Bob Dylan 980201 in Newark, NJ
Subject: NEWARK PART ONE
From: (TIMHRK@aol.com)
Date: Mon, 2 Feb 1998 14:30:21 EST
Newark seems a dramatically appropriate back drop to Bob Dylan . It contains
both the broken promises of America and the possible hope of the new
millennium. Once a thriving industrial city, Newark is one of the few places
that has a port, access to major highways, both passenger and freight trains
run through new work, a subway through Hudson County New Jersey to downtown
Manhattan, and one of the largest airports in the world. On the other hand,
it's one of the poorest cities in the US In the sixties, it was the location
of some of the worst race riots in the county. Basically, the city burned in
the wake of Martin Luther King's assassination and has yet to fully recover.
Most of the residential areas are now slums. Driving through some of these
streets, many of which are known for drug dealings, makes desolation row seem
like a happy place.
On the other hand, the New York Times today had this article how Newark, once
the car jacking capitol of the country, where one out of five cars were
stolen, is not even in the top ten. There's office buildings going up, a
downtown financial district attracting jobs, and of course, the recently
constructed New Jersey Performing Arts Center, which has hosted a bunch of
cultural events, ballets and symphonies and such, and I believe his Bobness is
the first rock and roll musician play there. The center is on the outskirts
of the Iron Bound Section, an old Portuguese neighborhood, which was depicted
in the song of the same name by Suzanne Vega on her first album. Anyway, the
city is sort of coming back, yet is still pretty forlorn and I think that for
Bob Dylan to be playing TOOM songs here, for the first time in new jersey,
okay NORTH JERSEY, is appropriate since the album does contain hope among the
gloom and loss.
Nonetheless, Newark is a lost place, at least in my mind. I mean, I worked
for this guy who would buy his cocaine, smack and pot in Newark, and that was
all he had to do with Newark. Even Tweeter and the Monkey Man steer clear of
Newark.
I think of Patrimony, this memoir about his father's death written by Newark
native, Philip Roth. "I turned up from Elizabeth Avenue toward Bergen Street
and began to drive through the most desolate streets of black Newark. What in
my childhood had been the busy shopping thoroughfares of a lower middle class,
mostly Jewish neighborhood were now almost entirely burned out or boarded up
or torn down. The only ones about seemed to be unemployed black men÷at any
rate, black men standing together on street corners, seemingly with nothing to
do. It was not a scene conducive to alleviating the gloom of three people on
their way to consult with a brain surgeon, and yet the rest of the way to the
hospital, my father forgot the encounter awaiting him there and instead,
reminisced in his random fashion about who had lived and worked where when he
was a boy before the First World War and on these streets immigrant Jews and
their families were doing what they could to survive and flourish."
Anyway, it's my first Dylan concert of the new year, first time to hear TOOM
songs, and my third Dylan show within ten months. And it's in a place I never
anticipated ever going to for a concert.
Well, I got there early cause I always get everywhere early and the plan was
to meet my friends, Michael and Liliana, who drove down from their house in
their burbs. Well, I have to say, although there isn't a whole lot to do time
killing wise around the NJPAC, Newark has come back. The streets in the
neighborhood are clean and safe. The place has only been open since October,
and except for acts like BB KING and RUSTED ROOT, Dylan is like the first rock
and roll musician to play there.
Also, a note. I had great seats. AND I GOT THEM TWO DAYS BEFORE BY CALLING
THE BOX OFFICE. I swear, the seats were slightly above the ground level, to
the side, but about five rows in. I had an excellent view. I repeat. I got
them on Thursday. And, it was only three dollar service charge, and what,
Ticketbastards are $8-$12. So, I lucked out. I also must add, that there were
even a few seats on sale at the show. I think they are a little screwed up,
between corporate box seats and subscribers. They don't know how many seats to
put out to the public. My point is, anybody who didn't go cause they couldn't
get tickets lost out. There were a couple of empty seats in the place.
Anyway, so Michael and Liliana show up, in their TROOPER and we go to this
place Don Pepe which serves excellent Spanish food and word to the wise, the
entrŽe's are enough for two people. I have this huge doggie bag of garlic
chicken. Also, the portobello mushroom appetizer is highly recommended. We had
some piello? A really nice meal. Liliana, who is from Vennezuala's, has been
playing mommy for a few years and she tells me how her son's favorite Dylan
song is THIS OLD MAN. HE loves that record. But actually, Michael has recently
picked some Dylan discs, oh he's always liked him but he's not a crackpot like
yours truly, or the well, THE REST OF YOU ON THIS LIST.
