Cindy Bullens’ name might not be instantly recognizable to everyone, but her story is a fascinating thread in the tapestry of 1970s music history, intersecting with both Bob Dylan’s legendary Rolling Thunder Revue and the meteoric rise of Elton John. For fans interested in tracing the roots of rock and roll and perhaps even checking the Elton John Concert Schedule from back in the day, Bullens’ experience offers a unique glimpse behind the scenes of two monumental musical forces. This article delves into Bullens’ journey, her near-miss with Rolling Thunder, her pivotal decision to tour with Elton John, and revisits a specific Rolling Thunder Revue performance in Toronto.
Cindy Bullens performing alongside T Bone Burnett, showcasing her early collaborations within the music scene.
My introduction to Cindy Bullens came through the meticulous setlists of the Rolling Thunder Revue. Noting her name as a performer at a couple of shows, weeks apart in Providence and Toronto, sparked my curiosity. Who was this Cindy Bullens, and what was her connection to this iconic tour? A phone call later, and the story unfolded, revealing a much deeper involvement than a few guest appearances. Bullens wasn’t just a casual addition; she was present at the very inception of the Rolling Thunder Revue, during those formative gigs at Bob Neuwirth’s Other End. In fact, as a New York Times article from July 1975 reveals, she was considered a core member of the band. However, fate, or perhaps a different musical calling, intervened. At the eleventh hour, Cindy Bullens chose a different path, opting to tour with Elton John instead. This decision, a crossroads moment in her career, highlights the vibrant and often unpredictable nature of the 1970s music scene, a period where artists like Elton John were setting global concert schedule trends.
A note on names and pronouns: It’s important to acknowledge that in 2011, Cindy Bullens transitioned and now lives as Cidny, using male pronouns. However, when referring to the period before his transition, including his time with Rolling Thunder, he prefers “Cindy” and female pronouns. Cidny Bullens continues to make music, recently releasing his album Walkin’ Through the World, which includes “The Gender Line,” a song reflecting on his experiences. A powerful Washington Post feature further explores Cidny’s journey and his pioneering role in rock music.
The story of Cindy Bullens’ journey with Rolling Thunder, and the subsequent turn towards Elton John, is best told in her own words. Here’s my conversation with Cidny, recalling his early days as Cindy:
Early Days with Rolling Thunder
“I was friends with Bobby Neuwirth,” Cidny begins, recounting his entry into the Rolling Thunder orbit. “He was one of the three guys who ‘discovered me.'” Their meeting in LA in ’74 marked the beginning of Neuwirth’s mentorship. Then came the call in the summer of ’75. “He called me one day and said, ‘I’m sending you a ticket to fly to New York to be a part of this week at The Other End.'”
The Purpose at The Other End
The invitation was to be more than just a casual appearance. “He wanted me to be part of the band,” Cidny explains. “He wanted people to back him up.” Neuwirth, known for his collaborative spirit, brought together a group of friends, including T Bone Burnett and Steven Soles. “We all had our own solo songs and stuff. I played guitar and sang.”
The week at The Other End proved to be the crucible for the Rolling Thunder Revue. “Rolling Thunder wouldn’t have happened without this week at The Other End,” Cidny emphasizes. “There was some kind of energetic thing that happened.” The intimate venue became a magnet for talent. “All these people started showing up. Mick Ronson, Sandy Bull, David Mansfield, tons of people.” Neuwirth’s vision expanded, adding more and more musicians to this impromptu revue. Even Bob Dylan was present, though initially in a non-performing capacity. “Dylan came in. He didn’t play; he just was there.”
The creative energy spilled over into after-hours discussions. “Next door was where Dylan and Bobby were hanging out,” Cidny remembers. “We were all sitting around after hours just yakking. That’s where the idea of the Rolling Thunder Revue came up.” The concept of taking this collective energy on the road began to take shape. “Let’s go on the road. Let’s do something,” was the prevailing sentiment.
A vintage review highlighting Cindy Bullens’ performance at one of Bob Neuwirth’s Other End shows, a precursor to the Rolling Thunder Revue.
