This weekend marked the annual Frendly Gathering, bringing a number of great artists to the Windham, VT area for three great days of music. Among the many top-tier perfomers were festival headliners Twiddle and Big Gigantic, who each brought their unique blend of sonic fusion to the festival’s main stage. Of course, with such a frendly gathering, it’s no surprise that the bands joined forces at the immersive festival.Thanks to Frendly Productions, we can share this video of Twiddle guitarist Mihali Savoulidis sitting in with Big Gigantic during their headlining set. Watch the jam magic, below.
It seems that Greensky Bluegrass has a lot of love for Colorado! The band just recently headlined at the Red Rocks Amphitheatre just last month, and now they’re bringing their jamgrass sounds back to the colorful state for three nights at the Ogden Theatre. The three Denver, CO shows are set to run from December 1st to 3rd, bringing beautiful music to the famed Colorado venue in style!The run marks the second annual trip to the Ogden for Greensky, who performed at the venue for three nights in November of last year as well. If those shows are any indication, then this year’s run is sure to be incredible.For tickets and more information, head here. You can see the show artwork below.
In addition to high-profile gigs as part of Joe Russo’s Almost Dead, keyboard soundscape master Marco Benevento has been hard at work touring behind his latest solo album The Story Of Fred Short, released this past April on the Royal Potato Family imprint.Just last Friday, Benevento released a new music for “Live A Certain Life” that perfectly captures his whimsical nature. Check it out below:You can catch Marco on the road throughout this month, including five shows with Eric Krasno and a set at Suwannee Hulaween on October 27th. After a stretch of various Almost Dead shows at the end of 2016 and beginning of 2017, Benevento’s tour will resume at the end of January for a nine-show northeast leg. You can see all of Marco’s upcoming tour dates below:October 18 – Richmond, VA – The Broadberry **October 19 – Raleigh, NC – Lincoln Theatre **October 20 – Atlanta, GA – Terminal West **October 21 – Asheville, NC – New Mountain **October 22 – Charleston, SC – The Pour House **October 27 – Live Oak, FL – HulaweenJan. 31 – Buffalo, NY – Iron WorksFeb. 1 – Ithaca, NY – The RongoFeb 2 – Brooklyn NY – Brooklyn BowlFeb 3 – Albany NY – The HollowFeb 4 – Burlington VT – Higher GroundFeb 7 – Hamden, CT – The Ballroom at The Outer SpaceFeb 8 – Holyoke, MA – Gateway ArtsFeb 9 – Boston MA – The SinclairFeb 10 – Ardmore, PA – Ardmore Music Hall** w/ Eric KrasnoTickets for all shows are available via his website.
Psychedelic pioneers Pink Floyd are getting ready to release a massive new box early next month that spans the earliest stages of their career (when Syd Barrett was still at the helm) through just before the release of their seminal album The Dark Side of the Moon. The 27-disc, 130-track compilation, titled The Early Years 1965-1972 dives deep into the band’s archives including full albums, previously unreleased tracks, demos, studio outtakes, rare live footage, and more–totaling 12 hours of audio and 15 hours of video content.After Barrett’s departure from the band, the band worked on the soundtrack for the independent film More directed by Barbet Schroeder. The band has just released a new official music video for the breezy tune “Green Is The Colour” from the More soundtrack, featuring footage of crashing waves and clouds blowing in the wind with early live footage of the band. You can enjoy the video below, as premiered by Rolling Stone.The Early Years 1965-1972 will be available for purchase on November 11th on Amazon and iTunes.
