Bob Dylan mostly recorded his first two standards albums, Shadows in the Night and Fallen Angels, with his road band. The only other players on the albums are a small horn section, who appear on a few tracks on each. Today, we hear from a few members of that horn section.

They operate in a different recording world than Dylan: working off charts, union-scale pay, strict three-hour contracts, knocking out multiple sessions a day for different artists. That’s the old-school system of Frank Sinatra, who recorded most of these tunes first—and often in the same historic room Dylan did, Capitol Studios in Hollywood. And that’s how they worked with Dylan too, who seems to have adapted: Quick and efficient, with minimal small talk or wasted time.

Here are three of the horn players’ recollections of recording on Shadows in the Night (the same sessions also yielded Fallen Angels, effectively an outtakes album).

Dylan Skye Hart — French Horn

One of other guys told me you were actually named after Dylan. Is that correct?

That is correct.

It was kind of crazy. I didn’t know who we were playing for. I just knew that we had a session at Capitol Records. I was running late, barely making it by the skin of my teeth. So I just got in there, put my stuff down, we started practicing—like, “oh, cool, we’re doing some Great American Songbook stuff.” Then Bob Dylan showed up like 30 minutes later. My heart stopped.

We were recording Frank Sinatra charts in Capitol Records. That’s where Frank Sinatra recorded those charts. And my teacher, Vincent DeRosa, was Sinatra’s first horn player. Sinatra had so much respect for Vince DeRosa that he used to call him Maestro. He’d be like, “Maestro, how’s the kids?”

So there was already that connection, and then it was Bob Dylan, the person I was named after. My mom was obsessed, she absolutely loved Bob Dylan. I’ve heard all of his albums thousands of times. So having that kind of cosmic coincidence happening just felt crazy, crazy special.

I remember after one of the sessions, we were saying goodbye, and I shook his hand. Then I held my hand and I didn’t touch anything and I drove straight to my mom’s house. I was like, “Mom, you gotta shake my hand!”

What do you remember about the sessions themselves?

We were in Capitol Room B, which is the smaller of the two rooms. They had the brass in the hallway that’s in between the booth and the room. In the room itself was the band in a circle, and then Bob Dylan stood in the center and sang. It was very intimate, very small. Four or five people, plus maybe four of us on brass.

For me personally, it was high-pressure. Like, I really felt like this was important. The weight of the situation made itself known to me. And there were a lot of horn solos that I had to do and some kind of high, tricky stuff. I remember pulling myself together and having to go through that.

You mentioned the handshake. Did you have any other interactions with Dylan himself?

No, he’s a pretty private person. I spend a lot of time backing up big names, and some people are more friendly than others. Like Michael Bublé just wants to be part of the group, one of the cats. Then people like Barbra Streisand, she has her own world where she has the people that she talks to. And that’s fine.

I always call what I do being secret-famous, because everybody’s heard me, but nobody knows who I am. Like I can walk through an airport and I know every single person at that airport has heard me play, and not one person can identify me. That’s kind of cool.

Did any part of you debate whether to tell him that you were named after him?

Yeah, I figured if I got in a conversation with him that went beyond the formalities, I would tell him, but I wasn’t about to try and barge in and be like, “Oh, I’m so glad to meet you. I was named after you!” I don’t think generally that’s what people want when they’re working with you, you know?

I’m trying to imagine how that would go. I’m not imagining anything good.

I always try and treat people like normal people. I try not to treat them famous.

So you’re watching him work. What are you observing? What is his demeanor?

He was very quiet in terms of feedback or criticism. I mean, his band was just so good, and they knew it. He would just stand in the middle and kind of absorb it all and sing. He didn’t really have to say much.

It must have been quite a moment when you don’t know who it is, and then your namesake walks in the door.

Yeah. I mean, we do a lot of anonymous sessions. Then you show up and you’re like, “Oh, there’s Snoop Dogg” or “There’s Dr. Dre.”

Are those real examples?

Yeah. Dr. Dre is super nice.

The spread from Michael Bublé to Dr. Dre is a wide one.

One of the most amazing experiences I had was playing with the Wu-Tang Clan for Coachella. In between rehearsal and show, we were having lunch. The whole band, like all of the Wu-Tang Clan, were at a table like next to me. After lunch they started talking business.

It was the most fascinating thing I’ve ever heard, because they were speaking, you know, in slang and however Wu-Tang speaks. But if you translated it into like Fortune-500-executive-room-speak, it would be the same exact language. Think of Method Man and Redman and all of them sitting at a table, all talking. It was really mind-blowing to listen to.

Any other memories or stories we haven’t hit on yet?

I can so see myself there. I remember the lighting. I remember where I was sitting. I remember looking down at the floor to gather myself before playing a solo. For me, it was such a banner moment in my career and in my life, and I’m so grateful to have been able to be there for it.

Andy Martin — Trombone

Do you remember how you got involved in that session?

I did two sessions, I believe, and they were quick. I got called by the contractor. His name is Dan Savant. He put out a call for a small horn section. He wouldn’t tell us the artist.

The funny thing I remember about it is they set us up in the drum booth. As you enter Capitol B from the hallway, you enter into the drum booth, and then you either take a right turn into the recording booth or you go straight through the drum booth into the main studio. So we’re sitting there facing the main studio, the glass door between our drum booth and the studio, then we hear the door swing open behind us. Sure enough, there’s Bob Dylan walking by us to get to the main studio.

Is this the first time you realize who the session is for?

Exactly. I forget if he even said hello. He seems really shy. He might have grunted out a hello or something, then went into the main studio where his band was and where he was going to be.

Al Schmitt was the engineer for everybody for decades and decades and decades. He’s got this scratchy voice, but super sweet guy. I remember that he was very impressed with Bob Dylan, which takes a lot for Al Schmitt to be impressed with an artist, because he’s worked with everybody from Sinatra on down. I recall he loved the professionalism and the ears and the attention to detail that Bob had.

The other detail I remember is they would invite the horns in for one listen back in the booth where everybody was. They’d say, “OK, guys, just listen one time and then leave the room. That’s what Bob wants.” So we just go have our one listen and then leave the room so they could have their privacy. During a listen back when we were allowed into the booth, I just remember him listening very intently to the track and leaning over the soundboard, really checking things out closely.

The two songs I have you on in the credits for the first album are “I’m a Fool to Want You” and “Lucky Old Sun” but I know sometimes these things are not complete. Does that sound correct? Or is there more? Or different?

Yeah, probably just two tunes.

Are you doing a bunch of takes?

We did four or five takes on each tune.

When you’re recording with someone like that who’s in the legend status, is the pay any better, or does that not correlate?

If it’s a union session, the pay’s probably the same for anybody. We get paid according to, like, if we’re playing first chair. I probably got paid extra for being principal trombone. And we get paid twice as much if we overdub to tracks. Certain specifics like that are in the contracts. It just depends on who you’re working for. I’m sure Dan Savant being our contractor probably got us some extra money somehow. He’s always good about that.

I talk to a lot of musicians who’ve played with Dylan and usually it’s loose and you show up and they mess around for hours. Very casual. Lord knows there aren’t any charts. This is sort of a different world.

That’s correct. They probably warned Bob, “We’re on a time schedule here. We got union musicians; we can’t go past three or four hours.” That’s probably why they hired DJ Harper to write the charts, so we’re not just making up horn parts. We have something specific that they thought about before we got there.

It’s sort of appropriate that when he’s doing these Sinatra songs, it’s in this more old-school way where it’s a union gig and there’s charts. A little more formal. If it’s a union gig and you go over the allotted time, do you have to say, that’s it, we’re done?

No. You have an hour specifically allotted to go overtime, but if it goes past that the musician has the option to leave. Past that fourth hour is really on the musician. If they want to keep paying overtime, I’m more than happy to stay if I have nowhere else to be. That means we’re making a lot more money.

Alan Kaplan — Trombone

How did you get connected with this session?

It’s not unusual for us to get calls kind of last minute. These were all evening sessions, and I got called that day. It was late, like three o’clock the first time I did it, for a session at seven. I believe I did three of the sessions on this project. When I show up at Capitol, I don’t know what it is. He just said, “It’s a record date, 7 o’clock at Capitol.” I walk in and there’s Bob Dylan and his band.

Those things happen quite a bit. I got a call from a different contractor one time to show up in the same room, Capitol B. I walk in and there’s Paul McCartney playing bass.

Back to the Dylan one. I walk in, and there’s Dylan in the room with his band, and a handful of us were in an iso [isolation] room. They generally use it for the drum sets, but it’s big enough to have like four people, so that’s where we were. Bob Dylan walks by, shakes our hands—kind of a meek one, I’ll say. Kind of a soft handshake.

“Dead fish” is the phrase that gets thrown around.

That’s exactly right. It was a dead fish handshake.

And there’s Al Schmitt, who was one of the top engineers for years at Capitol. I noticed he was very hands-off. I’d never seen an engineer just sit there with his arms folded like that. They normally do a lot of micromanaging and tweaking, you know. I was kind of surprised. But we just played our parts, and they played theirs.

What I believe was happening was Bob’s band was rehearsing during the day, learning the tunes. I have a feeling they might not have been readers, just from the way they were doing it.

When you say “readers,” you mean sheet music?

Yes. If you can read, you can play it right away, but if you need to learn it, that takes time. That’s what they were doing.

The arranger was the son of a composer-arranger that I’ve worked with for years. His name was DJ Harper. He had come up with takedowns. These were all mainly Sinatra recordings, and he had made arrangements for a very small horn section with Dylan’s band. Those were very quickly scratched out. Probably that’s why we got called the same day. Dylan probably selected which tune to do and [Harper would have to] make the arrangement. I have a feeling everything was hot off the press.

People said that a lot of the Dylan arrangements were basically the Frank arrangements, but pared down. Not with a giant orchestra, but a small band and maybe a couple horns here and there.

That’s exactly right. DJ Harper came up with a very reduced arrangement for those tunes. Which wouldn’t take that long. Al Schmitt was telling me that they were just cranking out tunes. Then they sort of decided, which one are we going to record tonight? Which one are we going to have horns on?

Each session we only did one tune. I remember running it through maybe once, and then the band on their own ran through some things, and then we made two or three takes.

This is all live, everyone together, or are you overdubbing?

Yes, Bob was singing live. That’s what was nice about it. The whole band was set up with Bob singing in the main room, and we were in that one iso room.

If you listen to the album, it’s all a pretty consistent sound of his band. I personally would like to have heard the horns a little louder, but it wasn’t up to me.

You’re very prominent on “The Night We Called It A Day,” but do you remember what the other songs you might have recorded on?

That’s the thing. I have the disc in front of me, and these credits aren’t exactly correct. I know that I played on three tunes, and it only shows me on one. I’m positive I played on “I’m a Fool to Want You,” and I know I worked with Dan Fornero on trumpet. He’s not listed. I know I did “I’m a Fool to Want You” and “The Night We Called It A Day.” I have a solo on “The Night We Called It A Day.” I could have been on those tracks and “Lucky Old Sun.”

Bob pulled a second album out of the same sessions, Fallen Angels. There’s some horns on there, too, but not much in the way of credits. Maybe one of your tracks is on there.

That may be what happened. Maybe the other tune I did was on that album. I know I did three, and possibly they’re on the other record.

This was a really special thing for me too because I’m a real fan of the Sinatra ballad albums. I even did my own album of ballads, mostly Sinatra songs, about 20 years ago. “I’m a Fool to Want You” is one of the tunes I did, and also the one that I played the solo on, “The Night We Called It a Day.” So I’m very familiar with those arrangements because I’ve listened to the Frank albums so much.

Did you have much direct interaction with Dylan other than that dead fish handshake?

None at all. Just when he went through the room and shook our hand and said thanks at the end. Our interaction, as far as what we did, was totally with the conductor, DJ. Bob pretty much stayed in [the main room]. Whatever discussions he had were with his guys. He left DJ to deal with us.

Are you there for hours, or are you in and out pretty quick?

We were called for three-hour sessions, and we got done early. We did the one tune, and that was it. There’s time to do more than one on a three-hour session for sure, but I remember it being a very slow pace, very relaxed. Do a take, listen to it, whatever. It was not a high-pressure situation as far as time goes.

Since you played on the song, have you ever seen the music video Dylan made for “The Night We Called It A Day”?

No! I didn’t know there was one.

Not only is there one, but it is great. Like a violent film noir. Robert Davi is in it, who was the villain in a Bond movie years ago.

I backed up Robert Davi. He does the Sinatra songs, too. Besides doing the album, I backed him up on a few live gigs, doing his act. He’s a pretty good singer.

