Conference rdvax::grateful

    Josh needs a show...BAD!
    
    	~dave

    
    
    re: .4 
    
    yes indeed :-) - all the signs are there!  First the coherent (albeit
    uninteresting to some) dissertation on hiss and the way it can affect
    your health and happiness ... then slipping on to a crowd pleasing
    statement about the Emmys ... 
    
    :-)  :-) 
    
    Carol 

    
    	Well,... I'm not sure a show will do the trick...
    
    	Yah,.. he really seemed out of it didn't he? Masters of War was
    	pretty unintelligible,...
    
    	I cracked up when he said
    
    	"... its just like my daddy used to say to me ...
    
    	< very large and weird pregnant pause,.. while fumbling that ,..
    that... what kind of hat did you call that Josh? ...>
    
    	"... well,.. he used to say so many things ya know"
    
    	It was funny,... and just a wee bit sad I thought. He never
    	did handle the spotlight well. Too bad, such genius should not
    have stage fright.
    
    	Oh well,..
    
    	Lets say we recorded that rendition of Masters of War with Dolby.
    	Would that have made it understandable?
    
    							/
    
    	PS :-)
    

re < Note 76.6 by STAR::SALKEWICZ "It missed... therefore, I am " >
    
>    	I cracked up when he said
>    	"... its just like my daddy used to say to me ...

	Yes, it was kinda odd.  I still don't know if he was putting on the
entire audience, or being serious.  It _was_ vintage, classic Dylan though.
    
>    that... what kind of hat did you call that Josh? ...>
	a "porkpie" hat.  Like the kind the Blues Brother's wore in the
movie. That is what that kinda hat's called, right?  Didn't all those
early '80s "two-tone' British ska revival bands wear them?


>did handle the spotlight well. Too bad, such genius should not
> have stage fright.

 	Yeah, he got lost in the spot light.
   
>    	Lets say we recorded that rendition of Masters of War with Dolby.
>    	Would that have made it understandable?
    
	Nope.  There is as yet no sound processing device known to Man that
could do that.  I heard the NASA CETI people have been inputting the tape 
into their computers as a test case, though...  ;-) ;-) ;-) ;-) ;-)

	Josh

	Digression alert, please take the Dylan discussion to the
	(perhaps heeds to be created) Dylan_worship and Dylan_bashing
	topics.

	Thanks.

	yeahbut Bob - you moderators took away our official
	Dylan note so, if you read carefully to the end of Josh's
	note, he has pirated this one!!!!

	...so I'll continue with the Slow Train of thought...
	I was SHOCKED when I saw Dylan on the Emmy's.  I haven't
	seen him in a few years now and he really looked to me
	to be in bad shape - his face was bloated or something...
	it looked to me that he might actually be sick (swollen
	glands?).  I read on the net recently that he was in fact
	sick with some kind of virus on returning from Europe...

	and my other comment about the performance is that while
	I was just thrilled to hear him do Masters of War (at the
	time we were in the midst of our Gulf War), I was wishing
	that he had taken the trouble to really enunciate those
	words...they needed to be heard and I felt he blew his
	opportunity...

	Debess

    Anyone got the new "Bootleg Series" set? Josh?
    
    Scott
    

    
	Do Not go Gentle into that good Night
				By Dylan Thomas

	Do not go gentle into that good night,
	Old age should burn and rave at close of day;
	Rage, rage against the dying of the light.

	Though wise men at their end know dark is right,
	Because their works had forked no lightning they
	Do not go gentle into that good night.

	Good men, the last wave by, crying how bright
	Their frail deeds might have danced in a green bay,
	Rage, rage against the dying of the light.

	Wild men who caught and sang the sun in flight,
	And learn, too late, they grieved it on its way,
	Do not go gentle into that good night.

	Grave men, near death, who see with blinding sight
	Blind eyes could blaze like meteors and be gay.
	Rage, rage, against the dying of the light.

	And you, my father, there on the sad height,
	Curse, bless, me now with your fierce tears, I pray.
	Do not go gentle into that good night.
	Rage, rage against the dying of the light.	  


    

	I'm taking the liberty of moving the Bob Dylan discussion from 
	Analog Tape Technology discussion to here, its well deserved
	resting place...

	Bob

This note includes the Dylan related discussion taken from Josh's posting 
that started out talking about Dolby (tm) Noise Reduction and digressed 
into Dylan...

           <<< NECSC::SYS$SYSDEVICE:[NOTES$LIBRARY]GRATEFUL.NOTE;1 >>>
                 -< Take my advice, you'd be better off DEAD >-
================================================================================
Note 76.3         Old, i.e. Analog, Tape Technology Discussion            3 of 9
BARFLY::BELKIN "the slow one now will later be fast" 67 lines  21-MAR-1991 18:16
                            -< Dolby "decoded" ;-) >-
--------------------------------------------------------------------------------

...

Or something like that ;-).... now that everyones nodded off to sleep, 
I got this whole note to myself!!!  har har har!!  This note is hijacked 
and henceforth will be become the long-absent DYLAN NOTE!!!

Didja see Dylan on the Emmy awards?   I didn't even recognize "Masters of War".
Man what is it with him.  Playing around with his porkpie hat while the 
Academy wuz heapin' praise upon him.  I liked what he mumbled about 
"God rewards those...blah blah blah" though.  Shades of 1963 when he accepted 
the Tom Paine Award from the Emergency Civil Liberties Committee and was wasted
drunk and said he saw a lot of himself in Lee Harvey Oswald and freaked 
everyone there out.

HELP ME I'm turning into A.J. Weberman, Dylanologist & Minister of Defense,
Dylan Liberation Front!!!

 	A.J., ahhh, err, Josh

	Hey, our very own Dylan note!  Don't tell me this notesfile ain't 
	got no heart!

re < Note 143.1 by BCSE::ABBOT "Peace" >
>    Anyone got the new "Bootleg Series" set? Josh?
    
	Huh?  Is it out yet?  hmm.. it was supposed to be the end of March...
	time to call Tower Records... I just did.. ITS OUT!  $31.99
	I'm heading straight to Tower in 1/2 hour!!!

	Reviews tomorrow!!!

	Josh

>    otherwise it will probably be set to no write like the last note was.
    
	what does this mean?

    Question to Dylanites:  What is it about BD that makes him so special?
    
    His lyrical sense is great but he can't sing his own songs, always has
    great bans but he doesn't seem to be much of a musician and other than 
    song, he is a poor communicator.
    
    There are a lot of great song writers and better musicians.  What's the
    story?
    
    That reminds me of something Bob's daddy used to say to me, he said,
    "Bob is a strange bird."  :^)
    
    Is that the eclectic nature of a genius' mind?
    
    
    Marv
    
    

Re:         <<< Note 143.12 by OCTOBR::GRABAZS "black dirt live again!" >>>

>>    otherwise it will probably be set to no write like the last note was.

> 	what does this mean?

	It means that after I requested the Dylan digression in the
	analog tape note be taken elsewhere, and it was not, I set the
	note nowrite.

	Bob_moderator_from_hell

re < Note 143.14 by GR8FUL::WHITE "Without love in a dream..." >

>	It means that after I requested the Dylan digression in the
>	analog tape note be taken elsewhere, and it was not, I set the

	Well, I'm guilty as charged, but remember, we had nowhere else 
	to take the discussion! (till now).

	I picked up the new Dylan box set "The Bootleg Series Vols. 1 - 3"
	at Tower Records. On sale at $35.99 list $42.99.  All CBS/Sony is
	on sale.

	I'm too busy now to get into a lengthy write up, but this 3 CD set
	is the Dylanophile's dream come true.  Its what Biograph hinted at
	being (in regard to releasing unreleased material).

	Its just amazing to hear studio-quality sound on so many songs I 
	already had on scratchy, hissy, muddy-bass bootleg records!
	Plus so many alternate versions/new songs I never ever heard of before.
	
	A MUST-BUY for anyone who likes Dylan.

	ps to Carol - it has the entire poem "Last Thoughts On Woody Guthrie" 
	from that 1963 NYC show.

	Josh
	

    
    You could've had a place to take it any time you wanted.. ANYONE can
    write a new note!  We just couldn't fit Dylan into our first 100
    topics, that's all.
    
    

    >What is it about BD that makes him so special?

	for me, so so much of what he has to say with his poetry/songs
	speaks to me, speaks to my soul if you will.  Many times I would
	be able to relate to songs as IF they were written about my own life
	or my own feelings.  Many of the early "protest" songs fit with
	my own social consciousness and it was wonderful to hear my
	innermost thoughts echoed back to me with such wit and irony.
	There has ALWAYS been a spiritual nature to his writings and
	as I followed my own spiritual quest I was able to listen to him
	follow his.
    
    >His lyrical sense is great but he can't sing his own songs, always has
    >great bans but he doesn't seem to be much of a musician and other than 
    >song, he is a poor communicator.

	well, I beg to differ here Marv.  Dylan, I think, has his style of
	"singing" because he wants to emphasize the words.  His words are
	so important to his music and his over-exaggerated style of phrasing
	is purposeful.  I feel lucky to live in an era where a great
	songwriter can be a performer of his/her own work - again, there
	is more from the soul, I think, when performing one's own work.
	Now, lately we have been hearing some pretty garbled performances
	and I think that's a real shame cause I feel there's power in them
	there words...

	as far as not being much of a musician, well maybe he isn't the
	greatest, but time and time again I am so pleasantly surprised
	by the music surrounding his words.  I often think of him as
	a word-meister that I forget that he is such a good musician.
	Particularly with an acoustic guitar, I think he has talent and
	technique.  When he switched to electric, maybe the technique wasn't
	there, but he has, as you said, surrounded himself with some amazing
	musicians.  The thing that impresses me about his musical genius
	is the fact that whenever I hear him live, it oftentimes takes me
	a while to figure out what song he's playing - he's changed the tune!
	He does it all the time.  That man must have a ZILLION ideas in his
	head.
    
	I don't think he is obliged to be a great communicator outside of
	his songs...there is so much there, what more does he need to say?

    >There are a lot of great song writers and better musicians.  What's the
    >story?
    
	He is a man of his times.  He has been able to tap into the
	roots of his generation and speak for them.  The fact that he
	does this AND puts it all to great music has been all the more
	important because we (the babyboomers) have seen a real revolution
	in music - it is important to us, it has important things to say
	now...

    >That reminds me of something Bob's daddy used to say to me, he said,
    >"Bob is a strange bird."  :^)

	;-) Yeah, I LOVE that about him...
    
    Debess    

	well, I'm having a leetle bit of trouble with this here
	fooling around with our fooling around...it's making me
	feel like becoming MORE of a pirate...HAR!

	Debess_who_just_removed_one_of_her_loop_earrings

    Dylan is featured in this week's "Entertainment Weekly" magazine, which
    includes the complete text of his acceptance speech at the Grammies.
    
    I personally loved his appearance there -- wringing his hands while
    Nicholson went on about "Uncle Bobby", looking downright fuddy-duddy
    but obviously happy, kind of reminded me of a cross between Chico Marx
    and Elmer Fudd.  He was *clownin'*, folks, don't you get it?  They
    don't call him Alias for nuthin'!
    
    This wheel's on fire...


    

re < Note 143.19 by NEMAIL::DENTON "All beings are always already happy" >

>    includes the complete text of his acceptance speech at the Grammies.
	can you enter it, if its not too long? 
    
>    but obviously happy, kind of reminded me of a cross between Chico Marx
								 ^^^^^^^^^
	right! thats who else I had in mind when I was thinkin' porkpie hats!

	Josh

    Re .17 Debess,
    
     Thanks for the reply.  I feel some of the same things particularly
    about the lyrical content.  Thanks for letting me know about how and
    why BD effects you (and lots of others) so much.
    
     You expressed your feelings very well and I could really sense your
    heart in the words.
    
    Marv
    

    
    
   <<< Note 143.22 by NEMAIL::DENTON "All beings are always already happy" >>>
    From the article, "Dyaln, Tangled Up in Bob", by Bill Flanagan, in
    "Entertainment Weekly", March 29, 1991, issue, p. 31, typed in without
    asking anyone for permission:
    
    "...To this day, Bob Dylan still refuses to make it easy for any of us. 
    He demands that we accept him on his terms, even if we don't quite
    understand what those terms are at the moment*.  On the Grammy Awards
    show in February, when he received a Lifetime Achievement award, Dylan
    turned down requests from the producer to sing his famous 1963
    civl-rights anthem 'Blowin' in the Wind**," and instead greeted his
    gulf war-conscious audience with a virtually unrecognizable version of
    'Masters of War,' a furious 1963 protest against the old men who send
    young men off to fight.  He mumbled the lyrics like a muddled Popeye
    while his band played an ear-splitting rock arrangement.  Dressed in
    wrinkled black jeans and a big white fedora with the brim turned up,
    unshaven and puffy-faced, Dylan resembled Chico Marx [!].  He acted
    like a madman who had stumbled into a fancy restaurant, hollering a
    barrage of threatening gibberish.
    	After accepting his trophy from Jack Nicholson (who called him
    'Uncle Bobby'), Dylan ambled to the microphone, adjusting his hat. 'My
    daddy, he didn't leave me too much.  You know, he was a very simple
    man.  But what he told me was this...he did say, 'Son...''  After
    pausing for 10 seconds, Dylan mumbled, 'He said so many things, you
    know?'  Then, after another pause, he got to the point: 'It's possible
    to become so defiled in this world that your own mother and father will
    abandon you.  And if that happens God will always believe in your own
    ability to mend your own ways.'
    
    * After leaving many a Dylan concert, I have been wondering what the
    heck I heard, since all the arrangements were unlike the songs'
    original versions, but all the songs played were of the same basic
    tempo/arrangement/theme/thrust whatever-you-want-to-call-it.  And only
    later, sometimes days later, after initially thinking I was
    disappointed because I didn't hear the song the way I remembered them
    (like getting "Tangled Up in Blue" electrified at 78rpm), I would
    suddenly get happy that I'd heard all these new versions...can't really
    explain it, but I've been to enough shows where he's done that, that I
    know he somehow knows what he's doing up there.
    
    **How orignal.  Couldn't have asked him to do "Bob Dylan's 115th Dream"
    or "Could You Please Crawl out Your Window" or something like that,
    couldn't they have?
    
    Overall, a good article with some decent photos and a discography
    review rating all his albums (I must quibble with the C+ given to
    'Planet Waves'), and it reviews the new boxset, though with almost
    making no mention of the actual songs on it, giving it an A.
    
    -Rob, who really only speaks up here when Dylan is discussed.  

  In "Last Thoughts On Woody Guthrie" Dylan mentions an "Uncle Remus".

  On the Basement Tapes there's a song "Rueben Remus".

	OK I give up - whats the connection???


  Been listening some more to The Bootleg Series - WOW!  I like the 
"Meet Me In The Morning" soundalike, "Call Letter Blues".
Interesting to hear the first (NYC) (acoustic) version of Idiot Wind, with
slightly different lyrics.  I can see how he polished up the lyrics for the
second (album) version.

  Never knew what the missing last verse to "She's Your Lover Now" was...
but I think the booklet makes a mistake.  Dylan clearly sings
"and now your mouth cries wolf" and the booklet has "_eyes_ cry wolf".
I've seen listings for a bootleg album "And Now Your Mouth Cries Wolf" 
(same boot as "Visions of Johanna" I'm pretty sure), now I know where the
title came from.
  
  The booklet has some musical credit errors, too, I think. 
On "Like A Rolling Stone" (in 3/4 time, a waltz!!)  Dylan has to be playing
the piano, but he's credited with guitar.  These details must be obsessed with,
ya know. ;-)  (or is that on "I'll Keep It With Mine"?? hmm.. one of those
2 songs...)

  The best part is theres MORE TO COME!!! Buried in the booklet,  on the
second or 3rd page I think, is mentioned that the 1966 Royal Albert Hall is
going to be one of the future Bootleg Series releases!!!!  YEAHH!!!!!!!!

  Also, the booklet acknowledges that lately there's been circulating
a new batch of previously unbootlegged Basement Tapes.  But even thats
not all of what exists, since this CD has "Santa Fe" which isn't on any of
the previously unbootlegged Basement Tapes.  So.. there must be more
on the way!

	Josh

    Josh,
    
    what 'rare, bootleg' stuff is available and/or worth getting?
    
    What's on Royal albert Hll '66? Is there a boot of the Newport
    folk festival where he showed up with his electric band? 
    
    - Dave (especially looking for an early Desolation Row live)

    I need a tape list completed. I have a 3rd gen board tape labled: 
    "Bob Dylan (Basement Tapes) 4-12-67". Sounds like a rehearsal tape 
    or something. Anyways the sets go like this:
    
    Side 1:				Side 2:
    -------				-------
    Million Dollar Bash			Tears of rage #3
    Apple Suckling Tree			Don't Ya Tell Henry
    Talking Clothsline Blues		Sign of The Cross
    Yea, Heavy,& A Bottle of Bread
    I'm Not There
    Odds & Ends
    Get Your Rocks Off
    Too Much of Nothing
    I Shall Be Released
    This Wheel's on Fire
    You Ain't Goin' Nowhere
    Please Mrs. Henry
    Mighty Quinn
    Tears of Rage
    Nothing Was Delivered
    
    What I need are the rest of the songs on side 2 as well as the location
    it was recorded (basement of Big Pink in Woodstock, NY???). I'd also
    like any relevant history about it. Is this the same stuff on the
    "basement tapes" album(s)? 
    
    Ger_who_had_a_backflash_to_his_football_days_and_labled_song_3_side_1_
    as_"Tackling_Clothesline_Blues"_at_first_:-)
    
    PS - Actually, I don't remember correctly if there is much after 
    "Sign on the Cross", but I think there's lots.

    re -.1
    
    It's definitely from the "basement tapes" period, but some people
    believe that the recordings were not actually done in the basement of
    Big Pink.  Those sessions have been bootlegged to death, so much so
    that they finally released the legitimate "Basement Tapes" double LP. 
    Are you sure it's from a tape and not recorded from one of the bootleg
    LPs?  These were commonly in plain white sleeves labeled "The Great
    White Wonder" - there's a variety of different ones.  There's also a
    four LP set (actually two double LPs) called "Blind Boy Grunt & The
    Hawks" vol. 1 & 2 on the Surprise label.  As you no doubt have figured
    out, some of the songs are Dylan and what would become the Band, some
    are the Band alone (otherwise known as the Hawks from when they backed
    Ronnie Hawkins).  I do recall Josh saying that he thought "Sign on the
    Cross" was the greatest Dylan song ever.  To (sorta) answer your
    question, all of the material has most likely been released on several
    of the bootleg LPs from those sessions.
    
    >Ger_who_had_a_backflash_to_his_football_days_and_labled_song_3_side_1_
    >as_"Tackling_Clothesline_Blues"_at_first_:-)
    
    I once got a tape from you which listed "Ballad of Casey Jones" as
    "Ballad of K. C. Jones," which you labeled during a Celtics game!
    
    Jamie

re:             <<< Note 143.27 by FRAGLE::IDE "now it can be told" >>>

>Are you sure it's from a tape and not recorded from one of the bootleg LPs?  
                     
    I better check for sure but given the source, I'm pretty sure it's a copy 
    of the original tape and not from an LP. This is a copy of old analog 
    reel that someone had before he got another copy upgraded to digital.
    
    Gerry

    ...Actually, I doubt it's from an LP/CD or I wouldn't have bothered
    to get a copy of it in the first place. 
    
    - Ger.

    re .29
    
    why did I know that already? %^)
                                    rfb

re < Note 143.26 by SA1794::GLADUG "_ -`-,<@ <-?-> @>,-`-" >

>    I need a tape list completed. I have a 3rd gen board tape labled: 
>    "Bob Dylan (Basement Tapes) 4-12-67". Sounds like a rehearsal tape 

	This song list looks suspiciously like the same songs as on the
Basement Tapes (official) album, with the exception of "I'm Not There"
and "Sign On The Cross" (I'm pretty its "on" and not "of" :-).  If I heard it 
I could tell if it was a straight dub of the album, or different mixes of 
the same songs as the album was made from (probably the latter).
    
	I don't know what would be on the rest of Side 2 (without hearing it).

>    it was recorded (basement of Big Pink in Woodstock, NY???). I'd also
	I do think this is the most likely location.  Even Robbie Robertson
says in the Bootleg Series booklet that they were recorded at Big Pink.
He should know, eh??? ;-)

>    like any relevant history about it. Is this the same stuff on the
>    "basement tapes" album(s)? 
	I don't think its from the same root source as the original
Great White Wonder (GWW) boot.   Even though that boot (practically the first 
boot that ever was, came out in the early 70's I think, and started the whole
bootlegging scene!) was a double album, half of it was early 1961 Dylan
solo acoustic stuff.  The other 1/2 didn't have all the stuff that eventually
came out on the Official Basement Tapes.  I don't have a copy of GWW but
my brother (a first generation Dylanologist) does.  So, your tape has a 
lot more tunes than was on the original GWW.

>    PS - Actually, I don't remember correctly if there is much after 
>    "Sign on the Cross", but I think there's lots.
	there IS lots more that could be on it!

	As Jamie noted, there exists 2 double album boots known variously
as "Blind Boy Grunt & The Hawks" vol. 1 & 2.  But, these do NOT have much 
of what is on the official Basement Tapes and GWW.  There's only about 2 or 3
songs that overlap, I think they include : "Open the Door, Homer" and 
"I Shall Be Released" and maybe one of the Tears of Rage's.

	Now, addressing Mr. GOOROO::CLARK, 

>what 'rare, bootleg' stuff is available and/or worth getting?
	Alot.

>What's on Royal albert Hll '66? 
	Great stuff.
>Is there a boot of the Newport folk festival where he showed up with his 
>electric band? 
	Yes.

	;-) ;-) ;-) ;-)

I have a boot of Newport - the 3 electric tunes (really rippin' versions
by the way!  No wonder he got Pete Seeger so pissed off!) and some (at least)
of the acoustic that followed.  Maggies Farm opened, then a fast 
"It Takes A Lot To Laugh", then "Like A Rolling Stone".

I also have the 10/31/64 Halloween acoustic show in Carnegy (sp!) Hall.

Royal Albert Hall, acoustic set includes Visions of Johanna, 4th Time Around, 
Just Like A Woman, Desolation Row, and I'm pretty sure: Tambourine Man, 
Its All Over Now, Baby Blue.

Electric Set, with the Hawks, includes: Tell Me Moma, I Don't Believe You,
Baby Let Me Follow You Down, Just Like Tom Thumb's Blues, Leopard Skin 
Pillbox Hat, One Too Many Mornings, Ballad Of A Thin Man, Like A Rolling Stone

	Hmmm... maybe we should have a Dylan-Dubbing party at my place.
All Dylan freaks could bring their tape decks, and we could spend all day
making tapes and viewing 1966's "Eat The Document".  what y'all say?

	Josh

re:   <<< Note 143.31 by BARFLY::BELKIN "the slow one now will later be fast" >>>

>
>	Hmmm... maybe we should have a Dylan-Dubbing party at my place.
> All Dylan freaks could bring their tape decks, and we could spend all day
> making tapes and viewing 1966's "Eat The Document".  what y'all say?

YES!!!!!!!!!   This basement tape material, along with Planet Waves which
I think is an amazing album (especially for you JGB/LOM fans ;-), *finally*
got thru to me and made me reaaallly appreciate and like Dylan a *lot*.

Great stuff.  Both are Dylan with the Band.

Ken

    re:           <<< Note 143.32 by FURTHR::HANNAN "Beyond description..." >>>
    
    
>I think is an amazing album (especially for you JGB/LOM fans ;-), *finally*
    
    Who's LOM?  I agree on Planet Waves, see my last comment in .23.
    
    
    Re discussion of "best" Dylan song.  Is there such a thing?  I mean,
    some days, it's something off of _John Wesley Harding_ while others
    it's definately "Black Diamond Bay".  You know what I mean?
    And then the next thing you know it's "The Walls of Red Wing" or "The
    Lonesome Death of Hattie Carroll".  IT JUST NEVER ENDS!!!........
    
    Or, "Shelter from the Storm" from _Hard Rain_
    or, "No Time to Think" from the Budakon live album
    or, "Gates of Eden"
    or, "One too many Mornings"
    or, "Serve Somebody"
    or or or or or or or  i would say infinity is definately on trial in
    this discussion...
    
    Be interested in you Best lists...
    
    rob, who once saw Dylan at the Worcester Concert Hall (I think that's
    the name) for an all-Gospel show, seating was in folding chairs,
    attendants were suited middle aged ushers with little flashlights, ...a
    very unusual venue...  This was 1981 I think, when it was rumored he'd
    never do a non-Gospel song again.  Course a year later he kicked butt
    at the Orpheum with everything from "I Want You" to "Like a Rolling
    Stone".  Worse thing about the Worcester show was that I was car-less
    and the last bus back to Tufts was 45 minutes before the show ended. 
    So as I got up to leave, I approached the stage, between songs,
    unnoticed and unencumbered by anyone, and yelled up at the aged-bard,
    "God bless you!" (I was feeling particularly gregarious), and he
    stepped forward and said, "What??", and I repeated it, and then he
    returned the phrase...  this actually occurred.

re:   <<< Note 143.33 by NEMAIL::DENTON "All beings are always already happy" >>>

>>I think is an amazing album (especially for you JGB/LOM fans ;-), *finally*
>    
>    Who's LOM?  I agree on Planet Waves, see my last comment in .23.

	LOM is "Legion of Mary", which was an incarnation of the 
	Jerry Garcia Band around 1974/75.   Merle Saunders played
	in this band, plus someone on sax/flute, along with John Kahn
	on bass and a drummer.  Some of the best JGB was the LOM, IMHO ;-)
	Probably my favorite anyway...

	LOM did Going Going Gone, Tough Mama, + Forever Young from
	Planet Waves.   JGB still does Forever Young.

	Ken

re:   <<< Note 143.31 by BARFLY::BELKIN "the slow one now will later be fast" >>>
   
>I could tell if it was a straight dub of the album, or different mixes of 
>the same songs as the album was made from (probably the latter).
    
    Can you tell if it's a straight dub of the original tape as well? Given
    the person that I got this tape from, that's not out of the question.
    He's been collecting and making bootlegs since 1971.
    
    Also, it appears that there are pauses between each and every cut. I am 
    assumimg that this is to save space on the cassette when it got transferred 
    from his reel-to-reel copy - many boots from the 70's are like this. Of 
    course, that may be an incorrect assumption. All cuts *sound* the same, 
    ie - they sound like they all came from the same source. 
    
    I'll give it a closer listen.
    
    - Gerry

re < Note 143.35 by SA1794::GLADUG "_ -`-,<@ <-?-> @>,-`-" >

>    Can you tell if it's a straight dub of the original tape as well? Given
						^^^^ you mean the original
Basement Tape bootleg album(s), "Great White Wonder" and its successors?
Possibly.  But, your tape has many more songs than were ever on GWW.
I never (till now) knew anyone who had an actual Basement Tapes _tape_, 
all I've seen was bootleg albums or tapes of the bootleg albums.

	Paraphrasing Robbie Robertson on the Basement Tapes, 
"The Basement Tapes are a tape of a tape of a dub of a tape of a copy of a
dub of a tape...." etc. ;-)


>    Also, it appears that there are pauses between each and every cut. I am 
>    I'll give it a closer listen.
	Try to find someone's copy of the Basement Tapes (official) album...
that will settle a lot of questions.  but, like I said, your tape has stuff
thats not on the official or (original) unofficial B.T. albums or boots.

	Josh

>I never (till now) knew anyone who had an actual Basement Tapes _tape_, 
>all I've seen was bootleg albums or tapes of the bootleg albums.
    
    This hasn't been determined yet. Wanna check it out?
    

re < Note 143.37 by SA1794::GLADUG >
>    This hasn't been determined yet. Wanna check it out?

	Sure.  How about you call up my home phone and play your tape
	into my answering machine (I'll put a C-90 cassette in it).
	This will preserve the true spirit of "tape of a dub of a copy of a..."
	eh????  ;-)

	Josh 

RE .36

>I never (till now) knew anyone who had an actual Basement Tapes _tape_, 
>all I've seen was bootleg albums or tapes of the bootleg albums.

	A friend of mine has one. They were actually sent out as demo tapes by 
Dylan's publishing company to try and get people to cover them while Dylan was 
not playing live or recording official albums. They were of course reel to reel 
as I think that they predate the Compact Cassette.

	My friend got his from a guy who was in the recording business at that 
time and I believe was instrumental in Julie Driscoll covering 'This Wheels On 
Fire'. There were a number of other covers that were hits in the UK, most 
memorable perhaps was Fairport Convention's spoof Cajun number 'Si Tu Dois 
Partir' (If You Gotta Go).

Nigel

PS A big greeting from the UK to those who know me as this is the first time 
in many months that I've had the time to read & reply to notes in Grateful.

re < Note 143.39 by MALLET::BARKER "Pretty Damn Cosmic" >

>Fire'. There were a number of other covers that were hits in the UK, most 
>memorable perhaps was Fairport Convention's spoof Cajun number 'Si Tu Dois 
>Partir' (If You Gotta Go).

	WHATTTTTT???   Wow I never heard of this!  Tell more!  Are you talking
about the same "If You Gotta Go" that goes

	I am just a poor boy baby trying to connect
	but I don't want you thinkin' that I haven't got any respect!
	But if you gotta go, its alright
	if you gotta go, go now, or else you gotta stay all night.


		Josh

>	WHATTTTTT???   Wow I never heard of this!  Tell more!  Are you talking
>about the same "If You Gotta Go" that goes

	Yep it's the same IYGG, I hope I made it clear that it's Fairport 
adapting a Dylan song and not them covering a number from Dylan's French period.

	I think that it's on the album 'What We Did On Our Holiday's' or maybe 
'Unhalfbricking'. The single was Fairport's only top ten hit in about 1968. 
Scott Abbot is sure to know as he has most every Fairport album.

	I wish that I'd had a VCR in those days as I still have a clear memory
of Sandy Denny, Richard Thompson, Simon Nicol, Ashley Hutchings & Martin Lamble
dressed up in stripey jerseys and berets with strings of onions over their
shoulders performing this on 'Top Of The Pops' on BBC TV. 

	I'm really pleased to hear that the Royal Albert Hall set is going to 
be released officially. This is the one _essential_ album that I have. The 
music is astonishing for 1966. I love the story as to how it appeared on a 
bootleg. Apparently someone attended the concert & enjoyed it so much that they 
wrote to Dylan's record company, CBS and tolds them so. Their publicity 
department sent them a copy of the soundboard tape as a thankyou.

Nigel

    re: .39 
    
    aha!   I never heard about the Fairport Convention connection before.
    Anyone have more of the story ??
    
    Carol

    According tyo the semi-official Fairport history, "If You Gotta Go" was
    a minor Dylan hit in Europe. It never came out in the US. When Fairport
    decided to cover it, I don't know what came over them, but during one
    show they asked the audience if anyone spoke French. They got 3 people
    who volunteered, and they took the lyrics and translated them to
    French. It was probably Fairport's biggest selling single. I believe
    it's on "Unhalfbricking" since Dave Mattacks played on it, and not
    martin Lamble who was their original drummer, and on the
    retrospective "Fairport Chronicles".
    I think there's three Dylan songs on Unhalfbricking" - Si Tu Dois
    Partir, Million Dollar Bash and Percy's Sing.
    
    The "Top of the Pops" appearance Nigel mentioned is in its entirety on
    the video "It All Comes Round Again". It's pretty funny, Richard
    Thompson playing accordion, Dave Mattacks on washboard, and a barefoot
    Sandy Denny singing. The video isn't widely available (although I saw
    it at Tower Records in London), but if you happen to see Fairport on
    their spring tour (Iron Horse on the 21st) they will probably be
    selling it.
    
    Fairport did lots of obscure Dylan songs, often either before Dylan
    recorded them, or sometimes songs he never commercially released.
    They still record an occasional obscure Dylan song. Their next to most
    recent album had "Open The Door Richard".
    There's also a Joni Mitchell song on their first album that they
    recorded about a year before she did.
    
    Maybe someday they'll combine all the Fairport Dylan songs into one
    album (maybe there's enough for a boxed set!) like they did with "The
    Byrds Play Dylan" several years ago.
    
    Scott_the_self-proclaimed_Fairport_expert
    

    If anyone's still here, Lechmere is having a CD sale this week (Debess
    mentioned she got the new Dylan set) on all Columbia/Sony/CBS albums
    (Dylan is on Columbia). Everything is 25% off. Also, if you buy 4 cds
    of any label (doesn't matter if it's on sale) the 4th one is a penny.
    So, you can buy 4 copies of the new Dylan set ($30 each after the
    discount) for $90, which comes out to $22.50 each! Such a deal!!!
    
    Scott
    

re:                   <<< Note 143.44 by BCSE::ABBOT "Peace" >>>

> 	Lechmere:
>     So, you can buy 4 copies of the new Dylan set ($30 each after the
>     discount) for $90, which comes out to $22.50 each! Such a deal!!!
    
	Anyone interested in pooling together to get the new Dylan set ?
	I need a copy, we need 3 more people to get the discount.  (Prices 	
	I've seen were about $35/$36, so $22.50 is a good deal!)

	Ken

	is the sale still on??  If so my arm could probably
	be twisted .... ;^)

re:     <<< Note 143.46 by LEDS::MRNGDU::YETTO "child of countless dreams" >>>

>	is the sale still on??  If so my arm could probably
>	be twisted .... ;^)

Good, someone in the same neighborhood ;-)   That's 2, we need 2 more
to get this GREAT DEAL on the new Dylan 3 CD set!

Ken

re:                       <<< Note 143.48 by NEST::PAPIA >>>
>                                  -< I'm #3 >-
>    
>    	Count me in.

	Great!  #3 it is!   Where do you work ? 	

re:                       <<< Note 143.50 by NEST::PAPIA >>>

>	I'm at NR02 in Northboro.

	Great, right up the street from me (and Lisa).

	Stay tuned, I think I might have #4.

	Ken

	Come to think of it, this sale was last week.  Anyone know if
	it is still on ?

	Ken

    
    	I thought it said the sale was until the 7th, I hope 
    not. Noteworthy has the set for $32.00 if the sales over.
    
    
    Vinny

    The usual Lechmere price is $39.ninetysomething. Rockit Records
    in Nashua has it for $32.
    
    Picked up the new Henry Kaiser cd during lunch - "Hope You Like Our
    New Direction". Looks pretty interesting, and Richard Thompson and Tom
    Constanten are on it among dozens of others.
    
    Scott
    

re:                       <<< Note 143.53 by NEST::PAPIA >>>
    
>    	I thought it said the sale was until the 7th, I hope 
>    not. Noteworthy has the set for $32.00 if the sales over.

	You're probably right, but I don't know for sure.  I checked
	the remnants of the sunday paper last nite and I couldn't 
	find the Lechmere flyer...  

	Anyone have the Lechmere flyer from sunday ?

	I found a 4th person too, so now it's a matter of is it still
	on sale or not...   I'll try to call them later.

	Ken

    
    	Lechmeres has the set on sale for $29.95 no other
    discounts, it's on sale this week.
    
    
    Vinny

	re: -1
	
	Yeah, you beat me to it.  I got thru just before lunch, and
	the sale Scott talked about ended.  The only consolation is
	that the guy I talked to said the Dylan Bootleg series thingy
	was NOT included in the buy-3-get-the-4th-for-a-penny deal.

	Ken

Article         3254
Newsgroups: rec.music.dylan
Path: engage!e2big.mko.dec.com!pa.dec.com!decwrl!stanford.edu!agate!riacs!pioneer.arc.nasa.gov!howells
From: howells@pioneer.arc.nasa.gov (John Howells)
Subject: The Basement Tapes sessions 1967
Message-ID: <1991Apr12.154947.14564@riacs.edu>
Summary: Just the best
Sender: news@riacs.edu
Organization: NASA Ames Res. Ctr. Mtn Vw CA 94035
Date: Fri, 12 Apr 91 15:49:47 GMT
 
_Basement Tapes_ sessions (1967)
================================
 
(released June 1975)
 
 A Fool Such as I
 All You Have to Do is Dream (1)
 All You Have to Do is Dream (2)
 Apple Suckling Tree (1)
 Apple Suckling Tree (2;released)
 Baby Ain't That Fine
 Be Careful of Stones That You Throw
 Bonnie Ship the Diamond
 Clothes Line Saga (1)
 Clothes Line Saga (2;released)
 Crash on the Levee (released)
 Don't Ya Tell Henry
 Don't You Try Me Now
 Down on Me
 Get Your Rocks Off
 Goin to Acapulco (released)
 Gonna Get You Now
 He's Young But He's Daily Growing
 The Hills of Mexico
 I Can't Make it Alone
 I Don't Hurt Anymore
 I Shall Be Released (released)
 I'm Alright
 I'm Not There
 Lo and Behold (released)
 Lock Up Your Door
 Mighty Quinn
 Mighty Quinn (Biograph)
 Million Dollar Bash (released)
 Nothing Was Delivered (released)
 Odds and Ends (1)
 Odds and Ends (2;released)
 One for the Road
 One Man's Loss
 One Single River
 Open the Door Homer (1)
 Open the Door Homer (2;released)
 People Get Ready
 Please Mrs Henry (released)
 Rock Salt and Nails
 Santa Fe (released)
 Sign on the Cross
 Tears of Rage (1)
 Tears of Rage (2)
 Tears of Rage (3;released)
 This Wheel's on Fire (released)
 Tiny Montgomery (released)
 Too Much of Nothing (1)
 Too Much of Nothing (2;released)
 Try Me Little Girl
 Won't You Be My Baby
 Yea Heavy and a Bottle of Bread (released)
 You Ain't Goin Nowhere (released)
 
These recordings represent the finest body of work ever recorded by Dylan,
although I'm sure there will be much disagreement, and could stand as the
peak of Dylan's career as a singer of unusual new songs. Not only did he
seemingly rattle off new and ingenious songs with incredible ease, but he
also had the good fortune to do it with some of the greatest rock musicians
of all time, and he was also able to benefit from their collaborative
efforts with some of the richest song structures of his entire career.
 
Listening to these songs now it's obvious to me how this material can be
seen as a bridge between the excessive surrealism of _Blonde On Blonde_ and
the quiet mysticism of _John Wesley Harding_. Although less focused than
either of those two albums, I find all of this material much more
rewarding, and I think this has to do with the way these songs were
recorded: friends getting together each day to blow off a little steam and
just have a good time doing what they like to do best. But I think there's
a little more to it, though, because the whole project has "contractual
obligation" written all over it. You see, [according to Robert Shelton's
book "No Direction Home"] Dylan's contract with CBS was getting ready to
expire and he was all set to sign with MGM, but he still owed CBS an
additional 14 songs under the terms of the contract. Well, by an amazing
coincidence there were exactly 14 songs on the acetate which was
distributed to various artists requesting demos of the new Dylan songs. My
guess as to why these 14 songs were used as publishing demos rather than as
an album by CBS is due to the fact that the MGM deal fell through and Dylan
signed with CBS for another term, and by the time he had done that he
already had the 14 songs ready to go and CBS didn't want to use them. So,
the Basement Tapes session existed as a means of getting those 14 songs out
of the way and delivered to CBS, and also as a deliberate slap in the face
- low-tech home recordings of mostly nonsense songs; and CBS was expected
to make use of it? This whole episode *could* have been the inspiration for
"Dear Landlord". 
 
The 14 songs on the acetate were:
 
	Million Dollar Bash
	Please Mrs. Henry
	Lo and Behold
	Yea, Heavy, and a Bottle of Bread
	The Mighty Quinn
	I Shall Be Released
	Down in the Flood
	Nothing Was Delivered
	Too Much of Nothing
	You Ain't Goin' Nowhere
	Tiny Montgomery
	Wheel's On Fire
	Tears of Rage
	Open the Door, Homer
 
But there are plenty more of the same or greater quality. Many of the best
basement songs are actually not written by Dylan at all. These were
probably done for the same reason the _Self Portrait_ tracks were recorded:
just for warmup and setting mike levels. Also, they liked playing together
and these were probably some of the songs they knew best.
 
Everytime I listen to the Basement Tapes I always get the feeling that I'm
hearing the lost and sadly neglected recordings of an unknown artist who
died as an early age and is just now becoming known through a recent
discovery of a cache of obscure recordings. This is similar to the feeling
I get when I see a James Dean movie or hear a Buddy Holly song - "what a
tragic loss". This is odd because I *know* that nothing of the kind
happened with Dylan. Still, these recordings have a timeless quality not
unlike those recorded by Robert Johnson in a makeshift hotel room recording
studio or early Hank Williams demos. Some of these tracks are just
heartbreaking, for reasons mentioned above, and this is the only Dylan tape
that affects me in this way. I would be interested to know if others feel
the same way.
 
My favorites of the unreleased tracks? "One for the Road", "Rock Salt and
Nails", "I'm Alright" (unfortunatly incomplete), "All You Have To Do Is
Dream", "Baby Ain't That Fine", "One Single River", "He's Young But He's
Daily Growing" (aka "Long Time A-Growin'"), "One Man's Loss", and "Sign on
the Cross". "Sign on the Cross" in particular has been singled out by most
as possibly the best thing in this collection, and at first I wasn't all
that impressed but now I'm almost inclined to agree. This recording alone
demonstrates what the Basement Tapes were all about, and it has that
timeless tragic quality that is evident in each and every song on this
collection of tapes.
 
Albums: _The Basement Tapes_ (official album)
	_Biograph_ (official album - contains "Mighty Quinn")
	_The Bootleg Series Volume 2_ (official album - contains 
		"I Shall Be Released" and "Santa-Fe")
	_The Great White Wonder_ (the *first* bootleg! Contains the
		core songs - "I Shall Be Released", "Tears of Rage",
		"Wheel's On Fire", "Mighty Quinn", etc.)
	_Troubled Troubador_ (the complete 14 song acetate - some
		versions of this album feature additional songs)
	_Stealin'_ (alternate version. Contains the rest of the acetate -
		"Lo and Behold", "Million Dollar Bash", "Tiny Montgomery",
		etc.)
	_VD Waltz_ ("Odds and Ends", "Get Your Rocks Off", others)
	_Waters of Oblivion_ (the "acetate", supposedly in really good
		quality. I've never seen or heard it.)
	_Blind Boy Grunt and the Hawks_ (2 2-record sets containing the
		recently discovered basement tracks. In stereo, although
		of a crude unmixed sort.)
	_Lost Basement Tapes_ (the same as the above)
	many other duplications of the above albums no doubt exist.
 
--
					John Howells
					howells@earth.arc.nasa.gov 
					howells@pioneer.arc.nasa.gov

    That reminds me of another cover of an obscure Dylan song:
    Fotheringay (a Fairport Convention spinoff band with Sandy Denny and
    Trevor Lucas) covered "Too Much of Nothing" on their one and only album
    "Fotheringay".
    
    Trevor Lucas has a much better voice than Dylan. ;-)
    
    Scott
    

re:             <<< Note 143.58 by FRAGLE::IDE "now it can be told" >>>
>                     -< Basement Tapes info from the 'net >-

So out of the albums (or "acetate" ;-) listed, is The Basement Tapes 
double album the only _official_, legal release of these sessions ?  
That is, besides the couple of tracks on the recently released 
Bootleg Series V1-V3 and The Basement tapes, is everything else available
only on bootleg ?

/Ken (who agrees with what the writer said about Dylan and this time period -
at least it turned _me_ on!)

    re .-1
    
    Three official releases:
    
    The 2 lp "Basement Tapes,"
    1 song, "The Mighty Quinn," on "Biograph,"
    and whatevers on "The Bootleg Series."
    
