A while ago we met up with friends from Spain in Bratislava … we’d been doing it for a while, meeting up in different cities in different parts of the world to see old rockers perform.
This time we were about to witness Alice Cooper’s bizarre theatre of rock and the macabre.
After all the preemptive pomp and circumstance of a rock show that had become so polished it should have been on the skids Alice rattled old bones on to stage … his hair was lank, his make-up looked sweaty, his knees were creaky and his voice was pretty weak.
But worst of all he was using a walking stick.
There’s a reason for telling you this about Alice in a compendium dedicated to Bob Dylan. And this is it…
Just at the right moment when his old man act was beginning to wear and his big scary dolls were fed-up of bouncing off the scenery, Alice transformed … he became a young man. He posed, he threatened, he screamed, his trashed his air guitar and strutted like the madman he has always been.
And surely, this is exactly what Dylan’s been doing! It is a simple fact that he is finally the Ol’ Blues Man, who’s been singing the blues ever since time began ,,, but is he geriatric, like so many have been saying?
No! Of course he’s not!
He is made of smoke and mirrors and since the rough and rowdy tour began he might have appeared to be badly built and walk on stilts … but look hard in to his shadowy kingdom.
Like Alice, Bob is doing it through a looking glass, a whole mirror of art, invention, thought, brilliance and power.
Bob is still on his feet, bending the knee, glowering, using his joker smile and tripping lightly over the snake-pit tangle of stage wires, he just kept it all hidden for a while..
Yep, sure there is the Ol’ Blues Man, the elderly man, the grandad of music, but there is also the young man who never went away. The performer and the artist.
Look at the Mephistophelian grin, the lighting from the bowels of the stage, the tall red curtain and the men in black with lyrics like “Twelve years old, they put me in a suitForced me to marry a prostitute…”
Just like Alice the fire is still there in his heart and his eyes. And his soul is dancing in the stars…
Four new reviews below, this time from Philadelphia
Alexander Leik writes:
“There are no changes to the set list. This is the direction in which our
hero has been headed for some time now. A show, performance, theatre of
sorts. It’s no longer about “what song is next, can I surprise the
stalwarts?” But it has become “I’m playing to the multitudes that I
contain, F the stalwarts!” And it is brilliantly done. The 8 new songs
(out of 10 possible) that are the foundation of this show are delivered to
near perfection nightly. When is the last time our hero played 80% of a
new album for us on tour?!
The show will continue, I hope our international friends are able to
indulge in early 2022. I’ll sign off after The Anthem in DC. Very
curious to hear what our hero has to say about “the swamp” . And
the cheesesteaks … well you don’t have to eat for the rest of the
year, no doubt! Yummy indeed!”
Laurette Maillet again!
“Bob is right on time. Dressed the same as last night but with the red shirt.
The few first words of "watching the river flow" are lost in the air. But the
sound will improve for the best.
The ambiance is festive. The public reacts to the songs.
Some fans are dancing on " You've gotta serve somebody " and the entire
right section of the floor is dancing on " Good bye Jimmy Reed ".
I have the feeling Bob is looking in that direction and he is impressed.
Joking about the Philadelphia cheese-steak (Something like 'if you eat one ,
you don't have to eat for the rest of the year!') before introducing the Band.
Great show. Close to the second one at the Beacon.”
David Mendick writes:
“Dylan says “yummy” for the first time on stage ! Nobody was enjoying
this show more than Dylan himself. From beginning to the very end he was
in as good a mood as I’ve ever seen. It’s strange cos I felt this was
going to be a disappointing audience - it was a little slow to fill and
seemed somewhat quiet until the lights went down. And then - oh boy - the
place was brilliant all night long and Dylan fed off the superb
atmosphere. For instance Serve Somebody has been ok for most of the tour
but tonight was a highlight. As for Dylan stuck behind the piano and all
the talk of he can’t walk and can barely move - well he’s heard the
talk. I Contain Multitudes he’s center stage with his arms outstretched
telling all the world “here I am” And he kept coming back for more. I
wouldn’t dare say “like Rocky” - there, I just did.”
Barry Gloffke writes:
“It was a crowd pleaser. Bob looked good, sounded good, seemed happy and the
audience responded in kind. We cheered, yelled, danced and sometimes stood
awestruck at the sheer sincerity in Bob’s singing/playing. The Band was
muscular and tight tonight when necessary, light and airy when needed.
Thanks Bob for a string of excellent shows and a lifetime of memories and
lessons. Hope to see all you Bobcats on the next tour!”
Stephen Goldberg writes:
“Last night was our third for this tour after Hershey and one night st the
Beacon. Surprisingly, many unsold seats in the Loge. I guess Philly
isn’t his town. I mean the side sections except for the first few rows
were completely empty. Dylan stood at the mic center stage for the entire
I Contain Multitudes. I have to admit I prefer it when he doesn’t play
piano. To me his piano playing muddies the mix ( not counting the
clunkers). False Prophet as usual was a standout as was My Own Version If
You. The crowd really responded to Serve Somebody. Bob flubbed part of Key
West and you could see him turning the pages on his piano. Key West seems
to be getting faster and harder each time he plays it.”
AND SO THE COMPENDIUM GROWS:
More reviews, this time from Providence, Rhode Island
Larry Fishman writes:
“I’ve seen Bob three times in this beautifully restored
theater and enjoy it’s art deco ambience, grandeur and detail. The gig was sold out and filled with the greying baby boomers that you would expect.
Bob. Suited and still thin as a yard stick, he spent most of the night
standing behind his piano and then alternately sitting down to hammer out
a solo. On numerous song, he would sashay Biden like a few steps away
from the piano and grab a hand held microphone for a few verses. He’d
then scamper back behind the keys with two micro lights no doubt
illuminating the lyric sheets. He definitely is less mobile At one
point, he sauntered over more to the center of the stage for a verse and
the place burst into applause. Think about that. The crowd bust into
applause for walking across the stage - we’re a crazy lot. He is
singing - for the most part - with the precision of a safecracker. Maybe
it’s the break of two years or maybe he drinks a few extra cups of tea,
but he sounded fantastic. He was focused, on target, direct, near cosmic
and nuanced.”
Larry Fishman
[email protected]
www.thebigstockbroker.com
Laurette Maillet writes again:
“He is RIGHT on time. No Beacon crowd by the bus.
"Watching the river flow" is again a rehearsal for the sound. By now it should
be perfect ?? Bob is holding the piano, more incertain of his stand than ever.
"False prophet" is behind the piano. He tries a step or two on "Black rider"
but holds the piano again. His voice is great though. Powerful.
Only "Save somebody" is waking up a dead audience.
No piano on "Melancholy mood" and Bob moves next to Tony only during
the second part of the song. Bob scooped and static.
ERK is definitively boring. Should try another song.
The public is polite or bored. Difficult to know! But for sure extremely quiet.
