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Bob Dylan 980609 in Stockholm, Sweden

       Globe Arena
       Capacity: 13,850 
       Reserved seating 
       Showtime: 7:30 PM 

Date: Wed, 10 Jun 1998 10:09:39 +0200 From: Eyolf Ostrem ( Newsgroups: Subject: Stockholm june 9 1998 - review At last! My first show in seven long years. Decent seats in row 17. Not much to say about Billie Myers, the "special guest". Fairly tight sound, but she seemed to be acting in a much too evident way. I usually can't stand people who play air-guitar (or air-drums for that matter), and this was no exception. The drummer was the only one who really was on stage, and had a reason to be there. I'm not going to buy the record. Then a long (slightly too long) break when nothing seemed to be happening, except for a lady creating such a commotion that she was escorted out of the audience and placed in one of the upper galleries where she couldn't disturb anyone. Too bad for her, I guess, but good for the rest of us. That's life. Then, finally, His Bobness (or is it Bobliness?) enters. The first song is 1. All Along The Watchtower in the same new arrangment that has been used in the last few shows. I really like it. It sounds like a mixture of the TOOM sound and Series of dreams (the drums). Slow, but with a lot happening on the surface level, so to speak. At the title phrase comes the first shivers of the evening. Spooky. 2. Tonight I'll Be Staying Here With You Overall good - nothing special, really. "Thanks everybody" #1. 3. Cold Irons Bound Introduced as "one of my newer ones". Rather shorter intro than on the earlier shows I've heard. A magnificent rendition. I was struck by a lot of things: How tight the band is, how good the song is and that Dylan seems to have a lot of fun. 4. Every Grain of Sand The first really pleasant surprise! I do miss the heavy 1995 version, but this is the second best. 5. Silvio No surprises here! Hard-driving rock'n'roll. And it *is* an amusing song! 6. Desolation Row @ The @ should perhaps be replaced by a more appropriate sign - not much of a change from the electric set, except that they play acoustic guitars/bass. The presence of bass/drums also in the ac. set has the effect that even potentially slow/quiet songs become uptempo rockers. D-Row gets a fair treatment with some really delightful moments. 7. One Too Many Mornings @ (w/harp) Surprise number two. This is the one song where it is most difficult not to compare with 1966... I'm not much affected by this version. It merits inclusion here for the short (but sweet) harp solo. Hand-held harp and mike, which evidently created some trouble when it got stuck in the shoulder strap of the guitar, but it all worked out fairly well. Nice to hear the celestial instrument again anyway. 8. Tangled Up in Blue @ I was expecting Masters of War here, but they went straight to Tangled. Not much to say about this one either - I'm beginning to like the new, fast version. 9. To Make You Feel My Love The only really quiet song of the evening. 10. Wheel's on Fire Pleasant surprise number three! And a really pleasant one at that! I really like this version, with Larry's low riffs and the slowly broken dim-chords. Beautiful! 11. Highway 61 Revisited OK. 12. Forever Young @ OK2. 13. Love Sick Before the show started, the lady behind me had a discussion with her partner about the new album ("What is it called? Time out...? Time out of mind? Yes I think it is that?" "That first song is really marvellous" etc.) I turned around after Forever Young to see her reaction, and the look on her face when she heard the first chords and realised what was coming up, that was worth at least a third of the ticket! It was a welcome reminder that Dylan is enjoyed even by those who don't remember the title of his latest album. Of course it was sung/played wonderfully. 14. Rainy Day Women #12&35 Lights on, people rushing to the stage. He really seemed to be enjoying himself up there. Looong guitar solos. And he's actually getting better at it, it seems. Lots of knee bending, splits, even a tad of a duck walk at one point, small dance steps. It looks slightly awkward, of course, but it feels good! 15. Blowin' in the Wind @ Crowd pleaser? I guess so. And now off for Gothenburg. -- Eyolf ¯strem Rackarbergsg 30:410 S-752 32 Uppsala, Sweden -------------------------------------------------------- E-post: (Musicology) (Dylan) (Sine Nomine)