As far as the sessions, I was just amazed that Dylan was doing this kind of project. It was so not his thing. I liked to see him keeping that material alive. They’re such great songs.

Thanks to all three of these great horn players for talking! You can find out more about them at their respective websites: dylanskyehart.com, drewbone.com, and alankaplan.org.

Today’s show 37 years ago has a unique distinction: It is the only Never Ending Tour show I know of where Bob Dylan only performed songs from the 1960s! Look at this setlist:

1. Visions Of Johanna

2. Leopard-Skin Pill-Box Hat

3. Positively 4th Street

4. I Want You

5. Ballad Of A Thin Man

6. Highway 61 Revisited

7. Love Minus Zero/No Limit

8. Baby, Let Me Follow You Down (Trad.)

9. It’s …

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A Traveling Wilburys tour could have been one of the greatest tours of all time. You can picture it: They each do a short solo set to start, two or three songs apiece, maybe with a few duets thrown in. Then it builds to the main event, all five of them together onstage doing eight or nine songs from their two albums. The show ends with, inevitably, “End of the Line.”

It almost happened too. “There were plans,” Wilburys drummer Jim Keltner (a “Sidebury”) told me. “Big plans. We were going to go on a train tour. We were going to take a train across the United States.” Everybody thought Bob would nix it, but he didn’t. George did.

So, in lieu of any actual Wilburys shows, I wanted to know, what Wilburys songs have been played live by actual Wilburys? Which Wilbury has performed the most Wilburys songs? Let’s count up, starting with…

Roy Orbison: 0 Wilburys Songs Live

Orbison died a month and a half after Traveling Wilburys Vol. 1 came out. He was only 52 years old. Had he lived longer, you can imagine him absolutely crushing “Not Alone Any More” every night in concert. It wasn’t to be. RIP Roy.

Bob Dylan: 1 Wilburys Song Live

Sadly, Bob has never done “Tweeter and the Monkey Man” live (yet!). In the early days of the Never Ending Tour, though, he did “Congratulations” a few times. Toad’s Place is probably the most famous, but I prefer this version, from Birmingham, England. He’d just finished a hits-heavy run of “I Shall Be Released,” “Like a Rolling Stone,” “Blowin’ in the Wind,” “One Too Many Mornings,” and “Knockin’ on Heaven’s Door.” But when he sings the opening line of “Congratulations,” a huge cheer goes up from the crowd. As if they’re like, finally, a song we know!

George Harrison: 1 Wilburys Song Live

Harrison did one Wilburys song live, in 1997 at his final public performance before his death. He appeared on a VH1 show with sitar master Ravi Shankar to promote Shankar’s new album Chants of India. The vibe is very loose, with George just strumming whatever song he thinks of. “A bit of busking on here,” he jokes. Friend-of-the-newsletter John Fugelsang, who’s hosting the show, asks George, “One of yours?” George answers: “Well, sort of.”

It’s “If You Belonged to Me,” a Dylan song from Volume 3. Despite the casual setup, Harrison sings it beautifully, nailing all the words and even doing a tricky little acoustic run to end it. Either he remembers it perfectly from almost a decade prior or he’s been practicing it at home.

More “Wilburys By Wilburys” after the jump!

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Bob Dylan just announced his first shows at London’s Royal Festival Hall since 1964! Inspired by that, I’ve dusted off a draft I started a while back, looking at a similarly-named iconic London venue he’s played much more often…

The Royal Albert Hall looms larger in Bob Dylan lore than it perhaps should. As you may already know, his most famous “Royal Albert Hall” show did not, in fact, take place at the Royal Albert Hall. Fans misattributed the famous “Judas” show to the wrong location for years, when in fact it took place in Manchester. The fourth Bootleg Series was even titled Live 1966, The “Royal Albert Hall” Concert—that’s why “Royal Albert Hall” is in quotes. They should have subtitled it The Manchester Free Trade Hall concert, but that’s not how most fans knew Dylan’s most famous show.

When I went to research this, I also discovered he’s played the Royal Albert Hall fewer times than I expected. I’d considered it the UK’s equivalent to the Beacon Theatre for Dylan, but he’s played the Beacon 47 times and the Royal Albert Hall just 15. Not even close. It’s not even the venue he’s played the most in London; that would be the Hammersmith Odeon (now the Hammersmith Apollo), primarily due to several long residencies there in the early 1990s.

This is not a knock at the iconic venue—I went there in 2024, and it’s truly stunning. Just a note that I’d associated it more with Bob than I maybe should have. He’s played Vorst Nationaal in Brussels as many times as he’s played the Royal Albert Hall, and I’ve never heard anyone waxing rhapsodic about whatever that is.

In fact, Dylan has visited the Royal Albert Hall on just five occasions. Interestingly, every single visit was for a residency, at least a short one. He has never played a single stand-alone show at the venue. Two nights minimum every time. Even the Beacon had a one-off the last time he played it. The Beacon, though, he didn’t play until 1989 (surprising, right?). Dylan’s Royal Albert Hall run started all the way back in…

1965 — May 9, 10

In 1965, on the tour we all know from Dont Look Back, Dylan played two shows at the Royal Albert Hall. The day before the first show, outside the Savoy Hotel a couple miles away, he filmed a short video to include in the movie. Perhaps you’ve seen it before:

It’s an amazing juxtaposition comparing that clip to the songs he played the following night. You’d never know he already had “Subterranean Homesick Blues” in the can. This is Bob’s final solo-acoustic tour, and most of the songs he plays come from his solo-acoustic repertoire. He’s already “gone electric”—Bringing It All Back Home came out the month before these shows—but his shows won’t reflect that fact until the summer. To the fans attending these shows, the first half of that album might have felt like a studio lark. Okay, he tried something weird with his latest album, but clearly that’s not the real Bob Dylan. The real Bob Dylan is still up there, alone in the spotlight, strumming on his acoustic guitar, singing “The Times They Are A-Changin’” and “With God on Our Side.”

Backstage though, he was pushing forward. This clip from Dont Look Back was filmed in the Royal Albert Hall green room:

In the crowd for the first show: All four members of The Beatles, who would famously name-check the venue a couple years later (“now they know how many holes it takes to fill the Albert Hall”). As author Jim Windolf details in his excellent new book Where the Music Had to Go: How Bob Dylan and the Beatles Changed Each Other―and the World, the Fab Four filmed a scene for their movie Help! during the day, then headed to the show.

Afterwards, all four Beatles went back with Dylan to his hotel, the Savoy. Windolf reports a conversation from the Dont Look Back outtakes. “Lovely gig, man,” Lennon tells Dylan. “They didn’t dig ‘It’s Alright, Ma,’ ” says Dylan. “Maybe they didn’t get it,” John responds. “It’s the price of being ahead of your time.”

Dylan retorts: “Maybe, but I’m only twenty minutes ahead, so I won’t get far.”

1966 — May 26, 27

The following year, Dylan returned to the Royal Albert Hall for another two shows, again in May. Anyone expecting more of what they’d seen the previous year would have been quite surprised. Though these weren’t, as people long believed, the “Judas” shows, they were plenty confrontational.

Dylan, for once, tried to turn down the temperature. In one of several long, rambling monologues the second night, he tells the audience, “I realize it’s loud music but if you don’t like it, well, that’s fine.” He added later, “You can take it or leave it. It doesn’t matter to me, it really doesn’t. I love you all.”

It didn’t work. Boos mixed with applause throughout. Documentarian D.A. Pennebaker recalled later, “Albert Hall was the wildest. People were really shouting at him and he was screaming back.” It’s more like drawling back, not screaming, but the point stands. “You’re talking to the wrong person, man,” he tells the crowd after someone shouts during his “Just Like Tom Thumb’s Blues” song intro. “I’m the last person in the world to explain any of these songs, but I wanna do this because this is the last concert here. You don’t want me to do it, just say so, I won’t, I don’t care. I couldn’t care less. We’ll just play the music and leave. And you and you and you can just go out and read some books.”

Then he does actually shout, as the band starts playing: “Read J.D. Salinger!”

Once again, on hand were the four Beatles. In fact, the morning after Dylan’s first show is when the famous scene of Dylan and Lennon in the back of the car was filmed:

The Beatles attended the second show, where they reportedly shouted back at the hecklers. Windolf quotes George Harrison as saying later, “The people who walked out must have been idiots, and they couldn’t have known the real Dylan. It was all still pure Dylan.”

2013 — Nov 26, 27, 28

That 1966 was Dylan’s last concert for a few years. But, amazingly, it was last Royal Albert Hall concert for 47 years! He did not return until 2013.

This time, he played three nights, not two. He was touring Tempest, so that album features heavily, and this was the first year of The Set so the three setlists look very similar. With one major exception.

Usually that tour, he ended the show with “Blowin’ in the Wind.” But, to close opening night, he busted out something else, a song that ties closely into his history at the venue: “Roll On John,” his song for John Lennon. It was the second and last time he ever played it.

2015 — Oct 21, 22, 23, 24, 25

Bob didn’t wait 47 more years to return. In 2015, he returned for his longest stand to date, five consecutive nights. He played mostly the same setlist every night, with the exception of swapping around the Sinatra song in slot #13: “The Night We Called It a Day,” “Full Moon and Empty Arms,” and “Where Are You” in its final performance.

In this pre-Yondr era, there are some great videos from this show. Here’s “Blowin’ in the Wind,” one of only two 1960s songs he played at these 2015 shows (the other was “She Belongs to Me,” first performed on that same stage 50 years earlier):

2024 — Nov 12, 13, 14

Dylan’s final Royal Albert Hall shows to date took place in 2024—and I was at all three! Here’s how I began my first recap: “After three years, the Rough and Rowdy Ways tour comes to an end this week at the Royal Albert Hall.”

Whoops.

The three it-turns-out-not-final Rough and Rowdy Ways shows were great though. Quoting myself (sorry not sorry), here are some memorable moments from each show:

Night 1:

What I didn’t fully comprehend until walking in through the doors is that, history aside, the Royal Albert Hall is a really cool venue! It could have been built yesterday and it would still be an amazing place to see a show. For any fellow ignoramuses like myself who don’t already know about the setup, it’s built like a tuna can. As you can see in the crew photo up top, it’s essentially in-the-round, with the band at one side of the floor and high vertically-stacked balconies in a big circle all around. Including, unusually for Dylan, fans seated behind him, in what they call the choir section. So there’s none of the usual Rough and Rowdy drapery. Instead, you see both people and that majestic blue-grey organ. Hell of a backdrop. If only they let you take photos.

Night 2:

“Black Rider” seems to be especially haunted this week. Both nights, right at the start, some woman started shrieking. The first night, what initially sounded like peels of joy—the world’s biggest “Black Rider” fan?—kept going far too long and she was quietly escorted out. A mental health episode, many guessed, and felt sympathy. But then last night, again right at the start of “Black Rider,” another woman (the same woman?) started screaming. Actual words this time—though, if it was some sort of statement, the fact that no one could make out what she was saying undercut her message. She also evaded security, running around through the chorus section in the high balcony while staff chased after her. I laughed at Bob singing “I’ll suffer in silence, I’ll not make a sound” while this woman is yelling at the top of her lungs. She was eventually hustled out at the end of the song. It distracted everyone in the room, including, seemingly, Bob himself, who made some comment to Bob Britt after.

Night 3:

The moment that will stick with me most happened before a single note was sung. The band entered first and started playing the “Watchtower” intro, then Bob walked out a few seconds later. The roar the crowd gave upon his arrival was louder than anything I’d heard this whole week. Maybe louder than anything I’ve ever heard at a Dylan show. Even the word “roar” seems to undersell it. It was more like an explosion of appreciation. Whether he was going to acknowledge the occasion or not, everyone in that room knew what this night was.

Again: Wrong! But everyone thought they knew what this night was—the final show of this monumental three-year tour—and that’s what the crowd responded to. That roar remains a moving memory, even if it actually wasn’t the last night of anything.

Was that Bob Dylan’s last show ever at the Royal Albert Hall though? We’ll see! I mean, no one counted on him returning to the Royal Festival Hall after 62 years away, but this December, he is. And I’ll be there!

As I did with the 1960s entry, I’ll start with the standard poster formats—the ones that Dylan’s people used for many shows—then share some favorite one-offs at the end. (Credit as always to DylanStubs, where most of these come from.)

Disclaimer: I’m using the term “poster” a little loosely. “Printed concert advertising material” is more accurate, but makes for a cumbersome headline. Working off digital images of these decades later, it can sometimes be difficult to determine whether these were posters hung up on walls, flyers handed out, or even ads in magazines or newspapers. Where I do know, I’ll say.