    What the author didn't cover is singles - it's possible that a BT
    number could have been released as a b-side.  Speaking of singles, I
    just heard a great tribute to Otis Redding as a b-side of Arthur
    Conley's cover of "Ob-La-Di, Ob-La-Da."  Great stuff, but very sad.
    
    Rolling Stone ran an article several years ago on famous rock-n-roll
    places, and they gave directions to Big Pink, where the BT were
    supposedly recorded.  Who's up for a pilgrimidge?
    
    Jamie

>    and whatevers on "The Bootleg Series."

	"I Shall Be Released" and "Santa Fe"

	The writeup on "Santa Fe" in the The Bootleg Series booklet even 
	acknowledges the recent surfacing of the Blind Boy Grunt basement 
	tapes material, and boasts about "Santa Fe" not being on the 
	Blind Boy Grunt set!  It also broadly hints that there's even more
	unreleased BT material.  Probably in Garth Hudson's basement ;-),
	since he was the source for "Sante Fe".  Also, after one of the tunes
	on the Blind Boy Grunt set, you can clearly hear Dylan say
	"don't tape this down, Garth.  You're wasting tape."
	Aren't we glad Garth didn't listen to him !!!!!!!!

>    places, and they gave directions to Big Pink, where the BT were
>    supposedly recorded.  Who's up for a pilgrimidge?

	Me!  Me!  but only if you promise that afterwords we can go to the 
	Woodstock town dump and dig through the garbage.  I wonder how many
	feet down we'll have to go to hit 1967??    ;-)

	Josh

                  <<< Note 143.59 by CLOUD9::ABBOT "Peace" >>>
                                     ^^^^^^

WOW!  That the first system I used when I worked during the Summer of '84
in between college breaks!

re .58

This is the best summary I've ever seen of the Basement Tapes. It shows that 
there is still an enormous amount of unreleased material. One of my complaints 
against 'The Bootleg Series Vol 1' is that there is too wide a spread of 
material with out-takes & rare recordings from all periods of Dylan's career 
and only two extra takes from the Basement Tapes.

My favourite Dylan is 1965-1968. I pretty much lost interest when he found God 
and am not too bothered with more recent stuff. I'd like to hear more stuff 
from the 1966 tour with the Band(aka the Hawks). I've a suspicion that they
played the same set every night so find it unlikely that they ever surpassed
the Royal Albert Hall set, which I _really_ would like to see remastered on CD.

>	_Waters of Oblivion_ (the "acetate", supposedly in really good
>		quality. I've never seen or heard it.)

I've got this. I wouldn't have said that the quality was _that_ good. It does
have the slow version of Too Much Of Nothing that I think is the best. For
years I thought that the chorus went 'Say hello to Valerie/ Say hello to Valium/
Spending all my salary on the waters of oblivion'. I also can't understand why
Mighty Quinn never made it to the album of the Basement Tapes, if you look at
the cover you will find an Eskimo there. I bought it in 1971 from Virgin
records in London. They'd previously only done mail order & the retail shop
hadn't been open long and they had a lot of bootlegs on open sale then. Their
store was up a steep flight of stairs several stories up above where their
Megastore is in Oxford Street now. It was a tiny place & really crowded.
Richard Branson has done rather well for himself since. 

Nigel

    re .64
    
>My favourite Dylan is 1965-1968. I pretty much lost interest when he found God 
>and am not too bothered with more recent stuff. I'd like to hear more stuff 
>from the 1966 tour with the Band(aka the Hawks). I've a suspicion that they
>played the same set every night so find it unlikely that they ever surpassed
>the Royal Albert Hall set, which I _really_ would like to see remastered on CD.
    
    I think it's safe to say that that's everyone's favorite Dylan period. 
    If you like the '66 tour, then you should give the 2 LP live set from
    the '74 tour with the Band, "Before The Flood," a shot (you probably
    already have).  It's one of my favorites, but most people seem to
    overlook it.
    
    As for more recent material, IMHO, "No Mercy" stands way above the
    rest.  It's very introspective and moving, and shouldn't be judged by
    the one "hit" it produced, "Political World," because most of the songs
    have much more stripped down arrangements.  In my opinion, Dylan's best
    since "Shot of Love," though I'm probably forgetting an album or two
    (and I'd like to forget "Dylan and the Dead").
    
    Jamie

re:             <<< Note 143.65 by FRAGLE::IDE "now it can be told" >>>

>    I think it's safe to say that that's everyone's favorite Dylan period. 
>    If you like the '66 tour, then you should give the 2 LP live set from
>    the '74 tour with the Band, "Before The Flood," a shot (you probably
>    already have).  It's one of my favorites, but most people seem to
>    overlook it.

	I agree about Dylan with the Band/Hawks from 66-68 or so - it's
	really great stuff.  But I was disappointed with Before the Flood
	when I got it and I've only listened to it a couple of times.
	To me it pales in comparison with the older stuff.  Maybe it's
	Dylan's voice at that time, or maybe it's the rushed sense of
	pace I feel from listening to it, or maybe it's the Big Band 
	sound I don't know.  

	fwiw...

	Ken 

    re my .65:	It's "Oh Mercy," not "No Mercy" (that should've been "Dylan
    and the Dead's" subtitle . . . ~/~).
    
    Jamie

    Supposedly Dylan's playing at the UMass and Northeastern's spring
    fests. You'll be left to your own devices to get in, tickets will
    be sold to students only.

    re: .65
    
    Yes Nigel I remember the Virgin shop in Oxford Street - there was
    another one in Notting Hill if I remember correctly - probably also a
    megastore by now
    
    Re: Basement Tapes
    
    Can anyone tell me the storu=y on these - are they openly available or
    were they just a bootleg series for those in the know some years back?
    
    -Dermot

      Has anybody heard anything more about Dylan at UMASS, I heard
    he's going to play on May 12th.
    
    Sean

re:                     <<< Note 143.70 by JUPITR::OCONNORS >>>
   
>Has anybody heard anything more about Dylan at UMASS, I heard
>he's going to play on May 12th.
    
    Dylan will play at the Pond on sunday. Free admission to UMass students.
    The best part is, the music is also free if you don't have an ID. It
    just means you can't get into the 50 yd by 70 yd li'l fenced in area
    where the students are. The pond area is big, the band visible and
    most certainly audible from outside the fence (kind of a 4 foot 
    temporary snow fence). There's like 3 other bands, Boston-based
    Chucklehead, Gene love Jezebel and someone else. Don't know when
    it starts. By the time Dylan comes on, they'll be tired of checking
    ID's. 
    
    Anyone go to last night's show? How'bout a review?
    
    - Gerry

    update...
    
    The line up is Chucklehead, The Feelies, De La Soul, Gene Loves Jezebel
    and, of course, Bob Dylan.
    
    - Gerry

    re: -2
    
    It's been a long time gone since I've replied to a note in this
    conference.  It feels good.
    
    Last night I caught up to Bob at Northeastern University.
    The show was staged at NU's hockey arena (it's been 12 hours and 
    I forgot the name of the arena).  Anyway, tiny place.  Probably
    capacity for 5,000 folks.
    
    A band called the Raindogs opened the show.  The Raindogs play with 
    a country rock feel.  The sound was clean and really loud.  Too loud. 
    
    Dylan came on around 9ish and the show lasted for 90 minutes.  
    Having been to 1/2 dozen Dylan shows, I knew what to expect.  
    The band was minimal, Dylan, a great guitar player (I want to 
    know this guys name, he cooked), bass, and drums.  The mix
    emphasised the guitar player and Dylan's vocals.  
    
    Dylan's vocals were typical high pitched gravel,
    indiscernable.  Just what I expected.
    
    Dylan played acoustic guitar, harmonica, and keyboard.  The keyboard
    was a nice addition.
    
    Tunes, a real mix of 60s stuff and new 80s-90s stuff.  Some of the
    tunes were reworked as far as melody and rhythm.    
    
    This is what I knew and can remember.  There was definately
    more. 
    
    Lay Lady Lay
    
    She's an Artist
    
    Highway 61 Revisited
    
    Watchtower
    
    Wiggle, Wiggle, Wiggle
    
    Under A Red Sky
    
    The Man In The Long Black Coat
    
    Everything is Broken
    
    Like A Rolling Stone
    
    Maggie's Farm
    
    Blowin' In The Wind
    
    Hard Rain
    
    You Gotta Serve Somebody
    
    There was definately a lot more acoustic stuff.   During the acoustic
    music the bass player played an upright.  Nice touch.  Dylan's mood
    was positive and the crowd, those in the know, were gracious.
    For most novice Dylan attendees, the show was a major let down.
    
    Accept Dylan's limitations and enjoy the show.  He's a major living
    rock 'n roll legend that constantly turns out new and cool stuff.
    In particular, I happen to like Oh Mercy and Under A Red Sky.
    
    Who was that guitar player?
    

      It sounds like the same band he's had for a while now,
    could that have been G.E.Smith on guitar (the guy from 
    saturday night live).
    
    
    I can't wait for sunday
    
    Sean

	Tomorrow is Robert Zimmerman's 50'th birthday!

	There was a very nice _editorial_ (of all things!) in the 
	Boston Globe (of all places!!!) about him, complete with a nice
	picture of D. in his classic Highway 61 shades, in this past
	Monday's edition.


	Josh

Dylan show review 7/6 at Holman Stadium in Nashua


Well John Shep and I had a real good time (surprised?) at the Dylan show at
Holman Stadium.  I must say, security was everywhere - lite blue/yellow/dark 
blue/you name it - they were hard to follow.  But it seemed really mellow there
and I don't think they had much to do.  It was easy to do everything like park 
and walk and move around ... I guess in part because only 5,000 people showed
and they were ready for more.    Dylan played from about 8:30 - 10 ... including
two encore tunes.  Most of the crowd remained seated thru the whole thing .. 
this always amazes me.  We moved to the back of the first set of chairs  so we 
could dance and be out of the way.  Finally - when Dylan started 'Knocking..'  
many people got up and moved toward the stage and were dancing. He actually 
seemed happy about it and the show took on more energy at that point.  Also 
like to point out that he talked to the crowd several times.  He is so 
unintelligible - few could pick up on ALL the words ... but hey - it's a 
start toward humanizing the old boy.  he said something about writing  a song
for Whitney Houston - just before he did 'Baby Tonight'.  I dn't know what that
was about.   Probably a put on - like his recent performance at the Grammies was
and like his statements when he was awarded a honorary degree at Princeton yrs 
back.  

Some of the tunes I remember - not in any particular order :-}  :

	'Serve Somebody'
	'Shelter  From the Storm'
	'Watchtower'
	'I'll Be Your Baby Tonight'
	 ....several missing here ...	
        'Death of Hattie Carroll'
	'Knocking...'
	'Twist of Fate'
	'Highway 61'
	
	encores were : 'I Believe in You' and 'Ballad of a Thin Man'

    His voice was superb - as usual !  and the diction - well you know - it
    can't be beat  :-) 
    
I wish I had tried to keep a set list.  I always think I am going to remember 
the tunes (and sometimes the order of 'em!) but then as soon as the show is 
over all that is left is the warm music floating in my head.   

I can't remember exactly the three tunes but he did three in a row concluding 
with 'Hattie Carroll' in which I felt he was sending a message about the 
direction the country is heading - limiting of rights/rightwing leanings/
supreme court appointee, etc.

He seemed to be warning us to beware.  As though it weren't enough with the 
line from 'Hattie Carroll'  about :

	'annnn you who prophesise and apologise 
	 take the rag from your face .. 
	 for now's not the time for your tears'

and then he drove it home for me at least with his 'Ballad of a Thin Man'.

good to see Debess and Guntis and Mary Beth and Bob and Rae. 

so glad we made it!!!!!

    Carol

	Here's a question for all you Dylan experts ;-)
	
	Does he always tour electrically with a band ?   Any solo acoustic 
	shows ?   Expect any in the future ?  
	
	Ken

	Holman Stadium july 6

	I didn't keep a set list while I was there...I was
	just having a WONDERFUL time...so this is from my
	memory.  The first five songs were definately played
	in that order...from there on, I'm kindof guessing
	where each song went!  


	electric:
	New Morning
	Homeward Bound
	All Along the Watchtower
	Shelter from the Storm
	Gotta Serve Somebody
	I'll Be Your Baby Tonight
	Wiggle Wiggle Wiggle

	acoustic:
	Lake Ponchetrain?
	Girl From the North Country
	Lonesome Death of Hattie Carroll
	It Ain't Me Babe

	electric:
	Simple Twist of Fate
	Knockin' on Heaven's Door
	Everything is Broken
	I Believe in You
	Highway 61 Revisited

	encore:
	I Believe in You
	Ballad of a Thin Man

	
	Some comments:

	Dylan was wearing what looked to me like a red shirt
	with full sleeves, a black vest and black pants.
	He looked GREAT...after seeing him on the Grammies this
	past winter I wondered about him...but he really looked
	just fine ;-)

	The lighting was terrible.  I wondered if he had his own 
	lighting crew or if it was done by the stadium folks - 
	many many times Dylan was spotlighted while the remaining 
	bandmembers were in the dark.  Oftentimes when the lead 
	guitarist (I don't know his name) was playing some great licks
	he would be in the shadows and it gave the impression
	that Dylan wanted us to think he was playing lead
	or something!  But in any case, Dylan WAS in fine form
	Saturday night...

	During "Knockin'", the crowd rushed the stage.  The
	band seemed to be loving it but from where I was they
	didn't seem to be playing TO the crowd down front...but
	they did look pleased.  From then on the rest of the audience
	were on their feet - which I LOVED because I love to dance
	but didn't want to bum those out in back of me and I also
	didn't want to give up my good seats to go back into the 
	infield to dance.  (sorry Carol and Shep!)  I DID have to 
	jump up a little bit during "I'll be Your Baby Tonight" - 
	nice blues beat there....(ooohhh, it really had my hopes
	up that I would hear Leopard-Skin Pill Box Hat...oh well

	Shelter from the Storm was done with a polka beat (I believe)...
	1 2 3 hop 1 2 3 hop...I'm not so sure I liked it done that way...

	The new guitarist played well as far as I was concerned.  The
	band is not as tight as they were with GE Smith but they are sounding
	good together I thought.  They MUST work on the song endings 
	though...so many of the songs kindof died at the end...they'd be playing
	along and all of a sudden Dylan would raise the neck of the guitar
	bring it down and then they would play a S L O W  version of the
	tune and it would end.  Not real neat.

	The acoustic set was nice.  I was amazed how much I could hear and
	FEEL the standup bass.  Nice.

	Dylan seemed to really be enjoying himself Saturday night.  He
	made many comments between songs that I just could NOT decipher.
	He grinned alot...to himself, to the other band members, to us.
	At the end, he bowed and bowed and bowed (with flourishes of his
	hat)...and the audience clapped and clapped and clapped.  Soon
	after he left the stage, what I think was his tour bus started up
	and took off...but the audience remained on their feet clapping!	

	The show was too short!  I wanted MORE ;-)  

	Hey Bob - did Rae get to give him the flowers!
	It was so good to see Carol and Shep and...hey Josh where were you?

	Debess

	
>	Does he always tour electrically with a band ?   Any solo acoustic 
>	shows ?   Expect any in the future ?  
	
	Ken, he's been on a never-ending tour for YEARS (literally)
	and they have been doing this arrangement all along...
	electric set, acoustic set, electric set, encore...

	a solo acoustic show would be very wonderful but I think
	he REALLY enjoys rockin'

	Debess

Yow!  what a good time that was.  That makes the 4th time I've seen him
and I thought this was the best even though it was *definately* the shortest.
Thanks the lists (memories).....

The best part for me was the 2nd half of the acoutic set through the end
of the show!

As for the dance-a-bility of Holman Std - folks were yelling at Rae and she's
short!  She almost went back with Shep and Carol but she stayed and grumbled
instead :)  

Rae had these flowers (with a secret msg :) to give to her HERO(tm) and
she went up there when they let the people boogie in front and some guy put
her on his shoulders and up they went - landed at his feet...he even picked
em up and put them on his "table".

I had fun!
bob

    Had a dylan dream last night and I *could* understand what he was
    saying!!  Sorry that alone must have surprised me so much I forgot
    the rest of the dream. :-) |-)
    
    :-) Scott g

    Dylan will be on the David Letterman 10th anniversary special, Thursday
    Feb 6.  It was recorded a couple of weeks ago at the Radio City Music
    Hall.
    
    Scott
    

        <<< Note 143.78 by XANADU::GRABAZS "Firefly! can you see me?" >>>

>	Holman Stadium july 6
>
>	I didn't keep a set list while I was there...I was
>	just having a WONDERFUL time...so this is from my
>	memory.  The first five songs were definately played
>	in that order...from there on, I'm kindof guessing
>	where each song went!  

Track listing :

	New Morning
	Homeward Bound
	All Along the Watchtower
	Shelter from the Storm
	Gotta Serve Somebody
	Wiggle Wiggle
	Simple Twist of Fate
	I'll be your baby tonight
	Lakes of Pontchartrain
	Girl From the North Country
	Lonesome Death of Hattie Carroll
	It Ain't Me Babe
	Knockin' on Heaven's Door
	Everything is Broken
	I Believe in You
	Highway 61 Revisited
	What Good am I?
	Ballad of a Thin Man

	/Andy

           <<< Note 143.82 by TLE::ABBOT "J. R. "Bob" Dobbs in 92" >>>
                          -< Dylan on prime time tv >-

>    Dylan will be on the David Letterman 10th anniversary special, Thursday
>    Feb 6.  It was recorded a couple of weeks ago at the Radio City Music
>    Hall.
    
>    Scott
 
Did Dylan appear on the Letterman show??

/Andy
   

          <<< Note 143.77 by FURTHR::HANNAN "Beyond description..." >>>

>	Here's a question for all you Dylan experts ;-)
	
>	Does he always tour electrically with a band ?   Any solo acoustic 
>	shows ?   Expect any in the future ?  
	
>	Ken

The last recording of a purely acoustic solo Dylan concert was on the 7th May
1965 at the Free Trade Hall Manchester during his British tour.

2 months later Dylan was to appear with an electric guitar and things were 
never the same again.

/Andy

    Yup, Dylan was on the Letterman special.  He did "Like a Rolling Stone"
    with a bunch of people in the band (Carole King, Nanci Griffith,
    Michelle Shocked, Chrissie Hynde to name a few).  His performance was
    unique to say the least and has probably been discussed to death in
    other topics.
    
    Scott
    

    thats alot of the same band he played with during the emmys or tonies
    or some other stupid music awards thang that was televised...did he
    growl the words out? %^)
                            rfb

Is this the only Dylan topic in notes?

/andy

I thought there might be one in the MUSIC conference (TIMBRE::), but there
isn't ... maybe in the archived MUSIC conference.

    
    Let's start a separate conference.  We can each take 15 songs and key
    them in and we still won't be halfway there.  :-)
    
    carol

>    Let's start a separate conference.  We can each take 15 songs and key
>    them in and we still won't be halfway there.  :-)

Sounds good to me.  I'll take "Blonde on Blonde" and "Basement Tapes" ;-)

(ooops thats a few more than 15 songs!. Ok I'll just do Side 4 of 'Blonde :-)

Anyone catch Dylan on the Van Morrison special that was on A&E the other week?

Josh

   re: <<< Note 143.91 by BARFLY::BELKIN "the slow one now will later be fast" >>>


>Anyone catch Dylan on the Van Morrison special that was on A&E the other week?

    Yes!  I've always thought that Van Morrison = Dylan but with a great
    voice to match the songwriting abilities.  Of course, their early
    influences are completely different -- folk for Dylan; soul/R&B for
    Morrison.
    
    The special looked to be a cut-up video with a host added in.  Is the
    original tape available?
    
    As for the performances, suffice it to say that Dylan is not the
    ultimate sideman.  :^)  Van was fantastic -- I especially liked the
    numbers with John Lee Hooker.
    
    Jamie

             <<< Note 143.92 by STUDIO::IDE "now it can be told" >>>
>    As for the performances, suffice it to say that Dylan is not the
>    ultimate sideman.  :^)  Van was fantastic -- I especially liked the
>    numbers with John Lee Hooker.
 
Shoot, this is one of those things, that if I had known, I wouldn't miss.
So tell me, did Van and John Lee do John Lee's "I Cover The Waterfront"
which to me is possibly one of the best love type songs ever written.  
The picture it makes in my mind....

So did they play it??  I'll bet.
bob

ps.  is it going to be run again?
pps.  Ringo All star band w/ Todd R on Letterman tonight.

Subject: Dylan May 5 at the Warfield
 
Jerry Garcia joined in on guitar half way through "Cat's in the Well"
and also played on "Idiot Wind."  He played Dylan's electric guitar.
Garcia's own guitar was on stage but he didn't play it.

    
    Wow - I bet that was a nice surprise for all.   But - just one
    question .. does one size fit all in guitars?
    
    c

    um,,.. yes Carol...
    
    							/
    

    
    /,
    Lighten up, /, I *knew* the answer.  I just happened to think of that
    uproariously funny line [due to the obvious (make that OBVIOUS)
    difference in their sizes] and thought I'd share it in here with my
    FRIENDS.  
    
    carol
    
    

    Well, I'll try to lighten up. Guess I just didn't get it.
     sorry
    							/
    

    Really Carol, size isn't important.  Really.
    
    Honest.
    
    tim
    

RE -1...

Unless your name happens to be Richard??? 

:-)

Dave

Did anyone else attend the concert on Saturday night at the San Jose 
Event Center?  I thought it was a killer show, but then Dylan hasn't
ever disappointed me. 8-)

My question is,  who was the guitar player who joined in about 1/2 way
through the show?  He looked familiar, but neither of us could figure 
out why.  Anybody know?

-jer

P.S.  When Dylan came out and closed the show with his acoustic "Blowin'
in the Wind"  there was complete silence.  It was as close to a religious
experience as I've come in a long time. ;-)

I wasn't at the Event Center, but I was at the Warfield on Monday
(5/4).  I guess I should've gone the next day instead, huh??  I
didn't see the setlists posted, but here it is (courtesy of Henry
Petras 8-)

==================================================================

   Bob Dylan
   The Warfield Theatre
   May 4,5 1992

   5.4.92

   Rainy Day Women #12 & #35 (instrumental)
   Every Grain of Sand
   Sundown on the Union
   Just Like a Woman
   Tangled Up in Blue
   I'll Be Your Baby Tonight
   She Belongs to Me
   Love Minus Zero/No Limit
   Little Moses
   The Lonesome Death of Hattie Caroll
   Desolation Row
   Cats in the Well
   Idiot Wind
   The Times They Are A Changin'
   Highway 61 Revisited

   En1:
   Absolutely Sweet Marie
   Ballad of a Thin Man

   En2:
   Blowin' in the Wind

   5.5.92

   Rainy Day Women #12 & #35
   Lenny Bruce is Dead
   Sundown on the Union
   Just Like A Woman
   Stuck Inside of Mobile
   I Don't Believe You
   Shelter From the Storm
   Love Minus Zero/No Limit
   Little Moses
   Gates of Eden
   Mr. Tambourine Man
   Cats in the Well *
   Idiot Wind *
   The Times They Are A Changin'
   Maggies Farm

   En1:
   Absolutely Sweet Marie
   All Along the Watchtower

   En2:
   Blowin' in the Wind

   * Jerome Garcia on black Fender Telecaster

Hey Phyllis, any info on what's happeening tonight at MSG? I heard on the 
radio there is all star-like tribute to Dylan tonight.

WZLX will be broadcasting, apparently, starting 10:30....

?

 Its also on Pay Per View








 Jum

>Hey Phyllis, any info on what's happeening tonight at MSG? I heard on the 
>radio there is all star-like tribute to Dylan tonight.
>
>WZLX will be broadcasting, apparently, starting 10:30....

Yo, Fogster...where ya been?  It's in here, somewhere, already.  Maybe
in the Music Happenings topic.

Yup, ZLX.

10:30?  Ahhhh, I *thought* it was 8:30.

Many of the guests were named in the Rock Notes section in the Bahsten Glob
today.  Mr. Eric Clapton, George Harrison, Tom Petty I think, George (I know
three chords) Thorogood, Nanci Griffith (yea!), and lots more...

tms

    
    I think the pay-per-view is 8-12.  It's a tribute for Dylan's 50th
    bday.  There's a whole list of performers, highlighted by Eric Clapton
    and George Harrison.  Tickets were $80 if you wanted anything decent,
    or $35 for behind the stage and maybe some very high side stage.  I
    think Fredda has a $35 ticket.  Most everyone I know is
    pay-per-viewing.
    
    

    As I understand it, though, Dylan hisself will not be there.  I hope
    I'm wrong . . .
    
    Wbcn is broadcasting it too, pretty strange to have two stations in the
    same market carrying it.
    
    Jamie

    
    REally?  I assumed Dylan would be there too.  Are you sure?
    
    

 I did read yesterday that Dylan cancelled his appearance at a show in New 
Haven cuz of a stagehand strike, but thought his thingn tonight was still 
on.






Jum

    I'm wrong as usual.  Please . . . NO BOSS!  Please . . . NO ALL-STAR
    JAM at the end.
    
    BTW, it's to celebrate the 30th anniv. of his first album release.
    
    Jamie
    
Article: 6668
Newsgroups: rec.music.dylan
Path: engage.pko.dec.com!nntpd.lkg.dec.com!news.crl.dec.com!deccrl!caen!uunet!utoday!georger
From: georger@utoday.com (George Rothe)
Subject: Oct 16 Guest List
Organization: CMP Publications
Date: Thu, 15 Oct 92 12:21:38 GMT
Message-ID: <1992Oct15.122138.17906@utoday.com>
Lines: 41
 
 
According to David Hinckley of the NY Daily News (Oct 15 1992):
 
Who's ON TAP
Site: MSG Friday 8:30
 
Live Performers:
Dylan
Clapton 
Harrison
Petty and HB
Young
Tracy Chapman
Lou Reed
Shine-head
Willie Nelson
Mellencamp
Sophie B Hawkins
Johnny Cash
Mary Chapin Carpenter
Roseanne Cash
Shawn Colvin
the O'Jays
Clancy Bros.
(w/Tommy Makem)
Thorogood
McGuinn
Elvis Costello
Eddie Vedder & Mike McReedy
Ron Wood
Rick Danko (!)
Garth Hudson (!)
Levon Helm (!)
and maybe more...(Bruce?)
 
Tickets: sold out. Brokers asking $75-$600
TV Pay per View 8:30 - midnight, REPLAY AT MIDNIGHT
Radio: WNEW-FM
 
I can't see this ending at midnight.  The applause alone will be 3 hours :-)
 

    
    Thanks, Jamie.  Just try not to make a mistake again, okay?  ;-) 
    
    a No Boss plea from me too!  And a big NO PAUL SHAEFFER plea! (why does
    he always show up at these things?) 
    
    

    well we know for damn sure it will happen and it will be "I Shall Be
    Released" fur sure man !
    
    
    Chris

    re .-2
    
    I've BEEN trying.  :-)
    
    re .-1
    
    A buck sez it's "Blowin' In The Wind."  :-)
    
    Jamie

    
    Does anybody plan on taping this event off the radio tonite?? I was
    going to, but something came up..
    
    thanks
    Don

This is a benefit show, yes?

So who's the benefactor?

Dave

    Also add (according to Rolling Stone)
    Michelle Shocked
    Taj Mahal
    
    expect a mini-set from each, plus Dylan with a big band, and GE Smith
    leading the backing band.
    
    Haven't heard about WBCN carrying it before.
    
    They say the show will cost about $50 mil to stage, plus fly all the
    guests, put them up, and rehearse for 5 days.  Columbia is thinking
    about doing an album.  They don't expect to make a bundle on the show.
    
    I'll be taping it, if anyone wants copies contact me on Monday.
    
    Scott
    

    Since Phyllis already mentioned that I had a tix, I thought I'd throw
    my 2 cents in.  
    
    We have $35 tix in the blue seats (now lavender!) along the curve (3/4
    of the way back).  WNEW said this morning that pay-per-view was reduced
    to $19.95 and that the surviving members of The Band were to be there
    (mentioned in a previous note).  The show is being carried by radio
    stations all around the US and a number of countries around the world.
    HOT rumors are that Springsteen, Bono, Robbie Robertson, etc might 
    show up.  John Mellancamp is opening the show. 
    
    I expect the trinkets to cost major $$$, given the outrageous prices
    for the tickets.  I'm not sure if I'll indulge my desire to grow my
    rock'n roll junk t-shirt collection.
    
    One last note.  Today I did something I very rarely do.... (something
    that those of you up north do all the time!)  I dressed completely
    down today, pants, sneakers, t-shirt!  I usually change after 5PM but
    today I just said why not and didn't bother getting duded up!!  (I
    didn't look like a clone at the commuter train station today!!)
    
    Details about the concert Monday....
    
    Fredda  

    Whilst looking for BackStage Pass yesterday up at Rockit Records in
    Nashua, NH, there was some unfamiliar Dylan playing.  After finally
    picking up Tom Constanten's "Nightfall of Diamonds" I asked the
    salesperson, "What is this [playing]"  "Dylan"  "I KNOW that, but,
    what Dylan?"  Turned out to be a promo cassette of a new album coming
    out called something like, All Acoustic.  Sounded pretty good!
    
    PeterT
    

    I know that alot of people probably watched this concert on
    pay-per-view, but......
    
    First of all, this concert was amazing!  Second of all (like a Dead
    show), your ticket is only your admission into the arena....after that
    you're on your own~!
    
    I knew it was going to be a special night when we had absolutely no
    problem moving from the blue seats (now teal) to the green seats (now
    teal).  We wound up sitting by the side of the stage in the 300 level. 
    Before the show we started talking to the people around us and found
    out that we were sitting in the press section!  One woman was an intern
    at Rolling Stone.  The guy sitting next to me was the concert reviewer
    for SPIN magazine and most importantly the woman to our other side was
    the owner of RELIX magazine!  
    
    I just happened to mention that Markus and I were Deadheads (ever so 
    casually!), so she hands me a card for a free copy of RELIX.  She also 
    said that Jerry just wasn't well enough yet to play at this tribute 
    and that Bobby was on vacation in Australia otherwise he would have 
    been there.  She felt that if the upcoming Jerry Band shows took place
    (and Jerry was OK after them) that the mini tour and New Years shows
    would take place.  Also, don't expect them in the Northeast before the
    spring.
    
    All the press people told us that their tickets (for the first time in
    many years) were not free.  700 press tickets were available for
    purchase.  We were in the $80 seats.  Also, all performers were paid
    and put up in hotels for up to 5 days before the concert to allow
    enough time to rehearse.  Toni (from RELIX) thought the ticket prices
    were outrageous and was going to find out the real reason why they were
    so expensive.  Look for the review and expose in the February issue!
    
    For me their were many, many personal highlights, but the audience was
    really suprising in who they found amazing.  Believe it or not,
    everyone (and myself) found that Johnny Cash and June Carter were great
    performers.  We were definitely dancing away.  Johnny Winter also got
    the crowd going and Neil Young tore up the house.  Clapton sent chills
    up my spine, but I really almost lost it when George Harrsion walked
    out on stage.  I looked at Markus and started mumbling, "that's George
    Harrison", "that's a Beatle".  (Obviously, seeing The Beatles on Ed
    Sullivan when I was 10 years old changed my life forever!)
    
    And, Sinead O'Connor....at first the crowd was half clapping and half
    booing.  Then she didn't start singing when the band started going into
    the song she was supposed to do.  Then I took a bio break and by the
    time I got back the crowd was really booing and she was singing the
    song she did on Sat Nite Live.  In all, it was very strange.
    
    Dylan was announced by George Harrison who said, "Some might call him
    Bobby, some might call him Zimmie, I just know him as Lucky".  Then
    Dylan did 3 acoustic tunes.  For once, he didn't mix up the
    arrangements and tried to sing them as on the albums, but he sounded
    even more nasal than usual.  The first encore, with Neil Young, Tom
    Petty, Roger McGuinn, George Harrsion, Eric Clapton and Dylan on stage
    together was definetly mind blowing.  Then all the performers came on
    for the final encore.  The crowd wasn't going anywhere, so (after
    pay-per-view ended) Bobby came back and did a solo acoustic Girl From 
    The North Country, bowed to the audience a few times and left the stage.
    
    In all, incredible.....for me music (especially live shows) is a
    transcendent experience and makes everything worthwhile and Friday
    night's show was one of those special, special nights that will stay
    with me forever.
    
    Fredda

Great review Fredda!!

I taped it but unfortunately due to the lousy weather around here Friday night 
it has a static buzz running all the way through it.  Aside from the buzz what 
I listened to certainly sounded terrific!  I'd definately love to have a clean 
copy of this one.

Scott

	Thanks Fredda - nice review.  Sounds like a special night.

thanks Fredda - your're our virtual eyes!

I taped the WBCN broadcast and though BCN did a 100% shitty job with it.
Too damn many self-serving commercials that blotted out the artists.
I did get to hear June and Johnny Cash do "It Ain't Me Babe" (which was 
truly great) and was looking forard to more, but BCN cut them off with a 
commercial.

Oh well, at least my Mom in NYC taped the Pay Per View for me.  When I get
the tapes I'll probably edit down the audio portion to cassette, that way
I'll have the complete show on cassette.

Notice how George Thorogood did "Wanted Man" in a real Johnny Cash-style
vocal delivery? :-)

I liked Neil Young's version of "Watchtower" - I think the slower tempo and
his snakey just-in-control-of-feedback guitar gives back the sinister 
atmosphere the song really has.  The Dead's version, being faster, is more
like the 1974 "Before The Flood" Dylan/Band version.

I didn't get to hear the whole (radio) show and I haven't played my tape of 
it yet (I can't stand the commercials, think I'll wait for Mom's video) - 
did anyone do "Visions Of Johanna"?

Josh

    
    Thanks for the review, Fredda.  It looked like a great show!  These
    all-star things can go either way, but this one was definately well
    rehearsed.  I thought most everyone chose songs they were very well
    suited to.  
    
    

	thanks from me too, Fredda...as I listened to parts of the show
	on the radio, it sounded great to me - would have loved to have
	been there myself.  I think we tuned in when Neil Young came on?
	Got to hear Neil and Eric - which to me would have been worth
	the price of admission alone.

	I got the set list off the net (no Visions, Josh):


	MSG Set List as seen on Pay Per View
 
Like a Rolling Stone - John Mellencamp w/ Al Kooper
Leopard Skin Pill Box Hat - John Mellencamp w/ Al Kooper
Blowin' In the Wind - Stevie Wonder
Wanted Man - George Thorogood
I Want You - Sophie B. Hawkins
Foot of Pride - Lou Reed
Masters of War - Eddie Vedder & Mike McCready (from Pearl Jam) 
The Times They Are A-Changin' - Tracy Chapman
It Ain't Me Babe - Johhny and June Carter Cash
What Was It You Wanted? - Willie Nelson
I'll Be Your Baby Tonight - Kris Kristofferson w/ Willie Nelson
Highway 61 - Johnny Winter
Seven Days - Ron Wood
Just Like A Woman - Richie Havens
When the Ship Comes In - Clancy Brothers
---Sinead O'Connor Booed off stage ----
Just Like Tom Thumb's Blues - Neil Young
All Along the Watchtower - Neil Young
I Shall Be Released - Chrissie Hynde
Love Minus Zero/No Limit - Eric Clapton
Don't Think Twice, It's All Right - Eric Clapton
Emotionally Yours - the Ojay's
When I Paint My Masterpiece - The Band (Minus R. Robertson)
You Ain't Goin' Nowhere - Roseanne Cash, Mary Chapin Carpenter, Shawn Colvin
If Not For You - George Harrison
Absolutely Sweet Marie - George Harrison
License to Kill - Tom Petty and the Heartbreakers
Rainy Day Women #12 & 35 - Tom Petty and the Heartbreakers
Mr. Tambourine Man - Roger McGuinn w/Tom Petty
Song For Woody - Bob Dylan
It's Alright Ma, I'm Only Bleeding - Bob Dylan
My Back Pages - Dylan, Clapton, Petty, Young, Harrison, McGuinn
Knockin' On Heaven's Door - Everybody (including Sinead)
 
	We heard "Girl of the North Country" done acoustically by Dylan 
	at the end, don't know if anything else is missing.

	Debess

> me and Deb were real life Rainy Day Women ;-)
    
    Hmmm, so were you #12 or 35??
    I tried to tape this one with partial success.  Obvioulsy the taping
    gods were against me.  First I forget about it while giving Hannah
    her bath.  Only about the first half hour or so.  Then I set up for 
    the patented two deck staggered approach, so no songs are missed
    even as one tape runs out.  But... instead of having both decks 
    tuned to the radio, I had deck two taping off deck one, and deck one
    was on continual replay, so that when it hit the end, it rewound and
    started playing again.  Missed good portion of Hiway 61.  Sigh...
    and whatever went before it probably.  What came through sounded 
    pretty good though.  Time to mix it down to a tape or two soon.
    
    PeterT
    

I watched.  I was dissappointed from a taping POV but it was nice music
top listen to .... excellent I thought.  Neil seemed to be the best to
me.

BUT the best thing of all this was the backing band.  Did anyone mention
them?  Sorry if I haven't read to closely but I am swamped.  Steve Cropper
Duck Dunn and Booker T!  YOWZA!  What a band!  You could hear it too.

3 cheers to all the old men out there :)  :)  

nah!  50 ain't old.  just goes to show ya.
bobo

If anyone has a VHS copy (video) of this show please please send me mail.

Thanks!

Scott

did Dylan's new acoustic "album" come out yesterday - or has it been
delayed yet again?

Debess

    The new album is out - picked it up yesterday at the Wiz for $10.98.
    (haven't listened to it yet!)
    
    Fredda

    
    and a grate article on him and his touring in this week's Boston
    Phoenix!  And, I might add, for those of us into viseral :-), two yummy
    pictures of Himself.  *sigh*
    
    The article explained how Dylan has been on constant tour since 1988
    and does about 120 shows a year .. this is a lot of work for an old
    man!  Anyway, he focuses on colleges and small halls and apparently
    last week he did Endicott college and played under a TENT.  Next
    spring, the Lions Club in Hudson, NH and dinner at my house ??? 
    
    The article drew a great picture of Dylan the troubador, just going 
    around to county fairs and showing up by surprise.  For those of us who
    have read about the way he tries to live, we can see how this must
    greatly appeal to his sense of how things should be.  
    
    It's been a long time since I saw him .. Summer 1991 at Holman in
    Nashua.  I'll bet he didn't know he was in Nashua.  
    
    c
     

    PBS will be showing the Dylan-30-yrs-and-stillllll-going-tribute
    (recently held at MSG - to rave reviews!) tonite and tomorrow nite 
    beginning at 7 pm. as part of their annual fund raising effort.
    Maybe they'll be showing other stuff too ...?
    
    carol
    

So I taped PBS's (boston Ch. 2) broadcast of Bobfest, Sat. night.  The pledge
breaks were nearly intolerable, in fact I had to go to bed at 11:00 (skiing
Sunday) and so just let the VCR run, hoping I had enough tape left.

However WGBH's signal was excellent, with good true stereo.  My mom in NYC had
taped the original PPV cable broadcast, and the stereo on that was not good,
with a lousy macro-visioned wiggly video signal too.

I really liked the tune Willy Nelson covered, "What Was It You Wanted".
What album is this on?  I don't think I have it.  Wow.. spooky lyrics, right 
up there with the best of his '66-'67 stuff.  Some really great lines in that
song.

<put on pseudo-rock-crit-hat, ala' Wayne and Garth>
<the next coupla lines here are best read when you are taking a long sip of
some sort of liquid, so when you hit the punchline you go "ppppffffttttt"
onto yer keyboard'n'screen>

Dylan's song's encompass a wide range of feelings and subjects.  For example,
he writes about people in the working class.  Like, you know, waiters,
uh, whats that song about waiters,... uh...


	"Gotta Serve Somebody"


<PPPPPFFFFFFFFFTTTTTTTTTTTTTTT!!!!!!!!!!!!!!!!!!!>  ;-)

ahhhhh, I just couldn't resist!!!
  Josh

    
    Josh-
    
    "What Was It You Wanted" is on "OH Mercy!"
    I think the entire CD is good. Mellow and well done.
    
    Steve-O
    

    I caught most of the show twice, on ch. 11 and 2.  I didn't bother
    taping it, twice was plenty for me.
    
    But I only saw the Sinead O'Conner incident once, I couldn't bear to
    watch it again.  It's truly unbelievable that it could have happened at
    a Dylan tribute.  Or was the crowd mostly "Slwo Train Coming" fans?
    
    I agree, the pledge breaks were overdone.  I especially love how they
    crow about showing stuff like this, but the only time it's on is during
    beg month.
    
    Jamie

    Did Eddie Vedder (of Pearl Jam) sing a Dylan tune too?

re:         <<< Note 143.135 by BINKLY::DEMARSE "Just say NO to humus!" >>>
                  -< I thought he did but can't remember... >-

>    Did Eddie Vedder (of Pearl Jam) sing a Dylan tune too?


	Yes, he did "Masters or War".  First time I've heard that, 
	and it sure is a *powerful* song!

	It's on again this week on PBS channel 44 (MASS). I fell asleep
	and missed Neil Young, Clapton, Willie, but woke up for the
	100-people-on-stage jam.  

	What did Sinead do ?

	Ken

    Oh, I want to tape that!  Eddie's cool.....Which day is it going to be
    opn again?
    
    :), danielle

re:         <<< Note 143.137 by BINKLY::DEMARSE "Just say NO to humus!" >>>

>    Oh, I want to tape that!  Eddie's cool.....Which day is it going to be
>    opn again?
>    

	Buy a TV Guide, dammit (tm)! ;-)    I don't remember what day.
	Sometime this week at 7 or 8 p.m., channel 44.

	Ken

    it will be on two nights (4 parts) 2 hours a night, but I forgot the
    night too....

    O'Connor was essentially booed off stage by the "our kind of mellow or
    else" crowd. It was a few weeks after her appearance on SNL. It was
    hard to tell what was going on at the time as WBCN (or whoever
    simulcast with the PPV) was into ads or dj drivel at the time.
    
    Have 'GBH cleaned up their sound act? What they usually do to the sound
    deserves the name GBH (grievous bodily harm, a UK/Oz police term).
    
    There was no macrovision on the PPV satellite feed, which is what the
    caco picks up. Any extra distortion must be local added value from the
    caco.
    
    gary

> Have 'GBH cleaned up their sound act? What they usually do to the sound
> deserves the name GBH (grievous bodily harm, a UK/Oz police term).

The WGBH truck mixed the sound for the re-broadcast of the '92/'93 New Years
Phish show.  They could've done a much better job, imo.

- jeff

Well, there was more stereo in the WGBH broadcast than in the PPV, or at least
in the PPV that my mom taped down in Little Neck, N.Y.  My mom's cable box
is just about the last one at the very far end of the cable system she's on,
and she's always having a lot of trouble with signal.

I was monitoring the stereo with a oscilliscope (actually, a Kenwood K6060
"audio monitorscope" from about 1970, cute little thing.. 3" CRT).

Of course, no amount of stereo-ness, or clean mixing, etc., can help Dylan's
singing voice. ;-)  

Josh

    
    The 'Masters of War' cover was brillant.  I don't know about those guys
    from Pearl Jam - in my little world, I"d never heard of them.  It was
    a show stopper.
    
    the Sinaid thing was very strange.  Frick and Frack on Ch. 11 were
    talking about that segment coming up and Frack said, "what about the
    photo, man?" and Frick said, (rilly rilly quickly) "gone, it's
    history".  and sure enough when her bit came, it wasn't there.
    
    miracles of modern technology and censorship
    
    c

    ->> The 'Masters of War' cover was brillant.  I don't know about those guys
    ->> from Pearl Jam - in my little world, I"d never heard of them.  It was
    ->> a show stopper.
    
