Reviews

Dylan Re-Invents Himself Again

Last night was almost the Dylan concert that wasn't. I left my home around 4 PM,
with an hour to spare according to Mapquest. It was a two-hour drive from 
Hartsdale in southern Westchester County, and when I hit the road, there was a 
torrential downpour.

Why does it always seem to rain when I drive to Dylan concerts?

Anyway, when I reached Central Avenue near my home, there was about six 
inches of water swirling around the right lane of the road. I didn't think much of 
it, just a minor inconvenience. I got to 287, the Cross-Westchester Expressway, 
and the traffic was moving slowly. Another minor problem. After all, I had plenty 
of time to spare.

As I reached Exit 6, I looked ahead, and the traffic had totally stopped ahead of 
me. Oh, oh. Deciding that discretion was the better part of valor, I decided to 
get off the road and head to I-95 via an alternate route, Mamaroneck Avenue in 
White Plains. Not to belabor the matter, I had to make two other detours 
because of fallen trees and was plagued by non-working traffic lights and other 
road hazards. By the time I finally got to I-95, I decided to turn on the traffic 
and weather reports on WCBS radio. The announcer said that the Cross-Westchester 
Expressway should be avoided at all costs because there was two feet of water at 
Exit 8 in White Plains; all the lanes were closed; and it had turned into a parking lot.

I realized that if I hadn't gotten off the road at Exit 6, I would still be there, and I 
would have missed the concert.

Well, as they say, pride goeth before a fall. Or as Dylan says, "People call, say 
beware doll, you'll finally fall, you thought they were all, kidding you."

After about ten minutes of cruising, I saw a sign saying that traffic was backed up 
for 17 miles, until Exit 24. Anyway, you get the idea. Let's just note I reached 
Mohegan Sun around 7:45 PM, entirely missed the first act, but got to the arena 
about ten minutes before Dylan got on stage.

The Lord's timing.

And Mr. Dylan had a few surprises for me, too. Perhaps, I should note I've come 
to expect surprises from Bob. He is continually refining his act so by the time he 
comes around again to the East Coast in his "never-ending tour," it is an almost 
completely different act.

I was shocked, shocked, when he came out on stage playing the electric guitar. 
After several years on the keyboards, I thought he had completely retired from 
using the instrument. And with some regret. I always thought Bob played a 
pretty good guitar, and his efforts on the keyboards always seemed to be 
drowned out by the rest of the band.

So, Bob was very versatile last night. He played several songs on the guitar, went 
back to the keyboards, and then, as usual, played several piercing accompaniments
on the harmonica as well.

Now, any veteran of Dylan concerts knows that Bob doesn't just repeat his songs 
as they appear on the albums. He's always changing the arrangements so sometimes 
all you recognize is the lyrics, as they are set to an entirely different, but usually 
appropriate, melody, with just a hint of the original tune.

Of course, Bob would use this strategy on his well-known songs. He usually played 
the newer songs from Under the Red Sky, Time Out of Mind, and the latest album, 
Modern Times, straight up. After all, it was too much to ask the audience to 
re-interpret them, too, since people weren't as familiar with them. Well, last night, 
Bob varied everything.

He started with "Cat's In The Well," on the electric guitar as mentioned previously, 
and blew through three other songs including a fantastic, "It's Alright, Ma (I'm 
Only Bleeding)." You could tell it was a good audience when they gave an early 
hail of approval upon recognizing his second song, "Don't Think Twice, It's All Right." 
I was at a previous concert at Mohegan Sun where people just sat on their hands 
for the entire concert. Not last night.

Typically, at almost every Dylan concert in the past few years, Dylan seems to have 
changed his act, dropping his disdain for the audience and really giving 110 percent 
for an excellent show. These days, the audience is always buzzing by the time the 
concert comes to an end.

Anyway, there always seems to come a point when Dylan totally enthralls the 
audience, and they stay rapt for the rest of the concert.

