Good evening, ladies and gentlemen.Would you please welcome Columbia recording artist, Bob Dylan.Take my future and a hell of a path Look like tomorrow is coming over
Hello and welcome to Neverending Stories, a podcast about Bob Dylan and the Neverending Tour.I'm Ian.I'm Evan.And I'm Steve.And tonight the show is
1990, January 12th, to be specific, in New Haven, Connecticut, the legendary Toad's Place, at least the first half of Toad's.Not even.
It is the first half if you judge by there were four sets and these are two of them, but not technically half if you're judging by the total number of songs.He gets progressively more off the rails as he goes on throughout the evening.
We wanted to be able to do all of Toad's justice and doing one whole episode about all five hours of that show was just It's gonna be a little much, so we're taking it easy.We're splitting it up.We got the first half here tonight.The band, Bob, G.E.
Smith, Christopher Parker, and Tony Garnier.Love to see G.E.Smith there.Tight four-piece unit.We'll get there momentarily, but before we do... The weather.Sure.
So the high in New Haven on January 12, 1990 was 42 degrees and the low was 33.The average daily temperature was around 37 degrees and I don't think there was any precipitation.
Not bad for Connecticut in January, to be honest.Could be worse.All right, that's been the weather. What were you gonna say?
Before we travel back in time to 1990 and talk about Bob Dylan live shows from 30-something years ago, there's been some incredible news from Bob Dylan live shows.
As of just this very week, the Rough and Rowdy Ways tour continues its triumphant march across the northeastern part of the United States and up into Canada, where, as of this recording just last night, in the great city of Montreal,
Bob Dylan debuted a Leonard Cohen cover.
Yes, he did Dance Me to the End of Love from the album Various Positions from 1984.This is the record that has Hallelujah on it, but it's a sort of Casio keyboard klezmer sounding song, as was Leonard Cohen's style at the time.
But yeah, Bob Dylan did it in honor of the great troubadour.
Yes, the great Canadian man.
Yeah, and I mean, the amazing thing about this recording, and I assume we're going to excerpt it here, is that at the beginning of the performance, you can hear the person who recorded it, which is Ryan the Duke.
You can find him on Twitter, among other places.
He was recorded on an Apple Watch, I think.
Really?You can hear him audibly say, oh my god, just an incredible spontaneous reaction to hearing this in Montreal, where of course Leonard Cohen is a god.
That's when I was young and hot But I learned my lesson That's when I learned what I've never seen before That's when I learned to be my own dog That's when I learned all
He's a god in many places, but in particular, Montreal, and it's a great spontaneous reaction to hearing this song.Yeah, I mean, this is like one of the great covers that he's done on this leg of the Rough and Ready Ways Tour.
You know, he did this song, he did Longest Days in Indianapolis in honor of John Mellencamp, and just proving that Bob Dylan is among the people. Keeping Up With Late Period, John Mellencamp Records.
That song was from 2008, apparently.
Yes.Yeah, from the record Life, Death, Love & Freedom, 2008, John Mellencamp Records.
Is that a record that you have listened to much, Damon?It feels like something that, like, of all the people in the world, you would have experienced.
I have listened to that album.I have not gone deep on that record.And if Bob Dylan was on my patio playing Longest Days, I would not immediately recognize it as a John Ballencamp song.So, you know, that's pretty incredible.
Also got a shout out that he did South of Cincinnati by Dwight Yoakam. Yeah, from his 1985 record, Guitars Cadillacs, etc, etc.A great record.Definitely one of Dwight Yoakam's classics.Evan, you're going to be seeing him very soon in Brooklyn.
Maybe he does the Welcome Back, Hunter theme song.That'd be amazing.
Maybe he'll pick just some sort of like 2010 era Williamsburg classic Brooklyn blog rock of some sort.He'll cover an LCD sound system song.
maybe do like my girls you know like sure oh wow yeah my girls by animal collective yeah how can you imagine the beginning of just the instrumental like get trying to guess what he's starting to play donnie harron's doing the like arpeggio synthesizer thing on his on his mandolin i need to hear this
That sounds beautiful in my mind.
Bob is continuing to confound, continuing to surprise, continuing to delight.I love also just on the note of last night, the Leonard thing, front of the pod Ray Padgett was in the audience there.Ray, of course.
He's been on the show, we love Ray, has written extensively about Bob, also wrote a great 33 and a third on I'm Your Fan, the Leonard Cohen covers record.So Ray being there for Bob, covering Leonard, that feels, I don't know, feels like fate to me.
Yeah, we're happy, you know, on behalf of Ray that he was there for that.Yeah, you know, again, like, it's a well chosen cover by Bob doing that particular song, going on various positions.
Like, as you said, Evan, a record that at the time was totally ignored and was really, I think,
You know, Leonard Cohen being super marginalized, you know, like after his 70s and 60s and 70s prime, he had a resurgence later in the 80s with I'm Your Man, but like various positions was totally a record, which at the time people didn't take seriously.
And it has Hallelujah on there, which has become a signature song for him.And then you have this other song that Bob's digging out that lots of people love.It's a very Jokerman mindset type pick, I think, for Bob to do that.
I think that we will do at some point, we will get there.We will get to a Leonard Cohen, Jokerman period, I'm sure, eventually.But for now, yeah, I just wanted to say I love the 80s and the later Leonard Cohen stuff, like even the most recent.
I mean, I think from that point on, it's great. In retrospect, I think a lot of people now look back at that period fondly, and you can see what he's doing musically with it.Like I said, there is this kind of electronic klezmer quality.
Bob Dylan covering this is kind of the closest, I guess, we've gotten to him playing up to his Jewish roots.
Yeah, I think the interaction of Bob and Leonard and how they informed each other throughout their careers, but especially into the 80s and beyond, it's a very rich text to explore.I think you can clearly see
you know, like what Leonard was plugging into later in his career, what he was doing vocally and thematically very clearly dovetails with what Bob was doing at that time.
So yeah, there's a lot to explore there, and I definitely want to dig into that.I just want to say too, I think I'm the only one here, I'm going to say this confidently, I saw Leonard Cohen.
uh toward the end of his life uh and uh i wouldn't want i think i saw him it must have been 2012 or so and uh three hour show uh you know just just just a marathon show he came out on stage he he skipped on stage literally skipped out wow just like this old man uh just an incredible gig
And yeah, just the vibe that he was putting out at the end of his life on stage was pretty incredible.I want to dig into some live tapes of Leonard Cohen.