    Eddie Vedder (singer of Pearl Jam) is an awesome singer and
    songwriter...the whole band is excellent.....
    
    :), danielle

    
    
    >>Eddie Vedder (singer of Pearl Jam) is an awesome singer and
    >>songwriter...the whole band is excellent.....
    
    
    Of course that is just a matter of opinion. ;^)
    
    			              jeff_whose_opinion_tends_to_differ

    
    >>songwriter...the whole band is excellent.....
    
    >Of course that is just a matter of opinion. ;^)
    
    Eddie Vedder also looks pretty good :-).  His stage style reminded me of
    early Garfunkel.  I think I'll look for their CD.
    
    carol

    the show will be on Ch. 44 Thursday and Friday starting at 8 ending at
    10 both nights....thats 4 hours ! was the show that long or will the
    CH44 staff be begging for 2 of the 4 hours ?
    
    yikes ! 
    
    Chris

    As far as I can tell the satellite feed for the PBS coverage was two 90
    minute segments, so you'll get a good hour of grovelling segments.
    
    re sound
    
    WGBH still have their fake stereo synth in the sound chain. It kicks in
    whenever it detects that L and R are identical. Try listening to the
    grovel breaks through headphones and will sometimes notice the voice
    moving between L and R as the pitch changes. I watched the first few
    songs last night and the program material had enough stereo to prevent
    the synth from kicking in. If oyu have a surround sound system, the
    fake stereo makes the voices move all over the soundfield.
    
    gary

    
    RE: Eddie Vedder and Pearl Jam
    
    Pearl Jam are fantastic musicians, and Eddie Vedder's voice is amazing.
    One of the BEST new bands to come on the music scene in ten years.
    
    Their debut album "Ten" is one of the top 3 albums of '92.
    
    
    Chris

    ->> >>Eddie Vedder (singer of Pearl Jam) is an awesome singer and
    ->> >>songwriter...the whole band is excellent.....
    ->>
    ->>	Of course that is just a matter of opinion. ;^)
    
    Jeff, you know that this is just an opinion...I'm not speaking for the
    whole world.
    
    ->> jeff_whose_opinion_tends_to_differ
    
    Jeff, we all have different opinions on everything...From knowing you 
    personally, I know what your opinion is on music:  you think that there
    is only one good band out there and that every other one sucks. Try to not
    be so close-minded on music, it's universal...there are so many styles 
    and types out there to check out...    
    
    ->>  Eddie Vedder also looks pretty good :-).  His stage style reminded
    ->>  me of early Garfunkel.  I think I'll look for their CD.
    ->>
    ->>  carol
    
    yes, he's hot!  (NOTICE: THIS IS MY OPINION ONLY) 
    

    I'd have thought somehow that it was Carol's opinion too.
    
    :-)

    >> I'd have thought somehow that it was Carol's opinion too.
    
    Oooops...I guess that came out sounding wrong.  What I meant to say is
    that my statement be taken only as an opinion and not as a fact, and 
    I agree with Carol...:)  Ok....this is a Dylan topic, so I'll quit it 
    now....
                                      
    
    :), danielle

    When I was driving home yesterday, a Pearl Jam toon was playing on WBRU
    in Prov.  That guy does have a good voice.  The song drag my mind out
    of the 40 minute unconscience commute I do daily.
    
    I think I'll pick up the latest or first cd with my Christmas
    Strawberries gift certificate.
    
    dave

    
       re: WBRU  95.5
    
          that station is the best!!! been listining for to it for
       many moons. they play all the good (in MY opinion, of course ;^)
       songs way before anybody else. 
                                                       ^dave
    

    re .149
    
    heynow Esco!!!!!  what are you doing in here?  :^)  howdy, doood...
    
    					da ve

    yeah fur a sec I thought I was in HEAVY_METAL :') heehehehehee

    
    I happen to be everywhere these days. ;')
    
    

    there's a lot to be said for a guy who's omnipresent! :^)

I've missed your slackful rants in NOTES_FOR_PARADISE, ::ESCOBAR!

- DC

    
    Re: -DC
    
    hey, ::CLARK... connection is slow nowadays, though I try to rant and
    rave every other day or so. ;')
    
    

I want to suscribe and and read rec.music.dylan.

Someone (non-DEC) told me of something called Pnews (post news) to post and rn 
(read news) to read.

used as :

Pnews rec.music.dylan

anyone know anything about this?

Josh

re <<< Note 143.161 by CORA::65447::BELKIN "the slow one now will later be fast" >>>

> Pnews rec.music.dylan

I've heard of VNEWS, but not PNEWS.  It sounds like what you
described though.  I used it once or twice a few years ago, but 
that's about it.  I'm sure someone here knows more about it.
There's even a note for it I believe.  

Ken

You can read and post from VNEWS (character-cell), DXRN (DECwindows),
or MXRN (Motif).

Check out CLO::VNEWS or UFP::XRN

- DC

>Check out CLO::VNEWS or UFP::XRN

or sho key/f usenet right here in good ole Grateful

    
       i heard jacob dylan's band, the wallflowers, the other nite. he 
     
    sounded a little like his father but definitely has his own style. 
    
    i think i need to hear more of them.
    
                                                            ^dave

The next 3 notes are postings I've extracted from rec.music.dylan.
They are all kinda long - a few hundred lines each.  What else would you
expect from rec.music.dylan, when they're posting about a man who writes songs
of 12 stanzas of 12 lines each? :-) :-) :-)

Non-Dylanophiles can hit 'next unseen' here... 

Speaking of a song thats 12 stanzas of 12 lines each...The next note-reply is 
about the song Desolation Row.   Someone had wanted the lyrics, so someone 
else posted them - with the Dylan-lyric-analysis-to-end-all-Dylan-lyric-
analysises!!!

Since The Other Bob, Bob Weir, has been known to sing this song in concert - 
and even get all the words right - I figured it was worth posting this.

The note-reply after the Desolation note is a _very_ interesting bit of 
sleuthing on the 1966 tour tapes - the famous "Royal Albert Hall" bootlegs.  
I though _I_ was a Dylan fanatic till I read stuff like this!  ;-)
I'd sure like to know what this "Krogsgaard" guy and his listings are, and 
how I get 'em.  I think where will be a rec.music.dylan FAQ (Frequently Asked
Questions" soon.

The 3rd posting I'm entering is a track listing of a bootleg CD of the 
famous 1965 Newport Folk Festival concert where Dylan came out electric and
blew Peter Yarrow (of Peter Paul and Mary) and everyone else's mind.
(I happen to have this CD.)  The interesting stuff is the comments between 
songs.

 Josh

Article: 1983
Newsgroups: rec.music.dylan
From: news@newcastle.ac.uk (NEWS system)
Subject: "Desolation Row"
Organization: University of Newcastle upon Tyne, UK, NE1 7RU
Date: Fri, 7 May 1993 20:44:39 GMT
 
In response to the desire for some discussion of lyrics on rec.music.dylan
I would like to offer my own comments (with help from a friend) on 
"Desolation Row" in the hope that it will inspire some conversation.
 
The full lyrics of "Desolation Row" are provided below for your convenience.
 
"DESOLATION ROW"
 
They're selling postcards of the hanging
They're painting the passports brown
The beauty parlour is filled with sailors
The circus is in town
Here comes the blind commissioner
They've got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they're restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row
 
Cinderella, she seems so easy
"It takes one to know one," she smiles
And puts her hands into her back pockets
Bette Davis style
And in comes Romeo, he's moaning
"You Belong to Me I Believe"
And someone says, "You're in the wrong place, my friend 
You better leave"
And the only sound that's left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row
 
Now the moon is almost hidden
The stars are beginning to hide
The fortunetelling lady
Has even taken all her things inside
All except for Cain and Abel
And the hunchback of Notre Dame
Everybody is making love
Or else expecting rain
And the Good Samaritan, he's dressing
He's getting ready for the show
He's going to the carnival tonight
On Desolation Row
 
Now Ophelia, she's 'neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid
To her, death is quite romantic
She wears an iron vest
Her profession's her religion
Her sin is her lifelessness
And although her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row
 
Einstein, disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend, a jealous monk
He looked so immaculately frightful
As he bummed a cigarette
Then he went off sniffing drainpipes
And reciting the alphabet
Now you would not think to look at him
But he was famous long ago
For playing the electric violin
On Desolation Row
 
Dr Filth, he keeps his world
Inside of a leather cup
But all his sexless patients
They're trying to blow it up
Now his nurse, some local loser
She's in charge of the cyanide hole
And she also keeps the cards that read
"Have Mercy on His Soul"
They all play on the penny whistles
You can hear them blow
If you lean your head out far enough
From Desolation Row
 
Across the street they've nailed the curtains
They're getting ready for the feast
The Phantom of the Opera
A perfect image of a priest
They're spoonfeeding Casanova
To get to feel more assured
Then they'll kill him with self confidence
After poisoning him with words
And the Phantom's shouting to skinny girls
"Get Outa Here If You Don't Know
Casanova is just being punished for going
To Desolation Row"
 
Now at midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row
 
Praise be to Nero's Neptune
The Titanic sails at dawn
And everybody's shouting
"Which Side Are You On?"
And Ezra Pound and T.S. Eliot
Fighting in the captain's tower
While calypso singer laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And Nobody has to think too much
About Desolation Row
 
Yes, I received your letter yesterday
(About the time the door knob broke)
When you asked how I was doing
Was that some kind of joke?
All these people that you mention
Yes, I know them they're quite lame
I had to rearrange their faces
And give them all another name
Right now I can't read too good
Don't send me no more letters no
Not unless you mail them
From Desolation Row
 
--------------------
 
I believe "Desolation Row" is a metaphorical street down which we travel
with the singer to reach *real* understanding of people, usually others,
not ourselves. The first line is very revealing since in a sense the song 
is itself a postcard of a hanging, a seaside postcard full of colourful 
characters who are all heading for disaster. The restless riot squad, a 
man whose fate is tied to a tight-rope walker and the launch of the Titanic 
all come together to create this sense of impending doom. "The circus is in
town": it's a freak show which parades by before our eyes as we stand and 
watch in fascination.
 
The singer is saying that in everyday life we all put on disguises to try
and hide our real selves. Try as we may to change our identities by painting 
our passports a different colour, we are still the same underneath.
 
When the singer says "Cinderella, she seems so easy", we immediately place 
our own prejudices on her, formed from our own raised view of ourselves. 
Cinderella then turns this completely around and smiles "it takes one to 
know one". In other words, we are trying to deceive ourselves as to what 
we are really like. This is particularly effective in the version sung at 
the Royal Albert Hall 27th May 1966 ("Manchester Prayer") when Dylan leaves 
a long pause between this line and the next allowing us to form expectations
of what he might sing next, making Cinderella's comment all the more biting.
 
 
The interesting thing is that although Cinderella has the insight to be able
to see through us, she is completely ignorant about herself. When we leave 
her, she is simply sweeping up. She has not discovered what *we* know about
her that she can go to the metaphorical ball of self realisation (did I just
write that?) to find her true potential.
 
"Now the moon is almost hidden..." is describing the sun coming up shedding 
light on what was once hidden in the darkness of the night. This causes the 
fortune teller to take all her things inside for fear of being found out in 
the cold light of the coming day for what she really is - a fake with no 
powers at all. The only people not hiding from this are those who are "real",
who make no effort to pretend to be what they are not. This very small group 
consists only of Cain and Abel and the hunchback of Notre Dame. The hunchback
being someone who was unable to disguise himself due to the extent of his
 disfigurement and having to face the world as is.
 
The Good Samaritan is exposed for the fraud that he is. He's dressing for
 the show when he, according to the script(ure), is supposed to help a 
stranger. He is forever known as the Good Samaritan as we interpret his 
actions in the best light (or darkness...) whereas in fact it is all an act 
put together night after night for our benefit. He sees it as a carnival 
where he is called upon to perform for our praise and applause. He may not 
really be of high morals but he can lead us to think he is and as far as he 
is concerned there is no difference.
 
Ophelia, "she's 'neath the window" looking out into Desolation Row and is as 
fascinated as us by the hanging(s), but doing nothing to try and stop it. 
This is a woman whose life has no purpose. She is young at twenty-two and 
yet acts as if she is an old maid. She looks forward to death, indeed she 
sees it as "quite romantic" - an interesting juxtaposition of two total 
opposites, death and romance. And yet this is not because she is one who 
believes that death is only the beginning but because it is the end, 
inferring that to her life is quite funereal. She does not set about to 
enjoy and celebrate life but to drudge solemnly through it, the only comfort 
being the knowledge that one day it will end.
 
(Does anyone know where the character Ophelia comes from?)
 
Einstein's name is now synonymous with genius. He is disguised as Robin Hood 
but there is no use in trying to analyse why - it's probably irrelevant 
since we know instantly that it is not really him. Therefore, the disguise 
is totally meaningless - an interesting and important point applicable to 
all of the characters.
 
If Einstein's memories are taken from him and put in a trunk he becomes a 
nothing, his life has no meaning. No wonder the singer describes such an 
Einstein as "immaculately frightful / As he bummed a cigarette / Then he 
went of sniffing drainpipes / And reciting the alphabet". We expect the 
singer to say that Einstein was famous long ago for his theory of relativity 
or other such ideas. But we are told that in fact it was for "playing the 
electric violin / On Desolation Row". This is something we never knew about 
the true Einstein. Perhaps the singer is trying to say that however famous 
Einstein may have been for his genius, his true talent lay in playing the 
electric violin. Something he tried to hide, despite probably enjoying it 
more, because it is not an instrument which is looked up to.
 
We are told that Einstein has befriended a monk, and a jealous one at that. 
This is another juxtaposition of two contradictory ideas. A monk is supposed 
to rid himself of all earthly possessions and yet this monk is jealous of 
other peoples' things. This character reminds me a little of the monk in 
Chaucer's "Cantebury Tales"...
 
Now, Dr Filth (does anyone know where he's from?) is someone in whom many 
patients have confided, allowing him to figure out for himself who they really 
are. This he keeps "inside of a leather cup" - in the Royal Albert Hall 
(1966) version this becomes "*locked* inside of his leather cup". It is 
clear therefore that he is keeping this information for his own pleasure 
and not to help his patients in any way. It is understandable why "they're 
trying to blow it up". It's not just to release them from his grasp but to 
destroy them forever so even they themselves cannot know the truth. Of what 
are they are so afraid? A verse from "It's Alright, Ma (I'm Only Bleeding)" 
comes to mind here...
 
               You lose yourself, you reappear
               You suddenly find you got nothing to fear
               Alone you stand with nobody near
               When a rambling distant voice, unclear
               Startles your sleeping ears to hear
               That somebody thinks
               They really found you.
 
It is, as described here, one of the greatest fears that someone will really 
find out everything about you. You will have nothing to hide and nothing to 
hide behind. Only when you lose yourself you "find you got nothing to fear". 
In "Desolation Row" people lose themselves behind the fog of a disguise 
("they're painting the passports brown"), they become what they are not. 
But the singer is saying that the price is too high, how can it be worth it 
if you forget who you are. The song is full of missed opportunities: 
Einstein without his memories, Ophelia who's "sin is her lifelessness" and 
Cinderella missing the ball.
 
A nurse is someone whose job it is to help save lives and yet she's in 
charge not of a hospital but a "cyanide hole", a place of death. Her purpose 
is to place "the cards that read / 'Have Mercy on His Soul' " on the bodies 
of those who are dead. Dylan sings the words written on the card in such a 
way as to mock their originally intended meaning. The nurse does not care 
in the slightest about their souls. Tragically, she has not tapped her 
talents as a nurse for saving lives, not making even a half-hearted attempt 
at aiding anyone.
 
The penny whistle is a metaphor for their disguises - a bad tune on a bad 
instrument. How can they hope to make anything of themselves if they reduce 
themselves by wearing disguises. This is another interpretation of Einstein's 
electric violin - someone who's true potential has been taken away and what 
is left is only fit to play on the electric violin.
 
The purpose of nailing the curtains across the street is two-fold. First to 
keep those outside, like the skinny girls, from seeing what is happening to 
Casanova. But also to keep Casanova from seeing outside that they are also 
being spoonfed. He is being spoonfed both by pure evil and pure good "to 
get him to feel more assured". Neither are innocents in this game. Casanova's
 image of oozing confidence is blown here, it is not the truth and it is 
poisoning him.
 
The skinny girls are girls who fight to stay slim and beautiful to look 
attractive since they have been convinced that this is good. However, they 
too have been spoonfed this idea - the truth is somewhat different. They 
are not described as slim but as "skinny", implying undernourishment. It 
is not good for them so they too have been poisoned by the Phantom's words.
 
The agents who, together with the superhuman crew, round up everyone are 
perhaps henchmen for both the Phantom of the Opera and the perfect priest. 
The rounding up is done at midnight under cloak of darkness so they cannot 
be seen for what they are. The factory in which people go to work is not 
designed to produce anything worthy. Their job is to work machines designed 
to give them heart-attacks. This is no life to live and yet the workers 
deceive themselves into thinking that this sort of life is worth something.
 
It is revealed here that insurance men are participating in insurance fraud, 
bringing the kerosene no doubt to start a fire and then claim for it, the 
investigation for which will be carried out by the perpetrators themselves. 
It is this sort of corrupt person who is in charge of checking "to see that 
nobody is escaping / To Desolation Row". How can hiding behind masks be good 
for us when it obviously serves people like this to prevent us from going to 
Desolation Row to find our true selves?
 
The final verse is interesting. The broken door knob suggests the singer 
may have been trying to escape without success and is now trapped in
 Desolation Row. "All these people that you mention" are all the characters 
described in the other verses. Like us, he knows them already but he finds 
their descriptions here to be radically different from the people he knew. 
He "had to rearrange their faces / And give them all another name" because 
they had kept their true selves so well hidden that when we finally get to 
see them they are like completely different people.
 
The title "Desolation Row" I think is making the point that putting on a 
disguise leads to the starvation of our true selves so that when someone 
finally sees through us there is nothing to see.
 
--------------------
 
I hope this has been of interest.
 
Ben Taylor.

Article: 1985
Newsgroups: rec.music.dylan
From: news@newcastle.ac.uk (NEWS system)
Subject: re: "Desolation Row" and "The Wasteland"
Organization: University of Newcastle upon Tyne, UK, NE1 7RU
Date: Sat, 8 May 1993 12:31:38 GMT
 
I have received a couple of messages about Desolation Row, one of them from
Madan Kumar who draws an interesting comparison with T.S. Eliot's "The
Wasteland". I agree entirely. The penultimate verse supports this...
 
                   "And Ezra Pound and T.S. Eliot
                    Fighting in the captain's tower"
 
The most obvious comparision is in the titles: desolate and wasteland. But
Dylan also uses in the song the situation surrounding the writing and 
editing of T.S. Eliot's work. From what I can remember, Eliot had originally
written something aproaching twice as much as was finally released to the
public. He called upon Ezra Pound to edit it down to the version we now see
today. The "fighting in the captain's" tower I think is referring to this
conflict between the two over which way the work should be leading. The
implication is Dylan is saying it doesn't matter, whichever direction you
go it is still a wasteland - there's nothing in *any* direction. It's
another example of futility further heightened by the fact that they are
sailing on the Titanic. In other words, the *only* way it can lead is to
death, be it literal or otherwise. "Which side are you on" doesn't count
for anything when the result is the same whichever side you choose.
 
Ben.

Article: 1994
Newsgroups: rec.music.dylan
From: Ethan Jones <ethan@u.washington.edu>
Subject: Re: Desolation Row and Highway 61
Sender: mmdf@uvaarpa.Virginia.EDU (Mail System)
Organization: The Internet
Date: Sun, 9 May 1993 15:18:38 GMT
 
 
Hello
 
It's possible that I'm confusing this with someone else, but didn't
Einstein play the violin for real?  I think I remember hearing that he was
really awful at it.  Anyway, if that's true, as I think it is, that could
mean that the people inhabiting "Desolation Row" only remember him for for
his violin playing, even though he accomplished so much else, beyond that
scope - a rather tragic fate.   Of course, Dylan says he was famous long ago
for playing _electric_ violin, so who knows what he was thinking?  Maybe
electric just fit his rhythmic sense of the song.  
 
Also, to the people who watched "Highway 61" the other night... Can you
inform us a little more about what they played from 1958?  I though the
earliest Dylan recording was from 1960, so this must be quite a find,
being two years before even that.  Was it an interview, a song, what kind
of song, etc. How was it?  
 
Thanks
 
 
Ethan 
 

Article: 1997
From: TDM@ECL.PSU.EDU (Truman D Mast)
Newsgroups: rec.music.dylan
Subject: Re: Desolation Row and Highway 61
Date: 9 May 1993 23:13:53 GMT
Organization: Penn State Engineering Computer Lab
 
In <1993May9.151838.23753@uvaarpa.Virginia.EDU> Ethan writes:
 
> 
> Hello
> 
> It's possible that I'm confusing this with someone else, but didn't
> Einstein play the violin for real?  I think I remember hearing that he was
> really awful at it.  Anyway, if that's true, as I think it is, that could
> mean that the people inhabiting "Desolation Row" only remember him for for
> his violin playing, even though he accomplished so much else, beyond that
> scope - a rather tragic fate.   Of course, Dylan says he was famous long ago
> for playing _electric_ violin, so who knows what he was thinking?  Maybe
> electric just fit his rhythmic sense of the song.  
 
Yes, Einstein played the violin. I was told by a physics prof of mine (who was
quite into history) that Einstein would play the violin when he was stumped on
some theoretical problem.  I also recall reading that Einstein asked Queen 
Elizabeth (I think), or some other royal person, to play some violin duets
with him.  
 
As for the electric aspect, I don't think electric violins as we know them now
existed in the mid-60's, so that present opinions of the electric violin's
worth are probably not relevant.  Maybe Dylan was just trying to make a
connection with the concept of electric guitar vs. acoustic guitar, saying that
Einstein was ahead of his time. . .
 
Doug. 

Article: 1982
Newsgroups: rec.music.dylan
From: akp1@kimbark.uchicago.edu (Adam K. Powers)
Subject: Guide to 1966 soundboard tracks (FAQ fragment, in progress)
Sender: news@uchinews.uchicago.edu (News System)
Organization: University of Chicago
Date: Fri, 7 May 1993 18:29:02 GMT
 
"Jonathan D. Lyness" <jl6e+@andrew.cmu.edu> writes:
>Can anyone help me greatly by posting complete track listings for the
>"classic" 5/17/66, 5/26/66 and 5/27/66 concerts?
>
>I'm thinking about buying a bootleg tape that I've seen of the 5/27/66
>concert (I'm always hearing about how great it is!), but from
>discussions on this newsgroup I get the idea that it's hard to find the
>complete set recordings for this date (specifically, that many bootlegs
>claiming to be 5/27/66 are actually made up of songs from the above
>three concerts).
>
>I'd be interested in knowing whether or not the tape that I've seen
>available is indeed the full concert. Thus, I'm not really interested in
>hearing about specific bootlegs of those three concerts, but would like
>to know the full setlists of each (with the songs in order, if possible).
>Can anyone help? Thanks!
 
Hold on to your seat - this will only get more confusing...
 
There are two tapes from the April-May 1966 world tour that are presumed 
to be complete - Bristol, May 10th [146]; and Edinburgh, May 20th [152].
Both these tapes have the same setlist:
	(Acoustic set)
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
	(Electric set)
Tell Me, Momma [8]
I Don't Believe You [9]
Baby, Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
Ballad of a Thin Man [14]
Like a Rolling Stone [15]
 
Both of these are audience tapes, not exactly good sound.
(gives you an idea of just how poorly amplified those '66 shows were)
 
Now, there are in addition to those muddy-sounding audience tapes, there are
a number of very incomplete but very good soundboard tapes in circulation.
For lack of other evidence, it is *assumed* that the setlist remained
constant for these show in question.  As of this date, there does not
appear to be a complete soundboard tape of an entire April-May 1966 show in
existence, so Dylan-philes have been matching these fragmentary tapes to
the presumed setlist and the following list of concert dates (the North 
American tour of February-March 1966 is omitted)
 
April	9	Honolulu International Ctr. Arena
	13	Sydney Stadium
	15	Brisbane, Festival Hall
	16	Sydney Stadium
	19-20	Melbourne, Festival Hall
	22	Adelaide, Palais Royal
	23	Perth, Capitol Theatre
	29	Stockholm, Konsert-huset
 
May	1	Copenhagen, K-B Hallen
	5	Dublin, Adelphi Theatre
	6	Belfast, ABC Theatre
	10	Bristol, Colston Hall
	11	Cardiff, Capitol Theatre
	12	Birmingham, Odeon
	14	Liverpool, Odeon
	15	Leicester, DeMontfort Hall
	16	Sheffield, Gaumont Hall
	17	Manchester, Free Trade Hall
	20	Edinburgh, ABC Theatre
	21 	Newcastle, Odeon
	24	Paris, Olympia
	26-27	London, Royal Albert Hall
 
 
With that in mind, it would appear that the following soundboard tracks are 
currently in circulation:
 
I have taken some liberties with Krogsgaard's listings here - the numbers
in brackets by the individual tracks correspond to the template for the
setlist above, to give an idea of what portion of the show they came from.
I have also omitted all of the backstage-hotel scenes from Eat the Document
for brevity and since they're not really 'in concert' (although I did
include the Manchester soundcheck)
 
--
April 19th or 20th, Festival Hall, Melbourne, Australia [133]
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
Tell Me, Momma [8]
Baby Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
--
May 5th, Adelphi Theater, Dublin, Ireland [144]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
--
May 6th, ABC Theatre, Belfast, Ireland [145]
I Don't Believe You [9]  (Released on Biograph)
--
May 14th, Odeon, Liverpool, England [148]
Tell Me, Momma [8]
Just Like Tom Thumb's Blues [11]  (Released as B-side of "I Want You")
--
May 17th, Free Trade Hall, Manchester, England (soundcheck) [150]
Just Like Tom Thumb's Blues [1] (Released in Eat the Document)
One Too Many Mornings [2] (Released in Eat the Document)
Ballad of a Thin Man [3]
--
May 17th, Free Trade Hall, Manchester, England [151]
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]  (Released on Biograph)
Desolation Row [5]
Tell Me, Momma [8]
I Don't Believe You [9]
Baby Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
--
May 19th, Odeon, Glasgow, Scotland [151.2]
Tell Me, Momma [8]  (Released in Eat the Document)
--
May 20th, ABC Theatre, Edinburgh, Scotland [152]
One Too Many Mornings [13]
Like a Rolling Stone [15]
--
May 26th, Royal Albert Hall, London, England [154]
She Belongs To Me [1]
4th Time Around [2]
Visions of Johanna [3]  (Released on Biograph)
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
Ballad of a Thin Man [14]
--
May 27th, Royal Albert Hall, London, England [155]
She Belongs To Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
Ballad of a Thin Man [14]*
Like a Rolling Stone [15]*
--
The *'ed tracks from 5/27/66 are the ones that Craig and I have discussed
on this newsgroup - it seems likely that they are from Manchester instead.
If so, then the entire electric set from Manchester and the entire acoustic
set from the second London show are presumably complete - and, in fact, 
these two sets provide the basis for the 'Royal Albert Hall' bootleg as 
we've come to know it.
 
Many of the above tracks are incomplete (esp. those from Eat the Document)
There are also a number of unlocated tracks from that movie, all incomplete:
Mr. Tambourine Man
Baby, Let Me Follow You Down
Just Like Tom Thumb's Blues
Ballad of a Thin Man (2 versions)
Like a Rolling Stone
--
 
Whew!
						-Adam K. Powers
						akp1@midway.uchicago.edu

Article: 2001
From: RCJ@AUTOMATION.UNIVERSITY-LIBRARY.CAMBRIDGE.AC.UK
Newsgroups: rec.music.dylan
Subject: Do you have the full tape of the Newport Folk Festival, Freebody Park,  Newport, Rhode Island, New York, 25 July 1965. [106]?
Date: 10 May 1993 09:47:57 -0500
Organization: UTexas Mail-to-News Gateway
Sender: daemon@cs.utexas.edu
 
 
As always I am interested in anyone's thoughts on this rough
CD listing,  but especially  anyone  who  has  the  tape  to
compare to the CD may have thoughts.
 
Any decoding of further words welcomed.
 
Who is Peter?
 
============================================================
--
Live in Newport 1965 / Bob Dylan [1964-1965] {*}
The Live Dylan
Great Live Recordings
Document Records, DR 004 CD, 1988
S.D.R.M.
Matrix: PILZ CD DR004 B
Grafice: Albrecht u. Partner/ Milano
"Recorded live at the Newport Festival 1965"
Total Running Time: 73:14
 
1.  Maggie's Farm [6]
2.  Like a Rolling Stone [7]
3.   It Takes  a Lot  to Laugh,  It Takes  a  Train  to  Cry
[Phantom Engineer] [8]
4.  It's All Over Now, Baby Blue [9]
5.  Mr. Tambourine Man [10]
 
6.  Don't think Twice, It's Alright [1]
 
7.  Don't think Twice, It's Alright [13]
8.  The Lonesome Death of Hattie Carrol [14]
9.  Mama, You've Been on My Mind (with Joan Baez) [15]
10. Silver Dagger (Joan Baez sings) [16]
11. With God On Your Side (with Joan Baez) [17]
12. It ain't Me, Babe (with Joan Baez) [18]
13. All I Really Want to Do [19]
 
(1-5)   Newport Folk Festival, Freebody Park, Newport, Rhode
Island, New York, 25 July 1965. [106]
(6)  City Hall, Newcastle, 6 May 1965. [093]
(7-13)   Philharmonic Hall,  New York  City,  New  York,  31
October 1964  [Halloween] [075]  For the first twelve tracks
of this concert see DR 001 CD [T-112].
 
1-5 are  all indeed from Newport '65.  4 and 5 are acoustic.
Dylan's first  fully electrified  public performance, backed
by Al Kooper and the Paul Butterfield Band.
 
halvin@:acf4.nyu.edu (Mark Halvin):
"...Anyway, after the third electric song, he quits abruptly
and leaves,  right??  well,  on  my  tape,  there's  a  REAL
brouhaha going  on after  that, not quite as melodramatic as
the stuff  I'd read  made me  expect --  but some bitterness
ensued, let's  say that. The MC is trying to calm the crowd,
telling them  "Bobby thought  he had a limited time in which
to..." and  that yes,  he *is*  coming back  -- and  with an
ACOUSTIC guitar!! That's the clincher to me -- he's not only
coming back  (but for  more abuse,  NO!!  he's  bringing  an
ACOUSTIC guitar -- SWOON) but is *going* back. that seems to
be the  tacit promise  of the  announcer, methinks.  But  he
foils 'em -- he picks "IT'S ALL OVER NOW, baby blue"!"
 
The following  is found  on the  tape but largely omitted on
the CD:
 
"MC: ...person  that's coming  up now -- is a person who has
in a  sense changed  the face  of folk  music to the, to the
large, American  public. Because he has brought it, to it, a
point of  view of  a poet.  Ladies and gentleman, the person
that's going to come up now -- has a limited amount of time.
His name is BOB DYLAN.
[Much muffled equipment adjustments and band discussions]
 
Maggie's Farm [6]
Like a Rolling Stone [7]
It Takes  a Lot  to Laugh,  It Takes a Train to Cry [Phantom
Engineer] [8]
 
Bob Dylan: Let's go man, that's all...
Unknown: That's it??
[Sounds: unplugging  of instruments,  sounds of dismay/anger
at the  short set  and/or  the  music  itself.  some  booing
audible.]
MC: Bobby  was ...  yes, he  WILL do another tune, I'm sure.
...if you call him back. Would you like Bobby to sing another
song? ..I  don't know  whether you...  [MUCH crowd response]
Yea, listen,  it's it's  the fault of the ... he was told he
could  only  do  a  certain  period  of  time.  [MUCH  crowd
response] Bob.. Bobby, can you do another song, please? He's
gonna get  his axe.  [discussions in  background -- unclear]
....he's coming. He's gotta get -- he's gotta get an ACOUSTIC
guitar.
Crowd: WE WANT DYLAN! WE WANT DYLAN!! WE WANT DYLAN...
MC: Bobby's coming out now. Yes, I understand, that's -- the
case; we  want Bobby,  and we DO! The time problem has meant
that, that he could only do these two songs.
ANGRY crowd member: Tell him to get a FUCKING...
MC: He'll  be out  as SOON  as he  gets his acoustic guitar.
okay.
Crowd: WE WANT DYLAN! WE WANT DYLAN!! WE WANT DYLAN...
[?possible edit?]
[Sounds: discussions, fumbling around]
Bob Dylan: Hey, Peter; got another guitar, man?
[Sounds: Bob Dylan tuning up, crowd yelling things]
Bob Dylan:  You got  another  one?  Please  man,  get  me  a
guitar... please get me the guitar, man
Crowd: Yelling amongst themselves, now...
[Sounds: discussions, fumbling around]
 
It's All Over Now, Baby Blue [9]
 
[Bob  Dylan  seems  to  be  looking  EVERYWHERE  for  his  E
harmonica. You  can hear him saying, "Look in my case, man",
"Look over there..", etc.]
Bob Dylan:  Alright I'll do this one... does anybody have an
E harmonica?  An E  harmonica, anybody!  Just throw them all
up! [Somebody brings him one.] Thank you very much, man. ...
thank you very much.
 
Mr. Tambourine Man [10]
 
(It is probably 6 or 7 minutes between the end of It Takes a
Lot to Laugh to the start of It's All Over Now, Baby Blue...
The words  between It's  All Over  Now, Baby  Blue  and  Mr.
Tambourine Man are on the CD as well as the tape...)"
 
The order on the insert is incorrect.
 
The Halloween  concert is  simply  one  of  the  best  Dylan
concerts  recorded.   On  Silver   Dagger  [4]  Dylan  plays
harmonica.
 
TOWNSEND NUMBER: 113
PERFORMANCE: 9
SOUND: 8
RECOMMENDATION: essential! cf T-168, T-169
 
 
 
============================================================
 
                                              Craig Jamieson
                                     University of Cambridge

    Interesting analysis of Desolation Row. Not sure I agree with
    most of it, but I won't take up space here with that. I think
    Dylan was just being his usual cynical self and smoked a big
    bone and wrote that song. For me the acoustic lead really makes
    the song.
    
    - Dave "the other DEChead who can sing all the lyrics to
      Desolation Row without a cheat sheet"

    yeah, how can you make a succinct analysis of Desolation Row without
    knowing that Ophelia was Hamlet's sweetie whom was told to 
    "Get thee to a nunnery!"  And then winds up drowned.
    
    PeterT
      

> Ophelia

Hey, wasn't that a Paul Simon song?

"O-feeeel-ya, you're breaking my heart,
 You're shaking my confidence daily..."

Oh wait, that's Cecilia...

Sorry.

:-)

Dave 

    and what's that crap about pennywhistles???  "a bad tune on a bad
    instrument?!?!?!?!?!"   some nerve....   :^) :^) :^)
    
    				da ve_pennywhistle_owner_and_player

	Not to mention the "jealous monk" is obviously 
	Friar Tuck!

  

This is the Dylan FAQ (Frequently Asked Questions) from the .rec.music.dylan
newsgroup!
   Josh
-------------------------------------------------------------------------

Article: 2982
Newsgroups: rec.music.dylan
From: akp1@quads.uchicago.edu (Adam K. Powers)
Subject: Guide to Frequently Asked Questions (1 of 2)
Sender: news@uchinews.uchicago.edu (News System)
Organization: University of Chicago
Date: Thu, 22 Jul 1993 13:23:39 GMT
 
************************************************************************
	Frequently Asked Questions (FAQ), part 1 of 2
		for newsgroup rec.music.dylan
 
	Created by Adam K. Powers (akp1@midway.uchicago.edu)
	with help from:	Steve Michel (michel@netcom.com)
			John Howells (howells@pioneer.arc.nasa.gov)
		the Highway 61 Digest
		and other rec.music.dylan readers
 
  Please email corrections and suggestions to akp1@midway.uchicago.edu
	Last update: 22 July 1993
************************************************************************
CONTENTS:
 
Part 1 (this article):
	1. Introduction to rec.music.dylan and to this FAQ guide.
	2. Where can I find lyrics and/or tablature to Dylan songs?
	3. What is EDLIS?
	4. Which albums should I seek out if I don't have a lot of
		money to spend?
	5. What publications about Dylan's life and music are available?  
	   	Which biographies are worth reading?
	6. What if I want to talk about Dylan on-line at all hours?
 
Part 2:
	7. Is there a 'DylanBase' or some way that I can get lists
		of performances and songs from past years?
	8. When is Dylan performing in my area next?
	9. What are bootlegs, and how do I find them?
	10. Where can I get a copy of "Renaldo & Clara" or 
		"Eat the Document?"
	11. What's this 'Royal Albert Hall' tape that everyone speaks of?
	12. Glossary of terms and acronyms common to this newsgroup.
 
************************************************************************
 
1. Introduction to rec.music.dylan and to this FAQ guide.
 
Welcome!  This newsgroup is devoted to the discussion of Bob Dylan,
his music, and things Dylan-related.  We welcome your comments on nearly 
any issue, even if it's only tangentially associated with Bob Dylan.
About the only things we don't like to see posted are tirades against 
other readers of the newsgroup for their opinions...
 
Bob Dylan is a singer, a guitar player, a song writer and a
recording artist. Born Robert Allen Zimmerman in Hibbing
Minnesota in 1941, his earliest circulating recordings date from
1958! His earliest recordings on an unofficial bootleg LP date
from 1960, his first commercial release dates from 1962. He
continues to write, record and perform to this day.
 
There is no official Dylan fan club, so small packs of Dylan fans band
together to stay informed and carry on general discussion.  Sometimes
it seems that all we're interested in are upcoming tour dates and
clarification of fact regarding old recordings, but there is often
very interesting discussion of Dylan's lyrics themselves, a reason
that no doubt many of you read this newsgroup.  If you don't see the
sort of discussion you want, you're encouraged to bring it up yourself!
 
If you have no access to Usenet News but you do have Internet
access then you could join a FreeNet in order to make use of free
Usenet News access. For example:
 
telnet yfn.ysu.edu
 
follow the instructions for becoming a registered user and then
read rec.music.dylan whenever you please.
 
The majority of r.m.d readers access this group through a newsreader
(such as trn on Unix systems), but there is also a digestified format
that is sent to many others via email.  If you'd rather read in that
format (a long email sent to you once or twice daily), read this:
************************
 
** FOR YOUR REFERENCE ** (Highway 61 Digest)
 
The service addresses, to which questions about the list itself 
and requests to be added to or deleted from it should be directed, 
are as follows:
 
    Internet: Highway61-Request@fuggles.acc.Virginia.EDU
              Highway61-Request@uvaarpa.Virginia.EDU
 
    BITNET:   HW61-Req@Virginia
    UUCP:     ...!uunet!virginia!highway61-request
 
You can send mail to the entire list (and rec.music.dylan) via one 
of these addresses:
 
    Internet: Highway61@uvaarpa.Virginia.EDU
    BITNET:   HW61@Virginia
    UUCP:     ...!uunet!virginia!highway61
************************
 
If you lack Usenet news access and want to post, simply e-mail 
your posting to:
 
rec-music-dylan@cs.utexas.edu
   ^     ^
   N.B. - NOT . or _ / hyphens not full stops!
 
 
2. Where can I find lyrics and/or tablature to Dylan songs?
 
Numerous reference books and guides to Dylan's lyrics are
available; here are some recommendations:
 
Essential -
 
Dylan, Bob.
    Lyrics 1962-1985 / by Bob Dylan.
    New York : Knopf, 1985.
    524 p. : ill. ; 27 cm.
    Revised edition of: Writings and Drawings. 1973.
    0394542789 85-40408
    
    The official Dylan lyric book; helpful, but often differs
    from recorded lyrics and lacks .
 
Heylin, Clinton.
    Bob Dylan : stolen moments : the ultimate reference book /
    Clinton Heylin.
    Romford : Wanted Man, 1988.
    xxii, 407 p. : ill. ; 23 cm.
    0947730052 0947730060
    
    A biographical chronology of Bob Dylan.
 
Michel, Steve.
    The Bob Dylan concordance / Steve Michel.
    Rolling Tomes, 1993.
 
Wissolik, Richard David, 1938-
    Bob Dylan, American poet and singer : an annotated 
    bibliography and study guide of sources and background materials,
    1961-1991 : with a supplemental checklist of studies on the 1960s 
    and the folk revival / Richard David Wissolik, general editor ... 
    [et al.] ; introductory remarks by Will Stubbs and John Calderone,
    George Leiner ; illustrations by Scott McGrath and Vaughan Taylor.
    Greensburg, PA, USA : Eadmer Press, c1991.
    xxi, 97 p. : ill. ; 24 cm.
    (Scholars bibliography series ; 2)
    Limited edition of 400 copies.
    Includes index.
    0929914015 0929914015 0929914015 89-84227
    
    Good beginner's bibliography of Bob Dylan.
 
 
Likely -
 
Cable, Paul.
    Bob Dylan : his unreleased works / Paul Cable.
    [London] : Scorpion, 1978.
    192 p. ; 22 cm.
    Cover title: Bob Dylan : his unreleased recordings.
    0905906160
    [copies dated 1980 are simply an unrevised reprint.]
    
    Extremely dated though useful.
 
Dunn, Tim.
    I just write 'em as they come : an annotated guide to the
    writings of Bob Dylan.
    Painesville, Ohio : Not-A-Ces ; Rolling Tomes : Grand
    Junction, Colorado, 1990.
    
    The Dylan song encyclopaedia.
 
Dylan, Bob.
    Writings and drawings / by Bob Dylan.
    New York : Knopf, 1973.
    317 p. : ill. ; 27 cm.
    0394482433 0586040889 72-2339
 
Percival, Dave.
    Dylan songs a-listin' revisited / by Dave Percival.
    
 
Is it worthwhile locating all these books just to find lyrics?
Well, you do not need money. You need a public library or a
university library. If you have never recommended the purchase of
a book, journal, CD or LP to a library, then you aren't really
contributing, are you?  Be brave.  Most librarians do not bite. 
Some libraries even carry pirate recordings and bootlegs amongst 
their stock.
 
If you'd prefer an on-line reference, lyrics to a limited number 
of Bob Dylan songs by be found by anonymous FTP, from ftp.uwp.edu;
log in like this:
 
ftp ftp.uwp.edu
anonymous
myname@mysite.edu
cd pub/music/lyrics/d/dylan.bob
 
Guitar tablature to many of Dylan's songs is available by
anonymous FTP from the alt.guitar.tab archives at ftp.nevada.edu.
Some other information may also be available in the music
archives at ftp.uwp.edu.
 
ftp ftp.nevada.edu
anonymous
myname@mysite.edu
 
[If the term "ftp" is meaningless to you then ask a local
computer guru to show you what to do...]
 
 
3. What is EDLIS?
 
The Exchange  Dylan Lyrics - Internet Service is an Internet
wide conspiracy  to make  available  Dylan  lyrics  for  the
purposes of  research and/or private study. Lyrics available
are restricted  to a  reasonable proportion.  Any copying to
evade purchase is wrong.
 
If you  post a  request for specific lyrics (or for detailed
boot CD  information) on  rec.music.dylan you  might find an
EDLIS agent answers your needs magically in your e-mail box.
Payment is expected! The extortion consists of a demand that
you arrange to type in or scan an equivalent amount of Dylan
lyrics not  presently available  on the  Internet. The agent
will help you decide what is necessary.
 
The only reason you have received anything is because others
have contributed in the past.
 
