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PostPosted: Sun November 26th, 2017, 04:40 GMT 
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Hear, here!
Excellent year!
Thanks all!
Looking forward to 2018!


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PostPosted: Sun November 26th, 2017, 05:09 GMT 
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yes barefoot thank you for keeping us here here

wowwww as fantastic as abe has been reporting who is that piano player -- https://www.instagram.com/josephenrry/?hl=en


and to all the hecklers inside and out, may God have mercy on your soul


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PostPosted: Sun November 26th, 2017, 05:52 GMT 
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forzaibra

Amazing Bob #bobdylan #bobdylanconcert #beacontheatre #bobdylanbeacon

https://www.instagram.com/p/Bb8Z4XgBnAI ... d=bobdylan


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PostPosted: Sun November 26th, 2017, 06:25 GMT 
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Location: over the shadows & the rain
Super show. Bob & band rocked out
au revoir
best to everyone :)


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PostPosted: Sun November 26th, 2017, 07:33 GMT 

Joined: Mon September 8th, 2014, 08:03 GMT
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https://www.youtube.com/watch?v=AHr9MRQb3yI

:D


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PostPosted: Sun November 26th, 2017, 15:01 GMT 
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From today's front page:

Bob Dylan And Mavis Staples At the Beacon Theatre,
Friday, November 24th, 2017, Reviewed


Written by Iman Lababedi | November 25, 2017

Yesterday was a good show where Dylan 2016 wasn’t and some of the acclaim must go to an audience in tune with his endeavors. At the third of a four night Beacon Theatre residency, (Barefootnote: actually, 4th of a 5-night run) with Gospel singer Mavis Staple opening, the response was much more than the bemused shoulder shrugs or worse that greeted Dylan at Forest Hill (see my review). Perhaps the a third of the size venue meant you really must have wanted a seat to buy one, perhaps the zipcode is perfect for the older super-fan. Dylan was a little better as well. He’d been selling his mix and match Sinatra meets Dylan songbook for 18 months and he had it down where last time the transitions between forms were jarring. While Dylan was alarmingly cold to the audience even by his standards, still the connection was powerful.

Mavis Staples was excellent though I wish we had gotten “Freedom Highway”. As a live act, Mavis is an anti-Dylan, a joyful and kind woman who cracks jokes, talks to her band members and reaches out to us over and over again, shaking hands with the front row, making fun with the way Dylan dances, and belting out every song with pipes that, as Helen Bach noted, blow your toupee off. I recently dismissed Staples new Jeff Tweedy collaboration If All I Was Was Black, I don’t care for Jeff’s pretentious seriousness and moribund Americana, but both of the songs she performed from the album, especially “Build A Bridge” were good enough for a set that opened with “Touch A Hand, Make A Friend” and closed with “I’ll Take You There”. The small band, with only two backing singers, were first rate and guitarist Rick Holmstrom’s solo on “Ain’t No Doubt ABout It” stopped the show and had Mavis thinking of taking up the instrument herself, as Rick noted, with Pop Staples as her father she sure has the genes for it.

Bob Dylan started at the top last night, “All the truth in the world adds up to ONE BIG LIE” he thundered at us. Everything you want to know about his political and otherwise feelings summed up in a thundering nolle prosequi. Opening the evening behind a grand piano, and spending three quarters of the evening right there, Dylan’s answer song to “The Times They Are A-Changin'” is as pessimistic and overwhelmed as ever and was performed with a cliffhanger battering ram. The second best moment of the evening though, his take on the Tony Bennett classic “Once Upon A Time,” comes close. During Dylan songs, he remained behind the piano, during the Great American Songbook Triplicate, etc songs, he stood to the back, next to Charlie Sexton, and swung his microphone with confidence before standing legs agape with his right hand on his hip. It was odd, eccentric , and while I preferred the Sinatra, et al songs to the 2016 takes, I miss his free form dancing. Speaking of which, have you seen the Trouble No More DVD? Dylan was quite literally jumping for joy in 1979.

