd rushes stage before electric
set continues.
10. Stuck Inside of Mobile: At first I think the R&B style hook sounds
very George Harrison-ish and I remember that they had been rehearsing some
Harrison stuff. then i recognize the tune. but then that hook repeats, and
I recognize it from the Byrds' "Turn Turn Turn," which makes sense, since
Roger McGuinn got so much of his Rickenbacker soudn and style from George
Harrison. Dylan really sings this well, old style singing. AAAAHHHH mama,
can this REALLLLLY be the end to be stuck in side of mobile with the
memphis blues AGAAAAAAAAINNNNNNN. whole song has a strong R&B lilt to it,
wtih Larry Campbell playing some very Motownish chords.
Dylan introduces band. He says something funny, a fake name or something,
for Tony Garnier. Tony laughs. did anyone catch what dylan said?
11. I'll Remember You: I could really do without this song, although Dylan
sings it with passion. A tribute to his fans? still, not one of his best
songs.
12. Leopard Skin Pillbox Hat: Was it my imagination, or did Larry goof and
play the opening guitar line of RDW by accident to kick off this song?
anyway, a great version, a crunching blues, Dylan seems to have fun with
the surreal lyrics and playhing to the crowd up front. great phrasing and
vocal to match. blues-style playing in that his guitar lines echo his
vocal. More very RRobertson-style licks from LC. ends in a blues-rock jam.
Encore 1: LRS -- vocals way out front in mix. over 30 years later the
words of this anthem still have bite. mid-song Dylan walks off stage to
switch guitars. His was out of tune? it seems to have screwed up the
song's meomentumn and it's never recovered. he sings another verse
(although has a hard time getting back in), and it kind of fizzles at end.
Encore 2: It Aint Me Babe (acoustic) -- crowd singalong on chorus. BB
makes his MANDOLIN sound like an organ! Dylan pretty much plays it
straight.
Encore 3: Blowin in the Wind (acoustic) -- only kidding! you know what he
played. he played that crowd pleaser that the Deadheads especially love!
I'd add that in general there was an awful lot of jamming. My friend who
was with me, who didn't know about the new, improved version of Bob Dylan,
was amazed.
Subject: Northampton Review
From: Benjamin_Fisher (Benjamin_Fisher@brown.edu)
Date: 16 Apr 1997 18:51:39 GMT
I've enjoyed the shows on this tour thus far but I don't think they've
matched the level of playing of last Spring... until tonight.
I wasn't at Wayne, but for me the band really came together tonight.
Larry was visibly more comfortable than ever. He even voluntarly
jumped in on a chorus of Rainy Day. Kemper was given the first
mention as Bob introduced the bands, and I think he deserves the
honor. Bob said something to him during Rainy Day,
and after that he started letting loose after each line of the song.
Last year my favorite show (and favorite show ever) was in Springfield,
15 miles south of this show, so it boded well. The building
was even similar looking though much smaller. And Bob started the show
the same way--after the standard Flood, he played Lay Lady Lay.
Kemper played a rat-ta-tat during the lines like the recorded version.
Watchtower was the first of this tour that has matched the high
energy of last year. Larry soloed more than previously. Bucky
remains on acoustic guitar for this, just playing chords. I don't
know how he doesn't get just a little bored.
Shelter was incredible. No more Bob-and-steel guitar intro. Bob
danced through much of the jam. A birthday treat for Mark.
River Flow is sounding more and more like Don't Think Twice to me,
but I think that's mostly Don't Think Twice's fault.
Silvio. yellow AND pink lights to start off, which seemed to bother
Bob; although it seemed to me he should've stopped looking at them.
Lights don't respond the same way to looks as band members. More
jamming by larry on the spacy-bass-y part.
Friend of the Devil. larry on fiddle. during this one bob spotted
a very attractive young woman on the right balcony and proceeded to
sing to her for much of the rest of the show. After the end of the
set, pointed to her. If I was looking at the same girl (just to know
what Bob was thinking, of course), then she didn't seem too responsive.
Oh yeah, and she seemed to be sitting with her dad who was Bob's age.
John Brown. a tour highlight. Last night's crowd was the oldest
I've seen yet. 75% boomers, many of whom, it seemed to me,
came to see some good ol' folk war protest. Crowd-pleasing Bob
delivered: a new arrangement of John Brown. The signature riff
was absent until the very end and it was slower. Bob really worked
to tell the story and got some applause after some killer lines.
