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PostPosted: Sun April 29th, 2012, 01:06 GMT 
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I quite liked this version, good to hear Bob mixing it up a bit, its not as good as the 2010 arrangement though.. Its probably the key change that has effected it the most, the 2010 version was in C, the 2012 version is in E, which makes it sound just like the current arrangement of Rainy Day Women


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PostPosted: Sun April 29th, 2012, 01:07 GMT 
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BobDylanFan1994 wrote:
Still Go Barefoot wrote:
We'll take it. Funny that the big news these days is a tune that hasn't been played in only 2 years. But what the hell, at least it's played a little differently than the last umpteen times that we heard or saw it.


The last time 'Cry A While' was performed was on August 7, 2010 in Kansas City, Missouri.

Even funnier then.


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PostPosted: Sun April 29th, 2012, 01:12 GMT 
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The Mighty Monkey Of Mim wrote:
Still Go Barefoot wrote:
But what the hell, at least it's played a little differently than the last umpteen times that we heard or saw it. It almost doesn't matter to me if I like it or not. ANY change is positive and denies stagnancy.

I disagree. At a certain point it's like he thinks all he has to do is play something differently (or something he hasn't played for a while) and that's good enough. The point should be to play the songs well and in sympathetic arrangements. Just "different from before" doesn't cut it. The song has no impact like this, nor did it in any of its other middling incarnations since he dropped the L&T arrangement, which I'm 90% sure the song was written around rather than the reverse. The quick-slow tempo change may be a gimmick but it's what made the song. This doesn't make me feel he's interested in it again, just that he's going through the motions of "changing things up" to cover for his increasingly limited ability to do anything more than rasp. "I'll play different songs, even though they'll sound the same as the others!"

So you sound frustrated about this. I'd save your money and stay away from his shows if I were you.


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PostPosted: Sun April 29th, 2012, 02:45 GMT 

Joined: Thu August 30th, 2007, 22:44 GMT
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I'm more frustrated at the sentiment that "ANY change is positive, whether I like it or not." How on Earth does that make sense? Change is never for the worse? Everything ought to be changed whether it's already good or not? Even if I don't like it, I have to say it's good because it's different?

Anyway, my point is more that just because CRY A WHILE hasn't been played exactly like this before, he's certainly not introducing anything new here. It sounds just like a bunch of other stuff he regularly plays. It's no less stagnant just because he's got a different lyrics sheet in front of him.


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PostPosted: Sun April 29th, 2012, 04:22 GMT 
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Bob Zimmerman wrote:
appleberry! thanks man! :wink:


UW, good ole friend of mine! :wink:


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PostPosted: Sun April 29th, 2012, 10:31 GMT 

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That Kansas version was a cracker if I recall correctly


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PostPosted: Sun April 29th, 2012, 12:20 GMT 
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The Mighty Monkey Of Mim wrote:
I'm more frustrated at the sentiment that "ANY change is positive, whether I like it or not." How on Earth does that make sense? Change is never for the worse? Everything ought to be changed whether it's already good or not? Even if I don't like it, I have to say it's good because it's different?

Anyway, my point is more that just because CRY A WHILE hasn't been played exactly like this before, he's certainly not introducing anything new here. It sounds just like a bunch of other stuff he regularly plays. It's no less stagnant just because he's got a different lyrics sheet in front of him.

Good push Mim. I might not have been very clear.
I guess what I was saying is that I'm just not interested in seeing the same arrangements over and over again. Also, a tune that hasn't been pulled out in a couple years isn't headline news to me. Constant change is an attracting factor for me, so, yes, I do look at change in a positive light. It's part of what I seek in a Dylan show and a major reason why I stay with Bob. Because that's what he does, he freshens songs that have been played repeatedly and unwraps the same gifts over and over in many ways. Each new version may not knock my socks off, but I enjoy the fact that the risk is continually taken to try it a different way.


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PostPosted: Sun April 29th, 2012, 12:37 GMT 
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Still Go Barefoot wrote:
The Mighty Monkey Of Mim wrote:
I'm more frustrated at the sentiment that "ANY change is positive, whether I like it or not." How on Earth does that make sense? Change is never for the worse? Everything ought to be changed whether it's already good or not? Even if I don't like it, I have to say it's good because it's different?

