Before you comment on this post, please read the follow-up post “Genius, Guitars, and Goodbyes” — what you wanted to say may already be said there.
So, I broke the promise-to-self, to let Dylan tour on his own, without my help. I decided, after the last Scandinavian tour, that this was it; the shows were decent enough, but nothing more. I hyped myself up to enjoying them, liking them even, perhaps loving them, and moments like Desolation Row in Karlstad (best D-Row ever? Best D-Row ever!) made it a whole lot easier, but I also knew that I wouldn’t follow another tour again. Enough singsong, enough mumbles, no more days at the office for me. NeverEndingTour-Dylan never got better than 1995.
But things have changed, and for reasons more related to Wedding Song than to Desolation Row I had to give him another chance. Since he decided not to play Copenhagen this time, it had to be Gothenburg, and I was on the road again.
For the first time in a very long time, I was quite unprepared too. I haven’t heard a new show in two years, and I was looking forward to the closest thing to a virginal experience that I would ever get again. I knew there were some new band members, but I didn’t even know their names, let alone their faces. I was ready. C’mon, Bob, surprise me.
And man, was I surprised. It was a time-stopping experience. Two years just vanished, everything was just as I had left it. Given that that was two years ago, and that the man has been out there doing it all that time, that was not a good experience. One would expect that something had happened, but if it had, I don’t know what it was.
Call me Mr. Jones, call me Judas, but honestly, I had hoped for some development.
And the band… The band… Some years ago, even though I couldn’t always say the shows were great, inspired, etc., at least one could stand proud and claim that Dylan was backed by the best and tightest rock combo in the world, who played Brown Sugar better than the Stones themselves did.
Not anymore.
Tight? Nah.
Exciting? Nope.
Hard? Hardly.
I don’t want to sound negative; the steel guitar player was quite good — at times, he made his instrument sound like something Bucky Baxter might have handled. The guitarist behind Dylan — I think it was Stu Kimball — had his moments too. I guess someone likes the new guy’s solos (that must be Denny Freeman, then) but don’t count me among them. Melodic in the bland, cover-band style that you might hear in light entertainment TV shows; and a repertoire of licks so vast that they reappeared every other song.
After a couple of songs, every taste bud in my aesthetic body yelled: “We miss Freddy!” Initially, I just had to agree, and joined the choir. After all, I summed up my last concert experience (at least I believed it would be my last), writing “About Guitars and Kissing”, my eulogy to Freddy Koella, the guy who plays in Dylan’s style, but actually knows how to play.
But being the rational academic I am paid to be, I had to pass beyond that kind of populist clamour from the lowly senses — I had to think about it. Why has Dylan let Freddy go (or kicked him out?!) and replaced him with this? Images flash by: Michael Bloomfield — savage (and dead, of course). Robbie Robertson — there is a second-and-a-half scene in Eat the Document, just a soundcheck, where Robbie plays a few tones in E major and proves what a tremendous guitarist he was. Fred Tackett — he may wear glasses (so do I), but don’t let that fool you; he could be mean too. G. E. Smith — not my favorite guitarist, but there certainly was a bite there, some rough edges which we haven’t heard again before the days of Koella, paired with a certain dexterity which could become quite furious. J. J. Jackson — probably my favorite NeverEndingTour guitarist before Koella…
And now…! Where in this lineage does the current band belong?! Why is it that I suddenly came to think of Hearts of Fire in the middle of the show?
Again: Why does he do it? He used to say, about the mid-eigthies, that he didn’t know what his songs meant any longer. Well, he doesn’t seem to now either. “Leledi-laaay“, “painting the passports brown“, “justlikea woman” — all sung to the same melody, with the same emotional character. He might as well have sung “two litres of milk“, or “upmg kfadl ksdfie ewok” — it wouldn’t have mattered more, or less.
I’m not going to analyse him or his motives — is he just doing it for the money? is it just this pact with the Commander-in-Chief? Is it, perhaps, just another day at the office? — but my impression is that he is no longer hungry, he is no longer nervous, he is tired and content. It may be a very long time since he last went to the beach and danced with one hand waving free, but up until recently he has sounded like he wanted to. Not anymore. He’d be afraid of getting dirt on his boots, he’d be repulsed by the fish, he’d be too tired to walk through the dunes. He was so much younger then. That bothers me, much more than the lack of melodic variety.
