>From iuvax!cogsci!dave Tue Aug 8 17:40:33 EST 1989 Status: RO Article 1 of rec.music.dylan: Path: iuvax!cogsci!dave >From: dave@cogsci.indiana.edu (David Chalmers) Newsgroups: rec.music.dylan Subject: Hello, concert review, etc. Message-ID: <24421@iuvax.cs.indiana.edu> Date: 8 Aug 89 22:34:54 GMT Reply-To: dave@cogsci.indiana.edu (David Chalmers) Organization: Indiana University, Bloomington Lines: 117 So rec.music.dylan finally made it up? Well, how 'bout that. I'm going to take this opportunity to be the first poster to the group on _my_ system at least. No doubt others around the country have already claimed the same privilege. Obvious topic: the tour, and the concerts. I only made it to one show, the one at Deer Creek (near Indianapolis) on July 8th. My memory of it is somewhat fuzzy, but here is a review: Deer Creek is a nice place for a show, an amphitheatre in the middle of nowhere, but with a well-designed layout that makes it seem cosy, and smaller than it really is. It was a warm night, the crowd was relaxed and ready for something interesting, not really knowing what to expect. Steve Earle was on first. Let's just say that he was inoffensive. Then on strode Dylan, with his three sidemen. My seats weren't best, so I can't give you a detailed report on facial expressions. The most obvious feature was a shock of distinctly red hair over a dark outfit. They immediately launched into a punchy number, which I'm ashamed to say that I didn't recognize for some time. It turned out to be "Most Likely You Go Your Way and I'll Go Mine," but believe me this sounded _very_ different to the version on Blonde on Blonde. It sounded good, though it would really need a couple of listens to get used to it. The most obvious feature, and the most obvious feature of the music all night, was the crisp, clean sound of the guitars, particularly G.E. Smith on lead. I didn't see the tour last year (living in a foriegn country, too far to cross the line), so I had never heard Dylan's music played so cleanly in a live show before. (In fact, I'd rarely heard it played so cleanly on an album, either. Infidels comes to mind as an exception.) The actual versions of the songs, however, continued to be weird. "Masters of War" was recognizable, but topsy-turvy in places. Obviously, you can't expect Dylan to put the same feeling into this one as he did in 1962. I'd rather see it retired, and replaced with something that means more to him. (One of the show's great blessings: he _didn't_ play Maggie's Farm!) The guitar gave it a lot of punch, though. I really enjoyed the version of "I Believe In You" which came next, though his voice was missing the golden edge of the studio version. "Shot of Love" was sung with a lot of energy, as was "All Along the Watchtower." (The guitar backing made a big difference here.) One of the highlights of the show for me was a song I didn't expect him to play, "You're A Big Girl Now," which he sang with a great deal of sensitivity. "Shelter From the Storm" wasn't quite such a novelty, but the crowd loved it. Next (I think; I may be muddling the order) was a song I didn't recognize, but which had the distinct feel of the "Times They Are A-Changing" album. It turned out to be "Waggoner's Lad," an old folk standard. The acoustic guitars threw me back to a time when Dylan was rather younger than he is today. I'm not sure, but I think that most or all of the last three songs mentioned were acoustic. The next song was the best of the bunch, and the best of the show for me. "It's Alright Ma, I'm Only Bleeding" with Dylan solo on acoustic guitar. He's played this one a lot of times, but it was still totally intense. Predictably, the line about the "president of the United States" sometimes having to stand naked got a big cheer. "Silvio" was never my favourite song, but the band seemed to be enjoying themselves. "Don't Think Twice, It's Alright" was great. Then he played the third of the evening's "Christian era" songs, "In the Garden." In the past I've seen him play this one as the last song before the encore, forcing the crowd to cheer it hugely, whether they wanted to or not. I always thought that was a nice trick. But this time, the last song of the main set was "Like A Rolling Stone," which I couldn't fault. Dylan got into, the band got into it, and the crowd got into it like they did on no other song all night. The encore was a great "Mr. Tambourine Man" (with variously mangled verses), and a mildly disappointing "Knocking On Heaven's Door." Then, after not much more than an hour, it was bye-bye Bob. Overall comments: great musicianship, and fascinating versions of some of the songs. I liked the song selection too; it was particularly good to hear frequently-ignored 70's songs like "Big Girl" and "I Believe In You." Dylan didn't seem to be 100% engaged by proceedings...some songs he threw off fairly perfunctorily. Further, he didn't say a word for the entire show, but I guess that's not expected of the old bastard. And of course, the show was way too short. But at it's best, this show was very good indeed; at its worst, it was still interesting. Set list: Most Likely You Go Your Way and I'll Go Mine Masters of War I Believe in You Shot of Love All Along the Watchtower You're a Big Girl Now Shelter from the Storm Waggoner's Lad It's Alright Ma, I'm Only Bleeding Silvio Don't Think Twice, It's All Right In the Garden Like A Rolling Stone *** Mr. Tambourine Man Knocking on Heaven's Door I've almost certainly got some details wrong: apologies. How about any one else who's seen him this summer posting some reviews and set lists? I've seen a couple in rec.music.misc, how about reposting those? It seems that as usual, Bob isn't keeping things constant from one night to the next. A Dylan show remains a gamble, but a worthwhile one! Other notes: congratulations to the at least *two* Dylan fans who have had babies in the last few days. I guess the combined excitement of the tour and the newsgroup has brought those babies out to take a look! Now just wait for the album... Which brings to me a final query. When is the rumoured new album coming out? I had heard September 5th, is this date still reliable? OK, I've rambled far too long already. -- Dave Chalmers (dave@cogsci.indiana.edu) Concepts and Cognition, Indiana University. "Whereof one cannot speak, thereof one must make it all up." >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Fri Aug 25 15:41:34 EST 1989 Status: RO Article 172 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Newsgroups: rec.music.dylan Subject: '89 Dylan tour Message-ID: <15246@dartvax.Dartmouth.EDU> Date: 25 Aug 89 14:16:50 GMT Reply-To: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Distribution: rec.music.dylan Organization: Corporate Microsystems, Inc. Lines: 117 FOUR DYLAN SHOWS IN AUGUST: one fan's impressions..... Mansfield...7/13 as always, the sound under the pavilion type of roof is not always excellent (usually it is worse than awful). for the first few numbers, it was pretty bad, and then some adjustments were made. I can hear the difference on the tape. By the time he got into his acoustic set it was really ok. For the encores, I managed to get up close, and I could see that he was really putting out all kinds of energy. clothes----black pants, black leather vest with lacing up the sides, white ruffled shirt. a real old-time mississippi riverboat gambler costume. great. Old Orchard...7/15 excellent sound, an outdoor place with no roof. quite a rowdy crowd. cool night and I was at the edge of the stage so I could see his breath as he sang and clouds of vapor pouring off of his hair. he was wearing the complete black suit and a white scarf at the neck so I couldn't really see his shirt. I think he really prefers people standing and pressing up close to the stage and making all kinds of ruckus. he seemed looser than the previous concert. high notes--a real rock'n'roll tune (his set list referred to 'Steve Earle song', but if you followed a recipe the way he followed his list, you might get ratatouille instead of chocolate chip cookies! anyway, the tune (which I'm calling 'nothing but you' is a real screamer, references to sweet sixteen, Maybelline, and Peggy Sue 'I don't want to hear 'bout no Peggy Suuuue, I don't wanta hear 'bout nothing but chhoooo') and a song called maybe 'Boston boy' or 'two brothers', an old traditional (?) ballad type of tune. For me, one of the big highlights was leopard-skin pill-box hat. Can anything from Blonde be anything but great? Shot of love was none too shabby either. Hollis Brown..what can I say. Bristol...7/16 the rain started by the time I was half an hour out (into mid-Vermont) and it didn't let up until Dylan got into his set. Then it stayed dry until toward the very end, at which time it started pouring again..my god, it was the monsoon--all the way home (3:30 am) at any rate, only the truly dedicated could have put up with such discomfort, and there were many such fans this night. the place is a kind of amusement park with a big roller coaster and everything, out in the open, no roof, wooden seats embedded in concrete fanning out from the stage. the security was "aisle nazi" type, and several people I knew about got ejected, so god knows how many more there were. I tried hard to be good, so I was allowed to stay. sat in the 20th row but I had good binox, only problem was keeping them dry enough to see anything at all. because of the weather there were some technical difficulties such as the speakers being covered with giant garbage bags for a while. even so, the sound was fine. we got all the rain songs!!! I'd been crossing my fingers for hard rain and I get it in spades. Early morning rain was like no version I've heard before. I believe in you was a complete surprise, but following it with I don't believe you was something only Dylan would do. what a wit. here's a list of all the songs he played in July, in order played. Pancho and Lefty One Irish rover I believe in you Memphis blues I want you Highway 61 Mr Tambourine man don't think twice it ain't me babe Silvio leopard-skin pill-box hat like a rolling stone blowin' in the wind knockin' on heaven's door Maggie's farm everybody's movin' absolutely sweet Marie Hollis Brown tears of rage seeing the real you at last gotta serve somebody love minus zero/no limit it's alright, ma girl from the north country pledging my time the times they are a-changin' all along the watchtower early morning rain drifting too far from shore John Brown you're a big girl now I dreamed I saw St Augustine in the pines to Ramona just like Tom Thumb's blues when did you leave heaven? masters of war most likely you go your way lonesome town shelter from the storm simple twist of fate I shall be released Barbara Allen I don't believe you it's all over now, baby blue tomorrow is a long time she belongs to me Hattie Carroll and it stoned me shot of love wagoner's lad in the garden forever young I'll be your baby tonight ballad of a thin man boots of Spanish leather rainy day women $12 &35 subterranean homesick blues nothin' but you two brothers (Boston boy) it's a hard rain's a-gonna fall gates of Eden legend in my time Lenny Bruce mama, you been on my mind trouble just like a woman I'll remember you song to Woody you don't know me confidential pretty Peggy-O one too many mornings true la la it takes a lot to laugh don't pity me quite impressive, I thought. covers his range well. not everything I heard him do was always done to 'perfection' (whatever that is). The acoustic sets were always wonderful. GE Smith is allowed to sing on only one song, as far as I know- Silvio (chorus only), and when he screwed up he got real dirty looks from Bob. the screwups were on an addition to the chorus where they echo the line 'only dead men know' X number of times, and sometimes GE got carried away and added an X+1th time--oops! By and large, however, they got better and better at their duo acoustic sets. From my 3rd show to my 4th they had a couple of weeks to practice, and by Joliette they were incomparable. Radio City should be absolute dynamite. Liz Bradley Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) CompuServe (76267,413) (603) 448-5193 (BellNet) >From iuvax!uxc.cso.uiuc.edu!csd4.csd.uwm.edu!mailrus!ncar!boulder!stan!gerber Fri Sep 1 20:05:17 EST 1989 Status: RO Article 213 of rec.music.dylan: Path: iuvax!uxc.cso.uiuc.edu!csd4.csd.uwm.edu!mailrus!ncar!boulder!stan!gerber >From: gerber@Solbourne.COM (Andrew Gerber) Newsgroups: rec.music.dylan Subject: Dylan, 8.31.89, Fiddler's Green, Englewood, CO Message-ID: <2222@nacl.Solbourne.COM> Date: 1 Sep 89 16:46:34 GMT Organization: Solbourne Computer Inc., Longmont, Co. Lines: 27 Bob played in the Denver area last night. Fiddler's Green is an open ampatheatre, similar to Great Woods in MA but without a roof over the seating area. It's in the middle of an office park area, instead of having a separate parking area, you park in the empty lots by the office buildings. I don't have a setlist, but he went on at about 8:35 and played until perhaps 10:20. Highlights were Mr Tamborine Man, Maggie's Farm, a rockin' Sylvio, and It's All Over Now, Baby Blue. [the guy next to me says "Isn't this a Dead tune"?] There were many empty seats; I purchased my tickets 3 weeks after they went on sale and was only 16 rows from the stage! For the people who have seen Dylan on tour this summer, how much of the guitar is Dylan playing and how much is G.E. Smith playing? It seems that in G.E. Smith, Dylan has found someone who can play guitar exactly like him. I enjoyed the show. Perhaps not as powerful as the same show last year, but certainly better than Dylan & The Dead two years ago. andy -- / Andrew S. Gerber / Solbourne Computer, Inc / / gerber@solbourne.com / 1900 Pike Rd, Longmont, CO 80501 / / ...!{nbires,sun,boulder}!stan!gerber (303) 678-4606 / >From iuvax!mailrus!csd4.csd.uwm.edu!cs.utexas.edu!swrinde!ucsd!ucbvax!hplabs!hplabsb!dispoto Tue Sep 5 14:17:35 EST 1989 Status: RO Article 223 of rec.music.dylan: Path: iuvax!mailrus!csd4.csd.uwm.edu!cs.utexas.edu!swrinde!ucsd!ucbvax!hplabs!hplabsb!dispoto >From: dispoto@hplabsb.HP.COM (Gary Dispoto) Newsgroups: rec.music.dylan Subject: Dylan's guitar playing on this tour Message-ID: <5409@hplabsb.HP.COM> Date: 5 Sep 89 16:23:19 GMT References: <2222@nacl.Solbourne.COM> Reply-To: dispoto@hplabsb.UUCP (Gary Dispoto) Organization: Hewlett-Packard Labs, Palo Alto, CA Lines: 26 In article <2222@nacl.Solbourne.COM> gerber@Solbourne.COM (Andrew Gerber) writes: >For the people who have seen Dylan on tour this summer, how much of >the guitar is Dylan playing and how much is G.E. Smith playing? It >seems that in G.E. Smith, Dylan has found someone who can play guitar >exactly like him. Glad you asked that! I just saw Bob Sunday evening at the Greek theater in Berkeley and one thing that struck me about the show was the strength of his guitar playing -- alot better and more audible than on the last few tours. Most of the show he played electric and he was playing very good rhythm guitar and even took a lead every now and again. I think G.E. is a good choice of second guitar, as he doesn't crowd Bob out (although he was a bit loud at times). Also, there were alot of long instrumental intros and breaks in many of the songs, beginning with a long lead-in to the opener, Positively 4th St. I don't have a setlist, perhaps someone else can type one in. Some tunes off the top of my head : Tamborine Man, Baby Blue, Alot to Laugh, Trian to Cry, Baby Let Me Follow You Down, Like A Rolling Stone, I Want You, Ballad of a Thin Man. Hmmm, looking at those, Irealize there wasn't much newer stuff. Bye! Gary >From iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw Wed Sep 6 14:02:11 EST 1989 Status: RO Article 229 of rec.music.dylan: Path: iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw >From: jojw@uhura.cc.rochester.edu (John J. Wood) Newsgroups: rec.music.dylan Subject: Setlist for ZIMMY at the Greek - September 3rd. :-) Message-ID: <2953@ur-cc.UUCP> Date: 6 Sep 89 16:43:06 GMT Reply-To: jojw@uhura.cc.rochester.edu (John J. Wood) Organization: University of Rochester Lines: 51 A warm THANK YOU to lovely Laurae Pearson for passing this on (and her very kind words:-) to me..... September 3, 1989 The Greek Theatre Berkeley, Ca. Positively 4th Street The Harder They Come John Brown I Want You Ballad Of A Thin Man The Man In Me Baby, Let Me Follow You Down * It's All Over Now, Baby Blue * Gates Of Eden * Mr. Tambourine Man * Rank Strangers To Me * It Takes A Lot To Laugh, It Takes A Train To Cry Queen Jane Approximately I Shall Be Released Like A Rolling Stone ENCORE: Don't Think Twice, It's Alright * All Along The Watchtower * - acoustic Now....WHO HAS THE TAPE(S)?????:-):-):-) If so, please email me after September 13th, the day I will start making tapes of 7/19/89 (Merriweather Post) for y'all out there!!:-):-):-):-):-) Catfish John W. P.S. to Loren Rosen - Loren, please email me regarding your trade. I've replied to your initial letter, but haven't received a reply (did it make it there? :-)... "Wel, the wintertime is coming and the windows are filled with frost..." >From iuvax!cica!ctrsol!ginosko!uunet!mcsun!sunic!enea!olof Thu Sep 7 17:11:16 EST 1989 Status: RO Article 242 of rec.music.dylan: Path: iuvax!cica!ctrsol!ginosko!uunet!mcsun!sunic!enea!olof >From: olof@enea.se (Olof Bj|rner) Newsgroups: rec.music.dylan Subject: European Tour 89 Summary (long) Message-ID: <272@enea.se> Date: 6 Sep 89 21:31:43 GMT Reply-To: olof@enea.se (Olof Bj|rner) Organization: Enea Data AB, Sweden Lines: 151 UUCP-Path: mcvax!kth!sunic!enea!olof EUROPEAN TOUR '89. Highlights: * 21 shows, 71 songs! * same band as 1988, but bassist Tony Garnier replaced Kenny Aaronson beginning with the 2nd Dublin show due to Aaronson's illness. * show structure as 1988: 6 electric (2nd often a 'surprise') 3-4 acoustic 3-4 electric -- encore: 1-2 acoustic 1-2 electric (last number often Maggie's Farm (*sigh*)) * all shows had unique set lists * no show in Germany, Austria or Switzerland! * opening show originally planned in Oslo but cancelled. * after Helsinki there were two shows planned in Leningrad, but they too were cancelled for reasons unknown. * Congratulations and Tears Of Rage (!) made their live debut * a number of new covers: You Don't Know Me My True La-La (??) - rumored to be a new Dylan composition (!?!?!) When Did You Leave Heaven (3rd live song from Down In The Groove) Peace In The Valley Pancho And Lefty Making Me Believe (?) And also an so far unknown song. * Trail of the Buffalo played electric * 1st live acoustic version of 'Every Grain of Sand' with harmonica! Itinerary: date location ---- -------- 5/27 Christinehof, south of Sweden 5/28 Stockholm 5/30 Helsinki 6/3 Dublin 6/4 Dublin 1st show with Garnier 6/6 Glasgow 6/7 Birmingham 8 London 10 Den Haag 11 Brussels 13 Frejus, France with Ringo Starr on Highway 61 & Rolling Stone 15 Madrid 16 Barcelona 17 San Sebastian (Spain) 19 Milan 20 Rome 21 Cava dei Tirreni (south Italy) 22 Livorno 24 Istanbul 26 Patras, Greece 28 Athens with Van Morrison on two songs from Moondance during encore. In the table below A stands for Acoustic, + for a song that starts acoustic and ends electric, and M for vocal by Van Morrison. May June 27 28 20 3 4 6 7 8 10 11 13 15 16 17 20 20 21 22 24 26 28 Subterranean 1 1 1 1 1 1 1 1 1 You Don't Know Me 2 2 Most Likely 3 1 1 2 1 1 1 1 1 1 Baby Blue 4 2 3 Big Girl Now 5 4 4 3 5 4 2 5 2 Like A Woman 6 4 5 5 5 3 5 Blowin' A 7 13 14 15 14 8 10 Don't Think 2 A 8 8 8 9 8 10 Gates Of Eden A 9 7 7 8 9 7 Silvio 10 11 12 11 10 10 10 11 11 11 11 11 11 12 11 12 11 Released 11 12 11 11 12 13 12 12 10 11 12 12 13 Rolling Stone 12 13 14 14 12 12 12 13 13 14 12 13 13 13 13 13 12 13 14 14 14 Girl Of North C A 13 16 8 8 8 8 15 Love To Rose + 14 Maggie's Farm 15 15 16 15 15 17 16 16 16 15 16 16 15 16 18 18 The Times 1 1 My True Lala (?) 