EDITORS NOTE: Just to show you where we were at in 2006, here’s a reminder courtesy of IRT senior editor Tom Whalen’s previously unpublished Best of list from that fine, fine year. Please stay tuned for our new list in the coming weeks from the magazine that is cooler than the one you drool on every month, regardless of what you may or may not think. Thank you. -Ed.

THE TOP TWENTY FIVE ALBUMS OF LAST YEAR

By Tom Whalen

25 – belong – october language (carpark)
— While carving out some murky and ethereal guitar textures. Turk Dietrich cuts some corners off of the increasingly stale post-rock tension play and lays some welcome fresh ground on a record that displays depth and movement without sacrificing sheer mass.
24 - oxford collapse - remember the night parties (sub pop)
— Inking man’s drindie rock that’s fleshy and earnest, energizing and buzz-sustaining.
23 - tv on the radio - return to cookie mountain (interscope)
— Fresh-fuzz-faced barber-shop-hyper-rock upstarts turn the ship around after ‘04’s lack-luster release. Sure to be one of the few high-prof slices set to everyone’s list and actually deserves it.
22 - akron/family - meek warrior (young god)
— What an insane, seven-headed dragon-puppy of a record. A seismic across sprint the wobbly wire between folk, rock, free-jazz, noise, and god knows what else.
21 – sonic youth – rather ripped (geffen)
— Another solid set of glorious, mind-muscular cacophony from the noise-pop establishment. Stunning highlight: “Do You Believe in Rapture?”
20 – indian jewelry – invasive exotics (monitor)
— A dirty dungeon of twisted, nihilistic psych from this
intentionally faceless and placeless collective. They’ve got a lot of other shit out under a slew of names and personas; this one, as far as I know, is the easiest to get a hold of and well worth the hunt.
19 – grizzly bear – yellow house (warp)
— Ed Droste rides contradiction like a rusty trampoline: lush v.
hush; sweet v. salty; mighty v. mouse; chicken soup v. chicken coup.
18 - girl talk - night ripper (illegal art)
— Monster mash makes the hipsterpotomous dance. One more adventurous dude with a lot of music made by other people and the will to suspend pop music into the glorious realm of magnet poetry leads to a cut-n-paste epic and a few
more sets of arms unfolding.
17 – om – conference of the birds (holy mountain)
— Like a pair of mighty wings: the first track hurls a mean low-end tornado, the second swoops in like a sledgehammer. Mesmerizing and merciless.
16 - the no-neck blues band and embryo - embryonnck (staubgold)
— NNCK, as limber as ever, welcome some german space-rock vets for some playtime in their weird bag of drum sticks, parched throats, and sweaty serpents. Freaky deeky.
15 - ladyhawk - s/t (jagjaguwar)
— Solid rock that’s all meat, potatoes, and absinthe. This batch got hot wired to my craw real fast. Jagjag knocks um cold.
14 - drones - gala mill (ATP)
— I once read a review in which someone likened the drones to “neil young getting beaten up by the birthday party in a dark alley.” I don’t feel as if I can top that.
13 - wooden wand and the vanishing voice - gipsy freedom (5RC)
— Daniel Carter spreads the WWVV murk out into some new, baron zones while Toth and company continues to flash their bloody chops with some serious graveyard-shift folk and an incessant will to plunge harder and further.
12 - clogs - lantern (brassland)
— Some gorgeous stuff that I dread dubbing with any dash-classical. Truly captivating and unclassifiable.
11 - beach house - s/t (carpark)
— Could such a small record feel any bigger? I want to live in this album for a couple of weeks. It might do my back some good.
10 - comets on fire - avatar (sub pop)
— Amazingly, the comets’ music gets more palpable as it gets more fast and insatiable. Though smoke clears occasionally, letting some sweet, startling melody crack a smile and wipe the dirt off its boots.
09 - destroyer - destroyer’s rubies (merge)
— I’ve never owned a Destroyer album before I bought Rubies and though I adore this one, I haven’t bought any others since. The record is an absolute scream but I feel as if I’ve got more than enough of Bejar’s unruly wisdom bouncing around my skull as is.
08 - parts and labor - stay afraid (jagjaguwar)
— Another jagjag homerun. Big league, high-octave hooks slathered over a slaughterhouse of nuclear feedback, as if Lightning Bolt swallowed Lifetime.
07 - band of horses - everything all the time (sub pop)
— Lose the grouchy pants: the My Morning Jacket comparisons seem about as irrelevant and superficial as the Interpol/Joy Division swaps and could easily be discredited by listening to the two bands in one sitting. A great rock record is a great record and this is a god damned great rock record.
06 - boris - pink (southern lord)
— Technically came out late last year, but I’ll stand by the
stateside release on Southern Lord so I can give this bunch a shout. Boris, the outer-space rock monster, a being legendary for its boundless, shape-shifting, logic-defying presence, hunkers down and cracks its mighty tale with a record
that’s as “by-the-books” as any you can imagine them producing. Of course, the conventions begin and end with the albums pace and sequencing and this slab is the red-hot sonic meteor the bands expanding cult have come to cherish.
05 - neko case - fox confessor brings the flood (anti)
— The first half of the year saw an influx of cowgirl pastiche from relative lightweights like Cat Power and Jenny Lewis. Case, as she is prone to do, positively slays the upstarts with bullet proof pipes and enough hooks to hand a hundred sets of Watson Twins.
04 - bonnie ‘prince’ billy - the letting go (drag city)
— Top shelf across the board for the prince. Oldham’s voice is
sweet and dynamic, snaking off and around Dawn McCarthy’s pristine call and illuminating the graceful deviance of his yarns. Fittingly, this was recorded in Iceland, which is, as you probably know, actually a very, very green place.
03 - wooden wand and the sky high band - second attention (kill rock stars)
— Wand writes, sings and plays with arresting clarity, unweaving every song you swear you’ve heard somewhere else, somewhere far away from wherever you were the moment before you pressed the play button. Positively breathtaking.
02 - liars - drum’s not dead (mute)
— Proto-dance punks gone wild and bloodthirsty, Liars make due on the promise of their brilliant, misread second LP with this meticulously crafted and defiantly haunted avant-torpedo. The witchcraft, hardly smoke and mirrors, turns to gold in the form of warped percussive incantations, gutted melodies, and a rabid attention to detail. “The Other Side of Mt. Heart Attack,” the last drop of sweet molten nectar, is so gorgeous that it
almost stands on its own, like a mirror for the band’s uncanny beauty.
01 - the hold steady - boys and girls in american (vagrant)
Craig Finn will be the first to tell you that his band is not out to
make a masterpiece every time they step up to the plate. Barely a year and half away from the bruised gem that was Separation Sunday, the Steady pass on the one-two punch, beefing up their already potent sound, once lean and brittle under Finn’s infectious rattle, and working, for the first time, as a team.
The bloodshot focus of the musical performances is reflected in
Finn’s increasingly vigorous youth-narrative shakedown, cleverly chiseling each of his swilly stage-plays to sweet perfection while the band gives each tune a unique and unshakable flavor. Finn is a myth-maker of the highest
order, obsessed with detail and yet seemingly unconcerned with keeping his facts straight, and always, above all, ready and willing to revel in the act of love and creation that gives rock-n-roll its promise. I can’t think of another band
that has “meant it” as much as these guys seem to mean it.

