The Rolling Thunder Revue, Bob Dylan’s legendary mid-1970s concert tour, is often remembered for its raw energy, theatrical performances, and star-studded cast. While the 1975 leg is heavily romanticized for its chaotic brilliance and off-stage drama, the 1976 tour, commencing 45 years ago on this very day, often gets overshadowed. But to dismiss the second leg is to miss a crucial chapter in the Rolling Thunder saga, a chapter where the “Thunder Rolls Song” of Dylan’s music took on a different, perhaps even more intense, resonance.
While I initially considered a detailed show-by-show analysis reminiscent of my fall coverage, several factors steered me away. Diving deep again felt restrictive, especially given the exciting new formats explored recently in this newsletter. However, the most compelling reason was the shift in the tour’s dynamic.
The magic of the initial Rolling Thunder tour was as much about the off-stage antics and the filming of Renaldo and Clara as it was about the music. The 1976 tour, while musically powerful – arguably just a hair less magical than ’75 but still exceptional – lacked that off-stage frenzy.
The consensus from those involved in both tours points to a significant change in Dylan himself. Interviews from Scarlet Rivera, Chris O’Dell, Rob Stoner, Claudia Levy, and Louie Kemp, all paint a picture of a different Bob Dylan in 1976.
“There was a magic to the first leg of the tour… Although the music was as good on the second leg, I think it was a little bit less harmonious. Some element of tension wove itself in that wasn’t there in the first one. Perhaps it was because Bob was going through his divorce or maybe there was some more tension with the guitar players and the band. I don’t know. There was a little bit less of that magic fairydust glow on the second one for me.” – Scarlet Rivera
“It shouldn’t have happened, honestly… They should have stopped and just left it at the one.” – Chris O’Dell
“All of that mood stuff in the band is always set by the main guy. The train follows the locomotive. And the locomotive was dragging, discouraged.” – Rob Stoner
“The first part of the tour was unbelievable. It was idyllic. It was romantic. We were all having a wonderful time, and Bob was very happy. The second part of the tour, he was like a different person… he wasn’t a happy camper. You know, everything starts at the top, and it filters through. And that was the case on the second tour.” – Claudia Levy
“It was a totally different vibe. Bob was very serious and he was totally into it… I think that tour, the performances were in some cases more intense than they were relaxed. It was a different atmosphere, but the shows were great.” – Louie Kemp
The music remained powerful, a “thunder rolls song” in its own right, but the off-stage atmosphere shifted. While moments of levity existed, they were fewer and further between. Instead of a show-by-show breakdown, I’ll offer occasional glimpses into the ’76 tour over the next two months, starting with this overview of the opening night in Lakeland, Florida. This initial look, available to all readers, reveals a stark contrast to the ’75 shows, setting the stage for the “thunder rolls song” that defined this leg.
Given that the 1976 tour is primarily about the music, and the Lakeland show presents a dramatically different soundscape compared to ’75, a song-by-song exploration seems appropriate. While I typically avoid this detailed approach, finding it often tedious, this particular concert, so distinct from its predecessor, warrants a closer look. Consider this a guided listening experience. The download link is available at the end.
The tour’s kickoff in Lakeland, Florida, on April 18, 1976 – a significant date we’ll revisit – followed a period of rehearsals in a Florida hotel ballroom. A televised special taped in that ballroom shortly after this opening show was ultimately scrapped, leading to the later, more renowned Hard Rain TV special and album, recorded towards the tour’s end. However, a month prior to those famous recordings, it all began in Lakeland, Florida, with…
1. Visions of Johanna
Opening a tour, let alone a show, with “Visions of Johanna” is audacious. Dylan has only opened one other concert with this song, a 1989 performance. Hopes for a full-band, electrifying rendition akin to other ’60s songs in the Rolling Thunder II style are dashed as it’s a solo acoustic performance. While a band-backed “Visions” would have been incredible, Dylan’s entrance with a seven-minute solo “Visions” must have been captivating, particularly after the preceding sets by the Guam backing band.
2. If You See Her, Say Hello
A key distinction between ’75 and ’76 tours emerges immediately. In the fall, every show exploded with “When I Paint My Masterpiece.” In ’76, the band’s energy builds gradually, beginning with solo sets. This performance marks the debut of “If You See Her, Say Hello” in concert – played only twice on this tour.
“If You See Her” also highlights another ’76 theme: Blood on the Tracks songs reimagined with a sharper, meaner edge. None of the verses sung here are from the original album. While most of the new verses are strong, one in particular pushes boundaries:
If you’re making love to her, watch it from the rear
You’ll never know when I’ll be back, or liable to appear
For it’s natural to dream of peace as it is for rules to break
And right now I’ve got not much to lose, so you’d better stay awake
3. Vincent van Gogh
With the solo segment concluded, the full band section begins similarly to ’75, with a Dylan-Neuwirth duet. However, instead of a familiar opener like “Masterpiece,” they launch into a completely unknown song.