2 1 Watchtower 3 6 17 6 6 5 15 4 15 10 16 6 10 3 16 Simple Twist 4 4 4 4 4 4 27 28 20 3 4 6 7 8 10 11 13 15 16 17 20 20 21 22 24 26 28 Thin Man 5 4 4 4 11 7 5 Highway 61 6 6 3 6 6 11 6 6 6 6 6 6 Tambourine Man A 7 8 8 8 9 7 9 9 14 9 7 14 9 9 9 8 Ain't Me Babe A 8 8 9 8 12 7 8 17 Eileen Aroon A 9 10 15 Knockin' + 10 11 10 14 14 15 15 9 9 10 10 15 14 15 11 11 Leave Heaven? 12 2 Boots Of Sp. L. A 14 10 13 7 Confidential 2 Hollis Brown 3 5 3 2 4 3 Memphis Blues 5 6 3 6 5 6 3 2 To Ramona A 7 9 14 14 7 Hattie Carroll A 9 9 9 15 15 9 In The Garden 13 11 12 10 12 12 13 The Times A 15 13 14 13 16 Remember You 2 2 John Brown 3 5 2 3 2 Every Grain 5 Water Is Wide 13 27 28 20 3 4 6 7 8 10 11 13 15 16 17 20 20 21 22 24 26 28 Masters Of War 3 3 3 3 3 Barbara Allen A 7 7 7 7 8 7 15 One Too Many M. A 13 14 14 9 16 Congratulations 2 16 Lonesome Town 2 Baby Tonight 4 5 Shelter 5 4 5 3 5 4 I Don't B. You 10 6 Trail Of Buffalo 11 On My Mind A 10 7 8 Pontchartrain A 7 8 15 Peace In The V. 14 Man Gave Names 15 Unknown Title 2 12 A Lot To Laugh 3 Song To Woody A 7 Sweet Marie 2 Hard Rain A 7 Forever Young + 10 Shot Of Love 5 4 27 28 20 3 4 6 7 8 10 11 13 15 16 17 20 20 21 22 24 26 28 Tangled Up 1 Pancho And Lefty 4 Real You At Last 5 I Want You 6 The Man In Me 10 Making Me Believe 2 Wade In The Water 6 Leopard-Skin 13 Tears Of Rage 2 Two Soldiers A 10 Every Grain A 9 Crazy Love M 17 And It Stoned Me M 18 Total # of songs 15 15 16 17 15 15 17 16 15 16 16 15 15 16 16 16 15 16 18 16 18 Olof Bj|rner Enea Data, Taby, Sweden olof@enea.se >From iuvax!cica!tut.cis.ohio-state.edu!brutus.cs.uiuc.edu!apple!sun-barr!newstop!sun!crm114!nmacavoy Mon Sep 11 16:49:46 EST 1989 Status: RO Article 277 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!brutus.cs.uiuc.edu!apple!sun-barr!newstop!sun!crm114!nmacavoy >From: nmacavoy@crm114.Sun.COM (Neil MacAvoy [My Other Machine]) Newsgroups: rec.music.dylan Subject: Re: Dylan in Berkeley (review) Message-ID: <124462@sun.Eng.Sun.COM> Date: 11 Sep 89 21:23:45 GMT References: <5409@hplabsb.HP.COM> <6394@hubcap.clemson.edu> <5414@hplabsb.HP.COM> Reply-To: nmacavoy@sun.UUCP (Neil MacAvoy [My Other Machine]) Organization: Sun Microsystems, Mountain View Lines: 84 Here's the review from the SJ Mercury. Dylan: creative tension at Berkeley (by Harry Sumrall) Bob Dylan has always been, to borrow from Churchill, an enigma wrapped in a mystery. He has never done or been what his fans thought he should do or be, changing his music as often as he has changed his personal stance. In life and on stage, he has been subject to wildly varying, mercurial frames of mind. This constantly searching, evolving nature has made him, along with the likes of Pete Townsend and David Byrne, one of the few functioning intellects left in rock 'n' roll. But none of this explains Dylan's mystifying performance Sunday before a sold-out crowd at U.C. Berkeley's Greek Theater. Backed by a three-piece group led by Saturday Night Live guitarist G.E. Smith, Dylan made a point of being as obstreperous and annoying as possible. Like one of the old rural bluesmen, he seemed to be playing in his own universe and forced his mates to follow along as best they could. He began the show with a plodding set of chords on his guitar, wheezing simultaneously on his harmonica. The band fell in with him only to be cut loose, as he wandered off musically, out of beat and off key, stopping abruptly at several points. Finally, he made his way back to the group and spit out the venemous words of "Positively 4th Street" in fitful, barely intelligible syllables. The crowd reacted hesitantly, not sure if this were some sort of joke. If it was, Dylan must have laughed for the rest of the night, because this proved to be his new style of playing, one that he maintained for the length of his show. In a similarly slaphappy manner, he shredded such hits as "Mr. Tambourine Man," "I Want You" and others, seeming to purposely stumble over the words, singing out of tune and time, sundering melodies to the point that -- in an odd reversal of rock performance practices -- the only way to discern each song was by its words, not its chords and melodies. Half way through the two-hour show, the drummer and bassist departed, and Dylan and Smith slogged on with their acoustic guitars. "Gates of Eden" and "It's All Over Now, Baby Blue" and others came and went, the tension building every time Dylan strummed a chord, as if no one in the place, especially Smith, seemed to know what he might do next. But after a time, when the ears and mind became accustomed to this eccentric performance, it all fell into place. Dylan's confrontational attitude and wicked voice created a sense of tension that was immense and riveting. Was this the purpose? It was impossible to say, and because of that, it was all the more intriguing. The drummer and bassist came back out after a while and Dylan grew more intense as he unraveled his songs further, ending with a version of "Like A Rolling Stone" that sounded the way the Sex Pistols might have played it, if someone had forced them to do it. He left the stage without a word, coming back to do encores of "Don't Think Twice, It's All Right" and "All Along the Watchtower," with a savage loose- ness, slashing out the final chords indefinitely, as the group tried to decide when he might actually stop. Again, as he left, not a word. He didn't say one word outside a song the entire night. This mesmerizing, mysterious performance all but obscured a fine opening set by the irascible Pogues. This punk/traditional Irish folk group might have stolen any other show, with their raucous and idiosyncratic versions of such folk tunes as "Star of the County Down." But after Dylan had had his way with his group, the crowd and, perhaps, himself, it was tricky recalling anything that had come before. That in itself was a crucial accomplishment. Many years ago, rock -- and rockers -- were dangerous. They lived and played with a disregard for established behavior -- and playing -- that was at times off-putting, bothersome, wrong, but in the most exhilirating of ways. Either purposely or inadvertently, Dylan created this same feel with his delirious performance. It wasn't pretty (in fact it seemed to be anti-pretty). But it made one think twice about Dylan, his motives and his music. And that was all right. (Harry Sumrall is the San Jose Mercury News pop music writer) Internet: nmacavoy@Eng.Sun.COM >From iuvax!rutgers!ucsd!ucbvax!dewey.soe.berkeley.edu!berger Tue Sep 12 16:10:21 EST 1989 Status: RO Article 283 of rec.music.dylan: Path: iuvax!rutgers!ucsd!ucbvax!dewey.soe.berkeley.edu!berger >From: berger@dewey.soe.berkeley.edu (Daniel Berger) Newsgroups: rec.music.dylan Subject: Re: Dylan in Berkeley (review) Message-ID: <31272@ucbvax.BERKELEY.EDU> Date: 12 Sep 89 20:43:59 GMT References: <5409@hplabsb.HP.COM> <6394@hubcap.clemson.edu> <5414@hplabsb.HP.COM> <124462@sun.Eng.Sun.COM> Reply-To: berger@dewey.soe.berkeley.edu.UUCP (Daniel Berger) Organization: School of Education, UC-Berkeley Lines: 21 It is funny, for once the SF Chronicle gave Dylan a good review, but as the last posting shows, the S J Mercury did not like the show at all. Personally, this was the best Dylan concert I've seen in a long while. When he played here in the Bay Area last year with the same band, it was fun but lacked "umph" - at the Greek this year Dylan was ON! The difference between this year and last year would make you think that he had a completely different band. I was fortunately dead center in the 3rd road, and it was sometimes hard to make out the words (what else is new). Furthermore, he was playing "follow the leader" (i.e. "We are playing the song in this key tonight this way..."), but from interviews with musicians who have played with him in the past - this is Standard Operating Procedure with BD. Many have commented this is an interseting, sometimes frustrating, yet enjoyable challenge. So, basically, screw critics - I am pretty sure they have all written their reviews before they make it to a concert. Daniel >From iuvax!cogsci!dave Sat Sep 23 18:43:44 EST 1989 Status: RO Article 362 of rec.music.dylan: Path: iuvax!cogsci!dave >From: dave@cogsci.indiana.edu (David Chalmers) Newsgroups: rec.music.dylan Subject: Re: Catfish John W.'s reply to DYLAN & THE DEAD (was Re: Live Album(s)) Message-ID: <26494@iuvax.cs.indiana.edu> Date: 23 Sep 89 23:39:04 GMT References: <124999@sun.Eng.Sun.COM> <9661@cbnews.ATT.COM> <3097@ur-cc.UUCP> <8909232203.AA08812@cscwam.UMD.EDU> <3102@ur-cc.UUCP> Reply-To: dave@cogsci.indiana.edu (David Chalmers) Distribution: na Organization: Indiana University, Bloomington Lines: 20 Keywords: John J. Wood writes: >Oh, I do have one thing to clear up: to those of you who have copies >of 7/19/89, I truly made a boo-boo and had labeled the second song >"Pledging My Time". Fortunately, John Howells caught this and thought >it was a song called "A Legend In My Time". I can say that I have never >heard this song before by any artist, let alone Zimmy. My apologies >to all for the embarassing goof-up. So, can anyone out there follow >this up? Consulting my definitive guide to the '89 tour setlists...the second song on 7/19/89 is "(I'd Be) A Legend In My Time", by Don Gibson. Described by the Rolling Telegraph Supplement as "a little gem...sung with some verve." It seems that the second song of the set is reserved for a "surprise song" in many of the shows on this tour. -- Dave Chalmers (dave@cogsci.indiana.edu) Concepts and Cognition, Indiana University. "Whereof one cannot speak, thereof one must make it all up." >From iuvax!mailrus!tut.cis.ohio-state.edu!ucbvax!hplabs!hplabsb!dispoto Thu Sep 28 13:57:22 EST 1989 Status: RO Article 375 of rec.music.dylan: Path: iuvax!mailrus!tut.cis.ohio-state.edu!ucbvax!hplabs!hplabsb!dispoto >From: dispoto@hplabsb.HP.COM (Gary Dispoto) Newsgroups: rec.music.dylan Subject: Recent tours and albums Summary: seem to be unrelated. Message-ID: <5444@hplabsb.HP.COM> Date: 28 Sep 89 17:08:43 GMT Reply-To: dispoto@hplabsb.UUCP (Gary Dispoto) Organization: Hewlett-Packard Labs, Palo Alto, CA Lines: 15 Anyone notice how Dylan's tours and albums from recent years seem to be unrelated to each other? What I mean is that when he tours he doesn't really seem to be promoting this latest album at all. He normally plays maybe 1 song from the album it would seem he "should" be promoting. Also, the band he tour with usually is not the band he records with. For example, the GE Smith lineup doesn't appear on Oh Mercy. Speaking of GE, he's lasted quite a while for a Dylan guitarist -- most don't last through two tours. Bob must really like his live playing. Another useless post from, Gary Dispoto. Hey, someone's got to post something here. >From iuvax!rutgers!att!cbnewsh!kraz Wed Oct 11 14:57:43 EST 1989 Status: RO Article 437 of rec.music.dylan: Path: iuvax!rutgers!att!cbnewsh!kraz >From: kraz@cbnewsh.ATT.COM (allen.s.krasna) Newsgroups: rec.music.misc,rec.music.dylan Subject: Emperer dylans new clothes Keywords: IMHO Dylan lay a bomb at the beacon Message-ID: <4653@cbnewsh.ATT.COM> Date: 11 Oct 89 13:45:24 GMT Organization: AT&T Bell Laboratories Lines: 36 Xref: iuvax rec.music.misc:35616 rec.music.dylan:437 OK fine I am shallow. When I go to a dylan show I really do mostly go to hear the basic hits. When I go to dylan I want to hear 1. Like a 2. Blowin' 3. All along 4. Tangled up in blue 5. stuck inside 6. knockin on heavens door and any other stuff from greatest hits 1,2 and biograph and some other now stuff. Last night I went to see him at the beacon. Granted last time I saw him was with Petty, AND I sat 2nd row and I was next to Andy Warhol and Rich Ocassic and Dylan waved at mee so It was tough to beat, BUT last night SUCKED. He did not say one word not a hello or a thank you. His head never stopped staring at his shoes. And worst of all he was so Dylan that Even Dylan seemed like a copy of Dylan. He naseled every word and you could not hear a thing. The sound syste mwas really cappy. OK fine he played a small place so he could just jerk off musically and not HAVE to please his fans, but THIS WAS CRAP. The worst thing was that the Psuedo Intellectual crowd there was so hip on it, I really flet like he was testing to see if these people would love him cause it is so hip to love him even though he stunk. Ok maybe I am shallow but I did not like that show. Just one man's words. Allen S. Krasna -- Is it a crime to play Traveling Wilburys, and TONE LOC on the same CD player? >From iuvax!cica!ctrsol!uakari.primate.wisc.edu!brutus.cs.uiuc.edu!psuvax1!rutgers!att!cbnewsh!doug Wed Oct 11 14:59:59 EST 1989 Status: RO Article 439 of rec.music.dylan: Path: iuvax!cica!ctrsol!uakari.primate.wisc.edu!brutus.cs.uiuc.edu!psuvax1!rutgers!att!cbnewsh!doug >From: doug@cbnewsh.ATT.COM (douglas.sulpy) Newsgroups: rec.music.dylan Subject: Bob at The Beacon, Oct. 10th Message-ID: <4670@cbnewsh.ATT.COM> Date: 11 Oct 89 14:46:34 GMT Organization: AT&T Bell Laboratories Lines: 89 2500 people got to see Bob's first post-Oh Mercy performance last night at the Beacon in NYC. Luckily, I was one of them. Here's what went down: The opening act was some band from Boston that I never heard of. They played Blues tinged stuff that basically all sounded the same. The audience didn't seem particularly interested. Lead singer: "...Bob will be out at 9:10. I promise..." Bob comes out. Same band as usual. Bob isn't wearing a leather jacket! Almost looks like normal clothes. A good sign.... 1. Seeing The Real You At Last A powerful beginning to the show. Lots of energy - more so than on Empire Burlesque. The song winds down into a kind of "Seeing You At Last" variation, and then right into... 2. What Good Am I? This is the point where you sit back, and some part of your brain (the 5% not involved in listening to the music) goes "Ahhhhhhh!". I half-feared Dylan would ignore the new album completely. Song jams, winds down, and then right into... 3. Deadman, Deadman Terrific song, again, more powerful than the studio version on Shot Of Love. Reminds me why I like that album so much. Extended jamming at end, something found on most of the performances last night. 4. Ballad Of A Thin Man Bob remembers all the words, and puts them in the right places. Musically, a nice follow-up to Deadman. 5. Most Likely You Go Your Way... 6. Positively 4th Street 7. Hollis Brown Nice beat, but he could've substituted Brownsville Girl and >I< wouldn't have complained... :-) 8. Rank Strangers To Me Worth the price of admission >ALONE<. This is one of those songs that's just a treat to hear. Acoustic into electric. Extended harmonica squalking at the end. Hmm. Obviously Bob can play harmonica well. So why's he up there just kind of making strange noises on it? Must be he just feels like it, in which case I guess it's okay with ME... :-). 9. Girl From The North Country 10. It's All Over Now Baby Blue 11. Mr Tambourine Man No slurring the lyrics. No screwing around. Audience begins to glow. 12. It Takes A Lot To Laugh, It Takes A Train To Cry Back to electric! What a nice rocking number to switch over too. Audience begins to collectively think: "God, I hope he doesn't do Maggie's Farm!". 