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Bob Dylan 980113 in New London, Connecticut - Garde Arts Center

       Address: 325 State St. 
       Capacity: 1631 
       Reserved seating 
       Showtime: 8 PM 
       Ticket price: $37.00 

Subject: Re: Bob on organ!!! From: Sadiejane ( Date: Wed, 14 Jan 1998 14:01:03 -0800 Seth Kulick wrote: > > Anybody there with more detail? Was it Bob solo on organ, or with the > band? what was Bucky doing? Sitting next to him on the pedal steel? > Standing playing mandolin? Was the rest of band still using acoustic > instruments, etc.? > it was the electric set up with bucky on pedal steel. Bob played harmony the whole time (chords) and so both larry and bucky were providing the melodic material (apart from bob's great vocals). a really wonderful version of the song. Better than the record - but because it was so fresh sounding. As he sang, he altered the melody line. It was one of those moments....that takes your breath away. > uh-oh, this is starting to sound a bit too obsessive. > really? I hadn't noticed ;+} xx sj
Subject: New (Sadie's) London Report From: Sadiejane ( Date: Wed, 14 Jan 1998 13:42:59 -0800 > New London, Connecticut > January 13, 1998 > Garde Arts Center wonderful wonderful venue!!! yes yes yes!!!!! about to undergo a huge restoration/renovation which will provide bob and the band with nicer dressing rooms and us with art deco restored walls and new seats etc. It is being managed by the same people who brought you the now defunct State Theater in Portland, ME and they've given it the same down home warm fuzzy - but always professional and efficiently run touch. The sound in there was GREAT! Intimate theater (seated 1600 or so) but had a wide open space feeling about it. Sight lines were fab - every seat the house had a great view. Let's hope Bob makes this theater a regular stop on his everlasting gobstopping tour. > > 1. Absolutely Sweet Marie > 2. The Man In Me Bob looked and sounded great, wearing the same maroon pants with hearts up the side in a stripe I had seen at the Avalon show, paired with a sparkly maroon jacket. He appears to be back down to his naturally skinny self. No love handles no more. I was in the standing room only orchestra pit which was very very low - the stage just below my shoulders (so as we stood thru out the show we didn't block those seated behind us in the least). From this vantage point I had a great view of his round-toed-shiny black boots. He did a lot of toe tapping and dancing about on stage. Seemed to be having a GREAT time - but didn't play to the audience too much - which was really great (I think). He was very focussed and would go deep into the music on every number - seemed to allow and acknowledge the audience without getting distracted by it. His voice sounded very clear and healthy - and he sang TMIM (a personal favorite) with plenty of detail and depth of feeling. > 3. Cold Irons Bound > 4. Just Like A Woman I think one of the best ever JLAW. Sang the song as if it were a sad love song - not at all ironic. Very tender and touching. As though he were singing about a good friend on hard times. Very full singing - throwing in all sorts of vocal melismas (sp?) and extending the phrases. Looking forward to hearing this one on tape one day. At this poing the audience in the pit (mostly students) came to life. They had been standing quite stony faced until hearing a song they finally recognized (i.e. off a GH album). > 5. Can't Wait > 6. Silvio > 7. Desolation Row (acoustic) wow. half spoken/half sung. very effective. > 8. Tomorrow Is A Long Time (acoustic) wow wow!!!!!! I've been waiting to hear this one. Sort of a light touch to it - not slow at all, almost whimsical. Nice tone to it - just the perfect tone. Regretful and wise. > 9. Tangled Up In Blue (acoustic) the usual 2 note solos which seemed to drive the crowd of youngsters around me wild! He did quite a bit of guitar hero-esque posing during this familiar number. > 10. Make You Feel My Love The band walks off after putting their acoustic instruments down. The techs start getting the electric stuff set up and crew bring out this vox organ, the one bucky was playing during the small club gigs. they plant it right smack in front of bob's mic, facing the audience. "Okay - what gives" I think, "Is carol king here or something?" Then the band walks back onstage and picks up their instruments. Bob steps up to the organ and messes with it (of course) moves it so that it is facing the house left corner of the stage. The mic is now a bit far a way (they should have adjusted it for him - but they'd probably been rehearsing all week