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Topic: Dylantour '04 Return to archive Page: 1 2 3 4 5 6 7
March 5th, 2004 12:58 PM
polksalad69
quote:
Joey wrote:


I LOVE the Aragon !



Really? Seems the sound is a crap shoot in there. Haven't been there since ZZ Top around '96.
March 5th, 2004 03:55 PM
Martha
quote:
parmeda wrote:
Thanks Phog! Great review...
I have tickets for tonight's Aragon show.
We were this ----><---- close to having to make a pass on it...our youngest made it to the wrestling Sectionals to qualify for the state championship...and we were really torn over "who" to blow off, lol. (Not really, the child would have won our attention over Bob...)
But, luckly, one of our friends has tickets for the Sunday show and was kind enough to swap with us! I have never had the pleasure to see Bob and I was really looking forward to tonight. I just have to wait a few more days



Pammy that is EXCELLENT news..I was wondering how things had worked out. What a deal, those are some great friends to trade with you like that. Hazy has Sunday night tickets as well, did she ever touch base with you?

Nanky...go out and get yourself copies of "Time Out of Mind" and "Love and Theft".....get your mind right before the show.

Then, PM me I have something for you! hehehe!
March 5th, 2004 03:57 PM
nankerphelge This doesn't involve me dressing up like lil' Bo Peep does it?

Or does it!!!!!

March 5th, 2004 04:17 PM
Martha baaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
March 8th, 2004 09:32 AM
parmeda Here are two articles from Friday's Aragon show...haven't caught anything from Saturday's Riv or last night's Vic shows. Music critics in this town suck and for the most part they are imbisiles (IMO)
I can't say that I had a great time last night...and it wasn't Bob, trust me. He was great. We had an eventful evening to say the least. Things kinda went downhill when some jackass tried to lift the hubby's leather. Things got ugly. REAL ugly, and I'll leave it at that.

I have to add...
Considering everything that everyone mentioned in the other thread about "who's cooler...Keith or Bob?" I didn't comment because I had nothing to compare. Now, I do.
So, for whatever it's worth...
Hands down, Keith is cool.
And without a doubt, Bob is smooth.
*********************************************************

CONFOUND IT, BOB, GIVE UP THE KEYBOARD
March 7, 2004
BY JIM DEROGATIS Pop Music Critic

From plugging in at Newport, to his born-again conversion, to surviving against all odds to make some of his finest music in the fifth decade of his career, Bob Dylan has taken great pride in surprising -- and sometimes confounding -- his loyal fans.

Leave it to the perverse old contrarian, who is about to turn 63, to throw us another curveball with his current tour, which includes sold-out shows at four progressively more intimate Chicago venues this weekend. (His local stand starts with Friday's concert at the Aragon Ballroom, continues with Saturday's at the Riviera Theatre, and concludes with Sunday's at the Vic Theatre and Monday's at the Park West.)

Dylan has spent the last decade building one of the best guitar bands in rock history, a group that is arguably as good as (if not better than) the vaunted Band. But the twist on this leg of his never-ending tour is that he's dropped his own ax and moved behind an electronic keyboard, which he isn't particularly adept at playing and which was barely audible in the usual muddy mix of the Aragon.

To be sure, Friday's show did not lack for six-string firepower. The core of Dylan's current band remains longtime sidekicks Tony Garnier on bass and Larry Campbell on guitar and pedal steel. It adds Freddy Koella on second guitar, and some of the best moments of the evening -- an angry version of "It's Alright, Ma (I'm Only Bleeding)" and a rollicking "Highway 61 Revisited" among them -- featured some fiery and inspired interplay between the two guitarists, who traded off on bluesy slide.

But Dylan has been much looser -- if not downright fun and groovy -- when he's been playing a third electric guitar, goading the musicians to greater heights as he weaved his parts in between those of Campbell and the now missing-in-action Charlie Sexton.

When he occasionally ventured out from behind his keyboard at the Aragon to play harmonica at center stage, Dylan seemed stiff and awkward, and the band followed suit, much less in his control than it has been in recent years.