“All of a sudden there’s a song – there in your hotel room playing your guitar – and you write it, and two or three years later it will come true. It keeps you on your toes.”These words, spoken by Townes Van Zandt, support a popular notion of the songwriter in American popular culture: A rambling man, on the road with a band, playing venues both squalid and splendid, creating songs from thin air with little more than a beat up guitar, bottle of booze and hotel notepad. And there’s no doubt that countless great tunes have been written in such a manner. But there’s another question worth asking: In 2017, are most songs written that way?To find out, we spoke with six songwriters who will be at the ninth annual Rooster Walk Music & Arts Festival over Memorial Day weekend (May 25-28) in Martinsville, Va. These six artists: Paul Hoffman (Greensky Bluegrass), Anders Osborne, Andrew Marlin (Mandolin Orange), Lyle Divinksy (The Motet), Marcus King, and Wood Robinson (Mipso) bring different backgrounds, hometowns, experience levels and genres to the craft of songwriting. Perhaps unsurprisingly, they write songs in different manners.Read on to learn about the unique process that Greensky Bluegrass uses to create the songs you know and love.Editor’s Note: This is the second story in a six-part “Road to Rooster Walk” series about the craft and process of songwriting. The mandolin player and primary songwriter for Greensky Bluegrass, Paul Hoffman is an unabashed proponent of the smartphone as a songwriting tool.“I love my iPhone. I’m sorry. … (I use it) all the time, it’s very, very, very, very important to me, because I’m writing stream of consciousness, just singing stuff. I’m not even sure what I’m writing about,” he said. “Just words that appeal to me, I’m connecting in a way. Then I have to go back later and figure out what I actually said.”Hoffman keeps a running log of song lyrics, ideas, hooks and phrases in his phone, but prefers to do most of his writing with a guitar in hand, spouting lyrics off the top of his head until he hits on something that holds his attention.“If I stop and try to write it down, I often will forget what the song was doing. So I will just keep singing the same verse over and over again until I think I’ve got most of the words the way I want them, and then record it,” he explained it. “And then you start working on another verse. And then add that verse, record that verse sometimes, then go back later and write it out, see what the words look like. Or try to listen to it and do it all at once. But I’ll forget stuff real fast that I’m (creating) stream-of-conscious way.”He doesn’t concern himself with the chord progression of a song-in-progress. In fact, at times he intentionally uses the same simple chord progressions for multiple songs, because that helps him find the meter and hear how the words fit.Hoffman also makes it a point to avoid writing literally. Instead, he prefers to connect visual images and descriptive phrases that can paint a picture, or conjure an emotion, for the listener.“I’ll apply similar ideas emotionally, but not necessarily a linear story, so maybe they don’t tell a story or make sense together, but I like the way they convey an emotion together,” he said. “So when I’m halfway (done), I kind of have to look it and be like, ‘What’s missing to this point, here? This line’s cool; this line’s cool. I like how they conjure this feeling that works together, but, like, what do they mean? And what’s not there?’ And that’s how I kind of analyze them or edit them and then finish them.”Another trait that makes Hoffman’s writing style unique is his preferred pace of songwriting: He doesn’t typically write every single day, and what’s more, he doesn’t like to write songs in one sitting.He prefers to start a song, and then let it sit.“I kind of like a song to be unfinished until it needs to be finished, whether that be just a couple finishing touches or a couple more verses. If I’m not playing it (in public), I’m sort of open to changing it and rewriting it over and over again,” he said. “But sometimes, if I’m feeling the idea, if I like it or whatever, and it’s in my head, I’ll finish it in a week or two, maybe. Maybe that week. Maybe a couple days. It all depends.”Many times, the looming deadline of a new album leads to finished songs.“I get stuck on stuff,” he explained. “The tune that’s the title track of the record, ‘Hold On,’ it’s got the ‘shouted, written down and quoted’ line in it. I wrote the first verse of that song and then didn’t write the rest of the song for almost two years. I was stuck on it. I liked the verse so much that I couldn’t figure out where to go from there. And then in the process of preparing to record the record, I sat down with a lot of my half-finished stuff and just tried to figure it out.”Songwriters who influence Paul: Josh Davis (“Probably the biggest influence on me of all. When he started writing the way he was writing, I kind of heard my voice in his songs. And it taught me a lot, and he’s a good friend of mine.” Ryan Adams, Jason Isbell. Phish (“Melodically, the things they do. Not always lyrically.”)Song: “Hold On”Next Week on the Road to Rooster Walk: Marcus King