RADIOHEAD

In Rainbows (Self-released)

The question that arises when one listens to Radiohead’s new album In Rainbows consists of trying to figure out if it’s a good album because it’s actually good or if it’s good because Radiohead did something completely unprecedented and ridiculous. 

In Rainbows is a step beyond where 2003’s Hail to the Thief left off. Hail to the Thief was a pleasant merging of the two extremes of the band’s career–the electronic mayhem of the early millenium with the grungy Brit-rock of the 90’s–and it gave way to an innovative and awesome record. In Rainbows is this merging, but beyond that. It’s short, it’s sweet. It’s to the point. I’ve heard that this album doesn’t leave you wanting more, but for me it does. I feel like it’s over just as I’m starting to settle in. Nine songs, ending around the forty-three minute mark.

Thom Yorke’s lyrics, as always, are self-deprecating, introspective, often upsetting, always dark. They’re going along the same vein as The Bends and Pablo Honey did in the sense that they’re listenable and you’re not trying to pick at them and figure out what the meaning is. When you have someone singing to you something like “I’ll stay home forever/where two and two always makes a five” (from ”2 + 2 = 5” off of Hail to the Thief)  you have to wonder what that means. But In Rainbows‘ first track 15 Step sees Yorke opening up with “How come I end up where I started?/How come I end up where I belong?” like he’s trying to figure out why he can’t escape his comfort zone.

