Bob Dylan 960803 and 4 in Atlanta, GA (House of Blues)

Subject: House of Blues first night impressions
From: DuncanHume (duncanhume@aol.com)
Date: 4 Aug 1996 10:02:54 -0400

The whole show was filmed for some future broadcast "maybe VH1" I was
told. As has been the form for the last several months the whole show was
tight and I hate to say professional but that's really what it was. Bob
thankfully avoided more questionable outfits in his wardrobe (you know the
ones that make him look like a  hot dog or make you feel like demanding to
see the person who made the things and ask them why they did). Bob really
got in to It Takes a Lot to Laugh, knee bends wiggles etc. "Boots" was
marred by the chatter of the audience (why do they come to show, spend $85
and talk throughout) but Bob had won their attention by Don't think twice
and held it for the rest of the show. The highlight for me was a quite
magnificent harp solo on My Back Pages. I've seen some shows (too many
probably) and  that harp solo was quite simply wonderful, and Bob knew it.
One of the audience handed Bob a fake Gold medal at the end of the song
(another was thrown to his feet). Bob picked them both up and held them
for the crowd to see. If only I could have got the camera out of my pants
in time...
"And the Gold Medal winner for being simply the most unique performing
artist in modern history goes to ......" .

Great night, ok, safe set list but then there's tonight isn't there. And
why the filming. Well could they be trying to get a decent record of a
whole Bob Dylan show (ok so Woodstock was pretty good) ? Or could it just
be that the House of Blues is filming all the shows for some dreaded
compliation. Don't know but it's fun to speculate.

Thanks Bob

Subject: 8-3-96 Atlanta Review
From: Keith Lane Wigington (klwiging@unity.ncsu.edu)
Date: Mon, 05 Aug 1996 12:23:47 -0400

After what was a very eventful, long tour of Europe hardly anyone was
expecting US dates to be out soon.  To everyones surprise less than a
week after the final Europe date two shows in Atlanta were anounced.
That the shows took place the very same weekend of the closing of the
Olympics made for a very interesting situation.  This I had to check
out, the new House Of Blues, Centinial Park, and the fact that there was
so little time to prepare led me to believe this was going to be
somrthing very special.  As it turned out it was indeed very special,
but in a completely different way than I had imagined.  That the ticket
price was a vulgar $85 did not bother me until we got in line for the
general admission show.  In the past I have had wonderful experiences at
GA shows, especially Bob shows where the venues are small and a wide
range of folks socialize and exchange various Dylan stories as
anticipation builds.  


This time around the venue did absolutly nothing
about forming anything close to a line where people did not cut in front
of others of bully there way through just for the sake of passing
through.  Everyone handled this in a good natured way until the security
guards informed us that doors would not open at 11:00 as planned, but
they would open the doors "when we damn well please".  Many people had
already been standing in line for two hours and tentions continued to
mount as more and more late arrivals tried to cut in line.  When the
security let abot 100 "press" members in pushin and shoving became
rampant and a very tense situation was at hand.  If this had been any
other crowd I'm sure there would have been serious stampeeding and
turned ugly real fast.  However the unique cross section of old folks
from way back to 15 year olds turned on to Bob via Unplugged took it all
in stride and a few youngsters eased tentions in the line by lighting up
some joints and reminding everyone we were here to have a good time.
Finally everyone got inside and all tention and harshness was a memory.
Not that the House Of Blues emplyees did anything to make us feel
welcomed, most were rude and at best nonconfrontational and the
expensive drinks were not nearly stong enough.  So much for southern
hspitality.  The venue itself was very nice with two small balconies and
no seats on the floor with plenty of room even close to the stage.  


Then the show started finally at 12:45.  Bob sounded a little rusty at first,
but the gloius delacasy of Shake Sugaree was nice.  I'm assuming that if
you are reading this you are already very familiar with what Bob is
doing so I won't waste your time with blow by blow reviews of each song.
I will share what I thought wre some high points however.  Big Girl Now
was delicate yet sung with much power, Bob  seemed to get his focus
here.  Boots was hypmotic, sung and played to absolute
perfection-pooring emotion from each note.  Hollis Brown was as good as
anything I've seen him preform-stinging and powerful-jj on banjo.  Don't
Think was great-I know it's always great,this band could't possibly play
it less that great,-but this particular one was indeed spectacular
receiving a thunderous approval from the crowd.  This was one of the
strongerst accoustic sets I've seen in recent shows.  She Belongs To Me
soared to even greater heights this time around-this is one of the
finest songs you can see Dylan play these days-long deliberate drawn
out-the influence of Garcia is all over this one.  Higheay 61 was
GREAT-I would have to say this was the best one I've ever
seen-unbelievable.  It was nice to see Alabama Getaway back after so
many shows-it was rusty but that was what iI enjoyed about it.  Back
Pages was spectacular-I had never seen him do this one, so I thought it
was one of the best songs of the evening.  So, thats my take on the
midnight show in Atlanta-crazy crazy.  It was worth all the trouble to
see Bob, but I'll never go to another House OF Blues.  Unless Dylan is
pling of course.If anyone has this tape please let me know-I have many
to trade.  Thanks and keep on keepin' on.   Keith Lane

Subject: HOTLANTA!
From: Joseph Bair (schd@pluto.njcc.com)
Date: Mon, 5 Aug 1996 14:12:50 -0400