I have a DVD that I've watched several times of, it must be around that time, 2010 or so. And it's a similarly really long show, and it's amazing.And it really is incredible.
I don't remember what the DVD is called, but I just picked it up at the record store, and it's like an incredible few hours of entertainment to just watch this show.So I'm very jealous that you actually got to be there.
Yeah, I'm very grateful I got to catch him at that moment in time, and he was great.
He's Leonard Cohen, incredible songbook, and just the joy that he had on stage was something I didn't quite anticipate at that moment in his career, but he clearly had it, and it was a joy to witness.
What kind of show was he putting on?
You know, it was like him wearing the suit.He had a great band.
Little hat.Yeah.The band, yeah, it's just like a really well-polished, super professional, kind of like, you know, as if he was Frank Sinatra or something.
But like, they're playing Leonard Cohen's music, and they have kind of this crack team of specialists on, you know, the solos that you want to be there for each song.
Like on Everybody Knows, there's a guy who's actually doing that mandolin or bazooki solo or whatever.It's just amazing.Backup singers, you know, Telemangels, all that stuff.Everything.
Yeah, and it's just a thing like with Leonard Cohen where, you know, he's being very Leonard Cohen, but then he's talking between songs. And you realize, oh yeah, this guy's self-aware, and he's funny, and he knows what's going on here.
He's Leonard Cohen, but he can also step outside the persona of Leonard Cohen and comment on it at the same time.And it's a very great thing.
definitely like a summation of a life and career which isn't necessarily something I would have known at the time because you just feel like well Leonard Cohen he's going to continue on for as long as he can but it's almost like he had the prescient knowledge that oh this could be
my last tour or among my last shows.So I'm going to give a recap of everything I've done in my career.It definitely has that vibe for me in retrospect.Beautiful, beautiful stuff.
Yeah, we should do a Leonard episode sometime.
It would be great. Um, well, well, stay tuned, folks.
Bob Dylan still killing it.He did.The Beacon Show just got announced.Also, you should go to that.When?When is it?It's it's the third.It's Thursday.It's the day after the second Brooklyn show.It's Thursday, the 16th.
I think they're going up this week.
Oh, but the man is still just still rocking, still rolling, still surprising.Can't wait to see what else he has in store over the next month.
Do we have answers prepared for our unlocked mailbox question?Oh, I do.Okay, good.I do too.I took this very seriously.
So did I. What is the question?Where?Oh, come on.
All right.Well, classic.Wait, so Evan's not prepared for this?
When did you talk about this?Where was this? It's in our outline.
In the same place it is every time.
I didn't realize that we were doing this every time.Okay, well, what's the question?
Listener Kyle asks, if they made Lily Rosemary and the Jack of Hearts into a film, what would your dream cast and director be?Okay, I love this question.It's a fantastic question.Thank you for asking.
It is an amazing question.You guys answer first, obviously.
I had a lot of fun.I was kind of trying to figure out what, I had to start with the director, right?Because once you pick the director, then you can start to work backwards into the actors.
I feel like, to me, for some reason, I had to, it's probably basic to choose, but I had, I just, like, my mind jumped to Tarantino for some reason.I see kind of a, like, hateful eight.
type approach towards the Lee Rosemary and the Jack of Hearts, which is a fantastic movie.I feel like that one's kind of undersung in his catalog, speaking of late era work.
But so if we're gonna go with Quentin, right, and he's gonna like to fuck around with the casting choices you know, mess with your expectations a little bit, but also work some classic Quentin character actors in there.
I feel like Jack of Hearts, honestly, and maybe this is just based on the stupid Bob Dylan movie that's coming out soon, Timothy Chalamet as the Jack of Hearts, I think, in Quentin Tarantino's Lily Rosemary and the Jack of Hearts, that could be spectacular.
And then you get Lily and Rosemary.Lily is kind of the firecracker, right?So Margaret Qualley, I think would make perfect sense coming off of her fantastic role in the last movie, Once Upon a Time.
And then Jennifer Jason Leigh as Rosemary, the long-suffering wife of Big Jim, who ultimately ends up biting the dust unfairly.Big Jim Oh, and The Hanging Judge.I just did the five, right?Jack of Hearts, Lily, Rosemary, Big Jim and Hanging Judge.
Hanging Judge for me, Sam Jackson.You know, he's got to be in here somewhere.Big Jim, this is the fun one.I feel like this could be spectacular.Everyone hates Big Jim.He's the villain.We don't like him.Who better to play Big Jim than one Josh Gad?
Oh my God.Oh my God.This is such a bizarre... I don't want to see this movie.Me neither. Timothy Chalamet, like Tarantino, maybe with Josh Gad?
Think of how we would fuck with that.Like, you know, those actors always like to, you know, do unexpected things for Tarantino.Think of, like, Leonardo DiCaprio doing the Calvin Candy thing in Django, or Jamie Foxx.
Will Smith was supposed to be Django, right?Like, I'm thinking the same kind of thing.Someone who, like, they're playing against type here for Quentin, specifically.I feel like Josh Gad is Big Jim.That's, I love that.
Oh, I hate it.Josh Gad, never.I'd never want to see him on screen.So like, I took a different approach to this.I did sort of like, it doesn't, we're not doing a contemporary movie.It's like, we can just apply historical
director and cast to this movie, like an ultimate version of like a Lily, you know, like a Lily Rosemary in the Jack of Hearts film, which to me is like, would be like a great 70s anti-Western.
So I was thinking Sam Peckinpah as the director of this film, you know, one of the great filmmakers of all time, obviously worked with Bob Dylan on Peck and Billy the Kid. So I have Sam Peckinpah as the director.
As the Jack of Hearts, I have Warren Oates, the great Warren Oates as the leading man.And then as Rosemary, I have Shelley Duvall, his wife.I think she'd be great in that role.As Lily, the mistress of Big Jim, I have Karen Black.
The great Karen Black, one of the great actresses of the 70s, very sexy, too, if I may say so, if I'm allowed to say that.Karen Black in Five Easy Pieces and Cisco Pike in many other 70s films.
As Big Jim, I have the great Jason Robards, who was in many great 70s films. the ballad of Cable Hogue of many other Sam Peckinpah movies that he's in.I think he's such a great actor, he'd be a great bad guy in this film.
And then as the hanging judge I have Mr. Harry Dean Stanton.Because he's not literally a judge in the song, he's like this sort of like drunken character that's like observing everything going on.So I think Harry Dean Stanton would be great.
So again, I'm picturing like a great 70s anti-Western, a film that literally could not be made if we're talking about this movie being made in the modern sense.But like, I like to think of these actors in the song as I listen to it.