with the organ straight ahead of him and now bob decides last minute to change things. God love him! Make you feel me love they play. Some old 50's love song written by someone like Pee Wee king et al and originated by Frank Sinatra...or was it Nat King Cole? Anyway - it was sad and tender and full of longing - bob altered the melody line quite a bit and made it fresh as a daisy. The lovely ballad sounded like it could have been written yesterday! Larry Campbell had just the right sound on his electric - really old fashioned and sweet. I melted. Bob should sing covers like this one more often (;+}) > 11. Tears Of Rage okay. it brought a tear to my eye. It was grand. This song is a bigger than life epic and bob really sang the heck out of it. His guitar work was really solid too - playing out a lovely solo (essentially the melody line) that sounded almost like an imitation of his singing earlier. > 12. 'Til I Fell In Love With You > > (encore) > 13. Highway 61 Revisited David Kemper drove this one with wild abandon, illiciting smiles from his band-mates on stage. I love his style - so dynamic and dense and exciting. I know some people like a more stolid drum sound - less varied. NOT ME! > 14. My Back Pages (acoustic) > 15. Love Sick > 16. Rainy Day Women #12 & 35 nice guitar work on Love Sick from bob - I found the vocal delivery a bit flat though. I've always felt that this one live has never lived up to my expectations of it. All night bob's singing was just spectacular and his guitar work at times really focussed and dynamic at other times not so much so. He definately lays back and times and lets larry take solos (on songs like H61 for instance.) during RDW it was clear that larry was setting up Bob to join him on a duet and bob just didn't take the bait. In fact he seemed to close the jam up sooner than is usual and the song was shorter than I was expecting. what a great show! simply fabulous show!!!! YES! YES! YES! xx sadie delia ain't dead, she's hidin' just to keep from bein' seen
Subject: the great larry c & 1-13-98 From: ( Date: Thu, 15 Jan 1998 23:47:33 -0800 New London, Connecticut -- January 13, 1998 in response to requests 4 info about this show. . . i was 50 feet from the stage. an excellent performance, musically and sound-wise. the band never hit a wrong note all night. larry campbell continues to excel as the hugely talented, tasteful guitarist that he is. like steuart smith, that wonderful guitarist with shawn colvin, i can't take my eyes off his hands when i get to see larry play. the higher pitch of his telecaster and the lower pitch of dylan's les paul work well together. and he is throwing in some lines in between dylan's vocals the way the great g.e. did to fill out the song and give it more of an identity. he definitely seems more comfortable on stage than, for example, in april, 1997, whe he came out at g.e. smith college in northampton and looked like a man who thought he saw a rat scamper across his cellar floor. larry played some terrific-sounding lead guitar particularly on absolutely sweet marie, highway 61 (especially), can't wait and RDW. his use of up-strokes on "love sick" added a nice sound to the song. the hopped-up version of can't wait (as compared with the album version), to me, is becoming a highlight of the recent shows. and, of course, larry's rhythm guitar-playing on tangled up in blue has redefined the song much the same way g.e. shaped it in his own image. larry has slightly changed how he plays the chords in this song, i think, and it's very nice. i find it interesting that larry campbell is able to work so obviously comfortably in a rock n roll vein when he has such a folkie background. it's a credit to his wonderful musicianship that he blends as well as he does and adds so much to the band. he also has very, very sound technique. good guitarists make it look easy, and he does make it look like a breeze up there. along with david kemper, who is a very tight drummer, larry campbell is the driving force behind this group. so, pay attention, folks, to the man in the long gray coat. after g.e. and robbie robertson, larry campbell may well be the very best guitarist dylan has toured with. before i forget to mention, i will be getting one and probably two tapes of this show (as well as 1-14) from two folks who DATaped it. i listened to one of the 1-13 tapes in the car on the way home, and it was so clear i thought i was on stage. so, if anyone wants copies . . . (yes, larry, even you can get a copy from me because we all know how stingy bob is about this sort of thing. have jack, your friend from schooldays back in new york email me from atlanta, and