13. Band begins some other song, plays a bar or two, and then Bob stops them and plays those distinctive introductory notes to... Everything Is Broken The rocking highlight of the night. Very loud. Very powerful. Bob spits out the words with force, even though he only seems to remember half of them. What a treat! Near the end of 'Broken' it gets louder and louder, rises to a crescendo and then... 14. Like A Rolling Stone The perfect topper. Not as "rocking" a song as "Broken", but more powerful in a different kind of way due to its emotional significance. Crowd rises to it's collective feet, and sings along. Bob's strap or something breaks halfway through. G.E. Smith covers nicely. Bob picks up his acoustic guitar and bangs away (great!) the rest of the song. No one feels particularly inclined to stop. Bob improvises a harmonica solo (!). Guitars come back in and finish off the song. Audience goes wild. Bob stomps off, as usual. People cheer, waiting for the encore, hoping against hope Bob doesn't do Maggie's Farm. Encore. Bob comes out, and plays... 15. Most Of The Time Beautiful. Bob sings it perfectly, and you realize the song is even BETTER without Lanois' production tricks. Something you never thought you'd be lucky enough to hear, particularly since Bob had already played two songs from "Oh Mercy" during the show (which was about double what >I< really expected). 16. All Along The Watchtower Very loud. Theater begins to shake. Ahhhh.... The biggest difference this time around is the extended improvisation during almost every song. Bob had tried some of this the last time around, but there was much more of it here. The band was very tight. G.E. Smith seems to have the ability to follow Dylan, who evidently re-arranges his own songs as he goes along. The first four songs, and several other throughout the night also ran right into each other. This is also something I don't remember happening from previous tours. Bob played a lot of harmonica, although some of it made you wonder just WHAT he was trying to play. Bob got the words right, except to "Broken", and sung them in time with the band, something he evidently forgot to do during that turgid "Dylan and The Dead" thing. And, of course, his lineup has been strengthened even further by the addition of the fantastic cuts from the new album. If anyone else was there, or attends the concerts on this tour, post your impressions, and the song listings. >From iuvax!mailrus!tut.cis.ohio-state.edu!bloom-beacon!eru!luth!sunic!enea!olof Thu Oct 12 12:07:24 EST 1989 Status: RO Article 455 of rec.music.dylan: Path: iuvax!mailrus!tut.cis.ohio-state.edu!bloom-beacon!eru!luth!sunic!enea!olof >From: olof@enea.se (Olof Bj|rner) Newsgroups: rec.music.dylan Subject: Fall tour Message-ID: <335@enea.se> Date: 8 Oct 89 21:30:35 GMT Reply-To: olof@enea.se (Olof Bj|rner) Organization: The Stockholm Dylan Society Lines: 25 UUCP-Path: mcvax!kth!sunic!enea!olof So a new (?) tour starts on Tuesday. Let's see at least one review here for each show this time!! For all of us that couldn't make it, please tell everything, the band, the set-list, arrangements, performance, clothes (well...), and of course everything he said (should be real easy :-) !! And here's the dates: (thanks Liz !! :-) :-)) October November 10-13 Beacon Theater NYC 1 Ann Arbor MI 15-16 Upper Darby PA 2 Cleveland OH 17-18 Constitution Hall DC 4 Univ. of Penn., Ind., PA 20 Mid-Hudson Arena, Poughkeepsie NY 6 Blacksburg VA 22 Univ. of Rhode Island 7 Norfolk VA 23-25 Opera House, Boston 8 Duke Univ., Raleigh NC 27 Palace Theater, Albany NY 10 Atlanta GA 29 Ithaca College, Ithaca NY 12-13 Miami FL 31 Arie Crown Theatre, Chicago 14-15 Tampa FL ================================================================================ | ___ __ | Olof Bjorner, olof@enea.se | | / ) / __ / | Tfn: +46 76461318 | | / / / /:-) /_ | Murkelvagen 12, S-184 34 AKERBERGA, SWEDEN | | (___/ (__ (__/ / | Enea Data AB, Box 232, S-183 23 TABY, | | / | SWEDEN, Tfn: +46 87922500 | ================================================================================ >From iuvax!cica!tut.cis.ohio-state.edu!rutgers!att!unix!spock Thu Oct 12 12:09:22 EST 1989 Status: RO Article 459 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!rutgers!att!unix!spock >From: spock@unix.ATT.COM (Steve Horvath) Newsgroups: rec.music.dylan Subject: Re: Bad Show, Oct. 10th??? Message-ID: <4702@unix.ATT.COM> Date: 12 Oct 89 11:37:52 GMT References: <2318@hydra.gatech.EDU> <27463@iuvax.cs.indiana.edu> <4679@cbnewsh.ATT.COM> Distribution: usa Organization: Someplace in New Jersey Lines: 30 In article <4679@cbnewsh.ATT.COM>, doug@cbnewsh.ATT.COM (douglas.sulpy) writes: > --------------------------------------------------------------------------- > I >HAD< written a nice flame to A. Krashna's "review" of the Beacon show. > But after I wrote it, I spoke to a friend, whose comment was, perhaps, > more beautifully succinct and correct: "What is this guy...twelve?" So had I, but I aborted the follow up. It's funny because your (Doug's) and AK's review were posted within the same hour (from the same computer). I couldn't believe you guys were talking about the same show. Also, I saw alot of Dylan classics in your set list, but I guess A.K. was looking for Andy Warhol or Ric Ocasak :-) I can't talk about the beacon show cause I wasn't there, but I saw him a couple months ago and in '88 at the Arts Center (NJ), and enjoyed both shows. I also like G.E.'s guitar playing. I have to agree with those who say his singing is like Dylan doing Dylan lately (at least in concert). Much more intentional "pitch changes" in his voice, especially when he does the old classics (to make them sound different?). I'll have to check out this new album that there is so much talk about. Also a question to Dylan fans: I notice a big difference in sound quality in Side 1 and Side 2 of the Freewheelin' album. Side 2 sounds very muddy compared to Side 1 (and the other acoustic albums). I was wondering if it was just my copy, it had one of those "nice price" stickers on it. How 'bout the CD? Is the quality on the CD consistent throughout? -- +-----------------------------------------------------------------+ | Steve Horvath | Guitars, Cadillacs, etc. etc. | | spock@homxc.att.com | <-- Please use this e-mail address. | +-----------------------------------------------------------------+ >From iuvax!mailrus!tut.cis.ohio-state.edu!navajo.cis.ohio-state.edu!johnson Mon Oct 16 13:46:04 EST 1989 Status: RO Article 489 of rec.music.dylan: Path: iuvax!mailrus!tut.cis.ohio-state.edu!navajo.cis.ohio-state.edu!johnson >From: johnson@navajo.cis.ohio-state.edu (Jeremy Johnson) Newsgroups: rec.music.dylan Subject: Friday the 13th Dylan Show Message-ID: <66921@tut.cis.ohio-state.edu> Date: 16 Oct 89 15:38:42 GMT Reply-To: Organization: Ohio State University Computer and Information Science Lines: 39 Enter Dylan, spoofed up and wearing a "gold" suit. It's hard to believe, but Bob was ready to put on a show for the sold out Friday night crowd at the Beacon theater. In fact, it appeared that Bob actually enjoyed himself. He was dancing (at least for Dylan) during a rocking "Man of Peace", intensely singing the lyrics to his new songs, beaming through "Like a Rolling Stone", and he exited through the audience, even shaking a few hands, during a romping "Leopard-skin Pill-box Hat". The audience all stood up and approached the stage after the first few chords of Rolling Stone. Don't quote me, but I think Dylan was touched. If you can't tell, I thoroughly enjoyed the show - especially the songs off of "Oh Mercy" and the acoustic set. Here is the set list to the best of my memory. 1) Seeing the Real you at Last 2) What Good am I? 3) Man of Peace 4) Precious Memories 5) Simple Twist of Fate 6) Stuck inside of Mobile with the Memphis Blues Again 7) Don't Think Twice, it's All Right (Acoustic) 8) Song to Woody (Acoustic) 9) The Lonesome Death of Hattie Carroll (Acoustic) 10) Everything is Broken (True to the song, Dylan broke a string) 11) I'll Remember You 12) It Takes a Lot to Laugh, it Takes a Train to Cry 13) In the Garden 14) Like a Rolling Stone 15) The Man in the Long Black Coat (encore) 16) Leopard-skin Pill-box Hat (encore) My personal favorites were (8), (12), and (15). P.S. I have a copy of the New York Times' review. Does anyone out there know if it is ok to post it (or atleast excerpts)? If it is ok, and there is an interest, I will post the review. -=- - Jeremy Johnson "She gave her heart to the man in the long black coat" >From iuvax!cica!tut.cis.ohio-state.edu!pt.cs.cmu.edu!cadre.dsl.pitt.edu!pitt!anthony Mon Oct 16 13:47:48 EST 1989 Status: RO Article 490 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!pt.cs.cmu.edu!cadre.dsl.pitt.edu!pitt!anthony >From: anthony@pitt.UUCP (M. Anthony Kapolka 3) Newsgroups: rec.music.dylan Subject: Tower Theatre 10/15/89 Summary: For the next few weeks, I will be a rabid-fan. Message-ID: <6006@pitt.UUCP> Date: 16 Oct 89 13:23:13 GMT Reply-To: anthony@pitt.UUCP (M. Anthony Kapolka 3) Organization: Advocates for Oh Mercy, Inc. Lines: 89 Well, I was in Philadelphia last night, and saw Dylan at the Tower. The house was packed, but I had a premium seat- front and center of the lower balcony, surrounded completely by young women. (I went with 2 friends, but there seats were elsewhere in the theatre.) The opening act was Jason and the Scorchers. I noticed Jason was wearing ear plugs, so I put mine in. Who picked these guys, anyhow? Egads! Terrible. Fortunately they only played for 40 minutes. Then, I took out my ear plugs. Then a long wait. Again, a grand piano was onstage (but I don't recall anyone using it.) Dylan didn't appear until 10 minutes past 9; by then the crowd was really anxious. He was wearing a green shirt, black pants and black jacket with white sequines. White boots. The following is from memory- I spent all night driving back from Philadelphia, so don't take this quite as gospel. 1. To Be Alone With You (??) I didn't recognize this, I confess- my friend (Chris) identified it. 2. Man in the Long Black Coat We can't remember him singing one verse of this, but in any event it was quite biting... but not as eerie as from Oh Mercy. We had planned to yell out a request for this song, so hearing it right away really put us in a great mood. The audience reacted similarly- I think most of the crowd there must have Oh Mercy. 3. Man of Peace This just built on the audience enthusiasm. Excellent. 4. Tears of Rage I gotta get my Basement Tapes out- I didn't recognize this at first... Here, and in general, his harmonica playing was superb. Chris suggested he's buying better harmonicas now- he wasn't putting them in his clip, rather holding them against the mike... 5. It's all Over Now, Baby Blue 6. It's Alright Ma These two songs were well phrased, well played, sharp and biting. The audience (and I) was on fire. Applause was registering between verses. How could he top this? 7. Simple Twist of Fate He did. 8. ??? Now comes this acoustic song... it has something to do with a blue eyed boy climbing/taking a hill during a battle. I'm completely baffled. My friends venture that they think this is an old folk song, and don't think Dylan wrote it... 9. It Takes a Train to Laugh I may have this and #12 reversed. 10. Everything is Broken Quite a rockin' song. GE Smith watched Dylan in bemusement. Dylan bounced around and I think he changed the lyrics a tad. Full marks for delivery- I think it was more charged then on Oh Mercy. 11. Highway 61 And the enthusiam continued! 12. One Too Many Mornings Here things calmed down, but not by much. I didn't identify this song until after the show. 13. In the Garden Dylan really spit the words out on this song, very powerful. I was worried that this'd be him last song but without even a pause he went into 14. Like a Rolling Stone Of course, this got the reaction it deserves! Encore 15. Most of the Time This was also really well done. Dylan seemed very sincere, and it was just slow enough to catch you. 16. All Along the Watchtower The show ended up, let me assure you- any tickets not sold for tonight, will be. I was very sorry to be leaving, instead of seeing him again tonight. The show was much better then I hoped. Dylan seemed even more inspired than when I last saw him (8/89) and his new material sits very well with the audience. -- Anthony Kapolka anthony@cs.pitt.edu "Release Blind Willie McTell!" >From iuvax!cica!tut.cis.ohio-state.edu!att!cbnewsj!neils Thu Oct 19 18:35:41 EST 1989 Status: RO Article 501 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!att!cbnewsj!neils >From: neils@cbnewsj.ATT.COM (neil.s.schuman) Newsgroups: rec.music.dylan Subject: Dylan at D.A.R. Constitution Hall, Wash., DC. 10/17/89 Keywords: from John "the Fish" Vanderpool Message-ID: <1539@cbnewsj.ATT.COM> Date: 19 Oct 89 16:00:01 GMT Organization: AT&T Bell Laboratories Lines: 49 This review was written by a friend who does not have access to this net. >From att!arpa!NSSDCA.GSFC.NASA.GOV!VANDER Wed Oct 18 16:45:20 EDT 1989 Date: Wed, 18 Oct 1989 16:45:20 EDT >From: VANDER @ NSSDCA.GSFC.NASA.GOV (John R. Vanderpool 301-286-9261 NSSDC NASA GSFC) Message-Id: <891018164520.20805aec@NSSDCA.GSFC.NASA.GOV> Subject: please post to rec.music.dylan - thanx Bob Dylan D.A.R. Constitution Hall 17-oct-1989 Washington, DC ---------------------------------------------------------------- * electric: ? very muffled vocals, band & equipment not ready man in the long black coat interesting man of peace dylan broke a string on electric - got pissed i want you decent ballad of a thin man good - some lyrics i had never heard highway 61 revisited g.e. on slide *acoustic segment: it's all over now, baby blue excellent, but i'm used to garcia's treatment gates of eden erie barbara ellen nice boots of spanish leather the whole acoustic set was great *electric again: everything is broken it takes a lot to laugh, it takes a train to cry good reading precious memories one of the best of the evening in the garden did they know? like a rolling stone crowd pleaser *encores: most of the time dylan SMILING away ! vocals VERY clear all along the watchtower great - and then they disappear g.e. was wearing a full suit (and it was hot in the arena) dylan was wearing black pants, white fancy shirt, black vest i can not send or receive r.m.d so direct any comments, etc to : vander@nssdca.gsfc.nasa.gov ---------------------------------------------------------------------------------------------------------------------------------------------------------------- END OF FORWARDED MESSAGE. Later, Neil Schuman att!mtuxj!nss >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Tue Oct 24 12:38:58 EST 1989 Status: RO Article 519 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Newsgroups: rec.music.dylan Subject: Monday October 23, Opera House, Boston Message-ID: <16322@dartvax.Dartmouth.EDU> Date: 24 Oct 89 13:54:49 GMT Sender: news@dartvax.Dartmouth.EDU Lines: 37 trouble man in the long black coat my back pages simple twist of fate I don't believe you Memphis blues again gates of Eden don't think twice wagoner's lad it's alright, ma shelter from the storm everything is broken I shall be released like a rolling stone most of the time all along the watchtower about 84 minutes. wore long black coat, black pants, white shirt, light colored reptile skin boots...slow to warm up but then he seemed to be having fun, especially Memphis, acoustic set, Broken Rolling stone and Watchtower, which has been rearranged and was more fiery than anything I've heard this year. liz Reply-To: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Followup-To: Distribution: world Organization: Corporate Microsystems, Inc. Keywords: -- Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) CompuServe (76267,413) (603) 448-5193 (BellNet) >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Wed Oct 25 15:15:31 EST 1989 Status: RO Article 528 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Newsgroups: rec.music.dylan Subject: Boston Opera House 10/24/89 Message-ID: <16350@dartvax.Dartmouth.EDU> Date: 25 Oct 89 14:00:46 GMT Sender: news@dartvax.Dartmouth.EDU Lines: 38 seeing the real you at last what good am I? man of peace I believe in you forever young highway 61 Mr Tambourine man boots of Spanish leather Hattie Carroll shelter from the storm everything is broken it takes a lot to laugh, it takes a train to cry in the garden like a rolling stone most of the time Maggie's farm about 95 minutes in all. Same clothes as the previous night except the boots were black. THis show outshone that of the previous night by MILES. beautiful arrangements. a transcendent Mr Tambourine man I could go on and on....The Boston audience has a reverence for Dylan that is unbelievable. The silence during the acoustic set makes it seem like he's playing in a small club. This was the best show I've seen so far this year. liz PS Olof: I think I missed Hattie Carroll on the list I sent you...oops Reply-To: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Followup-To: Distribution: world Organization: Corporate Microsystems, Inc. Keywords: -- Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) CompuServe (76267,413) (603) 448-5193 (BellNet) >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Thu Oct 26 13:02:06 EST 1989 Status: RO Article 537 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Newsgroups: rec.music.dylan Subject: Boston Opera House 10/25/89 Message-ID: <16374@dartvax.Dartmouth.EDU> Date: 26 Oct 89 