Show Review: Paul Simon & Bob Dylan – Wantagh, NY (07/30/99)

Paul Simon/Bob Dylan
Jones Beach Ampitheatre
Wantagh NY
7-30-99

Tracks:

Paul Simon:

Bridge Over Troubled Water
Can’t Run But
The Boy In The Bubble
The Coast
Trailway Bus
Mrs. Robinson
Me And Julio Down By The Schoolyard
Further To Fly
Graceland
The Cool, Cool River
Slip Sliding Away
Diamonds On The Soles Of Her Shoes
You Can Call Me Al
Late In The Evening
Still Crazy After All These Years

Dylan/Simon duets:

The Sound Of Silence
I Walk The Line/The Wanderer
Knockin’ On Heaven’s Door

Bob Dylan:

Babe, It Ain’t No Lie
Mr. Tambourine Man
Desolation Row
Girl Of The North Country
Tangled Up In Blue
All Along The Watchtower
Shelter From The Storm
Maggie’s Farm
Not Dark Yet
Highway 61 Revisited

Encore

Like A Rolling Stone
It Ain’t Me, Babe
Not Fade Away

My review:

In the summer of 1999, Bob Dylan and Paul Simon embarked on a four-month-long, 38-date tour together as co-headliners (they would switch back and forth in terms of who was the opening act).

This night in Wantagh is the penultimate night of the first leg of the tour. After the next night’s show in Wantagh, they took a few weeks off and came back together in Florida on September 2.

Some kind soul recorded the SBD feed beamed out to the stadium on an FM channel to help those with hearing difficulties. Rattlesnake Records bootlegged that recording on a disc they called Something Is Happening On Mr. Jones’ Beach. Lossless Bob indicates at least one other bootleg of the show, but as far as I can tell, it comes from this same recording (probably just a copy of the Rattlesnake bootleg). A taper named Doinker also recorded the show. And then someone calling themselves OctopusRider did a matrix mix of the SBD and the Doinker recording, but only for the Dylan set.

I listened to the SBD. It is missing “Babe, It Ain’t No Lie.”

The SBD is marred by some volume fluctuations, and it sounds very flat. At least to my (admittedly not great ears.) I listened to the first several songs in my car on the way to work. I immediately didn’t like the sound. It sounded not only flat, but cold and distant. I tried it on my cheap earphones, and it sounded worse.

That afternoon I took my daughter somewhere and put on some Big Thief for her listening pleasure. She immediately complained about the sound quality. We played around with the car’s settings and realized that something was off. The back speakers weren’t working at all, and there was no equalizer adjustments for the front speakers.

No wonder this recording sounded so terrible. The radio worked fine, but when I connected my phone up, something screwed up. It took me a couple of days to fix it. But what an improvement once I did. Now, as I mentioned, the sound still isn’t pristine. It still sounds a bit cold, and there are those annoying fluctuations. But it is highly listenable. I just did a quick test listen to the matrix, and it sounds terrific. You just don’t get the Simon performance.

I have a few Paul Simon concert recordings. The ones from the 1980s onward are all performed with a big band, creating what I call the Graceland sound. The shows are filled with lots of percussion and horns, and a large vocal section.

The opening track this night, “Bridge Over Troubled Water,” has none of that. It sounds more like something Daniel Lanois would produce. It is haunting and atmospheric. Simon can no longer hit those high notes, but he still does a nice job with it.

“Can’t Run, But” gets a little more robust, but not much. But by the time he hits the third song, “The Boy in the Bubble,” things get really good. There are big horns, big guitars, and big backup vocals. Graceland is one of my favorite albums, and this song is one of my favorites from that album, and this version is wonderful.

When I was a teenager, first discovering Paul Simon (or Simon & Garfunkel, rather), I absolutely hated “Mrs. Robinson.” The reasons were mostly stupid (but would probably make for a good My Life In Music post; look for that soon). I always skipped it when playing the record, or when it came on the radio. I’ve since gotten over those stupid reasons, but I still don’t really care for the song. It has some clever lyrics, but it’s never really done anything for me. This is a perfectly fine version.

“Me and Julio” is always fun, and this is an energetic performance. “Cool Cool River” is great, and it concludes with this wonderful cacophony of horns. He doesn’t have Ladysmith Black Mambazo with him (if you ever get to see them live, I highly recommend it; they are awesome), so the opening to “Diamonds on the Soles of Her Shoes” is toned down quite a bit. They do try a bit of acapella singing, but it doesn’t work very well. Once they get into the tune, though, it turns out well.

