Zurich, Switzerland

May 6, 2000


[Mietta Petronio, Luca Mazzotti and Marco Mazzotti], [Carsten Wohlfeld], [Henry Sturcke]
[Paddy], [Mike Willys], [Ed Nash], [Harald Meusburger], [Michael Gordy and Lasse], [Mikey Jackson]

Review by Mietta Petronio, Luca Mazzotti and Marco Mazzotti

Just back from Mr Dylan's fabolous european comeback.
He was in wonderful shape, grey-dressed, with his voice as clear as ever.
Mr Dylan looked very serious and concentrated at the beginning, loosening
up a bit after TUIB. He looked totally confident and relaxed during the
encores, smiling to the band and  the audience. The setlist was solid,
with only one, very appreciated rarity, i.e. Delia from World Gone Wrong;
the songs were wonderfully sung by Mr Dylan, who was very intense,
inspired even in rather standard classics such as Love Sick. We would like
mention the wonderful performance by Charlie Sexton, particularly during
Country Pie. 

Best regards Mietta Petronio, Luca Mazzotti and Marco Mazzotti


Review by Carsten Wohlfeld

Here we go again: Yet another European tour starting at Tim & Regine's
place in Überlingen and then on to Zurich, one year and one week after his
last show at the same venue. This time around they sold even less tickets
and even though the Hallenstadion didn't look empty, it was far from being
sold out. One interesting detailwas apparent even before the band hit the
stage: They hadd all new equipment: A new (black instead of gold) drumset
for David, new amp and bass for Tony, new amps and guitars for Charlie, a
couple of new guitars for Larry. After being treated to classical and
indian music for two hours Bob and the gang took to the stage at 8.15pm to
open with:

 Roving Gambler (acoustic)

Nice start, without being extraordinary. The sound seemed to be really bad
on stage, as both David and Charlie looked as if they couldn't hear them
at all. Further proof for that theory is Larry acually started the song
while Al was still saying "Ladies and gentlemen..." - strange! Bob's
singing was clear and quite good though. For one he didn't try to play
around with the pharsing too much, which allowed Larry and Charlie follow
him quite easily, when they joined him for the chorus.

 My Back Pages (acoustic)

Larry picked up the fiddle and starts this song with one of his gorgeous
violin solos. It could've been a real highlight of the night, but
apparently the sound on stage was still really bad (or Bob didn't practise
his guitarplaying at all while being boff the tour for the last few weeks
) but after the great start with Larry's solo and Bob's equally good
delivery of the first couple of verses he stopped playing guitar
completely for 20 seconds or so (much to the surprise of Larry and Charlie
- a real "non-solo" spot) and when he came back in he played some of the
worst guitar ever - way too loud and mostly unconnected to the tune.
Charlie noticed it too and his look seemed to say: "Oh my god, what the
fuck was that?" Another disappointment was that Bob got so upset with his
own performance, that he basically abandoned the song halfway through,
thus only singing four verses.

 It's Alright Ma (I'm Only Bleeding)

More bad guitarplaying, but at least the vocal delivery was really good
(as good as on any versions late last year) and the song become the first
real treat of the show. Still love the arrangements with the loud and
quiet parts too. I think most of Dylan's arrangement lacks that kinda
change. The band sounds very different from song to song, but once they
hit a groove they usually keep it for the duration of the song. Not on
this one, which is very nice.

 Love Minus Zero/No Limit (acoustic)

Began with another great solo courtesy of Larry, this time on the pedal
steel. It quickly got really nasty though when Bob couldn't remember the
first verse at all and very little of the second and third. To add to it,
his guitarplaying (if he was playing at all!) was as shambolic as on the
first few numbers, which made this - one of my fave Dylan songs - one of
the worst performances I've ever heard of this song. Tim pointed out that
"there's no success like failure and failure's no success at all" - it was
really appropriate, cause he must have known that this song was a complete
and utter failure.

 Tangled Up In Blue (acoustic)

Save some nicely stretched lines, a pretty average version, with some nice
 lighting effects to go with it. 

 Delia (acoustic)

A real surprise, as this was the first rendition of this beautiful oddity
since 1993?! Nicely done, with an interesting drum part and great vocal
delivery, despite some mixed up lyrics. Tim also pointed out later, that
he paused after the second line of each verse, which sounded much
different compared to the Supper Club rendition.

