Are their lofty ideas sending a chill through the wintry halls and corridors of UK’s eco-hopes?

An NHS worker pleads with members of Insulate Britain to allow him to ‘get home’ to his ill child.

The dad tells the so-called eco-warriors – who apparently just want us all to be warm and cuddly in our own homes – to move out of the road in London.  He says over and over: ‘Don’t block the road! I need to get home to my child.’

But the warriors have a metaphorical gun to his head … he has become a publicity puppet of what must be the most middle-class and peevish protest of them all.

The dad’s plea came after hundreds of Insulate Britain activists forced Lambeth Bridge to close for five hours. 30 protestors were arrested.

The demonstrators had eaten their packed lunches – or ordered in pizza – sang a few songs and chanted a slogan or two. Then they went home and turned the central heating on.

Cheers had broken out earlier as campaigners told the crowd that the nine jailed Insulate Britain climate activists are “political prisoners” and won’t be the last to be locked up.

Well, I’ll go to the foot of our chilly stairs! Maybe they should be all locked up.

The activists had been jailed for breaching High Court injunctions. They must now pay £5k each for National Highways’ claim for legal costs.

Ana Heyatawin and Louis McKechnie were jailed for three months. Ben Buse, Roman Paluch-Machnik, Oliver Rock, Emma Smart, Tim Speers and James Thomas received four-month sentences. Smart went on hunger strike.

So what is the problem with these middle-class, arrogant, glue-eared idiots? Do they actually have a valid point?

Are they in fact people with lofty ideas – but a very bad attitude and Press?

So, let’s look at the facts:

There are about 30 million homes in Great Britain and 23.3 million of these have lofts. 18.9 million have cavity walls. 7.8 million have solid walls. Because of Government schemes since 2008 3.8 million lofts insulated, 2.0 million cavity walls and 58,000 solid walls.

Oh, and quite a few million home owners – like me – have, without protest, stuck their hand in their pocket (instead of their ear to the ground) and stumped up for it themselves. For instance, there is so much pretend sheep’s wool up there in my 250 year old loft it bleats.

But, according to recent figures, more than one home every minute will need to be refurbished in the UK between now and 2050.

The authors of a report to Parliament say 25 million homes will not meet the insulation standards by mid-century.

The government said it would come up with new policies as soon as possible.

But critics say ministers have been too slow in doing anything to save on bills and improve health, comfort and happiness.

Successive governments have been criticised for failing to tackle the UK’s poor housing stock – we apparently have some of the worst in Europe. I can’t vouch for that – I’ve spent years travelling in Europe and believe me I’ve seen far worse in Berlin, Slovakia, Croatia, Poland etc etc.

***

So, what is it about these cold-hearted, comfort demanding, smiley, get-lost-you-can’t-see-your-child-cos-we’ve-glued-our-heads-to-the-ground luvvies and chumps?

The truth is, to be honest, one bloke glued his face to Liverpool tarmac but then said he regretted it as he attempted to cut himself free.

He said: “It’s not one of my better moves. I wanted to have an extreme action to reflect the extreme nature of the emergency we are facing.”

Another stormed out on that middle-class, middle-of-the-road Good Morning Britain presenter Richard Madeley after he challenged the protester over the behaviour of Insulate Britain.

Liam Norton, aged 36, who is a leading member of the environmental group, was detained by Scotland Yard detectives a short time later on suspicion of conspiracy to cause a public nuisance.

Well, is that what they are then, a bit of a public nuisance who just want everybody to have a toasty little house to go home to? And they feel the way to do it is by shutting down the motorways so nobody can actually deliver home insulation materials in the first place!

The police have recently been exploring whether they could bring conspiracy charges amid concern that low-level offences would simply result in “slap on the wrist” sentences.

Senior officers from Hertfordshire, Surrey, Kent, Essex and the Met have been exploring whether they can bring more serious charges carrying a maximum penalty of five years in prison.

But let’s not lose site of their goals – insulating homes is an essential part of getting to net zero and they have a simple demand: insulate all UK homes by 2030 to cut carbon emissions and end fuel poverty.

They say: “Providing the funding to insulate homes is a no-brainer: it rapidly cuts CO2 emissions, keeps people warm and reduces the amount they need to spend on heating, and could create thousands of new jobs in the process. In fact, the best insulated homes require virtually no heating at all. Instead of faffing about with heat pumps, the government could be taking the steps right now to reduce our dependence on heating in the first place.

