Deep Bob Dylan Theory 2012

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eumaas
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Re: Deep Bob Dylan Theory 2012

Post by eumaas »

Isle of Wight 69 is a great one. Always liked this one off it:
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Re: Deep Bob Dylan Theory 2012

Post by Chuck Mangione »

He's playing some CT and MA shows this week. Webster and Comcast Theatre. I'm not going because I don't have tickets, and a good seat must cost a ton now. Plus, god likes to inform me about this kind of stuff very last minute (Bob Dylan coming to a town near you! -- last year it was Mohegan.. I could have easily went to that one -- and the existence of Bitcoin).

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Re: Deep Bob Dylan Theory 2012

Post by Chuck Mangione »

How did I miss it last year? I saw the tour schedule that Bob Dylan's Music posted on facebook. Did I overlook the CT date? Or maybe it wasn't updated then.. Still pissed at that and more pissed that this one snuck up on me too. They both happened at around the same time, when I had a job, could pay for the tickets myself, and everything. Even if I worked on both dates I got out for night time.

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Re: Deep Bob Dylan Theory 2012

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Here's the Bob Dylan portion of my review post for last night's show, for anyone interested:
Fourth Act: Bob Dylan - Finally, we had the man himself. I’ve now seen Dylan, I believe, six times and this is arguably the best I’ve ever seen him. There are a few reasons for this. For one thing, his voice was in surprisingly good shape. That’s not to say it didn’t sound like a dead cat - it definitely did - but it was still less haggard than the last time I saw him (2009) and he was altogether livelier. He didn’t touch a guitar all night that I saw, but really jammed out on his keyboard and played more harmonica than at any other show of his I’ve been to.

Another reason he was so good is that 2/3 of his set was made up of his contemporary, post-comeback material. He’s clearly invested in these songs in a way he really, frankly, isn’t on some of the stuff he’s been playing for 50 years. But, even with his older material, he avoided the disinterest I’ve seen at some other shows. And I think there’s a reason for that, which I’ll get to.

The third reason I suspect he was so good is that he’s been playing largely the same set, in the same sequence, the entire tour. At first glance, this may sound like a bad thing: a sign of an artist who has lost interest in performing. I don’t think that’s the case for a couple reasons: 1) both he and the band were clearly engaged in the material, 2) it fits in well with what I think Bob was doing this tour, which I’ll explain as I start breaking down his setlist. Suffice to say, I think the practiced song sequences helped make sure everyone was as polished as possible. I wouldn’t want to see him do this every tour - he has too large a catalog of material and too interesting a sense of what he wants to play at any given time to curtail his freedom of choice like this permanently - but for this particular show and tour, it worked really well. So, let’s look at the setlist:

1. Things Have Changed

2. Love Sick

3. High Water (For Charley Patton)

So, things get interesting right away. First of all, I’ll note that these are three of my all time favorite Bobby D songs so hearing them back-to-back-to-back to open up the show was an all time music fan highlight type of moment. Second, I’ll note that what we’re seeing here is Bob opening the show with three post-comeback songs. “Things Have Changes" is a non-album track released in 2000, “Love Sick" is one of the highlights of the superb 1997 effort Time Out of MInd, and “High Water (For Charley Patton)" is a fan and critical favorite of Bob’s latter day masterpiece, 2001’s Love and Theft. I’ll also note that, aesthetically, the first two songs are tweaked a bit to sound more like the bluesy barnstormers that make up Dylan’s main sound these days. It’s a little startling, especially for “Things Have Changed" to hear these deeply cynical numbers done in a rousing fashion.

And that’s a huge tell for what Bob is up to here, and it’s a theme that we’ll see throughout the rest of the set. In the last decade or so, Dylan’s had a reputation as a, erm, polarizing live act and here he takes that discordance between audience expectation and musical result and turns it into a coherent statement. To get what’s going on here, we should step back for a moment and consider the context of the performance. Namely, that we’re at a music festival for “Americana" music.

I know that Americana cuts a wide swatch of connotations, but typically we think of some kind of rootsy music played with reverence for the past and as much a historical project as anything. At its worst, this is a totally humorless process that feels backwards and lifeless. That this festival had three opening acts that decidedly reject this way of playing Americana is a clue to what’s going on here. Throughout his career, and particularly as he’s made music that dredges up older, pre-rock styles of music to draw influence from, Dylan has developed a reputation as a Keeper of the Flame (not without his help, as anyone who remembers Bob Dylan’s Theme Time Radio Hour will note). And he doesn’t really seem interested in totally rejecting this perception or aesthetic style. I mean, he didn’t come onstage last night and start playing Disco (and thank goodness, since none of us needed flashbacks to some of those dodgy 80s albums). But, starting with those first three songs, he created a space for discomfort and jarred expectations between what was “supposed" to happen and what ended up taking place.

