Setlist from Bill Pagel's page (thanks to Glen Dundas):
Memphis, Tennessee
October 19, 1995
Mud Island
1.Drifter's Escape
2.Man In The Long Black Coat
3.All Along The Watchtower
4.What Good Am I?
5.Watching The River Flow
6.Silvio
7.Mr. Tambourine Man (acoustic)
8.Masters Of War (acoustic)
9.Don't Think Twice, It's All Right (acoustic)
10.God Knows
11.It Takes A Lot To Laugh, It Takes A Train To Cry
12.Obviously Five Believers
(encore)
13.Alabama Getaway
14.One Too Many Mornings (acoustic)
15.Rainy Day Women Nos. 12 & 35
Date: Fri, 20 Oct 1995 15:27:50 -0400
From: Zimmy644@aol.com
To: hw61-l@ubvm.cc.buffalo.edu
Subject: Mud Island Oct 19, 1995 Set List
8:56 PM
1. Drifters Escape
2. Man In the Long Black Coat
3. All Along the Watchtower
4. What Good Am I
5. Watchin' the River Flow
6. Silvio
7. Mr. Tambourine Man(acoustic)
8. Masters of War(acoustic)
9. Don't Think Twice(acoustic)
10. God Knows
11. It Takes Alot to Laugh, It Takes A Train to Cry
12. Obviously 5 Believers
Encore
13. Alabama Getaway
14. One Too Many Mornings(acoustic)
15. Rainy Day Women #12 & 35
This was my sixth Dylan show in the last eight years, and it was
the first time Ive ever seen him without his clever little harmonica holder.
For the second half of Mr. Tambourine Man, Bob took the microphone from the
stand and played the harmonica like Bruce Willis. This was all we heard from
his harmonica all night.
Alabama Getaway just has to be heard to be believed. I felt it was
one of the strongest perfomances of the night. One Too Many Mornings was the
closest Ive come to crying since I heard Hattie Carrol live a few years back.
For the obligatory Rainy Day Women, the near capacity crowd sang along quite
nicely.
Bob was dressed in what looked like Versace. He had a silver lamme
shirt, black tuxedo pants (which he has been wearing for all the shows ive
been to), black and white patent leather shoes, and a stylish wallet chain on
his right side. He was very verbal, introducing the band, and thanking the
crowd for its many standing ovations.
Zimmy644 a.k.a. Josh
Date: Mon, 23 Oct 1995 12:00:57 -0400 (EDT)
From: Sigrid H Trumpy (trumpy@nadn.navy.mil)
To: Karl Erik Andersen
Hi Eric,
I loved Memphis and Dylan was great. ..
.....
Here's the Mud Island, Memphis setlist: (I want to go back there for sure)
Memphis 10-19-95 setlist
Drifters Escape
Long Black Coat
Watchtower
What Good Am I
Watching The river Flow
Silvio
_____
Acoustic:
T-man
Masters of War
Don't Think Twice
_____
God Knows
It Takes A Lot To Laugh
Encores:
Alabama Getaway
One Too Many Mornings
Rainy Day Women
The Rev. Billy C. Wirtz opened.
...
I forgot "Obviously Five Believers" after "It Takes Alot To Laugh" at the
end of the show before the encores.
Date: Mon, 23 Oct 1995 04:42:02 -0400
From: WhatWasIt (whatwasit@AOL.COM)
Subject: Mud Island 10/19/95 review *** A Blistering Set ***
Mud Island Ampitheater, Memphis, TN, October 19, 1995
It was a comfortably cool, clear night in Memphis, TN. Significant, given
that Mud Island has no roof. Taking the tram to the island (right, it
really is an island) and walking across the walkway to the amphitheater
confirmed all of the stories about this place - it is one of the best
venues for live performance you will find anywhere. From the audience
perspective, there is a view of downtown Memphis skyline looming large
(only a few hundred yards away) across the top of the stage and out to the
left and right. The Mississippi river and its banks could be seen to left
and right of stage, complete with several boats drifting around (cheap
seats, but the sound could not have been very good!).
Warm-up act was one-man show with keyboard/vocals only. Comedy routine
reminiscent of piano bar at America Center in Phoenix, if you are familiar.
