Bob Dylan 2000.07.30 in Stanhope
Date: Mon, 31 Jul 2000 10:03:25 -0700 (PDT) From: Jason polanski email@example.com Subject: 7/30 review To: firstname.lastname@example.org Here's a review of 7/30/00 for your website. The last show of the Bob/Phil tour was last night in Stanhope, NJ. The venue at Waterloo Village was a stage set up in a valley surrounded by wooded hills. It was all general admission and definitely a better set up than those lousy ampitheaters they've been playing in. Doors opened at 4:30 and a band called Guster played first. Pretty good and mostly acoustic and they said several times that they were really excited to be on the same bill as Bob and Phil. Kind of funny, Bob and Phil did not acknowledge each other or Guster, not to mention we didn't get any Bob/Phil jams during this tour. Bob came out pretty early. The sky was light, but overcast. Except for a few sprinkles, it seemed most of the rain had past. The storms left some real hot and humid weather. Bob started with DUNCAN AND BRADY. Strong version. Tony came out smoking a cigar. It was interesting because there was nothing behind the stage and the light show had no effect. It was the most natural setting I'd ever seen Bob in. Sometimes the wind would blow towards the stage, pushing all his hair back. He had this totally different look. Then it was just Bob on guitar while the band stood watching for the first verse of SONG TO WOODY. I know Bob essentially gave up solo acoustic performances in 1965, but it is kind of neat to see him play without the band. Anyway, the band kicked in for the second verse. It was an awesome version. As expected, DESOLATION ROW was in the third spot. Bob really loves to solo on this song these days. The verses of choice were Postcards>Cinderella>hidden moon>Phantom>solo>midnight agents>solo>recieved your letter>solo. Then Larry picked up the fiddle for MY BACK PAGES. We got the spoken-sung version complete with Bob's harmonica solo at the end that harmonizes perfectly with Larry's fiddle. Next was TANGLED UP IN BLUE. It was a true highlight. Bob played about four guitar solos and ended the song with an intense harmonica solo. Not to mention that the phrasing for this version was basically that he stretched the last word of every line. Maybe the best performance I've heard of this song. The acoustic set cooled down with SEARCHING FOR A SOLDIERS GRAVE complete with vocal harmonies for each verse. At this point everyone around me was yelling Country Pie! I guess they'd been paying attention to the setlists because it was....COUNTRY PIE! Featured some extended jamming from Larry and Charlie. Now these people near me were yelling Blind Willie. Either Bob heard them or it was a strange coincidence because the next song was....BLIND WILLIE MCTELL! Charlie did some nice lead guitar work and Bob sung strong. The jamming continued with TOMBSTONE BLUES. Everyone traded licks and Bob had lot's of fun allowing for long instrumental breaks and inspired phrasing. Then probably the highlight of the electric set, I DON'T BELIEVE YOU. Bob sang this as if just the night before his girlfriend left him. That's if he has a girlfriend! The song had a range that went from laid back to "live 66" intensity. Everyone was dancing to the new arrangement of COLD IRONS BOUND which I think is amazing. It was also really hot and Bob seemed a bit tired with "sweat pouring down." After the band intros, they played LEOPARD SKIN PILLBOX HAT with Charlie doing most of the lead. After a needed break to cool down, Bob came out for the encores. THINGS HAVE CHANGED was a solid performance that gained intensity towards the end. Bob had the crowd hanging on every line. This song works in a live setting. Then it was a rather laid back version of LIKE A ROLLING STONE with Bob having fun with the phrasing. He also really belted out the final chorus. ONE TOO MANY MORNINGS was probably the highlight of the encore set. The band played soft and Bob sung with beauty in his soft voice. After the last verse, he played a guitar solo, put down the guitar and picked up the harmonica. Then he walked up to the mike, held the whole mike stand in one hand and the harmonica in the other hand and danced around stage like this. I've never seen him do that. It was really cool and a truely amazing solo. The electric guitars were back again for HIGHWAY 61 REVISITED. Charlie got in some great solos while trading licks with Bob and Larry's guitars. During the last verse, Tony went over and started dancing, or maybe it's called grinding! with Charlie. Bob noticed this and could hardly sing the last verse because he was trying not to laugh. Big smile on Tony's face. A sweet BLOWING IN THE WIND closed the set. After that I moved out of the crowd to some cooler air and danced into the night with Phil and his hippy followers. A great end to a great tour. Jason Polanski