	Well, I just got back from Atlanta and I was surprised to not see
the set list posted yet for Sat. mornings HOB show.  My memory doesn't
serve me well, and I didn't write down the set list so I'll try to put
together a story of the night.
	I took a bargain flight from NJ to Atlanta on Saturday afternoon,
with Linda who was looking forward to her first Bob show. The arrival in
Atlanta was a pleasant feeling for being in the most happening place in
the world at the time.  The rapid transit MARTA (which was clean and
efficient, albeit crowded) took us to 5 points which was the geographical
center for the Olympics.
	Although I knew from when the torch pasted through Princeton that
the Olympics are major advertising for land of Coca-Cola, they really
outdid themselves with the giant monoliths of Coke Bottles everywhere. 
Heh, heh, "You don't say-Coke can raise you ancestors from the dead." 
Sheryl Crow was warming up outside Underground Atlanta and there was live
entertainment everywhere. Baby steps was the best way of transportation. 
TIME FOR A BEER.  We got directions to to Buckhead, where there were two
brew pubs - it seemed that everything in Atlanta is on or near the key
word "Peachtree."  We had some "honest food, good beer" and partied in the
park before making our way back to the center of town.
	We baby stepped from the MARTA through the carnival (the reverse
bungy ride was the closest thing a near-death experience I've ever seen),
It certainly wasn't a normal penny arcade - "three shots for a dollar with
a real live dog", then into Centennial Park (where they didn't search
Linda's bag, but searched mine), it was very crowded.  There were the
biggest and clearest TV screens I've ever seen, the "Dream Team" was on
and the other team was just fish in the barrel--not very exciting for the
$220 ticket price.  The place looked like a high-tech Woodstock, and like
any festival with that many people the sanitation, garbage system was 
just too overwhelmed.  Your walking along in such a great place, but then
you catch a wiff of rancid sewage an decide that its time to move on.
	It took about an hour to go the next 200 yards to the HOB's,
everyone was pouring into the Centennial Park and we were leaving-we
finally cut through the parking lot turned into a desolated flea-market
for Olympic memorabilia (and definitely not doing a ll that well in sales)
to the red-orange glowing lights of the HOB.
	The will-call window line took about 1/2 hour and we went to the
front of the line to see sj, marks, charlie, and numerous other rmd'ers
who were there since 6PM!  Immediately Linda's camera was confiscated by
the HOB staff, because Bob "would leave if he sees a camera".  We went to
the end of the line and the line seemed to get fatter in front of us.  Now
we have been standing in line for 2 hrs at the HOB and it was 12:30AM and
we were not even in the door. We were kinda stressed at this time.
	A protester hit me in the head with a sign about not violating the
house of god. I don't know what the true story is, but apparently the HOB
used to be a church (you can see the organ pipes behind the stage,
partially covered by the 50 ft patchwork quilt) and HOB Inc. converted the
place in two months to the most abolutely coolest concert place I have
ever seen.  Rumor is they will close it when the Olympics are over? 
	Finally we were in and up in front.  There were VIP seating i n the 2
balcony's above.  Don't know how they got the seats, but the lights never
went out, and click, Columbia recording artist Bob Dylan, blam, WERE THERE! 
	We were about 4 feet from Tony and could see sj et al. directly in
front of Bob. about 6 ft. (i.e.10 people away) to the left. It took awhile
before the show kicked-in, "Shake Sugaree" was almost hard to hear, but
once going by the electric AATWT, and keeping the momentum going with
Silvio, Highway 61, Alabama Getaway the show was a full high-heel to the
gas pedal, "Your a Big Girl Now" was delicate, "Ballad of Hollis Brown"
was spooky, "Don't think twice" was sincere, "My back Pages" was
refreshing, "Boots of Spanish Leather" was melancholy, "She Belongs to me" 
was mystical, it was all great!
	Bob was really animated this show, he seems to make faces at the
crowd when he is happy, and he gave the audience contorted faces,
convoluted duck walks and pantomines worthy of being in the best of silent
films.
	I noticed that sj and bob had a few words going on after "It takes
a lot to laugh, a train to cry".  Maybe something about the brakeman and
the double E?  The show ended with "Rainy day Women" and that is when I
passed out many ceremonial olympic torchs.  Then everyone was crowned
popes by Bob and it was over.
	We reclaimed the camera, and it was still crowded outside, we were
given complimentary tickets to see Dead Nude Girls, but regretfully
declined. The MARTA ride b ack was exciting with many drunken people
nap-jerking and getting on and off the wrong train/station the whole way
back.  The hotel shower was just a "box of rain " and we were hygienic
again!  I finally got to meet the Marks and Charlie and li stened to some
boots and drank some good beer before the restless night was over. Linda
and I were sleepyheads most of the time getting back to Princeton on
Sunday.
	When I got back my friends Steve and Kent who helped me by keeping
my Small Change Homebrew Store open while I was away related a good sales
day on Saturday.
	So, in the end, all things worked out and although I paid the 
same price I paid for the Bobfest - It was well worth it!
joe

Subject: 2nd Night HOB experience
From: "Robert L. Holland" (holland1@ix.netcom.com)
Date: 6 Aug 1996 20:19:21 GMT

I'm sorry to hear so many reports of unpleasantness with the show-going
experience from the Saturday night show (apart from the actual
performance, that is). The Sunday night show experienced far fewer of
these, for a number of reasons, I think. Sunday was a somewhat less
crowded situation downtown in general. Where folks seemed to be trying
to cram in one last night of frenzied Olympic partying on Saturday, by
Sunday a more resigned and calmer mood prevailed. The street in front
of HOB wasn't particularly crowded and the line was orderly. It was
also 8:30 in the evening and a less-drunk city in general. 

Also, I think a lot of press and other guest-listers who were more into
making the scene than actually caring about Bob Dylan had attended the
first show rather than the second. 

Once inside, the floor in front of the stage became comfortably full,
but not at all packed, with the crowd just barely reaching the
over-hang of the balcony. Quite easy to move around to get a beer and
return to your spot. 

Before show time, someone in the crowd spotted Bill Walton in the
balcony and called out to him. He good-naturedly responded with a few
windmills, a la Pete Townshend. 

I too was surprised when the lights didn't dim as the band took the
stage, but then it was lit for video-taping. My overwhelming sense as I
stood there during "To Be Alone With You" was "my God, I'm seeing Bob
Dylan in a club!" I sat in the front row of the Fox Theatre at a show
in 1988 and didn't feel anywhere near as close as I did standing 8 or 9
people back from the stage Sunday. 

My next thought, as "Tonight I'll Be Staying Here With You" began, was
"well, wouldn't that be interesting...the all "Nashville Skyline show!"

