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PostPosted: Tue November 1st, 2016, 00:45 GMT 
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Generally a good thing being right there, yes.
Glad for you that were.
Nice.


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PostPosted: Tue November 1st, 2016, 03:34 GMT 

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listening to it with headphones. i feel like bob is getting the old songs together into a way he likes them. really playing around with the rhythms but not in a throwaway way like Desert Trip. seems likes he's reconnecting with them--piano on H61 and IAONBB pretty interesting. The vocals are pretty committed throughout (I'm in the middle of the new PIB as I type). I can hear him trying to connect and realize (in the truest sense of the word) the new set... Reminds me of spring '13... I like it. A lot.

I just bought Jax tickets for my mom and I (I live in NYC) on StubHub after hearing first few songs. First Bob show: 1/29/99 (with Mom; skipped school)--an incredible version of "You're Too Late" with a dedication.

Abe


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PostPosted: Tue November 1st, 2016, 03:56 GMT 
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Just another set of thoughts on the show:

Bob's show almost defies explanation.

The darkness creates a mood of nostalgia. For what, I am still trying to figure out. The darkness almost makes the space on the stage seem surreal, thin, from another time or place.

I loved the spotlights silhouetting that crazy crop of hair. Really glad he doffed the hat -- the hair is so iconic.

I was awestruck watching this man who almost doesn't seem like he could be real.

The legend in the flesh is something to behold.

For the lineup, Bob donned the hat with feather and stared us all down for what seemed like a frozen moment in time --- a look of daring, of defiance. There was no bow. Bob was merely soaking us all in, taking our measure, giving us one last glimpse of his soul laid bare.

Bob was standing about 20 feet from me. We were straight square head on from each other. I thought, I will probably never be this close nor located at such a face to face angle to Bob ever again. It was such a perfect venue and location that I was fortunate to be in. So, before the lights fell the last time during the standing ovation, I smiled and waved at Bob like a kid waving goodbye to their parents.

Bob had brought me into his world for 105 minutes. A place that seems otherworldly, set apart, special. Maybe not everyone can see it, or feel it. But for those of us that can - wow!

The lights fell and the troubadour strolled off into the darkness. Headed for another joint, to continue his journey and spreading his minstrel spirit with the world.

~k


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PostPosted: Tue November 1st, 2016, 04:00 GMT 
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kuddukan wrote:
Just another set of thoughts on the show:

Bob's show almost defies explanation.

The darkness creates a mood of nostalgia. For what, I am still trying to figure out. The darkness almost makes the space on the stage seem surreal, thin, from another time or place.

I loved the spotlights silhouetting that crazy crop of hair. Really glad he doffed the hat -- the hair is so iconic.

I was awestruck watching this man who almost doesn't seem like he could be real.

The legend in the flesh is something to behold.

For the lineup, Bob donned the hat with feather and stared us all down for what seemed like a frozen moment in time --- a look of daring, of defiance. There was no bow. Bob was merely soaking us all in, taking our measure, giving us one last glimpse of his soul laid bare.

Bob was standing about 20 feet from me. We were straight square head on from each other. I thought, I will probably never be this close nor located at such a face to face angle to Bob ever again. It was such a perfect venue and location that I was fortunate to be in. So, before the lights fell the last time during the standing ovation, I smiled and waved at Bob like a kid waving goodbye to their parents.

Bob had brought me into his world for 105 minutes. A place that seems otherworldly, set apart, special. Maybe not everyone can see it, or feel it. But for those of us that can - wow!

The lights fell and the troubadour strolled off into the darkness. Headed for another joint, to continue his journey and spreading his minstrel spirit with the world.

~k


Awesome... Glad you had such an incredible experience.


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PostPosted: Tue November 1st, 2016, 04:07 GMT 

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The musical arrangements remind me of a comment my friend and I overheard a teenager make about some guys jeans one night as we sat out on the patio of a restaurant. "Those jeans are tight! And they're loose too!" It's all rhythm guitar, ever heard of some harmony in there friends? Bob's voice never fails though! It's tight and (it's loose too). :)


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PostPosted: Tue November 1st, 2016, 04:21 GMT 

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this is a really good show. it's definitely loose and tight. desolation--wow.


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PostPosted: Tue November 1st, 2016, 04:25 GMT 

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i can't get over the vocals towards the back end of this show. he's really, really, really singing beautifully. soon after midnight is soaring.


