One More Night: Volume 1-5
Unreleased Field Recordings 1961-2014
A CS production, April/May 2014
CD 1:
1. Maggie's Farm - September 22, 1985
2. Going, Going, Gone - May 16, 1976
3. Fourth Time Around - May 27, 1966
4. A-11 - March 11, 2005
5. When You Gonna Wake Up? - October 20, 1989
6. Saving Grace - November 16, 1979
7. Born In Time - January 17, 1998
8. Love Minus Zero/No Limit - May 3, 1976
9. Under The Red Sky - November 7, 2013
10. Just Like Tom Thumb's Blues - April 18, 1976
11. The Times We've Known - November 1, 1998
12. I Dreamed I Saw Saint Augustine - July 19, 1986
13. Subterranean Homesick Blues - August 3, 2002
14. Poor Lazarus - December 22, 1961
15. It Takes A Lot To Laugh (It Takes A Train To Cry) - February 3, 1990
16. Visions Of Johanna - November 27, 2005
CD 2 - bonus tracks:
1. Handsome Molly - July 29, 1961
2. Just Like A Woman - May 27, 1966
3. She's Love Crazy - October 29, 1978
4. When Did You Leave Heaven? - July 21, 1989
5. My Blue-Eyed Jane - February 5, 1999
6. Like A Rolling Stone - June 24, 2004
7. Jolene - November 15, 2009
This set constitutes the first volume of a ìbest of the restî compilation. For those who have obtained the many earlier CDs of the Thousand Highways collection, certain periods may have gone under-represented. Conspicuously, 1996-1998 were absent, as were recordings from 2004 outside of the Spring Tour, 2005 outside of the Brixton Residency, 1989 ñ 1993 outside of the recordings associated with Dylanís studio output from that era, and Rolling Thunder-period performances which were composed earlier than 1974. I hope this final 5-CD compilation fills in some of those gaps, and expands on the already-extensive Thousand Highways collection.
With that said, I would like to give some brief details on each track. The first, Maggie’s Farm was played by Bob Dylan at the first Farm Aid set, and was highlighted by author Paul Williams as an especially spirited recording. I can’t say I disagree, and it came across as the highlight of an excellent concert.
The second track, Going, Going, Gone remains to me the definitive rendition of this song. The singer is hardly word-perfect, but the song has been re-written to great effect. The final verse in particular is hair-raising.
Fourth Time Around is a beautiful rendition made warmer still by the pleasant vinyl transfer. I am unaware of the origin of this recording.
A-11 is a personal favorite, as I love the old recording by Buck Owens. This recording is high-quality, and represents an aspect of Dylan’s performance art - his country covers from the early years of the 21st century. The violin is dazzling as well.
The fifth song, When You Gonna Wake Up begins a brief suite of faith-based songs. This song has been radically rewritten for the 1989 tour, though it appeared just this once before never being played again (as of Spring 2014). The arrangement is stunning, and consists of Dylan’s piano leading the band into clearly uncharted territory.
Saving Grace is the second song in the suite, and is again a definitive performance. While the studio version is wonderful, this is positively inspirational. The singer wrings every ounce of emotion out of the song.
The seventh track, Born In Time was a highlight of the 1998 tours originating with the 1989 Oh Mercy sessions. You can hear demo versions of the song on The Bootleg Series, Volume 8 and the first volume of the Series of Dreams field recordings collection. The live recording is particularly spirited, with beautiful instrumentation.
Love Minus Zero/No Limit is a rare performance of the song from 1976 at the well-regarded New Orleans concert. It features some pleasant harmonica and the smoky, textured vocals of that era.
Under The Red Sky was performed at the second of two Rome concerts in 2013, and stands out as representative of the high quality from that Autumn Tour. Dylan’s piano-playing is at the forefront, and that makes this even better than the frequently excellent performances of this song over the years. The song didn’t quite make the cut on an earlier compilation, Ivory, but it fits in very well her.
