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PostPosted: Wed November 22nd, 2017, 15:21 GMT 
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Location: Desolation Row
Baltimore wrote:
Still Go Barefoot wrote:
There's that strumming, it's really morphed so much beyond a Noodle and beyond Foggy Dew...it's longer too, and the transition into Things was drawn out and intertwined for an extra measure or two.


Stu is playing "The Auld Triangle" or as it often known to Bob fans: "The Banks Of The Royal Canal"

Bob recorded this song with The Band during the basement tapes sessions....

As per the melding of the sound into "Things..." I was sure all three shows that I saw this fall that Bob was about to actually sing "The Auld Triangle"....but alas, he did not...But it is still a great intro...as it was originally used as an intro to a play written by Brendan Behan (his brother, Dominic, is the poet Bob does not want to see in DONT LOOK BACK--probably because he has stolen the melody of his song THE PATRIOT GAME and settled it to his own lyrics "WITH GOD ON OUR SIDE")

This song has always been a basement favorite....and I have sung it many, many times with many,many people: "that old triangle goes jingle jangle....all along the banks of the royal canal...."


https://en.wikipedia.org/wiki/The_Auld_Triangle


That fits in with the old intro, which was Foggy Dew, another Irish ballad of the same vintage.


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PostPosted: Wed November 22nd, 2017, 21:34 GMT 
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From front page, review for what it's worth:

Bob Dylan is about the present: a review of Bob in Boston
Posted on November 21, 2017 by Tony Attwood
By Bev


Bob Dylan performed in Boston on November 16 at the Agganis Arena beginning at about 8:45 pm.
He was preceded by Mavis Staples, whose affection, energy and spirit were uplifting. She spoke of “Bobby, indeed” without a lot of words but at the start expressed how honored she was to open for him and loved his music. Dylan had his Oscar on the amplifier as usual – and something else gold and fancy. There was also the usual bust of a pretty young woman in a James Whistler-style. As I write, I am listening to Dylan sing “Early mornin’ rain” on a Boston local public radio station. Is there anything this lyricist-singer can’t do?

The performance was spectacular because Dylan’s voice was deep and clear – I even heard a vibrato occasionally. It was just about 90 mins. The lights turned off – and then back on – between songs, no speaking to the audience. I understand this because previously, if he simply says “hello” or “thank you” the audience yells – demands new songs, asks questions, is rather annoying and I have seen some jump on to the stage with him. No cell phone on were permitted; not binoculars in the first rows, no picture-taking.

He rearranged many songs – some hardly recognizable at first (except to fans like me) – he wore no hat so his long curly, now grey, hair was easily seen.

His re-do of Desolation Row was questionable – but if he likes it this way is good enough for me. As I think about this performance, it was a greeting from an ageing Dylan who is still musically-inspired by what emanates from inside him. His joy is palpable, and it spread around the arena. This is a Dylan who is taking us into the future – and is celebrating the present with his endless touring – and is not grooving in the past. A Washington Post article by Joe Heim, Nov. 15, says the show at the Anthem was “riveting and oddly removed.” I would argue that is about us – not Bob Dylan.

The night after Dylan’s performance, I attended a performance at the first benefits-coffee house in the Boston area, and heard a band and a duo sing songs that originated in the Dylan era or which were influenced by him: Tom Wait’s O1’ 55, “Now the sun’s coming up, I’m riding with Lady Luck”, and Starry Starry Night (Don McLean), and Tall Pines by Laurie Larson.

While listening, all I could think about were those who have passed and who influenced Dylan: Pete Seeger and Woody Guthrie particularly, and those he adored: Levon Helm and Tom Petty. This Friday night coffee house is not the Café Wha?” in Greenwich Village but its history begins there. And with Johnny Cash, Harry Belafonte, Peter Yarrow and so many others who appeared in the Village.

Singing about how he feels, and writing about things that had not been done previously – Bob Dylan knew at age 21 he was bringing something new to writing and singing in the early 60s, and of course first in Greenwich Village. So those of us who follow him closely value his archive, his gifts to us – and thus a show that re-orders his hits, and includes covers of the classic American songs can be confusing.

Yet, I feel his current work displays some gratitude for his influences, his acknowledged freedom to be who he is, and to bring truth to our world. His new bootleg, “Trouble No More, Volume 13,” and the extensive liner notes by Rob Bowman (a co-producer of Grammy-award winning “Soulsville USA: The Story of Stax Records”) speak of its relevance to today. And our own acceptance or rejection of Dylan’s works is about us – not him.