I’m not talking about age here, but about guts and hunger, interest and desire. If he doesn’t know what it’s like on the beach any more and by the way doesn’t want to either, then why on earth does he have to sing about it? Why doesn’t he give us something he’s interested in? He obviously loves old music, the kind of songs he rips off and records with new lyric collages, the kind of stuff he sings when he’s all by himself. That’s what he does amazingly well, so why not do it more? How about ditching the war-horses — they’re as tired as him — and playing a show once in a while, with Doc Boggs, Gene Austin, Johnny and Jack, Charles Aznavour, stuff we know he loves?
Why not? Well, because if he did, he probably wouldn’t fill the halls he plays in now. The popular response, which he finally seems to embrace and enjoy after years of resisting it an trying to destroy it, has become too pleasant, it seems.
I expect to be flamed for this. I don’t mind. I don’t either want to convince anyone who truly thinks his current shows are better than ever. I don’t have the time for that: I have boxes upon boxes of old tapes full of flame and nervous energy that I have to listen through again.
Bye, Bob.
I had a true virginal experience in Gothenburg, and my first time might be like one of those first times that you certainly wouldn’t wish for others: “Was that it?” “That was pretty boring” “The guy turns me on, but he doesn’t really get me going” “High expectations, not much outcome” “The guy next to me fell asleep at one point” “Well I sort of only applauded to be polite” “I am not sure he got much out of it either” “It started off slow, but it did have its moments” would be ways to describe it.
Forplay was nice and the drinks afterwards included meeting some fab people, whom I hope to see again. So I might even do it again.
It was mostly a great experience because I felt part of a history, that spans decades and that I am so lucky to be able to pick up on sitting at home, while this really cool guy keeps putting on the old tapes that he keeps in boxes.
I always belived that if an artist is solely performing for his fans, he ceases to be an artist.
I really agree with your review and I wish, and I wish more than anything he would just do what he loves
I went to a show in Hambrug two days ago, and it was my first Dylan concert. I can’t say that i don’t understand you, but somehow i wasn’t as dissapoointed.
i liked seeing a man that has done so much, and practically witnessing another chapter in the life of Bob.
He is old and he must be content, but never the less he is still a genius, i like the new old close-to-tom-waits voice, the band had some stunning solos although one of the guitars seemed to repeat himself over and over again, there were somen nice banjo solos and the harmonica was so light and easy that you had to love it. I expected Mr. Dylan to be much more lifeless and with a lot less freshness.
Mr. dylan can still do it, but maybe he just doesn’t feel like needing to anymore.
Listening to the bootlegs and watchin’ the show for Amazon, I can’t help but agree with you … waitn’ for him “live & in person” in Bologna and Milano … but not great expectation this time …
Personally I MISS LARRY!!!
By the way, what about the technique of his past-guitarist? Who was the best technically, in your opinion? IMHO Larry was an outsider. Too perfect & ruled to be remembered as a first-line-man, but technically I think he’s been the best ever
Wow. Reading these comments has shaken me up. I am seeing my first Bob concert this sunday in Wetzlar. I am so pumped. But, all I have read in negative. Have you seen the new documentary No Direction Home? It is brilliant. Personally I think Bob is going to retire soon and this is his last hurrah. Just love him for who he is and what he has done with his music. He is truly the only surviving artist of his kind. Please don’t put the man down just because he is old and tired. I have found Bob’s music so comforting with all that is going on in the world today. Bob still sings because he enjoys it. As long as he brings joy to me that is enough.
Don’t take my word for it — you should definitely see him, and enjoy it if you can. And there are things to enjoy. What I’m turning against, apart from the quality of the shows compared to what it could have been — and was, not so long ago — is the general hype, which, one might suspect, has less to do with the quality of what one actually hears, than with the need to legitimize that one has spent money, time, and prestige in this — it simply has to be good.