 
4. Which albums should I seek out if I don't have a lot of
	money to spend?
 
There have been several 'best album' polls done on the music
newsgroups - the most comprehensive were the 'Usenet Artist Polls'
and are available by anonymous FTP from ftp.uwp.edu in /pub/music/uap
(many polls done on individual artists, not just Dylan).
 
The Dylan albums most frequently recommended by readers of r.m.d
are _Highway 61 Revisited_, _Blonde on Blonde_, _Blood on
the Tracks_, and _The Bootleg Series, Vols. 1-3_, although
you'll find staunch fans of nearly every album...
 
The Dylan you might like depends more on you than on the opinions
of others. You could describe in reasonable detail your musical,
political, religious and sexual tastes, post that on
rec.music.dylan, and ask for advice...
 
 
5. What publications about Dylan's life and music are available?  
   	Which biographies are worth reading?
 
There are several highly regarded periodicals devoted to Dylan's
career - the Telegraph (UK - Wanted Man, P.O. Box 22, Romford,
Essex RM1 2RF, 3 times a year) is the oldest and perhaps best
known, but there are several others that provide even more
detailed information on recent concerts, etc..., such as
Freewheelin' (UK), Homer the Slut (UK), Isis (UK - P.O. Box 132,
Coventry, West Midlands CV3 5BE, good on boots, bi-monthly), Look
Back (USA - quarterly), On The Tracks : the unauthorized Bob
Dylan magazine (USA - Grand Junction : Rolling Tomes, 1993-   ,
1068-8625, quarterly), Rolling Thunder (Italy), Series Of Dreams
(USA - monthly newsletter which supplements On The Tracks), Tight
Connection : Alternatives To College (UK - Cambridge), etc etc.
 
 
******************
Besides the aforementioned Positively Bob Dylan, here's an 
opinionated selection of books worth reading: (keep in mind that
the only 'authorized' biography was _Bob Dylan_ written by Anthony 
Scaduto in the early seventies, and most of the biographies tend to 
lack much detail from 1967 on...)
 
_Performing Artist, Vols. 1 & 2_ by Paul Williams. Probably the best 
general studies of Dylan that have yet appeared. Williams largely 
eschews lyric analysis and biography in favor of an admittedly nebulous 
look at Dylan the "performer:" singer, songwriter, movie maker, song 
and dance man. You might not agree with everything Williams says, but 
there's no better survey of his output.
 
_Behind the Shades_, by Clinton Heylin. The best of the biographies 
yet to appear.  You'll also see _No Direction Home_ by Robert Shelton 
and _Dylan_ by Bob Spitz. Sheltons' book is good in the early days, when 
he had a lot of personal contact with Bob, but is very skimpy when it 
comes to Dylan's life after the 1970s. Spitz' book is inaccurate, 
mean-spirited, sloppy, contradictory, and mostly ignores Dylan's work 
after the '60s (and those are its *good* qualities).
 
_Dylan_ by Jonathan Cott, and _A Man Called Alias_ by. 
Both are good picture books, with adequate looks at Dylan's opus.
 
_The Bible in the Lyrics of Bob Dylan_ by Bert Cartwright is a good 
look at Dylan's use of biblical references in his lyrics. Flawed but 
fascinating.
 
_Wanted Man - In Search of Bob Dylan_ edited by John Bauldie is a 
collection of interviews with other performers and personalities who 
have worked with Dylan over the years.  Many of these interviews have 
been quoted in part by the major biographers, and give an interesting, 
scattershot but effective portrait of Dylan as seen through the eyes of 
his collaborators.
******************
 
The number of books and articles about Bob Dylan's music continues to 
grow very rapidly.  The best source that I know of to learn more 
about publications is the catalog printed by the following company:
 
        Rolling Tomes
        P.O. Box 1943
        Grand Junction, CO  81520
        U.S.A.
 
        phone: 303 245-4315
        fax: 303 243-8025
 
It will cost you about US$5 a year to receive their catalog, but it's
worth it!  Rolling Tomes is the distribution agent for many of the
various Dylan magazines in the U.S.A.  They also sell collectors'
items such as posters, rare 45's, and other Dylan memorabilia.
 
The following distributors are also useful, especially for readers
who live in Europe:
 
Wanted Man
P.O. Box 22
Romford
Essex RM1 2RF
UK
 
My Back Pages
P.O. Box 117
Carlisle CA1 2UL
UK
 
Library catalogues will help you get an overview of published
monographs related to Dylan. A good first catalogue to check is
found in California, and access is easy if you already have full
Internet access.
 
telnet melvyl.ucop.edu
 
If this union catalogue proves inadequate investigate the "use"
command by typing in "help use" from within melvyl.
 
If the hundreds of free online public access catalogues available
on the Internet are not enough for you there are more
sophisticated sources such as CURL, OCLC, First Search, RLIN,
UTLAS, NACSIS and the like... But you will need a password and
someone must pay the bill!
 
6. What if I want to talk about Dylan on-line at all hours?
 
If no one in the same room as you wants to chat about Dylan 24
hours a day, seven days a week, 365 days a year you might think
you have an insatiable desire. But there is relief! IRC! Internet
Relay Chat. On Internet Relay Chat there is always an
international live real-time Dylan conference - usually in
English - waiting for you to join it. At your Unix prompt type:
irc
 
and once the programme is up and running type:
 
/join #Dylan
 
and what you type after that will be seen by all the others on
that channel. If all is quiet simply wait until the lull ends or
learn how to invite others in (/invite), change the topic
(/topic) and so on.
 
As with all esoteric computer matters, if the command irc is not
available on your computer simply ask a local computer guru how
to ftp and compile what you need. Or how to logon by telnet to a
limmited version of irc. So long as you have full Internet access
something should be possible.
 
(end part 1)

Article: 2983
Newsgroups: rec.music.dylan
From: akp1@quads.uchicago.edu (Adam K. Powers)
Subject: Guide to Frequently Asked Questions (2 of 2)
Sender: news@uchinews.uchicago.edu (News System)
Organization: University of Chicago
Date: Thu, 22 Jul 1993 13:24:25 GMT
 
************************************************************************
	Frequently Asked Questions (FAQ), part 2 of 2
		for newsgroup rec.music.dylan
 
	Created by Adam K. Powers (akp1@midway.uchicago.edu)
	with help from:	Steve Michel (michel@netcom.com)
			John Howells (howells@pioneer.arc.nasa.gov)
		the Highway 61 Digest
		and other rec.music.dylan readers
 
  Please email corrections and suggestions to akp1@midway.uchicago.edu
	Last update: 22 July 1993
************************************************************************
CONTENTS:
 
Part 1:
	1. Introduction to rec.music.dylan and to this FAQ guide.
	2. Where can I find lyrics and/or tablature to Dylan songs?
	3. What is EDLIS?
	4. Which albums should I seek out if I don't have a lot of
		money to spend?
	5. What publications about Dylan's life and music are available?  
	   Which biographies are worth reading?
	6. What if I want to talk about Dylan on-line at all hours?
 
Part 2 (this article):
	7. Is there a 'DylanBase' or some way that I can get lists
		of performances and songs from past years?
	8. When is Dylan performing in my area next?
	9. What are bootlegs, and how do I find them?
	10. Where can I get a copy of "Renaldo & Clara" or 
		"Eat the Document?"
	11. What's this 'Royal Albert Hall' tape that everyone speaks of?
	12. Glossary of terms and acronyms common to this newsgroup.
 
************************************************************************
 
7. Is there a 'DylanBase' or some way that I can get lists
                of performances and songs from past years?
 
Yes, there are a couple of good ways to go about doing this:
 
-1- There is a book called "Positively Bob Dylan" by Michael
Krogsgaard (this book is frequently referred to simply as
'Krogsgaard' on this newsgroup).  This tome numbers Dylan's
various performances and lists the songs performed at each 
and every known event through early 1991.  There are a few
mistakes and gaps as new tapes surface, but this book is
essential to the serious collector as it provides a fast,
easy reference for identifying tapes and so on.  The main
disadvantage of such a serious book is that it costs about US$55.
 
-2- There is a reference guide online!  If you've got a few megs of
disk space to spare, you can download Olof's year-by-year 
archives,which list Dylan's public appearances and recordings, 
give handy reference tables of songs played on tour, and even 
list recommended tapes by tour!  The best part is that it's free
for your own personal use.  Don't try printing it out unless
you've got the time & ribbons - the combined total of all the
files would be on the order of 600 pages...  How do you get it?
Anonymous FTP from dec2.wu-wien.ac.at, in pub/dylan (the '1960s'
through '1990s' directories.  That site is in Austria, so it's
best to do this during off-hours...
 
ftp dec2.wu-wien.ac.at
anonymous
myname@mysite.edu
cd pub/dylan
 
 
8. When is Dylan going to perform in my area next?
 
Since there is no official announcement from Dylan's office regarding 
tour dates, we have to rely on individuals posting dates as they hear 
of them through advertisements, whatever.  If you hear of a concert in 
your area, please tell us about it!  Occasionally one of the long-time 
readers will be able to post a complete listing of shows ahead of time, 
but more often than not you should just keep an eye on local listings 
and the piece-meal posts to the newsgroup...
 
There are also Dylan hotlines you can ring on the telephone:
 
USA: 303-243-8025 (The Rolling Tomes Hotline - the operator will
ask you to enter the "hotline access number" located in the lower
right corner of the back cover of the current Rolling Tomes
catalogue. So you must either have seen the catalogue or have
conrtact with someone who has... A touch-tone telephone is
required. The recording is updated at least weekly, more often
when news warrants it.)
 
 
9. What are bootlegs, and how do I find them?
 
A bootleg is any recording, live or studio, which is not offically
sanctioned by the artist's recording company for sale or distribution.
In the U.S., it is legal to tape a radio show or television special 
for your own personal use, but it is illegal to sell such a recording.
It is also illegal to record concerts without the artist's consent, 
and anyone who makes or distributes bootleg recordings can be subject 
to prosecution.
 
A pirated recording, however, is an illegal (and usually inferior) 
copy of an official release by an arist.  Anyone who tapes a legally 
available CD or record and then tries to sell you a copy is a real 
scumbag, so steer clear.  Pirated recordings are very illegal, and 
the record industry does its best to search out pirates and prosecute
them.  Pirated recordings (often made in countries like Thailand
or Indonesia, where authorities are easy to bribe or too busy to
notice) do deprive the company and artist of money, and are thus
far worse than bootlegs - the record industry claims that it loses
hundreds of millions of dollars every year to record pirates.  These
are usually the cheapo tapes with blurry covers (or no jacket at all)
that are sold in flea markets and the like.  Avoid like the plague.
 
Nevertheless, there are literally hundreds of bootleg recordings of
Dylan performances and even studio sessions that are widely circulated
among collectors, and certain countries (such as Italy) have loose
copyright laws which allow many of these recordings to be pressed on
compact disc.  These discs are usually distributed as expensive
"live/rare" material and can only be found through record specialty 
stores (usually the same places that sell used records) and individual 
dealers, some of whom do mailorder business.
 
It is not within proper Internet/Usenet etiquette to make the sources
of such black-market operations available publicly, so the only way
that you will find bootlegs is by finding a store that sells them or
posting a request for information and waiting for someone to respond
via email.  That is one FAQ that can't be answered publicly.
 
Many people obtain 'live/rare' material by trading DAT or cassette tapes.
This is obviously a lot cheaper than searching for profit-seeking dealers
of CD bootlegs (most of these are mastered from cassettes, anyway),
and is far less condemnable, so long as there is no payment involved.
Rec.music.gdead, the newsgroup for the Grateful Dead, is one place
where live tapes are traded legally - this is because the Grateful Dead
allow their concerts to be taped from a special section of the audience
and distributed for non-profit listening.  If you're reasonably
discreet and obey general net.etiquette, you might be able to find 
someone with whom you can trade live Dylan tapes...
 
If you do come across a Dylan CD and want to tell the newsgroup about it,
simply imitate the format of other listings you have seen, or ask for
help.  Of importance are the songs included and their length, the title
and manufacturer of the disc, the matrix number (printed in tiny characters
on the inner ring of the disc), and the supposed origin of the recording.
 
 
10. Where can I get a copy of "Renaldo & Clara" or "Eat the Document?"
 
There are four 'in concert' films devoted to Bob Dylan - only two
are commercially available: "Don't Look Back," which documents the
1965 acoustic tour of England, and "Hard to Handle," from the
Australian leg of the 1986 tour with Tom Petty and the Heartbreakers.
"Eat the Document," from the 1966 tour, and "Renaldo and Clara,"
Dylan's own four-hour creation (there was also a two-hour edit) have
not been shown to the public for ages, and Dylan will probably not
permit their release anytime in the near future.  There are low-
grade copies in circulation among collectors, but the quality is
pretty diluted by now due to repeated copying and playing...
 
 
11. What's this 'Royal Albert Hall' tape that everyone speaks of?
 
[The following is primarily of interest to us boring collector-types.
if you're only curious after reading about this tape, just skim it!]
 
This refers to the famous (infamous?) Dylan & the Band (they were
called 'The Hawks' back then) tour of the British Isles in May of 1966.
Dylan had received a hero's welcome in England the year before as
a folk singer, and audiences sat breathlessly through his performances,
hanging on every word.  The following year, however, Dylan appeared
drugged-out, or burned-out in any case, as he drawled through seven
acoustic numbers, then returned to the stage with a raucous electric
band for the second set.  The amplification equipment was rather
unsophisticated; this, combined with the echoey acoustics in the
English concert halls, resulted in very muddy sound - but (surprise)
these shows are considered some of Dylan's most moving performances
ever, on the basis of some soundboard tracks that have circulated
over the years.  The fabled 'Royal Albert Hall' tape is actually
part of the acoustic set from that concert, plus the electric set
from Manchester.  Here's a more detailed analysis:
 
There are two tapes from the April-May 1966 world tour that are presumed
to be complete - Bristol, May 10th [146]; and Edinburgh, May 20th [152].
Both of these tapes have the same setlist:
        (Acoustic set)
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
        (Electric set)
Tell Me, Momma [8]
I Don't Believe You [9]
Baby, Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
Ballad of a Thin Man [14]
Like a Rolling Stone [15]
 
Both of these are audience tapes, not exactly good sound.
(gives you an idea of just how poorly amplified those '66 shows were)
 
In addition to those muddy-sounding audience tapes, there are a number 
of very incomplete (but very good) soundboard tapes known to be in 
circulation.  For lack of other evidence, it is *assumed* that the 
setlist remained constant for the shows in question.  As of this date, 
there does not appear to be a complete soundboard tape of an entire 
April-May 1966 show in existence, so Dylan-philes have been matching 
these fragmentary tapes to the presumed setlist.
 
With that in mind, it would appear that the following soundboard tracks 
are currently in circulation:
 
I have taken some liberties with Krogsgaard's listings here - the 
numbers in brackets by the individual tracks correspond to the template 
for the setlist above, to give an idea of what portion of the show 
they came from.  I have also omitted all of the backstage-hotel scenes 
from Eat the Document for brevity and since they're not really 
'in concert' (although I did include the Manchester soundcheck).
 
--
April 19th or 20th, Festival Hall, Melbourne, Australia [133]
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
Tell Me, Momma [8]
Baby Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
--
May 5th, Adelphi Theater, Dublin, Ireland [144]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
--
May 6th, ABC Theatre, Belfast, Ireland [145]
I Don't Believe You [9]  (Released on Biograph)
--
May 12th, Odeon, Birmingham, England []
Ballad of a Thin Man [14]
--
May 14th, Odeon, Liverpool, England [148]
Tell Me, Momma [8]
I Don't Believe You [9]
Baby, Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]  (Released as B-side of "I Want You")
--
May 16th, Gaumony Theter, Sheffield, England []
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
--
May 17th, Free Trade Hall, Manchester, England (soundcheck) [150]
Just Like Tom Thumb's Blues [1] (Released in Eat the Document)
One Too Many Mornings [2] (Released in Eat the Document)
Ballad of a Thin Man [3]
--
May 17th, Free Trade Hall, Manchester, England [151]
She Belongs to Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]  (Released on Biograph)
Desolation Row [5]
Tell Me, Momma [8]
I Don't Believe You [9]
Baby Let Me Follow You Down [10]
Just Like Tom Thumb's Blues [11]
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
Ballad of a Thin Man [14]
Like a Rolling Stone [15]
--
May 19th, Odeon, Glasgow, Scotland [151.2]
Tell Me, Momma [8]  (Released in Eat the Document)
--
May 20th, ABC Theatre, Edinburgh, Scotland [152]
One Too Many Mornings [13]
Like a Rolling Stone [15]
--
May 26th, Royal Albert Hall, London, England [154]
She Belongs To Me [1]
4th Time Around [2]
Visions of Johanna [3]  (Released on Biograph)
Leopard-Skin Pill-Box Hat [12]
One Too Many Mornings [13]
Ballad of a Thin Man [14]
--
May 27th, Royal Albert Hall, London, England [155]
She Belongs To Me [1]
4th Time Around [2]
Visions of Johanna [3]
It's All Over Now, Baby Blue [4]
Desolation Row [5]
Just Like a Woman [6]
Mr. Tambourine Man [7]
--
Many of the above tracks are incomplete (esp. those from Eat the 
Document)  There are also a number of unlocated tracks from that 
movie, all incomplete:
 
Mr. Tambourine Man
Baby, Let Me Follow You Down
Just Like Tom Thumb's Blues
Ballad of a Thin Man (2 versions)
Like a Rolling Stone
 
 
12. Glossary of terms and acronyms common to this newsgroup.
 
All areas of knowledge like to develop jargon and acronyms to
keep outsiders out and to make newcomers feel ill at ease. It is
a sign of a warped personality and to be discouraged. Medical
doctors complicate the simplest things with needlessly difficult
terms and abbreviations, computer "experts" make the easy
inaccessible to newcomers with unhelpful terms and abbreviations
in order to pretend to be needed where they are not, management
consultants...  Well you get the picture. People with a serious
and debilitating Dylan habit can also develop these tendencies.
Watch for the following obscure terms as a sign of intolerable
bad manners...
 
#Dylan = The name of the Dylan channel on irc.
 
BoB = Blonde on Blonde [1966] [not a typo for "Bob"!]
 
BotT = Blood on the Tracks [1974]
 
BIABH = Bringing It All Back Home [1965]
 
boot = bootleg
 
bootleg = circulating copy of officially unreleased material
 
EDLIS = Exchange of Dylan Lyrics - Internet Service
 
GAIBTY = Good As I Been To You [1992]
 
H61R = Highway 61 Revisited [1965]
 
Hurricane = The lead-off single from Desire [1976], which tells
Dylan's rather loose interpretation of the murder trial of boxer
Rubin "Hurricane" Carter, who is today a free man in Canada after
having endured a convoluted series of mistrials and legal wrangling.
 
irc = Internet Relay Chat, an international live real-time
conferencing system with a channel called #Dylan.
 
JWH = John Wesley Harding [1967]  This album (and its title track)
were mis-named after outlaw John Wesley Hardin.  Dylan's song
has very little to do with the story of the real Hardin; instead, 
it's basically just a spin-off of Woody Guthrie's "Pretty Boy Floyd."
 
Krogsgaard = Krogsgaard's 1991 book [listed above]. A Krogsgaard
number would be in a form such as [7/201]. This refers to item
seven in the Krogsgaard listing for event 201. Badly addicted
rec.music.dylan readers can be told such a number and then
immediately sing the relevant item without reference to the
Krogsgaard book itself!
 
pirate = Illegal copy of officially released material.
 
tape tree = a 'pyramid' method of distributing tapes organized
by someone with a good or unusual tape that isn't well-circulated.
That person posts an announcement to the newsgroup, asking people
to send email to sign up.  He collects the names of those interested,
and creates a 'tree' such that no one has to make an excessive
number of copies, and people with better tape decks make copies for
those without, etc.  The original tape is the 'seed'.  Those who
recieve copies directly from the seed are 'branches' and those who
receive copies from branches but don't copy for anyone else are the
'leaves'.  Each person is expected to send tapes of other events in
return to his/her branch.  If blanks are sent in lieu of recorded
tapes, the person sending blanks is expected to pay postage for both
the tapes that he sends and the ones he will receive...
 
T-999 = Numbers like these are Townsend numbers.
 
Townsend number = A three figure number identifying a specific
bootleg CD as cited by Phill Townsend in his Strangers And
Prophets [listed above], or as cited in Isis [listed above].
 
UTRS = Under The Red Sky [1990]
 
ZZ = someone used to the vi editor in Unix posting from a
different and unfamiliar editor trying to end their posting...
 
***********************************************************************
REFERENCES:
 
Positively Bob Dylan, a Thirty Year Sessionography 1960-1991.
	by Michael Krogsgaard
 
Bob Dylan 1960-1992, Yearly Guides to Recordings, Concerts, Etc.
	by Olof Bj|rner
 
 and various articles posted to rec.music.dylan by readers,
as well as the Highway61 Digest administrator.

I've been reading the new book about The Band.  Title is:
"Across the Great Divide - The Band across America" or something like that.

Chock full of essential info about The Band and of course Dylan.

Most Excellent Quote by Dylan, about Robbie Robertson, circa 1966:

"He's the only mathematical guitar genious I've ever run into who does not
 offend my intestinal nervousness with his rear-guard sound."

Yup - can't argue with that!

Some tantalizing bits of info in there.  D.A. Pennebaker has a 45 minute
movie he assembled from footage he shot of the 1966 European Dylan-Hawks tour!
Only 7 minutes of this concert footage made it into "Eat the Document", 
which was mostly filmed/edited by Howard Auk.

There's mention of a few more Basement Tapes titles which I don't have on
the 5-CD set.  Like, a warped little tune called "Even if its a Pig, Part 2", 
which is described as starting off with Garth reciting something in his best 
Mad Professor mode.   Now, I _do_ have an instrumental called "Even A Tomato",
but I don't think this is the same thing.

Josh,

ps, Ken H,  the Dylan FAQ which explains how to get Dylan newgroup stuff is in
-.1 !

>"He's the only mathematical guitar genious I've ever run into who does not
> offend my intestinal nervousness with his rear-guard sound."
    
    I dunno, Robbie Robertson sometimes offends *my* intestinal nervousness,
    and even sometimes causes a bad case of gas :-)

    re .176
    
    Hey, I just started reading it last night.  It looks good so far.
    
    A lot of rock biographies get bogged down in details, or go overboard
    in analyzing the music and lyrics.  It's a product of the computer age,
    just look at any newsgroup FAQ or DeadBase.  Before computers, it was
    too expensive to include every last tidbit, now it's too easy (and
    tempting).  For example, Dave Marsh's "Before I Get Old" made the Who
    sound positively boring!
    
    So far, "Across The Great Divide" moves along nicely, although its
    sheer size has me worried.  Hopefully, the author (Barry Hoskins??)
    spends a hundred or so pages explaining what the hell "Chest Fever" is
    all about.  :-)
    
    BTW, what's left of the Band put on a decent show at the Hatch Shell
    last weekend and promised a new album in the fall.
    
    Jamie

Can I musicians fill me in as to what "rear-guard sound" is?

- DC :^)

re             <<< Note 143.179 by NRSTA2::CLARK "live for today" >>>

>Can I musicians fill me in as to what "rear-guard sound" is?

I'm not a musician, but I can fill you in.

"Rear-guard sound" is ...

   ....what Robbie Robertson sounded like in the late '60's.

  ;-)


Jamie, fear not, the book does move along quickly.  I, for one, don't mind 
the obsessive details about the Big Pink and The Band album recording sessions.
For example, I didn't know that "To Kingdom Come" was Robbie's only lead vocal
until a 1976 album.

Or that The Band might have started playing live shows about a year or so
earlier than they did, except that Rick Danko had a car accident and badly
hurt his neck!

Josh

    
    	I bought the CBS Mastersound CD of "Blonde on Blonde", I
    could barely listen to the regular CD of this. The Mastersound
    CD is from the 1st generation master tapes put on a 24ct Gold
    disc. Sound is superb, everything is clear & defined not harsh
    at all like the regular CD. Well worth the extra $8.00.
    
    Vinny                                                        

The following long article is from rec.music.dylan.  Its a hilarious
description of a mere mortal's meeting with His Bobness.

("Homer, the Slut" is a Dylan fanzine.)

Read it - Andrew Muir is a master at describing his descent into a quivering
blob of protoplasm when he comes into the presence of Bob!

==========================================================================
Article: 3798
Newsgroups: rec.music.dylan
From: michel@netcom.com (Steve Michel)
Subject: Homer: Can't Help it if I'm lucky
Organization: NETCOM On-line Communication Services (408 241-9760 guest)
Date: Thu, 16 Sep 1993 21:43:32 GMT
 
I'm posting this for Andrew Muir, of _Homer, The Slut_.
 
Wed 21 July: Homer meets Dylan; one of them is impressed the other is 
impressive.
 
I'm at an important meeting, I rush back in late from lunch. I get a 
message that Alex, my brother-in-law, wants me to call him urgently.  I 
gather it is something very urgent indeed. I have to go into the meeting as 
I'm already late. I reckon that it can only be one of two things: an 
illness in the family or something Dylan-related. If the former he surely 
would have said, I have to assume it is the latter and sit in a ferment of 
worry and nerves (I presume that Dylan is on telly or that some big news 
has broken) for the eternity of 100 minutes that follow. 
 
The minute the meeting ends, I rush out to 'phone Alex. I'm more than 
stunned to hear that Dylan has been in Camden and that Alex has stood next 
to him. (Unable to speak but in the line of the video as Dylan walked 
backwards into a cafe.) One of Alex's colleagues even spoke to Bob & got an 
autograph with a lovely little personal message for Alex. Stunned, pleased, 
a bit jealous - all those feelings at once with the nagging question: Could 
he still be there? 
 
Alex is still talking, of a song  possibly called Blood In My Eye, of Dylan 
singing with a busker. Of a colleague having got an autograph for him. This 
is all too much. He goes. I 'phone Larry.  General disbelief and 
astonishment later, Larry says he cannot possibly get there but will 'phone 
a friend in Camden to see what has happened/if anything is still happening. 
He tells me to call back in 20 minutes. Five minutes later I call him back. 
He hasn't got through to his friend. I ask him  - very precisely -  to tell 
me that there is no possibility that Dylan is still there and that I've to 
be sensible and go home.  He exactly follows my instructions; I hang up the 
'phone, stop the first taxi and ask the driver to take me to Camden. 
 
Within three minutes we hit a traffic jam. I gnaw at my fingers, 
fingernails,  knuckles, wrists and arms, still the taxi crawls along.  I 
have the bright idea of calling Compendium Bookshop who sell Homer, the 
slut. I tell the driver that I'll be back but must run & make a 'phone 
call; I have no worries that I'll catch him up.  I think that I'd better 
appear cool and collected - after all Dylan probably left ages ago.
 
 Hello, I supply you with Homer, the slut, a Dylan magazine, do you 
need any more copies?
 
  Funny you should ring just now, he's sitting straight 
across the road at the window of a    
restaurant.....BRRRR! 
 
I impress upon the driver that, traffic jam notwithstanding, I have to be 
in Camden High Street NOW. I expect he couldn't make out any of my words 
but he got the idea. Sooner than I'd thought possible, we were in  Camden 
High Street.
 
I get the taxi to stop straight across from  Compendium Bookshop. Sure 
enough there is a restaurant there, called Flukes Cradle1. I walk in, for 
Chris from Compendium to have seen him Dylan would have had to have been in 
the room where I now stood. 
 
The room was empty of Dylan, bereft of Bob. 
 
I trudge across to Compendium to ask when he left, what they saw etc. They 
- kindly looking after my interests - grab me at the door and say:
 
  He's still there, he's in the back now, having a meal.
 
 Can I have a  Homer, the slut? 
 
  Yes, but don't take the top one, it's dog-eared. Take two 
and bring one back signed.
 
 On your bike!
 
I take two and go back across to Flukes Cradle.   It is a very hot day but 
I'm beginning to sweat even more than that accounts for.  My plan is simple 
- I'll go into the restaurant and sit as close to Dylan as possible, and 
ask for his autograph if there is a convenient opportunity as he leaves. I 
pass through the bar, thinking that above all I must be inconspicuous.  I 
go into the restaurant and....OH MY GOD HE'S REALLY THERE! OK, I went in 
knowing he would be there but seeing him really there, like really him, 
really sitting there....too much! [I've long read that in moments of shock 
or pain your body is supposed to have a kind of automatic defence system; 
I've obviously been programmed wrongly as when I went into shock my body 
went onto the attack. Knees buckling, head spinning and heart attempting to 
smash through the ribs!)  He's wearing a top hat, sitting in profile, that 
nose, those curls; visions of Blackbushe and all that '78 meant to me 
seeing him live for the first time, visions of so many years before and 
after that. I stand stock still. I somehow remembe that I am supposed to be 
inconspicuous. 
 
Dylan's table was down a few stairs to the left. I go to sit at the nearest 
table to him on my level of the restaurant (a whole other level) and try to 
be cool. I pick up a menu, though I know I'll never swallow anything I 
order. The menu slips through my sweaty paws.  I decide I'm too conspicuous 
so I move to the next nearest table which just happens to have a better 
view of our man. I realize I am, in fact, totally conspicuous as Dylan and 
his entourage are the only people in the restaurant apart from me. Maybe 
I'm not supposed to be there? I think and this thought prompts others that 
remind me I always said I'd never disturb him in this way and that I was 
acting very stupidly. I leave the restaurant and go back to the front bar.
 
I'm feeling pretty happy, seeing him so close is a big thrill.
 
I order a shandy. I sit down. I stand up. I sit down again. I move table. I 
decide on an alternate strategy.  I could go downstairs again and ask Jim 
Callaghan - who is sitting at a table nearer the entrance than Dylan - if 
he could get Dylan to sign a Homer. This I do, whispering my request and 
stressing that I only want it if it will not unduly trouble Dylan. 
 
  Go and ask him yourself.
 
I glance up at Dylan, a mere four seats away:
 
 No, I don't want to disturb him and anyway it isn't physically 
possible. 
  
  Ok, maybe
 
 I'll be sitting in the bar if you manage to get it signed. Thanks a 
lot.
 
I sneak back out and wait.  A few minutes - or eternity - pass. Jim 
Callaghan comes out and gives me Homer back, he doesn't feel it is right 
for him to present it to Dylan. Fair enough I think. We talk about the 
shows so far this year, he says he'll be phoning the warmline.
 
 Everything I say on it is true.
 
I'm not sure why I said this - it isn't even true, I suppose - but I was to 
get used to blurting out responses as the day progressed! Jim was very nice 
and totally enthusiastic about the recent shows. I arrange to send Homer on 
to him. The only problem I had was when I admitted I hadn't seen them. He 
was not pleased!  Family...job...debts... I mumble. Scornful look and 
scornful remark re the warmline being out of date. I contest this saying 
that Buzby, Larry and John Hume amongst others phone in and that I had a 
nightly update from Spain. He is impressed by this. He asks me what I do 
for a living, my answer should be "I teach people to use computers", what 
comes out is "I'm a recovering alcoholic". God know what he thinks. He 
urges me to give it a try (talking to Bob), the meal is finished and the 
coffees nearly so too . Again I decline, this may seem strange but I'm 
happy enough and have remembered all the stories about him being pestered 
by fans. I'll just sit and watch him leave.
 
A few more minutes pass and Jim C comes out to settle the bill. He comes 
over to me and says:
 
  Go now! Now's a good time.
 
I stand up, hesitate, look doubtful.
 
  You'll never have a better chance in your life, go now.
 
I go.  Back in the restaurant only Dylan's table now occupied. The furthest 
away table; Dylan, naturally, the most difficult person to get near to.  To 
get to him I'll I have to push past someone I don't recognize, then Dave 
Stewart.2  
 
If I'd thought that my heart was pounding before - and, hey, it was - it 
was doing something else altogether this time. There were four young 
looking people at the table; three on the far side, one nearest me then 
next to him Dave Stewart and next to him, Himself. Looking absolutely 
gorgeous but you know what they say about "an aura around him"? Well, I'd 
always thought that was nonsense - or, rather, a projection of our 
feelings. I was wrong. The aura is almost tangible. My legs are threatening 
to give way before my rib cage. I try to detach my tongue from the roof of 
my mouth and my jaw from the floor.
 
At this moment there is a babble of conversation in the room. Dave Stewart 
is facing  Dylan - who is staring straight ahead in profile (and what a 
profile) - asking questions quite forcibly. I cannot make the questions out 
due to the talk amongst the others. Dylan is not responding at all. I push 
past the first person between me and Bob.
 
A silence falls around the table with the exception of Dave Stewart's 
drumming questions. I cannot make out the words because my heart is now 
beating so hard that my ears are drumming louder. I try my pen for the last 
time - but I'd tried it once too many times and it ran out - luckily I'd 
brought eight with me, so I fished out my seventh last. I'm now standing 
right beside Dave Stewart's chair. Dylan is within arm's reach. 
 
The movement in getting Homer and the working pen out alerts Dave Stewart 
to the fact that there is someone behind him and that everything has gone 
quiet. He stops talking and looks around and up at me. His look is 
marvellous: it says "Oh no not another one of these Dylan nutters". ( In a 
kindly way however, later I admire his ready acceptance of himself as a 
mere pop star beside someone who is a real Star.) He moves his chair 
slightly, I help him move it a little more. I am now standing right beside 
Bob Dylan.
 
There is total silence. 
 
Dylan just keeps staring ahead, not reacting to the sudden silence or 
anything. This lasts for 7 zillion aeons, or about two seconds in real 
time.
 
Well this is it, after eighteen years of interest - some have called it 
obsessional - in the Man, I'm at the point many of us have thought about. 
What am I going to say? I have no idea. Staying alive is only barely within 
my grasp at this moment. Thinking stopped some time ago. I tear my tongue 
from the roof of  my mouth.
 
  Excuse me, Mr. Dylan.
I squeak.
 
HE MOVES - and how - the head swivels round in an instant, he stares into 
my face (or, at least, the rivers of sweat where my face should be) and 
says3 interrogatively
 
Yeeaah?
 
I am dead. It is not a pleasant feeling. I want my mummy and daddy. I want 
the ground to swallow me up and never let me out again. 
 
I am reborn and mysteriously function
 
I hold out a copy of Homer issue 9. I force the Sahara Desert above my chin 
to respond; the sand becomes a torrent of burbling water. Something along 
the following lines pours out:
 
  Could you please sign this? Of course, it doesn't matter if 
you don't and I'm very sorry for disturbing you, I   realize 
it is a stupid thing to do, and it has been great being this close to you 
and I'll leave now.
 
See, I told you I'd lost control. I don't know how much of this he made 
out, possibly Please and sign or possibly he just guessed what the pen and 
magazine were for! 
 
Yea, sure..
 
He took the magazine in his left hand and the pen in his right I was 
pleased to see. However, the pen was upside-down! A tale flashed through my 
mind of someone asking for his autograph who didn't have a pen and his 
devastating response....maybe if he tries to sign it now he'll get annoyed. 
Oh No...
 
Fate, however, intervened. Or perhaps it was the whole point of Jim 
Callaghan's suggestion (if so I owe that gentleman so much I could never, 
ever repay him) that I 'go in now'.  Dylan laid the magazine down and 
jabbed a finger - beautiful finger - at the embroidery on the jacket sleeve 
pictured on the front cover:
 
That's it, that's the jacket I'm talking about
 
They'd been arguing/discussing that very jacket???! Someone says from the 
far side of the table:
 
 Well, that's it then, it's Hammersmith
 
I answered, without taking my eyes of Dylan's right hand which was signing 
the front cover of Homer at that very moment. (In a very small voice:)
 
  Actually it is Belfast. But, hey, if you guys want it to be 
Hammersmith, then Hammersmith it is.
I take the signed copy from Himself and slither backwards out the room. I 
am aware of acute physical pain. But the thought resounds that IT HAS 
HAPPENED. 
 
I sit in the bar again. Stunning. Staring at Homer. More stunning. Slowly 
the brain tries to re-establish a modicum of control. "Sit where he'll have 
to pass you on the way out" it urges. I do. I get crafty, I get a table 
where they'll have to pass in single file  as they approach the door. I 
take away the second seat and wedge myself into a perfect viewing position 
as they leave the restaurant. I place the signed Homer by my right hand and 
lay the other one on the table in such a manner that anyone looking as they 
passed would have to see it.
 
Another few zillion years (2 minutes) later they start to leave. Callaghan, 
Stewart and some of the others (two, I think). they are talking quite 
animatedly and Callaghan - gesticulating over to me -says something along 
the lines of:
 
 Oh yes they still do, look at that lad over there
 
They all laugh, in a friendly fashion, I keep my eyes glued straight ahead 
waiting for You Know Who. However, attracted by the laughter the next 
person out - a young American - stops at my table (thereby blocking the 
passageway, so I have another hero) and, pointing to the unsigned Homer, 
asks 
 
 Do you subscribe to all of these?
 
  Yes, and, actually, I run this one.
 
 Really, how?
 
  Well I type it up on computer and I've a photocopier at 
home...
 
As those last three words came out, every sensory input in me being went 
into overdrive again. Dylan had majestically walked up the stairs and was 
now heading straight for my table. Do not believe he is 5' 7", this man is 
at least 95 feet not including the top hat.
 
He rests one hand on the table and lifts Homer from the young man's hands. 
The youngster backs off a little, Dylan moves in. I self-liquidize. 
 
Dylan starts reading the inside cover page. He says something about the 
warmline number and laughs and then flicks a few pages sometimes pausing to 
read. There's a smile, a grunt, an "uh-huh".   Some of my senses are still 
working, I realize that behind me everyone has left except Dylan and the 
youngster who first spoke at the table. He is shifting his feet as though 
to leave, Dylan is still reading but I feel he is about to go:
 
  Please take it Bob.4 And thanks for a great year..
 
Yeah.
 
('Heard it a million times before' voice.)
 
He is still standing reading.
 
Did you write this? 
 
I have no idea what page he is on. Remember I am sitting down, wedged in, 
he is right ahead and above me. I can see the front and back page and HIM. 
Having written virtually none of Issue Nine, I answer anyway:
 
  No, I edit it...it's not a very good issue anyway Bob...5
 
He raises an eyebrow and flicks a few more pages, keeps on reading. 
Suddenly he realizes it is time to go, very regretfully he says:
 
This is eh, uh, interesting but you know I just don't have time ...
 
  Please take it, Bob, take it with you...
 
He leans towards me with a look that says: "There's a puddle on this chair 
and it is trying to speak to me but I don't know what it is burbling".
 
Thankfully the young man translates:
 
 He's trying to tell you it is yours to take, Bob.
 
(How come he said that so easily, I wonder)
 
Bob, still pretty close, in a very surprised voice:
 
Really? I can take this one?
 
Utter panic, his face is now too close for its own safety. I 
gasp/scream/whisper whatever:
 
 Nothing would give me greater pleasure in life.....
 
He - Bob FUCKING Dylan - puts the hand with Homer (his left) toward my 
right shoulder and his right hand squeezes my left shoulder as he leans 
forward and says gratefully:
 
Hey, that's great....
 
I am now beyond death, beyond rebirth, beyond Nirvana. I am also almost 
completely incapable of movement. However, Dylan is still nearby so I 
manage to get up and follow him to the car waiting outside.
 
I notice Dylan is still being generous with his time, a denim-clad man is 
shaking his hand and they are exchanging greetings.  I notice too that Dave 
Stewart is in the back of the car videoing everything. But mostly I notice 
Dylan and how friendly he's being and how people are drawn to him and, 
finally, something which even he may never understand, how even the 
ordinary things he does do not lessen the aura, the mystique - whatever you 
want to call it. He has been nothing but friendly since I've been in Camden 
and by all reports from throughout the day. He is doing normal things, but 
he is set apart. I never believed such a thing possible; but he just 
doesn't walk and talk like anybody else. He is Bob Dylan. (The clothes at 
Camden certainly aided this feeling but, honest, he is stately.)
 
He walks around the back of the car and goes in the far-side back seat. 
(They let him walk near the cars? - dear Christ, I wouldn't.) He is waving 
to people on the street, unfortunately this brings too many people across 
the road, they press against the car, staring in at him. He opens the Homer 
and buries his face in it as the car speeds away.
 
I have a feeling that I will never be able to describe the way the fear, 
pain, hesitation, wonderment changes to an unbelievable rush of adrenalin. 
I thank Jim Callaghan profusely, and, having grovelled for the last 15 
minutes (lifetime) reassert a bit of my normal personality by chastising 
him for the "Eindhoven Incident." I was, of course, only joking and hope 
now that he understood that; this man is saintlier than Gandhi to me now.
 
I want to tell everybody in the world what happened. I could start at 
Compendium and Alex's office and thank them at the same time.  I ran across 
the road to Compendium. In my delirium I had forgotten such things as 
traffic. It was coming straight for me. Screeching brakes, burning rubber. 
Chaotic hubbub. Callaghan shouting:
 
 Hey  watch the cars!!!
 
I spin round in the middle of the road and yell back:
 
  What the Hell does it matter now?!
 
1 Some sort of shorthand for take what you can gather from coincidence I 
now think.
2 I have returned to the restaurant since, and this is, in fact, incorrect. 
I could have walked right around the lower level of the restaurant and 
entered right at Dylan's seat. At the time I never realized this.
3"Says" is the wrong word but the correct one doesn't exist so it'll have 
to do,
4I think I called him Bob from now on, but I cannot in truth remember.
5Why did I say that? Maybe I thought he'd read a nasty comment? More likely 
I think it was just another "blurt". You may think I'm handling this very 
badly - and you'd be correct - but wait till you try it. I contend that the 
wittiest, most informed mind ever would gibber in the Presence. So what 
chance did I have? At least I hadn't fainted or vomited; both of which were 
distinct possibilities.

	Cool story Josh!   I sorta felt like the author did when I met
	Country Joe at the OVK. ;-)  Afraid to think of how I'd react
	if I met Mister Dylan ;-)

	Ken

    I kinda felt the same way when i met Arlo...until I met him...he's just
    like you and me.....
    
    rfb

Got the following post from rec.music.dylan, it has a humorous (to me anyway)
comment on Bob's singing voice... :-)
----------------------------------------------------------------

Article: 5278
Newsgroups: rec.music.dylan
From: clark2@uwpg02.uwinnipeg.ca
Subject: Bob's Throat Revisited
Sender: news@ccu.umanitoba.ca
Organization: University of Winnipeg
Date: Mon, 1 Nov 1993 02:47:56 GMT
 
        As far as "Lay Lady Lay" and the other "softer" songs on Nashville 
Skyline are concerned, the same pain applies.  I'm sorry if I offend legions of
Skyline fans, but really I think the voice of these songs has more in common
with Kermit the Frog than Bob's natural voice.  Try saying "Lay Lady Lay" like
Bob - I find it less painful to imitate Tom Waits.

	A slight correction on the previous article - the deep vibrato has 
nothing in common with the Skyline voice in terms of technique.  Instead of
tightening vocal muscles, the adam's apple is dropped and sound comes from the
lower back of the throat.
	As to what songs I was referring to when I spoke of the change in Bob's
post-Rolling Thunder voice, I was referring to all of them in a general way. 
I'm sure we could all comb through Street Legal and Slow Train and find
exceptions, but I didn't see the point.
	Hmm...now that I think about it all I know about the vibrato voice is 
that the adam's apple is dropped.  It kills me every time, tho.
	By the way nobody answered my question about "One Irish Rover" being 
from Aimes, Iowa or not.  Come on now!  SOMEone must have a copy of that show.
 
     Mike
			"read books, repeat quotations..."
 

    
    Picked up the NEW Dylan last nite. Really incredible stuff! If ya liked
    the last one "Good As I Been To You" you'll love this one ("World Gone
    Wrong" is the name of it by the way). Same style as Good As I... just
    Bob on acoustic and harmonica. Excellent.
    