“So why isn’t the government already doing this? To answer this question, you need to think about who benefits from uninsulated homes. Energy and fossil fuel companies are the main beneficiaries of cold, poorly insulated homes in which people are forced to spend more on heating. And, unlike heat pumps or electric cars or hydrogen boilers, insulation isn’t “sexy” – it’s simple.”

And they are right when they say Britain is a nation of old, poorly built homes that are becoming more expensive to heat. And many of the homes being built now are not fit for the 21st century.

​Upgrading the thermal performance of the UK’s draughty and inefficient homes is an essential part of a wider strategy to decarbonise the UK.

But the much-promoted grants scheme to help householders insulate their home was scrapped

The Green Homes Grant (GHG) reached just 10pc of the 600,000 homes the chancellor promised would be improved.

But the cash was re-allocated to a separate insulation fund run by councils.

***
So, we can still apply for help … but has this regular, monotonous almost laughable and particularly irritating protest actually garnered some respect? Motorists have railed against the campaigners for causing danger on busy roads and creating obstacles which could delay emergency services.

Boris Johnson said the group’s method, which disrupted commuters in rush hour traffic, would detract from their message. And Priti Patel, the home secretary, slammed the group’s “guerilla tactics” and called the demonstrators selfish.

There are four positive reasons to protest – the first one is to show people they are not fighting alone.

The second is that, By protesting, we alter the agenda and start a debate.

Three – in an electoral democracy, protest provides an essential voice for minority groups.

And four, sometimes protesters win!

But do these silly old boilers who radiate bad feelings and pipe up in all the wrong places think that stopping traffic, keeping builders from their business, stopping mums getting their children to school and keeping working dads from their ailing children is the way to create a heated debate?

#oldboilers #borisjohnson #radiators #insulationhome #homeinsulation #insulatebritain #m25

How the big city became a beacon to Bob as Mr Jones ignored him with ‘no news today’

While there are hopes that Bob Dylan will make a quick return to his almost-never ending tour, here at The Society we are keeping our fingers firmly crossed.

Bob got back on the road on November 2 last year and did 21 shows in a month. They were fascinating, quirky and – more than anything – showcased yet another new voice – Dylan’s voice for his dotage, smooth, strong, melodic and clear as a bell.

He’d done it again, confounded us all. Yep, he mugged it up, making his famous knee bends look painful and lighting the stage from below creating a new shadow kingdom every night.

But, put simply, Bob was back doing what he does best, performing for us all.

We began sharing rave reviews here at The Society because the mainstream media wasn’t … they had been wrong-footed by the tragic hint of a sex scandal following the release of the stunning beautiful Rough and Rowdy Ways.

And, because of the reticence of the Press the reviews we used were mainly written by the man-and-woman on the street who’ve got other things to do with their lives. They 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.

Here we take a look at how Bob took New York by storm just a few weeks ago… lot’s to read below, but it’s worth … these people told it like it is!

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

‘HOW THE POSSIBILITY OF BEING FORGOTTEN HURTS SO MUCH…’

Over the next few weeks The Society is publishing the true story of a woman who went to hell and back because of breast cancer. This is Kaye Howarth’s story in her own words. Thank you for wanting to share with us and the world Kaye.

Biography … Bald Bird Surviving Breast Cancer

Part 4 Next Week

Fifteen days later

We sit in the Breast Clinic. Dave reads a car mag, showing me various car models that take his fancy. I glance and make a derogatory comment about cars being phallic symbols…did he really want a Mini?!

Jan the Breast care Nurse, flits here and there, comes over eventually and gives me a warm hug. My name is called; we go to the Consultation room. 

Mr Graham offers a seat after shaking our hands warmly, I’m slightly embarrassed as mine is damp and clammy…. again.

Mr Graham speaks. My heart pounds.

He’s sorry to tell me that my so called Cyst was Cancer a Malignant Tumour.

 It was a Stage 3 Ductal C+ T2 C, 3 NI ER Neg. The tumour had been completely removed, however Mr Graham felt that the tumour was Margin line, and that for a better result, it would be wise to remove the surrounding tissue. Mr Graham spoke gently, and kindly. (The above paragraph does not portray his absolute professionalism, which is due to my poor memory, that of being in shock, limits my memory of all the conversation, I would like to stress that I couldn’t have been dealt with in a kinder way.)

Mr Graham explains gently my options- that I can have a larger tissue area removed, or that a Mastectomy followed by immediate reconstruction was also an option.

Also explained was that for them to fully diagnose me, Lymph nodes would be removed and sampled (tested), depending on how many nodes were affected would help plan further treatment. Such as Chemotherapy.

