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Bob Dylan 991119 in Atlantic City, New Jersey
Dylan shows #118 & 119 in 1999.


Subject: sands early show
From: Peter Stone Brown 
Date: Sat, 20 Nov 1999 04:22:56 -0500

Atlantic City to put it quite simply a bizarre place and here was
Bob Dylan appearing there for the fourth time at a place he
already played earlier this year, the Copa room in the Sands
Casino.   I left Philly in the middle or rush hour, miraculously
didn‚t hit any traffic jams and made it to A.C. in the usual
time: one hour flat.  I strolled past the gamblers in the one arm
bandits easily found the line to the Copa Room and wandered down
it till I found my friends the Double-D couple just where they
said they would be.  Now the Copa room is pretty small with lots
of tables and chairs and these booth-like lounge things which
they keep reserved for the heavy gamblers who get comped to the
show.   They have some sort of seating chart and it takes awhile
for everyone to get in.  Sometimes it helps to tip the Maitre d‚
to get a better spot.  We got a pretty good table a little to the
left of the center of the stage and had a good 45 minutes to kill
before show time.  I spent it getting something to eat in the
Casino (they give you passes out), and wandering the Copa Room in
search of various RMD-ers though I didn‚t know what they looked
like, and found the one who did give me a description, Kevin
Reilly who as it happened was sitting at the table next to mine.

So right around 8 PM the curtain came up and there were the
roadies tuning the guitars.  About 8 minutes after, Dylan and
band appeared and launched into a spirited „Roving Gambler,š  a
totally appropriate song for the setting.  Dylan seemed very
loose and in good spirits smiling broadly.  An okay „Mr.
Tambourine Man,š followed and then Dylan said hello to someone in
the audience whose name I already forget and said he was the
presidient of the International Bob Dylan fan club, and then went
into the Stanley Brother‚s „Cold Walls and Steel Barsš and it was
good too.  The thumping rhythm he uses these days for „Desolation
Rowš came next and it was he was singing strongly and clearly and
this was followed by the now familiar, clean picking of Larry
Campbell introducing „Mama You Been On My Mind.š  A powerful
„It‚s Alright Maš came next followed by a nice gentle „Tomorrow
Is A Long Time.š  And about this time we started looking at each
other.  Six songs and not an electric guitar in sight.  Could it
be?

Now let‚s backtrack a bit.  When Dylan played the Copa Room at
the end of his tour last February and people found it was a small
700-seat room, speculation ran high.  Would he make it special? 
Would it be another Supper Club?  As it turned out those shows
ended up being typical tour shows, though a little shorter and
fairly lackluster ones at that.  Was this the night he would make
up for it?

„Masters of Warš came next.  And then they started something
unfamiliar, something I couldn‚t place, something almost jazzy. 
And Dylan said something encouraging to the band like „you got
itš or something like that and stepped to the mike and the words
didn‚t come.  And the band kept jamming with Larry on steel and
Dylan stood there still in a good mood, but whatever song it was,
the words didn‚t come and it sort of collapsed, and he said,
„Well here‚s my version of it,š and went into a delicate „One Too
Many Mornings.š  This was followed by a fairly roaring „Tangled,š
and they took off their guitars and left the stage, returning for
a quick „Blowin‚ In The Wind.š  There were no band introductions
in this show.

Now at some point in the show, (I forget between which songs) a
woman jumped on stage to talk to Bob, and then she motioned to
some other guy who came up and then they left.  I don‚t know what
it is about this particular room that makes people think they can
jump on stage.

