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Bob Dylan 950517 Hollywood

Martin Blackwell (
Just returned from Bob's first show of three nights at the Palladium in

Terrific show! About an hour and a half to 1:40 long.  And yes, he
actually played a little lead on 2 or 3 songs. And as has been mentioned
here before, he did several songs with in quasi lounge singer/Neil
Diamond mode, that is, just singing, no guitar playing, somewhat awkward
gestures. The good news is: Bob is singing! During those songs
especially it was obvious he was putting some effort into singing, not
just getting through the songs, as he has done before.  As Dylan goes,
he sound really, really good!  He was putting himself into it, which I
really appreciated.  He thanked us at one point, and at another asked us
if we were having a good time.  And then asked what happened in the OJ
trial today (okay, I made up that part ).

The band was very good, and very well suited to Dylan. There were no
Dylan solo acoustic numbers.  For the acoustic numbers, Dylan most often
sang, but didn't play (except some terrific harmonica), and was
accompanied by a standup bass, guitar and electric mandolin.

And the set list:



Unfortunately, I can't go tomorrow, but I'll be there Friday...
Don't miss him this time around...

CSMSAXS Arnie Stodolsky (CSMSAXS@MVS.O (...?) Songs 5 & 6 are in reverse order on the above setlist. Arnie
Bill Wallace (walrus@KAIWAN009.KAIWAN.COM) What a night last night!!! The Jokerman at the top of his form. He played the guitar, harmonica, he sang, and he played the audience. I saw guitar-bob, I saw vegas-bob, I saw smiling-bob. That was it!! I lost my notes which included the set list, and I need to write a review for a local rag... can someone please e-mail or post the complete set list?? thanks! "Strike another match let's start anew..."
Date: Thu, 18 May 1995 14:16:50 -0400 From: Keith Alan Bernstein (KABxxx@AOL.COM) Subject: First Hollywood show Set list for Wed: Flood Lay Lady Lay Watch Woman Pleging My Time Seeing the Real You Tambourine Masters Baby Blue God Knows Never Gonna Be The Same Again (!) 5 Believers Rolling Stone Ain't Me Babe --- Never Gonna Be featured a new verse that was pretty cool, 5 Believers was sped up and really cooked. For the most part, Bob's phrasing was remarkably conventional -- even Watchtower sounded more like the Hendrix version than the rushed version Bob's played over the last couple of years (the lyrical phrasing closer to the musical phrase, etc.). That said, Bob's guitar and harmonica work were as good as I've ever seen or heard-- simply fantastic! A great show-- and a couple more to go....
Date: Thu, 18 May 1995 05:22:35 -0800 From: "jules n. binoculas" (p00518@PSILINK.COM) Subject: hollywood palladium 17 may 1995 hollywood palladium 17 may 1995 Down In the Flood Lay Lady Lay Watchtower Like A Woman Pledging My Time (-- excellent choice; executed with aplomb Real You At Last @Tambourine @Masters @Baby Blue God Knows Never Gonna Be the Same (-- first-class phrasing, especially: "don't worry, baby; i don't mind leaving/i just wish it were my idea" Obviously Five Believers (-- yes, he almost sounds more black than jewish! Rolling Stone It Ain't Me quick notes: songwise, nearly a clone of palm desert two days ago; fresh highlight: _pledging my time_ (slot 5). performance: measured, sensitive, effectively punctuated -- though not overly boisterous; songs: _down in the flood strong, supple, barrelhouse blues; accessible pace; no guitar; self-conscious visual parody of pose-happy cigarette-smoking lounge singers from 40's; closest dylan gets to street mime dylan looks genuinely relaxed, barely expending any energy, yet snaking through the verses with methodical whimsy; the lack of guitar actually focuses the artist's "performing grammar" and accentuates expressive body language; movement was intermittent, subdued, and interesting; the vocal was clearly audible through the sound system, but less than prominent -- yet, the whole presentation was satisfying (maybe more so if you knew the words, but it had a nice cordiality for those who didn't); seems likes art; looks like fun; makes you want to be bob dylan (at least for 5-7 minutes); _lay lady lay playful intimacy; amiable; seductive; feline; (coulda been disastrous in such a cavernous hall) _watchtower a hair less generic than usual; less impenetrable wall-of-sound; flashes of exciting musical inflection; not unlikeable; _just like a woman lilting; made its point, but no visionary explorations into unknown territories _pledging my time perfect vibe; nashville gin-soaked _blonde on blonde-era feeling without the poison headache; elusive yet direct; light-on-its-feet; cutting; sincere; synergistic band at their best with punchy, swinging sound; bona fide dylan signature piece; pays off; worth keeping at the ready _real you at last fresh, solid delivery; more friendly than _empire burlesque or late '80's tour; song improves when each line is articulated thoroughly, methodically @_tambourine man measured, caressing rhythm; colorful phrasing; first-rate euphonics, poetry, and proportion; perpetual genius in motion! @_masters of war standard issue: effectively biting, though unoriginal vocal painting; not without wistfulness; digestible, unhurried pace; nothing spectacular but not fatally boring @baby blue slow, naturalistic pacing and risky inflected tonalities pay