    Features covers of Jack-A-Roe, Stack-A-Lee(similar story as Stagger
    Lee) and Two Soldiers(covered on the 1st Garcia/Grisman). 
    
    If you're into Dylan at all, this is a must have.
    
    							-jeff
                                                             

So last night I was listening to Desire and reading Dylan's liner notes.
Rather amusing typical stream of conciousness stuff.. theres a part that goes
(I'm paraphrasing)

"these notes are being written under ideal conditions in a bathtub in Maine...
... and in Lowell..."

which I'd LOVE to have as my Notes personal name, :-), 'cept that its to darn 
many characters to fit! :-(

Another thing I noticed about those liner notes.  They mention directly,
or by mentioning a character from a song, many of the songs on the album.
You can easily spot about 1/2 the songs: "Rubin", "Oh Sister", etc.
So I wonder if the liner notes were intentionally written to weave in _all_
the songs on the album?    So now the game is to "spot the songs", like s
some kind of crossword puzzle, where some of the songs he's mentioned only by 
refering to a _scene_ in a song!  Kinda really gets you to thinkin' about 
the tunes.

Hmm.. lets see.. no Soviet Ambassador..  no 5th day of May... no little
hilltop village.. 

Josh

Article: 6910
Newsgroups: rec.music.dylan
From: kevinfree@aol.com
Subject: Bootleg Series news (?)
Sender: usenet@murdoch.acc.Virginia.EDU
Organization: University of Virginia
Date: Fri, 7 Jan 1994 20:37:19 GMT
 
According to Jan. 27, 94 Rolling Stone mag:
"Sony Music has the follow-up to Bob Dylan's The Bootleg Series Vols. 1-3 box
set firmly on its schedule for 1994. Built around Dylan's famous 1966 Royal
Albert Hall show with the Hawks (later to become the Band), the set will
consist of two or three discs of live Dylan material."

just read a great description of Tiny Tim (who played with the Band and
possibly Dylan on the Basement Tapes) over in rec.music.dylan:

---------                                                               
tiny tim - a cross between boy george & peewee herman sent back before
his time to plague david frost....the Second Professional Ukelele
Player in the States (the First being Arthur Godfrey).....
---------

And if you can believe it, Tiny Tim is now a right-wing Republican pro-lifer
moralist ... still has the long hair, though.

- dc

    tiny tim WAS ALWAYS a right wing pro-lifer...saw him on Carson back in
    the dark ages and he espoused these feelings back then....
    
    rfb

Here is it Faithful Dylan Fans, a new interview hot off the presses.
From the St Louis Post-Dispatch, 4/7/94.

I like the last line about being asked what kind of music Jacob Dylan plays 
(in Jacob's band The Wallflowers).   :-)))

 Josh
---------------------------------------------------------
Article 9429 of rec.music.dylan:
Path: peavax.mlo.dec.com!nntpd.lkg.dec.com!crl.dec.com!pa.dec.com!decwrl!ames!elroy.jpl.nasa.gov!swrinde!emory!europa.eng.gtefsd.com!paladin.american.edu!zombie.ncsc.mil!golf!mizzou1.missouri.edu!C596892
From: C596892@mizzou1.missouri.edu (Robert Downing)
Newsgroups: rec.music.dylan
Subject: New Dylan interview!!
Date: Thu, 07 Apr 94 14:21:28 CDT
Organization: University of Missouri, Columbia
Lines: 87
Message-ID: <16F91C9E9S86.C596892@mizzou1.missouri.edu>
NNTP-Posting-Host: mizzou1.missouri.edu

Here's a new interview, done right before his current tour started.
It appears in the 4/7/94 St Louis Post-Dispatch
 
Q: You're known for being unpredictable at your concerts in terms of
what you play. What can the audience at your St. Louis concert expect?
A: Well, I've got a new four-piece band. I don't know. Some old Dylan, some
new, some of the acoustic stuff. The set list changes from night to night,
so it's difficult to pin down what we've planned. Most of the songs will be
recognizable to fans.
 
Q: Are you going to do another rock album or stay with the acoustic, folk
sound featured on your last 2 albums?
A: I might have to make another one like the last 2. A lot of stuff didn't
get on those. It'd be folk-oriented, but I'd use additional instruments that
would give a little different sound ... the banjo, maybe even a mandolin, a
dulcimer.
  The last 2 albums were necessary for me to do. I wanted to see if it was
possible to play and sing and make a record all by myself with just a
fraction of all that instrumentation and get a more full-bodied sound. Paul
McCartney, Peter Gabriel and maybe even Phil Collins have done it where
they've played all the instruments. I wanted to get as much out of those songs
as possible. Sometimes you can rescue  those songs by yourself without a lot
of other stuff clutterring them up. The point you try to get across is more
resonant.
 
Q: Are you still writing new material or taking a break from that?
A: Well, yeah, I do have a bunch of papers and notes and things lying around.
Only time is going to tell when those things come out.
 
Q: What's your favorite Dylan song?
A: That's really hard to say. That would be scandalous. It's very difficult
to pinpoint one. Each has its own moment.
 
Q: What sort on new music do you enjoy?
A: I usually listen to songs about things. My musical taste ran out in the
mid-60's. I listened to all that stuff and I still do, it never gets
tiresome for me. But there are a lot of new artists who've got a lot of
illustrious things to say. [When pressed to name a few, however, he didn't
offer any up.]
 
Q: How do you like the new Judy Collins album, where she does only Dylan
songs?
A: Is that out yet? I know she was working on it. I haven't heard it. I go
back a long time with her. We used to work together in coffeehouses.
 
Q: What kind of touch do you keep with your folk buddies from the 60's.
A: Joan [Baez] calls me from time to time. We did some shows in Germany
a few years back. I was just on a Mike Seeger record.
 
Q: It seems as if you're always doing new things and reinventing yourself.
What keeps you moving and motivated?
A: Just life itself. There's a certain non-transparency to life that keeps
me motivated. I try not to work in a linear way. That's incumbent on what's
given to you at any given moment. There might be inconsistencies to that,
nevertheless, it does give you a degree of independence you might not get
any other way.
 
Q: Having had 3 decades to adjust, are you more comfortable being a living
legend?
A: I try to be an illuminated person. Nobody should put anyone on a pedestal-
-it really can damage a person's mentality and lead to ignorance. At that
point, a person ceases to be a person.
 
Q: How do you protect your privacy?
A: I don't have any privacy, so there's really not much to protect.
 
Q: While on the road, how do you take care of your health and spirituality?
What kinds of things do you do for yourself?
A: I try not to be a loafer. I don't work out. Maybe I'll ride a motorcycle
or go horseback riding.
 
Q: Your son Jacob has a band called the Wallflowers. What do you think of
his band?
A: His music is very humble. They have an impressible sound.
 
Q: Have you played any gigs together?
A: Just in the garage.
 
Q: What kind of music does he play?
A: I'm waiting for Neil Young to tell me.
 
******************************************

    
    "Each has it's own moment."    how true...  :^)

    Following (after the formfeed so no one has to read this unless they
    CHOOSE to) is a review of a Dylan show from 4/12/94.  Yes he still
    tours - all the time - constantly as a matter of fact.  And - as always
    - posted without permission from and pulled from the Dylan newsgroup
    mailing.
    
Bob Dylan - Coronado Theater, Rockford, Illinois, 12 April 1994
=========
Jokerman
Lay Lady lay
Watchtower
Positively 4th St.
Tangled Up in Blue
Watching the River Flow

Mama You Been on My Mind
Gates of Eden
Don't Think Twice

Series of Dreams
I & I
It Takes a Lot to Laugh...
Maggie's Farm

What Good Am I?
It Ain't Me Babe

total time about 105 min.


A very solid, if uninspired, show.
Dylan really is in excellent voice on this tour, so if you've haven't seen
him before & live in the vicinity of an upcoming gig, I'd recommend going!

No opening act.
The show started a 8 sharp - many of us still scurrying for our seats
after the long drive - I was pleasantly surprised to find that row AA
was actually the front row on the side, so I was about 20 feet from Dylan
and right in front of John Jackson.  Bob was wearing a black suit with
a black & white polka-dot shirt, no hat.  John Jackson & Tony Garnier
were both wearing hats & should have lent a hat to Bucky Baxter, who 
appears to have recently shaved his head...

Jokerman did not disappoint as an opener, this is a strong, straightforward
version - not too adventurous, but all the lyrics are decipherable...
The band is even tighter than Japan & last summer's tour with Santana.
Dylan played lead guitar on the first two numbers.  Lay Lady Lay was
sung in the 'opera' voice, all extended notes & came on like a drunkard to
a Mexican prostitute - that late-night burst of loneliness where the
party's over & he's got blood in his eyes for you babe - the language is
all wrong but the game is so old the words don't matter anyway.
A high-school age girl toward the front started waving her hands in the air
to get Bob's attention - he raised his eyebrows briefly before automatically
snapping the harmonica brace up to his mouth - it was such an unconscious
action that he had the harmonica in his mouth before he realized that he
wanted it there - an amusing double-take.

Watchtower slipped back to automatic pilot after the opening lines.
Positively 4th Street was given a very gentle treatment, very melodic
in spite of the infamous put-down lyrics...

Tangled Up in Blue started out strong - Winston Watson & John Jackson
are having a lot of fun with the new change-up rhythm on this -
but Dylan's voice weakend in the second verse.  As a result, he blasted
through the rest of the song on lungpower alone, which wasn't as interesting.
By the coda it was mostly crash-and-thud, though Winston was pretty
amusing, flailing away & sending bits of broken drumstick flying across the 
stage.  The man must go through a dozen sets of drumsticks each night - I'd 
hate to see the rims on his drums!

Watching the River Flow was much better & very tight, stright Johnny Cash
amphetamine shuffle, growled to nice effect by Bob.  I still am amazed
at how tight this band is, particularly since Garnier & Jackson were both
in the sloppy '91 lineup - I think Winston Watson's steady drive has made
the difference (as have the years that Garnier & Jackson have spent
playing watch-Bob's-fingers...)

The acoustic set was very weak.  Mama You Been on My Mind sounded tired
and Dylan flubbed the second verse.  Gates of Eden was better, but still
no breakthrough.  Don't Think Twice got the biggest crowd response of the
evening, but Dylan lapsed into his two-notes-only howl which added power
but no passion to the rendition.

Series of Dreams picked things up again - the band plays nothing but rhythm,
Jackson messing around with a few effects, but nothing prominent, and
Dylan did some of his best & worst singing during this song - best in that
he was obviously putting more feeling into the song, but worst in that
he seemed to be singing in an entirely different key than what the band
was playing...  Most of the audience didn't recognize the song at all.
The second 'apocalypse' slot was filled with I & I - a few tight, strong 
arrangement, not spectacular but one of the nicer moments of the show
It Takes a Lot to Laugh was the only (minor) surprise in the setlist,
and was definitely the highlight of the evening,  a solid, bluesy howl.
Maggie's Farm it it's current incarnation continues to impress - for the
first time in the evening, Baxter & Garnier were smiling, and John Jackson
was flashing his cheshire-cat grin and doing some fancy fingerwork that,
given the tight arrangements of the current band, added to the song
rather than muddying it.  Dylan was still stoic, though he did a few
obligatory guitar-player contortions before wrapping it all up.  At close
range, John Jackson's Les Paul is really a beautiful guitar, he obviously
does his best to keep it in mint condition.

What Good Am I and It Ain't Me Babe were pretty mechanical & didn't add
much punctuation to the end of the show - the audience clearly wanted
another encore & John Jackson hesitated a moment with a smile on his
face, but the ever-grim Dylan silently motioned him off-stage before taking
a stiff bow...

Overall, I'd say this was more of a night for the band than for Dylan - 
he didn't really seem to want to push them any harder than they were
already playing.

    
    
    no offense intended to Dylan fans everywhere (since i am one myself)
    but i have to admit that i go t agood chuckle out of the comment that
    he is "in excellent voice" this tour!!!!  :^) :^) :^)
    
    i'm sorry, but Zimmy "in excellent voice" seems somewhat akin to
    statements like "that chalk was extremely melodic on that blackboard
    this morning"...   :^)
    
    					da ve_who_should_never_be_taken_
    					too_seriously

    yes - i agree, DWEST.  When reading the "excellent voice" one should
    say, compared to what - a chain saw? 
    
    but we love him yes we do
    
    carol

    My all-time favorite line from SNL is a send up of Dylan at the
    Grammies.  The one where they ask Tom Petty to translate his speech for
    "the Dylan impaired".  (My all time favorite Grammy clip is his speech
    about the things his father always told him.)  Makes me smile just
    thinking about it!
    
    -jer

Ok Dylanheads, what album is hurricane off of?

    It's off "Desire"....
    

dylan songs :  on the way in today I heard Postively Fourth Street
by Dylan by Dylan :-).  The announcer said the song is about when
Dylan plugged in at the Newport Folk Festival and people were 
upset with him.  He is saying to them - you are acting like tourists
(as in fourth street in Greenwich Village where all the sightseers come
to gawk) and not being involved in what is happening around you.
cool - go take another listen to the tune!

	if you could stand 
	inside my shoes 
	for just one day 
	you'd know what a
	drag it is to 
	see yewwwwwwwwww


I love this stuff 
c

re:     <<< Note 143.200 by MKOTS3::ROBERTS_CR "the evening sky grew dark" >>>
                        -< about interpretations ....  >-

> dylan songs :  on the way in today I heard Postively Fourth Street
> by Dylan by Dylan :-).  The announcer said the song is about when
> Dylan plugged in at the Newport Folk Festival and people were 
> upset with him.  He is saying to them - you are acting like tourists

Interesting!  I've often wondered (albeit briefly!) what that song was about.

Has anyone heard the Robbie R. reuniting with the Band and also the Band
with Dylan at Woodstock '25 from anyplace besides WBCN ?  It was mentioned 
the other day, but it sounded like pure speculation.

/Ken

the following is from rec.music.dylan.
Its so funny (well, to me anyway) I nearly spit out my tobin's "seafood" soup.
(maybe I shoulda spit it out anyway).

Article 13025 of rec.music.dylan:
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From: "Poindexter, Kim" <kim@filenet.com>
Subject: Brushes with his Bobness
Message-ID: <CtKs1w.AGJ@murdoch.acc.Virginia.EDU>
Sender: usenet@murdoch.acc.Virginia.EDU
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Date: Wed, 27 Jul 1994 01:27:32 GMT
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So, I'm standing at the international arrivals terminal today (7/26)
at Los Angeles international, waiting for my mother in law to
come up the ramp.  She's arriving from Italy.  I can't believe
my eyes ... Bob Dylan comes cruising up the ramp, right
past me.  Amazingly, *nobody* notices him.   He and
his lady companion cruise through the throng and out
to the curb completely unnoticed.  He gets in to a white
van waiting there at the curb, rolls the window down and waits.

He's wearing a blue & black plaid "Neil Young" shirt, black
pants, black boots.  Two giant dogs are in the van, licking
his face .. they are subsequently ejected from the van.  Bags
arrive (including guitar) and are loaded into the van.

I work up my courage (he's very good at looking unapproachable),
dig a pen and a picture of my daughters out of my pocket (the only
thing I could find to write on), walk over and have

"My Conversation With Bob Dylan":

Me: "Hi Bob, you doin' autographs?"
Bob: "No, can't do that".
Me: "Ok. Stay cool".

I wander away thinking what a lame dork I must seem.
A line from "Idiot Wind" plants itself in my brain .... "people see
me all the time, they just can't remember how to act".
I'm thinkin' to myself ... so *that's* what he's talkin' about!

Kim


Article 13045 of rec.music.dylan:
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From: ramer@ssc.wisc.edu
Subject: Brushes with his Bobness
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Kim Poindexter said:

|Me:  "Hi Bob, you doin' autographs?"
|Bob:  "No, can't do that."
|Me:  "Ok.  Stay cool."

Bet you wish it had gone something like this:

You:  "Hi Bob!  I hear you did some fantastic shows in Eastern Europe.  What
was it like to perform in Prague? 
Bob:  (tells you all about it, from arriving at the airport to singing
"Blowing in the Wind" and how he feels about the song having new meaning in
Prague) 
You:  Say, when are you going to do a show again in [your town]?
Bob:  That stadium in [your town] is just to big.  I'm doing smaller venues
now. 
You: You ought to try the [name one] theater.  It's small and has great 
acoustics.
Bob:  Hey, I'll do that.  Let me take your name and address so I can make sure 
you get front row tickets.
You:  Thanks!  Oh, Bob--you wouldn't happen to have an extra copy of "Renaldo 
and Clara" on you, would you?  
Bob:  Sure, I always keep a couple of copies in the glove compartment.  Here's 
one for ya.  Let me write something on the cover...
You:  Thanks, Bob.  Love you.  Chiao.

*****************************************************************************
Sandy Ramer               Take what you have gathered from coincidence. B.D.
Madison, WI 
*****************************************************************************

	;-)

Nah, only a mild giggle.  I had to backtrack through this topic to find
the "Homer, The Slut" story that was REALLY funny from last year.

PeterT

extracted from various posts on rec.music.dylan:
 
------------------------------------------
Tickets for the three Orpheum shows (10/ 7,8 & 9) are $26 & $36.  On Sale
Friday, September 9th at 10 am EST.  Ticketmaster # 617-931-2000
Orpheum Box Office # 617-482-0650.
------------------------------------------
Tickets go on sale this Friday with a limit of four
tickets per show and 8 tickets per person.  
------------------------------------------
There is an unconfirmed, but very strong plan for Bob to return to the
State Theatre for a couple more shows early on this leg of the tour.  This
sounds like a great place & I cannot believe that I will not be there! :-)
Heike
------------------------------------------


I'll be aiming for the Sunday show.  Got a hike planned for Sat. that I'll
have to get up early for, and will be attending a post-hike dinner, so I
can't make the Friday or Sat. shows. :-(

Josh

I got a ticket for Sunday night's show:
	3rd row Mezzanine (the front of the balcony), dead center :-).
The shows were nearly sold out by 6 PM Friday. 

Josh

    I'm in for Saturday - some place in the Orchestra section wherever that
    is. A buddy of mine called for tix as I was outta town so I'm not real
    sure what the story is but that's what he told me. Have to wait until
    they show up I guess. At least I know weir in for Saturday NEway. 
    
    							-jeff

    Can anyone who's familiar with the Orpheum tell me how these seats will
    be :
    
    ORCHESTRA SEATS, ROW L, SEATS 207,208
    
    We're in for Dylan on Saturday, 10/8 and just wondering where the seats
    were. Thanks.
    
    							-jeff
              

    is there a seating chart for the Orpheum in here NEwhere ??
    
    if not, maybe a Boston phone book ??

    The orchestra seats start with double letters (DD is the first row, 
    and so on) and then finishes with the single letters. 
    
    There are three section (across) - left, center (either left center 
    or right center) and right. 

    
    The Orpheum is pretty small, all the seats downstairs are pretty good,
   the balcony is kinda steep....if your half way back on the floor, you
   won't be bummin'...
    
    Sean

    
    Dylan Unplugged is supposed to be on MTV tonite.  Anyone got one of
    those super-tv guide_izmoes that tells you what time stuff is going to
    be on so you don't have to turn the thing on too soon?  or too late
    which if course would be a major bummer.
    
    c

    MTV Unplugged is listed in my TV Guide as being on 2nite from 8 - 9pm. 
    Doesn't say who's on or what but I've heard its supposed to be Bob
    2nite.

	    I thought it was tomorrow (Thurs) nite

"TV Tonight," the free daily Net guide to prime-time TV. 
Available on the Web at  http://metaverse.com (under "The Vibe"), 
or by e-mail  subscription -- e-mail tv2nite@metaverse.com, 
with "subscribe  tv2nite" (no quotes) in the message body.

Welcome to TV Tonite
Prime-Time TV for Wednesday, 14 December 94
(plus late-night shows)

Broadcast highlights:

Bob Hope celebrates what must be his 500th
Yuletide season in ultra-Christmas-y Palm Springs,
in "Bob Hope's Christmas Show" (NBC, 9:00).

Then stay tuned for "How the Gingrich Stole
Christmas" ... I mean, "Christmas in Washington"
... hosted by Helen Hunt. Bill and Hillary are
expected to extend their holiday greetings, but
Newt's probably too busy slinging gruel to the
orphans. Kenny G. will be on hand, however --
"Saturday Night Live's" Norm MacDonald recently
gave Kenny's hit Christmas album a very apt seven-
word review: "Happy birthday, Jesus. Hope you like
CRAP!" (NBC, 10:00).

Cable highlights:

Bob Dylan makes his much-anticipated appearance on
tonight's "Unplugged." This performance is
reported to be a return to form for old burned-out
Bob (8:00).

Also on MTV tonight, an opportunity to spend a
histrionic "Christmas with Mariah Carey" (see Norm
MacDonald quote, above). At least Kenny G. stops
to take a breath once in a while (10:00).

Before he ever dreamed of computer animated
dinosaurs, Steven Spielberg managed to scare the
world with a mechanical shark. This left him more
time for character and plot development, which in
turn made "Jaws" a much more satisfying film than
"Jurassic Park" (TBS, 8:05).

USA begins three straight nights of "Star Wars"
action by showing the original film (8:00).

College Basketball: Georgia at Georgia Tech (ESP,
7:30).

TV listings:

8:00 - 9:00 (all times EST; please subtract/add
hour per your time zone)

	[removed to save space -jj]

    based on the "editorial comments" i'd say the author liked the
    Star Wars series of films... :^)
    
    					da ve

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From: burns@ohms.zk3.dec.com (Bill Burns UEG)
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Subject: Unplugged review
Date: 13 Dec 1994 21:24:02 GMT
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	Today's Boston Globe (Dec 13, 1994) features a review
	of tomorrow night's unplugged premere...

	(typo's are mine...)

	'Unplugged' Dylan turns back into powerhouse

	By Steve Morse
	Globe staff

	Folk elder Bob Dylan going "unplugged"? That's hardly
	an original concept. Dylan was unplugged long before
	Nirvana, the Stone Temple Pilots, R.E.M., and other
	groups joined the acoustic craze on MTV. Dylan was the
	virtual father of the unplugged show, harking back to
	his Greenwich Village coffeehouse phase in the 60's.

	Nowadays, of course, it seems you're not officially
	unplugged until MTV says so. Thus we have Dylan's
	historic, hourlong "MTV Unplugged" tomorrow, starting 
	at 8 p.m. It's like a day at the beach for Dylan, given
	his experience at these things, but still proves to be
	an emotionally inspiring show. It's totally devoid of the
	tokenism that makes some of MTV's "Unplugged" series so
	trite ands gruesome.

	Above all, Dylan has pulled his act together and rediscovered
	his voice, which had seemed ravaged beyond repair. He is
	movingly connected to his music again - as was obvious
	at Woodstock '94 and at a splendid Boston run at the
	Orpheum in October. Much of that Boston show was
	electric, not acoustic, but it set the stage for this
	unplugged show taped in New York last month. He taped
	two nights of performances, but they were edited into a tight,
	single hour of classics and near-classics, sung with a clarity
	that has eluded him for years.

	One no longer has to make excuses for Dylan. He appears to
	care about his lyrical content again - and this is the perfect
	showcase for it. He starts off with the protest anthem "All
	Along the Watchtower." coming down hard on the line, "There
	must be some way out of here...There's too much confusion,
	I can't get no relief." He's impassioned again; and that's all
	we need to hear. Two folk guitars, a mandolin and an upright
	bass flesh out the intricate acoustic weave.

	Wearing thick sunglasses, a black coat and white polka-dot
	shirt, Dylan plays the bohemian refugee role to the hilt.
	His disorganized, matted hair looks like the rough of a
	golf course, but his nasal, reed-thin voice speaks of a
	hard-won wisdom. He shares it on the ballad "Shooting Star,"
	accompanied by gold lighting and a warm, pedal steel guitar
	solo from Bucky Baxter.

	Dylan gets his messages across, but also has fun. He crasks a smile
	and shakes hands with the crowd, though says nothing other than
	to comment that he needs to tune his acoustic guitar. The fun comes,
	however, on "Rainy Day Women 12 X 35" with its timeless "Everybody
	must get stoned" chorus.

	Dylan then turns pensive on "With God on Our Side," singing
	about the self-righteousness of the cavalry that fought the Indians
	in a genocidal campaign 100 years ago. A slow, meditative version
	of "The Time They Are A-Changin'" follows, enhanced by Brendan
	O'Brien's Hammond B3 organ. And a similar bear-down seriousness
	is voiced on the new song, "Dignity," with Dylan crying, "Somebody
	showed me a picture and I had to laugh - dignity's never been
	photographed ... Sometimes I wonder what it's going to take to find
	dignity."

	He finds it with a seque into "Knockin' on Heaven's Door," where
	he blows some uplifting harmonica. Vocally, he veers off pitch at one
	point, but his emotional commitment more than compensates. And a
	strong finish with "Like a Rolling Stone" bridges the years, but
	doesn't wallow in nostalgia. Let's hope fans of Stone Temple
	Pilots, Nirvana and others are watching, because this show
	comes from an unplugged guru who could write a book on the subject.


	---------------------------

	;-)



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From: michel@netcom.com (Steve Michel)
Subject: Unplugged Review
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Bob Dylan Sits Down on MTV

Joel ("God-Awful Gospel") Selvin, San Francisco Chronicle December 13,1994

As unlikelyy a place as it may be for him to turn up, Bob Dylan straddles
a stool tomorrow night on "MTV Unplugged."

Accompanied by his band, Dylan sings eight selections in the hourlong
program, ranging from such recent songs as "Shooting Star" and "Dignity"
to certified classics such as "The Times They Are A-Changin'' and "Like a
Rolling Stone."

In the past, the media-shy superstar has avoided the intense glare of the
television camera aside from rare and sporadic guest appearances.

But in what amounts to something of a coup for the ground-breaking cable
TV show, Dylan endures the camera's painful scrutiny to record a
blistering, convincing performance, taped over two nights last month at
Sony Music Studio in New York.

Viewers must put up with MTV's annoying production values -- swooping boom
shots, constantly moving cameras, arty stage setting and a world-champion
number of cuts -- but will be rewarded with an uncommonly open performance
by Dylan, who slowed down some of his most famous songs, the better to
draw the audience inside the world he depicts.

He restores "Rainy Day Women No. 12 & 35" to the realm of blues from which
it came. He cleanly articulates the desperation that past versions of
"Knockin' on Heavens Door" only hinted at.


But the centerpiece of the show is a masterful, elegaic "God on His Side"
(sic) that closes the second of five segments. Drawing out the verses with
instrumental breaks and a stately pace, Dylan replaces the smarmy irony of
the original recording with a more straightforward, earnest take that puts
a righteous charge on the song's finger-pointing that the younger Dylan
never could have pulled off.

He is backed on the show not only by his regular band, but also by Brendan
O'Brien on organ. Best-known as the producer of Pearl Jam, O'Brien
recently supervised the salvage job on "Dignity," an outtake from Dylan's
1989 "Oh Mercy" album that's the only "new recording in his recent
release, "Bob Dylan's Greatest Hits, Vol. 3."

O'Brien brings the "Highway 661" touch to the proceedidngs, while
guitarist John Jackson and Bucky Baster, switching off between mandolin
and steel guitar, decorate the edge of the sound. Tony Garnier plays
stand-up bass, and drummer WInston Watson provides probably a little more
boom and crash than is necessary.

Director Alex Coletti coyly leaves in a false start to the climactic "Like
a Rolling Stone," as if to say, "Look, it's just a TV taping -- we're up
front and honest about that."

But the high-gloss eye candy that MTV paints on the presentation --
including reputedly stocking the front rows with young models --
undermines the unnerving sincerity of Dylan's performance.

But the beauty of Dylan -- his warty presence, quavering voice and gutsy
writing -- prevails. All the fancy lighting and prissy staging falls by
the wayside when Dylan starts stumbling into the jagged lyrics of "All
Along the Watchtower" instantly transcending the tacky medium and slapping
down fresh evidence of the enduring power of his music.



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From: sklemz@interserv.com
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1st night
tombstone blues
i want you
don't think twice
desolation row
hazel
everything is broken
times they are a-changin
love minus zero/no-limit
dignity
with god on our side

2nd night
absolutely sweet marie
shooting star
all along the watchtower
my back pages
rainy day women
john brown
knockin on heavens door
like a rolling stone
tonight i'll be staying here with you
plus some of the songs from 1st night

Unplugged album to be released Feb 7th. Track list not available yet

"After 30 Years Dylan Goes Unplugged"
by David Bauder
Associated Press Writer

Bob Dylan must be a pretty peculiar sight for a new generation of rock fans,
particularly when compared with other legendary artists making news this fall.

There's another epic tour by the Rolling Stones, a well-oiled machine that hawks
its wares on everything from "60 minutes" to "Beverly Hills 90210."  Music no
longer seems this corporation's main focus.

The Eagles re-formed for an expensive tour and a dour MTV special that was
church-like in its self-reverence, and Jimmy Page and Robert Plant joined for a
special every bit as bombastic as Led Zeppelin at its peak.

Yet the ever-inscrutable Dylan barely comes out from behind his dark glasses on
his first "MTV Unplugged" show, which premieres at 8 p.m. EST tonight.  It seems
just another evening for Bob Dylan, working musician.

So what's all the fuss about?

Dylan, of course, is the spiritual godfather of "MTV Unplugged," as network
President Judy McGrath puts it.  His songs are sacred to millions.  He's even
reaching the 30-year anniversary of a Newport Folk Festival show where plugging
in, not plugging out, was his act of defiance.

Now in his 50s, Dylan has taken this "working musician" thing to almost
ridiculous extremes. He's on the road constantly, wryly dubbing one recent
series of concerts his Never-Ending Tour.

A Dylan show is one of the last great rolls of the dice in concert going:  Will
it be a magical moment or just another run throught the motions for a
couldn't-be-bothered legend?

Oddly enough, that might be one of the most appealing aspects of his career 
now. The spontaneity is something many of his peers can't -- or won't -- 
chance, but it teaches young people a valuable lesson in music as a living art 
form.

On the MTV show, Dylan continues his long-running habit of revising his songs --
cramming two lines of lyrics where one should be or adding new inflections to
prevent a performance of "Like a Rolling Stone" from becoming an anthem.

Even a skimpy eight-song show leaves room for one of those maddeningly
perfunctory performances that he's so often guilty of, this time on "Rainy Day
Women 12 & 35."

This show, however, fortunately catches Dylan in one of his strong cycles.  He's
coming off a well-recieved performance at Woodstock, and his fall concerts have
deservedly received fine reviews.  His band is a good one, with Bucky Baxter's
pedal steel and slide guitars adding a distinctive twang.

Except for Dylan and John Jackson sticking to accoustic guitars, the special is
essentially like most of the shows he's done lately.

Some of his quieter moments, like on "Shooting Star" or "With God on Our Side,"
are among his most affecting.  "Dignity," a new song on a just-released greatest
hits set, is performed in an obvious marketing move, but it still outstrips any
new material the Eagles or Page and Plant came up with on their shows.  And
"Knockin' on Heaven's Door," in a strong new arrangement, is forcibly reclaimed
from the Guns N' Roses catalogue.

As in most of his shows, no one's ever quite sure where Dylan is going or how
the ride will be. He provides no clues, a shy smile and an awkward high-five
with someone in the front row at the end serving as his only contact with the
audience.

Remarkably, that improvisational feeling manages to come through on a taped
show, even one as highly stylized as "MTV Unplugged."

It's the sort of thing that keeps Dylan's songs alive, for a new generation and
for older ones, instead of serving as museum pieces.

It probably is the sort of thing that keeps Dylan alive as well.

	    I couldn't agree more

    and a wonderful show it was .. too short, though.  and the commercials
    too loud but hey - it's emMpTV.  The tune that really mesmerized me 
    in last nite's show was 'With God On Our Side'.  I had never listened
    to he lyrics that closely but man is it ever sardonic and dripping
    with insight.  so great - his face lined with anguish and his voice
    barking out the words .. I love it.
    
    

    Definitely an EXCELLENT show last night. I agree - 'With God On Our
    Side' was incredible. Used to skip this song on the tape ("Infidels"
    maybe?) but last night's rendition hit hard enough for me to rewind the
    video tape and watch it again. '94 has been an awesome year for Bob.
    He's back!!!                                        

    Dylan is "da man" will continue to be da man forever in my book.  While
    everyone is focused on With God on our Side, I found Shooting Star
    really captured my attention to the fullest.
    
    Once again Bobby shows them "youngin" who's the boss!
    
    Happy Holidays!
    
    Fredda

    to be released in stores next week for you dylanheads
    "Bob Dylan::Highway 61 Interactive"
    cd-rom retailing for about 60 bucks..chock full of album facts,song
    lyrics,animations archive interviews and the like..i guess there is
    a nice rendition of the Animal's "House of the Risng Sun" on there
    also..check out today's Globe for more details.......
    

    yes i just read that in the globe.  pretty nifty stuff for ol' zimmy.
    
    

I just found out that tix for Dylan at the Harborlights Pavillion June 14
Friday (Boston, near the Aquarium) went on sale a few days ago!  

Might still be some left.  Gonna have to make a quick exit from Highgate
that Friday morn.

Josh

    Josh -
    	That should read June 16 Friday for Dylan not June 14 Friday.
    Just clear up any potential confusion.
    
    								-jeff

<<<<<<<<<<---- correct you is.

I got tix last night - not very good as all, Section 4 row N, in the rear right
corner of the pavillion.  Which I had bothered to buy a Globe last Weds. when
I got back into town.  I coulda easily gotten on line early Thursday AM
and gotten great seats.  *^&*%(*)^&%^$^%

 Josh

RE:        <<< Note 143.227 by QUOIN::BELKIN "one...3...5...7..8..9.10!" >>>

>  Which I had bothered to buy a Globe last Weds. when
> I got back into town.  I coulda easily gotten on line early Thursday AM
> and gotten great seats.  *^&*%(*)^&%^$^%

I looked over a couple of listings for Harborlights or whatever it is called,
possibly from the Globe last week, and Dylan was not listed.  Or I missed it,
which I doubt.

/Ken

I have a suspicion (spelling?!) it would have been announced in the 
"names and faces" section.

I dunno - I read about it in rec.music.dylan, but only yesterday!

Josh

    The Harborlight ads did not list Dylan. There was a small concert
    update blurb in last Wednesday's globe. I heard it announced Wed am
    on Wbos, while driving to work (hadn't seen the paper yet). Both
    said 'on sale 10 am tomorrow. I got through at about 10:09. I also
    am in section 4, I beleive. Don't know what row or seat. Basically
    the average Joe is screwed on getting good seats through ticketmaster
    if there is any demand at all.
    
    	Bill

    Just a note on a bit of a Bob tribute to Jerry. Dylan has been off the
    road since a week or two before Jerry passed away. The fall tour is
    about to begin and they started it off with at rehersal on Saturday in
    Fort Lauderdale. It was free. From the looks of the setlist and folks
    comments in rec.music.dylan it was a bit of a tribute to Jerry,
    starting off with Van Morrison's 'Real real gone' and doing some Dead
    tunes. Here is the setlist:
    
    Real real gone
    Friend of the Devil
    Maggie's Farm
    It's Too Late
    Silvio
    Confidential (a)
    Willin' (a)
    Lucky Old Sun (a)
    West L.A. Fadeaway
    When I Paint My Masterpiece
    Key to the Highway
    ----
    Encores:
    Tangled Up in Blue (a)
    With God On Our Side (a)
    Highway 61
    
    Just thought I'd pass this on...
    	Bill
    

re: .-1

I had read about this and meant to put in a note about it, but
then realized I hadn't gotten a set list...there certainly does
seem to be a theme when you look at it...definately a tribute...
anyways, I -did- copy a review from someone who was there and
I hope it's ok to post someone else's review from the internet
without their permission.  Here 'tis:

"Bob hit the stage and opened with Real, Real Gone. What a great
choice! Everyone was blown away immediately. I won't comment on every
song, but will mostly make more general comments on my perceptions. He
seemed to be in one of his animated, almost jovial moods. This is
relatively speaking, of course. As it went on it seemed to be a kind
of tribute to Jerry Garcia as you can see from the setlist Bill
posted. Maggie's Farm seemed (to me) to be about the same tempo as
recent renditions, yet it was completely different. Can't quite put my
finger on it. I'll leave that to others. Silvio was just as they've
been doing it, but I think it was included as part of the tribute I
mentioned. Was it my imagination or did he get a very strange, pained
look on his face as he sang "Silvio, silver & gold won't buy back the
beat of a heart grown cold. Silvio, I gotta go find out something only
dead men know"? Every acoustic number was sung with indescribable
sweetness and light. Heartbreaking and heart mending all at once.
Facial expressions, especially of his mouth/lips were almost
exaggerated...and precious. Confidential To Me...how did he pick this?
Did he know what it would do to us? Hopefully I didn't stand watching
with my mouth hanging open... J. J. was once again left to play mostly
rhythm. On the acoustic Tangled there appeared to be a definite Garcia
influence in his guitar playing. Sounded great! And the vocals...she
froze up insiiiiiide! He also really ripped it up in an extended
ending to Key to the Highway. The two last songs he played, With God
On Our Side & Highway 61, sounded like quintessential versions to
these ears. Unbelievable. It all ended much too quickly, yet there
were very few complaints. We knew we'd seen some things that may not
be seen again. If it could only have gone on forever..."

I was watching Letterman sometime last week or the week before and
they had on a movie actress that I wasn't really familiar with,
I think it was one of the stars of "Showgirls".  Dave had her relate
a story that he had heard about.  Apparently in an attempt to 
toughen herself up and get away from the sweetness and light
image, she decided to take up boxing.  So she goes into this 
Manhatten boxing club, and her trainer gets her into a ring
and goes, "and here's your sparring partner for the night.  His
name is Bob"  and suddenly she freaks mildly, because how in
the world is she going to start beating up on Bob Dylan!  But
Dylan goes, "no, no, don't think about it, just hit me hard"
or something like that.  They were wearing boxing gloves and 
those wierd looking helmets and everything so it was cool.

So, if you're ever down in New York, think of giving boxing 
a try ;-)

PeterT

	Friday night Dylan did "Alabama Getaway" as one of his encores...
	first time he's ever done this song himself.
	not unexpectedly, he seems to be dealing with this great loss
	musically...I wonder if he'll write a song for Jerry?

	Debess

    cool... :^)  including some of Jerry's tunes is a nice ongoing
    tribute...
    
    					da ve

    The last new songs from Dylan were back about 4 or 5 years ago, his
    Under the Red Sky album, and the Traveling Wilbury's vol III. Dignity,
    released last year was actually from 89. In an interview a few months
    ago Bob indicated that he was writing again and would probably release
    something in 96. I wouldn't be surprised to see something about Jerry,
    considering how much he meant to Bob. We Dylan fans have been concerned
    about Bob not writing and are looking forward to some new stuff. I
    think a tribute to Jerry would be great. Here's hoping!
    
    	Bill
    

	I think amazing things can come from grief - amazing
	positive things sometimes - it is such a strong emotion and, 
	if tapped into with growth in mind, it can bring forward
	so much that was hidden inside.  Grief is not something
	that you can just make happen - but when it does happen -
	yow, it is so powerful...

	I'm hoping it will awaken his muse again too...

	Debess

>	I think amazing things can come from grief - amazing
>	positive things sometimes - it is such a strong emotion and, 
>	if tapped into with growth in mind, it can bring forward
>	so much that was hidden inside.  Grief is not something

    It only just dawned on me.. this is part of what
    "box of rain" means to me.

    That's an incredible song (the lyrics).  Ripple, too.

    Tom

    is dylan touring/playing around the new enland area???

>    It only just dawned on me.. this is part of what
>    "box of rain" means to me.

>    That's an incredible song (the lyrics).  Ripple, too.

	Tom, both these songs are incredibly meaningful -
	they have always seemed to me to be about dying/death/afterlife...
	and now it seems that so, so many of the songs take on
	new meaning for me, touching on those subjects even if
	only for a line or two...

	Debess

>    is dylan touring/playing around the new enland area???

	I don't know what his tour schedule is - but he's down
	south right now.  and I haven't heard anything about the
	northeast yet...

    Latest tour info is pretty much down south, including Texas, New
    Orleans, memphis. There is a bit of a spike up thru a bit of the
    midwest. Rumors are of New Mexico later on. He seems to be booking
    shows on pretty short notice.
    
    On grief, music can often help. One of my favorites is Dylan's Blood on
    the Tracks, which is full of grief over a different kind of death, the
    death of a relationship. Almost any blues will do though. Another great
    one is Clapton's Layla album. Somehow hearing the grief that gets
    poured out an artist makes you feel that you are not so bad off. There
    is a great song on Dylan's last studio release, World Gone Wrong,
    called Delia. The "chorus" is a mournful 'all the friends I ever had
    are gone'. Guaranteed to send shivers...
    
    	Bill
    

    hmmm...  i recently caught a snippet of an EC interview in which 
    he made the comment "they may be YOUR rock and roll icons, but they
    were MY FRIENDS, and they're all gone now"  
    
    words to that effect anyway...  expletives deleted... :^)

    This summer at GW the Allmans did "No one to run with anymore"
    and I was surprised they didn't deadicate the song or at least
    throw a JG picture up there.  Same sentiment, tho.  But I guess
    they're not dead fans.  (dunno, really)

    I don't think the Allman's really care for the boys too much..they made
    a comment some time ago knocking certain artists for their
    "lackadaisical" approach to playing live...citing a certain band whose
    followers travel hundreds of miles to see them..

    re .244
    
    Er, you might want to have another listen to that song.  My
    interpretation is that it's about a guy who runs out on his wife and
    kids because his friends have all matured and don't party like they
    used to.
    
    Jamie

    I have a way of putting my own meaning on songs, sometimes.  :-)

    It had a kind of melancholic feel, for me.

    Tom

    Da ve
    I think that was Pete Townsend  that was ranting and raving about how
    they were  "his f*cking friends..they were your icons.."
    
    pretty damn funny

    yeah Chris, you could be right...  hmmm...  dont know what made me
    think it was EC...  must have ben a combination of accent and scruffy
    beard...  yeah... that's it...  :^)
    
    					da ve

I saw that Pete quote about friends/icons too. Was that on one of the 
Rock & Roll series episodes?  Maybe the earlier R & R history series that
was_on_9_months_ago_and_is_unrelated_to_the_one_that_was_just_on?

re: Grief albums & Dylan
 when breaking up with an S.O., I like to play Blonde on Blonde.  Definitely
a similarly-aligned headspace to that album.  Gets you from

"I'm pledgin' my time, to you, hopin' you'll come through too"

to

"it was rain from the first, when I was dying of thirst, when I came to you"

to

"ahhh I see you makin' love to him, you forgot to close the garage door"

to 

"you know I want your lovin', honey, why are you so hard?" 

to

"now I'm standing here, beating on my trumpet, with all the promises you
left for me"

to

"yes, I believe its time for us to quit"


Covers the whole range, beginning to end.  Plus all done with that 
thin, wild mercury sound.


  - Josh

    
    as far as using music to ease the pain of a breakup...
    nuthin beats American Woman
    
    What is a ghetto scene anyway?

    re .249
    >yeah Chris, you could be right...  hmmm...  dont know what made me
    >think it was EC...  must have ben a combination of accent and scruffy
    >beard...  yeah... that's it...  :^)
    
    I understand all us foreigners look alike :-)
    
    re:
    >I don't think the Allman's really care for the boys too much..they made
    >a comment some time ago knocking certain artists for their
    >"lackadaisical" approach to playing live...citing a certain band whose
    >followers travel hundreds of miles to see them..
    
    Ha! The only time I've seen ABB live, they were so lackadaisical (sic)
    that could not hold a tune. I've listened to killer ABB concerts before
    and after that one, but that night they were not into and clearly
    didn't care.
    
    gary

    I had a conversation with Greg once, went something like this...
    