Dylan didn’t tour until 1974, his so-called comeback tour with The Band (explored in depth here). Technically speaking, I don’t think there were any posters. Not that I can find, anyway. Everything seems to have been done through newspaper ads. Place a full-page ad in the local paper, sell out the show. It worked most nights. They looked like this. Simple, effective.

Both legs of Rolling Thunder did have posters, plastered up at the venue a day or two before. (See my interview with one of Rolling Thunder’s poster plasterers here for more info on that.) They all used a standard format. The box at the bottom was to write in the individual show details. Here’s the 1975 edition:

In 1976, they used a similar format, with two different variations. My guess is the first one—on the left below—was made earlier, before they knew the full lineup. Though I wonder why Kinky Friedman, who took over the Ramblin’ Jack slot, didn’t get Jack’s prominent poster placement next to Joan. Or, for that matter, why Roger McGuinn—surely a bigger draw than either Jack or Kinky—never did either. At least their names end up there eventually in the fine print below Bob Neuwirth.

Also note the Dylan photo changes between the two variants. The first shot comes from the Rolling Thunder rehearsals; the second is the famous photo later used on the cover of Live 1975.

Pretty straightforward so far, right? 1978 is where things get messier. In Japan, promoters must have had license to design their own posters. There are suddenly a lot of one-offs, which I’ll hit at the bottom. The closest thing I can find to a standardized format is this, which popped up for a few different runs of dates.

When the 1978 tour moved from Japan to Australia, the format changed. Now the posters typically looked like this:

That continued through the summer tour, with some variations. Then, for the Fall tour, there was a third standardized 1978 poster. It looked like this:

Again, seeing these out of context, it’s a little muddled what is a poster and which is a newspaper ad. I’m assuming the version above is a newspaper ad since it says “Tomorrow.” But from this Etsy sale it looks like the actual posters used the same design.

His final tour of the decade, the first Christian run in 1979, repeated it. Funny—1979 was a very different tour from 1978, but you’d never know it from the advertising!

And that’s it! I suspect the 1970s might be our shortest and easiest decade in this series.

Here are some of my favorite one-off posters. Some really wild stuff here!

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Two things struck me listening to this subscriber-requested show (thanks James!) from an era I haven’t visited in ages.

The first can be summarized in one word: Wolfman! You know how I sometimes write in reviews, “It took a few songs for his voice to warm up?” A common occurrence at Dylan shows for a long time (see: an endless parade of gravely “Watching…

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We’ve been deep into 1986 all year—first my Australia/New Zealand series in February, then Dead scholar Jesse Jarnow’s four-parter on Dylan & The Heartbreakers & The Dead ’86, plus a loosie subscriber-request in the mix too (catch up on all those here). But it’s the 40th anniversary of a tour I love, and I’m excited to dive in one last time. For now.

For those who followed my earlier series about the first leg of their tour together, I wanted to check in on the second leg, to compare how things have changed since all those shows I wrote about a few months ago. Dylan & The Heartbreakers spent the entire summer barnstorming the U.S. In some ways, it looked a lot like all those Australia shows I wrote about six months ago. In others, it looked very different.

The band hasn’t changed. At least, not much. A couple Queens of Rhythm have left, and a couple more have replaced them, most notably Bob’s new secret wife Carolyn Dennis—they were married just days before the summer tour began, though no one would know about it for 15 years. But Dylan is still backed by Tom Petty and the Heartbreakers every night. So what has changed?

Well, speaking of Petty, the Heartbreakers’ two mid-show sets have doubled in length. They were playing only four songs each show in Australia. That seemed low, given that they were huge stars in their own right who got prominent billing on these shows (were they not that big in Australia?), so, appropriately enough, now they do eight songs a night. Here’s a fun “Heartbreak Hotel” they bust out at today’s final show, after Tom salutes the road crew:

And what about Bob? There are a few major changes to the standard setlist. The opening old-time-rock-and-roll number has changed. In the winter, it was generally “Train Of Pain” or “Justine” (which, as noted, are very similar). In the summer, it’s usually the 1950s Weldon Rodgers country obscurity “So Long, Good Luck And Goodbye” with an occasional swap of Little Richard’s rave-up “Shake A Hand” or Ray Charles’ 1961 hit “Unchain My Heart,” which Dylan had actually recorded during the Knocked Out Loaded sessions. The final night in Paso Robles gets the Little Richard number, the last time he ever played it:

Speaking of covers, “I’m Moving On” mid-show gets replaced by another country song, “We Had It All,” covered by a number of singers in the ‘70s, including Dylan’s buddy Bobby Neuwirth.

Among Dylan songs, “Shot of Love,” performed only a couple times the first leg, becomes a set regular in the summer. More notably, though, so does the new original song Dylan and the Heartbreakers recorded in Australia: “Band of the Hand.” It gets debuted the opening night of the summer tour and played almost every night after. This Paso Robles performance is the last time he played it.

Meanwhile he dropped, mostly or entirely, some first-tour staples like “Trust Yourself,” “Lenny Bruce,” and his solo-acoustic staple “It’s Alright, Ma (I’m Only Bleeding).”

Maybe my favorite of all, “When the Night Comes Falling from the Sky” got an amazing new extended intro. I wrote last year, “Holy shit, those vocals. Bob somehow both belting and crooning, accompanied by Benmont Tench’s slow synths and the Queens of Rhythm. When it finally kicks into high speed, over two minutes into the runtime, it’s all the more effective.”

Some other intriguing summer setlist additions, though these songs never became regulars, were:

• Lay Lady Lay

• Union Sundown

• I Dreamed I Saw St. Augustine

• I Want You

• Brownsville Girl

• Got My Mind Made Up

• Leopard-Skin Pill-Box Hat

Of those, “I Dreamed I Saw St. Augustine” and “I Want You” are great. So is, surprisingly, “Union Sundown,” a generally fairly wretched song. And this was the only-ever live version of the Dylan-Petty cowrite “Got My Mind Made Up.”

And those were just the Dylan originals. If you read my 1986 series earlier this year, you know how much I love the covers he did with the Heartbreakers. All these got added to the rotation in the summer. For most of these, it was the first and last time Dylan ever performed them:

• So Long, Good Luck And Goodbye

• Shake a Hand

• Unchain My Heart

• We Had It All

• Rock With Me Baby

• Let The Good Times Roll

• Red Cadillac And A Black Moustache

• Bye Bye Johnny

• Good Rockin’ Mama

• Kansas City

• I Still Miss Someone

• All My Tomorrows

A few of those—“Red Cadillac,” “We Had It All,” “All My Tomorrows”—rank among my favorite live covers of his ever. Here’s the former:

It all culminated at this final show in Paso Robles, 40 years ago today. Dylan wasn’t done with surprises, either. He had one more song to add to the tour rotation. It was an original song he’d never played before, and he never played it again.

Yes, this show saw the one and only live performance of “Brownsville Girl”!

If you’ve never heard it before, let me recommend you close this newsletter now. As far as you’ll ever know, he played the whole thing, the entire crowd rose as one to applaud, it was a triumph. Go on, get outta here, you’ll be happier believing that!

If you have heard it, though, you’ll know that’s not at all what happened. On paper—magic. In reality—wildly disappointing. The band seems to have rehearsed it, but Bob never bothers singing any of the verses. He and the backing singers just repeat the chorus. Over and over again. No Gregory Peck, no Corpus Christi Tribune, no Henry Porter who’s not Henry Porter. I mean, is anyone’s favorite part of “Brownsville Girl” the chorus?

It feels endless, way longer than its four-and-a-half minutes. Gotta be in the running for his most disappointing live performance ever. Can you imagine how excited you’d be in the crowd when they started it? And then this is what you get.

Apparently he performed it for, of all things, an Entertainment Tonight segment. “That was an old song that I recorded,” he tells the crowd when they finish. “We did that for TV. Anyway, I’ll get back to the regular part of the program.” Very unlike Bob to play a song only so they can air a video on TV—especially on a cheesy Hollywood show like Entertainment Tonight.

Here’s what the resulting TV piece looked like. Facilitating this short news clip is apparently the only reason he played “Brownsville Girl.” Wild. (Thanks Dag Braathen for sending me this.)

But let’s not let this unbelievably half-assed “Brownsville Girl” sully a great end to a great tour. This tape, while far from a soundboard, features so much of what made the two 1986 tours wonderful, from the covers (“We Had It All” is the highpoint here) to the blasted-to-the-rafters originals (“Gotta Serve Somebody” rips) to the majestic takes on his new songs (man do I love that “When the Night Comes Falling” intro). Maybe next year I’ll do a Dylan/Petty 1987 40th-anniversary series too. There are some good performances in there. But the vibe wouldn’t be the same.

1986-08-06, Mid-State Fairground, Paso Robles, CA

Catch up on the entire True Confessions 1986 series here.

Last night, Bob Dylan played the final show of the Long Hot Summer Tour in Nashville. Though the setlist didn’t change, he had one last surprise up his sleeve: opening act Jimmie Vaughan, who last played with Dylan in 2024, sat in for three songs. You can see him standing next to Dylan in that grainy photo above.

On the scene was Henry Bernstein, who hosts the monthly Dylan podcast Songs of Experience. Henry reports in:

When I saw “August 1, Nashville, TN,” as the last date on the Long Hot Summer tour (which I had been calling the “Hot Bob Summer tour” until the shirts were revealed), I circled that in my mind as a must-go-to. Bob Dylan, in August in Music City USA, home of Johnny Cash, Dolly Parton, Taylor Swift and so many more. It would not be my first time in the Volunteer state, as I got to see Dylan sing “Big River” in Memphis just three short years ago.

After an incredible night in Atlanta, I was wondering how it could top Hotlanta? Would Bob acknowledge the last night or the city? Would any special guests come out? Would he add an extra song? Having been to several “Last shows,” I tempered my expectations. So let’s get into it:

The Venue

When I think of Summer Dylan concerts, my mind goes to giant soulless amphitheaters like Tinley Park, IL. However, I’ve been pleasantly surprised by the venues on this tour. See my recap of Atlanta, for more on that. Just a two-block walk from “Kid Rock’s Honky Tonk” (a completely anachronistic phrase) on Broadway, in the heart of Bachelor Party Central, is nestled the beautiful Ascend Amphitheater. With sprawling seats that descend to have a perfect view of the stage, I was completely surprised by not only how close the lawn was to the pavilion but how open everything was.

The Crowd

There were good vibes all around. People on the lawn were having a ball. There were musicians everywhere, children, young adults, and folks of Bob’s generation. I didn’t detect any drunk assholes or yappers who used the night as a venue to have a conversation or get wasted. It seemed like everyone was there for music. What a novel thought! Although it was mostly a sitting crowd, for the most part, no one seemed mad when the few of us here and there got up to dance.

The Show

At 8:55, the lights went down fast and on came the band, getting started before Bob was even at his piano. You have to be in your seat, ready to go, when he comes on! One thing that was special was that most of Lucinda’s band and some of Jimmie’s band were all watching the show from the side. Even they didn’t want to miss their hero one last time. In the Pro Wrestling world, this is called a “Curtain Sellout.” Meaning that everyone backstage is watching the match—or in this case Bob Dylan.

1. Watching The River Flow

For the second night in a row, “Watching the River Flow” replaced “To Be Alone With You.” A welcome change, at least by me. What’s funny is “To Be Alone” is the one song from Nashville Skyline on the setlist—but got dropped in Nashville.

2. Man In The Long Black Coat

I love the irony of Bob singing this song in a long white coat. This was where guitarist Joel Paterson really started to get going. He utilizes the whammy bar on his hollowbody guitar quite effectively. Getting that “wah wah” sound on a spooky song like this is perfect. The band has gotten quite good at being in sync when Bob wants them to cut out, get quiet or come back in big. This song was the start of that last night.

3. It Ain’t Me, Babe

I don’t need the crowd pleaser songs, I’m happy to get one. Bob plays a song in a familiar arrangement, clearly singing each iconic, recognizable line. This was when I started to notice his enunciation tonight was crystal clear and intentional. The crowd loved singing along. Dylan’s voice seemed to get stronger and stronger as the song went on. Paterson’s guitar solo was just perfect and Julian Lage was smiling ear to ear (does he ever stop smiling? No. Dream gig for him).

4. Tryin’ To Get To Heaven

Like “Long Black Coat,” to me this is a deep cut. One of my absolute favorites from Time Out of Mind. We are lucky we got to hear it all summer long. Again, some really nice guitar work from Paterson. He sometimes follows Bob’s piano notes, almost like a call and response or lick trading.

