Bob Dylan 980819 in Melbourne, Australia
Subject: " ...and he LOOKED at me!" From: Patricia Jungwirth (email@example.com) Date: 19 Aug 1998 10:16:41 -0700 My ears are ringing, my feet are so tired, my brain is so wired... so many hours standing around waiting, waiting... well, after all that the Mercury Lounge show was the kind of experience for which words are totally inadequate. First things first... Bob looked transplendent in his grey silk suit with black velvet collar, buttons and piping, black "croc" boots, white satin shirt and diamante-studded bow tie, no hat (praise be). He looks as fit as a mallee bull, to coin a phrase. Very thin, very wild, very mercurial. Barely a foot between the stage and the front barrier, raised so that we were almost on a level with the performers. No craning of necks needed here! It was so close, so intimate we were all laughing out loud with the unexpected pleasure of it. I truly never expected to see Bob Dylan in a club as tiny as this! If you've read the setlist I won't need to emphasise how generous he was with us - 21 songs, over 2 hours! Superlative singing, dazzling footwork, an intensity and commitment to the songs which was a joy to behold. Too many highlights to even think about right now. The best Roving Gambler ever. Tangled Up In Blue a riot of guitar swagger. Shelter and Big Girl Now articulated with utmost care, very intense. Highway 61 rocked like it should. Forever Young sung with a graciousness, a humility that was very moving, like a special gift. All the TOOM songs were superb, of course. Biggest surprise for me was 'Dark As A Dungeon', performed with love and care, a very strong arrangement. Something went a little awry on Tough Mama, which I imagine is a very tough song to get right. A few endings seemed to lose the plot a bit. A little lyric fumble in Tambourine Man, but hey, I'm not about to quibble with any of these trivial details. Four TOOM songs, three BOTT songs, two from Planet Waves, four covers... SIX encores! what a list! What a show! What a man! Not a cue sheet in sight, by the way. Barely a word between songs. No band intros. No harmonica. But this show rocked and burned and swung like no other Dylan show I've seen. Like I said, a gift, a very special gift. And he looked at me! Well, he looked at all of us, having fun with his little games. We were privileged to be there! Thanks, Bob! See you Friday... Tricia
Subject: Melbourne Club Show From: Moe Magid
Date: 19 Aug 1998 17:35:08 -0700 >>> 21 songs! 2hours, 10 minutes So, Peter (& DLuth & TJ????), I know appearances are deceiving but was this the show of the Decade??? With setlists like that it may have been worth the 6 year wait, eh??? Off the top of my head, the 21 songs seems like the most songs performed at one show since '86, discounting, of course, Toad's Place 1990. Is the 130 minute show the longest since the almost 150 minute Marseille or Toulouse '93 shows?? Please, do tell us all about it. Details, details............ Moe
Subject: Mercury Lounge, Melbourne - some thoughts From: Daniel Luth (firstname.lastname@example.org) Date: 19 Aug 1998 21:16:40 -0700 Oh my God. This was a wild show. Mercurial. Last night all my preconceptions of Dylan were twisted around, swallowed up and spat out. He played the most inventive, high-energy show that I have witnessed anywhere, by any artist. I've listened to a few tapes of his shows over the years, but nothing prepared me for seeing him and band tear into song after song, finding still new ways to express songs, going off on wild quadruple guitar solos (2 guitars, mandolin and double-bass), Dylan spitting out words like they were bits of sandpaper, the band tight as a drum but unhindered by anything that had gone before them. The build-up was weird. Just people standing around, some drinking, some gazing towards the stage with anticipation. You could have been at any club in the world, just people there to see a rock band. Then they came out, a little before 9PM - those familiar words: "Good evening Ladies and Gentleman, would you please welcome Columbia recording artist, Bob Dylan." No mucking about - just picked up their instruments and launched into a rollicking Leopardskin Pill Box Hat. The crowd was going nuts - no-one could quite believe that this was IT. This was a really strong start to the show - the energy levels were amazingly high. Just raw, bluesy, dirty