Bob Dylan in Philly
Peter Stone Brown
Liacouras Center, Philadelphia, Pa
November 9, 2009
Ten years ago, on this exact date, Bob Dylan played this venue, really
a basketball gym at Temple University, though back then it was called
the Temple Apollo. That was on one of the best legs ever of what his
fans are always going to refer to as the “Never Ending Tour,” whether
Bob Dylan likes or not, even though he was the one who coined the
term. One of the reasons that fall tour remains somewhat legendary,
is there were surprises every night, often in cover songs, but also
that feeling of anything can happen, and because anything can happen,
that means catch as many shows as you possibly can – and on that tour
I did, mainly because Dylan played a bunch of shows in a two week
period all within two hours driving distance. Among the surprises
that night were what remains the only live performance of Dylan
singing “A Satisfied Mind,” not in the arrangement that appears on
Saved, but in the original country arrangement, a hit for Porter
Wagoner. Among the other surprises that night were Bob talking about
Bill Cosby, perhaps Temple’s most famous graduate, and an extra, in
other words a real encore after the encore’s.
Tonight, the Liacouras Center was not as crowded as it was back then.
Let’s just say it would’ve been pretty easy to get a ticket, and in
one sense that was a shame, because it was probably in a lot of ways
quite possibly the best concert Bob Dylan’s played in Philly since
that night ten years ago and for entirely different reasons. But of
course different is what Bob Dylan’s all about. It’s one of the
primary reasons to go see him because it’s not gonna be the same as
the last time you saw him, even if the last time you saw him was the
night before, and on those rare nights where this would happen
occasionally, even if you just saw him at the show before. And so I
left this show wishing I was seeing a lot more shows, because from
this show, it was quite evident that that indefinable thing, that
magic thing that can’t be forced, that has to happen by itself is
happening on this tour.
Now the buzz started early on this tour, in fact even before the tour
was announced, when the news leaked that Charlie Sexton was back in
the band replacing Denny Freeman on lead guitar. Now, I was never
among the Denny Freeman bashers. I thought Denny Freeman was on often
brilliant guitarist, whose style was more influenced by West Coast and
Texas blues and also West Coast and Texas Jazz and swing. He was
definitely creative, he never played the same solo twice. But in a
lot of ways his playing was also cerebral, and while at times he was
outstanding, playing as tough and hard as anyone, he wasn’t
necessarily always the right guitarist for Bob Dylan.
Charlie Sexton on the other hand is the right guitarist for Bob
Dylan. He has an inherent understanding not only of what Bob Dylan’s
music is about, but what the songs are about. It was obvious his
first time around with Dylan that those songs were ingrained deep
inside and that hasn’t changed, and perhaps now it’s even more so.
Like the two greatest guitarists ever to work with Dylan, Michael
Bloomfield and Robbie Robertson, he plays off not only what the lyrics
are saying, but how Dylan is singing them at that particular moment,
punctuating phrases with quick jabs like a boxer. Like Mike
Bloomfield, he can fast, often dazzling runs, and like Robbie
Robertson he knows when not to play, and when to come in with
energized bursts of sound that are more about emotion and intensity
than showing off, and crackle like a live wire on the ground and snap
like a bullwhip.
Bob Dylan’s first surprise tonight was opening the show with “Memphis
Blues Again.” If he’s opened with this before, I don’t remember it.
But from the first note the all important energy was there and it
totally works as an opener. In fact I felt it worked better as an
opener than anywhere else in the show. Actually, I’ve never been a
big fan of this song done live, and I waited years to hear it live.
The original studio version on Blonde On Blonde is so incredible and
also so funny, that it’s been hard to match it live. The humor on the
original just never translated to the stage. Tonight however, it was
special, and while maybe the humor wasn’t quite all the way there, it
did have that light moving feel of the original.
Dylan then moved from keyboard to guitar and went right into the more
upbeat arrangement of “Man In the Long Black Coat,” that he debuted in
Europe early this year. Powerful stuff, and Dylan even took a really
not bad guitar solo, that had none of the search and destroy aspects
of other guitar playing I’ve heard from the tour this year. In other
words he nailed it. Unfortunately during the song the plot of the
eternal bring down appeared in the form of a row of latecomers who of
course had to sit right in front of me and decided to continue
whatever conversation they apparently were already having. Then all
too soon, Charlie Sexton signaled the end of the song. Unlike a lot
of passed tours, one thing quite noticeable tonight was there are no
more long, drawn out endings. All the endings are clear, defined, and
fast, and all are signaled by Sexton.
The conversation continued right through a not bad “I’ll Be Your Baby
Tonight,” where Bob’s solo was, well it wasn’t anywhere near what he
played on “Man In The Long Black Coat.” At this point my friend Max,
whose been going to Bob concerts with me for 21 years said, “I want to
kill these people.” So I said, as politely and nicely as I could,
“Could you guys please not talk during the songs?” One guy was cool
with it but the other one turned around and said, “Man, people come to
concerts to talk.” At this point I had to restrain every James
Gandolfini walking out of a clothing store and seeing a photographer
instinct I had in me. In the book, The Godfather, there’s this story
about when Al Neri was a cop and how he didn’t need a gun, ’cause he’d
just use his flashlight instead, and I had this incredible urge to
bring my binoculars crashing down on this guy’s skull, but I then I
remember I wasn’t in a movie, even if I’d been through this movie
before.
