November 12, 2010
Review by Peter Stone Brown
Bob Dylan once said in an interview not too long ago something along the lines
of my stuff is based on mistakes. The Bob Dylan show that rolled into Bethlehem
for his sixth performance at Stabler Arena in 29 years was like any good band
that's been out on the road night after night. They had it down in a show that
was smooth and quick. Even Dylan's few turns on guitar were search and find as
opposed to search and destroy.
Dylan's voice was in reasonably good form and at Stabler there was none of the
staccato playfulness that depending on your point of view either made a song fun
or a disaster that he employed a year ago. Everything was played fairly
straight, and even new arrangements didn't stray all that far from original
versions.
It took Dylan and his band about five songs to get warmed up, though he never
really hit full steam, though at times he came close. The first three songs,
"Leopard Skin Pill-Box Hat," "Don't Think Twice, It's Alright, and "Things Have
Changed" were quick run-throughs. Dylan started to get a bit playful on
reasonably soulful "Just Like A Woman" with the band exceptionally tight and
Charlie Sexton providing some nice Steve Cropper type fills on guitar. Over the
past few years the chorus and turned into a sing-a-long, and typically Dylan
never lets the audience sing their part right, always jumping in on top of them.
While he definitely left a space for the crowd to jump in, in Bethlehem those
who sang weren't all that loud. In fact the audience wasn't loud at all. In
fact, breaking the precedent of every other Bob Dylan review of written on the
Internet, no one around me was talking. No one around me was playing with a
cell phone or some other device. Everyone was watching and listening. This
hasn't happened in more than 30 years.
After a rather incomprehensible "Rollin' And Tumblin" where I could make out
maybe every fourth line, though the band was starting to kick, Dylan went into
the first highlight of the night, "Simple Twist of Fate." This was followed by
powerful "Cold Iron Bounds" which featured some excellent harp playing. Dylan's
harp playing was superb the entire show.
The staging has changed this tour to include images behind Dylan on a huge
screen, where Dylan's shadow would dominate over shadowy images, some almost
recognizable. Images of cities, old buildings mixed with new, the inside of
what looked like a trolley, things that looked familiar, but at the same time
blurred just enough so you couldn't be sure what they were.
"Spirit on the Water" which followed "Cold Irons Bound" brought the energy level
down a notch, just when it was starting to build only to be brought up again on
"Summer Day," where Dylan seemed to enjoying singing the line "Politician's got
on his jogging shoes," with particular relish.
Then came "Tangled Up In Blue." I'd heard this latest arrangement from earlier
shows on this tour, and thought, well better than some not as good as others.
In this case hearing it and seeing it are two different things. Dylan stands at
the mic, with just a harp and the suddenly the master story teller appears.
Everything about the whole presentation was dramatic. However on the "Montague
Street" verse, after he sang "revolution in the air," with both a smile and
gusto, instead of singing, "He started into dealing with slaves," he sang the
beginning line of what should have been the previous verse if he'd sung all the
lyrics, "She lit a burner on the stove and offered me a pipe." Whoops! But in
a crazy way, it was kind of the high point of the night, because he had to find
a way out of it which he sort of did humorously, though I'd have to hear a tape
to hear what lines he sang, which I'm pretty sure weren't in any previous
version of the song. He followed that screw up with another great harp solo,
but whatever happened seemed to open up the cell or whatever, the cartridge in
Dylan's brain where the song lines are kept because all of a sudden on the final
verse out came a line he hasn't sung (as far as I know) since 1984, "Some are
ministers of the trade" and I'm not even sure it was sung where it was supposed
to be sung. It just popped of nowhere. My friend and I instantly looked at
each other with expressions of "What!?"
After a "Highway 61," that featured some pretty good jamming - Dylan can
actually play that organ when he wants to, the story teller returned for
"Workingman's Blues #2" with Dylan starting at the keyboard then moving mid-song
to center stage and another good harp solo. There were times during this song
where Dylan's voice mysteriously lost the huskiness of the past few decades with
lines and notes ringing out clearly. After an okay "Thunder On The Mountain,"
that served to keep the energy going more than anything, Dylan returned to
center stage for a "Ballad of a Thin Man," where he could do no wrong, and with
all his performing skills quite intact seemed to enjoy barking out lines such as
"You're been with the professors and they all like your looks."
Returning for "Jolene," which really doesn't deserve the next to last spot, he
closed with a not bad "Like A Rolling Stone," where somewhere down through the
decades that seem like centuries, he sang it as if he remembered why he wrote
it.
Review by Ken Sherman
Bob has had some great and not so great players over the years. I always
thought the band with Larry Campbell would never be beat. And while the
acoustic guitar aspects of the Campbell band ( my favorite feature) have not
been duplicated, I have to say that this unit seems as tight as any I've
seen play with Bob, and that includes Bob's own playing. I'm not sure if it
is Charlie's, Stu's or someone/thing else's influence, but Bob's guitar
playing and solos, and harp, were as good as any I've heard and seen. His
keyboard playing is too. There was one point tonight, I believe during
Highway 61, when he was doing a percussion thing with the keyboard playing
off of Stu's lead that was quite astounding. Reminded me of Miles /
Coletrane meets the Dead type of thing.