Anyway, „Blowin‚š didn‚t have its usual long introduction where
the band runs through and entire verse and chorus before Dylan
starts singing, just a tiny little intro and he was into it.  At
some point during this song Bob‚s guitar tech snuck on stage and
grabbed Bob‚s Strat from behind the drums.  The lights went down
after „Blowin‚,š and there they were back on stage again but in
the shadows you could see this time they had electric guitars,
and wam! into „Not Fade Away,š and then real deja vu time, as all
of a sudden there‚s one, there‚s two, no there‚s 50 people on
stage just like last February‚s late show at the Sands.  And
Dylan is surrounded and you can‚t see him.  But unlike last time,
he didn‚t stay on stage and very quickly you saw a roadie take
his guitar and lead him off stage and the song collapsed.  End of
show.  Again.

Now who knows whether they would have done another song?  But
given the things that have been happening on this tour,
especially in the last two weeks, it wasn‚t out of the question. 
While „Not Fade Awayš has been the show closer for most of this
year, in Philly he came back after it. So anything is possible,
and given that this time around he was attempting to make the
show something unique and special by doing the whole thing
(except for NFA) acoustic anything was possible.  But we‚ll never
know.



-- 
"Where the angels' voices whisper to the souls of previous times." 
--Bob Dylan
Peter Stone Brown 
e-mail: peterb@erols.com   
http://store.yahoo.com/tangible-music/petstonbrowi.html


Subject: sands late show From: Peter Stone Brown Date: Sat, 20 Nov 1999 04:23:26 -0500 It was out of show number one and back in line for show number two, this time with Kevin Reilly while my other friends went off in search of food and gambling having decided that getting in line was a waste of time. The line moved somewhat faster and we were joined by some other friends of mine. Once inside we had a choice of tables and chose one a little closer to the stage, but also because Kevin had shared his table with the two guys seated there and said they weren‚t talkers. So we had a table of no talkers which was something of a problem at the first show. Just as the lights went down, a human wall in the next row in front of us decided to stand up. „SIT DOWN!š came the shout from not one but at least two tables. He ignored it. „SIT DOWNš came the collective shout again. (I loved it.) Finally on about the third or fourth shout he realized he had no choice. Dylan and the band came out and were into „Oh Babe It Ain‚t No Lie.š There was a force to it, and a tightness that wasn‚t there on the first show. What could have been the intro to either „Girl From the North Countryš or „Boots of Spanish Leatherš came next. I wrote down „North Country,š then said to my friend, „No it‚s őBoots.‚ „ It was a beautifully played and sung „North Country,š followed by a splendid „Visions of Johanna.š Then came a nice surprise, „Rock of Ages,š the hymn done more or less in a haunting bluegrass version that was truly beautiful. Then what sounded like the typical Never Ending Tour intro to „Times They Are A-Changin‚š followed, except it wasn‚t, it was „Hard Rain,š and a truly excellent „Hard Rainš with Dylan getting more and more into it with each line digging in really deep on „the song of a poet who died in the gutter.š And then out came the electrics and into a blues riff and both Kevin and I wrote down „Tombstone Blues,š but it was „Maggie‚s Farm.š But playing around with intros weren‚t the only tricks Dylan had up his sleeve, the next song was a total surprise, „The Man In Me.š And it was just a gorgeous version, particularly the bridge which he did twice, changing the line from the original to „From my toes right up to my hair.š On the rest of the song, Dylan echoed each line he sang with a guitar line, almost like a blues singer, though this isn‚t exactly a blues song. And then came a killer rendition of „Tombstone Blues,š with Charlie Sexton stepping out on lead guitar. A better than the record version of „To Make You Feel My Loveš came next, followed by band intros and a typically rocking „Leopard Skin Pill-Box Hat. „Love Sickš as usual was the first encore featuring a tough guitar solo from Dylan and then „Like A Rolling Stone.š And again with each line it became clear that this was one hell of a version, especially on the second verse with Dylan really leaning into „You say you never compromise with the mystery tramp but now you realizeš and then after the chorus a woman walked on-stage and then another woman. And the first woman actually went up to the mike and sang off-key and out of time „How does it feel,š and then the sound guys turned the mike down. And one of the roadies led away the second woman and there was another roadie crouched behind the drums ready to pounce into action, and this woman just stood there and Bob‚s standing there playing making those crazy faces that he makes and the band keeps playing and she doesn‚t leave and finally she‚s led out of the way but still stays on stage dancing to the crowd and finally Dylan sings the last verse and she‚s still up there pumping her arms and Dylan sings, „You‚re invisible now.