FUNNY guy. Good stuff. Routine spoofing Jimmy Swaggert style evangalist
was hysterical. Can't remember his name (e-mail if known).
At somewhere around 9:00pm, lights went down and PA announced "LADIES AND
GENTLEMEN, PLEASE WELCOME TO THE MUD ISLAND AMPHITHEATRE, COLUMBIA
RECORDING ARTIST BOB DYLAN!" With lights down, Bob and band members
moved to their places onstage.
Stage lights up, band kicks into "Drifter's Escape". Sound was tight.
Bob's vocals quite audible to me, partially because I re-familiarized
myself with these lyrics prior to show, knowing it has become the standard
opener of late, with a hard rocking full-band arrangement rather than the
1967 studio original from John Wesley Harding album. Very slightly slower
tempo than was used in Biloxi and New Orleans during the past week. Bob
timed delivery of lyrics carefully, was into what he was doing. Biloxi
and N.O. shows had been a little sloppy on Drifter's, but this sounded
great.
Bob wears cream-coloured jacket with shimmery surface having hints of
pinks and other colors in reflections. Black and white patent leather
shoes visible from top of ampitheatre. Drummer Winston Watson wears long
sleeve white shirt, black vest. Bass player Tony Garnier wears dark
outfit, not sure of detail. Pedal steel & other instruments player Bucky
Baxter in usual red w/berret style hat; no beard anymore. Bucky is
seated behind pedal steel, on small platform beside
drum set that appears to be raised on set of cinderblocks. Guitar player
John Jackson in brown with sunglasses and cowboy hat. Thick billows of
incense waft out over the crowd and create sweet smell and add effect to
the stage lighting.
Audience (mostly full by now, some were still coming in) remained fully
seated, with those of us in-the-know realizing that those not-in-the-know
were wondering what the hell they were hearing. It creates what must be an
intentional effect of sedating, worrying, and wondering amongst a group
that contains many there for their first Dylan show having heard good and
bad things about his career, many there with boyfriends/girlfriends and
wondering who Bob Dylan is and isn't he
some washed up Blowin in the Wind 60's dude, some whose most recent
knowledge is Dylan's religious music ("He's not gonna play awl that God
stuff Izzie?" howled my next-door audience member after hearing that I
know about Dylan performances). Totally calm, the audience continued to
sit and watch, many talking to each other (what is this? is this how Like
a Rolling Stone goes? It doesn't sound like it) but all seeming to enjoy
the tight, great rock sound of the
band. If nothing else, the only clue they get is that "hey, the bands
sounds pretty good", and they retain skepticism but are upbeat.
"Man in the Long Black Coat" followed. Dylan delivered a spellbinding
performance of this song. Stage light effects were used to create several
large groups of broken-up ameoba shaped lights areas across the front
part of the stage. Bob's vocal performance was outstanding - it had the
eerie quality of the original (Oh, Mercy! album, 1989), and rose to a howl
for the most dramatic lines. The softly strumming bass of the original
was replaced by a slowly pounding wall
of bass with harshly cutting lead guitar abruptly breaking in for brief,
wild runs following the end of verses. Dylan and J.J. Jackson both played
some leads, but Bob played more of it.
Audience nterested now. Still many not familiar with the songs; real
Dylan fans know Oh, Mercy! album as thoroughly as any older classic, but
audience always has many that only know "Like a Rolling Stone" and
"Everybody Must Get Stoned" (they think it's titled) and say "Did Dylan
write that?!" when "All Along the Watchtower"> is played. But "Black Coat"
is so unique with its images of the mysterious black coat man. I believe
that audience members realized they understood most of Dylan's words even
though they were not previously familiar with the song. Much applause at
end of Black Coat, but audience still totally seated.
Standard third song "All Along the Watchtower" picked up the pace. Having
seen 10 Dylan shows, I have heard him play this 10 times. He ALWAYS plays
Watchtower. Sounded better than ever. Band rocked out as usual. Bob
sang the words with inflection and passion, raising to a howl for "...two
riders were approaching, and the wind began to howwwwllllll!!!!!'. This
was the best Watchtower I've heard. Audience into it; there was the
predicable release that occurs when a band first plays a song that most
everyone is familiar with. Great lead guitar. Bob playing much of it.
