Reviews

Wantagh, New York

Nikon At Jones Beach Theater
Arena

June 29, 2007

[Eamonn Flynn], [Howard Weiner], [Andrew Franklin], [Vinny Moran], [Mike Skliar],
[Scott Kareff ], [Brian J. Slattery], [Len Tessler], [Steve Goldberg], [Don Ely]

Getting to see Bob perform once a tour is a treat. Seeing him play twice
in a week is a gift. Seeing him a third time, especially after thinking
I wouldn’t be able to attend the concert, is a blessing. And still, it
is not enough. Yet each show is something. And with Bob in such fine
form, each show is something special. In my reviews of the Atlantic
City shows, I did my best not to turn them into comparison pieces, and I
will do the same here. When seeing several shows virtually back to back,
it can be a difficult task. I think it is only natural to compare one
show to the next. What songs were repeated and which performance was
better becomes the bill of fare, and I want to avoid that here. You can
compare set lists if you like. I simply will try to give my thoughts
about the concert which I, through a simple twist of fate, was blessed to
see Friday night at Jones Beach. I would be remiss if I didn’t take a
minute to thank my friend and fellow Bobster Walter for making sure I got
to the show. It’s not every day Bob hits town, and I would have been
angry at myself if I missed the opportunity to see him so close to home.
Thanks again, Walter. We arrived during the opening act and sat outside
chatting with fellow Bobsters Lee, Nina, Charlie, and Renardo. The only
person missing on the scene was Amanda, but Lee and Renardo ran into
her before the show; so all the NYC Meet-up Bobsters who were at the
show were present and accounted for tonight. Once we took our seats,
we didn’t have long to wait and soon were up on our feet as Hoe Down
blared through the sound system. Bob took to the stage wearing his
usual black suit and cowboy hat, strapping on a guitar,--something we
are glad he is doing again--and rocking into Cat’s in the Well. Don’t Think
Twice, It’s All Right followed and was amazing. Just Like Tom Thumb’s
Blues was bluesy and amazing, and Bob got a loud cheer when he hit
the “New York City” line. And what can be said about the revamped It’s
Alright, Ma (I’m Only Bleeding)? Do ‘forceful,’ ‘driving,’ ‘powerful’ really
come close to describing it? Does calling it ‘epic’ do it justice? Can any
words fully express the way Bob seems to recapture this song, harkening
back to the original, or is it simply ineffable? Perhaps there is no sense in
trying. You simply have to listen and take it all in as best you can. I imagine
that is true of all his songs, which would render any further words on
the subject pointless. However, I think part of the experience of
seeing Bob perform live or even listening to his albums is to try to
understand what you are seeing and hearing. Therefore, lucky readers, I
will share a few more thoughts and observations. Bob did the first four
songs on guitar (he really seemed to have fun with it), and then he took
up his position behind the keyboard, where the energy changed but did not
dissipate. Bob’s voice was strong throughout, and the band’ s
playing was tight. Walter and I puzzled over ’Til I Fell In Love With
You. While well played, it isn’t a song that packs any real punch. It
was enjoyable but not moving or powerful like most of the other songs
this evening. The same should not, cannot, will not be said about the
next song. Before I could catch what the band was playing, Walter said
one word, seven letters long, and I listened to him, then to the band,
realized he was right, and did nothing to fight the ear-to-ear grin that
took up residence on my face. That word was ‘visions.’ And he was
right. After a great intro, Bob started singing what is probably my
favorite Dylan song. If the show, or my life for that matter, ended at
that moment, I believe I would have left or died a happy man. Grateful
that neither occurred, I spent a few minutes after Visions of Johanna
marveling at its beauty and Bob’s amazing rendition of a much-loved
song. I had barely caught my breath while rolling and tumbling along,
when Bob started a touching, moving, emotive Shelter from the Storm. The
harmonica heightened the intensity and beauty and the reworked phrasing
turned this song into something not only masterful but also new. Spirit
On the Water and Nettie Moore were both crowd pleasers, with people
shouting ‘NO!’ when Bob sang “you think I’m over the hill” and
loud cheers when Bob said “they say whiskey’ ll kill you, but I
don’t think it will.” For some reason that line gets a rousing
round of applause, which is interesting since the rest of the song
usually gets rapt attention and reverent silence. Also interesting is
seeing the crowd reaction to certain songs. The college-aged fans
seemed to react most to Modern Times material. Even for the slow numbers
from this modern masterpiece, these younger fans were on their feet,
swaying to the music. It’s good to see how Bob reaches across the
generations. For the set closer, he reached back across the years and gave
us Blowin’ in the Wind, a song that has never and will never lose its
relevance. And besides that, he sang it well, his voice strong and
powerful throughout. As the big, fat, and yellow moon shone like a spoon
behind the stage, Bob and the Boys strode off in darkness to return a few
minutes later to thunderous applause as the Eye was unfurled and they
launched into Thunder On the Mountain and finally All Along the
Watchtower. It seems that Bob is looking for his voice on Thunder, as
if he is trying to find the best way to perform this great song live. For
me, tonight’s take was competent and good but not inspired and great.
The way he delivered the lines took away a bit from the melody. At least
that’s how I took it. It still was a rollicking good time. And while
I wouldn’t be upset if he switched out Watchtower once in a while, his
recent performances of this one have been amazing; so it was with a smile
and a sigh I clapped and cheered for Bob as he stepped to the front of the
stage after it and pointed to the crowd, taking in the adulation. I
smiled because it had been two hours of amazing music. I sighed because
it had come to an end. Despite the loud cheers and applause, Bob and the
Boys left the stage and were probably on the bus and on their way to
another joint before the lights came up. As we went back to New York
City, I didn’t believe I had had enough, but I knew I had just seen an
amazing performance by a man who still has the ability to move a crowd
with a simple gesture or nod, turn of phrase, and a voice that sings songs
of beauty, truth, and wonder. It is really no wonder how this man still
fills concert halls and stadiums. Thanks, Bob, for giving us yet one more
example of why and how you are the best. If you get the chance to see Bob
this tour, take it. You will neither regret it nor soon forget it.