I think that would be a great film. A film of the mind, if you will.
Absolutely.That's an actually good movie instead of Josh Gad and Timothee Chalamet.Have you come up with something?You're Mr. Movies, Mr. Actor.You got something?
I didn't have as much preparation as you both did, but I have a few things I want to throw out there.Two choices.You got either Peter Greenaway or Woody Allen. And you flip a coin.But in either case, I think I'm seeing Wallace Shawn.
We've got Marion Cotillard.We've got Lea Seydoux.We have Peter Weller.Who is Wallace Shawn playing?Is he the Jack of Hearts?I'm just saying these are some names I'm curious.I think that they could bring something to the table.
We're in talks with George Clooney for the project. Let's say it's Peter Greenaway.I'm imagining sort of the cook, the thief, his wife, and her lover style film.That's like my model for the Lily Rosemary and the Jack of Hearts movie.
It's sort of a love triangle with some sinister twists and turns.Alternately, it could be more of an ensemble piece, like a Woody Allen picture with maybe Maybe we've got Scarlett Johansson in here.
Scarlett Johansson opposite Lea Seydoux, or Marion Cotero.Big Jim is played by Peter Weller.
Anyway, folks out there, let us know, do you want to see the Sam Peckinpah, Lily Rosemary and the Jack of Hearts, the Peter Greenaway, Lily Rosemary and the Jack of Hearts, or the disastrous Quentin Tarantino, Lily Rosemary and the Jack of Hearts?
With that, codes? This episode of Jokerman Podcast is presented by DistroKid.
Over a million artists rely on DistroKid to distribute their music and get it into all of the places it needs to go, your Spotify's, your Apple Music's, your YouTube's, your TikTok's, your Tidal's, your Instagram's, and any other streaming service of note.
DistroKid makes music distribution fun and easy with unlimited uploads and artists keeping 100%, that's right, 100, all of them, Folks, of their royalties and earnings.
DistroKid comes with tons of great features including Mixia, which allows DistroKid users to put the finishing touches on their tracks in just minutes.
Getting a customizable and polished end result that anyone can feel confident in before sharing it with the world.The DistroKid app is available now on iOS and Android.So go to the Apple App Store or the Google Play Store to download it today.Toads.
This was you, Evan, so give it to us.What's going on here?
Well, I feel like, you know, in a sense, this wasn't me, because I think it's something we all knew had to be done at some point.This is a legendary show.And so I just wanted to get the ball rolling.I thought maybe
Either of you are going to come up with a reason, like, we can't do toads yet.We're not ready.We haven't done enough training to get to this show.
But I think the compromise of doing it in sections, not all in one episode, has made it a bit more approachable.And there's cartoon frogs or toads.
That's that's the toad of toads place it and which does does appear on the like the ticket actual outs It's on the ticket and it's also like actually on the outside of the venue on there like their marquee a big ol Yeah, big ol Michigan J frog looking fucking cartoon guy.
So that obviously is delightful I mean that's part of why I wanted to pick this but it turns out that yeah Like it's legendary for the reason that this is a huge huge show.It's his longest show and
And it's not like, it actually takes full advantage of how long it is.It really goes to some unexpected corners.Everything about it feels a little bit unconventional.It's kind of like the weirdo, bizarro world version of the supper club.
Uh, you know, it's, it's a little like that supper club show, but it's, it's a bit weirder.And, uh, I think it's really interesting and fun.So I just wanted to make sure we got to it.
Yeah, I mean, this show, it's a four-hour and four-minute show.There's four sets in the show.Started around like 9 p.m.and then went until like a little bit after 2 a.m.in the morning.And the sets get longer as they go on.
We're only doing the first two sets in the show. The fourth set I think is about 80 minutes or so, so like the fourth set itself is almost like the length of a show.
These first two sets are about, I think the first set's about 50 minutes and the second one is like 40 minutes and change or so.And these... The show essentially, I think, was intended to be a rehearsal for the tour.
It was like the first show of 1990.They were doing a lot of songs for the first time.I think at one point, I forget like what song he says this before, but he says like, we're rehearsing the endings tonight.
Yeah, I think he says it like before it's either before or after political world like the fifth song He's like, yeah, we're working on the endings tonight, which by the way political world He plays three songs.
He plays three times in the show And and we get one in this part of the show like in the first two sets But he also plays it in like again in the third set and then in the fourth set.So again, is that oh my
Yeah, so just to sort of reiterate that this is like, it's a show, but it's also like a rehearsal.So it's like, it feels very loose.
And, you know, I think it's a show that is held up in Bob Dylan lore because of how long it is, but also because of like how many different songs he was playing.And I think at this particular moment in time,
Especially, it was unique for Bob to be playing this wide range of songs.And he's digging deep into his own catalog.He's playing a lot of covers.
One thing we'll get into as we talk about the show that's funny to me is that you hear one person, and I feel like it's the same guy.It might be different people, but I'm going to just assume
It's the same guy and I'm gonna call him like obvious request guy.
Mm-hmm because you hear him shouting for like a rolling stone You hear him shouting for all on the watchtower Tangled and blue and for tangled up in blue and he's like shouting for these songs Meanwhile, like Bob is playing, you know, welcome out on my shoes He's playing, you know One more cup of coffee and he's playing like all these Oh Mercy songs and this guy just wants to hear
like a Rolling Stone immediately.It's like he's at the wrong Bob Dylan show.The worst possible Bob Dylan show for him to be attending in history.
And it's funny too because this is a show and it doesn't really come up in this part of the show but like in the third and fourth set Bob actually does take requests from the audience and
Maybe we don't want to spoil what the requests are that he ends up playing later on, because we're going to talk about the second half of the show at some point.
I mean, one of the requests that he plays, it's hilarious that someone would request this song.It's a Traveling Wilbury song.Yes.I won't say which one.It's hilarious that someone would request that specific song.
And then Bob actually obliges and plays it.But yeah, it's a show where I think The line between brilliance and awfulness is very thin.Yes.
Like, I think there's a lot of just brilliant moments in the show that I love, and then there's other moments where I'm like, this is not very good, but I can't
It's hard for me to parse it because I think that the badness and the goodness happen simultaneously so often in this show.It's very hard to parse.So we'll get into that with the show.
Another thing I want to talk about with this gig before we get into it is G.E.Smith.Yes.Because we haven't talked about him yet.He is such an important part of the Neverending Tour story.Of course, he was there at the beginning.
the original band leader, really, of this tour.And there's a great YouTube video, I think we've probably all seen it, maybe people who are listening to the show have seen it, of like G.E.