"He wanted to come to the concert because he really wanted to listen to This
Old Man," said Liliana.
The kid is real cute. But they wanted to get out the house. I assured her,
"He doesn't do This Old Man Live."
So, the place is new and clean. I can't believe the seats. I mean, the view
of the stage is awesome. It's also a real neat looking place. It's built like
an old opera house, literally. It has style and grace. It's so 19th century. I
expect to see Balzac sitting in the wings taking notes. The walls are real
nice redwood, floors wooden beige colored and chairs green.. Aesthetically,
it's lovely and the acoustics are exceptional.
Dylan celebrity sighting: Who do I see in the row below my BOX SEATS. Larry
Sloman. That's right Ratso. Writer of what some consider, although not me, the
best book on Bob Dylan ever written and editor of the two Howard Stern's
books. He looks pretty ugly by the way, yet on his arm is this very HOT woman.
Man oh man, this world is unfair.
Okay, big deal. The incense is burning and people are fiddling around the
stage. The crowd gets restless. The show is listed for 7:30 It starts at like
ten after eight. There are some outburst of rhythmic clapping. People are
still coming in. The smoky scent thickens. It's coming from the stage. What's
with the incense Bob?
The lights go down and the applause erupts, then spot light hits the stage.
The man and his band take the stage.He looks good. His hair seems a little
more uniformed than in recent shows. His face is puffy, but he looks a little
thinner. I have to say though, he looks his 56 years. And, he has like this
pouch under his chin. He's got a pelican thing going on between his chin and
his neck. He's dressed in this very weird black suit too. On the sides of his
pants are these silver dots and the cuffs are real narrow, like Iggy Pop
Narrow. He's got a long, ˛ black jacket on with like a dozen silver buttons.
He has a white shirt and a red tie, probably silk. No hat. No parsons tie.
He's got very very very very very SHINY black boots on. Damn, they almost look
like totes. They seem to come just above the ankles.
Subject: NEWARK PART TWO
From: (TIMHRK@aol.com)
Date: Mon, 2 Feb 1998 14:32:50 EST
The riffs begin. Absolutely Sweet Marie. Well, you're railroad gate, you
know I just can't jump it. It's a kicker. His voice is in excellent shape.
The post-hastioplasmosis phlegm we could hear during the summer is gone. It
seems to rock a little bit more too. It has a harder edge. It's like he was
inspired by the 92 Bobfest version by George Harrison, but has now taken to a
another place. A darker, muddy place well acquainted with the bayou. Everybody
else, even yourself, you're just gonna have to WAAAAIIIIIIIIIIIIIITTTTTTTTTT!
It's so uplifting just to see him hit the stage and play the guitar. He's
finger picking the leads. The band is so fucking Tight. Garnier, who really is
a master bass player and I feel, the heart of the band, is on target. He's not
wearing the cow boy hat. More of a Indiana Jones Fedora with a red feather in
it.
After Absolutely Sweet Marie it's Tonight I will be Staying Here With You. I
take it as a bad sign Dylan doesn't look too happy either. He seems pissed off
or something. Maybe he lost some money the night before in Atlantic City. But
the band is really playing this song with texture. It's so much more bluesy
than the studio version. Dylan is shimmying as he plays. God, his voice is in
excellent shape. "If there's a poor boy on the street, let him have my
street." So wonderfully nasal.
Still, things are just beginning. CAN'T WAIT. Follows. And BOOOM! WE ARE IN
GEAR. WE HAVE ENGAGED. Some on their way up, some on their way down. The air
burns. I can't even think straight. The band is kicking. I go back to texture.
The guys are really creating a texture to the sound. Also, the show has a
different mood to it, cause, well it's the third strong that really puts them
all into drive and let's face it, a war horse like AATWT, which may serve the
same purpose, gives things a different mood. No nostalgia here. Dylan is
totally Albert Collins at this point. But it is also swamp rock. Dylan has
electrified, dare I say, French symbolitized, the cross roads where Robert
Johnson founded the blues. You know what this song reminds me, Spotted Horses
by William Faulkner. I mean, okay, maybe it doesn't. Maybe it does. But that
southern gothic truths of faulkner, and that story in particular, where a man
from Texas auctions off wild horses to the poor folk of Mississippi and the
horses run amok and no one can tame them. It's an amazing novella. And, as
dark as this song, as dark as the truth of mortality we all face.
I CAN'T EVEN THINK STRAIGHT!