š looking right at her and then adds „Oh yeahš and everyone seemed to get it but her, but what might‚ve been one of the most amazing recent versions of the song was ruined. The lights went down and the band left the stage. They returned a few minutes later with Dylan wearing a cowboy hat and blasted out „Not Fade Awayš uninterrupted. A friend of mine had the best analogy. „You don‚t lean out from the stands and catch the ball during a no-hitter. You get ejected from the game and banned from ballparks. This was fan interference. You don‚t interfere with the show.š I can‚t put it any better than that. And so it seems to go with Bob Dylan and the Copa Room. But until that point, that late show was one hell of a show. -- "Where the angels' voices whisper to the souls of previous times." --Bob Dylan Peter Stone Brown e-mail: peterb@erols.com http://store.yahoo.com/tangible-music/petstonbrowi.html
Subject: Re: sands late show From: Chromehorse77 Date: 20 Nov 1999 09:51:02 GMT Peter -- I liked your thoughts on the shows, but I will say something about the LARS in 11pm show. My bro & I somehow got to the very front row, 10ft from Bob with a perfect view, & I spent most of LARS keeping an eye & ear on Bob's faces & words (God, he sounded wonderful) & fighting off the black-clad minx you're referring to, who tried repeatedly to climb over me & onto stage, and who I blocked from doing so as much as possible fearing another fan flood & abrupt end. I suffered much from my temporary holding of the fort, with spit in my ear & punches into my back, & she eventually DID get up there, dancing around like a complete fool & showing off that oh-so-tasteful outfit that flattered her in such a stunning manner, but what happened next was special ... I hate to immortalize her by saying this, but Dylan aiming those last words ("You're invisible now ... you got no secrets ... How does it feel?) all at her, with both his glare AND guitar pointing menacingly at her & then she MELTING off the stage without even being forced off -- completely *willed* off by our man -- was an incredible all-time concert moment, I think. Dylan, calm, cool, & still fuckin angry when he wants to be, had had enough of the stage rush BULLSHIT & was like, Miss Lonely, get the hell off my stage & hide under a table or something ... looking @ her face afterward only confirmed it -- she looked like she had seen the face of God & had been told to come back some other time, He was busy. It was truly priceless, classic, & worth the price of admission. -- Shawn
Subject: Re: sands early show From: Knochej Date: 20 Nov 1999 14:25:29 GMT Organization: AOL http://www.aol.com << Now at some point in the show, (I forget between which songs) a woman jumped on stage to talk to Bob, and then she motioned to some other guy who came up and then they left. I don‚t know what it is about this particular room that makes people think they can jump on stage. >> i was sitting right next to that gal. turns out she wanted to introduce bob to her dad, which she did. she's done that once before. the real killer in our area, however, was carla. carla is apparently a dylan groupie and i've never seen anybody so desperate (and successful) at getting somebody's attention as she got bob's. bob has seen her before, that's for sure. about the third song, tony g. and bob were giving the "there she is again" look to one another. carla was definitely a distraction. when the tapes surface, she's the one whooping at every pause in the lyrics. the look on bob's face when that 60-year old woman jumped on stage was priceless. i didn't mind seeing the young girls up there for the jam at the end, but when the dudes and grandma's are up there, that's not pleasant to look at. sometimes when i get that close, i can't help but imagine dylan as a 58-year old shopkeeper living out his fantasies of being elvis, with those little stutter steps to impress the young girls. back to carla: she spent most of the pre-concert eyeing her competition, another woman whom she considers her rival for bob's attention/affection. and it turns out that carla knows dylan's security people and vice versa. this show at the sands made me realize there's a whole 'nother story beneath the story about the folks who must constantly be trying to insinuate themselves into bob's life. great shows bob. thanks, again for another great year!