Ironically, at the same time that the legendary singer and songwriter has ratcheted down the guitar pyrotechnics, he's upped the percussion assault. About half of Dylan's 90-minute set proper featured two drummers, George Recile and Richie Hayward, who did their best to bash away at whatever finesse remained in songs such as "Most Likely You Go Your Way (And I'll Go Mine)," "Cry A While" (which evoked two speeding trains colliding) and the usually sublime (but not this time) "It's All Over Now, Baby Blue."

With all due respect to the Allman Brothers -- and much, much less to the Grateful Dead -- I will state emphatically that there has never been a case in rock history where two drummers have been better than one. Eight limbs flailing are four more than are needed, and in any event, I thought Dylan got over his brief flirtation with the Baby Dead/jam-band crowd quite some time ago.

The best moments of the evening were the most subtle: The band pared down to one drummer for a beautiful rendition of "The Lonesome Death of Hattie Carroll" and a transcendent and mostly acoustic "Girl of the North Country." Unfortunately, high points such as these were in short supply.

As always, though, ol' Bob gave us something to think about, above and beyond the motives behind his devilish bouts of musical perversity. As the most significant issues affecting America's decision this coming November are overshadowed by such monumentally trivial distractions as the controversy over Janet Jackson's breast and the unabashed outpouring of prejudice about gay marriage, the central couplets of "It's Alright, Ma (I'm Only Bleeding)" seemed more poignant than ever:

"While preachers preach of evil fates / Teachers teach that knowledge waits / Can lead to hundred-dollar plates / Goodness hides behind its gates / But even the president of the United States / Sometimes must have / To stand naked."

********************************************************
FROM AFAR, DYLAN SHAKES UP HIS SONGS

By Greg Kot
Tribune music critic
Published March 8, 2004

A spoken introduction greeted Bob Dylan as he began his four-night Chicago residency over the weekend: "The voice of the '60s counterculture ... written off a has-been at the end of the '80s. ..."

Then Dylan walked onstage at the sold-out Aragon Ballroom and went right to work casting off his past yet again -- this time presenting himself as a shaky blues keyboardist in a white cowboy hat and black suit. Instead of his trademark guitar-and-harmonica presentation, he poked and jabbed at the electric piano, his third-best instrument. He's played better shows in Chicago in recent years, but give him this: He's not simply repeating himself. For better or worse, just as Neil Young had done earlier in the week with his audience-dividing "Greendale" project, Dylan refuses to knuckle under to the nostalgia business.

He was accompanied by his own band of Reservoir Dogs, with their gray suits and switchblade guitars slashing out menacing, bottom-heavy blues riffs. Dylan has retooled his band to again take him, and his audience, out of their comfort zones. He stood stage right, taking up a sideman's position, and it was an apt viewpoint. While his five-piece band galloped, loped and shambled across a spectrum of pre-rock idioms, including blues, country and even swing, Dylan stood on the outside looking in and created havoc, turning the melodies inside out with odd chord changes and raspy syntax. A double-drummer configuration was his latest brainstorm for shaking up the songs, though it made some of the grooves sound clunky and cluttered. But when drummer George Recile was allowed to go it alone, he gave the music a swagger that would have rocked any late-night blues saloon.

Dylan was a remote presence, standing a good 10 feet from the lip of the stage, and addressing the audience only once, during the encore. But he was physically engaged in the music, his shoulders swinging, legs twitching as he leaned into his microphone and eyed his musicians from beneath his shadowy brim, occasionally flashing a Mona Lisa smile as the music surged.

Early on, he focused on tales of injustice: an epic "The Lonesome Death of Hattie Carroll" and his biblical parable "Drifter's Escape," apt selections in an era when personal freedoms are regressing. "And I still do not know what it was that I've done wrong," Dylan intoned. "It's All Over Now, Baby Blue" sounded like a new song, its melody fractured almost beyond recognition, and Dylan minced out from behind the keyboards to play a little harmonica and flash some soft-shoe moves. "Cry a While" stumbled with Little Feat's Richie Hayward joining Recile on drums, but they hit full gallop on an ebullient "Highway 61 Revisited." Dylan's keys deferred most of the night to his guitarists, but his double-fisted attack brought some delicious friction to Freddy Koella's solo in "Million Miles."

The singer's voice was a raspy wreck early in the show, but improbably gathered strength as the night wore on.