The setlist has been posted so I'll only add that from quality of
musicianship to level of enjoyment on Bob's part to breadth of song
selection, this was unquestionably the best Dylan show I've ever seen.
My show-going experience is clearly more limited than that of many on
this list, but it extends from 1978, through the several 1980's
incarnations, and includes a few during the current period. Nothing has
matched Sunday night. 

As for the staff at the House of Blues--it's a corporate operation, so
it's what I've come to expect.  They've done a wonderful job with the
renovation of the building, which only a company with lots of resources
could do. But as long as I've been going to shows in Atlanta, the
bigger and more corporate the venue one attends, invariably one finds
more attitudinal employees. It's to do with taking people of limited
intelligence and giving them power, I suspect. And at the HOB, throw in
a headset, and well, watch 'em go nuts. Smaller places always have
nicer folks (in my experience, at least). As a corrolary, it also seems
to be true that big shows held in smalller towns generally seem to be
staffed by less-anal people. That's why I like to go to places like
Birmingham or Knoxville or Nashville or Athens to see shows that are
also playing Atlanta. I usually enjoy the overall experience more than
here at home. Still in all, wih the less-crowded situation on Sunday, I
didn't have any run-ins with the staff. 

The last point, which I haven't seen raised, is why we were denied the
traditional final encore, "Rainy Day Women": the pastime of the
deranged these last couple of weeks, the bomb scare! After a long and
wonderful "It Ain't Me Babe," the staff came out and began demanding
that we leave. I was reminded of the staff of goons at the Center Stage
Theatre, a now-defunct (I think) thousand-seater here that always set
the security-dogs loose immediately upon the conclusion of a show. 
Anyway, I heard one of the guys on stage lean over to a member of the
crowd and say "brother, there's a bomb in the building." I didn't know
whether he was serious or if this was a particularly cynical excercise
in room clearance. But as we departed, the downstairs coffee bar was
being cleared and we were made to move away from the building once we
were in the street, so it appears to have been a genuine bomb threat.

Now that it's apparent that there was no actual bomb and no one was
hurt, I feel free to speculate that the threat was called in by someone
who likes "Rainy Day Women" about as much as I do and didn't want an
otherwise delightful evening blemished (yes, I'm kidding, but also yes,
I would be pretty happy to never hear that old warhorse again)!

Anyhow, it was a wonderful evening. For those who've posted  who feel
that their experience with the crew of the House of Blues was a true
manifestation of Southern manners, please be assured otherwise. 

I don't know what's to become of the HOB after the Olympics. But if 
prices come back closer to reality, then in spite of a humorless staff,
it's quite a place to see a show. 

Now that I've been spoiled, how will I ever enjoy Bob in a big old
theater again?

Robert

Subject: notes from atlanta...
From: Christine Consolvo (consolvo@ix.netcom.com)
Date: Tue, 06 Aug 1996 23:40:42 GMT

Well, as it turns out, our fears of the situation in Atlanta being a
logistical nightmare were largely unfounded. I heard no horror stories
from anyone about navigation around the city and have to commend the
city of Atlanta for having made everyone as comfortable as possible
considering the vast number of people who had descended upon their
city for the Olympics. The weather was entirely tolerable with highs
in the 80's and a slight breeze blowing. The doors at the House of
Blues were left open with blasts of air conditioning pouring onto the
street which helped make waiting in the general admission line
bearable. It was nice to see familiar faces and also get to put a few
new faces to familiar names while we waited on line.

On Saturday, the start time of midnight and the notable events going
on around us in the city gave the evening a unique mood. There was
some concern about how Bob would react to having four video cameras
trained on him during the show, but we needn't have worried. I'm not
sure if they factored in, but I have never before seen him in such an
animated mood. He was working the crowd most zealously-and not just
those in front of the stage! Even folks in the balcony were given
special little displays of showmanship. Many times he wandered to the
stage front to flaunt his unrestrained ability to cast a spell over
the audience. He was also playing guitar with greater authority than I
have ever witnessed. He exuded mammoth confidence, bordering on
cockiness, and it was well-founded! It appeared to me that the minor
power struggle he has had with J. J. in the past has been resolved to
the satisfaction of them both. I don't believe I've ever heard such a
strong crowd reaction to Don't Think Twice as here in Atlanta. There
was a roar from the crowd as he sang the chorus and consequently each
verse built to a mighty crescendo. This is on my all-time favorites
list and it had to be one of the best renditions ever. This show was a
sight to behold...As he left the stage before the encore, a fan in
front handed up one of the gold medal replicas being hocked out on the
street and Bob took it, then gave a precious, ever-so-humble "for ME?"
gesture with it. Another one was thrown onto the stage which he also
picked up. We were just sorry he didn't put them on...

The show on Sunday contained all the above elements and more. The
"more" part was his ensemble...He was wearing a glittering black
waisted jacket with velvet collar, cuffs and inset pockets which went
beautifully with his shiny, shiny, shiny gold snakeskin pattern
trousers with black piping up the sides. Even those who are sometimes
derisive about his choices of costume (not me!) approved of this
regalia. Again he was blatantly dangling his talent before our eyes
like a carrot before a horse. At one point while playing guitar he
jumped into a "spread 'em" stance so wide I feared he might fall over,
(others feared (?) for the seam in his pants) but he was in *total*
control--of himself and us! Unbelievable...

There was some speculation that there may have been a bomb threat late
in the Sunday night show. Several things pointed toward this idea.
Firstly, there was no Rainy Day Women. Hardly conclusive. However, as
we stood by the stage after the show hoping to get a cue sheet we
realized Bob's crew had taken his guitars and disappeared. Very
odd...they *always* start breaking it down immediately. So we asked a
House of Blues staffer for Bob's sheet and when he couldn't get it off
the floor on the first try (it was taped very well) he said, "You must
all leave *now*". Naturally this didn't deter us from trying again and
this time he said very calmly, "I've asked you to leave. Go *now*, for
your own safety." Strange words to choose if there was no danger...and
they had not been in any rush to get us out on Saturday. He didn't
have to say any more. We left! Then, as the crowd milled around in the
street out front, venue security came along and nearly mowed several
people down as they hurriedly formed a semi-circle far out into the
street around the front of the building with metal barricades. They
had been using these to form lines along the walk to different doors
for separate events in the past two days, but they had never taken on
*this* configuration! Like I say, who knows...I'm not one to
sensationalize, but their behavior was very erratic and we truly began
to wonder then...We may never know...