The tenth song, Just Like Tom Thumb’s Blues is another Rolling Thunder gem. Despite the limitations in the Lackland tape from that year (also featuring a notable If You See Her, Say Hello) this track came through loud and clear. The vocals are heads above what was present on the 1976 rehearsal tape, and the singer turns many phrases inside out - see the verse concerning the sergeant at arms.
Song eleven, The Times We’ve Known is a favorite in the fan community. Dylan’s performance of this Charles Aznavour classic is deeply touching. Though it often circulates as a soundboard recording originally offered for free download from bobdylan.com, this audience recording offers a warmer, fuller sound.
I Dreamed I Saw Saint Augustine is one of the greatest performances of this song that I’ve heard, though I may be biased in favor of its inclusion - the song is one of my favorites by this artist. It offers a stark portrayal of one’s humility when faced with the divine, and though I’m not sure this performance conveys those depths, Dylan’s aside (it’s alright) cements it as an absolutely committed rendition. Look forward to an recording of this song from the Rolling Thunder Revue on one of the later volumes in this series. As a fun fact, the 1986 performance is noted afterward as being "a very special request from a very special person," though she’s apparently not at the show!
Subterranean Homesick Blues is a fun recording from the Newport Folk Festival in 2002. Its rhythm is all over the place in the best possible way, and one wonders if Dylan had been influenced by his own recording of Cry A While the previous year.
The fourteenth song, Poor Lazarus is one of the earliest we have a record of him performing, as documented on the East Orange tape of early 1961. This performance dates from the end of that year, when the singer’s had the chance to perfect his delivery of a truly tragic, archetypical American tale: the young man gunned down and mourned by his mother while his father laments him as a fool. The song is deeply powerful, and is reminiscent to me of the old song Delia.
It Takes A Lot To Laugh, It Takes A Train To Cry is a growly blues song from Dylan’s lauded Hammersmith Residency of 1990. This was squeezed out of the compilation Town Without Pity, but seemed to accompany the other tracks here quite well. Check out the whoa! as the song comes to its conclusion.
The final track, Visions of Johanna is a unique treat. Considered by many to be one of the finest renditions of the song, it was delivered to an adoring audience in Dublin in the autumn of 2005. You can almost hear a different singer in each verse, teasing out every bit of nuance in the lyrics. The band’s light accompaniment anchors the song, particularly Denny Freeman’s sparking guitar.
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CD 3:
1. God Knows - April 8, 2006
2. I Believe In You - July 10, 1981
3. Leopard-Skin Pill-Box Hat - May 14, 1966
4. Hazel - April 29, 2005
5. Just Like Tom Thumb's Blues - June 16, 2008
6. Gypsy Davy - 1961
7. Cry A While - November 27, 2005
8. Slow Train - July 25, 1981
9. Huck's Tune - April 4, 2014
10. Oxford Town - October 25, 1990
11. Weary Blues From Waiting - April 18, 1976
12. Watching The River Flow - September 12, 1993
13. Pancho & Lefty - June 11, 2004
14. That Lucky Old Sun - February 24, 1986
15. Million Miles - February 5, 1999
16. Answer Me - October 17, 1991
17. Knockin' On Heaven's Door - July 23, 1981
CD 4 - Bonus tracks:
1. I Don't Believe You - September 3, 1965
2. Tangled Up In Blue - December 10, 1978
3. Every Grain Of Sand - June 30, 1984
4. Moon River - August 27, 1990
5. Absolutely Sweet Marie - April 8, 2006
6. Heartbreak Hotel - August 16, 2009
7. Let Your Light Shine On Me - July 19, 2013
God Knows opens the collection, and is as fine a rendition of the song as you'll hear. It's the last performance to date as well, which is interesting. The reading of we'll get all the way from here to there if we have to walk a million miles by candlelight sounds like the singer means it! An appropriate way to begin this journey through the years.