 Country Pie

Bob obviously was happy that the sound problems and the acoustic set were
behind him now, as he got a lot more animated during the electric set and
this one was a real treat (yeah, I know it looks unlikely on paper). Fast,
loud, rocking, funny. Great dual solo by Larry and Charlie (both playing
Telecasters for this one song only), nice new fake ending.

 Can't Wait

was done in a completely new, reworked arrangement. Slowed down and played
as a heavy blues it was actually much, much better than the original
faster arrangement that got a little boring with time. They used some nice
green, flickery lights to go with this song, too.

 Stuck Inside Of Mobile With The Memphis Blues Again

As great as any version in recent times. Even though he still skips a
verse or two every nice, this is one one the few songs who are very
enjoyable almost every single night. The most memorable change to last
years versions was, that Larry and Charlie cahnged their roles. Larry is
now playing acoustic rhythm guitar and Charlie electric lead. There were
some minor lyric changes on a lot of songs tonight, and here it was
"smoked my eyeBALLS" instead of "eyelids" or the usual subsitute

 Watching The River Flow

with Larry on steel guitar, business as usual. It rocked and Bob's guitar
solos were getting a bit better (he actually changed back and forth
between his two Stratocaster guitars for this show).

 Not Dark Yet

Sung very well (as we've come to expect it by now) but still somewhat
different to last years version, as Larry was playing an old, beat-up
Stratocaster and Charlie a nicely looking red Gretsch, which made the song
sound quite different (and even better, I might add.) Band intros
followed. After that Tony asked Bob if he wanted to do "Highway", but Bob
shook his head, so we got

 Leopard-Skin Pillbox Hat

instead. Compared to the recent live versions I've heard on tape it seemed
to be MUCH louder, harder and it featured some pretty good soling by Bob
and Larry and Charlie as well. A few bows and they were gone.

 Love Sick

Featured some very welcome new lighting effects and was good without being
really excellent. The drums were much louder in the mix than usual, maybe
that was done on purpose or just due to the sound problems they had all

 Like A Rolling Stone

A great version very well sung by a very animated Bob who finally seemed
to adjust to being on stage after this month-long break as well. Nice
solos at the end.

 Don't Think Twice, It's All Right (acoustic)

a pretty average version, as Bob tried to experiment a bit with the
phrasing without actually getting nowhere.

 Not Fade Away

Yet another fun rendition of this song, Bob could remember all the lyrics
(a rarity as you might know) and Larry's and Charlie's solos were fun to
see and hear as well, Larry and Charlie joined in to sing along for the
chorus. After this song it looked for a second as if Bob wanted to leave
for good (at least that's what he seemed to say to Tommy), but then he
changed his mind and returned for

 Blowin' In The Wind (acoustic)

which was just your average (overplayed) version, save for the harmonica
solo at the end, whichitself wasn't that amazing, but quite long and Bob
seemed to really enjoy it (and the crowd's reaction to it). Larry and
Charlie on backing vocals.

 Rainy Day Women Nos. 12&35

Yeah, that one, too. Usual, raunchy version with Larry on steel guitar,
this time with more (improvised) verses than the usual two he used to sing
for ages. The hosue lights came on during this song, a sure sign that the
show was about to be over after close to two hours.

All in all a very weird show, halfway between open rehearsal (not unusual
for a tourstart) and exciting experiment ("Delia" and the newly arrangemt
"Can't Wait"). Don't know what to make of it really. It definitely wasn't
a good show, that's for sure. It was more fun than last year's show at the
same venue, which was better quality-wise, but generally quite boring.
Thanks to Gunter (the next Michael Schumacher :-))  and our lovely hosts
Tim, Regine and Hannah. See ya next year ;-)

Carsten Wohlfeld (
"i don't believe in the exsistance of angles, but looking at you i wonder
if that's true" (nick cave)


Review by Henry Sturcke

A few comments from the third row middle, slightly stage left of Bob. 
For the opening numbers, he didn't look serious as much as he 
looked bored. But the show built a good momentum, and as your 
reviewers said, by the time of TUIB, the mood was great, both on 
stage and in the audience.

Note on Delia: the song seemed extensively rewritten compared to the WGW
version, with some moving moments.

