Review provided Alistair Hunter I positioned myself on the raised area stage left in front of the speakers. There wasn't a skinhead in the audience. But I did wonder how many people dye their hair. Naturally. Very polite crowd. Let's say mature. The security guards looked like they woulda prefered a little rap music. The soundman had made himself quite a little shrine back there with a couple of bottles of wine on ice, incense, and a variety of extra items. For once, being 6' 6" payed off. I had a great view of the stage. A lot of excitement in the audience that Bob was playing such a small venue. Beck was met greeted with an appreciative applause as he came onstage at the El Rey Theatre and welcomed the audience of 900 to the "Bob Dylan Festival". Just a guy and his acoustic guitar. And a harmonica. He started off with a Jimmie Rogers tune, "Waiting For A Train", and followed that with "Lampshade"; "Cold Brains"; "Girl Dreams"; "Breathless"; "Tie Myself Down"; "One Foot In The Grave"( an outstanding song with fine harmonica work); "Dead Melodies"; "Rowboat"; "Little Sparrow" ( this one on a banjo) ; "Nobody's Fault But My Own"; My Good Leavin' ( some slide work on a National Steel Guitar ); "I Get Lonesome". I don't know any of these songs, and I don't know the Beck album, but I was impressed with the countryfried Beck. I liked the sound. It was unpretentious. I'd be interested in hearing more of this kinda stuff from Beck. He thanked Bob for letting him open for him. Later in the evening Bob acknowledged Beck "as a young man with an incredible future". And I do remember reading on the web that Beck had been spotted in Japan purchasing a number of "bootleg" Bob Dylan CDs. During Beck's set, I spotted David Kemper, Dylan's drummer, peeking through the curtain checking out the scene. "Ladies and Gentlemen, please welcome Columbia recording artist Bob Dylan" AND he was onstage and into 1) "Maggies Farm" ( a clear signal that these are all gonna be "new" songs and the intensity begins here and keeps going!). These are not the original recordings. Bob had added the Jam Factor. His band is a little different. Larry Cambell on guitar ; David Kemper on drums; Bucky Baxter on pedal steel guitar and mandolin; and Paul ? on guitar and bass. Later when Bob introduced them, he said, "I wish we had Lindsey Buckingham up here. We couldn't get him. Maybe next time." 2) "Tonight I'll Be Staying Here With You" ( a great surprise!); 3)"Cold Irons Bound" (hot stuff!); 4) "You Ain't Going Nowhere" (whew!); 5) "Can't Wait" (hot stuff!); 6) "Silvio" ( a strong rocking number that has a new life); 7) "Cocaine Blues" ( an acoustic traditional with just two acoustic guitars and the bass); 8) "Lonesome Death Of Hattie Carrol" (acoustic and eyeball to eyeball); 9) "Tangled Up In Blue" (acoustic...This did it. The audience was totally alive!!!) ; 10) "Stuck Inside of Mobile With The Memphis Blues Again" (jammin'!); 11) This Wheels On Fire; 12) "'Til I Fell For You" (hot stuff!); 13) Highway 61 Revisited (the first encore that had Bob going places he's never been before and Larry Campbell appearing amazed. Maybe the finest version of this song I've heard ); 14) Forever Young (acoustic and brilliant. There is an honesty and passion to Bob's voice and playing); 15) "Love Sick" (very hot stuff!); "Rainy Day Women #12 & 35" ( it ripped!). Gram Parsons had nothing on Bob in terms of fashion. He was the man in the long black coat. A black frock coat. Purple pants with a golden seam. Patent leather boots with high heels and a tad of golden strip. Oh. And the bowtie. Oh. I was taking notes at my little space on the speakers. The volume had picked up and the soundman was cool enough to give me a set of earplugs. Very nice. So I'm taking notes and this guy next to me says, "Mr. Hilburn since you seem to write from a historical view, how about if you set up a web page with all your reviews so that we could access them?" Not wanting to disappoint him we carried on quite a conversation and I got his view on Bob, the new album, the show, etc. Little did he know that the real Robert Hilburn was just a couple of feet away and asked me if I knew what the name of "that song is?" ("You Ain't Goin' Nowhere"). As his clone I politely obliged. Bob was 18' away from me during the entire show. I was immediately struck by how he was kinda like Ed Sullivan with a wig. He was definitely into the music and alive. Relaxed, but with an inner intensity. But it was his physical expressions that were unique. I've never seen such movements. The Ed Sullivan Show would have showed only from the waist up. He was kinda like a puppet. He looked like he was having fun. But he showed a side as a performer I've never seen before. I figure he keeps the tension in his knees and his ankles. And he does The Dylan Squat, The Dylan Herky Jerky, The Dylan Dip, The Dylan Slide, A bit of the Wilbury Twist, The Dylan Stagger. I'm pretty sure I caught him picking his nose as he turned upstage. AND there was the Sonic Bob doing the Machine Gun, The Dylan Eye Roll, The Dylan Teeth, The Dylan Snarl. A lot of this was subtle, but the guy was having fun.The man is a giant. But I tell yah...when he had that acoustic guitar out there...I coulda swore it was bigger than he was! Wild sounds. I liked it. It was kinda like vaudeville. I've never heard him talk so much. Repeatedly he said, "Thank you everybody". He introduced the band. He said, "I don't know if it is hot out there, but it sure is hot up here." He gave flowers on the stage to a girl up front. Someone up front slipped him a CD and he graciously said thank you and took it with him in the end. He actually was was giving "five" to some of the audience up front and=fter some of the jams. All in all wonderful stuff. Alistair (Al) Hunter
Return to Current Tour Guide page
Return to Bob Links
Go to the Set Lists (by city) page (1995 & 1996)
Go to the Set Lists (by date) page 1996 Tour ,
1995 Tour,
Pre 1995 Tours
Go to the Cue Sheet page