My hit man fantasies were quickly interrupted by Bob returning to the
keyboard and the band blasting into a fierce “Beyond Here Lies
Nothing,” followed by a fairly upbeat “Spirit On The Water.” From
that point on the energy level never lagged, and was taken higher by
“High Water (For Charlie Patton) with Donnie on banjo, during which
Bob left the keyboard and moved to center stage for a harp solo.
An almost 66-ish style harp solo started off what turned out to be a
truly gorgeous and moving version of “Tryin’ To Get To Heaven.” It
was quite possibly the best version I’ve ever seen of this song.
Dylan was singing from way down deep. Of course in the middle of it,
almost the entire row of talkers left to get beer. This was followed
by an equally amazing “Cold Irons Bound” with Dylan singing at center
stage and playing harp, with searing guitar work from both Sexton, who
got down on his knees, a position he would return to often and Donnie
Herron on steel. This arrangement may not have the dramatic show
stopping effects of the previous arrangements, but it’s no less, in
fact probably more powerful.
Next came an also upbeat “Desolation Row,” that was interesting for a
couple of reasons, the first was Dylan borrowed the organ riff from
“If You Ever Go To Houston,” and then Dylan went into what some refer
to as his sing-song voice. It’s really not sing-song, it’s almost as
if you were reading poetry to little kids or something. In the case
of “Desolation Row,” it was basically hysterical and took it to new
heights of absurdity. At the beginning of the song the chief talker,
who had returned from the beer run by himself, to my utter
astonishment, turned around and had the audacity to ask me if he could
borrow my binoculars. After a moment of Obama-like contemplation, in
the spirit of Obama diplomacy, I handed them to him, and he handed
them back after a verse or two. However, unlike Obama with the
Republicans, it worked, and he pretty much shut up for the rest of the
night. A lot of Dylan fans wonder why Donnie Herron watches Bob like
a hawk during the shows. This version of “Desolation Row” had the
perfect example. During the song, Dylan found some organ riff he
liked, and Herron immediately picked it up and echoed it on the
mandolin and it took over as the dominant riff for the rest of the
song.
Returning to the pedal steel, Herron then kicked off a rearranged “Po
Boy” with a country flavored riff. Like every song at this show, this
too was done in upbeat fashion. Not speedy to get it over with, but
just with energy and cool harp from Dylan.
Next came the high point, the most moving part of an already quite
moving show, a stunningly beautiful, “Workingman’s Blues,” with Dylan
starting at keyboard then moving to center stage and playing harp. In
a city that just went through a short but bitter transit strike, a
city where jobs are few and far between, a city where it was announced
that very day that the city itself had less money than thought, and
hundreds if not thousands of city workers would be laid off, in a city
where a murder a day, if not more than that has become the norm, this
song resonated, and Dylan was powerful especially on the line, “I find
it hard to believe, someone would kick me when I’m down.” These solo
turns out front by the microphone are something special, just in the
way Dylan stands, his hand gestures, the way he moves. It’s been said
many times during his career, but what comes to mind is Charlie
Chaplin, particularly at the end of Modern Times. Dylan didn’t have a
cane, he wasn’t walking down the road, his hat was tilted more like
W.C. Fields in It’s A Gift, the lone, sad, poet clown singing about
what was going on.
After that, the rest of the show really didn’t matter, but it was all
good. Dylan again returned to center stage for “Ballad Of A Thin
Man,” “Like A Rolling Stone” resonated reborn, and “All Along The
Watchtower,” which ends Bob Dylan concerts for a reason, sounded a
warning, with the band pulling off a very cool stop during the repeat
of the first verse on the line, “I can’t get no relief.”
The thing about Bob Dylan is that every time you’re maybe thinking he
can’t, he shows, always in a new way, that he still can. Like the
best magicians, he always has a few more tricks up his sleeve. And
that is why this tour, now in its last two weeks is the tour to see.
Upbeat & Cheerful Martin
> Like the two greatest guitarists ever to work with Dylan, Michael
> Bloomfield and Robbie Robertson, he plays off not only what the lyrics
> are saying, but how Dylan is singing them at that particular moment,
> punctuating phrases with quick jabs like a boxer
Precisely what I've been thinking watching the clips
> Next came an also upbeat “Desolation Row,” that was interesting for a
> couple of reasons, the first was Dylan borrowed the organ riff from
> “If You Ever Go To Houston,” ...Dylan found some organ riff he
> liked, and Herron immediately picked it up and echoed it on the
> mandolin and it took over as the dominant riff for the rest of the
> song
Was it the riff that starts about a minute into this?:
Great review - I sympathize about the talkers, who sound just as
annoying as the couple practically fucking against my right leg in
London earlier this year
Mr Jinx
<martingayf...@yahoo.co.uk> wrote:
> On Nov 10, 6:11 am, Peter Stone Brown <ps...@verizon.net> wrote:
>
> > Like the two greatest guitarists ever to work with Dylan, Michael
> > Bloomfield and Robbie Robertson, he plays off not only what the lyrics
> > are saying, but how Dylan is singing them at that particular moment,
> > punctuating phrases with quick jabs like a boxer
>
> Precisely what I've been thinking watching the clips
>
> > Next came an also upbeat “Desolation Row,” that was interesting for a
> > couple of reasons, the first was Dylan borrowed the organ riff from
> > “If You Ever Go To Houston,” ...Dylan found some organ riff he
> > liked, and Herron immediately picked it up and echoed it on the
> > mandolin and it took over as the dominant riff for the rest of the
> > song
>
> Was it the riff that starts about a minute into this?:
>
>
> Great review - I sympathize about the talkers, who sound just as
> annoying as the couple practically fucking against my right leg in
> London earlier this year
Sorry about that, Martin. We just felt sexy.