No Direction Home, now that’s something else again. Much as the constant emphasis on the sixties annoys me, it was a great period, and the film mostly does that justice.
I agree about Larry. As I wrote in the review which I linked to in the main post, I was amazed to hear how much he did all the time — not in a flashy, muscular way, but simply filling the musical space. So, yes, technically he was probably the best, even though he never really touched me.
I think you hit on the problem of Dylan exactly. But I don’t have the same pessimistic outlook you do. In fact, I think it’s counterproductive to say that just because he was pretty crap this time around, you won’t ever see him again. That being said, I find Dylan nowadays to be very akin to the Dylan of the early 90’s. He’s mumbling, rushing through lyrics and generally seems uninterested. I don’t think though it’s because he’s content but just the opposite. He seems bored by his own songs and the new band isn’t exactly helping him find anything really new in them. Donnie Herron (the guy on pedal steel) is a genuinely good musician and I think could hold over to a new band, but the two guitarists can go. One can only hope that a new “Supper Club” happens to Dylan and suddenly he’s hit by some intense inspiration and maybe gets a few more hurrahs before fading into his twilight years. He still has moments in shows when he does get into it, and you can tell, everything gels and he really nails the songs. It’s not because he can’t do it, but because for some reason he doesn’t want to.
This is a great and needed resource for guitarist and those who appreciate Dylan for his entertainment value and poetry. Its wonderful you honor the spirit of a man who with the strength of his mental outpourings and vision changed music and the value precptions we place on entertainment. Thank you for all the hard work that went into creating this all encompassing, dynamic website.
Dan
Very interesting! I have seen Dylan perform live only once – in Stockholm 2003 – and at that time I was surprised at the fact that I actually enjoyed the show as much as I did. It was by no means a perfect concert, but Dylan’s own performance was a lot more solid than I had feared and it seemed as if he still felt for the songs, still was able to do them justice.
What really made the show for me, however, was the band. I couldn’t even hear Dylan’s piano in the mix, but what I did hear – thanks the four-piece rock band consisting of Koella, Campbell, Garnier and Recile – was an astounding performance of rock’n’roll that would have given me value for the money even if Dylan had been completely out of it.
I don’t know how the new band sounds – it has to be more than the queasy country lounge music I can’t help but imagine – but I know he must have been crazy to ditch the old one, unless of course Koella and Campbell were the ones to ditch him.
What does “upmg kfadl ksdfie ewok” mean?
:-)
The same as “leledilay” — nothing.
oh, boy, you are so pessimistic…
(I’m not saying you’re wrong, it’s just I paid quite a lot to see him in Erfurt in 1.5 weeks … and I actually enjoyed the Amazon thing, at least parts of it)
I saw Bob play in Vancouver this past July. It was my first live show, although I’d seen plenty of footage of him playing over the years, and heard plenty of bootlegs from the Neverending Tour, etc. Personally, I can’t stand anyone in his band. They’re all the beret-wearing middle-age musician types that are too music-nerdy to ever have any feeling. My biggest complaint from them would probably have to be the playoff between the new guitarist (guy was playing a big hollowbody at this show) and Garnier. I just got this creepy vibe like it was Garnier’s show, his band, his arrangements, and Dylan just showed up to rush through his lyrics over top of the crummy Clapton-bar-rock band with the cheesey Jazz attire. And seeing the fans give him a standing ovation after every song was not helping.. they killed him with self confidence after poisoning him with words. Why should he try anymore? He’ll get the same reaction out of these casual fans either way, he may as well phone it in..
Oh, I’m not pessimistic – I’m expressing a hope: that he’ll play something he enjoys, that he gets a “Locarno experience” again and reconnects with his songs (the way he still can do, but only too occasionally), and also that you get a good show in Erfurt. (And that I manage to get midi, suspend, and my network card to work under linux…)
I agree both with the general trend of Eyolf’s original disenchantment and with Brent who has put his finger on the (lowest) common denominator in the routine NET shows – Tony Garnier. He may be technically competent but his sound is muddy and his ponderous playing sucks the life out of most arrangements. Bob goes along with him because he’s safe – there’s no more embarrassing disasters – but then there are few exhilarating surprises either. But of course I’ll be there in Glasgow anyway – Bob’s worst is still way ahead of anybody else’s best.
don’t know what show you saw mate. i’m eighteen and have seen dylan play thrice. the first time i was not into his music enough to fully appreciate it and the second time, when i was in love with his music i felt he was disappointing. however i saw him two days ago in berlin and my has he changed. he’s got a tight band that play tremendous variations on his songs with some sublime solos that only have and will ever occur when dylan is on a stage. he is better than he has been in a long time. people who say he isn’t don’t deserve their ticket.