He began to do it with a beautiful rendition of "Ramona," a melodic piece not 
often played at concerts. But last night it came a little later than usual, when he 
played "Just Like a Woman." Dylan delayed the key refrain, "just like a woman," 
and sang it a syncopated half-beat late. But meanwhile, the audience sang it early, 
where it should normally be. By the end of the song, the entire audience was 
participating, and Dylan was nodding us along, playing conductor. So, we'd all sing 
"just like a woman," and while we were singing it, Dylan came in a few beats late. 
It was the best audience participation I've ever seen at a Dylan concert.

The rest of the concert took off from there. Dylan sang a classic "Highway 61 
Revisited," and he seemed to have become energized by the audience's reaction. 
His piercing twang was in full voice, and there was not a hint of any hoarseness. 
It was the old Dylan of the 60s. "Ballad of a Thin Man" followed in an excellent 
re-arrangement, and when "Summer Days" finally came around, I assumed it was 
the end of the concert. Dylan typically ends with this song, but he threw yet 
another curveball last night. He didn't leave the stage this time and followed with 
"Blowin' in the Wind." I haven't heard him play this song for many years, since his 
last concert at Madison Square Garden, when he had still been playing electric 
guitar. I don't think I have to go into the significance of this regarding the war in 
Iraq.

Dylan is relevant and standing up to comment on our society again. As if he ever 
lost relevance. At the end of the song, the audience exploded. Then, the job 
complete, the band left the stage. People howled, stamped their feet, and there 
was general mayhem. In a 21st century twist, instead of holding up lit matches or 
lighters for an encore, as they did when Dylan provided social commentary during 
the 60s, people held up the lights in their cell phones instead.

Need I say more? The encore went by in a blur, and there were no further
incidents as I pondered the concert on my way home.

Unbelievable!  Bob is in excellent form.  He leads this band with a
look, a tip of his hat or a wave of his hand and they respond.  The
Larry Campbell band may have looked better, but these guys are rockin'
out!   They are so tight.  Gone are the days when it took 4 bars of music
to figure out what the song was.  Highlights for me:  Moonlight, Til I
Fell, Just like a Woman***, Spirit and Blowin' in the Wind and a rocking
Thunder.  We got 17 instead of 16 in an unusual setlist.   Bob's
articulate phrasing and bouncing behind his keyboard made for a very
special night.  I'm a little hoarse from shouting WOOT! all night.

Thanks, Bob and the Band!

Why go see Bob Dylan two nights in a row? Well to hear more than a dozen
different songs than you heard the night before - each one of them packed
with little surprises, twists and evolutions that make the Dylan songbook
the marvelous organic thing it is in live shows.

Wednesday at the Mohegan Sun Arena in Uncasville, Conn., the band wore
matching silvery suits and little fedoras compared to the matching tan
suits and cowboy hats of the night before at the Pines Theatre in Look
Park, just outside of Northampton, Mass.

That didn't make this the city mouse show more than yesterday was the
country mouse show. But there were contrasts between the two performances
- and only two songs in common aside from the two encore songs.

"Cat's in the Well" returned to the opening song, where it's been most of
the last year. A lovely acoustic based "Don't Think Twice, It's All Right"
followed, the first of two "Alright" songs in the set that would include
the current tour standard "It's Alright, Ma (I'm Only Bleeding)" just two
songs later (apparently missing the "president has to stand naked" line
that went over so well the night before - or did I just miss it?).

It was an odd crowd, compared to the laid back laissiez faire of the
night before, with some fans sitting, some lounging and some boogying at
will. Never do I recall a Dylan show where everyone was sitting from
virtually the beginning to end. Are we that old? Has it come to this? And
that's despite the insistence and verve of most of the set.

"Just Like Tom Thumb's Blues," "To Ramona," "Ballad of a Thin Man" and
"Stuck Inside of Mobile with the Memphis Blues Again" were all wonderful
to hear, each packing just a trace of the riffs and main melodies that
made them distinguished musically as they were lyrically.