    Me: "whadda ya wanna hear, Greg?"
    
    Greg: (looking at my cd/tape collection, rolling his eye's)
          "anything but the dead...."
    
    Me: "here's some JGB"
    
    
    
    rfb (who even though was in awe, wasn't much impressed in Greg in the
    long run...)

> Covers the whole range, beginning to end.  Plus all done with that 
> thin, wild mercury sound.

Yeah, and including "time will tell just who has fell and who's been left
behind...", and "sooner or later one of us must know...".  Hmm, never
thought of the album that way before.

Grief can trigger interesting and useful things...  My initial -> secondary
reactions to Jerry Garcia's death surprised me.  (not quite the instant
shock & pain of Lennon's death, instead it swelled up over a course of
days...  I'd been out of touch with things Dead.)  Like with a family member
(or onetime close friend) I'd lost touch with, it definitely churned up and
brought out things I wasn't expecting, or had forgotten. - Jay

>    I had a conversation with Greg once, went something like this...
    
As in "Allman" ????????

 -J

    yep, as in allman...The Greg Allman band played in sleezy bars here in
    COlo Spgs before the Almman's  Reunited....Greg knew a guy here i knew,
    a stand in bass player for Jimmy Buffet, that used to shoot with Greg.
    I had the house for the party, so after the gig the whole band came
    over for homebrews etc. Actually Greg and the  little girl he had with
    him were only there for an hour or 2...he had a sore throat and had
    Patty fix him hot tea for a soother...He kept calling Patty "mam" which
    pissed her off a little (not much, though) and the groupie he was  with
    was a b*tch,,, I remember most the blind keyboard player he had in the
    band then, Johnny somethingerother, we drank till about 5AM, then I had
    to load him up in the back of my old Scout and cart him back to the 
    Holiday Inn, both of us drunk as shit and he being MUCH larger than me 
    (isn't everyone?) the sight was REAL funny to behold. The people at the
    Holiday Inn weren't too amused, though....
    
    
    rfb

    Last couple of shows Dylan's 3 song encore has begun with "West L.A.
    Fadeaway"...
    

    Would anyone have a copy of Dylan's set at Hygate I could get?  
    The dead tapes were grate :-)   Thanxs to everyone involved especially
    my branch Jack Cutler!! 

    
    I can set you up with The Dylan set.  Send me mail
    
    	Mark

    
    
    Bob Dylan
    
    Dec 9 & 10 at the Orpheum
    
    
    Tix go on sale Monday, Nov. 13th for $26 and $36
    
    (So if you're reading this early Monday AM, turn around, go back out,
    and get tix!)

    
    Jim,
    
    Who is selling tix?
    
    			- Deane

    The orpheum box office, and I assume ticketmaster.
    
    

    Dylan is also playing the Worcester Memorial Auditorium on Dec 8th,
    $27.50 for tix.  No tix available at the Aud, they're selling them at
    the Worcester Centrum and TM.

    Picked up 2nd row center this morning!! Psyched!

    /Ken

    Worcester aud show starts at 8pm.  tickets are $27 + handling fees = 
    33.20 each.  I guess it's because i did it by phone instead of going to
    like Coconuts ?  we're Orchestra floor in section 6 row A.  

    So I dunno, the Orpheum's $27 tickets ($27 + this/that/and the other
    $$ ) were balcony only for Saturday.  not knowing how strict they were, 
    i opted for the Aud.  

    c

  And Patti Smith is opening for all 3 (8th/9th/10th)...
  
  Wish everything she'd done were as great as her '75 "Horses" [arguably
  best album to come out of mid-70s musical ferment]...  Even so, always
  thought she deserves equal mention with Ramones, Talking Heads,
  Television [and of course all the ensuing UK groups, Pistols, Clash, ...]
  JayC.

                      <<< Note 143.265 by ROGAL2::CLARK >>>
>>  And Patti Smith is opening for all 3 (8th/9th/10th)...

The main reason I'm going.  Patti is the best.  

She just got done playing Lowell's Keroauc festival.  I was supposed to go
but Sam decided it was time to come home from the hospital....

I think Easter is better than Horses :) although the combo of the 2 are
my fave of her stuff.  

bob

    the aud is an "ok" place...  not great acoustics, but some good
    viewing...
    
    				da ve

    Ken -
    	How do the rows in each section go? Do they start with A and go
    back to Z then start double letters or some other weird configuration?
    What row are you in? 
    
						Jeff_who_thinks_he_has_good
    						_seats_for_the_Aud_but_
    						isn't_sure

    
    Leblanc hooked me up with a couple for the Orph.  Should be a rage.  I
    wonder if they'll both have backup bands? 

    I'm now looking at a map from the worcester fonebook for the
    New Aud-Worcester Memorial Auditorium.  says it seats 3800 people
    and i see sections in what appears to be a center area which are labeld 
    1-5 left to right if you are standing on the stage looking out. and 
    then another set numbered 6-10.  then there are boxed off areas
    around the edge like a horseshoe wiht numbers like  201,202 etc
    hmm
    

re:      <<< Note 143.270 by WECARE::ROBERTS "climb a ladder to the stars" >>>

    That is exactly the way I saw it on the map at the Centrum.

re: Jeff

    I'm in Section 3 row B, so I think it's safe to assume that row A is
    first row.

    /Ken    

    >>    I'm in Section 3 row B, so I think it's safe to assume that row A
    >>    is first row.
    
    Yeah that was my thought too. I got Section 2 Row A, but figgered that
    was too good to be true knowing my luck. Let's hope! 
    

    
    
    I got a seating chart that also shows seat #'s...
    
    for sections 2,3 and 4, row A is the first row. 3 is the center
    section.
    
    sections 1 and 5 have G as their first row (they're just as far back as
    row G in 2,3,&4)
    
    the seats go A->Z,AA->NN so there are 40 rows of seats in sections 1-5.
    
    That means section 6, row A is the 41st row - with an aisle in front of
    you.
    
    Hope this helps!
    
    

    Carol
    
    the boxed off areas around the edge are the balconies....
    
    again, lots of good seats, but a challenge for the sound man...
    
    				da ve

I scored the Orpheum tix I wanted: both nights, Front-row-center balcony.  
Says Row D, but the map does show that to be the first row of the balcony.
Last year's Dylan Orpheum show:
 1. I was in 3rd row center balcony; 
 2. didn't get searched at all on the way in; 
 3. the sound was quite good up there and would be excellent for taping on the 
    balcony front row;
 4. kicked myself the whole show cause I didn't have a deck and mikes.

I have corrected Issue #4, and have the seats I wanted.  Hopefully Issue #2
will remain as before.... :-)


Dylan plays with a backup band.  He does an acoustic 'unplugged' couple of
songs in the middle of the show.  

  Josh

    
    I was searched at Blues Traveller there this year. Not really thorough,
    but a search. They'd miss any contraband, but would probably find
    taping equipment.

    contraband being gum, car keys , a pocket comb.....
    lip balm etc
    
    

    
    
    contraband, of course, comes from "contra," meaning "against," and
    "band," meaning "the people searching you." So if you bring in anything
    that they like, they take it - ergo, contraband.
    
    

    
    for those of you who are planning on attending the Dylan show at
    the Worcester Aud on 12/8, i offer my pad as a pre-post show party
    place...  my house is on Lincoln St in Worc and is less than a mile
    from the Aud...  
    
    from there we can either walk (depending on weather and motivation)
    or car pool (to make parking easier) or tool on down seperately...
    
    anyone who is NOT going to the show and would like to stop in and say
    hi and have a beer or three is also welcome...  just be aware that 
    some of us will end up leaving you in mid party... :^)
    
    so whadayathink?  up for a little Dylan party???
    
    					da ve

>                 -< pre and post Dylan bash for the Aud show? >-

    
	Yehaa!!!!!  I was hoping we would see an invitation like this
	from someone in Worcester!

	Definately, I'll be there!

	Debess_who_does_not_particularly_like_hanging_out_in_bars_pre_show
	(not my vice ;0)

    da ve -
    	Count me in at some point pre-show. i have a few people coming to
    my house to gather as well and we'll just head over to you place as
    group b4 the show (if ya don't mind me bringing a few friends along)
    
    						Jeff

    can i just come by to drink beer and peruse your pantry?

    
    yes, all are welcome...  friends of show-goers, non-show goers,
    passersby, pantry perusers, etc...  it's an equal opportunity party... 
    :^) :^) :^)
    
    direx to chez da ve will come as the show gets closer...
    
    					da ve

smooth move da ve!  :-)   Yep, I'm there.  
(betcha were glad to hear that seein' as how I have yer tix :-)  

Showtime is 8 PM I believe, but I myself would like to amble over to the Aud
at around 7:30 to check out the place, whatever tshirts-n-stuff might be for
sale, and the psych-buzz that builds up in the venue as people file in :-).

Is there a decent pizza or Chinese take-out place near you da ve?
Or how about brown rice, seaweed an' a dirty hot dog? :-)

 Josh

    pretty good pizza place across the street...
    
    not so good chinese place just down the street...
    
    your check for tix should be in the mail today (had to wait til a
    little closer to pay day! :^)...  well, ok, tomorrow... :^)
    
    				da ve

	yeah, count me in. 
	i'm a firm believer in pre-show warmups!
	
	:-)
	

   Hmmm, I kind of had my heart set on visiting the Main Street Brewery
   in Worcester but that sounds great da ve.  

   Anyone have any news on Worcester's first microbrewery ?

   /Ken

    i didn't think it was open yet...

    Last I heard it was supposed to be open in November. 
    Before that it was June.
    Before that it was April.

    So I'm not too hopeful about it being open...

    /Ken

    
    Da ve -
      Good for you. Amongst all the hospital visits you must be doing
      and band practice and all - you're inviting folks over for
      a predylan show party. I've got tickets with Carol Roberts and
      John Shep .. hopefully meeting up at your place first and
      after too.
    
      Thanks for thinking of it!
    
       Cathy

From rec.music.dylan!  NE1 DECdylanheads in NYC area should immediately
call Ticketmaster NOW and kindly report showstatus back here !

thanks, Josh

Article 47160 of rec.music.dylan:
From: billp61@earth.execpc.com (Bill Pagel)
Newsgroups: rec.music.dylan
Subject: December 17, 1995 Hempstead, New York
Date: Wed, 15 Nov 1995 19:41:11 GMT
Organization: Exec-PC BBS - Milwaukee, WI

The following show has not been announced yet and may be the last date
on the tour.

December 17, 1995
Hempstead, New York
Hofstra University

A listing of upcoming concert dates and set lists from previous shows
can be found on the Bob Links web page located at:

http://www.execpc.com/~billp61/boblink.html

I attempted keep the page current by posting the set lists and new
tour date information from the hotel rooms while on the road the past
3 weeks with mixed results.  The links to the Minneapolis and Las
Vegas set lists have now been corrected and well as a correction to
the Dallas set list.  Thanks to everyone who pointed out the page
related problems.  A special thanks to Sonia Gilliam (aka Keith
Gubitz) for cutting and pasting the set lists and concert dates from
the web page to the newesgroup.

Bill Pagel
billp61@earth.execpc.com

    Da ve - can I make a long distance call from you house too?
    
    

    
    hey, sure...  why not...  all part of hosting... :^)
    
    					da ve

music to play on da ve's stereo while Carol makes her long-distance phonecall:

"Long Distance Operator", naturally!   :-)

 - Josh

    actually, considering the state of da ve's stereo right now, you might
    do better to sing it yourself!  :^)
    
    					da ve

    Ok, am back from vacation and have checked out the Dylan in NYC
    situation...
    
    No shows listed yet - updates to their system is every Thursday.  Stay
    tuned.
    
    Fredda

    Looking forward to Wooster and the Opheum.  Need a show bad and Dylan
    just might do the trick.
    
    	Yaah
    

	yeah! 1 week frum 2day.
	
	rage.
	

    we all meeting pre show for the saturday ori-phiceum  gig?

    Talk about how a Bobby show in NYC can make you crazy...
    
    Yesterday's NY Times had a blurb re: Dylan @ Beacon Theatre, 12/14. Tix
    on sale tommorrow.
    
    Call to confirm with ticketshafter.  Nothing in the computer.
    
    Call the Beacon -- busy, busy, busy signal.
    
    Call ticketshafter again.  Nothing in the computer.
    
    Call my friend Markus.  Yell at him that I can't find out any info.
    
    Markus calls the Beacon.  Gets through on the 2nd try!  No info, not
    sure if the concert will take place.
    
    Get home, call the Beacon again.  They claim the info in the newspaper
    was premature.  Nothing has been signed with the promoter and the
    venue.  Tix not on sale tomorrow.  
    
    Scam the NY Post from the commuter newspaper recylce bin.  Rock notes
    state Dylan tix on sale today.
    
    Call ticketshafter, nothing in the computer.  Looks like they aren't
    handling this show!
    
    Call the Beacon - busy signal.
    
    So who knows, maybe their is a show - maybe not.
    
    to be continued...
    
    Fredda
      

    
    ok all you revelers who are looking to fulfill that live music jones
    with Mr Zimmerman and Co this friday...
    
    the time has come to step forward...  who's going to the show at the
    Aud in worcester, and who's coming to my pad for the pre-show
    festivities??????????
    
    there WILL be food...  there WILL be drink...  there WILL be joyous
    revelry, silliness, and other fun stuff too!!!!!!!
    
    will YOU be there?????  all are welcome, whether you're going to the
    show or not...  but i would like to get an apporximate count on how
    many may show up...  reply here or send e-mail...  i will be sending
    out direx, probably wednesday...  if you don't step forward, you won't
    know how to find us!!!!!  
    
    stand up and be counted!!!!!!  so far i think it's me, Cathy, Carol
    (and the Shepster i hope?), Josh (i hope! he has my tix! :^), GerryG,
    Debess & Guntis (i think), and Chris was makin' some noise about
    showing up too...   so please confirm, so i can put you on the
    directions list...
    
    					da ve_getting_rilly_jazzed

    don't forget me da ve! myself, don mitchell (former DECHead) and a
    couple others plan to pop in for a couple cold ones and festivities.

	this is REALLY why i'm in a whacked out mood today...and will be all
	this week too I guess - I am SO PSYCHED to see DYLAN on FRIDAY!!!
	Yes, Guntis and I will be there da ve, and John Shep is getting 
	a ride from us whether he knows it or not!, and also my friend
	Mary Beth will be with us....

	Debess_counting_the_hours...

	me too! me too!
	and penny too.

    as much as I'd like to be there, I can't ...so say hi to everyone for
    me and esp. to GERRYG...
    
    
    rfb

    i will be there with flashlight in hand to go thru your pantry

    rumage through the pantry all you want... just remember one thing...
    the ants and the mice were there first, and they have the right of
    way...  they also have first dibs on the old cereal and the sugar...
    except of course the DME and beer fixin's...  those are MINE and 
    you can squash any one of the little buggers that get too close...
    
    					da ve

    
    Hey, Leblanc....what day are our Dylan tix for at the Orpheum??????
    
    Perhaps we should also plan a meeting spot for that show in this note?

    i sent direx to my house out last night...  if you did NOT recieve them
    and are planning on coming please send me mail!!  my nmail
    demon-from-vax-hell told me of one failed attempt, (sorry Jeff!) and
    at coffee this morning i realize i forgot to include someone (sorry
    Ken!)...
    
    what the hell, even if you're NOT coming and just want the directions,
    send me mail!  :^)
    
    and another thing...   i forgot to mention that it is byob...  i was
    going to put out homebrew but my brother took a lot of it toe the
    phish shows in amherst and what i have left will last approximately 10
    seconds!
    
    					da ve

    found your direx waiting for me this morning da ve - nice morning read 
    with a cup-o-joe ;^)
    
    not sure why the failed attempt but at least the second try worked!

  Just read elsewhere that opener Patti Smith will be accompanied by:

  - guitarist Lenny Kaye (Nuggets LP/ 60s rock rags/ original PS Group)
  - Tom Verlaine (Television)

  This could be very good stuff...  Hope folks less than enamored of the Patti
  Smith/Talking Heads/Televsion/Ramones/etc. genre at least give it a chance.

  I have to miss all 3 MA shows due to kid obligations (and am probably too
  sick to go in any case), and am kicking myself.  Would love to see Dylan's
  current band, as well as Smith/Kaye/Verlaine.   - Jay

Not to draw the 'wrath' of the Dylan fans....the reason I'm going is to 
see Patti Smith and Lenny Kaye together again.

Dylan'll be fun but I wish he was opening w/ the 45 minute set and 
Patti gets the 2 hours :)

!!

Tomorrow's headlines in the Worcestor newpapers:

 "DECHEAD SHOOTS DECHEAD  - DISPUTE OVER OPENING ACT CITED!"

	 :-) :-) :-)

> Not to draw the 'wrath' of the Dylan fans....the reason I'm going is to 
> see Patti Smith and Lenny Kaye together again.

Love to tweak the Dylan fans, don't you...?    8)

Well, I'm biased, owning hundreds of '62-75 Dylan recordings and able to
quote you any on a nanosecond's notice...

I think this is an interesting time to hear him.  Zimmie's no longer
willfully deconstructing his own songs and sticking pins in fan's
expectations (which had its charms, if you were in on the joke).  His band's
supposedly good, Dylan's in Ok voice at the moment, and musicians (including
for example non-Dylan-loving jazz fans I know) have been exclaiming over his
shows.

Give 'im a shot.  8)

*Would* be nice if Smith & co. got 45+ minutes, and a few open ears.  - JayC.

    
    I have an extra ticket to Dylan for Saturday night at the Orpheum.
    I can be reached here until 5:30, or at home tonight and tomorrow. 
    
    (508)263-7065
                                                                      
    			- Deane

re                       <<< Note 143.314 by HELIX::CLARK >>>

>Well, I'm biased, owning hundreds of '62-75 Dylan recordings and able to
>quote you any on a nanosecond's notice...

I'll see your nanosecond and raise you one picosecond.  :-)

Though I wouldn't say I have "hundreds" of 62-75 Dylan recordings, that is
the area of concentration of my collection.

Can I leave yet?  I'm getting real itchy to get outta here!
 Josh

    yes, you can leave...  i'm outta here in about 30 seconds... :^)
    
    				da ve

ok,  you misread my note you see....

I like to hear bob dylan....seen him with the dead/petty/and several of his
own bands and stylechanges.  Not to mention enjoy listening to him at home.

One doesn't get the chance to see Patti Smith every day (although I did 
have a tic to the Lowell show....but other excellent things were happening
that kept me away)...
:)
bob

ps.  What I should have said was:  Tomorrow night I'm going to see Patti....

Great shows, Bob was typical Bob, but Patti was AWESOME!  Spellbinding!
Away from the music scene for 15 years, then comes back and is right on,
meaningfull, topical, connected!

What album is her song "Ghostdance" on?  Or is that a new tune?
Very powerful, and you could really see the emotion she put into the song.

She did a duet with Bob last night!  Came out to sing Bob's 3rd acoustic
tune (Bob's format is: bunch of electric, 3 acoustic,  more electric, the
encores of electric/acoustic/electric).  She sang Bob's "Dark Eye's" 
wonderfully, with her strong ?alto? voice, stepping to one side of the mike
on the choruses for Bob to join in.  Which he did!  Wow!
A little trouble harmonizing - they got the first chorus pretty good, 
second chorus Bob was wayyyy off pitch initially, Patti big smile and she
kept on singing for Bob to find the right key, then he did and she smiled
even more.  Third chorus Patti fumbled the words a bit and it was Bob's turn
to crack a big smile and keep going for her to catch up.  Beautiful!!!
Big standing O right at end of that 3rd chorus for the two performers who
took their chances and make it through!   Big smiles on Bob and Patti and the
end of the song, Bob hugged her, said something like:
"mumble...mumble [I didn't catch the words], Patti, she's the best!"
as Patti stepped back and bowed to Bob.

Sat. night during her set Patti knocked a bottle of water over, and during a 
song got down on her hands and knees and scrubbed the stage with her
sweatshirt, working that into the song!  At the end of the tune she said
something like "I'm sorry I spilled water all over Bob's stage.  I cleaned
it up best I could.  I'd clean up Bob's stage anytime !"

Patti... she's the best!

 more later, Josh

    
    Dylan rocked the Orpheum.  The crowd was going bonkers most the
    night...mustv been the post snowstorm buzz.  It seemed like there were 3 
    encores. 
    
    A splendid version of Tangled Up in Blue!!!
    
    Positively 4th was also memorable.
    
    A stellar Everybody Must Get Stoned.  Everybody has, and did. Rage!

 
 Worcester Auditorium 12/8/95
 
 a cold December evening with the threat of the first big snowstorm
 of the year in the air.  Worcester Auditorium is a roomy old 
 auditorium - no worry about whether to stand or sit - the seats
 did not go to the edges and the aisles along the walls are plenty 
 wide enough to just slip away from your seat and dance away to your 
 heart's content without bothering anyone...and I did...all night long...
 
 Patti Smith ended her set with "this one's for Jerry Garcia" and 
 played "Not Fade Away".
 
 Dylan was, oh so dashing, with a crushed red velvet long-cut jacket
 trimmed in black at the collar and sleeves.  Black pants with the
 silver "buttons" down the seams.   A smile on his face.
 
 His show started typically with the rocking "Down in the Flood".
 
 Into a beautiful flowing rendition of "I Want You" - not the first
 time in the evening to find myself just swaying to the pedal steel
 which adds -such- a nice touch to this band.
 
 "All Along the Watchtower" - I just love this song and am always
 happy to hear it.  It rocked.  Dylan is just so cool to watch
 as he plays - his legs spread apart, his knees sometimes bending
 into the accent.
 
 "Simple Twist of Fate" is another one of the songs that benefits
 so much, I think, from the pedal steel sound.  Beautiful.  I left
 the show sort of "floating" a bit above the ground and part of that
 was from these slow, swaying numbers.
 
 "(Most Likely) You Go Your Way and I Go Mine" was, to me, a new
 melody...it took me a while to realize what they were playing.
 It was very beautiful too.
 
 "Silvio" was the highlight of the show for me - I was just skipping
 with delight.
 
 The acoustic set started with "Mr. Tambourine Man", Dylan played the
 harmonica at the end.  He's holding the harmonica and mike in hand
 now - no longer using the holder that goes around his neck.  I sat 
 down for this, and only this, one.
 
 "Masters of War" popped me outta my seat again.  It seemed to me
 that the young people around me recognized the song - good.  Every
 generation needs to hear these words.
 
 Love Minus Zero/No Limit - just beautiful, highlight of the acoustic
 set for me.  I think I must have sighed out loud, because the person
 next to me turned to me with a smile on his face too.
 
 From reading on the internet recently, I knew that the crowd would
 rush the stage after the acoustic set, so I was prepared!  I dashed
 or danced or pranced my way down front until I was against the stage
 surely less than 15 feet away from Dylan.  That was truly an experience
 I'm not going to forget - being able to watch his face and his hands
 and his whole body.  He plays his guitar with his whole body.  I could
 see that, underneath his jacket, the muscles in his back and shoulders
 were "playing" the music too.  He would sort of raise and lower his
 shoulders along with the music - he looked totally at ease - it was
 a very "easy" movement.  And yet he was also totally in control of the 
 band.  He wandered around talking and playing with each of them.  He 
 seemed to be quite happy up there and having a good time.
 
 "God Knows" and "I and I" began the 2nd electric part.  I honestly
 can't remember too much detail of these 2 because I was so stunned
 to be so close to Dylan.  But I do know that even with the cramped
 space I had, I still managed to be dancing and even moving around
 quite a bit - it was sort of magical that I wasn't stepping all
 over other people's feet, but I don't think I was!
 
 "Highway 61 Revisited" is a totally excellent way to end the set.
 Rock out!!
 
 The first encore was "Alabama Getaway" - a tribute to Jerry.  I 
 knew it would be done and wondered how I would feel hearing it.
 The last time I saw Dylan was the last time I saw Jerry (at
 Highgate) and seeing him now was just another reminder of
 the loss.  But, in any event, I had no time to wallow in sorrow
 here - this was such a fun dance tune.  I loved it.  Thanks Bob.
 
 Before they came out for their encore, I could see stage hands
 setting up for acoustic instruments, but the band walked off the
 stage after "Alabama Getaway".  But then they came back again for
 "Girl of the North Country" (I guess I really haven't been
 paying too close attention to the setlists - this was a very
 pleasant surprise for me) - accompanied by mandolin and standup
 bass.  
 
 Each time they left the stage, they would come to the edge, bow,
 acknowledge the audience, shake hands with some of the audience.
 
 Didn't really expect a 3rd encore either..."Rainy Day Women #12+35" 
 was a FUN way to end the night.  Even security was dancing!
 
 Being shut in by a snowstorm on Saturday with absolutely no way
 to go anywhere was just too perfect.  It was just a lazy day of
 hanging out watching the snowflakes fall and listening to Dylan
 on the record&tape&cd players all day long.  If I blurred my
 vision purposely I could see Dylan right there in front of my
 eyes, the memory was so vivid!  And then I thought maybe, just maybe,
 Dylan was outside sliding around on the streets of Boston in his
 boots enjoying the storm too...maybe
 
 Debess
 
 

re:   <<< Note 143.321 by STAR::ECOMAN::DEBESS "ohmama,CanThisREALLYBeTheEnd" >>>

> "Masters of War" popped me outta my seat again.  It seemed to me
> that the young people around me recognized the song - good.  Every
> generation needs to hear these words.

Eddie Vedder, lead singer of Pearl Jam, did "Masters of War" (which I really
wanted to hear!) at the Dylan Tribute a couple of years ago.  Maybe that's
why ?

/Ken

	btw - a note of THANKS to da ve and ti me for hosting the
	before-and-after-Dylan pahty...'twas fun indeed...

	and thanks to brucel for giving us a guided tour thru
	Worcester...great navigator ;-)

	and speaking of navigating, well after leaving da ve's, we
	got on the highway going the wrong way, took the next exit
	and somehow ended up driving right by da ve's house again...
	"yeah yeah Guntis we're going to go right by his house"...
	"no way" "well, there it is" ;-)  I thought we might end up
	in some sort of infinite loop...

	Debess

    wow...I'm envious...sounds like a grate time...
    
    rfb

    and thank you to everyone who came by!
    
    i must admit, this crowd was the EASIEST party i ever cleaned up after!
    a minimum of puttering around afterwards...  not so much "cleaning up"
    due to revelers doing a lot of thier own "mess management"... :^)
    
    my only complaint (if you can call it that) is that some of you didn't 
    sign the "guest register" on the wall!  :^)
    
    
    					da ve

    oh yeah, and the highlight for me was Masters of War...  though Silvio
    was way cool also...  
    
    now i just need to know, how were those airwave samples?  did they 
    come through ok?  :^)
    
    for a little venue info, very mellow security at the Aud...  the only
    thing they don't like it seems, is smoking...  since it's an old kinda
    historic place with polishe hardwood floors and plush comfy seats, i
    didn't really have much trouble with that...  i was impressed that they
    were selling beer...  that they didn't search everyone, and that they
    let people come and go from the building so they could smoke outside!
    
    					da ve

    
    Yes Da ve .. thanks for the fun time!  Very cool place to party.
    Lots for rooms and space to mingle.  
    
    I was one of the folks that did not sign the wall. I meant to
    leave a kiss for santa da ve but did'nt have enough lipstick
    on to leave an imprint!  I'll be back though.
    
    Cath

	yeah, thanks to da ve for the pre- and post- dylan bash.
	
	cool place. excellent company.
	
	i left a note, but didn't actually sign it.  ;-)
	
	and, let us know when you ear the air-wave samples.  :-)
	

    
>    my only complaint (if you can call it that) is that some of you didn't 
>    sign the "guest register" on the wall!  :^)
    
	yeah, da ve, it -did- seem disappointedly empty (certainly compared
	to the ones you had up from parties-past)...guess we do enough
	talking-by-writing anyways, so just wanted to spend the time
	talking-by-talking...

	Debess

Yes, it was most excellent having a nice pre/post show hangout pad so close
to the Aud!  Thankyou!
I also did not sign the Guest Register (didn't realize about it) though
I did scribble something on the Dylan Ravings poster.

 Josh

	hey josh (or anyone else that was there) what did Dylan
	play on Saturday and Sunday?

	Debess

    Worcester, Massachusetts
    December 8, 1995
    Worcester Auditorium
     1. Crash On The Levee (Down In The Flood) 
     2. I Want You 
     3. All Along The Watchtower 
     4. Simple Twist Of Fate 
     5. Most Likely You Go Your Way (And I'll Go Mine) 
     6. Silvio 
     7. Mr. Tambourine Man (acoustic) 
     8. Masters Of War (acoustic) 
     9. Love Minus Zero/No Limit (acoustic) 
     10. God Knows 
     11. I & I 
     12. Highway 61 Revisited 
    
       (encore)
     13. Alabama Getaway 
     14. Girl Of The North Country (acoustic) 
     15. Rainy Day Women Nos. 12 & 35 
    
    
    Boston, Massachusetts
    December 9, 1995
    Orpheum Theater
     1. Crash On The Levee (Down In The Flood) 
     2. Tonight I'll Be Staying Here With You 
     3. All Along The Watchtower 
     4. Positively 4th Street 
     5. Pledging My Time 
     6. Silvio 
     7. Tangled Up In Blue (acoustic) 
     8. To Ramona (acoustic) 
     9. John Brown (acoustic) 
     10. Maggie's Farm 
     11. Lenny Bruce 
     12. Seeing The Real You At Last 
    
       (encore)
     13. Alabama Getaway 
     14. One Too Many Mornings (acoustic) 
     15. Rainy Day Women Nos. 12 & 35 
    
    
    Boston, Massachusetts
    December 10, 1995
    Orpheum Theater
     1. Drifter's Escape 
     2. Senor 
     3. All Along The Watchtower 
     4. Tears Of Rage 
     5. I Don't Believe You (She Acts Like We Never Have Met) 
     6. Silvio 
     7. Mr. Tambourine Man (acoustic) 
     8. Masters Of War (acoustic) 
     9. Mama You Been On My Mind (acoustic) 
     10. Dark Eyes (vocals shared with Patti Smith) 
     11. Jokerman 
     12. Highway 61 Revisited 
    
       (encore)
     13. Alabama Getaway 
     14. My Back Pages (acoustic) 
     15. Rainy Day Women Nos. 12 & 35 
    
    

        
        1.Crash On The Levee (Down In The Flood) 
        2.Tonight I'll Be Staying Here With You 
        3.All Along The Watchtower 
        4.Positively 4th Street 
        5.Pledging My Time 
        6.Silvio 
        7.Tangled Up In Blue (acoustic) 
        8.To Ramona (acoustic) 
        9.John Brown (acoustic) 
       10.Maggie's Farm 
       11.Lennie Bruce 
       12.Seeing The Real You At Last 
    
           (encore)
       13.Alabama Getaway 
       14.One Too Many Mornings (acoustic) 
       15.Rainy Day Women Nos. 12 & 35 
    

Whew!  Saved!  Now that someone's kindly entered in the setlists, I can
add my addled recollections about the songs that were hightlights for me.

Worcester, Massachusetts
December 8, 1995
Worcester Auditorium
>4. Simple Twist Of Fate 
Nice, slow tempo.   After the song I noticed tears in the eyes of women in the
row behind me.  Good singing, but Bob cracked his voice most amusingly
on one high note.  Of course, some may say that on anything Bob sings, his
voice is cracking :-)  

>5. Most Likely You Go Your Way (And I'll Go Mine) 
the new (as of a couple years, actually) arrangement.  I like it :-).

>6. Silvio 
Bob rocks out!  Guitar-hero licks tradeoffs with Jackson.  Hot damn the 'ole
man can play!

>7. Mr. Tambourine Man (acoustic) 
eh, whats this, holding the harp with one hand?  (no the other hand was not
waving free, it was holding the microphone wire and the guitar neck).
Hmm.. a little too "greatest hits"ish for me... but then...

>8. Masters Of War (acoustic) 
Still have the incessant attack of this songs riff running round my brain.

>9. Love Minus Zero/No Limit (acoustic) 
Mind meltdown.  heard this last year at the Orpheum - and I love the dual
acoustic guitars playing the line in unison.  great singing.

>12. Highway 61 Revisited 
More Bob hard-rocking.

   (encore)
>13. Alabama Getaway 
Yippee!  The crowd boogies down.   why does he pay tribute with _this_ song,
among all that Hunter/Garcia have written?  From the way Dylan gleefully sings
the lines about "the only way to please me it just to get up and walk away"
I think Dylan digs it as having similar sentiments to Positively 4th Street,
and Ballad of a Thin Man.

>14. Girl Of The North Country (acoustic) 
wow, a SECOND encore!  Dylan slips into that emotional/relationship space he's 
explored so well.  Beautifully done.

>15. Rainy Day Women Nos. 12 & 35 
and a THIRD encore!  Afterward, Bob darts up to the front of the stage and
shakes hands with a few fans.  


Boston, Massachusetts
December 9, 1995
Orpheum Theater
>1. Crash On The Levee (Down In The Flood) 
Hmm.... a little predicatable. 

>2. Tonight I'll Be Staying Here With You 
Wonderful pedal steel!

>4. Positively 4th Street 
One of the highlights of Bob's set!  Great, great singing - he didn't
deconstruct this one, which I liked just fine.

>5. Pledging My Time 
a little bluetime!

>6. Silvio 
More hard rocking.

>7. Tangled Up In Blue (acoustic) 
Love the big standup acoustic sound on this.  Great sound up in the balcony 
of the Orpheum.

>8. To Ramona (acoustic) 
Transfixing.  riveting.  Just thinking about this now still gives me a shiver!
Back in that rent-asunder-relationship terratory again - 
	and someday, baby, who knows, maybe
	I'll come and be crying to you

>9. John Brown (acoustic) 
One of the scariest songs Dylan's ever written about the horrors of war - 
and he delivered the goods tonight.

>14. One Too Many Mornings (acoustic) 
*sigh*.... 


Boston, Massachusetts
December 10, 1995
Orpheum Theater
>9. Mama You Been On My Mind (acoustic) 
I'd be happy with just all acoustic sets!

>10. Dark Eyes (vocals shared with Patti Smith) 
just wonderful!

>14. My Back Pages (acoustic) 
The only tune Dylan forgot words on!   :-)
Kinda seemed like the ole master gently sticking his tongue out at us - 
"younger than that now" indeed.

 Josh

>I'd be happy with just all acoustic sets!

	I sure like to hear the rockin' electric numbers, but I agree
	Josh, he is a virtuoso of the acoustic guitar...

	Debess

    What a great night (Friday was the only show we went to)!  I can't
    believe how personable Bobby is .... he hardly ever used to speak
    to the crowd much less TOUCH them !  He surely can pack a pile of
    emotion into a word.  Witness the "I Want You" .. whew ..  I first
    heard him do it that slow tempo in BG during the Rolling Thunder
    review in the late seventies and I never get tired of it.  The whole
    show was just top notch.  
    
    thanks again to Da ve for putting up with us and so good to see 
    everyone!
    
    carol

	re: Rolling Thunder - Guntis heard on the radio that that night
	(last Friday) was the 20th anniversary of the end of that tour
	in NYC

	Debess

Just read a most excellent posting on rec.music.dylan.  Patti Smith talks
about Bob, in 1975.  Gotta go home and listen at "Wallflower" on Biograph!
   Josh


Article 49352 of rec.music.dylan:
Newsgroups: rec.music.dylan
Date: Sun, 17 Dec 1995 15:31:23 EST
From: David Florkow <FlorkoD_at_MET15MF1@CCMAIL.EDU.GOV.ON.CA>
Subject: And, Patti Smith on Bob Dylan

     The following is a chapter from the book _Wanted Man: in search of Bob
     Dylan_, edited by John Bauldie, published by Citadel Underground, New
     York, 1991. I pass it along as it provides some background to the
     Bob/Patti connection.  Note that the year being recalled is 1975. All
     punctuation is as per the original (except, of course, my typos).

     The interviewer, identified only as "Miles", is described in the list
     of contributors as follows:

     "Miles co-founded (with John Hopkins) the underground newspaper
     _International Times_ and is the author of several books, including
     two about Bob Dylan -- _Dylan_ (Big O, 1978) and _In His Own Words_
     (Omnibus, 1978).  He recently published a biography of Allen Ginsberg
     (Viking, 1990) and is hoping to begin work shortly on the authorized
     biography of Paul McCartney.  Meanwhile he buys and sells rare books
     and lives in London."

     "1975: `He's such a maniac...'"

     Patti Smith, by Miles

     [Introductory material, in italics in original] Patti Smith, poet and
     rock singer extraordinaire, was in bed in the Chelsea Hotel when Miles
     called round to ask her about her encounters with Bob Dylan back in
     1975.  The interview was conducted on March 18, 1977 but never
     published.

     In 1975, at the Other End, when we played there, right after me and my
     band got signed, Bob came.  I knew he was there -- nobody had to tell
     me.  I felt something.  The neat thing about him is that his energy is
     a real thing.  I don't expect anything out of anybody when I meet
     them, all I expect is that ... if I've really admired them...that they
     exude a certain kind of energy that's really inspiring.  And he had a
     lot of it.  He's really an amazing storehouse -- he's so full of
     grace, speed and urgency, it's a real thing.

        I'm never ashamed to say what makes me happy, and that was
     something.  It was really great.  And then he came back to see me and
     it was different because there was the same kind of sensation that I
     used to have in high school, like when you meet a guy in the
     hallway...it was just like that -- teenage.  It was like we had an
     energy collision.  I felt like we were both...blue T-birds, you know,
     having a head-on collision.  Or like a pit dog dance, or a cock fight,
     circling around.  Then I got real nervous and I went to another room
     -- and he came after me and said something.  And I moved to another
     room and he came and hugged me and people took pictures.  It was
     really great, just like when you're the wallflower all your life...I
     always wanted to dance with boys and nobody ever asked me to dance, I
     had to wait for ladies' choice and I'd always pick he most beautiful
     boy, the most popular guy -- I was so pathetic.  but Bob understands
     that, 'cos he wrote the song "Wallflower" and he knew me, y'know, and
     he was checking up on me.  Not as long as I'd been checking up on him!

        At that time he was going through...he had been in hiding for so
     long, or...it wasn't the '60s any more.  And Dylan had been King of
     the '60s, the Absolute King -- he had Elvis Presley's crown of thorns,
     he was the next in line, the successor for the championship of
     rock'n'roll. To me, Dylan always represented rock'n'roll -- I never
     thought of him as a folk singer or poet or nothing.  I just thought he
     was the sexiest person since Elvis Presley -- sex in the brain,
     y'know? Sex at its most ultimate is being totally illuminated, and he
     was that, he was the King.  and he still has it.  I don't think his
     true power has been unleashed.  I haven't stopped believing in him.

        Well, he wanted to come out, and in the club he kinda saw in me
     someone who was potentially as strong as him, who has a lot of energy
     --the kind that makes you totally uncomfortable with the world -- and
     he recognized that.  On stage I was into improvising, linguistically,
     and I was especially inspired that night because he was there.  But of
     course I learned that from him, from "Bob Dylan's 144th Dream of
     Captain Ahab", and yet it was almost like it was a new thing to him.
     I said, "You have to remember where that came from!"  He started
     getting really turned on by the idea of the band -- my guys following
     me or pushing me and not faltering or wondering about what musical
     changes to go into because I've just spread the song out like a hand.
     He saw somebody doing something that he didn't think was possible, and
     he said, "I wish I would have stayed with just one group -- if I'd had
     the same group all this time how well we would have known the ins and
     outs of each other."

        He started hanging out more.  He liked the fact that he could be in
     a club and people didn't maul him to death, because there were a lot
     of things happening at that time.  And we were hanging out there, and
     it was really great 'cos we'd all get drunk and stuff and be falling
     around.  People just started turning up in the Village.  It happened
     very fast.  Jack Elliott was around -- everybody was around.  Then one
     night, Bob started going up on stage, jamming with these people.  I
     saw him start getting attracted to certain people -- Rob Stoner, Bobby
     Neuwirth -- it was great to see him and Bob back together because he
     really brings out the worst in Dylan, which is what we usually love
     the best. And he was working out this Rolling Thunder thing -- he was
     thinking about improvisation, about extending himself language-wise.
     In the talks that we had there was something that he admired about me
     that was difficult to comprehend then, but that's what we were talking
     about.  That's what we were talking about on the stairway -- there are
     pictures -- when he started getting Rolling Thunder together.

        Everybody was asked to go on Rolling Thunder except me.  And then
     he told me to come to this party.  Actually It thought he was inviting
     me for a drink -- he asked me to come to some bar at Gerde's Folk
     City, where he first started in New York.  so I went, and there's a
     million people there -- well known people, and I thought he was asking
     me for a drink, he couldn't have asked all these people -- is this a
     coincidence?  but it was a party for a birthday and they were also
     going to announce Rolling Thunder.

        and how he announced it was real weird.  First, him and Joan Baez
     got up and sang "One Too Many Mornings", which was one of my favorite
     Dylan songs...now you see, I'd seen him a lot in between all this
     time, but it's like personal, y'know, not relevant -- only to my
     memories...Anyway, different people got up: Bobby Neuwirth, Jack
     Elliott got up, Jim McGuinn got up and sang his horse song; Bette
     Midler got up and sang this song -- she didn't do such a hot job.  She
     may have been nervous -- at first I thought she was just obnoxious and
     not so hot, but she did this weird thing -- she came over and threw
     this glass of beer in my face!  Just walked up! I never met her
     before.  It was like a John Wayne movie! She had bloomers on -- or
     pyjamas, I don't know.  I was real shocked.  And then Dylan stood
     right up and he made me go up there.  But I had no band, no song
     prepared, but I understood that why I had to go up there was to save
     face.  Since I couldn't hit her I had to do something to maintain my
     dignity, so I got up there and Eric Andersen was there, and I said,
     "Just play a droning E chord behind me."  so I just made up this
     think.  I looked at Bob and made up this thing about brother and
     sister.  But while "I'm doing it I start thinking about Sam Shepard --
     he was in my consciousness -- and so I told this story, really got
     into it, made this brother and sister be parted by the greed and
     corruption of the system -- and I did a good job and lots of people
     liked it.  I was real proud.  There was a lot of tension.  Phil Ochs
     was there, and Phil Ochs could always bring out that "Don't Look Back"
     side of Dylan.  Dylan's got that side still -- it's all stored up --
     he's all those people, he's still that guy, he hasn't turned beautiful
     and gentle, he's real bastard -- but that's what I think is great, for
     his art -- maybe not for being a husband! And he was like really a
     son-of-a-bitch that night.  Phil Ochs was crazy.  Phil Ochs ...I
     couldn't believe it, but Bob wouldn't talk to Phil Ochs.  The two of
     them...it was like there was a noose in the middle of the room and
     they were circling around, trying to get each other to hang
     themselves.

        One time he was telling me what my gifts were -- he has great
     humility but he doesn't like flattery -- hates for y you to tell him
     how much he meant to you all your life, through your youn years -- he
     doesn't want to hear that.  What he wants to do is tell you the good
     things about you, so that you can do your own work; he doesn't want
     you to be involved with him, he would rather inspire you to do your
     own work -- he's not jealous and possessive about that.  So he was
     trying to teach me just what my worth was, and we did some neat stuff
     together.  They were filming this, at a crazy party up on 8th Street
     somewhere.  He told me to maintain the eye of an eagle, which he told
     me I had, and then Phil Ochs came up and poured a whole pail of beer
     on my head, and Bob started fighting with Phil and I said, "What _is_
     this"? Every time I'm around you I get doused with beer!"