First, I want to know what a Stage three meant.

“If it were a dog, I ask, what breed would it be?”

“A Rottweiler, but although it is an aggressive Cancer, we have caught it early. When w has the results of your Lymph nodes that will give us the full picture.

I say that I would rather have a Mastectomy, have it all taken away, my inner thoughts thinking that this would give less chance of re occurrence. I realize that I have already chosen, before I had even walked through the door.

Mr Graham draws diagrams of different reconstruction techniques. I opt for the back Dorsal Muscle (the back muscle is brought round to the chest with its own blood supply and forms part of the breast) and Silicone implant. Later I have the option of a Nipple Tattoo.

25.

“Please take a few days to think about it. When we meet again, we can arrange the surgery date. I have free 15.12.99 and the 21.12.99”, Mr Graham looks at me to gage which date suits.

I say the 15.12.99.

“Well let’s meet in two days, and book.” Mr Graham stands as we say goodbye.

Jan gestures us to follow her, we go to her little room, and all others are occupied. I picture women wailing and crying, throwing themselves on the floor in despair.

I think I have been given a death sentence at this point, I actually haven’t but that is how I felt just at that moment. Jan asks us to sit.

We do, I cry, tears of sheer fear coarse down my face. Dave is also in tears; Jan gives us space. She then talks to us. Explaining the diagnosis, and that all was not doom or gloom.  I was young and would recover quickly from the surgery. Jan thought I had made a good choice for surgery, and that she too would have taken that path.

Jan hands us leaflets that we can read later, about Breast cancer Diagnosis, in the back pages Support Addresses and phone numbers. Mastectomy information on Silicone

Breast Surgery, how safe Silicone is etc.

 I am shaking, and feel that I’m now losing my grip, I tell Jan all my bottled up feelings and fears, I can’t sleep, I can’t eat, I’m so scared. Jan suggests that I visit my g.p, just for a short term measure, get some Anti depressants, just to take the pressure off a bit. (I do this, and it definitely got me through). I arrange an appointment time with Jan to see Mr Graham for two days time.

Two days later the date set for surgery is set for the 22.12.99, I do still plum for the Mastectomy.

I never in the world dreamed that my wish for the Millennium would be that I would live. I vowed that no lump (you Bert), would rob me of my life, I loved my life, my family, and besides we had a party to attend New Years Eve, at Sharon and Steve’s, we would be going! That I promised myself. 

Breaking the bad news.

You know, sometimes the hardest thing in life, is telling the ones you love, in your life bad news, I was dreading it.

Having got the results of my Lumpectomy, left me in no doubt that I had a fight on my hands, a Mastectomy and then the possibility of Chemotherapy afterwards.

Mum opened the door, and just by looking at my face knew all in the garden wasn’t rosy. She bundled me in the door, and held me close, once seated on the settee, through wrenching sobs told her the results. Mum in her wisdom told me we weren’t beat yet, and that things, were luckily, so luckily at the treatable stage, we had a chance. Emotionally I’m shagged, knackered, my brain hurts, everything hurts.

 The thought of dying, not seeing my children as adults hurts, my husband of only a few months remarrying some full busted blonde hurts, running off with my Life Insurance hurts (he wouldn’t, but you begin to think like this) being forgotten and replaced hurts.

Dave phones his parents with the results, Kathleen from next door pops in, to see how things went, I tell her, through sips of Whisky (a small plus in this situation) Oh dear!”

Kath looks weepy.

 Dave tells her things aren’t bad, were being positive, he tells her, he thinks I don’t notice the look he gives her. Mike and Michelle, our mates from over the road, (number 24, were 27) come in, we all sit together, and I get hugged a lot. People glancing through the window probably think were having a wife swapping party.

Eventually people leave, Emily my daughter comes in complaining of hunger pangs, we all laugh thank god for children, whatever’s going on they keep normality.

Feed kids, and then chat about my decision on having Mastectomy, followed by immediate reconstruction. Mum says not to bother with the reconstruction as this a large operation in its own right.  I say I’m only 32, I love the beach, and want to get back to normal as quickly as possible. I understand where mum was coming from, but I’m being offered a gift here, reconstruction surgery has quieted a long waiting list, plus when I had come round from surgery not that much would be different.

Two days later I confirm this with Mr Graham, he explains clearly the surgical procedure; he draws diagrams, explaining the use of my back muscle to be brought round to my chest, plus silicone implant. Ten days in hospital.

