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Bob Dylan 2001.08.12 in Springfield

Newsgroups: rec.music.dylan
Subject: Springfield review (long)
From: Glynne Walley  oldbollweevil@hotmail.com 
Date: 13 Aug 2001 01:09:16 -0700

Hey, here's a (self-absorbed, self-indulgent) review of the Springfield,
Illinois, show.  Hope y'all enjoy it.

A few minutes past eight, Sunday evening, grandstand, Illinois State Fair,
Springfield:  the opening chords of "Roving Gambler."  Got into a poker
game.

I've recently finished my master's thesis, and finally had some time to read
books that have nothing to do with anything, and so right now I'm reading
Tom Wolfe's The Electric Kool-Aid Acid Test, which let me tell you has
nothing to do with anything:  but that's put me in a mind to recognize,
straight off, the very righteousness of the Illinois State Fair Grandstand's
feng sui, at least tonight.  The grandstand itself, big beige-ish girder and
a-beam angular half-shell, faces east, and the stage, set up just across the
track from the bandstand, faces therefore west.  Standing on the stage
looking west, one presumes, the looker would only see this big hulking
hollow peopled grandstand;  sitting in the grandstand looking due east, at
eight in the evening, what you see is a low line of trees on the absolutely
flat horizon, and the gathering dark above it.  A dark like you only get in
the heart of this big bad continent, a towering and empty dark, unchallenged
by any enlightenment whatsoever.  To the south, off to the grandstandee's
right hand, there are the giddy midway lights:  ferris wheels, tiltawhirls,
loopdiloops, pirateships, tobogganwhirlers, flashing
pale-imitation-of-Disneyland gay and in-places-burned-out lights.  Cotton
candy and try-your-luck.  That's what's off to the south.  And to the north,
nothing again, just the same low line of treetops and above it the last
streaking vestiges of sunset disappearing behind the grandstand, austere,
beautiful, silent.  öWe've got really bad seats with a rotten view of the
stage, but a great view of everything else.

We've got rotten seats because I waited until the middle of last week to buy
the tickets.  I did that because, what with trying to wrap up an MA thesis,
and then trying to get ready for an impending move to the East Coast, I
wasn't sure I'd be able to spare the time to come see the show.  But as
those opening chords rang out, I was kicking myself, not only for screwing
myself through hesitation into such bad seats, but also for passing up the
golden opportunity to follow Bob on his Midwest State Fairs Tour.  I'm
living in St. Louis right now, and have a sister living in Ames, Iowa÷I
could have hit the Iowa State Fair show on Friday, the Missouri State Fair
show on Saturday, and finished up with the Illinois State Fair show on
Sunday.  Three straight evenings of Dylan, and three straight days of ferris
wheels, tiltawhirls, loopdiloops, horse shows, 4-H exhibits, cowboy hats,
barbecue, corn dogs, funnel cakes, and elephant ears:  what better way to
say a fond farewell to the Midwest?  Ah, but I didn't do it.  An opportunity
missed.

But that's fantasy:  in the here and now, I'm now here at the Springfield
show, and Dylan is down there, and he's singing.  I get the same frisson I
always get as Dylan kicks into his first number, and I turn to my companion
and point and say, "Look at that!  It's God, right down there!  Pretty cool,
huh?"

"Roving Gambler" is great as usual.  To me this is just about the ideal
opener for a show:  it's like he's saying, look, here's where I've been and
what I've done, and now the journey's over, and I'm here.  Boom.  Let's
start the show.

"The Times They Are A-Changin'."  If you've looked at the setlist you know
that it was a fairly commonplace show.  Granting, always, that commonplace
for Dylan these days is a very high standard indeed;  still, out of eighteen
songs tonight, it wasn't until song ten that we got anything written after
1967.  He doesn't play much I haven't seen him do before, and it's only my
eighth Bob show.

Not that I'm complaining.  Because it's my companion's first Bob show:
they're all live debuts for her, and she's having a hard enough time
recognizing the chestnuts, they're so different from the versions on the
Best Of albums I've lent her in preparation for the show.  I've done
something I haven't done in a long time, which is bringing a companion to a
Dylan show.  For the longest time, I didn't know any Dylan fans, or anybody
in fact who wouldn't go into a lame "everybody must get stnnnned" impression
at the mere mention of his name, so my recent trips to Dylan shows have been
solo pilgrimages.  But this time I brought a friend.  Actually, and this is
just between you, me, and Cosmo, it's a girl:  I've been trying for a year
to convince her to go out with me, and it took my impending move, and the
appearance of God Himself on a stage in Springfield, Illinois, to get her to
say yes.