First Encounters with Dylan
Despite being at the heart of this burgeoning project, Cidny’s personal interactions with Bob Dylan remained minimal. “My favorite line is, Dylan wouldn’t know me if he fell over me,” he laughs. “I remember sitting with him at the table, but my recollection back then is that he wasn’t the most personable person in the world.” Neuwirth, in contrast, was the extroverted connector. “Neuwirth was very extroverted and brought people in. Dylan wasn’t. I didn’t have much personal interaction with Dylan himself, but I was there at the table.”
Following The Other End week, Cidny returned to Los Angeles. Within weeks, the Rolling Thunder concept solidified. “I get a call from Neuwirth, or I saw him or something, within the next couple of weeks,” he recalls. “He said, ‘We’re going to go on the road. We’re going to be the Rolling Thunder Revue.'” Cidny was slated to join as a guitarist and backup singer. “In the beginning, it was T Bone, Steven Soles, me, I think Mick Ronson, and a few others.”
The Elton John Detour
Then came the unexpected turning point. “Now my story differs from the people who actually went on the whole tour,” Cidny explains. “I by chance crashed a party at Cherokee Studios.” Elton John was hosting a press event for Neil Sedaka, who had recently signed with Elton’s Rocket Records. Cidny’s existing connections to Cherokee Studios allowed him access. “I knew the owners of Cherokee and had recorded there and been a gofer there. I just crashed the party and met Elton John.”
That chance encounter led to an unforeseen opportunity. “That night, I was asked to go on the road with Elton John,” Cidny reveals. The timing was critical. “[The tour] started two days from that date. We were slated to go on the Rolling Thunder at the exact same time.” A momentous decision loomed. “I had to choose between Elton and Bob Dylan in one day. I met Elton on a Wednesday. On Thursday, I had to decide. I chose Elton. By Friday, I was rehearsing with Elton.”
The choice was far from easy. “It wasn’t an easy decision, let me tell you,” Cidny emphasizes. “I was a nobody and I had been slated to go on the road with Bob Dylan. I would have had my own song in the revue.” Ultimately, musical inclination played a crucial role. “[But] I chose Elton because, in my soul, I was basically a rock and roller. I wanted to experience that, even though I was a background singer with Elton.” The allure of joining Elton John, a global rock superstar whose concert schedule was filling stadiums worldwide, was undeniable.
Rock and Roll Calling
Cidny elaborates on the musical dichotomy. “You mean you were thinking of Bob as more of a folk thing and Elton as rock?” I ask. “There was nobody bigger than Elton John in ’75 and ‘76,” Cidny responds. “He was the biggest rock and roll star in the world, period.” The scale of Elton John’s operation was immense. “The first tour I did was Rock of the Westies. The second one I did was Louder Than Concorde.”
The internal conflict was palpable. “It was painful for me to make that decision. It was very painful,” Cidny reiterates. “Like I said, I would have had a solo on the Dylan thing, I would have met all those other people who came in. It would have been a completely different experience.” However, the Elton John path also offered its own rewards. “Being with Elton John, obviously, was also an adventure.” Looking back, the relationship with Elton John has endured. “Elton is still a dear friend of mine. We communicate regularly; he’s very supportive of me both personally and professionally.” Checking an Elton John concert schedule today, one sees a legacy built over decades, a testament to the enduring power of his music.
Cindy Bullens singing backup for Elton John on “Rocket Man” in 1976, a highlight from her time touring with the rock icon.
Rolling Thunder Reunions
Despite choosing Elton John’s path, Cindy Bullens did reconnect with the Rolling Thunder Revue on a couple of occasions. “I was looking up which shows you did. I have you in Providence, Rhode Island for one and then in Toronto,” I mention. “How did you end up doing those?”
“I thought there was one more. I remember three but I don’t remember what the third one was,” Cidny muses. “I know I did Toronto, because I happened to be in Toronto recording with Elton at the same time they came. Elton actually came to that show too.” The Providence appearance was likely a matter of proximity and connection. “In Providence, I was probably home at my parents’ in Massachusetts or my sister’s in Rhode Island when they came through. I just called up Neuwirth and he would invite me in.”