5. False Prophet

Ok here we go. All of a sudden, the band started looking towards the back, including Bob, and they waited. And there appeared the opening act, and guest of Bob Dylan in 2024, Jimmie F’n Vaughan. If you listen to the tape you’ll hear someone go “WHOAAAA JIMMIE! HELL YES!” It’s me, hi, I’m the someone, it’s me. This is where I got my closing-show wish: a special guest.

In Atlanta, I had noted the arrangement shifted slightly. Here it was back, probably to accommodate Jimmie? Jimmie got very close to Bob, was playing to him and Bob was smiling, laughing and actually singing some pointed lyrics at Jimmie. Julian looked like all of us. Bob gave several approving nods. Vaughan started off quiet but then got more and more brave with his solos.

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A while ago, I had a question: What’s the best song Bob Dylan has never played live?

Attempting to answer that question quickly steers you into a semantic roadblock though: How do you define “best”? While I’ve been known to throw the word around in various lists, we all understand “best” is being used loosely. To paraphrase Tom Friend, that’s just, like, my opinion, man.

But I wanted an answer a little more definitive than just my personal favorite he’s never played live (though I’ll get to that too). What would be the consensus pick for his best song he’s never played live?

To figure that out, I looked at Rate Your Music. This long-running site lets users do just that: rate music. Thousands of people have rated every single Bob Dylan song, and all those thousands of ratings have been averaged on a five-star scale. This was as good a place as I could find to get a consensus read on what the world at large considers the “best” Bob Dylan songs. Reassuringly, the top few songs look like you’d expect among the general populace: “Like a Rolling Stone” #1, “Hurricane” #2, “Tangled Up in Blue” #3, etc.

Those top ones have all been played live though. I had to dig deeper. So I went through all the top 100 Dylan songs there. Amazingly, Dylan has played the overwhelming majority of them live. 96 out of 100, to be exact. For all the grief he gets for not playing the hits…he’s played almost all of the hits!

Only four songs on this top-100 list have never been played live. Here they are, in reverse order, leading up to the best “official” designation I can think of for The Best Song Bob Dylan Never Played Live (as determined by these thousands of Rate Your Music voters, at least).

#4. Black Diamond Bay

As noted in the recent Rolling Thunder 1976 series, there was one report he did play this at the lost Salt Lake City Show. But, for various reasons you can read about here if you’re curious, that intel is highly suspect. So, at #4, the one Desire song he never played live. Probably.

#3. John Wesley Harding

You can see why many Desire songs either never got played live or, if they did, never outlived their era. The sound was very specific to that album and that band. But John Wesley Harding’s title track is an odd choice to never play. That album’s spare folk-rock seems more adaptable to different eras. Indeed, many songs from that album he’s played for decades. But never this, or “I Am a Lonesome Hobo” (#194 on the Rate Your Music list) either. Understandably, but unfortunately, a lot of the songs he’s never played live come from that post-motorcycle crash period when he wasn’t touring.

#2. Murder Most Foul

No secret why he’s never played this live—it’s long as hell! Also I imagine the vibe would be near-impossible to maintain in concert. (He’s struggled at times with “Key West,” and that’s half the length.) Every time the Rough and Rowdy Ways tour played Dallas, people wondered, was tonight the night? It never was.

And The Best Song Bob Dylan Never Played Live is…

#1. Sad-Eyed Lady of the Lowlands

Again: A long song! Then again, he did play “Highlands” a few times, not to mention he’s played “Desolation Row” (which is two seconds longer on the record) a ton. Kinda surprising he never at least gave “Sad-Eyed Lady” a shot in the past 60 years. It was rehearsed for Rolling Thunder at least, so he apparently considered it. Renaldo and Clara include a short snippet of that rehearsal, which you can hear here (the talking over part of it is because this audio comes from the movie):

So there you have it, the best song Bob Dylan has never played live is officially “Sad-Eyed Lady of the Lowlands.” It lands at #16 on that Rate Your Music list, but he’s played all the Top 15, so it’s #1 for us.

But “Sad-Eyed Lady” is not my Best Song Bob Dylan Has Never Played Live. (Though, to be clear, I would hardly object to hearing any of those this summer!). So that’s the second half, after the jump. What’s the song I personally am most upset he’s never played live?

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Recently, inspired by some discussion in our paid-subscribers Discord, the essential Bob Dylan setlist site Bobserve added a cool new feature. It’s called “Recurring Samesets” and it shows every concert where Bob Dylan repeated a setlist.

Many years, this happened a lot. 1966 is a big one. The gospel era too. More recently, the Rough and Rowdy Ways Tour. In recent years repeated setlists have become the norm. You’re more likely to get a setlist he’s played many other times than you are a unique one-night-only grouping of songs.

In the Never Ending Tour, though, it was generally the opposite. Up until “The Set” entered in 2013—that was the fan term for when he suddenly stopped changing things every night—he varied things a lot. And I mean, a lot. Here’s a crazy statistic I gleaned from the Bobserve data:

That’s it! Eight times out of 2,475 concerts from 1988 until 2013. Other than those 16 shows (two per repeated setlist), every other setlist was completely unique*. And no setlist did he play more than twice.

* Note: The Bobserve data considers song order too. So if he played the same songs but in a different order, the setlist would still count as unique.

So what were those eight times he repeated a setlist during the (pre-Set) Never Ending Tour? And what were the eight setlists so damn good he just had to play them again?

An investigation:

Repeat #1: 1989 — July 9 in Cuyahoga Falls, OH & July 11 in Harrisburg, PA

1. Most Likely You Go Your Way (And I’ll Go Mine)

2. Forever Young

3. All Along The Watchtower

4. Gotta Serve Somebody

5. I’ll Be Your Baby Tonight

6. Ballad Of A Thin Man

7. Love Minus Zero/No Limit

8. Boots Of Spanish Leather

9. Mr. Tambourine Man

10. Silvio

11. I Shall Be Released

12. Like A Rolling Stone

13. The Times They Are A-Changin’

14. Knockin’ On Heaven’s Door

15. Maggie’s Farm

The first, and maybe the least interesting of the bunch, came one year into the Never Ending Tour. He played this two consecutive nights. It’s an extremely chalk, greatest hits-y sort of setlist. The only surprise is he didn’t play it more often.

Repeat #2: 1990 — October 18 in New York, NY & October 21 in Richmond, VA

1. Dixie

2. Subterranean Homesick Blues

3. I’ll Remember You

4. Ballad Of A Thin Man

5. Gotta Serve Somebody

6. Masters Of War

7. Joey

8. Don’t Think Twice, It’s All Right

9. Gates Of Eden

10. Desolation Row

11. It Ain’t Me, Babe

12. Wiggle Wiggle

13. Shooting Star

14. All Along The Watchtower

15. I Believe In You

16. Like A Rolling Stone

17. The Times They Are A-Changin’

18. Highway 61 Revisited

This 1990 one is more interesting. In the first place, it’s just a more unusual setlist: “I’ll Remember You,” “Joey,” “Gates of Eden,” “I Believe in You,” plus a few choice cuts from his then-new albums Oh Mercy and Under the Red Sky. Not to mention the instrumental “Dixie” opening number:

But even stranger, there was a show in between these two. And that in-between show, his final night at the Beacon, featured a very different setlist (“Tight Connection”! “TV Talkin’ Song”! “Dark as a Dungeon!”). Then, when he left the Beacon for Virginia, he suddenly reverted to the exact same setlist as he’d played three nights prior.

That repeated Beacon show even featured four tour debuts, none of which would go on to become setlist regulars. It was an unusual setlist for the tour, and remained so—except for the one night in Richmond he repeated it verbatim. Did a stagehand put the wrong cue sheet onstage or something?

Setlist aside, Beacon Night 4 and Richmond were not entirely the same show. The Beacon show featured about-to-depart guitarist G.E. Smith. The following night was his final show; Richmond was the first G.E.-less show of the Never Ending Tour. Also at the Beacon, opener Lenny Kravitz’s sax player Karl Denson sat in on a few songs. (I’ve interviewed both of them about these shows, by the way. G.E. is here and Karl is in the book.)

Repeat #3: 1992 — May 7 & 8 in Berkeley, CA

1. Rainy Day Women # 12 & 35

2. If Not For You

3. Union Sundown

4. Just Like A Woman

5. Drifter’s Escape

6. I Don’t Believe You (She Acts Like We Never Have Met)

7. Tangled Up In Blue

8. Love Minus Zero/No Limit

9. Little Moses (Traditional)

10. Visions Of Johanna

11. Don’t Think Twice, It’s All Right

12. Cat’s In The Well

13. Idiot Wind

14. The Times They Are A-Changin’

15. Like A Rolling Stone

16. Absolutely Sweet Marie

17. All Along The Watchtower

18. Blowin’ In The Wind

Two consecutive nights again, and, more importantly, two consecutive nights at the same venue. This is the only repeat of the same set in the same place. Were fans who attended both shows annoyed getting the same thing twice?

Their annoyance might have been overshadowed by the bigger news: This week, for the first time, Dylan played “Drifter’s Escape” live! Berkeley saw the song’s second and third performances ever.

Why now, in Spring 1992, after 25 years of not playing it? Dylan, of course, didn’t say. But many made the connection to the Rodney King verdict. On April 29, 1992, a predominantly white jury acquitted LA police officers of charges related to the videotaped beating of King. The jury’s verdict led to citywide riots. The very next day, in Eugene Oregon, Dylan played “Drifter’s Escape” for the first time ever. “Oh, stop that cursed jury.”

(At that same Eugene show the day after the verdict where he busted out “Drifter’s,” he played “The Lonesome Death of Hattie Carroll” for the first time that tour, further underlining the connection. “Now is the time for your tears…”)

Five more after the jump…

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Last night, Bob Dylan brought the Long Hot Summer Tour to Richmond, Virginia. Scholar and writer Anne Margaret Daniel was on hand to tell us about the show, and about the city’s importance in Dylan’s—and the country’s—history. Here’s Anne Margaret Daniel reporting in from Richmond:

Among its other names, they call my hometown of Richmond, Virginia the River City—or to be more accurate, Rivah City, since that’s how we say it. Richmond was named for Richmond upon Thames, since the aspect of it from the bluffs on the north side of town overlooking the James River is similar. It has other nicknames, many based on its time as the capital of the Confederacy from 1861 to 1865. In 2021, Richmond was in the news as protests following the 2020 murder of George Floyd in Minneapolis resulted in the removal at last of a row of Confederate generals along Monument Avenue, installed there from the 1890s and long towering over the broad street with its parklike mall down the center. The statues and their plinths are gone now, with the space where they stood either paved, or occupied by grass and flowers. But the names on the land remain, all over Richmond’s history and all over town: Davis, Stuart, Jackson, Lee, Maury… Faulkner knew it all too well, and had a character say it in Requiem for a Nun (1919): “The past is never dead. It’s not even past.” Bob Dylan, not a mere Civil War buff but, as we know from Chronicles and from many interviews and songs, a scholar of America’s darkest war, has made the city a regular stop on his tours since 1966.

Back then, my parents went to hear him and his traveling band at the old Mosque, now called the Altria Theater, though no one in Richmond calls it anything but the Mosque. It looks like one, with its domes and minarets, and Jazz-Age gorgeousness and superb construction (the Mosque was finished in 1927, just before the crash). When I took Mother and Papa to hear him and Willie Nelson at our local minor league ballpark in 2004, there was a little rain delay. During it, they entertained surrounding fans with stories of that earlier gig. Papa: “he sounded all right at first, when he was on his own. I couldn’t hear much but noise later.” Mother: “What nice looking young men they all were! I liked the bass player. And very enthusiastic about playing. Noisy, yes.” We danced together that night to the umpteenth time I’d heard “Like A Rolling Stone.” Papa’s favorite song of the night was “Blind Willie McTell,” and Mother’s was “Country Pie.”

When I heard Dylan play the Mosque in 1990, he and the band started off with “Dixie.” Not so at the Allianz, which is literally built on the bones of war. This new outdoor venue, just open for a year, abuts the ruins of the 19th-century Tredegar Iron Works, and the American Civil War Museum. Tredegar made most of the Confederacy’s cannon and other arms during the Civil War, and was destroyed when the Union army captured, or liberated, Richmond in the spring of 1865. “May the tenth, Richmond had fell / It’s a time I remember oh so well” is how Levon sang it, though the town burned in early April. President Abraham Lincoln visited Richmond on April 4-5, and his son Tad brought home to Washington a Confederate battle flag now in the museum.