        The next step was that I had to go to a rehearsal at S.I.R., the
     last rehearsal.  And he's singing these songs and I wanted him to rock
     it up.  I said, "What's with this acoustic guitar?"  Then he goes off
     into a room.  But then there's like these hot-shot lawyers and
     bodyguards and stuff around -- it looks like the Mafia -- I can see
     why he was into Joey Gallo -- he has himself this whole thing -- and
     they tap me on the shoulder and they go, "Bob wants to see ya!"  And
     so these lawyers take me on into this room and he's standing there,
     looked great, and his lawyers say, "Bob is having this Rolling Thunder
     Revue and he wants you to go on it."  And he says, "erm...yes. I think
     it would be very good for your career -- get you exposure."  And I
     thought it was a riot, him talking to me like that!  And I said,
     "Whaddya mean? Exposure? I'm getting well exposed! You didn't discover
     me under a rock, you know -- people know I'm out there!"  And I said,
     "Look, you got 150 million people going on this tour with you, you
     don't need to make space for me.  I'd just drive you crazy, totally
     crazy.  And the only thing I'd ever want to do with you is to drive
     you crazy -- to push you so far that you would start to cut everybody
     down verbally, that you'd play the best solo on the electric guitar,
     push you to see you be the best, not rehashing old folk songs and
     singing country harmony -- I ain't interested in singing country
     harmony with you, I did that in a bar, where country harmony belongs."

        Well, he saw my point.  I'd got everything I need from him -- he's
     inspired me for so long, I guessed it was time to turn the beat
     around.  so I said, "I'll give you one tip.  Use your fists."  He sort
     of hung his hands when he was singing, when he was standing there
     without a guitar he didn't know what to do with his hands.  I said,
     "Grab that microphone.  You got these fists, you're singing about a
     boxer, Hurricane Carter, use those fists! Box with them.  You're a
     great mover -- what're you standing there like a dead fish for?
     Move!"  He was a great mover in the '60s, Dylan, those great little
     curtsies he used to do.  I said, "You're the father of Cool.  Don't be
     cool by being uptight, be cool by moving with the moment." And he
     says, "Aw, I can't hit the air with my fists or nothing.  People will
     think I'm copying you!"  I said, "Well, I've imitated you for 12
     years, you can spare a little imitation."  So he just laughed.  Seeing
     him laugh is great, 'cos he has a lot of pain.  He's like the Duke of
     Windsor -- how he gave up his crown for the woman he loved, y'know?
     He's like that.  But he's also got a streak in him that won't give up
     being a contender, and the streak is what gives him so much life --
     that streak makes him keep creating, keeps putting him out there.

        Anyway, the streak took him out on the Rolling Thunder thing.  Sam
     went out on the road with him, I didn't go.  Sam did the same thing
     --kept pushing him to improve, got him to Kerouac's grave, got him to
     exorcise his demon and to really start celebrating.  and Dylan opened
     up -- his lungs, his sunglasses became windows -- and then he slammed
     them shut again.  And Sam said, "If you're gonna get involved in all
     this superficial folky stuff then I'm leaving."  So Sam split.  I
     couldn't believe Sam split.  Dylan's not used to having people walk
     out on him.  He didn't like it.

        Dylan's such a fucking maniac.  Y'know, I've not said anything
     specifically, but I hope I've done something here to remind how
     intense he is, and how much that intensity has only been successfully
     revealed through abstract expressionism in rock'n'roll.  I look at him
     and I don't see a guy giving out leaflets, holding a banner.  I see a
     machine gun.

                                - 30 -

     After that, I think I need a drink.

     David
     (david.florkow@edu.gov.on.da)

    yes - sex for the brain is exactly right - i've searched for that 
    phrase for years and years. 
    
    I remember reading about how he would tell people that he didn't want
    to be respnosible for their lives - didn't want to be no hero (like in 
    the Lenny Bruce song, i think). 
    
    And btw - isn't Wallflowers the name of Dylan's son's group?
    
    carol

Well, I just read something very interesting in rec.music.dylan.
ok all you numerologists, here goes!

Rainy Day Women #12 & 35.  

12 times 35 = 420.  420 is the number (more like rallying battle cry) of
(I think) some pro-marijuana legislation, in California, I think?
 Hmm maybe its actually an anti-mj ordnance - I don't really know, but I 
do know that "420" is something to do with mj, and it's gotten thousands
of postings about it in the last on r.m.gdead.

scary, huh, to think that Dylan wrote RWD in 1965!

 Josh

    420
    "A bowl in progress"
    or California penal code for misdemeanor possession
    
    

    Also used as a great Paging code, I like the 420 hat, that shows
    an interstate sign with 420.

	a while ago, I was wondering here if Dylan would write a
	song for Jerry.  I've also been wondering what Hunter would
	be doing now.

	I read a very small blurb on the internet and have jumped
	to wild conclusions - so, believe it if you need it! -
	apparently Robert Hunter did one of those on-line chat
	things and someone asked if he was going to be working
	with Dylan again.  Now, I don't have the quote or anything
	but the gist was yes, definately, and they had spent alot
	of time together in the days following Jerry's funeral...
	
	Debess

Yo, dylanheads, listen up!  Tix for a show in Manchester NH on April 14, 1996
go on sale this Sat. at Ticketmaster at 10 AM.
I'll be picking up tix for this one!  
   Josh

From a post on rec.music.dylan by Bill Pagel
------------------------------------------------------------
May 11, 1996   Buffalo, New York
May 3, 1996     Lewisburg, Pennsylvania
May 2, 1996     Pittsburgh, Pennsylvania
May 1, 1996     Erie, Pennsylvania
April 30, 1996   Toledo, Ohio
April 28, 1996   London, Ontario
April 26, 1996   Toronto, Ontario
April 25, 1996   Toronto, Ontario
April 24, 1996   Montreal, Quebec
April 23, 1996   Ottawa, Ontario
April 21, 1996   Portland, Maine - State Theater
      Tickets on sale to State Theater members through the box office
      starting on Friday, March 22nd at 10 AM (membership $250.00)
      Tickets on sale to the general public through the box office
      starting on Saturday, March 23rd at 10 AM
      Box office phone number: 207-879-1112
      Ticket prices range from $29 to $101
      All seats are general admission with the exception
      of the $101 seats
      Benefit concert for the theater

April 20, 1996   Portland, Maine - State Theater
      Tickets on sale to State Theater members through the box office
      starting on Friday, March 22nd at 10 AM (membership $250.00)
      Tickets on sale to the general public through the box office
      starting on Saturday, March 23rd at 10 AM
      Box office phone number: 207-879-1112
      Ticket prices range from $29 to $101
      All seats are general admission with the exception
      of the $101 seats
      Benefit concert fo the theater
 
April 18, 1996   Providence, Rhode Island - The Strand
      Capacity: approximately 2000 with the balcony open
      General admission show
      Tickets are $25.00
      Tickets on sale through Ticketmaster starting
      on Saturday, March 23rd at 10 AM
      Ticketmaster phone number: 401-331-2211
      Tickets on sale through the box office starting
      on Saturday, March 23rd at 11 AM
      Box office phone number: 401-272-8900

April 14, 1996   Manchester, New Hampshire - Palace Theater
      Tickets on sale through Ticketmaster starting
      on Saturday, March 23rd at 10 AM
      Ticketmaster phone number: 603-626-5000
      Tickets are $35.00
      Opening act: Jewell
 
April 13, 1996   Madison, New Jersey - Drew University
      Simon Forum Athletic Center
      Seating capacity: approximately 3500
      General admission show
      Showtime:  8:00 PM
      Tickets on sale to students starting on March 25th at 11 AM
      at the Drew University Center.
      Tickets will go on sale to the general public through
      Ticketmaster on March 29th
      Ticketmaster phone number: 609-520-8383

Concert information can be found on the Bob Links web page located at:

                 http://www.execpc.com/~billp61/boblink.html

	8-)

Reposted from rec.music.dylan, a nice article about the Dec. 95 Bob'n'Patti
shows.  Justa work you fellow dylan heads back up into a lather for the
upcoming shows.  - Josh


Article 55482 of rec.music.dylan:
Newsgroups: rec.music.dylan
From: mg@asp.camb.inmet.com (Mitch Gart)
Subject: December tour review (long)
Organization: Intermetrics, Inc.
Date: Wed, 20 Mar 1996 12:47:25 GMT
Lines: 475

There's an excellent piece (new info!) in the new Fi Magazine (no 
relation to Fiona), April 1996 issue on the December 1995 tour of Patti 
& Bob. The issue costs $5.95, and is mainly for audiophiles, but if you 
can't get it, here's, ahem, "excerpts" (all typos are scanner/OCR 
induced):

----------------------------------------------
B0B DYLAN AND PATTI SMITH ON
TOUR, DECEMBER 1995
by Paul Williams

"All you guys together is great too!" Thus
spoke Patti Smith to her audience in a col-
lege gym on December 1, 1995, in Danbury,
Connecticut. She was responding to an au-
dience member who shouted out how great
it was to see her and Television founder
Tom Verlaine and Patti Smith Group veter-
ans Lenny Kaye and Jay Dee Daugherty on
stage together. The shouter was presumably
also anticipating seeing Patti Smith and
Bob Dylan together later on at this, their
first appearallce on the same stage ever in
the course of their two legendary rock-and-
roll biographies to date. "Mine have been
like Verlaine's and Rimbaud's," Dylan said
of his relationships in a 1974 song. lt's not
hard to imagine a 21st century minstrel say-
ing his or her relationships have been like
Bob Dylan's and Patti Smith's. Ah, history.
Before our eyes and ears.

  It Was the Paradise Lost Tour, so de-
described on a poster sold at the T-shirt table
at these ten Bob Dylan and Patti Smith
shows in New England, New York, and
Pennsylvania in mid-December. It was my
good fortune to be at the first five collcerts.
They were wonderful, both sets, both artists
and all their accompanists, and starting at
the fourth show, the second night in
Boston, the two poets did appear on stage
together for one song, Dylan's haunting
1985 ballad "Dark Eyes" (from the Empire
Burlesque album), which he has never sung
before in concert except for a 20-second
false start at one show in early 1986. The
name of the "Paradise Lost" tour is presum-
alnly a humorous response (perhaps from
someone in the Smith camp, or could it
have heen Bob's prankish suggestion?) to
Dylan's liner notes for his 1994 album World
Gone Wrong,  where  he  rejects  the
"Neverending Tour" moniker and makes up
funny names for many different (and arbi-
trary) six-month segments of his virtually
nonstop itinerary over the last ten years. In
any case, making up tour names is not en-
tirely new to Bob; he named his fiendishly
inventive fall tour of Europe with Tom
Petty & band in 1987 "Temples in Flames."
Don't you wish you had a poster from that
tour to hang in your living room! Sure wish
I had one.  But anyway I was there last
month when the loss of paradise was cele-
brated as aptly as we're likely to experience
in this wonderful corner of musical and pop
cultural history.

   Wow. Dylan, as he has so often been
during these recent years of tireless touring
was inspired and full of surprises, full of in-
spiring musicopoetic performances, many
breathtaking memorable high points during
each of his sets, songs that even a very ex-
perienced fan could sometimes feel were the
very best version of this particular song he
(or she) had ever heard and seen Dylan de-
liver. (And the good news for centuries of
audiophiles yet to come is that these shows
like every Bob Dylan and Grateful Dead
performance since almost the start of time
were documented by fans in the crowd with
illicit--and very good--tape recorders. Not
obtainable at present unless you're in with
the illicit crowd, but perhaps to be sold to
happy music lovers someday by the artist
himsel for his heirs. Whatever. As long as
that Danbury performance of "Never
Gonna Be the Same Again" and the Boston
performance of "Lenny Bruce" can be heard
over and over again by gratified listeners
imagining and indeed experiencing the
soundstage.)

   Dylan was superb, in great voice and full
of keen desire to share life through music,
through  ensemble  performance,  and
through this form of poetry called song. He
also amazed even his most loyal fans by
varying his offerings as energetically as the
Grateful Dead in their best days: in the first
four concerts, he sang 39 different songs.

   Patti also was very good, at a moment
that was important to her not only because
she was finally co-billed with one of her true
music heroes, but also because these were
her first band shows (as opposed to solo,
spoken-word-plus-song shows) after her as-
tonishing 15-year absence as a live per-
former, a break even longer than and as mo-
mentous as Dylan's seven-year sabbatical
'67-'73 (both poets were raising children
during their breaks from touring). She was
nervous at first (as she acknowledged to the
audience the second night), but also in ter-
rific voice from the beginning and glorious-
ly supported by a band more in the tradition
of the early Stones than the later Stones
themselves. New songs and old songs, and
every one a delicious listening and watching
experience. I'll tell you more. But first I
want to note that in an evening (five
evenings for me) of quite a few thrilling
high points for Smith lovers and Dylan
lovers, the single moment that most sum-
marized the entire experience, and provided
pleasure equal to the other highest points
from both artists, was Patti Smith and
band's  performance  of "The  Wicked
Messenger" ("with a mind that multiplied
the smallest MATTER!") from Dylan's 1967
album John Wesley Harding. What a great,
unstoppable, irresistible arrangement. She
reinvented the song as if she were the mas-
ter himself, and in a way absolutely suited to
her unique voice and temperament and
packet of themes and messages.  Oh my.
You must hear this. And you will, because
before the Paradise Lost Tour started, Patti
and friends had already recorded this "ver-
sion" for her new album that is expected
sometime in  spring 1996.

   Before I discuss a few more specifics of
the performances, I want to share with you
a story I know I'll tell my grandchildren:
hanging out backstage in Boston (my home-
town) way up the metal stairs with Patti
Smith and Tom Verlaine and my old sci-
ence fiction fan friend Lenny Kaye and oth-
er musicians from both bands, and other
true fans, notable among them Michael
Stipe of R.E.M. (I walked into Patti's band's
dressing room and he asked if he could take
my picture) (he traveled to the first five
shows on Patti's tour bus, Resident Honored
Fan) and ubiquitous poet Allen Ginsberg,
who thannked me for reviewing his (very ex-
cellent) hox set last year and told me about
Paul McCartney volunteering to be his
back-up musician at a recent benefit ensem-
ble poetry reading at Royal Albert Hall in
London. Allen won't exactly have grand-
children, but he is already telling them sto-
ries, hecause we are they, as we are also the
respectful progeny of Patti and Bob. Such a
night!

   Patti's theme for the tour, don't ask me
why, was feet. A high point of her set every
night (and especially spectacular Thursday
night, when it opened the tour) was her
1979 song "Dancing Barefoot," which she
punctuated with the great stage stunt (and
she made it feel like a ritual, invocation) of
taking off her shoes. The Dylan song she
chose to throw her very heart into, "Wicked
Messenger," climaxes with the cry, "the
soles of my feet I swear they're burning!"
And the new songs she shared with us (and
in five nights I came to know and love all
the new ones, instant old friends) included
"Walking Blind" and "Mortal Shoes." The
theme seemed to extend even into the won-
derful choice of 1976's "Ghost Dance" ("we
shall live again...") and 1988's "The Jackson
Song" (do yourself a big favor and find a
copy of her 1988 album with her late hus-
band Fred Smith, Dream of Life) for her first
son: "Little blue wings as those feet fly.)
Great singing, never mind whatcha read in
Rolling Stone. She has become one of our
finest (most expressive) vocalists. And a
nice choice to salute Jerry Garcia with a
Buddy Holly song the Dead always did as a
dance number, "Not Fade Away," conclud-
ing her theater piece each night by dancing
fiercely to this and/or her own "Rock N Roll
Nigger," and, on Saturday night particular-
ly, rapping spontaneous poetry in the style
of her masterpiece "Land" loudly over "Not
Fade Away's" Bo Diddley beat. No, Jerry
won't fade away. Not as long as we vote
with our feet.

  Walk up to the concert hall, and dance
to the music. That's how the 20th century
cult called "Deadheads" practiced their ar-
cane rituals. And the same is true for those
who love and who have made time in their
lives for any kind of jazz or rock or blues or
r&b in clubs or theaters or arenas. Live mu-
sic. Live performed art on stage in front of
a live audience. I go on about this because,
to me, the Paradise Lost Tour was an almost
deliberate celebration of the art of perfor-
mance. Smith recommitting herself after
her long absence, in proximity to one of the
primary role models who inspired her to
pursue this calling. And Bob Dylan adding
ten shows onto the end of what had already
been a long year for a champion road war-
rior comparable (as Dylan himself has sug-
gested) only to a B.B. King, or James Brown
in better years, a performer committed to
working as many nights as possible. In fact,
these ten shows brought Dylan's 1995 total
to 117 concerts, actually his biggest year
ever (not bad at age 54), beating his previ-
ous best: 114 in 1978. Jerry Garcia was and
is, I think, the patron saint of the dedicated
live-rock performer, so it is appropriate that
he was acknowledged not only by Patti but
also by Bob, who sang a song by Garcia and
Robert Hunter, "Alabama Getaway," with
tremendous gusto as his first encore every
night. Not mentioning Jerry's name. Just
throwing himself passionately into evoking
his musical spirit, with every bit as much
feeling as Garcia gave to the many Dylan
songs he sang. There were moments, even,
when you could see that Dylan feels he's
now got a band like Jerry had. Soulful and
tight and rockin'.  I did appreciate Jim
DeRogatis in Rolling Stone, even though he
and I disagree on the overall quality of
Patti's  Monday  performance,  praising
Dylan's band and noting that "it's possible
that the artist who fills the cultural void left
by the Dead's disbanding may well be the
one who inspired them in the first place."
Dylan celebrates the joy of performing most
nights, but he played these shows as if play-
ing on a bill with Patti Smith was as special
for him as it was for her. Just what one
might have prayed for: both artists speaking
in tongues, like 1965, 1975. But in manners
very much true to their experience and
artistic sensibilities in 1995.

  "A lot of girls have come along since
Patti started," Bob told the audience during
their first moment onstage together, in
Boston, "but Patti's still the best, you know."
And he kissed her. And followed "Dark
Eyes" with "Jokerman," one of his many
theme songs. It was a playful, dramatic,
deeply satisfying set of performances, each
night different and each set at each show as
high quality as the others (with the usual
variables, such as where you happened to be
sitting that night). I originally planned to
go to four shows, and I emphasize that I did-
n't go primarily for the event, as exciting as
the event of this co-bill was; I flew across
the country to hear the music, both of these
artists are among the very few that I will
travel any feasible distance to see any time I
have the opportunity to catch a promising
series of shows. What a musical opportuni-
ty this was. Two for one...And then the
fifth show was added when Michael Jackson
collapsed at a rehearsal and had to cancel
his HBO special and, secondarily, his nights
at the Beacon Theater in New York. The
Beacon asked Bob and Patti to add a date
now that Monday had become available
(and since their Thursday show had already
sold out).

  It seems strange to write about a live
music experience in a magazine about the
joys of listening to music recordings, al-
though one of the things I most relate to in
the audiophile community is the shared in-
terest in preserving and recreating the expe-
rience and artistry of live performances
through good recording and good listening.
Future generations will thank us for the
preservation of vital art that we support and
encourage now.  So it would also seem
strange not to acknowledge that while be-
ing at the five shows was the thrill of a Life-
time, I am now having a different kind of
thrill with the arrival (friends trading with
friends, often with the help of Internet com-
munication) of first-rate tapes of that fifth
show, New York City, December 11. Future
generations will write that much of the
greatest surviving work of the 20th century
rock artists like Dylan and the Rolling
Stones and Patti Smith, the Who, R.E.M.,
the Grateful Dead, is in the form of record-
ings (professional or otherwise) of their live
concerts. A great legacy. So let me wrap up
telling you about these shows I attended by
sharing just a small piece of the ecstatic mu-
sical experience I'm still having listening to
these first tapes.  (More will likely come
along, and if you're looking for a copy, don't
write to me; post your needs to the appro-
priate Internet newsgroup, And if you wan-
na know what tape to search for, you almost
can't go wrong in my opinion, but the tenth
show, Dec. 17 in Philadelphia, which I did-
n't see, is already a favorite of Dylan fans on
the Internet. One woman on the Net de-
scribes talking to a member of Dylan's sound
crew at the end of that concert, a guy who
says he's been at every show since Dylan
started touring with Tom Petty, which is ten
years ago. "I told him it was the best show
I've seen in six years. His response was,
'Best show ever.  Even Watchtower was
GREAT!'" (The fans and maybe the crew
get a little weary of "All Along the
Watchtower," a crowd-pleaser that Dylan
and band have performed at virtually every
show for years in a row. And it still does
have nights when it transcends itself, even
if you're not hearing it for the first time.)

  So let's look at Dylan's Dec. ll set, al-
though Patti's is also worthy of repeated at-
tention, starting (only this night) with a
fiery unaccompanied reading of her own
Corso/Ginsberg/Ferlinghetti extravaganza,
"Piss Factory," a working girl teenage angst
poem that was also her first single, on an in-
die label (quite rare). Dylan's first New
York set -- "I might seem a little sluggish
tonight," he joked, "couldn't sleep last
night, I was so excited about playing in New
York." -- showcased a very relaxed and con-
fident (and not at all sluggish) singer and
band. Working from an extraordinary song-
book, which tonight yielded electric or
acoustic string band versions of "Mr.
Tambourine Man" (gorgeous this night, as
at most performances of this new 1995
arrangement), "Rainy Day Women," "Girl
from the North Country"   and
"Watchtower" by way of greatest hits (he
does want 'em to go away happy if possible),
and a generous selection of less likely and
highly desirable choices:  "Tears of Rage,"
"Drifter's Escape," "Mama, You Been on My
Mind," "Senor," "Most Likely You Go Your
Way," "Silvio," "Masters of War," "Highway
61 Revisited," and the aforementioned
"JokerMan," "Dark Eyes," and "Alabama
Getaway." A splendid cross-section of an
important artist's life work. But more than
that, a very immediate cross-section of his
mind and his feelings tonight, as though
each song is coming into existence for the
first and final time before your eyes and ears.

  "Girl from the North Country," for ex-
ample, as I rewind the tape and listen to it
again and again with tears in my eyes, is an
absolutely exquisite evocation of this 54-
year-old man's intensely poignant feelings of
loss and tenderness when he lets himself
think about loves and scenes from his past.
Particularly keen this night in New York. If
you listen to all of the officially released live
recordings of Bob Dylan, you'll have to go
to the solo acoustic performances from 1966
on Biogragh to find this particular degree of
heartbreaking sweetness and vulnerability
in the singer's voice...and you won't find the
unique sound of his acoustic string band
(guitars, string bass, mandolin) anywhere,
because it hasn't been adequately docu-
mented on an official release. All Dylan has
to do is hand this 12/11/95 tape to his
record company and get it on the street, to
change forever the public and critical as-
sessment of his ongoing revolutionary ac-
complishment as a singer and bandleader
and working artist in the medium of live
musical performance.  The innovative,
jazzy, small combo performance of this song
is so richly textured and moving that the re-
lease of this show as an album, preferably
alongside an album of the still-unreleased
extraordinary Supper Club shvws from New
York City 1993, would I think serve to es-
tablish once and for all Dylan's preemi-
nence arnong all American rock or folk per-
formers of his era, not just back in the '60s
but equally now in the 1990s.

  I can barely begin to describe to you the
treasures to be found on this Dylan tape.
His self-confidence and expressiveness in
front of his current band, and the results he
and they achieve song after song after song,
argue that this combo, John Jackson on gui-
tar, Tony Garnier on bass, Winston Watson
on drums, Bucky Baxter on mandolin and
lap steel, and Dylan on voice, guitar and
harmonica, is the equal of any band Dylan
has ever worked with, even the Band itself.
Listen for example to "Tears of Rage." This
is a performance of almost unthinkable
power and beauty, an epic re-creation (new
words, new interpretation) that is every bit
as timely and devastating as if he had writ-
ten a brand new song in order to share with
us his assessment of the state of the uni-
verse, end of 1995 and trembling on the
edge of the next era. What artistry. The
Paradise Lost Tour was more than a mar-
velous event. It was also the occasion of the
recording, by amateurs if not professionals,
of works by these great artists that will like-
ly survive them and keep pleasing listeners
for centuries to come.

  What it takes to be present at a great
moment is to have the impulse to go down
to the show, and then to follow one's intu-
ition. I can't help but remember a day at
the end of June in 1975 when I had the im-
pulse to finally go see this Patti Smith my
friends had been telling me about. At the
Other End on Bleecker Street, I found my-
self sitting in a booth next to Bob Dylan's,
another music fan who apparently had had
the same impulse. Patti and her group were
great that night, and Bob went backstage to
congratulate her. It was their first meeting.
For some reason I found myself there. And
twenty years later I found myself again a fly
on the wall backstage, this time Patti had
just come upstairs in Boston after her first
conversation with Bob on the Paradise Lost
Tour, and Michael Stipe was lovingly braid-
ing her hair, helping her get ready for the
show. Why was he there? Because Patti
Smith, as he and other members of R.E.M.,
as well as their contemporaries Bono and
The Edge of U2, have often said, was as im-
portant to his inspiration and career choice
as Dylan was to Patti's. And so the wheel
turns. And music lovers become music cre-
ators, and paradise is found again.  l'm
gonna tell my grandchildren.  And better
than that, I'll play 'em the tapes.

==============================================

    
    Who's going to Dylan and where? have a spare?
    
    Sloan

    
    yeah - who and where and i thought he wasn't coming to Manchester NH 
    so is he or no?

    
    and by the way - if you haven't seen it yet, check out the Dylan 'net 
    site :   http://Bob.nbr.no
    
    very very cool
    
    

	no reason to get excited

	Symphony Hall, Springfield MA
	April 16, 1996

	Crash on the Levee (Down in the Flood)
	Lay Lady Lay
	All Along the Watchtower
	Most Likely You Go Your Way (and I'll Go Mine)
	Tears of Rage
	Silvio

	Tangled up in Blue
	Masters of War
	Mama You Been on My Mind

	Maggie's Farm
	This Wheel's on Fire
	Seeing the Real You at Last

	encore:
	Alabama Getaway
	My Back Pages (acoustic)
	Rainy Day Women #12 & 35

	
	Drove through 2+ hours of sometimes pouring rain, navigating local
	flooding here and there, sun was peaking through by the time we
	pulled into Springfield.

	Dylan's neverending tour has once again brought us to a beautiful
	old music hall - outside young deadheads danced to a boombox -
	people looking for tickets - ascended the marble stairs and
	between the columns and entered the stately white building.

	We were in the 2nd to the last row on the floor...and asked the
	people sitting in back of us if they would want to trade seats.
	We wanted to dance and in the back row, we wouldn't be in anyone's
	way.  Surprisingly, hardly anyone else on the floor was dancing -
	maybe one or two other people.

	Before the lights came up, we could see Dylan in what looked like
	a white jacket...what he was wearing last night would be hard to
	describe in words and get the point across that as weird as it
	may sound, he -still- looked cool.  He had this large white silk
	shirt with a satiny finish - it looked like one of his long jackets
	that he always wears.  His pants were some kind of gold lame' 
	material, that looked almost like leather in a way, and they hung
	on him just so fine.  Black boots.  The rest of the band, except
	for the bass player have taken off their outlaw outfits - no more
	hats and long coats.  Now, the mandolin/steel guitar player has
	a backwards baseball cap!

	It seemed so appropriate, even though unsurprising, that the show
	would start with "Down in the Flood".  A great rocking way to begin
	the night!

	Dylan didn't play on "Lay Lady Lay" - he did one of these walking-
	around-with-microphone-in-one-hand-and-cord-in-the-other kinda deals...
	seems weird to me to see him do this, like a Sinatra-singer pose
	or something - BUT the pedal steel playing along with him was
	Soooo beautiful.  Love that sound.

	"Watchtower" was Watchtower.  Almost rocked me off of my feet ;-)
	Some people are bored with it ;-), but I'll never be - he seems
	to have such fun playing it and I have such fun dancing to it.

	"Silvio" was done in a -slightly- different manner than we heard
	last year - he almost brought the song to a stop when singing
	the choruses - a complete change of tempo and if I remember correctly,
	just singing on the choruses, no backup instruments (but I may be 
	wrong ;-)  It was still ONE of the rockin' highlights of the show 
	for me.

	We were treated to, it seemed, an extra abundant amount of harmonica 
	playing last night.  "Tangled up in Blue" was one of the songs where it
	seemed he played more than half of the tune on his harp.  It was
	wonderful.  Bucky Baxter played mandolin and Tony Garnier played
	a standup bass.  

	"Masters of War" was and always will be so biting.  I like hearing the 
	2 guitarists playing in fast rhythm with eachother and then playing 
	off of eachother.

	Now, I must've counted wrong, I thought they had done 3 acoustic
	numbers, so at this point I ran down to the stage, and was halfway
	down before I realized I was the only one doing that ;-)...so,
	I veered off to stage right and kept getting sent back, keep moving,
	by security, back to my seat in the back.  That was unfortunate.
	Because, "Mama You Been on My Mind", was if you can imagine the pedal
	steel music floating, swaying, it was just beautiful.  A looong 
	instrumental jam at the end.  Was this really the last acoustic
	number or was there another one?!?  Well, as they were switching
	back to electric instruments, the crowd rushed the stage.  I grabbed
	my friend, who I took to the show for her birthday, and we dashed
	down till we were leaning right on the stage.  !!!
	I couldn't really see him from my seat, but right there, only yards
	away from him, he really looks great.  His hair is shorter, but 
	still with that wild curly look.  His eyes are like beams of light.
	He's mostly very intent on playing, he plays to the other musicians,
	but once in a while he will cast his eyes over the crowd like a
	searchlight, taking in the faces.  I love watching his legs, the
	"upside down Y" stances, the knee bendings into the melody.  Up
	close you can see how at ease he is playing and singing.  The loose
	body movements going along with what he's playing.  He signals the
	end of the songs with a subtle nod of the head or raise of an
	eyebrow - very subtle - and then it looks like Garnier is deciding
	to end the song, he turns around and signals to the rest of them -
	but it's really Dylan who's in complete control...

	So here we are, right down front, finally with lots of dancing
	people around me.  "Maggie's Farm" was fast and fun.
	
	Then they did "This Wheel's on Fire" which I must admit, I didn't
	recognize, didn't think I had ever heard this before.  Found out
	it was from "the Basement Tapes", which I listened to this morning.
	They played it pretty much the same way last night.

	Ended the 2nd set with "Seeing the Real You at Last".  More harmonica.
	The bandmembers sure do smile alot - looking down on the crowd
	dancing in front of them.  At the end of the song, Dylan walked
	across the front of the stage, shaking hands with some of the
	people there, before exitting.

	The first encore was "Alabama Getaway" - and he came out with his
	white shirt opened to reveal a black t-shirt underneath.  Was this
	symbolic!  or merely coincidence?  Good job on this song - it will
	always mean so much to me that he is playing this for Jerry now.
	Very nice jam in there.  Jackson sang the last chorus alone, his
	microphone was hardly hearable (he sang backup on a number of songs
	last night).

	"My Back Pages" was probably the highlight of the show for me last
	night.  On this one when he was playing the harmonica, he was
	holding it and the microphone in one hand and the cord in the other,
	and kindof emphasizing the notes with his free hand.  Beautifully
	done.

	The 3rd encore was "Rainy Day Women" - as always, a fun way to be
	sent out into the night for the long ride home.

	I was standing in the lobby waiting for my friend, and I was talking
	to an older security guy.  I asked him how he liked the show.  His
	comment: "Dylan is passe'...his voice is shot"  !!! Picture me with
	one eyebrow shooting up in a look of incredulitity (is that a word?!?)
	...wow, this guy couldn't be more wrong.  His voice is strong, each
	word is given the attention it deserves...he is at a peak these days.
	
	Debess
	

    Thank you, thank you, thank you...... god, I hope he makes it to the
    left coast soon.  Till then, I'll print off your words and carry them
    around......
    
    -jer

    Saw Mr. Dylan at Drew Univ. in Madison, NJ on Sat nite.  Sorry, I don't
    have the set list but, it was somewhat different from Debess show.  
    
    Speaking of fashion... gold lame shirt & black leather pants.
    
    He didn't play guitar for the first two songs and I started to get
    nervous, but, then he did an incredible I Want You into an even better
    Just Like a Woman.  The best I've ever seen him do these songs.  His
    voice was well rested as this was the first show of his tour's spring 
    leg. 
    
    This was a general admission show - no seats!  (due to it being in the
    althetic center).  Interestingly enough, we had to go through metal
    detectors!  They must not have been very good because one of my
    friend's was able to bring in his tape recorder.  But, right before the
    show, security came over and took away his tape and threatened to
    throw him out if they caught him taping!!
    
    College crowd was definitely into the show.  Loads of fun.  Thinking
    about going to the Poughkeepsie show on 5/1.
    
    I have a question about the band.  Ok, is the drummer is the same from
    last year?  Also, is the bass player from the GE Smith Sat Nite Live 
    band?
    
    Fredda                                    

	drummer the same...don't know about the bass player being in SNL band...

	hoping, hoping, hoping that I get to hear "Just Like a Woman" on
	Thursday!

	Debess

>   security came over and took away his tape and threatened to
>   throw him out if they caught him taping!!

	too bad no tape of the show, but a pretty cool thing to do, imo.
	considering ...
	

    i know there's gotta be tapes available eventually...please, please
    keep me informed...and grate job on the reviews Debess and Freeda
    
    rfb

    actually, we do have 1/2 the show - the first 45 and then the last 45. 
    he doesn't have the greatest setup (handheld mike) but, it's a tape!
    
    ft

    well ft - 
    how, when and where do i send what kind of tape?? if that's OK...
    
    rfb

    rfb - just send me a tape and I'll get it made.
    
    ft

	and Fredda, she treats him kindly, and furnish him with tapes...

    debess_dispenser_of_continuous_Dylan_lines!
    
    i love it
    
    

	;-)

	yeah, you Dylanheads can make a game of it - who can find the
	most Dylan lines in my replies from just this week?!?

	Debess

    ME!

    
    Where is everyone meeting tonight?  The Union Station is a great
    brewhouse/restaurant near the Centrum.  Their Nut Brown Ale is 
    Deeelicious.  I'll be stopping by somewhere if people are meeting.  
    I still haven't decided whether I'm going in ti the show yet, though.
    
    		Mark

    
    Ooops - I meant the Civic Center - not the Centrum.  The beautiful
    city of Providence at any rate.
    
    	Mark
    

the show is at the Strand...  meeting near the civic center may not be 
the best idea...

fwiw, i was there last nightg for the radiators...  the strand, if you've not
been there, is an old theater...  the seats downstairs are removed so it's one
great big dance floor... :^)  there are full bars and snack bars if you haven't 
eaten...

the place is a little run down now, but must have been beautiful once...
be careful in the balcony...  very steep!  can get vertigo easily...

big ugly security dudes that were confiscating everyone's weed as soon 
as they lit up...  at least they weren't evicting you...  if busted and you
weren't an idiot to them, thye'd take your stash, give you dirty looks,
be real intimidating (easy to do when you're that large) and then walk away...

have fun Dylan heads!

				da ve

Hard to believe that I was just getting to sleep 12 hours ago after
this show... is it time for the weekend yet ?   

Here's a review from catphish on last night's show:

   4/18/96 - Bob Dylan @ The Strand, Providence, RI
   ------------------------------------------------
   
   Drifter's Escape #
   Senor (Tales Of Yankee Power) #
   All Along The Watchtower
   I'll Be Your Baby Tonight #
   This Wheel's On Fire #
   Silvio
   Tangled Up In Blue *
   Love Minus Zero/No Limit *
   Friend Of The Devil *
   Maggie's Farm
   She Belongs To Me
   Joey
   
   ENCORES
   ---------------
   Alabama Getaway
   I Shall Be Released (duet with Jewell)
   
   * - acoustic (Dylan & JJ Jackson - guitars; Tony Garnier - upright bass;
       Bucky Baxter - mandolin in Tangled, pedal steel on Love Minus
       and FOTD)
   # - Dylan on harmonica
   
   That's right -- the ninth song is correct!:-)  It was turning out to be
   an already-fine Dylan show when Uncle Bob turned to the band and
   huddled for a second, and out came a certain cluster of notes instantly
   recognizable. And this is no BS, folks -- this cover was *great*!!:-)
   
   Uncle Bob took his time with each verse, emphasizing certain phrases
   (especially one in Cherokee):   When he wasn't sure of the first
   bridge,  he let the notes float gently in mini-space, then sung it 
   with biting passion and clarity.  And the two instrumental breaks featured 
   lead guitar solos by Uncle Bob, almost as if the ghost of Uncle Jerry 
   stopped
   by andsweetly placed himself in Uncle Bob!  I need to research
   this:  Although Dylan has covered FOTD on occasion in the past, I
   believe this is the first time he has played it acoustically.
   
   What was odd was that Dylan played harmonica on 4 of the first
   5 songs, from the gutbucket Drifter's Escape opener to a coooool
   Senor where Bucky Baxter's pedal steel took a prominent place in the
   mix.   I'll Be Your Baby Tonight shined brightly as a country
   two-step.  Yet, the harmonica didn't appear in the acoustic=20
   material, and instead were guitar solos by Bob (with comping by
   JJ Jackson).
   
   Then after a cool She Belongs To Me, Dylan again huddled with his
   band:  What would be the closer?  The opening bars revealed...JOEY!!!
   This was almost a garage-band anthem, with UncleBob biting into
   the verses, and JJ backing him on the rough-but-right choruses: 
   Meanwhile, I was giddy over the choice; a beautiful second curve ball.
   
   There was no 3rd Rainy Day Women encore -- after a great version of
   I Shall Be Released where Jewel acquitted herself nicely and Uncle Bob
   *nailed* his verses, it didn't matter!    Thank you, Uncle Bob!:-)
   

    wow

Strand Theatre
Providence RI
April 18, 1996


..well!  Dylan's neverending tour is certainly taking us to some 
of the funkiest theatres around ;-)  I can't help but contrast the 
venues of the show I just saw in Springfield on Tuesday - a beautiful 
symphony hall - to the show Thursday night in Providence - a bar, a 
very big bar!

Picture, if you will, the first thing you see is the vertical 
STRAND sign outside the theatre, with the R and the A kind of 
blinking on and off.  Inside, on the floor, all the seats are gone 
and a very-crowded clientele standing around almost unable to 
move, but moving nonetheless ;-)  Throughout it all, even after 
Dylan's encore, a continuous shuffling down into the crowd (down a 
small flight of steps) and up back to the bar, waitresses with 
little round trays held aloft, filled with cups of beer and water. 
Unreal.

We managed to get in at the right time to scoff a spot on the 
stairs, right next to the soundboard.  So we were a bit above the 
crowd on the floor, clear view of the stage, good sound, and we 
had room to dance cause the security kept the stairs "cleared" for 
the continuous movement of waitresses-with-beer.  It still managed 
to get quite crowded there too though.

Dylan was in a red silkylooking shirt, with black collared shirt 
underneath, gold/bronze! lame pants.

I heard a different opening than in Springfield - I know that 
they're the usual openers - but since I'm only seeing him twice 
this tour, it's cool that I got to see both of them.  Good, high 
energy start.

"Senor" cooled things down, beautifully.  Can't say it enough, I 
love the pedal steel sound.  If I remember correctly, Dylan didn't 
play guitar on either of the first 2 songs - nice harmonica 
though; he has played maybe as much on the harp as on the guitar, 
maybe ;-), in both shows that I saw.

"Watchtower" was the first repeat BUT it was SO DIFFERENT from 
Tuesday night, the jam at the end was so different, much more 
spaced out.  A trend that continued all night.  I was in heaven, 
knocking on heaven's door, so to speak.

Hearing "This Wheel's on Fire", expecting it this time, so just 
really leaning back and listening and enjoying.  Nice long opening 
instrumental. I believe that JJ and BB were singing backup on the 
chorus.

"Silvio" (SILVIO!) was the highlight of the night for me.  When 
this song was played, there was no doubt (in my mind) that this 
show was a tribute to Jerry.  The jams were so reminiscent of the 
Grateful Dead sound, I was just floating in space, and I was loving 
it.  And, I couldn't help noting that this song was done very 
differently than how it was done on Tuesday.  Very cool. 
Some think that his setlist is so predictable, and that is true, 
but -how- he plays these songs on a given night with this band 
that he seems totally at ease with, -that- is totally 
UNpredictable - the man must have a million tunes in his head.

"Tangled up in Blue", Garnier played the standup with a bow.

I, unbelievably, cannot remember the next tune - all I can 
remember is that it was so beautiful, I just fell into the mood.

When the band played an acoustic "Friend of the Devil", complete 
with the sound of the peddle steel that Jerry sometimes filled that 
song with, and JAMS, wonderful acoustic jams...heartfelt voice...the 
deadheads in the audience were grateful, excuse the pun ;-)...that 
song was really moving.

And then "Maggie's", which to me, again had the Dead touch to it.
Some great spaced out sections.  I couldn't believe it.

"She Belongs to Me" was beautifully done.

"Joey" was unexpected.  I always say that I don't like this song, 
but when I hear it live, I seem to enjoy it.  I think the last 
time I heard it was in Foxboro, with the Dead.

"I Shall Be Released" was undeniably (as MNelson said) sensuous.  Whoa.

So, then we walk back to our car, and we pass by the back of the 
theatre and see Dylan's bus.  Kinda wanted to hang out for a bit, but
Guntis was anxious to get home - we had at least a 2 hour drive.  We met 
up with Mark in the parking lot and visited for a while.  Then, as I'm 
driving north to New Hampshire up 95, I'm passed by Dylan's bus going to 
Maine!  Followed it for many miles, our car full of happy smiles.

Debess

Found an excellent Dylan lyrics WWW site at:

 http://iris.bsd.uchicago.edu/~jrr/bob.html

check it out!  Carol, even has "Last Thoughts On Woody Guthrie".

 - Josh

    
    On 92.5 this morning, I heard the Wallflowers again.  Hard to hear 
    this group on 101.1  :-)  .  anyway one Jacob Dylan sounds pretty nice.
    could guitar sounds too wonder who else is in Wallflowers? 
    
    Also - didn't we dsicover a connection between the name of Jacob's
    group and something that Dad_Bob had written?
    
    always seeking connections_C
    

	"wallflower, wallflower, won't you dance with me..."

    I'm in the midst of reading an SF book by George Alec Effinger,
    called "When Gravity Fails"  with the first verse of 
    "Just Like Tom Thumb Blues" on the dedication page.
    It's set in a Muslim ghetto in a future where sex-change is     
    common, personality and data chips can be plugged dirrectly
    into your skulls, and our hero is a pill popping low life
    who is drawn in over his head in a series of murders
    going on around him.
    
    But anyway, the point of the story.  Due to the name, and the quote,
    I've just been singing at least the first verse every now and 
    then.  And Dan, who usually asks me to stop singing, is going,
    "Can I hear more of that song?" 
    
    ;-)
    
    

    re .-1
    
    Good book. Read my father's copy while visiting the family for Xmas 94.
    And it allowed to find out the title of "that Dylan song that I've been
    meaning to find the title of for the last decade"...
    
    gary

>    Good book. Read my father's copy while visiting the family for Xmas 94.

yeah, it was.  One of those hard to put down ones.  I'd been thinking
about reading it for year's, but when I saw Harlan Ellison's recommendation
on the back inner sleeve, I decided I better read it (something like
"I've been telling people for years to go out and read Effinger.  Now
do yourself a favor, drop whatever your doing, read this book, and 
be amazed.  We have your dog and family, so listen up!"  Or something 
to that effect ;-)

PeterT

  Tidbit for true believers:
  
  Part 5 of the "Roots of Country" series running on TBS has very brief
  footage of Dylan, looks to be about 1965 or 4, playing a couple of Hank
  Williams songs.  (I walked in on Lost Highway and I'm So Lonesome I Could
  Cry, just a verse or so of each.)
  