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PostPosted: Tue November 1st, 2016, 19:39 GMT 
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Just got back to a comfy bed after a great, great show trip.

So glad Kuddukan enjoyed this spectacular show.

A trip to see an Old Bard, 10.30.2016:

Things are Changing, once again.

I haven't been bashful about my love affair with The Set, Sinatra incarnations and all,
so this current venture Mr Dylan has taken on since the great Desert Trip is one I haven't taken without a grain of sugar. Luckily I was traveling to our American State of Whiskey for this show, so there would be plenty of grain to go around for the journey.

Or so I thought, before witnessing how many fine businesses would be closed on this fine Sunday in this cute river town, accessible by three sturdy bridges...but one's for a train line, and the other blows in the wind, literally. The two restaurants in downtown Paducah seemed positively betwixt or bothered by this mass influx of Dylanfanship that rambled into town for the dark night.

But I wasn't....this is a show I had clear sight on since Barefoot announced it would be The Place to see a show this fall. He was joking, but it turned out to be prophetic enough. While the restaurant didn't grant me a stool, it did offer takeout tomato bisque and French fries with a homespecial dipping sauce to enjoy on the sidewalk before the show.

I could tell from the sidewalks that this place was ready for Bob, with hoots and catcalls in his honor. People serenading RDW in a town like this was worth the price of admission alone.

And Bob was ready for It. Buses parked in three different spots behind the venue, I myself landed behind the crew decoy that remained long after Bobs buses headed out into the night ... But I'm getting ahead of myself.

The imposing wall situated between the venue and the great Ohio offers some of the most beautiful views of the town and its history. Giant murals telling it's story with character and pride. You could pass under this wall in a few designated spots and a have a seat beside this river in the moonless night. A Black Moon for the East. It was a dark and eerie night to begin mourning the passing of The Set and to contemplate this new journey Mr. Dylan was about to take us on. But the last part of my journey brought me across the I-24 bridge during the sunset hour, so I felt I was ready.

Things have Changed, despite a large number songs overlapping with The Set, was really the only moment of this show that harkened back to that undertaking. Appropriate then, that he would take off his hat for the remainder of The Show. A show that sparkled in silver and shine, just like his hair against the most minimal stage backdrop I have seen since a ballpark tour.
Large lantern lights seemed to be the main feature. With background tapestries only making designated appearances towards the end of the show. I couldn't make out from my seat if Bob was wearing a very light gray or a white suit, his band in darker gray, but I was fairly certain I saw a blue shirt, and the colors I usually don't note, but these seemed to characterize this show that was about to unfold before us.

To be sure, it didn't come undone once, even when there were a couple precarious moments the band and Bob found themselves in on one or two occasions. What it was, was tight, courageous and adventurous, trepsing over Dylan's own album history, extracting some of his most breathtaking lyrics and pointed tales of love and lost.

Three steps down this stairway delivered sparkling renditions of Don't think Twice, Baby Blue, and Highway 61, revisited again. A snapshot of three angles we would see of Dylan tonight. Touching endearment, Nobel-worthy lyrics, and a little boogie woogie to boot. The band has become expert hands at the Art of Titration. The first four numbers seemed just long enough to open the first curtain.
By the time Mr Dylan sang a new rendition of Pay in Blood, he had you in his hands...but the usual air and uncertainty that would bring within a show was instead treated here with care and ruthlessness.

The ruthlessness was all taken on by Dylan himself, allowing only a few key measures of a few songs put onto the reign of his band, who handled these moments astutely.
He sailed over these notes and scales in Pay in Blood in a way that felt like he was singing the words for the first time. It was by far the freshest experience of this song I've heard since I first spun The Tempest.

I could have told you, was my favorite standard moment of the show. All bells whistles and murk and mystery were put on in its delivery to fill the crowd in on his current habit, that he had another angle up his sleeve. And he played that angle on love sick, center stage, or anytime he could get his hands around the mic stand, which remarkably survived the night. Merging Sinatra and Ali, Dylan had no reservations about being in the center of the Gaze for a little while here.

Center stage followed Dylan all night long though, due to some strategic lighting that caste a brighter, yes I'll say it, halo around him than the rest of the musicians all night long. Whereas ERK would bring down the house night after night of The Set, tonight felt more measured, but did allow for those intricate piano/guitar duals to unfold and be witnessed. The band was also situated to be at war: rhythmn section strongly regulated to the left with strings and vocals to the right - they were at once at odds, but also unified and balanced in whatever steps Dylan would take tonight.

