Freitag, 27. Mai 2011

70th Birthday "Dylanthology", Part 01

Welcome to the first part of my "70th Birthday Dylanthology", featuring links to a variety of programs aired by radio and TV stations worldwide.

This is by no means complete or comprehensive -- feel free to add links that might have escaped my attention. Please also check Expecting Rain for additional coverage of Dylan's 70th birthday.

NOTE:
All of these radio and TV programmes (and their descriptions) are © by the stations who produced and aired them. Links to streams and/or downloads and descriptions are provided solely for "nonprofit educational purposes" (one of the criteria of "fair use", Copyright Act of 1976, 17 U.S.C. § 107).
Presentation (hyperlinks, etc.) © by the author of this blog.

 
BBC, UK, Radio Programs:


"Bob's Ballad Bases" Broadcast on BBC Radio 2, 10:00PM Tue, 24 May 2011 

From Pretty Peggy-O on his first album, to Highlands in the 90s and beyond, folk songs and folk music have informed the melodic, thematic and structural roots of much of his work. As Radio 2's Dylan Season continues, Julie Fowlis examines and celebrates this British and Irish influence.
We hear from people involved in folk song who knew Dylan. Liam Clancy and Jean Redpath met him in New York's Greenwich Village in the early 1960s and we hear Bob himself acknowledge a debt to Liam as he performs a Scottish folksong, Lang A-Growing, at his first major New York concert in 1961.
Bob's visit to London in 1962 is recalled by Martin Carthy, who introduced Bob to a number of variants of English songs. We now also have the publisher demos, recorded soon after his return to the USA, among which are the earliest recordings of landmark songs such as Girl from the North Country and Bob Dylan's Dream, which were informed by his UK visit.
Other contributors include singers Christy Moore and Linda Thompson; the author Clinton Heylin, who has written many books on Dylan and his songs; while Rab Noakes, a singer-songwriter and this documentary's producer, demonstrates how the famous The Times They Are A-Changin' was possibly informed by Hamish Henderson's 51st Farewell to Sicily.
We hear how Dylan's songs exist in a long line, as we go behind the immediate influence to reveal the layers of the traditional sources and oral transmission. This all goes to underline Dylan's description of himself as a "link in the chain".

"Dylan's Women" Broadcast on BBC Radio 2, 10:00PM Mon, 23 May 2011

As Radio 2's Bob Dylan season continues, Bob Harris takes a look at the women behind the songs and discovers how they influenced Dylan as an artist and songwriter.
Focusing largely on the music, tracks include Boots of Spanish Leather, which was written for Suze Rotolo; Like a Rolling Stone, which is said to be inspired by the model and socialite Edie Sedgwick; and Sara, Dylan's homage to his first wife Sara Lownds.
Folk singer Carolyn Hester remembers how Dylan was signed to Columbia after John Hammond saw him playing harmonica at one of her recording sessions. Bob was mesmerised by her singing: "You should have seen this little rough and scuffle little guy, with all this curly hair in the world, pulled his chair right up in front of me... he says, 'you wanna play that again?'"
Suze Rotolo met Dylan in the summer of 1961 and went on to inspire some of his most famous songs. Richard Williams, a journalist from the Guardian, explains how she also introduced him to theatre and artists he'd never heard of: "It wouldn't be exaggerating to say she opened up a new world to him." Richard also remembers the importance of the album cover for The Freewheelin' Bob Dylan which pictured Bob and Suze walking down a snowy Manhattan street.
Singer Joan Baez features, who describes how she opened him up to a wider audience: "I adored his music and I adored him... I would present him during my concert so certain credit is offered to me because of that." Billy Name, the archivist at Andy Warhol's Factory, explains the link between Dylan and Edie Sedgwick, who is said to have inspired the song Like a Rolling Stone. And photographer Elliott Landy remembers the time he spent with Bob and his first wife Sara Dylan at their home in Woodstock: "she had a calming effect and she bought him into a wonderful domestic family life".
Other contributors include film-maker DA Pennebaker; actress Sienna Miller; photographer and film director Jerry Schatzberg; Dylan's backing singer Ronee Blakley; and Dylan's first manager, Terri Thal, who remembers how hard it was to get Dylan booked for shows.
Who are the women behind some of Dylan's most revered songs? And how have they impacted on his music? We'll find out as we explore another side of Bob through the eyes of "Dylan's Women".

