RTM 09                                                                                                                                                                                                    http://www.watchingtheriverflow.org/RTM/RTM 09.htm

 

 

Muziek-Centrum Frits Philips

Eindhoven, The Netherlands

17 February 1993

 

 

Disc 1 [77:45]

1. Folsom Prison Blues [4:41]

2. The Man In Me [3:08]

3. All Along the Watchtower [6:01]

4. Tangled Up In Blue [9:00]

5. Watching The River Flow [4:33]

6. Stuck Inside Of Mobile With The Memphis Blues Again [6:41]

7. Silvio [4:52]

8. Tomorrow Night [5:27]

9. Jim Jones [6:11]

10. Gates Of Eden [6:03]

11. It's All Over Now, Baby Blue [6:32]

12. Cat's In The Well [6:01]

13. I and I [8:29]

 

Disc 2 [40:47]

1. The Times They Are-A Changin' [5:36]

2. Highway 61 Revisited [5:58]

3. Ballad Of A Thin Man [10:24]

4. Everything Is Broken [7:48]

5. It Ain't Me, Babe [10:59]

 

 

Concert # 466 of The Never-Ending Tour. Concert # 10 of the 1993 Winter Tour Of Europe. 1993 concert # 10.

Concert # 10 with the 9th Never-Ending Tour Band: Bob Dylan (vocal & guitar), Bucky Baxter (pedal steel guitar & electric

slide guitar), John Jackson (guitar), Tony Garnier (bass), Winston Watson (drums & percussion).

8-11, 14, 18 acoustic with the band

3, 4, 13, 16, 18 Bob Dylan harmonica

9, 10, 18 without Winston Watson..

11, 14, 18 Bucky Baxter electric mandolin..

14 Liz Souissi (shared vocal).

 

 

Notes from a fan in the audience:

 

Suddenly at the start of The Times They Are A-Changin' there's a girl standing on stage. Blond, dressed in black, wearing a

hat like it could have been a souvenir of the Rolling Thunder Revue. She wants to sing with Dylan. The bodyguard wants to

take her away, but Dylan says it's OK. They sing the first verse together. She sings great! Then Dylan steps back to play

some guitar, probably expected her to leave, but she stays on stage. Dylan shows her his guitar as if he wants to say: "Maybe

you wanna take this over as well?" Then the bodyguard again comes to take her away, but Dylan again says it's OK. They

sing the whole song together (and it sounds very good!) although Liz Souissi from Bern, Switzerland, is shaking all over,

nervous as she is. All the time there are big cheers and lots of applause from the crowd. When the song is over, she starts to

walk off stage, but then returns, giving Bob a big hug and kiss. This was front-page news in the local newspaper: "A Kiss for

Swiss Liz". Her comments: "This is what I always dreamed of. I almost didn't dare, but still I took a chance on it. Of course I

expected to be taken away immediately. To me this is the most beautiful thing I ever experienced." And it was beautiful for

many people in the crowd. Bob even smiled when all this happened.

 

NOTES:

Some track transitions are not entirely seamless

D1 T3: [0:00 to track 8] volume slips

D1 T3: [8:49 - 9:00] next song starts; track split off

D1 T8: [0:41] volume goes back up

D1 T12: [2:27 - end of disc] volume slips

D2 T5: [10:36 - 10:59] dead runoff

 

SOUND: Dicey. Everything is raw and just a little distant (except for Bob's guitar). Vocals, while just in front of the band,

suffer from an over baked recording that buzzes him when he sings too strongly. The volume fluctuates up and down but at

least when it's down the balance is somewhat there.

 

COMMENTS: Wow. The Man In Me, a most unassuming and typically throwaway live number, is suddenly one of my

all-time favorite versions of this tune! Great singing by Bob, this sounds like it could be a Basement Tapes outtake. Short

and sweet, I just spun it three times in a row, very cool. In other news, Silvio is a minor musical abortion. Of course in

1993 this was a few years from when this song would be run out for public flogging on a nightly basis, but still, for a song

that was built for mindless jamming this is a pretty dire version. The only thing that makes it worth hearing is to hear how

Bob loses his timing and ad-libs to catch back up. No, I take it back, it's really not worth it. Okay now I take that back, it's

at least interesting to hear the 'arrangement'. Ah, let's move on already. So here comes the acoustic set, and it's worth

waiting for. Bob's vocals are getting ragged tonight, and that the recording buzzes when he hits the slightest high note

doesn't help, but it's not hard to hear that he needs to refuel. Jim Jones is outstanding. Gates of Eden is nice too, and for

every word Bob messes up his phrasing makes up for it in spades. He's on fire all of a sudden. And just in time, Baby Blue

is next. Bob boils over and doesn't give a damn. The crowd is cheering encouragement, urging them on, and Bob and the

boys pour it on (in as much as you can 'pour it on' in an acoustic song). Yes, Bob is shouting, yes, Bob is getting carried

away. Who cares? Not me, not this time. The Times They Are A-Changin'. Did you read that bit under the list at the top of

the page there? A girl from the audience floats over to Bob and they have themselves a duet. Fantastic. I don't which is

better: the fact that this sounds better than 80% of Bob's planned duets or that she actually pulled it off and is a hero and

champion to fandom. Swiss Liz, go sister, go! If you're going to interrupt the show at least add some worth. That's what I

call "value added", very nice. That seems to put a charge in old Bob and he finishes off the show in fine fashion. It Ain't

Me, Babe may be the tired old closer for just about every show but it can still get up and go to the bathroom by itself if you

know what I mean, just listen to him sing this one...

 

BOTTOM LINE: This is one of *those* shows. Special. A vibe show. An X factor. An intangible something. All those

clichés. (Please, no Cardiff 2000 jokes, I'm serious here) This to me is kind of on the same level as, say, "Inside The Rain"

[July 14, 1994] or Madrid [July 19, 1995] or maybe Mobile [October 26, 1997] or perhaps even Anaheim [May 23, 1998].

You know what I'm talking about: Those would-be ordinary shows in average sound that for some reason or another have

'something' that elevates it up to the next shelf. The songs are shorter, the jams less dominating, and if you can sort of slide

along with the volume qualms and buzzy nature, I think you'll hear a fun, fun show.

 

 

Setlist and NET info © 2001 by Olof Björner

Comments © 2005 by the proud members of the Glenn Cripes Fan Klub

 

original source: http://www.gopherstick.com/RTM%2009%20FEB%2017.htm