Just thought I'd mention it...

Christine

Subject: Atlanta
From: "Mark H. Withrow" (mwithrow@mcs.com)
Date: Wed, 07 Aug 1996 16:39:40 -0700

3 August, 1996 House of Blues, Atlanta, Georgia

   4.You're A Big Girl Now 

It was with this fourth song that Bob started to get into the concert.  
Sadie Jane observed that once Bob realized that the crowd was "his 
people," he relaxed and started to focus and have fun.  I agree.  After 
a sluggish start, Bob found the groove and from Big Girl on it was 
varying degrees of excellence, to these ears.

   7.Boots Of Spanish Leather (acoustic) 

Boots was a bit too up-tempo for my taste.  The sense of loss was lost. 
 Still, Bob was in fine voice and the next two acoustic numbers were 
stunning.

   8.Ballad Of Hollis Brown (acoustic) 

For me this was the highlight of the acoustic set.  Very powerful.  
Dylan delivered this with great feeling and commitment.  

   9.Don't Think Twice, It's All Right (acoustic) 

Usually I don't care for this one.  It's a very fine song, but not one I 
really need to hear in concert again.  Was I in for a surprise.  The 
crowd roars at the first notes and Bob responds with a killer version of 
DTT.

  11.She Belongs To Me 

Beautiful.  He really nailed this one.  

  12.Highway 61 Revisited

By now the whole place was up for grabs.  Our man is having a great 
time.  It shows on his face.  You can hear it in his voice.  His guitar 
playing is confident and powerful.  Sometimes I've wished Bob would 
allow J. J. more leads.  Not at the House of Bob.  Christine is right on 
the money in her glowing review of Bob's guitar work in Atlanta.

  14.My Back Pages (acoustic)

This was another highlight.  Unbelievable and unforgettable.  I had 
noticed an elderly couple in the middle balcony÷the white hair was hard 
to miss÷and checked on them now and again, curious as to what their 
reaction would be to such a rockin' show.  By H61R the man was on his 
feet, a big ol' grin spread across his mug.  He stayed standing for the 
rest of the concert and his wife rose to her feet at the close of Back 
Pages.  It was a treat to see them so into the music.  You gotta hear 
the tape÷or see the video if the TNT rumors are true.
 
  15.Rainy Day Women #12 & 35

A rockin' close to a special evening of music.  The setlists for both 
shows held few real surprises, but Bob was loving it and his joy is so 
infectious.  Bob and the band rocked out in fine fashion.  I'll never 
forget his face & that "for me?" look when he was handed the gold medal. 
 More medals were passed up and the crowd roared its approval as Bob 
held them aloft.  My pleasure was increased by the presence of other 
RMDers who made a memorable evening even better.  We left exhausted (how 
does Bob do it?) but anxious for another night of the music of Bob 
Dylan.  We were not to be disappointed.

4 August 1996, House of Blues, Atlanta Georgia

   1.To Be Alone With You 
   2.Tonight I'll Be Staying Here With You 
   3.All Along The Watchtower 

No slow start tonight.  Bob is into it from the very beginning, as are 
the rest of us.

   4.Under The Red Sky 

This was a very pleasant surprise.  Bob delivered this with force and 
purpose.

   7.Love Minus Zero/No Limit (acoustic) 
   8.Tangled Up In Blue (acoustic) 
   9.The Lonesome Death Of Hattie Carroll (acoustic) 

Even more powerful than the first night's acoustic set.  Hattie Carroll 
was delivered as though it had just been written.  A major highlight for 
me.  I wasn't the only one getting misty during Bob's exceptional 
delivery of this classic song.  Oh, mercy!

  11.Ballad Of A Thin Man 
  12.Tombstone Blues

Back-to-back winners!  I can't remember the last time Thin Man sounded 
so fresh.  Bob's mugging and posing only added to the fun.  While the 
crowd was smaller on the second night, it was still "Bob's people."  The 
response was fantastic and Bob fed off of it.  

  13.Alabama Getaway 
  14.It Ain't Me, Babe (acoustic)

The rumored bomb scare seems likely to me.  There was no way we were 
ready for things to end after a very fine It Ain't Me, Babe.  If these 
were indeed the last concerts of 1996 (as is now rumored to be the 
case), then Bob and his excellent band went out in style.  I was lucky 
to be in attendance.  A tip o' the hat and deep bow from the waist to 
all RMDers in attendance, especially Sadie for telling me of the shows 
and challenging me to be "as wild and spontaneous as any real Dylan fan 
has to be!"  Such a night!

Precious memories, indeed.

Mark


Subject: SADIE's HOB report PART 1.
From: sadiejane (sadiejane@folly.org)
Date: Fri, 09 Aug 1996 18:33:42 -0500
Organization: home

(Later Sadie wrote me this:
>Joe Cliburn created a web page for my HOB review which includes text 
>slightly edited since it was originally posted and gifs of concert 
>tickets, poster and the grave rubbing I did at Rose Hill Cemetary.  Feel 
>free to link it to anything you already have of mine in the concert 
>review area :+}
>
Sadie's Web Page


HOB1

It all happened so quickly. Two days notice. Barely time to pack my poor
car to the shop for a new radiator and get a rental, pick up maps from AAA,
paint my toenails red, conclude some recent tape trades, rent books on tape
from the public library and arrange a place to stay half way between Boston
and Atlanta.  All this and still I managed to find time to get a bag of my
favorite coffee from the bakery around the corner *and* a bottle of Old
Grand-Dad Bourbon *and* 2 dozen assorted fresh bagels for my host in
Atlanta.