Broadcast on BBC Radio 4, 11:30AM Tue, 24 May 2011

To coincide with Dylan's birthday (24th May 2011) presenter Emma Freud explores the singers spiritual journey revealing a side to the performer often over looked.
The programme opens with how Dylan grew up a small-town Jew in Hibbing, Minnesota. We hear from Cantor Neil Schwartz he also grew up in the same town and his mother was Bob's Sunday school teacher.
Author of 'Prophet, Mystic, Poet' Seth Rogovoy reflects on Dylan's early years and his Barmitzvah. We explore early Dylan music and author Clinton Heylin believes Dylan not only drew on early negro spirituals but the Old testament for his more engaging material. Helping makes sense of some of the more complex theological messages is Nick Baines The Bishop of Bradford and a life long admirer of Bob Dylan.
It was in the late 1970s, Dylan became a born again Christian and 1979 album 'Slow Train Coming' championed Jesus. Author of 'Down The Highway' Howard Sounes finds Dylan's three Christian albums a "difficult listen". Whether they meant something significant to his audience is another matter, but Al Kasha who helped Dylan with his understanding of the scriptures is convinced you can't doubt the depth of Dylan's religious conversion.
Dylan's embrace of Christianity was unpopular with some of his fans and his album "Shot Of Love" recorded the spring 1981, featured Dylan's first secular compositions in more than two years, mixed with explicitly Christian songs. Essentially Dylan's venture into Christianity seemed to be coming to an end.
As we discover with all things Dylan, its tricky to work out what is going on inside the singer's mind but 'Blowing In The Wind - Dylan's Spiritual Journey" will go someway to exploring his thoughts and spiritual beliefs through his songs and these revealing interviews.

The Bob Dylan Story at 70, BBC Radio 2 
Kris Kristofferson begins the story of his hero, his inspiration and his friend Bob Dylan in the first of a six part series marking the 70th birthday of the legendary singer songwriter.
It's 1961 and Bob moves from Minnesota to New York, hoping to perform there and to visit his idol Woody Guthrie. Soon, he becomes the most talked about artist on the Greenwich Village folk scene and begins to write the songs that came to define the 1960s such as Blowin' In The Wind and The Times They Are A-Changin'.
The programme features interviews with Dylan's contemporaries Tom Paxton, Jim Kweskin and Dave Van Ronk, who remember his earliest songs and performances. Plus John Hammond, the man who signed Bob to Columbia Records, recalls the making of the 21 year old's debut record. Also, Paul Simon admits the time was right for a folk revival and Joan Baez gives a rare insight into her contribution to Dylan's success.
Bob himself talks about the music that influenced him as a young man, first hearing Woody Guthrie, meeting Peter, Paul & Mary and walking out of the influential Ed Sullivan TV Show in 1963.
Featured tracks include Song To Woody from Dylan's 1962 eponymous debut, Blowin' In The Wind from his landmark follow up The Freewheelin' Bob Dylan and title track from his third album The Times They Are A-Changin'.

Kris Kristofferson continues the story of his hero, his inspiration and his friend Bob Dylan in the second of a six part series marking the 70th birthday of the iconic singer songwriter.
In the winter of 62/63 Bob makes his first trip to the UK - the British folk tradition would have a profound influence on his subsequent writing. In 1965 he releases the landmark album Bringing It All back Home, The Byrds have a worldwide hit with his song Mr Tambourine Man and Dylan is seen performing in an early music video to Subterranean Homesick Blues in D A Pennebaker's seminal film Don't Look Back. He is still only 24 years of age. His sixth studio album Highway 61 Revisited is released and Like A Rolling Stone, the opening track, is a top 10 hit on both sides of the Atlantic. His electric performance at the Newport Folk Festival gets a hostile response from the folk establishment.
The programme features an interview with Martin Carthy, who talks about the influence traditional British folk music had on Dylan's work, and Peter Asher and Tom Robinson describe the importance of Dylan's arrival in the British pop charts. Also John Lennon and Carly Simon realise Dylan's lyrics mean so much more than anyone else's, Bob Geldof remembers the first time he heard Like A Rolling Stone and Joe Boyd, stage manager at the 1965 Newport Folk Festival recalls Dylan's controversial performance.