I check Bob Britt guitars. On " Key west " he's got one with a funny shape;
a rocket for the space? With Donnie's accordion it gives something to look
at. They're all dressed in black and except for Doug Lancio...all static.
My highlight would be "To be alone with you" and "Jimmy Reed " indeed.
Not the best show ever. Of course I know the setlist by heart and the
routine. Bob again cracks a joke before introducing the Band. But tonight
with no conviction or reaction from the crowd. A kind word for Donnie Heron
and also Tony Garnier. And I leave. I want to see the Star escaping the Fans.
Of course EGOS is on. Well! Of Fan there is only me. Across the street.
Because I have my phone out, a member of the Dylan crew, decides to take
my photo. After Suzie, another girl...I must be a big menace !
So I take a video. Bad girl! Bob is all wrapped in black and grey hoodie.
Walking all by himself with Suzie and the bodyguard just behind.
The musiciens follow in their own bus.
Bye Bobby. See you tomorrow.
Take care”
PICTURE THIS – HOW THE SHADOW, JIMMIE RODGERS AND A SIXTIES LENSMAN BECAME THE BONES OF BOB’S NEW ART
Somehow Bob can’t forget his good ol’ rambling days as he tours the world again at 80
ANOTHER SIDE OF BOB’S ROUGH AND ROWDY WAYS … HOW 50 YEAR OLD PHOTO TOLD THE RIGHT TALE
In 1964, Bob Dylan’s Another Side was released much to the discomfort of people who had already claimed the youngsinger as their new god of traditional folk.
Little did they know how he was about to really rock their their staid beardy banjo-ey world twelve months later.
They just stuck their fingers in their ears and said young Bob had “lost touch” and was trapped by fame.
Meanwhile, photographer Ian Berry, from the scruffy UK industrial city of Preston, Lancashire, had made his reputation by exposing the horrors of South Africa, Sharpeville in 1960. Photography was his own way of making a protest.
In 1964 – when Bob was showing his other side – Ian was schlepping around Paris and London. Then, one day, he took what he thought was a good photo of the UK’s smokey cellar club life.
Funnily enough Ian says that in the 60s he had only a sketchy vision of Dylan’s existence.
But roughly 50 years later their paths crossed in a most unexpected way.
That photograph became the cover of Bob’s stunning Rough and Rowdy Ways.
Today, Ian, who is in his 80s, admits that he still doesn’t know a lot about Dylan and his music. But he said: “A record cover for Dylan is a great compliment.”
His photo shows a well-dressed couple dancing in a club – a man leans over a jukebox behind them.
And the historic photograph has all the romance of the hedonistic Sixties.
Ian took the picture at an old underground club on Cable Street in Whitechapel in East London.
He had been commissioned to get images of black culture in England. “I was working quickly, and in very poor light, shooting away with a 35-millimetre camera,” he says. “I knew at some point I’d have to leave because I hadn’t asked permission to be there.”
After about 15 or 20 minutes , he says people started throwing beer bottles at him.
Rough and rowdy ways, so to speak!
Today, Berry’s vast archive is controlled by the Magnum Photos agency. The agency previously made a deal with the Dylan camp for Bruce Davidson’s 1959 photograph of a young couple making out in a car, which appeared on the cover of 2009’s Together Through Life.
Seventeen minutes to kill … an amazing visual telling of Bob’s Murder Most Foul
Although Ian isn’t that familiar with Dylan’s music, his wife is a big fan. “She’s more enthusiastic than I am,” he said. “But of course I’ve regularly listened to ‘It Ain’t Me Babe’ and so forth, but they are her records rather than mine.”
Dylan is possibly the most prolific artist alive. He has made 38 studio albums, 91 singles, 40 music videos, many films, 11 books, a Nobel Prize, the American Medal of Freedom from US President Obama and has performed thousands of live concerts.
He has been the hokey, the mountain man, the rock god, the Southern preacher man, gospel performer, country god, the cowboy, the wild child, the Lothario, the drunk, the addict, the river boat captain, the general, the old blues man, the hippy, Elvis, the crooner, the punk, the eccentric… his guises are as many as his musical abilities.
The title Rough and Rowdy Ways is a homage to Jimmy Rogers.
Picture of Ian by Daniele Mattioli, cover art originally Ian Berry, Dylan pic, Pixabay
TAGS: #RoughandRowdyWays #June19th. #FalseProphet #MurderMostFoul #IContainMultitudes #Bobdylan #curator #JimmyRogers #Whitechapel
My Rough and Rowdy Ways by Jimmie Rodgers (1929) – YouTube
New reviews, obviously from five believers… not you Mr Jones
Review by Peter Smith
From a longer piece written for Bill Pagel’s brilliant Bob Links
It was a long time since I last saw Dylan at the Beacon in late November, 2019. With the pandemic I wondered if that last time was the final time, but happily the NET continues. The show started promptly at 8pm and ran for a tight 98 minutes. The sound was extraordinarily clear; Dylan’s vocals were up front and distinct from
the band.
His voice was expressive and energetic, albeit within his
limited range. I can’t help but think what a great release this would
be: Dylan at the Beacon 2021 -- Bootleg Series XXX “Autumn in NYC.” It
would be a nice counterpart to Springtime in New York.
Dylan moved from center stage upright piano to stand up mic with the
sprightly hop he had in 2019. There were touches of Dylan humor added
since the tour in 2019 -- he engaged a shout out from the audience for
Pretty Boy Floyd. He said you’re in the wrong place - this isn’t
Springsteen on Broadway.
The stage was a vision of darkness and light - the band in all black was set up on large illuminated panels of white- an intimate interpretation of the bright stage platform used by “those British bad boys” on their recent tour, closer to Stanley Kubrick’s 2001 A Space Odyssey. In his homage to NY he mentioned it as the
birthplace of Herman Melville and the home of “Jackie O.” Although
not played, I couldn’t help but think of Murder Most Foul from RARW as
it was the day before the anniversary of JFK’s assasination.
The lights remained out for longer period after Every Grain of Sand as
though he just might come out for another, but it was not to be.
Review by David Namerow
Ah, the Beacon. Legendary ornate , Neo-grecian brainchild of Roxy
Rothafel as the smaller sister venue of the famous Roxy downtown.
And so, after a year and a half of Covid related dormancy, the Never
Ending Tour is back on track with the Rough and Rowdy Ways World Wide
Tour, which began Nov 2 and will continue through 2024, when Bob will turn
83!
The stage? Spare, lit curtain behind the band. No more replica grecian statues, even the fabled Academy award statue (homage to “Things have Changed”) is gone. Also gone is either the Copland Americana music, or the Stravinsky Rite of Spring from the past. The band launches into “Watching the River Flow”, with Bob’s voice
unfortunately drowned out by crowds cheering, standing and the band a bit
too loud. After a nice rendition of “Most Likely You go Your way.”,
the sound is balanced and Bob steps forward— almost on bended knee —
for “I Contain Multitudes”.