Before the show, many fans—and, according to the museum’s employees, musicians and road crew members—walked through the well organized and moving exhibitions commemorating those who fought, those who were enslaved, those who died, and those who survived. May our country never know another civil war, I thought, as I walked along the second story above the now-preserved crumbling brick walls of old Tredegar. When I left the museum, I paused to sit for a moment in the anchor of the CSS Virginia, formerly the Merrimack, known for its celebrated “ironclads” battle against the Monitor in the Chesapeake Bay at Hampton Roads on March 9, 1862. Over my shoulder, twin streamlined black-and-brown buses I recognized were parked side by side in the upper parking lot, snug among the ruins.

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Last night, Bob Dylan played Forest Hills Stadium in Queens. Forest Hills was the site of his first electric concert after Newport ’65. Furious fans famously rushed the stage at that show, causing a small riot.

No one rushed the stage last night, but, to make up for me not delivering on my promised Gilford recap (I got sick and couldn’t go—damn), we’ve got two of our veteran correspondents to report in on this major milestone on the Long Hot Summer Tour, Lee Ranaldo and Adam Selzer.

Lee Ranaldo

Lee Ranaldo played in Sonic Youth and, in Dylan world, the Million Dollar Bashers backing band on the I’m Not There soundtrack. He was musical director last year of the Bob Dylan Center’s “Going Electric” concert in Tulsa, which I wrote about here (and there’s an extended version of my backstage conversations with Ranaldo and his Sonic Youth bandmate Steve Shelley here).

Enough preamble! First up, here’s Lee Ranaldo on last night in Forest Hills:

Some Brief Late-Night Thoughts On Bob Dylan’s Long Hot Summer Tour Stop At Forest Hills Stadium Tonight, July 21, 2026

For some strange reason I’d never been to this wonderful venue before, I don’t know how or why but what a gem it is. If one has to see Bob in an outdoor setting, never my favorite situation, then the hell with all the sheds, this is definitely the place. I had a good seat on the floor but I’d bet there is not really a bad seat in the house, and the venue feels quite intimate for a place that can hold 13,000 people. The excitement in the air after Lucinda’s set was palpable. There were flood warnings and a tornado watch in our area all day and evening today, and most folks, including me, had packed their rain gear and were simply hoping the show wasn’t going to get cancelled due to weather or lightning. But aside from a very quick sprinkling just as Lucinda quit the stage, it was a perfect night. Balmy winds blowing, the humidity chased away, the sky slowly going from overcast to dark during the first half of Bob’s set.

The band walked out with no introduction or fanfare, just mosey’d out onto the stage and took their places. I’ve been excited and intrigued by the ‘story of the guitarists’ on this tour, and was anxious to see who we’d get. It turned out to be Jad Tariq on stage right with Tony to his left, Bob center stage at the electric piano (white hoodie tonight), Anton Fig to Bob’s left and Joel Paterson stage left. Both men were playing big bodied jazz-boxes, hollow or semi-hollow, semi-acoustic instruments. Both guitarists come to the stage with deep experience in American roots music, pre-rocknroll and rhythm and blues. I have highly enjoyed the team of Doug Lancio and Bob Britt, and the interplay they established playing with Bob all through the R&RW period, but, with setlists staying relatively static, it was a kind of revelation to hear a new sense of attack from the guitars. It seemed to reshape the music and breathe new life into the songs.

The first thing I noticed was the reduced volume all around. When I hung out with Tony Garnier before and after one of Bob’s first post-Covid Beacon gigs, he told me how they’d been trying to reduce the volume onstage, to give Bob’s voice more room to be nuanced and not have to fight over the rock volume of, say, the great era of Charlie Sexton and Larry Campbell. And I watched and listened over these last years as the volume has slowly, incrementally, been coming down. Now the process is basically complete, at least until we get Bob’s solo piano tour (a fella can dream, no?). Compared to Lucinda and her band, and Jimmie Vaughan before her, Bob’s headlining set was the quietest of the evening. In all good ways.

Both Joel and Jad were playing out of relatively small, classic amps, but that doesn’t mean they were not heard. Both guitars were up in the mix, and the piano, which has been so revelatory over the past few years – I LOVE Bob’s piano playing, was deep in the mix, often almost inaudible, certainly not the featured centerpiece of the last few tours. The guitarists were to the fore, carrying the show. Not flashy and sometimes not so boldly, but completely. Guitar solos are back! How much fun is that? To my ears Joel took a larger share of the solos, including some tasty slide guitar work, and seemed completely at home inside the music, with quiet authority and a reserved force, never timid or unsure. Jad seemed to be doing more of the chord comping, but also let loose regularly with some tasty runs and embellishments. I absolutely loved hearing both of them and what they were bringing to Bob’s songs. The setlist may not be changing, but there was a whole new energy to the music, that had been missing for a while, although we didn’t know it till we heard it again.

Of course Tony Garnier is the backbone of the band and it’s always a pleasure to hear and see him at Bob’s side. He occasionally gave visible cues to the new guys, but didn’t have to do so very often. Anton Fig on drums was – and I mean this in the very best way – fairly unnoticeable all night. By that I mean that his playing was just right – a softer force – always right on the beat and where he needed to be. The band is a joy to hear – Bob sure knows how to pick ‘em. I don’t think I’ll get a chance to hear Julian Lage on this run, which I’d very much love to, to compare his contribution to what we heard tonight.

The mystery of what brought the Lancio/Britt era to a close is ongoing! How I’d love to know the mechanics of their leaving and even moreso HOW these three new faces emerged onto the scene and onto these stages. Who came up with these guys? None of them obvious choices. Will we ever know? I’ve no idea, but I remain incredibly curious. The music was quiet, the amps were small, the drums were a bit softer (even when playing hard), but none of that diminished the impact of the set.

Another aspect that was, to me at least, something new were the quick segues between numbers. The band left almost no space between songs. It was almost like a Ramones concert! The minute a song was done the next one started immediately, no gaps, tuning up or anything, just rolling one into the next. Not in a rushed way but rather in a way that kept the energy and momentum going.

The stage was quite dark, with just a few simple, old fashioned visible-filament yellow-cast lightbulbs on stands providing just enough light to create a comfortable haze around the band. As the sky turned dark, and no bright spotlights came up, the band and the music, indeed the stage and the whole intimate arena, seemed to merge with the night and the sweet breezes blowing through. It was easy to concentrate on the music, and it felt even more intimate, a dim-lit stage glowing in the dark overcast summer evening.

Bob was singing in fine voice, as has been repeatedly reported along this tour. I’d dare to say that at 85 he’s singing as good as he ever has done. What a stylist and yes – down with the naysayers who may disagree – what a fabulous singer he is and has always been! I did wish quite a few times that his voice was just a bit higher in the mix. I don’t think it would have diminished the music, and who amongst us would not admit that we are there to hear him sing?? I was trying to picture Mick Jagger, or Springsteen, or Madonna or whomever you might pull up as a reference, performing with their voice as deep in the mix as Bob’s is. No f*&#ing way! I don’t know if this decision is coming down from on high or what, but to whoever is mixing these shows – please, Mr. or Ms. FOH, just a BIT more Bob in the PA, please!

What a great night in Forest Hills. Each Dylan show is a special event, not to be missed and not to be matched or even really compared, one to the next. To be in his company is a privilege and I never forget it. The fact that after all this time, this is where he wants to be (and Europe shows for the fall recently announced indicate no let-up), a traveling troubadour as of old, bringing his sound and vision to the people, is just astounding. I had my middle son with me tonight – his 3^rd Dylan show – and was pleased to see so many friends and acquaintances turned out among the crowd. Every one of them so happy to share a beautiful, breezy New York evening with the master. What a great night in Forest Hills.

Adam Selzer

Adam Selzer is a Chicago-based historian, author, and tour guide who’s a regular in these pages. He runs the Substack adamchicago and you can find him at adamchicago.com. Here’s Adam:

As much as I insist that these shows are not for nostalgia, there are some venues I can’t resist for a Dylan show, just because of the historic value. Seeing him at Royal Albert Hall a couple of years ago, for instance. And Forest Hills ’65 is my favorite Dylan tape (as I wrote about yesterday). Not only the first full electric show, but the first electric show for which we have an audience tape to hear exactly how the crowd was responding. And by the time he got to Forest Hills, three weeks and some change after Newport, everyone had gotten the message: if Bob plays electric, you’re supposed to boo. The tape is just wild, not to mention hearing them crack up as they hear the dark humor of “Desolation Row” and “Ballad of a Thin Man” for the first time.

I’ve played that tape so many times that just seeing the venue was something I wanted to do, whether Bob was playing there or not.

And there’s something about seeing him there on a year when you keep getting reports of angry fans walking out, too. When I went back and found all the reports from after 1965, it was the same stuff the social media algorithms are pointing me towards today: “He won’t be getting my money anymore, I’ll be content just to listen to his records.” Facebook has decided that all I want to see is people complaining about these shows: he doesn’t play the hits, he doesn’t look 23, he doesn’t talk, he wears a hoodie, he won’t let you just vibe on your phone all night. I also get the occasional press review where they explain that Bob has always just done what he wants and changed styles as the mood fit him, and if people came at it with an open mind they’d see it was great; you can find the exact same lines in 1965 reviews.

I’ve never seen a complaint from 1965 that he wasn’t playing the old hits, though. The controversy was all that he was playing electric, even though he totally was not playing the hits. The acoustic set had just one song, “To Ramona,” that had been out more than a few months, and that was barely a year old. Nothing from his first three albums. And the electric set was mostly songs no one had heard yet, except for “It Ain’t Me Babe” and “Like a Rolling Stone.”

But most of the reactions on the tape are from fans charging the stage and playing “keystone cops” with the police as they run around the ground section, which for some reason didn’t have seats in 1965. There was nowhere to run tonight.

The day began with all due drama; a couple of days ago I started getting texts that the show would probably be cancelled due to storms. My flight made it out, but I was hearing from people who had later flights that they’d be cancelled. I flew out fully expecting to just try to get a get-together going. And, indeed, when I left my hotel room, the sky opened up.

But by the time the F train got me out to Forest Hills, a charming little cottagecore neighborhood of Queens, it had mostly stopped, and my poncho went unused. The venue was absolutely charming; some effort has been put in to make it seem like it hasn’t changed a bit since 1965, with its mid-century marquee and graphics. It looks just like it did in those 1965 pictures.

Jimmie Vaughan played some music that would go great in a hamburger commercial, and Lucinda Williams played her great set. Patti Smith was seen in the wings. It was cool to see her, but it sort of brought the curse that comes with these historic venues: you start to wonder if something will happen. Will Bob mention the history of the place? Will Patti come out and do “Dark Eyes?” Even knowing full well that the answer to both is a “no,” it can distract you.

Bob and the band (Jad is back on rhythm guitar) strolled out at 7:57, with no introduction, no opening music, no dimming of the lights. The sky wasn’t dark yet, and wouldn’t be for some time. You couldn’t get further from 1965, where Murray the K came out and said “It’s not rock, it’s not folk, it’s a new thing called Dylan….and Dylan is definitely…what’s happenin’ baby!” to louder boos than Dylan himself got the rest of the night.

Jad was more comfortable onstage tonight than in Cincinnati. He was fine there, but tonight he was striking poses that, with his mustache, made him look like a snooping butler who is up to no good.

Bob was all smiles tonight, singing “Man in the Long Black Coat” like he was very excitedly telling kids a ghost story. It’s almost odd: here he’s got this set with both “Man in the Long Black Coat” and “Black Rider,” and all these strange songs about traveling men doing terrifying things (plus some 1950s dance tunes), and he’s just grinning the whole time!

“It Ain’t Me Babe” was the lone hold-over from the 1965 set, and, in fact, the only song in the set that he’d written by August of 1965.

“Black Rider” sounded like friendly advice that you give to a guy you know you’re going to kill one of these days, and got a great reaction from the crowd (including a couple of shrieks that made me wonder if that mystery person who kept shrieking and freaking out at this song at the Royal Albert Hall was back—curse of the historic venue?)

“When I Paint My Masterpiece” opened with a lyric flub; the first line was “Oh the hours I spent…are filled with rubble.” But Bob carried on without missing a beat and turned in a great version; the two jazz guitars are really doing wonders for this song, and it didn’t need any more wonders than it already has, really.

The biggest reaction of the night, strangely enough, was when he started “Crossing the Rubicon.” Lots of audience response to the individual lines.