The fiddle-inflected nuances of "Floater (Too Much to Ask)" were beyond him, but he playing slippery games with his phrasing on "It's Alright Ma (I'm Only Bleeding)," and Recile punctuated each line with a walloping fill. Later, he gave a tender reading of his redemption song "Every Grain of Sand."

He tweaked "Like a Rolling Stone" just enough to make it sound new, the band answering his contempt with angry volleys of their own, and "Honest With Me" ignited after a little hiccup in the arrangement, seemingly stopping short of the finish, only to roar back to life with renewed purpose behind Larry Campbell's knife-like slide incisions.

At the two-hour mark, Dylan went home after performing 17 songs. Some of the performances faltered, others soared, but little of it sounded simply routine.
March 8th, 2004 10:37 AM
Lazy Bones

Shitty about the coat, Pam. Hopefully it's still hanging in your closet at home! Too bad pricks like that exist! Hopefully you still enjoyed the show.

Looks like Bob's going to add a 3rd show in Toronto. I'd imagine in a day or so. Another trio to match the 5 in the US would be great! And over a weekend, to boot.

Chin up...
March 8th, 2004 12:41 PM
polksalad69
quote:
parmeda wrote:
Here are two articles from Friday's Aragon show...haven't caught anything from Saturday's Riv or last night's Vic shows. Music critics in this town suck and for the most part they are imbisiles (IMO)



haha, I love reading DeRo because he always pisses someone off. I think he writes like Marriotti does over in the Sports section of the Sun Times. They both piss off quite a few.

Not a Dylan fan but thank you to whoever posted that link for the St Louis show.
March 9th, 2004 10:22 PM
parmeda Thanks, Lazy...all is well in the closet here, lol
(Can't say the same for the jackass that tried his failed stunt ) It did put a damper on the evening for us but I'm still glad that we went. I missed about 10 of the songs...only to hear them from afar in making sure the hubby wasn't hauled off.

And polk...yeah, DeRogatis has his way of working the one and only nerve I have, lol. Gee, I was hoping he would do a recap of the entire weekend ...NOT!

Here's one from the Tribune though...
***************************************************
From the Chicago Tribune
DYLAN WAITS TO UNLEASH HURRICANE
*Last night of 4-day gig proves best of bunch*
By Greg Kot
Tribune music critic


Through most of a four-night Chicago stand, Bob Dylan looked as if he just wanted to disappear into the music. But Monday at Park West, the singer finally rose out of the shadows to deliver a knockout punch.

He spent a good part of the run perched near the side of the stage, plinking away at an electric keyboard, swaying to the music and nominally directing his band, but refusing to give the fans what many undoubtedly came to see: the legendary songwriter stepping out and reveling in the closer-than-usual confines, wailing on his harp and strumming his guitar.

Instead, the singer shrunk from the opportunity, standing 10 feet from the lip of the stage and addressing the audience only with visible discomfort.

His residency joins an encouraging recent trend that has seen other legendary performers, such as Neil Young, David Bowie and Tom Petty, come to town to play multiple nights at concert halls much smaller than the arenas they normally headline.

Dylan played in progressively more intimate venues each night, opening at the Aragon, then finishing off at the Riviera, the Vic and Park West. In this case, the singer saved the best for last. Dylan's voice, shaky most of the weekend, sounded rambunctious from the get-go on a raucous, acoustic "Tangled Up in Blue."

With a capacity house packed in tight around the stage and bellowing approval, Dylan looked energized, reveling in the sarcasm of "Don't Think Twice, It's All Right" and stirring up the ominous currents of "High Water," before he and his excellent five-piece band nailed a rampaging "Silvio" to the floor.

The tempos had an urgency they lacked on previous nights, and he turned "Positively 4th Street" upside down, forcing the crowd to hear it as if it were a new song, youthful venom replaced by a tone of disappointment, as though a father were scolding a selfish child.

Dylan has been preaching for decades that everything he has to say, everything he stands for, is in the music, and here was further proof of his determination.

He has always shunned his previous designations as a counterculture spokesman, rock icon and pop celebrity. Not for nothing did the singer star in a recent movie titled "Masked and Anonymous." Ditto for an earlier role in Sam Peckinpah's "Pat Garrett and Billy the Kid," which found Dylan playing an enigmatic gunslinger named "Alias."