Then, Born in Time. It seems a wee sluggish at first. And, sadly, he doesn't
play the harp like he did on the tune in April. There was no harp tonight.
What is up with that, okay But, Dylan is a riff meister now and as he gets
down to it, the band just gets more pumped and this song really took off. The
instrumental break is totally awesome. You know how that song is kind of
loopy, but they are hitting it. Dylan just gets better and better on the
guitar. The hacking days are over folks. He is a guitar force. Jam BOBBY Jam..
Silvio follows. It's different this time. Again, it's bluesy, more allman
brothers than Grateful Dead. And, Larry Cambell is taking the leads. I notice
something about Larry. I swear, he looks ten years older than he did in April.
Sure, he's the looker in the band and probably the youngest but I guess the
road ages you fast. He looks as old as BOB. And, he is not playing as well as
Bob, at least tonight. Also, the song had even a faster tempo than usual but
come to think of it, while each wasn't rushed, each one was performed with a
faster than usual tempo.
Anyway, Silvio is cooking along but good lord, the crowd is sitting on its
ass. What is wrong with these people? The crowd seems older than usual. Bunch
of old fart baby boomers. Where are all them young dead heads that livened up
the place the last few shows? Maybe they couldn't make it to Newark. Maybe
Rutgurs, N.J.'s state university and home of lethal fraternity hazing, which
has a campus in Newark, just doesn't have Dylan fans. Or perhaps, it's just
the nature of this hall, with fancy members and subscribers and to tell you
the truth, they belong at those elitists musicals and dance performances not a
man of the people like the prophet from Duluth.
In the first row I notice there is one woman shaking her sugar down. She's
kind of heavy set, wearing a green dress and has enormous breasts. They're
flipping and flopping around like weather balloons trapped in a hurricane.
She's moving and shaking and she is, well, okay she's heavy set, okay. She's
not missing deserts. God Bless her. She could move. And, she was moving, I
mean, at least somebody was besides me, and Lilianna, who is a great dancer.
Okay, there may have been one or two other people dancing, brave enough to
stand in-front of the pre-geritol crowd.
Bob still seems to be in a pissy mood. I notice another thing too. The songs
end real smooth, maybe a little too smooth. Bob, after the jam breaks, and
when he is ready to end the song, he gives this nod to the drummer and then
Garnier faces the drummer and he follows the drummer in ending the song, or at
least the bass and drummer duo follow bob to finish up the final chords. They
got the act down pat.
Gee, this guy next to me goes, what song is that. I roll my eyes and politely
tell him. Did anybody buy the 80s records?
Bob goes: "thanks ebrybody." Then he says something like, good to so you here,
I was here once before when it used to be a parking lot. (NOTE: Michael and
Lilianna think he said apartment building).
The acoustic guitars come out. Cocaine. Again, it's going a little faster
than usual, and Larry seems a little lame in doing the harmony on Cocaine. But
by the end of the song, the harmonies are in, shared by Bucky who plays pedal
for this one. Bucky actually was pretty on for the whole night too. Kempler
is sashaying away with wire brushes on the snares and cymbals. Dylan's facial
expressions are pretty cool in this number, and he is becoming more animated.
When he sings, "come here quick," he flinches a wince It was "quick" then
wince throughout the song.
Two young non-dead head bozos in front of me go, "gee isn't that a Jackson
browne song." people can be so lame. They're stupid okay, too stupid to know
an old folk song and too stupid to shake their ASS during heated rock and
roll.
The chords to masters of war chime out. Again, it's a little more uptempo. In
fact, it almost sounds like the Real Live version except done with acoustic
guitars. Dylan is moving along with the guitar, shimming and shaking and
picking them leads like lightening hopkins. I seem to be hearing this song a
lot by him at show during the past coupla years. But tonight, even though it
may not be as dramatic a version as I've experienced before, it has a special
poignancy considering that the news is filled with Allbright flying off to
countries seeking support for a bomb strike against Iraq. A world war can be
won, you want me to believe. You get the feeling, the headlines of the week,
all sex and war with Bill Clinton and his stained dressed intern with a
penchant for fellatio and then his victorious state of the union of the speech
and the news that Iraq is making chemical weapons and will have to be bombed
in order to stop and of course, Iraq telling its citizens that because of the
sex he will be bombing our country soon. There was a tangible sense of
relevancy to that song, one that even the dunderhead jerseyites who had to be
reminded to shut off their cell phones could appreciate. And, in a way, war is
a lot more complicated now. I mean, Saddam Hussein sends scuds to Isreal,
Isreal has a horrible record with the Palestinians, Hussein is probably
building chemical weapons, one wonders if the movie Wag the Dog is true, or
those violent idiots in the former Yugoslavia, Communism collapses and they
can't wait to kill each other because of old racial resentment. But This song
reminds of something, killing is killing and there is a truth. A small amount
of people always profit off of any war and a large amount of people suffer.