False Prophet was on fire, with Bob’s voice carrying the band along
with him. Masterpiece was a bit muted, with the lyrics “Everything is
gonna be beautiful” for poignancy.
While “Black Rider was wonderful - and ominous, “My own version of You” was simply amazing, with Bob
clear voiced, nuanced and enunciating every syllable carefully. “Key West” was
another highlight, Bob saver-ing every line with a slightly different
arrangement than the album.. “Serve Somebody” got every body up and
dancing, but I really could’t make out most of the lyrics (“You might
be in the White House……”).
And, by the way, Bob actually spoke. First, when some fan yelled for
“Born in the USA”, Bob quipped “you’re in the wrong theatre,
that’s Springsteen on Broadway.”
Jeff Dellin
Settled in for the Sunday show, the third night of the Beacon Theatre run.
One thing that struck me was how stark the whole stage was. No more shadow
lighting or spotlights or starry backgrounds - just pale curtains and
minimal stage lighting. Everyone dressed in black. Bob's piano with
exposed wood facing forward. Minimal. Not that his staging has ever been
elaborate but this was basic and did not change all night.
I would advise any fan to see this tour if possible. The Rough & Rowdy
Ways songs were given the full treatment by Bob. You knew he was loving
playing these songs when he would bend down low behind the piano at the
end of songs to play a little solo obscured from view, just the top of his
head in sight. For me Black Rider and Mother Of Muses stood out as major
highlights, very much in the moment performances. I could make out almost
every word of the new songs. The older material was given a bit of a short
shift this time around. To Be Alone With you felt fresh and Every Grain Of
Sand was outstanding.
After dozens of shows over 35 years., I saw a first at this show. Bob
seemed to acknowledge somebody who yelled out a request from the audience.
I did not catch the whole thing but Bob seemed to say something like: "If
you want that you'll have to see Springsteen on Broadway. You're at the
wrong show". And he chuckled. It was real and funny. .
Started right on time and was over in a tidy hour and 40 minutes. All in
all, it was a show with no big surprises but plenty of small surprises to
make it a meaningful night with Bob Dylan in New York.
Barry Gloffke writes:
Our hero’s third, and last, night at the Beacon Theatre for 2021 was, in
my estimation, the best of the lot. Each Dylan show lives and breathes on
its’ own… slight cadence changes, lyrical nuances and unexpected
occurrences imbue each concert with a unique character… it’s like
watching the sky on a cloudy day… you will never see the same cloud
formation twice, ever… and you’ll never hear the same Dylan concert
twice, ever.
From WATCHING THE RIVER FLOW to EVERY GRAIN OF SAND the maestro was on top of his game. He was relaxed, laughing, grinning, ad-libbing and very
animated. He spoke more than he has in a dozen shows from previous tours.
My girlfriend and I had spectacular seats, 2nd row, with a perfect line of
sight to see Bob behind the piano. Watching him was fascinating. He commanded the proceedings from the sanctuary of the piano and he banged those ivories as if he was a young boy in Hibbing (especially enjoyable on TO BE ALONE WITH YOU). His voice was once again powerful and clear… only a few miscues… nothing
to really note. A really great show from start to finish. Review by Roland Pabst
Do you remember the scene in the movie “Rolling Thunder Revue” when a
young woman at the end of a concert couldn’t hold back her tears
anymore, and she started to cry and cry? Today I was sitting between a
heavy man on my left and a young girl on my right. I really didn’t
notice them. I was concentrating on the songs, the band and Dylan until
Dylan performed Key West. The girl started to shake and cried and put her
head on my shoulder and cried and cried. My sweater was wet from her
tears. She apologized with her teary eyes and whispered that Dylan was
such a big part in her life the last 1 ½ years. She said: “whatever
mood I was in, I found a song which helped me. My mother bought me this
ticket. She is waiting for me outside. It is my 1st Dylan concert.” What
a great, sweet and touching story.
For me it was my 55th concert. Therefore I can say this is probably
Dylan’s strongest year in decades. Today he is a Story-Teller. He
performs his own songs with such an intensity and power and nuance. Today
people are respectfully quiet during the songs and burst into a
spontaneous applause after certain words or phrases. His band was great
since years. This band is top notch.
We all know Dylan from Theme Time Radio show and were surprised how funny
he can be and talkative. Tonight somebody must have shouted something.
Dylan laughed and mentioned Bruce Springsteen on Broadway show. You are
atthe wrong place. The band introduction was the longest I ever witnessed.
It was very refreshing. One song comes after another and today there was
no intermission. One of the many highlights for me was Key West. Painting
my masterpiece was another surprise. It had a completely different feeling
than what I heard in December 2019 here at the Beacon.
In the meantime everybody knows that the stage is poorly lit and nothing
decorative at all. This gives you the chance to fully listen and focus on
the performance. His voice is the best I heard in decades. When he stands
behind his piano you would never guess that a 80+ man is performing.
However when he moves around the dark stage you can see an older man. What
a pleasure to see Dylan.
I lived in New York for almost 20 years and Thanksgiving seems to be a
given time for Dylan to play in New York for days. He must be happy
celebrating Thanksgiving somewhere around New York City. Isn’t it nice
that we know so little about his private life? I love it.
Hopefully he will visit us in Santa Fe, New Mexico my new home town soon.
Scott Kareff writes:
It was a treat to renew acquaintances with Bob Dylan for the final Beacon
show of this 2021 run. The set list for the 3 shows was identical but that
was perhaps the only disappointment of the night. Bob was in fine form and
the new lineup was sharp.
I was partial to the new versions of the classic songs, listening for the
new and reworked lyrics. The new arrangements were all revelations. Each
one worth the price of admission.
I can’t prove it but I take “I’ve made up my mind to give myself to
you” as a message from Bob to his audience and we are all thankful he
decided to live his life this way. Bob was engaged and even said something
to an audience member about being at the wrong show, the person should
have been at the Springsteen show on Broadway and then something about
Sylvester Stallone being from NY.
Thank you Bob! See you next time.
Review by Michael Paul Thomas
During the phone booth scene in Don't Look Back, the reporter holding his
cigarette and the phone in one hand and a pen and notebook in the other,
says to his editor "'The times are a-changing' Dylan sings. They sure are,
especially when a poet, not a pop singer fills a concert hall."
This was Bob Dylan night number 35 for me (which pales in
comparison to others I know), since 1995, and I heard a passionate
performance by the poet at 80.
Bitterness and melancholy seemed to be most apparent, as well as sweet declarations of love (“I’ve made up my mind togive myself to you” and “I’m so deep in love I can hardly see”) along with acceptance of the next, uncertain worlds approaching.
How New York became a beacon to Bob as (it appears) Mr Jones ignores him again
We’ve been sharing rave reviews here at The Society since the beginning of November when Dylan finally got the chance to take his strolling bones back on the road again after Covid, the tragic hint of a sex scandal and the release of the stunning beautiful Rough and Rowdy Ways.