Much of the weekend Dylan was once again in limelight-shunning, mystique-building mode. He played like a quirky side attraction, the keyboardist whose performance was frequently drowned out by his band, the ragged vocalist who waged a constant struggle to enunciate clearly enough to be heard above the din.

He wore the same white cowboy hat on each of the four nights, but he shook up the set list with a welcome disregard for tradition, playing as many recent songs as '60s warhorses. He let his band do the heavy lifting on the first three nights, though the new lineup was a work in progress. Guitarist Freddy Koella played rings around the blues, but he spent an awful lot of time looking Dylan's way, as if to make sure his master was pleased while he spiraled off into a solo. And the double drummer experiment with George Recile and Richie Hayward was simply gratuitous, only really taking off on roadhouse rockers like "Highway 61 Revisited," one of the few non-encore songs to remain in the set list the first three nights.

What became clear as the residency wound down is that Dylan's most recent blues-based rock suits him best, as he delivered knockout versions of "Cold Irons Bound" at the Vic and Park West with Recile rattling rim shots, and an imploring "Dignity" on the final night.

Though ballads such as "Lay Lady Lay" and "Bye and Bye" exposed the shattered remains of his voice, he reveled in the eerie crevices of "Man in the Long Black Coat," and sounded positively jaunty on the set-closing "Summer Days," with Koella and Larry Campbell flying like be-bopping acrobats on their dueling guitars.

"Me, I'm still on the road, headin' for another joint," Dylan proclaimed as Monday's set opened, but he made sure to leave his mark on this joint before he split town.
******************************************************

"Me, I'm still on the road, headin' for another joint,"
(...what a great line!)
March 9th, 2004 10:31 PM
mac_daddy was this the one. parmeda..?

Bob Dylan & His Band
Aragon Ballroom
Chicago, IL
March 5, 2004

Location: Main Floor, approx 10 ft FOB/DFC

Recording Equipment:
Sound Professionals AT933 Hyper Cardioids > SP-SB1-SL Battery Box
(Bass Roll off @ 69Hz) > SONY MZ-R700

SHN Process:
Sony MDS-PC3 > Toslink Optical Cable > Zoltrix Nightingale Pro 6 >
Cool Edit 2000 (Normalized to 100% & fade in/out) > CD Wave (Track Splitting) >
mkwACT 0.97b (SHN)

****Do not convert this recording to MP3 or other lossy formats****
****This is for free distribution only! It isn't, nor should it ever be for sale!****

Disc 1:

01. Intro
02. Drifter's Escape
03. It's All Over Now, Baby Blue
04. Cry A While
05. The Lonesome Death Of Hattie Carroll
06. It's Alright, Ma (I'm Only Bleeding)
07. Girl Of The North Country
08. Most Likely You Go Your Way (And I'll Go Mine)
09. Million Miles
10. Highway 61 Revisited (Acoustic)
11. Floater (Too Much To Ask)

Disc 2:

01. You Ain't Goin' Nowhere
02. Honest With Me
03. Every Grain Of Sand
04. Summer Days
05. Encore Break
06. Cat's In The Well
07. Like A Rolling Stone
08. Band Intros
09. All Along The Watchtower

March 9th, 2004 10:35 PM
parmeda No hon...
I originally had tix for that night and needed to swap them with a friend for Sunday's show.

How do you guys get this shit so fast? ...lol
March 9th, 2004 10:47 PM
TheSavageYoungXyzzy
quote:
parmeda wrote:
No hon...
I originally had tix for that night and needed to swap them with a friend for Sunday's show.

How do you guys get this shit so fast? ...lol



Two words, Parmy... Bit... Torrent.

I've got 3/5 (Chicago) and 3/3 (St. Louis) already... listening to St. Louis right now. He's rough but ready and sounds like he's just getting better. "Cold Irons Bound" rocks hard enough to flay the bones off of any wind-tested Chicago native. I really like the new version of "Girl Of The North Country", too. Some stuff's still weak ("It's All Over Now, Baby Blue), and if he really likes the last line of "Cat's In The Well" so much, why doesn't he just say it instead of subjecting us to the other three minutes of the song, but hey, the band sounds really into it and the more broken in his new guitarist gets, the more they're going to change up the set. Everyone's moaning about losing Charlie Sexton - but hey, he wanted to go, and Bob had to break in a new guy somehow - now he's sounding good again.

