Review

New York, New York
Hammerstein Ballroom
August 13, 2003


[Jeffrey Johnson], [Tom Ostoyich], [Michael Binetti], [Brian J. Slattery], [Alex Leik], [Peter Brown],
[Roland Pabst], [Barry Klatzin], [S.D. Walter], [Michael Perlin], [Barry Klatzkin], [Michele l'Ulysse ]

Review by Jeffrey Johnson



Anticipation awaited the Maestro's second night at Hammerstien.  Given
His recent New York City pilgrimages, the multiple choice question was
will He reward Sodomites with:  a.)  His normal stellar show (e.g.,  last
night);  b.) a sneer, a growl, a vocal inflection that transforms one of
His set list staples; or c.)  His performance of a one-of-a-kind,
life-long treasure, that rivals "Something," "Heavy and a Bottle of
Bread," (Madison Square Garden 2002) "Hazel" or "Delia."  Could it
possibly be that Elvis Costello is in town?  Its comforting to note that
INStyle Magazine places Sheryl Crow on the west coast.  

The correct answer is "b."  For those who picked "c," tonight's
show-stopper nominees are:  Desolation Row and Every Grain of Sand.  

Those not caught up in anticipation engaged in the most lame Dylan chat
worldwide.  It seems that nobody is naming their dog after Freddie.  

On a separate note, as with the Atlantic City shows, this Hammerstien
three-night home stand once again assembled an international crowd of epic
proportion, drawn together by their common bond, total lack of self
discipline.  

Anticipation will again await tomorrow night's set list finale; as there
were no major set-list surprises: 

Tombstone Blues - non-traditional, non-cover opener.  Last night's
booming voice seemed tempered just a tad, the sound is again fantastic. 

Tweedle Dee - Evidently, this is what prompted His movie critics to write:
 "pretentious, inert self-indulgence."   

You Ain't Goin' Nowhere - fine electric rendition.  

Things Have Changed - back to where the band was before last night's
student-driver guitar player.  A couple of gasps let loose as the drapes
were unfurled.  

The harmonica problems were cured, perhaps by the Waif's roadies.  But
there again seemed to be a general chaos; repeatedly He searched around
behind the piano.  

Most Likely You Go Your Way - a bit of a hush fell as the crowd
collectively took notice.  

It's All Right Ma - verse after verse after verse, it seemed to keep on
keepin' on.  The piano stands in the way of His trademark tip-toe tee up
of "NAKED!"  

New York's hype and fanfare provide amusement and enables the most
pathetic to feel important.  So why is there always talking while He's
performing?  How can these philistines be persuaded to take it to
Starbucks!   

Desolation Row - More and more its apparent that everything works better
with a keyboard.  

Tonight's postcard-picture provocation:  Incoming phone calls accepted. 


Honest With Me & Summer Days - the band's extended jams feature
Freddie's solos. 

Don't Think Twice, It's All Right - the second one-song acoustic set. 
The Bandleader's cue came early and brought this number to an abrupt
close without the classic, prolonged acoustic jam. 

Rolling Stone - kre-shèn do 

Watchtower - performance perfected.  Perfect closer.  

A transformation has occurred; this is now a rockin', jammin' band.  

Reporting from Hammerstien Ballroom #2 of 3, August 13, 2003
Jeffrey Johnson 

[TOP]

Review by Tom Ostoyich



Now for Round 2 at the Hammerstein--Dylan christening this "The Money
Never Runs Out Tour" (II?).  Checked out the venue a bit more before the
show.  The ballroom has a ceiling mural that's depicts a wild scene of
angels flying in the heavenly firmament.  An angel band complete with a
Sara Carter type strumming guitar and a black angel sawing at a
fiddle--you can check it out while you're waiting (and waiting) for the
show to start.  It seems fitting.  And it may be better than listening to
the Dylan geek spreading rumors like wildfires--that the third show was
cancelled, that he plays piano b/c he has arthritis, that he plays only
guitar in soundcheck, that it's his last tour.  I can only hear so much of
these speculations.

Dylan was in sharper, more consistent form tonight--you could tell right
from the start.  While it took Lofgren to kick things into gear last
night, Dylan seemed energized from the outset and clearly was thriving on
the audience response tonight.  More smiling and laughing from him onstage
which is a good thing.  The singing was, well, stronger (I'm not sure
what's the word to use these days) and his harp playing was confident.  He
seemed to have purpose.

What a set!  Full of welcome surprises--9 different songs than last night.
A solid "Tombstone Blues" and a cool "If You See Her" with rewritten
lyrics--does he actually sing "Her eyes were blue and her hair was too" in
this version? Dylan's harp playing, while initially tentative last night,
was more assertive tonight, more wild like shades of old.  Good to hear. 
A snarling "Tweedle Dee" was followed by the first surprise "You Ain't
Goin' Nowhere"--I could listen to Larry play that pedal steel all night,
it's lovely.  Still miss the backing vocals, tho, and I wish Larry would
be allowed (or encouraged) to use the vocal mic that's set up for him each
show--Dylan's voice sounds better with the support.  Once again, "Things
Have Changed" is a highlight--he seems to love playing it and I haven't
grown tired of it yet--wonderful.  Then "Most Likely You'll Go Your
Way"--another standout.  A good "It's All Right, Ma" similar to last
fall's incarnation then another incendiary "Highway 61"--Dylan was seated
on the drum riser as this started, head down & listening.  He seemed to
like what he heard, as he hopped back to the keys.  Then they slowed it
down with a long, gentle intro into "Desolation Row" which took my breath
away.  This is how to work it--a great arrangement that builds then ebbs
well--this song had an arc that say, the new arrangement of "It Ain't Me,
Babe" lacks.  It didn't drag.  Only wish he had more in his vocals--I used
to go to Dylan shows waiting for the acoustic numbers, but now I almost
prefer the rockers--he pushes what's left of the voice to better, more
howling  effect, whereas the slow stuff he keeps lapsing into the "upsing"
routine.  Still, a decent "Desolation Row", wonderfully arranged.  A
searing "Wicked Messenger" followed by the other great surprise "Every
Grain of Sand" where he seemed to take pains to enunciate the lyric
clearly.  Good arrangement again and I'm glad he featured it.

