Reviews

First, I will give a cowboy nod to Asleep at the Wheel who played a great set of 
boogie-woogie (for one couple anyway), rock you back on your two-tone bootheels, 
hoot and holler country-swing.  I especially will remember their "Red River 
Valley".  They do go a job setting up Bob and his Band, especially since Bob and 
his Band played, not one but two, Nashville Skyline songs for us.  
    Bob's first song, "Roving Gambler", was perfect and new for me, with great 
delays in front of the three accoustic guitars in the chorus -everyone was 
already standing up, smiling and on their heels. During the next song, "My Back 
Pages", Dylan stepped back to grab his harmonica -his only harp solo of the 
night -and everyone cheered at the sight of it.  I loved the "thank-Yoooouuu"s he 
shot out after the first few songs.  
    The crowd was happy and loud through the whole show, including the opening 
band, but there were lots of empty seats and people showing up a half hour into 
their set.  There are 10 rows of seats behind the stage at the Civic Center, and 
they got a lot of attention from Bob and the band throughout the night. 
    As far as the songs, I was more than satisfied.  TUIB and AAtW got the 
loudest cheers in the first set, but everyone loved MakeYFMLove, too, and I was 
glad to hear the back-to-back Nashville songs and Gates of Eden.  I'd been 
looking on this site to see what sort of set to expect.  I almost regret it, 
since the last shows have been pretty similar it looks like -especially the four 
or so encore pieces.  I loved hearing all of them, I'd never heard BITW live, 
and "Not Fade Away", just as my brother (hi) who saw it in Missoula put it to me, 
definitely Rocked.  I could see a few activist-minded people not really falling 
into the general enthusiasm for the "Rainy Day Women" closer. I expected it but 
much preferred the "Girl of the North Country", played to a silent, awed, 
Minnesota crowd.  Just about cried, myself.
    I don't see Bob Dylan shows every day (it was my second) and this is my first 
post to this page.  While I'm sort of tired of hearing some people pick apart 
each show solo by solo (I know what they mean about lyrical phrasing, and sound 
quality but sometimes...), it turns out I'm left somewhat speechless, so the 
joke's on me.  If you're headed to one of the upcoming dates, expect a good 
time.  Tonight, Bob was moving around a lot and played quite a few great 
accoustic solos (I thought), ducking down a bit, striking a pose, and getting 
into it.  It would have been great if he'd asked the audience for hometowns or 
reminisced for us a bit, but I'm not from Minnesota anyway.  I have taken a job 
in the North Woods working as a cook for a spell, though (Bemidji, Concordia 
Lang. Villages).  I am going to go buy NSkyline soon, finally, since I'm so far 
from dad's tape.  I am going to bed, now.  Nice talking to you Graham (I'm that 
Ole), keep on listening to Bob, wish you well.
Momanddadthanksforthepresent.
 