My mum has decided to take off work, to be my and my children’s carer, I tell Mr Graham. Surgery is set for 22.12.99 over the Christmas period; it hits me that this is not what I planned for the Millennium.

 I have a party to go to, maybe god willing I could still make it, id hate for us to miss Steve and Sharon’s party, there parties were legendary.

Ten days before the operation date, I pop into Dorchester Hospital to give medical background etc.

Everyone mentally prepares for the upcoming date of the Op. Dave returns to Bristol every other weekend, maintaining contact with Rosie and Katie. I see that he feels

guilty at leaving us, me.  I encourage him to go but miss him so much.

Me and the kids carry on going to mums across the road for healthy meals, and

 Scrum teas, long walks. Life carries on.

I phone Debbie; Monday is (my boss) and tell her the results.

Debbie then phones Manager Hilary Jarvis. This is extremely helpful, takes a load off my shoulders, as don’t think I could get through the whole explanation without bursting into tears. Pip phones me that evening, giving me love from everyone at Bald Bird

work. I receive cards from them in the following days.

                                               30.

I find that emotionally I’m really struggling, feel really down, I visit my gp again, who suggests a short course of Antidepressants, just to see me through the next few weeks, month or so. I agree.

The next few weeks drags by. Antidepressants kick in, which make me feel a bit spacey, removed from reality. Without the tablets I become very down. I believe that my diagnosis can only lead to one outcome, cheerful or what?

All I can think about is “Cancer”. I read all leaflets concerning this subject, front and back, I even have a secret stash in the bathroom, in case I need a quick top up of knowledge, my family pretend they don’t know about my secret hoard. They watch sadly at my obsessive behaviour.

 The Millennium is fast approaching, we wrap Christmas pressies, put up the decorations. Emily and George bicker, I burst into tears. I don’t want my children arguing on what could be my last Christmas.

I carry on going to work; we have the Christmas lunch combined Beckie’s leaving bash, the hospital canteen is transformed to a sparkling grotto. We toast Becky, wish her all the best in her new life in Australia complete with Doctor Boyfriend Matt.

I will miss her; we have become close. I wonder as I hug my colleagues wishing Merry Christmas, when will I return?” Happy Christmas, cracking New Year everyone!

                                                       31.

Becky and I leave together, in the car park give each other a big hug, a skinny builder walks by puffing on a rollie, gives us a “raving lesbians”, glare. We both laugh and go our separate ways.

At home we celebrate Christmas one week early, due to the fact I will be ensconced in a hospital bed on the real day. We hug, kiss and thank for our wonderful pressies, my chest holds in the hot anger that I feel a this very moment, fear, jealousy, that if I might not be here for the next Christmas how long would it be before another woman takes my place in their hearts, of those I love. Irrational fear, but that is what I think.

That weekend we go to Dave’s parents, I, Emily and George. (Bett and Norman).

We have a wonderful pre Christmas again! Katie and Rosie are also with us. We open pressies, have a great Christmas dinner, and lazy after noon, snowflakes start to fall, and thicken. As we look out later the snow has settled so we all tog up and go for a walk. The local playing field looks beautiful with the freshly laid snow; we all do snow angels and build a snow man.

 A wonderful weekend, all too soon its time to go home.

                                                           32.

22.12.99

I pack once again. Mum looks after the children, on my leaving gives me a big hug. The kids believe this to be the beginning of a rugby scrum, and pile on in. 

Extricate myself, Dave and I bolt for the car, we listen to the Mavericks at full volume. Ironically stopping at the local garage for a pack of flags for Dave. 

Arrive, check in, named and numbered in the form of a wrist band. I Am given a rather swish electrical bed that apparently could get into all sorts of positions.

 Mr Graham arrives, greeting me warmly, then asks me to undo my garments (curtains are drawn) draws with black marker intended surgical arrears. Once happy with this, says I can get dressed again now. Asks if I have any concerns, surgical or other wise. I ask him to just check under my armpit, I think I’m getting a swelling there (Paranoid) …all is fine.

(Have you ever become obsessive, you know like that disorder where you keep checking if you’ve left the gas on, or having got into bed, think did I lock the door? Well, you bloody well know you have locked the door, but you still haul yourself out of that lovely warm bed, go down the cold stairs, and check. Well, every nodule, tiny resin or lump that lies under my skin gets checked and checked again. I find new lumps that definitely weren’t there yesterday, were they?!?)                                            

                                                         33.

Australian Anaesthetist arrives, explains he will be monitoring me during op, and post operative for pain control. Will be managed by Morphine injections. Great I say, there is an upside to all this! We both laugh. He leaves.