"Honest With Me" was more of the same and that's great.  A suprise "Don't
Think Twice" was gentle and really worked--Dylan doesn't seem to know how
to play this poorly--and then another terrific "Summer Days".  Tony worked
the bass onto the drum riser.  Recile, by the way, beat the drums so hard
tonight that the drum riser was shaking--I've grown accustomed to him, but
at times he still overplays.  Again, Dylan was laughing throughout and
seemed in fine spirits, even pointing to the crowd, etc.  The encores were
the usual and nothing surprising, except "Watchtower" seemed a bit leaner
and more subdued.  Maybe it's me, but the band looks bored here, esp.
Larry, who's had to play this ad naseum.  Freddy plays his solos with his
head and eyes down like he's looking for a lost contact lens--he rips it
up and his solos are unusual--jagged, very rhythmic and with a resonant,
deep tone.

Tommy "Mad Dog" Morringiello was onstage through most of the set, so keep
your eyes peeled.  Dylan apparently summons him on only when a song has
started, tells him what to play and then leaves him in the shadows.  He
was not introduced tonight, although he played almost an entire set.  Tony
even tried to prompt Dylan to announce Tommy, but Dylan ignored him.  If
his nickname is "Mad Dog" maybe it's fitting, b/c Dylan seems to be
treating him like one.  It would be nice of he at least got a turn for
some applause, as he's clearly working his tail off both teching and
playing, but knowing Dylan's style, he'll probably never mention him once.

Still, a sharp, fine show--the best I've seen since the first Jazz Fest
show earlier this year.  Let's hope Round III is the knock-out.

Why not,

[TOP]

Review by Michael Binetti



If you read my comments on the 8/12/03 show the night earlier, you won't
believe the reviews are from the same guy.  Tonight was a huge rebound!!! 
No more Nils Lofgren clouding up the scene.  Bob still didn't touch a
guitar, but I'm over it.  He really hit his stride last night.  First off,
the song selection was a bit better.  Silvio, albeit one of my old
favorites, just kinda fell flat as an opening song last night.  Tonight,
coming in with Tombstone Blues seemed to draw quite a better reaction from
the crowd.

I'm still not a huge fan of Tweedle Dee & Tweedle Dum, but Bob's band
really plays it well live.  I have to repeat myself here, but the boys are
so well versed in so many different styles of music....  They really have
the ability to take a song that I'm rather indifferent about and take it
to the next level on stage.  (Unlike the case with Nils last night...).

Some highlights:  You Ain't Goin' Nowhere is a song that a crowd really
seems to get behind.  Things Have Changed...this is just an awesome song. 
Nuff said.  Highway 61 is always phenominal.  I actually wish he'd bring
it back to the format he had it in a few years back where the band jammed
it out (often to close the show) for about 8 or 9 minutes.  Honest With Me
seems to be quickly becoming one of his favorite live tunes.  Again here,
the band really gets behind this one.  I think Larry even laughed at one
point...  Don't Think Twice is one of my favorites so anytime I can hear
that, I'm in good shape.  Last night's version was excellent.  Finally,
Summer Days, another one I could have initially done without, has really
grown on me.  I saw it re-tooled in 8-9 minute jam version for the first
time in Philly last November and have been hooked since.  I do prefer to
hear it with Bob on the guitar for the part where he lines the whole band
up in the picture pose during the middle of the jam...

The encore was exactly the same as Tuesday night.  I would have liked to
seen it mixed up a bit, but it was such a good show, I really couldn't
complain.

Finally, the opening band was excellent.  I didn't catch their name, but
I'm gonna find it and go get whatever I can find once I do.  A quintet
from western Australia with two women leading things up.  Raw US
country/blues combo and if you didn't know better, you'd think you were
listening to Junior Wells on the harmonica.  I've never really seen a
notable female harp player, but this girl wailed!!!  I was impressed with
their performance both nights.

Michael Binetti

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Review by Brian J. Slattery



Well, it's 3:45 in the morning, and after visiting "The Blarney Rock," 
and imbibing in some libations, I am feeling quite content and happy. 
While some may attribute that to the alcohol, that is incorrect.  While I
enjoyed some of Ireland's best, (Guinness and Jameson's) for better or
worse, I have a high tolerance for them, and I didn't consume nearly
enough for them to have a major effect on me.  However, Bob Dylan's second
concert at the Hammerstein Ballroom has had an effect on me.  I am left
semi-dazed, my consciousness and even conscience somewhat altered.  I see
things a little different than I may have if I did not imbibe at the Dylan
well.
   
Tonight, after a good performance by 'The Waifs,' I stood close to
stage-right; waiting to see what Dylan would draw from his deep well of
songs.  Right before the show, there was an Elvis sighting - Costello that
is.  He was sitting in box seats, (maybe he got them on E-Bay) and was
with his girlfriend? wife?  and seemed to be glad to be there.  This led
to speculation, of course, with many people, including myself, wondering
if Costello would be making a guest appearance tonight, as Nils Lofgren
had on Tuesday.  With this now upping the ante of people's expectations,
"Fanfare for the Common Man" played, and the audience waited for Bob's
entrance.  At 9:11 p.m., (by my watch) the same time as last night, the
house lights went down, the music started, and Bob and the boys took the
stage.
  