If you have any comments or just like to talk ‘Bob,’ get in touch with
me at _dylanfan522@aol.com_ (mailto:dylanfan522@aol.com).

Keep On Keepin’ On
Brian J. Slattery

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Review by Len Tessler



This is the 7th Dylan show i have seen post-9/11, 1 in Florida, 2 in San Diego, 
and New York  shows at Beacon, Nassau Coliseum, City Center and Jones Beach. 
Friday  nights show definitely had a mellower groove to the show... yes the 
crowd was more a sit down and listen than a rock me all night crowd, but
maybe Bob sensed that ( or remembered Jones Beach appearances past--- like
in 1991 when the crowd slowly walked out on him, or in 1993 when he 
played after Santana well past midnight, and the crowd was just flat out 
tired) In any case, the adjustments to his setlist tonight , I felt, were
perfect.  Songs like Don't Think Twice, Shelter From the Storm, Visions
of Johanna,Moonlight, Nettie Moore and Blowin in the Wind were all

re-worked into a comfortable groove, and all allowed Bob to actually sing
to his audience.  His vocals were as clear as I can EVER ( big statement)
remember seeing live, his enunciation at certain points ( like Nettie's I
loved you then/and ever shall/but there's no one left to tell) was almost
piercing to the listener, as the 66 year old rocker made sure the
darkening world was a picture painted clearly. His band is continues to
excel, never really having an off night... the re-introduction of the
violins and lap steel guitar also added a mood to his performance beyond
rocking.... something that was clearly missing at gigs like last fall's at
Nassau. Cat's in the Well got the crowd juiced early, and a fun rendition
of Things Have Changed, along with the standard ( and sorry, but at this
point over-utilized) Highway 61, and new rocker Thunder gave the crowd
their chances to dance away, but on a gorgeous, breezy, clear night along
the ocean's edge, this was a show that had more feeling depth and thought
provocation than I have seen Bob do in years, and in a word, it was flat
out wonderful

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Review by Steve Goldberg



Beautiful cool night, looked like a full moon and Bob was up "way past the
dawn". Visions of Johanna was by far the highlight of an otherwise boring
concert. His voice was clear and upfront with no upsinging, always a key
point  for me. I think the main problem was the setlist. Too many slow
songs, including a very slow, almost unrecognizable Shelter From The Storm. 
I don't think even Jerry Garcia could have played it that slow. The uptempo 
numbers were mostly just basic blues rifts. This band might be tight and
professional but they  certainly lack imagination. And a sad commentary on
the Long island music scene, where as Bob used to sell out Jones Beach, I
don't think it was even half full  last night.

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Review by Don Ely



I was proud of myself for having successfully negotiated the freeways during 
my second - ever driving experience in Big Bad New York City. This may seem 
trivial to the natives, but seeing all that yellow on the map, with all those cities 
and all those expressways is a bit intimidating to a visitor behind the wheel. I 
want to face my fears, however, and get to know this astonishing metropolis 
better, so it was with that in mind that I chose Jones Beach as the first of 
three shows on Bobtrip Summer 2007. I decided upon what I would term 
the " southern " approach to Long Island: take the New Jersey Turnpike to 
I - 280 across Staten Island and pick up the Belt Parkway along the lower 
edge of Brooklyn. I don't recall what I was listening to at the time, but as I 
zipped past Coney Island it was Ramones songs I had going through my 
mind's stereo. Rock - Rock - Rockaway Beach!!! The Southern Parkway was 
busy but traffic flowed with the ease of the trapeze, and I was at my hotel 
in Hicksville by 2:30. Plenty of time before the show to look up John 
Coltrane in nearby Farmingdale, and as it was 4:30 when I pulled into Jones
 Beach, I had plenty of time to look around there, too.
 