Subject: Re: sands early show From: El Brent Date: Sat, 20 Nov 1999 11:48:30 -0500 that woman was SO annoying. For most of the show she was right in front of me, standing up and 'whoopoing' 5 times every song. my commentary on the show itself is that it was average, highlighted by amazing Tomorrow is a long time and Masters. But she seemed to get up and make even more noise on these quieter songs. I don't think i'll go see a show in that room again, it was a bizarre atmosphere, and the intimacy was ruined by the fact that most of the patrons (myself included) were seated perpindicular to the stage. makes for a stiff neck and overall distracting situation. Then the woman got up on stage, and that was just the end...
From: "Connie Davis" To: Subject: REBUTTAL; REFERENCE ATLANTIC CITY 8:00 SHOW Date: Thu, 25 Nov 1999 22:16:27 -0600 To "knochej";   just in case someone has not already informed you......You happen to be "one" of the the 750 very fortunate ticket holders for this show.    I was standing/sitting close to carla as well.  The attention she received from dylan was positive, primarily because she was having a good time. Which by the way...   Fyi (rock concerts are suppose to be fun).   I encourage you to listen to dylans lyrics or better yet read them a loud in front of a mirror, until you are cleansed of your bad attitude.  The personal remarks you made against fans at this show were rude, bitter and mean.  I do not know who you are and hope i never do.  However you must be  lonely, sad and  probably impotent.   Carla, seemed to be a genuine dylan fan. Not only she know his work and lyrics verbatim, she appreciated him as a songwriter, poet and musician as well.   Unlike yourself, she was not "illegally taping" this show. Fyi....If dylan's security knew about your sneaky  behavior, you and your recorder would have been promptly removed >from the copa room.   What are your plans for those illegal tapes anyway, other  than to gratify your ego and pocketbook.   "Knochej" you are most certainly a hypocrite!
Subject: Re: sands late show From: TB Date: Sat, 20 Nov 1999 11:29:32 -0800 Some more comments: The first show was really nice and easy - fantastic performances, beautifully done wooden music. Bob was is a great mood and seemed to be enjoying himself, very relaxed and animated. "Top of his game," as they say. The band was tight and having a degree of fun, but they never got off into extraordinary high gear. Tomorrow Is A Long Time, with really great background harmony from Larry was a highlight for me. The stage rush at NFA kind of caused an early demise, just like last winter. The night was definitely part 1 and part 2 of the show, not two separate repeat performances at all. The second show was rowdy - big time. Lot's of drunks, some fighting - believe it or not. We were sitting center stage at the first tier, with exactly the same great seats for both shows. There was so much commotion during the 2nd show, between the Sands staff arguing with and eventually moving the "guests," who kept trying to take the reserved high roller, (but largely) vacant booths, it was really distracting throughout the night and it never mellowed out. Here is a plus: at least the attempts to start "clapping along with the music" didn't get going. There was also some overzealous in your face "lets shout the words" along with Bob kind of stuff going on right behind us for a while. And then there was the ongoing conspiracy of the over-the-hill stage dancer wanna-be group, they thought they were special, (same clowns at both shows), who were intent on getting their 5 minutes of fame at the expense of the people, (and I know that there were some), who really wanted to enjoy the music. Quite a lot going on. Some beer and ice cube throwing among the crowd and some fool threw something up on the stage at the band a couple of times, like wet rolled up napkins or something. Can you imagine how lucky it was to be there in this club setting and people giving that kind of interference? Unbelievable. Chalk it up to "responsible drinking," I guess. But despite all that - it was, as always, a great Dylan event. Especially memorable to me was "The Man in Me", Visions, Maggie's Farm was alive and bold, and Love Sick was truly extraordinary. -Tom B