13:46:11 GMT Sender: news@dartvax.Dartmouth.EDU Lines: 59 to be alone with you man in hte long black coat positively 4th street leopard-skin pill-box hat I want you Memphis blues again love minus zero/no limit it ain't me, babe two brothers it's all over now, baby blue ballad of a thin man I'll remember you I shall be released it takes a lot to laugh, it takes a train to cry everything is broken like a rolling stone most of the time Maggie's farm well, we bid farewell to Boston and pause for a day of rest...read mail, return phone calls and messages, do some laundry, clean out the car, make some tapes.............SLEEPZZZZZZZZZZZZ he wore the black suit with the short jacket with embroidery in white and silver over a white satin shirt. black boots. highlights...man in the long black coat was better than Monday, not so rushed. Positively 4th street was sung as you've never heard it before, in the Oh Mercy voice. Leopard-skin wailed! Memphis blues must be a favorite of his, he really gets into it, moves around a lot. Train to cry has to be about the best ever.... No, he didn't play the piano; didn't even pretend to think about it. No, he didn't come down into the crowd and leave by an exit. No, he didn't smile much, but there was at least one muffled thank you. NOTE to anyone with Albany tickets!!!!!the venue has been changed to TROY because of some fire regulation in Albany, so you'll have to change your tickets... My hope is that as in Poughkeepsie he will feel more relaxed in a smaller out-of-the-way place, and get adventurous and experimental. Boston Opera House. A good place for a show. Acoustics good. My feeling is that the second night was the best, even though we got 18 songs last night. On to Troy...I'll post a list Saturday morning. until then...... liz Reply-To: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Followup-To: Distribution: world Organization: Corporate Microsystems, Inc. Keywords: -- Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) CompuServe (76267,413) (603) 448-5193 (BellNet) >From iuvax!cica!tut.cis.ohio-state.edu!rutgers!att!cbnews!jhw Fri Oct 27 12:26:13 EST 1989 Status: RO Article 548 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!rutgers!att!cbnews!jhw >From: jhw@cbnews.ATT.COM (john.widmark) Newsgroups: rec.music.dylan Subject: Opera House 10/25/89 Message-ID: <10688@cbnews.ATT.COM> Date: 27 Oct 89 13:48:23 GMT Reply-To: jhw@cbnews.ATT.COM (john.widmark,54265,mv,1n060,508 681 6741) Distribution: usa Organization: AT&T Bell Laboratories Lines: 36 >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) >Sender: news@dartvax.Dartmouth.EDU >he wore the black suit with the short jacket with embroidery in >white and silver over a white satin shirt. black boots. >highlights...man in the long black coat was better than Monday, not >so rushed. Positively 4th street was sung as you've never heard it >before, in the Oh Mercy voice. Leopard-skin wailed! Memphis blues >must be a favorite of his, he really gets into it, moves around >a lot. Train to cry has to be about the best ever.... >No, he didn't play the piano; didn't even pretend to think about it. >No, he didn't come down into the crowd and leave by an exit. >No, he didn't smile much, but there was at least one muffled thank you. The above was my first Dylan concert. Was sitting in the last row with birds eye view. Had a hard time seeing his face. Guitars, bass and drums sounded great, but what came out of Dylan's mouth was sad. Couldn't hear half of what he was yelling (or mumbling) and his harmonica playing was the worst I have ever heard. Thank god for G.E.Smith. At one time he could do very well for himself without instrument(s). Have heard his live albums (not including the one with the "Dead"). On all those he yells and mumbles better and more creatively than he did during his 10/25/89 Boston concert. Own virtually all of his non pirated albums and love listening to his recorded music. But, don't think I will ever go see him again. Disappointed Dylan fan. John Widmark >From iuvax!cica!tut.cis.ohio-state.edu!bloom-beacon!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Sat Oct 28 15:24:41 EST 1989 Status: RO Article 555 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!bloom-beacon!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Newsgroups: rec.music.dylan Subject: Friday October 27, Troy NY Message-ID: <16405@dartvax.Dartmouth.EDU> Date: 28 Oct 89 18:55:21 GMT Sender: news@dartvax.Dartmouth.EDU Lines: 39 gotta serve somebody (partially played on piano) what good am I? Hollis Brown Lenny Bruce I want you I'll be your baby tonight highway 61 mama you been on my mind a hard rain's a-gonna fall to Ramona it ain't me, babe everything is broken it takes a lot to laugh, it takes a train to cry my back pages I'll remember you I shall be released like a rolling stone disease of conceit (totally on piano) Maggie's farm well, 19 songs. hard to believe. a show to remember. last night brought the total of songs introduced on the fall tour to 66+ (I'm still missing a song list from the second night in DC) it was actually such a good show that I'm still reeling from the experience. liz Reply-To: cmi@eleazar.dartmouth.edu (Theo Pozzy/R. Green) Followup-To: Distribution: world Organization: Corporate Microsystems, Inc. Keywords: -- Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) CompuServe (76267,413) (603) 448-5193 (BellNet) >From iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!samsung!aplcen!haven!uvaarpa!mmdf Sun Oct 29 17:42:24 EST 1989 Status: RO Article 558 of rec.music.dylan: Path: iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!samsung!aplcen!haven!uvaarpa!mmdf >From: alan@meto.umd.edu (Alan Robock) Newsgroups: rec.music.dylan Subject: Oh, Mercy; Washington shows Message-ID: <1290@uvaarpa.virginia.edu> Date: 29 Oct 89 19:23:26 GMT Sender: mmdf@uvaarpa.virginia.edu Reply-To: alan@meto.umd.edu Lines: 43 This is my first posting. The next one will discuss the Gaslight Tapes and the Rolling Stone Photographs exhibit First my Oh, Mercy list. There are no bad songs on the album, so it is difficult to rank them. This is not the best ever Dylan album, in my opinion. Blonde on Blonde and Freewheelin' still top my list. Anyway, for what it is worth: 1. Most of the time 2. Shooting Star 3. Everything is Broken 4. Where Teardrops Fall 5. Ring Them Bells 6. Black Coat 7. What Good Am I? 8. Disease of Conceit 9. Political World 10. What Was It You Wanted The first three are a step above the others. I went to both Washington shows (my 10th and 11th Dylan concerts) and they were both great, especially the second one. I was too busy enjoying myself to keep set lists. (I know this is not socially responsible, but I did not know about the Highway61 bulleting board at the time.) During the first show he wore black, and it included Barbara Allen and I Want You. The second show only repeated 3 songs; he wore a gold lame suit, and it was magical. Listing to Dylan in the DAR Constitution Hall was pretty weird. The sound was perfect. I was seated stage right so I could face Dylan most of the time, since he tends to turn that way when he sings. The highlights were Memphis Blues Again, Most of the Time (much better than on the album), and the 3rd encore (Leopard Skin Pillbox Hat). In the middle of Pillbox he took a separate hand mike, did a righteous harmonica solo, and then wlked off stage to leave G. E. Smith to do asn incredible guitar solo as the song ended. One minute later, as I stepped outside into the rain, their 2 buses were already pulling away. It was a sad statement on life to note that neither show was sold out. Alan Robock, Meteorologist (really) "The answer, my friend, is blowin' in the wind" >From iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw Mon Oct 30 13:57:23 EST 1989 Status: RO Article 564 of rec.music.dylan: Path: iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw >From: jojw@uhura.cc.rochester.edu (John J. Wood) Newsgroups: rec.music.dylan,rec.music.gdead Subject: Catfish John W.'s review of the ZIMMY show in Ithaca last night Message-ID: <3620@ur-cc.UUCP> Date: 30 Oct 89 18:03:29 GMT Reply-To: jojw@uhura.cc.rochester.edu (John J. Wood) Followup-To: rec.music.dylan Organization: University of Rochester Lines: 205 Xref: iuvax rec.music.dylan:564 rec.music.gdead:19162 Here 'tis. Enjoy!!:-) ******************************************************************************* Date: October 29, 1989 Artist: Bob Dylan Jason & The Scorchers Venue: Ben Light Gymnasium, Ithaca College Location: Ithaca, N.Y. First off, folks, the set list...:-) Positively 4th Street Masters Of War Lay Lady Lay I'll Be Your Baby Tonight ** Highway 61 Revisited *** It's Alright Ma (I'm Only Bleeding) * Knockin' On Heaven's Door * A Hard Rain's A-Gonna Fall * Everything Is Broken-> What Good Am I? Most Of The Time-> Man In The Long Black Coat Like A Rolling Stone ENCORE Disease Of Conceit **** All Along The Watchtower * - acoustic: G.E. Smith on second guitar ** - electric: Zimmy on acoustic guitar *** - electric: Zimmy on acoustic guitar, G.E. Smith on slide **** - electric: Zimmy on piano!!! Between songs in the middle of Jason & The Scorchers' opening set, lead vocalist Jason said, "We've been opening for Dylan all this tour, and believe me, it's one of the best he's ever done". Yes, it sounded like a lot of hype. The thing was, though, Jason wasn't kidding. :-):-):-) Last night's show was not a show where the setlist told the story. For 90 minutes, Robert Allan Zimmerman, ace guitarist G.E. Smith, bassist Kenny Aaronson and drummer Christopher Parker did something that made this show special to the 3,000 (!!) folks that attended..... ...they flat-out KICKED ASS!!!!!!!!!!!!!!!:-):-):-):-):-) You read that correctly!! The band, and especially Zimmy, came out and took complete control throughout, never letting up one bit throughout. In each song, Zimmy took chances with his material and was not afraid to substitute different lyrics. The jams were played with adventure and authority. The band, especially G.E. Smith and ESPECIALLY Bob Dylan, were simply ON last night!!:-):-):-):-):-) The show opened with a rousingly wonderful version of the classic "Positively 4th Street". Anyone who has ever doubted Dylan's desire to play great shows should have been in Ithaca, New York last night. I have never heard Zimmy sound THIS good. I knew this show would be killer where at the end of the one verse, Zimmy sang, "You just want to be on the side that's wiinnnnnnnnnniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiinnnnnnnggg" (and I'm not exaggerating, either!). This didn't have the seven minute jam intro like the 9/3/89 Greek Theatre version, but what it did have was authority and spirit!! From there, Zimmy launched into a powerful "Masters Of War". Aaronson and Parker's groove was perfectly flawless, and Dylan's rhythm riffs and urgent vocals made this song a true gem, and not a drag that "Masters OF War" has been to some folks that have seen Zimmy the last two years. This was a "Masters Of War" where I absorbed Dylan's powerful words and danced my face off at the same time. Zimmy and G.E. played a biting jam to close this brilliantly. From here came the most pleasant surprise of the evening: a playful, spirited version of the great NASHVILLE SKYLINE ballad "Lay Lady Lay". Zimmy's vocals were full of zest and life ("Lay lady lay, lay acrosss my biiiiggg brass bbbeeeeeeeeeeeeeeeeeedddddddddddddddd" :-), and the ensemble playing had the spirit of a true garage band. Absolutely delightful!!:-) Then came one of my favorites: "I'll Be Your Baby Tonight". This was a spirited country-romp version, where Zimmy played with the lyrics and snarled them out as if it was an anthem. Also, Zimmy switched from his electric to his fabled acoustic guitar and played some strong rhythm riffs. When you can hear Dylan's acoustic guitar over the powerful musical backdrop of G.E. Smith and company, you know Zimmy was playing with passion! The first electric mini-set closed with the finest moment I have ever witnessed in a Bob Dylan concert (this was my fifth time): a downright WAILING version of "Highway 61 Revisited"!! Yes, W-A-I-L-I-N-G!! After each verse, Zimmy was GRINNING, as if he knew the VERY high energy and excitement was truly happening. G.E Smith played a screaming slide that was relentless and just wouldn't quit (G.E .was smiling a LOT last night, too). But again, the man in charge was Dylan, and he snarled and growled his classic lyrics with a zest I thought he didn't have anymore. I'll just say this again: this was a possessed, WAILING version of the damn best "Highway 61" I have ever heard!!!!!!!!!!!!:-):-):-):-):-):-):-) The energy, passion and awesome power displayed in the first five songs carried over to the acoustic set. The only flaw of the acoustic set is that a couple more songs wouldn't have hurt: but still, Zimmy's mini-acoustic set was pure MAGIC last night!! A snarling, downright MEAN version of "It's Alright Ma (I'm Only Bleeding)" found Zimmy whipping out the politically-laden lyrics with urgency: in other words, he MEANT it!! Then came a long, poigname and emotionally uplifting "Knockin' On HEaven's Door". Unlike the 7/19/89 Merriweather version, this was all acoustic, with Zimmy's harmonica fully driving the message home. Also, Zimmy included a verse that was brand new to me, making this more special. The too-short mini-set ended with a majestic "A Hard Rain's A-Gonna Fall". It was a version where Dylan proved he could really SING when he wanted to. By the way, Dylan's voice in the mix was prominent: EVERY line he sang could be heard and was not drowned out. G.E., of course, played some tasteful backing guitar. The remainder of the show, including the encore segment, was mostly occupied by the new OH MERCY songs. The good news was that each version was completely enjoyable. So, the second electric mini-set started with a rollicking "Everything Is Broken" which was completely danceable a la the studio version. What was nice here was that G.E. and Zimmy were having lots of fun playing this, with lots of smiles throughout. The jamming at the end was well-done again, with the music gradually dying down to a soft tone, then Zimmy jumped into a starking "What Good Am I". The band played this at a soft, almost reggaeish, tone, which was to Dylan's advantage as he sang with a zestfulness that I never thought he could do today. Zimmy's harmonica break was, well, classic Zimmy!!!:-) After "What Good Am I" ended, Dylan broke into "Most Of The Time" which was EONS superior to the studio version. The main reason was G.E. and friends, who played this passionately, without the U2-ish gloss that, IMHO, stopped the song's potential. "Most OF The Time" veered into an angry version of the new gem, "Man In The Long Black Coat", with more beautiful harmonica by Zimmy. The band brought the slow tempo to a sublimed frenzy of a climax: just amazing! Finally, Zimmy and Company closed the set with another of those powerful "Like A Rolling Stone"s. I don't think you have to ask me how I felt when Zimmy asked that famous question, especially after what I had heard the previous 80+ minutes. :-) The first song of the encore was a beautifully jammy "Disease Of Conceit", with Zimmy on the piano! This song built into another sweet jam, with Zimmy boldly trading licks with G.E. Zimmy's piano playing was another pleasant surprise. No, he won't be mistaken for Keith Jarrett, but his playing was so spirited and inspired that it just added to the jam. This just proved more and more on what a truly great and important musician Bob Dylan is to popular music. The show ended with a WEIRD "All Along The Watchtower". After going through the entire song, the band went off on this crazy jam, as if they were trying to segue into another song. At one point, the jam reminded me a bit of "Tangled Up In Blue", but the band just kept jamming and jamming and let the jam lead the band into new places. THEN, after gradually slowing down the jam, and playing a certain riff over and over, Dylan sang ANOTHER verse (it was the first one), then the band built it up to a frenzy again, then finally closed!! The Zimmy fashion report: Zimmy was wearing his black leather, but wore a different leather jacket. This jacket had a large drawing of a guitar on the back, studded in rhinestones. G.E. wore a nice purple collared-shirt, and his blonde hair was in his usual pony-tail. Kenny Aaronson wore a really nice hat. Opening act Jason & The Scorchers were amusing at best. The one thing I will say is that they were more tolerable than Steve Earle. A lot of noise, much on the heavy-metal side, and covers of "Absolutely Sweet Marie" and Bobby Womack's "It's All Over Now", which were only interesting in the fact that the band covered them. Let's just say that I'll skip them the next time they are in Upstate New York. However, I'll DEFINITELY won't miss Zimmy on the next tour: that's for damn sure!! The version of "Highway 61" was easily worth the 2+ hour drive alone. If anything, I now regret that I missed the Albany show. OK, I overused a lot of superlatives, but this was definitely the best Dylan show I've seen PERIOD. The Ben Light Gymnasium proved to be one of the most interesting places for a show I've been to. It was a small gymnasium with a echo. So, considering that, the mix for the Dylan set was absolutely superb. Dylan's voice, guitar and harmonica were out in the forefront, and G.E and company could be heard beautifully, It was also a general admission show (I sat around the 15th row, Aaronson's side) and a gorgeous day out in beautiful Ithaca. I am right now on three hours of sleep, but you bet your copy of OH MERCY I'm not regretting one minute of it!!:-):-):-) And once again.......THANK YOU, ZIMMY!!!!!!!!!!!!!!:-):-):-) That happy Catfish named John W. "And all of rules of the road have been lodged, It's people's games you gotta dodge, And it's alright, Ma, I'm only SIGHING...." :-):-):-):-):-):-):-):-):-) >From iuvax!mailrus!