Smith talking about how he was hired by Bob Dylan, how he ended up in the show, and how essentially the thing that got him into the band was the fact that he knew Pretty Peggy-O.Which they play. which they play not in this part of the show.
We'll get to it, I guess, in the second half of the Toad set.But it was the Saturday Night Live band, essentially, supporting Bob at this tryout.It was G.E.
Smith, it was Christopher Parker, the drummer, and then it was this guy, T-Bone Walk, was the bass player, who ended up not playing with Bob because he was in Daryl Hall's band. along with G.E.Smith, like Daryl Hall of Hall & Oates fame.
He didn't want to leave Daryl Hall to play with Bob Dylan, so he ended up not playing in The NeverEnding Tour.They had Kenny Aronson was the original bass player of The NeverEnding Tour, then he left, and then Tony Garnier came in.
I believe Tony came in Was that like 89?It must have been the 89 or 90 or so that Garnier came in.So like he was in the band by the time of this Toad's Place show. But yeah, I don't know.
It's interesting, this era of the Never Ending Tour band, in comparison to other eras that we've listened to, this is such a bare bones band.You got a guitar player, bass player, and drums.
And they are playing pedal-to-the-metal versions of these songs.And it's part of the fascination of this show, I think, because it's such an unsubtle band, you know?
Like, there's not a lot of nuance to the arrangements of these songs, and it's part of what makes this era so unique, and it's what I love about it, but also I think I don't know.It's like a sledgehammer treatment to a lot of these songs.
There's no like lighter touches brought to these songs.It's just really heavy slamming it down and Bob, his vocals being very hit or miss over it.
But at the same time, though, they are kind of limber in that whatever that frequency is, as much as it lacks subtlety, it seems like they're in some kind of a groove of just continuing to go.
They can just go and go and go, and they can throw songs in there.What you lose in precision, you do gain in sheer variety and, I guess, a sense of gameness to just let this thing just roll?
It's an exciting show to listen to, I think.You know, it's, there's no question, it's advanced listening.You know, there's a reason that we've taken a little bit of time to work up to this.
And I think this is the earliest Neverending Tour show that we've done up to this point.I think, you know, before this, it was 92.
You know, you think that Waikiki 92 show that we did a while ago, another Evans special, that was sort of just a tough hang and pretty turgid from beginning to end, and compare that against what you get here on Toads.
There are moments of this show that are just as bad, if not worse, than that Waikiki show.But there are also moments in the show that I think are, maybe not like the best I've ever heard, but like, honestly, really great and really exciting.
And you kind of go from one to the other in the, at the drop of a hat in the span of two seconds.And that's what's so kind of rewarding about listening to it, because you can hear it in, you can hear the music, you can hear it in Bob himself, like,
All of a sudden, he's into it, he's found something, he's latched on to something that means something to him at this moment in time, and it's just a firecracker performance.
Then there are other songs in between those instances that are just a little bit of a tough hang.I'm thinking of a couple in particular, but it's a very dynamic up-and-down always interesting kind of performance.
And I also just love hearing them as a four-piece unit, just like guitar, you know, lead guitar, rhythm guitar, bass guitar, drums, that's it.And, you know, it really is just one guitarist for the most part, G.E.
Smith, and Bob is just doing, you know, the same way that he does his pounding on the piano today, flourishing, uh, the songs that he plays live in 2023.He's treating his electric guitar during this set about the same way.
He's not really bothering to try to, uh, you know, fit into the melody or the tempo.It's kind of just stabs at what's going on.It's a, it's honestly like a raw kind of like almost indie rock sound.I really dig it.
Yeah.Uh, well, what do you dig most?Should we get into pretty good stuff?
Well, we've got our Watchtower check to begin.
Wouldn't you know, here it is.Once again, the very end of the set, the second set at least.You know, it's Watchtower, it's fine.I don't know that I have much to say about this one besides it's here and it's not surprising to see.
Yeah, it's a little bit of a tease because the song right after it, which we won't get to, I don't think, that's where our second set cuts off, yes?Yes.So yeah, things really blow up in a positive way after that.
Yeah, the third and fourth sets, you're really kind of like, Bob is going big brain mode.So when we come back, when we return to Toads, we're gonna have a whole lot of fun.
Return to Toads is gonna be like a real great episode.
It's gonna be a valedictory for all of us.
But yeah, this is all along the Watchtower.The song after it is tight connection to my heart.So I mean, like, That's your enticement for Toads 2, Return of Toads.
It's gonna be good stuff.
Steven, do you have comments on all along the Watchtower? Not really.
I mean, again, I think it's hilarious that there's a guy, a very audible person in the audience, who is calling out for that song as well as these other very obvious Bob Dylan hits that he's not going to play in the show.
I guess he does play all on the Watchtower, but he I can't remember if he plays Like a Rolling Stone later on or not.
That's the very last song.Song 50 of Toad's is like a Rolling Stone.
So that guy, he had to be very patient because again, this is like a four hour show.So he had to wait a long time.
It's like if you're at a Dylan show and you're yelling out for Like a Rolling Stone in like the first hour, I feel like you're a little misguided.I think we can assume that guy did not make it to the end of the fourth set. Well, I don't know.
I mean, this this audience, I think part of the vibe of the show is that the audience is like really into it and they are audibly excited like throughout the gig.And, you know.
As I was listening to the show, I was looking at photos of Toad's Place, because I was just trying to recreate in my mind what this show must have been like.And on the website for Toad's Place, it's described as Connecticut's premier nightclub.
And it is a well-known place.A lot of people have played there over the years.It's a well-established music venue in Connecticut.But the exterior as well as the interior.It just looks like a corner bar.It looks like a very basic place.
So the fact that Dylan was playing there in 90, even at that point in his career, which again, he wasn't at a high point, although he was coming up off of Old Mercy, the very critically acclaimed record.
I mean, he was playing bigger venues than this, certainly, in 90.
It's a 1,000 capacity spot.
Yeah, I mean, I've seen varying numbers for the capacity.I've seen 1,000.I've also seen like 700, 750.I wonder if it was smaller in 90 than it is now, like maybe
It's been expanded in the in the 30 years since like contemporary reports like there's a Rolling Stone review of this show that was written at the time It's also written about in the Clinton Halen book that I have a life and still moments I'm looking forward to hearing about that day by day.