Mr Jinx
Upbeat & Cheerful Martin
> Sorry about that, Martin. We just felt sexy
Fair enough, but against MY leg? Your hand was practically up my -
What's for breakfast?
Mr Jinx
Your leg was sturdy and provided ideal bracing at the moment of no
return.
Muffins.
Mr Jinx
chris
> Bob Dylan
> Liacouras Center, Philadelphia, Pa
> November 9, 2009
hey Peter, thanks for the great review. I've been unable to take time
off to go to these shows, gonna miss the VA one too :-(!. remember
when the argument was "sitting/standing"...now it's "listen/yak your
damn mouth off the whole show" can't tell you how bad Aberdeen was
with that, coupled with cigar smoke and drunk kids...arg. sorry to
hear you had to deal with that. sounds like it was a great night for
all!!!!!
chris pyle, baltimore
steve
awesome review Peter. got me ready to see the show TONIGHT!
steve
ocontraire
Thanks so much, Peter, for another great review. Going to see Bob
tonite
in DC area (Fairfax, Va.) and as always looking forward to seeing Bob
as I have been since '65 here in DC. I keep saying "it may be his last
show"
"may not get another shot". Got a kick out of the "Wash. Post" promo
for this show from Sund. Post mag. section under MUST SEE
Bob Dylan 11/11/09 Patriot Center
"He'll mumble,won't address the audience, change the arrangements of
his
songs so that you won't even recognize them. It will be awesome."
Thanks again, Peter
Peter Stone Brown
You're welcome. That quote from Wash. Post is hysterical.
Peter Stone Brown
> On Nov 10, 1:11 am, Peter Stone Brown <ps...@verizon.net> wrote:
>
>
> awesome review Peter. got me ready to see the show TONIGHT!
>
Hey Steve, haven't seen you around in ages! Stay in touch. Hope the
show's as good, and you like it as much as I did.
frinjdwelr
"Peter Stone Brown" <ps...@verizon.net> wrote in message
news:8aad1aa0-e382-4257...@l35g2000vba.googlegroups.com...
Bob Dylan
Liacouras Center, Philadelphia, Pa
November 9, 2009
And so I
left this show wishing I was seeing a lot more shows, because from
this show, it was quite evident that that indefinable thing, that
magic thing that can�ｿｽt be forced, that has to happen by itself is
happening on this tour.
Charlie Sexton on the other hand is the right guitarist for Bob
Dylan. He has an inherent understanding not only of what Bob Dylan�ｿｽs
music is about, but what the songs are about. It was obvious his
first time around with Dylan that those songs were ingrained deep
inside and that hasn�ｿｽt changed, and perhaps now it�ｿｽs even more so.
Like the two greatest guitarists ever to work with Dylan, Michael
Bloomfield and Robbie Robertson, he plays off not only what the lyrics
are saying, but how Dylan is singing them at that particular moment,
punctuating phrases with quick jabs like a boxer. Like Mike
Bloomfield, he can fast, often dazzling runs, and like Robbie
Robertson he knows when not to play, and when to come in with
energized bursts of sound that are more about emotion and intensity
than showing off, and crackle like a live wire on the ground and snap
like a bullwhip.
Unlike a lot
of passed tours, one thing quite noticeable tonight was there are no
more long, drawn out endings. All the endings are clear, defined, and
fast, and all are signaled by Sexton.
The thing about Bob Dylan is that every time you�ｿｽre maybe thinking he
can�ｿｽt, he shows, always in a new way, that he still can. Like the
best magicians, he always has a few more tricks up his sleeve. And
that is why this tour, now in its last two weeks is the tour to see.
------------------------------------------------------------------------------------------
I thought the three Chicago shows would be enough. But each night got
better, so that I really wished I'd planned for a few more. I left your
comments about Sexton, because that's the way I felt as well. He's a kick
to watch and hear as he plays off, around and with Bob. And the rest of the
band is feeding his lead and following his cues. One friend wondered if all
the time he spends down on the floor has to do with trying to hear through
the monitors.
Bob seems to be both really enjoying himself and givin' it.
steve
Hi Peter - i still lurk sometimes. the show was fabulous. i'll try
to post some thoughts sometime.
later
steve