The songs on this album are both accessible and wrought with fear, which makes sense since Thom Yorke was quoted pointing out that the songs were written from a point where the band really had no idea what the future held.  “Bodysnatchers” brings us back to The Bends era, and Yorke tells us he has no idea what he’s talking about.  The terror is evident.  On “Nude”, he claims “You’ll go to Hell for what your dirty mind is thinking.”  Yeah, illegal downloading is, I’m sure, the eighth deadly sin.  “Weird Fishes/Arpeggi” is wistful and is the first time on the album where you feel any sort of release.  Despite grotesque imagery and harrowing lines about hitting bottom, there’s always the escape mentioned.

Maybe it’s the freedom of not being on a label right now?

“House of Cards” revisits the floating feeling of “Weird Fishes/Arpeggi”, but with half the comfort—a song about being in love with a married woman.  Two songs later, the album shuts down with Videotape, and Yorke says, perhaps prophetically, “When I’m at the pearly gates/This’ll be on my videotape.”  No joke, either, because In Rainbows is probably the endeavor Radiohead will be remembered for.

Generally, while Radiohead has made a living off of showing their fear, this album feels quite laid back despite the place it was coming from and the time it was being recorded. It’s almost like they’re breathing a sigh of relief. Like, “Hey, check it out. We don’t have a deadline. We don’t have to abide by anyone’s rules. We don’t have to sign anymore contracts. We can do what we want.” And that’s what they did.

And I think that’s what they want everyone else to do.

-Nicole Wertheim

From the wonderful Smuggled Sounds site on Blogger, a live testament to DLR’s 1986 band featuring Steve Vai, Billy Sheehan and Greg Bissonette, which in my opinion was BETTER than VH on their best day - Ed.:

David Lee Roth - Live in Toronto

Big thanks to DC Share on Blogspot for the schoolin’ on this gem! -Ed.
Nico & Tangerine Dream -
Atmospherics a Notre-Dame
1974-12-13 - (Bootleg)

Tracklist:
01 Janitor of Lunacy
02 The Falconer
03 Valley Of The Kings
04 The End
05 Abschied
06 Atmospherics

THE MAKES NICE

This Time Tomorrow (Frenetic Records)

The Makes Nice, purveyor of the smartest and crispest contemporary pop music, releases its second long-play record of the year with This Time Tomorrow. Upon receiving the surprising news the band had already penned another record following the March release of its auspicious debut, Candy Wrapper and 12 Other Songs, I was understandably skeptical. Candy Wrapper was my favorite record of 2007 and songs like that don’t grow on trees. How could the band even come close to matching the brilliance of its first record with virtually no turnaround? Amazingly, the band somehow upstages its debut with a record teeming with glorious, harmony-laden pop songs. Aaron Burnham’s vocals have improved dramatically and they were already evocative. Josh Smith’s guitar playing is customarily astounding and Jack Matthew’s thunderous drumming propels the whole damn thing. Bolstered by Do It Again, the catchiest single of recent memory, the album plays like a greatest hits record. Melody, Please, You Want Me Bad, Don’t You Understand, and the aforementioned Do It Again, are songs that would have been 1960’s radio mainstays and deserve to be hits today. Did these guys sell their souls to invent hooks like these? Even less accessible songs like Got It Wrong From The Start and When It’s All Gone are tunes that would serve as high-water marks in lesser bands’ catalogues. As with Candy Wrapper, the band achieves a nearly perfect balance between musicianship and song craftsmanship. Despite its embarrassment of musical riches, the band never shows off; every sound is fashioned to serve the song. All this adds up to The Makes Nice’s authoring of the two best records of 2007. The boys kick off their East Coast tour in early October (their New York appearances are on October 10^th and 12^th). So uncross your arms, strap on your dancing shoes, and abandon playoff baseball for at least one night.

Frank McGar

JOHN COLTRANE’S HOME SAVED FROM DEVELOPERS; BOX SET RELEASED

September 21st, 2007 / THE RECORD BIN, news, jazzandsoul / No comments

JOHN COLTRANE

Interplay (Concord)

JOHN COLTRANE

Interplay (Concord)

As some of you faithful readers of this Interboro Rock Tribune may or may not remember, we did a story back in the Summer of 2005 about the Long Island home of John Coltrane and how it was in danger of being razed by greedy-ass local developers and the property to be drawn and quartered in order to build four more McMansions for four more rich, obnoxious families to breed in.

