Bob Dylan – Going Mobile Review

On the road with the Rolling Thunder Revue is an impressive journey through some all-time great sets. Bob Dylan and the touring unit were facing off against a critical malaise at the time of these performances. It may be surprising to consider that, especially given the brilliant overhaul of instrumentals heard throughout these unofficial bootlegs, but they were not as well received as they are now. Going Mobile is an outstanding example of the on-stage strengths Dylan had found in the wake of Blood on the Tracks. He had not gotten the heartbreak out of his system but had found a new, articulate outlet for those feelings. This is a jewel in the bootleg compilations of the Rolling Thunder Revue. A niche for sure, but a shining example of the qualities to be heard on this tour outside the Hard Rain release. 

Outstanding versions of Dylan’s very best can be found within Going Mobile. Opening song Mr. Tambourine Man sounds excellent and untouched by the instrumental overhaul elsewhere in the set. There was the occasional moment, as there is now, where Dylan will revive the original tone and prove it is as long-lasting as listeners believe it to be. His changes, then, come from wanting differences from show to show. Whether it is for the audience or artist is irrelevant; it offers a new experience, a fresh approach to a classic song. A relatively tame start to the show, with some recognisable versions of I’ll Be Your Baby Tonight and It’s Alright Ma (I’m Only Bleeding) is a way of getting the audience comfortable. A switch-up comes soon for Going Mobile. A rendition of Maggie’s Farm not too far off the Hard Rain changes can be heard here, and it makes the song much more interesting. Those swinging instrumentals, the piercing guitar, adds a layer to Maggie’s Farm which has been absent ever since.  

One Too Many Mornings, however, is much different to its Hard Rain counterpart. All the more reason to keep on listening to Going Mobile, a show which sounds like Dylan is still figuring out the best version of each song. He figures out which line to stress, when to break for an instrumental. An exceptional version is not far off by the time of this Alabama performance. Later in the set are some strange choices given the rocking context of the show, like a cover of Railroad Boy and Knockin’ on Heaven’s Door. The latter makes sense given its contemporary relevancy, but it does threaten to steal the spotlight from the likes of Mozambique and Idiot Wind before it. Thankfully not, though, and there is much to love about all three of those originals here.  

Going Mobile is a stellar example of the qualities of the Rolling Thunder Revue. Dylan may suggest he remembers little of the tour, but the tapes which feature from throughout the tour, particularly this Alabama date, are exceptional. Brilliant examples of what Dylan could do when reforming his songs on stage, not least when joined by Joan Baez. There is an appeal which goes beyond the rock and roll adaptations these songs are given, part of the appeal is hearing Dylan fight back against indifference in his shows. He does so brilliantly. The whoops and cheers of the crowd are impossible to avoid as he opens Blowin’ in the Wind, though what must be noted, too, is the massive change to these songs. It is not universal praise for those renditions, though it is worthy of such high acclaim. A selection of brilliant moments from Dylan can be found in this set.