And the reviews, mainly, have been written by the man-and-woman on the street who’ve got other things to do with their lives but took the trouble to jot down notes and thoughts and their enthusiasms for Bob and his band landed in places like Milwaukee, Bloomington, Hershey and Moon Township.
Our Beacons of Light in New York … Bob Russell writes:
“I had a chilly but very nice pre-concert dinner and drinks with the delightful
Nancy Cobb at the Owl’s Tail, a little bar around the corner from the Beacon,
practically in the shadow of Dylan’s bus. Moving into the warmth of the
theatre, I took my place in Row M of the orchestra, quite a good vantage
point. Sitting just three rows ahead of me was the great Steve Earle, who I
called out greetings to (I’m sure that was a great treat for him. ??)
The stage was as you have seen from others on the tour, high lit floor, simple curtain in the back, sparse lighting, especially for Bob (reminded me a bit of the dim
stages from September 1993). The band was tight, guitarists Britt and Lancio
lurking in back and getting off the leash a bit. Drummer Charlie Drayton was crisp
and Donnie and Tony were their usual selves.
I won’t go over every song (check the setlists), but almost half the set was
devoted to Rough and Rowdy Ways. Bob sang these with as much intensity
and passion as I have seen in the 123 Bob shows I have attended.
After the climactic Mother of Muses, a spirited Jimmy Reed, then band
intros, and a PERFECT Every Grain of Sand concluded the evening.”
Intrepid Laurette Maillet writes:
“Arriving at 6pm. The Bob Dylan bus is parked there but no activities. Bob is
locked in there. In a golden cage!
See Donnie Herron getty out the Beacon hotel. I tentatively say ' hi Donnie!'.
He is as cold as a stone. :(. See Tony Garnier getting out the Beacon hotel,
tightly holding his 25 years girl friend. I say nothing. Well! I had better feedback
with the Vietnamese restaurant waitress :)
Bob starts a bit late. Waiting for the fans around the bus to disappear?
I immediately focus on his pants :) woah! Nice pants. They look like really
shining and tight. Black embroidered , as well as the jacket.Red shirt(it seems).
It starts hard. The sound is perfect. Never been that good. Guitars are loud.
As well as the drums.
Bob is in a good mood. His voice as loud as it could be. Loud and clear. Nothing
to do with Hershey.
'False prophet' is a wonder. The hight light of the show tonight. Bob is even
trying a little dance on the side of the piano. Powerful.
"I'll be your Baby tonight" is also standing up by the side of the piano. Bob
bending on his knees. A couple of times he decides to move from piano
mike to center free hand mike and that will surprise the sound engeener.
We missed few words :)
Each song is a piece of Art. Even my least favorite is doing fine with me
tonight.
I believe he did twice the second verse of "key west". I have to listen to the
recording ??
The audience is up on its feet for " You've got to serve somebody ".
Other than that , public is polite , reacting to a word here and there.”
Earlier: A tough crowd in New York… but Bob is still standing. They won’t get him beat
You can step on my name, you can try and get me beat, when I leave New York, I’ll be standing on my feet – Bob Dylan
It’s always been seen as a fair game to boo, lampoon, insult, attack, complain about and scoff at Bob Dylan.
This attitude has made me furious over the years … of course he can sing, he is probably one of the most inventive singers since the beginning of popular music and has influenced the whole inflection and style of rock music.
Bob is a writer of stunning prose too of course, but he is first and foremost a musical poet, a bard, a troubadour, an unfinished work of art.
We’ve been sharing rave reviews here at The Society since the beginning of November when Dylan finally got the chance to take his strolling bones back on the road again after Covid, the tragic hint of a sex scandal and the release of the stunning beautiful Rough and Rowdy Ways.
And the reviews, mainly, have been written by the man-and-woman on the street who’ve got other things to do with their lives but took the trouble to jot down notes and thoughts and their enthusiasms for Bob and his band landed in places like Milwaukee, Bloomington, Hershey and Moon Township.
And then he arrived in New York and he got ignored and insulted.
No New York Times review (if I’ve missed this please send me a link, I’d love to be wrong) and a handful of bad reviews from the Mr Jones’s on the street. We share them here:
Dave & Molly from Montreal, Quebec
EXPECTED SO MUCH, RECEIVED SO LITTLE
Dylan has always been one of my favorites. This was the 3rd time seeing him in Montreal, I was ready for another treat. Had fabulous $$$ seats 100 feet from Bob. The lights came up and there was Bob dressed in white, standing in front of the black, grand piano banging out his first tune in a surprisingly low pitch, gravely voice. His guitar lay across a chair a few feet away with his white brimmed hat atop, We would never hear that guitar or see him with hat on. Instead he alternated playing old and new songs either sitting or standing at the piano then grabbing a mic stand at the back wall of the stage as far from his audience as possible as he crooned old American standards. I came to see Dylan play guitar and sing like he meant it. Not a single word was uttered to his fans, not a smile, not a nod. Between songs he shuffled to a table to get a drink, hanging on to equipment as he walked. He looked old and disinterested. What an utter disappointment for me and my girlfriend.
P. A. C. from Philadelphia, Pennsylvania
SELFISH, DISENGAGED & UNDECIPHERABLE DYLAN AT THE MET PHILA.
When the best part of your concert event is the newly renovated Met and the outstanding food at Osteria, you know it’s going to be a bad night. A 60th birthday present from my daughter who is a singer and astute listener of all music. She knows how much I love Dylan’s music and wanted to take me to see him for the first time. It was an utter embarrassment. Dylan voice itself was as good and raw it’s always been but we couldn’t understand a word as he mumbled and garbled every word. His arrangement changes on some songs such as Like a Rolling Stone, were shockingly discordant to the essence of the song. And for 1 hour and 30 minutes, as we sat hoping things would get better, he didn’t muster one single word of welcome, thanks, or appreciation to his audience of 3,500. As we walked out on Bob 30 minutes early, he had me feeling badly for my daughter who certainly lost some respect for one of the musical heroes I spent years extolling. Bob my friend, it’s time to retire.
Sarah from Columbus, Ohio
GROSSLY INACCURATE VISIONS OF BOB DYLAN
If you attended Bob Dylan’s concert last night at the Palace Theatre expecting to see a lounge act and almost unrecognizable versions of Desolation Row and Tangled Up in Blue then you got what you paid for. If, like me, you were hoping to see Bob with his harmonica and guitar playing Just Like a Woman, Don’t think Twice it’s Alright, Like a Rolling Stone, Knockin’ on Heaven’s Door…ANY of his songs – in their original arrangements – that define him as one of the best poets/storytellers/lyricists to ever live, then you were left absolutely heartbroken like me. Before going to the show, I had heard that for years Dylan hasn’t been great live, that he doesn’t acknowledge or interact with the audience, that he doesn’t play many of his classics, so I guess I’m the fool for not listening to those comments and thinking my experience would be different. As I sit here today listening to live Dylan albums from ’67, I can’t help but cry for the artist I never got to see live.