(By the way, with respect to the mix of kids and adults, I heard
one of the women in charge of searching say that only the
"criminal element" need be searched. Damn longhairs.)
Don't Think Twice. Particularly good guitar work. He started off
just playing on the low notes, (I might be confusing this with
It Aint Me Babe) but you could really see his improvement. YOu used
to just kinda hope he'd hit the right last note of each line, but
he never missed this time. When he wants to fire up the crowd he plays
triads and bar chords it seems.
Mobile. much improved from Portland's version. When the band
hit the F#m chord just before the "wo mama" the beat kinda
changed and it had this really cool heightened-apprehension affect.
Hard to explain but great.
I'll Remember You. a hard beat. great song. great delivery.
Leopard Skin Pillbox Hat matched the great performance at Waltham.
Super jam.
Rolling Stone. bob had guitar problems towards the end which hampered
the song a little.
It Ain't Me Babe. standard but great. no harmonica but fine
jamming.
Rainy Day Women. a scary looking bouncer appeared at the left,
and helped balk the attempt of a kid to personally greet bob. Is
this a change of policy?
The guitar roadie apparently doesn't like being begged for setlists.
Some guy made a valient effort asking for one, but with only one left,
the roaddie with this look of moral indignation in his eye gave it to
some guy who was just leaning against the stage not looking. Clearly
the roadie was making a statement. this kinda pissed me off. If
the guy wants a setlist that bad, why not give it to him? Heck,
next time I may be that guy.
A little kid walked on stage after show and was first told to get off.
Then the decision was overruled and he was given drumsticks and
a harmonica. Outside the show I congradulated him on his parting gifts
and his mom got scared and told him to come near her. I guess
I must be part of the "criminal element."
Subject: Sadie's Northampton Report (minimal Dylan content)
From: Sadiejane (sadiejane@folly.org)
Date: Wed, 16 Apr 1997 13:11:15 -0700
ok. The disclaimer is there in the subject heading. Proceed at your
own risk.
It felt like the first day of spring. Nothing but blue skies and crisp
New England sunshine. Crew and Bob entourage members were wandering
through the bustling town of Northampton, that Harvard Square of the
West Country, like coal minors getting there first look of daylight
after a 72 hour shift (the equivalent of a 9 day run?). You could spot
them, walking aimlessly, stopping in front of the storefronts and gazing
vacantly into the windows as if to say, "do I want to go in here?" then
turning around toward the street as if to say, "do I want to cross
here?" and then vacantly continuing on their way down the sidewalk. Ray
and I found ourselves a patch of grass behind JMG hall, and soaked in
the late afternoon sun, savoring the mounting anticipation. I practiced
my kazoo playing - and Ray joined me singing on "Ain't Misbehavin'". I
can now do pretty much all of Billie Holiday Vol. 1 on Kazoo. I've
still got to work on my "hand over the little sound hole" technique
though....
At about 5:00 we saw the band go in (they had been soaking in the sun on
the back steps of the hall) and we circled to the front to hear the
check which we could also watch thru the windows on the front doors of
the venue. Bob was not around. And Tommy played in his place. Jules,
who runs the on-stage soundboard, stepped out to sound check the harp.
Bucky tuned his pedal steel....
I'm sure I left out a few songs and the following are also not
necessarily in the right order....
Most Likely You Go Your Way
Dignity
Subterranean
SERVE SOMEBODY!!!!
Boots of Spanish Leather/Girl of-from the No. Country
Desolation Row
SERIES OF DREAMS!!!!
Larry got out the violin and they played a few bars of some country song
which Ray and I didn't know - Ray made up some corny lyrics for it
though and had me howling with laughter. They segued into some bluegrass
tune too - just for a few minutes.
Series of Dreams sounded GREAT- I think that David has a feel for the
song that just might make it really fly. I've never heard a version of
it that won me over completely (including the outtake from the bootleg
series). I think it is such a worthy song - so deserving of another
shake down. From the sound of it - very dry and tight lots of
methanyesque guitar lines and drum pedal and bass - it sounded like they
may be really getting this one ready for a test drive. I think youall
may just see it in Providence. Ya never knows.