From then on, Bob drew from the well many times, never coming up empty, 
always quenching our thirst in both his song selections and his masterful
delivery of those songs.  I won't give a play-by-play, as it isn't
necessary to comment on every single performance.  Those of you who follow
Bob and 'Bob Links' will see the set list, and know what some of the song
selections mean.  For those of you who do not follow as closely, there are
some songs Bob plays regularly, and more often than not, quite well, but
have become staples of his shows, and don't need long, drawn out critiques
by the likes of me.  Tonight, Bob nailed those songs, as he did all the
songs he chose to play.  Also, it should be noted, that Tommy
Morrongiello, his guitar tech, played on almost all the songs tonight,
adding something with his third guitar, even if he was r elegated to the
background all night.

The most inspired and awe-inspiring moments of the night for me came with 
the inclusion of "Most Likely You Go Your Way," "Desolation Row," and
"Don't Think Twice, It's All Right."  "Most Likely" was on fire, with Bob
nailing the lyrics and the harmonica, and the band nailing the song. 
"Think Twice" was tender and fierce at the same time.  The delivery,
tender, highlighted the fierce 'anti-love song' lyrics of this Dylan
classic.  The crowd really enjoyed this one, especially with a nice harp
solo at the end.  Desolation Row was, in a word, epic.  It was played
before "Think Twice," but I saved it for last, since I adhere to that old
saying of save the best for last.  An extended intro to this one gave even
the less frequent concert-goer time to realize what song was being drawn
from the Dylan well.  Then, once Bob launched into it, even including the
Dr. Filth verse, (a first for me live) there wasn't a misstep anywhere. 
Bob's harp solo added to the magnitude of this song and this performance
of it.

I know that there were some people who thought last night's show was one 
of Bob's best, and that there were some who thought it was one of his
worst.   So, I don't know how this one stacks up in comparison for those
people.  And, frankly, as I make my stand and remain as I am, I don't give
a damn.  I can't even begin to compare shows.  In my opinion, both were
excellent, for different reasons, and none of the reasons have to do with
me simply being there.  I just think Bob is really feeling the NYC vibe. 
(If you want to hear more of my thoughts on this, check out my review of
the first Hammerstein show.)
  
Whatever the case, I look forward to tomorrow night's show, and hope
that, while it is probably the last Dylan show I see this year, that, as
my 26th show, it's not nearly the halfway mark for seeing Dylan live.  
That is not up to me though, so I am content in knowing that if this is
the 26th of many more shows, or the final time I get to see Bob live, I
will be happy to just be there no matter how or what Bob sings.   And,
even with the hot weather (something I hate) and the wait (something else
I hate) to get in to the show in that hot weather, I'd gladly do it every
day to see Bob.
 
Well, tomorrow I'm heading to the same joint, and, while the Guinness and 
Jameson's didn't completely alter my consciousness, they have a way of
lingering, so I will go for now and rest up for the last of the
Hammerstein shows.

So, if you have any questions or comments about my review, or just
want to talk "Bob," drop me a line at dylanfan522@aol.com.

Keep On Keepin' On,
Brian J. Slattery

[TOP]

Review by Alex Leik



Having touched down @ JFK from London too late on the 12th to catch the
1st night of the Hammerstein stand, I was eagerly anticipating my first
show since Solomons in May for several reasons. 1st, my wife, who has only
attended 3 of the 39 shows I have seen (she's not a HUGE fan) would be
joining me. 2nd, it really could not be worse than Solomons, could it? And
third, well, it is NYC.

The Waifs were on slightly before 8, and right into 4 More To Go, or
Austin as it is also known. Great tune, and they are simply put, a great
opener. I saw them twice in Edinburgh last week in a venue that held 200+
- that was a great time. They even threw in one or 2 songs I had yet to
hear them perform. After about 40 minutes, they exited stage left, and it
wasn't long before Elvis Costello & Diana Krall could be seen taking their
seats in the VIP balcony.

Bob & his ever-evolving band were soon into Tombstone Blues, lacking the
energy the first number usually lacks. Tommy was securely in place behind
Bob and is clearly only involved for Bob's benefit, but don't tell him
that. He is having the time of his life. Say Hello was my first live
performance, and the first go at the harp solo was abysmal. Also, after 2
songs, there was no sign that Bob was really "playing" the piano - it was
turned way down in the mix, and you could not even hear his sloppy
"banging".

Tweedle had some great licks from Larry & Freddy, and this is where I
noticed the improvement Freddy has experienced since the spring tours. He
really advanced up the learning curve quickly on that tour, but now things
were even tighter, and this was the case throughout the show.

Goin' Nowhere was beautiful, but the lack of harmonies really is a downer
for me. Lary's pedal steel is still the highlight of this gem. THC gets
better with each playing - honestly. Every time it starts, I think,
"Great, not THIS again!", but this was the point where the show really
took off and became not just a night in NYC to remember, but one of 39
shows to remember.

You Go Your Way was also my first hearing, and very true to the Bob
version. Great licks from Larry & Freddy, and tight singing from Bob made
this the highlight of the show for me. It's Alright Ma was very hot, with
the swampy blues feel it has had for the last year or so. Highway was a
ride all in itself, with several bridge "pauses" a la Dignity. The guitar
work was splendid & tight, and the set-up for the Desolation Row that
followed was perfect.

This was the first time I heard Desolation with Larry on the bazouki. It
may very well be the finest version I have ever heard, and I know it is
the only time I have heard the "Dr. Filth" verse. Bob's harp on this was
very inspired, leagues above the harp in Say Hello. Simply put, this
Desolation Row was moving and captivating. And to those questioning Bob's
piano abilities, this was the time he chose to show us that when he wants
to, he can do it just fine. The whole first verse before George came in
was driven by tight, loud piano chords, and sounded beautiful. Prior to
the show I hoped out loud that he would play it. He did not disappoint.