But please, please, please, Bob, don't toy with us by moving towards it and handing it off... by the time you get to Boston, get that guitar out! We know you can play... we've heard you play... we know you're quite fantastic... your keyboard is mercifully low in the mix for a reason...

3/24 seems so far away...

Oh, does anyone else think three nights in Detroit is a prime opportunity for some of Bob's biggest fans to put in an appearance? Like, say, The White Stripes?

Ok, just a dream... they get up onstage, Jack White comes out with Dylan... they launch headlong into a hard, fast version of "Everything Is Broken". House goes down.

-tSYX --- Broken hearts, broken dreams!
March 9th, 2004 10:48 PM
mac_daddy alright - well, I'm on the lookout
March 9th, 2004 10:50 PM
parmeda ...thank you
March 9th, 2004 11:04 PM
polksalad69
quote:
mac_daddy wrote:
was this the one. parmeda..?

Bob Dylan & His Band
Aragon Ballroom
Chicago, IL
March 5, 2004

Location: Main Floor, approx 10 ft FOB/DFC

Recording Equipment:
Sound Professionals AT933 Hyper Cardioids > SP-SB1-SL Battery Box
(Bass Roll off @ 69Hz) > SONY MZ-R700

SHN Process:
Sony MDS-PC3 > Toslink Optical Cable > Zoltrix Nightingale Pro 6 >
Cool Edit 2000 (Normalized to 100% & fade in/out) > CD Wave (Track Splitting) >
mkwACT 0.97b (SHN)

****Do not convert this recording to MP3 or other lossy formats****
****This is for free distribution only! It isn't, nor should it ever be for sale!****

Disc 1:

01. Intro
02. Drifter's Escape
03. It's All Over Now, Baby Blue
04. Cry A While
05. The Lonesome Death Of Hattie Carroll
06. It's Alright, Ma (I'm Only Bleeding)
07. Girl Of The North Country
08. Most Likely You Go Your Way (And I'll Go Mine)
09. Million Miles
10. Highway 61 Revisited (Acoustic)
11. Floater (Too Much To Ask)

Disc 2:

01. You Ain't Goin' Nowhere
02. Honest With Me
03. Every Grain Of Sand
04. Summer Days
05. Encore Break
06. Cat's In The Well
07. Like A Rolling Stone
08. Band Intros
09. All Along The Watchtower





You da man w/da shows. Was that on the groove. Not a great rig tho? Whadda ya think?

Damn, I just realized I haven't been checking the winter tours forum.
[Edited by polksalad69]
March 9th, 2004 11:11 PM
polksalad69
quote:
parmeda wrote:
And polk...yeah, DeRogatis has his way of working the one and only nerve I have, lol. Gee, I was hoping he would do a recap of the entire weekend ...NOT!



Nothing else from the fat boy huh? I didn't check Monday's/Tuesday's paper or online.
March 9th, 2004 11:42 PM
Martha Oh, does anyone else think three nights in Detroit is a prime opportunity for some of Bob's biggest fans to put in an appearance? Like, say, The White Stripes?

Ok, just a dream... they get up onstage, Jack White comes out with Dylan... they launch headlong into a hard, fast version of "Everything Is Broken". House goes down.

-tSYX --- Broken hearts, broken dreams!
-----------------------------

Jack White guesting would kick my rock and roll ass! Great idea S&Y..I hope it comes to pass! Fingers are now crossed...:-)
March 10th, 2004 12:25 AM
Phog Park West looks like it was fucking great. Does anyone else here do the Dylanpool? I'm getting my ass kicked over there (picked too many rare songs), but have met some great traders.
March 10th, 2004 03:26 AM
mac_daddy >> Damn, I just realized I haven't been checking the winter tours forum.

March 10th, 2004 08:57 AM
polksalad69
quote:
mac_daddy wrote:





Thanks for pointing that out. All the III shows have been in the regular forum.
March 10th, 2004 09:17 AM
parmeda This review came a little late...
*********************************************************
DON'T THINK TWICE -- DYLAN SHOW'S ALL RIGHT
March 10, 2004
BY DAVE HOEKSTRA Staff Reporter

The colorful ghosts of the Park West were stirred early Monday night when Bob Dylan and his band cut into an acoustic version of "Don't Think Twice, It's All Right." Dylan closed the song with a harmonica solo and drummer George Recile's abrupt burlesque beat.