this was from Todd Rychener, rychener@stolaf.edu

Oh me, oh my! Bob's return to his home state was yet another resounding
triumph. It was my 9th time seeing our hero, and he never ceases to
amaze. About 8:45 PM, the lights went down which led to the most magical
words in the English language, "Good evening ladies and gentlemen, would
you please welcome Columbia recording artist Bob Dylan!" A solid "Roving
Gambler" got things off to a good start, then Bob wove his magic with
"My Back Pages". During this song he started to do little tentative
dance steps, and I thought, "it's going to be a good night, Bob's in a
good mood". He gave a nod of acknowledgment to the three sections of
people seated behind the stage, before launching into the night's only
harmonica solo. It was a pleasure to hear Larry on fiddle for this song,
although it wasn't as up front in the mix for me. Bob gave a big "Thank
you" after this and almost every song. After a straight-ahead "Masters
of War", Bob brought out an up-tempo "This World Can't Stand" from his
seemingly endless repertoire of covers. Then it was time for "Tangled",
an awesome tour de force that I actually never tire of, I don't know how
he keeps finding new things to do with this song every night. A new
twist for me was the stretching out of the title line at the end of each
verse, "taaaaaaangled up in blue". Bob then brought the crowd back down
for a thoughtful "Gates of Eden"; after the wildness of the previous
song the crowd might have been a little restless for this one. The
electric guitars came out for a fun country-rock "Country Pie"; I have
no idea how Bob decided to pull this song out this year after it
gathered dust for 30 years, but that's just why we love Bob so much. But
Bob wasn't done as he pulled out the best surprise of the night, "Tell
Me It Isn't True". What a special treat! Bob's stage movements were
really getting bizarre at this point as he did a kind of ballerina-like
tiptoeing back and forth across the stage with his guitar held high. A
hard-rocking (but too short for my taste) "Watchtower" came next, then
it was back into country mode for "Watching the River Flow", nice and
bouncy, a lot different from the shuffling arrangement of this tune that
I had been used to the last several years. Bob followed with a
restrained "Make You Feel My Love", then after introducing "some of the
finest players in the country", it was a down and dirty "Highway 61"
that saw Bob bending his knees and Tony and Charlie swaying back and
forth in unison. After a couple minutes Bob came back out for the usual
encores: "Love Sick" (nice lyric change: "I feel like I'm plowed under"
instead of "I want to take to the road and plunder"); "Like a Rolling
Stone" (which probably got the most ecstatic reaction of the night),
"Girl of the North Country", "Not Fade Away" which had everyone dancing
Dead-style in the aisles, "Blowin' in the Wind", and an incredibly
rocking "Rainy Day Women", which was ringing in my ears all during my
90-mile drive back to Minneapolis. I don't know how Bob can go to town
after town, night after night, year after year, and play his majestic
music for 1 hour and 45 minutes, and keep on keepin' on, but the man is
Superman. If anyone out there taped tonight, I'd love to hear it again.
Bob, from the bottom of my soul, thank you for what you gave us tonight.

Brian Keenan

It was a healthy, happy Bob Dylan who appearred in Rochester, Minnesota,
on Friday night. The 'Conscience of a Generation' seemed fully half of
his fifty-six or fifty seven years. The five piece band, in formal
suits, played with the intimacy and comfort of a jug-band
in the living room for the first half of the show; the 'acoustic' part.
During this first half of the show, Dylan & Company provided insight
into the Bluegrass and Appalachian Gospel sides of Dylans' lexicon.
He was every bit the preachy troubador of the 'Truth' on His own
'Gates of Eden' as on the confessional, Soul-searching 'My Back Pages' 
or the Country-Gospel '_________'. There was no nostalgia present
on-stage, although He has been playing some of these songs for thirty
or more years.

	The 'electric part' was essentially a 'Greatest Hits' package,
and 5000 fans, from Slacker-Generation 'Phish' Heads to Bearded
Old Folkies seemed to appreciate it. 'All Along the Watchtower',
'Highway 61' and a few surprises, most notably 'Country Pie', and 'Tell
Me that it isn't True' from the 'Nashville Skyline' album.
	Dylan was animated and clearly having fun, strutting absently
like an odd combination of Chuck Berry and Charlie Chaplin, as He
carefully plucked on a Fender stratocaster. The ability to solo on the
guitar is a new sensation for Him, and He obviously loves it.

	The opening act, veterans 'Asleep at the Wheel' were in very fine form,
a Texas-style, (as opposed to Nashville-style) CountrySwing band. Their
years of barroom experience didn't much
sway Dylans' audience, but this is a band to be relished the next time
they come to Your city. They never stop or even slow down, so They'll be
in Your town soon. Don't miss them.

	And don't miss Dylan, either.

	After a very good forty-five minute set, Asleep At the Wheel left the Mayo
Civic Center stage at 8:12 p.m.  The house lights all came on and the crew
immediately began their work at moving Asleep's gear off the stage, and
sliding Bob's forward from its dark hiding places in the rear of the stage.
 I had a good vantage point from my seat above and behind the stage.  I saw
a guy light rolls of about a hundred sticks of incense apiece and put them
in the back of the stage, and then light three for himself and put them by
his chair in the "control center" to the right of the band.  At 8:49 the
lights went out, and the audience went wild.  A few spotlights were
sporatically shining in circles in front of the drum set to add to the
excitement.  The band took their place, and Bob was the last to come out. 
He knelt to pick up his acoustic guitar; I was surprised that he didn't
have a crewman put it on him for him.

