Bob Dylan - Capitol Theatre, Port Chester, NY, 6-13-2017

Here's a really great find: Bob Dylan a soundboard concert from 2017! I only had three soundboard-level quality concert recordings from him prior to finding this one. (The others are one from 2009 and two from 2025, and I've already posted those at this blog.) This is from the Capitol Theater in Port Chester leak that happened in April 2026.

Actually, it's kind of from that. When that leak first emerged, this Dylan concert was listed, but the download link to it didn't work. That frustrated a lot of people, since it was the most desired one of all. It turns out this concert started to publicly circulate a month or two later, and missed it until now (August 2026). Better late than never.

The sound quality is excellent, and someone named Bennyboy remixed it. Note though that the sound is in mono, like nearly all the other bootlegs from that leak.

There's one thing I didn't like about this recording, though I'm not sure if it's what actually happened in the concert or was a limitation of the bootleg. That's the fact that there was usually only a second or two of applause between songs. I strongly suspect some of that applause was cut off, because it doesn't seem reasonable the band would play song after song with barely a pause. There was some applause near the end, so I patched in little bits between some of the other songs to give more reasonable breaks between songs. 

This concert took place during a time when Dylan released several albums of traditional pop standards from the pre-rock and roll era. First, he released "Shadows in the Night" in 2015, then "Fallen Angels" in 2016, and then "Triplicate" in 2017, which actually was a triple album. So he included some of these covers in this concert, though just a few. Here are the covers, with the original songwriters in parantheses: 

I Could Have Told You (Jimmy Oliver)  
Melancholy Mood (Vick R. Knight, Sr. & Walter Schumann) 
Stormy Weather (Harold Arlen & Ted Koehler)
All Or Nothing At All (Arthur Altman & Jack Lawrence) 
That Old Black Magic (Harold Arlen & Johnny Mercer)
Autumn Leaves (Joseph Kosma & Johnny Mercer)

Five more of the songs are originals from his 2012 album "Tempest." 

This album is an hour and 47 minutes long. 

01 Things Have Changed (Bob Dylan)
02 Don't Think Twice, It's All Right (Bob Dylan)
03 Highway 61 Revisited (Bob Dylan)
04 Beyond Here Lies Nothin' (Bob Dylan)
05 I Could Have Told You (Bob Dylan)
06 Pay in Blood (Bob Dylan)
07 Melancholy Mood (Bob Dylan)
08 Duquesne Whistle (Bob Dylan)
09 Stormy Weather (Bob Dylan)
10 Tangled Up in Blue (Bob Dylan)
11 Early Roman Kings (Bob Dylan)
12 Spirit on the Water (Bob Dylan)
13 Love Sick (Bob Dylan)
14 All or Nothing at All (Bob Dylan)
15 Desolation Row (Bob Dylan)
16 Soon After Midnight (Bob Dylan)
17 That Old Black Magic (Bob Dylan)
18 Long and Wasted Years (Bob Dylan)
19 Autumn Leaves (Bob Dylan)
20 Blowin' in the Wind (Bob Dylan)
21 Ballad of a Thin Man (Bob Dylan)

https://pixeldrain.com/u/fcdja4Gq

alternate:

https://bestfile.io/en/DPZwQhBMIdL2VL3/file

The cover image is a concert from this exact concert. The original was rectangular in shape, like most posters. I was able to crop out some less essential parts at the top and the bottom. That included cutting out the name of the venue, which was in very big letters at the top. I put that information in small letters at the bottom instead. 

Robyn Hitchcock - The Basement, Sydney, Australia, 5-23-2014 (The Basement Tapes)

"The Basement Tapes" were a collaborative music project between Bob Dylan and the Band in the summer of 1967. Over 100 songs were written and performed, the vast majority of them by Dylan. When a double album of the best songs from these sessions were released in 1975, it became a classic. In 2014, Robyn Hitchcock was living in Australia for a few months, and performed a lot there. One place he played in Sydney is called the Basement. I'm guessing that gave him the idea to perform all the songs from "The Basement Tapes" there, since he's a massive Dylan fan.

Actually, I should clarify he didn't perform all the songs from that double album. For one thing, he skipped the eight songs that primarily featured the Band, and honed in on just the Dylan songs. He also skipped a couple of the Dylan ones: "Apple Suckling Tree" and "Odds and Ends." But on the plus side, he did play a couple of Dylan songs that were recorded at that time and arguably should have been released on the double album: "I Shall Be Released" and "Quinn the Eskimo (The Mighty Quinn)." He also ended the concert with a later Dylan classic, "Not Dark Yet."

Robyn was mostly in solo acoustic mode for this concert. However, he did have some backing on some of the songs in the second half of the concert, with Jenny Shimmin on banjo, Brendan Gallagher on acoustic guitar and backing vocals, and Emma Swift on acoustic guitar and vocals. (In addition to being a talented musician, Swift has been Hitchcock's romantic partner from some time prior to this concert through today in 2026.)

I've had this bootleg in my music collection for years, but I'd never considered posting it here due to sound quality issues. It was only an audience boot, with a lot of reverb/ echo. But audio editing technology has improved drastically in recent years, so I attempted to fix it. I ran every song through the MVSEP program, using their de-reverb filter. The banter between songs then got extra treatment. I ran all of those tracks through the Adobe speech enhancer. In my opinion, this recording now sounds much better. Almost as good as typical soundboard. Not quite, but close.  

This album is an hour and 13 minutes long. 

01 This Wheel's on Fire (Robyn Hitchcock)
02 talk (Robyn Hitchcock)
03 Lo and Behold (Robyn Hitchcock)
04 talk (Robyn Hitchcock)
05 Quinn the Eskimo [The Mighty Quinn] (Robyn Hitchcock)
06 Million Dollar Bash (Robyn Hitchcock)
07 talk (Robyn Hitchcock)
08 Too Much of Nothing (Robyn Hitchcock)
09 talk (Robyn Hitchcock)
10 Tears of Rage (Robyn Hitchcock)
11 talk (Robyn Hitchcock)
12 Crash on the Levee [Down in the Flood] (Robyn Hitchcock)
13 talk (Robyn Hitchcock)
14 Please, Mrs. Henry (Robyn Hitchcock)
15 talk (Robyn Hitchcock)
16 Nothing Was Delivered (Robyn Hitchcock)
17 talk (Robyn Hitchcock)
18 Yea, Heavy and a Bottle of Bread - Tiny Montgomery (Robyn Hitchcock)
19 I Shall Be Released (Robyn Hitchcock)
20 talk (Robyn Hitchcock)
21 Open the Door, Homer (Robyn Hitchcock)
22 talk (Robyn Hitchcock)
23 You Ain't Goin' Nowhere (Robyn Hitchcock)
24 talk (Robyn Hitchcock)
25 Clothes Line Saga (Robyn Hitchcock)
26 talk (Robyn Hitchcock)
27 Not Dark Yet (Robyn Hitchcock)

https://pixeldrain.com/u/bUZD6pgk

alternate:  

https://bestfile.io/en/zWq4QA5nQ41ifHx/file

I was stumped for what to do with the cover art here, since I wanted something that showed both Robyn Hitchcock and something about the Basement Tapes. So, first, I found a photo of Hitchcock from 2014 (specifically, from the City Winery in Nashville, Tennessee, September 18, 2014). Then I found a black and white photo of the Band performing in a basement in 1969. Note I said "a basement," not THE basement of the Basement Tapes. This picture was taken in the basement of the house of Band member Rick Danko, not the basement of the Big Pink house where the Basement Tapes were recorded in 1967. But it was in the same small town of Woodstock, New York, and the Band did practice there a lot, so I'm sure it had a very similar vibe. (Unfortunately, Band member Levon Helm was in the middle of the image, so he is blocked by Hitchcock's body.)

Anyway, I colorized that image. Then I used Photoshop to put Hitchcock in front. It's not a perfect merger by any means, but it works for me. 

Robyn Hitchcock - The Chapel, San Francisco, CA, 12-27-2018 (John Wesley Harding)

Robyn Hitchcock has written many hundreds of songs himself. But even so, he loves performing cover songs as well, so much that he sometimes performs entire classic albums by others from start to finish. I've already posted a bunch of those, and here's another. This time, he did "John Wesley Harding," the great 1967 album by Bob Dylan. 

Most of the cover albums I've posted by Hitchcock so far were performed at the Three Kings club in London, with a full band. But this one took place in San Francisco, and is in solo acoustic format. Dylan's original album was with a band, but the backing was pretty sparse, mostly just Dylan on acoustic guitar, harmonica, and/or piano, plus bass and drums. So Hitchcock, also on acoustic guitar, harmonica, and/or piano, wasn't that different.

The original Dylan album is only 38 minutes long. This concert, however, is almost two hours long. In addition to performing the entire album, he warmed up with three other Dylan covers. 

Strangely, he also did two more covers during the album, "Dear Prudence" by the Beatles and "Dear Doctor" by the Rolling Stones, after playing "Dear Landlord" by Dylan. (He thought the Beatles and Stones were inspired to write songs in the "Dear..." format. I don't know if that's true, but the timing lines up, since the other two were written within a year of the release of Dylan's song.)

Then, after the album finished, he did still more Dylan covers ("I Threw It All Away" and "Senor (Tales of Yankee Power)"), but also songs by the Band ("Caledonia Mission") and John Lennon ("God"), plus two songs he'd recently written himself ("Serpent at the Gates of Wisdom" and "Those Guys Are All Dead Now"). On top of all that, there's plenty of banter between songs, in his usual entertaining stream-of-consciousness style.