After the sound check ended some of the crew came out of the front door-
one of them heard my name was Sadie and wished me a happy birthday which
made me think, "Oh gawd! They're reading RMD!" And was filled with a
momentary panic, "jeez - they might actually show some of my posts (with
their oh so occasional critical commentary to a band member or two or
three....." In an instant, every possibly incriminating posting I ever
made flashed before my eyes, like a sinner at the gates of heaven,
looking over his shoulder wondering if he takes a few steps back would
anyone notice.....
Well - if you're reading this - now (on your day off) - I want you to
know that I know you know I know your watching. Thanks for the best
wishes on my birthday. I'm still holding the line at 25 ;+}
The show.
mmmmmmmmmmmmm
Didn't see Seth Rogovoy again. I think we're breaking records for most
frequently at the same shows but never meeting RMD'ers. I just couldn't
make it to the post show gathering. Long drive home.
Yessssserrrreeeeeee.
The show? Was I going to write about the show?
Bob. He was wearing the white jacket with the black inverted pleats.
Black jacquard slacks. Black shiny cowboy boots. cowboy hat. His boots
were realllllll shiny.
you saw the setlist. sorta humdrum given the more recent variety. But
I'm never one to argue about the choice of songs. He could play
watchtower 15 times and as long as the performances were varied - I'd
dig it.
ok. So I know - I said I'd say *something* about the show, right?
I had front row seats - but how was I to know that they'd be the far far
side obstructed view type. So we stood the first half of the show, Ray
desperate to get his first good look at Larry C. who was hidden from
view behind the Stage Right bank of speakers. The crowd was very
subdued and unresponsive. I think it was a pretty serious Dylan crowd
and I quite honestly missed the deadhead factor. There were two of them
right next to me who got up to dance during Silvio. Other than that -
my friends and I seemed to be just about the ones moving to the music at
all. Baron was clearly concerned that there wouldn't be a rush after
the acoustic set, and came down during DT2 to let security know to let
us thru. Then he came over to me and said, "Can you help get the crowd
up for the rush?"
Baron, honey. Your wish is my command ;+}
Us RMD'ers are very well trained eh? All graduates of the "The Dylan
People's Obedience Training School"
ahhhhhhh the show. THE SHOW.
Larry Campbell. Man - he is really emerging. He injects all sorts of
crosspicking and light double time rhythms in the left hand and is
becoming quite adroit at turning bob's 2-3 note one liners into whole
conversations. He is equally at ease with Acoustic Folk-rock (John
Brown), Memphis blues (LeopardSPBH) and country swing (River Flow) and
Greatful Dead jazz fusion (FriendOTD).
You heard it hear first folks.
Larry's guitar was mixed higher than Bob's tonite.
It was a first.
I gave Larry a standing "O" at the end of the show, which ain't easy
when everyone is already standing anyway. But I rose a bit higher than
my usual and even caught his eye and sorted squinted up at him in
appreciation. He smiled down at me. Did I tell you that he is coming
close to overtaking Tony as the best looking guy in the band? Not an
easy thing - Tony has such elegance, such savoir faire, such subtle
grace. (Bucky is very shy and retiring - a blossom perhaps yet to
unfold? - David is too far back and mostly hidden by cymbals-and Iām
nearsighted) But Larry - he's got something - an earthy, strong and
silent, animal magnetism thing going for him. I'm not going to say
anymore. Any women of RMD who want more details can email me
privately. That's the girls and Andy Muir of course. Craig, none of
you and your "friends" qualify. Of course there is really no
competition with Bob. Bob is in a league by himself. THE sexist man
in the universe. Something we learn before we're born, a-priori. I
donāt need to waste any bandwidth here on ol' Bob. And I can certainly
appreciate beauty in others when I see it.
okokokokokokokokokokok. So you were wondering about the show?
Shelter from The Storm. Bob spoke almost the entire song. I'm not
talking intoning on one note either. He spoke it. Snoop Bobby Bob.
The band got into this really heavy funk thing too - and on one or two
occasions that Bob did sing - it was to hang out for long periods on
flatted minor thirds. I guess Seth calls them blue notes. He continued
on the blue note theme in his guitar - it became the motif for the
song. It was a dark, ironic treatment - had none of the shadows and
light of the '96 version which I love so much.
The Acoustic Set - was really beautiful. Friend of the Devil sounded
more like a soulful, jazz ballad than a rebellious, campy, road song.
Larryās violin pulling Bob and the band into uncharted territory. "Got
two reasons why I cry away each lonely night, The first oneās names
Sweet Anne Marie, and sheās my hearts delight" the violin sweeping down
on us with the most heart aching, melodic lines and dissonances against
the guitars (bucky and bob). John Brown was the show stopper though.