For a festival that’s supposed to be a celebratory and respectful look back on American music styles, Bob defiantly stuck to his contemporary works. In a setting where the expectation is a comfortable familiarity, Bob re-purposed new and old songs to present material that was decidedly unexpected and forward looking. Bob didn’t go on stage and abandon the “Americana" style, he subverted it ends deliberately at odds with the genre’s usual connotations. It was, in a word, brilliant. And that’s just the first three songs!

4. Soon After Midnight

5. Early Roman Kings

Two songs off 2012’s Tempest. “Soon After Midnight" may be the song of the night that sounded closest to its on-record counterpart. A beautiful number, simply made more ragged here. “Early Roman Kings" was the positive surprise of the night. In the studio, it felt fun but slight (I always wondered why it was the first track leaked ahead of the album). In a live setting, the blues rift that forms the backbone of the song is turned up to 11 and the song is transformed into a nast barnstorming dancin’ blues cut. This was the line in the sand to the audience: Bob had been playing revival stuff all night, often with an aesthetic jarring to those familiar with the material, and here he’s decidedly made it clear that this is not a reflective examination of plaintive folk music or a historical sojourn into the past. This is raucous music for good times, and in my own section of the crowd the diving line was clear: we had the crowd that was up and dancing and jumpin’ and hollerin’… and we had the people looking for the exits. How appropriate then that his next number subverts things further by dipping into the past, sort of.

6. Tangled Up in Blue

Ahhh… a familiar classic. Classic, actually with the capital “C" and everything. But… things aren’t right: for one, the arrangement is different. This isn’t unusual for anyone who’s been to a Dylan show in the last decade or so, it’s pretty rare for him to play a song straight like it was on one of his 30 year old records. But… the lyrics are different too. The song has changed perspective from the first to third person. Again, this isn’t totally different from what it was before, but he’s played around a little with the familiar and opened up space to turn even a golden moldy into something new and different. It’s close enough to what it was to feel comfortably classic, but it deviates just enough to leave the listener slightly unsettled. And the choice to the audience is whether to embrace that or not.

7. Duquesne Whistle

8. She Belongs to Me

The lead single from Tempest, here stripped of the delicacy of the studio version and transformed into something closer to “Early Roman Kings" than its sweet old time sound that opens up the album.

"She Belongs to Me" is the oldest song of the night, appearing on 1965’s Bringing it All Back Home. This isn’t the first time I’ve seen him play this song, and I suspect it’s an older song he still genuinely enjoys, but it’s astonishing in the context of the rest of this set. It’s a song that isn’t the capital “C" classic of other cuts from that era, but it’s on one of his Classic Approved albums and its lyrics are so evocative that they’re immediately familiar to anyone with a casual familiarity with Dylan’s catalog. But, critically, they may be familiar but they’re probably not immediately placeable to the majority of the audience. That sense of “unknown recognition" is amplified on a night where Bob is toying with our sense of familiarity and expectation at every turn. It’s the perfect classic to dig up for the night, in other words.

9. Beyond Here Lies Nothin’

10. Desolation Row

"Beyond Here Lies Nothin’" is the only track from the universally shrugged-as-okay-I-guess’d 2009 album, Together Through Life. I re-listened to the album in preparation for the concert, and it’s better than I remember, although not on par with the classics that surround it. And this is the stand-out track from that album. It continues the themes we’ve seen elsewhere in the set: cynical and dark lyrics, music that sounds almost old time but remains firmly contemporary, newer music at the expense of audience-pleasing classics, and so forth. A great pick.

"Desolation Row" is another track that dates back to 1965 (although released a few months after “She Belongs to Me" on a little album you might have heard of called Highway 61 Revisited). This is the first time I’d ever heard Bob play this song live, and apparently it’s only the second appearance of the song on this tour, so one of the few times the setlist has deviated from the standard song selection featured on past dates.