This originally was an audience bootleg. It was a pretty good one though, helped by the fact that it's easier to record a solo acoustic show, especially with a small, polite audience. But I improved the sound of every single track, so much so that this sounds as good as a soundboard or FM radio broadcast. For all the talking tracks, I ran them through the Adobe speech enhancer, and improved the clarity a long. Then, for all the songs, I ran them through MVSEP's "Reverb Removal" filter. That made a big difference as well.

This sounds really excellent now, even though everything here is unreleased. These filters are steadily improving with updates. Writing this in August 2026, this wouldn't have sounded this good if I had done these same audio edits even two years ago.  

This album is an hour and 58 minutes long. 

01 talk (Robyn Hitchcock)
02 Mr. Tambourine Man (Robyn Hitchcock)
03 Visions of Johanna (Robyn Hitchcock)
04 talk (Robyn Hitchcock)
05 Clothes Line Saga (Robyn Hitchcock)
06 talk (Robyn Hitchcock)
07 John Wesley Harding (Robyn Hitchcock)
08 talk (Robyn Hitchcock)
09 As I Went Out One Morning (Robyn Hitchcock)
10 I Dreamed I Saw St. Augustine (Robyn Hitchcock)
11 talk (Robyn Hitchcock)
12 All Along the Watchtower (Robyn Hitchcock)
13 talk (Robyn Hitchcock)
14 The Ballad of Frankie Lee and Judas Priest (Robyn Hitchcock)
15 talk (Robyn Hitchcock)
16 Drifter's Escape (Robyn Hitchcock)
17 Dear Landlord (Robyn Hitchcock)
18 talk (Robyn Hitchcock)
19 Dear Prudence (Robyn Hitchcock)
20 talk (Robyn Hitchcock)
21 Dear Doctor (Robyn Hitchcock)
22 talk (Robyn Hitchcock)
23 I Am a Lonesome Hobo (Robyn Hitchcock)
24 talk (Robyn Hitchcock)
25 I Pity the Poor Immigrant (Robyn Hitchcock)
26 talk (Robyn Hitchcock)
27 Wicked Messenger (Robyn Hitchcock)
28 talk (Robyn Hitchcock)
29 Down Along the Cove (Robyn Hitchcock)
30 talk (Robyn Hitchcock)
31 I'll Be Your Baby Tonight (Robyn Hitchcock)
32 talk (Robyn Hitchcock)
33 I Threw It All Away (Robyn Hitchcock)
34 talk (Robyn Hitchcock)
35 Caledonia Mission (Robyn Hitchcock)
36 talk (Robyn Hitchcock)
37 Serpent at the Gates of Wisdom (Robyn Hitchcock)
38 talk (Robyn Hitchcock)
39 Senor [Tales of Yankee Power] (Robyn Hitchcock)
40 talk (Robyn Hitchcock)
41 Those Guys Are All Dead Now (Robyn Hitchcock)
42 talk (Robyn Hitchcock)
43 God (Robyn Hitchcock)

https://pixeldrain.com/u/3YkDVR5v

alternate:

https://bestfile.io/en/R7pn4yIaQZuE0nv/file

The cover image is a parody of the original cover for Dylan's "John Wesley Harding" album. I came across a version of this that was used to promote this concert. However, I redid the text and moved some of it around a bit.

Taj Mahal with John Fogerty, Bob Dylan, George Harrison, and Jesse Ed Davis - Palomino Club, Los Angeles, CA, 2-19-1987

This is a pretty amazing Taj Mahal concert, because just look at who his special guests were: John Fogerty, Bob Dylan, AND George Harrison! And all three of them stayed on stage for the vast majority of the concert, with Fogerty and Harrison singing several songs each. (Dylan was content just to play guitar and sing backing vocals.) I had known about this concert for a long time, but I'd never had it in my collection due to sound quality issues. But recently I revisited it, because advances in audio editing technology enabled me to make some improvements. Now, it sounds like a soundboard, even though the sound quality still is not ideal.

I found an extensive quote about this concert that George Harrison gave to Q Magazine in 1988, so I'll start with that:

"I'll tell you what happened there. I'd gone to America, and Bob [Dylan] rang me and said, you know, did I want to come out for an evening and see Taj Mahal who was playing at the Palomino? So we went there and had a few of these Mexican beers, and had a few more. And Jesse Ed Davis, who played guitar on 'Watching the River Flow,' is in the audience, and Bob says, 'Hey, why don't we all get up and play - we've had a few beers, right - and you can sing!' So we get up there and I'm in the spotlight and Bob's hanging back in the shadows and I start singing: 'What’s the matter with me? I don't have much to say...' and every time I get near the microphone, Dylan comes running up and just starts singing this rubbish in my ear, trying to throw me off. But it was really funny because when I got pushed on stage at Wembley [in London, with Tom Petty and the Heartbreakers and Dylan] and sang a bit of 'Rainy Day Women' I couldn't remember the words and just made up this stuff. And Bob came up to me afterwards, backstage, and said, 'So you got even with me!' But it was nice to recapture the feeling of what it was like on stage to make sure I could go back into that situation in the future."

Most of that is correct, but a couple of things he said were slightly off. We can tell a lot about what really happened because the video of this entire recording is available on YouTube, though the picture quality is extremely poor. It seems Jesse Ed Davis - a very talented lead guitarist who had worked with many big names since the late 1960s - was already there as part of Taj Mahal's backing band from the start of the recording. Then, after just the first song, Harrison went up on stage. It seems he went up unprompted, and there was absolutely no comment made by Mahal or anyone else about him being there. But if you watch the video, you can see Mahal give him an electric guitar and help him get in position to play by the start of the second song, "Checkin' Up on My Baby."

For a few songs, it was Taj Mahal and four members of his backing band on stage (Jesse Ed Davis, Mark Shark, Bobby Tsukamoto, and Gary Ray), plus Harrison. Then, before the start of "Matchbox," Mahal very strongly encouraged Dylan to also join them on stage, teasing him that he was going to come get him if he didn't. So Dylan went on stage, got a guitar, and started playing it.

Halfway through "Matchbox," Harrison surprised by taking over lead vocals for most of the rest of the song. Then, near the very end of the song, John Fogerty went on stage too. He was plugged in and ready to join in by the start of the next song, "Lucille." Once again though, there's no mention by Mahal or anyone else about him being there.

Up until that point, it had basically been a Taj Mahal concert. And Mahal was the sole lead singer for the next few songs. But Harrison, Dylan, and Fogerty stayed on stage for the entire rest of the concert. And from "Knock on Wood" to the end of the concert, 11 songs in all, Harrison and Fogerty stepped up and basically dominated. They sang lead on all but two of the songs from that point on.

However, if you're a Dylan fan, there's a lot less here for you. He was definitely involved playing guitar. If you watch the video, you can see he even got a couple of the songs started. And he did sing some backing vocals. But he seemed determined not to sing any lead vocals. When Harrison started singing "Watching the River Flow," it happened just as Harrison described in the above quote: Dylan basically shouted nonsense words right into Harrison's ear, playfully trying to get him to screw up! Perhaps Harrison, being a huge Dylan fan, started that song because he knew that Jesse Ed Davis played the guitar solo on Dylan's studio version, recorded in 1971. Davis got to reprise his solo in this performance.

One historic aspect of this concert was that it caused John Fogerty play a Creedence Clearwater Revival (CCR) song in public for the first time in 15 years. Many years later, he explained how it happened:

"I'd gone there to see Taj Mahal, who I love, and sat down. And at some point, I heard a rumor that George Harrison was there, that he was kind of in this cloak room. So I went in and talked to George for a little bit, and that was really fun. Then I went back and sat down. Then I heard a rumor that Bob Dylan was somewhere in the room. I didn't know until much later that actually George and Bob were really tight, they were great friends, and they had arrived together."

Fogerty watched from the audience as first Harrison and then Dylan joined Mahal on stage. "I'm usually kinda shy, but for some reason I thought, 'Man, I hope they have another guitar! Please call me up there!' I just wanted to get up there. It just looked historic and a lot of fun."

Apparently, Mahal saw Fogerty in the audience and gave him a signal to come up. After a while, the crowd wanted the famous guests to play some of their original songs. As mentioned above, Dylan's "Watching the River Flow" was played, although that seemed to be against Dylan's wishes. Then Harrison sang "Honey Don't." Although it was originally by Carl Perkins, it had been recorded by the Beatles. Plus, Harrison had helped sing "Matchbox," which also had been recorded by the Beatles. So now the pressure was on for Fogerty to do one of his songs. 

Fogerty further explained, "And then the audience started going, 'John, John! C'mon! Play "Proud Mary!" And this was during the time that I had sworn off playing my own songs from the Creedence days because of legal and emotional entanglements. I'm really being kind of, let's say, stubborn about it. But suddenly Bob Dylan turns me and he goes, 'John, if you don't play "Proud Mary," everybody's gonna think it's a Tina Turner song.' And I looked at him, and by God, I played 'Proud Mary.'" 

Clearly, he had fun. After the song finished, you can hear him say, "Eat your heart out, Tina!" 

Fogerty had just done a concert tour in 1986 for the first time since 1972. He wouldn't do another full tour until 1997. But later in 1987, he would take part in "Welcome Home," a benefit concert, and he would play more CCR songs for it. And he would keep playing them from that point on. So this Taj Mahal concert was a turning point for him, breaking his stubbornness about not wanting to give any royalties to his record company for the CCR songs. And while Dylan didn't do much singing on stage, his involvement may have been the key factor that got Fogerty singing his old songs again.