Wicked Messenger was the usual. Could really do without it or Drifter's
Escape. No more fun (were they ever?). Every Grain of Sand was a great
surprise, but did not seem to get the attention it deserves. Honest with
Me still gets my feet moving, which is suprising considering I mouth the
lyrics about as enthusiastically as I do WM or DE.

Don't think Twice was stunning, my wife's favorite of the night, and given
great attention. Summer Days has returned to the rolicking ride it was
just before Charlie left, and Freddy really runs with this. Bob was
grinning at the thought that this lanky guitar ace from Texas seemed to
rise up the curve so quickly and have many of us asking "Charlie who?" ;-)

The encores were standard, LARS & AATW. 1/2 way through LARS, Elvis &
Diana were escorted from their seats and I got my hopes up that Elvis may
be heading backstage for a possible guest appearance. Well, no luck as the
house lights were soon up after AATW, and the mad furry to the streets of
the city that never sleeps began.

Overall, a great night in Gotham, and I am looking forward to night 3 as I
write this. One thing I noticed as I occassionally checked out Elvis &
Diana after some songs, their applause was minimal, if at all. Almost like
the micking "golf clap". I wondered, were they not as impressed as I was?
How many times has Elvis seen Bob? Or, when you are a rock star at another
rock star's concert, do you not really need to applaud, no matter how big
the star?

Until Thursday night!

Alex Leik

[TOP]

Review by Peter Brown



Bob Dylan's 2nd night at the Hammerstein Ballroom lacked the special
guest excitement of the first night, but was a good show none-the-less.

Starting off with "Tombstone Blues," Dylan's voice was clear and strong
and the band rocking hard.  "If You See Her" featured another great harp
solo.  The evening's first surprise setlist wise was "You Ain't Goin'
Nowhere," but if ever a song was written for more voices on the chorus
this was it.  Even if the other guy's in the band can't sing, why isn't
Larry joining Bob on the chorus?  Other than that it was okay and included
anopther good harp solo, though Freddie didn't seem sure if he wanted his
guitar solo to be rock or country and it ended up neither.

This was followed by "Things Have Changed" and the band seemed to be
trying to match the excitement of the previous night, and they kept it up
with a not bad "Most Likely You Go Your Way" that was superior the one a
few nights before in Jersey.  

Then came on of the true highlights of the night, "It's Alright Ma"
with Dylan strong on every line, though ultimately the current
piano-based arrangement doesn't come close to the original and tends to
plod.  

"Highway 61" as usual was rocking time and Koella used every solo to
show that he really can rock and hard.  Then the guitarists switched to
acoustics for a "Desolation Row" where again Dylan was making sure to give
every line meaning and punch, and interestingly Tommy was providing cool
electric guitar fills.

After a typical "Drifter's Escape," came a pretty damned good "Every Grain
of Sand" that came close to celestial.  "Honest With Me" was also cool,
but with three nights in the same city, why not "Lonesome Day Blues"
instead?

Then came an acoustic based "Don't Think Twice" that was okay but not
spectacular and the harp solo was tame, especially compared to other
recent NYC versions of this song. 

From then on the show was typical but very well performed with Freddie
stepping out on "Like A Rolling Stone."

By any standard it was an excellent concert.  If the electricity of the
night before hadn't happened, it might have been an amazing one.

[TOP]

Review by Roland Pabst



4 times Dylan. Dylan (not live) at the movie opening Masked and Anonymous, Dylan
 at the PNC last Saturday, Dylan at the Hammerstein on Tuesday and Dylan at the 
 same place tonight. 4 times Dylan - 4 times a different Dylan. That's the great 
 thing. Looking back to all my concerts I saw in Europe and in the States there 
 was never the same Dylan playing.

PNC with Tom Petty was pretty disappointing. From kind of far away the stage 
looked empty. The band members, spread out over the stage were playing at the 
same spot and Dylan far on the left facing the band. Sound was poor. Lots of 
talking and eating around me, very annoying. 

I was looking forward to see him at Hammerstein Ballroom. This is an old and 
small concert hall. Finally there was again a concert without seating up to 
the stage. The concert was good, not great. Not one of those you will talk about 
after years.

PNC and Hammerstein I didn't hear the piano sound. It's kind of strange to watch 
Dylan playing the piano without hearing a sound. Last year at the Garden, NY you 
could at least hear some of the piano playing. Dylan shall travel to Europe in 
fall and play the piano so they have the chance to hear this version of concerts 
too. At least for me I badly miss those wonderful acoustic guitar jam sessions 
with him in the middle. Those were the days he sang some of his beautiful songs 
in a soft voice. Today the same songs are too rocky, his voice too. One day he 
will come back and play the guitar and for a few songs the piano…?

That's what I wrote on the Long Island Railroad riding into Manhattan, seeing 
him for his second night at the Hammerstein Ballroom.

Now I'm on my way back. Sitting in the train. It's after midnight and what shall 
I say after my remarks a few hours earlier?

What a great concert. This was one of the best. A concert to remember. I was 
very close to the stage, probably 10feet (3m) away. I could hear (almost) every 
word, I could hear the piano. Each and every song was great. Starting with a 
powerful Tombstone Blues and ending with a much better version of Watchtower 
than the night before. Highlights? There were a few. You Ain't Going Nowhere, 
Things Have Changed, a superb Desolation Row, fine version of Every Grain Of 
Sand. I enjoyed Don't Think Twice It's All Right.