  It'll be rebroadcast tonight on TBS around 10:35 (time approx. after
  baseball, as they say).
  
  Just as background:  This is a 6-part series, each part an hour long.
  Part 5 is about folk influences, including the 60s folk revival,
  bluegrass, etc.  I believe Part 6 (which runs immediately after Part 5)
  gets into rock and soul, the influence of Elvis, and so on.
  
  I've taped all 6 hours to view later [all 6 parts ran during basketball or
  hockey playoff games...], but I saw enough of Part 5 to see the Dylan,
  plus other fascinating scenes, such as the Stonemans and other
  folk/bluegrass/country acts playing the Fillmore West, complete with
  vaguely psychedelic light show.  Great stuff!  Oh, Part 5 also is supposed
  to contain a profile of Johnny Cash, including how Dylan & Cash became
  penpals.  (Cash wrote Dylan a fan latter on the back of an airline barf
  bag...  8)   Even if you aren't a Dylan fan, lots of back pages of the
  Dead here as well.
  
  Catch it if you can.  Again, Parts 5 & 6 will repeat tonight around 10:35
  EST.   - JayC.

	Dylan is in Europe now.
	He opened up his first show, in Denmark, with New Minglewood Blues
	followed by Peggy-O
	The next night, in Berlin, he played Sugaree

	

    WOW!!! i'll bet the cross-over dead/dylan european heads went nuts!!!  
    
    rfb

	[rfb - this might interest you - it IS the Dave Matthews Band
	that Patty likes, right?, not David Murray - I keep getting
	them mixed up cause I'm not too familiar with either one!]
	
	the Dave Matthews Band opened for Dylan a few nights in
	Germany.  The second night, various members of the band,
	including Dave Matthews, joined Dylan for his second electric
	set and the encores.  It was reported that the show was kindof
	lackluster (as far as how Dylan was playing) until the
	"tall black violinist from the Dave Matthews Band" joined him
	on stage for Maggie's Farm.  He was very upbeat from that point
	on.

    cool! thanks! I'll tell Patty...that would be a good tape!
    
    rfb

Wow.  It had to happen, I guess:

---------------------------------------------
From: pieman@queenbee.net (Aron Kay)
Subject: Dylanology,Garbology, the JFK Assassination
Date: Sat, 01 Mar 1997 22:44:05 GMT

Check it out !!AJ Weberman, author of COUP D'ETAT IN AMERICA
has recently upgraded his 3 websites:
JFK Assassination Home   http://www.weberman.com
Dylanology(for having stolen Dtlan's trash)   http://www.dylanology.com
Garbology http://www.garbology.com
---------------------------------------------


so I'm checking out basic Dylanology  http://www.dylanology.com/htdocs/01/
and right I way I can tell Weberman is a crackpot.  He maintains that Dylan
uses the word "rain" when refering to "war", when we all know that it really
means "heroin" (like, in "Visions of Johanna")

takes one to know one (crackpot, that is), eh? :-)
   - J.W. Belkin

	Dylan has been touring in Japan this past month - I just read
	that he did Viola Lee Blues one night!

    It seems to me I've heard one or two other covers of Dylan tunes
    in a bluegrass fashion, but I'm not sure if they came from here
    or some other band.  Tangled Up in Blue comes to mind, but 
    I can't pin it down firm enough to assert it with certainty.
    Sounds like a good one to put down on the ever growing wish
    list...
    
    PeterT

I saw Tim and Molly O'Brien band last year at the Cajun/Zydeco Fest at 
Steppingstone Ranch (Escoheag, R.I.), and they did a ripping bluegrass version
of Subterrainian Blues.  Didn't know where it came from, now I do ;-)

Josh

    well, i for one, would love to hear this!  i've heard some 
    Tim O'Brien in days gone by, but was not aware of "dylan projects"
    like we see here...  Flatt and Scruggs??  too much!!!!!!
    
    				da ve

    Y'know I keep thinking of that Austin Lounge Lizards bluegrass banjo
    rendition of Pink Floyd's Dark Side of the Moon (Wasn't that the band,
    Mystery?)...  Flatt and Scruggs pickin' and singin' "Once upon a
    time/you looked so fine/didn't you?..."
    
    Cracks me up...don't imagine that's what they had in mind, though...;-)
    
    tim
    

          <<< Note 143.389 by UCXAXP::GRADY "Squash that bug! (tm)" >>>

>    Y'know I keep thinking of that Austin Lounge Lizards bluegrass banjo
>    rendition of Pink Floyd's Dark Side of the Moon (Wasn't that the band,
>    Mystery?)...  Flatt and Scruggs pickin' and singin' "Once upon a
>    time/you looked so fine/didn't you?..."
    
>    Cracks me up...don't imagine that's what they had in mind, though...;-)    

One of my all time concert experiences was seeing the Earl Scruggs Review.
It was truly an awesome experience!  I'd go again in a heartbeat.

Wonder who sang it .... hearin' Earl sing "how does it feeeeel!" does
make me crack a smile...

	Dylan's tour will swing thru New England in April.

	Confirmed dates, so far, are April 8 in Bangor ME,
	April 9&10 in Portland ME.

	Tentative dates - April 11 in Durham NH, April 12
	in Waltham MA, April 17 in Providence RI.

	on-sale dates should be announced soon - stay tuned!

    Waltham?

>    Waltham?

  Pls, tell me it's not at Brandeis...  Awful sound, last time I partook.
    - JayC.

	Bentley College is what I've seen listed...

How far is it from Durham, NH to Pinkham Notch?  (Where the hell is Durham,
anyway?)  Bad timing all around for me - I'm going up to Pinkham Notch
that weekend to ski Tuckermans and Wildcat.  I don't think I'll be able to 
catch _any_ of the shows.  The only possiblity for me is Portland, Weds. 4/10.

 Josh

    durham
    west of dover/portsmouth
    about 10 minutes from rte 95
    
    the state U..and if it is in the new Whittemore center the acoustics
    kick ass i have been told

	fwiw Josh, in my opinion, the shows he did in Portland last
	year (at least the setlists) were the best of the run...

>	Bentley College is what I've seen listed...

  Hope so - Bentley on a Sat. night could be just the ticket...

    i am up for the portland and durham gigs if anyone else is

        Tentative NY/NJ dates - April 13 in Wayne NJ (William Patterson
        College), April 14 in Hempstead NY, April 19 in Albany

 

    Debess,
    
    Just got off the ticketmaster/bob links - am on hold with ticketmaster
    now to get the scoop!
    
    Scoop is G/A $28.50 on sale this Monday, 3/17.
    
    Thanks,
    
    Fredda

April 8, 1997 - Bangor, Maine

Bangor Auditorium

  *	Capacity: 3500 
  *	Showtime: 8 PM 
  *	Reserved seating 
  *	Ticket prices: $28, $24.50, $21 
  *	Tickets will be sold through the box office starting on Saturday, April 
	15th at 10 AM. [I'm sure this means March 15!]
  *	Box office phone number: 207-990-4444. 

April 10, 1997 - Portland, Maine

University of Southern Maine
Sullivan Gymnasium

  *	Capacity: 2500 
  *	Showtime: 8 PM 
  *	General admission show 
  *	Ticket prices: $29.00 for the general public or $25.00 for students 
  *	Tickets will be sold through Ticketmaster starting on Saturday, March 
	15th at 10 AM. 
  *	Ticketmaster phone number: 207-775-3331 

April 11, 1997 - Durham, New Hampshire

University Of New Hampshire

  *	This show has not been confirmed 

April 12, 1997 - Waltham, Massachusetts

Bentley College

  *	This show has not been confirmed 

April 13, 1997 - Wayne, New Jersey

William Paterson College
RAC

  *	Showtime: 7:30 PM 
  *	General admission 
  *	Ticket price: $28.50 
  *	Tickets will go on sale through Ticketmaster starting on Monday, March 
	17th at 10 AM. 
  *	Ticketmaster phone number: 201-507-8900 

April 14, 1997 - Hempstead, New York

  *	This show has not been confirmed. 

April 17, 1997 - Providence, Rhode Island

Brown University

  *	This show has not been confirmed 

April 18, 1997 - Albany, New York

State University of New York at Albany (SUNY)
Recreation and Convocation Center (R.A.C.C.)

  *	Showtime: 8 PM 
  *	Capacity: 4800 
  *	Tickets will be sold through Ticketmaster 
  *	Ticketmaster phone number: 518-476-1000 

April 19, 1997 - Hartford, Connecticut

University of Hartford
Sports Center

  *	Tickets will go on sale March 28th. 

April 25, 1997 - Olean, New York

St. Bonaventure University
Reilly Center Arena

April 11, 1997 - Durham, New Hampshire

University Of New Hampshire
Whittemore Center

  *	Reserved seating 
  *	Showtime: 8 PM 
  *	Ticket prices: $22.50 and $12.50 
  *	Tickets will be sold through Ticketmaster starting on Tuesday, March 
	25th at 10 AM. 
  *	Ticketmaster phone number: 603-626-5000 


April 15, 1997 - Northampton, Massachusetts

Smith College
John M. Greene Hall

  *	Reserved seating 
  *	Showtime: 8 PM 
  *	Opening act:  Poe 
  *	Tickets will be sold through ProTix starting on Friday, March 28th 
	at 10 AM 
  *	ProTix phone number: 800-477-6849 

April 19, 1997 - Hartford, Connecticut

University of Hartford
Sports Center

  *	Showtime: 8 PM 
  *	Ticket prices: $38.50 (floor), $28.50 (rest of arena) 
  *	Tickets will be sold through ProTix starting on Friday, March 28th 
	at 10 AM 
  *	ProTix phone number: 800-477-6849 

    
    I'm thinking of going to the Hartford show on 4/19. It's on a weekend
    anyway.
    
    Cath

	right now I'm planning on the Durham show (it's a Friday night)...
	but could be talked into the Hartford show, maybe.

	Debess

    I could be talked into Durham...
    
    /b

I'll wait for the Boston show...
:)

    Durham will be the spot bob
    
    
    the state u or bust!

    Just got our Wayne, NJ tix.  I could be talked into Hartford, CT
    though!
    
    Fredda

    so is the UNH show just going to be me, debess and cathy sloan?
    
    i am going down for opening day that afternoon so if a pre show meeting
    is called i may not be up there until after 5

    I wanna go UNH...
    
    /b

	carol roberts is going to try for unh too

    ok
    so we got 5 total so far
    hapgood
    you gonna try to swing it too?

    Plans are in the works for me and the Spongeboy Duet to make the trek
    too. Let ya know what we decide. Keep me posted on gathering plans!

    oh geez
    
    
    
    the children won't be the same

	more info on Waltham show:

	April 12 
	Bentley College
	Dana Center

	capacity 3500
	general admission
	no opening act
	ticket price $13

	tickets go on sale Tuesday March 24 at 9AM (whatever the hell that
	means - mar 24 was yesterday and yesterday was not a tuesday)

	no phone sales, although they may be announced later if tickets do
	not sellout thru walkup sales

>	April 12 
>	Bentley College
>	Dana Center

  Just realized I'll be staging a 12th birthday party during that show.

  I've seen Dylan dozens of times all over the country -- now he comes and
  plays less than a mile from my home, and I can't go...  Guess I better
  scramble for one of those other shows.  - JayC.

    head to unh jay

>                      -< get a clown to stand in for you >-

  Well, I don't know, there's a small chance they'd notice a difference.

  Besides, the party centers around a hockey game...  <insert clown joke here>

  Anyway - UNH, that's Friday the 11th, hmm...   - JayC.

    DC, Lyd and Me and ? will be going too. I guess DC got section 5 row
    H .. is that the floor?
              
    Cath

	yeah that's the floor, seats in the risers are in the hundreds.

    Is anyone from the NE DECheads going to the Waltham show?  
    
    I've convinced my newphew (who goes to school there) to go and I'd 
    love to have some of you meet him.  He's a great kid who needs his 
    musical taste upgraded from Chicago and Phil Collins to Dylan, da 
    boyz, etc., etc.
    
    Fredda  

I'm skipping all the NE shows this year.... just bad timing for me.
I've already made plans to stay at Pinkam Notch the weekend of 4/11 > 13.
I can't make the Thursday night show.  I'm not interested in any GA shows,
I'm not up for getting there super-duper early to compete for space.

 - Josh

    i am actually looking forward to UNH
    an architect buddy said tha acoustics in the new whittemore center are
    supposed to be awesome
    
    couldn't be any worse than the old snively barn eh strobel>?
    :^)

    
    re: Josh skipping Dylan in NE this year....
    
    (insert picture of da ve desperately clutching his chest)
    OH MY GAWD ELIZABETH!!!!!!  IT'S THE BIG ONE HONEY!!!!
    I'M COMING TO JOIN YA!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
    
    		:^)  :^)  :^)
    
    					da ve

yes, sad but true... just bad timing.  I've been wanting to ski Tucks
for a while now, and I wasn't good enough at tele to let myself try it till
this year.

 - Josh

    Anyone know how to go about getting tix for the Providence show?
    Neither TicketBastard nor NEXT know anything about this one?

    I am going to the Waltham show!

April 1997


April 1 St. Johns, Newfoundland St. Johns Memorial Stadium
April 5 Moncton, New Brunswick Moncton Coliseum
April 6 Halifax, Nova Scotia, Metro Centre
April 7 Fredericton, New Brunswick University of New Brunswick Aitken
Centre
April 8 Saint John, New Brunswick Harbor Station
April 10 Portland, Maine University of Southern Maine Sullivan Gymnasium
April 11 Durham, New Hampshire, University Of New Hampshire, Whittemore
Center
April 12 Waltham, Massachusetts, Bentley College, Dana Center
April 13 Wayne, New Jersey William Paterson College - Rec Center
April 14 Hempstead, New York
April 15 Northampton, Massachusetts, Smith College
April 17 Providence, Rhode Island, Brown University, Meehan Auditorium
April 18 Albany, New York SUNY at Albany Rec and Convocation Center
April 19 Hartford, Connecticut University of Hartford Sports Center
April 20 Princeton, New Jersey Princeton University
April 22 Indiana, Pennsylvania, Indiana University of Pennsylvania, Fisher
Auditorium
April 24 Clinton, New York, Hamilton College, Stanley Performing Arts
Center
April 25 Olean, New York St. Bonaventure College Reilly Center Arena
April 26 State College, PennsylvaniaPenn State University
April 28 Wheeling, West Virginia, Capitol Music Hall
April 29 Muncie, Indiana, Ball State University, Emens Auditorium


April 1 St. Johns, Newfoundland St. Johns Memorial Stadium

Crash On The Levee (Down In The Flood)
Senor (Tales Of Yankee Power)
All Along The Watchtower
Simple Twist Of Fate
Just Like Tom Thumb's Blues
Silvio
O Babe It Ain't No Lie @
Tangled Up In Blue @
Don't Think Twice, It's All Right @
God Knows
Ballad Of A Thin Man
Everything Is Broken
Like A Rolling Stone
Forever Young @
Rainy Day Women #12 & 35

April 5 Moncton, New Brunswick Moncton Coliseum

Crash On The Levee (Down In The Flood)
I Want You
All Along The Watchtower
Positively 4th Street
Watching The River Flow
Silvio
O Babe It Ain't No Lie @
Desolation Row @ *
Don't Think Twice,It's All Right @
God Knows
She Belongs To Me
Highway 61 Revisited
Like A Rolling Stone
It Ain't Me, Babe @
Rainy Day Women #12 & 35

*Dedicated to Allen Ginsberg

April 6 Halifax, Nova Scotia, Metro Centre

Crash On The Levee (Down In The Flood)
Man In The Long Black Coat
All Along The Watchtower
Just Like A Woman
It Takes A Lot To Laugh, It Takes A Train To Cry
Silvio
O Babe It Ain't No Lie  @
Mr. Tambourine Man  @
Tangled Up In Blue @
Maggie's Farm
You're A Big Girl Now
Everything Is Broken
Like A Rolling Stone
My Back Pages (acoustic)
Rainy Day Women #12 & 35

April 7 Fredericton, New Brunswick University of New Brunswick Aitken
Centre

Crash On The Levee (Down In The Flood)
Tonight I'll Be Staying Here With You
All Along The Watchtower
Under The Red Sky
Most Likely You Go Your Way (And I'll Go Mine)
Silvio
O Babe It Ain't No Lie @
Masters Of War @
It's All Over Now, Baby Blue @
Seeing The Real You At Last
I & I
Highway 61 RevisitedLike A Rolling Stone
The Times They Are A-Changin' @
Rainy Day Women #12 & 35

April 8 Saint John, New Brunswick Harbor Station

Crash On The Levee (Down In The Flood)
If Not For You
All Along The Watchtower
Simple Twist Of Fate
I Don't Believe You (She Acts Like We Never Have Met)
Silvio
O Babe It Ain't No Lie @
Tangled Up In Blue @
Girl Of The North Country  @
Stuck Inside Of Mobile With The Memphis Blues Again
Born In Time
Maggie's Farm
Like A Rolling Stone
Don't Think Twice, It's All Right @
Rainy Day Women #12 & 35

April 10 Portland, Maine University of Southern Maine Sullivan Gymnasium

April 11 Durham, New Hampshire, University Of New Hampshire, Whittemore
Center

April 12 Waltham, Massachusetts, Bentley College, Dana Center

April 13 Wayne, New Jersey William Paterson College - Rec Center

April 14 Hempstead, New York

April 15 Northampton, Massachusetts, Smith College

April 17 Providence, Rhode Island, Brown University, Meehan Auditorium

April 18 Albany, New York SUNY at Albany Rec and Convocation Center

April 19 Hartford, Connecticut University of Hartford Sports Center

April 20 Princeton, New Jersey Princeton University

April 22 Indiana, Pennsylvania, Indiana University of Pennsylvania, Fisher
Auditorium

April 24 Clinton, New York, Hamilton College, Stanley Performing Arts
Center

April 25 Olean, New York St. Bonaventure College Reilly Center Arena

April 26 State College, PennsylvaniaPenn State University

April 28 Wheeling, West Virginia, Capitol Music Hall

April 29 Muncie, Indiana, Ball State University, Emens Auditorium

	Jeff - the Providence show, at Brown University, according to
	the web page that knows all, doesn't seem to have a listing
	for any ticket agency.  It's going to be part of the Spring
	Weekend '97 event, and it may be that tickets are only on
	sale at the box office (Meehan Auditorium).  Tickets go on
	sale to the general public today.  Maybe try to give them a
	call directly?

	Debess

    Thanks Debess! Of course the next question is:
    
    Anyone know how to reach the appropriate party at Brown?

    Found the answer to my questions and thought I'd share in case anyone
    else is wondering the same thing. Tix for Brown University are
    available on a cash only basis from the student activities center at
    Brown. You want tix you gotta go to the student activities center and
    get them. FYI - the phone number there is (401)863-2341

    nice subject line though
    

an extras around for fri night?
send mail...
jc@altavista.digital.com

Just caught this amazing essay about "4th Time Around" and FDR !
wow!   enjoy... Josh

Article 73117 of rec.music.dylan:
Newsgroups: rec.music.dylan
From: arxt@midway.uchicago.edu (Dave Palmer)
Subject: Pictures Of You In Your Wheelchair or Obviously Dylan's Politics
Organization: The University of Chicago
Date: Fri, 11 Apr 1997 06:09:06 GMT

The role Franklin Delano Roosevelt played in Dylan's life should not be
underestimated.  During Dylan's youth Roosevelt was widely considered the
savior of our country.  Dylan also must have picked up on this sentiment
from listening to the music of Woody Guthrie.  Thus it should come as no
suprise that Dylan wrote a tribute of his own to Roosevelt, an
often-overlooked track on Blonde on Blonde called "4th Time Around"---the
title, obviously, referring to the forth term which Roosevelt never got to
serve.  The great clue Dylan leaves for us is the line about "those
pictures of you in your wheelchair."  Roosevelt was confined to a
wheelchair for most of his life by polio; however, he seldom had his
picture taken in a wheelchair, fearing that his disability would ruin his
image in the eyes of the country.  Therefore pictures of Roosevelt in his
wheelchair are very rare indeed.  Dylan clearly is refering to
Roosevelt's New Deal policies when he sings "you took me in"
(Roosevelt created relief programs which allowed people to stay put; under
the Hoover administration, families could only recieve relief for a
certain number of days, so they were forced to travel from town to town,
staying only as long as the relief money was given) "you loved me then"
(Roosevelt was well known as a compassionate man) "you never wasted time"
(Roosevelt worked long hours to implement his programs).

"She" in the beginning of the song clearly is Herbert Hoover.  (Dylan
casts him as a woman to emphasize his ineffectuality and weakness, playing
on traditional gender stereotypes).  Dylan has Hoover saying, "Don't waste
your words, they're just lies," representing Hoover's denial in 1932 than
anyone in America was starving, but the narrator protests that (s)he is
"deaf," that is, that Hoover is cut off from the facts.  Dylan "force[s]
[his] hands in [his] pockets" to hand Hoover his "last piece of gum,"
emphasizing the extreme poverty of the period.  Hoover throws Dylan
outside, representing the supression of the World War I veterans who
protested in Washington against Hoover's policies and demanded payment of
their war bonuses.  Unable to bring about any change by protest, the
discontents (represented by Dylan) decide to take instead the most polite
route; they "go back and knock," that is, they go to the ballot box.
Seeing which direction the campaign is going, Hoover loses control: (s)he
screams until his/her face turns red and falls on the floor.  Roosevelt
wins easily against an incapacitated opponent.

It is important to note, however, that Dylan does caution Roosevelt about
the massive government bureaucracy his New Deal policies create: "I never
asked for your crutch, now don't ask for mine"---in other words, Dylan
gives the government permission to create as much bureaucracy as it needs
to support itself (what else do you use crutches for?) but not so much
that it infringes upon citizens' means of supporting themselves, as
Communism does.

It should be clear to all that Dylan is and always has been in favor of
cheap gas and cold beer and vehemently opposed to the dark circle of
Communists, stamp collectors, homosexuals, and lactose intolerants which
is ruining our great country.

	--dave

 >   It should be clear to all that Dylan is and always has been in favor of
 >   cheap gas and cold beer and vehemently opposed to the dark circle of
 >   Communists, stamp collectors, homosexuals, and lactose intolerants
 >   which is ruining our great country.
    
    Eh?  I was kind of buying this until I hit these lines.  Not convinced.
    
    PeterT
    

    I really liked the concert...  I had never seen Dylan live before,
    so I had absolutely *no* idea what to expect...  certainly the last
    thing I  was looking for was a dance concert, but that's what was
    happening...  most of the schoolkids around me didn't seem aware
    of  that, however  (except for the mob in the aisle next to me)...
    
    Dylan, in cowboy church-garb, and hat keeping his face in shadow
    most of  the night,  worked his ass off, taking most of the leads...
    That man works hard!  I was trying to figure out whether he was
    enjoying himself or not...  he rarely smiled (that *I* saw)...
    I had 5th row seats, right on an interior aisle...  couldn't
    have been much better...  a nice wall of sound, a straight-ahead
    groove, that I found impossible not to dance to...  At times,
    this felt more like a Dead show,  especially the  Watchtower...
    straight off the Dozin' CD!   even the acoustic set was for dancing...
    My only complaint is  that  after awhile, the electric stuff all
    sounded the same... He played for about 90 minutes,  about 30
    electric, 30 acoustic, 30 electric...   3 one-song encores,
    ending up with EMGS ("Stoned")... crowd went nuts! He went through
    the first verse, and let the audience sing the last line
       "Everybody Must get Stoned!"    At that point he smiled...
    Some schoolkid, caught up in the moment jumped on stage and was
    in ecstasy...  when security didn't grab him, he decided to chase
    Dylan  around the stage, at which point the band abruptly finished up
    (I think they would have played at least 10 more minutes), and
    beat it off stage;  the house lights immediately came up...
    
    Great time!   Dylan needs a better tailor, however...
    
    /b

    EMGS ("Stoned") =  Rainy Day Women #s 12 & 35....

    sorry... didn't realize it was a style kinda thing...  :^)

Unless I'm pretty quick about it, and since it's now days later and
quite a busy eventful weekend in between, I can't really give a song-by-song 
review, but rather will give some overall impressions.

I don't have a watch, so I kinda lost track of time beforehand.  I met
up with my friend MB and we "hung out" at her car a bit (saw Dylan's
big black bus and trailer drive by) - Guntis walked up to Main St. to
meet up with everyone from here.  I thought it was too late to go look for
him, so we walked up to the venue.  MB ran inside to use a bathroom and they
wouldn't let her back outside...so I stood out there in the cold by myself
waiting for Guntis to show up (I had his ticket)...becoming concerned because 
maybe I hadn't told him where the show was and maybe he didn't find anyone at 
any of the bars I sent him to.  And maybe there were more than one entrance...

Anyways, while I stood there waiting, I was treated to the most magnificent
sunset - reds that wouldn't quit.  It was so gorgeous to behold, and I figured 
it must be a good omen.

I was right.  Wonderful show that just flowed together so very nicely.

We got in and not quite to our seats when the show started.  8th row
on the floor.  Everyone around my seat stood all night long - and it
seemed to me that most were dancing too.  I was truly in my heavenly
place - to be allowed to dance all night long!

Peggy-O was so unexpected by me - and it was done so beautifully.
That pedal steel sound, don't you know, is just sooooooo nice.  At
the end of the song, I automatically bowed my head with my hands held 
together, in appreciation and gratitude - for the first, but not last
time that night.  Some songs just sounded "holy" - or hit me in that
spot.  I think Tom Thumb's was another one, and Mr. Tamborine Man.

Probably around Watchtower was when I finally really checked out what
was going on on stage (I close my eyes alot!) - Dylan was wearing a
tan suit, a black bolero tie, cowboy boots and a Huge White cowboy 
hat.  The hat kept his face in shadow - so I didn't really see
expressions.  

I had thought that the new guitarist would have been taking over
JJ's role.  I was completely surprised to finally notice that Dylan
played lead all night long, with Campbell strumming rhythm.  I mean,
completely surprised.  Dylan worked hard all night long playing his
songs.  And I thought he did an excellent job.

For instance, on Silvio, towards what I thought was the end suddenly
turned into a very spacy jam.  I am positive that he was using
Dear Mr. Fantasy as the theme of the jam and actually thought they were 
going to go into this Traffic song (and not end the electric set with 
Silvio?!!).  They explored this jam for quite awhile, and then eventually 
did go back to finish off Silvio.  

The band actually sounded a whole lot tighter than I expected, what
with two new members.  Very beautiful music they are already making
together!

I think Mr. Tamborine Man was the only song harmonica was played on
all night.  Last year, the shows I saw featured Lots of harp playing.
I liked that and wouldn't mind a bit more now.

When I heard Lenny Bruce as the first encore, to me it seemed to be
a tribute in fact to Allen Ginsberg.  I think he doubled the line
about "he sure told the truth....he sure knew how to tell the truth",
and just the parallels in LBruce's and Ginsberg's styles of pushing
against the establishment, sometimes to their own detriment, I don't
know ... in my own mind, this just seemed to me to be in memory of
Ginsberg...or maybe I needed to hear it that way at this time.

When the second encore was Knockin' on Heaven's Door then I knew I
was right ;-)  I was in tears.

Some guy jumped on the stage during RainyDayWomen, and was so excited 
he was bouncing around like he was on a pogo stick.  I watched as the
crowd on the floor started bouncing in his exact rhythm - a bunch of
pogo sticks on the floor - it was really quite comical.  The excited
stage jumper turned to Dylan and hugged him and Dylan smiled back at
him hugely - the first smile I could see out from under that hat.
I understand the song was cut short, but somehow the scene causing
the early end was endearing... it put a wide smile on my face too.
I never take RDW too seriously anyways.

Walking back through campus, a beautiful crescent moon hung in the
dark sky with stars splattered around it.

Debess

    Bentley college show was great.  the band smoked.  what can i say...
--------------------------------------------------------------------------------

  Waltham, Massachusetts
  April 12, 1997
  Bentley College
  Dana Center

   1.   Crash On The Levee (Down In The Flood) 
   2.   Pretty Peggy-O 
   3.   All Along The Watchtower 
   4.   Just Like A Woman 
   5.   It Takes A Lot To Laugh, It Takes A Train To Cry 
   6.   Silvio 
   7.   Friend Of The Devil (acoustic) 
   8.   Masters Of War (acoustic) 
   9.   Don't Think Twice, It's All Right (acoustic) 
  10.  Obviously Five Believers 
  11.  Shooting Star 
  12.  Leopard-Skin Pill-Box Hat

     (encore) 
  13.   Like A Rolling Stone 
  14.   My Back Pages (acoustic) 
  15.   Rainy Day Women #12 & 35 

Dylan played harp on "My Back Pages"

re:    <<< Note 143.441 by EVMS::OCTOBR::DEBESS "and the wind began to HOWL" >>>

>stage jumper turned to Dylan and hugged him and Dylan smiled back at
>him hugely - the first smile I could see out from under that hat.
>I understand the song was cut short, but somehow the scene causing
>the early end was endearing... it put a wide smile on my face too.
>I never take RDW too seriously anyways.

I'm just glad there was no over-reaction by security, and the stage jumper
didn't do anything too stupid, like take Dylan's hat off :-)

I was at the Bentley College show, too, and there was a stage jumper there,
but he just jumped around for about 5 seconds then crawled back into the
crowd.

I really liked the show.  The sound was surprisingly good for a gym, and he
rocked out all night.  I thought he covered a good range of styles.   The
all-night rain sucked, though. :-(

adam

    loose?
    
    
    the guy threw on a rubber glove for a cavity search when i stepped
    thru the door
    
    
    
    actually
    they searched me TWICE!

    
      
     >   the guy threw on a rubber glove for a cavity search when i stepped
     >   thru the door
    
    	Dave B. and I called ahead and ensured they'd make a point of it!
    
    	;-)
    
    	heh heh.

    
    Good thing Sloan took your goods then Leblanc. Would'nt want you
    to go through another phish concert ordeal.
    
    Cath

    >>Good thing Sloan took your goods then Leblanc.
    
    is that where they went?!?     ;^)

    Sure as hell didn't go up my butt

    At Bentley it was like boarding a plane.  keys on the table,
    walk thru the metal detector.  Lots of folks were still in
    line when Dylan came on at about 8:05.

    The floor scene was cool, lots of room for dancing in the back
    and some of those kids were really going at it!  Wondering why
    Bob did this gig, decided he wants to share his music with his
    original audience - kids who can really get into it - not a 
    bunch of worn out boomers (like me! )

    Tom
    

Chris -
	I think you got the alumnus treatment!

	I can't even remember if I -was- searched ;-)...
	I stood outside there for quite a while, and saw how they were
	searching everyone who went in, so I was prepared for it...
	but either I was too excited to get in to even pay attention,
	or else maybe I wasn't!

	Debess

re: Why he (Dylan) did this gig.  

Dylan goes everywhere.  I think it is quite common to find him at a 
student run concert.

PeterT

>Dylan goes everywhere.  

	I sometimes wonder WHY he choses the places he goes to when he goes
	to them.  Like, this tour right now started up in Canada -
	it's COLD up there now!  So cold, in fact, that when he was going
	from Newfoundland to Nova Scotia, his equipment which was being
	shipped (by ship) got stuck for a few days in ice flows and some
	shows had to be postponed.

    strobel
    
    
    i would have been PC'd and cuffed then
    

	Dylan - Smith College Northampton MA 4.15.97

	Down in the Flood
	Lay Lady Lay
	Watchtower
	Shelter from the Storm
	Watching the River Flow
	Silvio	
	Friend of the Devil (acoustic)
	John Brown (acoustic)
	Don't Think Twice (acoustic)
	Stuck inside of Mobile with the Memphis Blues Again
	I'll Remember You
	Leopard Skin Pillbox Hat

	Like a Rolling Stone
	It Ain't Me Babe
	Rainy Day Women


	I met up with my friend MB in Leominster, and we drove to 
	Northampton together from there.  I screwed up immediately -
	I wanted to get on Rt 2 - but I'm so used to driving that way
	to CT that I got on 190 headed for Worcester.  So, we got off to
	take Rt 9 and drove right by the Worcester Auditorium where we 
	had seen Dylan in December of '95.

	Long line out in front of the John Greene Hall - and it was very 
	close to 8 - but they waited for everyone to get inside before 
	starting the show.

	When I got tickets for the show by phone, I got through 20 minutes
	after they went on sale.  My connection was pretty poor, but I
	didn't want to break the connection since it had taken so long
	to get through.  I thought she said 3rd row - but when the tickets
	came, they were the 3rd row in section D (which I assumed only
	sections A, B, C were in the front).  I was walking down the aisle
	looking for my row, when a security person came up to help me out.
	It was my very good friend Ria!!  She escorted us to our seats -
	which really were IN THE 3RD ROW!!!  Oh man, I was just in heaven
	all night long (I still am!).  This crowd didn't want to dance all
	night, like the audience at UNH.  Danced the first song, then noticed
	that lots of people around me were sitting, so I sat (kinda).
	But, we were in a direct line of vision to clearly see everything
	on stage - everything!

	Dylan was wearing a white linen jacket, with a couple vertical slits
	front and back, which when spread open were black inside.  Black
	tight velour-looking pants.  Black cowboy boots.  White cowboy hat.
	All the bandmembers wore boots (how uncomfortable!) except the 
	drummer, who wore sneakers.  Campbell had a long blue coat with
	black velvet collar.  Baxter had a extra long red coat with a sky
	blue shirt underneath.  Garnier wore a light brown suit and a black
	leather beret.  They all looked pretty cool, very stylish...

	Dylan dances to his music all night long - never smiles - but dances.
	The cowboy boots' toes curve up in front, so when he stands on the
	front of his foot it looks like he's standing on his toe, with the
	heel lifted like 5 inches in the back.  Knees constantly bending into
	his playing.  Moving around, playing with the other bandmembers,
	signalling what he's doing with nods and other facial gestures.
	Fingers just flying up the frets sometimes - it was great to be
	able to watch him play up so close - he plays the melodies, he plays
	his electric guitar almost like an acoustic at times - flat picking 
	the melody and finger picking underneath.  He sometimes kept the
	beat with one foot - sort of letting the new drummer know how he
	wanted a particular song to go - or maybe just dancing to it himself.

	Bucky Baxter plays different instruments in accompaniment to the
	different songs - and I thought I would remember which ones when,
	but I don't - predominantly the pedal steel, but sometimes acoustic
	guitar (John Brown), mandolin (Friend of the Devil, It Ain't Me Babe)
	lap steel.  Tony Garnier played a standup bass for the acoustic set,
	I believe he used a bow during Friend of the Devil, also played an
	acoustic bass sometimes.  Larry Campbell played fiddle on Friend of
	the Devil, acoustic guitar sometimes, mostly electric rhythm guitar.
	Dylan played NO harmonica last night :-( - he is most definately 
	into his guitar playing these days - really really into it!

	During Like a Rolling Stone, his guitar was out of tune - he tried to
	tune it as he was playing! but gave up - signalled offstage - WALKED
	off stage and put on another one (with a beautiful ornate black strap
	edged in silver studs), came back into the song with his back to us
	and then turned around and finished.

	Highlights for me: 

	Shelter from the Storm, done in a very different manner than I've 
	heard before, faster?  Watchin the River Flow was also done much
	faster than last year - but still managed to melt me into my seat ;-)

	Silvio is hot - and they are really spacing out in the middle of it -
	the only time I get to dance my favorite spaced out dance!  Definately
	shades of Dear Mr Fantasy in the jam.

	Friend of the Devil was BEAUTIFUL.  A wonderful tribute as he tries
	to play with Garcia's style - tries! and does a decent job too.  The
	violin sounds perfect here and as time goes on and Campbell gets more
	confidence I can tell this is going to be magnificent.
	Campbell seems pretty unsure of himself - always watching what Dylan
	is doing and keeping up as best he can - smiling a lot!  Both new
	band members smile alot.  This is pretty cool watching the band
	transform again in front of our eyes.

	After the acoustic numbers, I dashed up front.  Ria was on the
	edge of the stage in front of me - but I couldn't have been but
	10-15 feet away right in front of him.  YOW!!!!  I watched his
	fingers playing, but I mostly watched his eyes.  When he's singing
	he squints his eyes looking off, almost as if he's thinking how he's
	going to present each and every line.  His eyes cast across the
	audience down front - I caught his gaze a few times - those intense
	blue eyes looking into mine - oh my!

	Leopard Skin Pillbox Hat was funky blues - and it was fun!  The only
	song I saw him really letting out some smiles to.

	After his last encore, he came to the front of the stage and 
	pointed at people down front and bowed his head and walked off.

	I sighed all the way home :-)...didn't get to bed till 2
	
	Debess

    
    Thanks for the review and detailed description Debess. I almost
    got your vibes over the net .. next best thing to being there.
    
    Boy am I going to miss getting into this notesfile every other
    hour or more!
    
    Cath

>                -< wish I bought tickets for more dylan shows >-

	ME TOO!  Guntis asked me this morning - bet you wish you
	were on tour now?  Yep!!!

    
    
>    Boy am I going to miss getting into this notesfile every other
>    hour or more!
    
	Girl, am -I- going to miss -you- here...

	Dylan opened the University of Hartford show on Saturday with 
	_Not Fade Away_

	I hear that Dylan is playing at Tanglewood on August 4th

Bob Dylan hospitalized with heart ailment

Associated Press, 05/28/97 



NEW YORK (AP) - Singer Bob Dylan was hospitalized with a 
potentially fatal heart infection that forced the 
cancellation of a scheduled European tour, his record label 
said in a statement today. 

Dylan, who turned 56 last Saturday, was admitted to a 
hospital this past weekend ``suffering from severe chest 
pains,'' according to the three-paragraph statement from 
Columbia Records. 

``His condition has been diagnosed as Histoplamosis, a 
potentially fatal infection which creates a swelling of the 
sack which surrounds the heart,'' the statement said. 

The statement did not specify where Dylan was hospitalized 
or his current condition. It did say he was ``undergoing 
treatment and will remain hospitalized in the care of his 
physicians until such time as they feel confident that his 
condition has improved.'' 

Once released from the hospital, ``there will need to be a 
period of recuperation,'' the statement said. 

Dylan was forced to cancel an upcoming tour of the United 
Kingdom and Switzerland. 

    my friend dan "hoot" gibson died of something similar, don't know if
    medically the same thang, but whatever it was affected the sack around
    the heart....hang in there zimmy
    
    rfb

    bro-in-law of a friend died from something like that too... just last
    year...   vibes to the man....
    
    					da ve

	ohhhhhhman...my heart's skipping some beats right now...and I think
	all the color just drained outta my face...

	hang in there Bob!

    any new news????

    The NYC radio station WNEW-FM said this morning that zimmie's in a NY
    hospital, but no other new info has been released.  Newsday (a local
    paper) mentioned that Jakob Dylan is on tour in Europe and won't be
    leaving the tour to visit dad.
    
    I really freaked yesterday when I heard about this - but I'm trying to
    keep those positive vibes happening for bob (the man!).
    
    later,
    
    Fredda

    this is really scary news.  wish i had made the time to see him when he
    was in NE this spring.  
    
    yesterday when i was driving to school, i had a flash of the picture of
    him at Jerry's funeral.  the expression on his face was so raw and
    full of sadness. then i pulled out the highgate tape Debess had made me a
    played it really loud all the way in.  
    when i got home late last nite, john said 'did you hear about dylan?' 
    
      

I heard today on WBOS that the infection is fungal in nature, picked up
from breathing spores from bad soil.  The DJ also said that this infection
is most commonly seen in AIDS patients, but that it's certainly possible
for anyone to get it.

 
 This is from the Wall of Sound:
 http://www.wallofsound.com/news/stories/1562.html
 
 
     Thursday, May 29, 1997
 
     Dylan Tour and New Album Still on Track

     Bob Dylan remains hospitalized in Los Angeles
     suffering from a chest infection initially diagnosed as
     histoplasmosis, but the legendary singer-songwriter
     could be back on the road as soon as August. His new
     album, Time Out of Mind, also appears to be on
     schedule for its planned September release. One
     well-placed source says that Dylan will check out of
     the hospital this weekend and convalesce at home for
     several weeks. Dylan's son, lead Wallflower Jakob
     Dylan, felt confident enough about his father's health to
     continue his band's European tour. While the elder
     Dylan's own scheduled European tour with Van
     Morrison has been canceled, arrangements for a
     two-month U.S. tour are going ahead as planned, with
     a fully recovered Dylan expected to be ready to play
     come August. The upcoming tour is distinct from
     Dylan's typical treks of recent years in that he is
     sharing the bill with a couple of hot young artists:
     country-rockers BR-549 and singer-songwriter Ani
     DiFranco, both said to have been hand-picked by the
     man himself to open the shows. 
 
     Meanwhile, Dylan's September release, Time Out of
     Mind, is eagerly anticipated by his fans. Following two
     CDs of cover songs--1992's Good as I Been to You and 1993's World
     Gone Wrong--Time Out of Mind is Dylan's first album of original
     material since 1990's poorly received Under the Red Sky. The set
     was produced by Daniel Lanois, who also helmed 1989's Oh Mercy,
     generally considered to be Dylan's finest album of the past decade.
     According to musician Jim Dickinson, who played on the sessions
     for Time, the new songs were written while Dylan was snowbound on
     a trip to his native Minnesota, a detail that lent credibility to an
     Internet rumor that the album would be titled Stormy Season. "He
     told his manager five years ago he'd never write any more songs, that
     the world had enough Bob Dylan songs and it was going to get
     confusing," Dickinson told the Memphis Commercial Appeal earlier
     this year. Apparently, the legendary singer-songwriter changed his
     mind: "He decided a new audience deserved new songs," Dickinson
     says. Indeed, one cut on the new album clocks in at seventeen
     minutes, a fact that prompted his manager to ask if he was going to
     do a shorter version. Dylan's reply: "That is the short version."
 

	Check out the latest Rolling Stone for an interesting 
	article on Jakob Dylan (he's on the cover) and what it
	was like growing up with Bob as his father.   

	/Ken

Ani DiFranco has a big following...  From what I've heard of her stuff
she's pretty darn good and a good fit for a Dylan tour.  She looks 
like quite the punk rocker, but is pretty much a pure folkie, or maybe
a punk folkie...

PeterT

	I'm looking forward to this new album of original songs.

	But, as far as touring is concerned, I hopehopehope that
	he just takes as much time as his body needs to fully
	recover...

    my little sis really digs this annie defranco woman
    
    
    any more comments on her as have not heard a thing of hers

Most likely to hear her if you listen to the Coffeehouse on WERS in the
morning.  Here's one of several web pages you can check out...

http://www.columbia.edu/~marg/ani/

PeterT

    There was a piece in the Sunday NYTimes yesterday about new
    songwriters...   Spoke about diFranco , Ben Harper, and somebody else I
    can't remember...
    
    /b

    Tiffany is into diFranco bigtime....
                           rfb

  From the lack of comment, folks know who BR-549 is, right?
  
  They were in the Boston area recently, and there's been a lot of fuss
  over them generally among roots music fans.
  
  Come to think of it, I believe there was an exchange about them in here.
  
  Dylan did a lot of country listening beginning in the 50s, including Hank
  Williams and Hank Snow -- it figures (excuse me, figgers) he would get a
  kick out of BR-549...

>     sharing the bill with a couple of hot young artists:
>     country-rockers BR-549 and singer-songwriter Ani
>     DiFranco, both said to have been hand-picked by the
>     man himself to open the shows. 

  [Always wondered how many other people hear Hank Snow in Dylan's work...
  Not so much his cover of "Fool Such as I", but a lyrical reference or
  three in Blood on the Tracks, some of his Nashville Skyline vocals, and
  his song "Living the Blues".]      - JayC.