He seemed annoyed with George on drums during Rollin'& Tumblin; but all was
corrected by Cold Irons Bound. Stu continues to impress and almost seems to
be channeling Robbie at certain points. Perhaps, as some have suggested,
all credit is due to Tony who pulls this all together. Personally, I am a
nut for the pedal steel / mandolin playing of Donnie, it gives the slower
numbers such depth. Charlie does a nice job of leading without being
overbearing and everyone seems to know the space they belong in. Maybe it
was just this night, but this band as this moment is about as good as it
gets doing these numbers.
Otherwise I'd concur with many before me. I'd call this set the resentment
/ revenge set. Don't Think Twice to Things Must Change and Bob is on by the
end of the latter. One of the better recent versions of Just Like a Woman
too although I don't care for him letting the crowd do the title in the
chorus. It's better when he blues that up himself. Workingman is so
affecting and is as much a song for its time as any Bob has done. His
delivery live this tour should be on some upcoming Bootleg Series release.
TUIB just seems more alive when he fusses with it. This version does it
justice with its clipped tempo. It can be done too fast sometimes and this
delivery helps get it back under control. The band doing the rocker /
blues is very tight. No fluff anymore.
Certainly part of the experience is hearing certain songs that mean
something to the listener. Bob's voice is always being discussed and
tonight we are fortunate to have his voice and delivery in great form with a
strong and emotive delivery throughout. But to me the story tonight is the
band and the music. There are no routine songs on this night, the unit
works together and is more than the sum of the parts. The old war horses
really shine. Rather than highlights, the whole show is a consistent,
constant high, no matter the song.
Review by Trevor Hinson
It was a smooth, quick 20 minute drive from my home to Lehigh University’s
Stabler Arena in Bethlehem, PA. The Lehigh Valley is known for its
Biblical-sounding towns. Bethlehem, PA is known for its Christmas festivities,
I live in town called Emmaus, and of course there is nearby Nazareth, which is
known for being the site of the Martin Guitar Factory.
We arrived around 7 and checked out the merchandise stands and for a bite, then
took our seats around 7:30. One strange thing about this show was that there
was no pre-show background music. It was just completely silent, which I found
strange. There was also no classical music playing as Dylan and Co. took the
stage.
Bob came on very shortly after 8, wearing his usual black suit with buckles
around the pockets, white stripe down the side of his pants, white hat, black
cowboy boots, pastel-green shirt and Colonel Sanders-esque southern bow tie.
From where I was (front row dead center), the sound for the first 2 songs was a
little harsh and softened as the show progressed. I was hearing a lot of the
sound coming from the stage and not the huge stacks of speakers above the stage.
There were some front fills as well, where Bob’s vocal and harmonica were
blasting out. My only complaint about the sound was that I was hearing Stu’s
amp and monitor, so there were times I could barely hear Charlie, which was
disappointing because I enjoy his playing so much. I think Charlie may have
been aware he was low in the mix, because there were times during the night he
seemed bored.
Another observation about this show was the use of multimedia. I’ve seen Bob
over 50 times and aside from the first show I’ve ever seen (4/13/97 Wayne, NJ)
Bob doesn’t use a video screen. Tonight behind the stage were projected
pictures of city skylines, subway stations, and even some live video of the
performance. There had to be cameras to the side and above the stage. One
thing I noticed was Bob seemed to look up a LOT during the night. Maybe he’s
videotaping all the shows on this tour and he was checking out the cameras.
Another observation about the live video - they had some kind of delay on it, so
it actually looked kind of psychedelic.
I will save the song-by-song reviews for others to write, but I will mention the
highlights - Simple Twist, Tangled and Workingmans.
Bob was playing an extremely tasteful lick on his guitar during Simple Twist,
and got most of the words down. Tangled was a real treat - Bob was sans
instrument and just sang and “acted out” the song. He also sandwiched in
two verses of the song into one. I think it was a flub, but the person standing
next to me said she thinks Bob did it completely intentionally. Who knows, it
was a nice alternative version of one of Bob’s greatest songs and it worked.
Workingmans Blues was the undisputed highlight of the evening. You could FEEL
his emotion in this one, just absolutely perfect. There was a very dramatic
musical and vocal crescendo during the lines “I can live off rice and beans,
some people never worked a day in their lives, don’t know what work even
means.” Worth the price of admission.
Another new aspect I noticed about the music on this tour is that there were 2
or 3 songs where Bob really jammed with the boys, where they broke the song down
to where it was just drums and bass, and allowed Bob plenty of air time to jam
and do licks on his Hammond-B3-sounding organ. Bob was also very melodic on his
guitar and harmonica tonight, and played with a lot of confidence.
One final highlight for me - this show was the first show in many where I could
see the twinkle in his eyes, and it was so reassuring and satisfying to know
that he is alive and well, and performing, as his intro rightly says, “some of
the strongest music of his career.”
God bless you Bob - keep on keepin’ on.
Trevor Hinson
Emmaus, PA
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