The 30th Anniversary Concert Celebration

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surprise. These two young Dylan fans didn't need any loud Seattle sonics to get across Dylan's pointed classic from The Freewheelin' Bob Dylan. transformed The M.G.'s and drumming ace Jim Keltner into a fantastically loose, Crazy Horse-styled outfit for a strong reading of "Just Like Tom Thumb's Jhonny Cash and Eddie Vedder, The Clancy Brothers and Lou Reed, the four-hour show celebrated a truely remarkable lifetime of songs in The 2DVD and Blu-ray versions of The 30th Anniversary Concert Celebration – Deluxe Edition include 40 minutes of previously unreleased material including behind-the-scenes rehearsal footage, interviews and more. Rosanne Cash, Mary-Chapin Carpenter and Shawn Colvin – a trio of the most gifted women singer-songwriters around and major Bob Dylan fans all – teamed up to trade off verses for a gorgeous, harmony-drenched cover of “You Ain’t Goin’ Nowhere,” a Basement Tapes gem that was re-recorded by Dylan with Happy Traum for 1972’s Bob Dylan’s Greatest Hits, Vol. II set, as well as being a standout cut on The Byrds’ 1968 classic Sweetheart of the Rodeo album.

In 1992 the legends were not that old. Dylan was 51. George Harrison, Eric Clapton and most of the vets were not yet fifty. Johnny Cash and Willie Nelson were a little older, but still in full command of their gifts. New kids like Tracy Chapman and Pearl Jam’s Eddie Vedder and Mike McCready were talented enough to command the spotlight even in such heavy company. Those young artists took on what might have seemed to be the most dated songs – “The Times They Are a-Changin’” and “Masters of War” – and proved that those fingers still needed pointing, those arguments were still unsettled. Stevie Wonder’s majestic “Blowin’ in the Wind” suggested how far America had come in its struggle for civil rights since both Dylan and Wonder began performing, while making clear that there were still many struggles ahead. group during Dylan's early folkie days. For the Dylan show, they were joined by their longtime musical associate and special guest Tommy Makem as

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the swinging, countrified “You Ain’t Goin’ Nowhere” from Mary Chapin Carpenter, Shawn Colvin, and Rosanne Cash Finally, after the television satellite feed was shut down, Bob Dylan generously returned to the stage for a lovely, understated version of "Girl Of The North Country" that proved one more time what one man can do armed only with his voice, guitar, and extraordinary songs. Music critic Robert Shelton has interpreted this refrain as "an internal dialogue between what he [Dylan] once accepted and now doubts." [2] Shelton also notes that the refrain maps a path from Blakean experience to the innocence of William Wordsworth. [2] The refrain has also been interpreted as Dylan celebrating his "bright, new post-protest future." [6] television special taped at the Grand Ole Opry in 1969. Cas and Dylan's duet on "Girl Of The North Country" was featured on Dylan's groundbreaking

occasionally in recent years - offered an eloquent and moving solo acoustic version of the often-covered "The Times They Are A-Chanin'," and George Harrison makes his first U.S. concert appearance in 18 years with “Absolutely Sweet Marie.” John Mellencamp, who's been covering "Like A Rolling Stone" in concert for years, bravely took on the Dylan classic early in the show and delivered a fairly faithful and altogether convincing cover featuring strong vocal help from Pat Peterson and Sue Medley. Joining Mellencamp and his excellent band for the event on organ was Al Kooper, reprising his prominent part from Dylan's 1965 original, which was voted the best single of the last 25 years by "Rolling Stone" in 1988. Mellencamp -- whose been instrumental in the activities of Farm Aid, which Dylan helped inspire with his onstage comments at Live Aid, and who directed Dylan's "Political World" music video in 1989 -- was also in fine form for a rousing, bluesy "Leopard-Skin Pill-Box Hat" from 1966's "Blonde On Blonde".Nelson perfomed for the first time at the event. Playing bass on his swampy and sly rendition was Don Was, who Younger Than Yesterday". ByrdWatcher: A Field Guide to the Byrds of Los Angeles. Archived from the original on April 28, 2009 . Retrieved August 9, 2009. a b c d e f g h Heylin, Clinton (2009). Revolution in the Air: The Songs of Bob Dylan 1957–1973. Chicago Review Press. pp.206–208. ISBN 978-1-55652-843-9. De Yong, Jenny; Roche, Peter (May 1965). "Bob Dylan". Sheffield University Paper. Sheffield. Archived from the original on April 16, 2009 . Retrieved December 29, 2009.

The 30th Anniversary Concert Celebration, which reached #40 in the US and went gold,was released in August 1993 just before Dylan was about to deliver his second folk studio set inside of a year, World Gone Wrong. The concert was dubbed “Bobfest” byNeil Youngat the beginning of his “All Along the Watchtower” cover. Bob Dylan that Cash took up the charts in 1964, well before the Turtles turned it into a pop smash in 1965. Crew For House Band -- Anthony Aquilato, Jeff Shaw, Lisa Sharken, Cesar Diaz, Artie Smith, Richard Brister Richie Havens, who in his early days played many of the same Greenwich Village folk haunts as Dylan, first cut "Just Like A Woman" for his

Canadian charts listing" (PDF). Library and Archives Canada. Archived (PDF) from the original on February 26, 2021 . Retrieved May 2, 2018. helped inspire with his onstage comments at Live Aid, and who directed Dylan's "Political World" video in 1989 - was also in fine form for a rousing, The traditionally show-stopping Eric Clapton, who performed a duet with Dylan on “Sign Language” from his No Reason to Cry album in 1976, came through with a startling and moving performance at the celebration. The highlight of his set – which also included a luminous “Love Minus Zero/No Limit” – was a truly revelatory rendition of “Don’t Think Twice, It’s All Right,” from The Freewheelin’ Bob Dylan, that Clapton and Booker T. Jones radically rearranged into a seductive new bluesy masterpiece, complete with some incendiary soloing from the guitar master himself. Rocheleau, J. (2006). " "Far Between Sundown's Finish and Midnight's Broken Toll": Enlightenment and Postmodernism in Dylan's Social Criticism". In Vernezze, P.; Porter, C. (eds.). Bob Dylan and Philosophy. Open Court. pp.69–70. ISBN 0-8126-9592-5. place, the Bob Dylan celebration stood out as, first and foremost, a legitimately memorable musical event.