Subject: Just a few more thoughts on A.C. (long) ... From: Chromehorse77 Date: 20 Nov 1999 22:46:25 GMT Folks -- Sitting here across the street from the U.D. Carpenter Center in preparation for what looks to be Bob's last show of possibly his most fascinating decade yet (from my point of view as a 22-yr-old, of course; I'm sure nothing could beat the 60s, but the 90s have been pretty wild themselves, both musically & personally for Bobby), I just wanna say a couple things about last night before its emotions get blended into those I'm sure I'll experience tonight ... First off, I wanna thank Larry Horton, who somehow arranged that the AC tix he didn't need could be picked up via will call @ the Sands & wouldn't have to be bought through him, saving us some time & worry ... every avoidance of time & worry helps when one is having enough concerns about just GETTING to the show in the first place; ie, coming from Texas, etc. Thanks, Larry, I enjoyed our phone conversations -- you're a great fella. I don't know if we ever saw each other (I had on a gray shirt & black vest), but you made two brothers from Austin the happiest people on the planet last night ... just joyous, really. From an unexpected & unbelievable "Tomorrow Is a Long Time" to a lulling spiritual "Rock of Ages" to a beautifully paced & oh-so-cooly sung "Visions" to a near-PERFECT "Hard Rain's," & MANY more (the recent "DesRow" rearr. adds sooooo much, in my humble opinion) the look on my face while in that club must have been pretty awestruck ... the sets may not have varied as much as some (maybe including me) thought they would, but the atmosphere (despite many loudmouths & drunks & desperate deviants), intangibles, the band's excellent cohesive but ramshackling junkyard sound (Tony, you're incredible, partner) & Bob's conviction made this night a memorable one that will stand the test of time. On the AC Expressway after the show, a series of signs included phrases like "Stay Alert," "Stay Awake," & "Stay Alive." Even in our painful fatigue & highway blues, how couldn't we do what the signs told us? Nights like last are what being alive is all about ... commanding your senses to work as one as you watch a true artist craft a living, breathing masterpiece in front of your eyes ... like it would be to watch Goya paint, or Nabokov sit on a park bench & take notes as he studies the conversations & people floating past, etc. Incredible! To see Bob's facial expressions, knee bends, occasional sheepish lead guitar-brandishing pride; to hear his sharp, unique, seat-of-the-pants phrasing, clipped, staccato song calls to the band, gentle thankyous ... THIS is what reminds us of our respective souls, fishbone-thin slivers of crystal-filled nothingness; this is what keeps us forever young. To most of y'all who were there: I really enjoyed seeing you smile & dance & hearing your conversations. It was great to meet people like Cree & Amy H. (& her friend, who was so kind but whose name I either never learned or can't recall), & the married couple with the cough drops across from us @ the second show ... & Bob, thank you so, so much ... you've made the monstrous return trip home that much easier ... We love ya', Bob. Less than three hours from U.D. Showtime! See ya' there. -- Shawn
Subject: Re: Just a few more thoughts on A.C. (long) ... From: CreMe12194 Date: 21 Nov 1999 06:56:21 GMT Hey Shaun, (did I spell it right this time?) So ironic that I stumbled across your message in here, it's Cre. I must also take this time to thank Bob for not only a beautiful and small show but a lifetime (and much more to come...) of words that ring true in my heart. I said it last night at the show and I'll say it again, I love you! A bit fearful of driving down to AC from North Jersey in a sloppy jalopy, by myself and never having been there, I got passed all that at the thought of seeing and hearing Bob so clearly. Then getting there and seeing all those people who loved Bob just as much as me, Shawn and Patrick drove a thousand miles, the couple in front of me had been to the Apollo show that I also attended, a couple others got on a dinky loud plane and countless others who follow Bob all over, made it all worth while. I always cry when I see Bob in concert