Date: Fri, 15 Dec 1995 00:22:20 -0500 From: Ray Schweighardt (rainman@BUTTERCUP.CYBERNEX.NET) Subject: Beacon Theater, NYC, 12-14-95 Beacon Theater New York City 12-14-95 Drifter's Escape Tonight I'll Be Staying Here With You All Along The Watchtower Simple Twist of Fate Just Like Tom Thumb's Blues Silvio Tangled Up in Blue Masters of War Mama You Been on My Mind Dark Eyes (w/Patti Smith) Joey Highway 61 Revisited Alabama Getaway One Too Many Mornings Rainy Day Women #'s 12+35 (w/G.E. Smith) A wonderful performance, pretty much from start to finish. DARK EYES was absolute perfection. Bob was really into playing leads, including a great one on "Tonight ...". Everyone was expecting Bruce for the encore, but instead we got "a face from the past" (so said Bob). rainman ------------ "A million faces at my feet, but all I see are dark eyes."
Date: Fri, 15 Dec 1995 00:57:55 -0500 From: Ragman10 (ragman10@AOL.COM) Subject: NYC 10/14/95 Setlist Well, here's the setlist...I'll post a complete tour review later, but I've got to get to sleep so I can look my drndest in Philly... Drifters Tonight, I'll Be Staying Watchtower Simple Twist Tom Thumb Blues Silvio Tangled Masters Mama Dark Eyes (with Patti) Joey Highway 61 Revisited Alabama One Too Many Rainy Day (with GE Smith) Simply an awesome show...in my opinion, the best of the tour. "Happy birthday Mr. Frank." -Josh
Date: Fri, 15 Dec 1995 06:09:20 GMT From: Bill Pagel (billp61@EARTH.EXECPC.COM) Subject: December 14, 1995 - New York City - Setlist December 14, 1995 New York, New York Beacon Theater 1. Drifter's Escape 2. Tonight I'll Be Staying Here With You 3. All Along The Watchtower 4. Simple Twist Of Fate 5. Just Like Tom Thumb's Blues 6. Silvio 7. Tangled Up In Blue (acoustic) 8. Masters Of War (acoustic) 9. Mama You Been On My Mind (acoustic) 10. Dark Eyes (vocals shared with Patti Smith) 11. Joey 12. Highway 61 Revisited (encore) 13. Alabama Getaway 14. One Too Many Mornings (acoustic) 15. Rainy Day Women Nos. 12 & 35 (with G.E. Smith on guitar) Thanks to Jon Casper for the preceding information. Previous setlists, cue sheets, and upcoming concert dates, as well as links to other Dylan related web sites can be found on the "Bob Links" web page located at: http://www.execpc.com/~billp61/boblink.html Bill Pagel email@example.com
Date: Fri, 15 Dec 1995 12:03:43 GMT From: Seth Kaplan (QPSJ61A@PRODIGY.COM) Subject: Beacon, 12/14 Fabulous show. Patti reminded us why we loved her so much--the ultimate free spirit, but not some disconnected ethereal being, rather an incredibly funky, ex-Catholic schoolgirl, down-dancing poetess. She puts to shame her imitators--she is the real deal. Her collaboration with Bob on Dark Eyes was intense, heartfelt and loving--she represents so much the best part of his spirit that the reflected image of him next to her is devastating. I love this band, and have since I saw it a couple of weeks before Woodstock II backing him at some ski resort north of NYC. I've never seen anything quite like this drummer--two hours of nonstop joyous rock 'n' roll energy, coming right at you like to knock you down. Bob at the center of it looking as comfortable, relaxed, confident as I've seen him since Rolling Thunder. Don't miss this one when it comes to your town.