Not everything worked. The re-written “Tangled Up In Blue” -with a martial beat and his rhymes in tatters, was a personal worse. One of his best new songs “Early Roman Kings” was messed with and not as good as the original. If those two didn’t work, “Highway 61 Revisited” was Americana rockabilly, “Autumn Leaves” bereft and old and aging, while “Honest With Me,” “Desolation Row,” and a “Tryin’ to Get to Heaven” (he kills the “I went to sugar town, I shook the sugar down” line -we always wait for that one!) that reminded you once again how great Time Out Of Mind was -listen to Lucinda William’s excellent take, I missed “Duquesne Whistle” though I did get three songs off Tempest.

The set itself was abrilliantly conceived. Five American Songbook, five golden age, nine late 20th and through 21st century songs and one off a movie soundtrack. At 105 minutes in length it was a consistently pleasurable experience with a couple of songs more than that. But why so gnomic with the audience? Let our former President Barack Obama explain it for you: “He came in and played ‘The Times They Are A-Changin’.’…Finishes the song, steps off the stage – I’m sitting right in the front row – comes up, shakes my hand, sort of tips his head, gives me just a little grin, and then leaves. And that was it – then he left. That was our only interaction with him. And I thought: That’s how you want Bob Dylan, right? You don’t want him to be all cheesin’ and grinnin’ with you. You want him to be a little skeptical about the whole enterprise. So that was a real treat.”


http://rocknycliveandrecorded.com/bob-d ... iewed.html


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PostPosted: Sun November 26th, 2017, 17:08 GMT 

Joined: Wed July 19th, 2006, 04:24 GMT
Posts: 1161
Location: USA
Still Go Barefoot wrote:
From today's front page:

Bob Dylan And Mavis Staples At the Beacon Theatre,
Friday, November 24th, 2017, Reviewed


Written by Iman Lababedi | November 25, 2017


Yesterday was a good show where Dylan 2016 wasn’t and some of the acclaim must go to an audience in tune with his endeavors. At the third of a four night Beacon Theatre residency, (Barefootnote: actually, 4th of a 5-night run) with Gospel singer Mavis Staple opening, the response was much more than the bemused shoulder shrugs or worse that greeted Dylan at Forest Hill (see my review). Perhaps the a third of the size venue meant you really must have wanted a seat to buy one, perhaps the zipcode is perfect for the older super-fan. Dylan was a little better as well. He’d been selling his mix and match Sinatra meets Dylan songbook for 18 months and he had it down where last time the transitions between forms were jarring. While Dylan was alarmingly cold to the audience even by his standards, still the connection was powerful.

Mavis Staples was excellent though I wish we had gotten “Freedom Highway”. As a live act, Mavis is an anti-Dylan, a joyful and kind woman who cracks jokes, talks to her band members and reaches out to us over and over again, shaking hands with the front row, making fun with the way Dylan dances, and belting out every song with pipes that, as Helen Bach noted, blow your toupee off. I recently dismissed Staples new Jeff Tweedy collaboration If All I Was Was Black, I don’t care for Jeff’s pretentious seriousness and moribund Americana, but both of the songs she performed from the album, especially “Build A Bridge” were good enough for a set that opened with “Touch A Hand, Make A Friend” and closed with “I’ll Take You There”. The small band, with only two backing singers, were first rate and guitarist Rick Holmstrom’s solo on “Ain’t No Doubt ABout It” stopped the show and had Mavis thinking of taking up the instrument herself, as Rick noted, with Pop Staples as her father she sure has the genes for it.