Now, let's get to sound quality. From what I understand, the owner of the Palomino Club saw something special was likely to happen, and began videotaping the concert. (He probably missed some Taj Mahal songs before the first one that shows up here.) So it has been recorded for posterity due to the video tape. That video later got converted to audio, and made into a popular bootleg under the name the "Silver Wilburys." However, that only included about half of the songs here, generally the later ones starring the famous guests. So I found a YouTube video to get the audio for the entire thing.

The sound quality was pretty good, but there was a lot of hiss, and some other issues. I ran all of it through the MVSEP program, using the "Denoise" filter to get rid of most of the hiss. Then I ran it through another filter to get rid of even more hiss. I also made some other adjustments, like boosting the lead vocals relative to the instruments. I think it sounds a lot better now. 

Additionally, there was a lot of dead air between songs. The musicians on stage were winging it, so it took time for them to decide what song to play next, then determine what key to play it in, and things like that. Most of that discussion couldn't be heard at all. Plus, there was a lot of guitar tuning. So I cut out some of that, when it started to really drag between songs. But still, I kept most it, especially whenever any talking on stage could be heard. I also turned down the volume of the guitar noodling between songs, so one could better hear what else was going on.

I made an additional edit on the song "Proud Mary," enough to add "[Edit]" to the song title. Taj Mahal was helping with the singing. On the other songs, this was fine. But this song was Fogerty's moment, singing a CCR song for the first time in 15 years, and Mahal's vocal ad-libs were a distraction for the most part. I read a comment on the YouTube video of this concert that likened his singing on that song to the way Yoko Ono sometimes ruined a John Lennon song. I had to agree. So, using MVSEP again, I cut out just the parts of his vocals that annoyed me. For instance, at one point, Mahal began singing one part of the song when Fogerty sang another part of the song. Needless to say, Fogerty sang the correct part. 

When listening to this, please keep in mind the spirit of this performance. After the first few songs, which Taj Mahal and his band knew well, it's safe to assume that the rest involved everyone winging it. So you have some mistakes that even an average bar band wouldn't make, like how Taj Mahal forgot half the lyrics to "Johnny B. Goode." But that wasn't point. Some legendary musical figures were just having fun on stage (including both Harrison and Fogerty playing some guitar solos). This is pretty much the only and only time in rock music history these people did anything like this. 

This album is an hour and 48 minutes long. 

Here's another photo from the concert. 

01 Leaving Trunk (Taj Mahal)
02 talk (Taj Mahal)
03 Checkin' Up on My Baby (Taj Mahal)
04 She Caught the Katy and Left Me a Mule to Ride (Taj Mahal)
05 Farther on Down the Road [You Will Accompany Me] (Jesse Ed Davis with Taj Mahal)
06 You're Gonna Need Somebody on Your Bond (Taj Mahal)
07 talk (Taj Mahal)
08 Matchbox - Gone, Gone, Gone (George Harrison & Taj Mahal)
09 talk (Everyone)
10 Lucille (Taj Mahal)
11 Crosscut Saw (Taj Mahal)
12 talk (Everyone)
13 Bacon Fat (Taj Mahal)
14 talk (Everyone)
15 Knock on Wood (John Fogerty with Taj Mahal)
16 talk (Everyone)
17 In the Midnight Hour (John Fogerty with Taj Mahal)
18 talk (Everyone)
19 Honey Don't (George Harrison)
20 talk (Everyone)
21 Blue Suede Shoes (John Fogerty & George Harrison)
22 talk (Everyone)
23 Watching the River Flow (George Harrison with Bob Dylan)
24 talk (Everyone)
25 Proud Mary [Edit] (John Fogerty with Taj Mahal)
26 talk (John Fogerty)
27 Johnny B. Goode (Taj Mahal)
28 talk (Everyone)
29 Willie and the Hand Jive (Taj Mahal)
30 Peggy Sue (George Harrison with Bob Dylan)
31 talk (Everyone)
32 Dizzy Miss Lizzy (George Harrison)
33 talk (Everyone)
34 Twist and Shout (John Fogerty & Taj Mahal)
35 talk (Taj Mahal)

https://pixeldrain.com/u/nStUSnDq 

alternate: 

https://bestfile.io/en/GV7bA4Zovc8wkh7/file

I was only about to find two photos of this concert that looked even halfway decent. I posted the best one as the cover, even though it only shows Dylan, Harrison, and a member of the backing band standing between them. I posted the other one up above the song list. It sounds the overall club environment, but you can barely make out who is on stage.

There also are a couple of photos of all the band members together back stage, which must have been taken after the concert, since Fogerty said he wasn't sure the likes of Dylan and Harrison were there when the concert began. The Native American musician John Trudell is in the picture as well. He was probably there to see Jesse Ed Davis, another Native American, who played on Trudell's albums. Unfortunately, Davis had a lot of problems with drug addiction. He died of a drug overdose a year after this concert took place.

Various Artists - Rock and Roll Hall of Fame Induction Ceremony, Waldorf Astoria, New York City, 1-20-1988

Yesterday (January 28, 2026), Bruce Springsteen dropped a new song about the current problems with ICE in Minneapolis, called "Streets of Minneapolis." It's good to see a protest song that addresses current issues, since there haven't been many of those in recent years. (He wrote, recorded, and released it in four days!) Here's a link, if you haven't heard it already:

https://www.youtube.com/watch?v=wWKSoxG1K7w 

Anyway, I wanted to post something from Springsteen after hearing that inspiring song. However, some recent computer problems I've been having have flared up again, which means I currently can't use Photoshop, which in turn means I can't make new album covers until that's fixed. So I looked around to see if I had some Springsteen-related album ready to go, cover and all. Luckily, I did. (I have soooo many albums I could post tomorrow, if only I had the time to finish them off. Sigh!) This one doesn't have a ton of Springsteen content, but it's a really interesting (thought short) concert. So, in a way, my current computer issues have an upside in that they're getting me to finally post this.

Now, finally, to the music. The Rock and Roll Hall of Fame started in the early 1980s. In 1986, they had their first induction ceremony, complete with a short concert featuring some of the inductees and other famous musicians. This has become a yearly tradition. Some concerts have been a lot more memorable than others. In my opinion, the ones from 1988 and 1989 were the most interesting, with the biggest star power. I haven't collected the others (though I very may well do so with some of them in the future), but I've made albums of those two. This is the 1988 one.

1988 was a really big year for the Hall of Fame, because their rule is that artists are only eligible for induction 25 years after their first record (be it a single or album). And when they were making their decisions in 1987 for this ceremony, that meant they were looking at the artists who put out their first records in 1962. It just so happens that was the first year of recordings for the Beatles, Bob Dylan, and the Beach Boys! Those are three of the biggest and most influential musical acts of all time. The Drifters and the Supremes were inducted that year as well, plus some non-performers, like Berry Gordy.

The induction ceremony had a lot of intrigue and drama in it. The Beatles are arguably the biggest (and best, IMHO!) musical act ever, so they were the main focus here, even overshadowing Dylan and the other very big names. Since John Lennon was assassinated in 1980, he was represented by his wife Yoko Ono, and his sons Julian Lennon and Sean Lennon, and each of them gave short speeches. Ex-Beatles George Harrison and Ringo Starr were there, and also gave speeches. 

However, the big no-show was Paul McCartney. He was in the middle of a lawsuit still connected to the break-up of the band back in 1970, so he felt he couldn't attend due to that. He put out a statement: "I was keen to go to and pick up my award, but after 20 years the Beatles still have some business differences which I had hoped would have been settled by now. Unfortunately, they haven't been [settled], so I would feel like a complete hypocrite waving and smiling with [Harrison and Starr] at a fake reunion." 

It turns out the lawsuit, which involved the division of profits from record sales, was settled a year later. So that was unfortunate timing as far as this concert goes. But at least that opened the door to the "Anthology" collaboration between the ex-Beatles a few years later.

Normally, when I post albums like this, I skip long speeches and focus on the music. But I'm making an exception here. I didn't include all the induction speeches, but I thought the ones relating to the induction of the Beatles and Dylan were important enough to include. They're all together at the beginning of this album, and they are about 19 minutes long in total. If you don't want to hear them, or just hear them once or twice, there's still about 40 minutes of music after that.

A big element of the drama involved Mike Love, a member of the Beach Boys. Love is one of the most notorious assholes in rock and roll, something I've discussed in other posts. But he really outdid himself this time. He appeared to be drunk, and used his induction speech to insult various famous musicians in the audience. This led to a funny quip from Dylan during his acceptance speech: when he listed people he wanted to thank, he thanked Love for not mentioning him in his speech!

Anyway, there are lots of interesting stories about what happened during this event. But instead of trying to summarize them all here, I'll just point out to an article from Rolling Stone Magazine that does a good job:

Rock and Roll Hall of Fame 

I've also posted a text file in the download zip that has the text to that article.

Regarding the music here, everything was professionally recorded, so the sound quality is excellent. However, I found the lead vocals were rather low in most of the songs, so I boosted that up with the help of the MVSEP program. Also, there was a problem in the performance of "Stop in the Name of Love." Mary Wilson of the Supremes was asked to sing the song (since Diana Ross was another prominent no show). But it was clear for this songs, as well as all the other songs, that there hadn't been any practice beforehand, so everyone was just winging it. For the first chorus at the start of the song, Wilson sang the song in one key, while the band (or at least most of it) played in another key. That sounds pretty painful to my ears. So I erased that, and patched in a chorus from later in the song. That's why that one song has "[Edit]" in its title.

Oh, also, during all the talking between songs, where band leader Paul Shaffer was trying to direct things, one or more people on stage kept playing guitar so loudly that it nearly drowned out what anyone was saying. So for most of those tracks, I used MVSEP to lower the volume of the guitar enough to make the talking more audible.  