But a couple of songs were performed quite like the original recordings,
almost astonishingly so from a guy from whom rearrangement has been his
performance byword. "Just Like a Woman" had the lilting opening phrase in
such good form, the crowd actually sang along to the chorus, with a swell
of voices subtly singing "Just Like a Woman" as Dylan spat a terse "Just
like a woman" with a phrasing just as distinct  -- it was a nice blend of
both worlds.

"Blowin' in the Wind," as odd a main set stopper as you can hear (coming
after the more practical pizzazz of "Summer Days"), also retained its
structure such that fans could hum along mentally if not sing along
physically to the tune.

The newer tunes, of course, had evolved least of all, so it was great to
hear "Rollin' and Tumblin," "Moonlight," and "Til I Fell in Love with You"
all back to back and later in the set, the lilting "Spirit on the Water"
with its rhetorical questions about being over the hill, showing him what
you got and having a whomping good time.

Which was had by all.

Opening act Jimmy Vaughan was a welcome change from the night before -
almost a worthy tradeoff for the lack of outdoors, fresh air and nature.
The stinging guitarist and roadhouse hero was far better than the morose
and derivative warblings of one Sarabeth Tucek on Tuesday, the worst Dylan
opener I'd heard since the metalloid version of Mercury Rev bounded off
the walls of Woolsey Hall in Yale in the 1991.

Artists of the finest caliber would clamber to open for Dylan for the
honor, never mind the money. So there's no reason for sub par performers.

Vaughan, who also opened many shows last summer, brought a passel of
fine roadhouse tunes, the sassy singer Lou Ann Barton, and a
surprisingly accurate weather report from his homeland: "Texas Flood."

Being only 16 years old, I have not seen as many shows as most of the
members on here have (last night's was only my 5th). However, I have come
to expect certain things at Dylan concerts. For instance, if Bob cannot
find his groove in the first couple of songs, then both the band and the
performance will suffer. Luckily, I have only seen one show close to this,
but even that show was a pretty good show. On the other hand, if Bob is in
a good mood, you're in for a night of magic. I have almost always seen
this side of him, and last night was the greatest instance of this I've
ever seen.

My dad and I arrived at around 6:30 and picked up some free (!) tickets
from a close family friend who works at the casino (we've been lucky
enough to see Ringo this way twice in the past four years). The only
problem was that he could not get them together, so we were in two
different seats. My father, being the nice guy he is (and being the guy
who's seen him at least 18 or so times), gives me the closer seat. Turns
out I'm down on the floor, no less than 15-20 feet from the stage! Jimmie
Vaughan put on a very good opening act, albeit similar to the one he
performed at McCoy Stadium last year. He's obviously insanely talented,
and he's got a very tight band behind him.

That old fimilar circus music started playing a little bit after eight,
and everyone picked up on it immediately (although I must admit I was
enjoying the "All Things Must Pass" CD playing beforehand). Bob was decked
out in a nice black suit and a white cowboy hat, and the band looked sharp
as well. They opened up somewhat familiarly with "Cat's in the Well," but
it was special to see Bob back on the guitar. Obviously, I was expecting
it after reading some reviews on here, but after not seeing it since 2002,
it was something I had to see to believe. "Cat's" is a great tune, but
there was still something different that I couldn't put my finger on. Bob
was bopping and dancing around almost from the first note, even ripping
out a pretty darn good solo. When he turned around to Donnie and they both
gave the biggest grin I had ever seen out of either of them, I knew it.
The opening tune was familiar, but we were in for a fucking AWESOME show.