I Believe In You brings the tone down, but the kicking organ and drums keep this from moving into fully laid-back territory. There's almost a reggae tone to the proceedings, which will be echoed in the compilation's final song. This performance of I Believe In You comes from the period that Paul Williams describes as sounding like the singer was singing as if his life depended on it. Dylan's truly committed to this one.
A positively raucous Leopard-Skin Pill-Box Hat picks things back up, with Robbie Robertson providing solos. The mic distortion works to this songs advantage, only really presenting on the singer Yes I at the start of chorus.
Hazel is tender, Dylan wringing out every bit of its torch ballad character - the highlight is clearly the phrase you got something I want plenty of. You've never heard him sing it like this.
Just Like Tom Thumb's Blues appear with the same arrangement you will find on the Rockin' In Rio cut from the Down The River record. Here, though, the singer and band really get into the groove of the song, as it gets more spirited with each verse. This song has always been a favorite of mine, and the arrangement from 2008 stands up alongside arrangements from years past.
Gypsy Davy is among the earliest recordings in this collection, apparently being sung at the home of Sid Gleason in East Orange. It was almost relegated to bonus track status, but its connection to Dylan's career clinched its inclusion - he would revisit the folk standard on 1993's World Gone Wrong LP, and would rework it into a new creation on 2012's Tempest. The singer sounds unsure of himself on this one, though even here you can hear him reworking phrases while telling the tale. His voice is quite warm and pleasant as well.
Cry A While is, in many ways, the opposite of the preceding track. Loud, in your face, and leaning heavily on an inventive start-stop rhythm for effect, it's almost surprising that both songs were recorded by the same artist. Yet, as this collection demonstrates, an artist can contain multitudes. This was a song that was edged out of my Thousand Hearts & Eyes compilation, since it was performed a few days after the Brixton Residency.
The next song, Slow Train has long been a cherished unreleased performance. Truly the most fire-and-brimstone performance the song has ever received, it ends abruptly as the power is lost. Despite being fragmentary, the song cries out with all the fury of Dylan's 1966 heyday, exhorting listeners to keep their eyes on that slow train coming up around the bend.
One of the most recent songs in this collection, Huck's Tune could not have been excluded once heard. As beautiful as the breezy studio recording of this song is, the live performance is heartbreaking. The readings of the river is wider than a mile and my faith is as cold as can be are spine-tingling. We are blessed to live in a time when this kind of performance art is available to us as the click of a button.
Oxford Town is a rare one-off rendition from 1990 in, of all places, Oxford, Mississippi. Played as a request, it is surprisingly fully formed and comes across as part of a fairly carnival-like atmosphere. More than simply a rarity, this song is a pleasant surprise.
Weary Blues From Waiting is another one-off. It was performed as a duet with Bob Neuwirth on the second Rolling Thunder Revue, and both put themselves fully into this Hank Williams lament.
The next track, Watching The River Flow is not a notable performance. It is, however, absolutely a blast to listen to. The 1973 song has rarely sounded more alive, with its arrangement very reminiscent of Johnny Cash's great Sun Records recordings. Please note that it has been slightly truncated to fit the run time of the CD; seek out the original recording if you would like to hear the extended fills in the last couple of minutes.
Pancho & Lefty, much like Huck's Tune, is just gorgeous. This Townes Van Zandt classic has been performed by Bob Dylan several times over the years, beginning in 1989, but never with the depth of sorrow echoed here. You can see the dusty prairie, feel Cleveland's cold, and weep alongside the singer.
That Lucky Old Sun is another cover, frequently associated with Ray Charles though performed by a vast array of artists. Considered an American standard, Dylan has knocked it out of the park each time he's performed it. You can find other renditions on the Series of Dreams and Keep Humming compilations in the Thousand Highways Collection.
Million Miles is one of my favorite blues songs by Bob Dylan, and he frequently performs it with panache. Though this performance does not match those of 2003, it is excellent in its own right. Note the delightful ad-libbing of well maybe just a few after the singer confesses he's done so many things [he] never did intend to do. You just can't help but crack a smile.