It was a surprise, it was engaging, it was quintessential Dylan.

Dylan's two-hour set embodied the Park West's 1960s past as the Town Theater, a seedy movie house with live exotic dancers.

And Dylan is like a carnival stripper. His vocals are full of bumps and grinds. He uses mystery to entice an audience and he finds clarity in the middle of mayhem.

The Park West show was the final stop of Dylan's sold-out four-night stand in Chicago. The shows built in momentum (the Aragon on Friday, Riviera on Saturday, the Vic on Sunday), and Monday's set was a reward out of left field.

With his band huddled around the stage in the shape of a crescent moon, Dylan opened acoustically with "Tangled Up in Blue" and "Don't Think Twice" before he set off on a memorable run that will have fans saying, "I was there."

Dylan brought out his new second drummer, Richie Hayward (Little Feat), and ran through "Silvio," "Positively 4th Street," "Watching the River Flow," "Lay, Lady, Lay," "Cold Irons Bound," and "Rainy Day Women # 12 & 35." Whew.

"Positively 4th Street" was rearranged with elegant Brill Building chord progressions, and Dylan took "Lay Lady Lay" back to Nashville with plantive vocals layered over Larry Campbell's surrendering pedal steel. "Rainy Day Women # 12 & 35" was a perfect call for the old burlesque house as Hayward and Recile doubled up on the bawdy backbeat. Dylan puncuated the dance by laying down Jerry Lee Lewis riffs with his right hand on the keyboards and blowing a smoky harmonica held in his left hand.

The room fit Dylan's band well. The core of Dylan's group is New Orleans-based, and they came together to create an intimate Bourbon Street feel that was lacking in the Saturday show I caught at the Riviera. (Witnessed by Mayor Daley, bopping along in a balcony.)

Dylan rarely strayed from his keyboards during his stay in Chicago. He turns 63 in May, and some in BobWorld suggest he might have arthritis. Instead, Dylan interplays keenly with new guitarist Freddy Koella (Zachary Richard, New Orleans transplant Willy DeVille). Previous guitarist Charlie Sexton played in a Texas roadhouse style while Koella deploys rhythm and blues dramatics. The depth of his sound reminds me of Duke Robillard.

Koella builds his solos with melody and is able to assimilate to Dylan's diverse styles. Case in point: Dylan closed out the show with a huge ringer, the gospel-pop ballad "Shooting Star" (from 1989's "Oh Mercy," as well as the "Wonder Boys" soundtrack), before sliding into a rockabilly version of "Summer Days," with Koella on swamp guitar and Tony Garnier on stand-up bass. During the "Summer Days" raveup, Dylan called out a roadie to contribute additional guitar, and Receli, a veteran of Edgar Winter's White Trash, certainly provided extra sparks.

Dylan's first encore featured the elongated 1989 ballad "Man in the Long Black Coat," followed by the standards "Cat's in the Well" and "Like a Rolling Stone." The crowd brought Dylan back for a second encore, which became a ferocious version of "All Along the Watchtower." Afterward, Dylan shuffled around the stage in the shadow of his white cowboy hat. He pointed his fingers toward the audience and he seemed to smile, but I'm not sure. This old room knows that imagery can be more powerful than reality. And Bob Dylan knew he had created a magical night.

CONCERT REVIEW
BOB DYLAN
AT THE PARK WEST
March 10th, 2004 11:03 AM
polksalad69
quote:
parmeda wrote:
This review came a little late...
*********************************************************
DON'T THINK TWICE -- DYLAN SHOW'S ALL RIGHT
March 10, 2004
BY DAVE HOEKSTRA Staff Reporter

The colorful ghosts of the Park West were stirred early Monday night when Bob Dylan and his band cut into an acoustic version of "Don't Think Twice, It's All Right." Dylan closed the song with a harmonica solo and drummer George Recile's abrupt burlesque beat.

It was a surprise, it was engaging, it was quintessential Dylan.

Dylan's two-hour set embodied the Park West's 1960s past as the Town Theater, a seedy movie house with live exotic dancers.

And Dylan is like a carnival stripper. His vocals are full of bumps and grinds. He uses mystery to entice an audience and he finds clarity in the middle of mayhem.