Maybe it was where I was standing, but the only song on which I clearly
heard Charlie's contribution was on Love Sick.

What I especially enjoyed was the song selection and sequence, especially
1-12. Opening the electric section with Country Pie was a real upper.
Final notes: Bob played most of the leads; and his singing was extremely
concentrated throughout.



Review by Paddy

Hey, I'm back from last night concert and all I can say is that I am
absolutely disapointed. I've seen Bob in the last few years about 8 times.
The acoustic set was horrible. He played absolutely the wrong tunes
through 3 or 4 songs. The band was confused and looked completely worried
about his man. Bob himself look VERY tired. Of course his singing was
great, nothing to complain about that, but  I think his holidays wasn't to
good for his finger picking. There were only two highlights...  Can't
wait, absolutly slow and cool version and if I say slow it was really
slow. And then Deliah, that was the point where he seemed a little bit to
wake up. Like a rolling stone was completly bad, it sounded like an
amateur band from around the corner. About the band, what is Charlie
Sexton doin' there? He stands up there just like he is angry that there is
no mirror anywhere where he can control his hair style...



Review by Mike Willys

My family and I have just arrived back in Frankfurt from our weekend to
see Bob in sunny Switzerland.

We had a great time and Zurich is a very cool place. We stayed in the
Hotel Ibis near the south side of the Lake, and it gets a big thumbs-up
for being reasonably priced and it comes with friendly staff as well.

One thing we learned is that it's easy to diet in Switzerland, with most
restaurants being quite pricey. We had lunch on Saturday at one place,
called "Mr. Wong", near the Main Station which I regret, as all through
Bob's show I kept feeling Mr. Wong bubbling around in my stomach and I
thought he might make a reappearance sometime through "Stuck inside of
Mobile". But all stayed calm even though I think my enjoyment of the show
was dampened a little by the thought of that mean Szechuan beef.

On to the show...

I took my eldest son (he is 15 and he thinks Britney is cool, but as he is
15 so he should) to his first Bob show and he was very impressed. We got
there about 7:15pm and got tickets straight away. The place was not too
full when we entered. Strange, but the guy who lets you in the hall
wouldn't give the ticket stub back. I asked for it and he said "NO". That
has never happened to me before.

Zurich Hallenstadion is a pretty big hall, with a huge standing area
surrounded by arena-style seating. A lot of people were sitting already;
we made our way to the middle and found a place to plop. At about 7:35 a
strange wobbly noise came out of the speakers, which for some reason made
everyone stand up and push forward. So we were on our feet at 7:35 waiting
for the 8 o'clock start. At about 7:56 the incense was lit, and we waited…
and waited… Then a Raga (?) started playing (Indian Sita music anyway),
and we kept waiting. The crowd was pretty docile, I tried screaming a bit
to wake them up but they were not too keen on trying to let Bob know that
he was expected.

Anyway the Sita droned on till about 8:15 when all of a sudden, bang go
the lights, and the crowd finally respond!!! Great screaming from the
audience. It was dark for a minute or 2 before the boys shuffled onstage
from exit right, with Bob bringing up the rear. Then the Al announcement
after they were guitarred up, and BANG! Roving Gambler. I picked this
song, as the opener because last year we got Cocaine and I just felt it
would be "Gambler". Great song, Bob sang great, and the crowd joined in on
the chorus. The sound mix was FABULOUS!! Bobs voice as clear as a bell,
right up high in the mix. Just the way I like it.

The boys looked good, Bob was wearing his shiny light grey suit (with no
stripes on the side??) and a back country tie. My first time to see
Charlie and he looks good, tall and self-assured. Tony was looking a bit
dour and Larry with that "I'm not quite sure that I'm here yet or
anywhere" look.

Anyway, then came a big THANK-YOU from Bob. After the first song, pretty
good I thought.

Bob's second song was My Back Pages which featured the fiddle solo by
Larry. Bob sang it good, personally I feel he should have done another
uptempo song because we had been waiting that extra time and as the first
song managed to get the crowd going, the "Pages" put them all back to
sleep a bit. Maybe they put something in the water in Zurich? My son
really liked the fiddle solo. Good job Larry!