Subject: Stockholm 98-06-09, comments From: Lennart Frimodig ( Date: Wed, 10 Jun 1998 20:29:54 +0200 This was my first time with Dylan live. Overall he seemed to like to be an ordinary rock singer in the Elvis Presley tradition. Not much of a folk-singer there. We had to wait for three songs, well into Cold Irons Bound, before he and the band started making good rock music. The standards are set by others. All five musicians were very neat. But uncomfortable. Well-behaved gentlemen. Everyone carefully checked their movements with Dylan. You don«t fuck up. Everyones task is to get Dylan in the foreground. The star position. And allright, he made the songs. Guitarr-based rock, with steel. Unfortunately too much mainstream rock and roll, not enough southern blues based rock. But sometimes, as in Tangeled up in blue, Desolation Row and H61 and Love Sick, outstanding. That«s what rock is all about. You and me and everyone. The common language, Van Morrison, Neil Young, Leadbelly, Robert Johnson, Little Milton, John Fogerty, Lynyrd Skynyrd. And so on. The bodily movements were something to cry about, or blush about or tell your children about, so they can understand how far out you have managed to get. It is a crying shame and I think Dylan knows it. I hope he goes on with this impossible ambition. It sure is pathetic. I get a feeling they wrap him up in cotton. And somewhere inside he knows it. After Blowing in the Wind it allmost looked as if he did not quite wanted to leave. That he wanted to go on feeling the positive feelings from us in the audience. The good vibrations. The rock star role is very attractive indeed! On the personal plane. At the same time he looked completely lost. Often he looks lost while the concert goes along. They close down the lights between the songs so we can«t see how the reassamble. But sometimes they miss. Then you uncover the secrets. I am disappointed that he choosed not to do Highlands. But he is alive and kicking. In the main. Born in -41 and still making music that counts, no small achievment. He is an important part of my life in spite of his religious deviations. And that he is no nice guy. Absolutely no friend of mine. Hope he comes back, with some new songs, and relaxation. Afterwards I learned that one of my pupils, an economist frŒn Kosovo, also had been in Globen and liked what he saw. We that have been influenced by Dylan in our growing into adaulhood comes from all over the world. Of course he meant different things to us. But still. I am completely sure that he does not understand anything of what I have written. It is for you and me. The music have a living of its own. Lennart Frimodig Uppsala Sweden
Date: Thu, 11 Jun 1998 15:25:41 +0300 From: Riitta Laitinen ( Subject: Stockholm concert comments The news server is dead, for some days. I'm asking Karl Erik to send this to the group. Sorry I can't comment on other people's reports, can't seem to get them on Karl Erik's page either. Hi, Here's my report from Stockholm. I arrived at the Globen arena to wait for an rmd-friend who, with the help of another friend, got me my ticket, as well as got rid of some tickets I could not use after all. Thanks to these people I got a seat on the 10th row and got a great view to the stage. I was very exited to see Dylan again, my last time was in Pori in 1996. This was to be my ninth Dylan concert. I can't say much of the support act, maybe she was good. I just looked at my watch after every song to wonder how much longer they would play. There should be no support acts at Dylan concerts, in my opinion. I think that was the overall feeling in the arena and seems like Billie Myers felt that. They only played for a half an hour. I thought, great, now we can get to see Dylan by 8.30. He kept us waiting though till about 8.50 or something. Maybe Billie Myers was supposed to play for an hour and Dylan didn't arrive before just before nine o'clock. I think that because the security guy at the upper left entrance was not letting people out to the hallway for some five minutes, maybe Dylan was coming in through there, and the set lists were taped to the floor at that time too. One of the high points of the show always is the moment when you see Dylan walking from the shadows to the stage, just before the lights are put on. And it's not just the feeling, oh, here he is now, it's that I just love the way he walks!! I bet I could watch him walk around for two hours. When I saw Hearts of Fire on video I actually replayed quite a few times the scene where Dylan walks in to the place where Fiona is with some important people or something...I can't really remember what the scene was about, except for that Dylan walking thing... But there was more to the concert than Dylan walking in and here are some comments from me. Watchtower was good, but even with the new arrangement it seemed just so terribly familiar. I've never felt like that before when I've heard the song. But that was just one thought, I