John Mayer may have just titled his stellar new album The Search For Everything, but it really seems like he’s already found what he was looking for. Mayer makes being a rock star look so easy it’s almost offensive. He can croon with the best of them and tickle the ivories before laying down guitar-hero arena sized riffs. He’s dated supermodels and fellow pop stars, appeared on stages all around the world, and took Jerry Garcia’s role in the newest iteration of The Grateful Dead with Dead & Co. Sadly, even singing cheek-to-cheek with Bob Weir isn’t enough to make Mayer forget the one who got away.Unfortunately for Mayer, having it all hasn’t apparently worked out as well as he might have wanted. The Search For Everything is dotted with numerous references to mistakes and powerlessness. After much conjecture in the media, he admitted that the first single, “Still Feel Like Your Man,” was indeed about his ex, mega-star Katy Perry. While the song itself is built around a soulful and bouncy background, it is clear that their is a dichotomy between tone and intention. Give the song a spin below and listen for yourself.“Still Feel Like Your Man”An undercurrent of melancholy is present on much of The Search For Everything. The theme is quickly reinforced on the second track, “Emoji Of A Wave,” a song of hope in the face of a growing uncertainty. “Helpless” attempts to throw the malaise of the first two tracks through the power of rock. The blues-guitar outro is fitting and soulful if not overly remarkable. Even songs that seem positive on the surface like “Love On The Weekend” have dark lyrical and sonic undertones.Doubts seem to plague John Mayer. On “In The Blood” and “Changing,” he seems to be examining every facet of his life. At the album’s midpoint, Mayer puts down his pen and let’s the music do the talking with “Theme From The Search For Everything.” After catching his musical breath, he drops one of the slinkiest guitar grooves you’ll hear this year on “Moving On And Getting Over.” Once again, the groove doesn’t match the message, as he clearly hasn’t moved on.The Search For Everything is an impressive example of the dying art of making a complete album. Mayer’s mixture of repetitive imagery lyrically makes his confusion and isolation painfully clear. On “Rosie,” he practically begs an ex for a one night stand, only to play a bubbling blues riff as he is again rebuffed. Time and again, Mayer’s hope of love is dashed against the rocky shores of emotional disconnect.For those paying attention, it was obvious that there was no cheerful finish on the way. The first stanza of the closing track “You’re Going To Live Forever In Me” concludes with the words “…it all ends unfortunately.” The testimonial of undying love he makes isn’t a promise made to the true love he seeks. When he sings the words “You’re going to live forever in me, wait and see,” he is making a sad promise to a uncaring ear. It’s the most poignant moment of the album, a perfect summation of all that has come before.The bravery John Mayer shows in sharing his heart in such an open way is undeniably entrancing. Artistically, it is said that it is best to “Write what you know” if you want to have any hope of true emotional resonance. The Search For Everything clearly shows Mayer as a student of that school of thought. The album is a love letter to missed opportunities and unfortunately placed optimism. Mayer may have written and record this album to exorcise his demons, but he also managed to show the true depths of his, and by extension, everyone’s humanity. Not bad for a white boy who can’t dance.
Trey Anastasio has just announced two new orchestral performances on September 27th and 29th with the Nashville Symphony and the Atlanta Symphony Orchestra, respectively. The Phish maestro is known for having wide-ranging music tastes: In addition to the Vermont jam foursome, Trey fronts his own horn-steeped side project, Trey Anastasio Band, served as a judge for this year’s NPR Tiny Desk Contest, was nominated for a Tony Award for the score he contributed to Broadway musical Hands On A Hardbody, and is a self-proclaimed pop music fanatic, frequently adapting unexpected contemporary songs, as he and Bob Weir did with Lady Gaga‘s “Million Reasons” at Wanee this past weekend.But while his musical tastes are diverse and stylistically broad, his educational