“Vincent Van Gogh” was penned by Robert Freimark, Bobby Neuwirth’s art teacher. Neuwirth, Dylan, and Kris Kristofferson contributed to the lyrics, resulting in lines like the pun “Where did Vincent Van go?”
4. Weary Blues from Waiting
Opening the band set with two covers is a bold choice. “Weary Blues from Waiting,” an old Hank Williams tune, might have been recognizable to some in the audience. While “Vincent van Gogh” became a recurring band opener, “Weary Blues” was unique to this show. Dylan had never performed it live before, though a 1965 offstage rendition with Joan Baez exists. In subsequent shows, “Vincent” transitioned into…
5. I’ll Be Your Baby Tonight
The first Rolling Thunder tour was characterized by immediate high energy. The ’76 tour, however, eases in more gently. Despite the Hard Rain album’s reputation for intensity, this concert begins with acoustic sets, folk covers, and a mellow country rendition of “I’ll Be Your Baby Tonight.” The only hint of the harder ’76 sound is the biting “If You See Her” lyrics. An unsuspecting audience member might have anticipated a mellower tour, but the next song dispels that notion.
6. Maggie’s Farm
This is arguably where Rolling Thunder II truly ignites, the “thunder rolls song” fully unleashed. Dylan himself positioned this song as the opener on the Hard Rain live album. Its harder-edged sound becomes a defining characteristic of the tour. By the tour’s end, Dylan prioritized “Maggie’s Farm,” shifting it earlier in the setlist.
Dylan’s recent tours sometimes echo this stop-start arrangement, notably in songs like “Like a Rolling Stone,” where the band suddenly cuts out before powerfully rejoining.
7. One Too Many Mornings
A hallmark of the first Rolling Thunder was reimagining early folk songs with louder, faster band arrangements. “One Too Many Mornings” exemplifies this, albeit with the ’76 tour’s harder edge. Scarlet Rivera’s violin, less dominant than in ’75, is prominent here. This shift in violin prominence is a reason some prefer the ’75 tour.
Lyrically, “One Too Many Mornings” features a new half-verse at the end:
I’ve no right to leave
And you’ve no right to stay
We’re just one too many mornings
And a thousand miles away
8. Seven Days
Another debut, “Seven Days” was unheard by the public until this performance. The studio version wouldn’t surface until the first Bootleg Series fifteen years later. Recorded just three nights after this show, the studio version demonstrates significant improvement. This debut feels rougher, lacking the punch of the official release.
“Seven Days” has inspired notable covers from artists like Mountain, The Feelies, and The Jayhawks.
9. Railroad Boy
A recurring element from Rolling Thunder I: the mid-show Dylan/Baez duets. “Railroad Boy” stands out as a highlight among their collaborations. However, this version seems to lack Joan’s distinctive finger-picking, a key element of the song, particularly evident in the Hard Rain version.
10. Wild Mountain Thyme
Ten songs in, and “Wild Mountain Thyme” marks the first song that was also performed on the 1975 tour! Only three songs from tonight’s 22-song setlist are repeats from Rolling Thunder I. The second repeat follows immediately:
11. Blowin’ in the Wind
As the tour progressed, “Blowin’ in the Wind” was often moved to the beginning of the Dylan/Baez duet segment, possibly in response to audience expectations. There’s a certain appeal, however, to making the audience wait for it. Again, a full-band rendition, instead of the acoustic duet, would have been intriguing, a concept realized in 1978.
12. I Pity the Poor Immigrant
Arguably the best Dylan/Baez duet of Dylan’s own songs. Later in the tour, Woody Guthrie’s “Deportees” was added, creating an immigration theme for their duet set, but initially, “I Pity the Poor Immigrant” stood alone. Baez’s wordless vocal outro is a unique and effective touch. Dylan concludes their set with an enthusiastic, “the great Joan Baez!”
13. Shelter from the Storm
The first ever live performance of “Shelter from the Storm,” and the second Blood on the Tracks song tonight. This is notable because it’s already more Blood on the Tracks material than Desire, the album ostensibly being promoted on this tour. Rolling Thunder operated unconventionally; the fall tour, which should have promoted Blood on the Tracks, featured primarily unreleased Desire songs. Now, on the spring tour, when audiences were familiar with Desire, Dylan largely bypassed it, revisiting Blood on the Tracks. These versions, however, are far from the folksy album arrangements.
Adding to the uniqueness of “Shelter,” Dylan plays slide guitar, a rare occurrence. He uses a striking guitar shaped like the USA, nicknamed “Rimbaud.” Guitar tech Joel Bernstein described it as a “terrible guitar” in The Telegraph fanzine, noting Dylan’s fondness for it and the “Rimbaud” inscription.