From the opening chords, everyone seemed to recognize "Don't Think Twice."
This new arrangement is closer to the original than past ones, and Bob
sang every word with just as much meaning as the original recording. I was
glad to see all reports of his voice being stronger being completely true.
I literally jumped out of my seat at the first two notes of "Tom Thumb."
It was the only tune I didn't recognize last summer at McCoy, so after I
figured out what it was, I listened to it a bunch of times to make sure I
would know it in the future. It is now one of my favorite Dylan songs of
all time, for various different reasons, and the performance tonight was
blistering. It was already a different arrangement than last summer, and I
was glad to see so many people knew the words down on the floor.

I haven't seen "It's Alright, Ma" since 2004 at the URI Ryan Center, so it
was a great treat tonight. The arrangement is musically similar to the
last time I saw it, but the vocal delivery is a bit different, and that's
for the better. The man still knows how to deliver the best lyrics he's
ever written, and of course, everyone cheered at the president line. I was
surprised to hear "Ramona" next. I did not know he had been playing this
at recent shows! The performance was beautiful, and at the conclusion, Bob
inevitably left the guitar for his keyboard.

"Rollin' and Tumblin'" is by no means my favorite song off "Modern Times,"
but it really is a great rocker in the live setting. A lot of people were
dancing and tapping their feet, although I was surprised no one else
cheered at my favorite line ("This woman's so crazy, I swear I ain't gonna
touch another one for years"). "Moonlight" was next, and I do love this
stunning new arrangement. It's a little less jazzier than the album
version, but it's still very relaxing. I enjoyed the very prominent "WON'T
you...MEET me" in the choruses. "'Til I Fell In Love With You" was
unfortunately the only song off "Time Out of Mind" played, but if they had
to pick one, I'm glad they picked this one. It was so funky, I swear I saw
the usually still Denny moving around.

"Just Like A Woman" was one of the highlights at McCoy last summer, and it
was even more so tonight. I'm glad that certain songs like these have
become easier to spot in the opening bars. Bob sang the verses
beautifully. The chorus was once again prolonged for the audience to sing
along. The first time around, only a few people sang, but gradually, more
people joined for each one. By the end of the second chorus, you could
swear the whole arena was singing along. I was given more reassurance
when, during the second chorus, Bob literally pointed at all of us and put
on a really cheesy grin right before we sang. I literally exclaimed to the
guy next to me, "He's playing with us! He's messing with us!" It was the
single greatest moment of the night. By the end of the song, everyone was
on their feet, applauding as loud as possible. Bob and the band wasted no
time in busting out the best performance of "Highway 61" I've ever seen,
and he's played it at every show I've seen, save 2004 at the Ryan Center.

Honestly, he could have ended the show right there and I wouldn't have
minded. But thankfully, he kept going, and we got more surprises. The
opening minor of the chords sounded like "Ballad of a Thin Man," but I
thought to myself, "No, we can't be THAT lucky!" Needless to say, we WERE
that lucky. It was the first "Thin Man" I've ever seen, and it was
absolutely great, for lack of a better word. I really enjoyed the phrasing
in the verses. It didn't stop there. We got thrown another one out of left
field, and we got only the second "Stuck Inside of Mobile" from this leg
of the tour. Once again, it was the first performance of the song.

Things slowed down a little bit with "Spirit on the Water," one of my
favorite songs from the new album. I hate to sound like a broken record,
but everyone is completely right. His voice just sounds completely
awesome. He hit every phrase, lyric, melodic lick, everything! It was the
calm before the storm that is "Summer Days." I know some people don't care
too much for this one, but I've always liked it a lot, and a lot of people
got up to dance again. I will admit, it was a lot better when he had
Charlie and Larry jamming with him on it, but it's still a great rocker. I
expected him to walk off after this one, as it usually signals the end of
the first set, but he must have really liked us tonight because we got one
more! With the chord changes and 3/4 time signature, I thought we were
gonna get "The Times They Are A-Changin'," but it surprisingly turned out
to be that OTHER popular 1960's protest song. I hadn't seen "Blowin' in
the Wind" since 2002, and I really dug this new arrangement. With that,
the band retired for a brief 10 minute encore.