And yet Allison Rapp, a professional writer, had this to say: Dylan, perhaps more so than any singer-songwriter of his generation, has continuously asked his listeners to, in essence, think again. Newly arranged versions of old songs were peppered throughout the evening, including completely reimagined versions of Tempest‘s “Early Roman Kings,” Slow Train Coming‘s “Gotta Serve Somebody,” “To Be Alone With You” a track from 1969’s Nashville Skyline which Dylan has not performed live since 2005 and the also recently reintroduced “Every Grain of Sand” from Shot of Love. A Frank Sinatra cover, “Melancholy Mood,” which Dylan performed on his 2016 album, Fallen Angels, also appeared.
Dylan did not come back for an encore, perhaps choosing to save his energy for the next two nights of shows at the Beacon, plus the string of East Coast dates he has planned for the rest of this month and the beginning of next. But at 80, the legendary musician seems energized by simply being back on a stage, surrounded by a supportive band, performing new compositions that most Dylan fans have spent months listening to in the confines of quarantine and now get to hear in their full live glory.
As his Rough and Rowdy Ways Tour moves on, ticket holders can expect a wonderfully rested and still remarkably enigmatic Dylan to greet them, even if it is with only a few words in between songs. As he sang in 1961, “You can step on my name, you can try and get me beat, when I leave New York, I’ll be standing on my feet.”
Meanwhile, here are four professional reviews by newspapers along the way. Let’s see what they are having to say compared to the fans who have become writers and critics for their love of Bob.
Reviews rocketas Ol’ Bob lands on Moon Township…but is age beginning to tell?
The first review to mention Dylan and the rigours of age…
Mitchell writes:
I feel that the reworking of the set list was more than just publicity
for the new album. All of the song selections were clearly pointing to
the past (high points and regrets) and looking to the future-a future
not in this world. It is contemplative and other worldly. And like it
or not, I do feel he is trying to bring a message with the two gospel
songs he brought back.
As to individual songs, “Mother
of Muses” is even more hymn-like than on the album. Clearly a prayer
and an offer of thanks. Sent chills up my spine.
The thing that made me sad about the show was the clear physical pain Bob is in. He is clearly still very sharp mentally, he was great with the lyrics, his voice was
fantastic and he looked to be enjoying himself. But, in contrast to
his standing center stage pre COVID, he just couldn’t do it now. He
had to hold onto the piano and even then, retreated behind the piano
mid most songs. He sat down behind the piano a lot. He doesn’t stand
straight. He got help going down the steps from the back of the stage.
Clearly his back/hips are hurting. I think we have to face it- as much
as he has, does and always will mean to us, his body is that of an 80
year old man.
I don’t know why he continues to do show after show when it is so
difficult physically. Maybe it is part of a “deal” he made many years ago as he once said.
Daniel Chester writes:
Watching: a rollicking tribute to Pittsburgh and its rivers
Most Likely: good energy and crisp and friendly and faithful and pretty
well-delivered
Multitudes: great feel/sound for a great song and sung well...how amazing
is it that this same guy wrote Song to Woody 60 years ago and is still on
the road heading for another joint
False Prophet: dull approaching OK (bluezzzzzzz)
Masterpiece: wonderful (violin and piano and acoustic guitar interwoven),
lucky to hear this again
Black Rider: nice atmosphere but nothing special...would rather hear
something off of New Morning or Infidels
I'll Be Your Baby: completely different version, had a nice little drive
to it (as opposed to the leisure pace of original)
My Own Version: another cool atmosphere and some very cool lines sung
well...maybe a performance where a tight little guitar solo would have
elevated it
To Be Alone: the acoustic guitar and violin and standup bass make a potent
combination...fun choice
Early Roman: pretty much a slog lacking necessary stomp...not a huge fan
of this tune but not sure any tune could have survived this treatment
Key West: piano picked some nice notes and accordian worked and some swell
lyrics ('if you lost your mind you'll find it there')
Serve Somebody: almost a different tune yet it grabbed the attention,
particularly with the new lyrics, and made its own way and was quite
enjoyable
I've Made Up My Mind: well-conceived and delivered and completely fit the
evening with certain lines grabbing the attention again
Melancholy: short and sweet (and sad) and totally fit this show
Mother of Muses: tender and well-wrought and sung well...piano and guitar
on the breaks were nice together...didn't really know this one yet really,
really good...'I've already outlived my life by far'...could have closed
with this one
Jimmy Reed: not bad...way better choices for this valuable slot
Every Grain: one of his all-timers and perfect choice to send people home
with...blessed to hear again
Laurette Maillet is back:
The venue is a stadium, maybe 5000 seats. I've been here few years ago. I
don't like stadium anymore. I prefer the cosy atmosphere of the theater.
I believe Bob will start late as it takes time for the audience to fill up
the venue. But...
He is right on time.
Dressed in black.
“Watching the river flow” is a bit confused at the start. The
Musiciens are not in tune!
Bob, as usual, is moving from the center mike to the piano, most often at
the piano, except for “I contain multitudes” where he is bending on
his knees...
“When I paint my masterpiece” is a wonder! I feel like dancing
Bob seems to be happy to be here. I am too far to see if he is smiling but
I can believe he did.
Again 'Mother of muses' is not my cup of tea but I close my eyes and focus
on Bob's voice and it does the trick. I feel transported in another
universe with Bob Dylan 'chantin' to me.
Great show.
Laurette muses over Bob’s ‘mother’
of a show in the city of Muhammed Ali
Bob hit the home of Muhammed Ali and fried chicken – and while reviews had been thin on the ground from his performance in Johnnie’s Knoxville, Laurette Maillet made a circuitous and frustrating journey – caused mainly by Greyhound bus delays – to end up in Louisville for his November 11 show.
Laurette, on her journey around Dylan’s shows, writes in Bob Links:
“The theater is gorgeous, a museum in itself. Bob Dylan decides - after 15 minutes and so pass show time - to appear all in black. Immediately the public are up and will stay up until the 7th or 8th song. Good for me. My seat is on the isle and I can...dance! Bob is picking up on the good vibes and delivers a remarkable show. I will not pick a highlight as ALL the songs were perfectly executed. At least I
enjoyed all of them.Just, for me, a minus on "Mother of muses". There is
something in that song I quite can't connect with! A sort of borring
prayer? But nothing to complain about the perfect diction.
Bob cracks a joke I don't get and presents the Band.The entire theater is
on its feet for the final. Bob spends, it seems, few more seconds facing
the crowd before disappearing. Excellent communication tonight on both
sides.Louisville is a great city!”
Knacksville in Knoxsville! Well, who said ol’ Bob doesn’t talk to his audience … he’s got the knack!