Bob Dylan with his “Rimbaud” guitar, shaped like the USA. Source: Instagram and Twitter
“Rimbaud” can be seen in action in the Hard Rain show.
14. I Threw It All Away
While interpreting Dylan’s song choices biographically can be speculative, dusting off this Nashville Skyline deep cut likely reflects his personal turmoil surrounding his impending divorce. The lyrical change, removing “I was cruel / I treated her like a fool” and substituting “But what did I do / I let it all slip through?”, is particularly telling.
15. Just Like Tom Thumb’s Blues
The Hard Rain album and concert film are primary touchstones for understanding this tour. However, “Just Like Tom Thumb’s Blues,” absent from both, stands out as a raw and powerful highlight. Featuring barrelhouse piano and Dylan’s scorching slide guitar, it’s a performance of remarkable intensity.
Dylan, however, seemed to disagree about “Just Like Tom Thumb’s Blues”‘s merit, only playing it once more on the entire tour after this show. Its inclusion here might be due to the date: April 18, 1976, was Easter Sunday. Dylan even emphasized the connection by repeating the opening line a cappella: “When you’re lost in the rain in Juarez and it’s Easter time too.”
16. Mozambique
Finally, a Desire song! Those anticipating material from Dylan’s recent album, released just three months prior, might have been surprised by the wait. “Mozambique” is the sole Desire track of the night. Interestingly, it was one of the few Desire songs Dylan didn’t play during the fall tour, making this another debut. Later, “Romance in Durango,” “Oh Sister,” “One More Cup Of Coffee,” and “Isis” would occasionally reappear, but the initial shows were largely Desire-free.
17. Going, Going, Gone
“We’ve never done this one before,” Dylan announces before “Going, Going, Gone.” True to his word. The arrangement foreshadows the At Budokan version from 1978. For those missing Scarlet Rivera’s prominent violin from the ’75 tour, this song offers a welcome return. In some ways, this song feels more aligned with the ’75 sound than others, excluding the Bob/Joan duets which were, of course, a ’75 staple.
18. Lay Lady Lay
Another of the tour’s signature rearrangements, famously captured on Hard Rain. This aggressive, shout-sung rendition of “Lay Lady Lay,” with its less-than-romantic new lyrics, effectively transforms it from a love song into something else entirely. “Forget this dance, let’s go upstairs / Let’s take a chance, who really cares?” While the original “Lay Lady Lay”‘s romanticism was always debatable, this version abandons any pretense. Dylan himself commented on the lyrical changes in a 1977 Playboy interview, noting he felt there was “more to the song than that” than the Nashville Skyline version captured.
(19. Silver Mantis)
Similar to Rolling Thunder I, the ’76 tour extended beyond Dylan’s sets. The show typically began with the backing band Guam, Kinky Friedman, and Roger McGuinn. Dylan’s first set was followed by sets from McGuinn and Joan Baez, and then Dylan’s second set. The structure mirrored the ’75 tour.
One change: T-Bone Burnett performed “Silver Mantis” within Dylan’s second set. Whether Dylan remained onstage as an accompanist is unclear, but if so, it would be the only instance of him taking a supporting role during either tour.
20. Idiot Wind
Another live debut and arguably the centerpiece of Rolling Thunder ’76. Perhaps the “Silver Mantis” interlude provided Dylan vocal respite before this 11-minute tour-de-force. Slower than later tour versions (including Hard Rain), this rendition emphasizes the lacerating power of each syllable. This is the “thunder rolls song” in its most epic form, a raw outpouring of emotion.
21. Knockin’ On Heaven’s Door
While Rolling Thunder II shows lacked encores, “Knockin’ On Heaven’s Door” functions as a spiritual encore. Following the intensity of “Idiot Wind,” it provides a feel-good singalong to close the main set. Roger McGuinn and Dylan trade vocals, the audience joins in on the chorus, and the song, a full-band holdover from ’75, brings a sense of communal release.
McGuinn’s lyric change, however, is questionable: “Mama can you hear that rock and roll / Can you feel it thundering through the floor / I feel like I’m playing in the Super Bowl / I feel I’m knocking on heaven’s door.”
22. Gotta Travel On
In the fall, “This Land Is Your Land” served as the all-inclusive finale after “Knockin’.” For the ’76 tour, Dylan replaced it with “Gotta Travel On,” a song he cherished since 1960. While a Self-Portrait version exists, the song reached its peak in the raucous singalongs that concluded every Rolling Thunder II show.
Everyone present was given a verse, often impromptu. Kinky Friedman’s verse stands out:
Joanie sang it first (x4)
I tried to sing it better
It only sounded worse
Gotta take this fucker home
And rehearse!