Well, you wouldn’t believe the smile on my face when I saw this little piece of news come through my Yahoo! mail earlier this week from Jeudith Cohen of The Coltrane Home Preservation Society:

COLTRANE HOME IN DIX HILLS,

NY RECEIVES

NATIONAL HISTORIC

DESIGNATION

 

Suburban Long Island Home of John & Alice Coltrane Receives Rare DesignationColtrane Home Seeks Continued Preservation and Creation of Museum and Education Center

Huntington, NY, September 4, 2007 - The Dix Hills, Long Island home of jazz musical greats, John Coltrane and Alice Coltrane, has just been added to both the New York State and the National Register of Historic Places. The home was the residence of the Coltrane family from 1964 to 1973 John Coltrane, a renowned saxophonist and composer, composed “A Love Supreme” - one of the largest-selling jazz albums of all time - at the home. John Coltrane passed away in 1967.

According to Robert C. Hughes, Huntington Town Historian, “It’s relatively unusual for a mid-fifties’ home to receive historic landmark designations. This attests to the significance of this site as the location from which the music of the Coltranes tremendously impacted the music world. This also confirms the Town of Huntington’s belief that this is a significant landmark.”

The attainment of these designations is seen as a key step in the complete preservation of the home; as well as its planned future conversion to a museum and archive of important jazz and music material, and educational center — as envisioned by the Coltrane family and the participants of The Coltrane Home, a not-for-profit organization devoted to the preservation of the home. According to musician Ravi Coltrane, son of John and Alice Coltrane, who lived in the home as a child, “It was my Mom, Alice’s express vision to help use this home to provide inspiration about music as an incredibly positive force, and explore the joys of making music for people of all ages. This is a great step towards that vision.” Alice Coltrane, harpist and pianist, passed away in January 2007.

The home of the Coltrane family was spared the wrecking ball in 2004, after Dix Hills historian Steve Fulgoni discovered that it had been sold to a developer, whose intended to clear the land and build luxury home on the site. Fulgoni, a long-time fan of John Coltrane, brought the situation to the attention of the Town of Huntington and succeeded in convincing them of the historical significance of the home. In 2005, with the support of musicians and jazz aficionados around the world, including Carlos Santana and Herbie Hancock, the Town agreed to purchase the site.

When learning the news of the Coltrane Home’s historic designation, Mr. Fulgoni’s said, “This has been a long, arduous effort to save the Home. We truly appreciate the State and Federal recognition of the legacy of the Coltranes, and this can help unlock some of the funding we will need to restore this home. This is a great, great step.”

The Coltrane Home is a 501(c)3 not for profit organization.

And to top off this Coltrane-filled week in addition to my fiance agreeing to make one of my belated birthday gifts the Heavyweight Champion box set that Rhino put out a decade ago is the arrival of Concord Records’ long-awaited Interplay box set, which is five discs filled with all of John Coltrane’s early sideman work for the Prestige label between the years 1956-1958, where he stole the spotlight on seven jam session-based albums featuring the likes of Kenny Burrell, Red Garland, Paul Quinichette, Art Taylor, Pepper Adams, Hank Mobley, Zoot Sims and Tommy Flanagan. All of these albums, including the indispensable Dakar, are featured on Interplay along with a ton of previously unreleased outtakes and alternate sessions.

Though not as transcendent as his later work on Impulse!, the music on Interplay is nevertheless documents a most crucial period in Coltrane’s all-too-brief career and is a must-own for the Trane completist.

And oh yeah, for anyone who is interested in checking out that story on the Coltrane home from IRT no. 5, just cut and paste: http://www.irtmag.com/issues/IRT005.pdf

Thank you. -Ed.

 

HILLY KRISTAL 1930-2007

August 30th, 2007 / THE RECORD BIN / No comments

HILLY KRISTAL 1930-2007

It is with great sadness that I bring to you the news of Hilly Kristal’s death, which I had just read about after being away from the computer for about a day or so.

When I met Hilly for IRT’s cover story on CBGB in the summer of 2005, he was sitting behind his famous desk right near the door of the club. Weekday afternoon TV was playing from an ancient color TV above his head and in a playpen behind his assistant’s desk was his granddaughter, laughing and smiling away as infants do in spite of the scary looking beasts of men lugging equipment into the club and the cacophonous sound of the Jon Spencer Blues Explosion soundchecking behind the thick curtain separating the office from the stage and bar area.