Appropriate to read this today, when I was listening for the first time to a recording of my 2005 Dylan show, from Detroit in April. I left that show feeling that, well, it was a good show, but not a great show. It was not just the dull setlist, which included “Bye and Bye,” “Under the Red Sky” and (inevitably) “Tweedle Dum & Tweedle Dee.” That spark was missing. There was no fire. So I think Eyolf more or less nails it.
At the time, I felt the audience was part of the problem. Live performance is partly about the audience response, yet much of the audience insisted on behaving as if Dylan was the Philharmonic, and any jumping about, standing up, or yelling would be in poor form. (On which note, see Alex Ross on the supposed tradition of silence during classical performances.) The lack of fire onstage reflected the lack of fire in the crowd, even when the band pulled off a brilliant “Absolutely Sweet Marie.”
Oh, well. They’re mostly baby boomers, and any excitement could kill them at this point.
On that note, “Don’t Think Twice” almost did them in, as they actually remained on their feet and made noise. Some people even moved in a manner that suggested dancing. For those few minutes, it actually felt like a rock show. That made a big difference. But then, it was a song from the greatest hits, so there you go.
So … what I’m getting around to is that I don’t think Bob isn’t challenging, or being challenged by his audience any longer. There’s nothing worse than doing it by rote.
Notably, in the best performance of the night (“Absolutely Sweet Marie”) it was Elana Fremerman who stood out. Something new, in other words.
How does the tape sound? Good. It was a good show, really, especially compared to most of the other 2005 tapes I’ve heard. But it wasn’t a great show, by any means.
I’ve been thinking about that lonely mic at center stage, the one no one approaches. Is this telling us that the Bob we want to see isn’t there? Or is it inviting us to fill in the space with the Bob we construct?
I do agree with your review. He sounds very uninspired. It would be cool if he ditched the band all together and went back to solo acoustic with his harmonica.
My sentiments exactly.
Well put, Eyolf.
I am just so happy to be able to witness a pure genius on stage, I am looking forward to seeing Dylan in November in Dublin and this will be my 10th time seeing him. Yes, he can be gritty and sometimes boring but I still stand in awe, its like seeing the lord himself!!! I believe he still loves what he does, he does it for his fans and he will be doing it for many more years! When Hank Williams couldnt perform to his best ability, people were quick to knock him, until he died and the “hank” legend was born then every one wanted more and more!!
saw Bob last year this time in small college setting gym — rocked the house and seemed to enjoy how small the setting was, everybody dancing, and great time.
a few months ago, saw him in hollywood, ca, in great theater setting. unfortunately, same set list and same style (though some of the new added band members you allude to). while i enjoy seeing bob no matter what he does, as a musician and as a customer paying 50 bucks a ticket, i had to be disappointed that all bob could muster was to play loud and sing each song exactly the same. in particular, his accentuating the final syllable in his now tried and true upward nasal definition became particularly pestersome. its one thing to do it on an all out rocker such as like a rolling stone, its another to give the same treatment to shooting star or mississippi…
happily, merle haggard also played that night as opening act and made the money worth it. talk about a guy who could still play his heart out and entertain an audience after half a century in the biz!!! bob should take a couple cues. melody and authenticity may be bourgeois, but worked in to a song even every once in a while, doesn’t hurt either…
then again — i don’t know if i could find either in hollywood myself.