Then me and the GM Monte-Carlo (loaded with automatic EVERYTHING) hit the
trail big time.  Girlie roadtrip extraordinaire.  Sunglasses, pink lipstick
and three bottles of Perrier (lightly chilled).  I listened to George
Orwell's "Coming Up for Air" between Boston and DC and Mary Shelley's
Frankenstein from DC to Atlanta (the story climaxed conveniently in the
middle of a thunderous, blinding downpour in South Carolina).  1100 miles
in 18 hours (I stay with traffic unlike some other women of RMD who I could
mention but won't ;+}).  

The general admission line in front of the House of Blues was a breeze.
Entertainment provided by Todd, the happy House Of Blues T-Shirt salesmen
whose table was set up right along side the barriers provided to keep the
crowd in order.  He was very hospitable answering questions, letting the
press into their side door entrance, and most importantly, keeping the
riff-raff from the first show (8pm Junior Brown and the Mavericks) out of
our line.  There were all sorts of people there, tourists with shopping
bags full of Olympic souvenirs, hippies from the Carolinas, good ol' boys
from Texas, and of course RMD'ers from *everywhere*.  Being reunited with
old friends who I've never met is always a distinct pleasure!  

The House of Blues: a very large church converted into a music theme park
every square inch of which decorated and painted and adorned.  The sound
suffered though - even with the huge 50 foot quilt on the back wall as a
possible acoustic barrier.  It just bounced off the cavernous walls and
distorted and muddied the mix.  There was no separation between the bass
and guitar at all.  The sound board was on the stage -  a mistake I think -
and there was certainly room on the floor for it (like in the strand,
Providence where the sound was so good) - the only adjustments that were
made throughout the evening were in the monitors.  This was one general
admission show where I was lucky to be right up in front of Bob's monitors
both nights and so could hear a certain amount of separation and clarity. 
I'm hoping that the soundboards from the show will appear - or at least
that someone I know with cable will be watching TBS when they broadcast
highlights from the show.

THE SHOW:

Bob came out with his guitar strapped on and his "firstnightinanewtown"
face.  His eyes scanned the crowd with no expression in particular.  By the
time he hit the watchtower he had loosened up, perhaps because he saw that
the house was packed to the gills with friendly Dylan fans :+} as well as
Olympic VIP's.  My favorite group was in the top balcony: four boys about
12 years old who stood on their seats in the back row, boogying down and
giving Bob the wave.  He started smiling and styling and didn't stop until
the show was over.  It was a high energy effort.  The place was crawling
with video cameras: one on a crane, floating high above our heads, one guy
with a video on his shoulder running up and down off the stage, and at
least three more circling the band all night.  Bob, usually so camera shy,
was giving them the highlights of all his best moves including the spread
'em wide and the chuck berry profile deep knee bend.

My first thrill came when I heard the intro to the second song.  Because I
didn't recognize it. I knew I was in for one of the new songs from Europe
and it turned out to be Sugaree.  A sweet, sentimental country ballad which
featured beautiful duets between bucky and bob..."I gotta secret and I
ain't gonna tell, I'm going to heaven on a split pea shell" lilting and
lyrical.  Perfect for the number 2 spot.

During watchtower he stood back and held back, staring out into the house
with a challenge - then letting fly a few short explosive licks,
punctuating the silence with syncopations and expressive angles from his
fender.  In general his playing is getting more expressive and angular and
so is JJ's.  This makes for an interesting night, musically, but one
without a strong melodic backbone - I'm not sure what's going on with JJ -
but he barely played lead or even duets with Bob - it's as though he has
stepped firmly into the background and decided to stay there.  Bob is so
theatrical and dramatic to watch and to listen to - but I prefer to see him
more challenged and complimented by his lead-guitarist.

Takes a train was lazy and slow.  Bob ventured into solos that left him on
the wrong frets a few time - but he didn't seem to mind, and neither did
the audience.  I admit I wrinkled my nose up at him once, and then laughed
at how he had gotten himself into a spot that he couldn't noodle out of. 
Now Joe thinks some words were passed between bob and I during this song. 
This honor he reserves for Lambchop and Lambchop alone.  I was, however,
standing right in front of Bob's mic in the front row, doing my "in a
formal life she was a table dancer" dance and bob came downstage and
started shaking his head in shoulders at me/with me, a big toothy grin,
eyes wide into mine.  Then he did this sort of synchronized pointing
routine, repeatedly aiming his index finger down at me in time to the
music.  Now, my mother always told me it wasn't polite to point - but I
went ahead and pointed back- in time to the music of course.  Hey, I can
take it but I can dish it out too ;+}  The two gentleman standing next to
me grabbed me after Bob moved back and started insinuating all sort of
vulgar things regarding my brief interaction with the maestro.  I shrugged
them off - All night bob moved from one end of the stage to the other -
seeking out real contact with whoever was game.  In general he avoided
those with looks of imaginary awe and intense infatuation and favored those
who were romping it up and having a good ol' time. :+}

The acoustic set was uneven - boots was a bit nervous and I think Hollis
brown lacked focus though was stirring nonetheless.  Bob undersings it, as
though he's as worn down and broken as Hollis.  It would have been nice if
the crowd had settled down more during the acoustic set.  I think that a
little bit of reverential silence is perfectly appropriate - why anyone
would pay $85 dollars for a ticket and then talk through the whole show is
really quite beyond my comprehension.  I guess chalk it up to the lives of
the rich and fatuous ;+}

He finally got into the groove during Don't Think Twice which had everyone
jumping and romping and shaking (not just me ;+}).  It wasn't his sarcastic
bitter version but a devil may care, jaunty one.  We were all sort of
bouncing up and down and Bob was skipping across the stage jumping from
foot to foot as though barefoot on hot sand.  He rocked down on his gibson
and blew like the dickens into his harp.  JJ was holding down the melody on
his hummingbird, Bucky providing rhythm with the mandolin and Tony, with
his eyes shut, slapping away on his bass - till I do believe I saw the
spirit of Bill Black, that famous bass beater, rise from the shadow of
Garnier's signature fedora.