enjoyed the song anyway, and was especially happy too see that the show started so strongly. It promised a good show. One high point of the show for me was definitely Tonight I'll be Staying Here with You. It sent shivers down my spine. Dylan's voice and phrasing were brilliant!!!!!! And I got to see first of those quitar hero poses everybody has been writing about. He certaintly got me grinning from ear to ear. He is soo cute!! Cold Irons Bound was good and rocking but sort of more forgettable then Tonight or the following Every Grain of Sand which was simply perfect. I don't know what else to say about it. It just was perfect! Silvio was Silvio and Desolation Row was great though not especially a high point of the concert for me. One too Many Mornings was, being one of my favourite songs. And the harp solo was great. I'm not one of the people who start clapping and shouting every time Dylan takes a hold of the harmonica. Usually it's all the same for me if he plays it or not. This solo was great though. It seemed like he directed the solo for someone in the first row, but I'm not sure. Dylan extended the solo once by gesturing to Kemper not to go into the final of the song yet. Tangled up in Blue is a weird song because I, among many others, never seem to get enough of it. And I liked the arrangement too. Make You Feel My Love too was great. It seemed like everyone in the audience recognized it right away and showed their appreciation of Dylan doing the song. I bought the Billy Joel single when it came out and was at first dissapointed at Dylan's version on Time Out of Mind. Listenign to Billy Joel's version I had pictured in my mind how Dylan would sing the song. Time Out of Mind version was not like that, hence the dissapointment. Well, this concert version was more like what I expected to hear. More heartfelt and intense. It's just so amazing how anyone can sing so beautifully. This Wheel's on Fire was nice to hear. I'm not *too* familiar with the song and it is always a pleasure to hear something you don't knowso throroughly. Makes for another kind of appreciation of Dylan's performance. (For some reason I've never listened to Basement Tapes as much as I have all the other records, I know everything else by heart, wonder why, hmm...) Actually it would be quite nice to hear a Dylan concert where he would do only songs you've never heard before. It certaintly would give some perspective. Highway 61 was the same as before. Rocking. At the end it seemed like Dylan cut Campbell's guitar solo short by gesturing Kemper to go into the final. Campbell handed his guitar to a road crew person after the song and they shared a laughter, obviously connected to the äincidentä. Campbell's short solo did sound quite different from the sound of the rest of show, maybe that's why Dylan stopped him short. Encore songs all got an enthusiastic response. Now people were standing and I had lost my great view. Can't complain though. (At one point I wished that the crowd would be more enthusiastic but I can't be one to complain about that because I, myself, am the type that just sits and stares, transfixed.) I liked Lovesick more than Forever Young. Rainy Day Women is such a joy to watch, Dylan jamming away and eying the audience. I must have stood on my toes for over five minutes continuously to be able to see Dylan's enjoying the final jam and the audience. It was great! Ending with Blowing in the Wind was ok, though I would have rather heard something else. Somewhere around the middle of the show an older bold guy moved to the front and started dancing. Security told him to go back to his place and he duly climbed over a couple of rows of people to get back to his place. This got an amused laughter of Dylan and Garnier. Dylan introduced the band a one point. No big speeches. Just a bit of a joke about giving a hand to Campbell and then muttering amusedly that he don't actually need a hand.... And by the way, I love the way they use the lights at the show! I really enjoyed the show enourmously. Dylan's singing seemed to be even stronger than in 1995 and 1996. So wonderful. And it was such fun watching him enjoy himself and his guitar playing. Posing, dancing... Such fun. Every song had it's high points during the middle and final jams when Dylan and the band were just having fun. Wanted to share this with you as I have so much enjoyed all the reports from the concerts that people have written to rmd. Thanks everybody. Keep on writing. Riitta P.S. Was there an extra verse in Silvio, or did I hear it wrong? Or is it something that has been there for longer but I haven't noticed it reported? (...or I think it was Silvio I heard it in, maybe, probably...)