Then a finely orchestrated "Its alright ma" with the new bluesy refrain
that I saw reported from the States but hadn't yet heard. I liked it, and
the "president line" got the usual treatment from the crowd.

Netx we got "Love minus zero", a good version too. Bob was doing most of
the solos tonite. He started off pretty lousy actually, but was getting
better every song.

"Tangled" was next and the crowd woke up again. It was a good Tangled, the
way I like it with the melody back in Bob's voice. I don't like the
mono-note versions that we usd to get in the early 90's. I have to say it,
but I missed Bucky here as last year his mandolin playing made 1999's
Tangled the best I have ever heard.

Then…the first song which REALLY got me tonight…. Delia! Unbelievable! I
could not believe it!! I recently have just been back home to Australia
where my cache of CD's live, and Delia was the song I was playing almost
all the time I was there. And I got it live! The crowd acted a bit
stunned, obviously didn't recognize, but I was in 7th heaven. I can never
believe how Bob makes me sad for Delia, but also sad for Curly. It was a
GREAT performance and afterwards I told my kid, That's why Bob is King. He
sang the line "All the friends I ever had are gone" and I thought of dear
Rick, and I am SURE Bob was thinking of him too.

The crowd was warming up and it was time for some electricity! And we got
Country Pie first up, my first treat to this. It was great and the concert
really took off now. Bob did a great solo and the energy levels were
rising. I think Tony started smiling around now….

Next a very new version of Can't Wait, slow without that familiar riff
that runs through it. Bob sang it very clearly and distinctly and
excellently, I loved it. I was expecting all hell to break loose in a big
guitar thrash at then end, but no… a quick stop to a very strange song.
The crowd didn't do too much with it but I loved it.

A good Mobile was in the set, but the first and only small flub by Bob
that I noticed where he sang "patiently" instead of "perfectly" when
referring to the bricks falling ability. A good version of this one too.

Not Dark Yet was good too, with low-power crowd lights coming on during
the chorus.

So the electric set played out, and we got some a standard band intro
before the last song of the set.

Then they left for only a couple of minutes and came back for
"Lovesick". It was a straight run-through.

And then Bob pulled a fabulous "Rolling Stone" out of the ether, and
this one just rocked the place down. The crowd went totally ape-shit and
Tony was grinning from ear to ear now! Bob so nailed this old war-horse
that I would declare it to be the song of the show. My kid said it was the
best, and Bob had the crowd eating out of his hand now. It was GREAT!!!!
There were lots of kids in the audience and everyone was dancing and
beaming. Fabulous, just absolutely fabulous.

And Bob was warming up…we got a great Don't think twice, after which
they all disappeared but we saw them hiding behind the speakers.

Then back again for "Not Fade Away", good fun but a little off key.

Then they disappeared with Tony making faces to us, saying "No, that's all
you get".

But the crowd kept screaming and screaming, I told my son "That's it, they
won't be back" And they come back!! Tony making more silly faces to the
crowd, implying "HA! Got ya! Thought we were gone hey!"

Unreal! Bob was flying now, he was really into it. We got a great
"Blowin in the Wind" with the 3 voices in harmony on the chorus, which I
really like. Then Bob started to do a solo then turned his back and picked
up a small shining device, and Whammo! Harp solo number 1. It was Great!

They they disappeared again, crowd still screaming. And I thought
"That's really it now!" and whammo! They arfe back again for Rainy day
Women. Whatta show! Joints were being lit like crazy, it was insane. Bob's
played the solo with the guitar like a machine gun, and he was doing ALL
the moves…duckwalks, you-name-it! Charlie was playing great too, and Larry
was on pedal steel for this.

Bob took a half dozen or more bows, Picked up the flowers someone
chucked, and Tony again was the last to leave, grinning like crazy! They
knew Bob nailed this as did the Zuricher's because the place was going

They kept the place dark for a while, the roadies were waiting and
watching to see if Bob came back, but then after a minute or 2, the
house lights came on and they started their work.

So a great show, started a bit slowly but Bob cracked it wide open at the
end. A good way for Bob to open the tour. Looks like we are in for a good
month, Europe. Please everybody, get out and support this tour….you ain't
seem nuthin' like it yet!!!