The songs "I Saw Her Standing There" and "(I Can't Get No) Satisfaction" were officially released on the compilation album "Rock and Roll Hall of Fame, Volume 1: 1986-1991." Everything else here remains unreleased.

By the way, when it comes to the song list below, I only listed the name of the main lead singers. For all the songs, there was one of the most amazing gatherings of musical talent ever seen on one stage together. But it's next to impossible to figure out who was on stage doing what, other than the lead vocals. So that's why I kept the credits in the titles relatively simple. 

However, just as one example, it was Jeff Beck who started playing the "(I Can't Get No) Satisfaction" riff that led to that song being played, right when it seemed everyone was leaving the stage. Some of the others who were on stage at least part of the time but don't get mentioned in the song titles include: Neil Young, Paul Simon, Johnny Moore, Joe Blunt, Clyde Brown, Tom Fogerty, Les Paul, Arlo Guthrie, Yoko Ono, Ringo Starr, Little Richard, Peter Wolf,  Dave Edmunds, Jeff Lynne, Julian Lennon, Sean Lennon, Little Steven, and Clarence Clemons.  

This album is an hour and six minutes long. 

01 talk (Mick Jagger)
02 talk (Ringo Starr)
03 talk (George Harrison)
04 talk (Yoko Ono)
05 talk (Julian Lennon)
06 talk (Sean Lennon)
07 talk (Bruce Springsteen)
08 talk (Bob Dylan)
09 Twist and Shout (Johnny Moore)
10 All Along the Watchtower (Bob Dylan with George Harrison)
11 talk (Paul Shaffer)
12 I Saw Her Standing There (Billy Joel & Bruce Springsteen)
13 talk (Paul Shaffer)
14 Stand by Me (Ben E. King & Julian Lennon)
15 talk (Paul Shaffer)
16 Stop in the Name of Love [Edit] (Mary Wilson)
17 talk (Paul Shaffer)
18 Whole Lotta Shakin' Goin' On - Hound Dog - Honey Hush (Elton John)
19 talk (Paul Shaffer)
20 Barbara Ann (Beach Boys)
21 talk (Paul Shaffer & John Fogerty)
22 Born on the Bayou (John Fogerty with Bruce Springsteen)
23 talk (Paul Shaffer & John Fogerty)
24 Like a Rolling Stone (Bob Dylan with Bruce Springsteen)
25 talk (Paul Shaffer)
26 [I Can't Get No] Satisfaction (Mick Jagger with Bruce Springsteen)

https://pixeldrain.com/u/SpmdHRju

alternate:

https://bestfile.io/yv9ChPKPJqpFcYT/file

The cover photo is from this exact concert. From right to left: Bob Dylan, George Harrison, and Mick Jagger.

Bob Dylan - SEC Armadillo, Glasgow, Britain, 11-17-2025

Early this month, as I write this in December 2025, I posted a Bob Dylan concert that took place in August 2025. I was happy to post that, because the sound quality was exceptional for having taken place only a few months earlier. Now, here's another one with equally great sound quality, and a set list that's almost entirely different!

For many, many years, there were next to no Dylan new concert bootlegs with soundboard-level sound quality. The only exceptions since 2000 or so (and I've posted most of them at my blog already) are due to IEM technology. "IEM" stands for "in-ear monitor." Basically, instead of everything going through wires, these days many concerts broadcast the music wirelessly so the band members can hear what the others are playing. And every now and then, people manage to pick up that signal and record it, even though it has a very, very limited broadcast frequency. I'm pretty sure that's what happened here, although it's just generically described as a soundboard by the people who made the original liner notes.

Actually, the people who recorded this also recorded the concert the day before, held in the same Glasgow venue. I decided to post only one, since the set lists were basically identical. (Dylan pretty much played the same songs for the entire short European tour this was a part of. But, as I mentioned above, it's a drastically different set from what he was playing earlier in the year.) So I read some reviews. Both shows were rated highly. Generally, most people think Dylan has been "on" during this tour, singing well and clearly, and generally being engaged. But I read slightly better things about the November 17th concert, so I decided to process that one.

And it turns out it needed a lot of processing. The main problem is that there was virtually NO audience noise whatsoever. Furthermore, the people who turned it into a bootleg cut out everything but the music, probably since they figured it would sound strange to hear dead silence between songs. But the downside is that made it sound like one long song. I think having clear breaks between songs really helps.

So I wanted to fix things, but there was no audience noise to work with at all. I decided on a drastic approach I've never used before. I downloaded an audience bootleg of a Dylan concert from Dublin, which took place a few days after this one. Then, using the MVSEP program, I split the crowd noise from the music for all those songs. Then I took the crowd noise from the beginnings and ends of each of the songs and pasted them into the same songs in this concert. It helped greatly that the set lists were almost exactly the same, with one extra song played in Dublin. Thus, what you're getting here is the real audience reaction to each song, song by song. It's just that the reaction is from a different concert that took place a few days later.

Anyway, I don't know how confusing that sounds. But the bottom line is that the appropriate sounding audience noise has been added, when there had been no audience noise at all. So I think that makes this a big improvement from the version I took it from. I've left in the original notes, so you can see who to thank, and what they did.

I made some other changes as well. The main one is that, occasionally, I noticed some brief dropouts, lasting a second or less. That's not long, but it's long enough for my ear to notice something was off. Every time I heard one of those dropouts, I tracked down the exact spot and did some audio editing to fill in the silence. Since they were very short dropouts, I usually fixed it just by stretching the music on either side a little bit to fill in the gap. That happened in a bunch of songs. I've included "[Edit]" in the titles of two songs where I found two or three such gaps. But there were some others where I found one, and fixed those as well. 

Oh, by the way, track 17, where the other band members are introduced, comes entirely from the Dublin show. Dylan makes those introductions in every concert. But it seems the people who made this bootleg cut everything but the songs so thoroughly that they cut that too. Since that comes from a middling sounding boot, I ran that track through the Adobe Enhance Speech program to make his banter more intelligible. 

If you want to know more about the concert, here's a good review of it:

Bob Dylan Live In Glasgow Review: Rough, rowdy, and ever-changing 

This album is an hour and 48 minutes long. 

01 I'll Be Your Baby Tonight (Bob Dylan)
02 It Ain't Me, Babe [Edit] (Bob Dylan)
03 I Contain Multitudes (Bob Dylan)
04 False Prophet (Bob Dylan)
05 When I Paint My Masterpiece (Bob Dylan)
06 Black Rider (Bob Dylan)
07 My Own Version of You (Bob Dylan)
08 To Be Alone with You (Bob Dylan)
09 Crossing the Rubicon (Bob Dylan)
10 Desolation Row (Bob Dylan)
11 Key West [Philosopher Pirate] (Bob Dylan)
12 Watching the River Flow (Bob Dylan)
13 It's All Over Now, Baby Blue (Bob Dylan)
14 I've Made Up My Mind to Give Myself to You [Edit] (Bob Dylan)
15 Mother of Muses (Bob Dylan)
16 Goodbye Jimmy Reed (Bob Dylan)
17 talk (Bob Dylan)
18 Every Grain of Sand (Bob Dylan)

https://pixeldrain.com/u/nnA8vaZG

alternate: 

https://bestfile.io/OdEnGzeqscl9PFJ/file

I don't know where or when the cover image is from. I just know it's from 2025. I could have found a better photo probably, but I thought this was fitting with his face partially obscured, since he's taken to practically hiding on stage. Apparently, if you go see him in concert in recent years, you're lucky to get to see even this much of his face.

Various Artists - Peace Sunday, Rose Bowl, Pasadena, CA, 6-6-1982, Part 3: Stevie Wonder and Joan Baez & Bob Dylan

Here's the third out of five albums that make up the "Peace Sunday" concert in 1982. Musically, this concert is best known for the songs Bob Dylan sang with Joan Baez, and you'll find them in this part.

I'll just paste in a paragraph I wrote in my post for Part 2, since it still applies here:

If you want a full explanation of what the concert was about, please read my write-up for Part 1. In that, I also explained about the sound quality issue. In short, the only known source for the whole concert is an audience bootleg. It didn't sound very good, so this concert recording hasn't been shared that much. But I could tell there was potential there, if I could get rid of most of the much. As I explained in detail in my write-up, I think I did get rid of most of it. It still doesn't have excellent sound, but it's pretty good, and worthy of being posted at my blog, where I have pretty high sound quality standards.

Now, let's get to the music. This part of the concert started with some songs by Stevie Wonder. Just one month before this concert, he released a best of album called "Stevie Wonder's Original Musiquarium I." It contained four new songs, and he performed two of them here, "Front Line" and "Do I Do." He also had a new songs written for the occasion, but it seems he and his band couldn't practice the song enough in time to his satisfaction, so he simply spoke the lyrics instead. I don't know the actual name of the song/poem, but I made an educated guess of "Throw Down in the Name of Love." If anyone knows a better title, please let me know.

The rest of this part of the concert consists of a set by Joan Baez, capped by three songs where she was joined by Bob Dylan. The two of them had a long personal history together, especially since they were romantically linked for a couple of years in the 1960s. The two of them toured together in 1975 and 1976. But after that, they didn't appear on stage together again until this concert. Then they were stage some more in 1984. As far as I know, they have been on stage together again in the many years since then.

Dylan wasn't one of the scheduled performers, so his appearance here was a pleasant surprise. That was especially the case because he basically took all of 1982 off. He didn't release or record any music, and this was his one and only concert appearance. They dueted on two classic Dylan anti-war songs, which were ideal for the occasion. The third song they sang was a real surprise though: "A Pirate Looks at Forty," by Jimmy Buffett. I'm pretty sure that's the only time Dylan ever sang a Jimmy Buffett song in concert.