And now he can out rock the mountains and out croon the moon
It looks like the reviewers are having a bit of a rest, which is sad really. It’s been fab keeping up with Bob’s shows, his performances, what he’s wearing, how he’s singing and what songs he has been choosing.
More than anything though it’s been good to read the authentic voices of real concert goers saying what they think.
And the one thing that comes across is that Bob Dylan at 80 is still one of the best and most transcendent acts in the world today… he’s not a dinosaur, not an old crock living off past successes. And he’s not churning out geriatric songs to satisfy his own ego and the nostalgia of a bunch of middle-aged, middle-class, middle-income grandmas and grandpas who still want to be thought of as sageness hippies!
Nope, the voice of so many generations is managing to stay forever young and has remained the alchemist of vocals, stage presence and performance. Fifteen years ago he was croaking like a battered old frog and not even I knew exactly what he was trying to achieve – although I respected him enough to assume he was trying to achieve something.
And what was up-singing all about? And that clunky flat piano? It was like listening to Victor Borge in a drunken church choir.
Now he can out rock the mountains and out croon the moon.
So, until the reviews start rolling in again we’d like to leave you with a short vid from Knoxville where Bob has a chat with the audience and introduces his new and very able band… I’m sure Painted Passport won’t mind us sharing it although his camera-pointing could do with a bit of polishing!
Bob Dylan in Knoxville (Nov. 10, 2021) – “Don’t forget to go to Dollywood” – YouTube
And an audio vid of Bob performing Every Grain of Sand at Bloomington a few days ago.
Bob Dylan – Every Grain Of Sand (Bloomington 2021) – YouTube
Below are a few thoughts about Bob and his Rough and Rowdy Ways tour and the many reviews we’ve picked up along the way… have a scroll through, meander, have a listen, spend some time with some ordinary people who, like me, just want to take in the artistic genius of an extraordinary man.
As soon as the reviews start appearing again, we’ll start sharing them! In the meantime send us your thoughts, reviews etc.
Anyway, have you ever been to Milwaukee?
Have you ever been to Cleveland?
Have you ever been to Chicago, Cincinnati or Bloomington?
Well, you can go there (below) – when you want to go…
Cheers Leigh
BOB, THE MAN IN BLACK, SUITS THEM PERFECTLY DOWN IN CINCINNATI
More thoughts and insights into Bob on his almost-never ending tour – and this time, what does Dylan wear boys, what does Dylan wear?
Ol’ Bob has had some sartorial disasters over the years – his almost Elvis-style suits in the late 70s should have been made street-illegal.
In the 60s though he was a style icon with his Cubans, shades and polka dot shirts. And in the 70s he was the hippest of hippies and for the first time donned his now trade-mark Fedora with aplomb. He apparently bought it for a couple of dollars from a thrift shop.
In the 60s he went for the working man’s dirt road look, in the 70s waistcoat and leather jackets, in the 1980s he was more often than not suited and booted, sometimes animal print shirts, in the 90s cowboy-cut waist jackets and latterly the river boat captain and gambler in many guises.
At the beginning of the Rough and Rowdy Ways tour, some say he made a mistake by wearing his big creamy David Byrne-style jacket. It just makes him look on the portly side, particularly in poor quality bootleg recordings. Dare I say it looks like a very big covid mask!
Anyway, now Bob has gone back to black and some of the reviews from the Cincinnati show have taken this into consideration… see what you think and share your comments.
Cincinnati reviews etc below this preamble:
REVIEWING THE REVIEWS:
We are still reviewing the reviews as Dylan, at 80, gets ‘rough and rowdy’ on the road … but we are still mystified as to why so few appearing in the traditional media.
Its like local journalists and editors are treating Dylan’s new tour as a bit of a clod-hopping dinosaur outing or a day out from the rest home of elderly rockers!
But Ol’ Bob is once again working his magic across the world, singing – most say – better than ever, entertaining, chatting, inventing, stylising, reworking and setting new standards for himself and his audiences.
Confounding and wrecking expectations…
Here are some of the first audience recordings we’ve seen and heard that have survived the robots of internet control.
The first one is It Takes a Lot to Laugh – from Chicago and Every Grain from Cleveland… keep reading and scrolling, there are quite a few reviews now from each venue.
Should we used the videos?
Well, there is a dichotomy of attitude towards copyright and sharing on the internet in 2021 … the spiders might as well be from Mars and the robots wield a sword of control as draconian as Damocles.
It could be Bob’s people of course throwing a cloak over the stolen moments of his concerts – and quite right they should too.
But bootlegging has been a major part of Ol’ Bob’s career, it gave him an underground reputation, made people hungry for his work and helped us feel that we were part of something special.
And we were – we were a part of the confusing, passionate world of imagery, angst and fabulousness that Bob had created.
We felt closer to him because we’d become the elite, the fans who got the latest from his world first.
So, from being stuck inside a mobile with the Chicago blues again, we’re sharing this video.
Below are a selection of the first reviews as Bob Dylan hits the road again on his Never Ending Tour … if you’ve managed to see him over the last week or so, share your thoughts here.
Cincinnati November 9, 2021
Laurette Maillet writes:
I have a vivid memory of that show. Not the best ever for me. But I, somehow by impulse, gave a sweet kiss to Barron (Bob's bodyguard)
who had always been kind to me. Fans , they don't pay too much attention to the 'entourage', or never heard about the name of Bob Dylan's bodyguard, and his devoted career of 30 years.
Nothing I knew, then, about what would be a world disaster. And that
“Times would be changed forever”.
The virus pushed people inside their home and inside their mind, aging
before time. I aged!
So, let's start a'new.
Cincinnati , here I am.
All dressed in Black; musiciens and Bob. Bobby wears regularly now a black
pants with whites stripes on the side (adjusted with a blak/white belt). A
black shirt (with or without embroidery) a white or black jacket with
embroidery. His shoes are no longer the cowboy many years boots but flat
black or white 'boat' shoes?
Bobby looks like a ghost. No kidding! As for Bob? Only the piano was his instrument. No guitar, no harmonica :(
He rapidly disappeared after “Every grain of sand”. Escaping the final
crowd photos from the past when he and his Band used to bow. Smart!
E.B writes:
The Bob Dylan Concert poster proclaims “Rough and Rowdy Ways” but for
the standing ovations our crowd at the Aronoff Center in Cincinnati were
not rowdy.
Yes, it is still Pandemic O’Clock in the Queen City (and the home of the
old King Records as Bob so well noted in his brief remarks later in the
evening)
Bob performed standing up behind his upright piano to the right of the
stage surrounded by his band.
Sometimes Bob retreated to the safety of the piano after coming center
stage to sing every now and again - doing some impressively deep sideways
knee bends and dance moves and proving his bell still rings - but what
stood out for me this night was his impressive vocal performance, strong
and commanding and telling tales warningly, emphatically and enigmatically
but oh so compellingly.