I'm glad I didn't take my intermission during Tangled, because it may have been the best harp moment I've ever witnessed from the man. Upon reflection, I think it's the only time he wielded this weapon in this show. He had the right one, the right side of it, and man did he hit the right notes. It was viciously beautiful.

Lonesome Day Blues and Make you Feel My Love are two songs I've never truly got excited about before. But tonight had me rehearing the words and their weight, and realizing the magic these songs had packed in them too. The crowd really responded to the latter, but I am unsure what factor Adele played in that. It was one of the slower and most revealing moments of the show, which Dylan played up straight with no chaser. It was a really touching no hat moment for the man and his piano.

Following that was a song that cut like lightening up to the clouds. Always a fan, i hadn't felt the power of this rendition that I had enjoyed in years past yet, from the few recordings of this tour I sampled. But man alive, Charley P. would have been proud. I said 'up to the clouds' because the way he held that mic and micstand and what he sang into it felt like a conjuring. A quaking delivery that made them words cut thru to the soul with fire and brimstone. It hurt and delighted and amazed, as it should. When Dylan is having an On night, as they say, all of a sudden he is doing things that seem more than himself, just like a caneless Yoda in episode one. And here he was, definitely having an On night.

After a casual stroll through Melancholy Mood, to remind us all of tonight's backdrop, he marched up in grand scale for Desolation Row, which brought me back to the first time I heard the song as it was the showstopper and crowd capturing moment for a show in '94, not the catyclysmic battle that was on the stage in 2012, even though it revisited that version's harmonics. Here, the words and the delivery just seemed like a slapping wake up call to anyone who might not yet have been paying attention. For those who had been since Things Have Changed, this song just managed to take us up one more floor on this spiral journey up Dylan's staircase.

We sat there and basked in his room during Soon After Midnight, a friendly invitation and gesture for a guy who doesn't like reporters and bemoans talking to the audience. It was a soothing, calm, and reassuring moment, even if it was only fleeting from a passing train.

Long and Wasted years, tapestry and all, still does what it's meant to do, and yes I agree that Dylan can rap.

Autumn Leaves I was pleased to have back, such an important cap to the Sinatra moment. They didn't dominate this set, even when they are up to four. They are well placed, evenly spaced, and given the same fair treatment that he gave all his songs tonight. If there is any reason this twenty song set seems a long journey it's that: Dylan and his Band's sustained delivery and attention to detail can be exhausting, and it's the first time in a few years I didn't have an intermission for respite. But here, at the end of the show with its foreboding message, I wasn't exhausted; instead, I felt quite full.

The lively house seemed ready to riot over what seemed a long encore break, but they came out in all stars for Blowin, which brought us back to the first moments of the show after Things have Changed. Another song which could have been glossed over by the people on stage but indeed it wasn't. It nearly inspired the crowd to hold hands, sway, and comfort each other. I might have shed an obligatory tear or two.

And then he played his last card, Why Try to Change me Now?,
which has never felt as rhetorical of a question as it did tonight.

Thanks for another leg of the journey, Bob.

Thank you to the town of Paducah for being strange and eerie and inviting all at the same time.

Thanks to the Brookport Bridge, for providing one more exciting adventure before the night's end as I crossed back over the River....so much so that I went back the next morning to be sure it wasn't a dream.

http://historicbridges.org/bridges/brow ... brookport/
https://m.youtube.com/watch?v=-_thhcuwEyY


And thank you to the town of Metropolis, for having a casino and a spot to get a great Superman souvenir for Llittle Llama.

Image




And thanks to Mrs Llama, who let me use the car with a working CD player for the journey this time, eleven years to the day after the day we met.

https://m.youtube.com/watch?v=0-daUqL1fwk


Last edited by A Merry Llama on Tue November 1st, 2016, 20:05 GMT, edited 1 time in total.

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PostPosted: Tue November 1st, 2016, 20:02 GMT 
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This thread has some write-ups that really make me wish I'd been there, but also feel as if I was there.
Great work.


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PostPosted: Tue November 1st, 2016, 20:41 GMT 
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Trev wrote:
This thread has some write-ups that really make me wish I'd been there, but also feel as if I was there.
Great work.