Unfortunately, Dylan's performance wasn't the best. If you listen, it's pretty clear he did little to no practice with Baez. He even got the lyrics to "Blowin' in the Wind" wrong, singing the same verse twice. But still, it was great to have his involved with this concert. Since the mid-1960s, he's rarely been overtly politically active, but he was making his voice heard on the issue of nuclear disarmament by singing these particular songs at this particular concert.

I mentioned in my write-up to Part 1 that I spent a long time fixing the sound quality issues with this concert. I could have put "[Edit]" on all the songs, since I edited every single one of them a lot. But since I did the same treatment to all of them, I've saved that for the most extreme edits. There's one case here, with "Do Right Woman, Do Right Man." On top of all the other problems I was fixing, the beginning of the song was missing. Probably, the taper was saving tape by stopping during long pauses between songs, and then was a little slow it hitting "record" again in this case. But luckily, the lyrics at the start of the song were repeated later in the song, so I was able to fill in the missing section. 

This album is an hour and nine minutes long.

Note that, for all the parts, the track numbers continue from the numbers in the previous part. That way, you can put all the songs together and listen to the whole thing at once if you want. 

33 talk (Stevie Wonder)
34 Front Line (Stevie Wonder)
35 talk (Stevie Wonder)
36 Throw Down in the Name of Love [Spoken Lyrics] (Stevie Wonder)
37 Master Blaster [Jammin'] (Stevie Wonder)
38 Do I Do (Stevie Wonder)
39 We Demand World Peace Today (Stevie Wonder)
40 Do Right Woman, Do Right Man [Edit] (Joan Baez)
41 talk (Joan Baez)
42 Warriors of the Sun (Joan Baez)
43 Imagine (Joan Baez)
44 Diamonds and Rust (Joan Baez)
45 talk (Joan Baez)
46 With God on Our Side (Joan Baez & Bob Dylan)
47 A Pirate Looks at Forty (Joan Baez & Bob Dylan)
48 Blowin' in the Wind (Joan Baez & Bob Dylan)
49 talk (emcee)

https://pixeldrain.com/u/rZFaw6jr

alternate:

https://bestfile.io/en/XxOyn7vxXc2PzU7/file

The cover image of Joan Baez and Bob Dylan is from this exact concert.

Bob Dylan - Outlaw Music Festival, Jones Beach Theater, Wantagh, New York, 8-1-2025

Here's a Bob Dylan concert from only a few months ago (as I write this in December 2025). It's rare that I post a concert from this recent, often because of sound quality issues. But this is a special case. Someone managed to record the IEM (in ear monitor) version of this concert. This is a wireless feed of the music the band members were listening to, so they could easily hear each other. That means the sound quality is fantastic, like an excellent soundboard bootleg.

There was only one downside to this IEM recording. In this case, almost nothing of the audience was heard. Furthermore, often the tracks ended immediately after the song ended, because otherwise one would have just heard eerie silence. So I fixed this in two ways. One, I used the MVSEP program to split the songs into crowd noise and everything else. Then, if there was sufficient crowd noise to work with, I greatly, greatly boosted the volume of the crowd noise. Unfortunately, there were only a handful of songs with enough crowd noise to use this method. So that took me to the second method. For all the songs where I had no other option, I copied and pasted crowd noise in, from the ends of other songs. 

So now one can hear the crowd reactions you'd expect at the ends of all the songs. With this change made, this is probably the best sounding Dylan concert bootleg of the last ten years or more. That's my guess, at any rate. The previous one that had similar quality is from 2009, and I've posted that here.

Actually, there are three Dylan concerts from 2025 where someone captured the IEM feed. The other two have more issues though. In my opinion, this one sounded the best, so that's why I put in a lot of work to get the crowd noise problem fixed. 

This album is an hour and 17 minutes long.

01 Gotta Serve Somebody (Bob Dylan)
02 I Can Tell (Bob Dylan)
03 Forgetful Heart (Bob Dylan)
04 Axe and the Wind (Bob Dylan)
05 To Ramona (Bob Dylan)
06 Early Roman Kings (Bob Dylan)
07 Under the Red Sky (Bob Dylan)
08 I'll Make It All Up to You (Bob Dylan)
09 All Along the Watchtower (Bob Dylan)
10 'Til I Fell in Love with You (Bob Dylan)
11 Desolation Row (Bob Dylan)
12 Love Sick (Bob Dylan)
13 Share Your Love with Me (Bob Dylan)
14 Blind Willie McTell (Bob Dylan)
15 Highway 61 Revisited (Bob Dylan)
16 talk (Bob Dylan)
17 Searching for a Soldier's Grave (Bob Dylan)
18 Don't Think Twice, It's All Right (Bob Dylan) 

https://pixeldrain.com/u/RX9e1xVK

alternate:

https://bestfile.io/en/ZMCc1aifpWeJfVQ/file

The cover image is from this exact concert.

Robyn Hitchcock - Dylan's Royal Albert Hall 1966 Concert, The Borderline, London, Britain, 5-25-1996

On May 26, 1966, Bob Dylan gave a concert at the Royal Albert Hall in London that became legendary. (Mostly that was due to a popular bootleg that actually turned out to be from a concert in Manchester a few days earlier, but the set list was the same.) Thirty years to the day (well, one day off), Robyn Hitchcock gave a concert in London with the exact same set list. So it was all Dylan covers. He later released much of this concert as the official album "Robyn Sings," but that had some problems I will explain shortly. This, in my opinion, is much better than the official album.

Before I go any further, I want to say this album posting wouldn't have happened without the editing work of musical associate Lil Panda. A couple of weeks ago, he emailed me and told me he'd made a bunch of improvements to this concert. Then I got his permission to post it here. I asked him to summarize what he did, and this was his response: "I separated the ambient audience from the music, left only the applause. Then did azimuth, phase correction, voice de-click, and a slight EQ boost." So kudos to him, because he's far better at that stuff than I am. Hell, I barely even know what azimuth is, much less how to fix it.

Now, let me explain how this compares to the official live album "Robyn Sings." In fact, only half of that album was taken from this concert at the Borderline, specifically, the second half. The first half was taken from a variety of concerts in 1999 and 2000, and consisted of all Dylan covers. In terms of exact overlap, the songs on both "Robyn Sings" and this album are tracks 12 to 24. That makes up about half of the total run time.

As I've said before, I much prefer full concerts to those taken from lots of different sources. I think that's a more honest live album. So just having the full concert here is a big improvement over the official album, in my opinion. But it also turns out the official album had numerous problems. Oddly for an official release, it clearly was taken from an audience bootleg type source. One can tell because of a constant background noise of the crowd all through the songs, as well as other problems. Lil Panda fixed most of those, as mentioned above. I also took the extra step of running all the songs through the UVR5 editing program, to get rid of the lingering ambient crowd noise that Lil Panda missed. So, in addition to this being more complete than the official album, it also sounds better. 

To quote Wikipedia, Dylan's 1966 Royal Albert Hall concert (which, as mentioned above, actually took place in Manchester) "is famous for Dylan's confrontational stance against a heckling audience who objected to his electric instrumentation." Hitchcock didn't talk much during this concert, as he usually does, to stick closer to the original comment. But some of his banter between songs actually repeat what Dylan said in the 1966 concert. For instance, at one point Dylan muttered incoherently until the unruly crowd quieted enough to try to make out what he was saying, and Hitchcock repeated that exactly.

Let's just say Hitchcock is an extremely big Dylan fan!

Oh, by the way, the last two songs, "Dignity" and "Queen Jane Approximately," are the only two songs not played in Dylan's 1966 concert, though they are Dylan covers as well. "Queen Jane Approximately" had been written at the time and could have been performed, but "Dignity" is a song Dylan wrote in the late 1980s.

Anyway, thanks again to Lil Panda for his work on this. Enjoy.  

This album is an hour and 30 minutes long. 

01 talk (Robyn Hitchcock)
02 She Belongs to Me (Robyn Hitchcock)
03 talk (Robyn Hitchcock)
04 Visions of Johanna (Robyn Hitchcock)
05 talk (Robyn Hitchcock)
06 4th Time Around (Robyn Hitchcock)
07 talk (Robyn Hitchcock)
08 It's All Over Now, Baby Blue (Robyn Hitchcock)
09 talk (Robyn Hitchcock)
10 Desolation Row (Robyn Hitchcock)
11 talk (Robyn Hitchcock)
12 Tell Me, Momma (Robyn Hitchcock)
13 I Don't Believe You [She Acts like We Never Have Met] (Robyn Hitchcock)
14 talk (Robyn Hitchcock)
15 Baby, Let Me Follow You Down (Robyn Hitchcock)
16 Just like Tom Thumb's Blues (Robyn Hitchcock)
17 Leopard-Skin Pill-Box Hat (Robyn Hitchcock)
18 talk (Robyn Hitchcock)
19 One Too Many Mornings (Robyn Hitchcock)
20 Ballad of a Thin Man (Robyn Hitchcock)
21 talk (Robyn Hitchcock)
22 Like a Rolling Stone (Robyn Hitchcock)
23 talk (Robyn Hitchcock)
24 Dignity (Robyn Hitchcock)
25 Queen Jane Approximately (Robyn Hitchcock)

https://pixeldrain.com/u/57SVUW36

alternate:

https://bestfile.io/en/6NXYau3lI9pt6uV/file

The cover photo is a still taken from the movie "Storefront Hitchcock," which was recorded in 1996. 