During the encore, I talked with all the people around me, who were also
glowing at how great the show was to this point. I joked with the guy in
back of me maybe we'd get a rarity for the encore like "Buckets of Rain"
(he called me "fucking crazy"), but I knew we would be getting "Thunder on
the Mountain" and "Watchtower." Even though I was right, I didn't mind.
"Thunder" is a fucking powerhouse live, and it was only made cooler by the
unveiling of the Modern Times backdrop. Not a single person on the floor
was sitting for these two songs. "Watchtower" was a little different from
recent years, with more whispered vocals. I can't say I enjoyed it as much
as recent times, but it's still obviously a great song. The band took
their bows, and despite the numerous "ONE MORE SONG" chants, they left the
stage for the night.

Meeting up with my dad afterwards, he agreed it was one of the best times
he had seen him in recent years. It was undoubtedly the best I have ever
seen him, and I can only hope he will be half this good the next time I
see him. The band cannot go unmentioned. Everyone was having a great
night. Donnie is a great multi-instrumentalist, and George is a kickass
drummer. Denny had a couple noticable slips, but for the most part, he
delivered some great solos and clearly knows these songs. Stu is a very
agile rhythm guitarist, and Tony is, well, Tony. Nothing to say about this
great bassist that hasn't been said already. In conclusion, great setlist,
great performance, great crowd. Look forward to the next one, Bob!

What’s the matter with me I don’t have much to say, but I gotta keep the
streak alive. I’ve written a review after every show I’ve seen over the
past 25 months, I can’t stop now. How bout that show in Florence Mass.
the prior night? Now that was a show. I came into this affair at the
Mohegan Sun thinking Dylan would play another creative show or we’d at
least catch a couple of surprises. But it wasn’t one or the other, and
it was neither of the two.

I bought the ticket and I took the ride. Actually, we got comped
tickets last night so I shouldn’t complain. I had a grand time and
enjoyed a well performed cookie cutter show. Dylan’s fifth song on
electric guitar was a fine offering of To Ramona which was much
better on guitar than keyboards. Just like a Woman was a solid
highlight. The chorus has become an amusing audience participation
sing-along. On cue, the crowd sings just like a woman in time to
the melody, than three weeks later Dylan blurts out the words in a
charming off key growl. Dylan wrapped it up with a marvelous harp
solo. That was some quality entertainment

The new arrangement of Moonlight is engaging. Dylan’s vocals were
sublime, although Denny’s guitar solos weren’t as smoking as they
were a few nights earlier at the Borgata. After this tune I went to
purchase a beer and was denied because I didn’t have ID. I thought
we were on an Indian Reservation. I’m 43, though I do look a tad
young for my age. Ballad of a Thin Man was excellent. The parade of
typical songs persisted, and Dylan remembered to introduce the
Cowboy Band before Watchtower.

I went to this show with the man who was responsible for turning me
on to Dylan. He desired to see Spirit on the Water. I tried
explaining to him that it sounds great on Modern Times, but is a
huge flop live. Well, he was all excited when Spirit was introduced
as the 13th song. After three minutes he was begging Dylan to stop.
As someone who has had to endure seeing this number seven times, I
thought it was his best version. And I’d love for it to be my last.

There was no Nettie Moore last night. Oh how we missed you Nettie
Moore – something to look forward to at my next show. Prediction,
Jones Beach and Bethel will be phenomenal concerts. Dylan seemed to
be looking past the Mohegan Sun, withholding his best stuff for his
most rabid fan base, the good people of New York State. Outside of
the lean set list, Dylan was in fine form. All in all, it was a
great night. We jammed out to tunes before and after the show in our
hotel, got liquored-up on Kettle One martinis and six packs of Dos
Equis, and we won some money gambling. It’s a helluva way to spend
another summer day and summer night.