My Back Pages, the acoustic encore, stole the show.  It was grand and
spacious - very different from the versions he had been doing earlier in
the year that were touched by a sort of subtle urgency.  Bob lingered on
each phrase, singing more fully than he had all night.  And he finally won
the crowd's complete attention, their reverential regard.

Delia ain't dead, she's at the end of PART 1






Subject: SADIE's HOB report PART 2.
From: sadiejane (sadiejane@folly.org)
Date: Fri, 09 Aug 1996 18:33:45 -0500
Organization: home

HOB 2

Great day in Atlanta, late breakfast (late even for lunch), and then return
home to fill up the pint of Old Grand-Dad, change into jeans and pack my
"dress" T-Shirt and show shoes into a bag.  We got to the HOB by about 4pm
and lounged for the day on a comfortable curb, our backs leaning against
the metal barriers between the sidewalk and the HOB T-shirt stand.  We all
said "hello" to Todd, who returned with a "*YOU* again?" and teased us
mercilessly (to our delight) throughout the afternoon.

I reapplied my lipstick and pee'd for the last time at about 8:00pm in the
bathroom in the basement of the HOB, a smoke filled bar set up with
computers and concession stands.  Then when the doors opened at about 9pm,
scrambled in and took my place at the foot of the stage right in front of
the Bob's mic stand.  I knew I was having a good night because the guitar
tech came downstage to flirt with me while taping the cuesheets down :+}

To Be Alone With You.  I don't care what all you Jokerman fans say, this
song makes a great opener.  Saucy and playful with Dylan starting on this
second night show right on his marks.  He strode out in *that* outfit
(which only Christine can do justice to - I daren't even try!) and planted
his feet, looking straight out at the audience, tearing into and through
the little country ditty with merciless naughtiness.  No extended solos
here.  It was short and man, it was sweeet..  "I wish the night were here,
bringin' me all of your chaaaaaahhhhrms" flatting the hell out of the third
and modifying the vowel so that we'd know *precisely* what kind of charms
he was referring to ;+} 

Right after the song ended Bob turned to JJ and wound up for a big high
five with his sideman.  Bob was in a very very good mood from the get go.

River flow was country swing on amphetamines.  I almost wondered at how
they kept it together - Winston's rattatatat raced relentlessly ahead but
the boys rode behind him steadily without losing hold.  Dylan treated us to
some very stylish doodles right before they slowed into the half time
finale.

The acoustic set was stronger the second night - though the selections were
more ordinary.  Hattie Carroll was....breathtaking.  His voice barely
singing as he catalogued the events, perfunctorily setting the scene and
describing each player in it.  The power of that song, and the reason for
the nary a dry eye in the house that night, was not because Bob sang a
tragedy to us, but because he sang about the event as ordinary and
commonplace.  Spinning the story, calmly and quietly, inflecting the lines
rhythmically, with the intonations of natural speech, with every word
calculated to convey action rather than emotion.  "William Zanzinger, who
at 24 years, owns a tobacco farm of six hundred acres..." "Hattie Carroll
was a maid in the kitchen, she was fifty-one years old and gave birth to
ten children..." "In the courtroom of honor, the judge pounded his
gavel..."  Bob at his unsentimental best.  I once had an acting teacher
(who now lives in Atlanta of all places) who used to say, "You don't need
to show emotion to inspire it in others".  And this is a lesson Bob
understands.  He didn't end with the usual harp solo, but with solemn
strumming punctuated by riffs that echoed the speech patterns of the
refrain.  

One little digression (well I'm sure you can depend on more than one from
me before this report is over ;+}): Bob is in pretty desparate need of
vocal rest.  His voice is sounding rougher than ever before (I've noted a
steady decline since '94) - and it is keeping him from being able to alter
melody lines and phrase as much as he has in the past.  He is having to use
his spoken voice more and more to put the songs across.  I don't think he
needs major surgery or even to quit any vices - just a good spell without
singing would do.  Nuff said, back to the show :+}

Stuck Inside Of Mobile, with Bucky on "Hammond" Pedal Steel, was an
anticlimax, stuck inside of the bridge between acoustic and electric
settings.  Even Thin Man, usually so effective, seemed ordinary and vaguely
lost. Then Tombstone Blues took over and buoyed us all up with a campy,
string bending motif and Winston's drums iambing and Bob and JJ really
jamming it up together for the first time that night with alternating licks
and only occasional ventures onto the wrong frets ;+}  Bob ended the song,
taking the band down to a quiet but intense climax and then right before
the final cadence throwing in two little jagged descending pentatonic
scales, high on the fretboard.  Too Cool.

During It Ain't Me, Babe (final encore) Dylan returned from one of his many
jaunts to the house left side of the stage and caught me dancing it up
downstage center and came dancing towards me during his guitar solo.  I
remember reports of him directing this song sarcastically to admiring women
in front rows and so I shook my finger at him as if to say, "you come any
closer and you're dead meat mister" and then I emphatically mouthed the
words "It ain't *ME*, Babe" and shook my head "NO!" at him.  The more
fiercely I protested the more he mugged at me and danced closer with a
wicked smile and glint in his eye which I returned as an even fiercer
glare.  Mark W. was next to me and started laughing at the little
pantomime.  I finally gave bob a big smile and he stepped closer to the
edge of the stage, at which point I was surrounded by a surge of audience
high-fivers.  Now I've never been into the high-five thing - so I backed up
and let them forward giving Dylan a little "bye-bye" wave - at which point
he grinned at me and turned (to the disappointment of the many high-fivers)
on his heel, heading for his guitar stand.  

During his harp solo, whenever he would take a step in my direction, I
would dodge behind one of my neighbors at the front of the stage, a little
cat and mouse game, which won me at least two big {{{goofy}}} smiles.  At
the end of the solo he came down one final time, and the sea of arms all
reached up around me towards him.  I caught his eye and then reached my
hand through this wall of flesh with my palm up my arm parallel to the
stage, the back of my hand brushing the cables coiled around the monitors. 
I couldn't see him anymore, but I could feel his hand as he placed the harp
in my palm and when I pulled my arm back, there it was shining up at me.  I
immediately blew on it a few times and then handed it over to the two women
standing next to me so they could inspect it with reverence.  "Go ahead" I
said "give it a good blow".