Farm Aid, Huntington Bank Stadium, Minneapolis, MN, 9-20-2025, Part 10: Bob Dylan

This is the tenth album I'm posting from the 2025 Farm Aid benefit concert. This is a set by Bob Dylan, with his band.

It seems Dylan has become increasingly reclusive as he gets older, for instance wearing hoodies at all his concerts. He's gotten particularly annoyed at people taking pictures with their cell phones, and generally being so focused on their phones that they don't pay much attention to the actual concert. In his own concerts, he has security carefully enforce a policy of not using cell phones. In an appearance at the Outlaw Music Festival earlier in the year, where he couldn't control cell phone use, he all but made himself invisible, hiding behind a piano and other equipment, and shining lights in a way so that he basically couldn't be seen.

Here's an article about his appearance at the Farm Aid concert by Rolling Stone Magazine: 

Watch Pro-Shot Footage of Bob Dylan's Masterful Farm Aid Set 

The article says: "He wound up wearing the hoodie, though not pulled as tightly around his face as it has been at recent shows, and he agreed to both the projection screens and the livestream. There weren’t closeups, the stage was pretty dark, and much of the stadium audience had a hard time seeing him clearly, but these were major concessions given his history. Very few Never Ending Tour shows have been professionally filmed like this, let alone broadcast on the Internet."

In terms of his performance, I was a bit disappointed that it was rather short, shorter than all the other major acts. And his song selection was pretty conservative, all 1960s classics plus "I Can Tell," a cover of a Bo Diddley song. Still, some Dylan is better than no Dylan, and the sound quality is excellent. 

This album is 23 minutes long. 

01 talk by John Mellencamp (Bob Dylan)
02 All Along the Watchtower (Bob Dylan)
03 I Can Tell (Bob Dylan)
04 To Ramona (Bob Dylan)
05 Highway 61 Revisited (Bob Dylan)
06 Don't Think Twice, It's All Right (Bob Dylan)

https://pixeldrain.com/u/CDHup6V1

alternate:

https://bestfile.io/en/G3rSkqbJ1kYm6UH/file

The cover photo is from this exact concert. Note how Dylan is wearing a hoodie and generally shrouded in darkness. It took me a while before I could even find a decent photo showing this much of him.

Bob Dylan, Benny Goodman & Friends - The World of John Hammond, PBS Soundstage, NET Television Studios, Chicago, IL, 9-10-1975

Here's a really strange and interesting episode of the "PBS Soundstage" TV show. Especially in the show's early years, it had some theme shows, and this was one. The title was "The World of John Hammond," and the show celebrated the role of producer John Hammond in the music industry. 

The big name here is Bob Dylan. But be warned that Dylan only performed three songs, at the end of the show. Most of the show is filled with big band swing music, with the first three songs starring singer Helen Humes, and then the next three being instrumentals led by Benny Goodman. (Note that George Benson, who was becoming a star in his own right, was the lead guitarist in this band.) Then the episode made a drastic stylistic shift, with Sonny Terry playing the blues for four songs, joined by John Hammond Jr. (son of John Hammond) for the last two. Then there was another drastic stylistic shift, with the three Bob Dylan songs at the end. 

The reason for all the musical jumping around is because John Hammond had a role in the musical careers of many musical acts in many different styles. Wikipedia's entry on his says: "Hammond became one of the most influential figures in 20th-century popular music. ... Hammond sparked or advanced numerous musical careers, including those of Bob Dylan, Bruce Springsteen, Benny Goodman, Harry James, Charlie Christian, Billie Holiday, Count Basie, Teddy Wilson, Big Joe Turner, Fletcher Henderson, Pete Seeger, Babatunde Olatunji, Aretha Franklin, George Benson, Freddie Green, Leonard Cohen, Arthur Russell, Jim Copp, Asha Puthli, Stevie Ray Vaughan, Mike Bloomfield, and Sonny Burke. He is also largely responsible for the revival of delta blues artist Robert Johnson's music."

He died in 1987 at the age of 76. Here's his entry, if you want to know more:

John Henry Hammond - Wikipedia

Note that this originally was two episodes. I cut out some of the material, but I don't think you're missing much. There were video tributes to Bessie Smith and Billie Holiday, but neither of those contained any live music. I also cut out a few gospel songs by Marion Williams that I didn't like.

There's a lot more I could say about this episode, but instead I'd recommend reading this Rolling Stone Magazine article about it, published shortly after it happened:

Bob Dylan, Jazz Stars Salute Label Pioneer John Hammond 

In that, it mentions that only about 100 people attended the taping of the episode, and most of them were older musical insider types who were there mainly to see Benny Goodman. By the time Dylan performed, only a couple dozen people remained. 

Even though Dylan only played three songs, this was an important event for him. John Hammond was the person who discovered him back when he was little known, and Dylan wanted to show his appreciation. It was the first time Dylan had performed on national TV since 1969. Two of the three songs he played, "Hurricane" and "Oh Sister," were unreleased at the time. In fact, this was the very first time he performed them in public. They would be released on his album "Desire" in early 1976. The version of "Hurricane" is particularly important, because this is the version with the original lyrics. One month later, record company lawyers found out about the song and worried that Dylan could be sued for libel regarding some of the things he said about real people in the song. So Dylan was forced to rewrite some of the lyrics, and then he rerecorded it. I'm guessing this performance still hasn't been officially released because those legal issues might still be a concern.

This album is an hour and four minutes long. 

01 Ain't Nobody's Business (Helen Humes & the All Star Band)
02 Body and Soul (Helen Humes & the All Star Band)
03 Where Can I Go (Helen Humes & the All Star Band)
04 talk (Benny Goodman & the All Star Band)
05 Sweet Lorraine [Instrumental] (Benny Goodman & the All Star Band)
06 Avalon [Instrumental] (Benny Goodman & the All Star Band)
07 talk (Benny Goodman & the All Star Band)
08 Seven Come Eleven [Instrumental] (Benny Goodman & the All Star Band)
09 talk (Sonny Terry)
10 My Baby Done Changed the Lock on the Door (Sonny Terry)
11 talk (Sonny Terry)
12 A Whoopin' the Blues (Sonny Terry)
13 talk (Sonny Terry)
14 Terraplane Blues (Sonny Terry & John Hammond, Jr.)
15 talk (Sonny Terry & John Hammond, Jr.)
16 I Can't Find My Baby (Sonny Terry & John Hammond, Jr.)
17 Hurricane (Bob Dylan)
18 Oh Sister (Bob Dylan)
19 Simple Twist of Fate (Bob Dylan)

https://pixeldrain.com/u/f6TY3bLE

alternate: 

https://bestfile.io/en/kjyK7MobPdvjyFn/file

The cover photo of Bob Dylan is from this exact concert. However, the picture was rather low-res so I used the Krea AI program to fill in more detail. 

Various Artists - A Country Music Celebration, Grand Ole Opry House, Nashville, TN, 1-13-1993

There are so many interesting tribute concerts that have taken place over the years but then were largely forgotten because they didn't get an official release. Here's another one I happened to find recently. 

There have been many country music themed TV specials over the years. I'm not familiar with most of them. But in terms of sheer star power, I couldn't overlook this one. The vast majority of the biggest names in country music at the time performed, back before country music went downhill with "bro country," rap, Autotune, and so forth. I don't know how often the Country Music Association has put on shows like this. I did find their 25th anniversary concert on YouTube, but it's less than an hour long and not as impressive a line-up.

This concert crammed in a surprising number of songs in the amount of time it had. That's because it often only allowed for truncated versions of songs, meaning two minutes or less. In the worst case, Glen Campbell's version of "I'm So Lonesome I Could Cry" was under a minute long. But the plus side is the show kept moving, so if there's a song you don't like, it wasn't long until the next one started.

I pretty much kept the show intact, until near the end. Very late in the show, around track 45, there was an extended tribute to Dolly Parton. I cut the vast majority of it out, because it was a video presentation, with short snippets of the recorded versions of her most famous songs. I cut all that because it was meant to be seen more than heard, with no live musical performances in it. However, immediately following that was a speech by Parton, and I kept all that.

The sound quality is excellent, even though this all remains unreleased. The only problem I had was with the last song, "I Will Always Love You" by Dolly Parton (with Kenny Rogers assisting). Clearly, the time allotted for the TV show came to an end, because the song was cut short, at only about a minute long, and then faded out. But at least it seems the performers knew the version was going to be a short one, because they only sang the chorus over and over. However, even that short version was marred by an announcer speaking over part of it to hype up the next shows coming up on that TV channel. I managed to cut that out by largely repeating one of the choruses. That's why that one song has "[Edit]" in its title. 

Oh, by the way, this website has a couple dozen nice photos from the event:

Nashville Then: A Country Music Celebration to honor CMA in 1993 

This album is an hour and 24 minutes long. 