The Florist arrives at the same time as Karyn (S.A.L.T), Karyn leaves a Christmas Cacti and card at reception as doesn’t want to disturb me. The florist bares a bunch of the most beautiful white roses, courtesy of my man. I hug Dave. Dave is asked not to stay to long to let me get settled in, we have a huge cuddle, I’m frightened I cry, I put my head down, squeeze him and ask him to go. Dave tells me he will stay in Dorchester town centre all day; he will come back when I come out of theatre.

I will now use a diary to track my wandering thoughts, will write when next able.

ISBN:9798662933149

#cancerwomen #cancer #survivor #canceruk #inspirational #powerwomen #wife #family #love #caring #hope

Nancy Cobb found her Union Sundown as she waited for Bob

Union Sundown

I came into the city (the one and only New York City) early for Dylan’s first concert at my beloved Beacon and headed to the venue to take my obligatory photo of the marquee.

The first thing that I noticed was that the Beacon Bar was dark. What happened? I asked at the hotel reception and was told that the bar was “permanently closed.” I asked what he meant by that, and he said “until at least 2025.”

I thought that this was crazy because this bar must be a favorite hangout for concertgoers other than just the Dylan fans. When bars could reopen after COVID-19 rules in March, the Beacon management decided to keep the bar closed rather than keep the current employees who are unionized or pay them a higher severance in lieu of being rehired. 

As Woody Allen obviously knows, reputations can change in a hurry.  Another thing about the Beacon is they have a very lax policy about mask wearing and vaccination.  They only require masks for unvaccinated people!  Now how does that work?  If anyone associated with Bob Dylan came down with covid and it was traced to the Beacon run that theatre would have a very hard time. 

But I also think that it is possible for an entity or person to work and be successful at changing a reputation for the better and I will offer two examples: New York City as a tourist destination for the ordinary person, and United Airlines.

First, about New York City, a UK friend who is very well traveled and a Dylanophile proclaimed on Facebook that New Yorkers were “the most polite people in the world!”   I said that he must be kidding, but he was serious.

He told me that in New York everyone says please, excuse me, thank you and you’re welcome. Young people stand to let older folks sit on buses and subways, and people are always ready to help when you are lost, disoriented, or need help with the subway.

From what I have learned the city has paid for people who have tested positive to quarantine in nice hotels and free rapid COVID-19 lateral flow tests are available practically every two blocks all over the five boroughs. Also the outdoor dining options are pretty, comfortable, and some are even elegant. This beats California (where I am from) by a long mile.

As for United, for a long time I thought they were the worst airline in the world or maybe second to American. But now after United Airlines mandated covid vaccination and mask wearing, I have noticed the flight attendants are much more cheerful, the wait times in the airport shorter and there are texts about boarding times and connecting gates that are helpful. Even the food choices are improving! 

Now for the first Bob Dylan show. For me it was mortal bliss.

The songs sung so you hear every word clearly, the mix between vocals and the various instruments was perfect and maybe the secret is everyone is not playing at once, but rather mini duets and trios and call and response like a jazz combo.  I loved his new style of piano playing … sometimes jingle jangle and other times a flowing wild mercury sound and even different riffs each night on the same song.

I hear in addition to Scott Joplin, some Thelonius Monk and Alan Pasqua in the piano mix. Every Grain of Sand gets more glorious with each performance and that was my favorite of the Friday evening songs. BUT I also want to say that Dylan’s Melancholy Mood both the vocals AND THE BAND beats any Sinatra recording!

In fact the songs from Shadow Kingdom are better now in live performance with a (real) audience as are the Rough and Rowdy Ways songs much better than the record, and Every Grain of Sand now outstrips all previous recorded versions.

As an aside, people who have been to Key West seem to have a different opinion of that song than those who think it must be some kind of Shangri-la hearing it from Bob. When Martin Newman (the author of EDLIS Café Press book Bob Dylan’s Malibu) first heard Key West he thought it was a tribute to Bob’s friend, Jimmy Buffett.  I think Bob is actually talking about his home and environment in Malibu, where he has spent more than half his life.  His large property is surrounded by as impenetrable a mass of tropical jungle as you can possibly have in Southern California … and of course,  Bob would rather have people visiting Key West than Malibu.

Masked and Unmasked 

2021-11-19 

============

END 

WE REALLY APOLOGISE – WE ACCIDENTLY PUBLISHED A COUPLE OF OLD NEW YORK REVIEWS IN THIS ARTICLE. THANKS TO OUR READERS WHO POINTED THIS OUT AND SORRY IF WE MISLED OTHERS … THE OLD REVIEWS HAVE BEEN REMOVED.