There are innocent victims. We may be justified with bombing Iraq, but there
is something higher than politics and even Jesus MAY NOT FORGIVE YOU OR THEM
OR US. And, Dylan has the BALLS to say it, say it in a totally artistic and
revelatory way. The message is simple. Hell, even saying war is wrong is kind
of trite. But not this song. We don't want to hear it, but we need to hear it
and you also get the feeling, that tonight Dylan needed to play it.
Bucky was just extraordinary on the mandolin. You know, a few years ago, the
94 shows, Bucky was like an extra, adding ambient sounds and little touches.
Now, he's really implanted texture, whether it's the pedal steel, the pedal
steel sounding like organ, or his bill monro-ish mandolin riffs that gave this
version of MOW a kind of Old and In The Way vibe, he almost eclipses Tony
Garnier as the MVP of Dylan's ensemble.
There's an extended instrumental towards the end, and Dylan is picking away
like crazy. He's shimming and shallying, shaking his flabby gullet. Really, he
could pack a lunch in that sack. I mean, it's goiteresque
The woman in the green dress is bouncing around like a sex-crazed Ricki Lake
on one too many hits of acid.
The applause explodes as the familiar chords of TUIB fill the opera house. The
FM hit. The song never gets tired. Early one morning, the sun was shinning. A
bald middle age guy saunters up to the stage fists punching the air. A few
rows back there's a svelte red head up on her feet doing an erotic dervish.
Next to her, another bald guy but younger is doing the white-guy dance. I.E.,
no ass or hip movement, but an enthusiastic rhythmic shake of the upper torso
and some arm swaying.
At first, TUIB sounds a bit lackluster. A bit by the numbers. I mean, I've
heard it live many a time and I knew it was coming and I knew where it is the
set. Then suddenly, finally, after the first verse ends with I just grew,
tangled up in blue, the band accentuating each syllable, the younger
generation in the crowd decide let's party and there's a stage rush. I wish I
could have been on the floor. There seemed to be stream of folks prancing up
the aisles, and forcing those lucky elitist in the front rows to get up off
their rectums and show some fuckin spirit. Good Lord, this is a rock concert,
not a museum. It ain't becket, it's Dylan. Campbell is laughing at Dylan, who
takes a couple of steps back and seems a little surprised. Now, except some
lazy folks in the back rows of the place who might even insist on sitting if
the place caught on fire, the whole floor is standing. And, the people in the
side tiers and box seats, they're standing but they didn't seem as repressed.
Now, whine if you want about people standing up but this really had an effect
on the band. They started playing better. They folk rocked out. Dylan even
begins to smile. The incense is pouring forth.
Then the electric guitars come back on and Bob and Bucky start doing the loopy
intro, backed up Mr. Garnier and it's a million miles. I can't go on like
this. The bucksaw raggedness of the studio version seems muted and it is
really more of a straight blues than the Hammond organ Chicago blues of the
studio take. And Dylan begins to ad-lib. For instance, when he sings, "there
are plenty a people, put me up for a day or two," he like quips real quick
into the mike, "well maybe a few," then into the, I tried to get closer, but
I'm still a million miles from you." He was also doing this kind of hop thing
too. Where he would hop away from the mike for his guitar solo, then hop back
to the mike to sing. I've never seem him so animated. I got a feeling that
only part of the crowd knew the new songs. But they really dug this. While the
band always had energy for this show, they are now playing with more FEELING.
And, that emotion energy combination did not subside a millimeter when Bob and
Bucky started the next tune, playing the immortal chords we know from the
piano intro of the last track on side one of HW61 Revisited. Just like Tom
Thumbs blues. A really searing version. Dylan took it back from Neil Young,
played it like smart ass Hart Crane meets a world-weary wise Muddy Waters. Oh
the vocal was great, especially when he sings, up on housing project hill,
which seems quite to the point given the history of the NJPAC and the slums
they had to clear away to build the hall. I also like the fact, that this song
is an anthem, it has such clever word play and thought dreams and surrealistic
imagery the envy of an Andre Breton or Philip Lamantia. I mean, we're used to
anthems that have like refrains of rock it or everybody must get stoned. But
there ain't no chorus persee in Tom Thumb. Yet, it's still an anthem. I
started out on burgundy but soon hit the hard stuff. Everybody said they'd
stand behind you when the game got rough.