Dylan sat everyone back down again with "What Good am I?" (Oh, Mercy!
album, 1989). An extremely slow-tempo, delicate song, Bob delivered this
with a passionate vocal performance full of torment and confusion. Long,
hanging pauses strung out the tension. Tony Garnier excellent on bass
here. Lightly jumping from note to note in time with the lyrics, as in
the style of the
original. Stage lighting created several yellowish-gold circles across
front of stage. This was the first performance of this tune I have seen,
and I have not seen it on playlists from any other show. One of the great
things about Dylan shows is wondering what less-known song he will pull
out of his hat, and whether it will come across well. "What Good am I?"
was it tonight, and it was a major winner, brilliantly performed.
"Watching the River Flow" kicked things back into a rock-and-roll tempo.
VERY fast, upbeat version Dylan is using; almost a rockabilly undercurrent
rather than the slower, bluesy original (found only on Greatest Hits,
Vol. II). Entirely appropriate selection, since we were, in fact,
watching the river flow during the show. Other "appropriate" tunes
hoped-for but not played would include "...Memphis Blues Again" (of
course) and "Went to See the Gypsy" (a lesser-
known about Dylan's meeting with Elvis in a Memphis hotel). Audience
getting back into the rock mode, but not on their feet yet.
"Silvio" (Down in the Groove, 1985) is a song originally recorded with
Jerry Garcia and other members of the Grateful Dead. Dylan has been
playing this at all of the 1995 shows, but with an entirely different
arrangement. It kicks and rocks with a hard, fast beat that jumps and
shifts constantly. Audience rocking. Band VERY together, shifting tempos
and jumping around like a single, coordinated entity. Again unfamiliar, I
think, to a certain percentage of the audience, but NO ONE can hear THIS
band play Silvio and go away unconvinced of how good they are.
Acoustic set begins. Dylan followed formula he has been using on most of
the 1995 shows - six full-band songs with electric guitar, change to
acoustics for three songs with no drums, switch back to electric rock for
three more, break then two-song encoure, break then final song encoure.
"Mr. Tambourine Man" (Bringing it All Back Home, 1965) was the first
acoustic song. Dylan has changed the arrangement slightly since earlier
in the year; he wears and plays the acoustic guitar along with J.J.
Jackson. Tempo and tune is very, very true to original studio version.
Bob sings this great poem with passion, inhabiting the words. Audience
VERY into this familiar classic, roaring with applause and cheers each
time the refrain comes around, but thankfully they shut up enough during
the verses for us to hear them. All can hear and understand every word of
this; Bob's voice sounding incredibly clear, precise, and just GREAT.
Tony Garnier hugging a large, stand-up acoustic bass, Bucky Baxter
plucking away on some tiny strung instrument that produces high, twinging
leads, and Bob and J.J. dueling back and forth with acoustic leads. After
all the lyrics, long instrumental continues to everyone's pleasure. A
GREAT sound from this
arrangement. Then, when it appeared to be winding up, it was really just
a quiet-down while Bob retrieved a harp. Audience responds
enthusiastically, gleeful that they are indeed going to get some of the
legendary harmonica tonight. Dylan waits for the tune to "come around" on
the guitars played by the others (Bob had put his guitar down, and was
holding harp with hands - no
fixed harp-holder), then began slowly honking out a single note
alternating between soft and louder. This continued for a few bars,
allowing the audience to slightly subdue and wonder if this simply honking
was all Dylan could or would do with the harp. Then, Bob started to play.
And did he PLAY. Slowly he shifted from the single note to runs up and
down the tune. And it was getting slowly LOUDER and LOUDER. Audience
response correspondingly rose to a frenzy as
Dylan had the harp wailing and singing, running up and down and all
around, always maintaining and increasing volume just over the level of
the crowd. When they finally wound down to an end, the Audience roar,
cheers and applause indicated that Dylan had them all now; skeptics had
been silenced.
The acoustic set then launched into a dark sound, a slow rhythmic
strumming with an ominous, dramatic feel. "Masters of War" (The
Freewheeling Bob Dylan, 1962), a now-ancient war protest song, has
maintained currency through present day, unfortunately. Dylan's voice was
kept low, subtly rage-filled and strong as he sang these lyrics, rising to
a low howl for verse-ending lines: "...I think you will find, as your
death takes its toll, that all of your money won't BUY BACK YOUR
SOUL!!".