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!apple!sun-barr!decwrl!shlump.nac.dec.com!hiatus.dec.com!manana.dec.com Mon Oct 30 16:24:18 EST 1989 Status: RO Article 566 of rec.music.dylan: Path: iuvax!mailrus!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!apple!sun-barr!decwrl!shlump.nac.dec.com!hiatus.dec.com!manana.dec.com >From: grabazs@manana.dec.com (3-28-73) Newsgroups: rec.music.dylan Subject: Boston 10/25 Message-ID: <1602@hiatus.dec.com> Date: 30 Oct 89 18:41:55 GMT Sender: news@hiatus.dec.com Organization: Digital Equipment Corporation Lines: 74 I know this is a while after the fact, but here goes anyways... Went to see Dylan Wednesday nite, the third and last night in Boston. Opted out on going to Chinatown for a bite to eat rather than see the opening act. We made a good choice because the little bit we DID see of them, was rather, well,... they tried real hard (but how did they get to open for Dylan?) The Opera House is BEAUTIFUL. Ornate crystal chandeliers and gilded woodwork throughout. We were in the 2nd orchestra section - the sound was good there. Not many were dancing, therefore in order not to disturb those around them, dancers were going to the aisles. Then they were quickly sent back to their seats. Dylan was wearing this beautiful black Spanish suit with some silver buttons and whatnot along the sleeves and seams on the pants, and a white satin shirt. He, as usual, did not interact with the audience, but every once in awhile I'd see his distinctive "grin" come to his face. He was just very intent on playing his music and concentrated on what he and GE Smith were putting out. The show started out real nice and sweet with To Be Alone With You. Then into Man With the Long Black Coat. This is one of my favorites from his new album. He played two others from it Wednesday - Most of the Time and Everything is Broken. These are all songs I had hoped to hear live. Positively 4th Street was played with a completely different melody than I had ever heard before. It didn't sound so bitter (except if you listened to the words!). Dylan's ability to create so many melodies to go with his amazing lyrics sometimes is mindboggling. But when you see him in concert and start to hear an unfamiliar tune, and then after half a minute of listening to the words, you realize it's an old standard with new music - THAT's when the musical genius of the man really hits home. Leopard-Skip Pill-Box Hat was one of the highlights of the night for me (I LOVE the blues!) - and this version was hot. Because the audience was not dancing, I found it very hard to control my urges to jump up and swing my hips to this blues beat. I did though (control myself) - I just moved around in my seat a LOT! Stuck Inside of Mobile with the Memphis Blues Again is one of my husband's favorites and I dare say Dylan kinda likes it alot too. He really got into it and rocked out. Ohhhh Mama... I think it was during It Ain't Me, Babe where Dylan performed a long extended harmonica solo - seemed like he did one whole verse on his harp - and it worked, and it sounded great. This was a beautiful song. Other hightlight were It's All Over Now, Baby Blue , Ballad of a Thin Man! It Takes a Lot to Laugh, It Takes a Train to Cry!!! (should I repeat this again, I LOVE the blues!), and Like A Rolling Stone!!!! (how does it FEEEELLLLL???) Maggie's Farm was a great way to end the night. It sent us out into the streets of Boston with a hard driving rock beat swirling thru our heads and kept us dancing in the subway! The consensus of our group of (admittedly) hard-core dylan-heads, it was a great show. Debess btw how did this line in the header come about: -From: grabazs@manana.dec.com (3-28-73)- that number 3-28-73 just happens to be the date of the first "official" date I had with the man I am still with 17 years later! (It was a Grateful Dead concert - still seeing them 17 years later too!) What a wild coincidence! grabazs@manana.dec.com --or-- ...!decwrl!manana.dec.com!grabazs --or-- grabazs%manana.dec@decwrl.dec.com >From iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw Mon Oct 30 16:43:19 EST 1989 Status: RO Article 568 of rec.music.dylan: Path: iuvax!mailrus!wuarchive!udel!rochester!uhura.cc.rochester.edu!jojw >From: jojw@uhura.cc.rochester.edu (John J. Wood) Newsgroups: rec.music.dylan,rec.music.gdead Subject: Re: Catfish John W.'s review of the ZIMMY show in Ithaca last night -- a followup.... Message-ID: <3626@ur-cc.UUCP> Date: 30 Oct 89 21:04:29 GMT References: <3620@ur-cc.UUCP> Reply-To: jojw@uhura.cc.rochester.edu (John J. Wood) Followup-To: rec.music.dylan Organization: University of Rochester Lines: 27 Xref: iuvax rec.music.dylan:568 rec.music.gdead:19173 A few things I didn't mention that may be of interest....:-) At the end of the final verse of "All Along The Watchtower", after Zimmy sang "..and the wind began to hhhooowwwwwwlllll", Zimmy actually HOWLED after the verse!!! The crowd for the Zimmy show was electric: a crowd that came to see Dylan. Even the first notes of "Positively 4th Street" brought heartfelt cheers!!:-) Tickets were first sold only on the Ithaca College campus. A small portion was sold through Ticketron (my friends fron Syracuse had my ticket!:-). However, at the show, there were students selling extra tickets at cost. No scalpers present!! NO background music was played until after the show was over! Nothing before the opening band nor between the band and Dylan sets. Security was pretty tight, but lenient. The usual concert searches. Catfish John W. "..and her name was Barbara Allen..." >From iuvax!purdue!haven!uvaarpa!mmdf Thu Nov 2 21:49:05 EST 1989 Status: RO Article 574 of rec.music.dylan: Path: iuvax!purdue!haven!uvaarpa!mmdf >From: DEVINE%BUASTA.BITNET@mitvma.mit.edu Newsgroups: rec.music.dylan Subject: Three Nights at the Boston Opera House Message-ID: <1332@uvaarpa.virginia.edu> Date: 1 Nov 89 23:03:54 GMT Sender: mmdf@uvaarpa.virginia.edu Reply-To: DEVINE%BUASTA.BITNET@mitvma.mit.edu Lines: 58 "I was riding on the Mayflower when I thought I spied some" band... My first ever review, folks, so please bear with me. Pysched! Soon as I heard I made arrangements to take time off work to wait in line at the Opera House itself to get tickets. It was raining, and I got there only 1.5 hours before they went on sale so there were 40 or so other sleepy damp people ahead of me, but I got my tickets! Yippee! and lots of other assorted yahoos and glee. Bob hisself in my town! Yay yay yay! Monday night October 23, my heart was all aflutter. Oh boy oh boy oh boy. What a venue! I was in the third row of the balcony, excellent sightlines, no traffic in front of me. I'd heard there would be no opening band, but here came some old friends of mine! Jason and the Scorchers, I could scarcely believe it! Yow, how I laughed and laughed as they tore through 1/2 hour of high decibel heavy metal! When I'd seen these guys 4-5 years ago in a small club, they were the LOUDEST band I'd ever seen. But fun! Good ol' Jason, he looked great. All those skinny-legged dudes with fluffy long hair and cowboy duds. Ah ha ha ha, these heavy metal sounds must be torture to all the folkies who came to hear "Blowin' in the Wind". Ah ha ha, what a brillian sense o' humor our Bob must have! Of course, within one song I was hollerin' for "Sweet Marie", since I figured *someone* should acknowledge their contribution to Dylanology, and of course Jason promised they'd get to it. Oh what fun when they did! I was so tickled, so impressed that Bobby D. could dig these guys enough to subject his audience to such a contrast. Later, in line in the opulent ladies lounge, I listened to the gals cringe and wince at the horror they'd just been through, wondering what the hell that was all about. (Well you know something is happening, but you don't know what it is...) Ah hah hah ha! Bob came out singing about Trouble. Yow, 4 guys in rock-star tuxes, what'd they think this is, opera? Oh what fun, to hear him sing such a variety of songs, from so many different years. Simple Twist of Fate was charming, as was I Don't Believe You. My favorite part of any Dylan show is always the acoustic set, because that's when he gets to really sing. Gates of Eden gave me shivvers. And yow-yow-yow, Don't Think Twice is always SO INTENSE when he sings it live. Thrills! Wagonner's Lad I hadn't heard before, but it seemed a fine Dylan-style ballad. Then, unhoped for, came my all time favorite BD song, It's Alright Ma. I was frozen, beside myself, astounded. Yikes, what a guy! Thanks, Bob! Second electric set began with Shelter From the Storm, reggae/rockabilly style. Kinda fun, kinda brush-off. Broken was about the same. Released was special, but Rolling Stone seemed kind of obligatory. Still I was amazed to catch a glimpse of a smile as Bob sang this old chestnut -- how can he still enjoy it when you'd think he'd be sick of it? Encore: Most of the Time, and Watchtower. I really liked Most the first time I heard it on the album, so it was a treat to hear it here. Watchtower gave teh band one more chance to cut loose, end with a crescendo. Oh, oh, oh what a show! Oops, out o' time. I'll have to review the 24th and 25th manana. There's so much more to say, you see. "There's no way you can compare all them scenes to this affair" !! Patricia >From iuvax!cica!tut.cis.ohio-state.edu!purdue!haven!uvaarpa!mmdf Thu Nov 2 21:50:38 EST 1989 Status: RO Article 575 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!purdue!haven!uvaarpa!mmdf >From: DEVINE%BUASTA.BITNET@mitvma.mit.edu Newsgroups: rec.music.dylan Subject: October 24 and 25, Message-ID: <1338@uvaarpa.virginia.edu> Date: 2 Nov 89 17:31:01 GMT Sender: mmdf@uvaarpa.virginia.edu Reply-To: DEVINE%BUASTA.BITNET@mitvma.mit.edu Lines: 89 it made my face look just like :--D (ahem...) Yeah, back to my reviews. Bob at the Boston Opera House. On Tuesday the 24th I had a seat in the orchestra, row K, which means a mere 11 row back from the 3 rows of nasty-looking folding chairs right in front of the stage. Jason & Co. had turned the volume way down, to a respectable level, and played a different variety of more countryesque - less heavy metal tunes. This night I called out for Warner, the wild guy with the tatoos who'd flip his guitar around his neck and do leap-splits. The band was laughing that someone here in blueblood town was calling out for this wild man, so Warner stepped up to the mike and sheepishly said "There's always one," holding up one finger. They save "Sweet Marie" for their last song, but once again let it rip for all it's worth. Whew! Bob came out with "Seeing the Real You At Last" -- what a surprise. Somehow I figured the Empire songs would be swept aside, like Infidels songs. So that was fun. "What Good Am I" was sorta lackluster. The version on the album puts a lot of pathos into it, appropriate pauses to make you feel real reflective, that sort of thing. This was sort of blasted through, like he wanted to finish before his voice gave out. Now, I've seen some different ideas about this song, but no one has yet mentioned some of the things I see in it, so I'll digress for this now. He keeps asking this question like he really means it, like he's ashamed of something, or rather, ashamed of not having done something he should have or could have. It's a sad, dreary, grievous song, for those times when we shake our heads at our shortcomings and pointlessness, those times when we hold our heads and think "I'm such a loser!" The times we're thoughtless and superficial: "when I say foolish things, when I laugh in the face of what sorrow brings". And worse, an extreme sorrow, "when I just turn my back, while you silently die", ooo, ouch, what a bad thing. I can imagine it being a song about grief brought on by someone's death, but it could be the death of someone he hardly knows, a homeless person, and AIDS patient. He chastizes himself for not having done more to help, to comfort. He kicks himself for being such an ass in remaining detached and selfish in the face of tragedy, not acknowledging it and reaching out to help. Ok, I can't remember any more line to cite right now (lucky you?), but I thni L ink you get my meaning. And oh yeah, of course the song somehow doesn't end up totally depressing, because the singer recognizes his errors, and this implies that now he's learned and can change. It's an encounter with depth, vs. the super- ficiality. So you can't be too sad to discover that you do have a soul. Alright, Man o' Peace. Man, this song always gives me the creeps. I love the lyrics and the bouncy tune and the sarcasm/cynicism, but I get hung up thinking that every nice guy could be a bad guy. Except the Dalai Lama, of course. "I Believe in You" was ok, but then came "Forever Young", and blew us all away. Another song I'm amazed he can still sing with so much energy. What a wonderful sentiment it is, too. But then: Highway 61!!! It tore, it shredded, it was as brutal as the Johnny Winter version! Screeeeeaaaammming guitars! Yooooowwwww! AND THEN: !!!!! MR. TAMBORINE MAN !!!!!!! Yeah, I liked it. A lot. It was an incredible rendering. I turned to my companions and said "Kill me now, I want to die happy". YOu know, I've always liked that song, but I thought the Byrds version is totally sappy, so hearing Bob do it with such energy, like, he's speaking the truth and all that, well, it was a verry very high experience. Yep, I liked it. "Boots of Spanish Leather" and "Hattie Carroll" were wonderful acoustic follow-ups. Oh Bob, what a minstrel! Next, back into the electric stuff, a ROCKIN', HOPPIN' "Shelter". Everyone in the audience was toe-tapping and boppin' in their seats. I especially liked the "device" where Bob sings "Shelter"... (pause)... (drums kick in again)..."from the"...(drums, guitars kick in)..."storm". Then a boppin' "Broken", and a sweet swinging "Takes a lot to laugh". "In the Garden" is fun, it's so intense, you know? Used to be Bob's favorite song to include in just about every show was "Master's of War", but that seems to have been replaced by "Garden". New message, I guess. "Rolling Stone" was much hotter than MOnday night's. I was glad to hear "Most of the Time" for the encore again; it really is a neat, special kind of confessional song. Finally, "Maggies Farm", which got several exclamation points in my notebook. Yippee, Bob's such a musician! Oops, I'm sorry folks, out of time again. I'll wrap up the 25th some other time. Probably just as well, I didn't know I was going to have so much to say. Well, it'll be shorter for the final night, I'm sure! Keep a clean nose! Patricia >From iuvax!mailrus!purdue!haven!uvaarpa!mmdf Thu Nov 2 21:53:20 EST 1989 Status: RO Article 578 of rec.music.dylan: Path: iuvax!mailrus!purdue!haven!uvaarpa!mmdf >From: DEVINE%BUASTA.BITNET@mitvma.mit.edu Newsgroups: rec.music.dylan Subject: Boston Review -- Final Installment Message-ID: <1348@uvaarpa.virginia.edu> Date: 2 Nov 89 23:04:26 GMT Sender: mmdf@uvaarpa.virginia.edu Reply-To: DEVINE%BUASTA.BITNET@mitvma.mit.edu Lines: 105 Wednesday, October 25. Jason and the Scorchers played soft and sweet, country ballads adn cowboy-type songs. They played "Absolutely Sweet Marie" third, I guess to counteract the shouted requests early on. They played something real purty with pedal steel slide, Jason dangling his legs over the edge of the stage, crooning. Warner was called out for a bow -- guess he became popular over his 3 nights here. It's funny how it was so different from Monday's opener. It's hard for me to know whether I liked Tuesday's show or Wednesday's better. Wednesday had mucho energy. "To Be Alone With You" was yet another surprise opener from Bob. Another "Man in LBC" -- I like this better with the crickets on the album, especially the way he says "Duhhsst", but this was a fine rendering. What a cool song, anyway. "Positively 4th Street" -- oh yeah, ain't that fun? The lyrics were kinda muddly, though. But then, "Leopard Skin"!!! Oh, how they howled! "I see you forgot to CLOSE the GARAGE DOOR!" Yeah, they made a great sound with this one. The crowd was kinda stunned by the energy coming out, it seemed. Then, "I want you", another high energy romp, boppin' and jammin'. The energy was high! The electric set ended with Memphis "Memphis Blues", which was again high energy but that's kind of standard with this tune, so it wasn't exactly special. Acoustic: "Love Minue Zero" -- WOW!!! This really surprised me, another favorite song of mine. There certainly was "no limit" to what Bob put into singing it, what a bard, what a tunesmith! "It Ain't Me" was swell too. "Two Brothers" I hadn't heard before, but of course it sounded very nice. "It's All Over Now, Baby Blue" -- well, kinda reminded me of the Grateful Dead's rendering. Oh, what a sweet sweet song to hear Dylan sing. Shivvery. Electric came back with "Ballad", what a trip! It's a song that ONLY Bob Dylan will ever be able to sing right. "I'll Remember You" could be saccharine, but Bob's so sincere, so attentive. "I Shall Be Released" again, yep, that's a nice