June 24, 2007
Review by Doug Ross
Couldn't have been a nicer night for an outdoor
concert. I'm 42, it was my first time seeing Bob, I
grew up in Canada listening to English and American
RockBlues. Neil Young, Rush, The Who, The Jam,
Aerosmith, SRV etc. Never been a huge Dylan fan, but
he's certainly grown on my in the last ten years or
so. I know a lot of his classics but I like and
respect him for his staying creative and fresh.
Jimmie Vaughan opened for about 45 min, He was crisp,
easy to listen to, though I wasn't paying too much
attention, like I said it was a gorgeous night. Bob
and his band rolled on stage a lil' after 8 PM. I
certainly am not going to give a blow by blow, and
there are a few 'surprises' that I also won't reveal.
They opened up with their typical 'Cat's in the Well',
Bob seemed a lil' shakey a first, (vocally). He
seemed to get getting into it a few songs later with
'Rollin & Tumblin', Bob was swaying and bopping his
head while playing key board for the first time.
'Honest with Me' was also a great number, the band
seemed to really enjoy it. A couple of songs later,
it was now dark and fitting for a great 'Nettie
Moore', a real bluesy number with sorrowful violin.
Bob had fun with this song also, growling 'Eyes'
"when the judge comes into the room". The band really
rocked again in Summer Days. They really seem a good
fit for Bob and had fun doing it. Even Bob seemed to
be having fun on the next number 'Like a Rolling
The encore was predicable, (I've been following this
site), though Bob could have made a reference to
"Hershey", "sucked the milk out a thousand
(hershey)cows". Then an enjoyable 'All Along the
Watchtower' where once again the band had fun,
especially when the wind began to howl...... The
concert ended around 9:50. A great night for a class
Review by Peter Stone Brown
It was about eight minutes after eight and still daylight when Bob Dylan
took the stage at the Star Pavilion in Hershey, PA. Wearing a black suit
with white piping on the pants and a yellow shirt, open at the collar, and
a black hat with a red, green and yellow orange feather, he opened again
with "Cats In The Well." His guitar strap was twisted which he never
changed, and on his left hand were two humongous rings. This was followed
by a not bad at all "It Ain't Me Babe," continuing the arrangement that
debuted this spring in Europe. His voice was reasonably strong from the
get go and hitting quite a few low notes. "Watching The River Flow" came
next serving its usual purpose as bluesy filler to get the energy going
and Dylan spouting out the lyrics.
"It's Alright Ma," had a couple of lyric flubs, some that he caught and
some he didn't and at times it was comical, when he realized he sang the
wrong line, rushed in the right one only to blow the next one resulting in
some like mumble mumble busy being born is busy dying.
A slightly fast "Lay Lady Lay" followed with Dylan starting to lean into
the lyrics with a staccato emphasis on certain lines that would become
more pronounced as the night went on with Donnie Herron resurrecting the
original album version pedal steel fills on the second part of the verse.
The audience where I was sat down for "Lay Lady Lay" but stood up for
"Rollin' and Tumblin'." Donnie Herron was playing his mandolin riff
right to Dylan who had moved to the keyboard.
Next came a rearranged "My Back Pages," done as a long slow waltz. Dylan
sang quite clearly but the staccato emphasis took a firmer grasp as he
matched words to the rhythm, "My existence led by confusion BOATS." Also
rearranged was "Honest With Me" with the original guitar lick totally
A relaxed "Spirit On The Water" came next. It wasn't as loungy as the
casino version in Atlantic City and had a minor lyric change, "I'm wild
about you gal, I'd be a fool to let it be." Dylan was clearly having a
good time singing and his stage demeanor was often comical. This song
also serves as an inducement to audience reaction on the "You think I'm
over the hill line," and the Hershey audience was clearly familiar with
"Highway 61 Revisited" came next followed by "Most Likely You Go Your
Way," with more rhythmic vocalizing.
A near perfect, carefully played "Nettie Moore," was the emotional peak of
the night, and almost as if on cue with the song's chorus, all vestiges of
daylight were gone. Dylan's voice had a tender almost vibrato sweetness
on key lines which he contrasted with gruffness on others, "The judge came
in, all rise." Herron's viola work was simply beautiful.