but last night I didn't. I felt him especially during Tomorrow is a long time and Mama you been on my mind but I didn't feel a need to let it all out. I feel grateful to have seen Bob's facial expressions while he played his harmonica. The way he turned from the crowd to pick up the magic tool. He looked like a kid finding a new toy. The way he waved his hand with the mic cord in it so naturally. It reminded me of how I feel when I'm not thinking just going with the flow... I loved seeing his knee turn military-esque when he was getting a little bit into the song. I loved seeing him smile! I loved seeing him look on at the woman who jumped onstage and gave him a kiss with a smurk, he looked as though he was reading her mind! And I loved hearing his voice live and from him so clear and alive and filled with feeling just like at every other show. I even got a kick out of his shoes. I was one of those who jumped onstage. How could I pass up the opportunity to be so close to the guy who's made my life feel a bit more at ease when I was feeling low? I got quite close until a thug grabbed my arm. The music then stopped and Bob was gone. I drove home feeling safe (not before trying to get a ticket to the 11 show) and quite awake from excitement. Thank you so much Bob for sharing you with us and never stopping. You keep on keepin' on and I'll do the same. PS I'll never jump on stage again, I swear. Cre Pictures from the A C concert by John L. White
Subject: Sands Early Show Review (longish) From: Rachel Klingberg Date: 21 Nov 1999 15:05:19 PST I picked up the other R at his office on a sunny Friday afternoon. After partaking of Nathan‚s fast food and an herbal remedy to combat the length of the Greyhound ride, we boarded a four o‚clock bus from Port Authority, full of high spirits and expectations. At seven o‚clock we were still on the Turnpike. An infant began to howl in misery, and I asked R to get the pint of bourbon from the overhead rack. At five to eight we pulled into the Sands, all thoughts of checking into our hotel and dining at the Virginia City buffet abolished by the most horrible traffic I have ever had the displeasure in which to sit. We raced to the chips counter to cash in our vouchers, raced to the box office to get our tickets, and then I held up my sign that said „Dan K. I have your ticketš. „Hope you like Bob Dylanš I said the other R as we heard „Ladies and gentlemen, please welcome Columbia recording artist∑.š And we raced into the Copa to be seated by the maitre d‚. Stumbling over our luggage and winter coats, we practically fell into our seats. Although my feet were on my overnight bag and I was holding my coat, I was wildly happy as the band broke into the delightful strains of „Roving Gamblerš. The show must have been sold out because there wasn‚t an empty seat in sight. The audience was really whooping it up and I grinned wildly at the other R and our table-mates. „I miss Bucky Baxter,š I thought to myself as the band began „Mr. Tambourine Manš. I also thought, „I‚m parched, I have to pee, and a cigarette wouldn‚t be too bad either.š „Stone Walls and Steel Barsš was next, and all my earthly needs were forgotten as Dylan sang the lines of this beautiful old tune. „Desolation Rowš was next, minus a few verses, I think. „Mama You Bin On My Mindš ended with an incredible harp solo. Dylan was smiling and dancing and having a great time, and the audience was thrilled. When they played „It‚s Alright Ma∑.š, I got up to use the ladies room and have a smoke. Since we were sitting pretty far away, I walked as slowly as possible back into the Copa, and as I ascended the stairs I turned and smiled at Dylan. I don‚t think he saw me, but a girl can dream, can‚t she? The waitron came over and we ordered some Heinekens. I toasted the other R as they began to play „Tomorrow Is A Long Timeš. This was the highlight of the show for me. It‚s one of my favorites. „Masters of Warš was next, and then another one of my faves, „One Too Many Morningsš. „Don‚t Think Twiceš was also wonderful, and even the inevitable „Tangled Up In Blueš caused my heart to skip a beat. When R came back from the men‚s room, he asked if there would be an encore. „I hope so. He‚ll probably play some electric tunes.