Review by Ed Nash

I was going to try and be brief, since there are plenty of other reviews
already, but it didn't quite work out.  Anyway, I think one's needed from
someone who doesn't see 20 shows a year or expect perfection at every one.

I guess my jusgement might have been a bit clouded by the fact that it was
nearly a total disaster, when my girfriend discovered that she didn't have
her passport.  It got sorted out with half an hour to spare before we had
to set off for the airport (at four in the morning).  We didn't get to
sleep that night, I can tell you.

But still, despite what others say I've got to feel lucky to have seen
that show.  I mean come on guys - the setlist was great, Bob was singing
really well, and they were all clearly having fun.  Tony started grinning
during Tangled and only stopped to look at Bob, along with Larry and
Charlie, with real admiration during Delia.  But in case you think I'm
just undiscerning, I'll admit that a couple of Bob's acoustic solos were a
bit...hmmmm.  And I'm not sure about It's Alright Ma live - it seems to
lose its way a bit occasionally.  And I agree that Bob looked a little
disappointed with My Back Pages (though everyone around me thought it was
great).  But it only took about 2 bars of Roving Gambler to get the crowd
going, Love Minus Zero was gorgeous (he seemed to me to remember the words
just fine, and sang them with as much soft tenderness as I've heard on any
tape).  I think it was now that he and Tony exchanged glances and he
wandered to the harmonica table and had a little look.  But unfortunately
he seemed to decide against it and answered Tony's confused look with a
"ah well" kind of shrug.  It didn't matter.  Tangled was as good as ever,
and there wasn't any feeling that they were trying to get the crowd going.
 Sometimes I think Bob puts everything into the chorus to get a reaction,
but it seemed all to be happening as they wanted and they just got on and
played.  Then Delia, which I confess I'd only heard once (I know, I know -
I'll buy WGW at lunch time).  Others have said it all, so I'll just say I
felt priveleged to be there.  I thought Bob was going to cry he was
singing with such emotion.  Song selection got better and better (with the
exception for of River Flow, which I don't like that much and have now
seen at 2 out of 2 shows).  The new Can't Wait is much better and Bob had
more time to make the phrasing interesting.  I love how Tony walks round
in a crouch like he's stalking elephants.  Not Dark Yet swung between
deeply emotional and overdone in the most heartwrenching moments, which
was something a bit new to me anyway.  Still a sad song, but some light
moments as well.  All the big loud numbers from here were great. Any 
feeling of tedium with the encores would have been solely my own fault for
listening to too many bootlegs, but in fact they were all great fun and
had everyone around me dancing.  One chap I'm sure must have done himself
some serious injuries, as he spent pretty much the entire concert shaking
his head violently backwards and forwards and stamping his foot.  Seemed
to be having fun though.  All five of them were smiling now, and seeing
Tony and Charlie laugh at Bob as he raised his eyebrows during his solos,
as if to say "Ha, I can play guitar - great stuff huh?".  Well, not that
great really Bob, but cool.  Just you keep having fun. Don't Think Twice
was for me an absolute success, with lots of good phrasing, and the band
again seemed full of admiration at the tenderness that could appear so
prominently after such a huge sprawling and most of all loud Rolling
Stone.  Hearing these 60s classic Greatest Hits bought one of my friends
to tears.  I just couldn't stop smiling.  Tony obviously thinks it's
hilarious when the crowd sings along to the big choruses of these ones,
and I'd just like to say to him that may be so, but if he thinks he
doesn't look daft in that hat he should borrow a mirror off Charlie and
take a look. Got to say though, my friend and I both thought Charlie was
quite a handsome chap.  Our girlfriends are a little worried, but I
wouldn't kick him out of bed if I were them.

The house lights were on not long into RDW - Zurich appears to go to bed
at 10.  They didn't seem to want us hanging around in the venue so we went
and got on a tram.  Whatever anyone else says, that was a great setlist
and a great show for anyone who likes hearing Bob Dylan.  For me, who
would've been happy with a lot less, it was perfect.