Anyway, my point is more that just because CRY A WHILE hasn't been played exactly like this before, he's certainly not introducing anything new here. It sounds just like a bunch of other stuff he regularly plays. It's no less stagnant just because he's got a different lyrics sheet in front of him.

Good push Mim. I might not have been very clear.
I guess what I was saying is that I'm just not interested in seeing the same arrangements over and over again. Also, a tune that hasn't been pulled out in a couple years isn't headline news to me. Constant change is an attracting factor for me, so, yes, I do look at change in a positive light. It's part of what I seek in a Dylan show and a major reason why I stay with Bob. Because that's what he does, he freshens songs that have been played repeatedly and unwraps the same gifts over and over in many ways. Each new version may not knock my socks off, but I enjoy the fact that the risk is continually taken to try it a different way.


Pretty sure that's exactly what you said the first time. And I totally agree with Mim, there's too many fans out there now with the "lets just look the other way" attitude.


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PostPosted: Sun April 29th, 2012, 12:40 GMT 
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Tim Finnegan wrote:
Pretty sure that's exactly what you said the first time. And I totally agree with Mim, there's too many fans out there now with the "lets just look the other way" attitude.

"The other way" meaning not agreeing with you or the nay sayers?


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PostPosted: Sun April 29th, 2012, 21:11 GMT 
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Thanks for this! The new arrangement is spectacular!!


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PostPosted: Sun April 29th, 2012, 21:54 GMT 
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I like this version, too. Not the greatest singing I've ever heard, but this song never seemed to have much of a melody anyway, not even on the album. To me this song's always been all about the instrumentation, & here the harmonica & the blues guitar are pretty nice.


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PostPosted: Thu May 3rd, 2012, 22:25 GMT 
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P. Pittsburgh Joe wrote:
I like this version, too. Not the greatest singing I've ever heard, but this song never seemed to have much of a melody anyway, not even on the album. To me this song's always been all about the instrumentation, & here the harmonica & the blues guitar are pretty nice.

I like it too. Took another peek at it and really like it.


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PostPosted: Fri May 4th, 2012, 11:37 GMT 

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Sadly, an arrangement that only detracts from the song. The phrases between the stops are clearly too fast for Bob to manage to fit the words in without a struggle. The harp is ok, but he's hardly pushing himself. Someone posted a video of 'Levee' from a recent show, also with a stop-start thing going on - worked much better there.

Miguel posted a review here of his first Bob concert experience, which he loved - and that's great. It was interesting, though, to note the things he singled out as memorable: seeing Bob's face, seeing Bob smile, seeing the band members smile, the sense that they were all enjoying themselves, Bob bashing the keys with his fist (in a cute way) when he x something up. All of which is fine for those who get a thrill from it. But it used to be the case that on top of all that, the music would thrill you. And not just in a 'look! Bob Dylan is standing there singing 'Blowin' in the Wind!!!,' kind of way.


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PostPosted: Fri May 4th, 2012, 18:17 GMT 

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likeatrain wrote:
Sadly, an arrangement that only detracts from the song.

"What the fuck are we doing with this song, man?? It's not such a terrible song to do..." :lol:


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PostPosted: Sat May 5th, 2012, 01:58 GMT 
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likeatrain wrote:
Sadly, an arrangement that only detracts from the song. The phrases between the stops are clearly too fast for Bob to manage to fit the words in without a struggle. The harp is ok, but he's hardly pushing himself. Someone posted a video of 'Levee' from a recent show, also with a stop-start thing going on - worked much better there.

Miguel posted a review here of his first Bob concert experience, which he loved - and that's great. It was interesting, though, to note the things he singled out as memorable: seeing Bob's face, seeing Bob smile, seeing the band members smile, the sense that they were all enjoying themselves, Bob bashing the keys with his fist (in a cute way) when he x something up. All of which is fine for those who get a thrill from it. But it used to be the case that on top of all that, the music would thrill you. And not just in a 'look! Bob Dylan is standing there singing 'Blowin' in the Wind!!!,' kind of way.

No sadness here, only gladness. And I believe that the music DID thrill Miguel. We should probably let him speak for himself though.


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PostPosted: Tue May 8th, 2012, 14:00 GMT 
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Think the new arrangement is great. Sort of 50s styled.


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