Then before I could say "Jack Daniel" the stage was cleared and I was
busting my butt to get that one cuesheet off from the stage floor where it
was taped.   "PLEASE LEAVE THE THEATER FOR YOUR OWN SAFETY" We were hustled
out into the street.  Personally, I think they had the place reserved for
some sort of post Olympic private party and this was their way of clearing
us all out fast.  It worked :+{

Then it was out for a late night dinner and bed.  The next day a few of us
went on a little excursion to Macon to visit Rose Hill cemetery and make
grave stone rubbings of Duane Allman's tomb, a large white slab engraved
with a guitar and an angel.

The only Olympic event that I saw during the weekend in Atlanta was
watching Big Bill Walton, former Center for the Boston Celtics, dancing the
night away in the VIP balcony on Sunday night.  It was a gold medal moment,
if I ever saw one :+}

Delia aint dead, she's done with PART TWO....

Subject: House of Blues First Night
From: Mark L Troyer 
Date: Wed, 14 Aug 1996 14:05:45 -0400

HOB I Review and Thoughts

It was an instantaneous hunch which sent me to Atlanta 11 days ago.
And it really didn't turn out at all like I'd expected.  The "House of Blues"
was a larger venue than I'd thought it would be.  Dylan's setlists were
much less adventurous than I'd anticipated. Dylan's voice was, for the most
part, not as strong as it was at the shows I saw in May.  And I ended up
falling on the floor after slipping in a spilled puddle of the "black water
of imperialism" in the Werld o' Coca Cola and became a spectacle for
tourists from all over the world.

It was a great, great weekend!

I'd love to tell you all about the inebriated gentleman in Tennessee who
thought I was going down to Atlanta to participate in the Olympics as an
athlete, but most of you are probably mostly interested in the shows
themselves.  (And have already read myriad reviews of them, but here's one
more anyway.)  The first night started off with To Be Alone With You,
Dylan's vocals mixed pretty far down.  A nice opener, Dylan warming to the
setting.  I was glad to hear Shake Sugaree, but his vocals were still mixed
down, and it seemed from my vantage point that Dylan was really working hard to
get the notes he was going for, seemed a bit labored. (However, I was up
against the stage so admittedly not in a good position to hear the  sound.)
Watchtower came next, then a gorgeous You're a Big Girl Now.  For me, the
4th spot performances were worth the price of admission both nights.  The
phrasing on this song was brilliant, and I was very happy.  Takes a Train
was a perfect choice for the House of Blues, and was also very nicely done,
with Dylan putting down his axe for a very nice finishing harmonica solo.
Silvio seemed to lack a little something, and we were into the acoustic set.

Boots of Spanish Leather was a bit odd, with Dylan tacking on a  jarringly
loud series of strums at the end of each line.  I thought Hollis Brown was
going to be John Brown at first, and was pleasantly surprised (though John
Brown would have been great too). A nice performance, with JJ on banjo
and Bucky playing a 12-string guitar (?).   However, people behind me were
shouting "Sing the blues, Bobby!" *during* the time he was trying to sing.
A bit distracting. . . why would you want to sing for someone not listening?
And of course, Don't Think Twice went over very very big.  First time I'd heard
it live, sung in a bit more of a monotone than usual I think but it still
worked.

Onto the second electric set, and Maggie.  Oh well.  There was an interesting
interchange between Dylan and his lead guitarist/backup singer when Dylan
drew out "noooooo moooooore" on the first verse in a way JJ hadn't been
expecting.  Jackson proceeded to back away from the microphone, shooting
Dylan a bewildered look.  As Dylan sang the next verse he looked over in
Jackson's direction, and JJ's look seemed to say,  "Hey, do it however you
want but don t expect me to try to sing along!"  For whatever reason, Dylan
swallowed the verse, singing about Maggie's Ma whose bedroom window
is guarded by national guardsmen who hand out nickels and dimes. . . .  JJ
finally returned to his mic as the verse ended, staring down Dylan during a
long "nooooooo moooooore."  An amusing moment.  He nailed the rest of
the verses, and next did She Belongs To Me which concluded with a very
nice guitar duel.

No band introductions (either night!), just a blazing Highway 61 Revisited
which was really great.  Honest!  Dylan collected his "Olympic Gold Medals"
and the band departed for the first planned intermission.  They finally came
back out for an Alabama Getaway which Dylan decided to remember all
the verses to : ) The second planned intermission ended to a wonderful My
Back Pages which was about as good as it gets.  The looooong harmonica
solo, the short intermission, and Rainy Day pours down and is great fun
because everybody is so into it.  The HOB had been rocking nonstop since
Don't Think Twice, and this was a great way to end this show.

Many have commented about Dylan's energy and enthusiasm onstage at
these shows.   It seemed to me, however, that the TV cameras might have
been restraining him a bit; if anything, at the shows I saw in May his
onstage antics were even more outrageous and over the top.  Also, on
Monday I happened to meet two different people who'd been to Saturday
night's show, and they both commented favorably about Dylan's energy
and enjoying the shows.  But it seemed their appreciation stemmed more
from seeing a "living legend" who still looks alive rather than someone who
just sits down on a stool, plays his songs, and leaves.  The second guy
said something to the effect of,  you don't go to see Dylan to hear him
sing, but to see the energy and enthusiasm he puts into his performance.
"Heavy energy, man!"  I'm someone who believes Dylan is a great singer,
but Saturday night's show did seem to put more emphasis on Dylan as
an energetic performer.  His vocal chords do seem to need a break to
rejuvenate after all the recent touring. . .

We crowded out of the HOB at 3 am or so and the streets were still packed.
The  MARTA back to the hotel was jammed.  The next day had another
great concert in store. . . .