rock and roll. After the first two notes of the next song, I was in ecstasy - Pretty Peggy-O - yes! What a song, what a performance. The crowd had calmed down for this one - hanging on to Dylan's every word. His voice was very clear on this song - the sound of the whole band was magnificent. It received an enthusiastic round of appluase as it concluded. Then the funkadelic Can't Wait fired up. There was an almost Calypso feel to it, with Dylan's voice cutting through the jumping rhythms like a buzz-saw.....'the aaaiiiirrrrr byyrrnsssszz". Very strong vocal delivery on this one, Dylan bending his words impossibly around the music. If this show is a warm-up, I'm thinking, what on earth do we have in store for us for the rest of the tour? By now my jaw had resumed its normal position, after having dropped after the first bar of Leopardskin. It was to plummet to the floor again as Shelter began. If any performance was to rival Roseland 1994, this was it. This was my thought during the song - hopefully a recording will surface which will validate this. Dylan really put everything into his singing on this one..absolutely inspiring. And the band just weaved their notes around it all. When it finished I was so awe-struck I could hardly breathe. They didn't let up. Next was Tough Mama. I was really happy to see its return to the set list. This lacked some of the passionate delivery I've heard in some versions, where his voice goes really high in parts, but was still a very solid performance. Just a side-comment: by this time Dylan had blown his nose a couple of times into a hanky, and an enormous drip had gathered on the end of his nose - when he faced a certain direction, the backlight caught it and (I know this sounds ridiculous) I thought I could notice a prism-like rainbow appear! I think I was hallucinating, but whatever, his cold certainly didn't hinder his voice at all - as nasally brilliant as I've heard it. The mid-70s rolled on with Big Girl - a really soulful, reflective performance. Great slide-guitar. Next up the introduction to Cold Irons Bound - about 30 seconds of spooky slide and bass before the drums and guitars kicked in. It was like Lanois was in the room. This song really pumped up the crowd. I just couldn't believe it - this was a new song and Dylan was here and now and ripping into it like they were the last word he would sing "...like the universe has swallowed me whole...". Really intense song, they pack a lot into it. Vicious, scary guitar in the middle bit, unrelenting bass and drums. - then "the winds in Chicago" bit, and the words just peppering the audience. Thankfully the tension was relieved a little after this song as the band swapped around their instruments for the acoustic section. It was perfectly timed because Cold Irons Bound had been so powerful that some sort of release was needed and the sweet dandified musings of Cocaine was perfect. The tempo of this song was a lot quicker than the version on the Love Sick single. Next came the absoulte highlight of the gig for me. Mr. Tambourine Man. This was just a pure celebration. Almost anthemic. I just loved the tempo, the feel of the whole song. Everytime Dylan sang "Hey Mr. Tambourine Man!" it just sent shivers up the spine. He didn't quite shout it, but I guess he sang it with great gusto. In Australian football parlance, it was like Gary Ablett taking a screamer over the pack every time he sang that line, such was the adrenalin rush. I have heard a lot of live versions of this song but I have never heard it as uplifting as this. The band supported Dylan perfectly, again weaving in and out and around the song. The mandolin playing was superb. The tone changed drastically with the next song. A biting, imposing Masters of War. Dylans voice was a snaky, silky smooth sneer. The mandolin again was prominent, this time a harbinger of doom. Another cut off the Love Sick singles - Roving Gambler - was next. Again, like Cocaine, this was a faster version, thought the difference wasn't has drastic as it was with Cociane. Great little countrified version. I even heard the odd "Ya-hoooo!" from the audience which was funny. Dylan really looked like an old wild west roving gambler with his grey suit and sparkly silver bow tie. The acoustic section continued with Tangled Up In Blue, a crowd favourite. Nothing too much out of the ordinary here, but the playing was