As the old poster used to proclaim: “In Show and Concert…. Don’t
You Dare Miss it!”) *****
Tom Burke writes:
Bob Dylan brought his "Rough and Rowdy Ways'' tour to Cincinnati on
Tuesday night.
The promotional poster proclaims, "things aren't what they were", but
thankfully, somethings never change, as Dylan and his band provided a
great night of music and entertainment.
The band wore black, as did Dylan, though his outfit was embellished with
subtle white embroidery. The stage was framed with black side and back
curtains with the band set up in a compact arrangement with Dylan
slightly stage right at the piano.
The setting and effect may have been austere, but the music was more
often true to the tour's rough and rowdy ways moniker.
The show kicked off with a rollicking, high energy, Watching the River
Flow, which was followed by a driving jaunty Most Likely You Go Your Way
(and I'll Go Mine) both songs featuring Bob at the piano playing with
great spirit and vigor.
Several of the songs from Rough and Rowdy Ways, including, I Contain
Multitudes, False Prophet, Black Rider, Key West, I've Made up My Mind
to Give Myself to You, and Goodbye Jimmy Reed were delivered with
Dylan starting at center stage using a hand held mic and mid song returning
to the piano for the finish. All of those selections, though sounding great
on the record, performed live were imbued with much greater depth,
effect and resonance, thanks to Dylan's facial expressions, body language,
and unparalleled vocal stylings.
The show closed with Dylan performing the beautiful , Every Grain of Sand.
Bloomington, Indiana, November 7, 2021
Luke M. Jacobus writes on Bill Pagel’s Bob Links:
“This was probably my ninth show in a 25 year period. The stage had a raised platform that was floor for the band. Think of a giant light box. The arrangement of musicians was closer together than I’ve seen in the past.
The show started at about 8:03pm and what followed was one of the most interactive Bob Dylan concerts I've seen.
He came out strong and seemed very energized. A slight stoop I noticed two
years ago was all but gone. He seemed proud to stand straight and tall,
even striking a number of Elvis-like poses and making moves evocative of
the King. At one point he ran quickly backwards about half the width of
the stage, a stunt people half his age would think twice about. Any rumors
of his demise are grossly exaggerated.
I counted four times between songs that he took time to thank the audience
and sometimes made other comments. I think it was after To Be Alone With
You, he heartily thanked us and said he about forgot the words to that
one. It struck me as a genuine confession.
The performances were amazing. Words were clear and strong (except at the
start of a few verses). The sound mix and overall volume in the auditorium
was excellent, nearly ideal. Great, great care was given to the execution
of these songs, with extreme vocal control demonstrated. His piano work mostly filled in gaps, sometimes quite effectively with only a single note played at important
junctures. Other times, some deft playing was high in the mix. He played
harmonica just a few times. The vocals were front and center, which gave
clear access to some deeply emotional performances.
Most of the show, Bob Dylan was a shadow. You could not make out his face.
However, with I've Made Up My Mind To Give Myself To You, this changed.
With this song, his face was illuminated, and it remained so, or at least
visible, during all the songs that followed.”
John Haas writes:
“Bob Dylan's still on the road. Still heading to another joint. And then another. And eventually, one near you. Amazing, isn't it?
And what a strange set-list it is! The older songs are known to Bobists of
course--all the songs are known to Bobists--but they aren't his huge hits,
by any means. One only released as a single. One from the gospel period
(but yeah, he won a Grammy for it). A couple country romps from '67 and
'69, one of those entirely--and I mean entirely!--rewritten (and each
"deep cuts" from their albums). A song from Tempest, but none from TOOM,
L&T, the Oscar winner of yore, and nothing from H61R, FWBD, or most of his
back catalog in fact. All of which is so, so great, I could hug him.
It was all good. All of it. Bob's piano playing is outstanding at times,
especially False Prophet. His singing kills it, as everyone says. Could
hear every word. The songs I was expecting to just endure from R&RW
shined. Those I expected to love--Key West, eg--I loved (thanks, Donnie,
for that accordion). All the playing was stellar.
Great concert. Moody, intricate, precise, beautiful.”
CLEVELAND, OHIO, Nov 3, 2021
Timothy Burns wrote:
“The under the floor lighting was good, Bob and the band were better lit than the overly dark former time in Cleveland, especially in 2017.
“If you saw Shadow Kingdom the sound and feel was quite like that obviously with the choices of the non-Rough and Rowdy Ways songs and the approach to the songs. I was completely fine with that, it was great.
What I did not expect was that I completely enjoyed the new songs more
than almost any of the other songs. Even though When I Paint My
Masterpiece was quite amazing.
Dressed in all black, Bob would go back and forth at times singing with a
separate microphone in hand, then setting it down on the upright piano
(with a slight clunk which was awesome)
My main takeaway was two-fold. Firstly, the band and the arrangements,
while similar at times to Shadow Kingdom, it allowed Bob himself to be the
most central at every moment for every song. I do not ever
recall where I left at the end with the feeling that this concert was 100%
about Bob and not somewhat about how great the band was.
The second main takeaway was perhaps the best. I did not come in with
expectations of "How good are his vocals going to be?" Although I did
wonder if he would sound similar to Shadow Kingdom in which he sounded
absolutely amazing. Partway through song #1 (watching the river flow) I
detected (or I think I did) a noticeable change in the audio mix where
they brought Bob's voice up and just be above everything else. The rest of
the concert had his voice amazingly loud and so clear.
I cannot believe how good he sounded.”
Billy Cardina:
Awesome show! Great sound and “Every Grain of Sand” a first for this
tour was amazing. Crowd was subdued and this was Bob’s first Ohio Show
since he played beautiful Akron in November 2019. Old songs integrated
well with Rough and a Rowdy Ways. LOVED Key West
God Bless Bob!
Preamble – followed by Milwaukee and Chicago reviews:
Bob Dylan stepped back onto the stage after two years of ‘incarceration’ and gave a Cheshire Cat-grinning, ear churning, heartbreakingly beautiful two hour performance down at the Riverside in Milwaukee…
Andrea and I were still on the road highway in Spain as O’ Bob took to the stage. It was 10am where we were in the blustery Autumn heat and 8pm in a Milwaukee chill as he walked out to meet his audience again.
He was dodging wires and speakers and posing hand on hip in his oversize David Byrne-style white jacket like a good’n.
Yep, he’s 80 and sometimes he can look doddery and as fragile as his famous wet-fish handshake … but he’s still going, still creating, still confounding, still writing, still rocking and still finding new ways to be Bob Dylan.
And this time he is the poet of Rough and Rowdy Ways.
And then there is of course his new voice. It’s new but it’s been everywhere, told a million stories and hung out so many brilliant lines to dry.
No, nobody can ever take that away from him … and in Milwaukee he made his voice famous again.