His voice was strong and "clear", the band was great. Much better than yesterday 
with the guest guitar player Nils Lofgren.

Can it get better? Hard to say - maybe only if he hangs the guitar around his 
neck again. 

Folks out there who are going to see him soon - have fun and enjoy it.

[TOP]

Review by Barry Klatzin



When the band began playing "Don't Think Twice," Tony Garnier looked
nervous.  I don't blame him.  His boss was shuffling around the stage.
Pokingaround for a harp.  Mugging the crowd with winks and funny faces. 
Talking to Tommy Morringiello (my guess: an ongoing examination of the
entire Mott the Hoople catalogue).  Whatever he was doing, Bob Dylan sure
as hell was not ready to play or sing, and took his time gettting to the
keyboard.

All Garnier could to was watch him.  Wait.  The band got through the chord
progression 1 1/2 times before Dylan got to his mic.  With the tiniest
nods, Garnier got the band's attention.  Rather than wait for the top
chords to comearound again, Dylan just started singing in the middle of
the...

When I say that the band reset their playing seemlessly, I am understating
theirperformance.  They adjusted to Dylan's 'intrusion' so perfectly, my
jaw dropped.  But that's nothing new.

I thought I would miss Charlie.  This was my first show without him.  I
missedhim exactly once.  Tweedle Dee was missing that spakling tremolo
that underlines Larry's riff.  I got over that quickly.

Freddy is a champion.  His solos go from slow-bend legato weirdness to
head cutting showdowns with Larry.

Bob Dylan hires the right guns.  They're ugly, but as my friend put it,
"theseguys are not crossing their fingers every time they try something
new." Theirhigh points are too numerous to mention in full.  For me the
stand out moment came about 1/3 of the way through Highway 61 when the
bass, drums, and keyboard cut out.  The three guitarists hit the same
chord in three different rhythms, creating a unique effect.  Lasting a
couple of seconds, it was just onemore example of their individual
abilities to manipulate the time of their playingbefore jumping right back
into the 4/4.  And they would be the whole story, butthis was a Bob Dylan
concert.

I've seen him a dozen times, and this was as jovial and energetic as he's
been atany of the shows.  Every time he grabbed his harp off the keyboard,
he looked like Indiana Jones snatching that statue in the beginning of
"Temple of Doom."Speaking of gold statues, this was the first time I was
close enough to see theOscar-as-mascot-in-residence on his amp.  Nice.

His keyboard playing ranged from inaudible to clunky to beautiful.  His
harp playing all night, but especially on "Don't Think Twice," was much
more ambitious than I have heard before.  It just sounded great.  He kept
those lingering, one-hole stunts to a minimum.

I am glad that Dylan has given his band the green light to play.  They
would steal the show from anyone other that Bob Dylan.  This lineup is
better than any I have seen or heard him play with (including the evolving
tour band, The Band, The Grateful Dead, and The Heartbreakers). Recently,
I have felt apologetic about listening to straight-up rock music.  Last
night's show was absolution.

Barry Klatzin

[TOP]

Review by S.D. Walter



I won't be able to write a full review for last night's Hammerstein show,
not yet anyway. At the moment I'm just too stunned. Didn't quite believe
the exalted reviews for Tuesday, but if it sounded anything like this,
well I'll be a doubting Thomas, and beg forgiveness of everyone who was
there. 

Terrible delays at the Lincoln Tunnel -- I know, big surprise -- but we
made it just in time for drinks at Tir Na Nog, then into the venue during
the Waifs' opening set; worked our way up to the soundboard, where at some
point we noticed we were standing underneath Elvis Costello, up in the VIP
box. I wonder how much he bid for his tickets at eBay? When he was
escorted backstage for the encore we anticipated another "I Shall Be
Released," but it wasn't to be, perhaps just as well -- the night was
perfect as it was. Anyway, from where we were the sound was excellent all
evening, and thankfully the crowd, though tight, was not in-your-face
claustrophobic.

The simple question I wish to ask is, where did the voice come from? How
is it possible to sound -- intermittently -- so poor, so strained, so
weary (if not ill) one night and so utterly magisterial another? I'm not
claiming it's humanly impossible, but when you experience it firsthand,
the contrast is almost frightening, leading one to suspect that some
supernatural transaction had taken place in the days between, which I can
only hope did not involve any bargaining for Dylan's eternal soul. However
he came by it, the sustained force and command with which he sang last
night was something I haven't heard for a couple years now.

This one shook me to the core, all right; I could see very well but
probably had my eyes shut a third or more of the time. The band was fully
together all through the set: maybe, as Tommy M. -- even better-dressed
this evening -- becomes more of a constant up there, his presence is
becoming less distracting. Whatever the case may be, surely it was Dylan's
performance that ignited the spark in Campbell and Garnier; and about
Koella, let me say that I love to watch and listen to his playing a little
more each time, and especially so tonight. He's got such a weird, angular,
sometimes awkward presence, matched with a sort of cunning that's a foil
to Dylan's own: you're never sure what he's going to play, and whether it
comes alive or falls flat, it's the polar opposite of Sexton's (albeit
brilliant) re-creation of classic guitar parts for the songs. Tonight it
came alive much more than it fell flat: sparse, ungainly, roughly-chiseled
beauty, "pied beauty" as Hopkins would say.