Date: Sat, 13 Jun 1998 03:16:31 +0200 From: Subject: June 9, 1998 - Stockholm, Sweden - a review Bob Dylan Stockholm, Sweden, June 9,1998 Globen A review by Carsten Wohlfeld Truth is I lied. I never intended to attend the scandinavian shows and had only planned to rejoin the tour in Copenhagen on thursday. But then of course came the Rostock show and suddenly I realized: the "don't you dare miss it" thing on the posters is no joke! Fortunately for me the two festivals in Malmö and Oslo had been okay, but not great. Now I consider myself to be smarter than Bob and Tony? Why you ask? Here's the answer: I concluded my last review by saying that they better not play "Every Grain Of Sand" 'til Copenhagen, so I'd be able to hear it. Somehow they must've found out and thought: "Okay, just to freak him out, we'll do it in Stockholm... that's a trainride that's 17 fucking hours long (even longer than it took him to get to Miami Beach!) and he won't travel that far and leave his cozy home just for another show." Well, I was indeed stupid enough to do the trip and unfortunately I didn't have a chance to check out the beautiful city of Stockholm at all, but I got to hear "Every Grain..." so I'm definitely not complaining. Billie Myers opened with a 7-song set that was a mixture of Whintey Houston, Spice Girls and Skunk Anansie.. Due to problems with the cuesheet the show started 20 mins late, at 8.50pm. All Along The Watchtower Not a very convoncing version that sounded more like the under-rehearsed Miami rendition than the superb Rostock one. Tonight I'll Be Staying Here With You Solid performance of this song which I consider to be one of the weaker #2 alternates. The people in the huge Icehockey Arena all stayed in their seats, which didn't improve the performances at all. Cold Irons Bound First stellar vocal performance of the night, even though the bad acoustics of the venue were a real letdown throughout the night. Every Grain Of Sand Started with the usual looooong instrumental intro, followed my very emotional vocals, delivered very softly. Some minor lyric fuckups I think, but alltogether every bit as good as I had hoped for. Thanks, Bob! Silvio Great rocker, perfect for a huge venue like this. No major surprises. Desolation Row (acoustic) Got the biggest cheer of the night and sounded like an electric song played acoustically. We even got the "Nero's Neptun" verse which was pretty special indeed. One of the night's highlights. One Too Many Mornings (acoustic) One of this current favourites I guess, cause he's doing it rather often, but always very passionate. Also featured the best harp solo I heard him do in quite a while, with long breaks, slowing building up. Tangled Up In Blue (acoustic) The usual crowd-pleaser, this time without the "lucky just to be employed" line but something else that rhymed with "wasting your time away". Very fast version, almost rushed. Make You Feel My Love Still a bad song that his given a very careful treatment. Sounds better than it actually is, if you know what I mean. Band intros followed early on in the set. This Wheel's On Fire Always great to hear, if only for Bucky's and Larry's backing vocals. Highway 61 Revisted was "Highway". Rocked the place and made way for the encores. (encores) Forever Young Beautiful vocal delivery, fit in perfectly with all the passionate songs Bob had been doing all night. Love Sick The vocal delivery is somewhat different on this one now, it sounds more casual and laidback compared to late '97 versions. Different, but not better or worse. Rainy Day Women Nos. 12 & 35 was still there and had a nice Country-edge to it tonight, cause Bucky got an extra pedal steel solo. Blowin' In The Wind (acoustic) Crowd-pleasing as usual, a bit rushed, but still better than Leipzig or Berlin. A number of people (the more cusual fans) were already on their way to their cars. I soon followed to catch the nightrain to Gšteborg. Expect another review of that show soon. Thanks for reading and thanks also to Chritian Z. for letting me use his account. carsten wohlfeld -- "it's irrelevant, I'm an elephant, she's a mouse" (smudge)

June 1998 Setlists Tour