"Summer Days" was pure western swing instrumentally with Herron inserting
steel riffs from Bob Wills & The Texas playboys and Tony Garnier spinning
his string bass the way he once did in Western Swing Band, Asleep At The
A return to "Like A Rolling Stone" closed the set in alright performance
with Denny Freeman playing the original guitar riff right before the
The intro to "Thunder On The Mountain" served as the unveiling of the
gigantic eye as stage backdrop. Dylan was clearly having fun on this one
and Freeman played some wild solos.
"All Along The Watchtower" was an effective closer and the band's use of
dynamics throughout the song was excellent providing Freeman the perfect
ambiance for some stratospheric solos.
The last time I saw Bob Dylan in Hershey, Pennsylvania was almost 10 years
ago at this same venue. That night he pulled out to my amazement and
delight, "One Of Us Must Know (Sooner or Later)." Nothing like that
happened tonight, but it's a different time and a different band and
things have changed. This band is not as loud, but perhaps tighter and
definitely subtler and Dylan is perhaps more confident as band leader.
Throughout the night he was throwing little signals, a hand movement, a
nod. There's all kinds of textures and sounds going on with interplay
between Herron and Freeman, and rhythmic changes, pauses and stops, but
it's never overt.
While the show wasn't raging in intensity, it wasn't necessarily trying to
be. It was a well performed entertaining concert on a near perfect summer
Sunday night and maybe that's good enough for now.
Peter Stone Brown
Review by Mike
After having barely missed Atlantic City due to an incredibly foolish
decision on my part, I thought I would completely miss out on this tour.
Then my cousin's fiancÚ (who lives nearby), upon finding out what had
happened, told me he was going to this show and offered me a ride there
and back. Needless to say, I gratefully accepted.
We left Philadelphia around 6 PM and arrived at 7:45, just as Jimmie
Vaughan's set ended. It was a beautiful evening, and the sky was still
blue as Bob took the stage at approximately 8:08 PM and picked up his
electric guitar. Stu strapped on his Stratocaster and Donnie picked up a
fiddle, and I knew that could only mean one thing:
Cat's in the Well - I wasn't surprised at all by this one considering
they've opened with it at almost every show this year. The band was really
cookin' on this one and Dylan's vocal delivery was fierce, but during the
solo sections nobody really took the spotlight. I really would have liked
to have heard a fiddle solo from Donnie, but I knew there was no way that
would happen. Stu's pentatonic riff drove the band, and George threw in
his signature fills whenever he felt appropriate to do so (which he
continued to do so throughout the show).
It Ain't Me Babe - I consider the arrangement they have been doing this
year to be a completely different song than the one they did in '04 and
'05, only with the same lyrics. There's really no use in comparing the two
arrangements. That being said, this performance, while not mind-blowing,
was very solid and executed very well.
Watching the River Flow - I was hoping for the revamped Tom Thumb's Blues
here, but no luck. This one is still excellent, but can't touch the '05
versions. Donnie would always make the lap steel scream when he soloed on
this one. Here, all he did was play the intro riff, and even that was
played an octave lower than he used to (which killed a lot of the initial
energy of the song).
It's Alright Ma - Again, not a surprise at all. Stu was on his Epiphone
Masterbilt EF-500RA acoustic guitar, tuned to Drop D, and capoed at the
fifth fret, providing the framework. The arrangement of this they've been
doing lately is sort of like a hybrid of High Water and the '02 version
arrangement of this song. There were a couple of lyric flubs on this one,
but nothing major. Dylan took over lead guitar duties for this song,
playing an eccentric solo based on that downward pentatonic riff he used
to play during the instrumental breaks of "Highway 61" and "Summer Days."
Lay Lady Lay - If somebody had told me before the show that this would be
one of the highlights, I would have laugh it off. That being said, this
was probably one of the best versions of the song I have ever heard. Great
phrasing from Dylan, gorgeous pedal steel playing from Donnie complimented
by the beautiful chords coming from Stu's acoustic (this time a Gibson
J-45), and a very melodic solo from Maestro Freeman topped it off.
Rollin' and Tumblin' - When I saw Donnie pick up the electric mandolin and
Denny put down his Strat in exchange for his open-tuned Telecaster, I knew
this would be next. This performance was standard except for a bunch of
very clever slide guitar riffs from Denny.