exemplary. It was like all four guitars were one instrument, but all playing different things. I really liked the higher pitched guitar at the start and then how the drums kicked in after the first verse. And still the acoustic guitars stayed. This time I wasn't sure what Dylan had plucked out of his repertoire - it sounded like an old mining song, with the chorus: "Oh it's dark as a dungeon and it's damp as the dew, where the danger is double and the pleasures are few, Where the rain never falls and the sun never shines Lord it's dark as a dungeon way down in the mine." I had heard the melody somewhere before, but wasn't sure of the song until I saw the Peter Gilmer's set list later: Dark as a Dungeon. This was a real treat - one of Dylan's best covers (and fourth of the night). I hope he repeats this one at the Melbourne Park shows. Acoustic guitars still out. This must be one of the longest "acoustic" sets he's done for ages. This time a beautiful Forever Young. Pretty much a straight version, with Dylan really stretching out some of the words..."Foooreveeeeeerr Young!"...Great guitar work again at the end. Finally the acoustic guitars were put down after an incredible seven songs. For sheer variety and intensity of performance you could not beat this. And then, an absolutely wild Highway 61. This has never been one of my favourite live songs, though I love the original. But this was just amazing. Incendiary, I think would be the word. Over seven minutes long and one of the most incredible guitar concoctions imaginable at the end. I'd heard about the faces Dylan pulls, but it was so funny to see them (at 15 paces too!) He would pick out someone in the audience and open his mouth like a goldfish, then shake his head from side to side. Then he'd pick out someone else and raise his eyebrows in a questioning way, like what are you looking at me for? He was using his guitar like a six shooter, taking aim at audience members and popping off notes at them. He was just loving it. A fitting way to end the main set, and the crowd just went beserk. A short break, the crowd pleading for more. The spooky start of Lovesick. About 24 jabs at the guitar before..."I'm walking..." A world weary, wise, sad version. An epic. Great cheers from the crowd. They really gave the new songs great support. Then the houselights came up for a rousing Rainy Day Women. Looking at the previous set lists I thought this was premature, but this was no ordinary show and Dylan still had some tricks left in his bag. There wasn't much dancing or anything with this one, just gentle nodding. The band marched off at the end of RDW but were called back shortly afterwards for the second encore, the eighth acoustic song for the night, Blowin' in the Wind. A classic, anthemic performance, the crowd singing along with the chorus. Dylan using interesting phrasing with this song, stretching out words and repeating some of them to fill in spaces left by the music..."how many tiiiiiimes must the, must the cannonballs fly". And with a great roar from the crowd, they were off. The crowd was not having a bar of it though. The clapping and cheering just kept going. Then the chanting: "Bobby! Bobby!" It was an amazing scene. Dylan just HAD to come back. The crowd would have torn the place apart otherwise! Finally, after about 3 or 4 minutes, the curtains parted and the boys returned to a grateful audience. Funnily enough, for me this third encore was flat. I'm not sure why, maybe I was too spent by then to take any more. Anyway, Til I Fell In Love With You, was very good, a real bluesy, raw version. Dylan's voice one of desperation. Then Silvio, (you just had to play it, didn't you Bob!). Good, hard rock and roll. Finally I Shall be Released - full on band version. If anything the guitars were too loud here and his voice was drowned out a bit. My friend thought this was one of the highlights, though to me it was a little anti-climactic! Funny. Anyway, that was it, the crowd was still aking for more, but I think they realised that Bob had given his all and given us one of his great shows. I feel very privileged to have been at this show (it's been a long wait since 1992) and am grateful for Bob's generosity in playing this special show and for playing for so long. Roll on the rest of the tour! Sorry for rambling, but I couldn't help it. If anyone happened to tape this show, please contact me.