The penultimate song, Answer Me, My Love, was a song that the singer would perform several times throughout 1991, sometimes claiming that it would be his next single. You have to wonder if this was just a laugh, or if there is a lost studio take of this sitting in the vault. Regardless, the recording here, though marred with some feedback, is a tender addition to Dylan's catalog of American standards.
Finally, Knockin' On Heaven's Door concludes the set in a jaunty reggae arrangement. It sounds like a more polished, and more lively, take on the 1978 version. It's got some new lyrics, but the harmonica and guitar really steal the show on a final jam. This closed many nights of the 1981 tours, and I think it does a marvelous job here as well.
Of the bonus tracks, it's worth remarking that Tangled Up In Blue is performed with the biblical re-writes of late 1978, and that Moon River was performed as a tribute to Stevie Ray Vaughan in 1990. Absolutely Sweet Marie is just great fun, and though the sound quality's not great on Let Your Light Shine On Me, it's a fine reminder of Dylan's commitment to country gospel music.
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CD 5:
1. Can't Be Satisfied - November 2, 1992
2. Something There Is About You - February 2, 1978
3. Precious Angel - November 12, 1980
4. One Irish Rover - August 16, 1989
5. With God On Our Side - November 4, 1975
6. I Pity The Poor Immigrant - May 16, 1976
7. Ballad Of A Thin Man - July 25, 1981
8. Workingman's Blues #2 - April 17, 2014
9. Seven Days - June 19, 1996
10. Moonlight - March 10, 2004
11. Ain't Got No Home - December 22, 1961
12. New Morning - November 27, 2005
13. Red Cadillac & A Black Moustache - June 29, 1986
14. Delia - April 15, 1992
15. Mr. Tambourine Man - May 16, 1966
CD 6 - Bonus Tracks:
1. It Ain't Me, Babe - September 3, 1965
2. Wild Mountain Thyme - December 2, 1975
3. Go Down Moses - October 17, 1987
4. What Was It You Wanted? - February 6, 1990
5. To Be Alone With You - January 17, 1993
6. Tough Mama - April 8, 1999
7. What Good Am I? - June 12, 2010
Can't Be Satisfied was one of many electric country and blues covers played by Dylan and his band around 1990. This was an especially spirited performance, with the singer interjecting baby I'm gone a couple of times throughout the track, to the audience's delight. It gets a little shaky by the end, but that's part of the charm, after all.
The second track, Something There Is About You is one of the more intriguing curiosities from this five volume set. It is a unique arrangement of the song, and the only performance after 1974. The sound quality is not the best, but it is the clearest recording I've heard yet. The lyrics hew closely to the original, excepting a couple of alterations.
Precious Angel is, much like the preceding track, a song's final performance as of the date of writing. It is, as Greil Marcus notes in Still On The Road: Volume Two, a very atypical rendition. Though the arrangement is essentially identical to previous incarnations, the singer plays blazing harmonica over the chorus rather than accompanying his backing vocalists.
Track four, One Irish Rover, is a Van Morrison cover. It's a mood piece, and is personally quite meaningful to me. Bob Dylan played this song eighteen times from 1989 to 1993, and this one's probably the best.
With God On Our Side is one of only a handful of performances of this song after 1965, and the only one between 1965 and 1982. The vocals are outstanding, and the enunciation is deeply textured. The crowd's quite into this one, commenting on and responding to the lyrics. The one significant lyrical alteration is the wonderful expansion of I've learned to hate Russia to I've learned to hate Russia, and China, and Korea, and Vietnam, and Poland, and Bulgaria, and South America, and Cuba all through my whole life. This received resounding applause, as you'd suspect.
I Pity The Poor Immigrant was a highlight of the 1976 tour, and the recording here is as pristine as can be. The song is rearranged from its original studio recording to an uptempo latin style; T-Bone Burnette is responsible for the incredible piano-playing on this one.
