RTM 21                                                                                                                                                                                                    http://www.watchingtheriverflow.org/RTM/RTM 21.htm



Civic Center Theater

Monroe, Louisiana

21 April 1993



Disc 1 [75:53]

1. Hard Times [4:47]

2. Stuck Inside Of Mobile With The Memphis Blues Again [7:52]

3. All Along The Watchtower [6:05]

4. You're A Big Girl Now [6:10]

5. Tangled Up In Blue [10:03]

6. Positively 4th Street [8:42]

7. Watching The River Flow [5:35]

8. Jim Jones [6:01]

9. Tomorrow Night [4:47]

10. Mr. Tambourine Man [6:47]

11. It's All Over Now, Baby Blue [8:59]


Disc 2 [46:18]

1. It Takes A Lot To Laugh, It Takes A Train To Cry [7:58]

2. I And I [9:34]

3. Simple Twist Of Fate [7:07]

4. Everything Is Broken [7:00]

5. What Good Am I? [8:33]

6. Highway 61 Revisited [6: 02]



Concert # 479 of The Never-Ending Tour. Concert # 8 of the 1993 US Spring Tour. 1993 concert # 23

Concert # 23 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

1, 8-12, 18 acoustic with the band

9, 11, 13, 18 Bob Dylan harmonica.

1 Bucky Baxter (accordion)

17 Bucky Baxter (electric slide guitar)

6 new songs (33%) compared to previous concert. 1 new song for this tour



Some track transitions are not entirely seamless

The final song, It Ain't Me, Babe, is missing from this source

D1 T1: [0:00] intro clipped, starts in the middle of a verse

D1 T1: [4:49 - 4:43] digi fuzz

D1 T2: [1:39, 1:41, 2:19, 2:21] digi glitches

D1 T3: [3:32] volume lowers for the rest of the disc

D2 T1: [0:21, 0:39] digi-crap

D2 T6: [5:52 - 6:02] very end of song is clipped; dead runoff


SOUND: Slightly compressed with clear vocals a half-step in front of a loud band. The band is actually balanced fairly

naturally, and even though the vocals are a tick overcooked, it's not that bad. Happily these are issues that are largely settled

by the 4th or 5th tracks, so settle back and crank it.


COMMENTS: Average start to this one, but things begin to pick up in Watchtower. Surprisingly, it's Bob leading the way

with some vocal gymnastics, all but hauling the band along on his shoulders. They finally wake up after the last verse to the

notion that Bob really does feel like trying this evening, and just like that off we go. Fine deliveries abound in a well sung

Big Girl Now, but Tangled is the first tune that bring everything to a boil. Tony is in a stone groove, and the guitars chase

one another's tails while Bob and Tony get down to grown folk business. 4th Street is interesting in that you can actually

here the faint roar from the crowd as he begins to sing, and in that Bob is both charming and annoying, almost changing line

to line. Part affected shouting, part trembling somersault, all entertaining, albeit in a suddenly sloppy and rowdy way. Bob

tells the crowd that River Flow is his "ecology song", which is an oft-repeated crack, but usually when Bob starts saying

anything beyond a slurred 'thanks everybody', it's likely he's having a pretty good time up there. Whatever it is, it works: he

instantly shuts off the shouting dramatics of 4th Street and switches to a melancholy, wistful sort of thing. The guitars are

outstanding, and Bob responds in turn with some more great vocals. Ah, the acoustic set. Yes sir, you got to love the early

1990s for their acoustic sets. Jim Jones kicks ass: it is no longer Bob Dylan singing: no, he's now some ageless, odd folk

mouse, twirling out lines that spin a dozen times before they get from your ear to your brain. So please, shoot those pirates

down, folk mouse, shoot every last bastard down, you grand old folkie, you. And that he thanks the audience afterwards is

the height of irony: after a superb little job like that they're too busy thanking him to notice. Bob is feeling like a pip, check

out the careless and cocky way he sings Tambourine Man. It also has this very funky acoustic beat stitched together, and the

breakdown oozes all over the place, or tries to, anyway. It's a weird night, but not that weird. Baby Blue is a brilliant way to

cap the soft set, listen to the way Bob sings-->breathes-->sings the "you " in the "...carpet too is moving under you" line,

perfect. (I love the Deadhead arrows, so I do) And we finally get us some harp solo, a ripe couple minutes of spit and polish

that brings the first disc to a hearty close. There's no let up here either on the second half of our shew, Takes a Train is a

mature smoker, man I miss this crunchy sound from Bob's current sound, which is softer, and more soupy, more bland. He

wisely lets the guitars go for a walk here and they sprint to the nearest bar and brawl. You know, I don't believe I've heard

the word "lives" sung quite the way he sings it in I and I; listen to that! Of course he's so wound up that it's a shouting mess,

but it has heart, damn it, you have to give it that much. The Sullen Twins (Big Girl Now and Simple Twist) are both here

tonight, and he handles them well. There are parts of his delivery in Simple Twist that reminds me of the Rolling Thunder

Revue, that goading, unbelievable yell-warble that never seems to have a point, but sounds cool nonetheless. What Good

Am I? is a gem, and carries on some of the throwback vocals out into even deeper water.


BOTTOM LINE: Sweet effort from Bob in eventually terrific sound, well worth a listen. And I don't know about you, but

so many of these shows in this set finally have Tony's bass as loud as it should be, and as an unabashed Tony guy these

things demand repeating. When was the last time you played a Tangled Up In Blue just to follow the bass? Exactly.



Setlist and NET info © 2001 by Olof Björner

Recording notes and comments © 2005 by the proud members of the Glenn Cripes Fan Klub


original source: http://www.gopherstick.com/RTM%2021%20April%2021.htm