Subject: Re: Mercury Lounge, Melbourne - some thoughts From: Patricia Jungwirth (email@example.com) Date: 20 Aug 1998 11:05:32 -0700 >Date: Thu, 20 Aug 1998 14:12:52 +1000 >From: Daniel Luth >Oh my God. Yes, Daniel, there is a God! thanks for writing lucidly and evocatively about this show, details were beyond my grasp in the early hours of the am following this "experience" (how could I have missed mentioning that Shelter?). You've sparked more than a few reactions. Here's a few random thoughts which have disturbed the surface in the meantime... apologies upfront for the length... What words to describe this gig? Sensational, perhaps, though that's inadequate. Unforgettable for sure. This music that's so powerful, without any known category or comparison to give us a handle on which to hang... "close to brilliant" said today's paper, but they were wrong. It was much closer than close. Visions of Buddy Holly, the suit, the guitar held high... the suit reminding me of the Grammys, that thought reminding me of the speech, Bob's eyes searching out the souls of the crowd reminding me of his lovely, humble line from that speech "I saw Buddy Holly... and he LOOKED at me!" - looking, looking, "she looked at him and she felt a spark, tingle to her bones... " (I was hoping for a Blood quartet, but no Simple Twist was enunciated, though it surely was there, existing very strongly in its void, its absence underlined by the wonderful, glorious Shelter and yearning Big Girl) >This was a wild show. Mercurial. Last night all my preconceptions of Dylan >were twisted around, swallowed up and spat out. He played the most >inventive, high-energy show that I have witnessed anywhere, by any artist. Wild, yes... how to describe Dylan? Meaty, beaty, small and wiry just about does it. Exquisitely turned out. Presence turned up to 11. The camera lies! Raring to go, but still occasionally that look of utter pissed-offedness. Very few smiles, lots of grimaces. Stepping back into the shadows sometimes, the smile refusing to be held back any longer. Darting tongue, dripping sweat, on his toes, displaying new-found boxer's agility. My husband insists he was showing off this balletic grace when, fully Fendered, he leaned back and elegantly raised one pointy boot to kick something out of the way on the drum riser. Executed some fancy turns, too, along with the requisite skewed Chuck Berry moves. Maybe with a bigger stage we'll get a grand jete... >The build-up was weird. Just people standing around, some drinking, some >gazing towards the stage with anticipation. You could have been at any club >in the world, just people there to see a rock band. Um, not where we were! > If this show >is a warm-up, I'm thinking, what on earth do we have in store for us for the >rest of the tour? Gudinski says Dylan was keen to do the warm-up show because he wants his Australian gigs to be "red hot" - uh, good idea... better wear your asbestos trousers, though, if this is a warm-up! >By now my jaw had resumed its normal position, after having dropped after >the first bar of Leopardskin. It was to plummet to the floor again as >Shelter began. If any performance was to rival Roseland 1994, this was it. Yes indeed, red hot and blue. So fine, the song becomes the world and envelopes the listener. What more can a singer do? >They didn't let up. Next was Tough Mama. I was really happy to see its >return to the set list. This lacked some of the passionate delivery I've >heard in some versions, where his voice goes really high in parts, but was >still a very solid performance. This one seemed to engender more than its share of the pissed-off looks. Something not quite right, but a valiant attempt at a difficult song, one that I love but apparently a lot don't. Will they perservere with this one? I think it's worth it. >The mid-70s rolled on with Big Girl - a really soulful, reflective >performance. Have to mention the vocal on this one, individual words presented as treatises on emotional disintegration, a doctoral dissertation on pain. You know that Don't Look Back poster where the guitar turns into a woman? Shivers! >Next up the introduction to Cold Irons >Bound - about 30 seconds of spooky slide and bass before the drums and >guitars kicked in. It was like Lanois was in the room. It's funny how Time Out Of Mind seemed like such a "studio" album yet the songs just expand exponentially in depth and effect when performed live. They really show off the organic strength of the band, the music seeming to swirl and hover like a living entity rather than a series of noises produced by an ensemble of musicians. >This song really >pumped up the crowd. I just couldn't believe it - this was a new song and >Dylan was here and now and ripping into it like they were the last word he >would sing "...like the universe has swallowed me whole...". The "new" songs all got a huge reaction, must be very pleasing. >Thankfully the tension was relieved a little >after this song as the band swapped around their instruments for the >acoustic section. It