Mark

Subject: House of Blues Second Night
From: Mark L Troyer 
Date: Wed, 14 Aug 1996 14:12:43 -0400

HOB 2 Review and Thoughts

The line outside of the HOB Sunday night was, if possible, even
more poorly organized than the night before.  Joe's comments about
the line getting "thicker & thicker" certainly apply here :-p
Not that I had anything to complain about: I still ended up in
almost exactly the same place in front of the stage as the night
before, and waited through the half-hour delay or so talking
to a recent high school grad who'd been "on tour" with Phish.
"Do ya think he'll play Hurricane?"

To Be Alone With You kicked things off again, and a rocking
rendition it was too.  Dylan's vocals seemed mixed right up
there from the beginning.  And it only got better with the
second Nashville Skyline cut, Tonight I'll Be Staying Here With
You.  Dylan was really feeling his guitar oats, taking
astonishingly good leads.  And singing very strongly.  Even
more animated than the night before right from the start.  They
then launched into an amazing Watchtower, Dylan's guitar
giving some extra fire to the old chestnut.  Finally, the
excitement moved up yet another notch with an unbelievable
"Under the Red Sky."  There had been a rumor before the show
that Eric Clapton was going to be sitting in with Dylan.  I
assume this originated with someone who wasn't familiar with
the band mistaking JJ for someone else.  It felt like even if
Clapton had been up there, Dylan wouldn't have given an inch
on lead.  Dylan exchanged a triumphant high five with "Clapton"
after a triumphant final electric flourish.

So far, this had been an amazing show.  I was very excited about
what might be in store for the remainder.  So you can imagine how
I felt when I saw Dylan say to Tony "I wanna do Watching the River
Flow" Aaaargh!  But yes, he really did wanna do it and pulled it
off well.  The inevitable Silvio also seemed to have a bit more
bite than the night before, and led into a good-as-it-gets
acoustic set.

Love Minus Zero had me blinking a bit.  Dylan sang this one
beautifully, his voice expressing about everything human beings
can ever hope to understand about life and love.  It was very
powerful.  This brings up a dilemma I had: how to react to Dylan
being that close to the stage?  I certainly didn't want him to
see some pathetic freak with tears on his cheeks.  All the hands
extended for a "high five" every time he got close to that
part of the stage didn't seem the way to go either.  I aimed
for enthusiasm, but I'm afraid too often I ended up with that
look of "phony reverence" (I think Sadie called it?) on my face.
Oh, well.  I *was* in awe at many moments :-)

Tangled was a good but standard reading, again with a bit more
monotone than usual I thought.  A huge response for this one,
with everybody excited about the harmonica.  And then we got
a Hattie Carroll which was perhaps the high water mark of the
show to that point.  See everyone else's descriptions of this
performance, I can't hope to even hint at what it was like.

Stuck Inside of Mobile was simply great, and then Thin Man blew
me away.  For a moment I thought we'd been transported in time
by 30 years and were hearing Bob Dylan urgently trying to put
across this song he'd just written.  Great guitar work.  One of
the highlights of the weekend for me.

Tombstone Blues to close out the set was good, but I confess I
prefer the "Unplugged" arrangement of this one to the
"chug chug" electric version we got.  Alabama Getaway after the
intermission was rollicking but standard and they could've blown
the roof off with West LA Fadeaway.  After the second intermission
we got an intense "It Ain't Me, Babe" which Dylan was serious about
making us take seriously.   We weren't ready to go, but the
security came out to tell us there'd be no more.  For some reason
I now believe that perhaps "Rainy Day" had not been in the cards.
I think Dylan really wanted to start us off with "to be *alone*
with you" and "tonight I'll be staying here with you" and then
dismiss us with "go away . . . I ain't *alone*" :-)

I got a peek at the cuesheet which my Phish-phollowing phriend
snagged.  If memory serves, I'll Be Your Baby Tonight was the
alternate for Riverflow, Shooting Star was an alternate in the
second set, Girl of North Country was the alternate for It Ain't
Me Babe, and Friend of the Devil might have been on there somewhere
in the acoustic set.  Positively 4th Street was another alternate
in the second electric set.  Maybe LARS too, but I'm not sure
about that one.

A random thought on both nights:  it seemed like Tony Garnier was
doing a little bit more on bass than usual.  But that just might have
been because I was next to his monitor and thus hearing his bass more
clearly than usual.

So the setlists were not too adventuresome, the venue was bigger
and its workers brusker than I'd anticipated, and I got a bad
sunburn from lying out by the pool Sunday afternoon.  Yes, it
was truly a great weekend that was worth every penny and every
mile on my battered Buick :-)  Plus I got to meet/see again
quite a few interesting and friendly folks, including several
from this group.

If you're ever in Atlanta, don't miss the Atlanta History Center.
It's very, very good.  They had great exhibits on Southern
musical culture, the civil war, the city of Atlanta, Southern
politics (including campaign posters and literature from
Sen. Strom's presidential run -- talk about scary!).  I got
my first glimpse of footage of Jimmie Rodgers singing.  The
motto of the museum is "please touch."  Very highly recommended!
I do have negative feelings about the Werld O' Coca Cola, but that's
perhaps just me. . .

The only reference to the shows I could find in either Monday
or Tuesday's "Special Commemorative Editions" of the Atlanta
Journal-Constitution was in "The Best of '96 Buzz" by Miriam
Longino:

"BEST NIGHT SPOT: It was overhyped but it was hot.  The House of
Blues.  The long-vacant Baptist Tabernacle on Luckie Street more
than exceeded expectations for drawing the famous and their fans
. . .  Owner Issac Tigrett's magic even managed to make Bob Dylan
sound good.  Prices were high, but so was the buzz.  Question is:
Will they ride off into the sunset or stick around?"

Grrrrrr.  Yeah, I saw Uma Thurman was there Sat night.  So what?
Who cares?  "even managed to make Bob Dylan sound good"????

That's about it.  Oh, yeah, for any Simpsons fans out there:
I got a very strange look when I stopped in at the Sunsphere
in Knoxville Tennessee on the way home and asked about the
wigs. . . .

Peace,
Mark