Review by Harald Meusburger

Hi Folks!
One of my highlights every year is to welcome the "columbia recording
artist". Several weeks before, I start to listen to all kinds of Dylan
recordings. Especially live versions of same songs but from different
periods. So its always a big pleasure to me to hear my favorite songs in a
unlike and fresh version, with Bob in front of me. That of course is the
reason why I only choose one or two gigs each year. I really cant
understand why some people follow him to almost every concert they can
reach. It must get really boring after a while. I cant believe that they
will find a gig where everything is like they wanted it to be. Sometimes I
wonder what Bob would think about the so called "Dylanologist". ( What
does he sing in subterranean homesick blues ? Yes, "dont follow leaders,
watch the parking meters"). OK, ok enough now, lets change to the Zurich
performance. To me Bob sounded in a fantastic clear and emotional voice.
All the "Time out of mind" songs were sung brilliant and in a much more
groovier version than the year before. I really love them that way. Even
the almost deadplayed standards like "TUIB", "Mobile", "Blowing" or "Rainy
day", did receive new and fresh vocals with nice phrasing. A surprise was
"Its allright ma" which I never heard live before, same as "Delia" and
"Country pie" - rocked really good. All in all this time the electric set
seemed to be played more enthusiastic than the acoustic beginning.
Obviously they had some sound problems and the "ladies and gentlemen..."
was not in time. At one point Bob seemed to be very angry about a mistake
of David, looked bored to Tony an finally answered with a terrible guitar
"scratching" which was way out of tune. On this night he obviously loved
his guitar. He holds it like a baby near to the face and played almost all
solos by himself. A little bit weired sometimes I must admit. But come on,
its Bob Dylan not Carlos Santana ! Maybe I change my mind and welcome him
again in Italy. Well, I will see.

bye, Harald


Review by Michael Gordy and Lasse


                                 Initial Appreciations

Words can only fail to express the incredible spirit and warmth of this concert. 
Maybe it was because it was the first concert of Dylan’s European tour, maybe 
it was because he had taken four weeks off the concert circuit, or maybe it was 
the combination of these factors (and something else??!), but the level of 
energy and the musical intensity of the evening were beyond compare.

Rather than trying fruitlessly to capture the overall feeling of the concert in 
this short message, we’ll look at the individual songs and say a few  general 
things about them. 

1.	For a Gambling Man

 This version was everything that country music tries to be. Dylan shows his 
intentions from the first chord, and the straightforward country harmonies 
carry consistently through the entire piece.

2.	My Back Pages 

It is more poignant now than when he wrote it (especially phrases like ‘I’m 
younger than that now’). Larry Campbell starts out the music (on violin) and 
gives us a premonition on what is to come. The song begins in the low range 
and at low volume to give a dark intensity to the music. Then it moves 
upward in range and volume, with a very lovely guitar solo.

3.	It’s All Right Ma, I’m Only Bleeding

Intense, pounding beat with a complex chord structure gives a lift to the 
words musically. The words float on a river of music, almost as if the 
accompaniment was reversed. Even so, the band followed the dynamics 
and tempo of Dylan’s phrasing. The words were all there and all clearly 

4.	Love Minus Zero 

Beginning with a long guitar introduction, the song was slower than usual. 
There was more warmth in Dylan’s voice. The interpretation was beautiful, 
almost heart-rending, with a pronounced steel guitar throughout.

5.	Tangled Up in Blue  

Two guitars did the introduction, with Dylan’s first words entering to dance 
on top of them, almost playing with them. The tone was less angry than 
usual, with an uplifted note at he end of each phrase.  He stretches the word 
‘tangled’, which gives an interesting effect. The song gets more intense as it 
goes along, becoming heavier with a heavier beat.  A more driving character 
appears to it, with a crescendo of energy leading to a Grand Finale. Dylan 
ends the song with a long guitar solo so he has time to catch his breath.

6.	Delia

Long, slow and intense version of this song. ‘All the friends I ever had are 
gone’ sounds like it comes from the deepest part of Dylan’s soul. 

7.	Country Pie 

Charlie Sexton finally occupies his right musical position in this fast version. 
This is the ‘Country’ peak of the concert. Dylan lives up to Sexton’s challenge 
with his own guitar, responding with an intensity that makes his intervention 
stand on its own.

8.	Can’t  Wait

Slow blues, melancholy interpretation, bringing out Dylan’s darker side. We 
identify with him more strongly here than in any of the other songs, which 
is saying something because of the deep identification we feel throughout 
the concert. Dylan carries his guitar high up in this haunting, almost 
plaintive outpouring.