was perfectly timed because Cold Irons Bound had been >so powerful that some sort of release was needed Yes, it was like "let the genie back in the bottle", let everybody get their collective breath back. > and the sweet dandified >musings of Cocaine was perfect. >Next came the absoulte highlight of the gig for me. Mr. Tambourine Man. This >was just a pure celebration. Almost anthemic. > Everytime Dylan sang "Hey Mr. Tambourine Man!" it >just sent shivers up the spine. He didn't quite shout it, but I guess he >sang it with great gusto. In Australian football parlance, it was like Gary >Ablett taking a screamer over the pack every time he sang that line, such >was the adrenalin rush. Ha! Lovely analogy, Dylan fits the bill for a rover. >The tone changed drastically with the next song. A biting, imposing Masters >of War. Dylans voice was a snaky, silky smooth sneer. Another song which provoked a mighty reaction from the crowd. A lot of the time I wasn't really aware of the balcony crowd, but they made their presence felt on this one. Sadly, always a "current event" to relate this one to. >Roving Gambler - was next. Great little countrified version. That riff that won't let go, very strong vocal, terrific playing from everyone on this, but the guitars especially took this one very high. Which reminds me, I'd love to hear a "Babe It Ain't No Lie" sometime. >continued with Tangled Up In Blue, a crowd favourite. Definitely, and though sometimes I've thought this version too rushed, as a live performance it really kicks and takes you with it. The grimacing, duck walking, git-slinging goes way over the top, becoming almost hilarious (how strange that is when you think about the lyrics of this brilliant song). Those looks which seem to say, "yes, I know, it's too much, it's ridiculous, but I'm not going to stop, I'm going all the way till the wheels fall off and burn" - and he does, too. >And still the acoustic guitars stayed. This time I >wasn't sure what Dylan had plucked out of his repertoire >I had heard the melody somewhere before, but wasn't sure of the song until I >saw the Peter Gilmer's set list later: Dark as a Dungeon. This was a real >treat - one of Dylan's best covers (and fourth of the night). I hope he >repeats this one at the Melbourne Park shows. This must have been as close to perfect as you could get. Just beautifully sung and played, all heart and such an irresistable melody. Caught us all off guard and all the more effective for it. Perhaps a digression here, to mention the total lack of cue sheets onstage. One sheet of paper taped on the drum riser near Larry's position, looking like the words to a song rather than a list of titles. Talk of a lyric sheet to 'Not Fade Away' being seen, with some handwritten alterations. hmmm. >a beautiful Forever Young. Pretty much a straight version, with Dylan >really stretching out some of the words..."Foooreveeeeeerr Young!"...Great >guitar work again at the end. Straight and true, very moving. Felt like something special. >And then, an absolutely wild Highway 61. >Incendiary, I think would be the word. Over seven minutes long and one of >the most incredible guitar concoctions imaginable at the end. You know I felt there should be an intermission after this one, it was that dramatic. Gutsy singing, too, though almost submerged by so much explosive guitar playing and the rhythm boys pounding it along. >A short break, the crowd pleading for more. The spooky start of Lovesick. >About 24 jabs at the guitar before..."I'm walking..." A world weary, wise, >sad version. An epic. Great cheers from the crowd. They really gave the new >songs great support. And genuine heartfelt support, too, the new songs are on everyone's wish list it seems. Could there be a 'Standing In The Doorway' or 'Trying To Get To Heaven' in store for us? >Then the houselights came up for a rousing Rainy Day Women. Looking at the >previous set lists I thought this was premature, but this was no ordinary >show and Dylan still had some tricks left in his bag. There wasn't much >dancing or anything with this one, just gentle nodding. It was even quite enjoyable, though I still wish it would take a rest. >encore, the eighth acoustic song for the night, Blowin' in the Wind. A >classic, anthemic performance, the crowd singing along with the chorus. >Dylan using interesting phrasing with this song, stretching out words and >repeating some of them to fill in spaces left by the music... The singing on this one particularly took me back as far as 1978, reminding me of those soaring almost a capella vocals. A lovely quality of voice, strong and gentle and textured just right. >more. Anyway, Til I Fell In Love With You, was very good, a real bluesy, raw >version. Dylan's voice one of desparation. Then Silvio, (you just had to >play it, didn't you Bob!). Good, hard rock and roll. Finally I Shall be >Released - full on band version. If anything the guitars were too loud here >and his voice was drowned out a bit. My friend thought this was one of the >highlights, though