Howard Weiner

If from this set the best I had to choose
It¹s To Ramona and Just Like Tom Thumb¹s Blues
But wait, there¹s a 15th song in store
Blowin¹ In the Wind echoes before this night¹s encore.

Then the ³Eye² rolls down and ³Thunder² roars
From both inside the arena and outside the doors.
My first trip to a Casino to watch a Dylan show
The glitz & glitter and lights all aglow.
One¹s senses are attacked from each and every angle
The lure of riches from the slot machines dangle
Just outside this 10,000 seat arena
Winners and losers in the bars and cantina.

One more highlight to comment on
Just Like a Woman was more like a sing-along.
Bob encouraged this audience participation
With his hand gestures and voice inflection.

How was the show?  Was it the best?
Was Bob on target along with the rest?
There are no answers to questions like these.
I left my 11th show content and pleased.

I'm not going to go into all that  crap about how I was late for the show
coming down from Central Mass., and the hysterical women in the red van
screaming at me, when THEY were the ones cuttng ME off in the parking
garage ... But the casino concert-going  experience did add a unique
dimension, what with the acres of glowing, purring gambling machines and
gaming tables; and the climate-controlled, nicotine-infused air
juxtaposed with huge Native American-themed canvases and  woodwork. Oh
yeah, the show. For me, it was the oft-panned  "Highway 61 Revisted'' that
confirmed the worth of coming back to see this guy  again and again.
Powered by Dylan's searing keyboards and Recelli's hammer-bolt  drums,
"61" was utter, glorious chaos. The aural abandon was modulated by 
Dylan's almost-spoken, articulate vocal. The icon still rocks. Which
segues into an exegesis of the show; one of well-paced peaks and valleys.
 The much-vaunted "Rollin' and Tumblin''' was a repetitive crowd-killer,
derivative and flat, sending people to the exits for bathroom breaks.
"Till I fell in Love with You" was a  brick-hard shuffle. I don't know
what chords Donnie and Denny or Johnnie and  Kenny were playin', but it
was metal-blues, tough and street-branded. When they jam it's like sheet
metal being slammed down – in melodic fashion. "Just Like a Woman" was
the crowd-pleaser, delivered with an instrumental intro as if it were
lifted off  Blonde on Blonde. I think the young woman security guard
watching our section  like a hawk was dabbing her eyes with emotion, but
maybe she had a contact lens problem. Dylan paused behind every chorus on
the song – letting the crowd sing it before he  followed with the
words. "Spirit on the Water" brought carnival organ from Dylan and a
sing-songy approach that had the crowd clapping along. By now there was a
smattering of the crowd standing and – gasp! - dancing  along with the
guy who has aligned himself with the dancingnest fans in the  world –
Deadheads. Bobby played keys in his splay-legged, swaying style. Could it
have been yesterday that he performed solo on a battered acoustic in
Greenwich Village? 

Yes, "Blowin' in the Wind" still  resonates in current events with its
echoes of pain and suffering. Like a lilting psalm or prayer, it drew a
raucous cheer at the line: "How many deaths will it take till he knows
that too many people have died?" In the interest of total disclosure,  I
have a confession to make: I didn't stay for the encores.  Something about
a parking garage  scene envisioned as akin to the "Talking Bear Mountain
Picnic Massacre Blues,''  something about fear of the state police, and
somethin' about getting home to  the 1- and 3-year-olds.  Let's just say
I'm glad he's on the road, headin' for another joint, 'cause they'll
never be another like  him. 