one. Next, with several exclaimations in my book, came "It Takes a Lot to Laugh..." This was much more jammin' than Tuesday nights. Can't buy this thrill. I didn't want it to end! But it got better, if such a thing is possible: "Everything is Broken" (boppin' in our seats, can't sit still!) SEGUED into "Like a Rolling Stone", and these were both real high energy, bop and grin versions. The band was having a blast, too! Encores were "Most of the Time" and "Maggie's Farm", same as Tuesday. Nice, nice, we didn't want any of it to end. SO, them's the showz. Other tidbits: (I'm kind of embarrassed to mention this, but it seems we Dylan nuts want ALL the details) On Tuesday night, some time towards the end of the show, Bob suddenly pushed back both of his sleeves, like he was too hot and he was doing the Michael Jackson/ Miami Vice kinda wrinkle-your-jacket thing to cool off, but his long frilly cuffs (you know, tuxedo shirt thingies) were buttoned too tight to push back, so he seemed kind of flustered for a second, then pushed the back of his hair up, messing it up, kinda. Well, the crowd laughed and applauded this little incident. It seemed to be the only time we saw Bob "off camera", since he never acknowledged us at all, except saying "goodnight" once. Also, the piano was there on stage from Monday night on, and after the first night, people were yelling "What's the piano for?". Well I was hoping and hoping we'd get a "Disease of Conceit" (which I think is a very FUNNY song), or a "Ring them Bells," or ha ha ha, one of my favorite songs to play for people and say "guess who this is!" -- "If Dogs Run Free", fat chance. Well, well, it almost seemed at one point that roadies were setting up for it, but no such luck. Boo. And also on Tuesday night, after the music ended, Bob stayed on stage another minute or two, talking with a roadie and pointing to the floor Of course the house lights came on and that was it, but it sure was weird that Bob had this little discussion before leaving the stage. Speculation in my crowd is that he was displeased with the aiming of a spotlight. It was hitting him from behind all night, couldn't see his face at all. Supposedly he was counciling the roadie to re- locate some tape on the floor so the spot would be more flattering for the next show. Well, it was, if you call it flattering to actually see Bob's face. He sure is ugly! Man, it was so great, so so nice to see my hero and savior ;-) three nights in a row. He's welcome back in my town any time! "One more, we got one more..." Aside, that is: The Waterboys played in Boston on Sunday and Monday the 22nd and 23rd, so I caught 'em Sunday. Big turn toward the Celtic sound, a la Pogues, but, Mike Scott being such a Bob fan (have you heard his "Be My Enemy"? Ho ho!) they played "Buckets of Rain" and "Girl from the North Country". Ooo eee! In fact, while I'm rambling on here, I'll share with you that in oh, 1985 or so -- long before, uh, hmm, is it Down in the Groove? -- the Waterboys played a long slow driving version of "Death is Not the End" as an encore in a small Boston club. I happened to know the tune from a crummy bootleg outtake tape, but I wasn't sure if it was Dylan's or some old gospel tune he was covering, but Scott being such a fan, I figured somehow maybe, did he steal it from a similar boot or did Bob actually give it to him? Anyway, I was very impressed! Phew. That's all folks. Thanks for tolerating my raving. "It's a wonder that [I] still know how to breathe!" :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D :-D ;-Patricia >From iuvax!cogsci!dave Fri Nov 3 02:25:07 EST 1989 Status: RO Article 581 of rec.music.dylan: Path: iuvax!cogsci!dave >From: dave@cogsci.indiana.edu (David Chalmers) Newsgroups: rec.music.dylan Subject: Chicago, 10/31/89. Message-ID: <28979@iuvax.cs.indiana.edu> Date: 3 Nov 89 05:50:33 GMT Sender: dave@cogsci.indiana.edu (David Chalmers) Reply-To: dave@cogsci.indiana.edu (David Chalmers) Organization: Indiana University, Bloomington Lines: 162 I've just got back from an trip on an equilateral triangle, about 250 miles per side. And it was worth it. The Chicago and Ann Arbor concerts were simply two wonderful shows. Wow! Chicago first. This trip was an impulse decision...I only bought my ticket at noon on Tuesday, the day of the show (to hell with work). Still, I got myself up there in time to hang out for over an hour with a mellow, friendly Halloween crowd outside the Arie Crown. It was 25 years to the day since the famous Carnegie Hall Halloween concert, and this crowd was expecting something good My seats were of course awful, and I got to see Jason and the Scorchers from the rear balcony. Nonetheless, I enjoyed their show a lot; it wasn't as heavy as I expected, but it was very lively (though Sweet Marie was a little disappointing). At the interval I snuck down into the lower level, and picked a juicy-looking vacant seat in the fifteenth row. This was a very nice, very intimate theatre (with excellent sound); and it wasn't even sold out. 8:35 pm...darkness descends...music rings out. As soon as I hear "The guilty undertaker sighs" I know this is going to be a great show. "I Want You" has always been one of my favourite songs; this version was maximally bouncy and rich and got me into an extremely happy mood. I'm not much good on fashion details...Dylan was wearing a fairly tame but quite elegant black suit. The lights very rarely spotlighted his full face...I think Dylan prefers the dark. A biting "Ballad of a Thin Man" follows. This one doesn't get my full attention, as I am unfortunately displaced from my seat in the middle. Not to worry, I find an even better one in the tenth row on the side which serves me well for the rest of the show (and room in the aisle to dance!). The next song I couldn't recognize at all. I could catch the odd phrase, though, and they sounded oddly familiar. I thought to myself, what's the song with "just like they said they would"? Aha! It was Rainy Day Women #12 and 35, but in an utterly changed version. Hard to describe...it had an almost off-hand feel...I liked it better than the original (which isn't necessarily saying much). Back to ecstacy with "Simple Twist of Fate." The lyrics were surprisingly close to the original, with a few small changes (the "city blocks" were in for the "parrot that talks", for instance). Very nice. Lights darken further, Dylan trades his electric for an acoustic (the band still hangs around), and some dark, grim vocals penetrate the theatre, in a completely different voice from what had come before. "Hollis Brown, he lived on the outside of town"...very, very intense. This was never a big favourite of mine, but this version was done so well that it bowled me over. One of the highlights of the show. A change of pace, with a very jaunty, very energetic "I'll Be Your Baby Tonight." This completely lacked the laid-backness of the original; Dylan was putting a lot into it. Rather nice, rather tuneful even. The last song of the first "set" was a hard-and-fast "Highway 61". Acoustic time...wonders continue. I was extremely happy to hear "Love Minus Zero/No Limit", another of my favourites, and done very nicely. There was a rather wonderful harmonica break in this. The harmonica was very much in presence for the entire show...I'd say it got a look-in in at least half of the songs. Next was the other major highlight of the show. "A Hard Rain's A-Gonna Fall" for some reason hasn't usually turned me on all that much. This time, however, it was just something else. For a start, he did amazing things with the vocals. Every one of those usually repetitive, somewhat monotonous lines was tossed off in a different way. Some were growled, some were impassioned, some were intense, some were high, some were low...this was the Voice that Shocked a Nation showcased, and what a voice it was. And the guitar was magnificent. When thinking of descriptions of Bob Dylan, "guitar maestro" isn't the first that comes to mind...but with this tour he seems to be trying to do something about it. For the whole show, he seemed to get great delight out of playing the guitar, trading licks with G.E., seeming to say "look, I can do it too!". Their two acoustic guitars combined for a wonderful jam at the end of this song, which went on and on but never got out of control. Dylan looked just so pleased with himself...he was even doing show-offy things like holding up the guitar at an angle. When it finally came to an end, the ovation was incredible. The rest of the show never quite matched this (and in general wasn't quite as good as the first half), but was still very worthwhile. The last acoustic song was "Gates of Eden", continuing the enlightened song selection. It was good, though it didn't quite have the passion of the previous song. Back to full electric, and finally we leave the Sixties (well, there was one token song from Blood On The Tracks). It's "Oh Mercy" showcase time. The bass at the beginning of "Everything is Broken" was unmistakable. Very lively; an excellent live song, as I'd been informed. Believe it or not, this song somehow without a break turned into "What Good Am I?", which was an order of magnitude better than the studio version (though it must be admitted that one's critical facilities do tend to be suspended a little, in the flesh). His voice was rich and wracked and the backing was interesting too. I get the impression that this song is important to Dylan. "Most of the Time" was nice, though not amazing. Dylan was spitting out the lyrics much more intensely than on the album. The great guitar work continued (apologies, I'm not very good at guitar-speak, but there was a lot of fine playing and many tasteful showcases of both Bob and G.E. throughout the show). Completing four straight from the new album, "Long Black Coat" sounded a lot like the original, which is fine by me, and had some riveting harmonica. Finally, "Rolling Stone" got the crowd going, but it was a little ragged, and Dylan doesn't seem to really mean the words as much as he might. Maybe he's played this song a few times too many. It had an extremely high energy level, though. In no sense can it be said that Dylan was just walking through any of these songs; he was out there and straining. The piano had been sitting forlornly in the corner for most of the show. Now, with the lights still down, came the trademark heavy-handed tones of Dylan bashing away at the keyboard. He needs a little work till his piano-playing is up there with his guitar, but there's something very warming about just seeing him trying. "Disease of Conceit" was more rough-edged than on the album, and not so boring. Dylan got up from his stool, strode to center stage, donned his guitar... I had a bad feeling, a worrying premonition... And yes, it was true. The last song was to be your favourite and mine, the incredibly melodious "Maggie's Farm". Screamed-out vocals, lots of jamming...it wasn't as bad as it might have been. And it's good to close the concert knowing that he's an ornery old bastard. Set-list: I Want You Ballad Of A Thin Man Rainy Day Women #12 and 35 Simple Twist of Fate Ballad of Hollis Brown I'll Be Your Baby Tonight Highway 61 Revisited Love Minus Zero/No Limit (a) A Hard Rain's A-Gonna Fall (a) Gates Of Eden (a) Everything Is Broken What Good Am I? Most Of The Time Man in the Long Black Coat Like A Rolling Stone Disease of Conceit (p) Maggie's Farm 17 songs, about 100 minutes. (a) = acoustic, (p) = piano. This show was about 100 times better than the only other show I'd seen this year, Deer Creek in July. The July show was enjoyable, but it seemed just a little routine. There was nothing routine about this one. The crowd was with Dylan, the band was with Dylan, Dylan was with the crowd and the band and everything, and he gave it his all. And I do believe he was enjoying himself! Disclaimer: all of the above are the ravings of an extremely happy fan and opinions are highly unreliable. Sorry it's so long...(a little carried away -- sorry about the mixed-up tenses too)...I'll try to make Ann Arbor shorter. It'll be hard, though. (Just a hint of what's to come: V... O... J... !!!). -- Dave Chalmers (dave@cogsci.indiana.edu) Concepts and Cognition, Indiana University. "To live outside the law you must be honest..." >From iuvax!cogsci!dave Fri Nov 3 11:34:55 EST 1989 Status: RO Article 582 of rec.music.dylan: Path: iuvax!cogsci!dave >From: dave@cogsci.indiana.edu (David Chalmers) Newsgroups: rec.music.dylan Subject: Ann Arbor, 11/1/89. Message-ID: <28982@iuvax.cs.indiana.edu> Date: 3 Nov 89 07:26:58 GMT Sender: dave@cogsci.indiana.edu (David Chalmers) Reply-To: dave@cogsci.indiana.edu (David Chalmers) Organization: Indiana University, Bloomington Lines: 178 [Sorry about the double posting of the Chicago note; I blame under-enthusiastic news software.] Post-mortems at the Arie Crown are fun, then I head to Evanston for the night. I play tourist in the morning...Chicago isn't as overwhelming as I expected, in fact it's rather pleasant. The Art Institute is very wonderful...but I digress. A quick hop around the lake and across Michigan, and I'm in Ann Arbor by 7. As you might expect, this is a younger crowd, very much a college bunch. The theatre is much more informal than the sleek Chicago venue, but the run-down quality has a certain charm. This time I have decent seats, legally. There's less of a feeling of anticipation than in Chicago, but once the show begins the audience proves to be very enthusiastic. Jason and the boys are fun once again, though they don't change the set much. (The main change is that "How 'bout those Bears?" turns into "How 'bout those Wolverines?"). 9.05 promptly, his Zimness enters, with friends. The opening song is another excellent choice, "Don't Think Twice, It's All Right", complete with lovely harmonica (and so early in the evening!). Dylan is wearing a different outfit, I think. Another dark suit, but this one seems to be some kind of tracksuit. G.E.'s ponytail is looking particularly elegant. Next up is warhorse time, "Masters of War." The vocals are incredibly nasal and not particularly beautiful...in general Dylan's voice today is not quite as rich as it was last night. Some nice jamming, but it would take a lot to rescue this song. "Postively Fourth Street" bounces in, with some extremely slurred lyrics in a very weird voice. If I didn't know these by heart I'd have no idea what he is saying. The audience is clearly well-informed also, for the great "what a drag it is to see you" verse gets a big cheer despite the unintelligibility. The next song starts out dark and grim, very reminiscent of yesterday's "Hollis Brown". But it's not, in fact it's...his brother? Well, perhaps no relation, but it's the mildly obscure "John Brown." Although this has been called "the worst song Dylan ever wrote", this version is remarkably good. Intense and compelling, comparable to last night's brother Hollis. Next are a couple of repeats. "I'll Be Your Baby" isn't quite as much fun as last night (he manages to mix up the lyrics rather well, starting the song with "Shut the light..."). Highway 61 is more ragged than last night. The sound in this hall isn't quite as good, and the major jams don't come over very crisply. Dylan's phrasing lacks the subtlety of Chicago... So the first six songs have been good but not great. No hint of what is to come! The acoustic set is, simply, amazing. First up is "It's Alright Ma." True, it would be impossible to do a bad acoustic version of this song, but Dylan gives it even more than the usual quota of fire. The crowd loves it. What happens next is unbelievable. Dylan strums away, then out comes "Ain't it just like the night to play tricks when you're trying to be so quiet". I do a double-take. I don't believe it. No, it can't be!? Yes, it is. "Visions of Johanna" is being played in concert for what must be the first time in a long, long while. (I think it got played once in '74. Does anyone know of any other performances of it since 1966?) Needless to say, it is wonderful. I am transported to a supreme state of ecstacy. My head is in my hands much of the time as phrase after phrase bowls me over. It's rather different to the familiar version...his voice isn't so wracked, and the pitch goes down rather than up at the end of most lines. There are some very beautiful half-formed harmonica solos. Thinking about it, it's possible that he omitted a verse (the "little boy lost" verse, certainly the best one to leave out if something has to go), though it may just be a distorted memory. I can't help but wonder why he chose tonight to debut this song...I think these last few weeks have put him in a more creative and unpredictable mood than he's been in in years. (There was a lot of poring over the set-list on stage, to work things out, and there were a few whispered conversations between Dylan and G.E. between songs...I think some of this show was off the cuff.) I feel personally blessed and that my entire year has been made worthwhile. (Insert the usual exaggeration disclaimers here.) The song runs on in many directions, guitar and harmonica and voice, and finally ends to huge applause. Actually, this song will probably sound even better with a bit of practice, but just to hear it at all... You'd think that what's next would be bound to be a disappointment, but in fact "Song to Woody" is beautiful. I wasn't expecting to hear this, either (though he's played it occasionally in the last year or two). "Hey hey, Woody Guthrie, I wrote you a