Oh all the money that in my whole life I did spend
Be it mine right or wrongfully
I let it slip gladly past the hands of my friends
To tie up the time most forcefully
But the bottles are done
We’ve killed each one
And the table’s full and overflowed
And the corner sign
Says it’s closing time
So I’ll bid farewell and be down the road
Dylan is part of an all-star cast who have convened at the Shrine to celebrate Frank Sinatra’s eightieth birthday. While cameras roll and Sinatra is seated in A 18, DyIan unveils a remarkable version of” Restless Farewell,” all five verses sung with a nervy precision, accompanied by his usual musical misfits and a string quartet. The whole thing is actually rather moving, as is Sinatra’s seemingly genuine enthusiasm for the performance, which is subsequently broadcast on cable TV.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)
Shrine Auditorium Los Angeles, California 19 November 1995 Frank Sinatra 80th Birthday Tribute
Bob Dylan (vocal & guitar)
Bucky Baxter (pedal steel guitar & electric slide guitar)
John Jackson (guitar)
Tony Garnier (bass)
Winston Watson (drums & percussion)
….. and a string quartet with unidentified musicians
2001 was a fine year for Bob Dylan’s “Never Ending Tour”.
.. the show was superbly recorded and much of the atmosphere does come across. “Forever Young” sounds like a benediction on the self-healing residents of the suffering city. “A Hard Rain’s A-Gonna Fall” and, especially, “Blowin’ In The Wind” with its line “and too many people have died” have a special feel to them; a feeling that you can sense is being supplied almost as much by the audience as the performers. “Searching For A Soldier’s Grave” and Fred Rose’s song “Wait For The Light To Shine” cannot help but do the same, and the carefully-controlled lighting effects all added to the ambience.
~Andrew Muir (One More Night: Bob Dylan’s Never Ending Tour)
A great & very special New York concert only 2 months after 9/11.
I wasn’t quite sure how to do it and what material to use. I would have liked to do old folk songs with acoustic instruments, but there was a lot of input from other sources as to what would be right for the MTV audience. The record company said, “You can’t do that, it’s too obscure.” At one time, I would have argued, but there’s no point. OK, so what’s not obscure? They said Knockin’ on Heaven ‘s Door.
~Bob Dylan (to Edna Gundersen May 1995)
Thank you. I suppose you’ve been reading the newspapers and watching the TV? And you see how much trouble this world is in. Madmen running loose everywhere. Anyway we, we’re not worried about that though — it doesn’t bother us — because we know this world is going to be destroyed. Christ will set up his kingdom for a thousand years in Jerusalem where the lion will lie down with the lamb — we know this is true. No doubt about it. So, it’s a slow train coming. It’s been coming for a long time, but it’s picking up speed.
~Bob Dylan(before Slow Train – Santa Monica first show 1979)
The first gospel tour (Nov 1, 1979 – Dec 9, 1979) might be the best of the the three gospel tours, here is a wonderful show from – first of four @ Santa Monica.
And we love the Gospel tours !
Santa Monica, California
18 November 1979
Bob Dylan (vocal & guitar)
Fred Tackett (guitar)
Spooner Oldham (keyboards)
Tim Drummond (bass)
Terry Young (keyboards)
Jim Keltner (drums)
Regina Mcrary , Helena Springs , Mona Lisa Young (background vocals)
My thoughts, my personal needs have always been expressed through my songs; you can feel them there even in ‘Mr Tambourine Man’.
~Bob Dylan (to Sandra Jones – June 1981)
Even a song like Mr. Tambourine Man really isn’t a fantasy. There’s substance to the dream. Because you’ve seen it, you know? In order to have a dream, there’s something in front of you. You have to have seen something or have heard something for you to dream it. It becomes your dream then.
~Bob Dylan (to Bill Flanagan – March 1985)
@ #12 on my list of Dylan’s 200 best songs. The original version from “Bringing It All Back Home” was recorded on January 15 – 1965 @ the third recording session.
….and proceeded to record the final versions of “Mr. Tambourine Man”, “It’s Alright, Ma” & “Gates Of Eden” in a single take* with no playback between songs… it’s as though all three songs came out of him in one breath, easily the greatest breath drawn by an American artist since Ginsberg & Kerouac exhaled “Howl” & “On The Road” a decade earlier..
~Paul Williams (BD Performing Artist 1960-73)
*although this has been found not to be entirely true (after PW wrote his book).. It’s still a GREAT quote.
The specific Tambourine Man he had in mind was Bruce Langhorne, the magnificent multi-instrumentalist who would usher in Dylan’s electric era with some spellbinding guitar playing on Bringing It All Back Home (notably on “Mr. Tambourine Man” itself).
~Clinton Heylin (Revolution in the air)