Bob Dylan 2001-07-13 Stirling Castle, Stirling, Scotland (Stirling Castle Esplanade, open air, general admission, capacity 7000) Matrix of Crystal Cat & Stage Mic recordings (see below) by stewART, February 2009 - 2 CD Notes - Stage Mic (SM) - The original is of very mixed quality, so I added compression & EQ w/ T-Racks24 to brighten the sound. Adjusted db as necessary. The enhanced version reveals very prominent vocals, BD's guitar & harp, bass (esp on left ch), steel gtr & drums, and when merged with the Crystal Cat seems to enhance these in particular, as well as giving the whole sound more breadth and presence. Note - for fans of BD's lead guitar work, it is more prominent than usual on this show, on d1 05,06,07,12,13 & d2 01,02,04,05,06,08,09,12 ! (Note some frequent Scots voices in the crowd to this effect... "Go on yersel' Bob..." ! ) Crystal Cat (CC) - Typically of Crystal Cat, this recording has been over-amplified so that the very upper frequencies have been clipped (looking at the tracks visually, the wave-forms have a flattened top). Mergeing with SM restores the upper frequencies to some extent, although it's a pity the source recording used by Crystal Cat is not available (so far) !No EQ adjustment was used on this. As revealed by the SM recording, there are 8 short cuts on the CC version from the intervals between songs, so this matrix restores the show to it's complete length ! (before 104,105,109,110, 201,204,208,212) Also, there were very short silences at start of the CC tracks on my version, now eliminated. Audience notes - A lively crowd ! Before 206, Girl of the North Country, "Neil Young !", and an earlier shouted request for "Changing of the Guard" (who was that, Jimmy ?) ! As with any project of it's kind, perhaps some things could be further improved - maybe I'll revisit it, or someone else will ! Thanks to LuisBP and some others at Hunger City who listened to early samples of this project. Comments welcome to - stew@stewartgrant.freeserve.co.uk stewART, February 2009 Disc 1 101 Intro 102 Oh Babe It Ain't No Lie (Elizabeth Cotten) 103 To Ramona 104 Mr Tambourine Man 105 Maggies Farm 106 Tell Me That It Isn't True 107 Just Like a Woman 108 Gotta Serve Somebody 109 I Shall Be Released 110 Visions of Johanna 111 Don't Think Twice, It's Alright 112 Stuck Inside of Mobile with the Memphis Blues Again 113 Not Dark Yet Disc 2 201 Drifters Escape 202 Rainy Day Women # 12 & 35 & Band intros 203 1st Encore interval 204 Things Have Changed 205 Like a Rolling Stone 206 Girl of the North Country 207 All Along the Watchtower 208 Knockin' on Heavens Door 209 Highway 61 Revisited 210 Blowin' in the Wind 211 2nd Encore interval 212 Cats in the Well Bob Dylan - electric & acoustic guitar, harmonica (103.105,108,111,112,201) Larry Campbell - electric guitar, acoustic guitar (102,104,109,110,111,206,210) mandolin (103) pedal steel guitar (106,107,113) slide gtr (202) Lap steel gtr (207), vocals (102,109,208,210) Charlie Sexton - electric & acoustic guitar, vocals (102,109,208,210) Tony Garnier - electric bass & acoustic double bass David Kemper - drums Crystal Cat Bootleg CC 610-11 Released Feb. 2002 - LB 1074 ; CD1 - 1 Intro, 2 Oh Babe, It Ain't No Lie (acoustic), 3 To Ramona (acoustic)[Bh, Lm], 4 Mr. Tambourine Man (acoustic), 5 Maggie's Farm [Bh], 6 Tell Me That It Isn't True [Lps], 7 Just Like A Woman [Lps], 8 Gotta Serve Somebody [Bh], 9 I Shall Be Released (acoustic), 10 Visions Of Johanna (acoustic), 11 Don't Think Twice, It's All Right (acoustic)[Bh], 12 Stuck Inside Of Mobile [La], 13 Not Dark Yet, CD2 - 1 Drifter's Escape [Bh], 2 Rainy Day Women #12 & 35 [Ls], 3 /1st encore:/, Things Have Changed, 4 Like A Rolling Stone, 5 Girl Of The North Country (acoustic), 6 All Along The Watchtower [Lsg], 7 Knockin' On Heaven's Door (acoustic)[Ce], 8 Highway 61 Revisited, 9 Blowin' In The Wind (acoustic), 10 /2nd encore:/, Cat's In The Well, 11 outtro, *Legend:*, [Bh] - Bob on harp, [Ce] - Charlie on electric guitar, [La] - Larry on acoustic guitar, [Lm] - Larry on mandolin, [Lps] -Larry on pedal steel, [Ls] - Larry on slide guitar, [Lsg] -Larry on steel guitar Stage Mic recording - LB-3053 (73:42 / 62:54), Taper Unknown, Unknown generation audio disks, (Audio Catalyst) wav >(flacfrontend) flac8 ; 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 Artwork notes - The Stirling Heads - During the 16th century James V's Palace at Stirling Castle was alive with artists and craftsmen of every variety. The ceiling of the King's Presence Chamber was richly decorated with 56 oak-carved heads known today as the Stirling Heads. 