I’ve been reading all these comments on Dylan’s recent concerts and I just want to say how concerned I am with how everyone feels. I’m 19 and have seen Dylan at least 8 times throughout my life (yea I’m one of those), and I’ve always thought he was great (except once when he was on tour with Paul Simon). I always thought he was at his best in 2000 when he had that three guitar lineup going with him Campell and Sexton, (I think). Since then he hasn’t been as good, and I can see what you all are saying how it seems he is losing his focus. I think that could be because he’s playing the same songs over and over again, or he’s playing different songs just in the same style. I mean how many times can you play Highway 61, Honest With Me, Down Along The Cove ect… before you realize they’re all the same song now? I think the solution will come when he releases a new album and has some new songs to play around with. In the same way with after Love & Theft was released his concerts became more of a country folk sound than they were after the Time Out of Mind release, maybe he will reshape all of his old songs to a new sound he will make with the new album. That of course is assuming that if he releases a new album it will be vastly different than Love & Theft, but I think that is a safe assumptino considering how different L&T is from Time out of mind. I remember reading somewhere in an interview that he was writing and wanted to record, is there any news on that?
A chacun son gout as they say. I saw him 3 times this summer in the States – it was awesome. Saw him several times during the 90’s – they were great too. Been listening to him, playing the songs and appreciating Dylan since 1963. Sorry can’t agree with you at all.
Don’t you just love it! Here we have a guy presenting a web site that features (without permission), an artists lyrics and chords. The guy invites people to make financial contributions to enable him to keep the site up and running.
The whole thing is riddled with inaccuracies, as far as the lyrics are concerned. He thus misrepresents Dylan in the worst possible way. Are the lyrics important to the artist, or the visitor to this site?
To top it all off, he then has the temerity to assume that the said artist, who he feeds off, does not ‘have guts, hunger or desire’.
Great is a word that is used to describe a whole lot of people that should not be described that way. Reading through these posts I am struck by the number of people who expect greatness every night from a musician who rarely plays, sings or approaches a song the same way twice.
Dylans kind of greatness is not like looking at the Mona Lisa or the Davide. Playing music is hit and miss, unless you are the Stones and you record and tour with the same set and the same approach night after night. After six months or less they become so bored they slip back to their tax havens.
Dylan does not have the same vocal ability he once had, but he remains a potent force, with the ‘greatest’ canon of music produced by any popular American songwriter.
To those who think that paying $50 should guarantee a great concert, I say you don’t understand performance art, or Dylan as an artist.
To the guy who runs Dylanchords I say thanks, because I love being able to play Bob’s music. Just go and pay the man half your take.
So what you’re saying is that if you run a website, you’re not allowed to express an honest opinion? Or have I missed something?
About lyric inaccuracies, yes, I’m sure there are some — most of them come from the official lyrics, which are frequently quite inaccurate. Other than that, I can only say that I welcome corrections.
I haven’t said anything about his legacy, his age (the words “old” and “young” are used metaphorically), or his vocal capacity — but (1) having a great canon doesn’t make anyone a great live artist, and (2) that Dylan never sings the same way twice is the most persistent myth about Dylan, but that doesn’t make it more true. Of course, there is a reason why I have all those boxes of concert tapes: because of a nuance here (which wasn’t there yesterday, and which adds a whole dimension to the word or the song), and a rearrangement here (which transforms the songs in whays which makes the phrase “for better or for worse” meaningless). But my experience this time — and, with few but honourable exceptions, for the past few years — was that not only does he sing exactly the same way as two years ago, he also sings every single song exactly the same way. (Take “exactly” with a pinch of salt, or take it to say “with exactly the same emotional investment”).
Honest opinion? Did you seek permission to put the artists material on line?
Give me a break.
You find Eyolf’s methods unethical, but you avail yourself of his sevices anyway — giving his site more hits? Sorry, but you’ve just ceded any moral high ground. Give *us* a break.
Consider this a vote against Tony Stock, whose perceptions are generic and diluted. Permission? For all the campfires and kitchens that will be enhanced with great songs, I thank you.
Who is he going to ask permission from? A great artist transcends this idea of individual creation/ownership. It’s bigger. Credit is due all over the place (people, places, things, ideas). A lot of work went into this site. What do you think is the main goal of this work? I’m wondering how you could be so uptight and make claims about art. When an artist shares his/her work they are rightfully subjected to critique (he’s not keeping it to himself). Unfortunatelly, this doesn’t happen anymore and we have quick-burn crap pop art/music shittin’ all over our eyes and ears. Relax Tony. Don’t just create opposition in the face of the unknown.