My Back Pages - For every show I go to, there is one song, one clear
highlight that stands out for me above all the rest. At Philly II '04, it
was Masters of War; at Camden '05, It Ain't Me Babe; at Boston I 06, She
Belongs to Me; at Philly '06, The Levee's Gonna Break. For this particular
show that one standout performance was My Back Pages. Dylan started this
one out by bringing out the harmonica for the first time tonight, and
flirted with the lyrics throughout the song, constantly changing his vocal
delivery, and at some points singing the lyrics staccato. He closed it out
with a gorgeous harp solo. At the end of this one the crowd gave him a
standing ovation. I will be very surprised if this does not make the list
of the best performances of the year.
Honest With Me - As Stu picked up his Strat, Donnie moved to the lap
steel, and the band played a few riffs based on the G blues scale, I
immediately expected them to launch into Highway 61. Surprisingly, I was
wrong. This one was for the most part done very well, with Stu's riffs
driving the song, and George throwing in several triplet rhythms in random
places. The solo break was not up to par with the rest of the song;
possibly because the rhythm figure they've been using for the start-stop
doesn't seem to work as well as the one they used to do. Other than that,
however, a very solid performance.
Spirit on the Water - I don't have much to say about this one, considering
I've only heard about 500 performances of it in the past 2 shows. Dylan
always seems to be amused when the crowd screams "NO!" after he says "You
think I'm over the hill/You think I'm past my prime," which, as I
mentioned in an earlier review, is why I suspect he plays this song almost
every night. Denny played a very jazzy solo which seemed to exemplify his
true playing style. The second and last harp solo of the night closed it
Highway 61 Revisited - At this point, it was starting to get dark out, and
the light show started to become visible. "Highway" had the same
background as they used for it doing last year, with those cool elliptical
lights in the background that move during the solo breaks. That having
been said, I really miss the 2005 versions of this song with the extended
instrumental jams and the dynamic changes, especially the part when they
would go down to a mezzo-piano level and all of a sudden crescendo up to a
triple forte, leading up to the start-stop rhythm in the final verse.
Nowadays the instrumental jams have been severely truncated and the song
is almost always on autopilot. This particular performance wasn't bad at
all, but extremely weak compared to what this very same band used to do
with this very same song not even two years ago.
Most Likely - This one is always a treat to see live, and this show was no
exception. They started off with an instrumental verse, before Dylan went
into the lyrics. The main instrument here was Denny's guitar; while his
solo was extremely low-key (which is unusual for this particular song), he
played several rhythm figures that did a great job of embellishing the
song. George's galloping snare drum rhythm was also highly prominent.
Nettie Moore - Dylan seemed to play around with the rhythms of his vocal
lines more than usual. Donnie's viola, though only played sparsely,
contributed an entire dimension to the sound with its deep, rich timbre.
Summer Days - This one, though nowhere near as hot as the legendary fall
'02 versions, was not bad at all. The mood of the song was enhanced by a
blue background with orange lights shining on the band. Stu played the
main riff on a sunburst Telecaster and did little else. The instrumental
jam was done very nicely, although the tempo could have been a bit faster.
Like a Rolling Stone - I was expecting "Blowin'" here, but was surprised
by this one. (I never thought I'd see the day when I'd be surprised by
Like a Rolling Stone!) As usual, it was very energetic. I tried to get the
crowd to sing along, to no avail. Denny's solo on this one seems to be
getting better each night, but he still can't touch Freddy Koella. The
house lights did come up during the chorus, unlike at the two shows I saw
Thunder on the Mountain - The band came back out and launched into the
intro to this concurrently with the unveiling of the eye logo. On several
lines Dylan used a technique that mixed upsinging and downsinging:
"THUNDER ON THE MOUNTAIN, ROLLing like a drum, GONNA SLEEP OVER THERE,
THAT'S WHERE THE MUsic's coming from," which I found to be very amusing. I
could tell Denny was really into it because he was moving around the stage
a bit, which he very rarely does. For the record, this time she got both
the pork chops AND the pie.
All Along the Watchtower - No band intros this time, the band just noodled
around for a while and launched into the closer. This take was a very
eerie one somewhat, but not quite, reminiscent of the pedal steel-based
performances of fall 2004. Nobody soloed during the second instrumental
break as is always the case nowadays, which is a shame because there are
two perfectly good soloists onstage who could easily nail it but never get
the opportunity. Nevertheless, the song was performed very strongly, and
reaffirmed for me that it is the best of his songs with which to close a
show. During the final repeat of the first verse, immediately after Bob
said "relief," the band instantly caught ablaze, and the fire did not go
out until the end.