These guest spots are documented in recordings. “I found these recordings and they’re great. It’s a song, I don’t know if this is the right title, called “Nowhere To Go”” I inquire. “The right title is “You Don’t Know Me”, but they have it listed as “Nowhere To Go” because who knew it?” Cidny clarifies. The song was a product of his early songwriting days in Los Angeles. “It’s just a song that I wrote back in LA. I was just beginning to write my own songs back then. I was young like everybody else, and I had written a bunch of songs, but that was the one that I played with T Bone and Steven.”
The song had a history within Neuwirth’s circle. “Back in LA, pre-Rolling Thunder, Bobby Neuwirth would have these soirees at the Sunset Marquis,” Cidny recounts. These gatherings attracted a wide array of musical talent. “Anybody who was in town [would go], whether it was Steve Goodman or Paul Butterfield or John Prine or Bonnie Raitt.” Neuwirth played a crucial role in showcasing emerging artists. “Bobby would drag me around and he would make me play a song. I played that song and it stuck. T Bone and Steven sang backup on it at The Other End.”
Neuwirth’s Vision and Lasting Impact
Cidny emphasizes Neuwirth’s central role in the Rolling Thunder Revue. “It was Neuwirth’s show. It really was. It was Bob Dylan’s Rolling Thunder Revue, but it was Neuwirth who was the catalyst for the whole thing.” Neuwirth’s talent for bringing people together, especially young, undiscovered artists, was key. “He gathered people together who were like me, nobodies, young. He’d grab you by the hair and say, ‘Come on.'” Despite Cidny’s departure for Elton John, Neuwirth’s impact on his career remained significant. “I don’t think Bobby Neuwirth has ever forgiven me for not going on the road. Not because I would have been that special in the Rolling Thunder Revue; there were 180 people. It’s not like anybody missed me.”
Interestingly, “You Don’t Know Me” remains unrecorded by Cidny in a studio setting. “Did you ever end up recording “You Don’t Know Me”?” I ask. “I did not ever record it. Those are the only recordings. I heard one of them, at least. My voice is much better in those than it is on my albums,” he reflects.
The divergence in musical paths also created a point of contention with Neuwirth. “This is one of the bones of contention that Neuwirth had with me; I went the rock and roll away and not the folk singer way,” Cidny explains. “Bobby really did believe in me as a singer-songwriter. I, in my own soul, was a rock and roller. My first albums were of the more rock things.” Cidny’s early recordings didn’t fully capture his authentic voice. “I can’t even listen to those songs today. The songs I wrote are good, but my singing is just not my natural voice. When first heard the Rolling Thunder recordings many years ago when they were bootlegged, I thought, ‘Oh, there’s my natural voice.'”
Memories of the Rolling Thunder Shows
Reflecting on those brief Rolling Thunder appearances, Cidny shares vivid snapshots. “Do you have any specific memories of the two or maybe three shows you did perform at?” I inquire. “I just have those snapshots. Obviously, being backstage in Toronto, and I brought Elton with me. Meeting Joni Mitchell who was an idol of mine. Just being backstage with all of those people feeling like a part of it, and of course playing in front of thousands of people.” The Providence show evokes different memories. “Providence, I don’t have as much of a recollection of except sitting on the bus, people just yakking away and feeling a part of it. That was the big thing for me. I sat one seat back from Allen Ginsberg!” Despite the brief involvement, the experience resonated deeply. “As I see footage of it or read about it in books, I feel like I really missed something special. [But] I didn’t miss my own experience of being on the road with Elton. That was also absolutely incredible. If there were only a way that they could have been a month apart, I could have done both. But I couldn’t.”