Ballad Of A Thin Man is a fairly standard treatment, but the vocals are so incendiary it could not be excluded. This song tended to benefit from the backing vocalists during Dylan's 1978 and 1981 tours, and the Avignon recording is no exception.
The eighth track, Workingman's Blues #2, is an exemplary performance of one of Bob Dylan's modern classics. The lyrics have been radically reworked, with only half of the original words remaining. The arrangement, too, is new to the 2014 tour. It's a sweet and very sympathetic reading, carrying the lyrics with due weight.
Seven Days is interesting, as the song was never recorded in studio when it was originally composed in 1976. It went unperformed from 1976 to 1996, when it became a fixture of Dylan's live set. After that year, it was retired once again. The song is played with gusto, and it lost none of its passion in the two decades it had been shelved. It has been suggested that the song was revived as a result of the singer's Hyde Park Trust concert of 1996, at which he collaborated with Ron Wood; Wood was given the song in 1976 to record for an album, and played it at Bob Dylan's 30th Anniversary Celebration in 1992.
Moonlight appears here in an uptempo arrangement that was used only briefly. Though the song was played with regularity from its introduction in 2001, I have only heard this arrangement on live recordings of the 2004 tours. It's very effective, if not as unique as the song's typical style. Intriguingly, several lyrical rewrites lend credibility to an interpretation of the track as a murder ballad, with the narrator noting that the bell tolls for you my friend.
Song eleven, Ain't Got No Home, is a catchy Woody Guthrie cover. It is characteristic of Dylan's 1961 Guthrie interpretations, with a spirited harmonica solo throughout. Listeners would be advised to look into obtaining the very different arrangement played by Bob Dylan and the Band at the 1968 Tribute to Woody Guthrie.
New Morning was played sparingly on the Never-Ending Tour, primarily in the early 1990s. This version is the best of the lot, and dates from 2005. It features a beautiful interplay between violin and piano.
Red Cadillac & A Black Moustache is a Warren Smith cover, one of several played by Dylan on his 1986 tour. It would be memorably recorded for Good Rockin' Tonight: The Legacy of Sun Records in 2000, and apparently also exists as an uncirculating outtake for Dylan's own Knocked Out Loaded from 1986. If this live rendition is any indication, that outtake must be fantastic.
The penultimate song, Delia, is one of the more interesting tracks on this CD. Though Bob Dylan would perform many traditional and cover songs from 1988 to 1992, Delia is one of only two that would be among the songs recorded for two cover records in 1992 and 1993. Lyrically, it has more in common with the one performed by Blind Willie McTell than the one recorded for World Gone Wrong would. The arrangement is also unique, and dissimilar to the acoustic renditions after the release of that record.
Mr. Tambourine Man, from the noteworthy 1966 tour, has been celebrated as one of the best performances of this monumental song. I agree - the harmonica alone is spine-tingling. Though the song would receive many excellent treatments through the years, this solo rendition from almost fifty years ago remains one of the singer's finest achievements.
Concerning the bonus tracks, It Ain't Me, Babe was only excised from the third volume's proper tracklist at the last minute; though it's a great song in a fascinating electric arrangement from 1965, the distortion made it a little tough to listen to when juxtaposed with surrounding tracks. Go Down Moses is incredible, and one of only two known performances of the song, both from Dylan's 1987 Temples In Flames Tour. Tough Mama is a truly noteworthy recording, since this song is performed here in a rare slow tempo. As far as I'm aware, the song would never again be played in this manner.