Well, and he writes very positively about this show and And I think at the time people looked at this as a great Dylan show because of the variety of the setlist, because it was so loose and different.
people's expectations of what Dylan was like live is maybe a little bit different like then compared to now.I think that this show was definitely looked at as like, wow, it's amazing that he did this show.
You know, just as an experience of Bob Dylan digging this deep. into his catalog.And again, when we do the return to Toads, I think the second half of the show is especially... Bonkers.I don't know what the word is.
Yeah, there's some crazy moments going on that was pretty exciting for people at the time.But going into the pretty good stuff for me, I mean, again, I think you have to start with the set list itself. being pretty good stuff.
And even by modern standards, this is a very adventurous setlist, Hick.He's all over the place, digging into all these covers.
I personally was happy to hear him play Oh Babe It Ain't No Lie, which is a song that he ended up playing at the end of the 90s.Actually, the first Dylan show I ever saw He played this song.This is a traditional kind of like gospel folk song.
The first show I ever saw Dylan play in Duluth in July of 1999, he did this song.And it was a much different version.It was, you know, sort of like a folky version of it.And this is like more of like a blown out rock version.
I wish that a lady would lay down and die.Stop giving all them lies to all of me.Oh, baby, there's no lie.Oh, baby, there's no lie.Oh, baby, there's no lie.
It's like a lady on the high.
So that was cool to hear for me.I mean, I think the songs that jump out immediately to my ears are the O Mercy songs.We already referenced Political World, which he plays several times in the show.I think the Political World is so good.
♪ Livin' a political world ♪ ♪ It's a mecca for the poor ♪ ♪ How do you check and show your back ♪ ♪ When the opposites can win?
♪ ♪ Livin' a political world ♪ ♪ Officers are hangin' down ♪ ♪ Those bell-ringin' angels in the clouds ♪ ♪ Governin' up the crowd ♪
I also think that the version of What Was It You Wanted, which I actually have in my Budokan moment category, but I'll mention it now, that's another song that I think just rocks really hard, and I like it quite a bit.
In the air in the shadows
I'm also going to shout out Man of Peace.Wait, you don't like Man of Peace?I'm going to come back to Man of Peace.You got it.I'm curious to hear if you're going to not like that.I really liked...
that performance, and I like that he dug that song out for this.And I think he actually makes a reference before that, that this is like one of my religious songs.Yeah, he sure does.Which is, you know, a sardonic comment to make about that.
But yeah, I really like that song a lot too.So like, the O Mercy songs, Man of Peace, and then I'll say like a lot of the covers that he does.Everybody's Movin', another song, another cover song, I think that works really well for me.
It's interesting to hear him do Trouble No More, which of course he ends up rewriting as Someday Baby. on Modern Times.So yeah, those songs jump out for me.I think those are all great choices.
I agree.Yeah, I also liked Man of Peace.And I like, yeah, I mean... See, Ian, okay.
Okay, let's get into this now, Ian, because you're doing the wow, you're doing a lot of side comments, you're acting like it's self-evident that that's not very good, but now you're already outvoted on that being strong.
So what is your deal with that song?I get to be the joker for once.
This is one of my remitless songs.That's really what it is.
Look out your window, baby, there's a sea you'd like to catch And there's Ben Dixie, and there's Ham Ashton It's just like that that one I think above all here to me just
like I feel like he's starting to lose the thread at that point it is it is such a um like it just feels like it I'm looking at the the time you know the time stamps and all these songs and I'm surprised to see it's only 5 17 because I feel like listening to it I feel like it's like an eight minute song it just
He goes over and over and over again.Sometimes Satan, you know, comes to man in peace.That, I think, is an example of where this show just like starts to grate on my ears.
I think this thing works the best for me when he kind of keeps it short and snappy and when he has those moments where he kind of everything falls into place and you know a moment of inspiration strikes you know bolt of lightning hits the stage like that's incredible stuff but to me Man of Peace at least is just like I'm just banging my head against a wall for five minutes straight.
All right we need the Patreon commenters to come on out. And call Ian out on that one.
I mean, I felt that way a little bit on Political World, which goes pretty long.Like, and there's, you know, it happens sometimes where there's like a few false endings to a song that you're like, all right.
See, Political World to me, I think that's one that works.And that's a longer one.
That's over seven minutes.
GE Smith on Political World to me is, on this Political World at least, is reckoning.
He's really good. I do like political war.I really have to say the whole first section, like this episode encompasses, I think, a lot of warming up time.As you already mentioned, that's kind of what's going on here.And you do hear it.
I think that it is kind of them getting situated. But that said, I really liked that they did... I liked Tears of Rage, which I tend not even to be a big booster of that song. I actually really liked it and I liked I Dreamed I Saw St.Augustine.
I liked those coming in succession.
Yes, Augustine is fantastic.That's one of my favorite John Wesley Harding cuts.And it's one that Bob doesn't seem to drag out too often.That's one I think absolutely where he assumes the form and everything is lined up all of a sudden there.
That's an absolute stunner to me.And people, as soon as they recognize, as soon as the audience recognizes what he's about to sing, a huge wave of applause goes through the crowd.
I have to feel like Bob was kind of responding to the energy that he was getting back from the people that night.
Somebody was saying, like, play ones we know, I think.Is somebody saying that?
Yeah, at one point, I think.I think someone said something like that.
The cutest moment of, like, the audience chatter is a guy very distinctly and loudly and clearly is telling someone, like, about Walk a Mile in My Shoes.He's like, hey, I just heard that on Nate, like, radio station.
Yeah, a few days ago, haha.It's just like a very, it's a heartwarming moment of just like, that is how it is to be on a show sometimes.You're just like, I just heard this song.I just heard this song.
Although he weirdly says that like five songs after Walk a Mile in My Shoes for some reason.
Yeah, well, he was in rapt attention.I'm surprised you didn't mention Tears of Rage.
Well, can I just circle back here?You mentioned I Dreamed I Saw St.Augustine, which is one of my favorite Bob Dylan songs.This version, I like it.I think that's a song where vocally...
you know, sensing, like, the weakness of Bob's voice here, and you can really hear that on some of these songs.I have to say, too, that song is 30 seconds longer than Man of Peace on here.
So, like, it's interesting to me that you feel like Man of Peace is interminable, but, like, there's actually longer songs.Maybe you still don't like that song.I don't know, but, like... I'm not a big... I can't say I'm a big Man of Peace fan.
There's, like, longer versions.There's, like, longer performances on here than that song, but... I mean, again, I think in the show...
