Bob Dylan
The Thundering Sky Live 1995

Transfered --> AIFF dBpoweramp Flac Level 8

--> Volume One: Electric Performances

01. Down In The Flood - Live Bethlehem December 13, 1995
02. When I Paint My Masterpiece - Live Bloomington October 26, 1995
03. Just Like Tom Thumb�s Blues - Live New York City December 13, 1995
04. Under The Red Sky - Live Philadelphia December 15, 1995
05. West LA Fadeaway - Live Philadelphia December 17, 1995
06. Jokerman - Live London March 30, 1995
07. Joey - Live London March 31, 1995
08. Dignity - Live Brussels March 23, 1995
09. What Good Am I? - Live Philadelphia June 22, 1995
10. Highway 61 Revisited - Live London March 31, 1995
==================

--> Volume Two: Acoustic Performances

01. Visions Of Johanna - Live Philadelphia June 21, 1995
02. Mama, You Been On My Mind - Live Philadelphia December 15, 1995
03. A Hard Rain�s AGonna Fall - Live Philadelphia December 16, 1995
04. One Too Many Mornings - Live Philadelphia June 22, 1995
05. Tangled Up In Blue - Live Philadelphia June 21, 1995
06. Mr Tambourine Man - Live Manchester April 3, 1995
07. Dark Eyes - Live Philadelphia December 15, 1995
08. Desolation Row - Live Bethlehem December 13, 1995

Commentary

I hope listeners are ready for some powerful electric performances and some deeply meditative
acoustic renditions, because this collection has those in spades.

The NeverEnding Tour rolled steadily through the 1990s, but after shifting from a garage rock
sound to a jazz-like aesthetic by 1992, it evolved once again into a heavy rock sound by the
middle of the decade. It would change again before 2000, but the only documentation of this
�heavy� period in the Thousand Highways Collection so far has been a compilation of the Prague
residency in March, 1995. While that residency was a high point of the year, so many more
were still to come.

In the electric set, the most notable performances are likely �West LA Fadeaway,� �Dignity,� and
�Joey.� The first was a Grateful Dead song that Bob Dylan had been playing at his concerts from
the early 1990s, but it really came into its own in 1995. While it was also performed in a
semi-acoustic arrangement at Dylan�s unique Fort Lauderdale covers show earlier in 1995, this
rendition from the winter tour presents the song at its most elemental. The central riff is in place,
and loops throughout the painted picture of Los Angeles� seedy underbelly. �Dignity,� which was
something of a minor hit due to its inclusion on Greatest Hits Volume Three and the MTV
Unplugged show, was played intermittently on the 1995 tours. It took some time to find its
footing, and would only achieve its full potential a decade later in 2004, but this performance
from Brussels is a beautiful, smooth treatment of the song. It�s a little more lively than its studio
arrangement, and benefits from the looser style. Finally, this version of �Joey� from London is
one of the most stirring performances of the Desire centerpiece. Dylan really lays into the
vocals, and though he�s not wordperfect, the passion of the singing and the crunch of the
guitars carries you fully into this contentious mobster ballad.

The acoustic set is anchored by �Visions Of Johanna,� �A Hard Rain�s AGonna Fall,� �Dark
Eyes,� and �Desolation Row.� The first is often spoken of as one of the song�s best outings
during the 1990s. The singer�s fully committed, and presents the song with the precision he
afforded it back in 1966; his unique way of singing the iconic lines �the ghost of electricity /
howls in the bones of her face� is one highlight among many. �Hard Rain� is provided one of the
more fascinating arrangement I�ve heard while the song starts in a typical style, a baroque
guitar riff becomes more present as the song continues, spurring Dylan into more curious vocal
styles. It has to be heard to be believed, and gives the long song an evolving dynamic to pull the
listener in. �Dark Eyes� had previously been played live only once, in a truncated fashion, on
Bob Dylan�s 1986 tour. Patti Smith, for whom Dylan had arranged his rare December tour,
requested the song specifically, and it was played as a duet throughout the brief stint. It was
performed to varying degrees of success, but this rendition from Philadelphia stands out as the
best of the recordings available. At last, �Desolation Row� acts as an apt conclusion to the
compilation. I�ve heard that author Clinton Heylin has claimed this as the best performance of
the song, and you�d be hardpressed to better it. It really is something of a journey, and the
listener will no doubt be compelled to stick with the narrator clear through to the end.

Normally, as the consistent visitor will know, I don�t like to present a tour�s acoustic and electric
portions separately. In this case, though, I made an exception. I found that including three
acoustic performances on the electric disc truncated the set conspicuously, and it seemed to
diminish the power of both styles. In the end, I settled on a fullrunning electric disc and a briefer
acoustic disc, which would be suitable for different occasions. The electric set rocks, ideal for a
commute, a workout, or some other kind of activity; the acoustic set, soft and confessional,
would be preferable for an evening�s drive in the country or relaxing with a glass of wine after a
long day. However you choose to enjoy these songs, I have no doubt you�ll enjoy them quite a
bit.

Thanks for listening,
CS

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