soulful dividends _god knows a touch more hesitant; more calculating, more ponderous; better than most paint-by-numbers '93-4 versions -- bonus: "rise above darkest circumstance" line included! _never gonna be the same again patiently explored, stately, down-scale rhythm & blues progression; imagine a show-horse pacing around a ring; not overbearing; softer than original album (sans synthesizer and wailing refugee chorus); holds its own in current rotation, but less than cathartic _obviously five believers vibrant elmore james blues-style excursion; perfect blend of stinging power and flexible dylanesque raucousness; reminiscent of _you don't love me_ from allman brothers live at fillmore east '72; welcomed addition to songlist: tightly-paced yet unhurried; cuts loose better and invites listeners in more closely than either _maggie's farm, or _cat's in the well; perfectly balanced *highlight* _rolling stone to succeed positively, this song requires breathing space between lines; in a big room it tends to dissipate, yet somehow retains unique mercurial pull; should be more transformed and "hallucinated" (as rimbaud would demand from any visionary experience) _it ain't me, babe i was so sick of this closer that i paradoxically found myself enjoying it (maybe pavlov (or thomas pynchon) was on to something); performed unevenly enough to help appreciate acoustic nuances; almost country-ballad stateliness; venue: refurbished, varnished dance floor from 40's hollywood big-band era; sound bounced off low ceiling too much; instrumentation was fine, but amplified too loudly; dylan's voice not mixed prominently enough, though not unintelligible; i tried to induce sound crew to lower bass and feature *the voice*, but they were unwilling to make adjustments (at least on my recommendations (maybe tomorrow night, guys(!))); sound was only slightly more than passable, but not muddy enough to sink the ship absence of chairs allows for both relaxed wandering and temporary residencies on either side of stage; intimacy diffused in outer perimeters overall presentation: assets: unforced, satisfying, deliberately-paced show with minor unexpected turns; generally excellent with only momentary dead spots -- although impersonally scripted, some new ground broken; more than sum of parts liabilities: mediocre acoustics, continually dissipating intimacy; not enough unexpected artist-audience intercourse audience: many people didn't know what to expect, and acted more like they were waiting for a train, or watching some curious ceremony, rather than participating directly; considering that everyone downstairs was standing: not enough enthusiastic clapping, or exhortation (until after it was too late); when voices _were_ raised, singing got poignant; let's hope dionysius' less civilized descendants stumble in tomorrow ambience: fair number of post-60's long (now-gray) pony-tails (both sexes); good population of wholesome-looking informally-attired females swaying and dancing in shadows; pleasant intoxicatory environment overall band: dependably soulful; razor-sharp as usual (though not allowed to improvise or explore); delivers the goods, doesn't complain (more in subsequent post) jnb
Date: Fri, 19 May 1995 13:07:18 -0700 From: PAUL K EISELT (ueisep00@MCL.UCSB.EDU) Subject: Paladium Review (kinda long) I've been told that I HAVE to post a review. Well here it goes... >HOLLYWOOD PALLADIUM, MAY 17, 1995 > > 1. DOWN IN THE FLOOD (no guitar) > 2. LAY LADY LAY (no guitar) > 3. ALL ALONG THE WATCHTOWER > 4. JUST LIKE A WOMAN > 5. SEEING THE REAL YOU AT LAST > 6. PLEDGING MY TIME > 7. MR. TAMBOURINE MAN > 8. MASTERS OF WAR > 9. BABY BLUE >10. GOD KNOWS >11. NEVER GONNA BE THE SAME AGAIN >12. OBVIOUSLY 5 BELIEVERS >13. LIKE A ROLLING STONE (ENCORE) >14. IT AIN'T ME BABE (ENCORE) Palladium is general seating. I arrived at about 2:30pm and there were only about 6 people in line. I met some wonderful people, including Heika, Peggy (who had been there scince 8am), Tim Dixon, and Bill (a "famous" booter). There was also this crazy preacher, but he didn't have a ticket. He just wanted to convert BOB back over to Christianity. He had a million and 3 stories and I think about a million and 2 of them were real Bull shit. We waited until 6:30pm and then they let us in. It wasn't until 4:30 or 5 that there was much of a line to speak of....weird. Anyway, as "we" got inside we threw down a picnic blanket and sat down. and we waited for what seemed like forever before anyone else came in. It was strange because, we had spent so much time together (as a group of about six) alone that I was wondering if there really were any other audience members. Finally they rushed in and believe it or not we did not get crushed. Everyone sat down. Weird. The opening act was "Dinosaur Jr." (or so I'm told). They were abysmal. The group is made up of 3 people; 2 guitars and a drummer. The lead guitarist/vocalist, and the drummer were dressed like slobs and acted it. The other guitarist (there were no introductions) was kind of cool, he was dressed cool, a suit and all, but he didn't seem to have a whole lot of interest in the band. Looking at the other 2 folks, I wouldn't either. Their music--er--sound--NOISE was basically a lot of distorted guitar and no point. I think that the lead was singing but I never heard a word of it. The highlight of the show was when one of the amps started spewing smoke, and