The selection of “Desolation Row" is, much like the “She Belongs to Me" selection, pretty brilliant. One of those long talky-type songs, “Desolation Row" forces the listener to pay attention to the lyrics above all else. And.. well… when you’re forced to listened to the lyrics that means you’re forced to pay attention to Bob Dylan’s voice circa 2012. And, well, I said earlier his voice was in pretty good shape compared to some previous times I’d seen him, but I believe I also mentioned something about a “dead cat" so there ya go. It’s like Bob is going “You want your classic? Here’s your classic! “Desolation Row" Mo-Fos!" Then you sit there and listen to him tell his song-story for like 10 minutes and then he drops the mic and walks off stage. Except he doesn’t do that last part, because there are more songs to play.

11. Blind Willie McTell

Blind Willie McTell is one of Bob Dylan’s best ever songs, and its one that was recorded in the 80s but not released until 1991 with the first round of The Bootleg Series, vols. 1-3. Somber and harrowing, the song fits Dylan’s voice and aesthetic like a glove here. Not so much a transformation of the song from its original but a logical growth that further enshrines it as the masterpiece it is. Again, we’re thematically on the nose here. The song itself is, along with “High Water (For Charley Patton", one of the most textually backwards glancing songs of the night. But it’s not nostalgic or comfortable. It’s dark and it’s brooding and it’s decidedly contemporary. Casual fans probably haven’t heard this song much, but it evokes the music of generations gone - a sense of collective memory we all share - without ever slipping into comfortable nostalgia. “Americana" at its best, and a centerpiece of the set.

12. Simple Twist of Fate

13. Summer Days

In some ways, “Simple Twist of Fate" is the olive branch to the crowd. Probably the most straight forward classic of the night, revamped to fit the sound of the night but otherwise more or less the Classic we expect. After the harrowing performance of “Blind Willie McTell" - and everything else we’ve gotten all night - this gives the audience a little room to breathe. To let us know that it’s all in good fun for those whole want to come along for the ride. That we can be in on the game too.

That leads into another Love and Theft song, Summer Days. Continuing the looser vibe that “Simple Twist of Fate" opened up, “Summer Days" is one of Bob’s new tracks out his dancin’ and boppin’ best. By now, the crowd has been played with throughout the night, expectations subverted and something altogether weirder and more wonderful than a simple po’ faced Tribute to Americana laid before our feet. And now, with the audience along for the ride, it’s time to let up and have some fun. The crowd gets jumpin’ and dancin’ here, as the band plays with abandon and Bob gets ready to take us home for the night.

14. All Along the Watchtower

The proper set closes the way it so often does, with perhaps the blueprint for the entire night: a song at once both so familiar its seeped into the popular conscience like few songs do, but a song Bob hasn’t played “straight" for years. In the past, I’ve heard him play it with Nine Inch Nails sounding drum fills, Hendrix guitar and overall sounds that are heavier than you’d ever expect at a Dylan concert. And last night, he subverted your expectations again. Because that version of the song is gone. Sure, there’s some guitar work reminiscent of Jimi still - his indelible mark on the song will never go away entirely - but the song is of a kind now with what he’s been playing the last few years. Now it’s a raucous party song, sleazy blues compelling you to get up in your feet and get your hands in the air. But the audience is totally on his side now, and whatever you thought this song was going to be or should have been is a distant memory compared to what’s before you. And with that, Bob and the band - in their only acknowledgement of the crowd all night - go to the front of the stage and take a bow.

15. Shooting Star

Of course, there’s an encore. And in one last moment of triumph, Dylan comes on and subverts our expectations one last time. For the first time on tour, and for the first time I’ve seen in concert, Bob picks a track that is, by most measures, a classic but you’d never expect to hear as his encore. One of the highlights of 1989’s Oh Mercy, generally regarded as a minor classic in Dylan’s catalog but not an album anyone generally regards with high hopes of the material being played live, “Shooting Star" is given the same treatment as the rest of his older catalog and brought up to date with the sound of the night. But it’s allowed to be a little slower, a little more introspective. And as the audience is confronted with a song they realize they probably should know but likely don’t, having just experienced something really special, we get as sweet a sendoff as possible on warm summer night in Colorado, outside and under the stars.