background lies in classical composition. Since 2001, the Phish guitarist has worked with a several highly-regarded symphonies nationwide, including the Los Angeles Philharmonic, New York Philharmonic, and the National Symphony Orchestra, composing orchestral arrangements of his Phish material and leading the ensembles on guitar. Most recently, in the Fall of 2014, Trey performed a series of orchestral concerts to showcase his newest composition, “Petrichor,” which has since been adapted for the Phish canon (on 2016’s Big Boat) and served as the centerpiece for the 2016-2017 New Year’s Gag. Trey’s past orchestral shows have also included adaptations of other classic Phish compositions, including “Divided Sky,” “You Enjoy Myself,” “Guyute,” “Wilson,” and more. Below, you can watch footage of Trey performing “You Enjoy Myself” with the Colorado Symphony Orchestra on February 28th, 2012:Tickets for the newly announced performances will be available through a real time pre-sale beginning Friday, April 28th, 2017 at 10AM local time and ending Thursday, May 4th at 5PM EST. Tickets go on sale Friday, May 5, 2017 at 10AM EST for the Nashville performance, and 12pm EST for Atlanta. Tickets can be purchased online here.[Cover photo via Phish.com]
Since winning the Nobel Prize in Literature last year, Bob Dylan has been notably unenthused about the honor. After the award was announced last year he spent weeks more or less carrying on as usual, refusing to acknowledge his prize. Eventually, he did go on to accept the award during a very intimate proceeding in Stockholm with a dozen or so people, sending proxies in his place for the public celebration gala.As with all Nobel laureates, in order to accept the prize money attached to the award, Dylan was required to give a lecture on literature–a requirement to which he begrudgingly acquiesced earlier this month with a thirty-minute-long online speech focused on three classic literary works: Herman Melville’s Moby Dick, Eric Maria Remarque’s All Quiet on the Western Front, and Homer’s The Odyssey. However, since the speech’s publication on Monday, June 5th, some irregularities have appeared in his acceptance speech, making Bob Dylan either the worst-ever Nobel Prize in Literature holder or the best troll of the institution of the Nobel Prize in the award’s history.Listen To Bob Dylan’s Long-Awaited 30-Minute Nobel Lecture In LiteratureYesterday, these doubts came to a head with accusations by Slate’s Andrea Pitzer that Dylan had plagiarized parts of his speech from SparkNotes, an online service that summarizes commonly-read books for time-pressed high school and college procrastinators everywhere. Pitzer’s investigation began after Ben Greenman noticed that Dylan may have inserted a made-up a Moby Dick quote into his speech — “Some men who receive injuries are led to God, others are led to bitterness,” which the singer-songwriter attributed to a Quaker priest onboard — and could not find the phrasing or the explicit sentiment directly within various editions of the classic Melville novel.While Greenman was unable to find a quote about injuries and bitterness directly in Moby Dick, Pitzer found that the verbiage in question was found more-or-less directly in a SparkNotes summation of the novel, with the character list describing the Quaker preacher as “someone whose trials have led him toward God rather than bitterness” (emphasis Pitzer’s). Off this hunch, the Slate journalist began to compare Bob Dylan’s Nobel Prize lecture to the SparkNotes for Moby Dick, finding a number of eerily similar passages across them (though some seem more damning than others) and noting, “across the 78 sentences in the lecture that Dylan spends time describing Moby-Dick, even a cursory inspection reveals that more than a dozen of them appear to closely resemble lines from the SparkNotes site. And most of the key shared phrases in these passages . . . do not appear in the novel Moby-Dick at all.”However, whether Bob Dylan lifted lines from SparkNotes intentionally or not, the former would not be entirely uncharacteristic for the musician who has long made clear his stance on the legitimacy of stealing for art, particularly considering that Dylan has frequently covered a great range of classic tunes and made them his own. According to the Slate article, “When he started out, Dylan absorbed classic tunes and obscure compositions alike from musicians he met, recording versions that would become more famous than anything by those who taught him the songs or even the original songwriters. His first album included two original numbers and 11 covers.”His view on the close ties between art and theft was made all the more explicit with Dylan’s 2001 release, “Love and Theft”, whose name (aside from being abundantly clear