Label: Moonlight - ML 9623/24 • Format: 2x, CD Unofficial Release • Country: Luxembourg • Genre: Rock • Style: Folk Rock
The tour began in the summer of — more on that below. The 20th and 25th year came and went with not so much as a press release, and stories about this endeavor are rare. As on just about everything Dylan-related, his management company declines comment. The summer tour in began with Dylan appearing with a small backing combo. He stepped to the front of the stage and played songs from his catalogue. The band was dressed in black. The set list changed night to night.
There have been a few tweaks here and there; now and again, a band member drops in or out, particularly guitarists. The big changes? The overall size of the band has gone up once in a while. And Dylan in the s began playing a keyboard. While of course the music industry has changed much over the last 30 years, as a rule, superstar tours take months and sometimes years of preparations. Tour caravans are created — sometimes massive ones — and million- to gazillion-dollar deals are lawyered out with Live Nation or AEG, with sponsors, merchandisers, and PR weasels circling round as album releases, TV appearances, souvenir live albums, and DVD films are negotiated, all the way to later cable broadcast.
And once in a while, in interviews, Dylan would get positively heated when the subject of the tour came up. We know this because Dylan himself has actually confessed as much, in his autobiography, Chronicles Volume 1.
At the very end of the s he started out on the tour that accompanied his first album of religious songs, Slow Train Coming. After that came … aimlessness. There was a tour of Instrumental - Bob Dylan - Never Ending Tour Rehearsals with Любовь, Похожая На Сон - Алла Пугачева - Не Делайте Мне Больно, Господа Taylor, fan-friendly outings with Tom Petty and Instrumental - Bob Dylan - Never Ending Tour Rehearsals Heartbreakers in andand the stadium-sized turds that were the Dylan and the Dead concerts.
I had no connection to any kind of inspiration. Whatever was there to begin with had vanished and shrunk. Everything was smashed. My own songs had become strangers to me. I was what they called over the hill …The mirror had turned around and I could see the future — an old actor fumbling in garbage cans outside the theater of past triumphs.
A moment in clarity at a bar in San Francisco was a turning point. That forced him to think about how to get off that treadmill.
The solution: denature the tour itself. Dylan came back from the final Petty shows in Europe and told his tour manager he wanted to play shows the next year, and keep going back to the same towns the next two Im Ok, Youre Ok - Christopher Lennertz - The Comebacks after that. He would build himself a new audience Enrique Iglesias - I Like It scratch.
On the Petty and Dead tours, he was using his partners as feints, or crutches, or something. And on the Budokan tour, inhe dressed in sequins with a troupe that might have backed Neil Diamond. In most of those, he could cast himself as a ringleader or a master of ceremonies, further distancing himself from the performing artist he supposedly was. The tour that began in stripped it all away — facades, crutches, and makeup.
Even the band was small, leaving nothing for Dylan to hide behind or lose himself Priere - Von Sirius - The Mystical Doktryn Of Spiritual Accomplishment. On guitar was G. And the result was … a normal concert tour, featuring a rock star of some renown playing tunes from his repertoire backed by a musical ensemble there to support his vision.
For Dylan, this was something new. No, not electric as opposed to acoustic. They were exciting. The closest comparison based on the remaining filmic evidence would of course be his or outings with the Band, where he was young, feral, and determined.
Of course, was nothing like that. He was a much different person in his classic era, leading his fans and some would say a generation into a new era of electric folk in the face of some would say screams of derision from his audience.
But was different. He was not humbled, exactly. But he was a star with essentially no living equal who had to figure out how someone like himself, approaching 50 and obviously past his songwriting prime, could carry his career forward. Dylan started his gospel tours in Northern California, and he started the Never Ending Tour there as well. I saw the first of the four original shows in Concord, at a suburban shed east of San Francisco.
Dylan played two nights later in Sacramento. I saw the next show at the Greek Theater in Berkeley, and then the following one the next night, in another shed south of SF. That show, at Shoreline Amphitheater, was perhaps a third full, another humbling moment. I was already a writer, and already Money-Go-Round (Dance Mix) - The Style Council - Money-Go-Round dismissively about him.