Wait, I remember particularly well the early line, if you're looking to get
silly. He sang a really good silly.
Subject: NEWARK PART THREE
From: (TIMHRK@aol.com)
Date: Mon, 2 Feb 1998 14:34:08 EST
But More so than the singing, Dylan begins to posture like a FUCKIN ROCK STAR.
IT's practically aerobic. In fact, at one point, his knees knock together
while his feet, those big almost Franekstein Boots he's wearing, are wide
apart on the floor. It reminded me of the spasmodic movements of Elvis
Costello, who probably made that particularly form of awkward, herky jerky
convulsive posturing part of the rock and roll persona lexicon.
And, when the line comes, I'm going back to new york city, I do believe I had
enough, we're all on our feet applauding. The song really was a hot number.
Really cooked. A stand out.
"thanks ebrybody I'm having a good time," he says real fast into the mike
after the conclusion. And I think, by now, he was, although it didn't seem to
be the case at the outset. Then, the band intros. Just the names and
instruments, no funny little jokes. And, he doesn't do Larry Cambpell.
Campbell, already haggard looking, seems mildly ticked off.
Highway 61 starts up like a race car and it's a pace that thunders for the
course of the number and the crowd is actually appreciating. And Dylan, he is
so animated. That's the only word I can think of. He's dipping his head, point
his guitar at the crowd, crouching with Larry like they're Mick Taylor and
Keith Richards, and at one point, Bob attempts a duck walk. It was not a
complete duck walk, but it was close as this Hibbing boy ever came to one.
But, he is also playing his heart out on this one. He's Alvin Lee all of a
sudden.
The second the song ended, and in fact, while the rest of the guys are still
finishing up the last notes, Dylan takes off his guitar and does a deep bow,
which looked pretty hip in his weird black suit, which kind of draped and
dripped on his frame. Some folks at the edge of the stage had their hands up
for a shake and Bob was sort of going to go up to them, like he took a step
towards them, then he thinks better of it and just holds his hands up in a
kind of wave, his fingers spread wide.
The crowd is roaring approval and calling for the encore we all know is
coming. By this time, the incense is burning my eyes, and I'm a smoker. I
guess that's a sign of how good the seats were, cause that incense smoke was
thick. I can't believe it wasn't bothering the performers.
Till I Feel in Love with You was next, really superb and chilling. And then
it's the acoustic number, It ain't me babe. This had a bluesy overtone. Dylan
can't get away from the delta these days. It transforms everything he's plays.
The songs may start somewhere else, but they end up here. Yeah, here's one we
hear a lot, but this time it's not the sing along it usually is, Dylan regains
the personal nature of the lyric. I think about how confusing love is, and
believe me, my love life is way confusing but even though Dylan believes in
love, suffers for love, there's still this reliance on personal strength and
that's a truth we should all pay heed to. A lover for your life and nothing
more. We all need more, don't give in,. It ain't me babe.
Of course, I'm muttering play the harp, just some harp, a few harmonica notes
whip out the Hohner, I know it was in his pocket. But, alas, no harp tonight.
Love Sick, the beginning of the last encore. Man, this was great. I'm walking
through streets that are dead, I'm walking with you in my head. It's so slick
and emotive and just such a wonderful mood and dark piece revealing all the
dark mysteries and complexities that take place between men and women. TUIB
sort of blames social change on screwing with our hearts. This song takes a
more direct route. It's personal responsibility or is the human condition.
Sometimes, the silence sounds like thunder. Sometimes, I take to the road and
plunder. Is it us, or is it life. There is no answer to that, it's both and
neither and we will never know. We just endure. We just keep walking. And the
ending, never have met you, is just so on the money and perfect. This is not
the extended ending song of say the rolling thunder period or the early never
ending tour shows, where the endings fell together. These guys ended this hard
to end number, I mean, the impact of this number depends on the unity and
cohesiveness of the ending. It was seamless. Shit, they could play Vegas with
endings this tight. There's a chill running spine in the NJPAC when this songs
concludes.
