"If You Meet Me By The Lamplight I'll Be Around"
New York City
Source: Ripped from trade CD using EAC; if you have better lineage available, you should probably get it.
unknown aud equipment
01. Inarticulate Speech of the Heart (instrumental)
04. Back On Top
05. Goin' Down Geneva
06. In The Midnight
07. Cleaning Windows
08. Vanlose Stairway > Trans-Euro Train
10. In The Afternoon > Joe Turner Sings > Don't You Make Me High > Get On Up, I Feel Like Being A Sex Machine
11. Precious Time
01. Tupelo Honey
03. Jackie Wilson Said ...
04. Philosophers Stone
05. Help Me
06. The Healing Game
07. See Me Through > Soldier Of Fortune > Burning Ground
08. Gloria > Who Do You Love?
John Allair - keyboards
Richie Buckley - saxophone
David Hayes - bass
Matt Holland - trumpet
Bobby Irwin - drums
Johnny Scott - guitar
Geraint Watkins - keyboards
Front cover: Luna Park at Coney Island, NY circa 1900-1906
Administration & Liners:
Tree administration for this tree was by the legendary Linda Beatty! Richard Batey was again the designer of some great jewel-case liners for this show.
Reviews of the concert:
Saw Van last night at the Roseland. I was absolutely Blown Away! I went there fully expecting to love the show but this was beyond incredible. He truly seemed to be enjoying himself. He actually asked for requests! Very uptempo show, from Moondance and Cleaning Windows to Precious Time and Goin' Down Geneva (Michelle Keane)
One of the best live versions of "Tupelo Honey" in ages; "Philosopher's Stone" was rousing, brilliant, building to a passionate crescendo; I loved the segue from "Gloria" to "Who Do You Love" AND BACK!!!! The "call and response" moments were uninspired this night, paling next to previous sojourns during "Summertime In England. Sadly, what may appear to the casual observer as spontaneity has become cliche. I'm not being a snob, but I've heard too many "Kilroy's were here" and gone up too many mountainsides and heard too much about the house, and cars and money in the bank...I miss the moments when Van would walk off the edge of a note and I wouldn't know what would come next...yes, his inspiration has become workmanlike. Still, there was enough brilliant moments from the greatest living singer/songwriter to leave me in rapture and as a soul in wonder. (Harry Weiner)
[For me this was] by far the best of the Van shows I have seen (Boston 4/92 and 4/93; MSG 1/98; Boston both shows 2/98). The setlist was both eclectic and excellent. As Nathan Wirth has already said, the BOT tracks live are much better than on the studio album. In particular, Goin' Down Geneva and Precious Time are the BEG and Domino of 25 years ago -- audience-pumping little gems. The other BOT songs were also solid (more on one in particular), and Tupelo, In The Afternoon and Satisfied, to pick three, demonstrated a Van who was in to the night.
If See Me Through/Burning Ground was a tad short, Gloria was a fine finale. But for me, the night transcended musical entertainment and achieved art (Jesuit trained, that is a word I do not use lightly) with Georgia, Philosophers Stone and The Healing Game.
At one point during all three songs, I experienced an almost physical catharsis -- one in which Van's voice caused me to sigh audibly at the effect he had on me. Nathan Wirth once wrote that music should be a verb and not a noun, and, in retrospect, I now fully realize what he meant by that.
As art is a subjective issue, many in attendance at Roseland may disagree with my assessment; yet, the night will always be special for me, because however misguided my subjectivity might be, amidst the sweating, thrashing humanity on the Roseland Ballroom dancefloor last Sunday night 13-Jun-99, Van spoke with eloquence to a solitary concert-goer . . . . Niall Connors
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