No this is not the Crystal Cat but yet another source and all the info I have is "stage mic 
recording". I will warn you that on some of the louder parts the vocal is as the person who
sent it to me described it, "overcooked", but as I gave this one a listen I still felt it
was absolutely worth sharing as another recording of what was a terrific performance by Bob 
and the best band in the land!!! I know people will ask is it worth downloading and how does it 
compare to the Crystal Cat and all I can honestly say is decide for yourself. Some people don't
need more than one recording of a show - others like to collect all the recordings that 
circulate for a particular date. Personally I think it sounds GRRREAT and I am really enjoying 
listening to it through headphones. Don't get me wrong it isn't like Bob's vocal is too 
saturated or clipping or distorting and it isn't distracting me in the least little bit from 
completely enjoying this performance and for a performance of this stature where Dylan 
really is taking great care in his vocal delivery having the louder out front vocal really 
does reveal a lot and the harp oh it just sounds top notch. We all gotta serve somebody - 
THANK YOU BOB!!!!!!!!!!!!!!!!!!!!!!!!! - Charlespoet

Bob Dylan 
Stirling, Scotland
Stirling Castle
July 13, 2001

Taper Unknown
Source: "stage mic recording" Unknown generation audio disks > 
                  (Audio Catalyst) wav >(flacfrontend) flac8. 


Disc One (73:42):

Oh Babe, It Ain't No Lie (acoustic) 
To Ramona (acoustic) (Larry on mandolin and Bob on harp) 
Mr. Tambourine Man (acoustic) 
Maggie's Farm (Bob on harp) 
Tell Me That It Isn't True (Larry on pedal steel) 
Just Like A Woman (Larry on pedal steel) 
Gotta Serve Somebody (Bob on harp) 
I Shall Be Released (acoustic) 
Visions Of Johanna (acoustic) 
Don't Think Twice, It's All Right (acoustic) (Bob on harp) 
Stuck Inside Of Mobile With The Memphis Blues Again
(Larry on acoustic guitar) 
Not Dark Yet

Disc Two (62:54):

Drifter's Escape (Bob on harp) 
Rainy Day Women #12 & 35 (Larry on slide guiter) 
(1st encore) 
Things Have Changed 
Like A Rolling Stone 
Girl Of The North Country (acoustic) 
All Along The Watchtower (Larry on steel guitar) 
Knockin' On Heaven's Door (acoustic) (Charlie on electric guitar) 
Highway 61 Revisited 
Blowin' In The Wind (acoustic) 
(2nd encore) 
Cat's In The Well 


Review by Edward Nash

Does anyone else share my terrible habit - whenever a Bob show ends, I
immediately feel the need to start thinking about whether it was as good
as the other ones I've seen.  I've still only seen 7, so I can remember
them all pretty well.  I seem to have an uncontrollable urge to fit any
new experience into a ranking system with the others.  I know I shouldn't
do it; it always makes me feel like I'm criticising more than I should be,
and it makes you lose any sense of perspective on the night.  Well, I've
been thinking about Stirling for a day or so now, and it's all decided. 
It goes into the official list at number 1, the best I've seen.  Best
build up, best setlist, best performances, best guitar solo, best harp,
best post show drink and bag of chips...

Although recent tales, and first hand experience, of Bob's current gloomy
mood had worried me, I didn't quite share the apprehensiveness expressed
by many in the run-up to this show.  No mishap tonight could really stop
me looking back on this early Bob-filled Summer with great contentment.
Furthermore, apprehensiveness tends to give way to some much more
enjoyable brand of agitated excitement as show time approaches.  This was
triply so on Friday due to the soundcheck - Born In Time and Not Dark Yet
specifically - and the appearance of Bob outside the venue.  I mean, you
go to the toilet, usually an unremarkable experience, without a second
thought, go for a stroll to see if you can find a burger and instead find
yourself standing just a single person (albeit a large one) away from Bob
Dylan.  In a cowboy hat.  If anything's going to get you excited as you
wait for show, that's it.

It was fairly obvious from the off that tonight Bob was in a better mood
than of late.  He seemed to actively enjoy the opener, rather than just
using it as a vocal warm-up.  It obviously had that effect as well,
however, because on To Ramona he pulled out a stunner.  I've heard recent
versions of this criticised as "to sweet", in both vocal and music. 
Neither was true tonight.  Tenderness on the more romantic lines was mixed
with harshness in the song's more critical moments, as Bob really seemed
to explore what the song is supposed to say.  Meanwhile, Larry's mandolin
was not so dominating (in fact, it wasn't even plugged in for the intro -
he had to go and find a lead himself), and it didn't feel so much as
though we ought all to be waltzing around in couples.  The harp solo with
which the song closed was just beautiful.  It's hard to know what else to
say.