Bob started by repeating a riff - which glissed from the first fret up
to the top of the fretboard and back down. He did it by himself about 3
times before the band came in. Larry on acoustic, Tony on upright and
Bucky on Dobro. Without the banjo the song was more menacing, less
folksy and Bob sang the lyrics with intense clarity but calmly. When he
got the part about dropping the medals in her hand, rather than
accelerating and increasing the volume he dropped back and sang it
almost tenderly. As if - John Brown did it not to hurt his mother, but
because finally, he knew that that was all she could understand. Rather
than singing ironically, he sang it sadly. It was a very different
reading of that line - with different implications. This song is truly
the strongest anti-war song that Dylan ever wrote. Masterās of War
pales in comparison. There is nothing stronger than a personal story, a
specific story. A boy, who comes back from war with his face blasted
off, now a stranger, unrecognizable, stripped of his dignity and his
humanity and all they want is to see his medals and ask him what it was
like to march under the flag, and not even his mother can look into his
face. Bob had us all in the palm of his hand during this one. And then
Donāt Think Twice! Why, a few people in the balcony were actually
dancing!!!! The usual, uptempo romp.
Yes, Seth, Bob's guitar was horribly out of tune for Rolling Stone. And
Bob looked clearly disgusted. He first tried to turn it down, fiddling
with the pickup dials on the front - and then started trying to turn a
few of the tuning pegs. I put my fingers in my ears and closed my eyes
and prayed for rain. Bob took the offending instrument off and walked
over to Tommy, who was by this time furiously tuning a second
instrument. They exchanged a few words and Bob returned to his mic,
pulling up on his trousers and wiping some of the sweat out of his
eyes. Tommy finished and brought the new guitar over but it was really
too late. Bob made a tired effort to get back into the song but seemed
completely unenthused and ended it unceremoniously. It Aināt Me, Babe
was completely wooden and heavy. No humor no playfulness no fun. RDW
was a bit better. FANFuckingTASTIC guitar playing by Larry. Bob barely
glanced down at the crowd. A woman put some roses on the floor by his
mic stand and he was careful to politely acknowledge them.
He seemed to struggle all night. He dropped the ball a number of times
with his guitar leads and got lost with lyrics too. A couple of times
during Silvio he came in late on a verse, just leaving out the first few
words, catching up with the band without retracing his steps. He rushed
thru Mobile - instead of the usual 'ohhhhhhhh, mmmmmmmama! Can it
reeeeeeally beeeeeeee the eeeeeeeehhhhhhhinnnnnd.' it was
'ohmamacanitreallybetheendtobestuckinside...etc.'
And his voice....what voice? It was all texture without tone. Drink
lots of water Bob - HYDRATE!!!!! Stay away from Menthol (very
dehydrating) and Lemon (a bit too acidic). Just plain water does the
trick, carbonated if you like it fancy. Hum alot but whatever you do
DON'T TALK (that tires the chords out more than singing) Please. Some
vocal rest is in order.
It was just one of those nights.
A beautiful little venue. Not a great show. I have a good feeling
about Providence though (evin if I wonāt be there :+{) - the GA shows
seemed to be the best ones on this run. Iām looking forward to reading
the reports on Friday morning.
Delia ain't dead, but with a little coaching she should be ok in the
morning.....
Subject: Re: Sadie's Northampton Report (minimal Dylan content)
From: sadiejane (sadiejane@folly.org)
Date: Wed, 16 Apr 1997 16:57:25 -0500
Organization: home
In article <33553263.10B0@folly.org>,
Sadiejane wrote:
>Larry Campbell. Man - he is really emerging. He injects all sorts of
>crosspicking and light double time rhythms in the left hand and is
sorry folks. I meant the right (strumming/picking) hand. not the left
(chord playing) hand. oops.
sadie
Subject: Concert Review
From: Glyde65 (glyde65@aol.com)
Date: 16 Apr 1997 16:18:50 GMT
Organization: AOL http://www.aol.com
Dateline: Northampton, Massachusetts 15 April 1997
What happened to Bob? A sold out auditorium rocked and frolicked to the 5
piece band last night in Hamp. However, Bob has lost a few, in
particular his voice, harmonica, (it didn't make an appearance) and
emotion. In comparison to another local appearance in the spring of 96,
Springfield, Mass. where all three were present. Hopefully he chks. out
the lost and found prior to his overseas journey....