Then of course, it's over, the drum does the marching tap tap ta-ta-ta-ta-tap
and the rinky dink guitar riff. Rainy Day Women. Yeah, yeah, yeah. I really
have come to hate this song. It's the weakest god damn cut on BOB. He's been
ending the shows with this for how long now? But, the yahoos love it. And, I
begin to smell some pot smoke, which at least cuts through the incense, but
this place was a little too new and sanitized and it was about time those who
still smoke lit up a doobie because for Christ sakes, this is a rock and roll
concert. Keep the dream alive brothers and sisters. Another thing though,
Dylan is also playing some great licks, it's like, he still had some playing
to do for this night's guitar outing. In any case, this song had a little
extra panache than usual, and a panache, quite frankly, the opening of the
show probably lacked.
I have to say, out the three Dylan shows, three different tours, I saw in New
Jersey this year, this one was merely competent. Dylan didn't seem inspired
until the audience got him that way. Also, he seem to play songs I've heard
before. On the other hand, I never heard him do the four TOOM songs and they
were moving and chilling and just startling in concert. They also permeate his
oeuvre. Sure these themes have always been part of Dylan's vision, but the
blues undertones are now highlighted everywhere and I seem drawn to the older
tunes' similarity in themes to TOOM tunes than any sort of other meaning right
now. Also, the musicianship, especially in Love Sick and Million Miles is just
so High, it's a caliber one rarely sees, and one that Dylan hadn't achieve
with the never ending tour, and I don't think even the other bands he formed,
or his liaisons with the Dead, the Heart Breakers, hell, EVEN THE BAND, YEAH
THE HAWKS I SAID IT, Even they couldn't really pull off what the Garnier &
Baxter and company can now do. It's just them being seasoned either. A lot has
to do with Bob. Bob has devoted himself to becoming a better guitar player. I
don't care what he says in interviews. He is playing in ways and doing things
with those six strings he just was never able to do before, and in fact, only
the upper echelon of guitar players can do with such style and grace.
The audience, also, wasn't as much as fun as usual. Too many old farts. They
wouldn't have booed at Newport, they would have slept through it. I think this
has something to do with the NJPAC. They must be members or some shit. Oh, I
truly missed, the tye-dyed contingent of Generation X fans who twirl and
lively up the joint. Could it be, they're busy with grad school or entry level
jobs and finally given up the psychedelic vagabond lifestyle? Oh lord, I pray
that's not true. And the ones who where, as well as the baby boomers who don't
have LEAD IN THEIR ASS, did bring up the energy level of the crowd.
ALSO BOB GET NEW T-SHIRTS. THE T-SHIRT NOT ONLY SUCKS, NOT ONLY HAS IT NOT
CHANGED, NOT ONLY ARE THE DESIGNS BORING AND STUPID, THEY WERE RUNNING OUT OF
SIZES.
What's so bad about wanting a reasonably priced short sleeved T-shirt, with
some decent picture that doesn't feature the gullet on the front and a list of
tour dates on the back. Hey, why not put the band members alongside bob.
Another thing too, is that Newark still has some way to go, if they want to
attract people back to the city as a cultural destination. There is like
nothing within the vicinity. I didn't go to the NJPAC grill, but we wanted to
after the show, get a beer or soda or something, wait for the crowd to
disperse a bit and talk about the show. But it was closed. And, there was
nothing around there. No vendors, no star bucks, not even a decent bar. I had
gotten there a bit too early and I walked around the surrounding blocks and
there was this sign for an Irish Bar and I was like, saved, a traditional New
Jersey dive, places up and down the garden state I've temporarily called home
and the place was boarded up. It was quite annoying.
Otherwise, the NJPAC is doing a great job, the people there are real nice. I
was talking to the security people, one of whom ironically lives in my
neighborhood, and they were just very polite and had some good restaurant
tips. They recommended Don Pepe. I might add, that EDLIS had no
recommendations for places to eat before or after the show. Guess there were
no RMD parties. Maybe something is happening and I didn't know what it was.
But, it's pretty hard to find any place.
So, after the show, Michael and Liliana and I walked the few blocks down
Mcarter Highway back to Don Pepe for a post concert beverage. They were happy
to see us again. Lilianna had charmed the help with her Spanish.
"He was good, he really rocked," said Liliana, who danced divinely throughout
the show. Latinos have such great moves. "But why does he have no connection
to the audience. He seems not to want to associate with him."
"He just does his art," said Michael, whom I've known for 30 some odd years
and chided for not dancing enough. "He's a misfit. It's like you either get
it or you don't. He doesn't care if you don't get it."
"But the best thing though, he doesn't do a star thing, he doesn't do a
nostalgia show. Everything is relevant," I said. "No matter when it was
written. It was a good show."