š R loves eighties music, and I was anxious for him to hear some electric Dylan at his first Dylan concert. The encore began with a sublime „Blowin‚ In The Windš. Then, as they broke into „Not Fade Away,š some chick jumped on stage. „What‚s happening?š said R, astonished. „What‚s this?š. I explained to him that girls sometimes jump onstage and that Dylan has a lot of groupies. „He usually lets them dance around for a few seconds and then security chases them offš. Suddenly, people were climbing all over their tables to jump onstage for their fifteen minutes of fame. Security finally chased them off, the curtains fell, the lights went up, and I looked at R and my table-mates in astonishment. I shrugged. „Well∑š. At a dollar a minute, I wasn‚t sure if R understood how much I loved the show. „He usually does a few more songs for the encore∑I feel like we got cheated!š „Those people, how come they let them do that?š asked R. I was irritated with these idiots. I explained that usually a few chicks will jump up and bop around for a while, and Dylan doesn‚t seem to mind so much, but I could tell he was having trouble understanding how the notoriously private Dylan could allow people to jump up onstage. „I know he‚s rather old and so forth, but a lot of women would like to sleep with him,š I said as we stumbled out of the Copa. We checked into our hotel, had some whiskey on the rocks, and went down the beach for a bit of wading and an herbal remedy. I convinced R to stand by the payphones outside the Copa so I could hear some of „A Hard Rain‚s Gonna Fallš and a smokin‚ „Maggie‚s Farmš. But security chased us away, so we went to the restaurant upstairs and had some sandwiches. Then we went back to our room and fell asleep. Saturday was spent walking up and the gorgeous Atlantic coastline, searching for shells to line the bottom of R‚s aquarium. Exhausted, sunburnt, slightly hung over, but wildly happy, we boarded the bus back to New York City at sundown.
Subject: Re: sands late show From: sadie Date: Sun, 21 Nov 1999 19:04:12 -0500 my version of this exciting, show-stopping moment, is a bit different: I was sitting 1 person away from the stage when the Elle lady got up onto the stage. This leggy brunette was wearing a black miniskirt, black tights, platform shoes and a white top emblazoned with the "Elle" magazine logo. She started by standing on the center table, mouthing the words of LARS along with Dylan and indicating to him that she wanted to come up on stage. Bob seemed amicable so up she went. At first she danced next to him, no big deal, but after a few minutes she started getting on his nerves and Bob started giving the signal to the bozo's back stage to get rid of her. If you saw the grammy's and soybomb then you got the idea....bob indicating with his head to remove the offending stage intruder, then backing up to the drum stand. When Bob backed up she decided to go for broke and took center stage and started to sing the LARS refrain into his mic. I think the soundboard guys saw her coming because she was almost entirely inaudible. Then, to make things even *more* fun and interesting, a Dylan front row regular, tastelessly clad (think softig morticia from adams family), got up and danced over to bob. for some reason baron was not available and and perhaps the sight of these two females had hypnotised the sands security staff with their witchy wiles - so it was up to Tommy, the guitartech. I saw him speak to both of them and immediately after doing so the Elle Lady meekly descended. The gal with Adams Family values left for the edge of the stage where she stayed for a bit longer (to Tommy's annoyance). Apparently (I was told later by someone who had spoken to elle lady) he told them both that if they did not leave immediately they would be forcefully removed. It was at this point that bob, finally alone again on stage, returned to his mic for the last verse of LARS and focussed his most laserlike gaze on the Elle Lady as he sang those lines "You're invisible now ... you got no secrets ... How does it feel? Hopefully I'll have some time in the next week to actually write something about the music during these great shows in Atlantic City. but that's all for now- sadie delia ain't dead, but she blames the stage rush on BOB.