Subject: Late July East Coast Observations From: mreese Date: Sun, 06 Aug 2000 00:31:52 GMT Late July East Coast Observations I have just returned home from a week and a half of following Bob around for the tail end of the east coast tour. I have enjoyed reading the reviews here, on expecting Rain and Bob Dates. I thought I would add a few observations and interpretations of things I didn't see mentioned other places. The venues and shows mix in my mind... these are only my opinions and they might be wrong. Mansfield 7/22 Bob was in fine form, smiling, grimacing and pointing his guitar at the girls. We noticed him singing certain lines of Leopard Skin Pillbox Hat to a certain woman on the rail. Later, with hand and body motions, he said "you", "me", 'backstage?" to her. Despite being obviously flattered and embarrassed, she declined. As Phil took the stage I found my friend Frank talking to her on a park bench. A bit of an obsessed fan, but a nice woman. After talking to her a bit I found myself wanting to suggest that she take the little pills in her medicine cabinet and the world would be a little bit clearer. Tears of Rage was a haunting rendition with perfect back-up vocals, Larry leading the way. Saratoga Springs 7/23 Few recognized To Ramona. We had been listening to it on the way to the show, analyzing the lines and never guessing we would hear it that evening. The harp on Wicked Messenger was amazing, hard and challenging. It reminded me of the challenging harp work found on the acoustic tracks on Tales of a Mexican Painter (1966). Similar in that they are both challenging, getting us to listen closer, feeling how Bob was stretching out and blasting the notes. Bob's LSPH serenade was again only warmly received by his chosen female in the front. Montage Mt. 7/25 "Thank you, thank you very much... well, to most of you any ways", said to an partially empty arena towards the beginning of the show. Bob searched the front row to have someone to sing... "Well, you look so pretty in it Honey, can I jump on it sometime?" He was looking hard by the time "And you just sit-in' there In your brand new leopard skin pill-box hat" came around. He never found his target that night. Long Island 7/26 Tony conferred for a long time with Bob before we got the treat of Long Black Veil for standing in the rain. Another conference before both Song To Woody and The Ballad Of Frankie Lee And Judas Priest, playing the songs later in the set than commonly done as of late. No searching For A Soldiers Grave as the addition of Long Black Veil just pushed the previously mentioned songs later in the set and Searching right off the list. Scranton 7/28 Tony was pumping his fist in the air as they walked backstage, clearly pleased at their performance. Charlie apparently just got out of the shower before the show, as his wet hair wasn't as styled as on previous evenings. I surmised that he is last in line. Charlie played much closer attention to Bob's moves and directions this evening. Bob apparently found a target for LSPH. The crowd was not responsive to Bob's solos and antics, just apparently making him try harder. The boys hit their notes during the Blowin' In the Wind chorus. Merriweather 7/29 The scene in the parking before and after the show rivaled that in the venue. I have never seen so many people attached to balloons before. Bob apparently found his person to sing LSPH to, peering (leering?) in to the crowd and pointing his guitar. Strange hand stretching during the "Stare Down' or The Formation, as it has come to be known as. Stanhope 7/30 We had to skip this one as the plane left from Boston late that evening. We barely made it from Maryland. I noticed a lack of the strange guitar moves from last year, neck held straight up while soloing, for example. The sound mix was good to excellent night after night. The band is like a hired hand, coming in to town and doing their job. Standing there afterwards as if to say, yeh, that's it, that's what we do, you like that?, yeh, us too, thanks, bye... Who were those masked men? my ranking... Scranton, Long Island and Mansield were highlights, but then again, all that harp in Saratoga Springs was amazing and Merriweather the crowd was in touch with his every move... I would like to have CD-R's of it all so I can relive my memories. Trades, B+P's, you name it. I have an extensive collection of original silver import CD's and can make copies, let me know what you need.