Honestly, I've been putting off a description of the songs themselves
because for much of the concert I was rapt into a speechless astonishment,
as was much of the crowd -- he had us from the beginning of "Tombstone
Blues" all the way through to the last note of "Watchtower" -- and whereof
one cannot speak, one should remain silent. Suffice it to say that even
songs that I tend to bristle at, because somewhat overplayed or not
usually played well, like "Things Have Changed" or "Most Likely You Go
Your Way," stopped me in my tracks, or, in the case of "Highway 61," tied
me to the tracks and ran me over. What emanated from the stage throughout
was an almost uncanny degree of focus and control, Dylan refusing to be
diverted from the task of proving all the naysayers dead wrong, just like
so many times before; and his voice did not fail him, from the vitriolic
-- "It's Alright, Ma" -- to the unspeakably tender -- "Every Grain of
Sand," well-paced and imbued with a mournfulness it doesn't always achieve
in live performance ... even "Don't Think Twice" had a plangency it often
seems to lack. Well, enough of not speaking. The thing I really can't
speak of is what for me what the absolute standout in an evening full of
them: "Desolation Row," in a new, quieter, gently-lilting arrangement
preceded by a drop-dead gorgeous, ethereal instrumental. This may be the
finest rendition of this song I've ever heard, and after the powerhouse
2000 versions that's saying quite a lot.

As you can see, all I can do is pile on adjectives uselessly, so I'll
stop. My critical faculties have been overwhelmed in the best, sweetest
way, leaving behind an afterglow of reverence and wonder, and most of all,
gratitude. That will fade, no doubt, but I'm holding on to it for as long
as I possibly can. At present I'm thinking this is the best show I've seen
at least since the Garden in '01 -- and, again at the moment, there's no
question that it's in the top 10 I've ever seen, maybe the top 5, and I've
seen about fifty by now.

Shantih shantih shantih

[TOP]

Review by Michael Perlin



   What a difference a venue makes. I thought Holmdel was the least
inspired, connected and soulful Bob concert I can remember. Maybe it was
partially b/c for the first time in 40 yrs of Bob-ness, there were no
"firsts" for me. Maybe it was partially b/c of the weather (tho we had
seats, we were near the back of the Pavilion at the Garden State Arts
Center, which meant that there was nothing overhead which meant we got
drenched/drowned). Maybe it was the fact that it seemed as if every senior
in every NJ HS w a fake ID was there drinking 6-8 beers (and later
returning those beers in digested form to the grounds of the venue or the
parking lots). Maybe it was the fact that Bob never looked at the audience
a single time and looked totally bored by it all. Or maybe it was the fact
that for the first few songs, he and the band appeared to be, not on
different pages, but in different books (it is really hard to describe how
out of sync they were; as if it were a pickup group, as opposed to the
tightest backup band I've ever heard). Or maybe the laws of average just
catch up with you after a while. Whatever, a  totally forgettable concert
with virtually no highlights worth rhapsodizing over.

   We stayed for the first ten songs of Petty and the rain then finally 
did us in. But, to be frank, it was musically far more satisfying on every
level (and did include the bonus of hearing a Traveling Wilbury Song,
Handle With Care, tho, alas, sans Bob). But again, the weather and the
boorishness of those around us drove us out.

    Now, to the good stuff.   Last night's concert - -Hammerstein Ballroom, 
1930's dance hall, high ceilings, acoustics that Avery Fisher wd kill for,
standing abt 20 ' from the stage -- was, simply, one of the two-three best
of my life. The contrast to Sat nite's disaster was total. More smiles on
Bob's face than I had ever seen, great opening act by The Waifs (whom I
enjoy more and I more each time I see them), Bob's band totally in sync
(which they were not AT ALL on Sat), a sense of
intimacy/urgency/explosiveness/desire/completeness that had nothing in
common w/ the Holmdel concert, save the members of the band and the names
of some of the songs. And speaking of the latter>>> finally, after all
these years, I got to see Every Grain of Sand (more below).  

Some thoughts >>

   1. There have been 4 openers on this tour: Maggies, Mobile, Silvio and
Tombstone, Although Silvio started off promisingly Sat nite, it sank
quickly b/c of the incoherence of the arrangement (or simply, that the
band could not fathom where Bob was going on the piano). Last nite's
Tombstone (my favorite, certainly of the 4 options) smoked from beginning
to end, and Freddie's guitar playing has gotten to the point where I no
longer miss Charlie (in spite of Charlie's occasional pyrotechnics).
Outstanding.

    2. My second If You See Her in four days..  A favorite song since I first 
heard it during the Ford presidency (or was it still Nixon when the LP was
released?), and, in spite of Bob's froggy-the-gremlin voice (on this and
others), a tight and connected version.

    3. I am tired of TD/TD and am merely awaiting the next tour for Bob to
play something else in this position. Having said that, it rocked, it
swung and, were there room on the floor, everyone wdda been dancing.

    4. This is my 4th Goin Nowhere in about the last 6 concerts, and I never 
get tired of it. Big rollicking version, rockabilly sound, every lyric
distinct.

    5. Things Have Changed is one of my very favorite post-1990 Bobsongs, and 
this may have been the best version I've ever heard in person. Incendiary.
He did the "The next sixty seconds could be like an eternity" line in a
clipped, stacatto/legato style that was priceless. Always cool to see the
Emmy on display, too (g).

    6. I am chagrined to report that I *think* I have heard You Go Your Way
before, but for the life of me cannot recall when or where (next time I'm
in my office I'll check; all set lists since Roseland 94 are on my door).
Whatever: it was wonderful... lyrical and soulful and a reminder that a
song that Bobby wrote in 1966 can stay just as fresh in 2003.. Remarkable.
And Bob's harmonica work, much maligned (often w good cause), was
really good (this was the one high point of Sat nite; lots of harp and
good harp at that); perhaps this is a side benefit of his abandoning the
guitar for the keybds (tho, damn, I want to hear and see that guitar
again!).