But say yes she did, and here we are, and there goes Bob, working his way
through a typical, and typically enjoyable, early sequence of songs.  "Don't
Think Twice" ("hey, I think I know that one," she says), "I Don't Believe
You," "I'll Be Your Baby Tonight" ("this one sounds like a country song,"
she says), and then "Tombstone Blues."

I haven't seen him do this one before, and it's quite a treat.  With
breathtaking surefootedness Bob steps over a line, and suddenly the show
taps into a desperate intensity, a darkness every bit as deep at heart as
that in the sky behind Bob's backdrop.  Up until this point I've been on the
edge of the show:  literally and metaphorically, because I'm way up here in
crapsville seats, where it's too easy to get distracted by conversation and
people moving around, and where you feel not like the people on stage are
singing at you, but rather like you happen to be there while they're singing
to someone else, where it's too easy to look over at the sunset or the
midway, or at the white, rust, and orange ambulance down there marked
(honest to God) "America," and it's that weird delicious semianxiety of
being out here in the great vast impersonal American night while somebody
somewhere (well, right over there, actually) is having a good time, and
you're almost there, almost with them, and can choose at this moment to join
them, or just wander off into the night.   But this song reaches out and
grabs me:  I'm right there, in the alley.  Great, mean fills from Mr.
Sexton.

"Baby Blue."  The sunset almost gone from the sky now.  The midway going on
its merry way.  "Masters Of War," sounded like a blueridge mountain
death-hymn in April, now sounds like an old Delta blues crackling off a 78.
Just a little tweak and it's gone from Ralph Stanley to Charley Patton.  Bob
sings the first verse again at the end of the song.  Does he do this now?  I
have to go check some recent tapes.

"It Ain't Me, Babe."  They've done something to this:  it starts off so slow
and gentle that it's halfway through the first refrain before I realize it's
not "Girl From The North Country."  But then it changes into the hayride
footstomper I'm used to:  it goes back and forth like that.  Cool.

"Blind Willie McTell" makes a whole lot of things worth it.  I don't believe
I've seen him do this one before.  And what needs to be made worth it?  A
series of annoyances that lay in wait on our trip down:  several wrong turns
in the town of Springfield, where every corner has a sign telling you how
far you are from Lincoln-holy spots, but nowhere can I find a sign saying
which way to the goddam fairgrounds, etc., that sort of thing.  And also
sitting here slightly nervous about my companion and the year between
invitation and acceptance.  But who cares?  It's all over now, baby blue,
and there's nothing to worry about.  God is in His heaven, even if we all
still can't help but want what's his.  öFor some reason, Bob skips the line
about the barren trees:  he sings, "The stars above, the stars above, were
his only audience."

"Most Likely You Go Your Way," in a most Pranksterish rendition, tighter
than when I saw him do it at Cape Girardeau in April.  Very nice.  Then
"Cold Irons Bound," which gets weirder and weirder with every rendition;  a
big cheer from the crowd when he mentions the "winds in Chicago."  I guess
we have a sizable Chicago (city of the big shoulders, hog butcher to the
world) contingent here tonight.  Then "Everything Is Broken," which seems to
start off with somebody out of tune, but includes some great three-guitar
work, and Bob trying to introduce the band over the din.

The encores were the encores.  My companion can't believe how "Like A
Rolling Stone" sounds live.  I can't believe how short "All Along The
Watchtower" is÷they stop right after the third verse, no jam.  By the time
they're into "Blowin' In The Wind," I can see the lights of a bus firing up
behind the stage÷is it Bob's?  Are they in a hurry to get out of here?  --I
miss "Things Have Changed" and "If Dogs Run Free."

A fine show, though.  It's the last time I wait weeks before buying my
tickets, I'll tell you that, but still it was just fine.  I'm wondering why
we don't have word yet about a fall tour schedule, though:  is he taking
time off?  And what will the shows be like when he does hit the road again?
A lot of stuff from "Love and Theft," one hopes.  Maybe some more stuff from
other periods of his career besides Î63-'66?  I'd loooove to hear him do
"Oh, Sister" with this band.  Or "Solid Rock."  Or "Sweetheart Like You"
with a touch of that free-runningdog jazz.  Whatever, I'll be happy.
Because, as Mr. KeyZ would say, I'm on the bus.  (Well, not literally, of
course:  Bob travels in a bus, and for me to say "I'm on the bus" sounds a
little creepy.  What I mean to say is·aw, you know what I mean.)