the roadies had to come out and replace it. Finally the left (of course noone in the audience could hear anymore, but hey I looked at it as a "Newport'65 flashback") And around 8:30 the lights dimmed and we heard "ladies and gentelmen, please welcome Columbia recording artist....BOB DYLAN!!" Bob shot into a rocking version of "Down in the flood/Crash on the levee", it was great. He had no guitar just a mic. and a hamonica. I had heard a lot about it, and had bee looking forward to this "performance". Many people describe it as "awkward", but I felt it was dynamic. He strutted, he pointed, he swaggered, he danced a little. Sometimes it looked like his little legs weren't going to be able to hold him up. But they always did. Actually they managed to take him into some amazing positions. I would like to add to all the regular praise and credits: BOB DYLAN, Singer, Songwriter, Guitarist...Limbo!! Then we were treated to a touching "LAY LADY LAY". But it's strange because I completely forgot about the performance, until afterwards when my fiancee mentioned how much she like it. "He did that???... oh yeah!!!!" Then we got "WATCHTOWER", it was a decent performance, but I can honestly say that If I never hear this song again, I wont feel cheated. I believe he picked up his guitar at this point. Highlights were "PLEDGING MY TIME" "5 BELIEVERS" "MASTERS OF WAR" AND "BABY BLUE". He introduced the band and made some jokes, but I think that they were the same jokes he makes every night: Something about, Jackson being Ice-T in diguise, and the guitarist being the Mayor of some city.... Then, near the end of the concert, somewhere like "GOD KNOWS", "NEVER..AGAIN" OR "5 BELIEVERS", he walked to the edge of the stage and reached over. I was front center and this happened about 2 people to my left. it seemed like he was shaking peoples hands, but it didn't seem like the audience was getting satisfied. I think he was trying, but the gap between the stage and the rail was too far. Then something real strange happend, as near as I could tell (this was pretty close to me but it was also pretty chaotic) he asked Hieka to come up on stage. Those of us who have met or know Heika, know that this isn't too surprising. The audience lifted her up and Bobby reached but the gap was still to far. If she had been able to touch him she probably would have pulled him on to the ground. Anyway it takes much longer to explain that it took to enact. Well the next song (and damn me, but I dont remember what it was) was definitely sung to/for her. One other thing that struck me as particularly poigniant, was that many of his "love songs" that, when heard on an album (or even a boot) seem like they are about a lover. However, when you hear it in concert and THE MAN is less than 15ft. away. they are about YOU. The audience. I'll explain: "Now I'm finally seeing the real you at last" This at times tool on a tender quality. Like "here I am and there You are, We finally meet" and sometimes I felt gulity for my blind selfish love. I was shouting, cheering, pointing my fingers like "Adam/God/Michalangelo"... I really felt guilty. "I'm pledging my time hoping that you'll come through fo me" I dont know it sounded almost as if he was asking a friend for a favor, but he also, deep down, knew that the favor would not be granted. Again I felt pity and guilt. "God knows I need you.." I dont think that this is how the album version starts out. It seems weak, and vunrable. I got the impression that we were like a drug to him now and that, like a junkie, he needs US whether he likes it or not. "Dont let me down, dont let me down--I wont let you down, no I wont" This felt to me like a promise and I felt guilty every time I had ever doubted his skill or power. I found myself shouting "I wont let you down Bob!" And I felt silly doing it. I think it's a good thing that he didn't go in to "I believe in you" 'cause I probably would have cried. I have to mention something: "TAMBORINE MAN" I dont really like the song, but this time he played it slow and mournfully. It had a real bluesy feel. I was reborn. THIS SONG IS COOL. "Bringing it Back Home" is o.kay I supose, and R.Maguinn can bite me. But THIS song on THIS night was--uh--"TRANCENDANT". "LARS" also had an interesting "twist": Once apon a time you dressed so fine, you threw the bums a dime in your prime.....(guitar solo)....DIDN'T YOU!!! It was weird and unexpected and it made the song fresh and shiny and new. We got no "DIGNITY", and I guess that that must be my only regret. There was nothing "new". One of the things that the "legendary Bob" was praised for, was his spontinaity. Also, most of my older boots have "unreleased songs" I guess I just refuse to admit that maybe Bob is like a well...and sometimes, wells run dry. I felt that he was trapped in his "old fame" unable to come forward and create something new... I dont know, I, uh, I just dont know. The last I saw of that crazy preacher guy, he was waiting out on the back step. waiting to hand that tattered little Bible of his over to Bob. I dont know if he ever "succeeded" in even meeting Bob or not, but then God works in strange ways. I guess. I dont know much about God, but I think the "Preacher" was wrong. He wasn't out on that back step. I think maybe, he must have been inside, and for at least and hour and a half, he must have been on stage... But I could be wrong. --SAJE PRESTON--