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CD 7:
1. All Along The Watchtower - June 9, 1998
2. She Belongs To Me - April 30, 2006
3. I Don't Believe You - October 31, 1975
4. Chimes Of Freedom - November 18, 2005
5. I’ll Be Your Baby Tonight - November 12, 1981
6. I Dreamed I Saw Saint Augustine - November 4, 1975 (Evening)
7. Shelter From The Storm - March 23, 2010
8. Baby Please Don't Go - December 22, 1961
9. It's Alright Ma (I'm Only Bleeding) - June 22, 2007
10. I’m Not Supposed to Care - May 13, 1998
11. When The Night Comes Falling From The Sky - June 29, 1986
12. Visions Of Johanna - May 16, 1966
13. Buckets Of Rain - November 18, 1990
14. Samson & Delilah - June 11, 2004
15. Every Grain Of Sand - June 28, 1989
CD 8 - Bonus Tracks:
1. Just Like Tom Thumb’s Blues - April 13, 1966
2. Like A Rolling Stone - April 22, 1976
3. Tangled Up In Blue - June 11, 1984
4. In The Garden - March 31, 1995
5. Man Of Constant Sorrow - April 16, 2002
6. Return To Me - April 18, 2009
7. The Weight - August 3, 2013
All Along The Watchtower is an esteemed arrangement performed only in 1998. The drums create a cascading pattern that gets the record off to an uptempo start.
She Belongs To Me, accented heavily by Donnie Herron's steel guitar, features a little-used but effective vocal technique popularly known as downsinging.' In short, the singer draws out the penultimate syllable of a line, then drops to a lower register for the final syllable. That dry definition aside, the song never fails to bring a smile to my face.
I Don't Believe You is an appropriately breezy take on this tale of romantic disappointment. If you've heard the acoustic tracks on The Bootleg Series Five ñ The Rolling Thunder Revue, you'll have an idea of how this sounds. The rhythm is steady, and gives the singer an opportunity to play around with phrasing. A harmonica solo closes the song.
Chimes Of Freedom is, as far as I've heard, the most perfect recording of this song. Though folks for whom the upsinging' of latter years may object, the tight relationship of singer and band here presents an almost flawless rendition of a classic. You can see bolts of lightning and feel the warmth of a summer night in each note.
I'll Be Your Baby Tonight is another track from 1981, one of many found on these five CDs. That was an excellent tour, and though much of it provided substance, this song represents the more playful elements of the Caribbean-influenced concerts.
I Dreamed I Saw Saint Augustine, from the Rolling Thunder Revue, is the second appearance of this song on the One More Night collection. Here it is presented as a duet between Dylan and Joan Baez, and is one of their more successful collaboration. The mandolin is a highlight here, as is the strange and appealing turn the vocals take on the line alive with fiery breath.
Shelter From The Storm is a bit of an oddity. The arrangement was only used briefly, and has been referred to as hip-hop influenced, though I'm not fully convinced. Either way, it reminds this listener of 2009's I Feel A Change Comin' On, and is a pleasant listen.
Baby Please Don't Go is one of Dylan's finest early blues recordings. He mixes around lyrics, including a verse referring to Parchment Farm. All acoustic, the song has a powerful drive delivered by the singer's physical stomp.
It's Alright Ma is a remarkably strong performance of this dense poem. Accompanied by his reliable rhythm section and blazing guitars and violin, the singer puts forth every word with the fire and brimstone necessary to convey the cruelty of a cynical culture.
I'm Not Supposed To Care is a Gordon Lightfoot cover. Much like Early Morning Rain and Shadows, the intersection of Lightfoot's words and Dylan's voice is hugely successful. The tale of a man so desperately in love with his ex-lover that he will be willing to drop everything and fulfill her every need should the day come, believing that she'd do the same, is deeply moving.
When The Night Comes Falling From The Sky is a song in transition from its steady arrangement on the Empire Burlesque record to the looser one played on the Temple In Flames Tour. The apocalyptic love story builds from a nigh-acapella introduction to a pulse-pounding rhythm reminiscent of the earlier All Along The Watchtower.
Visions Of Johanna is a classic recording of a classic song from Dylan's noted 1966 World Tour. This performance comes from Sheffield, though it seems like each version of this tune is special for one reason or another. From 1966 to the present day, you just can't go wrong with Visions Of Johanna.