“Honest opinion? Did you seek permission to put the artists material on line?”
Well, now I have a great example to use in teaching people what “non sequitur” means….
My first Dylan show was in Shaumberg IL over the summer. Ugh. I didn’t dig it. Obviously I couldn’t tell what he was saying, and the band wasn’t too great. I only wish I could be at a concert where I’m not being trampled by pot-heads who want to get closer just to light up a few more joints and dance and shout about nothing in peticular.
I would kill to go to a show where the audience is stone silent like they were when he started out, just grasping on to every word. That I could dig.
Bono, Bush, and Blair. How corrupting can it get? There is no shortage of themes for Bob to sing about but he is lost in the comfort levels of the well-heeled, elite, senior citizen.
I saw Dylan at his first concert in Budokan, ’78, I think. I reviewed the concert for Melody Maker, cover photo, etc. The editor made one change to my review. He inserted the following comment as the lead-off sentence: The concert hit a terrific curve right from the start. A complete fiction.
How many gods of popular culture have got their fuel in similar ways? Hard to believe that they are not all manufactured. So easy to do. Just insert the word awesome.
Thank for the review of your experience at the recent concert. It rings true and that’s what the zeitgeist that spawned Dylan is all about. It’s not about sentimentality, it’s not about fame. It is more in keeping with the spirit of zen: All that can be shaken will be shaken — and if nothing remains, let it be so.
As for your review being characterized as negative; that’s pretty funny. If that were true then most of Dylan’s great songs were also negative. But the masses are programmed to see anything that flies in the face of propaganda as negative.
Checkmate for life on this planet, as far as I can see. Ringed in by businessmen. Nothing for the kids to trust, just the ubiquitous branded product as far as the eye can see.
I’m with Tony. Eyolf’s review was bratty and out of line. The man has given us more over the past few years than ever could be expected. If he had a bad day at the office, sit back and enjoy being within the same square quarter mile with the man and hear his voice streaming out of the microphone. “Bye, Bob” was simply inflamatory. There are two kinds of Bob Dylan critics – those who know nothing about him and those who do. The latter always annoy me much, much more.
There are two kinds of Dylan critic: those who see a pop star and those who were into the ideas rather than the persona. If you are annoyed, then you probably belong to the the former category.
I’m neither. I don’t criticize him. I’m a Bob Dylan sell out. He can do what he wants, and I’ll think, “maybe didn’t sound that great, but it was really cool to see him screw up and act bored…” …and one more thing, why would I criticize a 65 year old man who is putting out the coolest images my society has ever seen? I’d feel like a fool if I were to hastily post an article saying, “bye, bob.” I’d definitely regret having said that. Tony points out the irony of someone saying this who has devoted so much time to this man’s work. I think Tony had a good point, and I felt the same way when I read Eyolf’s review. Eyolf’s website and input are undeniable tributes that surpass a lot of our tributes by far. Still, he’s a critic. Bob Dylan critics come across as annoying, especially when they know the balance is overwhelmingly positive.
Hey it’s like this: I first saw dylan when i met him in front of his house on Bleecker in summer of ’71, wearing an Arcadia basketball shirt, (no kiddin) walking chubby little kid named Jesse , or was it Jakob, one. I loved him before that, and certainly ever since. I’ve seen him 17 times – even with Tom Petty he was no less than what he is, a Messenger of the Gods. He’s got a lot of Mercury in his sign – and in his music. Like a the philosopher Krishnamurti said: “Compare two things, and you kill both of them”.. or was it Robert Johnson? So don’t compare, enjoy. or not.
“There are two kinds of Bob Dylan critics – those who know nothing about him and those who do.” (WithTony)
What is this supposed to mean?
If people know nothing about what Dylan does (did not listen to his records, never saw him live etc) they are in all likelihood not going to criticise his work; if so, who would take them seriously.
