Palais des Sports
29 June 1993
Disc 1 [75:59]
1. Hard Times [5:08]
3. All Along the Watchtower [6:58]
4. Just Like A Woman [7:29]
5. Tangled Up In Blue [13:28]
6. Shelter From The Storm [12:48]
7. Watching The River Flow [7:19]
8. Little Moses [7:14]
9. Tomorrow Night [5:56]
Disc 2 [73:28]
1. It's All Over Now, Baby Blue [9:43]
2. Desolation Row [13:40]
3. Cat's In the Well [7:17]
4. I And I [10:03]
5. My Back Pages [5:30]
6. Maggie's Farm [6:33]
7. Rainy Day Women #12 & 35 [7:12]
8. It Ain't Me, Babe [13:27]
490 of The Never-Ending Tour. Concert
# 10 of the 1993
Concert # 34 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, 8-11, 17 acoustic with the band.
5, 6, 9-11, 17 Bob Dylan harmonica
1, 6, 8 Bucky Baxter (accordion).
5 new songs (29%) compared to previous concert. 2 new songs for this tour
Some track transitions are not entirely seamless.
D1, D2: Watery digi-ripples throughout; dropouts, skips, volume spikes, etc...
D2 T8: [11:27- 13:27] dead runoff
SOUND: You know how they say an ugly face has lots of 'character'? Well, this guy here is Mark Twain on crack. The
vocals are choppy, ringing, distorted; here again it sounds like somebody is playing you a copy of an otherwise good
soundboard through a very large fan. The band is affected as well, hell, everything is affected thanks to the numerous pits,
spots, skips, spikes, stutters, etc. The sounds calms down after a few tracks, but it never really fully cleans up, especially the
metallic throbbing buzz on the vocals.
COMMENTS: One of the longest shows of the year, with no less than five songs cracking the ten-minute mark. The
wonderful bootleg of this show ("Hard Times In Marseilles") is probably responsible for a lot of opinions about 1993, most
notably the huge
track times and the high wailing vocals. More on that later.
Hey, Winston has a nice moment in
there's a point at around the six minute mark or so where the band slacks off and it's just drums leading the way. It's a short
moment but it's like opening a window, all at once the song stops being so stuffy. Check out the terrific meltdown in
Watchtower, fleeting shades of a Jerry Garcia brushing jam, and it gets Bob in the mood, he sings every line better than the
last. Now he's sipping on a mouse milkshake and cranks on the drama school antics for an over-wrought and wild Just Like
A Woman, his vocals running around in a hurry, zooming out of his mouth without their lunch money and late for the bus.
Great listening, if not for the sonic defects. Take Tangled for example: here's a full thirteen minute rendition, and you can
tell Bob is doing okay with it but the sound makes this frustrating for any sort of conventional enjoyment. That's why we're
professionals, though, we few, we brave, we foolish. Hey you know the sound here is a bitch, but as I mentioned earlier this
show was bootlegged years ago in largely gorgeous sound. Let me check myself out back a few years ago and see what I
thought of the bootleg "Hard Times In Marseilles". This entry is on Dylanbase.com, which is still a great resource to find
reviews of tons of Bob shows, check it out for instant opinions if you haven't been yet.
When Added: 11/25/2000
" Chris is right on about the helium vocals. The sound is top-notch, the jams are great. And while I hope this isn't sacrilegious, there were
moments within longer songs, when the jam was 'on', that I was almost cringing, knowing that Bob would blow back in with some words...
And yes, that is being tough on Bob, but no, it's not such a slam that you should avoid this set. I still play it often enough to justify it's
purchase to myself, and well, despite the 'high' singing, it's still fun. I wish that he had those longer jams with the voice he sings with
now...but, go for what you know."
Well, my writing hasn't changed a bit, that's for sure. Self-depreciating, say-nothing, fence-straddling geek spew, check,
check, check. Bob's vocals are higher than usual based on the other shows in this set, but it's not as bad as I thought 5 years
ago. I have the original silver
disc set, where did I buy that? I think it was up in
Pennylane maybe? They used to have three really good record shops up there that all sold bootlegs, and if you had the thirty
bucks you could have your pick of the litter. They were cool up there, they would let you listen to the sets before buying to
make sure you were okay with the sound. Who knows? Anyway, Shelter From The Storm is JamBob done right. Over
twelve minutes long, the guitars weave slickly through the happy reggae shuffle, and even though Bob tries to derail the
musical buffet in spots with his stale noodles, his vocals and harp solo make up for that. River Flow is outstanding, for
River Flow. See, if I said a Visions of Johanna was outstanding, that wouldn't mean the same thing. You have to consider
the complement in light of the song in question, and in this case Bob knocks it out of the park with his squeaky steroid
shouts. Little Moses is lousy, but Tomorrow Night shows that Bob isn't trying to run every red light through the acoustic
district to get back to electric avenue. (everybody sing: "...and then we'll take it higher!") Baby Blue is a goodie, excellent
guitar work here, drunk cowboys in an Asian tea house. And for good measure Bob lets loose with a nearly 4 minute
harmonica solo that blows the roof off. The unreal setlist continues with Desolation Row, and it's outrageous, Bob, like Tom
Sawyer with his bucket of whitewash, paints verse after verse and the band coats each one with relish, unaware they're being
duped into playing for thirteen minutes of acoustic exercise. Okay, so I lied, I think he only sings four verses or so, but he
again gives us a lengthy harmonica bit lasting many minutes, amazing. I And I, what a dirty chunk of gold. The guitars
wander around like smoking ghosts, and somebody must've hauled a pulpit up on stage because Bob is sermonizing
something fierce, sweeping himself off his own feet, deliberately getting carried away. What the hell, it works, it's fun.
Crank it up and even this dodgy sound can't hold back the energy these guys are creating up there. What is this!? I know
this tune...upbeat, is this really happening...sweet...grab your homework and and come to papa...My Back Pages. What a
shock, to finally get an unexpected dust-off airing. I don't even care that it's a sloppy, Bob-making-guitar-hash thing, I like
it. It's like screwing in a new light bulb, fresh, and very welcome. Also, at just over five minutes it's one of the shortest
songs of the night, guess they didn't know quite how to jam it out. Is Bob tuning his guitar while the band begins to play
Maggie's Farm? That shouldn't be interesting, but that probably tells you how exciting Maggie's is. Rainy Day Woman,
another eternal passenger aboard the USS Mindless Throwaway, is better than normal, thanks to some slightly interested
playing for the guys. And, like a miracle, the sound on the guitars during It Ain't Me, Babe, suddenly clears up, and indeed
it's so clear you can hear not only every single guitar pluck, you can hear the fingers zipping on the strings, that's what I call
clarity, baby. Beautiful way to end an entertaining show, I'd say.
BOTTOM LINE: Great show, but don't get this source, it sucks. Instead go trade for "Hard Times In Marseilles", it has far
better sound, and is indeed one of the nicest recordings (and setlists) from 1993.
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%2030%20June%2029.htm