His passion for his songs continues, unabated. We can all learn from this. His Christian period was short-lived as we know: his Jewish heritage continued to figure into his personal reflections and story-telling, as documented by Seth Rogovoy, his Bob Dylan: Prophet, Mystic, Poet.

During the performance, I watched Dylan sit and bend over his piano – and when standing – cautiously swing from side to side during the set; he wore his dark pants with white stripes and his usual white boots. At the mic by himself, he sang Autumn Leaves and Melancholy Mood – these tell us about growing older, and valuing relationships and potential romance.

Is this the Dylan we’ve always known? Yes, and he is older and appreciating the meditative value of such songs and their longevity. Love Sick was the ending but not before he came back for an encore of Blowin’ in the Wind and Ballad of a Thin Man; the last is a favorite of mine. While re-arrangements lack the defiance and anger one could suppose in the original songs, the lyrics-messages still ring loud and clear and there are still the provocations he creates through his more mysterious allegories and assertions.

I felt his band had more than a rock and roll energy – and I am not sure how one would describe it. Occasionally, it overwhelmed the Dylan vocals. This was not because the audio was poor, but the band simply dominated from time to time. I would have liked if they were a bit more background, not the “star.” But obviously what they did is exactly what Dylan wanted. It was 90 min. exactly and then featured the two encores. Lots of people standing and dancing – an affectionate crowd of all ages in a really nice venue at Boston University.


http://bob-dylan.org.uk/archives/6015


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PostPosted: Tue November 28th, 2017, 12:09 GMT 
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And another from today's front page by Harold:

Seeing Bob Dylan live in the age of smartphones and social media
Dylan and Mavis Staples returned to the Boston stomping grounds of Dr. King and Joan Baez


H Lepidus author (Curated by E. Morgan) J. Flowers Video Editor

Bob Dylan and Mavis Staples recently returned to Boston to play the Agganis Arena, 16 months after their last appearance together at the outdoor Blue Hills Bank Pavilion. Their careers have intertwined sporadically over the decades, and Dylan, who has not released any new compositions in five years, recently informed Staples he has written a song for her.

The Agganis Arena was built on the Boston University campus, replacing the Massachusetts Army National Guard Armory about 12 years ago, a venue probably not unlike the Duluth Armory where a young Bobby Zimmerman saw one of Buddy Holly’s final shows. Both Dylan and Staples have connections to Dr. Martin Luther King, Jr., who received his Ph.D.

in systematic theology from B.U. in 1955. Dylan performed at the 1963 March on Washington for Jobs and Freedom, with famous B.U. dropout, Joan Baez, and met the Staples Singers, where Mavis got her start, around this time. The Staples knew, and marched with, Dr. King. During Staples’ energetic and inspirational opening set, she included a song her father, Pops Staples, wrote for one of King’s marches. She also did a sinewy cover of the Talking Heads’ “Slippery People,” the Staples Singers’ classic “I’ll Take You There,” and material from her new album, "If All I Was Was Black." Her tight band, a minimalist guitar-bass-drums combo with two additional backing vocalists, updated the classic Staples’ sound. During last year’s show, her set was a celebration of how far we’ve come. This year, it shined a light on how far we still have to go.

Lines like “Lyin’ to the races” seemed as relevant now as they ever have. Maybe more so.

Social media ban
Social media is both a blessing and a curse for music fans. It’s preferable to be somewhat surprised before attending a Bob Dylan concert, but it’s difficult to not take a cursory glance at what’s going on while on Facebook and other platforms. The whole idea is to be present, something to strive for while thinking about what to write during the show.

From the parking lot to the lighted message boards to the front of the stage, there were warnings for patrons to shut off all of their electronic devices or face ejection from the venue. There were also multiple ominous stage announcements. They weren’t kidding, with the ushers regularly instructing audience members to turn off their phones throughout the evening. Of course some people were surprised or outraged, feeling entitled to take pictures, or ignore the show to check for messages. However, Dylan wanted to make a connection with his audience in real-time, like he had with Buddy Holly back in 1959, something which apparently left a strong mark on him.