01 talk (emcee)
02 This Nightlife (Clint Black with Ricky Skaggs, Glen Campbell & Mark O'Connor)
03 talk (Clint Black)
04 Road Scholar (Lee Roy Parnell & Delbert McClinton)
05 talk (Clint Black)
06 Here I Am (Lyle Lovett)
07 talk (Clint Black)
08 Heartland (Bob Dylan & Willie Nelson)
09 One More Last Chance (Vince Gill)
10 talk (Vince Gill & Travis Tritt)
11 What Would Elvis Do (Pam Tillis)
12 Wear My Ring Around Your Neck (Rodney Crowell)
13 T-R-O-U-B-L-E (Travis Tritt)
14 Devil in Disguise (Trisha Yearwood)
15 That's All Right, Mama (Vince Gill)
16 talk (Reba McEntire)
17 A Little Bit of Love (Wynonna Judd)
18 talk (Reba McEntire)
19 Goodbye Again (Mary Chapin Carpenter)
20 talk (Mary Chapin Carpenter)
21 Take It Back (Reba McEntire)
22 talk (Randy Owen)
23 Old Time Rock and Roll (Little Texas)
24 talk (Randy Owen)
25 It's a Heartache (Lorrie Morgan)
26 talk (Randy Owen)
27 Hard Working Man (Brooks & Dunn)
28 Drive South (Suzy Bogguss)
29 I'm in a Hurry (Alabama)
30 talk (Vince Gill)
31 The Heart Won't Lie (Reba McEntire & Vince Gill)
32 The Whiskey Ain't Working Anymore (Travis Tritt & Marty Stuart)
33 Love Certified (Ronnie Milsap & Patti LaBelle)
34 Silver Bells [Instrumental] (Charlie Daniels, Mark O'Connor & Sam Bush)
35 talk (Charlie Daniels & Emmylou Harris)
36 Too Far Gone (Emmylou Harris, Rodney Crowell, Vince Gill & Ricky Skaggs)
37 Two More Bottles of Wine (Emmylou Harris, Rodney Crowell, Vince Gill & Ricky Skaggs)
38 I'm So Lonesome I Could Cry (Glen Campbell)
39 talk (Glen Campbell)
40 The Ride (John Anderson)
41 Talking to Hank (Mark Chesnutt & Joe Diffie)
42 talk (Glen Campbell)
43 Midnight in Montgomery (Alan Jackson)
44 You Decorated My Life (Kenny Rogers)
45 talk (Kenny Rogers)
46 talk (Dolly Parton)
47 Full Circle (Dolly Parton, Emmylou Harris, Willie Nelson, Kenny Rogers & Glen Campbell)
48 talk (Kenny Rogers & Dolly Parton)
49 I Will Always Love You [Edit] (Dolly Parton & Kenny Rogers)

https://pixeldrain.com/u/Eosyj9Qd

alternate:

https://bestfile.io/en/2l2znKTYkfdFKDm/file 

The cover photo is from the finale of this exact concert. From left to right: Emmylou Harris, Kenny Rogers, Dolly Parton, and Willie Nelson.

Bob Dylan - Toad's Place, New Haven, CT, 1-12-1990

I'm excited to present this Bob Dylan concert, especially since it sounds better than ever before. Some say this is the greatest concert Dylan ever did, or at least the most interesting. It can't be denied it's the longest, by a good margin. The concert was over four hours long! For the first time in many years, Dylan performed in a club (Toad's Place), with a crowd of only 750 people. He basically did a live rehearsal to get warmed up before going on a world tour, trying out lots of rarities.

However, I never even had this in my music collection until a couple of days ago, due to poor sound quality. All that has emerged from the concert is an unreleased audience bootleg. But things changed in mid-March 2025 when Captain Acid posted an upgrade to it. He did phase and level correction, and new equalization. I listened to the result, and I was impressed. 

Then I decided to do what I could to improve that version still more. I'm willing to make more drastic edits than most people. When it comes to audience bootlegs, my one big trick is to use the MVSEP audio editing program to remove the crowd noise. The taper had to be standing in the middle of a packed audience that was very excited to see Dylan do such a special show in a small venue. That meant there was a constant ambient noise of people talking and hollering through the songs. I basically got rid of all that, while keeping the crowd noise at the ends of songs and between songs. This technique more or less can make an audience boot sound like a soundboard instead. 

After that, I ran all the songs through the UVR5 audio editing program, to adjust the balance between the vocals and everything else. I boosted Dylan's vocals a little bit overall. But I also made extra little boosts here and there when some of his singing was harder to hear. This also allowed me to get rid of more crowd noise that had been missed by the MVSEP program. For instance, at the start of "Everything Is Broken," someone standing near the taper could be heard saying over the music, "get down to her level... can't see anything." I got rid of that entirely, and other little bits like that. 

I could have put "[Edit]" in the titles to many songs, due to the extra editing work I did. But I only put that in the titles of the two songs I did the most work on, "Across the Borderline" and "It Takes a Lot to Laugh, It Takes a Train to Cry." The latter was the biggest pain in the butt, because some excited fan kept shouting "Woo!" noises through the song. I had to get rid of each of those individually. There's only a couple that remain, when the "Woo" noises overlapped with Dylan's vocals. I also got rid of some dead air between songs, but there wasn't much of that.

I wouldn't say this sounds as good as an excellent soundboard now, but there certainly some soundboards that sound worse than this. It's still rather rough, but I think that's part of its charm, capturing a small club atmosphere, where you can hear individual people clapping and cheering. 

Here's some more information on the concert and how it came to be. In late 1989, Dylan's career was revitalized with the release of the studio album "Oh Mercy," his best album in many years. However, his concerts didn't seem inspired... until this one. Rolling Stone Magazine wrote an entire article about this concert, entitled "Bringing It All Back Home: Dylan Thrills With Exhaustive Show." It read: "The January 12th show was a striking contrast to Dylan's recent lackluster, perfunctory performances, at which he has appeared so indifferent that the audience has been lucky if he acknowledged its presence, much less invested any of himself in his songs. But at Toad's, he rose to the challenge of his first scheduled club date in countless years with a brilliant marathon show."

Here's a link if you want to read the entire article. I highly recommend giving it a read:

https://www.rollingstone.com/music/music-news/bringing-it-all-back-home-dylan-thrills-with-exhaustive-show-71301/

Before Dylan, other musical acts had started using Toad's Place for secret open rehearsals. The most famous of these was the Rolling Stones, who gave a legendary performance there just five months prior to this concert. (I've thought about posting that concert too, but the audience bootleg for that one sounds much worse than this one.) Probably, Dylan heard about the Stones doing that, and decided he wanted to give that a try as well. He demanded 100 percent of the ticket sale profits, which the club happily gave him. No doubt, they more than made up for that with alcohol sales during the extremely long concert. Plus, the credibility it gave the venue was priceless. Since then, many other musical acts have done similar open rehearsal type shows there.

Dylan was backed by G.E. Smith on lead guitar (who was in the Saturday Night Live band), Tony Garnier on bass, and Christopher Parker on drums. The band came onstage shortly before 9 P.M., and played for an hour, then left the stage. Brian Phelps, the owner of the club, was later interviewed about the concert. Here's what he said happened next: 

"Dylan asked me if he could play another set. And we said sure, go ahead! You know, and they asked again, and played a third. Can I play another? You know what? Yeah! Go ahead! There's no problem!  He wasn't sure what he was going to play, it was like a practice session, because he was going on this theater tour. I think most of the theaters were 5,000 seats on up, and our show was like a practice session... Well for him anyways, but for the people that were there, they were just loving it, and they really couldn't believe it."

Dylan's fourth and final set began around 1:00 A.M. Phelps had to shut the bar down at that time due to state law. But instead of stopping the show, staffers just collected all of the drinks from the crowd so the show could go on. Dylan finally finished at 2:20 A.M.! He threw his harmonica into the adoring crowd, and walked off after 4 hours, 20 minutes. 

He ended up performing 50 songs in total. But what's really interesting in that he generally avoided playing most of his best known, most frequently played songs in favor of rarities. Many of the songs had never been performed by him before. All of these were done in concert for the first time: "Trouble No More," "I've Been All Around This World," "Political World," "Where Teardrops Fall," "What Was It You Wanted," "Oh Babe, It Ain't No Lie," "Tight Connection to My Heart (Has Anybody Seen My Love)," "Wiggle Wiggle," "Key to the Highway," and "Dancing in the Dark." And yes, you read that right, that last song mentioned was "Dancing in the Dark," as in the huge 1984 hit by Bruce Springsteen. It was the one and only time Dylan played it in concert. If you listen carefully to the recording, it's clear Dylan didn't remember most of the words to it, but he was having a fun time winging it anyway.

In addition to all those debuts, there were lots of rarities played. For instance, he did the Traveling Wilburys song "Congratulations," apparently after someone in the audience shouted for it. That was only one of three times he ever performed that. A bunch of the debuts I mentioned were covers: "Trouble No More," "I've Been All Around This World," "Oh Babe, It Ain't No Lie," "Key to the Highway," and "Dancing in the Dark." But he played many other covers too: "Walk a Mile in My Shoes," "Everybody's Movin'," "Across the Borderline," "Paid the Price," "Help Me Make It Through the Night," "Lonesome Whistle," "Confidential," "So Long, Good Luck and Goodbye," "Peggy-O," "When Did You Leave Heaven," "In the Pines," and "Precious Memories." That's a lot of covers, 18 in all.

Unfortunately, because this concert was a kind of open rehearsal, Dylan repeated some songs to make sure the band played them to his satisfaction. "I've Been All Around This World" and "Where Teardrops Fall" were played twice. That wasn't so bad, but "Political World" was played three times. I decided I didn't want to hear all those repeats every time I listen to this. But some other people might, so I'm including the extra versions, but only as bonus tracks. I kept the last versions in the main song list, assuming they improved as they played the songs more.

This really was a remarkable concert for Dylan. It seems to have been the only one he ever did like this, where he let it all hang out and played whatever the hell he wanted for as long as he wanted. He even warmed up enough to chat some with the audience and take requests, which he basically never did. It's not just the longest Dylan concert by a mile, it's also one of a handful of the longest concerts by any famous rock musician, period. He even beat the longest Bruce Springsteen concert ever by a few minutes, and Springsteen is famous for his long concerts.