That afternoon, he didn’t look like the man who could keep a few hundred skinhead punks in check on a Sunday afternoon with the deep, authoritative bellow of his baritone voice, but a loving grandfather waving and goofing around with his grandchild, even though he worked the phones trying to set up a festival to help save CBGB that never happened like a man a third his age.

I am truly grateful for the time I got to spend with this genuine New York rock legend, and had the chance to hear the stories he had told me for the article. Writing that piece was one of the highlights of my 10 year career as a rock journalist, and to have him shake my hand and thank me for it the next time I saw him at CBGB a few weeks after that issue was published, will be a memory I shall never soon forget.

I lost both of my own grandparents to lung cancer, and have seen firsthand the horrors of this most disgusting disease. It breaks my heart to know that Hilly went through the same thing they did, but I can tell you firsthand that cancer might be able to take away the physical form of those who we love, but it can never extinguish their legacies.

I extend my deepest condolences to the Kristal family, and want to let them know what an honor it was to have been able to spend just a little slice of face time with Hilly, one of the truly great men this city has ever known.

Anyway, Heaven seems like a much better location to re-open CBGB than Vegas anyway.

Respect,

Ron Hart

Editor and Publisher

Interboro Rock Tribune

The Boss - New Album and Tour

August 29th, 2007 / THE RECORD BIN / No comments

 

 

Yes, the rumors you may have heard are true. Bruce Springsteen and the E Street Band have a new studio album, Magic, as well as an extensive tour lined up. The album is Bruce’s first with the E Street Band since 2002’s The Rising. The fun begins on October 2, when the album is released and the Boss and Co. play their first show in Hartford CT. You can also go to itunes right now, and for the remainder of the week and download the single, Radio Nowhere, FOR FREE. If it’s any indication of what’s to follow, it’s going to be a fist pumping, guitar heavy affair. ~Shawn Schank

Bruce Springsteen and the E Street Band fall tour itinerary.

Date	City	Venue	On Sale
10/2	Hartford, CT	Hartford Civic Center	9/8
10/5	Philadelphia, PA	Wachovia Center	9/8
10/9-10	East Rutherford, NJ	Continental Airlines Arena	9/10
10/14	Ottawa, ONT	Civic Centre	9/17
10/15	Toronto, ONT	Air Canada Centre	9/17
10/17-18	New York, NY	Madison Square Garden	9/10
10/21	Chicago, IL	United Center	9/8
10/26	Oakland, CA	Oracle Arena	9/15
10/28	Los Angeles, CA	Venue TBA	TBA
11/2	St. Paul, MN	Xcel Energy Center	9/22
11/4	Cleveland, OH	Quicken Loans Arena	9/15
11/5	Auburn Hills, MI	Palace Of Auburn Hills	9/21
11/11	Washington, D.C.	Verizon Arena	9/21
11/14	Pittsburgh, PA	Mellon Arena	9/14
11/15	Albany, NY	Times Union Center	9/8
11/18	Boston, MA	TD Banknorth Garden	9/22
11/25	Madrid, SPAIN	Palacio De Deportes	10/2
11/26	Bilbao, SPAIN	Bilbao Exhibition Centre	10/9
11/28	Milan, ITALY	Datchforum	9/10
11/30	Arnhem, NETHERLANDS	Geldredome	9/8
12/2	Mannheim, GERMANY	Sap Arena	8/31
12/4	Oslo, NORWAY	Oslo Spektrum	9/3
12/8	Copenhagen, DENMARK	Forum Copenhagen	9/3
12/10	Stockholm, SWEDEN	Globe Arena	9/1
12/12	Antwerp, BELGIUM	Sports Paleis	9/8
12/13	Cologne, GERMANY	Koln Arena	8/31
12/15	Belfast, IRELAND	Odyssey Arena	9/6
12/17	Paris, FRANCE	Palais Omnisports De Bercy	9/7
12/19	London, UK	O2 Arena	8/30

R.I.P. Hilly Kristal

August 29th, 2007 / THE RECORD BIN, articles, In Concert / No comments

                                                                                          

 

This is sad. It hasn’t even been a year since CB’s closed. I’m guessing this is the real end of the club and there will be no NY or Vegas re-opening, unless his family sells the rights to the name. If you’re new to the IRT and have yet to read our cover feature on CB’s, all the way back in issue 5, now’s the perfect time to download the pdf by clicking the “see past issues” link in the upper right hand corner of your screen.