to me it was a little anti-climactic! Funny. Well, we knew in our hearts it would be the end. Lovely though. >Anyway, that was it, the crowd was still aking for more, but I think they >realised that Bob had given his all and given us one of his great shows. The atmosphere after the show was one of pure exhiliration, it was so great to be able to mill around, drink, talk, jump about, swap stories and greet friends, even sit down for the first time in hours, without having to move from the venue. Beats the usual end-of-concert "coming down", realising you're in a big empty barn and they want you to leave. I think the consensus of opinion was that we'd all died and gone to heaven. What a wonderful thing to give so many people such joy. Thanks evrybody, see you all tomorrow night... tricia
Date: Fri, 21 Aug 1998 21:48:26 +0200 (MEST) From: Carsten Wohlfeld (firstname.lastname@example.org) To: email@example.com Subject: August 19, 1998 - Melbourne, Australia - a review > Bob Dylan > Melbourne, Australia > The Mercury Lounge, August 19, 1998 > A review by Carsten Wohlfeld Okay, I've done many crazy things during my admittedly rather short life, but going to Australia, travel 19.000 km and spend 27 hours on a plane / train is even bezond the insane stuff I usuall find quite normal. It's been a lifelong dream for me to go to Australiaa and this was the opportunity I couldn't let go. Thanks to Tricia, her family and my lovely host Stephen I spend a very nice day here in Melbourne before it was time for the big event - Bob's warm-up show at the tiny Mercury Lounge at the huge Crown Casino. We started lining up at around 2pm, which wasn't too bad cause you actually could wait inside the Casino. Once the doors were opened at 7.30, we couldn't believe our luck. The place was tiny! Actually it was so small, it gives the word tiny a whole new meaning. They have a balcony and so there were only aabouy 500 people on the floor. Actually I don't think they could've fitted 800 in there, it was mst likely only 650 or 700. The stage was very low (about 80 cms high, I'd say) amd it was so tiny that they couldn't put the gear too far in the back. We eended up with front row spots (!) and if I had wanted to, I could"ve touched Larry Campbell from where I was staanding. Bob was less than 2 meters away! There were no cuesheets tonight, Bob and Tony just made up the list on the spot. The came out at 8.55pm and after a quick "ladies and gentlemen, would you please welcome..." they launched into: > Leopard Skin Pillbox Hat My least favourite choice of course, and it was only an average version, but I didn't care cause we were so close! > Pretty Peggy-O Huge grin on my face... Gunter is gonna haate me :-) Perfect version, very laid back, Bob's singing was great and Larry was laying some pretty hot solos. > Can't Wait Usually one of the highlights for me, but this version was pretty flat. Thee band never got into the right groove and Bob's singing wasn't full-on. A pity. > Shelter From The Storm Kinda started off as if it ws going to be "Simple Twist Of Fate". Lovely version of a song I usually don't like that much. If they would play it every night like this, I'd love it to death. I think it's getting fasterevery time they play it this year, but I really like that. I think to myself: Robert is gonna hate me... So far it was a very good, but hardly surprising setlist. Things took a weird turn with: > Tough Mama Which was given the usual horrid treatent. Actually Bob looked as if he regretted that he chose this one from Tony's shortlist about ten second in. He just didn't like what the baand did with the song. I hated it too :-) A long discussion between Bob and Tony followed... Were they gonna drop "Silvio"??? YES! > You're A Big Girl Now Lovely version. Bob seemed to lighten up a little bit at this point, started to move around the stage more, even smiling briefly. Yet another song I rarely enjoy live but the band treated it very carefully and Bob'ssinging was as good as on most songs tonight. > Cold Irons Bound Yet another electric song and a great version too. Gave Tony the chaance to show us his weird little dance. Garnier seemed to be really into it, dancing all night, fiering up the other guys. After the song the roadies brought out the acoustic instruments, but Bob briefly left the stage. Goes to show that it was a really laid back affair all evening. > Cocaine (acoustic) Baaad version. They got it right on the chorus with Bucky and Larry joining in, but some of the later verses featured hardly any guitar playing cause neither Bob nor Larry could figure out what to do with this song. Most people around me still loved it. > Mr Tambourine Man (acoustic) Obviously the biggest crowdpleaser so far, but anybody could sing along (and it was several people who tried to!!!) cause Bob coouldn't remember the bloody words! Bastard! Honestly he only got one and a half verses right and gave us a wild mix of the others. Pretty sad sight. > Masters Of War (acoustic) Made up for the bad performaance before