KIVA AUDITORIUM @ CONVENTION CENTER - ALBUQUERQUE, NM
MONOLOGUE/IF I GOT MY TICKET, LORD/IT'S GONNA RAIN/DO LORD, REMEMBER ME/LOOK UP AND LIVE BY FAITH/OH FREEDOM/THIS TRAINSERVE SOMEBODY/I BELIEVE IN YOU/WHEN YOU GONNA WAKE UP?/WHEN HE RETURNS/MAN GAVE NAMES TO ALL THE ANIMALS/PRECIOUS ANGEL/SLOW TRAIN COMING/COVENANT WOMAN/PUT YOUR HAND IN THE HAND (Regina McCreary, vocals)/GONNA CHANGE MY WAY OF THINKING/DO RIGHT TO ME BABY/SOLID ROCK/SAVING GRACE/ SAVED/WHAT CAN I DO FOR YOU/ IN THE GARDEN
Over the next several nights, Dylan will deliver a number of superb vocal performances. Dylan begins to fiddle with his own phrasing and the overall melodic tenor of a number of songs. This evening, Dylan offers different approaches to "Slow Train Coming," "Covenant Woman," and "Gonna Change My Way Of Thinking."
Dylan gives "Slow Train" a more resigned feel, playing with the melodic possibilities of the otherwise generally percussive chorus. Dylan tones down "Covenant Woman," bringing out the love song qualities and using melismata to range within the expansive melodic structure of the song. Oddly, Spooner Oldham's last solo seems truncated, just as he's biting into the song.
"Gonna Change My Way Of Thinking" receives a particularly nice treatment this evening. Dylan's vocals are outstanding, avoiding the plodding monotony the rhythmic structure of the song can create by leaping at odd phrasing and off-beat cadences which have a leering, accusatory quality to them. Tackett's guitar looms, adding wiry licks around Dylan and Drummond marching rhythm, then jumping into tightly wound, tense solos. Terry Young's organ solo wails and drones in layers, then reverts to stacatto counterpoint in support of the melody. Throughout it all, Keltner's drumming is simply superb, rolling fills between stanzas, then wonderful backbeats to accent the monotonous cowbell beat which underlies this song. This segment of the tour truly deserves a high quality mix which could do justice to the wonderful instrumental interplay behind Dylan's vocals.
The band also delivers wonderful renditions of "Solid Rock" and "Saved" this evening. They assert themselves more during the open measures in "Solid Rock" where earlier in the tour, they waited for Dylan to sing. On "Saved" Drummond and Keltner step forward in the chorus, show what can be done within a two-beat stomp and nicely balancing Terry Young's romping piano.
"Good evening, I'm going to tell you a story."
IF I'VE GOT MY TICKET, LORD
IT'S GONNA RAIN
DO LORD, REMEMBER ME
LOOK UP AND LIVE BY FAITH
Helena Springs: "Thank you. You've been a great audience, thank you."
drugs at your command" !!!
(4) "maybe be even own banks"
(5) "maybe be a city councilman taaaking briiiiiibesoooooonnnnnnnthhhhheeeeside"
(6) "you maybe wear cotton you might like to wear silk"
I BELIEVE IN YOU
"even through the tears and the laughter" very late in measure
"(?)/ (?), bother(?)/written on(?)//miss/be missed, faith in nobody/not even a scientist"
EDIT# - End of Tape Side B
Dylan: "Alright, we're "Hanging On to a Solid Rock, Made Before the Foundation of the World."
(hear Drummond count in)
Dylan allows extra measure before beginning first stanza, then pushes tempo
"The whole world's expecting a false peace to come"
Somehow they seem to lose the hook on this performance - very strong, but almost tripping over selves
Dylan waits a two full measures after guitar solo to kick in, with nice singing by Helena in interim and bass, guitar interplay.
(1) "I've escpaed death so many times, I guess I'm only living"
(3) "The death of life, then cooooommmmme the resurrection."
(4) "Now the devil's blinding light, that can be most blinding."
Dylan strums away during applause and begins song on own
(1) "By his mercy I've been touched, By his word I have been healed, By his light I've been delivered, by his spirit I've been sealed."
Crowd applause grows as reaches first chorus, anticipating rave up, but then confused by theme?
(2) "By his truth I can be upright, by his truth I do endure//By his love I have been lifted, by his power I feel secure"
(3) "No one to rescue me, nobody would dare, by his love I have been lifted, by his mercy I've been spared."
Band (drums and bass) really beginning to play within "so glad/thank you lord" parts of chorus
CROWD: "Blowin In The Wind!" "Play an old song!" (in response to first "what can I do for you?")
WHAT CAN I DO FOR YOU
Dylan begins singing in midst of first guitar phrase.
(1) "opened up a door that no man could shut and you opened it up so wide/ filled up a hunger that had always been denied"
(2) "Well, you've done it all and there's no more that's left to do."
(3) "Well, I don't deserve it, but I sure did enough make it through."
Very strong applause at end
Dylan: "Alright, we have time for one more. (Inaudible.)"
IN THE GARDEN
Organ makes a sudden change in tone during first stanza
Very flat first, "when he spoke to them in the city"
Dylan hurries our first "when he healed the blind"
(4) "Did they, did they speak out against him, did they dare?"
EDIT# - During applause
Dylan: "On keyboards tonight, give him a big hand, Spooner Oldham. On the other set of keyboards, give him a hand too, Terry Young. On lead guitar tonight, Fred Tackett. Playing drums tonight, Mr. Jim Keltner. Bass guitar is Tim Drummond. (coughs) On bottom tonight, Helena Springs. In the middle is Regina McCreary. And singing on top is Mona Lisa Young."
BLESSED IS THE NAME
strumming guitar and drumming two-beat prominent at beginning
CROWD: "Come on Dylan! Let's Go!" "More!" "We want more!" "Come on Dylan!"
chorus x 3, 1, chorus x 4, 2, chorus x 3
Regina: "there ain't nothin higher than Jesus" twice during second set of choruses
Can hear the taper taking apart kit, lowering mike, and finally turning off machine.
One known reference tapes circulating:
The first (041279JMM) is a dual mono audience recording which lacks the seven opening songs performed by the band, but contains the eighth song, "Put Your Hand in the Hand" by the band and sung by Regina McCreary Havis following "Covenant Woman."
This recording has a great deal of tape hiss throughout, and a distant compressed sound. Dylan's voice is somehwhat buried behind a droning bass. This recording is further marred by a destructive edit clipping the end of "Put Your Hand In The Hand." There is also obtrusive chatter as someone near the taper greets a friend during the last few seconds of "Put Your Hand In The Hand." The tape quality is a shame considering the quality of the performance.