Kris Kristofferson continues the story of his hero, his inspiration and his friend Bob Dylan in the third of a six part series marking the 70th birthday of the iconic singer songwriter.
It's February 1966, and Bob Dylan travels to Nashville to shake up the town and make the best use of musicians Robbie Robertson, Charlie McCoy, Wayne Moss and Al Kooper on one of the greatest rock and roll albums ever made Blonde On Blonde. Kris Kristofferson remembers the recording sessions that went on through the night - he was working as a janitor in studio where the album was recorded. Bob undertakes a world tour with The Band taking in a performance at the Royal Albert Hall in London, with The Beatles in attendance, and a legendary confrontation between Dylan and the audience at Manchester's Free Trade Hall.
The programme features interviews with producer Bob Johnston and musicians Charlie McCoy and Robbie Robertson. Plus, Bob Geldof and Paul McCartney describe the excitement of Dylan's new electric sound and C P Lee, an audience member at the Free Trade Hall recalls the historic Manchester concert.

Kris Kristofferson continues the story of his hero, his inspiration and his friend Bob Dylan in the fourth of a six part series marking the 70th birthday of the iconic singer songwriter.
During 1967, while The Beatles release Sgt Pepper and The Velvet Underground, Pink Floyd and The Doors are making their album debuts, Dylan rests at home in Woodstock as he recovers from his motorcycle crash of the previous summer. He records 150 songs at nearby Big Pink, a house rented by The Band, a handful of which would become the first bootleg recordings in rock history - The Basement Tapes. In 1968 he releases the country-tinged John Wesley Harding, his first studio album in almost 2 years, then he returns to Nashville to make an album with Johnny Cash. He performs alongside George Harrison and Ringo Starr at the Concert For Bangladesh. His 1973 album Planet Waves pleases the critics, but next Blood On The Tracks would send them into ecstasies and introduce Dylan to a whole new audience.
The programme features interviews with Tom McGuinness, Bruce Springsteen, Tom Robinson and Bob Geldof. Plus, narrator Kris Kristofferson remembers the time he spent with Dylan in Durango, Mexico making the film Pat Garrett & Billy The Kid, for which Dylan wrote the classic Knocking On Heaven's Door.

Kris Kristofferson continues the story of his hero, his inspiration and his friend Bob Dylan in the fifth of a six part series marking the 70th birthday of the iconic singer songwriter.
It's 1976 and as the USA braces itself for the Bicentennial, Bob Dylan sets off in search of America - with a travelling band of musicians called The Rolling Thunder Revue. He and The Band call time on performing together and hold a star-studded farewell concert in San Francisco called The Last Waltz. In an unexpected twist he is reborn as an evangelical Christian later that year resulting in three albums of inspirational material he released between 1979 and 1981. Bob performs at Live Aid, joins George Harrison and Roy Orbison in The Traveling Wilburys and finishes the decade on a critical high note with his 25th album Oh Mercy. Things Have Changed - Bob's first song of the 21st Century - is used in the film Wonder Boys and wins him a well-deserved Oscar.
The programme features the thoughts of George Harrison and Jeff Lynne, Live Aid organiser Bob Geldof, Dylan biographer Patrick Humphries and folk musician Tom Paxton.

Kris Kristofferson concludes the story of his hero, his inspiration and his friend Bob Dylan in the final part of a series marking the 70th birthday of the iconic singer songwriter.
Bob Dylan enters the new millenium on a critical high with his 30th studio album Love & Theft. He wins universal acclaim with the first volume of his autobiography, Chronicles, and collaborates with Martin Scorsese on the film biography No Direction Home. In 2006 he makes his debut as a DJ with Theme Time Radio Hour, which runs to100 episodes, and delights listeners with his idiosyncratic observations linking records. Just when you think he has no more surprises up his sleeve, in 2009 he cements himself into the festive season with the release of Christmas In The Heart.
The programme features interviews with broadcaster Paul Gambaccini, musician and Dylan biographer Sid Griffin and journalist Alan Jackson, who recalls interviewing Bob for a 2008 exhibition of his artwork.
With music from the No Direction Home soundtrack, Bob's first No. 1 album in 30 years Modern Times, and the latest volume of his Bootleg Series The Witmark Demos.

Donnerstag, 26. Mai 2011

Mainz Dylan Symposium, May 26, 2011 (Part 3 of 3 attended and taped)

The third presentation,"Bob Dylan und die Bibel" (Bob Dylan and The Bible) by Prof. Dr. Manfred Siebald (American Studies), Johannes-Gutenberg-University, Mainz, Germany, was the most interesting of all.

Prof. Manfred Siebald, also a Christian singer-songwriter in Germany (comparable, for example, to Bruce Cockburn), rather convincingly attributed Dylan's use of Biblical images/themes NOT only to his Jewish background, but rather to the WASP (in particular, Puritan) tradition/concepts of  "Jeremiad" and "Typology".