Getting to Nikon at Jones Beach was as facile as the rest of my day; the 
Wantagh Parkway empties right into Jones Beach State Park, and the venue 
is located within. Luckily they'd stopped charging an admission to the park by 
the time I'd arrived, and if it was busy earlier in the day, most people had 
vacated the beach as I pounded the boardwalk. I could still get an idea of 
what it's like to live oceanside on the east coast; the moist sea breeze 
tempted me to drive to the Jersey Shore, but that's for another Bobtrip. 
Or maybe a Brucetrip! As empty as the beach was now, it would surely be 
teeming with folks over the weekend. I walked back to where the theater 
is situated and whiled away the time before we were allowed inside. Not 
just an ordinary shed, Nikon at Jones Beach is an attractive structure that 
sits right on the water, and I snapped photos as is my custom. A guy and 
his wife took notice of the Delmark Records t - shirt I was wearing so we 
talked blues and rock 'n' roll for awhile, and I listened with amusement to 
his tales of Manhattan in the 60's and 70's.
 
Eventually they let people into the venue ( but not the seating area - that 
was another 45 minutes or so ).  The concourse was clean and appealing, 
but they could stand adding a little variety to their menu options, and they 
served no beer ( awwwww!! ). So I stood around killing time eating a 
cheeseburger and drinking a $6 lemonade while listening to a chanteuse 
singing and playing electric keyboard. Finally they let us take our seats. 
Mine was not as close as I thought it was based on the chart, but the 
setting was so beautiful I wasn't disappointed. As I mentioned the stage 
juts into the water, and the audience looks upon the inlet as swallows flit 
over and above the shimmering surface. A few small boats dot the water, 
and the entire picture is even prettier after dark. After last summer's 
ballpark tour I was disappointed to find Jimmie Vaughan and the 
Tilt - A - Whirl Band as this summer's opener, but tonight at least Jimmie 
and the boys and girl played a good first set of the evening. They do seem 
to favor Slim Harpo songs, this time performing Slim's hit for Excello, " Baby 
Scratch My Back ". After a short intermission Bob Dylan and His Band took 
the stage! Thankfully they opened with the only " Cat's In The Well " of 
the three shows I attended. It was during the second selection, a fine " 
Don't Think Twice, It's All Right ", that the realization of Bob playing guitar 
hit me. He's certainly not the greatest axeman ever to walk the earth, but
it's a damn fine sight to see him hold a guitar again! " Just Like Tom Thumb's 
Blues " is a favorite o' mine and I'm always happy to see it included. Next 
followed an improved " It's Alright Ma, Im Only Bleeding " in a new 
arrangement that's less ominous and menacing and almost lilting, due in 
large part to Donnie Herron's fiddle. This song had been overplayed for 
awhile, but now exudes renewed vigor. The tempo changed as Bob 
shifted behind the keyboard for " 'Til I Fell In Love With You ", and then 
the return of " Moonlight " . Nice to hear this one again, but Fargo 
8/23/02 is the version that will be forever emblazoned in my mind.
 
I seem to be the fortunate son who receives " Visions Of Johanna " more 
often than I have a right to ( tonight's makes six ). This one contained 
more instrumental accompaniment than usual, positively boisterous by 
comparison. Tonight I got my first " Rollin' And Tumblin' ", and it was 
enjoyable, though I believe outshined by the album track. To me there's 
a noticable difference in the Modern Times material between last fall and 
now; I think the novelty has worn off somewhat for Bob as the band isn't 
taking as much care with those songs. " Nettie Moore " was performed well. 
I'm sure, though, that when Bob debuts " Ain't Talkin' " for an American 
audience ( nudge, nudge, wink, wink ) it will be stellar! The song that made 
my night was " Shelter From The Storm ", a personal first - timer that made 
my 50th Bob Dylan show extra special. Whereas " Johanna " was " noisy ", 
this is the song that was slowed down to sparse instrumentation, delivered 
in almost hushed tones ( as hushed as Bob can get ). A beautiful song on a 
beautiful night amidst a strong performance, and I let myself be taken away 
by it all. Bob Dylan and His Band do it yet again.
 
I got on to Long Island without any snags, but that meant I had to get off! 
Hungry for more of the Big Bad City, my confidence high, I took the 
Southern Parkway to the Cross Island Parkway, entered The Bronx via the 
Throgs Neck Bridge, then up the Bruckner Expressway exit at Baychester 
Avenue to 233rd Street. There, at Jerome Avenue is Woodlawn Cemetery, 
where I spent a sunny afternoon visiting with Miles Davis, Duke Ellington, 
Illinois Jacquet, King Oliver, and W. C. Handy. So much music, and only an 
eternity to savor it all!

Don Ely
Rochester, MI
kingsnake78@hotmail.com

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