Opening the Vault - Dylan Clips @ the Nighthawk (9/4/2024)

Left DC for Brooklyn mid-morning and got into town by 2:30p.  Took a work call from a coffeeshop in Park Slope, then rambled through the Brooklyn Museum's Egypt wing (separate post here!) - a gorgeous afternoon.  

A quick pint at the Domino Park branch of Other Half before settling into the hip Nighthawk Theater to see some rare Bob Dylan clips.  Billed as Fifty Years in Sixty Minutes - it was an assemblage from the Bob Dylan Center in Tulsa that I'll make it to - someday.

The pre-roll was a fun compilation of music films.  Traci Chapman at Wembley in 88.  Kleenex  Some Don't Look Back footage.  The mood was upbeat, the Nighthawk's food was decent, all good signs.

After a short introduction from Steven Jenkins, the director of the Dylan Center, the lights went down and we were off..  

Autopsy on Operation Abolition (December 1961)

The first clip opened with an interview of Tony Glover, on a bus - somewhere in the Midwest (?) - remembering a film project that he and Dylan worked on in Minneapolis in late 1961 (around the time of the December 1961 Hotel Tape).   Apparently a group of Franciscan fathers were working on a film countering a film the House Unamerican Activities Committee had released called Operation Abolition and they wanted some folk music for the soundtrack.

Glover remembered Dylan recording straight to magnetic film - a first for both of them.  Apparently Dylan worked up three different instrumentals, mostly built around what Glover called a "Carter Family lick in G" as well as a version of We Shall Not Be Moved.  And Dylan used the name BL Jefferson to sign the contract.  Ha!

The full film is here.  The segment had some great clips from the film woven into Glover's interview, including We Shall Not Be Moved and that Carter lick.

Hollis Brown (Westinghouse Special 1963)

Sharp intense version of the song with a haunting banjo backing him up.  In the Q&A session afterwards someone asked who Steven Jenkins if he knew who was playing and Jenkins said he'd ruled out Tony Trischka.  But that was about it.  Incredible quality, powerful song.  Weird animation at the beginning.  Amazing close shots.  Watch for yourself here.

Maggie's Farm (Newport 1965)

It's that iconic footage - backlit Bob dodging shadows and shooting from the hip.   Wild.  The sort of performance you feel you know like the back of your hand until you're watching it again and the sheer thin wild mystery of the sound - the energy! - just swallows you whole.  Richly restored here, incredible quality.  And you get just how revolutionary this must have sounded!  

Bloomfield's solos are kinetic, but he's hidden here in the shadows.  Pure sound, leaking out at the corners.  Bob's all leather jacket and babyface cool.  He knows exactly what he's doing, and is loving every minute.

And then at the end - the boos.  It hits you.  They're real.   Tangible.  Cascading.  As someone pointed out in the Q&A the crowd's not mad about not the sound quality (as some folks say) - it's clearly the performance they can't stand.  And they're not subtle about it.  

Baby Let Me Follow You Down (UK 1966)

I didn't catch which show this is from, but the electric leap from Newport in 1965 to full houndstooth 1966 was thrilling.  Bob moves in that strange way he still does - almost lyrically - a kind of dancing, awkward yet deeply human.  

The sheer joy of Robbie's solos, standing close - in a tie! - focused on making this song come alive.  The interplay between them, the way the sound seems to simply spring into existence is unmatched.  And the quality of the footage makes it look like it's happening now - incredible restoration work.  

No link for this one, friends.  But to get a taste (in much lower quality) of what's going on, try this one.

I Pity the Poor Immigrant (Fort Collins 1966)

Bob and Joan hamming it up with the Rolling Thunder Review in the footage shot for the Hard Rain special.  The whole thing is a treat to see (it was at the Museum of the Moving Image once, long ago).

There's a playfulness that doesn't quite come across on the Hard Rain record. A musical banter between Bob and Joan - dancing with their eyes.  A young Rob Stoner rocking out, holding his own.  Bob shooting skeptical looks at the band.  There's a decent version here - so fun to see on the big screen.

Blowin' in the Wind (Lakeland FL 1981)

Bob starts at the piano, lights down.  Backup singers on the chorus, full gospel era sound.  That lush organ.  He sings hard, stretching out the vowels.  Then as the lights come up, Bob makes his way to center stage and his guitar.  

The crowd up close is into it, but the arena feels small, and is definitely not full.  How much '81 footage like this is there!?  

Low-quality version of this footage is here.

When the Night Comes Falling From the Sky (Australia 1986)

This was easily the highlight of the night.  My notes simply say:  

• Holy Shit!  
• Leather sleeveless vest
• Tom Petty
• Fire.  Pure fire.

And it's true.  A purely electric performance.  Every syllable sharp and precise - capturing that hurt, tender, angry moment when the letters start burning.   

You can see it for yourself here - but play it loud.  On the biggest screen you can find.  Now.

Ring Them Bells (Supper Club 1991)

The Supper Club shows are special.  There's an intimacy in his voice, a closeness to the viewer.  That checked jacket (echoing the houndstooth of 66).  And the arrangement of this song is superb - gorgeous, soaring, his voice building.  Subtle, but powerful.  

And - best of all - through all these clips but particularly here you get a glimpse of the way Dylan moves on stage - the wide leg spread, the awkward but endearing dance moves, the deep joyous grin as he closes his guitar solo. So alive.  Video here - well worth your time.

Train of Love (Johnny Cash Tribute 1999)

I remember watching this on TV live back in 1999 and never thought I'd get to see it again (though apparently the clip is here!).  Everybody loves a song about trains.  So great to see Larry Campbell - and to see Bob dancing and vamping during Larry's solo.

Cold Irons Bound (Masked and Anonymous 2002)

I saw most of my Dylan shows in that wild midwestern college window between 1997 and 2002 and there's something about this sound - particularly with Charlie Sexton in the band - that just goes right through me.  Bob is sharp here, tight voiced with a taut bassline - spitting lyrics.  A cowboy band.  Great interplay between the band - Larry and Charlie looking at each other and smiling.  Clip here.

Once Upon a Time (Tony Bennet Tribute 2016)

Something I'd never seen before.  Dylan in his classics era, picking up the mic stand and leaning into every word.  The Hollywood stage lights, the big suit and bolo tie.  It's clear how much he cares - about the song, the tradition, the feelings behind it all.  Clip here.

Visions of 66 (compilation):  A short documentary-style clip about the Center's efforts to restore Pennebaker's 66 footage.  They're doing amazing work and so much of the footage is simply spell-binding.  There are worlds here.

Conclusion

I lingered round the Nighthawk for a bit afterwards, chatting with Bob fans.  It reminded me of those neighborhood cinema bars in Berlin where folks hang out before and after shows.  Then a long drive back to DC - counting the cars on the (mostly empty) New Jersey turnpike before landing back home, late - but smiling.