As I have mentioned several times, this show isn't what it used to be.
However, it is clear to me that this is the approach that Dylan wants to
take nowadays, and with that in mind, this show was about as good as it
gets with that approach. Maybe one of these days Bob will have a change of
heart and allow the band to unleash all of their potential, but until
then, we get what I saw last night, which was still a great show.
Review by Andrew Franklin
Last night was my tenth show and it certainly wasn't the
best show I've seen. I was back in the general admission
lawn section, and it's dissapointing that you have to sit
for the whole time. In the middle of the grass section
though there was a group of standers, so me and my friend
went over there to dance during a couple songs in the middle
like Honest With Me and Highway 61. I think this is the main
reason why I was dissapointed with the show. The ballpark
tours let you get closer and when you can see Bob and the
band up close it gives you a totally different perspective.
I was surprised by My Back Pages. I think the first couple
songs with him on guitar were OK, always nice to hear lay
lady lay and it aint me babe...its alright man is too wordy
for him at this point i think.
i made a dash to the bathroom during rollin and
tumblin....starting with my back pages i think the show
improved. honest with me, which ive heard probably at every
show seemed fresh and new. everyone yelled "NO!" during
spirit on the water. Nettie Moore once again amazed the
crowd as dylan seemed very focused on the words and his
phrasing. summer days was pretty nice, once again wish i
could have been up close and dancing for this one. same with
Rolling Stone. No way I was sitting for the encore, which
was exciting. Regardless of how many times I hear
Watchtower, its still nice everytime because you pick up on
the vibes of the new comers who dig the song.
Overall......id say it was about a 6.5, 7 out of a rating of 10.
Review by Jim Keil
Caught the Hershey show tonight. Beautiful evening. Eventually, we were
surrounded by planets, stars, and even a shooting star. Bob didn't
Hadn't seen Bob since Frederick last year, but Jimmy Vaughn(sp?) opened
for him then, too. The sound system seemed noticeably better in Hershey
than I've heard before from Bob. Maybe it was the "bowl" setting, instead
of ball park and bleachers, but I think it might just be a better sound
system, although one of the right side speakers was noticeably crinkly.
Certainly Bob's voice was in better shape than I had a right to expect,
his having played the two previous nights, but his vocals were also more
up front than in the last couple years. His "right side"men were also more
up front, the violin and acoustic guitar in particular getting more umph
this year than in previous years with this particular band. Maybe that was
his intention when he moved his guitar and piano to the audience's right
side of the stage. I'm not a big fan of Denny or Donnie, but they are
capable with the fiddle and acoustic and deserve a bit more of the stage
than they've gotten in the past. Generally, I just liked the sound and the
mix better at this show than in several years.
The highlights for me were the slower, softer songs, esp. "Spirit on the
Water" and "Nettie Moore." Bob was singing for all he was worth on these
two (even grinning during "Spirit"), and I thought these were the two best
performances of these songs I've heard. The band seemed a bit too rusty on
the faster numbers (maybe it's time to shake up the personnel, Bob!) and,
frankly, the Watchtower closer was a near sonic disaster, the performance
collapsing on itself as it did. A bit embarrassing for an otherwise
There are worse ways to spend a brilliant summer evening, and here's
hoping that the band comes together in time for those Canadian shows under
the northern lights.
Review by Peter Kurie
The first time I saw Bob was in Hershey ten years ago. This event was
something of a full-circle for me, and it was a beautiful night to have it
happen. Jimmie Vaughan was a bore -- I had seen him in Philly during Bob's
winter tour -- playing all 12-bar blues and wanking on the guitar, wishing
he could play like his brother. But Bob came on soon enough, sounding much
stronger than I expected with the best version of 'Cat's in the Well' I've
heard yet (this is the third time I've witnessed the song as an opener.)
