Bob Dylan 2002.02.06 in Charleston
From: "Hamp Nettles" donttreadonme_@hotmail.com To: billp61@execpc.com, webmaster@expectingrain.com Subject: Charleston review Date: Thu, 7 Feb 2002 17:35:36 -0500 I last saw Dylan last November in Nashville, TN. He took the stage without his cowboy hat on and with a drummer named David. Tonight in Charleston he kept the hat on, but didn't bring David along. What went on tonight in Charleston was some powerful stuff. There ain't no other way of putting it. For starters, let me get one thing straight. For those of you who have yet to hear Mr. Receli play, prepare to be blown away. This guy is positively bad ass on the drums. Hearing him play will immediately make you wonder why he hasn't been Dylan's touring band from the beginning of the NET. Needless to say, the opener, 'I Am The Man' wasn't exactly the greatest showcase for the new drummer. In fact, the song wasn't much of anything except a warm-up. It was over pretty quickly and before you could blink Dylan was at the mic, harp in hand, blowing the unmistakable opening chords to "It Ain't Me Babe.' The song was absolutely stunning. The vocals were everything you could hope for with Dylan. They weren't shrill or nasal or forced. He was in complete control and in signing throughout the show was nothing short of beautiful. To my surprise, even though there was harp intro to "It Ain't Me Babe,' he didn't finish the song with harp. However, he played harp 7 more times during the night, each time with a harp intro and no outro. (The only exception was 'Wicked Messenger', which began sans-harp and ended in a burst of blazing harmonica.) It was during the next song 'It's Alright Ma,' that the new drummer showed his stuff. This was, without a doubt, the most rocked-up version of the song I've ever heard. The beat was throbbing - it looked like Receli was putting every ounce of his strength into smacking the snare - and the vocals were searing. The enegry was simply explosive on stage, and that led into a welcome harmonica into to 'Searching For a Soldiers Grave.' Which seems to be a very odd song selection, sandwiched in between 'It's Alright Ma' and the next song, 'Tweedle Dee and Tweedle Dum.' Vocals, again, were powerful, but the highlight was seeing Chuck Sexton cut loose on electric guitar. Larry, it seems, was not to be outdone. The next song, 'Tonight I'll Be Staying Here With You' was a complete surprise. It featured some of the best harp all night and Larry playing terrific steel guitar. The singing on Dylan's behalf and the playing from Larry was simply breathtaking - without a doubt, one of the highlights of the night. In fact, 'Tonight I'll Be Staying Here With You,' along with the next three songs ('Cry A While', 'High Water', and 'One Too Many Mornings') are without compare to anything I've ever seen in person or heard on tape. Receli's launch into 'Cry A While' was like a shotgun blast and I still don't think I've recovered yet. It was low down and dirty electric blues, of the lowest-down and dirtiest variety. The building shock and my heart pounded. Receli, once again, was going absolutely nuts on the drum kit. Larry and Chuck were putting down firely blues licks. And Dylan's vocals were venemous. The more he spit and sneared the lyrics the more the crowd roared unitl the whole thing hit such a fever that I thought the whole thing was going to break down. Dylan had the crowd on its heels, and when the banjo was brought on stage I knew all hell was about to break loose. 'Highwater' live is everything the album version is and so much more. And once agian, Receli's drums were so powerful I was surprised that his his drum sticks, his snare, or his hand hadn't broken at that point. "One Too Many Mornings' has always been one of my favorite songs to listen to live, and I knew right away what song it was. Again, Dylan led the song with harmonica. The playing was excellent - and this wasn't the seeming random style that he must often uses. He was playing it like he knew what he was doing. Larry's playing was the best all night and his pedal steel was one of the highlights of the song. The next song, however, was a bit of a surprise. I was not surprised that Dylan played 'Masters of War,' I was just surprised that he played it. There was something about this version that was simply amazing. It was played LOUD, and I half-expected Chuck or Larry to pull out an electric guitar. And Receli wasn't just playing back beat here. This song had an unavoidable, eerie rhythm to it. One of the verses features vocals so haunting that I won't soon forget and that I really can't put into words. What I can say was that I've never heard a better version of the song (and I think the tapes will back me up on this). The crowd, predictably, hit their collective feet when Larry started the chords to 'Tangled Up In Blue' and Dylan ripped into yet another harp solo. The harp intros are superbly played, but rarely drew nearly the response from the crowd as opposed to the roar when he reaches for the harp at the end of a song. 'Tangled' was just that, and the energy barely ebbed when Dylan launched the band in 'Summer Days.' It was a rocky start, but once this number got going it seemed like the whole audience was dancing. But when 'Sugar Baby' started, 90% of the crowd took their seats again, but I remained standing. I was in the center of the 8th row, and someone a few rows back yelled 'I played for my ticket and I came to sit and watch the show.' So I politely let him know that I too paid for my ticket, but I came to stand. To be honest, 'Sugar Baby' isn't my favorite song, and there was quite a bit of chatter during the number. Dylan, always the performer, seemed to sense the dip in crowd response and ripped in 'Wicked Messenger.' After the show I heard more than a couple of people mention how shocked as to how rockin' the show was. 'Wicked Messenger,' of course, was finished off with some blazing harp, a dangling hand directing the band, and some new dance moves. Dylan was obviously having fun with the band and I think he may have smiled once when Receli failed to end a song directly on queue and instead drew the song out for a few more meters. Dylan may have been annoyed or amused, but Tony got a huge kick out of it and couldn't stop laughing. Larry hopped back on steel guitar was a fantastic (yes, I said fantastic) version of 'Rainy Day Women.' Larry was playing some awesome steel licks (I only wished he was louder in the mix) and Dylan was singing the song as if he was indeed stoned and it wasn't the millionth time he sang it. The encore was standard fare, and my major complaint of the concert was the omission of 'Like A Rolling Stone.' 'Love Sick' was a treat since I'd never heard it live, but the highlight of the encore was, without a doubt, 'Forever Young.' I know its getting repetitive, but his harp playing was absolutely beautiful. Not only that, but it featured, without question, his best guitar playing of the night. The vocals were subdued and the harmonies were soaring. 'Blowin' In The Wind' was done in very similar fashion (harp, guitar, and vocals were all strong) and it was a powerful ending to a wonderful show. So in conclusion, I will make a few comparisons between this show and when I saw him last Fall in Nashville. Yes, the setlists look exactly the same, but this was a very different concert. Nashville last Fall was very subdued - Dylan almost seemed tired of a long year of touring and after recording the new album. But the addition of the new drummer has positively kickstarted the tour. If you catch another show down South expect a loud, powerful, rockin' performance. "Love and Theft" was amazing life in Nashville, but it was better in Charleston. The arrangements are just amazing. And Dylan seems to be re-arranging other songs as well, some more than others (specifically 'Its Alright Ma' and 'Masters of War). Receli is the real deal, and if he plays the way he played in Charleston and continues to learn more songs and gets in absolute sync with the band, he will go down in my book as the best drummer of the NET. And I can't say it too many times - Dylan hasn't played harp like this in a while. I'm not talking about 2-3 note solos, I'm talking about some serious playing. I'll be fortunate enough to catch 4 more shows this tour, so I will definitely report on whether or not the band keeps up the energy they had last night. If they do, it should be an incredibly exciting tour, especially as more songs are worked into the setlists. Hamp Nettles