    7. Was sure this was going to be Masters from the first few notes, and
it turned out to be It's Alright Ma. At this point, I noticed Bob's broad
smile, and realized it had been there all night (and would stay). And the
band played off of that smile, and drew energy from it. As opposed to the
trainwreck Sat nite, the band regained the tightness that they almost
always have shown... alternating "star turns," not just btwn Larry and
Freddie, but Tony, coming stage front and soloing more on the electric
bass than I can recall (albeit for only 8-16 bars at a time). As this song
built intensity, the vamping started to sound momentarily like Hootchie
Coochie Man.  Of course, the "Even the President of the United States/
Sometimes must have/To stand naked" brought down the house. As it should....

    8. See TD/TD remarks, sort of. Of course, the two songs can't be compared 
lyrically, politically or culturally, but again, it's time to give H61R a
rest. Excellent version, but I was only half-listening.

    9. WOW! B/c Bob has reduced his acoustic offerings so drastically
(why? Why?), each one becomes more important. We had already had one in It's
Alright Ma, so, as soon as it becomes clear the band is changing to
acoustic instruments, everyone kind of stops and breathes in, waiting.
First four bars of intro gave no clue, and then clearly Desolation. Great
version of one of my favorite songs. All lyrics crystal-clear, great
harmonica, outstanding piano (and this is one of the songs that works so
well on keyboards). A five star version.

    10. Finally, after all these years, I can now tell the differences 
btwn Drifter's (which we heard on Sat) and Wicked Messenger. Not a real
favorite of mine (again, this has become the Drifter's/WM/Cold Irons spot,
and ther are so many others available in this genre to spice it up, but,
whatever). But nonetheless, an excellent hard-driving, on fire version
(lyrics far more "gettable" than the Newport version in Aug 02)

    11. And now. Acoustic again. Breath intake again. First notes. And I
start singing, without thinking, "In the time of my confession." And then
realize what it is. And I start, literally, to shake and shiver. I had
said to my friend/chief Dylanista  Michael at dinner that evening that, of
all the potentially-hearable Dylan songs that I have never heard, Every
Grain was my first choice. It is, to me, among the handful of most
beautiful songs he has ever written, and personally, one of the very most
meaningful. My mom passed away last April, and in my eulogy, I quoted
these lines:

     I hear the ancient footsteps like the motion of the sea
     Sometimes I turn, there's someone there, other times it's only me. I
     am hanging in the balance of the reality of man Like every sparrow
     falling, like every grain of sand.

And now, for the first time, I got to hear it. Exquisite. Mesmerizing.
As close to perfect as could be (and especially outstanding bass work by
Tony). Wow. Again.

    12. From this point on it was anti-climactic, of course. A strong Honest 
With Me (love Larry on the slide!), but again, can't figure out why he
does this *and* Hiway61, as they are musically so so similar.. I was still
shaking from Every Grain so I think it would have taken a surprise
performance of Idiot Wind (my lips to Gd's ears....) to have gotten me to
focus here.

    13. Another acoustic spot, and a wonderful, poignant, DTT/IAR. When he
played this in Atl City in May, he switched to the acoustic guitar, and I
was hoping, but no such luck. Great harp again, and that (how do I write
this? Almost like the end of the song The Stripper, if anyone can remember
that, duh-di-duh-duh-di-dah-DUH-di-DAH) great false ending. The notes hung
in the air when he was done.

    14. SD/SN: His pre-encore closer every nite, and the showcase for the
band, again, esp. Freddie who attacks this one like a man possessed (both
in his solos and his riffings with Larry). Spectacular, rocking
burn-the-barn down rock and roll. Will be happy to see something else in
this place next set of tours, but a great ender, certainly.

    15. By now, I was watching my watch (wanted to catch the 11:09 home),
so moved from our 20' away spot to the back so I cd get going after the
opening chords of AATW, the expected (and played) final encore). Maybe it
was where we were standing (by the bar, under the balcony overhang), but
this was a totally unexceptional LARS (there have been many concerts I've
been to when this has been the best and most emotional offering, but not
last night). OK, nothing more.

    16. I heard the chords from Exodus, so knew it was going to be the
usual TSFKa#3, and split. Got to Penn Station w three minutes to spare.

    So... a great great concert, especially, again, in juxtaposition to
Saturday's disaster. Gd bless you, Bob...

[TOP]

Review by Barry Klatzkin



When the band began playing "Don't Think Twice," Tony Garnier looked
nervous.  I don't blame him.  His boss was shuffling around the stage.
Pokingaround for a harp.  Mugging the crowd with winks and funny faces. 
Talking to Tommy Morringiello (my guess: an ongoing examination of the
entire Mott the Hoople catalogue).  Whatever he was doing, Bob Dylan sure
as hell was not ready to play or sing, and took his time gettting to the
keyboard.

All Garnier could to was watch him.  Wait.  The band got through the chord
progression 1 1/2 times before Dylan got to his mic.  With the tiniest
nods, Garnier got the band's attention.  Rather than wait for the top
chords to comearound again, Dylan just started singing in the middle of
the...

When I say that the band reset their playing seemlessly, I am understating
theirperformance.  They adjusted to Dylan's 'intrusion' so perfectly, my
jaw dropped.  But that's nothing new.

I thought I would miss Charlie.  This was my first show without him.  I
missedhim exactly once.  Tweedle Dee was missing that spakling tremolo
that underlines Larry's riff.  I got over that quickly.

Freddy is a champion.  His solos go from slow-bend legato weirdness to
head cutting showdowns with Larry.

Bob Dylan hires the right guns.  They're ugly, but as my friend put it,
"theseguys are not crossing their fingers every time they try something
new." Theirhigh points are too numerous to mention in full.  For me the
stand out moment came about 1/3 of the way through Highway 61 when the
bass, drums, and keyboard cut out.  The three guitarists hit the same
chord in three different rhythms, creating a unique effect.  Lasting a
couple of seconds, it was just onemore example of their individual
abilities to manipulate the time of their playingbefore jumping right back
into the 4/4.  And they would be the whole story, butthis was a Bob Dylan
concert.

