Bob Dylan – Munster 1996 Review

A vintage year for touring can be heard here. Bob Dylan in the lead-up to Time Out of Mind was on fire. He was an unstoppable stage presence. Many of those greatest moments were in Europe, more specifically, across Germany. Magdeburg and Munster are treated to two incredible performances from Dylan on the Never Ending Tour. Cleveland 1996 remains the pinnacle, but the energy heard there is carried overseas and heard on Munster 1996. This performance is a step away from the madness and excitement of Magdeburg 1996 and Cleveland 1996. It feels almost intentional. There are slowed versions of Drifter’s Escape and Shake Sugaree to hear before All Along the Watchtower. This time around, the audience is not quite up for a riotous time, but they certainly sound like they’re enjoying a solid set of hits from Dylan and the phenomenal line-up backing him.  

Shake Sugaree sounds sparse and slows the mood of what was often a rock and roll highlight reel on other dates. But this slower tone is not without merit. It provides an alternative to the wilder thrills of Bucky Baxter’s guitar work. Here, he and John Jackson find a groovier, slowed tone to back some of Dylan’s more delicate songs. Boots of Spanish Leather and John Brown are delivered with tremendous acoustic adaptation. Even the usually rocking songs like All Along the Watchtower are dragged into a seemingly tender, slower style. There is a sparseness to the instrumentals at play here. Very little overlap, no heavy percussion from Winston Watson to carry the songs. It’s still impressive, though. The focus here is on the instruments rather than the crowd. Such is the difference between crowd recording and soundboard. You can hear that clearly here, and while the boisterous whoops may be a thrill from time to time, it is nice to connect with the nuances this line-up gives to Dylan’s hits.  

You can hear as much on the likes of Maggie’s Farm and Ballad of a Thin Man. There are plenty of all-time great songs featured on the Munster 1996 tapes, though not as many as expected. Attention is instead given to the likes of Obviously Five Believers and Alabama Getaway. Grateful Dead covers are a staple of Dylan’s discography, and it is hard not to hear it as a tribute so soon after the death of Jerry Garcia. Obviously Five Believers is a staggering inclusion, a real rarity which will no doubt prove to be the highlight of the set for some. Others will find themselves more interested in the acoustic spot for To Ramona, and the preceding rendition of Rainy Day Women #12 & 35.  

Some delicate versions of Simple Twist of Fate and Mama, You Been on My Mind can be found on this Munster 1996 recording. Not as volatile as other sets from this time, but it serves as a sweet break from the roaring hits of other European shows. There is nothing wrong with an artist dialling it back a little, appreciating the form so those drifting instrumentals can have their moment in the spotlight. More than a few surprises feature, but never anything to rattle your ears or spike your energy. It Takes a Lot to Laugh, It Takes a Train to Cry is a stellar, blues-y offering from the band. You cannot be blues-y and cranking the amps up to blast an audience with sonic force. For Dylan, it is one or the other. He opts for the former here and creates a laid-back atmosphere, which feels very against the expectations of this tour. A nice contrast means everyone can find something to love from the 1996 bootlegs.