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):

But we found these two which were interesting and honest:

ANNE MARGARET DANIEL had this to say in Hot Press:

“And he was very, very much there for us. From the first song, a gritty ‘Watching the River Flow’, Dylan’s voice was rich and strong, particularly in the lower registers. He had a clear tenor voice as a young man; now, after decades of singing (and smoking), his is a baritone, a dramatic baritone, a Verdi baritone. The instrument he plays in concert these days is an upright piano, its light-wood back to the audience, shielding him from us sometimes. Dylan plays it light and jazzy, heavy-handed, honky-tonky, boogie-woogie. He has all the styles in his fingertips, and his piano, like his voice, leads the rest of the band.”

And 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 mainly small-town 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 rocket as 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

Mick Rock, the legendary music photographer, has died.

He was 72.

His death was announced on his official Twitter account. “It is with the heaviest of hearts that we share our beloved psychedelic renegade Mick Rock has made the Jungian journey to the other side.”

Filmmaker and editor Bob Mori – a regular contributor to The Society – worked with Mick on his TV show On The Record with Mick Rock.

Bob said: “He was a very beautiful, soulful man. Solid and droll. My favorite quote from Mick: ‘I was intuitive and lucky to be around. I also looked like them, and that made it easier to accept me’. His photos and album covers were epic.”

https://youtu.be/XB2s82FsxIs

Mick’s management team said: “Those who had the pleasure of existing in his orbit, know that Mick was always so much more than ‘The Man Who Shot The 70s.’ He was a photographic poet – a true force of nature who spent his days doing exactly what he loved, always in his own delightfully outrageous way.”

The cause of death was not revealed.

He was born Michael David Rock in Hammersmith, England. Rock met Bowie in 1972, and worked as his official photographer for a time, shooting some of the most iconic photos of Bowie as Ziggy Stardust. He produced and directed the music videos for Bowie’s “Space Oddity,” “Jean Genie” and “John, I’m Only Dancing.”

Rock created some of the most memorable album covers ever, including Reed’s “Transformer” and “Coney Island Baby,” Iggy Pop and the Stooges’ “Raw Power,” Queen’s “Queen II,” the Ramones’ “End of the Century” and Joan Jett’s “I Love Rock ‘n Roll.”

Today is International Men’s Day! We are celebrating the positive values men bring to the world and their families. We need to see men as positive role models and tell people about ourselves. One of the six pillars of International Men’s Day is to  improve relations and promote equality for men AND for women too.

The Society says BRILLIANT – WE ARE ON THE CASE!

Bob’s new tour, for the main part, has been pressing on… but without the Press.

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.

But the traditional Press and media seem to have been a bit tardy in getting on board … it is almost as if they’ve got their ‘woke back thanks to the moan’ of a woman who claims she was assaulted by Bob in New York more than half a century ago when most evidence points to him being in the UK at the time.

As a music critic for many years I am aware of how this sort of potential scandal can colour the decision of a newspaper’s features editor on which concerts etc to pay some old hack like me to review.

But at this moment the jury is out and I personally would rather put it down to the fact that Bob’s brilliant tour hasn’t been hitting many big cities yet and once it does things will change …

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.

Scott Tady Beaver County Times

MOON TWP — Phones stashed in pockets, masks secured around mouths, a Moon Township crowd cheered robustly Monday as Bob Dylan chugged through a 17-song set, almost half of which were drawn from his highly praised 2020 album, “Rough and Rowdy Ways.”

Seated at a wooded piano sharply angled toward his UPMC Events Center audience, Dylan sounded spry and seemed enthused. The creaks and sandpaper-y rawness of his 80-year-old voice fit the roadhouse blues-meets-lightly-twangy Americana of his newest material.

By night’s end, he’d introduce his five-man backing band, all in black like their leader. They were stalwarts, without getting showy, including Tony Garnier on upright bass, Bob Britt and Doug Lancio (John Hiatt/Patty Griffin) on guitars, and Steubenville, Ohio native Donnie Herron, formerly of the great alt-country band BR5-49, on pedal steel, violin and other instruments.

They started with 1971’s “Watching The River Flow,” which concluded with audience applause loud enough to prompt Dylan to say, “Aw, thank you.”

SCOTT MERVIS

Pittsburgh Post-Gazette

The early buzz on this tour, which is now 10 shows in, is that, having taken that pandemic year off, Dylan is once again singing in a manner in which you can hear the lyrics and make out what song he is doing.