Bob Dylan started at the top last night, “All the truth in the world adds up to ONE BIG LIE” he thundered at us. Everything you want to know about his political and otherwise feelings summed up in a thundering nolle prosequi. Opening the evening behind a grand piano, and spending three quarters of the evening right there, Dylan’s answer song to “The Times They Are A-Changin'” is as pessimistic and overwhelmed as ever and was performed with a cliffhanger battering ram. The second best moment of the evening though, his take on the Tony Bennett classic “Once Upon A Time,” comes close. During Dylan songs, he remained behind the piano, during the Great American Songbook Triplicate, etc songs, he stood to the back, next to Charlie Sexton, and swung his microphone with confidence before standing legs agape with his right hand on his hip. It was odd, eccentric , and while I preferred the Sinatra, et al songs to the 2016 takes, I miss his free form dancing. Speaking of which, have you seen the Trouble No More DVD? Dylan was quite literally jumping for joy in 1979.

Not everything worked. The re-written “Tangled Up In Blue” -with a martial beat and his rhymes in tatters, was a personal worse. One of his best new songs “Early Roman Kings” was messed with and not as good as the original. If those two didn’t work, “Highway 61 Revisited” was Americana rockabilly, “Autumn Leaves” bereft and old and aging, while “Honest With Me,” “Desolation Row,” and a “Tryin’ to Get to Heaven” (he kills the “I went to sugar town, I shook the sugar down” line -we always wait for that one!) that reminded you once again how great Time Out Of Mind was -listen to Lucinda William’s excellent take, I missed “Duquesne Whistle” though I did get three songs off Tempest.

The set itself was abrilliantly conceived. Five American Songbook, five golden age, nine late 20th and through 21st century songs and one off a movie soundtrack. At 105 minutes in length it was a consistently pleasurable experience with a couple of songs more than that. But why so gnomic with the audience? Let our former President Barack Obama explain it for you: “He came in and played ‘The Times They Are A-Changin’.’…Finishes the song, steps off the stage – I’m sitting right in the front row – comes up, shakes my hand, sort of tips his head, gives me just a little grin, and then leaves. And that was it – then he left. That was our only interaction with him. And I thought: That’s how you want Bob Dylan, right? You don’t want him to be all cheesin’ and grinnin’ with you. You want him to be a little skeptical about the whole enterprise. So that was a real treat.”


http://rocknycliveandrecorded.com/bob-d ... iewed.html


He lost me completely at "where Dylan 2016 wasn't."


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PostPosted: Sun November 26th, 2017, 17:24 GMT 
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Location: over the shadows & the rain
Tangled up in blue was big highlight & sounded really beautiful at last 2 shows, and ERK excellent both nights too...
Fan Barry Gloffke (who I had the pleasure of meeting in June at Capitol Theatre shows & seeing at Friday night show)
wrote right on review for 11/24 show, imo http://www.boblinks.com/112417r.html Thanks Barry !


"The penultimate Bob Dylan show of the 2017 Fall US tour
was a tour de force.
..near perfect. Bob had the
powerful, clear voice tonight with great inflections, extended vocal phrasing
and unexpected emphasis on particular words...

They charged into THINGS HAVE CHANGED with the audience on its feet. Wonderful
voice and piano work from Bob. The crowd settled in their seats for a
smooth but slightly rocking version of IT AIN'T ME, BABE with Bob giving
care to each verse. Also fantastic piano work, plus great guitar interlay
with Charlie. Wonderful. A rockin' HIGHWAY 61 REVISITED brought the crowd
back to its feet. This song was full throttle tonight. Propelled by
George's pounding drums, Charlie's fine guitar and Bob's blistering piano...

SUMMER DAYS. Led by Donnie's fiddle the Cowboys knock
out a country hoe-down and Bob's wailing vocals take the song on a wild
ride. This is just one of the many songs tonight that I felt were the best
interpretations of the tour. Next is another American songbook tune,
MELANCHOLY MOOD, a favorite of mine. Great delivery tonight. I love the
timing of this song, the way the band plays their smooth instrumental
intro only to met by Bob's gravelly, deep vocals.