I would love to just leave it there, but don’t know if I can do that. So, the first time I saw Bob Dylan was in 2001, he’d had a critically acclaimed album in Time Out of Mind, but this was the year he’d prove that wasn’t a fluke and he was at the top of his game again. That show, probably my least favorite of his that I’ve seen, was equal parts looking forward and back (he even played “Song to Woody"). Not quite confident he was really back, he split the difference between vital contemporary performer and nostalgia act. Since then I’ve seen him hungry to shed that nostalgia, stride triumphant as an arena act again, embrace his old role as an anti-war iconoclast again (2004, for those keeping score at home), and settle into the routine as a man with nothing to prove, releasing acclaimed albums and performing to audiences who increasingly “get it." And last night, he changes again. He doesn’t burn it all down. He creates space in what exists to find something new, to transform from a place of comfort and strike out somewhere unexpected. And those of us who attended AmericanaramA last night got to be a part of that experience. It was something special, and that’s why I still love Bob Dylan.

It was a good show, is what I’m saying.
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Re: Deep Bob Dylan Theory 2012

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Great read, Flex. I never knew Dylan wrote a song a out Kaleb. #11
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Re: Deep Bob Dylan Theory 2012

Post by muppet hi fi »

Yup. As I said in the gig thread, it's a really well done review. Thanks for writing and posting it Flex.
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Re: Deep Bob Dylan Theory 2012

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I walked out of one of his shows in 1999 or so. I was too cool then. I was there to see Brian Setzer open for him (who put THAT bill together?)

He was boring, I was bored, I left. There were also hippies, and I had to vacate lest I get their hippie stink on me. That was the 18 year old mentality.

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Re: Deep Bob Dylan Theory 2012

Post by Flex »

I've been digging back through the Dylan catalog for the first time in a while. Oh Mercy in particular is standing out. I liked the album before, but I might call it a Top 5er now. Top 10 easily.
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Re: Deep Bob Dylan Theory 2012

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A cute little anecdote:

As much as you could deal with Dylan, I dealt with him. I understood how hard he worked to protect his mystique. He was entitled. I saw him as a master poet, master folk rocker, voice of a generation, American icon and a guy who still sold a shitload of records. If he wanted to sulk in the corner, let him sulk in the corner. After the concert, I hosted a private dinner for him at a swanky res- taurant. We planned to eat at midnight.

By 1 a.m. he still hadn’t arrived. I was about to go home––the hell with him––when, just like that, he and his entourage walked through the door. His entourage surprised me. I was expecting Bohemian groupies and scruffy musicians. Instead he arrived with his family––his Jewish uncles, his Jewish cousins, his Jewish mother, Mrs Zimmerman, his Jewish girlfriend Carol Childs and his Jewish dog, an oversized mastiff.

Sitting next to Bob and his mother, I was astonished by their dialogue. The mysterious poet suddenly turned into little Bobby Zimmerman. ‘You’re not eating, Bobby,’ said Mom as his girlfriend Carol was cut- ting up his food as though he were an infant. ‘Please, Ma. You’re embarrassing me.’ ‘I saw you ate nothing for lunch. You’re skin and bones.’ ‘I’m eating, Ma, I’m eating.’ ‘And have you thanked Mr Yetnikoff for this lovely dinner?’ ‘Thank you, Walter.’ ‘You’re mumbling, Bobby. I don’t think Mr Yetnikoff heard you.’ ‘He heard me,’ Dylan said sarcastically. ‘Bobby, be nice.’

‘Does your son always give you this much trouble?’ I asked. ‘Bobby? God forbid. Bobby gives me such naches. He’s a good boy, a regular mensch. He calls, he writes, he listens to his mother. Every mother should have such a son.’ ‘Stop, Ma,’ said Bob. ‘You’re embarrassing me.’ ‘You should be embarrassed,’ I said to Dylan. ‘You’re a fraud.’ He looked at me quizzically. I explained, ‘Aren’t you the guy who wrote, “And don’t criticize/what you can’t understand/your sons and your daughters/are beyond your command . . .”? So why are you whining to your mother?’ ‘I wrote that a long time ago. Is it okay with you if I love my mother?’ ‘That’s wonderful. I understand you’ve done the definitive version of “My Yiddishe Momma.” ’ He smiled.