~Shawn Schank

NEW YORK (Reuters) - Hilly Kristal, the founder of New York punk rock club CBGB, which helped make the Ramones, Blondie and Talking Heads stars, has died at age 75, his daughter said on Wednesday.

Kristal died on Tuesday from complications of lung cancer, his daughter, Lisa Kristal Burgman, said.

He founded the club in 1973 hoping to showcase country music, calling it CBGB & OMFUG, for “Country, Bluegrass, Blues and Other Music For Uplifting Gourmandizers.”

But the club drew few country acts and instead became a breeding ground for punk rock, playing host to the likes of Patti Smith, Television, Living Colour as well as countless local hopefuls that never made it to the big time.

“He loved country, but he loved music even more, and as a singer-songwriter himself, he knew rock musicians needed a place to play their own music,” his daughter said.

Marky Ramone of the Ramones said in a statement, “Hilly was an integral part of the punk scene from 1974 until his death.”

“He was always supportive of the genre,” he said. “In an era when disco was the mainstream, Hilly took a chance and gambled. The gamble paid off for both him and for us. We are all grateful to him and will miss him.”

Johnny Rzeznik of the Goo Goo Dolls, who first played CBGB in the late 1980s, said agents from recording companies often came to the club. “So many bands would have never have made records unless they came to CBGB,” he said.

Kristal was born in Manhattan but his father moved the family to Hightstown, New Jersey, soon after. He became a concert violinist by the age of 9. In the late 1950s, Kristal sang in the men’s chorus at Radio City Music Hall.

He went on to manage Manhattan jazz haunt the Village Vanguard, booking acts like trumpet player Miles Davis. He opened a bar that served sandwiches, such as the Hilly burger, that later became CBGB.

Kristal lost a battle last year to stop CBGB from being evicted. Its last shows in October featured Patti Smith and Blondie’s Debbie Harry. The club’s clothing store, CBGB Fashions, remains open a few blocks from the original club.

“He wanted the club to survive him,” his daughter said. “He is survived by the fans and bands that played there.”

 

BOB DYLAN AT JONES BEACH

August 15th, 2007 / THE RECORD BIN, In Concert / 1 comment

From Billboard.com

Bob Dylan Location: Wantagh, N.Y. (Jones Beach) Event Date: June 29, 2007

August 02, 2007,

Dylan Does Right By Long Island With Rarity-Flecked Set

Ron Hart, N.Y.

Anyone who has ever seen Bob Dylan perform in concert over the last 20-odd years knows the rock icon only works in two speeds live: on or off. So it was with great trepidation that we took our seats for his first show there since a 1999 double bill with Paul Simon.

But on this gorgeous, crisp June evening underneath the big orange moon illuminating the water behind the stage, Dylan and his band were most certainly “on” at this juncture, playing what one blogger on the popular “Dylan Pool” Web site hailed as “the greatest set list ever!” Kicking off with “Cat’s in the Well,” his standard tour opener as of late, Bob was in excellent voice, reaching a timbre that floated somewhere between his old school nasal delivery and the gruff Tom Waits-ian growl he has acclimated his vocal chords to in recent years.

And his longtime touring band were nothing short of outstanding, proving to this that this well-dressed ensemble of musicians Dylan has been on the road through most of the decade with is his strongest and best since the mid-’70s.

Sure, they broke out some of the standard warhorses they’ve been playing since this particular tour began: a great, traditional spin on “Don’t Think Twice, It’s Alright”, “Just Like Tom Thumb’s Blues”, “It’s Alright, Ma (I’m Only Bleeding),” a scorching version of “Highway 61 Revisited,” a simply sublime country waltz revision of “Blowin’ in the Wind” and a defiant rip through “All Along The Watchtower”, which closed out the two-hour-long show.

However, newer additions to the catalog, like “Thunder on the Mountain,” “Summer Days,” “Things Have Changed” and the beautiful “Moonlight” were just as highlight-worthy as the classics.

But what really made this Jones Beach show truly shine were the surprise inclusions on the set list, most notably the phenomenal full-band rearrangement of “Visions of Johanna” and a lucid reading of “Shelter From the Storm,” both of which were enhanced by Dylan’s spot-on harmonica accompaniment. He also threw in a rare spin on the “Time Out of Mind” nugget “Till I Fell in Love With You” as a heavy blues rocker.

In all, an “on” moment that, for longtime fans, was probably akin to hitting the concert lottery.

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