Hammerstein Ballroom, 8-13-03

[SDW]

I won't be able to write a full review for last night's Hammerstein
show, not yet anyway. At the moment I'm just too stunned. Didn't
quite believe the exalted reviews for Tuesday, but if it sounded
anything like this, well I'll be a doubting Thomas, and beg
forgiveness of everyone who was there.

Terrible delays at the Lincoln Tunnel -- I know, big surprise -- but
we made it just in time for drinks at Tir Na Nog, then into the venue
during the Waifs' opening set; worked our way up to the soundboard,
where at some point we noticed we were standing underneath Elvis
Costello, up in the VIP box. I wonder how much he bid for his tickets
at eBay? When he was escorted backstage for the encore we anticipated
another "I Shall Be Released," but it wasn't to be, perhaps just as
well -- the night was perfect as it was. Anyway, from where we were
the sound was excellent all evening, and thankfully the crowd, though
tight, was not in-your-face claustrophobic.

The simple question I wish to ask is, where did the voice come from?
How is it possible to sound -- intermittently -- so poor, so strained,
so weary (if not ill) one night and so utterly magisterial another?
I'm not claiming it's humanly impossible, but when you experience it
firsthand, the contrast is almost frightening, leading one to suspect
that some supernatural transaction had taken place in the days
between, which I can only hope did not involve any bargaining for
Dylan's eternal soul. However he came by it, the sustained force and
command with which he sang last night was something I haven't heard
for a couple years now.

This one shook me to the core, all right; I could see very well but
probably had my eyes shut a third or more of the time. The band was
fully together all through the set: maybe, as Tommy M. -- even
better-dressed this evening -- becomes more of a constant up there,
his presence is becoming less distracting. Whatever the case may be,
surely it was Dylan's performance that ignited the spark in Campbell
and Garnier; and about Koella, let me say that I love to watch and
listen to his playing a little more each time, and especially so
tonight. He's got such a weird, angular, sometimes awkward presence,
matched with a sort of cunning that's a foil to Dylan's own: you're
never sure what he's going to play, and whether it comes alive or
falls flat, it's the polar opposite of Sexton's (albeit brilliant)
re-creation of classic guitar parts for the songs. Tonight it came
alive much more than it fell flat: sparse, ungainly, roughly-chiseled
beauty, "pied beauty" as Hopkins would say.

Honestly, I've been putting off a description of the songs themselves
because for much of the concert I was rapt into a speechless
astonishment, as was much of the crowd -- he had us from the beginning
of "Tombstone Blues" all the way through to the last note of
"Watchtower" -- and whereof one cannot speak, one should remain
silent. Suffice it to say that even songs that I tend to bristle at,
because somewhat overplayed or not usually played well, like "Things
Have Changed" or "Most Likely You Go Your Way," stopped me in my
tracks, or, in the case of "Highway 61," tied me to the tracks and ran
me over. What emanated from the stage throughout was an almost
uncanny degree of focus and control, Dylan refusing to be diverted
from the task of proving all the naysayers dead wrong, just like so
many times before; and his voice did not fail him, from the vitriolic
-- "It's Alright, Ma" -- to the unspeakably tender -- "Every Grain of
Sand," well-paced and imbued with a mournfulness it doesn't always
achieve in live performance ... even "Don't Think Twice" had a
plangency it often seems to lack. Well, enough of not speaking. The
thing I really can't speak of is what for me what the absolute
standout in an evening full of them: "Desolation Row," in a new,
quieter, gently-lilting arrangement preceded by a drop-dead gorgeous,
ethereal instrumental. This may be the finest rendition of this song
I've ever heard, and after the powerhouse 2000 versions that's saying
quite a lot.

As you can see, all I can do is pile on adjectives uselessly, so I'll
stop. My critical faculties have been overwhelmed in the best,
sweetest way, leaving behind an afterglow of reverence and wonder, and
most of all, gratitude. That will fade, no doubt, but I'm holding on
to it for as long as I possibly can. At present I'm thinking this is
the best show I've seen at least since the Garden in '01 -- and, again
at the moment, there's no question that it's in the top 10 I've ever
seen, maybe the top 5, and I've seen about fifty by now.

Shantih shantih shantih

[hodah]

or to put it another way: Bob's voice is shot, and Freddie sucks.

[Bubbaband]

or to put it another way: Bob's voice is shot, and Freddie sucks

actually,, NO !!!!!!,,

bob was stellar & freddy played his sparse understated style,, it really
works,,,,

theyre great & george & Tony just stay lockedin,,,

i was there too & it was a wonderous night,,

( donald fagen ( steely dan ) & his wife, Libby Titus were right behind
me,,, )

[hodah]

as the night went on bob's voice opened up, but Freddie sucks. Larry should
be playing the leads. Freddie's "sparse understated style" is not very
interesting, and I feel appropriate to the styles of the songs.

--
Check out my web site: www.hodah.net
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[Jesse Jones]

Very interesting and enjoyable review. I saw Dylan at Sunrise FL 29
July and have heard the recording from Tampa on 30 July. Both
performances were marked by the low barking guttural voice -- someone
described it be reference to Tom Waits. My theory is this is not
something physically wrong with Dylan. It seems instead to me similar
to the sing-song voice we sometimes hear, where he ends each line on a
higher note not part of the melody. I think it reflects boredom on
Dylan's part. This is just a theory, of course. But if it does not
reflect boredom by Dylan, I for one find it boring to listen to.

Now, as often as he is performing over the past several years, I don't
find it surprising that he is not always "up." And if the crowd
response in Sunrise was repeated at the other shows with The Dead, that
would make it even harder to get up for a performance.

I love Dylan's music. I've been listening to Dylan since 1965. The
recording of the Tampa show confirmed what I felt at Sunrise: this is
just not a good performance.

[gd]

I was there on 8/13 (lucky it wasn't the night after!), and I thought 'goin
nowhere' and 'summer days' were magnificent. What a great evening. And a
great crowd, with Bob smiling at the end, loving us all.

GD
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