	They quickly went into "Roving Gambler".  His vocals were the strongest
I've ever heard live.  He was very accurate on the low tones; he wasn't
fishing for notes at all.  The harmonies were excellent, creating an
unexplainable warm rich sound that you wanted to last forever.  Next was
"My Back Pages", with Larry (the man of many strings) playing fiddle.  Bob
went back and picked up his harmonica towards the end of the song.  It
seemed like he only meant to play it for one verse, but the crowd urged him
on and he took another verse on harmonica, and then signaled to end the
song.  Thus, he didn't finish all the verses to the song, but he couldn't
really top the energy of his harmonica solo.  Next was "Masters of War",
starting out very bare; the band gradually came in.  After that came "This
World Can't Stand Long", again with the rich harmonies like on "Roving
Gambler".  Bob then played "Tangled Up In Blue", really drawing out the
"taaaaaaaannnnnngglllllledddd".  His guitar solo was very long at the end
of this one.  Wrapping up this acoustic set was "Gates of Eden" with Larry
playing a really bizarre instrument (bazouki) appearing to have twelve
strings

	The opening electric riffs of "Country Pie" were almost exactly like on
Nashville Skyline.  I thought this song could have gone on a little longer,
so Bob could have done some more of his stage moves.  Also from Nashville
Skyline, the next song was "Tell Me That it Isn't True".  Larry sat at the
pedal steel on this, but his playing was very sparse.  He played a few cool
suspended-fourth releases with the pedals, and a few slide transistions. 
But to be honest, his playing here wasn't on par with the rest of the
concert.  It's got to be really hard to fill Bucky's shoes, but I really
wasn't impressed by Larry's work here.  On a different note, Larry played
the coolest licks on a yellow Fender stand-up steel on "All Along the
Watchtower", the next song.  But at the very end, while the band was
holding out that minor chord, either Charlie or Larry played the major
third of the chord, resolving the minor to a happy major sound.  I did not
expect this twist at all.  The bluesy "Watching the River Flow" came next,
Larry stayed on that chest-high steel guitar.  After that, Bob announced
that he was going to slow things down a little, and went into "To Make You
Feel My Love".  Bob came in a measure late on the vocals; no big deal. 
There was no steel playing on this song, but the tremolo effects pedals on
the guitars added a very tasty touch.  On the last verse, he appeared to be
looking at one person in front of him in the audience, raising his eyebrows
on "..there's nothing that I wouldn't do".  He could have even been
flirting and giving some innuendos to her.  Bob then introduced the band. 
The joke this night was about Larry.  He apparently had a problem with his
toe, and they had to call the "toe truck".  Ha Ha!  "Highway 61" closed the
set, with very long solos at the end.  Bob kept fidgeting with his hair
too, as if it wasn't frizzy enough for his high standards and he had to
keep fluffing it out.  At the end, he took off his Fender and the band left
the stage.