Agree wholeheartedly!
It looks like Paducah really was The One, after all!
Excellent. Johnny Cash would be proud.


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PostPosted: Tue November 1st, 2016, 20:45 GMT 
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kuddukan wrote:
I agree that I was enthralled with the whole show.

Bob was filling the room with his soul and I was fortunate enough to be able to partake in it.


Kuddukan : my sincere sympathy for your loss, and grateful that providence sent you Bob in a moment of need. And thank you for your wonderous observations. I'll think of you this evening in Louisville, during that special space of time when he makes his way onstage in the darkness.


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PostPosted: Tue November 1st, 2016, 20:53 GMT 
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Still Go Barefoot wrote:
Trev wrote:
This thread has some write-ups that really make me wish I'd been there, but also feel as if I was there.
Great work.


Agree wholeheartedly!
It looks like Paducah really was The One, after all!
Excellent. Johnny Cash would be proud.

Yes I agree. Kauffman you took me back to a show where I was on the rail and the stage was low and close. Thank you for that. Excellent show write ups. thanks to everyone.


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PostPosted: Tue November 1st, 2016, 23:29 GMT 
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Bob taught me what it means to be an artist. In this mass market popular culture we use that term so loosely for any schlub with a microphone and a one hit single. Bob is a true artist, not a rock star, not a singer, not an entertainer - at least not "just" these things. I'm convinced now his art is on the level of any of the great masters we cherish from the last centuries.


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PostPosted: Wed November 2nd, 2016, 15:53 GMT 
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A Merry Llama wrote:
Just got back to a comfy bed after a great, great show trip.

So glad Kuddukan enjoyed this spectacular show.

A trip to see an Old Bard, 10.30.2016:



Fantastic write-up Mr. Llama.
The show was great, and I'm glad to see your thoughts on it.
I haven't yet tried to review any specific songs, although I feel that each one has its place and special purpose.


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PostPosted: Thu November 3rd, 2016, 13:11 GMT 
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Thanks for sharing your unique percepts, Merry Llama. Enjoyed reading it.
Music heals and I offer encouragement to anyone who needs heart medicine in their life. We all need it more or less at different times.

Once in a while you get shown the light.
In the strangest of places if you look at it right.

~ Scarlet Begonias


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PostPosted: Thu November 3rd, 2016, 22:14 GMT 
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thanks for the comprehensive reportage Llama ! I didn't even need to be there -your run-down is more true to life than any memory I could retain. :D so the set lives on well pleased: immortal and divine!


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PostPosted: Thu November 3rd, 2016, 23:02 GMT 

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i appreciate what you're saying,
it's nice,
but the truth is
you gotta be there,
no review,
no matter the word count,
is anything like
being there,
trying to recapture it for other people
really can't be done,
not even close,
"you shouldn't let other people get your kicks for you"


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PostPosted: Thu November 3rd, 2016, 23:14 GMT 
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juststepintothearena wrote:
i appreciate what you're saying,
it's nice,
but the truth is
you gotta be there,
no review,
no matter the word count,
is anything like
being there,
trying to recapture it for other people
really can't be done,
not even close,
"you shouldn't let other people get your kicks for you"


wow. great point, but in my world, it stands true that this Paducah gem exceeds any show I ever saw in real life. You can let llama get ur kicks for u. i m pretty sure dylan didnt mean that line in this context.


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PostPosted: Thu November 3rd, 2016, 23:26 GMT 

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it was a beautiful show,
but llama's review is
nothing like how it felt for me,
i stand by what i said,
and by the way,
that line can mean anything i want it to


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PostPosted: Thu November 3rd, 2016, 23:33 GMT 
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sure, i agree. it means what you think it means. but i still stand by what llama said about the show . its for sure the most faithful rendering of what the music became on that night.n i have to get out of this now


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PostPosted: Fri November 4th, 2016, 05:57 GMT 
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I sure hope haiku man never read a book or saw a movie, as to not violate his standards.


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PostPosted: Fri November 4th, 2016, 11:08 GMT 

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bless your heart


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PostPosted: Fri November 4th, 2016, 11:15 GMT 
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C'mon, you can't just post one line.


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PostPosted: Fri November 4th, 2016, 15:18 GMT 

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PostPosted: Fri November 4th, 2016, 15:20 GMT 
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_______


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