The anticipated relatively static setlists shared on social media were no preparation for Dylan's drastic rearrangements for most of his own compositions. The Agganis performance featured many of the same songs as other recent tours, but what transpired was an astonishingly different show. His singing keeps getting better, more focused and impassioned. It’s as if the Sinatra-centric standards he’s been recording over the past few years have seeped into the show’s DNA, songs moving away from the Chess blues sound of the past few albums of original material to more delicate arrangements, often adding new interloping, descending chord progressions, or staccato or stop-and-go rhythms. Longtime percussionist George Recile often played his drums with felt mallets, or the congas with his hands, while some of Charlie Sexton’s guitar solos on Dylan’s compositions felt like they were airlifted straight from some old Django Reinhardt 78s. During some of the more difficult new passages, bassist Tony Garnier acted as bandleader and arranger, keeping everyone on track.

Rhythm guitarist Stu Kimball’s new solo introductory piece was something which sounded like “Wild Mountain Thyme,” signaling things had indeed changed. How much? Well, two of the songs, “Honest With Me” and “Thunder on the Mountain,” were reconfigured as beach party specials (Gotta surf somebody, anybody?), one of the few genres Dylan has not previously explored. At 76, he must feel so much younger now.

Rock is dead
Dressed in what looked like white dinner jackets, under theatrical lighting, Dylan and his band turned the Agganis hockey rink into an intimate dinner club. Which, in a way, made sense. Rock music has reached the end of the road, and taken a backseat to hip-hop as the prominent innovative musical genre. Modern country, as Tom Petty so eloquently put it, has now basically become “bad rock with a fiddle.” Even the 50-year-old Rolling Stone magazine, named in part after one of Dylan’s greatest hits, is up for sale. In the 1950s, Danny and the Juniors sang, “Rock and Roll is here to stay.” In the post-punk late 70s, Neil Young doubled down, declaring that “Rock and Roll will never die.” While that may be true, it can no longer grow. It has run its course. Nirvana, the Ramones, Zeppelin? Safe as milk. Does anyone remember danger? Is this the story of Johnny Rotten? Earlier this year, Mr. Lydon voiced his support of the U.S.A.’s current commander-in-chief. In some ways, punk rock was the Tea Party of music movements, an attempt to shake things up without any real plan other than to go backwards before heading forwards. If rock is truly dead, then why not go way back? Before Chuck. Before Elvis. Before Buddy. Before iPhones and social media. Back to a time when we all thought Nazis were the bad guys. To the land of Eisenhower, hula hoops, and bobby soxers. As Dylan sang in his opening salvo, “People are crazy, times are strange.”

Interspersed within the 20 song set were four American Songbook standards, with Dylan channeling his inner Frank. After starting the evening with three originals, Dylan sang Sinatra’s Columbia Records’ kiss-off, “Why Try To Change Me Now.” There was something about Dylan, center stage, mic in hand, in Frank-as-heartthrob pose, crooning away and singing, “I’ve always been your fool.” It felt like Dylan the gemini was stepping outside himself, self-referential, simultaneously sardonic and critical, giving us a glimpse behind the curtain, and into the past. Ours, and his own.

Speaking of the past, even when peeking over his shoulder, Dylan doesn’t look back. He messes with it. It’s like a bad dream, or a ghost following him around, haunting him. Gone are the guitar and harmonica, now replaced with a piano. He’s been reinventing his own songs in new settings since at least 1965. Often inspired, occasionally perfunctory, it keeps him alive, heading for another joint. Speaking of which, 1974’s “Tangled Up in Blue,” possibly Dylan’s most mutated song, is now almost completely unrecognizable. Mostly the same words, the melody has been replaced by a clip-clopping, gently marching beat. What this recasting accomplishes is to draw you into the song, forcing you to stand up and take notice. It’s not wallpaper. It’s not comfort food. It’s the here-and-now. It is being “present.” Be there or be square. For those who care, it’s an enjoyable challenge. For others, it’s either an abomination, or a bone thrown to those hoping for a morsel of nostalgia.

In the end, it was all a show. Dylan, the inscrutable star of a play only he could have scripted, freely open to misinterpretation. In the 1970s, there was a saying, “There is nothing like a Grateful Dead concert.” Based on the Dead’s model, the same can be said of a Dylan show. He continues to evolve in order to survive. Dylan’s world is hermetically sealed, a place where the past and the present, counterfeit beauty and ugly facts, coexist. Enter at your own risk. Open your mind, shut off your phone, and don’t complain. He might just tell you the truth.


http://us.blastingnews.com/showbiz-tv/2 ... 95309.html


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PostPosted: Wed November 29th, 2017, 15:27 GMT 
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Thats an excellent article!


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