Bob Dylan 990606 in Colorado Springs, Colorado
Subject: Colorado Springs--setlist and thoughts From: SHEVE (SHEVE@prodigy.net) Date: 8 Jun 1999 02:59:25 GMT Setlist: O Babe, It Ain't No Lie Mr. Tambourine Man Masters of War It's All Over Now Baby Blue T.U.I.B. All Along The.. Just Like A Woman Stuck Inside of Mobile... Not Dark Yet Highway 61 *****Encore***** Love Sick Like A Rolling Stone Don't Think Twice It's Alright Not Fade Away So my wife and I drove up from Albuquerque, a nice long six hour drive. It was the closest Bob/Paul gig we could catch. It was my sixth Bob show. Can't say it was his best. Won't say it was his worst. The World Arena is too big (8,000). I hate seeing Bob in a place that big. The sound was OK, though. Paul was pretty boring for me. (My wife is the true Paul fan.) He played a lot of music from Graceland and Rhythm. He didn't seem extremely involved in his music. His band was huge. I don't know. He wasn't awful. His voice sounded good. Boy In The Bubble was pretty rocking. It just wasn't anything special. (People have been asking about his setlist. I don't have the right order, but he played: Bridge Over Troubled Water, Boy in the Bubble, Graceland, Slip Slidin' Away, Call Me Al, Diamonds on the Soles of Her Shoes, The Coast, Blue, Blue River, Still Crazy After All These Years, Can't Run But, Mrs. Robinson, Trailways Bus, Me and Julio. I think that's it.). The 3 and a half song duet seemed a little strained, but their voices comlemented each other better than you might expect. On Forever Young, they showed some true potential. I hope they can loosen up a bit as the tour goes on. Then Bob started his solo set. The good stuff. He looked well. Actually one of the nicest parts of this performance was that through the entire thing he really seemed to be enjoying himself. He was movin and swaggerin and shufflin and grimacin/smilin. It was good to see. He seems really confident and comfortable. He put on a good show--sometimes waxing stellar. Mr. Tambourine Man choked in the middle. Bob dropped a line from All Along the Watchtower. Like a Rolling Stone, despite being a crowd pleaser, was uninspiring. But about half the songs were perfectly performed. His voice sounded good. He kept it low and avoided the high trademark unmelodic screech, for an expressive rasp and growl. A haunting version of Masters of War seemed extremely poignant in the light of Kosovo. Tangled Up in Blue was excellent. Not Dark Yet (the first time I'd heard it performed) was surprisingly effective considering that the studio version seems like it would be difficult to reproduce live. Highway 61 was a powerful, rocking wall of sound. And it all topped off with an inspired cover of Not Fade Away. My Buddy Holly obsessed wife actually started crying. The hall may have been too big, but we had a good time anyway. I felt several moments of Bob-induced ecstasy, moments that always surprise me, but for which I'm always grateful. I can't ask for more. There it is. In closing I'd just like to ask where the song O Babe, It Aint' No Lie comes from. Anyone know? Steve
On 8 Jun 1999 05:57:12 -0700, in rec.music.dylan anna@NMIA.COM (Ann Armijo) wrote: Show #1 Denver -- Show #2 Colorado Springs What I have to say about the Colorado Springs show I'll keep brief. Firstly, this show that Dylan's touring now is NOT by any means a stadium rocker' show, but rather, with the exception of a few electric songs, a finely crafted, acoustic-based collection of dazzling numbers that should be heard in full and clear detail, in a small and as acoustically perfect a venue as possible. Obviously, this is not the case for any of the upcoming shows, or indeed, even the next smallest venue in the tour to the Denver Fillmore, which was this next night in Colorado Springs. After the so-called warm-up show, it was not easy to sit through the next night's show with such horrible acoustics. The whole ceiling was metal, giving the sound a incredibly tinny and absolutely annoying resonance, which damn-near ruined it for me. Well, maybe it did. Everything sounded like it was coming from inside a big culvert, especially the vocals, which were so warbled and muddy sounding, it was almost impossible to distinquish one word from the next, and I know all the lyrics! Then the worst aspect of this acoustic nightmare was the way the sound bounced off the back wall, creating an echo. It's bad enough to hear the din but to hear it bonce back is just a crime. Well, there surely outta' be some kinda' law against it. 'Course, it was Simon who opened up the show with his big-band set, 12 musicians counting him,to be exact, and at least 2500 musical instruments. Okay. I'm exagerating, but it was too many, for my simple tastes. Pardon the bias. I can't navigate around it. But did he play ANY new songs? I'm not a big fan of his current and even not-so current stuff, but there was only one song I didn't recognize. I mean, all the Graceland and Rhythm of the Saints hits. Yawn till dawn. Rhythm of Saints when they're sleeping, you ask me. There's some rhythm to snoring, I've heard tell. Okay, they blew the whole deal, I'd say. Shoulda' saved the duets to be the super-grande finale, but instead, Bob walks out after this somewhat dull and hugely noisy Simon show and they try to find the same momentous atmosphere from the night before with the same duets, and it just didn't happen. Anyway, the rest of the stage was darkened, but it was possible to see that Tony had come out to play upright bass and one of Simon's band members was there on cello. Then Larry materializes on fiddle for the rocka'hillbilly medley. Yeah-yeah but something was lost in the shuffle. Wrong place mixed with the wrong time and you get too much o' nuthin'. And I'll say this much more. Oddly enough, though I think TUIB didn't work so well at the Fillmore, it was great in the Colorado Springs tin can arena. Go figure. Another point or two and I'll sign off. ALL ALONG THE WATCHTOWER was excellent and especially for the moments when Larry got to shine on it. He's such an immensely talented guitarist and it's a never-ending puzzle to me that Dylan doesn't let him play lead more often. Just as Larry got off some brilliant licks in this great song that opens itself wide up to endless jamming potential, Bob gave the nod to Tony to close it down. Dang. I swear, for a brief moment, I could even see the disappointment flash across Larry's face. So what about Charlie now? In my opinion, there's plenty of very skilled studio musicians that are capable of doing the job of playing rhythm guitar. If he's not going to be used to his full potential, Charlie Sexton should follow his own star, since it's shining so brightly already. There's plenty enough wasted talent up on that stage as is, but I predict he won't last. He's too young, too talented and too restless to take the backseat, when he's already been at the wheel of his own damn car since near-birth. Then again, he's ridin' 'round the world in Dylan's cherry-red El Dorado. Can't beat that, I reckon'. Just ask Ratso. Yeah, maybe he'll just kick back and enjoy the ride for a while. Guess that's a whole other fruit pie. AnnA 'Shake me up that old peach tree Little Jack Horner's got nuthin' on me'