Subject: NNnnorthampton 4.15.97
From: Debess Rogers-Grabazs (debess@jlc.net)
Date: 17 Apr 1997 00:20:03 GMT
Long line out in front of the John Greene Hall - and it was
very close to 8 when we arrived - but they waited for everyone
to get inside before starting the show.
I was walking down the aisle looking for my row, when a
security person came up to help me out.
It was my very good friend Ria!!
She escorted us to our seats - which were IN THE 3RD ROW!!!
Oh man, I was just in heaven all night long (I still am!).
This crowd didn't want to dance all night, like the audience
at UNH on Friday. I danced the first song, then noticed
that lots of people around me were sitting, so I sat (kinda).
But, we were in a direct line of vision to clearly see
everything on stage - everything!
Dylan was wearing a white linen jacket, with a couple vertical
slits front and back, which when spread open were black
inside. Black tight velour-looking pants. Black cowboy
boots. White cowboy hat.
All the bandmembers wore boots except the drummer, who wore
sneakers.
Campbell had a long blue coat with black velvet collar.
Baxter had a extra long red coat with a sky blue shirt
underneath. Garnier wore a light brown suit and a black
leather beret. They all looked cooool, very stylish...
Dylan dances to his music all night long - never smiles - but
dances.
The cowboy boots' toes curve up in front, so when he stands on
the front of his shoe it looks like he's standing on his toe,
with the heel lifted, like, inches in the back. Knees
constantly bending into his playing. Moving around, playing
with the other bandmembers, signalling what he's doing with
nods and other facial gestures.
And sometimes, sometimes fingers just flying up the frets -
it was great to be able to watch him play up so close - he
plays the melodies, he plays his electric guitar flat picking
the melody and finger picking underneath. He sometimes kept
the beat with one foot - sort of letting the new drummer know
how he wanted a particular song to go - or maybe just dancing
to it himself.
Bucky Baxter plays different instruments in accompaniment to
the different songs - and I thought I would remember which
ones when, last night, but I don't now :-} - predominantly
the pedal steel, but sometimes acoustic guitar (John Brown),
mandolin (Friend of the Devil, It Ain't Me Babe),
lap steel. Tony Garnier played a standup bass for the
acoustic set, I believe he used a bow during Friend of the
Devil, also played an acoustic bass sometimes.
Larry Campbell played fiddle on Friend of the Devil, acoustic
guitar sometimes, mostly electric rhythm guitar.
Dylan played NO harmonica last night :-( - he is most
definately into his guitar playing these days - really really
into it!
During Like a Rolling Stone, his guitar was out of tune - he
tried to tune it as he was playing! but gave up - signalled
offstage - WALKED off stage and put on another one (with a
beautiful ornate black strap edged in silver studs), came back
into the song with his back to us and then turned around and
finished.
Highlights for me:
Watchin the River Flow was done much faster than last year -
but still managed to melt me into my seat ;-)
Silvio is hot - and they are really spacing out in the middle
of it - the only time I get to dance my favorite spaced out
dance! Definately shades of Dear Mr Fantasy in the jam.
Friend of the Devil was BEAUTIFUL. A wonderful tribute as he
tries to play with Garcia's style - tries! and does a decent
job too. The violin sounds perfect here and as time goes on
and Campbell gets more confidence I can tell this is going to
be magnificent.
Campbell seems pretty unsure of himself - always watching what
Dylan is doing and keeping up as best he can - smiling a lot!
Both new band members smile alot. This is pretty cool
watching the band transform again in front of our eyes.
After the acoustic numbers, I dashed up front. Ria was on the
edge of the stage in front of me - but I couldn't have been
but 10-15 feet away right in front of him. YOW!!!! I watched
his fingers playing, but I mostly watched his eyes. When he's
singing he squints his eyes looking off, almost as if he's
thinking how he's going to present each and every line. His
eyes cast across the audience down front - I caught his gaze a
few times - those intense blue eyes looking into mine - oh my!
Leopard Skin Pillbox Hat was funky blues - and it was fun!
The only song I saw him really letting out some smiles to.
After his last encore, he came to the front of the stage and
pointed at people down front and bowed his head and walked
off.
I sighed all the way home :-)...didn't get to bed till 2
Debess
Setlists