The identical opening numbers had immediately raised the question in my
mind of whether Visions would be appearing twice in succession, but I
didn't dwell on it for long.  It's quite hard to keep these kind of
questions in your mind whilst in front of you Bob is singing Mr.
Tambourine Man as though he's only just written it.  This was an acoustic
set of the highest quality, and this level was maintained for the
following electric segment.  Maggie's Farm, somewhat less of a noisy
thrash than the previous night, was doubly effective.  With the decibels
slightly reduced, it was much easier to enjoy the new arrangement with
it's almost-solo drum section in each verse. However, tenderness seemed to
be the order of the day, so it was time to slow things down a bit.  I
don't think I've heard a bad performance of Tell Me That It Isn't True. 
It's always pretty faithful to the original and is well sung.  But Bob's
vocals were something special in Stirling.  It was a real thrill to hear
him hit some notes I really didn't think he could manage anymore,
especially on the last verse, in which each line rose to a top note which
sounded quite desperate - this guy definitely needed some reassurances,
and pretty fast, it seemed.

Do you know how sometimes on Just Like A Woman, the band plays great, Bob
plays some good licks between lines, but he just doesn't seem to find the
tune with his voice, he sort of ends up half speaking it? Not tonight. 
This was very close to the original, and Bob was really singing.  He also
played an excellent guitar solo.  I wasn't looking when it started, and I
thought it must have been Charlie - honestly.

Gotta Serve Somebody is not one of my favourite songs, but it was great to
have a bit of non-60s stuff appearing, which always keeps the interest
level of a show up.  I Shall Be Released was something of a surprise in
the main set, but I couldn't dwell on it for long.  Up until the previous
night, I had hoped that every acoustic song in every Dylan show I'd seen
would turn out to be Visions of Johanna.  When it finally came, in
Liverpool, I completely failed to recognise it.  In Stirling I was totally
unprepared - twice in two nights? But that's what it was, and I'm not
complaining.  That side of me that seems to want to rank everything tells
me that Liverpool was better, but the side of me that just likes hearing
good music says it doesn't matter; they were both wonderful, and I will
remember how I felt hearing this song live for a very long time.

Bob by now seemed well aware that his vocals sounded amazing, and he made
sure not to miss the opportunity of Don't Think Twice.  This was no casual
throwaway performance, and by the time the final verse arrived, everyone
around me was going wild.  The reception for the harp was, as ever,
ecstatic, but it was wholly merited here.  Bob was in control of the
harmonica, the band and the crowd and the song concluded with a defiant,
almost jubilant, high-pitched blow on the harp.  Absolutely stunning.

I wasn't overjoyed to hear Stuck Inside of Mobile.  It seems something of
a fixture at the moment.  But this was slightly quicker than it sometimes
is and Bob was in no mood for holding off.  He really attacked the song
and it was impossible not to enjoy it.  However, that was surely it for
interesting song selections.  Just a case of whether we'd get something
else not from the 60s to add to the interest level.  The first few chords
revealed that it wouldn't be Drifter's Escape or Wicked Messenger, and in
fact it appeared at first that it was definitely the only other option,
Cold Irons Bound.  But after a few seconds it kind of morphed, and the big
crescendo of noise never came.  Instead we got a longed for and quite
gorgeous Not Dark Yet.  I wonder whether this might be something of a one
off - it was, after all, sung in an open air venue just as it was not
qutie dark yet, but definietly getting there.  But then again, after
reminding himself how great this song always always sounds, maybe Bob will
want to retain it.  I hope so, for the good of everyone who goes to any of
the remaining shows on this tour.

It was now time to simply smile and enjoy being at a Dylan gig.  Rainy Day
Women was much more fun in a slightly different spot, and as the band
stood in formation at the end Bob's bow and thumbs up showed that he had
enjoyed the gig too, and knew it was a good one.  Girl From The North
Country was a final highlight, with Bob now overplaying the rediscovered
softness in his voice to good comic, but also emotional, effect.  Some of
the lines seemed to go on for twice their normal length - "see for me that
her hair hangs do-ow-ow-own".  The new arrangement of Knockin' On Heaven's
Door suits Bob's current voice perfectly, and Cat's In The Well is a much
more effective closer than Rainy Day Women, being twice the pace and much
more fun.

And so we filed back down into Stirling, filling the previously deserted
streets.  It was great to see so many people and know that they were all
Dylan fans.  And happy Dylan fans at that.


Thanks Bill Pagel!
Enjoy!
Charlespoet