.. The best version of HONEST WITH ME I have heard on the tour so far has the
attention of the audience. Superb piano and drums. The best version of
TRYIN' TO GET TO HEAVEN follows,

..Ten perfect songs at the halfway point. The second half begins with the
new, newer TANGLED UP IN BLUE (Bluer?). I really like this interpretation.
Fun. Originally a story about lost love but now a story about lost love,
friends and peers. If you do not know the reworked lyrics then the song
might be a disappointment to you. Tonight Bob gave extra, extra long
phrasing to Bluuuuuuuueeeeee!!! It was all about phrasing and inflections
tonight.


..Both were featured in the next tune, a perfectly delivered SOON
AFTER MIDNIGHT where Bob was giving great care to emphasize certain
lyrics. Next was a menacing and brilliant EARLY ROMAN KINGS. Those
handkerchiefs were waving in the air because he ain't dead yet and his
bell still rings! This is followed by a marvelous FULL MOON AND EMPTY
ARMS. Tender delivery. Bellissimo!!!

..What will make or break this as a great show will be how he delivers
DESOLATION ROW. Finally!!!… he stays faithful to a straight delivery of
the lyrics. And, he stays away from his piano lesson treatment of the
melody. Thank you! This was certainly the best ROW I have heard in several
years. Great work for an epic song that deserves proper treatment.

..I am on cloud nine and I know that is about to go to cloud ten because THUNDER ON
THE MOUNTAIN is next. The rock and roll highlight of all six of the shows
that I have scene was unreal tonight!!! Thunder, thunder, thunder,
rolling, rolling, rolling. The song starts out hot and just keeps rising
in intensity. Bob is screaming, Charlie wailing, percussion pounding (not
sure what the hell Donnie is doing because I am so caught up in the
moment). Rockin', rollin', crowd shouting and dancing… song is building,
next verse, Bob is screaming, verse ends, music builds again… crazy… each
verse the music builds, Bob screams, each time you think, WOW, can it get
any more intense??… it does. It builds to the point of an explosion of a
drum solo by George and then a crescendo of an ending from the entire
Band. Brought the roof down!!!

... after all that audience howling, Bob magically juxtaposes a hauntingly relaxed AUTUMN LEAVES which
the crowd absorbs in near silence. Astonishing!! I do not know if there is
an artist today that can put together a combination as frenetic and
somnolent as these two songs back-to-back. Another of the wonders of Bob.
And his signature, deep, low register voice was simply stunning on AUTUMN
LEAVES.

The show ends with an exquisite rendering of LOVE SICK with the staged
draped in deep blood red curtains which perfectly suited Bob's powerfully
brooding vocal delivery. And the music… tick-tock, tick-tock, tick-tock.
Hypnotic. A great ending. Thunderous cheers. Roaring applause.

..Bob and the Band appear for the usual encores of BLOWIN' IN THE WIND and
BALLAD OF A THIN MAN. Each had their moments of glorious instrumental
improvisations and both were simply read and wonderfully delivered by Bob.
Great care was given to the BLOWIN' lyrics. Great cadence and pace on THIN
MAN. A perfect ending to a perfect show. Easily the best of the four at
the Beacon Theatre and best of the six I saw in total.

Thanks Bob to a great show and a great tour. Good luck an the finale....
"


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PostPosted: Sun November 26th, 2017, 17:56 GMT 

Joined: Wed November 14th, 2012, 18:26 GMT
Posts: 422
Man last night’s Thunder on the Mountain was really something else. Hope it sounds great on the tape, it felt like the building was shaking and rolling down the mountain into the Hudson.


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PostPosted: Sun November 26th, 2017, 17:59 GMT 
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Location: over the shadows & the rain
Thunder on the mountain !
:D !!