I really enjoyed Cat's and Don't Think Twice was also very good - I'd say
sweet but wouldn't want that to be taken as sweet like pansy and getting
beaten up at recess - same with sentimental or sensitive - now It's
Alright Ma and of course it is right in the pocket as Bob glared in his
Bob-way at all the bottom feeders and intrepid people at this cesspool -
okay now To Ramona ya the writing is on the wall and it is written in
blood and semen (the real virile kind) oh and I love the little squeaks
possibly from Bob or possibly Donny on electric mandolin but ya this one
has a real carnival feel the dark carnival with scary haunted funhouses
where kids make out until their heads are cut off by pre Columbine trench
coat losers (the type that use Marilyn Manson and their opulent lifestyle
(because their parents spoil them rotten and think there is nothing wrong
with that) as an excuse to wreck havoc and that includes buying heavy
artillery and killing their classmates all in the name of no one wants to
eat lunch with me and everyone makes fun of me in gym class) - Rolling and
Tumblin' rarely does this song do much for me - I believe there are one
POSSIBLY two from this tour that really impressed me but this version not
bad but nothing to write home about (not that anyone would read my letters
anyhow) - okay Moonlight probably not a great version and not even a song
in the past that I have had much affinity for and yet the couple of times
Bob has performed it on this tour I have really dug it and this
performance is no exception I love how Moonlight and the other s-l-o-w
numbers from Love and Theft are in some respects like doppelgangers to the
s-l-o-w songs off of Modern Times and perhaps even better songs than those
on Modern Times (as much as I hate/detest saying that) but again better or
worse - good or bad who the heck even has the time to define these terms
it is Bob and he is up there crooning and spitting out these flam (suppose
to be flame but I like flam - HA-HA!) throwing gasoline infused lyrics so
instead of dissecting let's just turn up the sound and get out of town!!!
Till I Fell In Love With you ahhhhhh if this version were on a jukebox in
some dive (reminds me of the time I ate a grilled cheese in this desert
pit stop - it took every penny I had and yet man was it good and I had it
with pickles of course) and you pressed the destined buttons I swear the
juke would start blowing steam like some old western bullet train - days
of Son House and John Lee playing these backwater joints and right when
there's about 4:45 seconds left to go Denny starts playing these hard
slippery dirty grind house chords yes she grinds like a gilded lily God
Bless her - junk piling up taking up space my eyes feel just like they're
falling off Bob's face this is a tremendous vers. and though most wouldn't
think so Bob has most definitely climbed inside this song - taken
residence in fact in this ill advised classic from a lost and begotten
(beguiled) age - you know what I am saying when Bob climbs into a number
wears it like a new suit of soiled but always ready for Church-skin - it
becomes a journey and the organ like a fog light leads us out of hell into
Sterling Heights or Toledo or KC and before the sun goes down if I am
still among the living we're all gonna be Dixie bound (I can already hear
the bugles blowing and my lips smacking from the most lethal of BBQ's) and
the gun shot drums with just about 67 or so seconds left - a gunshot heard
around the world like manholes blowing their top in NY and it ain't the
terrorists this time around (if it ever was) nope this is all due to some
inept Con-Ed workers who couldn't fight their way out of a paper bag even
with a pair of newly sharpened claws/scissors ahhhhhhhhhhhhh now Just Like
A Woman (sung to Mrs. Butterworth or Shirley Temple Black!) melody
swirling around my block of wood/Hebrew helmet of a head and Bob he is
Dion and I am swooning (it is times like this I wish I owned a poodle
skirt) the way he says fog - amphetamines and her pearls ya this is a song
about the Vagina Monologues gone awry - Bob is dying of thirst makes me
think of Van's TB Sheets damn't would someone get this guy/gal a drink of
water!!!!!!! In '94 on Real Live (gotta wonder if this is the reason other
than the Bootleg series they've been hesitant to release another current
live record) during Highway 61 this line "He said come here and step into
the light he says hmm you're right Let me tell the second mother this has
been done" has always stuck in my gut and really made me smile every time
I hear/experience it - the way he says it - delivers it - brings it on
home and Highway 61 from Uncasville revisits this (for me anyhow) don't