song...". Vocals and guitar are perfect. After nine Sixties songs straight, it's time for 1989 once more. The "Oh Mercy" section seems to be settling. "Everything is Broken" is similar to last night, and so is "What Good Am I?". "Most of The Time" has a much more stripped-down feel. G.E. is right out of it for the first half of the song, which makes things much less cluttered and highlights Dylan's voice beautifully. This is much better than last night and much better than the album. Dylan seems to be willing the song from the heart, thrusting it out into the audience. Very intense. A break from Oh Mercy here, to hear another old favourite "In The Garden." This song, I'm afraid, is rapidly attaining "Maggie's Farm" status; much-loved by Dylan, a concert warhorse, but very much lacking in subtlety. Unlike many other songs, no live version I've heard has approached the original in quality. This was all-out scream and jam. The band were enjoying themselves, anyway. Then back to "Long Black Coat", which is again excellent, though not phrased quite as beautifully as before. The crowd gives the first few notes a big cheer; this is apparently "the" song of the new album. Finally, "Like A Rolling Stone" is much more powerful than last night; this time Dylan is standing behind the words as he sings them. The crowd goes wild. An over-enthusiastic student-cum-security-guard tries to eject me from dancing in the aisle...never mind. Dylan and the band are putting in an incredible amount of energy; he has warmed up to a fever pitch unapproached in either concert so far. At the end of the song he actually says "Thank you" twice, loud and clear. The audience screams, and gets him straight back for another "Disease of Conceit." This is much better than last night. Dylan is getting into the piano-playing totally, I've never seen him have so much fun. He's seated facing half-away from the audience, but he continually looks around with a big grin as if to say "so how'm I doing?". Then, amazingly, he goes into an extended "piano jam". He gets up from the stool and plays standing up, rocking his body and stamping his feet and thumping away madly on the keys. He cuts a very weird figure indeed, almost childish in his intensity of enjoyment. The audience loves it too, and finally he gets up from the piano looking pleased as punch. Amazing. And a big bonus! The last song is not Maggie's Farm! In fact, it's "All Along the Watchtower", which is powerful and great. The band gives it everything and the audience is fevered. I really think for a moment that they might come back for an unprecedented second encore -- the last few songs they have been having such a great time, the audience is wild, and the lights are still down. But it isn't to be, and we retire happy. List: Don't Think Twice, It's All Right Masters Of War Positively 4th Street John Brown I'll Be Your Baby Tonight Highway 61 Revisited It's Alright Ma (a) Visions of Johanna (a) Song To Woody (a) Everything is Broken What Good Am I? Most Of The Time In The Garden Man In The Long Black Coat Like A Rolling Stone Disease Of Conceit (p) All Along The Watchtower. 17 songs, about 90 minutes. (He rushed through a bit more today.) This show was quite different to Chicago, in feel as well as content. (There were 8 songs in common, and 9 different in each...26 different songs in all.) Whereas Chicago started great but didn't finish quite as well, this one started only OK but built up to a tremendous climax. The singing and guitar-playing wasn't quite as refined (a couple of songs had the words rather trampled), and the sound wasn't quite as good, but there was a huge amount of energy. The highlight, of course, was the acoustic set...I still can't believe that I really heard "Visions of Johanna" live. What's coming next? "Desolation Row"? Sadly, I couldn't head on to Cleveland (it was sold out, anyway), so I headed home this afternoon (Thursday), very tired and very satisfied. (Managed to garner a speeding ticket, but my car didn't break down.) Many thanks to my hosts Walt (in Chicago) and Ed (in Ann Arbor). Now it's time to get some sleep. -- Dave Chalmers (dave@cogsci.indiana.edu) Concepts and Cognition, Indiana University. "To live outside the law you must be honest..." >From iuvax!purdue!tut.cis.ohio-state.edu!cs.utexas.edu!samsung!hubdub!ain14998 Fri Nov 3 11:35:24 EST 1989 Status: RO Article 583 of rec.music.dylan: Path: iuvax!purdue!tut.cis.ohio-state.edu!cs.utexas.edu!samsung!hubdub!ain14998 >From: AIN14998@merrimack.edu Newsgroups: rec.music.dylan Subject: Song list from Tues. at Opera House Message-ID: <10482@merrimack.edu> Date: 2 Nov 89 23:41:54 GMT Organization: Merrimack College, No. Andover, MA Lines: 31 I went to Dylan's Opera House concert on Oct. 24 . He made magic with these songs: The Real You at Last What Good am I? Man of Peace I Beleive in You Forever Young Highway 61 * Tamborine Man * Boots of Spanish Leather * The Lonesome death of Hadie Carroll Shelter From the Storm Everything is Broken It Takes Alot to Laugh, It Takes a Train to Cry In the Garden Like a Rollin' Stone encore: Most of the Time Maggie's Farm (* = acoustic guitar) - Jeff Child Massachusetts "... If there's an original thought out there I could use it right now" - Bob Dylan "Brownsville Girl" on Knocked-Out Loaded >From iuvax!cica!tut.cis.ohio-state.edu!att!cbnews!ajw Tue Aug 8 21:37:35 EST 1989 Status: RO Article 16710 of rec.music.gdead: Path: iuvax!cica!tut.cis.ohio-state.edu!att!cbnews!ajw >From: ajw@cbnews.ATT.COM (andrew.j.whitman) Newsgroups: rec.music.misc,rec.music.gdead Subject: R.A. Zimmerman, R.A. Whitman in Columbus Keywords: Bob Dylan, Steve Earle, G.E. Smith, Lamaze Message-ID: <8840@cbnews.ATT.COM> Date: 7 Aug 89 14:18:46 GMT Distribution: na Organization: AT&T Bell Laboratories Lines: 121 Xref: iuvax rec.music.misc:32825 rec.music.gdead:16710 As one who takes a jaded view of the whole '60s and '70s nostalgia trip and the continuing fascination with the rock 'n roll dinosaurs who are being recycled this summer (the Who, Neo-Yes, Pink Floyd), I admit that I have no defense for venturing down to Cooper Stadium to catch Bob Dylan and his Jurassic Juggernaut. What can I say? This was BOB DYLAN, folks! Nostalgia and hero-worship got the better of me. Here's the setlist for the Sunday, August 6th show: Eletric: Most Likely You Go Your Way and I'll Go Mine I'll Remember You Masters of War Stuck Inside of Mobile with the Memphis Blues Again Highway 61 Acoustic: To Ramona One Too Many Mornings Mr. Tambourine Man Electric: Confidential Silvio I Shall Be Released Like a Rolling Stone Encore: It Ain't Me Babe - Acoustic All Along the Watchtower - Electric Cooper Stadium, set in the scenic shadows of I-70, is hardly the rustic locale needed to properly appreciate a Dylan concert. Add to this the fact that the promoters refused to sell seating on the field, and that about a thousand security goons were zealously doing their part to keep people in the stands, and you have the makings for what could have been a major bummer of an evening. As Steve Earle put it, "This is the first venue that we've played that has had truly democratic seating. They all suck!" Fortunately, it was a good, mellow crowd. Lots of tie-dyes and pony tails, with more than a touch of grey in many of them. Lots of shouts of surprise as people encountered and greeted long-lost friends. I saw several folks that I hadn't seen in years. And it seemed to be happening all over. It was one of the most mellow, social crowds that I've seen at a concert, and it was a welcome change from the usual concert anonymity and aggressiveness. Steve Earle came on promptly at 7:30 and played a rowdy forty-five minute first-set to a polite but largely indifferent crowd. With his long hair and cowboy hat, Earle looks the part of a country renegade. Sonically, however, he is much more similar to the roots-rock popularized by John Cougar Mellencamp. I was mildly impressed. I probably won't rush out and buy his music, but the neo-rockabilly guitars and gritty vocals were handled well, and Earle gamely plugged away under less than ideal circumstances. It's hard to establish much rapport when the audience is a hundred yards away and doesn't know who you are, but Earle almost pulled it off. He was received warmly, and that's too bad. Tony Bennett's music is intended to be received warmly. Steve Earle's is not. Sunday night, the rock 'n roll rodeo never quite got going. He deserved a better fate. Dylan hit the stage at 8:45, dressed in a long-sleeve maroon shirt and a brown leather vest, obviously oblivious to the fact that he was in sweltering Columbus, Ohio and not Hibbing, Minnesota. It didn't matter. For the next hour and a half he simply knocked my socks off. I've seen Dylan several times before, and each time he has heavily weighted his set with songs from whatever album was current at the time (first "Desire," then "Slow Train Coming," then "Empire Burlesque"). The songs from the '60s, if they were performed at all, were performed as perfunctory throwaways. There was no energy. There was no magic. Not this time. Let me pass on the word: if you value rock 'n roll history, see this tour. This is Dylan at his best, and as we may never seen him again. The highlights: almost too numerous to mention. Dylan blowing harmonica like a maniac for the last five minutes of "Stuck Inside of Mobile . . .". A scathing, uptempo version of "Masters of War." The entire acoustic set, which included beautiful versions of "To Ramona" and "One Too Many Mornings," two of my favorite Dylan tunes that I NEVER thought I would hear performed live. A ten minute version of "Mr. Tambourine Man," with another emotional Dylan harmonica solo. "Like a Rolling Stone" and "It Ain't Me, Babe," where the crowd sang along at the top of their voices on the "How does it feeeeeel" and the "No, No, No it ain't me babe" choruses. Is this a '60s nostalgia trip? You bet. Do I regret a minute of it? Nope. Why this newfound energy and commitment? I have to believe that it comes partially from Dylan's top-notch band, which includes drummer Kenny Aronson, bassist Christopher Parker, and guitarist G.E. Smith. Smith, in particular, was a wonder - a true virtuoso who pushed Dylan all night long and provided just the right guitar-wizard foil for Dylan's ragged but emotional rhythm guitar work. Dylan has always done his best work when pushed by great bands (the Band, Mike Bloomfield and Al Kooper, Mark Knopfler). The current line-up is right up there with the best of them, and I hope that Dylan can lure these folks into the studio to set down this incredible music for posterity. In the meantime, anybody who manages to tape this tour could surely make an Ohio boy happy :-) Well . . . long about the first chorus of "How does it feeeeeel," my very pregnant wife Kate responded with a "Not very good." During the encore the contractions were eight minutes apart. We headed out to the parking lot while Dylan was still in the middle of "All Along the Watchtower," zipped over to the hospital, and at 4:28 this morning gave birth to a 7 pound 11 ounce baby. The name? Well, uh . . . Robert Allen. No, Dylan Thomas . . . Nah . . . uh, would you believe Rachel Ann? We had to get the R. A. in there someplace. Kate and Rachel are doing well. I've been up for thirty straight hours, am about as tired as I can ever remember being, and I'm doing damn well, too. This cub reporter is going to bed. Deliriously yours, Andy Whitman AT&T Bell Laboratories, Columbus, Ohio att!cblpn!ajw >From iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!uakari.primate.wisc.edu!aplcen!haven!uvaarpa!mmdf Thu Nov 9 12:58:11 EST 1989 Status: RO Article 623 of rec.music.dylan: Path: iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!uakari.primate.wisc.edu!aplcen!haven!uvaarpa!mmdf >From: alan@meto.umd.edu (Alan Robock) Newsgroups: rec.music.dylan Subject: Rolling Stone review of DC concert Message-ID: <1408@uvaarpa.virginia.edu> Date: 9 Nov 89 14:37:48 GMT Sender: mmdf@uvaarpa.virginia.edu Reply-To: alan@meto.umd.edu Lines: 40 The latest Roling Stone (issue 566, November 30, 1989), with Jerry Garcia on the cover, which by a miracle of time travel appeared in my mailbox yesterday, has a review by J.D. Considine of the October 17 concert by Dylan at Constitution Hall in Washington, DC. I went to that concert, and the one the next night, and I can tell you, IMHO, Considine has a very very different opinion than I do. These were the 2 best Dylan concerts (out of 11 I've been to) that I have ever seen, with the exception of the 45-minute acoustic set with Joan Baez during the Rolling Thunder Review at the Music Hall in Boston, which may never be matched. The band, especially G.E. Smith on guitat, were fabulous, and Dylan was hot, was excited, actually smiled a lot, and gave new interpretations to his recorded songs. Most of the Time was much better than the album version, and I Want You was moving. It often happens, when people who are not Dylan fans, or who expect a "typical" rock concert, are exposed to Dylan's style they can be turned off. (Unlike most of us, of course, who get turned on.) A friend from East Berlin saw him there 2 years ago and told me how terrible it was, how he didn't talk to the audience and just did his songs and left. But he is basically shy, and can only express himself through his songs, boy can he do that well. I told the friends who came with me to these DC concerts that they should consider themselves fortunate to have experienced Dylan in his best form ever (in line with all the reviews I have been reading of the other shows on this tour). I didn't take notes, and am not as good as others at doing concert reviews, but I left these concerts with a giant grin on my face, happy for myself and for Dylan who seems to be really enjoying himself, which comes through in his concerts. This guy Considine doesn't know enough to appreciate Dylan, an obviously went to the concert with a decision already made. ==================================================================== >From: Alan Robock Telephone: (301) 454-5089 Department of Meteorology Fax: (301) 454-4591 University of Maryland INTERNET: alan@meto.umd.edu College Park, MD 20742 BITNET: alan%meto.umd.edu@umd2.bitnet "The answer, my friend, is blowin' in the wind." ==================================================================== >From iuvax!mailrus!uflorida!stat!fsu!prism!chmsr!kirlik Sat Nov 11 01:26:33 EST 1989 Status: RO Article 644 of rec.music.dylan: Path: iuvax!mailrus!uflorida!stat!fsu!prism!chmsr!kirlik >From: kirlik@chmsr (Alex Kirlik) Newsgroups: rec.music.dylan Subject: Dylan in Atlanta (terse) Message-ID: <3323@hydra.gatech.EDU> Date: 11 Nov 89 05:21:35 GMT Sender: news@prism.gatech.EDU Reply-To: kirlik@chmsr.gatech.edu (Alex Kirlik) Distribution: usa Organization: Center for Human-Machine Systems Research Lines: 41 Dylan at the Fox Theater in Atlanta Nov. 10: 1. To Be Alone With You 2. Masters of War 3. Man of Peace 4. Simple Twist of Fate 5. Leopard Skin Pillbox Hat 6. Lay Lady Lay 7. Gates of Eden (acoustic) 8. Lonesome Death of Hattie Carroll (acoustic) 9. Mr. Tambourine Man (acoustic) 10. Black Veil ?? [ala J. Cash/J. Baez] (acoustic) 11. Everything is Broken 12. It Takes a Lot to Laugh, A Train to Cry 13. What Good Am I? 14. Most of the Time 15. In the Garden 16. Like a Rolling Stone encores: 17. Barbara Allen 18. Disease of Conceit (piano) 19. All Along the Watchtower For what its worth, I had a wonderful time just soaking up the songs. Most of the time, I had a feeling Bob was keeping pretty tight reins on the band. I always thought Leopard Skin would absolutely soar in concert, but it never quite got there, although it was very danceable. For me, the highlights were what surprised me, such as the fantastic guitar solos by Bob on each of the acoustic songs. By the way, Bob did talk, with a bunch of thank you's and even a rare see you later at the end. It's not really my way to go analyzing things to much, although I enjoy it when other people do. So I'll leave it there, cause "The kingdoms of Experience, in the precious wind they rot" - Gates Alex Kirlik UUCP: kirlik@chmsr.UUCP {backbones}!gatech!chmsr!kirlik INTERNET: kirlik@chmsr.gatech.edu >From se-sa@csclea.ncsu.edu Tue Nov 14 17:59:08 1989 Posted-Date: Tue, 14 Nov 89 17:54:29 EST Date: Tue, 14 Nov 89 17:54:29 EST From: se-sa@csclea.ncsu.edu (Amit . Sanyal) To: dave@cogsci.indiana.edu Subject: Dylan at Durham Cc: se-sa@csclea.ncsu.edu Status: RO Hi, I went to the concert at Durham on the 8th of November and here is ( well, almost )the song list: Rainy Day Women #12 & #35 I want you Simple Twist of Fate Slow Train Coming Memphis Blues Again Lay Lady Lay Its all over now, Baby Blue ?? ( I couldnt recognize this) Mr.Tambourine Man Broken Most of the Time( is that what its called?) Man in the Long Black Coat ?? (this one too) Like a Rolling Stone Encore: ?? ( Sorry.) Disease of Conceit. All Along the Watchtower. Though during the concert I was carried away (this was my first concert, leave alone that it was my first dylan concert) I later felt that it could have been better in many aspects starting with the mixing to the fact that Dylan's singing was quite incoherent on its own too. The three songs after Lay Lady Lay were acoustic. Simple twist of fate really stood out and so did All along the watchtower.Memphis Blues Again was very diss appointing.