“You Can Call Me Al” and “Late in the Evening” are super fun with lots of great horn work.

Dylan comes out to duet with Paul on three songs. They sing together on “The Sound of Silence,” which is interesting. Simon has a traditionally good voice; it is very pretty, whereas Dylan has…well, he has Dylan’s voice. I love it, but he’s never been known as a technically great singer. It is full of grit and gravel. Put them together, and it’s not exactly a beautiful harmony, but it works. Next, they do a medley of “I Walk The Line/The Wanderer,” and it is clear they are both having so much fun.

But it is “Knockin’ On Heaven’s Door” that’s the showstopper. I believe it is Simon’s band still on the stage, and the addition of horns makes this rendition something special. They turn it into a reggae number, and it is just amazing. Bob and Paul trade off verses, with them both singing the chorus. Again, it is clear they are having a great time. Toward the end, they launch into a chorus of “I hear ya knockin’, but you can’t come in,” and I just love it.

Bob in 1999-2000 is some of my favorite Dylan ever. Larry Campbell and Charlie Sexton on guitars is where it is at. But the whole band really gels perfectly well. For my money, Paul Simon was the warm-up, and this is the show.

I’ve always loved how, during this period, Dylan always opened with an old traditional number. It really sets the stage. “Oh, Babe It Ain’t No Lie” fits that bill. Then we get into it with “Mr. Tambourine Man,” which finds everyone in fine form. There is a nice bit of duelling guitars at the close. Next comes “Desolation Row,” and it is fantastic. Great acoustic guitar playing. Bob’s vocal is so tender and pure on “Girl From the North Country.”

During this period, “Tangled Up In Blue” often had an extended acoustic jam that I usually just love. It feels a little off-balance here, but is still quite good. Larry Campbell sits at the pedal steel guitar for “Shelter From the Storm,” and it is amazing.

“Not Dark Yet” is one of my favorite late-period Bob Dylan tunes, and this version is fantastic. Long ago, I created a playlist for some of my favorite live versions of songs, and this went immediately into it.

“Highway 61” puts Larry back on pedal steel. There is some very fine electric guitar work.

The encore begins with “Like a Rolling Stone.” It is very good. Then we get treated to a ten-minute version of “It Ain’t Me, Babe” featuring some terrific acoustic guitar jamming. Then we close it out with a raucous “Not Fade Away.”

Great show overall. This is definitely not Paul Simon’s best performance. I’ve heard him do much better. It doesn’t help that the soundboard recording fluctuates so much. But it’s still good stuff. But it’s the Dylan set that makes this a must-have. That and the duets.

Bob Links has another review of the concert.

Lossless Bob has six LB#s for this show; you can find them here.

I have three sources. You can see text files and artwork here.

YouTube has a video of the show, recorded from the audience.

Show Review: Bob Dylan – Rome, Italy (06/19/84)

Bob Dylan with Mick Taylor & Carlos Santana
Rome, Italy
June 19, 1984

Highway 61 Revisited
Jokerman
All Along The Watchtower
Just Like A Woman
Maggie’s Farm
I And I
License To Kill
Hard Rain (acoustic)
Tangled Up In Blue (acoustic)
It’s Alright Ma (I’m Only Bleeding) (acoustic)
Simple Twist Of Fate
Masters Of War
Ballad Of A Thin Man
When You Gonna Wake Up
Every Grain Of Sand
Like A Rolling Stone (band introduction)

encore:

Mr Tambourine Man (acoustic)
It Ain’t Me Babe (acoustic)
The Times
I Shall Be Released
Tombstone Blues
Blowin’ In The Wind

Band:

Mick Taylor – guitar
Ian MacLagan – keyboards
Greg Sutton – bass
Colin Allen – drums
Guest: Carlos Santana – guitar, last 4 tracks

Soundboard
Liberated Boot: Live At Palaeur
Silver CD > CDR > FLAC

Artwork: Front Cover, Back Cover, Poster

online Review:

“Live At Paleur is a soundboard recording taken from Dylan’s 1984 tour of Europe. It captures a highly enjoyable performance from Dylan and his Mick Taylor-fronted band. This recording sets Dylan’s vocals way out in front but I personally enjoy that mix. The band are a little buried on some of the songs and there are occasional echoes on the vocals but if you don’t mind these things then this is a great recording. It’d give an 8 or an 8.5 out of 10. Dylan sings most of the songs in the confident, swaggering style that characterised many of live performances in the 1980s. While this style is certainly not my favourite of Bob’s “vocal characters”, it works to good effect on many of the songs here. One thing that cannot be disputed is that ‘Live At Palaeur’ is a much better document of this tour than the patchy official release ‘Real Live’. Ballad Of A Thin Man on ‘Real Live’ is a horrible, rushed parody of the song that appeared on ‘Highway 61 Revisited’. Here Ballad… is one of the highlights of the set. The versions of Maggies Farm, Masters Of War and Tombstone Blues on this release also put their Real Live incarnations to shame. Other highpoints include the brilliant, rewritten Tangled Up In Blue, an interesting post-Gospel rewrite of When You Gonna Wake Up? (”When you gonna wake up? maybe you never will”), a passionate I & I and a beautiful performance of Every Grain Of Sand, which was still a relatively new song at that time. It’s clear that Bob’s having fun when he lets the audience sing on the chorus of Times They Are A-Changin’ and Blowin’ In The Wind. All in all, this is a highly entertaining show and I don’t hesitate in giving it my stamp of approval (for whatever that’s worth…) “

enjoy 🙂

The Midnight Cafe’s Review

When I listen to these shows, I try to make notes when something stands out. If a guitar solo is particularly interesting, or if there is some flub, I’ll write it down. If a song does something different – not necessarily good or bad, just different than I’ve heard it played before I make a note. But when a song is just played well – even really well – but it doesn’t do anything different, I tend not to make a note of it.

This show is really good, but very little actually stood out to me. A big reason why is that the mix is weird. It sounds muddled. Mick Taylor’s guitar is turned down really low to my ears. One of the other sources purports to be from Dylan’s monitor mix, and it also complains about the quality; I’m guessing this may be from the same source.

Dylan comes in loud and clear, but the guitar and keyboards often sound very distant. This gives the recording a feeling of not quite being there. Like you are listening from another room or something. It is too bad, too, because Mick is often killing it, taking some great solos. When I really concentrate, I can absolutely dig what he’s doing. Ian MacLagan does some good stuff on keys as well, but you can barely hear him half the time.

I listened to this on my way to work via my Honda CRV’s crappy speakers and then while I was at work via my crappy earphones. I suspect that if you listened to this with a really good sound system and maybe played around with the levels a bit, this might come out really good. Not perfect, but good.

But through my speakers it sounds just pretty-okay. It is still highly listenable, and it is a good show, but it won’t be going into my regular listening pile.

I did really like “I and I “ which has some nice echo on Dylan’s vocals. “Tangled Up In Blue” has some wonderful alternate lyrics. “Just My Imagination” is cut on this recording for some reason, but it seems to exist on other sources. I had no idea Carlos Santana played on the encore, and apparently I wasn’t impressed by him.

Lossless Bob has eleven sources listed for this show. I only have this one.

Show Review: Bob Dylan and the Band – Oakland, CA (02/11/74)

Furthering my attempts to add more music discussion at The Midnight Cafe, I thought I’d add to my reviews of officially released live music by reviewing some unofficially released tunes as well. That’s maybe slightly a falsehood in this case, as Dylan has released all of these shows in a magnificent boxed set, but he left out all The Band’s solo performances. And this review is not of the officially released discs but of a ROIO.

Some time ago on my music blog I posted a Bob Dylan and The Band show from 1974, or maybe it was a compilation. I don’t remember. It doesn’t matter. The point is, I posted something from their tour together at that time, and I made a comment about how it was one of the greatest tours ever. The thing is I didn’t really know that to be true. I hadn’t really listened to much of that tour. I don’t think I’d even listened to Before the Flood all the way through. But I knew it was a big tour that played big venues to big crowds. I knew people were excited about it because this was the first tour after Bob Dylan’s long hiatus and that while The Band had toured with him in the 1960s, they were now a major rock and roll act in their own right.