in its message) was quoted most probably as a direct reference to Eric Lott’s noted work, Love & Theft: Blackface Minstrelsy and the American Working Class.Within his speech itself, Dylan warns to not dig too deeply into the meaning of texts, musical or otherwise, noting “If a song moves you, that’s all that’s important. I don’t have to know what a song means. I’ve written all kinds of things into my songs. And I’m not going to worry about it — what it all means.” However, this has always seemed like a bizarre note on which to end his speech, especially when considering that in order for something to evoke emotion in a listener or reader, there has to be some sort of inherent meaning that resonates.Rather than parsing through the implications born of believing that this year’s winner of the Nobel Prize in Literature is so unfamiliar with a classic like Moby Dick that he needed to rely on SparkNotes to write his speech on the book–conjuring familiar grade school memories for many of us of the “studying” process ahead of a report on a book that we had not read—it seems simpler and more believable to view Dylan’s lifting from the SparkNotes summary as intentional.A few sentences earlier, Dylan notes that “Melville put all his old testament, biblical references, scientific theories, Protestant doctrines, and all that knowledge of the sea and sailing ships and whales into one story.” Considering that Moby Dick is the only one of the three novels called out during Dylan’s speech that seems to teeter on the brink of plagariasm, the musician may have intentionally made direct references to the SparkNotes and then noted Melville’s inclusion of many disparate texts to parallel this phenomenon. When paired with the fact that Dylan has been a hesitant literary hero, particularly following his receipt of the Nobel Prize, this seems more likely, with Dylan effectively deconstructing the implicit weight of classic renowned texts by outlining their influence and repeated archetypal tropes while simultaneously declaring them meaningless both directly and by SparkNotes’ ability to present the text without ever reading them.You can check out the similarities across the SparkNotes summation of Herman Melville’s Moby Dick and Bob Dylan’s Nobel Prize in Literature lecture compiled by Andrea Pitzer below and decide for yourself whether it’s likely that Dylan’s plagarism is intentional or not.[Comparison chart via Slate]
STS9 | Mill & Mine | Knoxville, TN | 10/3/2017 | Photo: Christian Stewart Load remaining images Setlist: STS9 | Mill & Mine | Knoxville, TN | 10/3/2017Set One: Musical Story Yes, Better Day > By the Morning Sun, Tokyo, ARTiFACT, Native End > ReEmergence*, Peoples*, GLOgli**, Today > Tonight the Ocean Swallowed the MoonSet Two: Forest Hu > Somesing, Trinocular > Vibyl, 8 & a extra, Possibilities*, Peoples pt. II, first mist over Clear Lake > Music, UsEncore: We’ll Meet In Our DreamsSHOW NOTES: *extended DnB jam | **Modular outro STS9 is currently on tour right now, coming off of a fiery three-night run at the iconic Red Rocks Amphitheater in Morrison, Colorado, in celebration of the band’s 20th year together as a group. On the first night of Tribe’s Red Rocks run, the band treated fans to an old-school throwback set, which saw the group perform its seminal album, Artifact, in its entirety.STS9 Performs Entire “Artifact” Album At Red Rocks [Photos/Video]Relive The Glory Of STS9’s Red Rocks Run With These Gorgeous Photos And VideosYesterday marked the official 20th anniversary of STS9, and the group prepared a very special show for fans. Those who made it to the group’s performance at Mill & Mine in Knoxville, Tennessee, were greeted at the door with flyers announcing that Tribe would be performing a rare Artifact set in its entirety once again. The band did not promote this special performance, treating its truly dedicated fans for a special treat in celebration of STS9’s 20th anniversary. You can check out the setlist for the performance below, plus check out photos from STS9’s 20th-anniversary show at Mill & Mine below, courtesy of Christian Stewart.