At this point, the show had really improved. It started out fine, but I felt like something was missing since the Cincinnati show. It might have just been darkness. The sun had finally set. And everyone knows that music sounds different in the dark.

“Soon After Midnight” is a song that I wasn’t wild about at first, and often feel that I’ve seen more than enough, but lately I’ve come around back on it, and was thrilled to see it; Joel played a terrific solo.

But Joel’s real time to shine came next, when he broke out the slide guitar for “Under the Red Sky,” which gave the song a sort of a tropical feel (which is amusing itself, since Bob told Don Was that the song was about his home town—not a place known for being tropical). It might have been the strongest version of the song I’ve ever seen, with some great vocals and an awesome harmonica solo.

“I’ve Made Up My Mind to Give Myself to You” was another that I sometimes think I’ve heard enough, but sounded fresh tonight. All of a sudden tonight, the line “Take me out travelin’ you’re a travelin’ man” struck me as odd; is he singing to a man, here? A couple of lines later he’s going far away with “her.” I love how seeing shows brings up these little observations.

“Goodbye Jimmy Reed” has come back to life with the new guitars, and the closing “I Shall Be Released” was one for the ages. Aren’t they all one for the ages lately when he does that song? He’s been singing the shit out of it, in that “repeat the line” technique in Bette Midler’s version.

I didn’t see anyone walk out, and there were no boos that I heard. In a year marked by angry fans just like the first time he played here (or, anyway, that’s what social media seems to want to show me), the Long Hot Summer 2026 show went down like gold. I didn’t even realize that he’d skipped “Trying to Get to Heaven.”

Thanks Lee and Adam! And thanks to the taper Ezzy and remasterer Bennyboy for getting us a tape so fast.

2026-07-21, Forest Hills Stadium, New York, NY

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Five years ago today, Bob Dylan released his performance film Shadow Kingdom. Last year, I spoke to one of the onscreen musicians (plus one of the offscreen guitarists who recorded the music). Today, I speak to two of the cast members who appear in the film audience—smoking, drinking, dancing, and generally helping give the film its noir-roadhouse vibe: King Orba and Craig Stark.

King Orba

King Orba is an actor and musician from Oklahoma City. His extensive filmography includes The Cleaner and Stargirl. His latest album is 2025’s Soft Wax. You can find him on Instagram.

How did you get involved in Shadow Kingdom?

This came about because I have a good friend who’s an actor in Hollywood, a guy named Craig Stark. We did a Western together in 2017 and just stayed in touch.

I remember the day. I was at the Beverly Hills Hotel. I’d just had a late breakfast downstairs. I got into my car, I was about to head back to the west side in Santa Monica. The phone rang, and it’s Craig. He’s like, “Hey, man, what are you doing tomorrow? There’s this thing. Can you send in some [head]shots? I’m trying to find some older-looking, interesting people for my friend Alma Har’el, this director.”

I didn’t have anything on my phone at the time. I said, “Let me get home to my computer. What is it?” He says, “Music videos with Bob Dylan.” I said, “Say no more” and I raced home.

I found some good headshots showing me showing my age. Alma saw my photos, and that was it.

So the following day, that Monday on the west side in Santa Monica, this restaurant that we turned into a set—this was exactly one week before his eightieth birthday, I believe. It was a mixture of men and women. Maybe twenty of us. Then, of course, there was the band.

We’d do at least two songs a day. We’d come in in the morning and spend the morning doing one song, and then another song [in the afternoon]. They started stacking it where the last couple of days they’d squeeze in a third. On a few of them, Bob had just a few of the girls. On some of them, you had everybody, in this set that they built like an old music tavern out in the swamps.

I remember Bob being very engaged. The very first day, he had one of his day-to-day guys—guy about my age, maybe late 50s, 60—who came and gave us a little speech before right before we started. He kind of looked like a cowboy. He might have even had a cowboy hat. He gave a speech basically, in so many words: Just be respectful and don’t approach Bob. That kind of thing.

So I was half expecting Bob to just show up and do it and then leave. It was the absolute opposite. He was having so much fun. As they were setting these shots up, he was there with Alma and walking around. He’d see one of the cast members, a very striking woman, and say, “Maybe she’s over here.” He was like a kid in a candy store.

We all got made up in the morning. We would hit the makeup chair and all go through. It wouldn’t take long. Then Bob would go into the same place that we did. You know, it wasn’t like he was secluded somewhere else.

You’ll notice in the film that the cast are essentially in the same wardrobe throughout. Minus maybe a few added flairs with role cast, we all wore our own personal wardrobe everyday. I had a three-piece suit where I could change up the look by taking my jacket off, roll up the sleeves, take the tie off, etc. Every night I would go home, dust off my suit, launder my undergarments and dress shirt. The next day, I wore the same thing, including the same pair of socks. Now I’m not much of a superstitious man, but for whatever reason, this particular pair of socks have become my lucky Bob Dylan socks. I still take them everywhere I go. They’ve seen better days, but I never travel without them.

There were some funny things that happened. There was this one time that Bob came out—and Alma, she would pronounce his name “Boob.”

Because of her accent, you mean?

Yeah. She was a great director, but she pronounced his name “Boob.” So he came out and she says, “Hey, Boob, we’re almost ready. We’re just getting everything perfect.” He looked at her and he said, “Perfect? What’s perfect?”

Another time, he came on the set and he was kind of laughing to himself. Alma goes, “Boob, what’s so funny?” All he said was, “Crazy… Crazy…” I thought, “Man, this is priceless.”

That week, he hired an extra security guy. I remember when he got there, Bob took him on a tour of this restaurant that we’d turned into a set. He was giving him the nickel tour. He was really having a blast.

Did you have much or any direct interaction yourself?

Not much. I mean, we were all in very close proximity.

I do remember that they added a day, and I had to go to East Texas to do a film. I’d already called production and pushed it a couple days because I wasn’t about to miss this work with Dylan. But the very last day, they added a day, and I wasn’t able to go.

So Alma says, “Hey, let’s take a crew photo.” Bob says, “Well, we got one more day.” Alma says, “Boob, we added the day, so a few of the people here can’t be here.” He’s like, “Who?” “Well, King Orba here has to go.”

He’s like, “Oh, you can’t be here tomorrow man? Where are you off to?” I said, and I remember the exact words, “I got a gig in East Texas.” I didn’t realize I sounded maybe like a musician, when all I’m doing is this little short film. He’s like, “All right, man.” Then he put his fist up and he fist-bumped me.

For me, at the very end, that was great. That interaction at the end was worth it all.

During the shoot, he was just around. He wasn’t shooting the shit with people or chatting it up, but he was there. He was very present, and to be around him in such a good mood was a special thing.

This is still COVID times. Did that play a role in people socializing?

Not necessarily. We did have COVID protocol during the shoot. In holding, we had our masks and stuff. But when we went on set, those came off.

Bob, I don’t think I ever saw him with the mask on. We went through the protocol of what was required through production, but it wasn’t so strict to where it dampened the creative thing that was going on.

Another logistics question. This is not music being performed live. So are they blasting the recording through monitors in the room?

Yes, they had a PA system for playback. It would be at a good volume, not blasted, but like a live-venue sort of volume. They’d play that every time, and we’d go through it. Each one of the songs, we would listen to numerous times until we finished the spot.

Are you getting explicit instruction from Alma or anyone else, other than just seating you where you’re going to sit? “Do this, don’t do this, have this look on your face?”

Just basic. I mean, it might just be you sitting there with a drink. Nothing was too overthought. They might want you at a table with someone just smoking, watching the show.

There’s one song where you’re on screen the whole time, because it’s mostly one camera angle.

I’m smoking a cigarette. I’m in the back, and it cross-dissolves from me to Bob. I did get specific instructions from Alma because the camera starts on me, if I remember right. They did this camera move, but I noticed when they cut it together, they did a cross-dissolve.

It wasn’t like a free-for-all. “Hey, let me go out and start dancing.” We knew like, okay, I’m going to smoke this cigarette, and then I know the camera is then going to be off of me.

Real cigarette or prop?

They were these godawful prop cigarettes that honestly smell worse than a real cigarette.

There were a couple of songs where some people are dancing. I don’t know if that’s the whole cast or just certain people. Were you in those ones?

I was in one where they were dancing. I don’t think I ever danced. I want to say out of all the songs, I’m maybe in five of them. I know there’s a couple where it was just him and the band. Then there’s one where there’s him, the band, and two of the female cast. They did some things sans audience.

How much does a gig like this pay?

Oh, not much at all, Ray. Not much at all. As actors, we were paid a hundred bucks a day or something.

Listen, I would have paid them. It certainly wasn’t about the money.

Any other stories or memories that come to mind from the shoot?

Two years before this, I did a film called Twelve Mighty Orphans in Fort Worth, Texas. It’s a true story about an orphanage that started a football team. Long story short, one of the actors was Levi Dylan, Bob’s grandson. Levi and I became very close during the movie. It’s nice to be able to work with Levi, then get to work with his granddad.

Did you text Levi?

Of course I did. I said, “I’m working with your grandad. It’s really special.”

Craig Stark

Craig Stark is an actor from Louisiana. His filmography includes the Quentin Tarantino films Django Unchained, The Hateful Eight, and Once Upon a Time in Hollywood. Find him on Instagram.

Orba mentioned you knew Alma. Was that your connection to this thing?

Alma is an old friend. Alma was casting [her 2019 movie] Honeyboy. I asked her, or she may have asked me, if I could read opposite the people coming in. It was pre-COVID; people were still coming in live. From that job, they just made up that role in Honeyboy, where I’m in an AA meeting with Shia [LaBeouf].

So you weren’t even auditioning to be in the movie?

No, I was just the reader helping out. I wanted to keep my chops up because, you know, it’s an up and down career, acting. For me it’s been.

I’ll tell you that story in a nutshell. It started in the eighties with Marlon Brando. At the time, someone had crashed the gate at Marlon’s house and was on the loose. I had just turned 18 and gotten a job with Bel Air Patrol. What they would do is they would send you to a house, and they wouldn’t let you know who the client is. But when I got there, I soon found out it was Marlon. He walked down and greeted me. His neighbor was Jack Nicholson. I went to work for Jack and Helena Kallianiotes. I helped build a private club for them.

So you do this Honeyboy thing, you’re friends with Alma. How do you get the Dylan gig?

She called me up and asked me if I knew any real-looking people. So I sent her King Orba and my friend Raul [Cardona]. He had done La Bamba on stage. I met him on Quentin Tarantino’s Once Upon a Time in Hollywood. They were two real-looking guys. Alma loved them, and we were off the next week.

So then—you don’t want to ask me the inevitable question?

What’s the inevitable question?

Were we told not to look him in the eyes?

Were you?

They didn’t even need to tell me that, because you should never stare at a genius. Ever.

That’s why you can stare at politicians all day long. They gotta get elected. But Dylan’s real, you know? As real as real could get. I didn’t look him in the eye ever.

So what do you remember about the shoot?

It was great blowing smoke rings. Dylan walked by me once and, under his breath, I think he went, “Hey…Mr. Smoke Ring…”

But I could have been hallucinating because, when I did that, I was trying to get sober. When you’re trying to get sober, those cigarettes just blow your brain.

Where did you learn to blow smoke rings like that?

That’d be in the bathroom in DeQuincy Junior High School. I don’t remember the year. I’m not disclosing my age, because I’m in an age-discriminative business.

How much instruction were you given by Alma or anyone else as to what to do?

I remember like just being lost in [what we were doing]. It’s the pandemic, the world’s ending, and I get eight jobs with Bob Dylan. Man, they could have bought me outside and beat me up and pissed on me and put me on fire. I was like in a trance the whole time. Because trying to get sober is just as bad as being fucked up. This is right out of the shotgun.

With Dylan, it’s like being caught up in something that is bigger than you, you know? My parents liked Dylan, and I got introduced to Dylan through the trip that I took on in the ’80s driving out here. Somebody had given me some Dylan cassettes. So that at the beginning, and this at the end.

I mean, you want to go up and say this to him, but I think that’s why the people that got hired got hired. They’re really pros. You don’t have to tell us twice. So you fight against it. Your body wants to do it.

Did you ever interact with him or talk with him at all?

I may have. I kind of blacked out with joy. There was one time he asked for a harmonica, and I almost jumped up like a little schoolgirl. Because I had one in my car. Maybe I said that, maybe I didn’t. I’m not sure.

This whole thing sounds like it was a surreal experience for you.

Right after that, both my parents passed.

It played recently in Santa Monica. I went to see it.

What struck you watching it again in Santa Monica recently?