Sometime after I posted my unrealized praise, I came to realize that quite a few hardcore Dylanheads weren’t really down with this tour. In fact, many downright loathe it. Turns out Dylan and at least some members of The Band felt it was a sellout tour, good for the pocketbook, but not for the soul. So I thought it would be fun for this, my first bootleg review in a long time to tackle a show from this tour.

I randomly picked this performance and this particular source. Dylan and the Band played some 40 gigs over the course of about two months (often playing two shows per day). This show was towards the end of the tour. They’d play three more gigs in Los Angeles after that, and then they were done. Lossless Bob lists some fourteen sources for this show. I have five of them. I chose LB-4455 to listen to. It is a nice sounding soundboard recording. Oddly, it contains parts of the early show and parts of the late show. The set lists were identical (or nearly so) and this bootleg basically cuts it in half. The split occurs in the middle of the Dylan solo acoustic set.

The tour changed a little bit from the early shows to the end of the tour but by this point they were playing mostly the same songs every night. It broke down like this: Dylan and The Band performed together, then The Band would play some of their songs without Dylan. The Band would leave and Dylan would do a few solo acoustic numbers. Then he’d leave again, allowing The Band to play a few more of their tunes, followed by Dylan being backed by The Band.

After listening to this performance a few times, I can definitely see where the hate is coming from, but also feel that it is overblown. This performance is a big rock and roll show. It is loud and brash, rowdy and racous. It is a big stadium rock and roll show. That’s great for bands like The Rolling Stones, but one usually expects something different from Bob Dylan. His music is suited for a more intimate setting where you can get more nuance.

But often, it actually works. It starts with a rambunctious “Most Likely You Go Your Way (and I’ll Go Mine).” The music is played loud and fast, Dylan practically spits his words out. I dig it. It is a powerful way to start the show. This is followed by “Lay Lady Lay”, which is a little more laid back but still rowdy. The song is meant as a seduction, but any girl listening to this would likely run for her life. Garth Hudson is playing some kind of new electric piano. It sounds like an organ here. Or maybe it is an actual organ. I’m terrible at figuring out who is playing what instrument.

I’m not going to do a song by song review. I just don’t have that much to say. I’ll try to list the highlights and maybe anything that seems weird or bad.

“Rainy Day Women” has a carnival feel which really works for the song. “It Ain’t Me, Babe” hangs onto that carnival sound. There are some droning organ chords which I kind of dig, but I can see how it might drive some folks nuts. Then the piano kicks in and it sounds great. Ditto Robbie Robertson’s guitar playing. The guitars get loud and rocking during “King Harvest.”

Here’s where I admit I’m not actually a huge fan of The Band. They were all incredibly talented musicians and great live performers. I freaking love The Last Waltz, but a lot of their songs just don’t do it for me. I’ve never been able to “get” Music From the Big Pink. I’ve got numerous recordings of their concerts without Bob and while the performances are often good, I can rarely get into them because of the songs.

I do love “Up on Cripple Creek” but, unfortunately, it cuts out on this recording. “All Along The Watchtower” which brings Dylan back in with The Band cuts in. Dylan’s solo acoustic songs are fine. I love these songs and he performs them well. But this isn’t Dylan in the 1960s. The nuance and fire is gone.

“Ballad of Hollis Brown” with The Band is terrific. It is not a favorite song of mine, but this version is fantastic. Great keyboard work, terrific guitar lines. “The Weight” is another song I do love from The Band is it is played with great enthusiasm here. Enthusiasm is a good word for the rest of the songs on this set. The last few songs are played with high energy.

So, yeah, this is good stuff. It is a big rock and roll concert played with verve. But it does feel like maybe something is missing. It has to be weird playing in front of 20,000 people all cheering and shouting. That personal connection is going to get lost. Nuance and subtlety are hard to find in a massive arena. I look forward to listening to other shows on this tour, but I probably won’t do that for a while. It is easy to see why Dylan completely deconstructed his concerts the next year with The Rolling Thunder group. But I’m also glad he did something like this.

You can view the entire setlist with notes about this recording here.

I’m not sure how I want to post this sort of thing. I had initally thought I’d upload all the images and text files (but not the music – if you want that send me a message and I can point you in the right direction.) But that seems like a hassle and maybe not that interesting to anyone. So, I’ll ask. Would anyone be interested in seeing that sort of thing? Would you like to have all the source information, just not the music? Is that worth it? Leave me a comment if you have thoughts on this, or anything else.