I've seen him a dozen times, and this was as jovial and energetic as he's
been atany of the shows.  Every time he grabbed his harp off the keyboard,
he looked like Indiana Jones snatching that statue in the beginning of
"Temple of Doom."Speaking of gold statues, this was the first time I was
close enough to see theOscar-as-mascot-in-residence on his amp.  Nice.

His keyboard playing ranged from inaudible to clunky to beautiful.  His
harp playing all night, but especially on "Don't Think Twice," was much
more ambitious than I have heard before.  It just sounded great.  He kept
those lingering, one-hole stunts to a minimum.

I am glad that Dylan has given his band the green light to play.  They
would steal the show from anyone other that Bob Dylan.  This lineup is
better than any I have seen or heard him play with (including the evolving
tour band, The Band, The Grateful Dead, and The Heartbreakers). Recently,
I have felt apologetic about listening to straight-up rock music.  Last
night's show was absolution.

Barry Klatzin

[TOP]

Review by Michele l'Ulysse



Reviews... reviews... reviews...

I've read so many,
and many more I didn't.
Too many around.
Reviews everywhere.
(for Bobby Dylan)

I don't even know why I shouldn't write one more,
I don't wanna bother, don't wanna be bothered.

But,
sometimes you can't refuse.

Reviews are good for what they worth.

We always hear the same,
I just saw it from a different point,
of (re)view,

it's me not you.

I like to talk with people at the shows because of the difference,
in NY the major part of persons I talked to preferred the 2nd night,
me included,
not everyone.

To me it's unbelievable as someone can prefer the first,
but that's part of the game,
and, but this is another thing respect to the matter of having different
opinions, I've heard people in last 15 years always complain for
something, I mean not always the same persons complaining, but always
somone doing it.

Even in front of amazing performances,
part of the game.

I won't go doing the autopsy of the show,
the 2nd in NYC,
I won't talk of every single song,
the standard os the show was high,

H I G H !

while I could say that the best opener of the 3 concerts I attended was
Silvio, 1st night in NY, you could clearly see, The Devil himself was
singin', and together with some classics of the first night, Like a
rolling stone, Drifter's escape, It ain't me, babe, Highway 61 revisited,
they were the highlights of the nite, during a good concert, to me, the
WHOLE 2ND NIGHT was A M A Z I N G 

some lyrics variations in
If you see her, say hello
my first Evey grain of sand,
and it was a plain rendition,
maybe the most "normal" thing of the night,
it was emotional to me to hear but it was linear,

It's allright ma' (I'm only bleeding)
one of my favourite ever
was powerful as I didn't hear since 1 years,

here's the story,
Bob quit performing the song in the fall of '92,
after his chosen to sing it at MSG I decided to return on the words of it,
at least I'm italian and english isn't my first language, and I tried to
got something more than I did before,

suddenly the song changed its whole meaning,
maybe because of the way Bob sang it I got more connection with the song
itself, since then I hope to hear the song,

and Bob didn't perform it 'til september 5 1999,
I heard it first time live in Zurich,
may 6, 2000,
great concert,
maybe the highlight was Delia,
since then I've got the song live here and there,
but I never was really satisfied with it,
happy to have the great chance to listen it live,
with many different "NAKED" and other things,
but

I can't forget Bob performing it,
acoustic,
solo.
2nd NY night
was the real first time I re-enjoyed at real high-level,
even if it was with the band,
on the piano.

Don't think twice, it's all right,
how many times did I hear it?
How many times did all we hear it?
How many times Bob will surprise us again with a song written 40 years
ago?

We are so lucky to have Shakespeare, Mozart, and a jazzy Charlie Chaplin
all in a person,

the one_man_band_BOB_DYLAN!!!

but all the lines I wrote diseappear into the haze of nothing,
if you remember
D E S O L A T I O N  R O W . . .

perhaps the best thing I can do is remeber,
you can't describe the undescribable,
lucky to be there.
We'll have soon the cd surfacing.
I don't know if it will give back to the people who weren't there the
meaning of the whole thing,

and so I ask respect for them,

D E S O L A T I O N  R O W . . .

(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Sil
en
ce)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_
(s
ilence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silen
ce
)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(s
il
ence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence
)_
(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(sil
en
ce)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_
(s
ilence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silen
ce
)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(s
il
ence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence
)_
(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(sil
en
ce)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_
(S
ilence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silen
ce
)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(S
il
ence)_(silence)_(silence)_(Silence)_(silence)_(silence)_(Silence)_(silence
)_ (silence)_(Silence)_(silence)_


just a line about the show in Bushkill,
Mr. Tambourine man,
dear Peter Stone Brown,
we've met at the show,
just a few seconds,
I'm sorry we hadn't the chance the talk a while,
at least we attend in RMD,
this _suspended _nowhere _place

but I can't really understand the way you judged the song in Bushkill,
that show wasn't amazing,

but why reminding of Towson?
Why be doubting?
Why compare?
Why don't enjoy?
Why always complain?
This doesn't have to be a work,
a pleasure I'd say.

The song was special,
no questions at all,
I don't get the idea of mixing Towson and New Orleans,

it was Bushkill,

just relax and listen what the man gives to us,

and I don't mean never analyze,

but we are not self-ordained professors,
aren't we?

thanks to my brothers in Bob,
Stefano (and we honoured our blood-promise), Matt & Tina who were there
with me

Take care all

Michele l'Ulysse 

[TOP]

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