A Unique Perspective
Cidny concludes with a sense of perspective on his unique journey. “Thanks for explaining all this! It’s great to get the story, because I was looking at the setlists, seeing Mick Ronson and Rob Stoner and T Bone Burnett, then it says Cindy Bullens and I’m thinking, ‘Wait, who’s that?'” I remark. “I’ve been around a long time and there’s a lot of “who’s that?” Cidny laughs. “My history is interesting, to myself anyway! One of the things I love is that I was there at the beginning. I may not have been there at the end, but I was there for every minute of the genesis.” Cidny Bullens’ story serves as a reminder of the unpredictable paths within the music industry, where chance encounters and pivotal decisions can shape an artist’s trajectory, sometimes leading them from the wings of Rolling Thunder to the bright lights of an Elton John concert schedule.
Cidny Bullens’ new album ‘Walkin’ Through the World’ is available everywhere. He’s also due to launch a podcast soon called ‘Cracking the Sky: Conversations With Creatives’. David Mansfield will be the first guest. Keep an eye out at https://www.cidnybullens.com/.
Rolling Thunder XXI: Toronto – A Concert Retrospective
A historical map likely showing the location of Maple Leaf Gardens in Toronto, the venue for the Rolling Thunder Revue concert.
As the Rolling Thunder Revue approached its culmination, Toronto marked one of the final stops on what could be considered the core tour. While the subsequent Night of the Hurricane benefit concert at Madison Square Garden held a different character, the Toronto shows were still part of the original touring vision that had traversed New England and Canada. Remarkably, Toronto was the first city since the tour’s opening in Plymouth to host two consecutive nights. This was a welcome respite, considering the tour’s demanding travel schedule, evident in the long drive to Toronto, followed by an immediate backtrack to Quebec for the Montreal show – a geographically questionable routing.
Maple Leaf Gardens, a large venue with a capacity of 16,000, hosted the Toronto concerts, though it wasn’t a sell-out. The Toronto Star reported “desperate and bewildered” scalpers struggling to offload tickets, indicating a shift in audience enthusiasm as the tour neared its end.
Setlist and Show Evolution
The Toronto stop introduced the final new song of the entire tour: “It’s All Over Now, Baby Blue.” This Dylan classic was presented during his solo acoustic set. While a welcome addition, the reviewer notes a preference for a full band arrangement, similar to Dylan’s electric interpretations of other early acoustic tracks like “Hard Rain” and “It Ain’t Me Babe.” The reviewer’s sentiment reflects a common critique of the Rolling Thunder shows – the solo acoustic sets were often considered the least engaging segments, particularly when featuring songs frequently performed in that style.
However, the Toronto concerts were notable for more significant changes beyond this single song addition, primarily concerning the special guests, as detailed later.
Onstage Banter
Dylan’s onstage interactions in Toronto included a humorous exchange with an audience member requesting “Lily Rosemary and the Jack of Hearts.” Dylan’s response, “I’ll play it, you sing it,” unfortunately didn’t lead to a performance of the rarely played song. The only reported instance of Dylan performing “Lily Rosemary and the Jack of Hearts” was at the Salt Lake City finale of the second Rolling Thunder tour, though the lack of recording leaves room for potential misremembering or audience participation in that instance as well.
Joan Baez’s onstage commentary provided a meta-narrative for the tour’s evolution. She humorously remarked, “I’d like to thank publicly Bob Dylan and Bobby Neuwirth who conjured up this thing, which was going to be five or six people traveling in a station wagon giving little coffee shop appearances, and there are now approximately 112 people in the tour.” This highlighted the Rolling Thunder Revue’s organic growth from a small-scale concept to a sprawling musical caravan.
Special Guests: Bullens and Lightfoot
Toronto’s special guests included Cindy Bullens, whose story is central to this article, and Canadian music icon Gordon Lightfoot. While Elton John, Bullens’ touring partner at the time, did not join her onstage, her presence was a notable highlight. Gordon Lightfoot contributed three songs to the performance, aligning with Joni Mitchell’s approach of showcasing newer material: “Race Among the Ruins,” “The Watchman’s Gone,” and his hit “Sundown.” Lightfoot’s performance was well-received, leaving the reviewer to speculate about the duet partner on “Sundown.”