In 1978, Bob Dylan spent a great deal of time writing gospel tunes, many of which never made it on record simply because there wasn’t enough time to release them all. Most of the unrecorded songs lived on gospel tours from 1979 to 1981 (that eventually turned into bootlegs), or they never left the rehearsal room at all. Now in 2017, Bob Dylan is gearing up to release the songs from his spiritual period in the upcoming box set Trouble No More – The Bootleg Series Vol. 13 / 1979-1981. Following the release of “Making A Liar Out Of Me,” which never made it out of a rehearsal room, and rehearsal version of “Slow Train,” Dylan shares the another single from the box set: “Every Grain Of Sand.” This particular recording was taken from a September 26, 1980 session for Shot Of Love.“Every Grain Of Sand” will be featured in a six disc set from Bob Dylan’s gospel era to be released on November 3, 2017. The box set will feature both studio and live recordings, including two discs of rare and unreleased outtakes and rehearsal recordings, from this era to place Dylan in his own period of sound, creativity, and ultimate mastery.Listen to 1980’s outtake of “Every Grain Of Sand” below:Check out some of the other recordings from the upcoming compilation below: Trouble No More – The Bootleg Series Vol. 13 / 1979-198Disc 1: LiveSlow Train (Nov. 16, 1979)Gotta Serve Somebody (Nov. 15, 1979)I Believe in You (May 16, 1980)When You Gonna Wake Up? (July 9, 1981)When He Returns (Dec. 5, 1979)Man Gave Names to All the Animals (Jan. 16, 1980)Precious Angel (Nov. 16, 1979)Covenant Woman (Nov. 20, 1979)Gonna Change My Way of Thinking (Jan. 31, 1980)Do Right to Me Baby (Do Unto Others)(Jan. 28, 1980)Solid Rock (Nov. 27, 1979)What Can I Do for You? (Nov. 27, 1979)Saved (Jan. 12, 1980)In the Garden (Jan. 27, 1980)Disc 2: LiveSlow Train (June 29, 1981)Ain’t Gonna Go to Hell for Anybody (Unreleased song – Apr. 24, 1980)Gotta Serve Somebody (July 15, 1981)Ain’t No Man Righteous, No Not One (Unreleased song – Nov. 16, 1979)Saving Grace (Nov. 6, 1979)Blessed Is the Name (Unreleased song – Nov. 20, 1979)Solid Rock (Oct. 23, 1981)Are You Ready? (Apr. 30, 1980)Pressing On (Nov. 6, 1979)Shot of Love (July 25, 1981)Dead Man, Dead Man (June 21, 1981)Watered-Down Love (June 12, 1981)In the Summertime (Oct. 21, 1981)The Groom’s Still Waiting at the Altar (Nov. 13, 1980)Caribbean Wind (Nov. 12, 1980)Every Grain of Sand (Nov. 21, 1981)Disc 3: Rare and UnreleasedSlow Train (Soundcheck – Oct. 5, 1978)Do Right to Me Baby (Do Unto Others)(Soundcheck – Dec. 7, 1978)Help Me Understand (Unreleased song – Oct. 5, 1978)Gonna Change My Way of Thinking (Rehearsal – Oct. 2, 1979)Gotta Serve Somebody (Outtake – May 4, 1979)When He Returns (Outtake – May 4, 1979)Ain’t No Man Righteous, No Not One (Unreleased song – May 1, 1979)Trouble in Mind (Outtake – April 30, 1979)Ye Shall Be Changed (Outtake – May 2, 1979)Covenant Woman (Outtake –February 11, 1980)Stand by Faith (Unreleased song – Sept. 26, 1979)I Will Love Him (Unreleased song – Apr. 19, 1980)Jesus Is the One (Unreleased song – Jul. 17, 1981)City of Gold (Unreleased song – Nov. 22, 1980)Thief on the Cross (Unreleased song – Nov. 10, 1981)Pressing On (Outtake – Feb. 13, 1980)Disc 4: Rare and UnreleasedSlow Train (Rehearsal – Oct. 2, 1979)Gotta Serve Somebody (Rehearsal – Oct. 9, 1979)Making a Liar Out of Me (Unreleased song – Sept. 26, 1980)Yonder Comes Sin (Unreleased song – Oct. 1, 1980)Radio Spot January 1980, Portland, OR showCover Down, Pray Through (Unreleased song – May 1, 1980)Rise Again (Unreleased song – Oct. 16, 1980)Ain’t Gonna Go to Hell for Anybody (Unreleased song – Dec. 2, 1980)The Groom’s Still Waiting at the Altar (Outtake – May 1, 1981)Caribbean Wind (Rehearsal – Sept. 23, 1980)You Changed My Life (Outtake – April 23, 1981)Shot of Love (Outtake – March 25, 1981)Watered-Down Love (Outtake – May 15, 1981)Dead Man, Dead Man (Outtake – April 24, 1981)Every Grain of Sand (Rehearsal – Sept. 26, 1980)Disc 5 – Live in Toronto 1980Gotta Serve Somebody (April 18, 1980)I Believe In You (April 18, 1980)Covenant Woman (April 19, 1980)When You Gonna Wake Up? (April 18, 1980)When He Returns (April 20, 1980)Ain’t Gonna Go To Hell For Anybody (Unreleased song – April 18, 1980)Cover Down, Pray Through (Unreleased song – April 19, 1980)Man Gave Names To All The Animals (April 19, 1980)Precious Angel (April 19, 1980)Disc 6 – Live in Toronto 1980Slow Train (April 18, 1980)Do Right To Me Baby (Do Unto Others)(April 20, 1980)Solid Rock (April 20, 1980)Saving Grace (April 18, 1980)What Can I Do For You? (April 19, 1980)In The Garden (April 20, 1980)Band Introductions (April 19, 1980)Are You Ready? (April 19, 1980)Pressing On (April 18, 1980)Disc 7 – Live in Earl’s Court, London – June 27, 1981Gotta Serve SomebodyI Believe In YouLike A Rolling StoneMan Gave Names To All The AnimalsMaggie’s FarmI Don’t Believe YouDead Man, Dead ManGirl From The North CountryBallad Of A Thin ManDisc 8 – Live in Earl’s Court – London – June 27, 1981Slow TrainLet’s BeginLenny BruceMr. Tambourine ManSolid RockJust Like A WomanWatered-Down LoveForever YoungWhen You Gonna Wake UpIn The GardenBand IntroductionsBlowin’ In The WindIt’s All Over Now, Baby BlueKnockin’ On Heaven’s DoorDisc 9: Bonus DVDTrouble No More – A Musical FilmDVD EXTRAS:Shot of LoveCover Down, Pray ThroughJesus Met the Woman at the Well (Alternate version)Ain’t Gonna Go to Hell for Anybody (Complete version)Precious Angel (Complete version)Slow Train (Complete version)