On the other hand, if you suggest one has to dive into Dylan-lore, have nothing on one’s mind but Dylaniana day in day out – or even know the man’s birthdate, for that matter – to criticise his work, that is almost as ridiculous.
Criticism of a work of art merely means to put in so many words one’s reaction to the same. Whether you have a system (that is, a set of values, or principles such as “logic”) is yet a step further.
Why on earth one would feel the need to defend an artist from a serious (honest) opinion, that is formulated after a considerable time spent with that artist and his production, is beyond me.
What surprises me most, though, are the many cases of total spiritual concurrence with Mr. Dylan (or is that only immature identification – the one thing that really inhibits serious criticism?)
I think some of us are starting to talk around each other. Let me offer up my own observation: Dylan’s my favorite recording artist by far, without question. I’ve seen him live several times, and it’s always been a great thrill. But I’m usually a little disappointed at the same time. Why? Because I don’t think the man digs concerts anymore. I think he’s got some idea in his head that he “owes” the Commander-In-Chief a lifetime of service, and he’s willing to keep up his end of the bargain. But as many of you know, does he REALLY look like he’s having fun up there? Does he EVER acknowledge his audience, except for maybe a few mumbled lines to introduce the band? Does he seem to have any affection for his fans? I’ve seen him up there, at the end of most shows…it’s usually the same routine: He stands in a row with the other band members and stares straight ahead, his expression blank as the audience goes wild. I can only imagine what goes on in his head. I think sometimes he wonders what town he’s in, or what’s for dinner. Or maybe he isn’t thinking anything at all. It’s almost like he’s in a bubble and the rest of us are on the outside looking in. So it’s disappointing in the sense that he’s not really “sharing” this experience with us…instead it’s almost like we’re being allowed to sit in on a rehearsal or something. Despite this, I continue to go to the shows. Why? Because I’m in awe of him like no other artist. And because, in a sense, I feel like I owe HIM! Because one day he won’t be with us anymore and I want to take every opportunity to see him. So I gladly hand over my money time after time and stand in rapt attention. And then I go home and play the albums for days. I know I’m rambling…here’s the point. I have no problem being critical of Dylan despite my professed love for him. I don’t buy into the argument that I must accept him completely as he is or not at all. I don’t expect him to change or compromise in any way, but if Eyolf has a criticism about Bob’s performances then he’s perfectly entitled to sound off. (I really don’t think Bob will be offended.) And I DEFINITELY don’t think that the posting of song chords on this site is going to take meal money away from Bob’s starving children. I don’t know if Dylan has a computer or has ever surfed the Net, but I think he’d be impressed and even flattered by the time and energy that has gone into this Web site. So that’s my unapologetic stance….the rest of you can have at me!! (Thanks Eyolf)
I think I am the same kind of fan as Tony…even when it is not a ‘good’ night musically, I still get a kick out of seeing Bob. There is some odd value in hearing and watching his famous screw ups or his bored performances. He could start speaking his songs, or just stand front and center and do nothing and I’d pay to see it. He is a peculiar and truly fascinating human specimen to observe. The likes of his curious persona I have never seen anywhere else. That said, the bootleg evidence from this tour so far sounds really strong to my ears. At this point only 2 shows have surfaced. But the band and Bob sound fired up on those. I’ve seen him exactly 65 times since 1996 and I am genuinely excited about this go ’round. The last two were a little muddy…this tour sounds like Bobby may be heading for a solid groove.
Your review disappointed me. In 1999 I was to Dresden, well I think it was his Birthday then….is doesn’t matter. But it was a bad performance at that time. One can say it was immediately after his illness, but well if I’m ill I don’t get on the stage, does I?
The main question to me was: Why didn’t he sing the words with a little more from the heart?
November, 6th I’ll go to the Show in Erfurt. I’ll let you know my conclusion.
“Draw conclusions on the wall”
Bye, Robert
I was In Beijing a couple of months ago. I met a painter, a very good painter and I told him. “You are very good” “Yes, but I still have 30-40 years to practise, before I am really good.”
Then he told me about the natural flow through the body and mind and the painting.
To me Dylan is exactly doing the same through the years:
just to be a part of a ongoing proces on the stage through his music.