The Petty shows seemed particularly pointless; why did Bob Dylan need a stringy-haired sycophant onstage with him? It was obvious from the beginning that these shows were different. At Concord, and then again in Berkeley and on the peninsula, Instrumental - Bob Dylan - Never Ending Tour Rehearsals Young sat in for a good part of the set, adding some unbridled solos in the instrumental breaks. Even with Young playing a clearly subordinate role, the sight and sound of this pairing was wild.
I will forever respect G. Smith because of one amazing scene. I forget the song, but it was clear there was some sort of a break coming. How many people have done that to Neil Young and lived to tell the tale?
And … the shows went on like that. He insisted that this was the right version. At the Greek Theater, he played it in its original configuration, and it was beautiful. For an acoustic set with Smith, the pair brandished gorgeous Martins. Uncompromising and yet unassailable, it all sounded like Bob Dylan reclaiming his career. It seemed that, because years went by between his tours, and because so many of his outings were heavily overdetermined, Dylan actually had never played many of even his notable songs live.
Byhe had released about two dozen studio albums, totaling or so songs. To Dylan, to hear him tell it, his old songs had become a millstone. A lot of them had only been sung once anyway, at the time they had been recorded.
At that bar in San Francisco, he had that moment of clarity. He was watching a jazz pianist unself-consciously play standards:. Suddenly and without warning, it was like this guy had a window to my soul. He went back to the Dead, and then finished his commitments with Petty. Indeed, when you go back and look, this shortish final European tour with the Heartbreakers is the real beginning to the NET — Dylan began the leg by playing three shows with almost entirely different set lists.
By the time what would become the Never Ending Tour began, Dylan had looked back into his catalogue and come to terms with it. Over the first four shows of the Never Ending Tour, Dylan played 60 or so songs live; 41 one of them, by my count, were different.
As the tour went on, he was sometimes introducing six or seven new numbers a night. And three dozen or so Instrumental - Bob Dylan - Never Ending Tour Rehearsals these were played just once or twice.
Another secret of big rock tours is that even when a new song is folded into a show, it generally comes from a small pool of numbers prepared for that moment. Traditionally in Stones tours, for example, Keith Richards will step up to do a waggish solo number — choosing from one of two or three prepared for the tour.
The demands on the musicians were formidable; Smith told me once that the band had to watch carefully what Dylan was up to as each Instrumental - Bob Dylan - Never Ending Tour Rehearsals ended. And other stuff was going on as well. At this point, leaving aside albums of covers, his Bootleg collections of unreleased tracks, and more ragtag albums like Dylan and Self-Portraitthe most notable omissions from his touring are significant parts of New Morning, Planet WavesStreet Legaland Infidelsso there are still some songs for him to unearth once again.
As of this writing, he is at about 2,; next year, if he keeps going, he will play show number 3, In the last 30 years, however, ticket prices have gone up by an order of magnitude — and now just about all the big names can regularly be found out on the road.
You can almost throw Madonna or Paul McCartney in as well. Dylan was 47 when he initiated this late journey, and he turned 50, 60, and then 70 on the road. It helps him stay out of sight, and he can bring his dogs along. He could make a lot more money than he does by being more media friendly, playing the hits, developing coherent arena shows, and marketing himself sensibly.
As it is, he seems to be content to do his own Sournai Dougokhi - Various - Voyage En URSS (Anthologie De La Musique Instrumentale Et Vocale Des Pe and play smaller 5,ish-seat halls.
Ten or 15 years ago promoters told me his management had been requesting unusual venues. He actively seeks out new halls and theaters. When I lived in D. This adds a lot of unnecessary cost and hassle to a tour. I saw the first two shows on the U. After that he went on a meandering path across the southern part of the U.
He moved on to Irving, near Dallas, to play a newish hall — and then went to Tulsa, where he played at an Indian casino. Once you start delving into the data it often takes a while to find places, besides the odd casino, in which he has appeared on previous tours.
In he played 11 shows at various cities Instrumental - Bob Dylan - Never Ending Tour Rehearsals Spain, and then one in Portugal and one in Andorra, which is a country one-sixth the size of Rhode Island and has a population of about 75, He then went to Croatia, Estonia, and Lithuania. In he Perfect - Fairground Attraction - The First Of A Million Kisses Romania, Bulgaria, Macedonia, Serbia, Croatia in a different city than he had played two years earlierSlovakia, the Czech Republic, and Slovenia before heading to play six shows in France, including the small and remote cities of Nantes and Carcassonne.
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