Where the struggle comes sometimes is that, like, Bob's voice is, like, not in tip-top shape, and he's having to sing over this, like, really loud band.And it doesn't always work, I think, for that reason.Yeah.But it also is great at the same time.
Like, again, like, I have a hard time separating the things I love from the things I don't love.Like, I actually I guess we're going to go into Oh Mercy here.
I don't want to skip ahead, but I feel like pretty good stuff in Oh Mercy have to be intertwined here.Like, When Teardrops Fall, I think is... I have it in my Oh Mercy category.I think because of Bob's voice.
But I also kind of love what the band does with that song.So I don't know if it really belongs in that category, necessarily.
By the way, when the sun went red By the way, my love There is a place you'd go Where the children are strong By the way, when the sun went blue By the way, my love There is a place you'd go
Um, I have Lenny Bruce in Oh Mercy as well.That probably does belong there.But at the same time, that also has like a beautiful train wreck quality where I can't totally dismiss it.
Like I feel like... Isn't it just great that it's there?I mean, I know that's kind of... Well, that's what I'm saying.
Yeah.That's what I'm saying.I think that what is great about this show and what doesn't work, it's really hard to separate it.And like, so you can't really say, like, because the things that don't work here in some ways are my favorite things.
Like the, just the bombastic one more cup of coffee at the beginning.
It's like, that one is wild.Like, what is that?
One more time, everybody.One, two.Put your hands in the air. Oh, oh, oh.
That's my Budokan moment, by the way.It's just like, okay, I guess we're doing this.That's crazy.
It's insane, but I also, I listened to it again, because I had it, that's another song I had, No Mercy, but then I listened to it again, and I was like, I kind of love how just
insane this version is because it's another example of like what i was trying to get at before where i feel like this band it's like you know it's that old saying about like when you're a hammer everything looks like a nail you know like this band's a hammer and they're gonna nail this is just gonna hit everything really hard and even if it doesn't even if it might need something like a little like a softer touch or a more nuanced touch but at the same time
I kind of love that aspect of this.Like, G.E.Smith, what he's doing here, I love it.He's overplaying, I think, a lot.Especially if you compare it to that 2019 show that we just did recently.
And you think about how sensitive that band is and how they just seem to intuitively understand this material so well. This is like the exact opposite.Exactly.
Like if I compare it to that, I'm like, oh, like this band doesn't seem to have that same kind of sensitivity.But at the same time, I'm like.
I still kind of love what they're doing here, even if it seems wrong, so I don't know, like that's a hard thing for me with this show.
Yeah, I think this is why I think it was good for us to, you know, take some time to work up to this is because, you know, like by the time you get to just like 92, 93 era, you know, the Supper Club is in 93 and 92, there are some incredible shows.
And then certainly into 94, like Bob is really kind of back, you know, he's coming back at that point.And he's got the five piece band by then.And he really kind of understands what songs he wants to play and how to approach them, how to treat them.
You know, you start getting the type of set list where you've got the, you know, short electric set at the beginning, then the Bob acoustic set in the middle, then the second electric set towards the end, then the encore with a little bit of both.
And this is, you know, the acoustic, I don't think there is a single acoustic number, you know, through all 50 fucking songs from Toads.So you really get this like live wire garage rock approach
Bolted on to some songs that I think it absolutely like is geared towards right like Like I think I believe in you is like super is like extraordinary and really well suited for this band
Well, if I say so myself.
but you also get that same approach on fucking one more cup of coffee, or I dreamed I saw Saint Augustine, which like that, those two flavors just don't really, you wouldn't think that they mix, and yet hearing this weird, like unexpected kind of take on all this shit, and it's all just smashed in together, where teardrops fall into tears of rage, into I dreamed I saw Saint Augustine, into it takes a lot to laugh, it takes a train to cry, that's just like a,
It's like fucking whiplash listening to this thing and it all sounds so like brassy and hard and and electric it's um, I don't know it If you're just if you're just dipping your toes into the live Bob world with toads You know, you might you might find yourself at sea a little bit, but it swept away Get bitten by a toad.
That's right.You might it's like licking a toad You got the good kind Yeah, your pupils dilate and you go, uh, blast off into the stars.Um, I don't know.This is just such a fun fucking listen to me.
Um, and even songs like Man of Peace, which I was saying, you know, that that is definitely no mercy pick for me, like that don't really work to me.I'd still like to hear them. even though they are not necessarily very good at it.
Look at that track listing from What Was It You Wanted, Oh Babe It Ain't No Lie, Lenny Bruce, I Believe in You, Man of Peace.
Lenny Bruce, I Believe in You, Man of Peace.I didn't even care.I wasn't even listening to Man of Peace.I just knew what it was, and I was so stoked that those three were what was happening.
well and like you and like ian again like you wouldn't like manatee's in any context like you just don't like the song i because i think that with this band that song works really well like because that is just a straightforward mid-tempo 80s dylan rock song
Like, you just don't like that song.I don't like the song.Like, I don't think that there's, like, a different incarnation of that song.
Like, yeah, I mean, we've been over it, but Infidels is, like, you know, there are a couple high points on Infidels, obviously, but a lot of that record can be sort of a tough hang for me.
I'll take it over Clean Cut Kid or whatever.
Do they play does he play clean cut kid in the third or fourth say But he plays a song in the third or fourth set that is we haven't mentioned but in a song that is
is it's incredible that he plays it and it sounds so bad and it's so funny that he's playing it.
Yeah, we gotta save that for part two.
Yeah, I mean because like really like these first two sets are like the relatively normal part of the set.Yeah, this is regular. Like as, you know, wide ranging as this is, like he really goes deep, you know, in the third and fourth sets.
And again, I think that essentially this is like a rehearsal in front of an audience.And that's why he's playing a smaller club.He's getting ready to, you know, launch the 1990 version of The NeverEnding Tour.
He's playing like a lot of songs that he's not played really, like much at all, or like if ever.
you know so he and that thing that he has early on where he's like we're practicing the the endings of these songs like i don't think he's joking like i think he's like actually saying what they're doing in this set.Yes, very clearly.
And, you know, you can either look at this and say, oh, this is like a shambles, it's a rehearsal, or you can lean into it and say, oh, isn't it great?
He's doing this sort of rehearsal type show in front of an audience and he's playing like tons of songs.I think that Dylan fans generally take the latter approach, that it's
cool to be able to have this view of him like working through all this material in front of an audience again a very like excitable audience who is like cheering him like all the way I mean you know that very obvious request guy aside it seems like people are pretty down
for this setlist.They're excited that he's playing all these different kinds of songs, which is pretty cool.Do you guys have any other Mercy tracks here?Things you don't think work?