And then: does it work for me tonight?
I was in Hamburg and could not help laughing sometimes. He was “funny” this time.
Hi to all. Ejler
Let me just say I saw Bob in Wetzlar last night and he ROCKED! It was my first Bob concert. When he played A Hard Rain I had tears of bliss rolling down my face. It was such a surreal moment. That night will stay with me forever. Sure I could only understand about 95% of his words but who cares? Honestly I don’t think Bob would care one bit about any of these ranting or ravings of how he has “lost it.” If Bob didn’t want to perform anymore he wouldn’t. But, I do think he believes he was given a gift from God and he wants to use it. From watching interviews with Bob he expects nothing from no one and in turn doesn’t want us to expect anything from him. With him what you see is what you get. He did aknowledge the crowd last night and in my opinion seemed to enjoy himself. For me Bob was everything and more. I did meet some guys on his crew and they hinted around to two more documentary’s. Also directed by Martin Scorsese. I also happen to like the way Bob’s vocals have progressed. He has a touch of Tom Waits and I love that. Very sexy. He never really “sung” before anyway. It was always a mix of speaking and singing. Those of you who don’t like it should just READ his lyrics. They can stand alone without the music. Plus I thought the band was fabulous. It’s just sad to read all the negative comments. I will NEVER say ‘bye to Bob.
Yepp, I’ve seen Dylan this year. Yes, it was bad & yes I’m happy that i have old records – too. Of course its hard to get used to new stuff, but I didn’t like the current way/style they play the songs – they play aehm, ‘good’ but it sounds boring. Every song sounds similar.
I dislike his current Falsetto-after-every-random-line style. Maybe i will like it in a few years, but I don’t think so. I do not listen much to his post “Time out of Mind” records, but I hey, who cares. Bye current Bob, please do a SSOSL unplugged concert for stupid people like me ;)
Let me say first of all that I find Eyolf’s essays, ruminations and presentations of Dylan’s music (with or without tabs) immensely interesting. Like Lenny Bruce, he knows what he is talking about and if he is disappointed by Dylan and his band, then in all fairness that is probably an accurate assessment. I count myself as a diehard Dylan fan who has some idea of music as an amateur an rudimentary guitar player and I have been to concerts too where Dylan’s vocal mannerism ( the upward lilt at the end of each line like some kind of musical shorthand for each song) are nothing short of irritating. So to hear that the recent gig in Gothenburg is not that different from that two years ago, except that some good guitarists have been replaced by some mediocre ones is bad news for me who has bought tickets for 3 nights in the 5 night residency in the Brixton academy in London town in November.
Having said that: if he only plays a few songs like he did in London November 2003 Wembley and Hammersmithm, the recordings os which I have just been listening to, than it’s worth it: Desolation Row, Hattie Carroll, Grain of Sand or songs I haven’t yet heard him perform live (Shooting Star!!!! Romance in Durango… Chimes of Freedom) or hear Blind Willy McTell again with the likes of Absolutely Sweet Marie as a rousing rolling rocker … then all’s well. Bob can be dull, lifeless, miserable and irritating and also, if he pleases, in his music, his phrasing and his ever more beautiful voice, The Man Who Spoke To Me.
Thank you for your website Eyolf.
Thank you for your songs and everything you have given me, Robert.
Nirup
London
I was in bruxelles in 2003 and it´s true: pure energy, pure rock´n´roll! but this time in oberhausen/germany, I liked it even more, because of the mixture between rock´n´roll and cool and relaxed played acoustic songs: This year, we see live on stage the >buena vista dylan club
yes i agree that you would hope somthing would have changed in two years. However for bob dylan two years may be a very short time.
Freddy left because he was hospitalized just before the tour started. He couldn’t play for several months afterwards.
And yes, I do miss him too. Although Highway 61 is at its best ever IMO.
Hey,
Dylan’s famous for having a bad show or two or three or twenty….cut him some slack. The way he sings now, does make alot of songs sound the same though.
About his voice and the way he sings these days: You should have seen the Oslo show on the 18’th. “Blind Willie” and “Masters of war” were FANTASTIC, much because of the way he sings (or barks).