Actually these guys made me have a better time, only because, well, I haven't
seen them for a while due to their parenthood. And, they were JUST SO HAPPY to
be out of the house. It was great. They got a baby sitter and left the burbs
and saw some great music. And, they saw a great intro show for Dylan. It was
their first show.
And, it's been a long time since my first show. And, I liked other shows more.
But, it was important to have somebody else show me that this was still GREAT.
On the level of music, it was competent and far above adequate. On the level
of Bob, well, Bob is a classic. It's important to see Bob, cause he is a
phenomenon. He is an artist of integrity, and while we might prefer other
shows cause we are crackpot fanatics, Dylan always delivers, reminds of things
beyond our selves, makes contemplation of the human condition and the power of
love personal to ourselves.
Newark, surrounded by industry, struggling to make good on forgotten promises,
slouching towards an uneasy revival. Bob both reminded me and the city not
just how far it still must go, but how far it has come.
And that was a good thing.
Our brains may be wired. Our feet may be tired. The clouds may be weeping. But
we're still walking.
Subject: tour retrospective and commentary
From: (TIMHRK@aol.com)
Date: Thu, 5 Feb 1998 11:17:39 EST
So, as some of you may remember, I've posted three in-depth accounts of the
three Bob Dylan concerts I've expereinced in the last 10 months.
I thought I might try to draw some conclusions from this unique situation. Me,
I am not a tour person, and while I've caught two shows per tour, this is the
first time I've been able to see Bob during three different tours, three
different set lists, pre and post hastioplasmis and pre and post TOOM.
One thing that really stands out, is that regardless of set list or whether
Bob was more ON one night than the other, the fact of the matter is, I had a
great time at each show. Bob is really a professional, always plays to the
best of his ability and inspriation on each specific outing, and just delivers
a satisfying show. More importantly, I went with friends and it's always good
to get together with friends and have a good time. And bob is always secondary
to that. You know, I really don't want to meet him, and hanging out by the
tour bus to get a glimpse, hand shake or photograph seems to me to be one of
the most pathetic things one can do. Bob, thank you for your music, thank you
for providing a good time for me and my friends, otherwise your life is your
own and I have better things to do than getting something from you I haven't
paid for.
Which was the best SHOW? I think the Wayne New Jersey was probably the best,
because it was in a gym and that was really unique and probably won't happen
again. It was like a sock hop. Also, the crowd had a lot of young dead heads
in it. Young Dead Heads like to smoke grass and twirl and dance. They dig the
music. They don't yell out songs or act beliigerant. And, when Bob Played
Friend of The Devil, there was such an energetic rush from the crowd, that I
will always remember the big smile on Bob's face, as well as some excellent
violin by Larry Cambell. From reading the posts about that tour, it seems
that show was the BEST night of the tour. And maybe that's the way it is with
tours, there are a handful of exceptional shows, the rest just competent
entertainment with fewer stand out numbers.
Perhaps I had the best time at HOMDEL, cause, well, it was HOMDEL and it is
just nice sitting outside in the summer and it is such a fun place to go.
Dylan's voice was the strangest at these shows. He had a lot of phelghm, and
didn't seem that healthy. He seemed a wee fragile. Yet, hearing Tough Moma and
Blinde Willie Mctell was just so special, even if they weren't the best
versions. Also, he played a great harp solo on My Pack Pages. He only played a
snipped of harp in wayne and none in Newark. Gee, what happened to the harp.
This is really a pressing question and I would like some specific answers to
it. Is it a question of health?
Wayne had the best Silvio, and the best TUIB, which also included a slide show
and pictures of Allen Ginsberg.
However, at Homdel the crowd was kind of dopey and there was that big ugly
bitch playing the tambourine in the audience. She was sick. You know, they pat
people down for bottles and tape recorders. They should stop audience members
from bringing instruments. I would rather be with a bunch of drunks.
Newark, Bob seemed pissed off at the beginning of the show but the audience,
at least the fun ones, brought out a better Bob. It was great to hear the TOOM
songs, and Bob & CO. especially shined for Love Sick, as well as Tom Thumb
Blues.
Also, the musical comptency of Bob & Co has truly evolved over the last year.
Where a predilction for blues licks emerged in Wayne, by Newark, they
DOMINATED and Bob just has become an exceptional player. The interplay with
Baxter has also become extraordinary. I get the feeling that the guys just
want to play together now, and that's fine. It was almost a different SHOW
entirely. Maybe playing the TOOM songs has brought all this together. They
really sell these songs. Maybe they felt pressure to make these songs as
important as the well known classics, or maybe the songs themselves just
appeal to these guys. I mean, Million Miles is just such a jam number. And jam
they do. The band is much tighter, and I am convinced that Garnier really
calls the shots, Dylan may call the songs, may signal the endings, but Garnier
is at the helm.