 My 10th Dylan concert in a little over ten years was another
beautiful, memorable experience.  I've had the privilege of being pretty
close to the Great Bob at some of those shows.  The last time I saw him on
October 30, 1999 in Milwaukee I was blessed with being front and center
with a hand on the security wall, so pulling into Rochester with a ticket
labeled "Limited View" was a little hard to swallow, but it was a SOLD OUT
SHOW and my good friend Mark and I were damn glad to be in the house.
    We found our way to the assigned seats; they were ok, a profile view
of Bob, but we were concerned the sound might be a little thin so we
decided to take matters into our own hands and see if we could improve the
situation by positioning ourselves somewhere on the floor.  As we made our
way through the crowd, I yelled to my friend "I think the zero hour is
rapidly approaching."  That was the last time I would see Mark until after
the show in the parking lot; having lost him in the shuffle.  
    The lights went out and that oh so familiar "Would you please welcome
Columbia Recording Artist Bob Dylan" rang out over the arena and the show
was on starting with "Roving Gambler".  This was the opener I was hoping
for so I quickly made my way up to the walkway between the first and
second levels.  It was a great view with great sound, and with my
binoculars in hand I was back in the front row.
    I had seen Bob do "Roving Gambler" once before in 1997 and it really
stood out in my mind.  Later, I was able to  listen to it on the internet,
so now I knew all of the words and could sing along, although I was a
little distracted periodically scanning the crowd in search of my lost
friend.  As Bob and his band rolled into the second selection of the
night, "My Back Pages," I accepted the fact that I was on my own and
intensely watched Bob's every move.  He pulled out a harp on this one, it
would be his only harp blowing of the night and it was sensational.  At
the end of his harmonica bit he gave a little pause and a nod of his head;
like he was considering adding more, but then decided no, that was
sufficient; like a master artist knowing just when to put his brush
down.
    "Masters of War" was definitely one of the highlights of the evening. 
I had never seen it done acoustic before and Bob's clear voice laid
heavily on the crowd.  "This World Can't Stand Long" was another one on my
wish list having also discovered it on the internet.  (I sure wish
Columbia would release this stuff on disc.)  It was a brilliant
performance with a great deal of texture enhanced by Larry Campbell's
mandolin playing.  "Tangled up in Blue" was terrific as always, but the
big score for me came next with "Gates of Eden."  Having never seen it
live before, it put images in my head of a young Bob and I thought about
all the places he has been and people he has seen.  It's truly mind
boggling.
    From having been religiously following the set lists on "Bob Links," I
was anxiously anticipating "Country Pie" and it was every bit as fun as I
expected it would be.  "Tell Me That It Isn't True" was a beautiful
surprise.  Bob sang it with real heartfelt emotion.  "All Along The
Watchtower" is one that I always like to see and the last time I saw it
the microphone went out and we lost the second verse, so this time I
really soaked it in.
    "Watching The River Flow" was a good time.  I had listened to it on
the ride to the show.  "Make You Feel My Love" made me think of my wife;
she's a big Garth Brooks fan, we find common ground with this one. 
"Highway 61 Revisited" was electrifying as ever; Bob was very animated
with his facial gestures.  I knew we were heading into the encores next.
    With the crowd loudly cheering, stamping feet and clapping hands in
unison, Bob reappeared on stage and cuts into a captivating "Love Sick." 
"Like A Rolling Stone" I've seen Bob do many times before but I must say I
believe this was the best yet. "Girl From the North Country" was another
big score for me to add to my "I witnessed Bob list."  "Not Fade Away" was
great.  Buddy Holly must be smilin' in heaven.  "Blowin' In the Wind" was
really done well with great harmonies; the crowd loved it."Rainy day Women
#12 & #35" with the house lights on is a fun timin' way of ending the
night.  Towards the end of the song, Charlie Sexton seemed to be doing an
exaggerated impersonation of Bob's facial expressions, Charlie looked a
little like Jim Carey while he was doing this.   
    The song and the show ended with Dylan and Sexton in a laughing
embrace.  Bob then stood briefly center stage, allowing the crowd a few
more seconds to cheer and adore him, then he turned to leave, heading down
the ramp at the back of the stage.  I watched closely with my binoculars
until he disappeared behind a black curtain.
    As all times before, I was sad the show was over and I hope for the
day when I can see Bob Dylan again.

God Bless you Bob.

I drove down from Apple Valley, MN to Rochester the city of one of my
great grandfathers. A Dylan lover since the mid 70's. In and out of sync
with his works through the years, I have found that what I have seen of
him lately and what I saw last night truly knocked my socks off!

It was a full house in the civic center arena at 9:00 when the lights went
down. The master himself stepped onto his stage with band members taking
their places. Oh how precious he was. A regular little Jack in the Pulpit.
Only fancier. All dressed up in his exquisitely designed black coat and
tie. Someone complained about his coat, but I found its length and fit to
be absolutely perfect.

He played every song with precise measure fingering and pickin on his
guitars. He was very upbeat, rocking and rolling, steppin in his boots,
gettin down to the sound of the other instruments played around him.

He smiled down upon us many times over last night, seemingly happy to be
alive. Not one person was disappointed except perhaps security who could
not control the front rows of the crowd. Everyone was jammin - wanting Bob
to see their pleasure to see and hear his songs played live in Rochester.

I have seen Bob in concert a few times thruout the years and in the past
have been terribly disappointed for many reasons. Bob truly has polished
his act and his band. It appears that he is demanding more from them these
days and is receiving it. Great Job Guys!

The crowd as you heard so recently was again a much younger display of
people. I suspect that there is some Jakob Dylan and The Wallflowers
interest amongst this younger group. But I find it suffice to say that I
believe that good songs, good writers, will live on from generation to
generation.