Listen To Bob Dylan Perform “You Gotta Serve Somebody” On This Day in 1981

I love doing these things, but they do take time to create and sometimes I’m tired, sometimes I forgot.

I’ve got a review of Dicks Picks 2 coming up, but my brain is so fired tonight I can’t think straight. So hopefully this weekend.

Listen to Bob Dylan Perform “Little Moses” on this Day in 1992

Bob Dylan – Dover, DE (06/17/17)

Bob Dylan
Firefly Music Festival
Dover, Delaware
June 17, 2017

1-1 Intro: Stu Kimball
1-2 Things Have Changed
1-3 It’s All Over Now, Baby Blue
1-4 Highway 61 Revisited
1-5 Simple Twist Of Fate
1-6 Beyond Here Lies Nothin’
1-7 Make You Feel My Love
1-8 Lonesome Day Blues
1-9 Don’t Think Twice, It’s All Right
1-10 Summer Days
2-1 Blind Willie McTell
2-2 Duquesne Whistle
2-3 A Hard Rain’s A-Gonna Fall
2-4 Pay In Blood
2-5 Love Sick
2-6 Ballad Of A Thin Man
2-7 Masters Of War
2-8 Rainy Day Women # 12 & 35
2-9 Like A Rolling Stone

Bass – Tony Garnier
Drums – George Recile
Guitar – Charlie Sexton, Stuart Kimball
Pedal Steel Guitar, Violin – Donnie Herron
Performer, Songwriter – Bob Dylan

Downloaded this from somewhere. It came with no source information. The folders are labeled “Firefly ’17” and the track listing matches so presumably it is a rip of the Crystal Cat release from this date.

Bob Dylan – Proclaim the Creed: Live 2021-2022

Bob Dylan
Proclaim The Creed: Live, 2021 – 2022

False Prophet – Live – Bloomington – November 7, 2021
I Contain Multitudes – Live – Cardiff – October 26, 2022
When I Paint My Masterpiece – Live – Tucson – March 4, 2022
My Own Version Of You – Live – North Charleston – March 27, 2022
I’ve Made Up My Mind To Give Myself To You – Live – Bloomington – November 7, 2021
I’ll Be Your Baby Tonight – Live – Tucson – March 4, 2022
Crossing The Rubicon – Live – Shreveport – March 18, 2022
To Be Alone With You – Live – Berlin – October 6, 2022
Key West – Live – Albuquerque – March 6, 2022
Melancholy Mood – Live – Philadelphia – November 30, 2021
Mother Of Muses – Live – Boise – June 28, 2022
Goodbye Jimmy Reed – Live – Albuquerque – March 6, 2022
Every Grain Of Sand – Live – Cardiff – October 26, 2022

Bonus

Black Rider – Live – Washington, DC – December 2, 2022
Gotta Serve Somebody – Live – Philadelphia – November 30, 2021
I Can’t Seem To Say Goodbye – Live – Nottingham – October 28, 2022
Key West – Live – Milwaukee – November 2, 2021
Key West – Live – Boise – June 28, 2022
Most Likely You Go Your Way (And I Go Mine) – Live – Cardiff – October 26, 2022
Watching The River Flow – Live – Albuquerque – March 6, 2022

Originally posted on A Thousand Highways which is always worth checking out.

When Covid-19 spread across the world in 2020, Bob Dylan’s live show was necessarily put on hold. We received Rough & Rowdy Ways and Shadow Kingdom in the interim, but nothing could sate the excitement we collectively had for our guy to get back on the road once safer conditions prevailed. And in Fall 2021, they did.

Bob Dylan returned to concert halls around North America on a new tour – perhaps the first in his career – explicitly designed to promote his newest studio recording. The Rough & Rowdy Ways Tour would almost exclusively highlight songs from the eponymous album and its 2021 back-catalog counterpart, Shadow Kingdom. Slimming down the setlist selections even further from the already-tight 2019 shows allowed Dylan and his band to explore these magical songs with the depth they deserved.

“False Prophet” is fiercer than its album take, “I Contain Multitudes” is more evocative, and “My Own Version Of You” is alternately more menacing and funnier. “Key West” receives a definitive reading here, offering introspection and peace in equal measure. “When I Paint My Masterpiece” and “To Be Alone With You” are downright playful, and “I’ll Be Your Baby Tonight” sounds like it was made to be played in this jaunty arrangement. “Jimmy Reed” shuffles along with an infectiously fun vocal performance. These shows represent the triumphant, joyful communal experience fans had been awaiting over the preceding two years of hardship.