36 of the original 56 are still on view today.The heads are depictions of heroes and gods from classical antiquity along with important courtiers of the time. They show a court obsessed by Renaissance iconography - a court which desperately wanted to imitate the imperial glories of classical Rome or the dark mysteries of archaic Greece. http://www.historic-scotland.gov.uk/index/news/mediaresources/stirling-heads.htm Boblinks Concert Reviews - http://www.execpc.com/~billp61/071301r.html Review by Peter Thwaites - You couldn't wish for a better setting for a Dylan gig. Mist rolling over the top of the surrounding hills, the winding river, cobbled streets, the steep incline to the Castle overlooking the town. The concert is being held on the esplanade at the front of the Castle, providing a gentle downwards slope, and potentially better sight lines, to the front of the stage. But in the meantime there appears to be a single queue for the 8,000 strong audience and the dark clouds rolling over are about to drench the usual crowd of fifty-somethings who are snaked around the side of the hill. Comments by Brian Reid - Bob at Stirling seemed totally at ease. Without focussing on a blow by blow account, the general feel was a lo-fi country jam with splendid vocal performances on Not Dark Yet, Girl From The North Country and Tell Me That It Isn't True. When the band kicked up a gear, Drifter's Escape and You Gotta Serve Somebody were given careful consideration to impressive effect. Some reviews on the site are so particular the people writing them must truly lose sight of the reason for attending such a precious event. If you watched Olivier on the stage would you sit and write out scene for scene his vocal performance and delivery or would you wait till the end of the play and experience how it felt to travel to the place his performance took you. Dylan can be pure shit. Rambling, incoherent and sloppy. So what. I don't do my best work every day. In Stirling we had a band that hung around like a gang of old friends and shared an informal, well performed, focussed visceral piece of art. If a new alt country band play with such verve and dexterity and showed as much disregard for the usual trappings of live performance they would be the coolest gig in town. 60 and still the best white blues country folk singer on the planet. Comments by Robert Muir - Was going to write a review for this gig. But I am still struck dumb by the fact that I met Bob AND shook his hand. Thanked him for his music. Acted like a ten year old kid instead of a forty something man. I was making my way to join the q to get in when HE appeared from a security exit complete with cowboy hat, leather trousers and some heavyweight " friends ". Going to complete a final sound check. No camera. Oh S**t. Never mind. He smiled, said thanks. Thirty five years on and Dylan actually spoke to me. Bob excelled himself during the concert. Every number performed had life and vigour. Bob was obviously enjoying himself. The set just got better and better as the night went on. His harp playing was the best I had heard in years. Not Dark Yet and To Ramona were especially outstanding. If you read this Bob, come back soon. Next time I will have my camera. Review by Stephen Lawrie - My personal highlight of this show came during 'Just Like A Woman'. I was near the front and the crowd around me were enjoying the show, cheering the best lines during the songs. After Bob sung "I just don't fit" the crowd let out an almighty roar, Bob looked up from his guitar and drew us a bitter scowl. Fantastic. Apart from doing his little Chaplinesque jig (top quality entertainment), he seemed to play loads of lead guitar during the show. His performance was commanding. The focus was all on him - singing, hammering out licks on the guitar and blowing the harp. For much of Highway 61 he just repeatedly battered out the same note which was just as entertaining. Bob being Bob. 22 songs in a little over 2 hours. A great show from a great showman. 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. Review by Matt Reading - Following the good, but not great gig in Liverpool, Stirling last night showed a sparkling return to tip-top form for Dylan. Having seen 3 shows this tour, and heard tapes from shows throughout the year, I had developed the view that Dylan was not on song this year as much as the tail end of last. Despite the more interesting setlists and change in structure, it seemed to me that Dylan's voice had further deteriorated and, worse, that the last couple of weeks he hasn't exactly been enjoying himself up there. Stirling last night threw all that out the window, and the difference in performance quality between Stirling and Liverpool was startling. We set off on the drive from Liverpool to Stirling at about 10am, having picked up our passenger for the day - Irishman Brendan who remarked as soon as he laid eyes on Ed and I that we looked like students. Hmm. Anyway, he had a fab CD collection, and over the superb soundtrack to 'Oh Brother Where Art Thou', we discussed last night's show and all things Dylan. The general feeling was that Liverpool had been pretty good, but certainly not up to scratch when compared