This was the most convincing presentation (and the only one providing real "food for thought"), whereas the presentations scheduled for tomorrow to me hold no excitement whatsover  and do not promise any new insights.



NOTE: 
© by Prof. Dr. Manfred Siebald, 2011
Presented for the purpose of study and research only (in accordance with "fair use" criteria). 
 

Mainz Dylan Symposium, May 26, 2011 (Part 2 of 3 attended and taped)

The second presentation was by Prof. Dr. Knut Wenzel (Frankfurt), entitled "Bob Dylan, die Stimme und die Zeit" (Bob Dylan - the Voice and the Time).

Actually, this was rather good. Prof. Dr. Kurt Wenzel (Catholic Theology/German Literature) of Frankfurt University tried to present Dylan (and his changing voice -- on released recordings) within a historical context, with Dylan's voice changing as the "times were a-changin'".

After the presentation, during a coffee break, I had an interesting conversation (I disagreed on a few points) with him, mainly emphasising that Dylan's released recordings are entirely inadequate for an analysis of that kind (for example, the controversy about the authenticity of the Karen Wallace Tape because of Dylan's voice on this early Pre-Columbian recording sounding rather similar to that of Nashville Skyline).

All in all, quite enjoyable and interesting (with a few minor inaccuracies due to the inadequacy of having to use Dylan's released "canon" only).

NOTE: 
© by Prof. Dr. Knut Wenzel, 2011
Presented for the purpose of study and research only (in accordance with "fair use" criteria). 

Mainz Dylan Symposium, May 26, 2011 (Part 1 of 3 attended and taped)

Today, I attended the first three presentations of the Bob Dylan Symposium "Bob Dylan und die Revolution der populären Musik" (Bob Dylan & The Revolution in Popular Music) at Johannes-Gutenberg-University, Mainz, Germany (I left and will not attend tomorrow's presentations, because I "had enough").

Prof. Dr. Dieter Lamping (Mainz) opened the symposium with an introductory presentation "Zwischen moderner Lyrik und Pop - Bob Dylan" (Bob Dylan - Between Modern Poetry and Pop) which only served to show what results are achieved when academics in their ivory tower try to "tackle" the phenomenon of Bob Dylan.

On a positive note, Prof. Dr. Lamping NEVER even mentioned Clinton Heylin once, but stressed the importance of what he called "fan culture" for serious scholarship, and voiced a certain (rather academically-biased) astonishment at the quality of research to be found, for example, on internet "fan" sites.

Nevertheless, his remarks about Dylan's nomination for the Nobel Prize in Literature (which Lamping feels he will never get and does not really deserve) made it all too clear, that academia, especially in Germany, has problems "justifying" Dylan research -- too many of his "laudatory" remarks had an almost apologetic undertone.

NOTE: 
© by Prof. Dr. Dieter Lamping, 2011
Presented for the purpose of study and research only (in accordance with "fair use" criteria).

Sonntag, 22. Mai 2011

"He's still an icon, always will be" -- a message from Eric Burdon

Back in 2006, Eric Burdon had this to say when I asked him for a message for Bob's birthday:

"I don't wanna go pissin' Bob off, over and over again [Chuckles]...    
I'm just... I'm just as happy that he's around, and that he's still gigging,
and that he's still... you know...  is... you know....
The only thing that I could say about Bob is... you know...
'Come on, let's have a song about Iraq', 
you know...  
I mean, 'Let's get down... let's get down to it', 
you know....
Aahh... you know... but... you know... no, 
he's done his work, and he did it well,
and he's still an icon, always will be... 
and...  he stands for a lot....
Over the years, I've loved his variable bands
and the way he's approached his material in a different way, without caring what people think,
you know...
You know... but it's pretty hard... it must be pretty difficult to be Bob Dylan, you know...!"



© Manfred Helfert 2006
 

Happy 70th Birthday, Bob! -- from German impressario Fritz Rau

Back in 2006, for Bob Dylan's 65th birthday, I did a series of interviews with both German and international artists/persons with a connection to Bob, among them German impressario Fritz Rau and Eric Burdon.

Both Eric and Fritz, when asked if they wanted to send birthday wishes to Bob, were more than eager to comply.


Fritz Rau had this to say (German language, translation by myself):
"This is great -- we've done some nice tours together, starting in 1978, and  
I wish Bob Dylan a nice and quiet birthday. 
I cherish him and am indebted to him for many great songs, many lyrics, poems, and music -- ALL THE BEST.
I can only say: Keep doing what you're doing -- we need you!"





