Other than his controversial 1966 tour, when he first went electric, Dylan's legendary Rolling Thunder Review Tour of 1975 is probably the most documented and highly respected of his career. This fourth night of the tour, when so remarkable an entourage of musicians descended upon the Technical University in Lowell, Massachusetts, represents one of the great mysteries surrounding the Rolling Thunder Revue. It's well known that bar room scenes from the Renaldo and Clara movie were shot in Lowell and that the entire ensemble, along with …entire summary
Bob Dylan - vocals, guitar
Joan Baez - vocals, guitar
Bob Neuwirth - vocals, guitar
T-Bone Burnett - guitar
Steven Soles - guitar
Mick Ronson - guitar
David Mansfield - steel guitar, violin, mandolin, dobro
Scarlet Rivera - violin
Rob Stoner - bass
Howie Wyeth - piano, drums
Luther Rix - drums, percussion
Ronee Blakley - vocals
Ramblin' Jack Elliott - vocals, guitar
Other than his controversial 1966 tour, when he first went electric, Dylan's legendary Rolling Thunder Review Tour of 1975 is probably the most documented and highly respected of his career. This fourth night of the tour, when so remarkable an entourage of musicians descended upon the Technical University in Lowell, Massachusetts, represents one of the great mysteries surrounding the Rolling Thunder Revue. It's well known that bar room scenes from the Renaldo and Clara movie were shot in Lowell and that the entire ensemble, along with Allen Ginsberg, visited the grave of Jack Kerouac the next morning and were filmed chanting at his graveside. What has not been known up till now is just how fantastic a performance the Lowell show actually was.
Following the show openers, Neuwirth acts as emcee, and one by one introduces the core band members, who each do a song of their own. First up is guitarist Steven Soles with "Don't Blame Me," followed by bassist Rob Stoner, who's hilarious self pity song "Too Good To Be Wasted (Too Wasted To Be Good)" is an absolute classic that addresses life on the road in its inimitable way. Guitarist T-Bone Burnett gets his spotlight with "Torture" before the band brings out Mick Ronson, guitarist and arranger from David Bowie's legendary Ziggy Stardust band, who plays "Life On Mars?", a Ronson original. Neuwirth then introduces the remaining members of Guam, before calling Nashville songstress and actress Ronee Blakley to the stage to add some sweet backing vocals to the band's homage, "Hank Williams," before taking over on her own number, "Please."
Neuwirth takes over again on the next two numbers. First he acknowledges "a woman that can't be here tonight" and does "Mercedes Benz," the song he and Janis Joplin wrote that was immortalized in her a cappella rendition on the Pearl LP. He then pays homage to his good friend Ramblin' Jack Elliot with a song that takes his name, and Neuwirth uses this song as a fitting introduction to the man himself. Elliot gets a mini-set of his own, leaning heavily on songs about traveling. The band joins back in and they all close Ramblin' Jack's set with the ever appropriate "Rich and Ramblin' Boys," yet another tale of adventures on the road.
Without any fanfare, not even an introduction, Dylan joins the gypsy caravan on stage. His choice of material, much like the album Desire (the sessions had just been completed prior to this run of concerts), has a distinctive unity. The songs that Dylan chose to perform and the way he chose to perform them on this tour displays one of his greatest strengths - a beautiful disregard for professional songwriterly polish. This elasticity of his material is what makes these performances so immediately engaging - not only for the audience but for Dylan himself, as well. Following the intermission, the show continues with something few ever expected to see again, a set of duets with Dylan and Baez.
For Baez's solo set, she begins with "Diamonds and Rust," an original based on her relationship with Dylan. After years of being out of the spotlight, this song had surprisingly become a commercial radio hit and helped rejuvenate her career. Next, she encourages everyone in the house to join in on "Swing Low Sweet Chariot," her voice soaring up above the chorus. This previously unheard recording ends with Baez and the ensemble wailing away on the gospel song "Oh Happy Day," which had charted in the early '70s by the Edwin Hawkins Singers. Truly a memorable show.
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