That is true. The words were clear. Early on, the crowd even cheered him on during “I Contain Multitudes” when he sang, “I’m just like Anne Frank, like Indiana Jones/ And them British bad boys, The Rolling Stones.”

Just saw the Stones. Nope. Not now.

How should we say this? Dylan’s band — now with Charley Drayton on drums and Doug Lancio replacing Charlie Sexton on guitar — is a tightly wound, nuanced, almost dour unit that plays like it doesn’t want to make a mistake. The opposite of the Stones.

That was apparent right away on “Most Likely You Go Your Way and I’ll Go Mine” that had nothing resembling the wild swing of the original version.

Clearly, Dylan, singing in lower registers, wants everything to be reined in. There were, however, a few free-flowing moments, like the country fiddle romp of “When I Paint My Masterpiece,” the swinging “I’ll Be Your Baby Tonight” and the standout, a sped-up “Gotta Serve Somebody” with full-blown psych-rock guitar.

As for these “Rough and Rowdy” songs, “I Contain Multitudes” and “Black Rider” are the type with a haunting, theatrical quality that just floods the place with mood. Others, like “Key West (Philosopher Pirate)” and “My Own Version of You” are tediously repetitive and static, lacking that brilliant Dylan quality of building the drama of a song.

 Jeff Elbel – For the Chicago Sun-Times

The first rowdy cheer was sparked by a new song, with Dylan making a resonant and gravel-voiced proclamation of the title to “I Contain Multitudes.” The song’s braggadocio was paradoxically presented in the set’s most pastoral arrangement. During one inviting passage led by Donnie Herron’s lilting pedal steel guitar, Dylan rebuked an antagonist. “You greedy old wolf, I’ll show you my heart,” he sang with menace. “But not all of it, only the hateful part.” “Key West,” by comparison, was amiable and wistful.

Bathed in dim red light, the cinematic lyric to “My Own Version of You” cast Dylan as Doctor Frankenstein while the band spun an eerie soundtrack; Dylan and Locio traded lines between piano and guitar. The understated but potent “Black Rider” was similarly haunted with an arid twang, underscored by longtime sideman Tony Garnier’s bowed double bass.

After concluding the main set with the loping roadhouse blues “Goodbye Jimmy Reed,” Dylan made his lone address to the audience. “We’re happy to play here,” he said. “We love Chicago, just like you do.”

Irascible at any age, Dylan at 80 didn’t treat the evening in stately surroundings like a museum exhibit. He said precious little. He simply walked onstage and began playing songs, introducing new ones and subverting his classics. That still-invigorated approach drew his most ardent fans back to a crowded concert hall. That act and those songs spoke volumes.

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.

#cincinnati #milwaukee #chicago #bloomington #bobdylan #neverendingtour #reviews #roughandrowdyways #chicago #hershey #moontownship

The sweet sound of Bob singing just for us in Hershey

When you’ve laughed at your audience like a hyena, screamed at them like a banshee, snarled like a rabid dog, howled like a wolf, wept like a guitar and crooned like the moon there has to be a time when you take stock.

A reflection, an old face in the Island Lake, dreams of iron and steel gone by in a ripple. The guru is the grandpa in a too-big embroidered suit, light shining through his harum-scarum hair. He’s not walking too good.

But he looks proud and like this review says he is singing just for you.

Andy Saylor writes:

“The thing I want to convey is that he sang I’ve Made Up My Mind to
Give Myself to You to the audience.  He leaned up over the piano,
holding the edge of it, the edge closest to the audience, as he sang it.
He was singing it to us.  I thought maybe I was imagining things but
afterwards my wife said she had the same experience before I told her that
had been mine.  Melancholy Mood, which I thought I’d have to tolerate,
was delightful.  There was a significant segment of the sold-out crowd who
were very enthusiastic for the new songs and that was delightful too.”