'It Ain't Me Babe' was pleasant with Dylan in good voice, not trying to
stretch himself too thin. 'Watching the river flow' was rocking; the band
were really enjoying themselves on this one. On 'It's Alright Ma', Bob
shot out the words like BB gun, not worrying very much about making the
lyrics clear. 'Lay Lady Lay' was lazy; Bob screwed up the words towards
the end and the band had trouble recovering from his moving too quickly to
the bridge, but all was forgiven by the crowd -- like I said, it was a
beautiful night. 'rolling and tumbling' was appropriately smokin', with
Bob's organ turned down just enough that it actually sounded good. The
highlight of the evening for me was 'My Back Pages,' a song I hadn't heard
live in a long time; Bob pulled out all the vocal stops on this one,
making every word a beat in the song, almost to comical effect (he had
Tony the bassist laughing). 'Honest with Me' was a little lackluster on
the guitar elements, but Bob's vox was strong. 'Spirit on the Water' was
smaltzy as hell in the best sense possible, though Bob's organ got a
little unwieldly and sounded like a bad day at church; he sung this song a
lot louder than on the recording and in other live performances, but
ultimately it worked and I was moved. 'Highway 61' really got the crowd
going; Bob experimented with a reverb effect on his vocals that opened up
the sound and made the chorus ring out like a thunder storm. 'Most like
you'll go your way' was par for the course, as was the rest of the set,
which closed the show in typical fashion ('Nettie Moore', 'Summer Days,'
'rolling stone,' 'Thunder,' and 'Watchtower.') I must say, though, that
Nettie Moore is becoming one of Bob's most polished live tunes -- he sings
it beautifully, the band is comfortable and subdued, and the crowd seems
to respond well for a slow number that might otherwise inspire people to
check their cellphones. All in all, I'd rate the show a strong B plus: the
setlist was conventional, but the perfomance by both Bob and the band was
above par -- and like I said, it was a beautiful night.
Review by Todd Holden
Again the magic of Bob Dylan's show wafted across the parking
lot of Hershey Arena. Last time the Bobbo was there was first show after
recuperating from the hystoplasmosis bout he had that could have killed
the little fella. His opening act that night was Ani DeFranco, and
tonight it was Jimmie Vaughan.
It was a great concert, as my party and those around us in row 6
agreed.for the record there wasn't an asshole in the audience.nary a one.
That speaks well for Hershey concerts. A mellow crowd it was, and the
show was without a snare to the musical journey we were on.
Personally, after a show like this one, the next day I follow along with
the 'set list' and pull out my copy of 'Lyrics" and read over the words of
each song the band performed.and the arrangements of Cat's In The Well
and Highway 61 continue to twist words around a beautiful muse.a muse for
us, created by that little fella on the stage who just keeps moving along.
We are so lucky to be able to travel to concerts to see this genius, in
disguise as 'just one of us'.
The weather, the audience, the performances were superb, and will have to
hold us over till the next time.and for a Sunday Service, well, it's the
best way to keep in touch with our spirituality and sane-ness.
Even if you couldn't make the concert, pull up the Pagel set list, and get
the Lyrics out and do the best you can.and that's not bad, babe.
Comments by Marc Roffman
I was at the hershey show Sunday nite(i've seen bob over 100 times since
the 74 tour) and read the review from the first timer.....I was in the second
row and it was great seeing bob's interaction with the band and the fans...
he was very looseand relaxed..and was really into the vibe at this arena..
which is a cool place to see a show..had the feel of seeing a concert in the
backyard...in the distance from the stage Bob could see the famous hershey
rollercoaster ride..you know that old time rollerrcoaster look with continuing
moving yellow lights...I think it was very visually stimulating for him and for
us...anyway he was smiling and bopping...and joking with the drummer and
tony....you know like subtle hand movements during Summer Days..that had
the drummer cracking up....truly inspirational performance from the master
who still has the chops and the passion....
Review by Stephen
Not going into a song by song description. But was struck by the beauty
of the setting sun, the moon rising a quarter or so over the stage, and
Venus bright in the sky. Temps in the 70's made the atmosphere perfect.
Stuck by the fact that Bob on many occasions looked down at those of us
in the first few rows and smiled at us, he was having fun. Sound was not
good for those of us close to the stage, but those in the back were
treated to a clear concise sound friendly concert. Always notice a
couple in the front row who jumps up and down and does hand gestures to
every line of Bob's songs. Wish I had that energy. Band seems tight,
and looks like they really want to be there with Bob. He came on right on
time and finished with the usual encore songs, check the set lists. My
20th Bob concert and had to go since I live only 23 minutes away. The
park did a good job of getting everyone in and out quickly. It was their
smaller venue which holds 8,000 and looked to be close to full house.