to last year's UK tour. We felt that Bob's voice has steadily deteriorated, and that it wasn't helping that he seemingly wasn't very happy. His attitude to Larry, in particular, over the last few shows seemed to point to a band change on the horizon. The 3 shows I had seen this tour (Gothenberg, Helsingborg and Liverpool) had left me rather satiated in terms of setlists, having seen many of my favourite songs live for the first time..I was looking forward to Stirling, but at the same time was feeling a little apprehensive. The drive up was lovely, certainly compared to the drive to Liverpool from Cambridge the day before. The weather caused some concern, being more suited to February than July. Brendan bought Ed and I a slap up lunch at a service station, and we made it to Stirling by about 3pm. Having met my girlfriend from the train station and had a pint to keep us going, we headed on up to the castle, where a fairly large queue had developed already. Clearly we weren't going to be right at the front, but we were pretty happy anyway. I only mention all this queueing malarkey because, maybe an hour before we went in, Ed noticed a commotion near the front of the queue. Apparently, Bob had been out, signing autographs! He ducked away before I could get there, but a little while later he popped out again to cross the street and walk up the hill to the venue. He was wearing his stage clothes and that stetson that he looks so cool in. Perhaps this meant he was in a better mood than previously? They let us in half an hour later than they said they would due to an extra long soundcheck, and after a short sprint we got to our places, about 7 people back from the front, with a great view. The gig, rather than being in a castle, was in the castle's car park. Slightly less romantic, but you could see the mountains, shrouded in mist and cloud to the side of the stage. Surely he would play Highlands in this setting? Before showtime we were treated to quite a downpour, but spirits in the crowd were still high by the time Dylan came on stage. Right, I'm sure you're wondering when I'm actually gonna get round to the gig! Dylan came out looking pretty good, and the band launched into 'Oh Babe It Ain't No Lie'. It wasn't anything too special, but it was well played and sung. Bob really stopped me in my tracks with 'To Ramona'. It had been good the previous night in Liverpool, but this was something else. Bob's voice was clearly back to it's best, softly singing (REALLY singing)this tender song. He was in a good mood, with the occaisional smile or wink, and he really got inside this song. A glorious lilting harp solo finished the song off wonderfully. The familiar chords to 'Mr Tambourine Man' began. I was worrie he would 'sing' it like he has the last few months, ie extracting the tune and massacreing this wonderful melody. My fears were allayed when Bob began. This was beyond fantastic, Dylan's voice lilting over those glorious acoustic guitars. It was amazing to hear this, one of my favourite songs being - to me - reborn. There was one (minor) lyric flub, but it couldn't detract from what was for me a wonderful performance. My main concern now was whether Bob would be able to keep this phenomenally high standard up for much longer. The other gigs I'd been to the last couple of weeks had had 2 or 3 really amazing highlights per gig - Hollis Brown, Boots and I Want You in Gothenberg, Dignity and I Threw It All Away in Helsingborg, for example - with the rest either good or average. 'Maggie's Farm' opened the electric set with a great countryish shuffle, Bob's voice that velvet sneer as he belted out the lyrics, the band throwing licks all around his vocals. The harp solo he finished the song off with was glorious, Bob blowing that poor harp as hard as he could. The country mood deepened with 'Tell Me That It Isn't True', and Bob's voice actually seemed to be getting better! He was clearly gaining in confidence and his range was audibly improving, really letting go on some of the lines, echoing the vulnerability in the lyrics, and Larry's pedal steel providing the perfect backdrop. When I thought it couldn't get any better, the intro to Just Like A Woman came floating over, and the performance was maybe about 15 million times better than the previous night's reading of this song. It was a tour de force as Dylan stayed true to the original melody, but stretching the phrasing here and there, getting right inside the song itself, rather than just playing about with the melody as he had in Liverpool. Towards the end he got as excited as I was...'you make love, yeah you make LOOOOOOOOVVVVVEEE just like a woman!'