Futzi Wailer writes:

“The stage is amazing as the floor lights up when the band takes the stage illuminating them In an eerie glow.  The curtains behind the stage were a crimson red, especially effective during Black Rider and My Own Version Of You. Sound was near perfect though we thought Bob Britt’s guitar was a bit loud and the drums often inaudible.
Bob’s vocals were crystal clear. The Rough & Rowdy Ways songs were the
highlights, the older songs less so. The new arrangements were to my ears
inferior to the recorded versions or even previous live incarnations with
the exception of Every Grain Of Sand. I never liked the song live but this
time Bob got it right”

 

David Mendick writes:

“Truly a miracle. Bob Dylan back on stage. I secretly selfishly imagined he
may never play live again. I would have the last ever review of the last
ever show at the Anthem in Washington DC. Yes. Check it out. That was me.
Thank god he’s back and I joined the tour at the most gorgeous theater
you could wish for. And yes it’s true that at age 80 Dylan’s live show
is better than ever. Of course he should play so many songs from the new
album. Music is meant to be heard live and this album sounds better live.
Melancholy Mood was pure Sinatra. And I saw Sinatra. Dylan had the
audience spellbound. I can’t wait to rejoin the tour in Philadelphia and
once again end in DC. It was fun catching up with some old Bob fans
beforehand - Howie and Eric and Ava in a crazy onesie.” 

Reviews rocket as Ol’ Bob lands on Moon Township…

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.

 
 

Mitchell writes:

“I’ve never written a review of a Dylan concert, but I felt moved to
write one for yesterday’s concert in Moon Township PA.  
I feel that the reworking of the set list was more than just publicity
for the new album. 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. 

The band is still tying to find their cues from Bob.  They did a great
job- I’m not a musician, but I’m sure it can’t be easy playing
with Bob.  And the crowd was great- very appreciative but also very
respectful of the man and the music.  

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.  Maybe he wants to teach us as long as he
can. Maybe the sheer joy of playing. Who knows.”  

This compendium is for those who can’t get to see Bob live at the moment

Reviews rocket as 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

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 #

When you’ve laughed at your audience like a hyena, screamed at them like a banshee, snarled like a rabid dog, howled like a wolf, wept like a guitar and crooned like the moon, there has to be a time when you take stock.

A reflection, an old face in the Island Lake, dreams of iron and steel gone by in a ripple. The guru is the grandpa in a too-big embroidered suit, light shining through his harum-scarum hair. He’s not walking too good.

But he looks proud and like this review says he is singing just for you.

Andy Saylor writes:

“The thing I want to convey is that he sang I’ve Made Up My Mind to
Give Myself to You to the audience.  He leaned up over the piano,
holding the edge of it, the edge closest to the audience, as he sang it.
He was singing it to us.  I thought maybe I was imagining things but
afterwards my wife said she had the same experience before I told her that
had been mine.  Melancholy Mood, which I thought I’d have to tolerate,
was delightful.  There was a significant segment of the sold-out crowd who
were very enthusiastic for the new songs and that was delightful too.”

Futzi Wailer writes:

“The stage is amazing as the floor lights up when the band takes the stage illuminating them In an eerie glow.  The curtains behind the stage were a crimson red, especially effective during Black Rider and My Own Version Of You. Sound was near perfect though we thought Bob Britt’s guitar was a bit loud and the drums often inaudible.
Bob’s vocals were crystal clear. The Rough & Rowdy Ways songs were the
highlights, the older songs less so. The new arrangements were to my ears
inferior to the recorded versions or even previous live incarnations with
the exception of Every Grain Of Sand. I never liked the song live but this
time Bob got it right”

 

David Mendick writes:

“Truly a miracle. Bob Dylan back on stage. I secretly selfishly imagined he
may never play live again. I would have the last ever review of the last
ever show at the Anthem in Washington DC. Yes. Check it out. That was me.
Thank god he’s back and I joined the tour at the most gorgeous theater
you could wish for. And yes it’s true that at age 80 Dylan’s live show
is better than ever. Of course he should play so many songs from the new
album. Music is meant to be heard live and this album sounds better live.
Melancholy Mood was pure Sinatra. And I saw Sinatra. Dylan had the
audience spellbound. I can’t wait to rejoin the tour in Philadelphia and
once again end in DC. It was fun catching up with some old Bob fans
beforehand - Howie and Eric and Ava in a crazy onesie.” 

Reviews rocketas Ol’ Bob lands on Moon Township…

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.

 
 

Mitchell writes:

“I’ve never written a review of a Dylan concert, but I felt moved to
write one for yesterday’s concert in Moon Township PA.  
I feel that the reworking of the set list was more than just publicity
for the new album. 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. 

The band is still tying to find their cues from Bob.  They did a great
job- I’m not a musician, but I’m sure it can’t be easy playing
with Bob.  And the crowd was great- very appreciative but also very
respectful of the man and the music.  

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.  Maybe he wants to teach us as long as he
can. Maybe the sheer joy of playing. Who knows.”  

This compendium is for those who can’t get to see Bob live at the moment

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 #