Jimmie Vaughan opened for 40 minutes and and played a lot of blues. Very
loud, and a few good songs. Nettie Moore was probably the best song Bob
played. Great emotion. I sat next to a woman who belongs to Jews for
Jesus, and she told me that every song he plays is for Jesus not for some
Review by Patrick Wallis
As The Evening Sun Goes Down
Another adventure, another tale to tell...praise be that Mr. Bob is still
enjoying his nights out on the town, playing his songs and weaving his way
into our hearts and then quick as a wink he's gone on to the next town.
The conviction to performing, the ritual of renewal night after night, is
no small feat and is part and parcel of America, taking its cue from the
very fabric of the working man giving it his best shot. From the early
days of performance art, blues singers, jazz singers, country circuit
artists, jam bands, full tilt orchestras, and single act performers have
been zig zagging across this country and around the globe, doing 60, 80,
100 and more shows a year...that drive to get out and make the music real
is as much alchemy as it is practice and Mr. D. is a bonafide rock of
gibralter who has given so much and then some. In the music industry, he
is the blue collar of the travelling show and even on an off night, you
will always get your money's worth. Ah, but this was no off night...from
the light breeze and slowly setting sun, the well-behaved smiling crowd
and the ambience of an evening out with time-tested, true-blue friends,
the stage was set for an enjoyable evening...and then Bob took to the
stage. Ambling out, he perched the wide-brimmed, black hat on his head,
strapped on his guitar and hit the stage running. 'Cat's In The Well'
started things off, a song perhaps signalling that things are not quite
right, there is thunder at the well. I won't run through the set list and
give you my take on the songs as that's something for each of you who were
there to do yourselves, it's what you bring in and take away. And that's
not to say there weren't highlights, for there surely were. The tightness
of the band...Mr. Recile emphasizing everyone to keep on track with his
expressive drum work, Mr. Garnier checking the drums and adding the
heartbeat all evening, and Kimball, Herron, and Freeman dancing in and out
of the songs, taking leads and keeping rhythms, one helluva band to
complement the songs and re-make them to their own. Stu Kimball's acoustic
guitar work was beautifully interwoven into the songs and when he had a
short run to pick out, he made himself heard even above Denny Freeman's
electric work. Smart playing, elegance, and the magic of playing with
color is what sets Donnie Herron apart and you can tell he's got the pulse
on the song. All in all, these boys add up to the real deal and although
this is the Dylan show, the picture is complete when they wield their
respective brushes. And that doesn't even comment on the main man. His
nuance, humor, delivery, and musical intrigue are still forces to be
reckoned with. He can deadpan a line and sing it almost flat, only to take
the next phrase and turn it wild into the night with such reckless
abandon, you swear you were lifted out of time and transported into the
cosmos high above the crowd. I thought the speakers were going to burst
and the stage crumble as Bob and The Boys ripped through 'Rollin and
Tumblin' with such fierce reckless abandon and a rhythm so dense the song
nearly exploded. 'Nettie Moore' is ancient and timeless and the way Bob is
performing it these days can make grown men cry and dogs cock their head
for a listen. Wasn't expecting 'Like A Rolling Stone' but there it was in
all it's glory and just as definitive today as when I heard it on the
radio the year it came out. I liked the songs, the performance, and the
very notion that new or old, these songs have history...at once Mr. Bob's
and each of those who he sings to. The troubadour gives his songs away as
much as he holds onto them and they become public domain even as they
remain the artist's creation. Sounds like a juxtaposition of ideas, but
that's the nature of music....a singular expression with a universal soul.
So, thanks to all for a beautiful evening. And thanks to the music that
still keeps us yearning.
Review by Damon Wellman
For an old-fart fan like me the Hershey show on 6/24 was full circle. Bob
Dylan performed his tunes like a true blue troubador, at an age when most
are on their couch or the bed whining. It was rock and roll and more.
Last saw him play at Harrisburg City Island in the late 80's, right by the
good old Susquehanna River.
This show was way above that one... he played "Watching The River Flow"
early in the show... I'm convinced he played that for our river and the
good people living along it. Summer moon came up, crowd was cool, band
was tight, and I heard the strong clipped words of one special poet
again.. in person!
Wow, what good fortune for working folks that his tour could swing by our
little corner ot the US. Thanks Bob!
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