Thanks to Bob & band for excellent 2017 shows
past two nights exceptional
as usual


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PostPosted: Sun November 26th, 2017, 18:37 GMT 

Joined: Tue February 3rd, 2015, 19:05 GMT
Posts: 512
Alouette wrote:
Super show. Bob & band rocked out
au revoir
best to everyone :)


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PostPosted: Sun November 26th, 2017, 18:44 GMT 

Joined: Thu July 5th, 2007, 12:12 GMT
Posts: 41
Location: nyc
WOW, lots of new touches everywhere...
got my Lovesick...
Thunder ROCKED ! given a Ramones-like revision...pretty damned cool !
great stage "mood" lighting...
Bob & company looking & sounding as great as ever...
Beacon was packed, everyone was into it...
got to see Stu & Tony leaving in their van...

So blessed for another opportunity To catch the guys on another tour...

Wishing Bob & Tony & Charlie & George & Stu & Donny a most blessed & happy holiday season !!

Enjoy the time off the road :wink:


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PostPosted: Sun November 26th, 2017, 21:09 GMT 

Joined: Tue October 23rd, 2007, 13:46 GMT
Posts: 280
Despite the frustrations of those of us who used to relish the switched up set lists over a particular tour--giving us added motivation to attend as many shows as possible--part of me definitely admires Bob for finding the set that he wants and sticking to it. I'm still very grateful that I was able to catch two of the shows this tour (Vegas and Ames), hoping for recordings someday. And thanks, barefoot, for all the threads and comments throughout....grave


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PostPosted: Sun November 26th, 2017, 21:42 GMT 

Joined: Mon November 21st, 2016, 23:02 GMT
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I was there on Friday and Saturday. To repeat what has already been said: Thunder on the Mountain was just absolutely ferocious. Dylan stands at the piano, rocking away, and tears the place apart. Audience was going wild for it down front. I have seen a lot of shows in the Beacon, but that TOTM may have been the most powerful. Wow. And a song I never had much interest in as an album cut!


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PostPosted: Mon November 27th, 2017, 08:00 GMT 
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kfb2112 wrote:
I was there on Friday and Saturday. To repeat what has already been said: Thunder on the Mountain was just absolutely ferocious. Dylan stands at the piano, rocking away, and tears the place apart. Audience was going wild for it down front. I have seen a lot of shows in the Beacon, but that TOTM may have been the most powerful. Wow. And a song I never had much interest in as an album cut!

I do hope it's retained for next years European Tour!


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PostPosted: Tue November 28th, 2017, 00:21 GMT 
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2017 turned out to be a pretty good year.
For example, the Set's current form is strong, the reception has been commendable, and David Bowie and Leonard Cohen didnt die. Everything seems better than 2016 in retrospect. Thanks for the work, Bob, Band, tapers, distributors, Barefoot, Bobschool, Mr Pagel, and of course Sarah Jessica Jayne Watson Porter. See you all soon.


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PostPosted: Tue November 28th, 2017, 04:29 GMT 
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thanks kfb, Domino misfit and Alouette, so great to hear your reports,

Domino that is so hilarious, - the Hudson - , thanks :lol:

and Merry llama so good to hear from you, thks


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PostPosted: Wed November 29th, 2017, 19:31 GMT 
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kfb2112 wrote:
I was there on Friday and Saturday. To repeat what has already been said: Thunder on the Mountain was just absolutely ferocious. Dylan stands at the piano, rocking away, and tears the place apart. Audience was going wild for it down front. I have seen a lot of shows in the Beacon, but that TOTM may have been the most powerful. Wow. And a song I never had much interest in as an album cut!

I agree 100%. THUNDER! Wow.


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PostPosted: Wed November 29th, 2017, 20:30 GMT 
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I'm just hoping people are now convinced that Summer Days and Thunder on the Mountain are in fact two different and distinct songs.

And welcome home Sweet Melinda


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PostPosted: Thu November 30th, 2017, 05:05 GMT 
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Niiice recording by spot is up on dime of the last night:

http://www.dimeadozen.org/torrents-deta ... ?id=607318


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