Bob Dylan w/Tom Petty & the Heartbreakers
8/6/86
Paso Robles, CA
Mid-State Fairground

Soundcheck:

Brownsville Girl (instrumental)
Brownsville Girl
I Want You (instrumental)/Maggie’s Farm
Shake (instrumental)
Shake (instrumental)
unidentified blues instrumental

Show:
Shake A Hand
All Along The Watchtower
Clean Cut Kid
I’ll Remember You
Shot Of Love
We Had It All
Brownsville Girl
Masters Of War
Straight Into Darkness (Petty),
Think About Me (Petty),
The Waiting (Petty),
Breakdown (Petty)
It Ain’t Me, Babe
One Too Many Mornings
Mr. Tambourine Man
I Forgot More Than You’ll Ever Know
Band Of The Hand
When The Night Comes Falling From The Sky (cut)
Lonesome Town
Ballad Of A Thin Man
Even The Losers (Petty)
Spike (Petty)
Heartbreak Hotel (Petty)
Tonight Might Be The Night (Petty)
Refugee (Petty),
Rainy Day Women Nos. 12 & 35
Gotta Serve Somebody
Seeing The Real You At Last
Across The Borderline –
I And I
Like A Rolling Stone
In The Garden
Blowin’ In The Wind
Rock ‘Em Dead
Knockin’ On Heaven’s Door (incomplete)

Source 1:

LB-3195, (79min+69min+22min), Off Master – Possibly New Source

This is one of the shows recorded by Russ Cansler that I received strictly for the purpose of digitizing and posting at dime THANK YOU RUSS!, Equipment Used Realistic Pzm’s and a Sony wmD6-C Right Side Of Stage, There is some audience noise in the tape, listen to a sample to find out if you want to grab it. I know my old copy didn’t have the Petty set so this source was a new addition for me. I did not use any EQ or fancy editing. This is an exact replica of the master tape for the purists out there., Notes:, Last show of the 1986 tour and I believe it’s the only live version of Brownsville Girl, Tape Flip at End Of Think About Me, When The Night Comes Falling has the end CUT because of tape ending, Rainy Day Women has the end CUT because of tape flip, Knockin’ On Heaven’s Door is just the beginning before the vocals INCOMPLETE track, Tonight Might Be The Night may be the incorrect title.. I dunno; bittorrent download 09/05; good to very good sound [B-]; very close to mono; cdr tracking numbers were not specified in the info file so ones were chosen that did not break up a song since placing cdr breaks logically by petty sets ending resulted in splitting songs since they are not always tracked right at the beginning of a song; background talking d2t12

Source 2:

Soundcheck Only

LB-5123

Complete circulating soundcheck. Track numbering preserved from the original fileset, which included other material, just in case anybody’s ready to join in seeding. The track IDs have been improved from the originals (I hope), but the flacs are unchanged.

This might be the best-sounding soundcheck in my ongoing series of Dylan arcana, nearly as good as quite a few of the 1986 audience concert tapes, and is one of the most interesting (even though “Brownsville Girl” never delivers the goods, or much audible Dylan). No, there may not be much in terms of lead Dylan vocals, but the material is interesting and the performances solid. “Brownsville Girl” is pretty much the same arrangement (repeated chorus only!) used for the song’s one-and-only live “performance,” at this show. “Maggie’s Farm,” which Dylan launches into after the band riffs on “I Want You,” never turned up in any of the 1986 Dylan/Petty concerts, but it turns up, remarkably enough, as the opening song in their next appearance together, in September 1987 in Tel Aviv. “Shake”, like “Maggie’s Farm” part of the Dylan/Petty 1985 Farm Aid set, is a little known set of Dylan lyrics that never reached a final form, set to a tune very much like Roy Head’s “Treat Her Right”; it had disappeared from the Dylan/Petty playlist after a few airings in Australia earlier in the year. These two songs offer an unexpected preview of the 1987 “Temple In Flames” concerts, looser than most of the “True Confessions” tour and probably more fun as well. If you remember the Rolling Stone article about the early 1986 Dylan/Petty rehearsals and studio sessions that held out so much promise that was never delivered — this is a little window into what probably was going on then, that we’ve never had a chance to hear. Nothing revelatory, but Dylan relaxing and just making music is usually more interesting than Dylan forcing himself to deliver. If, as he said in an interview (or was it Chronicles), he’d lost the ability to perform naturally onstage by the mid-1980s, he could still do it when the audience wasn’t there.