I don't... I didn't get to spit through all of my pretty good stuff, and I don't need to backtrack necessarily, but I do think it's just interesting to think about the O'Mercy stuff that is... and not O'Mercy as in like, O'Mercy, this is the bad stuff, but literally the songs from O'Mercy, right?
Being performed here, because that record came out...
I think like three-ish months, four months before this show, and Bob is actually going to start recording Under the Red Sky this month in January, but that record isn't actually going to see the light of day until the end of the year, so he's still a pretty far, you know, distance away from
Putting that one out It's just an interest.
It's interesting to hear this Oh Mercy stuff again from the record Oh Mercy played this way sapped of all of the the lanwa kind of stuff because that record obviously, you know lives on the Atmosphere and the swamp sound and I think that is like a super successful like top to bottom like lanwa You know knocked it out of the park there I don't think that there really is much to even debate on that record the way that there can be on time out of mind
But but hearing these songs just as these like pretty tight bar band, you know rock songs here drained of all of that kind of Angst and and pathos and stuff.
They still fuck it like they all fucking work to me I think I think the mercy stuff from the record is is like hands-down some of the strongest material here and
Even when it goes as long as it does on political world and weird where teardrops fall, you know kind of yeah, but It it's it's I think just a credit to that material right like how strong and how strong it fundamentally was even minus the production which was great It still totally lives and breathes live.
Yeah, I agree.And we do live in a political world.
We do.So now more than ever, we live in a political world.
And it's the perfect length of time on Political World.I like all seven minutes and 20 seconds.I just don't, I think there needs to be some pushback on you complaining about these song lengths.
Because I don't think that they actually go that long in my opinion.
I like the seven minutes of Political World.Give me ten minutes.
I know, but you qualified it before and you said, like, it goes a little too long, but I still like it.No, I think it's a good length.I like it.
These are having a beer length.They're kind of extended for the chilling at a bar. Experience.
This is one of the shows that we've talked about so far that like more than more than almost any others that like I just wish I was at this show like just to have been in this room.
This seems like it would have been such a great night to just fucking hang and like drink nine rolling rocks and feel like absolute shit and just like chain smokes in between the set breaks and stuff.This seems like such a great night to hang.
We hope we can give you a little taste of that in the theater of the mind on NeverEnding Stories. I'm excited for toads 2 and I really I just knew we had to start somewhere.
We had to start with toads 1 Yeah, I mean, you know next time we come back to toads you're in for it I feel like we got it We got it We got to give ourselves a little bit of time before we return to toads that I don't want to I don't want to overdose on toes You can have toads part 2 as a treat
Okay, well we hit our own mercy.We hit our pretty good stuff We've already kind of touched on budokan moment, but remind the folks again.Yeah, both of you already mentioned I think your picks, but what are they?
One more cup of coffee.Just listen to that.
Yeah.And Stephen, your Budokan?I mentioned this before.I think What Wasn't You Wanted for me might be the one, because on the record, it's this very atmospheric song on side two of O Mercy.And here, it is like that, again, that garage rock version
I mean, musically, it's very similar to Political World.I feel like he's kind of milking the same groove on both songs, but I really like it.It works.And I think for this band, those two songs work really well.
I think that, again, like the O Mercy songs being rocked up, I think some of those 80s Dylan songs, It just worked in the religious material too.
I think all that stuff, it works really well with this version of the band, because I think all that material, it benefits from that more hard-charging approach versus some of the, I guess, more delicate songs here, which
on some level I can appreciate, but I also feel like it's like a monster truck going over a dandelion.It's just crushing some of the more delicate material in an interesting way, but not always in an effective way.
Yeah, my Budokan pick was one of those songs in particular.It's Lenny, which we've talked about a little bit already.
But I'm choosing that not because it is quite as extraordinarily different as One More Cup of Coffee or even What Was It You Wanted, but just the Bob's delivery and approach on this song.
Towards the end, he really starts to get worked up and he's just like... you were the brother you never had he's like he's so he screams a bit he's like he's damn psycho about it exactly
That level of investment and excitement on Lenny Bruce with that really kind of sharp and almost kind of like unpleasant sounding guitar that you get on this song, but I still dig it at the same time.
It's a very intoxicating brew, I should say, or I would say.
Yeah, that's one word you could apply to it.Intoxicating.I mean, the thing with this... The thing with this Lenny Bruce is that I just think of the recent 2019 show that we did.Yes, exactly.And I'll stand behind this that that is the best.
Lenny Bruce that I think will ever exist, the way he performed it on that tour.What's the right word to describe Lenny Bruce as a song?A good.An unorthodox Bob Dylan song.A song that is good in an unorthodox kind of way.
It's an educational song.
In the 2019 version, it's like, okay, this is the most straight-up, straightforward... way to appreciate this song.It's like the best incarnation of it.
This one is more, again, going back to the unorthodox way, where you feel like, OK, this is Bob Dylan.Maybe Bob Dylan is drunk in a bar.That's him being drunk in a bar singing Lenny Bruce.
That is what this version is, which I can appreciate, but I think is lesser than what we've heard recently.
Yeah, I mean, this is not at all the right way to do Lenny Bruce.The 2019 version is, you know, no question about it.
Well, there's maybe no right way to do this song, but that's the closest to the right way.
Yes, yeah. The 2019 one is such a, you know, perfect kind of rendition for it.You know, it's as perfect as you're going to get.This is like as close to as imperfect as you're going to get.And yet it is still fascinating.
And like I said, intoxicating to me.
It's a truthful song, so it can never be bad.
Oh, man.Lenny Bruce.They stamped him and they labeled him.Bob talk.He's talkative.He's he's talking about doing just the endings.You know, that's what we're working on before political world.And then Lenny Bruce actually he claims was a request.
I didn't hear someone shout out Lenny Bruce.But before he starts playing Lenny Bruce, he says like.
It was the one that you requested.
No one requested that.I'm just gonna call bullshit on Bob.No one requested that.Like the guy in the audience yelling for Like a Rolling Stone and All on the Watchtower, he's gonna change chorus and do Lenny Bruce?I don't think so.
Yeah, it's just that guy shouting Watchtower and Rolling Stone and Bob's like, oh what's that?I'm hearing Lenny?Is that Lenny Bruce I'm hearing?Like a Lenny Bruce-ing Stone?
Bruce like a bruising on that note do we have any bootleg titles yes, oh boy
Yeah.Let's hear him.What are you gonna do with this one besides just go all in on Toad?Like that's... Yeah, I think you're right.Toad of Peace.