The Park West show was the final stop of Dylan's sold-out four-night stand in Chicago. The shows built in momentum (the Aragon on Friday, Riviera on Saturday, the Vic on Sunday), and Monday's set was a reward out of left field.

With his band huddled around the stage in the shape of a crescent moon, Dylan opened acoustically with "Tangled Up in Blue" and "Don't Think Twice" before he set off on a memorable run that will have fans saying, "I was there."

Dylan brought out his new second drummer, Richie Hayward (Little Feat), and ran through "Silvio," "Positively 4th Street," "Watching the River Flow," "Lay, Lady, Lay," "Cold Irons Bound," and "Rainy Day Women # 12 & 35." Whew.

"Positively 4th Street" was rearranged with elegant Brill Building chord progressions, and Dylan took "Lay Lady Lay" back to Nashville with plantive vocals layered over Larry Campbell's surrendering pedal steel. "Rainy Day Women # 12 & 35" was a perfect call for the old burlesque house as Hayward and Recile doubled up on the bawdy backbeat. Dylan puncuated the dance by laying down Jerry Lee Lewis riffs with his right hand on the keyboards and blowing a smoky harmonica held in his left hand.

The room fit Dylan's band well. The core of Dylan's group is New Orleans-based, and they came together to create an intimate Bourbon Street feel that was lacking in the Saturday show I caught at the Riviera. (Witnessed by Mayor Daley, bopping along in a balcony.)

Dylan rarely strayed from his keyboards during his stay in Chicago. He turns 63 in May, and some in BobWorld suggest he might have arthritis. Instead, Dylan interplays keenly with new guitarist Freddy Koella (Zachary Richard, New Orleans transplant Willy DeVille). Previous guitarist Charlie Sexton played in a Texas roadhouse style while Koella deploys rhythm and blues dramatics. The depth of his sound reminds me of Duke Robillard.

Koella builds his solos with melody and is able to assimilate to Dylan's diverse styles. Case in point: Dylan closed out the show with a huge ringer, the gospel-pop ballad "Shooting Star" (from 1989's "Oh Mercy," as well as the "Wonder Boys" soundtrack), before sliding into a rockabilly version of "Summer Days," with Koella on swamp guitar and Tony Garnier on stand-up bass. During the "Summer Days" raveup, Dylan called out a roadie to contribute additional guitar, and Receli, a veteran of Edgar Winter's White Trash, certainly provided extra sparks.

Dylan's first encore featured the elongated 1989 ballad "Man in the Long Black Coat," followed by the standards "Cat's in the Well" and "Like a Rolling Stone." The crowd brought Dylan back for a second encore, which became a ferocious version of "All Along the Watchtower." Afterward, Dylan shuffled around the stage in the shadow of his white cowboy hat. He pointed his fingers toward the audience and he seemed to smile, but I'm not sure. This old room knows that imagery can be more powerful than reality. And Bob Dylan knew he had created a magical night.

CONCERT REVIEW
BOB DYLAN
AT THE PARK WEST




Hoekstra, should have sent him the whole weekend instead of DeRo.
March 10th, 2004 07:58 PM
mac_daddy I know someone who is running 4022 > m148 > m1 tonight

gotta love pulls done with quality equipment
March 10th, 2004 08:08 PM
parmeda
quote:
mac_daddy wrote:
gotta love pulls done with quality equipment


hmmmm.... *said with a raised eyebrow*

...and this is in reference to what?
(rotflmao)
March 10th, 2004 08:23 PM
mac_daddy
quote:
parmeda wrote:

hmmmm.... *said with a raised eyebrow*

...and this is in reference to what?
(rotflmao)







4022 > m148 > m1



DPA 4022 = microphones (an excellent choice)

m148 = microphone preamp (provides power to the microphones and applies gain to the signal)

m1 = DAT (the digital tape recorder)


the >'s indicate the direction of the signal path


this is some quality gear, and should yield a very nice sounding tape








[Edited by mac_daddy]
March 10th, 2004 08:29 PM
parmeda lol...

mac, I was being sarcastic and I think you missed my point.
"pull"..."quality equipment"...
It just caught my eye, dear.

All that technical gear talk makes my head spin. I seriously have no clue about any of it...
March 10th, 2004 08:36 PM
mac_daddy
quote:
mac, I was being sarcastic and I think you missed my point.
"pull"..."quality equipment"...
It just caught my eye, dear.