Interestingly, Lightfoot’s guest set was positioned within the middle section of the concert, between Joan Baez and Roger McGuinn’s sets, a departure from Cindy Bullens’ earlier appearance. The reviewer speculates that Jacques Levy, the tour’s theatrical director, might have strategically placed Lightfoot to avoid extending the wait for Dylan’s first main set appearance, given Cindy Bullens’ earlier spot and Joni Mitchell’s expanded four-song set. Balancing guest appearances and pacing was likely a key consideration in structuring the lengthy Rolling Thunder performances.
Contemporary Toronto Reviews
Peter Goddard’s Toronto Star review captured the essence of Dylan’s Toronto performance:
“Last night he was caught up in the whirl around him…a jiving, romping Petroushka in baggy blue jeans dancing at his own fair. Suddenly, it was easy to remember the little rooms you were sitting in when you first heard the warning from the song, ‘and you who philosophize disgrace.’ You could remember the people you were with, the hunger and unease you felt and, even stranger, the sense he was saying it all for you. For he was saying it all again last night.”
Joan Baez, in a separate Toronto Star article, declared the Toronto concert “perhaps the best concert we’ve had in the entire tour,” though the reviewer playfully questions the sincerity of such pronouncements to local media.
Pre-Show Activities: Lightfoot’s Party and “Ballad in Plain D”
The Toronto shows were preceded by a memorable party at Gordon Lightfoot’s residence. This gathering became the setting for the Scorsese documentary scene featuring Joni Mitchell performing her new song “Coyote” with Dylan and McGuinn joining in. While this scene has been widely circulated, the article highlights another musical moment from that night: Lightfoot’s recording of Dylan’s “Ballad in Plain D,” which was used in Renaldo and Clara.
Dylan’s inclusion of this cover is intriguing, given his later regret for writing “Ballad in Plain D,” a song he deemed exploitative of a past relationship and filled with vitriol towards his girlfriend’s family. In a 1985 interview, Dylan expressed his reservations about the song, stating, “I look back and say ‘I must have been a real schmuck to write that.'” Even earlier, in 1965, Dylan had dismissed “Ballad in Plain D” as “one-dimensional” compared to his newer, more “three-dimensional” songwriting.
Beyond the folk music circle, Ratso’s book provides a more raucous account of Lightfoot’s party, involving Bobby Neuwirth, security guards, a commandeered taxi, and a down jacket thrown into a fireplace, much to Gordon Lightfoot’s amusement. Ronnie Hawkins’ version attributes the jacket-throwing incident to an argument between Neuwirth and Dylan over carrot juice, adding to the mythology surrounding the Rolling Thunder Revue.
Renaldo & Clara Filming in Toronto
Recognizing the tour’s impending conclusion, filming for Renaldo & Clara intensified in Toronto. Beyond Lightfoot’s party, scenes shot before the first Toronto show included a chase sequence through Toronto streets and a diner scene with Sara Dylan. Both made it into the final film, albeit in truncated forms.
Toronto is also reported to be the location for the iconic hotel lobby scene featuring a TV reporter attempting to interview Bob Dylan, unaware of his appearance. This comedic scene involves Ronnie Hawkins and Ratso impersonating Dylan, much to the reporter’s confusion. Later, the reporter interviews Ronee Blakely, credited as “Mrs. Dylan,” further blurring the lines between reality and fiction, a hallmark of Renaldo & Clara. Dylan’s own line from this scene, recounted by Ratso – “What was it like being Bob Dylan? I wish you’d tell me.” – echoes his elusive persona and the performative aspects of his public image, reminiscent of his 1966 press conferences and perhaps foreshadowing Cate Blanchett’s portrayal in I’m Not There.
The Toronto Recordings: A Four-Hour Marathon
The Toronto concert recordings capture a monumental performance, reportedly exceeding four hours in length. This marathon performance highlights the band’s stamina, particularly the “Guam band members” who remained onstage for the majority of the show across two consecutive nights.
1975-12-01, Maple Leaf Gardens, Toronto, Canada
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