"Don't Think Twice, It's Alright" (The Freewheeling Bob Dylan, 1962)
finished the acoustic set by returning to an upbeat note. One of Dylan's
more familiar great classics, this received great audience response. He
revealed a faster-paced arrangement than the original, and included long
dueling-guitar instrumentals.
Electric guitars came back out and the band kicked into "God Knows"
(unreleased). It is my understanding that this song has never appeared on
a Bob Dylan album. I had heard it once before, at Dylan's June 2, 1995
performance at Seattle's Paramount Theatre. Normally, Bob's religious
themes incite controversy. At this point, the audience was so fired up
for the show and ready to rock again after the great acoustic sets, it
didn't matter what it was about. I don't know
all the lyrics, but the tune definitely rocks. Many sections of audience
up on their feet and rocking at this point.
Dark stage, some deep red and blue lighting. The guitars start up
something, and when bass and drum kick in, "It Takes a Lot to Laugh, It
Takes a Train to Cry" (Highway 61 Revisited, 1965) came into focus. A
heavy blues tune, POUNDING drums and bass begin to rock the place.
Dylan's soulful, powerfully loud wailing began "WEL L I RIDE ON A
MAIL TRAIN BABY, CAN'T BUY A THRIIIILLLLLLLL....". Bob
and J.J. rolling and reeling through THUNDERING bluesy electric guitar
leads, and WE WERE ALL ON THE MAIL TRAIN and it
was heavy and unstoppable. Two minutes into this, and all were on their
feet. Forget "I wanna hear familiar stuff". Forget the age thing.
Forget where you are. THIS HOUSE IS COMING DOWN.
Didn't time it, but Train must have run about 10 - 15 minutes. After
long, roaring guitar runs the band would suddenly (with perfect timing)
shift into cruise with just POUNDING drums and bass only, and Bob would
wail and howl out another verse of the lyrics. Simply unbelievable vocal
performance. More FIRE and ENERGY that you could imagine. ".... DON'T
SAY I NEVER WARNED YOU, WHEN YOUR TRAIN GETS
LOST!!!!!!!" sounded like I never thought it could live, having been such
a huge fan of the original version of this song for so
long. When the Train finally "pulled into the station" with a slow,
extended shut down like there was some huge inertia to overcome, the
audience was a rolling thunder. I couldn't help but think "..Dylan's
done it again; some of these people had come in here thinking they were
goiing to see an oldies show, a washed-up rocker, a screwed-up has-been,
someone that plays "Like a Rolling Stone" so they can sing along "... How
Does it Feel", and he's blown them so far out of their
mindset they are reeling and rocking and don't know who they are or where
they came from anymore, only that they are rocking and rolling tonight.
But Bob isn't stopping now. "Obviously 5 Believers" (Blonde on Blonde,
1966) jump started and kept on jumping. Fast paced, rollicking roller
played true to original arrangement, just LOUDER. The band kicked through
this classic in tight unison, with ripping leads from J.J. and Dylan.
Audience totally into it, all of them rocking. Bob has been frequently
using this number as the last before encoures.
As the band took bows before exiting the stage, man standing next to me
(who said his name was Dean) turns and simply says: "I guess that
qualifies as a blistering set". Truer words never spoken, Mr. Dean.
After a brief few minute break, Dylan and band launched into "Alabama
Getaway" (not a Dylan composition; this is a cover of Grateful Dead song).
Bob has been performing this and some other Dead tunes since the death of
Jerry Garcia. This was an inspired, rocked out version. Audience very
very into this, even most of the non-Dead knowledgeable recognizing the
song as it was one of the few Dead tunes that received a good bit of
airplay when originally released. Great performance by Dylan and all band
members for this.
Acoustic guitar came back on for "One Too Many Mornings" (The Times They
Are A-Changin', 1963), but this was not a mellow performance. Long,
winding guitar solos, pounding drums, shifts of tempo, and most of all the
soulful wailing of Dylan on these lyrics achieved an intensity level
beyond that of "Train" earlier in the set. This was the most intense,
passionate, REAL performance I have ever seen from Dylan. Stage lighting
created varied effects during shifts of
tempo. I'm sure many audience members did not recognize the song, but
there was NO ONE sitting down from beginning to end.