. It was perhaps the highlight of highlights. Even Dylan's guitar solo was, well,bloody good. Indeed, Dylan's guitar playing was pretty good most of the night apart from when he just seemed to get bored with the intrument. Then we were surprised with a 4th electric song, 'Gotta Serve Somebody'. I'm not too keen on this as a song, finding it hard to reconcile the sentiments with my own beliefs, but it was impossible not to get caught up as Dylan barked the lyrics, ad libbing some extras and the band generally letting go. Great stuff, with Dylan's vocals really holding up on the rockier songs, something that had been lacking at previous shows. 'I Shall Be Released' was something of a surprise next, but was certainly well done. It made me think they might do something funny with the encores.... Next came the second 'Visions Of Johanna' in 2 nights. Ed thought that Liverpool was better, but I would disagree. In Stirling, Dylan was a man on a mission, setting out to nail probably his greatest song, and enunciating the lyrics so perfectly and with such precision you were completely absorbed in the performance. Not for a moment did you think 'oh, it's not as good as in 66'. Ed tends to applaud what he sees as particularly well sung lines or pieces of phrasing, having read that Dylan appreciates this. He did this last night although it was rather superfluous - every single word was bang on (I think there was one minor lyric mumble in Visions, but hey). Could this possibly continue? Bob and band, having wound up 'Visions' with a gorgeous playout, relaxed into a quiet, achingly regretful 'Don't Think Twice'. The way he sung one of my absolute favourite lines - 'I gave her my heart, but she wanted my soul' was masterful, and the extended harp solo at the end was absolutely bang on, Bob skippig all over the stage and conducting the band with the neck of his guitar, building the song to a crescendo. 'Stuck Inside Of Mobile' has been played a lot recently, and although this was nothing special it was well played and gave us what would prove to be a well-timed breather from the emotional intensity. I was slightly deflated, as I thought that would be the last 'interesting' song choice, and was all set for Drifters/Messenger etc. and then the encores. Bob had no such ideas. After a little huddle around the drum riser, those atmospheric opening bars of 'Not Dark Yet' came soaring over the crowd, just as it was beginning to get dark. As usual, Bob nailed the vocal, occasionally getting excited and pulling something extra special out of the bag. A set with 'Visions Of Johanna' and 'Not Dark Yet', I think my favourite two Dylan songs had to be amazing, and Bob made it so. All the opportunities for the one song conspicuous by it's absence, Highlands, seemed to have gone, but I shouted out the title anyway for the hell of it, and again in the encores. It didn't happen, but never mind. Next was a killer version of 'Drifter's Escape', much better than Gothenberg with some fantastic playing from everyone in the band, along with the usual harp solo from Bob. It may not have been much better than normal, but it certainly seemed it after what had come before. Then the main set finally (!!) ended after 14 songs with 'Rainy Day Women', which I must say I prefer here than at the end where it's always a bit of an anti-climax. It was a good-humoured version, with some funny ad-libs from Bob and a spliff being thrown on stage. There isn't a whole lot to say about the encores, although that hardly does them justice as all were suerbly played and sung, although Bob couldn't quite scale the vocal heights of earlier in the show. Well, not all teh time, anyway. 'Things Have Changed' had that perfect mix of resignation and paranoia, 'Rolling Stone' was a great singalong and 'Girl Of The North Country' was just gorgeous. The way Bob sang 'See for me if her hair is hanging long' has to be heard to be believed. 'Watchtower' rocked like a bastard - very cool, and 'Knockin' On Heaven's Door' was simply sublime, much better than Liverpool. The guys nailed the harmonies, Bob nailed the vocal, Charlie nailed that fantastic guitar solo. 'Highway 61' was a lot of fun, as was 'Blowin' In The Wind', and 'Cat's In The Well' finished it off in fantastic style, much much better than 'Rainy Day Women'. So, after a mammoth 22 songs, we all filed out. It was an amazing gig - certainly the best I've seen, beating the second Portsmouth shoe last autumn and Gothenberg. It was just so consistent. One of the hallmarks of Dylan 2001 style has been the inconsistency of the shows. One or two great performances a show, then lots of good-to-middling stuff. This show was different. He showcased his best songs in the best way possible - what more could you ask for? Right after 'Blowin In The Wind', he gave the crowd a thumbs-up, and that seemed to sum it up. Absolute killer versions of Ramona, MrTMan, Just Like A Woman, Tell Me That It ISn't True, Visions, Don't Think Twice, Not Dark Yet, Girl Of The North Country and Knockin', along with the great high-energy rock-out songs made for a fantastic gig. Well done Bob, now let's have that new album!