i'll get it out to you!!) there was, i thought, just a bit too much reverb on love sick; it was very noticeable that the reverb started to drown out dylan's vocal on this song. overall, tho, all the time out of mind songs were played very well. at first i couldn't figure out where the opening notes of love sick were coming from. i thought dylan had stashed a pianist behind the amps. then i realized it was the former mayor. altho, as a guitarist myself, i've never been impressed with dylan's lead-guitar-playing, he had some nice riffs in desolation row, in particular. this song was the most interesting of the night for me. it was reworked from how he had played it before with the guitar lines being very prominent. good-sounding vocal from dylan, too, and if i recall correctly, he even remembered most of the verses! in fact, dylan's vocals were clear and he seemed very much "into" the show. i agree wholeheartedly with our leader, the wonderful maureen, on that point. no chat with the audience, though, no hand-shaking and no one jumping up on stage as occurred 4-19-97 at hartford, ct, or 11-10-96 in mankato. but he seemed to be very much involved in the performance and the music. i've noticed that the first show or couple of shows of a tour usually have not been as good as the ones that come a week later or so -- as if the group still needs to warm up or get used to each other. but not tonight. these guys were on in a big way! just like a woman was very tasteful. i noticed on this song and on a few others that larry campbell plays the telecaster with both the pick and his middle, ring and pinky fingers at the same time, adding another "voice" to the music. a friend of mine and i were talking about how melodic this song is with its arpeggios and that it is, in a way, a song about a lost love, or a love in the past, whereas "to make you feel my love" is played in a much more staccato vein, with dylan hammering the chords out on the electric organ. if you think about it for a minute, you'd expect the more romantic "to make you feel" would be played in a more dance-like vein, in the style of "just like a woman," with its melodic arpeggios. sometimes, it's just interesting to think about how dylan conceives of a song and why he plays it the way he does. the juxtaposition of these songs caused me to think about that. quite a few standing o's from a good portion of the folks in the orchestra section where i was (i couldn't see back up into the balcony) it was a well-behaved crowd, as opposed to the snobbish gathering at oakdale, ct, in 8/97, which so rudely snubbed ani difranco. i was disappointed with tears of rage, one of my favorite dylan tunes. i've heard this performed with much more passion and pathos, but it didn't come across that way tonight. the song seemed mechanical. maybe someone else heard it differently. someone asked about how the organ was set up for "make you feel my love." it was set up just behind dylan's microphone so that he had to lean forward just a bit to reach the microphone for the vocal. everyone else stayed put as fast as the organ was hustled onto the stage, it was whisked off and the show continued. hope this is somewhat informative and gives u all a clue as to what's to come. thanks to everyone on here for their own interesting postings.
Subject: New London, CT, 13 January 1998 - review (#1 in a series of 9) From: Carsten Wohlfeld ( Date: 27 Jan 1998 23:07:00 +0100 Bob Dylan New London, CT 13 January 1998 Garde's Art Center A Review by Carsten Wohlfeld Hey kids, I sincerely hope you'll enjoy the following review cause there's eight more to follow, as I intend to review all the New York City and Boston gigs as well :-) Big thanks to Larry, Sadie, Andra, Ben and all the others who helped me getting this trip toghether and making it so much fun! Anyways, here we go: I arrived late in New London, and entered the venue, a rather small and beauful old theatre in the center of the small town that is New London, at exactly 8.02 pm to the sound of the first verse of Absolutely Sweet Marie I was prepared to hear "Maggie's Farm" nine times on my trip so this was a pleasant surprise. Bob's singing was great from the beginning, as was the sound. The Band sounded tighter as usual, the reason being either the three week break since the last show or the fact that they arrived in New London at few days early to rehearse. The Man In Me Always appreciated. Musically it was a rather perfect version, even though they play it very often. Maybe a bit too loud and too rushed, but a welcome alternative to the usual "Lay Lady Lay" or "Tonight..." anyways. Cold Irons Bound Followed as