How that was the last of my really care-free days, and I got to spend it with Bob Dylan and some good friends. These moments are what I’ll remember when I go teeter-tottering into antiquity.

Everybody was grateful because of what was happening in the world too, which was nice. I’m sure, like any set, maybe they had their problems behind the scenes, but to me, it flowed like melted butter on some beer onions.

The first guy who told me about you was one of the musicians, Alex, who played the accordion. He was like, “That’s Craig Stark, he’s in all these Quentin Tarantino movies.”

That’s my lifeline to inspiration—Quentin Tarantino, man.

How did you get connected with him?

I auditioned for Reservoir Dogs. I didn’t get the Tim Roth role. I auditioned for the guy jumping into the room and missing them in Pulp Fiction. Then I didn’t see Quentin for a long time. I get burnt out and I go out to the desert. I’m out there for a while, over a decade. Then I come back, and I think I’m going to try acting again.

The first film back was a film called Strutter. Quentin saw that film. I’m in Django, and then I’m in The Hateful Eight.

A pretty memorable scene in The Hateful Eight, too. [Samuel L. Jackson’s character makes him strip naked then eventually kills him. That YouTube link is censored but even the dialog is very NSFW]

I get a lot of mileage out of that. A lot of jokes down in the south, where I’m from, when I go back. If people here find out, they keep it to themselves here. Down in the south, they’ll let me have it.

Any other memories that jump out?

Alma had a New Year’s Eve party. She called me to the back room. She opened up the album that corresponds with the videos. She goes, “You made the Bob Dylan cover!”

And I am. I’m there. But it’s the back of my head.

I’ve done a lot of small roles. Every one of them is a blessing though. Getting to be able to do this for a living, I’ll never complain about it.

You know, I worked for Brando. There’s not too many people that capture his essence. Bob Dylan was the only guy that I’ve run into my whole life that’s got that kind of—it’s more than charisma. It’s a lack of bullshit. I think Marlon and Bob Dylan got little time for petty woes. Their heart has been open enough for the camera, or how they record music. They’ve given parts of their soul to us.

Thanks to King Orba and Craig Stark for taking the time to talk! For more Shadow Kingdom behind-the-scenes, check out my interviews with onscreen accordion player Alexander Burke and offscreen guitarist Ira Ingber.

The Long Hot Summer Tour has been a strange one to follow remotely, full of whiplash shifts in vibe, fan excitement, and, notably, the band lineup.

Opening night led to initial disappointment, as the first reports indicated a much less exciting setlist than the previous two (Outlaw) summer openers. But by morning, the vi…

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When subscriber Josh requested this show, he noted that he saw 42 shows in 1996 (damn!) and that the “unexpected European highlight” that year was Magdeburg. High praise indeed from someone who saw so many shows.

It’s not a particularly well-known show. I’ve never heard of it. Hell, I’ve never even heard of the city he’s playing in…

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Another show, another surprise new guitarist. Last night in Cincinnati, Jad Tariq made his Long Hot Summer debut. He’s the fifth guitarist Dylan has played with in the past month!

Here to tell us about it is local music journalist and high school librarian Nat Tracey-Miller. Nat has a long history covering the local music scene for various regional publications and recently returned to promoting experimental music events after a long hiatus. A musician himself, he is working to debut his current project Stagnant Pattern later this fall. Over to Nat…

Catch up on all our next-day dispatches from this tour here:

Last Night In archives

For the first half hour of Bob Dylan’s Friday night set in Cincinnati, there were fireflies flitting between the band members and around the stage. Glowing bright against the dim backdrop, they added a strange and wondrous fairytale element. The spell was broken when the heavens opened, thrashing trees and sending a cool river breeze through the pavilion. I don’t think I’ve seen another Bob show where the environment played such a significant factor in the experience; it was unforgettable.

But the biggest takeaway from last night’s show? The surprise debut performance of Memphis guitarist Jad Tariq. His instant chemistry with his new bandmates rendered a familiar setlist into something novel and exhilarating. It was easily one of the best Dylan shows I’ve seen over the last 20 years, and certainly the most fun. Bob was dancing, Tony was laughing, and after the chaos and headlines of June’s lineup changes, it seemed that all is right in this world. For now, at least.

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When I interviewed Heartbreakers drummer Stan Lynch, he recalled a specific song he played just one time with Dylan. Here’s what he told me:

We’re playing a big gig. [At one point], Bob turns to me he says, ‘’Hey, Stan, what do you want to play tonight?” I’m thinking, “Uh, loaded question?” But I took it right at face value and, I went, “Well, how about …

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Last night, the Long Hot Summer Tour touched down in Chicago. Since our last dispatch, jazz favorite Julian Lage has returned to the band, now sharing guitar duties with local Chicago boy Joel Paterson. But Lage has European dates this coming weekend, so presumably he’ll be gone again by Cincinnati tomorrow night. We’ll have a dispatch from there, but first, to report on the goings on from the new two-guitarists lineup, is Steven Rings.

Last fall, Rings, a musicologist at the University of Chicago, published the truly excellent book What Did You Hear? The Music of Bob Dylan. You can read an excerpt from it here. Today, he tells us what did he hear, last night at a former airport in Chicago. Here’s Steven Rings:

Next weekend I’ll finally be reporting myself, from Boston and Gilford! Hope to see some you there. We’ll have one or two more guest dispatches before then. As always, subscribe to get them sent to you:

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Mention Northerly Island to any Chicagoan of a certain age, and you’ll likely hear about Meigs Field. In the 1990s, mayor Richard M. Daley wanted Meigs—a little airport—gone. Its heyday of heavy prop-plane traffic was in the past, and Daley wanted to raze it and turn Northerly into a park. Negotiations stalled and Daley got impatient. So around midnight on March 30/31, 2003*, he sent city bulldozers onto Northerly to destroy the runways by carving large Xs onto them. Chicago residents—and the rest of the world—wouldn’t find out until the sun came up. That, friends, is Chicago politics.

[* Ray note: I was in high school in Chicago in 2003 and I remember this. It was a huge deal! Still can’t believe that happened.]

But last night it was hard not to be grateful for Daley’s audacity when strolling through Northerly on the way to the show. It’s a gorgeous park. The vibe was festive and the weather was perfect: blue sky, 70s, low humidity. As Adam Selzer put it when we were chatting before Lucinda Williams’s set, the whole scene had the relaxed, happy feel of a state fair, a welcome contrast to corporate arenas. The route to the performance venue was lined with pedicabs blasting Dylan and musicians playing the same, cases open. Dylan was in the air everywhere you pointed your ears—harmonicas, guitars, greatest hits. The venue itself looks toward Chicago’s downtown (the Loop, to locals), which was at its most fetching, its lights shining brighter as the sky dimmed. Pretty magical.

I missed the John Doe Folk Trio, but was there for all of Lucinda Williams, who sang a powerful, mesmerizing set. She has to be helped to the mic these days, but she stood to sing all eight songs. Dressed entirely in black, which set off her trademark shock of blonde hair, she was an almost spectral presence, standing still to sing. But her voice has aged little and was instantly recognizable. She sang with intensity and focus throughout, bringing a grizzled pathos to Skip James’ “Hard Time Killing Floor Blues” and roaring through Neil Young’s “Rockin’ in the Free World” to close the set, getting a large chunk of the audience to its feet, fists pumping. But her originals really carried the night, from the weary-but-anthemic “Car Wheels on a Gravel Road” to the lowdown threats of “Joy.” And threaded throughout was a message. Before the defiant “You Can’t Rule Me” she mentioned Trump—on the nose but potent. And after her Neil Young cover: “Don’t give up the fight.”

Dylan’s set was a revelation—with just one disappointment. The revelation was the two-guitar lineup with Julian Lage and Joel Paterson. Lage had joined the Paterson lineup for the first time in Shakopee, MN two nights prior; this was their second show together. Paterson was on the right of the stage, playing a Gibson archtop, while Lage was to our left, with a Telecaster. They were a study in contrasts. Lage, one of the hottest jazz players in the world right now, tended toward the abstract and the cerebral, but with impeccable taste. The chordal passages in his solos—played with pick and fingers of his right hand—were butter, with just the right amount of “out” playing to call to mind luminaries like Bill Frisell and John Scofield. (Jazzers talk about playing “out” when they stray from the key, playing strategically sour notes.) Paterson, by contrast, brought the Chicago blues. His pinched leads often bore an uncanny resemblance to Buddy Guy or Hubert Sumlin.

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Forty years ago today, Bob Dylan and the Grateful Dead completed their first short tour together. A test-run, of sorts, for when they’d team up properly the next summer. Dylan was still backed by Tom Petty & The Heartbreakers, but once again sat in for a few songs with the Dead.

All week, writer Jesse Jarnow has been exploring these Dylan & The Dead ’86 shows in a short mini-series, and he completes his look back today covering the two final shows at giant RFK Stadium in Washington, DC.

Catch up on Jarnow’s full four-part Dylan & The Dead ’86 series, plus my earlier entries on the first Dylan/Heartbreakers tour, right here.

Dylan and the Dead ‘86: R.F.K. Stadium, July 6th & 7th

by Jesse Jarnow

July 6th

It’s brutally hot and hotter still in D.C., another afternoon show with a 2pm ticket time. Once again, Dylan, his leather pants, and the Heartbreakers are up first. There’ll be plenty of Beltway print coverage of this particular Big Deal—or the first day’s worth of it, anyway—but all of it misses the real breaking news: that Bob Dylan invents yet another new way to get booed.

It happens late in the set, which has been, you know, fine. Dylan finds a nice melodic turn on “It Ain’t Me Babe” during the acoustic portion and the Heartbreakers do a wicked fun “I Fought the Law” during one of their segments. “Across the Borderline” hits a relaxed roll that feels new to this set of tapes.

But then comes the baffling Bob talk, as crews spray off the sweltering crowd with hoses. “Where I come from water is precious, meant to be used,” Dylan declaims. “I think that’s a waste of water.” Boos. “You like to be hot, right? I know I do.” (You and Jonathan Richman, Bob.) A sympathetic audience tape, at least, if no longer a sympathetic audience.

I’m certainly more sympathetic to the sound of ’86 than I was previously, but some of it’s difficult listening. Paul Williams, who attended most of the Dylan/Heartbreakers tour, became one of my favorite music writers because of the way he was not only able to find glorious wonders in one of Dylan’s least-revered periods, but challenged the reader to do the same, laying out a radical kind of uncritical listening.

“To be a good listener and viewer, I suggest, requires a degree of abandon,” he writes. “One must surrender judgement and other critical faculties, suspend disbelief, and be (as much as possible) completely present with the performance. This is the responsibility of the listener, and it is just as holy as the performer’s responsibility. We create this art together.” Okay, Paul, I get it, it’s my fault.

Williams doesn’t offer a show-by-show breakdown of his tour, and doesn’t talk much about the Dylan/Dead shows specifically. Still, it’s inspiring to try to hear the music through his ears. “I Want You” from July 17th, for example: “Now the muse descends in fact, and makes a mockery of all brilliant celebrations of her memory.” Aspirational.

(Accidentally anticipating Williams, Grateful Dead archivist Dick Latvala—Dick of the Picks—came to the same place sometime in the mid-1970s: “The feeling I always had about the Grateful Dead is that these guys were so special that it was on me to come to where they were to get that mind-blowing thing, and to have the attitude of ‘oh, shit, they’re going downhill’ is to miss out on the love that they’re sharing at that moment.”)

The Buffalo tape I found was missing the encore, so the first night at R.F.K. is the only version of “Rock ‘Em Dead” on this set of tapes, one of my single favorite pieces from the True Confessions era, a fun tune with an untidy little Dylan-shaped mystery about it. Like, it might be a cover of Warren Smith’s 1958 song “Uranium Rock” (much cooler title!) with a mostly new set of Dylan lyrics? Maybe because of the same ambiguity, it feels loose in a way that not many parts of the set do.

“Rock ‘Em Dead” [7/6/86]

The Dead have their shit together more on the inside first set songs like “Sugaree,” Johnny Cash’s “Big River,” and a multi-gear “Let It Grow.” By the second set, everything’s sounding a bit deflated, almost literally. It’s possible to hear “Stella Blue” as haunted. It’s also possible to hear it as Garcia running out of breath.

July 7th

The final Big Deal in our subset of Big Deals went a little under the radar, relatively speaking, the Monday after a holiday weekend, the second night at the same venue, and no less miserable heat-wise. The papers had better things to cover, anyway.

Dylan goes on first again, but shows up during the Dead’s set again, too, capping off the five shows with another absurdist guest appearance. And, as has been (and will again be) mentioned, Jerry Garcia will come very, very close to dying a few days later.