Buckets Of Rain almost got pushed out of the set, as the recording runs a little hot, but it's just so much fun. This is also, to date, the only live performance of the song. Note the humorous moment at which the band believes the song has ended, but the singer pushes them ahead to one whimsical final verse.
Samson & Delilah is a spirited version of the traditional song. Though I've not heard The Grateful Dead's arrangement, I would not be shocked if it functions as the template for this one. I am not fully clear on the lyrics, but everyone's clearly having such a great time. The earliest version of this song with which I'm familiar with is Blind Willie Johnson's 1927 recording, presented on Dylan's own Theme Time Radio Hour. You may hear buzzing at the end of the track; this was apparently related to a power cut that nearly derailed the band's contribution to the 2004 Bonarroo Festival, but thankfully the show went on.
The final song, Every Grain Of Sand, is considered by many to be one of the best performances of this beautiful song. Deeply poetic, the singer conveys new angles in this acoustic rendition from 1989. The harmonica is especially moving.
Among the bonus tracks, several stand out as noteworthy. Though this recording of Just Like Tom Thumb's Blues is a little harsh on the ears (which precluded its inclusion of my 1965/1966 compilation, Shades of Blue), it includes the delightful discussion of Tom Thumb's origins as an introduction to the song. Like A Rolling Stone is the only Rolling Thunder-era performance of the song, and was part of Dylan's Hard Rain TV special, which remains unreleased. Man Of Constant Sorrow is not the typical arrangement, but is instead an electrified version based on the one that appeared in the Coen Brothers' film Oh Brother, Where Art Thou. Return To Me is a rare live appearance of the Dean Martin classic, which Dylan also recorded in-studio for the Sopranos soundtrack. Finally, The Weight was recorded on 2013's Americanaram tour, and features Jeff Twitty and Jim James sharing the stage and the microphone.
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CD 9:
1. Desolation Row – September 3, 1965
2. Trouble – August 16, 1989
3. Mr. Tambourine Man – March 7, 2005
4. Uranium Rock – June 29, 1986
5. Shake Sugaree – June 17, 1996
6. Soon – March 11, 1987
7. Tough Mama – April 11, 2009
8. You’re Too Late – January 29, 1999
9. When First Unto This Country – June 12, 1991
10. One More Night – September 29, 1995
11. I Want You – May 18, 1976
12. Pretty Peggy-O – April 18, 1997
13. When I Paint My Masterpiece – October 29, 1999
14. Remember Me – 1961
15. Dignity – November 13, 2004
16. Restless Farewell – November 19, 1995
CD 2 - Bonus tracks:
1. Tell Me Mama – May 14, 1966
2. Visions Of Johanna – April 18, 1976
3. Vincent Van Gogh – May 16, 1976
4. With God On Our Side – October 18, 1988
5. Congratulations – June 7, 1989
6. I Believe In You – March 30, 1995
7. House Of The Rising Sun – June 18, 2000
The first track, Desolation Row, is the debut of that song. Recorded at a show in the Autumn of 1965, you can hear the audience laugh at surrealist imagery. The vocals are word-perfect, and reveal a man completely dedicated to his craft.
Trouble is a gritty, dirty run-through of this rarely played Shot of Love b-side. The band, as it so frequently was in 1989, is fully engaged with the dystopic tone.
Mr. Tambourine Man appears for the second time in this collection in what has been called a funereal arrangement from 2005. It is delicate, and much of the song is very close to acapella. There is an unconfirmed rumor that this song was performed at this show as an unspoken dedication to the recently deceased American author Hunter S. Thompson, for whom it was a favorite.
The fourth song, Uranium Rock, is a stark tonal shift from the preceding track. This is Dylan at his rockabilly best of 1986, playing a song that has been controversially attributed to Warren Smith. In fact, much of the song has lyrics unrelated to the original; only the structure and part of the money money refrain has been retained from Smith's 1958 original. This practice was one that Dylan would use a handful of times in the mid-ë80s, as his 1985 Shake (played at Farm Aid) was based on the template of Roy Head's Treat Her Right.