Here's one more anecdote from Brian Phelps, the owner of Toad's Place:

"[Many years later,] I actually gave the whole rundown to his son Jakob, from the Wallflowers, who have played Toad's a number of times, and I told him about his father's show. He started peppering me with questions about it, and he really enjoyed the whole story about how it happened, and the length of the show, and everything that went on that night. He was a great great guy too. Jacob enjoyed the history of the club, and the history of playing in the same place where his father played his longest show in."

This concert is three hours and forty minutes long, without the bonus songs. Including those, it's four hours and two minutes long. The actual concert was still longer than that, due to some short breaks between sets.

 01 Walk a Mile in My Shoes (Bob Dylan)
02 One More Cup of Coffee [Valley Below] (Bob Dylan)
03 Rainy Day Women No. 12 and 35 (Bob Dylan)
04 Trouble No More (Bob Dylan)
05 Tears of Rage (Bob Dylan)
06 I Dreamed I Saw St. Augustine (Bob Dylan)
07 It Takes a Lot to Laugh, It Takes a Train to Cry [Edit] (Bob Dylan)
08 Everybody's Movin' (Bob Dylan)
09 Watching the River Flow (Bob Dylan)
10 What Was It You Wanted (Bob Dylan)
11 Oh Babe, It Ain't No Lie (Bob Dylan)
12 talk (Bob Dylan)
13 Lenny Bruce (Bob Dylan)
14 I Believe in You (Bob Dylan)
15 talk (Bob Dylan)
16 Man of Peace (Bob Dylan)
17 Across the Borderline [Edit] (Bob Dylan)
18 Leopard-Skin Pill-Box Hat (Bob Dylan)
19 All Along the Watchtower (Bob Dylan)
20 talk (Bob Dylan)
21 Tight Connection to My Heart [Has Anybody Seen My Love] (Bob Dylan)
22 What Good Am I (Bob Dylan)
23 Wiggle Wiggle (Bob Dylan)
24 Stuck Inside of Mobile with the Memphis Blues Again (Bob Dylan)
25 Paid the Price (Bob Dylan)
26 Help Me Make It through the Night (Bob Dylan)
27 Man in the Long Black Coat (Bob Dylan)
28 Congratulations (Bob Dylan)
29 Dancing in the Dark (Bob Dylan)
30 Lonesome Whistle Blues (Bob Dylan)
31 Confidential (Bob Dylan)
32 In the Garden (Bob Dylan)
33 Everything Is Broken (Bob Dylan)
34 talk (Bob Dylan)
35 So Long, Good Luck and Goodbye (Bob Dylan)
36 Where Teardrops Fall (Bob Dylan)
37 talk (Bob Dylan)
38 Political World (Bob Dylan)
39 Pretty Peggy-O (Bob Dylan)
40 I'll Remember You (Bob Dylan)
41 Key to the Highway (Bob Dylan)
42 talk (Bob Dylan)
43 Joey (Bob Dylan)
44 Lay Lady Lay (Bob Dylan)
45 I Don't Believe You [She Acts like We Never Have Met] (Bob Dylan)
46 When Did You Leave Heaven (Bob Dylan)
47 Maggie's Farm (Bob Dylan)
48 I've Been All Around This World (Bob Dylan)
49 In the Pines (Bob Dylan)
50 Highway 61 Revisited (Bob Dylan)
51 Precious Memories (Bob Dylan)
52 Like a Rolling Stone (Bob Dylan)

I've Been All Around This World [First Version] (Bob Dylan)
Political World [First Version] (Bob Dylan)
Political World [Second Version] (Bob Dylan)
Where Teardrops Fall [First Version] (Bob Dylan)

https://pixeldrain.com/u/c3pudHMC

alternate:

https://bestfile.io/3lYIq83WpMHkgLV/file

The cover photo is from this exact concert. In the original, his eyes couldn't be seen due to the shadow from his hat. But thanks to the magic of AI art, I was able to make an adjustment there while keeping the rest of the image the same. I also found a photo of one of the tickets from this concert, and I thought that was nice, so I added that in at the top left.

Bob Dylan - Rothbury Music Festival, Double JJ Ranch, Rothbury, MI, 7-5-2009

Last month (writing this in February 2025), I posted an excellent sounding Bob Dylan concert from 2002. Here's another excellent one, from 2009.

Both the 2002 and 2009 recordings are bootlegs on an unusual kind: they are examples of Assisted Listening Device (ADL) recordings. These are usually special feeds at concerts to help people who have hearing trouble. Every now and then, these recordings make it onto bootlegs. The ones I heard generally sound great, but they almost always have pristine sound of what was happening on stage, and very little crowd noise. It makes for a strange listen, as if the performer was playing to a bored audience that could barely be bothered to cheer.

Thankfully, these days, there are many ways to edit sound files. So I did to this concert recording what I did to the 2001: I split the crowd noise from everything else (using the MVSEP program), greatly boosted the cheering, the put the cheering back with the rest. Now, it sounds like a typical high quality soundboard boot. And that's extremely unusual for a Dylan concert from this era. There are lots of soundboard boots from earlier phases of his career. But from about 2000 onwards, there are basically none. The only exceptions I know of are these two ADL recordings from the 2001 concert and this one.

Dylan has had a late career renaissance, with many of his more recent album being both critically acclaimed and selling well. This concert took place a few months after the release of his studio album "Together Through Life," which was another winner, even reaching Number One on the album charts in some countries. Weirdly, he only performed one song from that album, "Jolene." But he played four from the previous album, "Modern Times" ("Rollin' and Tumblin," "Nettie Moore," "Spirit on the Water," and "Thunder on the Mountain"), and well as songs from other more recent albums like "Love and Theft" and "Time Out of Mind."

This album is one hour and 46 minutes long.

01 talk (Bob Dylan)
02 Leopard-Skin Pill-Box Hat (Bob Dylan)
03 Senor [Tales of Yankee Power] (Bob Dylan)
04 Tangled Up in Blue (Bob Dylan)
05 Rollin' and Tumblin' (Bob Dylan)
06 Spirit on the Water (Bob Dylan)
07 High Water [For Charley Patton] (Bob Dylan)
08 'Til I Fell in Love with You (Bob Dylan)
09 Po' Boy (Bob Dylan)
10 Highway 61 Revisited (Bob Dylan)
11 Ballad of a Thin Man (Bob Dylan)
12 Stuck Inside of Mobile with the Memphis Blues Again (Bob Dylan)
13 Nettie Moore (Bob Dylan)
14 Thunder on the Mountain (Bob Dylan)
15 Like a Rolling Stone (Bob Dylan)
16 Jolene (Bob Dylan)
17 All Along the Watchtower (Bob Dylan)
18 talk (Bob Dylan)
19 Blowin' in the Wind (Bob Dylan)

https://pixeldrain.com/u/LGeWVRGo

alternate:

https://bestfile.io/en/B5HObNIxaDkwCTV/file

The cover photo comes from this exact concert.

Van Morrison - BBC Sessions, Volume 2: 1984-1995

When I posted Van Morrison's "BBC Sessions, Volume 1," I commented that it was a shame Morrison hardly ever performed for the BBC in 1980s. Musical associate MZ saw that comment, and sent me some stuff. Based mostly on that, I was able to put together this album of BBC sessions.

"Sense of Wonder" is from an appearance on the BBC TV show "The Old Grey Whistle Test" in 1984. "In the Garden" is from another BBC TV show in 1986. 

The next four songs come from a BBC TV special about Morrison called "One Irish Rover." It collected a bunch of different performances. One of them featured Van Morrison and Bob Dylan in 1989 singing just as a duo in Athens, Greece, on a hill overlooking the Acropolis. It's great to have these two musical giants collaborate, but to be honest it generally seemed like Dylan was winging it and didn't know Morrison's songs that well. But he did play some nice harmonica, and he sang more assertively on "One Irish Rover." The last of those four songs, "And It Stoned Me," was from the same session, but wasn't actually included in the "One Irish Rover" show. (You can find YouTube videos of all four songs, if you're interested in seeing and not just hearing them.)

"Whenever God Shines His Light" is from the BBC TV show "Top of the Pops," in 1989. Most appearances on that show are lipsynced, but not this one. It's a duet of Morrison and Cliff Richard, the same as on Morrison's 1989 studio album "Avalon Sunset." The next two songs, "Avalon of the Heart" and "So Quiet in Here" are from an appearance on the "Late Show," another BBC TV show, in 1990. Finally, the last two songs are from the show "Later... with Jools Holland" in 1995.

Everything here is unreleased on audio format, though the "One Irish Rover" show has been released on video. For the songs with cheering studio audiences, I used the MVSEP program to get rid of the cheering. "Whenever God Shines His Light" has "[Edit]" in the title because the first few seconds were missing. I fixed that by patching in some music from later in the song.

This album is 43 minutes long.

01 Sense of Wonder (Van Morrison)
02 In the Garden (Van Morrison)
03 Crazy Love (Van Morrison with Bob Dylan)
04 Foreign Window (Van Morrison with Bob Dylan)
05 One Irish Rover (Van Morrison with Bob Dylan)
06 And It Stoned Me (Van Morrison with Bob Dylan)
07 Whenever God Shines His Light [Edit] (Van Morrison & Cliff Richard)
08 Avalon of the Heart (Van Morrison)
09 So Quiet in Here (Van Morrison)
10 Don't Worry about a Thing (Van Morrison)
11 That's Life (Van Morrison)

https://pixeldrain.com/u/gfJA3oVS

alternate:

https://bestfile.io/en/NQkCrr4NOO0M1l5/file

The cover photo is from a photo shoot in Bath, Britain, in May, 1989.