Date: Fri, 15 Dec 1995 18:34:33 -0500 From: Jason Chervokas (jmc@NYC.PIPELINE.COM) Subject: Re: Beacon, 12/14 On Dec 15, 1995 12:03:43 in article
, 'QPSJ61A@prodigy.com (Seth Kaplan)' wrote: >Fabulous show. I'm going to give a dissenting opinion that a lot of Dylan fans certainly won't agree with, but as a longtime fan seeing Dylan for the first time in a decade, I must say I was profoundly disappointed by the Thursday night show at the Beacon, which one rmd writer already labelled the best of the tour. The biggest problem with the show was an numbing sameness to every song. Tempos were similar, arrangements were nearly identical--with extended solos following every verse. Nearly every song ended with a few bars played at half tempo followed by a retard and an elogated final chord. Not only is this way of ending a song a hideous arena rock cliche, but after seven songs ending the same way, it's just deadening. Furthermore, every song was played at nearly the same volume. There was almost no dynamic shading at all. I lay much of the blame for this at the feet of the drummer. Anyone who's ever played drums in a rock and roll band knows the extent to which drummers dictate volume, dynamics, and--for want of a better phrase--orchestral variation. But this cat brought no variation to the table--everything was played equally hard, with double crashes at the end of virtually every line and similar straight up and down beats beneath it all. I love rave up rock and roll, but when every song is an identically paced rave up, then there's nothing to rave up from. The result is a numbing monotony, which I think fairly describes much of Dylan's set. The band spent the night driving ten penny nails with ten pound sledgehammers. On, "All Along the Watchtower," and of all things on "Sylvio," the approch came off nicely. But every song was played the same way. The set had the emotional and dynamic range of a Ramones show. I like the Ramones, but from Dylan I expect more. The second problem was Dylan's lead guitar playing. Frankly, it's awful. While he ocassionally can pull of a nice short phrase or idea (as with the first chorus of his solo on "One Too Many Mornings last Thursday), Dylan seems hell bent on extending that into a jam. If he cut the "One Too Many Mornings" solo off after one chorus, he would have had a fine performance. But he pushed it. I'm all for instrumentalists pushing themselves, but Ornette Coleman Dylan ain't. As a guitarist, he has neither the technical facility nor the musical ideas to make his extended solos compelling. Worse, he took extended solos on every song (even the acoustic tunes). And each of those solos were nearly identical rhythmic two-note riffs. Again, when everything in the set is the same, there's no tension and release, just tedium. (Much more effective was Patti Smith's dramatic rendering of "Wicked Messenger," which alternately rose and fell, whispered and screamed.) The third problem is the phony show biz crap Dylan seems to accept without question. He's doing essentially the same mini-encore set (with a floating acoustic tune) at every show, but he still makes the crowd go throught the phony arena rock convention of cheering for an encore. Just play 'til yr done, man, and if the spirit moves you, and the crowd is pumping, go with the flow for a real heartfelt encore. Finally, no one in Dylan's band or in his audience seems to be willing to challenge him to do better. Dylan's gotten to the point that the Dead got to--where the fans would howl if he stood up there and farted (which is pretty much what he did as a guitarist). One of the show's genuinely compelling moments was "Dark Eyes," a great, neglected song to begin with given a fine reading in part because, unlike Dylan, Patti Smith could carry the lovely melody, and in part because Dylan and Smith passed some real energy back and forth. Real energy-- not arena rock goof-balls cheering because the singer mentioned their hometown, or loud guitar noodling--was sorely lacking, as was the kind of challenging musical environment that can push musicians to transcendence, and the kind of emotional and musical dynamics that can tranform a rock show from a rote workout on a handful of tunes into a gripping, compelling experience. -- Jason
Date: Fri, 15 Dec 1995 08:30:18 EST From: "Steven L. Bender" (Steven_L._Bender@MAIL.NLTL.COLUMBIA.EDU) Subject: Beacon 12/14 setlist I hope I remembered them all: Drifter's Escape Tonight I'll Be Staying Here With You All Along the Watchtower Simple Twist of Fate Just Like Tom Thumbs Blues (!) Silvio Tangled Up In Blue (a) Masters of War (a) Mama, You Been on My Mind (a) Dark Eyes (a, w/Patti Smith) Joey Highway 61 Alabama Getaway One Too Many Mornings Rainy Day Women (w/G.E. Smith) An absolutely amazing evening. Bob looked great, sounded better. I've never heard his voice sound sweeter on the acoustic material ("Tangled" and "Dark Eyes" were especially beautiful) and the rockers rocked. This band has found the zone and they are locked in deep. The interplay of Bob and J.J.'s guitars is remarkable-- I don't know if I've ever heard 2 players snake around each other with such drive, panache and wit. Bob's playing keeps getting better and he seems to be loving it. There's been much talk here lately of how much better The Band was for Bob than this group. I disagree. Bob is much more a part of this unit, shaping the jams and communicating through his fingers as well as his larynx. Was it just me or did J.J.'s solos toward the end of Silvio and Joey have a decidely Garcia-esque sound?-- like a sweet bell ringing through the Beacon. Oh yeah, Patti was amazing too. I'm surprised that no one has mentioned that she has the great Tom Verlaine (from seminal N.Y. "punk" band Television) on guitar. A fine set-- my only complaint is that I could have listened to her for another hour. What a show. sb -- Delivered by the Dalton/NLTL Internet gateway.
Date: Fri, 15 Dec 1995 18:26:00 GMT From: 102514.2307@COMPUSERVE.COM Subject: Setlist: Beacon 12/14 Beacon Theatre 12/14/95 1. Drifter's Escape 2. Tonight I'll Be Staying Here With You 3. Watchtower 4. Simple Twist of Fate 5. Tom Thumb's Blues 6. Silvio 7. Tangled Up In Blue (a) 8. Masters of War (a) 9. Mama You Been On My Mind (a) 10. Dark Eyes (a, w/ Patti Smith) 11. Joey 12. Highway 61 encores: 13. Alabama Getaway (w/JJ singing on the chorus) 14. One Too Many Mornings (a) 15. Rainy Day Women (w/ GE Smith) This was an incredible show. Bob said something about how they couldn't wait to get back in NYC after Monday's show. I think this was before they played Tom Thumb's Blues so it was fitting for the last line of the song, which got the expected response. Silvio and Tangled got standing ovations and deserved them. These two and One Too Many Mornings were the highlights for me, but everything was great. Bob introduced GESmith by saying he was going to teach us how to play these things. House lights were on for Rainy Day Woman, and Bob spent the jam looking around at the upper balcony with a smile. Walking off after Rainy Day Women, Bob showed off the black bra someone had tossed on staged. Ben Fisher