that. Great singing, great soloing, very impressive as always. > Roving Gambler (acoustic) I believe Tricia called it the best version ever and I tend to agree. The band and Bob just got the start/stop-parts perfectly right and it was the highlight of the show so far! > Tangled Up In Blue (acoustic) What can you say? It was there, the band enjoyed it to the max, we got some great interaction between Bob and the people in the first few rows, big smiles from all the guys in the band. Long guitar solo, but no harp. > Dark As A Dungeon (acoustic) When I called Bill Pagel laater that night he went: "Really?". I couldn't believe it either. I can't remember if he did it at some point in the 90s or if this reaally was the first outing for the song since the Rolling Thunder Revue in 1976, but judging from the way the played it, you'd guess they do it every single night. Bob was putting *alot* into the lyrics, which I believe were delivered word-perfect. Haven't heard him sing with so much passion and energy in a while! Bucky was having a great time doing back-up vocals. Larry was supposed to join in too, but didn't do it for the first chorus. He seemed to have trouble remembering his chords and the words. Hmm, interesting. After that we got the only Bob speech apart from "thanks everybody" all night. "This was an old one, now one of my own". Or words to that effect. > Forever Young (acoustic) Uta's gonna hate me... Great version of this crowdpleeaser that just seem to come off perfectly. Sung very gently... I guess that's what usually meeses up the song: his voice is normally too loud and rusty, but not tonight. Very nice. > Highway 61 Revisited Back to electric without any band intros. And let me tell you it was a cooking version. Standing only and arm length away from Bob and Larry playing a twin guitar solo might obsccure my view on things, but esspeciaally Larry's playing was absolutely amazing. This song alone, which didn't seem to end *at all* was worth the admisssion price several times over. After that they took a well deserved short break. > (encore) > Love Sick It was one of those nights again where Bucky would start the song way too early. Bob actually wasn"t even on stage yet! So he had to stop and then the launched into what was actually very well paced, mighty fine version of this terrific song. Fortunately Bob wasn't flirting around with the front row girls and pulling faces too much yet. > Rainy Day Women Nos. 12 & 35 But on this song he did connect quite well with the people in the front, having a great time as usual. Not that I liked the performance of the song anz better because of it... > Blowin' In The Wind (acoustic) Bob wanted to add a little solo to the intro and messed it up badly. He kinda made up for it with some terrific singing later on in the song though. Actually a quite enjoyable version. The second to last chorus just featured Larry and Bucky as Bob had pusshed over his microphone stand with his guitar while turning around. Yes, the stage was that small! After the song they left and everybody knew that was it... but hey, they are coming back... After more than 110 minutes on stage there's gonna be more! > Til I Fell In Love With You Staggeringly good version, showcasing Larry's amazing guitar playing once more. We got this wonderful wave/wall of sound that Larry was solelz responsible for. You couldn't reaally hear BBob's guitar at all which didn't do the performance anny harm. Bob's strong singing was an added bonus. Thenn they left aagain only to turn around... > Silvio Actually it was a major disappoitent when I say Tony say "Silvio" to David. I reaally would've liked to get at least one how without it afterhearing it at more than 35 consecutive shows. Anyways, they did a ddecent job on it and since mmosst of the Australians attending hadn't hear it live it was fair enough to play it. But hey, there's more still! > I Shall Be Relesed Intros was messed up, but I actually enjoyed the rest of it quite a bit. Stephen pointed out that he really hasn't got the right voice to sing this song properly anymore and thatt's most definitely true, but hey, I think it's one of his best tunes, and if he isn't allowed to sing it anymore, then who is? Larry and Bucky on backing vocaals, which was lovely as well. So there you have it, Bob and crew at a tiny little place, no harp, but 2 hours and 10 minutes of high energy music, lots of smiles and the biggest number of songs (21!!!) since Toad's Place eight and a half years ago. I forr one feel very priviliged that I had the chaance to be there. Kinda made up for all the trouble and financial rollercaster ride alreaady. Now I'm terribly excited about patti Smith's performance on friday at FlindersPark. Oh yeah, Bob's gonna be there too (and so will I) and a report on that is to follow shortly. Thanks for reading and I hope I didn't write too much rubbish at 5.45am in the morning. Carsten -- "what once you called home is now a minefield" (damon & naomi) --- Sent through Global Message Exchange - http://www.gmx.net