 
© Manfred Helfert 2006
 

Donnerstag, 19. Mai 2011

Nuremberg 1978 -- My Own (and Alex Conti's) Personal Recollections

I'm still rather infuriated over Clinton Heylin's sensationalist perpetuation of anti-German prejudices and his distortion of the truth for the sake of a "better story" ("anything involving Nuremberg just HAS to have Nazis in it -- my British and American readers, who are used to Hogan's Heroes stereotypes expect this") that I dug up (and partially rewrote) my personal recollections of that day.

Once again -- there were no neo-Nazis throwing things on stage. 
There were threats by a neo-Nazi group (Wehrsportgruppe Hofmann) PRIOR to the concert which had to be taken rather seriously by both the city of Nuremberg and Dylan's tour management (excerpts from a 2006 interview I did with Fritz Rau can be found in this related blog post), resulting in highly increased (and at times rather intimidating) security measures.

The concert itself was absolutely peaceful -- the only objects thrown (briefly) were aimed at the people right in front of the stage by people farther back who could not see the stage with the folks upfront standing up and obstructing their view -- something which is corroborated by other concert attendants, like Andrea Orlandi from Italy.

Neither Fritz Rau nor Alex Conti (lead guitarist of Lake, one of the groups opening for Dylan), whom I interviewed in 2006, can recall any incident involving Neo Nazis throwing objects on stage, nor does anyone else I know who attended the concert.



Alex Conti remembers Dylan in Nuremberg, 1978 (mp3) 
(German language, from 2006 interview) 
© Manfred Helfert 2006

Alex Conti remembers Reichsparteitagsgelände (mp3)
(German language, from 2006 interview)
© Manfred Helfert 2006




Here are my own (highly personal) recollections of that concert:

The morning of July 1, 1978 -- a Saturday, if I recall correctly. The sky's overcast and it looks like a hard rain's a-gonna fall. After one more cup of coffee two student friends of mine and I board a beat-up
Buick 6 (Volkswagen Beetle, that is...) and we are on the road (again)....


It's eight in the morning --  we're late getting through the suburbs of Mainz, Germany onto Route 66 (A-66 that is...), heading east into the uncharted wilderness of the German Free State of Bavaria to
that place called "Zeppelinfeld" ("blimp [air]field"), the euphemistic, conveniently politically "incorrect" name by which the former "Reichsparteitagsgelaende" (the Nazi Party's rallying ground of
the 1930s) in Nuremberg is known these days -- sweep the past under the carpet; all the graves are by now covered by grass, and the pastoral countryside through which we're driving is peaceful and serene....

"Street Legal" (which I had just purchased a week ago, or so) blasting from the car stereo -- "Baby, Stop Crying", "Is Your Love In Vain", "Senor"... -- nice, relaxing music, perfectly suited for driving at maximum Beetle's speed on the autobahn....


We're past Frankfurt -- traffic is congesting. We hadn't realized that this is the first day of school holidays in several German states -- everybody and their family is heading in our direction, east to
southeast, in every type of jalopies (mostly spotlessly clean...as is expected of the typical German car-fetishist), on this highway leading to the gardens of eden of pre-civil-war Yugoslavia and
Italy....


Past Wuerzburg -- stop and go -- we're stuck inside of the biggest traffic jam, bumper to bumper,  I have ever encountered. Two kilometers in one hour -- where's the next exit from the autobahn?
Otherwise, we won't make it in time for the 2 p.m. opening of the concert, admission to the festival grounds starting at noon....


Finally, an exit. We get off the congested highway and proceed (rather steadily and without any further obstructions) on narrow country roads towards our destination....


Nuremberg, at last -- we get lost in the city; finally, at 11:30, we see a direction marker for "Zeppelinfeld". All the parking spaces near the festival area are already taken; we find one about a mile away, grab our stuff, and head towards the arena.


My first impression: Huge grey concrete walls looming behind the merciful camouflage of trees... Gigantic. Rolled out barbed wire coils everywhere (to block unauthorized access to the festival grounds), viciously looking security guards in black leather garb with even more viciously looking German shepherd dogs (who can probably trace their ancestry back to "Blondie" or another dog owned by the "Fuehrer"...) with muzzles, behind the barbed wire -- bad vibes, "are we entering a
concentration camp?"


The main entrance -- myriads of people being herded through about five "cattle chutes", frisked for weapons and glass bottles, but the atmosphere changes -- the "bad vibes" are gone; people are joking, you make new acquaintances while waiting in the long lines in front of the entrance...