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Re: Deep Bob Dylan Theory 2012

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A billion years ago, I remember a piece in the great late lamented zine ben is dead, about a dinner that involved the article's writer, her husband John Wesley Harding, Winona Ryder, her boyfriend at the time (some semi-rock star), Springsteen, and Bruce's mother. The interplay between Springsteen and his mother was similar to that of Dylan and his mother above. She ruffled his hair and told him he was going bald, to which Bruce got embarrassed and groaned, "Mom!"
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Re: Deep Bob Dylan Theory 2012

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Dr. Medulla wrote:A billion years ago, I remember a piece in the great late lamented zine ben is dead, about a dinner that involved the article's writer, her husband John Wesley Harding, Winona Ryder, her boyfriend at the time (some semi-rock star), Springsteen, and Bruce's mother. The interplay between Springsteen and his mother was similar to that of Dylan and his mother above. She ruffled his hair and told him he was going bald, to which Bruce got embarrassed and groaned, "Mom!"
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Re: Deep Bob Dylan Theory 2012

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Marky Dread wrote:
Dr. Medulla wrote:A billion years ago, I remember a piece in the great late lamented zine ben is dead, about a dinner that involved the article's writer, her husband John Wesley Harding, Winona Ryder, her boyfriend at the time (some semi-rock star), Springsteen, and Bruce's mother. The interplay between Springsteen and his mother was similar to that of Dylan and his mother above. She ruffled his hair and told him he was going bald, to which Bruce got embarrassed and groaned, "Mom!"
Probably Dave Pirner of Soul Asylum.
Yeah, that rings a bell.
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Flex
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Re: Deep Bob Dylan Theory 2012

Post by Flex »

Kaleb wrote:A cute little anecdote:
That's great. It's actually one of the sweeter anecdotes about Bob that I've heard, making him seem like a normal human being instead of just a pure, raging douchebag. I mean, he still comes off a bit of an ass here, but in a wholly relatable way.
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Re: Deep Bob Dylan Theory 2012

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A Challenge to Quentin Montague Horatio Caroline Flextofferson (or any of his deformed handlers):

Watched the season 1 finale of Mad Men this morning, which used "Don’t Think Twice, It’s Alright" in the closing credits. I had to admit that I liked it. So, I challenge/request you to come up with a list of 10–12 Dylan songs that you think might appeal to someone who hasn't found him appealing in the past but is willing to try again. If it helps, the only other Dylan song I like is "Subterranean Homesick Blues."

If you persuade me in 75% of your picks, I will stand with you against Wolter when it matters most (eternal opposition to Heston remains in place as always).
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Re: Deep Bob Dylan Theory 2012

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Dr. Medulla wrote:A Challenge to Quentin Montague Horatio Caroline Flextofferson (or any of his deformed handlers):
CHALLENGE ACCEPTED. I included 12 tracks + the two you mentioned (so as to at least guarantee you a listening experience where you'll like two of the songs). I present to you (with input from one Kaleb Q. Horton):

Bob Dylan - I Just Said Good Luck

Prelude: How'm I Supposed to Get Any Ridin' Done?

1. All The Wild Horses [1970, from "Self Portrait]

Part 1: Don't Matter What You Did

2. The Groom's Still Waiting at the Altar [1981, from "Shot of Love"]
3. Subterranean Homesick Blues [1965, from "Bringing It All Back Home"]
4. Ugliest Girl in the World [1988, from "Down in the Groove"]
5. If You Gotta Go, Go Now (Or Else You Got to Stay All Night) [1/15/65] [1991, from "The Bootleg Series, Vol 1-3: Rare & Unreleased 1961-1991"]
6. Bob Dylan's 115th Dream [1965, from "Bringing It All Back Home"]
7. Positively 4th Street [1967, from "Bob Dylan's Greatest Hits"]

Part 2: The Dark Side of the Road

8. It Takes a Lot to Laugh, It Takes a Train to Cry [Live] [2002, from "The Bootleg Series, Vol 5: Bob Dylan Live 1975]
9. Don't Think Twice, It's All Right [1963, from "The Freewheelin' Bob Dylan"]
10. As I Went Out One Morning [1967, from "John Wesley Harding"]
11. Boots of Spanish Leather [1964, from "The Times They Are A-Changin'"]
12. Señor (Tales of Yankee Power) [1978, from "Street-Legal"]
13. Not Dark Yet [1997, from "Time Out of Mind"]

Epilogue: To the Valley Below

14. One More Cup of Coffee (Valley Below) [1976, from "Desire"]

Download: https://www.dropbox.com/s/e0mvkrtqlszfk ... 20Luck.zip
Wiggle, wiggle, wiggle like a bowl of soup
Wiggle, wiggle, wiggle like a rolling hoop
Wiggle, wiggle, wiggle like a ton of lead
Wiggle - you can raise the dead

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