"I see!" said the blind man to his deaf dog.

I totally missed that the first time around; I just thought you were curious...

oh, well, there I go again...
March 11th, 2004 08:08 AM
mac_daddy not my notes...

______

This tour is really on a roll now after a great Chicago run, but it started red hot right out of the box.

Highly Recommended.

I don't have source on this, but is excellent quality.

Enjoy!


Cain's Ballroom
Tulsa, OK
2-28-04


disc 1

1 Drifter's Escape (Bob on piano and harp)
2 Tell Me That It Isn't True
(Bob on piano, Larry on pedal steel)
3 Cry A While (Bob on piano)
4 The Lonesome Death Of Hattie Carroll
(acoustic) (Bob on piano and Freddy on electric guitar)
5 It's Alright, Ma (I'm Only Bleeding)
(Bob on piano, Larry on cittern)
6 Girl Of The North Country (Bob on piano and harp)
7 Things Have Changed (Bob on piano)
8 Highway 61 Revisited (Bob on piano, Larry on slide guitar)
9 Make You Feel My Love (Bob on piano and harp)
10 Tweedle Dee & Tweedle Dum (Bob on piano)
11 Every Grain Of Sand (Bob on piano)
12 Honest With Me (Bob on piano, Larry on slide guitar)
13 Saving Grace (Bob on piano and harp, Larry on pedal steel)

disc 2

1 Summer Days (Bob on piano)

(encores)

2 Cat's In The Well (Bob on piano)
3 Like A Rolling Stone (Bob on piano)
4 All Along The Watchtower (Bob on piano)
March 11th, 2004 08:19 AM
polksalad69
quote:
mac_daddy wrote:
not my notes...

______

This tour is really on a roll now after a great Chicago run, but it started red hot right out of the box.

Highly Recommended.

I don't have source on this, but is excellent quality.

Enjoy!


Cain's Ballroom
Tulsa, OK
2-28-04


disc 1

1 Drifter's Escape (Bob on piano and harp)
2 Tell Me That It Isn't True
(Bob on piano, Larry on pedal steel)
3 Cry A While (Bob on piano)
4 The Lonesome Death Of Hattie Carroll
(acoustic) (Bob on piano and Freddy on electric guitar)
5 It's Alright, Ma (I'm Only Bleeding)
(Bob on piano, Larry on cittern)
6 Girl Of The North Country (Bob on piano and harp)
7 Things Have Changed (Bob on piano)
8 Highway 61 Revisited (Bob on piano, Larry on slide guitar)
9 Make You Feel My Love (Bob on piano and harp)
10 Tweedle Dee & Tweedle Dum (Bob on piano)
11 Every Grain Of Sand (Bob on piano)
12 Honest With Me (Bob on piano, Larry on slide guitar)
13 Saving Grace (Bob on piano and harp, Larry on pedal steel)

disc 2

1 Summer Days (Bob on piano)

(encores)

2 Cat's In The Well (Bob on piano)
3 Like A Rolling Stone (Bob on piano)
4 All Along The Watchtower (Bob on piano)



You're going to turn me into a Dylan fan yet.
March 11th, 2004 10:00 AM
TheSavageYoungXyzzy Hey, mac_daddy, where'd that one pop up? I've only got two right now... hopefully more'll go into circulation.

"Broadband connections yield crystal-clear concerts with ease, Ronnie!"

-tSYX --- Oh, help me in my weakness...
March 11th, 2004 07:21 PM
mac_daddy
quote:
TheSavageYoungXyzzy wrote:
Hey, mac_daddy, where'd that one pop up? I've only got two right now... hopefully more'll go into circulation.

"Broadband connections yield crystal-clear concerts with ease, Ronnie!"

-tSYX --- Oh, help me in my weakness...



edit:

I apologize for not reading your above post thoroughly enough...

so I assume you are familair with stg...

that seems to be the first place that tapers put the stuff...

there are a few Dylan seeders that are just killing me, between the fresh-from-the-master-tape older shows (Holy Grail series, complete supper club) and the current tour sources, I am going to have to plug in another harddrive today...

anyway, all the dylan stuff is up there






[Edited by mac_daddy]
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