A brief break, and Dylan was back to rock again with "Rainy Day Women #12
& 35" (Blonde on Blonde, 1966). Needless to say, the audience was 100%
with it for this. Familiar to almost everyone that knows anything about
Dylan or rock music at all, Bob has been using this as the rousing closer
at most of his recent shows.
Dylan was very upbeat and into the whole show. He introduced the band,
making several cracks about who they were or where they were from. He was
high-fiving and pointing out to the crowd during the final standing
ovations.
Bob Dylan's 1995 tour is the best event in the music industry. There are
no acts that can compare with the energy and excitement this performer
generates. Dylan has so much material; he always mixes in some familiar
classics, some off-beat selections to please the true fans, incredible
instrumental performances, great acoustic sets, and the sound of the
tightest rock band going. If you have ever thought about going to see Bob
Dylan, now is the time. DON'T MISS IT!!! As audience member Mr. Dean added,
"Can't buy a thrill? Buy a ticket to the Bob Dylan concert!"
P.S. If anyone has tape of this show, please e-mail...
Date: Tue, 24 Oct 1995 06:07:17 GMT
From: "Mathew C. Harriss" (mharriss@LIBERTY.UC.WLU.EDU)
Subject: memphis, 10/19/95
I haven't seen this posted.
1) Drifter's Escape
2) Man in the long Black Coat
3) Watchtower
4) What Good Am I?
5) Watching the River Flow
6) Silvio
7) Mr. Tambourine Man (a)
8) Masters of War (a)
9) Don't Think Twice...(a)
10) God Knows
11) Takes a Train...
12) Obviously 5 Believers
e) Alabama Getaway
e) One Too Many Mornings (a)
e) Rainy Day Women # 12 & 35
Date: Wed, 25 Oct 1995 04:08:42 GMT
From: TIMOTHY R DAVIS (timrdavi@MARS.UTM.EDU)
Subject: Memphis 10/19/95 Comments
My seats were on the 10th row on the far right. I was there with an
older friend of mine (actually he used to be my teacher in high school)
and a couple of his friends from The Netherlands. The opening act sucked
since I really wasn't in the mood for obnoxious comedy. I don't know if
I've become numb or what, but I didn't get that nervous feeling I usually
get when the lights go down and "Good evening ladies and gentlemen. Would
you please welcome...BOB DYLAN." Drifter's Escape didn't do a whole lot
for me. I mean I was excited to be in the presence of the man, but Dylan
looked out of it to me. But even though he might have looked out of it,
his vocals were right on! Man in the Long Black Coat was great. This
arrangement has a lot of tension in it with howls that Bob does. What
Good Am I was even better. This song is so delicate, and Winston's hard
slow beat on those drums was perfect. Winston probably went through at
least 5 pair of sticks. Every time I looked up there were pieces of
sticks flying around. Watching the River Flow was pretty cool too. I
could see the river off to the right, and it was very appropriate. BTW,
the Mud Island Amphiteatre is an outstanding venue. It's very intimate
to seat as many as it does. Silvio rocked! I couldn't believe it.
That's all I can say about that. The highlight of Tambourine man is when
Bob went over and a got a harp near the end of the song and took the mic
off the stand held the harmonica and did a long melodic solo 'til the end
of the song. During Don't think twice I started plotting my plan to get
down to the stage. I started watching to see if anyone was going to try
to get a head start. After the last verse, I saw a woman go down to the
stage, so I got up. When I got down there, security was telling her to
go back to her seat so I spotted a seat on the aisle of the the third row
in the center. I sat down. Damn that was good seat! When God Knows
started up, I went down to the rail in front of Bob's mic and that's
where I stayed for the rest of the show. That part went by so fast. I
just kind of swayed to the music. I was disappointed at how little Dylan
looked up. He stared at the speakers in front of him 95% of the time.
I did make eye contact with him during It Takes A Lot... I was lipsyncing
"The windows are filled with frost" and he looked right at me for second.
Dylan was lively through Rainy Day Women as he was posing a lot and winking
at this redhead two people away from me.
I enjoyed the show overall, and I can wait to see the St. Louis show!
later,
Tim Davis