But the big news of the happy recap (at least over here) is that Dylan’s set connects with me, or at least enough individual songs do to make it a quorum. And it’s hard to tell at first if it’s the particular quality of the crunchy, compressed soundboard or something about the performance itself. The set adds Bobby Sharp’s “Unchain My Heart” to the tape pile, as well as Hank Snow’s “Movin’ On,” the last live version until ’93.

It could be a quality of the tape, well-balanced but also distorted enough to smear the ’80s-ness of the sound a little bit, blunting Dylan’s voice some, and putting the Queens of Rhythm also further in the background than elsewhere. But Dylan’s vocals feel like he’s right there in the Heartbreakers’ pocket for once, spitting out lyrics, inside the busy-ness instead of staying at arm’s length. It carries over to “Emotionally Yours,” too. “Shot of Love” has some wordless vocalizations during Mike Campbell’s slide guitar solo that grab my ears, as did the whole performance for that matter.

I didn’t think to check Paul Williams’ notes on the tour until after I’d already listened through the tapes, and I’m glad I waited. Of the five shows I focused on, the July 7th show is the only one that Williams calls out in Performing Artist, 1974-1986, specifically the first part of the show. He hears it taking off during “Shot of Love,” getting to it in the most Paul Williams’ manner possible.

“And then suddenly with a rush of adrenaline that can be heard surging through each musician and singer separately (and together), Dylan and crew let loose with ‘Shot of Love’ the way it’s always wanted to sound, pure unadulterated 130% take-no-prisoners raucous rock and roll.” He spends almost a full page on it. It’s pure unadulterated 130% take-no-prisoners Williams. “The first verse offers a brilliant, mystifying example of Dylan’s technique,” he asserts. Dylan misspeaks a line and then transforms it, “and instead of backing off he seizes on the power of these strange words and just lets them come through, speaking in tongues, pure spirit at the end of the third line, propelling the song forward into unknown realms, fourth line more nonsense but dummy lyric technique takes over from holy babble, maintaining momentum while holding song structure in place. Conscious/unconscious, accident/intention, skill/sloppiness/inspiration.”

I’m delighted that Paul Williams loved this part of the set, because I did, too. But I’m also delighted because it’s a passage that I failed to underline and have been trying to find again for years, only remembered in paraphrase: the part where Williams finds utter genius in the way Dylan forgets the words. And he’s not wrong.

“Shot Of Love” [7/7/86]

There are lots of other moments in the set. There are a number of funny asides to the last “Just Like A Woman” until 1988 (“oh, you oughta see the things she does” “oh, so anyway”). I’m even feeling the Heartbreakers’ “Masters of War” here, Petty and Campbell’s guitar stabs alternating like ominous machinery with Benmont Tench’s piano, giving it propulsion that’s not captured on other tapes.

“Masters of War” [7/7/86]

The magic doesn’t quite last. The crunchiness remains enjoyable, but that palpable feeling of Dylan catching a wave dissipates. At the very least, it makes me want to check out Paul Williams’ other picks. See below for the full list.

The Dead’s first set is pretty short, seemingly in a hurry to get to Dylan’s appearance. Garcia is notably out of breath on “It Must Have Been the Roses.” Dehydrated and exhausted from the miserably hot gigs, Garcia will fall into a diabetic coma three days later, after which he will have to relearn to play guitar before miraculously returning to the stage with a renewed vigor later in the year. But he’s clearly going through some shit on this tape.

The righteous Rob Mitchum wrote a perfectly titled piece about the July 7th sit-in for this newsletter a few years back, and I’m here to plus-one everything he said, but also add a little bit of love for this kind of unsettling tape.

They go right for “It’s All Over Now, Baby Blue” this time, but Dylan pops a string almost instantly. Weir hands him a guitar and goes off to look for another, and Dylan finally starts singing at full shout about halfway through. Which, oof. It’s not quite as musically charming as the Akron version, except as an example of Dylan and Garcia finding each other in the weird ‘80s at a time when it probably meant a lot to both. There are some uncharacteristically sweet Phil Lesh vocals for a flash at the very end, too. It’s even less of a keeper than the previous “Baby Blue,” except as a moment between Dylan and the Dead, not exactly a contact low, but not a high either. More like a contact WTF.

Considered as a final product, nothing on the tape easily suggests what made Dylan want to book a tour with them as his backing band. Clearly, the Heartbreakers were the more competent of the two bands. But, as Paul Williams astutely noted, tapes are hardly the full picture.

Playing with the Heartbreakers was probably pretty fun, no doubt, but I think playing with the Dead was probably fun, more like making music, and less like performing music. The Dead never worked with a setlist, letting the evening dictate the songs they played and calling the music from the air around them however it chose to be called that night. Dylan and the Dead would rehearse extensively in the spring of ‘87, but when they hit the stage, Dylan would still–to the Dead’s shock–start playing songs they’d never even discussed. He was ready for change. When Dylan returned to the road with the Heartbreakers in fall ’87, the stable setlist went out the window.

Finishing Dylan’s second ’86 sit-in, Bob Weir starts into “Desolation Row,” a regular song in the Dead’s rotation starting that year, but only played by Dylan twice since the ’60s, once in 1974 and once in ’84. As Garcia later recounted, “So Weir says, ‘Are you sure you’ll remember all the words.’ And Dylan says, ‘I’ll remember the important ones.’”

It’s fully ridiculous. Weir gets the words. Dylan dances between incoherence and a surprisingly nice vocal blend with Weir (“it takes one to know one she smiles”) for whole seconds a time, anyway. Once the Bobs find their space, Garcia switches into upper-register guitar squiggly mode, and the whole thing achieves at least partial lift-off (again, for a few seconds at a time, a flying saucer struggling to get off the ground). Dylan leans back and skronks. Occasionally, they trade lines. There’s laughter, too. Not that laughter always implies comfort or even fun. But I choose to think the Bobs are having fun together, even if they never tried it again like this. Why would they? They already did it.

“Desolation Row” [7/7/86 Grateful Dead with Bob Dylan]

1986-07-06, RFK Stadium, Washington, DC [Dylan set]

1986-07-06, RFK Stadium, Washington, DC [Dead set, archive.org]

1986-07-07, RFK Stadium, Washington, DC [Dylan set]

1986-07-07, RFK Stadium, Washington, DC [Dead set, archive.org]

Thanks Jesse! Jesse Jarnow co-hosts the official Good Ol’ Grateful Deadcast, and is the author of Heads: A Biography of Psychedelic America, Wasn’t That A Time: The Weavers, the Blacklist, and the Battle For the Soul of America, and Big Day Coming: Yo La Tengo and the Rise of Indie Rock. The Invisible Hit Parade: A Taper’s History of Music will be published next year. The Frow Show can be heard every Tuesday on WFMU (including Bobsday celebrations).

BONUS: A PAUL WILLIAMS SUMMER 1986 DIY MIXTAPE

Update: Download here! Thanks to George Rothe for compiling

Set 1:

• Unchain My Heart (July 9)

• All Along the Watchtower (July 19)

• Positively 4th Street (July 9)

• Clean Cut Kid (July 9)

• I’ll Remember You (July 9)

• Shot Of Love (July 7)

• We Had It All (July 7)

• Masters of War (July 7)

Set 2:

• Mr. Tambourine Man (July 17)

• One Too Many Mornings (July 17)

• A Hard Rain’s A-Gonna Fall (July 8)

• I Want You (July 17)

• Band of the Hand (July 17)

• Union Sundown (July 13)

• When the Night Comes Falling From the Sky (July 17)

• Lonesome Town (July 17)

• Ballad of a Thin Man (July 17)

Set 3:

• Rainy Day Women #12 & 35 (July 17)

• Gotta Serve Somebody (August 5)

• Seeing the Real You At Last (July 17)

• Across the Borderline (July 17)

• I and I (July 17)

• Like A Rolling Stone (July 17)

• In the Garden (July 17)

Encore:

• Blowin’ in the Wind (July 17)

• Shake A Hand (July 17)

• House of the Risin’ Sun (July 17)

“Leaving Texas, fourth day of July”

Both Bob Dylan and the Grateful Dead have iconic Fourth of July songs. No, Dylan didn’t bust out “Tears of Rage” at this Independence Day gig, but the crowd-pleasing Dead opened with “Jack Straw” (huge cheers at the key line) and encored with their other holiday song, “U.S. Blues.”

This was Dylan’s first Fourth of July show ever in America, and he played it backed by the Heartbreakers and co-headlining with the Grateful Dead. In the third installment of his Dylan & the Dead ’86 miniseries, Grateful Dead scholar Jesse Jarnow dives into the Independence Day festivities in Buffalo.

Dylan and the Dead ‘86: Rich Stadium, July 4th

by Jesse Jarnow

Also big. 70,000 people in Buffalo’s Rich Stadium. Also hot. Even hotter than Akron, really, because it’s an afternoon show, so not even the headliner (nor the audience) gets the respite of the cooler evening temperatures. Plus it’s the Fourth of July in the Reagan 1980s. Gotta be some fireworks and shit.

The Rich Stadium gig is choreographed around an event some 1,500 miles to the south—the second edition of Farm Aid and the telecast thereof. The Dead are up first, and play two sets, anyway. Dylan doesn’t play with them. They do open with “Jack Straw” (“leaving Texas, fourth day of July”), they do not play “Truckin’” (“...up to Buffalo”), they do encore with “U.S. Blues.” A thunderstorm rolls in at the start of the Dead’s second set, providing only brief relief; the Dead play with “Cold Rain and Snow,” obviously. “Fire On the Mountain” is a rare version that doesn’t come out of “Scarlet Begonias” and they seem to struggle to find its groove, lurching a bit until they make it into the jam. There are no train wrecks, but certainly some unpleasant tempos. They make it to the telecast in one piece.

“America is, in fact, an agrarian nation, let’s keep it turning,” Bob Weir declares, introducing “The Wheel” and leading off a shockingly tight three-song sequence with decent transitions into “I Need A Miracle” and the ever-popular “Uncle John’s Band.”

My scene reports for these shows are drawn from Deadhead memories posted on the Internet Archive and the band’s official website, so they’re certainly Dead-biased. Nonetheless, there are a number of fans who recall coming into these shows as Dylan fans and exiting as Dead fans. There are even more memories of people attending these gigs and becoming heads for life, a reminder that the Dead could still set off sparks in people’s imaginations, even if they weren’t at full strength themselves.

One report I quite enjoyed, from user Hazardrock: “My biggest memory occurred when Petty started to play after the Dead. This skinny deadhead, in full panic mode, scaled a very imposing chain-link fence in a matter of seconds. He couldn’t get out of there fast enough. I’m sure it was the fastest this kid ever moved in his life. I’ll never forget the look in his eye. It was the same look I saw when I side-swiped a deer. Poor creature. One minute you’re running free through the woods and the next Bam! Right out of nowhere!”

There’s a Dylan soundboard from Buffalo, too, and (at least among this very limited set of tapes) it’s nice to have better versions of “Trust Yourself” and “Band of the Hand.” It’s the first “Emotionally Yours” of the Dylan/Dead shows, fully half of Empire Burlesque in the set for once (though never its most obviously arresting song, “Dark Eyes”). And there’s also a full pro-shot video, a remnant of the Farm Aid telecast, a decent visual representation of rock in the ’80s—band on a very high stage, rows of monochromatic empty seats in closed-off sections towering behind them, plus some excellent close-ups; including the wee revelation that it’s Heartbreakers’ bassist Howie Epstein playing mandolin on “I Forgot More Than You’ll Ever Know.”

Outside the covers, the “Ballad of a Thin Man” from Buffalo might be the first performance of Dylan repertoire to really grab me from these shows, finding his way into a big, fluid phrasing where he feels inside the lyrics’ rhythms, instead of just barking them out staccato. It’s a subtle shift, and perhaps totally subjective. But I like this version a lot.

1986-07-04, Rich Stadium, Buffalo, NY [Dylan set]

1986-07-04, Rich Stadium, Buffalo, NY [Dead set soundboard, archive.org link]

Jesse Jarnow co-hosts the official Good Ol’ Grateful Deadcast, and is the author of Heads: A Biography of Psychedelic America, Wasn’t That A Time: The Weavers, the Blacklist, and the Battle For the Soul of America, and Big Day Coming: Yo La Tengo and the Rise of Indie Rock. The Invisible Hit Parade: A Taper’s History of Music will be published next year. The Frow Show can be heard every Tuesday on WFMU (including Bobsday celebrations).