Newark: Best Voice. In fact, Dylan's Voice has never been better live. Check
the tapes and live releases and see if that is not true.
However, why was Bob pissed off? This concert, according to a security guy at
NJPAC, was a last minute deal. They went on sale less than two weeks before
the show. Maybe Bob Didn't like the interruption, and wanted the night off.
But, the bad mood didn't seem to last.
Another important note, Bob was not as heavy as he was in Wayne and was much
healthier than in Homdel. So, I think his health has improved. He was
certainly spry posturing on the stage with his axe.
Best outfit? Homdel was sort of goofy, and although the Newark outfit was hip,
it was a little too YOUNG for his 56 years. So, I give it to Wayne. The
parsons tie, grey suit, cowbody hat. Yeah, go for the country gentelman look
Bob, it suits your midwest middleaged appearance.
Three tours, three shows, and the same shitty T-shits for sale. And, there
seemed to be less selection at Newark, indcating they probably made a bunch of
these boring shirts up and now have to get rid of them before they make more.
My 95 tourshirt with Bob & Patti is really faded. The eye design is really
hideous. The shirts SUCK. Can't Sony or Jeff Rosen do something about this?
Would I want a different song selection for the different shows. Ahh, who can
answer. The guy has so many songs and I hate it when I read he played a This
Wheels on Fire or Visions Of Johanna at a show I couldn't go to then comes to
my area and plays something I heard before, but then there's surprises, like
the Hard Rain at Wayne or the Tom Thumb at Newark where the chestnut is
roasted anew and it turns out, that really WAS THE SONG I WANTED TO HEAR.
However, I do expect a new opening each tour and I was somewat dissapointed to
hear Sweet Marie twice in a row. I think my favorite opener of all time was
the 91 New Morning, cause it was like so DIFFERENT than the original, and it
took like half the song to guess what it was, it really put the audience in
our place. Keep us guessing Bob. I like More Obscure numbers totally
deconstructed.
In any event, Go see the shows cause he's at such a high level, he's at the
peak of his powers. HIS VOICE AND PLAYING HAVE NEVER BEEN BETTER AND NEVER SO
CONSISTENT. And, I have even gotten used to RDW night after night. It's almost
reassuring as an ending. But Lord, he must be getting sick of it.
So, tonight when we say our prayers, we shouldn't pray or just pray for him to
revive SHE'S YOUR LOVER NOW, his greatest SONG, but just thank the good lord
he's still around and KICKING ASS.
May our asses be kicked for years to come.
AMEN
Subject: Re: tour retrospective and commentary
From: Dan Levy (danlevy@levity.com)
Date: Fri, 06 Feb 1998 21:16:21 -0500
Nice post, Tim!
I've been very lucky to see lots of shows in the past twelve months, and
you pointed out some real highlights, like the Wayne, NJ, show in general
and that "Hard Rain" in particular.
Just off the top of my head, some of the highlights of 1997-8:
Wayne, NJ: whole show, but particularly Hard Rain
Northampton, MA: John Brown
New Hampshire: Forever Young
Wolf Trap: both shows marvelous
Jones Beach: rarely considered among the summer's best, I LOVED it!
Mann Music Center: a wild night, the band on the verge of careening of the rails
Scranton: my favorite show of the summer. Amazing feats of vocal derring-do!
Trocadero: my favorite of the six club shows I saw...both nights great,
possibly the best Born In Time I've ever witnessed
9:30 Club: another wild, fast night...great Don't Think Twice
Irving Plaza: solid throughout
El Rey (first two nights). First night amazing, second good but raw vocals.
MSG: All had very strong moments, generally not as consistent as the
December club shows. Certainly the acoustic sets on nights three and four
were incredible. The second night's Tears of Rage just great.
What were other people's favorite performances of the past 12 months?
--
Dan Levy danlevy@levity.com
Levity: New York City http://www.levity.com/
Subject: Re: tour retrospective and commentary
From: Daniel Erickson (danielmiles@earthlink.net)
Date: Fri, 06 Feb 1998 23:05:24 -0800
The "Big Girl Now" from the second night at the El Rey (see
bobdylan.com) will always be a very fond memory.
Back to the other reviews of the same concert.
