Touring had become the routine for Bob Dylan. Irrespective of the quality of his most recent release, he would be hitting the road to perform songs he had written decades ago, tracks which still held relevancy in modern times. Occasionally, he sprinkled in a phenomenal burst of new and interesting material. A Silvio here, a Political World there, but it was, and still is to some degree, the hits that prevail. The Best of Hammersmith Apollo pulls from three strong setlists, though note the year. 1993. Not a vintage year for Dylan on stage, with his whiny voice at its worst and often overwhelming the subtleties of his greatest hits and more moving material. That’s not to say there aren’t a few moments of interest to be pulled from this bootleg tape, a three-hour showcase, twenty-six songs that seem to best define a mini stop-off at the Hammersmith Apollo.
Some songs do suit this higher pitch, though they are hardly Dylan classics. Pretty Peggy-O has a nice instrumental section though this is blown out by a dominant acoustic guitar. It’s the sway the band can create behind Dylan, that’s what’s most important of all with that performance. They pull it off well, but there is a startling difference in the playing style the band are providing, and the tone Dylan is trying to take with these songs. He sounds a little off at times, though it doesn’t do enough to derail any of these performances. Hearty attempts at finding a new emotional core for hit tracks from the past, and much of this is a success on tours before and after this. 1993 sounds as though the burnout Dylan had experienced in the 1980s is at its peak. He was about ready to pack it all in before the MTV Unplugged performance revitalised interest, but you can hear the lack of intensity on The Best of Hammersmith Apollo. Hard to pick out the best when Dylan sounds somewhat off.
But these are moments of real interest to those who fancy using their time to note the differences, those little changes to the nuance and style of a song that Dylan provides so often. Performances of She Belongs to Me and Desolation Row are real highlights here, moments of interest. Beyond being solid performances, a reserved vocal performance on Desolation Row gives way to a shockingly reflective tone. Dylan is reduced almost to a whisper, and it suits the lighter touch from the instrumentals. The same occurs for Simple Twist of Fate, which has always been a song in need of that softness. Dylan is at times in fantastic form, shining a light on how his delivery can change the meaning of the song, but other parts of the compilation highlight that unfortunate decline.
He would bounce back, of course, writing and performing in a manner that rivals his golden period. But it was a rough road back for Dylan and The Best of Hammersmith Apollo does well to highlight what can be considered a difficult lull in the 1990s. This could’ve been the end, but thankfully, we’re far from that. A few moments of interest in a setlist that compiles the very best of three nights at the Hammersmith Apollo, and even then, some of these songs are a little thin. Still, it highlights that crucial part of any Dylan tour, no matter how poor or perfect his vocal work is. He wants to find that new route through his songs, the fresh direction of instrumental style or vocal play, and whether the audience likes it or not, they’re brought along for the experiment.