Date: Wed, 24 Nov 1999 00:36:06 -0500 From: david godlis To: karlerik@monet.no Subject: Atlantic City/Last thoughts Last Thoughts on Atlantic City - early show Entering from the Sands parking garage into the Casino, playing over the hotel sound system we heard "Subterranean Homesick Blues", and knew this was going to be as strange as we supposed. Of course by the time we headed for the bathroom it was the inocuous Jewel replacing SHB. So this all seemed just a bit surreal. Last time I saw Bob was at Tramps over the summer, and I was intrigued to be at a venue half that size. But the ambience was definitely weird. But enough ambience. Past the slot machines and into the show. I was kind of anticipating we might hear Roving Gambler, but I didn't expect Bob to open with it. The harmonies with Larry (I don't think he's on the Lovesick EP version) made it sound even better than that live version. The sound where I was seated was fabulous throughout. Lots of cushy cushy walls & banquette furniture to keep things from bouncing around. I could pick out every word and every instrument. And the sight lines were good too - I was sitting back some ways (I think near Rachel) and could see Bob & band from their toes up to their hair, as they say. Very different than peering through the jumble of heads at Tramps last summer. Of course the trade off being that this AC crowd was more the 'jewels & binoculars' type and less the 'opposite loft heatpipes coughing D train' crew. You give back for every thing you get. Anyway, a few notes about the set. So did we get Stone Walls & Steel Bars" because he didn't open with a Stanley Brothers song? The harmony with Charlie & Larry was exquisite. Lot of shuffling shoes by Bob all night -even during breaks in Desolation Row. Yes Rachel, there was a great harp on Mama You Been On My Mind. Absolutely the highlight was Tomorrow is a Long Time (w/Larry's harmonies). Like I said, this room really lent itself to this acoustic material. You definitely felt the band could hear themselves well. Masters of War had a weird orange colored light show projected on the "tonight show" type curtain behind the band. What was that little musical intro and short-ending just before Bob went into "One too Many Mornings"?? Was he singing "The time is now..." like in "My Way" ??? He sure seemed to amuse himself. The guitars at the end of "Don't think Twice" were spectacular. And then the harmonica I won't forget to end "Tangled", Bob picks up his roses and he's gone. By this time we'd all been surprised by the totally acoustic set. I suspect that ending with TUIB, where the stage rush usually starts, and the tension of a set turned upside down with no electric numbers followed by even one more acoustic - "Blowin" - set up a real tension by the time they started "Not Fade Away". Like 'finally we can stand up' must have run through some veins. I mean, how do you rush close to the stage in a 750 seat nightclub? I guess there's no place to run but onto the stage. So then where was security when you needed them? I saw tube tops running to the stage. They were calling back to friends, waving arms to come along. I saw Tony's bass being whisked off stage right as the crowd thronged around Bob. The last thing I saw of Bob he did seem to be smiling through it all. And then it was like swarming the pitcher after the ball game. Finally a roadie came out in front of the crowd on stage, held his hands up high like he was saying no more, we're full up here. Back the truck up! But by then, the horse was out of the barn. Too late to save the ship. And it just ended. It certainly felt like we had three more songs to go. This was a perfectly wonderful set up to this point. Like we fooled you with all the acoustic and now we're going to knock your socks off. What's an enclore with no Highway 61, no RDW, no Rolling Stone, no Love Sick? You just felt like you were watching this great movie and the cable went out. That's how it is when things disintegrate... Ah, it was great night anyway. Oh. One last story someone told me about Bob leaving Tramps last summer. While we were all waiting for another encore, some friends who didn't have tickets and were watching the set out on 21st street, were totally surprised to see Bob walk out onto the street seconds after the set ended. He did autographs, making sure everyone there (about 10-15) got one. Even signed a Willie Nelson CD for my friend (that's all he had with him, apologizing to Bob for this, who said sure he likes Willie & will sign his CD). Made sure everyone got their stuff signed and popped into a waiting car before the crowd headed out to the nyc streets. Hail Bob!
1999: January - February - March - April - May - June - July - September - October - November -

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