In an effort to focus on the best of the best, I’ve trimmed the standard opening tracks “Watching The River Flow” and “Most Likely You Go Your Way (And I Go Mine)” from this collection and played a bit creatively with the sequence. Don’t worry, though: listeners who’d like an accurate representation of the average concert will find these songs among the bonus material here. I’ve also included a Jerry Lee Lewis cover played in honor of its composer’s death in 2022 along with two additional versions of “Key West” that demonstrate that song’s unique evolution over the course of the 2021 and 2022 tours.

I hope it’s been worth the wait! Until next time, keep yourself healthy and listen to some good tunes.

Cheers,
CS

Update: Folks who downloaded this within the first 12 hours of publication on 3/31/24 will find that one of the tracks – “False Prophet” – has a pretty bad audio problem due to an export issue I ran into in Audacity. A revised version has now been published.

Bob Dylan – Casper, WY (07/13/03)

Bob Dylan,
7/13/03
Casper, Wyoming
Events Center

(75min+26min), cb master; levels raised by pb during remastering; excellent sound; similar quality to Travelin’ Man Records version which has warmer sound

CD1
1 Stuck Inside Of Mobile With The Memphis Blues Again, (Bob on piano, Larry on acoustic guitar)
2 I’ll Remember You (Bob on piano and harp, Larry on pedal steel)
3 Tweedle Dee & Tweedle Dum (Bob on piano)
4 It Ain’t Me, Babe (acoustic) (Bob on piano and harp, Larry on cittern)
5 Things Have Changed (Bob on piano)
6 Watching The River Flow (Bob on piano, Larry on slide guitar)
7 It’s Alright, Ma (I’m Only Bleeding) (acoustic), (Bob on piano, Tony on standup bass, Larry on cittern)
8 Dignity (Bob on piano)
9 Under The Red Sky (Bob on piano and harp, Larry on pedal steel)
10 The Wicked Messenger (Bob on piano and harp)
11 I Believe In You (Bob on piano)
12 Honest With Me (Bob on piano, Larry on slide guitar)
13 Moonlight (Bob on piano, Tony on standup bass),

CD2
1 Summer Days (Bob on piano, Tony on standup bass)
2 (encore), Like A Rolling Stone (Bob on piano)
3 All Along The Watchtower (Bob on piano and harp)

Bob Dylan – The Genuine Royal Albert Hall Concerts, 1966

BOB DYLAN
Royal Albert Hall, London;
May, 1968
The Genuine Royal Albert Hall Concerts

Scorpio bootleg GBS 66 7/8
Remastered by Captain Acid (phase correction, level correction, EQ, manually declicked vinyl clicks)

CD 1:
FREE TRADE HALL, MANCHESTER, May 17, 1966

She Belongs To Me
Fourth Time Around
Visions Of Johanna
It’s All Over Now, Baby Blue
Desolation Row
ROYAL ALBERT HALL, LONDON, May 26, 1966
She Belongs To Me
Fourth Time Around
Visions Of Johanna
Leopard Skin Pill Box Hat
One Too Many Mornings
Ballad Of A Thin Man
Like A Rolling Stone

CD 2:
ROYAL ALBERT HALL, LONDON, May 27, 1966

She Belongs To Me
Fourth Time Around
Visions Of Johanna
It’s All Over Now, Baby Blue
Desolation Row
Just Like A Woman
Mr. Tambourine Man
WBAI interview – January 19, 1966

Robbie Robertson – guitar,
Rick Danko – bass,
Mickey Jones – drums,
Richard Manuel – piano,
Garth Hudson – organ

Bob Dylan – New York, NY (xx/xx/61)

Bob Dylan
Folklore Center (110 MacDougal St)
NYC
Early 1961 (?)
Exact date unknown

Transferred by ‘JF’
Lineage: 7″ open reel > DAT > Hard Drive > Adobe Audtion> Flac
Found on side 2 of open reel tape.
Unlikely that BD and Van Rock performance is from the same date as the Gibbon/Gooding performance.
Tape found manually spliced.
Tape box marked “Gibbon, Van Ronk and BD (CG)”