get me wrong it still ain't ringing as true as the Real Live vers. but it
did for a few gleaming the sun ain't yellow it's chicken seconds remind me
of that past performance (of course Real Live for the most part was quite
a jumbled mess and like Budokan was such a poor representation of two
tours that were actually quite happening) okay Ballad first I have to say
the band is right there with him and this includes Bob's evil clown organ
twisting and twirling - I love how cotton candy melts in your mouth and
turns your lips blue or pink!!! Well READ - well Known - with 3:17 left
Denny with his guitar finesse but nothing hollow or fake about it nah this
guy understands geeks who can bite the heads off of chickens (feathers and
all) and I see those eyes in someone's pocket and the noses lying on the
ground like apathetic tombstones - something is happening and then he adds
the   here   just a couple of seconds later most definitely talking about
HERE meaning right smack dab in this God awful forsaken casino and now the
harp quieter than his vocal like now he is gonna sneak up on you and scare
the Jesus right out of you as Bob and the band build the momentum to a
creepiness that only the real tuned in can appreciate ahhh and it ends as
it begins no cheese cloth over this version YA!!!!!!! This Stuck Inside
like much of this show is really working me and Denny's guitar (starting
around 3:40) is making my shoulders dance like a camel on the head of an
emancipated dime (Dali eat your own gooey heart out - Bob is kicking
surrealism into overdrive on this realistic warped timepiece romp!!!) and
more of Denny ya he has got it going on - the slot machines are sticking
out their tongues at all the grandma-tourists and Japanese-tourists who
are not there to win a jackpot but in fact just like and perhaps even
appreciate the "special" air infused with oxygen and smoke and all the
shiny blinking lights - oh the way he says price and then crudely growls
twice YES YES YES it is orgasmic in a very virginal Catholic Girl sorta
way and you know they forbid dancing with boys at these sacrilegious
mausoleums and that is why so many of these girls are ready to move their
hips for just about any Johnny-come-lately (please excuse the pun) when
they graduate/are expunged from these Holy Sepulchers - Spirit okay Bing
you sing it I wish Bob would do a musical not something like M&A but
something more like a Garland escapade (minus the pills and fat)!!! Ahhh
yes the way he is putting this out there I love the delivery - the
enunciation - ain't saying he ever walks or coasts through this song but
this particular vers. has more piss and vinegar baked inside of it like
sugar and flour and all things mean and spiteful like a Gingerbread house
made out of cardboard and asbestos. This Summer Days is hopping you know
I'd say it is up there with Cleveland's Honest With Me but let us not
compare B-cups with C-cups. Now the bass is working for me and I discover
myself grooving with this cavernous sound almost like Bob is back in
Hamburg with the boys - get it from the police yes Bob he can encapsulate
a whole entire social event with just one line inferring everything while
in fact delivering no message or opinion and the music yes the music -
even when the band may appear to get lost they come out of it with flying
covers as an American Flag is both raised and burned - the music is very
cubist I see many noses and legs and mouths agape now Picasso can eat out
his own Spaniard bull heart GREAT VERSION!!! Now a Blowing that is bigger
than life - of course the die-hards already knew what song it was but
because of the new almost funky arrangement the less frequent listeners
don't know and even after he started singing many were perplexed but man
does this intro have some real power and then Bob he lays it all to waste
with his sinister Boris Karloff
delivery!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!! !!!!!!!!!!!!!!!! He is just about tossing out Blowing with the
garbage/dirty laundry like it means nothing when obviously these versions
are expressing even more how very much this song means to him because he
knows like Bobby Darin found out if you take a serious song like this and
dress it up people oftentimes (if not all of the time) will pay more
attention and yes the words will get through even if at times it must be
delivered like a coffee enema! And Thunder is most certainly getting more
lived in - in a very positive
way!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!! !!!!!!!!!!!!!!! I am loving his delivery on this more and more as he
begins to have fun with it which makes it open up more and also makes the
band stretch out which makes the song far tighter and per usual WATCHTOWER
IS VERY MUCH THE REAL SCORCHING DEAL!!!