Toad of... Oh, Toad of Peace, like Peace Frog.That's good.
See, I did this Toad as a prince.
You know, like how you kiss a toad and it turns into a prince.
I didn't, I didn't think I was being that subtle with that one, but apparently I was trying to figure out the Bob lyric that I was missing there.
Um, political toad.Um, I've been all around this toad.Toads of rage. Yes.I guess I'm surprised just looking at the list once more that neither of you were bitching and moaning about there being a Rainy Day Women on here.
Did you bitch and moan about it?No.No, you haven't.
I mean, I feel like in a set where you have this many curve balls that you can't get too upset.
I'm not asking for you guys to.It's fine that you didn't.
What I like about this Rainy Day Women is that it's, it's the exact same as Leopard Skin and Pillbox Hat, which is the second to last song on, on this portion of the song.
Like the way it starts and the rhythm and the, the whole melody, it's the same song.He's just playing a Leopard Skin and Pillbox Hat on one version and he's playing Rainy Day Women on the other.
It takes a lot to laugh, it takes a toad to cry.
Toad to cry, yeah of course.So, do you guys just have toad related titles?Because I have a non-toad title.Yes, I could get my mind off of toad.So I have, I Dreamed I Saw St.Bobby D. St.Bobby D, that's good.
I just want to say I hate Bobby D. I don't like Bobby D. I think someone's calling him Bobby D. They're calling him Bobby or Bobby D. Someone is shouting Bobby or Bobby D at some point during the show.
I hate it when people yell Bobby. Bob Dylan at shows or they call him Zimmy.I hate that So that's why I made it a bootleg title cuz I'm like I gotta think of things I hate And I'm gonna put that in the title.So I dreamed I saw st.
Bobby D Do people call him Zimmy at shows still just yeah, it's like saying, you know, like free bird.It's just like dorks Zimmy Like, we love you.Walk a mile in Hartford.That's my, like, actual, like, realistically bland, unpleasant one.
I mean, there's got to be a title referencing that this is the longest Bob Dylan show ever.And I couldn't come up with a good play.I mean, I was trying to think of, like, I thought, like, Long Day's Journey into Bobby's Night.That was one.
Long Day's Journey into Toad's.
Yeah, I feel like we're working the toad thing too much.Desolation toad.Yeah.He doesn't play desolation.Well, maybe that's a good one because it actually made me audibly grown.Yes.I think that might be a good thing there.
How about political toad?
Okay.You already said political toad.
How about political toad again?
Early Roman King of Bob Dylan at Toad's Place in New Haven, Connecticut.Seems like a pretty easy call, right?
Yeah, it's G.E.Smith.Yeah, I think.Yeah.And I love G.E.Smith.And I, you know, I wanted to shout him out earlier, too.I mean, I'm a little bit older than you guys.I remember the era of Saturday Night Live that G.E.
Smith was on where he was the band leader and he was like a significant person to me because that was the first
SNL era that I watched and he was this guy that had like the long blonde hair and he had like man he had like very Distinctive guitar faces, you know, he I feel like they featured him so much and like when I saw later on that he played with Bob Dylan and
It was a very weird thing.It would be like if Phil Hartman was in Bob Dylan's band or something.It was very odd for me to see that happening.He was such a big part of the early days of the NeverEnding Tour.
Band leader like he would help make the set list.I'm curious how much he helped Bring up songs for this particular show because you know based on like interviews that he's done.It sounds like he would help You know sort of suggest songs in this era.
It sounds like he was basically in the Tony Garnier role, right?Oh early on, that he was the band leader, and then he left, and then Tony ended up being the lieutenant in the band.Stepping up.And again, I think what he brings to the band is this very
i'm trying to think of the right word it's like a very sort of 80s version of like rock professionalism where i think it seems like a little dated now you know like where he was like this hot shot guitar player and it was very much about spotlighting his guitar
In a way, like, when you look at Dylan's band now, there aren't any virtuosos.It's very much about subtle musicianship, supporting Bob and keeping the focus on Bob.I think GE also had that as well.
I think he respected Bob and wanted to keep the focus on Bob.But just his style of playing, it is more of like a hot dog type of playing, really.Which I have a lot of affection for, and I think he's a great guitar player.
you know, in comparison to later incarnations of the NeverEnding Tour band that are maybe a little bit more refined, you know, you can look at it in retrospect and feel like, okay, maybe this was like, not the best fit for him.
But I don't know, I still have a lot of affection for it.
Absolutely.Yeah, I think it's a it's a like, if there's if you're gonna do a band, if Bob's gonna do a band where he's only got the one guitarist besides fucking himself, I think you need someone like GE here, right?
Because like in a couple years you're going to have the Bucky and JJ Jackson like, you know, twin guitar attack and the way they kind of bounce off one another and fill in the gaps that each one leaves open.
And really like a guitar player and like a multi-instrumentalist.Right.Like that seems like that's gonna be the path moving forward.Exactly.Where you've got like another guy in the band who's gonna kind of do like a lot of different things.
and it's gonna fill in like a lot of the color in the band and make it a little bit more dynamic as opposed to just like a again like a hammer looking for a nail like we're just gonna fucking hammer everything it's great to hear yeah and you know in comparison to later incarnations maybe like not as dynamic but I do appreciate it for what it is and we're gonna go back to this era because like I want to get into like 88 and 89
where it was like really raw.Yeah, you know at that time, but yeah, it's a fun era to revisit for sure.
Chris Parker should be noted also.We'll go on to play in the great Kim Akiriad band a couple years after this.So we got Bob Dadan, just like that.I don't really know much else besides that about him, though.
You know, we're gonna get... Well, he was in the SNL band too, so like another, you know, Lorne Michaels... So weird....progeny here.
Bob's just plucking SNL guys. What an era Okay stars for part one only of do we want to do stars yet, or do we not?
I'm not doing stars yet.I want to do the whole show So I you know cuz we're only halfway through so I don't think I can do stars yet
That's fair.The evening's not over.
We're only halfway there.We're going out into the... Not until the toad sings.Until the fat toad sings.
And again, I feel like this is like the preamble to the rest of the show.We got like two and a half hours left of this show.This is just the opener.And we got some wildness coming up.So I don't know.
As wild as this part of the show is, it's like the calm before the storm, really, with Toad's Place.
Like the toad before the storm.
We'll see you back at Toad's, folks.Don't you dare miss it.
Toad you dare miss it.Ugh.Ugh.
Sign in