9.	Stuck Inside of Mobile with the Memphis Blues Again

Jumpier beat, and less plaintive than the previous song. Not as heart-rending 
as usual, so it gives a lighter-spirited message, as if Dylan has been there 
before and isn’t worried about staying there. Two great guitarists leave place 
for Dylan to do his funny guitar solos. He adds uplifted notes to the ends of 
the last phrases to signal his escape from the blues.

10.	Watching the River Flow 

Familiar interpretation, fairly upbeat. The usual tempo is mixed with lots of 
blues undertones, culminating in a blues guitar solo. Dylan almost shouts 
his words, the intensity is so great. The song ends in a three-guitar duel.

11.	Not Dark Yet 

Interesting combination of optimism and realism. This song is soulfully and 
carefully played in comparison with what has gone before, almost as if Dylan 
wants especially much to get his message across. He is telling us something 
quite seriously, namely, that we still have time but that time is running out. 
Loads of intensity in the phrase ‘My sense of humanity has gone down the 
drain.’ He drags out the word at the end of each phrase to emphasise his 
point, but his tone throughout is relatively unemotional and almost kindly.

Dylan introduces the band at this point, signalling that the concert is 
coming to the end.

12.	Leopard Skin Pillbox Hat

Straightforward, bluesy rock and roll, with some humourous guitar duos. This 
marks the end of the main part of the show, but Dylan makes it clear that he 
will return.


A.	Love Sick

Very slow. ‘My feet are so tired and my brain is so wired’ pretty much sums 
it up. He holds the volume down all the wasy through and features a really 
lovely guiar solo by Mike Campbell. The interpretation is true to the original 

B.	Like A Rolling Stone

Slow, very intense, but the driving beat gives an illusion of speed. This illusion 
is shattered by the solidity brought out by the heavy undertones. Dylan 
breathes very deeply and punches out some of the phrases like ‘Wanna make 
a deal’.

C.	Don’t Think Twice

Nastiness touched with humour. The beautiful band arrangement softens the 
song, and the crowd goes crazy. If the concert had ended here it would have 
been an insult to the audience. Even the guitar engineer was surprised when 
it appeared that Dylan would stop, so the encores continued.

D.	Not Fade Away

Buddy Holly and the Stones may have established this great song, but 
nobody has ever come close to singing it this way. It was as if it had never 
been sung before, with everyone singing the harmonies and plenty of electric 
sound alongside. The evolution  of this song  made a huge step forward., 
while it brought us back to the  excited feeling with which the concert began.

E.	Blowing in the Wind

It was like hearing this song for the first time, it was so entirely fresh. The 
harmonies from the band were extrwemely intense, and Dylan finished it 
with a long, beautiful harmonica solo.  After this he left the stage and 
scratched his hair awhile, thinking for about 30 seconds before coming 
back on and talking with the band, one of whom had already left and had 
to be found. 

F.  Rainy Day Women #12 & #35	

This final, final encore was played in a fierce, classic style, with all the lights 
on in the house. It was clear that Dylan was playing his last song of the 
evening, and he was flirting with the audience all the while, accepting a 
beautiful bouquet of flowers.

This can only be described as a spiritual experience, trite as that must 
sound.  You should all have been there!


Review by Mikey Jackson

I would like to nominate the trio of early reviewers of the Zurich gig for
a joint Nobel Prize.  Not for literature, you understand, but for physics,
for their reports provide conclusive proof of the existence of a parallel

I was in another one.  In mine, Dylan was at his magnificent best!  In
mine, Dylan's soulful treatment of songs like Delia, Not Dark Yet, Can't
Wait, and Love Sick lent an exquisite poignancy to the lyrics unsurpassed
in my experience.  At the other end of the spectrum, Country Rock and Rock
numbers such as Country Pie, Leopard-skin Pill-box Hat and Not Fade Away
were delivered with such verve, bounce and enjoyment that only the anorak
male brain would care about the look of the set list compared to myriad
preceding set-lists, new guitars and amps, whether the guitar playing was
perfect, or some other trainspotter's guide to trivial minutiae.  The
WHOLE experience was mind-blowing, if your mind (and soul) were open to
it.  What a crying shame for people in that other universe who left their
gig NOT feeling elated and inspired.  Take it from me, they never will!




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