Next he joined the other legends in Chicago …
After we unpacked our dusty old car at the castle in Lorca where we were staying, I trawled around the net for reviews.
I didn’t find one dissenting voice… just fans who confirmed that Bob is back – looking a little bit older it has to be said – but performing brilliantly, singing like a dream and rocking the world’s expectations.
Let’s begin with Chicago as he finds his feet
On Bill Pagel’s Bob Links, Adam Selzer wrote:
CHICAGO:
“I’m amazed at how clear his vocals are; all traces of the wolfman growl
of a few years back are gone, except when he needs them.
“I Contain Multitudes” was the highlight of the night for me. Instead
of spending most of it at the piano, consulting the lyric sheets, Bob was
center stage the whole song, clearly enjoying himself and really acting
the song out, prowling around at a crouch like a cartoon character.
“When I Paint My Masterpiece,” the first surprise of the night, was bouncy and
loose.
“Bob tried to do “Black Rider” from center as well, but forgot a couple
of lines in the first verse and moved back to piano for most of it. The
flub seemed to cost him some confidence, though the rest of the lines were
well delivered. This show really does sleep with life and death in the same bed.”
Mark S wrote:
“I saw Bob Dylan in 2021 and it was like seeing your grandpa, who you love very much, walking a tight rope. It was captivating, I was rooting for him, and it was extremely entertaining to see him succeed.!
Bob Shiel:
“Bob Dylan came to Chicago tonight, perfectly timing his customary
week-within-Halloween appearance in the Windy City, historically one of
his most visited venues in his illustrious career as a live performer. But this
wasn't any ole Bob Dylan show.
This tour is all about Rough and Rowdy Ways. Although all these songs
sound good live, I Contain Multitudes and Key West stand out as stellar
melodic arrangements with mesmerizing lyrics, which Bob is delivering quite
intelligibly. I saw no evidence of the lyric or sheet music reliance reported
in Milwaukee on night 1 of the tour.
The overall sound of the band is similar to that fantastic Fall 2019 tour,
and new drummer Charlie Drayton almost imperceptibly follows Bob and
the rest of the band, allowing Bob, at 80, to not have to strain to be
heard over the other 5 members of the band.
The magic of Bob's veteran multi-instrumentalist Donnie Herron was
evident on When I Paint My Masterpiece when his fiddle played off Bob's
piano beautifully. Bob Britt is back. As for the new guitarist, Doug Flavio, who is technically
filling the legendary shoes of Charlie Sexton, although that ain't happening,
one gets the feeling he will play a more and more prominent role as his
first tour progresses.
After introducing the band, something he hasn't done for what seems like
forever, Bob said something like, "We love Chicago, just like you do." Well,
the feeling goes for you, too, Bob. We really do love you and wish you all
health and happiness in this world so lucky to still have you in its midst.”
FROM MILWAUKEE:
Isabel Infantes said: “There’s no doubt that Tuesday show at Milwaukee’s Riverside Theater was the start of something very new, very different, and very bold.”
Tom Wilmeth, on the same site, said: “Nobody seemed happier about thingsthan Bob himself, with facial expressions that were frequently joyous. Dylan was in good voice, and the sound mix was excellent – both Dylan’s lyrics and his piano were
clearly heard.
“The night began with “Watching the River Flow,” a minor radio hit in
1971. Maybe Bob was using this number to tell us what he had been doing
during his time off – nothing. “Most Likely You Go Your Way and
I’ll Go Mine” followed. .
“Bob interspersed tunes recognizable to even casual
fans. He played “Simple Twist of Fate” and “I’ll Be Your Baby
Tonight,” as well as a rocking version of “Gotta Serve Somebody.”
Dylan touched on his later catalog with “Early Roman Kings” and
“Soon After Midnight,”
“When Bob made his way from piano to center stage – he looked fragile, and at times unsteady on his feet butwe still have Bob with us; let’s enjoy him today.
We may not see him tomorrow”
Don Romundson wrote: “The show at the Riverside was unbelievable. It was clear from the start that this was going to be a very
special show. In fact, Bob did a sort of a bow to the crowd, in Bob's own
way, after each song, an acknowledgment if you will, his stand at center
stage gazing out, very appreciative of the crowd...”
Adam Selzer had this to say: “Bob seemed a bit nervous as he began “I Contain Multitudes”. I don’t know that I’ve ever seen him look nervous before. But the performance was solid, and on “False Prophet” he was grinning, pointing, and seeming as though he was having a blast. Like he couldn’t wait for us to hear what line he’d sing next.”
Me, well I’m just glad to say that we’ve not seen the last of Bob’s winks and feints and his stunning panache. And the old man is back again, taking all the indefinable qualities that make him the true genius of this and the last century around the world again.
Good on ya Bob!
Bob’s band line-up is now –guitarists Doug Lancio and Bob Britt, multi-instrumentalist Donnie Herron, bassist Tony Garnier, and drummer Charley Drayton.
One of the few traditional media reviews:
Well, we found one … by Curtis Schieber who is described as Special to The Columbus Dispatch. I’m sure he is very special to them! |He has also has a very ‘special’ and successful music show, the Invisible Hits Hour, for 30 years.
Anyway, Curtis has also made a ‘special’ point in his review: The underfloor lighting Dylan is using on the Rough and Rowdy Ways tour serves to light up the band and Bob in an equal, almost democratic, way.
And, as Curtis says, it helps the focus of the concert to be on the songs … which is a good thing as a large part of the concert is made up of the songs from RaRW, perhaps one of Bob’s most perfect albums.
But is the lighting also being used to take attention away from Bob himself who, at 80, can look a bit creaky as he makes his trademark stately bows and bends?
Anyway, we are all agreed that Bob can still bend them notes and ring them bells as he sings better than he has done for decades.
What do you think?
Curtis wrote in the Columbus Dispatch:“Rough and Rowdy Ways” was clearly the focus of the set. An album containing all the mystery, in-jokes, casually cast-off name checks, and philosophical dead ends of Dylan’s best, it provided perfect fodder for the aging, Nobel Prize-winning author to have his way with both a lot of confessions and some pretty tall tales. In a deftly controlled mix of croon, croak and declaration, he brought them all to life. The band created a loose combination of blues, swing, and rock ‘n’ roll that nonetheless was always on point.
There were no spotlights focused on the stage last night. The six musicians were lit — equally — from the floor. It was clear that Dylan intended the songs to take center stage and that they did.”
The Dispatch is a daily newspaper in, yep, you guessed it, Columbus, Ohio. Its first issue was published on July 1, 1871 and it is still going strong and publishing the stories and reviews that matter. Curtis is a freelance journalist.
But, as far as we at The Society have seen, Dispatch is only the third daily to bother to take a look at the ‘new’ Bob Dylan.
#cincinnati #milwaukee #chicago #bloomington #bobdylan #neverendingtour #reviews #roughandrowdyways #newyork #beacon