(spelling!!). Pithu. NCSU Raleigh. >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck Wed Nov 15 20:21:23 EST 1989 Status: RO Article 676 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck >From: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Newsgroups: rec.music.dylan Subject: 1989 tour Message-ID: <17001@dartvax.Dartmouth.EDU> Date: 15 Nov 89 23:01:56 GMT Sender: news@dartvax.Dartmouth.EDU Reply-To: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Organization: Dartmouth College, Hanover, NH Lines: 67 Some melancholy here. It is the last night, Tampa, 11/15/89. And it would be so good to be there. Saw 26 shows this year, and want to note the highlights. A problem with Dylan, though, is trying to express the emotions he raises by expressing emotions you couldn't express to being with. Well. First, a couple of things. I'd love to see some bibliographic references listed here. There are so many articles out there now, have been for the past couple of years, that it's more than difficult to keep up. But I try, and though I'm drowning in paper, I'd love to know what else is new. And news, especially news of what he's doing, whether his garage has burned down or his house in Hibbing has sold (hasn't, been put back on the market for 53,500 minus the original bedroom, etc. furniture and poster gift to Mom), what concerts he's been to (a must for those influence articles) and any and all reference. The twenty six shows. Four of us took off for the mid-West and made it to Peoria for the first show of the tour. Will it play in Peoria? A strange place, an arena, Dylan didn't even seem tired coming in from playing a month in Europe that closed only two days before. Great suit, Bob, I even thought he might have overcome his bad taste in clothes. It's the one in the Times magazine picture, and the only time he wore anything that conservative and dressy. And the opening numbers, we were spinning? Hadn't a clue, the sound being bad. But Pancho and Lefty? Incredible to open a whole tour amidst those vast corn fields with something like that. It did play in Peoria. We went on to Poplar Creek (ok), Milwaukee Summerfest (cheap, sold out --- he lost the unknowing crowd by playing a whole first set of slow, unknown-to-them kind of numbers) and to the Rochester Hills shows at Meadow Brook. On the second, I caught an off-stage glimpse of him, walking slowly up a wooded path toward the stage, perhaps 20 feet form me, the hooded sweatshirt thrown over one shoulder. It causes a certain stillness. Then Noblesville, awful, nothing in contact with anything else. If you can, listen to the very strange arrangement of Knocking On Heaven's Door. He does it like, truly like, a dying man. The tapes will be bad, probably (mine is) because the place was new and the sound about the worst I heard on the tour. He may have just been sick, or tired, but it wasn't a together show. Blossom, ok, then a wait for Manfield and Old Orchard. Good, competent shows, nothing particularly outstanding. Then, however, came Bristol, Connecticut, and that was hilarious. It had poured there in 1988. And in 1989, it poured again. Last year he did Silvio, the rain stopped, I swear it did --- he just looked at the sky and grinned when he got to that line. But this year, he not only keep only his little cap and hood, the same as he had worn in the first Swedish shows, but he played his rain songs. What was it (not looking at list, maybe something wrong here: Hard Rain, Early Morning Rain, Shelter From The Storm). People were probably not amused at standing in the rain and being unable to see him clearly, and the security force was disgusting and juvenile, but it was a very good show. Oh, Old Orchard. One note from there, from now on it's a one-eyed widget. We finished up the summer part with Saratoga and snuck into the third row at Joliette. There are a thousand images, but they can't really be spelled out to well in a short space, and this has gone on too long for one note. I'll go over the fall tour with the new songs another time. 10 more shows. And tonight he finishes in Tampa. Rebecca "You're gonna make me lonesome when you go." >From anthony@cs.pitt.edu Thu Nov 16 12:51:49 1989 From: anthony@cs.pitt.edu (M. Anthony Kapolka 3) Subject: Re: more on tapes To: dave@cogsci.indiana.edu (David Chalmers) Date: Thu, 16 Nov 89 12:45:43 EDT X-Mailer: Elm [version 2.0 gamma] Status: RO -- Dave, Below is the review... Yea, I taped the show myself. First time I've ever done that. The people sitting on either side of me didn't even notice. I was happy enough with the results, considering I was using a built-in mike. I should have practiced flipping the tape more, however, as I lost the first line of "Its all Over now, Baby Blue". I'm sure a better version of this concert was taped... but maybe not... I'd like to get a copy of all the reviews you've saved sometime, if I could. I'll get my friend to send me a review of Phila 10/16 and Indiana 11/4, as he was at both those shows. -- Review Cleveland 11/3/89 Before the show, someone came out and dusted off the piano. I was extremely hopeful that I'd hear some piano playing... The theatre was sold out. I saw no empty seats. Not a one. The lights dim and ... Shot of Love I don't have this album, so it is hard for me to compare this version to last night performance. The crowd seemed pretty suprised to hear it. I was. It proved to be the only religous song of the evening- I really expected either Gates of Eden or Man of Peace... Masters of War Well executed, very loud, but not one of my personal favorites. The crowd was pretty still- maybe getting a little restless. You're a Big Girl Now This was really heartfelt. The crowd was suitably attentive and Dylan's lyrics were very clear. Just Like a Woman His lyrics are still clear. The crowd is still attentive, but a little more roudy. They like this song better then the last. I'll Be Your Baby Tonight I've never heard this live before- but it was very pleasant. By now, the crowd has settled into the theme of the last few songs... Highway 61 This was slower then I'm used to hearing (although not *slow*) and a lot clearer then usual. It wasn't as loud either. By now, I'd decided that Bob was really putting a lot of effort into singing. It ended with a strange but familiar series of dragnet-like cords. It's All Over Now, Baby Blue Back to the theme again. Acoustic, and very clear. During this song, someone near me was whistling and screaming, and proceded to get into an argument with a woman in front who told him to shut up. Fortunately, they couldn't ignore Bob too long- and they went back to just listening. And, damn, did Bob out do himself on this song. Afterwards, Bob said "thank you" not once, but twice! A Hard Rain's Gonna Fall Still acoustic, and Bob's still singing clearly. This performance was as good as any studio version I've ever heard- the audience was quiet and just enjoying the music. After this number, the crowd was quite effusive. It Ain't Me Babe Is this a theme night or what? Acoustic, and subtle. Very subtle. The audience got it though, and cheered quite a bit at the end Everything is Broken Just the introductory cords got the crowd moving. Electric, and boisterous. Still, this song went right into... What Good Am I? Dave was right- that segue was really a shock. Dylan's rendition is slow, enunciated and full of emotion. Most of the Time I was sorry to hear this, because I figured with 3 Oh Mercy numbers, The Man in the Long Black Coat and piano playing was a long shot... (I hadn't seen Dave's reviews of Chicago or Ann Arbor.) The song seemed almost a response to the previous song... The Man in the Long Black Coat You can bet I was smiling when I heard the cords. Dylan's harmonica was a-blarin'. Lyrics were sharp and clear. Like A Rolling Stone This was almost anti-climactic. Well enjoyed, but a little slower and not as loud as usual. Dylan goes off, and comes back with.... Disease of Conceit Dylan's piano playing is quite amazing- he was standing up the whole time and moving around quite a bit. I have to admit this is my least favorite song off Oh Mercy, but Dylan was really trying to change my mind. He repeated a verse once or twice, extending the song. This was the *fifth* song from Oh Mercy he had done!! Maggie's Farm Dylan likes this song- that's for sure. At the end, everything slowed down... then picked up with a differenty rythm... I though- 3 encore songs... then, Bob sings a verse of Maggie's Farm very clearly and very slowly. Too bad he didn't sing the whole song like this... He closed with a very loud - "Thank You". Random thoughts- GE Smith and that other guy with the hat really took a back seat to Bob this concert. Bob didn't play any long extended harmonica solos. What he did do though is give the clearest live singing I've ever heard. I'd rate this concert a tad below the Philly Tower 10/15 concert though, mostly due to energy level... this was really more thoughtful and layed back then in Philly. >From iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!uakari.primate.wisc.edu!uflorida!stat!fsu!prism!gatech!hubcap!dpj Fri Nov 17 14:11:45 EST 1989 Status: O Article 679 of rec.music.dylan: Path: iuvax!purdue!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!uakari.primate.wisc.edu!uflorida!stat!fsu!prism!gatech!hubcap!dpj >From: dpj@hubcap.clemson.edu (D. Pokrass Jacobs) Newsgroups: rec.music.dylan Subject: Dylan in Atlanta 11/10 Message-ID: <7022@hubcap.clemson.edu> Date: 13 Nov 89 14:36:22 GMT Organization: Clemson University, Clemson, SC Lines: 14 I attended the Dylan concert on 11/10/89 at the Fox Theatre in Atlanta. Most of what I could describe has been said eloquently by others, so I'll mention only two reactions I had. First, the vocals were entirely uninteligible even to veteran Dylan listeners. Whether this was the fault of the theatre, engineers, Dylan, the equipment, I don't know. My second impression was that Bob looked very tired and worn out. I might even go so far as to say he looked ill. I saw him only about a year and a half ago, and don't at all remember him looking as aged as he did on Friday. David Pokrass Jacobs >From iuvax!cica!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!usc!samsung!uakari.primate.wisc.edu!uflorida!novavax!hcx1!brian Fri Nov 17 14:13:07 EST 1989 Status: O Article 681 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!gem.mps.ohio-state.edu!usc!samsung!uakari.primate.wisc.edu!uflorida!novavax!hcx1!brian >From: brian@ssd.harris.com (nile) Newsgroups: rec.music.dylan Subject: Re: Miami 11/12/89 Message-ID: Date: 16 Nov 89 16:05:25 GMT References: <29625@iuvax.cs.indiana.edu> Sender: news@hcx1.UUCP Distribution: rec.music.dylan Organization: Harris Computer Systems Division Lines: 16 In-reply-to: dave@cogsci.indiana.edu's message of 14 Nov 89 17:15:43 GMT >All acoustic guitars, lots of twelve strings. ^^^^^^^^^^^^^^^^^^^^ Oops. I'm pretty sure Dylan played acoustic the whole show, G.E. played acoustics for a large part of the show. On "Broken", "Watchtower", and a few others, G.E. played an electric. Dylan stuck with the same twelve-string for all or most of the show. Again, my memory is sketchy, I was doing more enjoying than remembering. -- brian m. leach brian@ssd.csd.harris.com { uunet | novavax } !hcx1!brian "once in a while you get shown the light in the strangest of places if you look at it right" >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi Fri Nov 17 18:01:01 EST 1989 Status: O Article 685 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!cmi >From: cmi@eleazar.dartmouth.edu Newsgroups: rec.music.dylan Subject: Atlanta 11/10/89 Keywords: fall tour Message-ID: <17063@dartvax.Dartmouth.EDU> Date: 17 Nov 89 20:36:59 GMT Sender: news@dartvax.Dartmouth.EDU Reply-To: cmi@eleazar.dartmouth.edu Organization: Corporate Microsystems, Inc. Lines: 28 courtesy of Dave Jacobs from kirlik@chmsr.gatech.edu to be alone with you masters of war man of peace simple twist of fate leopard-skin pill-box hat lay lady lay gates of Eden Hattie Carroll long black veil everything is broken train to cry what good am I? most of the time in the garden rolling stone Barbara Allen disease of conceit watachtower liz -- Theo Pozzy, Corporate Microsystems, Inc. ..!decvax!dartvax!eleazar!cmi (UUCP) cmi@eleazar.dartmouth (CSNET) cmi@eleazar.dartmouth.EDU (ARPA) Box A-58, Hanover, NH, 03755 (USPS) >From iuvax!cica!tut.cis.ohio-state.edu!snorkelwacker!bloom-beacon!eru!luth!sunic!enea!olof Sun Nov 26 20:13:12 EST 1989 Status: O Article 746 of rec.music.dylan: Path: iuvax!cica!tut.cis.ohio-state.edu!snorkelwacker!bloom-beacon!eru!luth!sunic!enea!olof >From: olof@enea.se (Olof Bj|rner) Newsgroups: rec.music.dylan Subject: The Never-Ending Tour Message-ID: <504@enea.se> Date: 26 Nov 89 21:47:02 GMT Reply-To: olof@enea.se (Olof Bj|rner) Organization: Enea Data AB, Sweden Lines: 20 UUCP-Path: mcvax!kth!sunic!enea!olof The Never-Ending Tour continues next year with nine shows in Paris and London: Paris: 1/29, 1/30, 1/31 & 2/1 - three shows, so one night is free, don't know which one, don't know venue London: 2/3-2/8 - yes that's right! SIX shows at the Hammersmith Odeon!! Same backing band: G.E. Smith - Tony Garnier - Chris Parker. And then Australia in April ... And then Japan ... "It's all the same tour. The Never-Ending Tour...." Bob Dylan in conversation with Adrian Deevoy, Q Magazine #39, Dec 89. ================================================================================ | ___ __ | Olof Bjorner, olof@enea.se | | / ) / __ / | Tfn: +46 76461318 | | / / / /:-) /_ | Murkelvagen 12, S-184 34 AKERBERGA, SWEDEN | | (___/ (__ (__/ / | Enea Data AB, Box 232, S-183 23 TABY, | | / | SWEDEN, Tfn: +46 87922500 | ================================================================================ >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck Fri Dec 1 12:40:54 EST 1989 Status: O Article 783 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck >From: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Newsgroups: rec.music.dylan Subject: Tampa set lists Message-ID: <17518@dartvax.Dartmouth.EDU> Date: 1 Dec 89 16:05:43 GMT Sender: news@dartvax.Dartmouth.EDU Reply-To: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Organization: Dartmouth College, Hanover, NH Lines: 58 Following are set lists (not actual play lists) from the notes taped to the stage. Tampa, 11/14/89 Real You/Memphis I Want You Mr. Jones Man Of Peace B Simple Twist/Big Girl Rainy Day/I Believe - Baby Blue Eileen Ain't Me Love Minus Creole Girl Tambourine Man - Broken Most Of Time What Good Am I Garden Rolling Stone - Disease . Watchtower Tampa, 11/15/89 Memphis Masters Like A Woman Man Of Peace Big Girl Lay Lady Lay Don't Think Twice Gates Of Eden Love Minus Zero Broken Most Of The Time What Good Am I Tears Of Rage Released Rolling Stone Disease/Fat Lady Sings Tried to make them look as much like the sheets of paer whoops, paper, as I could. Fat Lady Sings?! Only other oddity, 11/7, a song listed as First Came To This Country Well? >From iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck Wed Dec 6 14:12:59 EST 1989 Status: O Article 813 of rec.music.dylan: Path: iuvax!purdue!bu-cs!dartvax!eleazar.dartmouth.edu!buck >From: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Newsgroups: rec.music.dylan Subject: Warmup in the states? Message-ID: <17763@dartvax.Dartmouth.EDU> Date: 6 Dec 89 17:15:58 GMT Sender: news@dartvax.Dartmouth.EDU Reply-To: buck@eleazar.dartmouth.edu (Rebecca A. Buck) Organization: Dartmouth College, Hanover, NH Lines: 16 Couldn't resist that note from David about the Penn State show. It looks like a warmup for the overseas bit. Sunday, January 14, 1990, 8PM at Rec Hall, Penn State State College, Pennsylvania Mastercard and Visa accepted, 814-863-2688, 9-4 weekdays, December 11 through December 19, 1989. A gym, seats about 5000. Tickets on sale again, if there are any left, January 2-14, 1990. Any others out there? We don't know the probable South American dates, so there might be one or two more close enough for G.E. Smith and the guys to get to easily. Rebecca >From iuvax!mailrus!cs.utexas.edu!samsung!brutus.cs.uiuc.edu!ux1.cso.uiuc.edu!ux1.cso.uiuc.edu!morris Thu Apr 19 20:28:36 EST 1990 Article 1475 of rec.music.dylan: Path: iuvax!mailrus!cs.utexas.edu!samsung!brutus.cs.uiuc.edu!ux1.cso.uiuc.edu!ux1.cso.uiuc.edu!morris >From: morris@ux1.cso.uiuc.edu Newsgroups: rec.music.dylan Subject: Dylan in Greece Message-ID: <1026300001@ux1.cso.uiuc.edu> Date: 20 Apr 90 00:39:27 GMT Lines: 16 Nf-ID: #N:ux1.cso.uiuc.edu:1026300001:000:1056 Nf-From: ux1.cso.uiuc.edu!morris Apr 19 17:32:00 1990 I have never posted here before but I have a great Dylan story... I was in Greece over the summer and caught a Dylan show in Athens! It was pretty amazing. I found out he was playing the day of the concert but the middle section was open seating and I was standing about 30 feet away from Dylan! The opening bad was pretty awful, but Dylan was really great. He did two acoustic sets and two electric sets, and it was right before he toured the states so he had G.E. Smith backing him up. At one point I had a song list of stuff he played but I seem to have lost it...I remember he did Times They Are A Changing (which was pretty cool seeing where I was!), Mr. Tamborine Man, Blowin' in the Wind, How Does it Feel, and closed with a rocked out Maggies Farm. It was cool, an American who was standing next to me said "I have heard Maggies Farm, and I have been released". The other cool thing that happened was that Van Morrison showed up and did two numbers with Dylan and the band! It was really cool seeing such an American icon in such a foreign place.