expected and it was every bit as good as the people who saw the fall tour kept telling me (later on my trip I discovered that this even wasn't the best version of it). The way he stops after singing "cold irons" just to stress the "BOUND" is just awesome! A song I really enjoyed even though it's probabably my least favourite song on "TOOM" with the exception of "Dirt Road Blues". Just Like A Woman "Yawn!", I thought at first, cause this is not the kind of song you'd want to hear if you see Dylan frequently. Great version though that was greeted with thunderous applaus from the audience, the first time Dylan really got the crowd going. I missed the backing vocals from the 1996 arrangement though. Can't Wait Another song that doesn't do much for me on record, but live it was clearly one of the highlights of the night. Great song to dance too... funky! Silvio "Why Am I here?" 4,000 miles from home and all I get to hear is "Just Like A Woman" and "Silvio"? Purleeeze! Even though I never heard the "TOOM" songs before and this version of Silvio rocked as usual with a cool Bob solo at the end, so far the setlist looked like a typical first night safety stunt. Desolation Row (acoustic) As if Bob could've read my thoughts: YESSSSSSS! THAT is what I came for! Staggeringly good version of this great, great song that not only featured a nice new guitar riff from Bob (who shifted from rhythm to lead guitar for every acoustic set on this tour), but also seven verses, quite a contrast to the "four-half-remembered-verses-and-I'm-outta here" versions from the early 90s. Crowd: stunned. Tomorrow Is A Long Time (acoustic) Another much appreciated choice... couldn't figure it out a first, cause Bob wasn't singing the first line of the song very clearly (or off-mike), but as soon as I heard "endless highway" it was time for another "YESSSSSSSS!" :-) Larry joined in for the chorus in a version that sounded a bit under-rehearsed. A treat that most people around me failed to recognize, by the way. The guy next to me had to look it up on Larry's cuesheet (taped, quite visibly, to his amp) with his binos to figure it out. Tangled Up In Blue (acoustic) Standard version with the usual solo mayhem at the end and some technical problems at the beginning. Big smiles from Bob, who started grinning around the time of "Silvio" and Larry. After this song, Bob's guitar technician wanted to hand him back his electric Strat but Bob shook his head and instead two other stage-hands brought out a Vox organ. "Time for a guest", I thought. Maybe Carole King - unlikely, since she apparently lives in Dublin, Ireland now. Al Kooper maybe? Bob cut the speculations short by pulling the organ towards him (the way it was positioned at first he couldn't reach the mike) and started playing the chords of... To Make You Feel My Love I didn't really listen to his singing I have to admit, I was just to stunned to see him play a keyboard on stage. First time since mid-June 1991 if I remember correctly! He only played chords and didn't even watch what he was playing cause he had a hard time reaching the microphone and siniging the new words at the same time. I'm wondering though: Was the organ an impromtu idea and why didn't he chose to play piano as on the record? Tears Of Rage Even though I thought it hardly could get any better, it did. Show- stopping version of this "Basement Tapes" gem with a instrumental ending that made the crowd go nuts. 'Til I Fell In Love With You Sort of an anti-climax, but a version that sailed a million miles above the album version nevertheless. It followed the standard band intros, that included no side jokes this time. (encore) Highway 61 Revisited Rocking beyond belief. Crowd: nuts My Back Pages (acoustic) So-so version of this crowd-pleaser with some lyric mistakes here and there. Beautifully sung nonetheless. Lovesick Started out pretty rough, but got really good after the first chorus. One of my "TOOM" favourites anyways, so my view will always be a bit biased. Rainy Day Women Nos. 12 & 35 Everytime a new tour starts I pray that he'll drop it. There's either no god or he doesn't care for Bob Dylan. Houselights came up for this song as usual. That's it! Please note that I'm still looking for a tape of this show. If you have one, please e-mail me! Thanks for reading, all spelling mistakes etc. are dedicated to the people who care about that kinda stuff. English is not my first language after all. Next up: A Review of the second New London night! -- carsten wohlfeld "i'm caught in a trap and i can't get out cause i love you so much, baby!" (elvis presley)

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