Shake Sugaree was played with some regularity throughout 1996, but this is the version familiar to most listeners. A traditional-sounding song attributed to Elizabeth Cotton, the lyrics are fairly inscrutable. It may also have been recorded for Dylan's 1997 record, Time Out of Mind, though no recording has been made available yet.
The fifth track, Soon, is a recording held in high esteem among tape collectors. It was played at a Gershwin Tribute Gala in 1987. Featuring some of Dylan's most tender vocals of that decade, the song is accentuated by some melodic harmonica. This recording is likely derived from a TV feed or similar source, accounting for the less than ideal sound.
Tough Mama, from 2009, is my favorite live performance of this song. Appropriately rollicking, it is one of two performances of the song at a three-night Amsterdam residency. It has been almost entirely rewritten! New lyrical highlights include the dress that your wearing weighs a ton and staring at the ceiling/sitting in a chair./Big fire blazing, ashes in the air.
You're Too Late is a 1999 cover from Daytona Beach. Bob Dylan's covers during the 1997 - 2001 tours were frequently concert high points, and this is no exception. Larry Campbell adds some extraordinary pedal steel guitar to the recording.
Track eight, When First Unto This Country, is not an ideal recording. Though clear, the vocals are sometimes covered by a loudly mixed acoustic guitar. With that caveat, though, the song is magnificent. This is one of the singer's numerous immigrant songs of a type shared by Across The Borderline, I Pity The Poor Immigrant, and Deportees. To be clear, all except one of these are covers, but Dylan consistently makes them his own.
One More Night is one of the best songs of the set. Again, despite the tape's shortcomings, brilliance shines through. This is one of only two live performances of the Nashville Skyline song, and the only one with Bob Dylan on vocals. He is fully committed to the song, singing it with all the sorrow of a man who lost his sweetheart only yesterday. Allison Krauss is featured on violin.
I Want You dates from 1976. The Rolling Thunder Revue featured many songs that had not been played live until that time, and this is one of the most engaging. The band's jaunty tone contributes significantly.
Pretty Peggy-O, which turned up earlier on A Thousand Highways in its 1988 guise, features dramatic vocals putting across all of the pathos possible in this old tale of unrequited love. The recording is sourced from the excellent Bathed in a Stream of Pure Heat 1997 tour compilation, and has long been a favorite of mine.
The twelfth song, When I Paint My Masterpiece, is a laid-back performance from 1999. This song has been truncated slightly to fit the runtime of a CD, but I'm sure you can seek out the full version if you enjoy it.
Remember Me is, like the recording of Gypsy Davy that appeared on an earlier volume of One More Night, among the first recordings we have of Bob Dylan's performing career. It is on the Gleason tapes, and does not sound similar to the album he would record later in the year. Instead, it has a texture and cadence reminiscent of the great Johnny Cash. It is also one of Dylan's most compelling performances of 1961.
Dignity, is incredible. It's perhaps even the best live recording of this song. The 2004 arrangement is a passionate, powerfully driven version that's propelled along by an almost Celtic-rock sound composed of guitar and piano. The vocal highlights include have you seenÖ uh, Dignity and, of course, somebody showed me a picture and I just laughed, ha ha ha. This one will get you rocking.
And finally, Restless Farewell concludes the set. How could it be any other way? From the singer's soft croon to the band's harmonious backing, Dylan's rarely delivered a greater performance than this. The song was performed at a Sinatra Birthday Tribute in 1995, but it is a fitting farewell to the Thousand Highways Collection.
Concerning the bonus tracks, Visions of Johanna is a stunning rare rendition of the song from the Rolling Thunder Revue. With God On Our Side features a new verse concerning the Vietnam War, and Congratulations is one of only three live performances of this Travelling Wilburys lost-love classic. Lastly, I Believe In You is a suitably muscular performance of Dylan's 1979 hymn.
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