Finally, we're inside. The sight is amazing. In front of us are already about 30,000 to 50,000 people settled on their blankets, air mattresses, etc. on the level area in front of the stage which looks
tiny from the far end of what is only half of the huge area with its gigantomaniac architecture
(picture the chariot racing arena in the "Ben Hur" movie "times two" or even "three"... or watch Leni Riefenstahl's "Triumph of the Will").


The other half of the area (behind the stage) is converted into an American type  sportsfield -- bleachers in the sun of the early July afternoon, standard baseball fields (used by the American troops stationed in
Nuremberg and therefore "Off-limits" for concert purposes).


Right behind us looms the most megalomaniac part of this place's architecture: The rostrum used by Hitler for his speeches, huge concrete "slabs"/"pillars" rising high behind it, a "tower" type building on either side -- all of it probably intended to "dwarf" the spectators, to imbue the feeling of "You are nothing, your people (and its glorious leader Adolf Hitler) are EVERYTHING." Threatening, intimidating....


We find some space to sit down at the foot of this concrete monster building, slightly higher than the level area in front of us so that our view towards the stage is not obstructed (we've got binoculars
hanging from our necks... but no jewels) -- not too far from the row of portable toilets (to our right), rather convenient in view of our supply of red wine in plastic bottles. The throng of people entering the area still seems endless....


The concert starts. We've made friends with the people near us, exchanged tobacco (and "wacky tobaccy") with them...

"Lake" -- a German/English group opens, followed by "Chicken Shack," a British blues-oriented group -- the stage is a rotating one, so while one act plays, the equipment for the next act is already being set up in the back -- then the rear part of the stage is then rotated to the front -- so the breaks between the
different acts are minimal -- very good planning, IMHO.


The first real "highlight" -- Eric Clapton with (most likely) Yvonne Elliman (Mary Magdalene of "Jesus Christ Superstar" movie fame) as background singer, who is featured as solo artist on a truly excellent "Can't Find My Way Back Home."


By now, I'm on one of the "towers" and have a unobstructed view over the whole area, as well as the area outside Zeppelinfeld -- there's an (obviously) man-made pond about 500 meters away and on the other side of this pond I see another gigantic (definitely Nazi-architecture) building....


The lines of people waiting to be admitted to the festival area are still long -- I've never seen that many people in my life. Clapton plays J.J. Cale's "Cocaine"....


Instead of Sonny Terry and Brownie McGhee, Champion Jack Dupree follows Clapton -- he is great, but as one critic later remarked (I'm quoting this from memory) it was somehow "like playing with marbles in a bull-fight arena." A great act, but somewhat out of place in front of this huge audience (70,000 or 80,000 by now) -- his intimate heart-felt blues more suited for a club atmosphere...


Finally, the moment I've anticipated for so long:
I'll be able to watch Bob Dylan perform in concert for the first time!


He opens with Tampa Red's "She's Love Crazy" -- a song I'm not familiar with at all. Then "Baby, Stop Crying" (by now, I know that one). "Mr. Tambourine Man" -- sounding rather strange in its 1978 arrangement --, "Shelter From The Storm" --- etc.


After "Going, Going, Gone" (song #12), Carolyn Dennis sings Sam Cooke's "A Change is Gonna Come", Helena Springs follows with "Love Minus Zero/No Limits", Steven Soles with "Laissez-Faire"....

In retrospect (almost 33 years ago), and re-listening to my CD-R copy of that concert last night, I
find Dylan's performance very spirited, very "exciting", as if the strange mood of this historical place had made him give his "utmost."

Instead of the "average" 26 to 27 songs on other 1978 European concerts, he performs 28 in his "main set" -- and he even makes a remark about the significance of this place when introducing "Masters of War".


Halfway through Dylan's set, I have finally made my way through the crowds to right in front of the stage, the barricades and "cattle chutes" at the entrance are removed -- everybody can come in for free now to watch the finale...


When the Night Comes Falling From the Sky: 
The two encores -- Eric Clapton joins Dylan onstage for "I'll Be your Baby Tonight" and "The
Times They Are A-Changin'" -- during the last song, "professional" fireworks go off behind the stage, the area in front of the stage is further illuminated by thousands of lights from flashlights, lighters, most likely U.S. Army issued "illumination grenades" in different colors (there are quite a few G.I.'s in the crowd...) etc. -- PURE MAGIC which lingers on for quite a while, even during the long trek back to our car!!!


Thank you, Bob, for the first of many unforgettable concert experiences!