We file out, past the lemonade-and-rib-sandwich stands (still happy from the
Italian sausage with carmelized onions from before the show), past the fake
Tigger and Hello Kitty prizes hanging from the marksman booth, past the
hordes of teenagers at the free-fall contraption, past the darkened stables
and the angel with four faces.  Get lost in the maze of darkened trailers on
the east side of the track, and it takes a half hour to find the car.

But find it we do, and after what feels like more wrong turns but actually
aren't, we finally make it back to the lifeline our interstate, and bomb our
way back to St. Louis.  Discussing God În' Buddha (in one breath) and love
and marriage all the way back÷purely in the abstract, of course.  As I drop
her off at her place the Dylan mix in my tape deck hits "Things Have
Changed," and I listen to it four times in a row on the way back to my
place.  "Can't win with a losing hand."  Indeed.

Glynne
np:  Bob:  mix


Newsgroups: rec.music.dylan Subject: Review: August 12, 2001 - Springfield, Illinois From: James Pritchard jimmyego@yahoo.com Date: 13 Aug 2001 11:48:51 -0700 Before I begin, (I think I'll post this separately too) does any one have a poster from this venue? They sold out when I got out and my girlfriend really wanted one as a memento. People are always saying on here how hard it is to get your girl/boy into Bob, and seeing as she decided to come 250 miles with me about 20mins before I left I'm trying to keep her tangled up in Bob. If I can't get one, perhaps some kind soul can point me to a hi-res scanned image (of this or any show)... They're all pretty similar... Please help! Anyway.... Great show, small venue. My girlfriend said Bobby looked real old. He did, but it didn't matter, he was wearing a black suit with big winged white shirt , and I swear he did look great.... > August 12, 2001 > Springfield, Illinois > Illinois State Fair > Grandstand > > 1. Roving Gambler (acoustic) Was a good starter, Bob barely moved, but he shouted the "shot the gambler down" lines :) Lots of "yea-Bobby's" from the crowd.. > 2. The Times They Are A-Changin' (acoustic) Good time to play it, the crowd wanted something they could recognize. Bobby phrased the lyrics at the end of the bars so the crowd couldn't sing along tho. > 3. Don't Think Twice, It's All Right (acoustic) (Bob on harp) Great version, people were screaming when Bob brought out the harp! He had to pause at one point, and shot Larry? a look as if he needed him to catch him up. He did and Bobby launched into a great little ditty... > 4. I Don't Believe You (She Acts Like We Never Have Met) > (Bob on harp) Nice version, '66-ey all electric-y. Sad, slow harp moment at the end. Sounded soulful, great work Bob :) Why won't the wankers next to me stop shouting "ISIS!!"? Jesus. > 5. I'll Be Your Baby Tonight (Larry on Pedal Steel) Throwaway song. Bob flubbed the first line (Close the door... shut the door...) and never recovered. > 6. Tombstone Blues Was damn good. One of the first songs Bob smiled in. Really seemed to be getting into it on the "Mama's in the fact'ry...." line. Lots of crowd appreciation. > 7. It's All Over Now, Baby Blue (acoustic) > (Larry on pedal steel) After the great work on TB, Bobby didn't seem to be up on annunciating the lyrics in this one. Still recognizable enough to get the crowd singing the chorus. > 8. Masters Of War (acoustic) (Charlie on dobro) Shadow deal-ly to great effect. Not my favorite song, but the well suited to the hick-infested fair atmosphere. > 9. It Ain't Me, Babe (acoustic) Great-great version. Best song so far. Crowd is backing Bob. "No-no-no.. it aint.. it aint me.." But then... > 10. Blind Willie McTell (Larry on bouzouki) Definitely the best song he sang. Loud and clear, great, great blusey volume, the crowd didn't recognize the song, but they could recognize a f-king great performance - he rocked it out. Much more bold than I've ever heard it sung. I knew it was going to be the Visions or D.row of the night, and it was. Magnificent. > 11. Most Likely You Go Your Way (And I'll Go Mine) Same feel as "I Don't believe you". Excellent. > 12. Cold Irons Bound No one recognized this, personally I don't think it fitted with the set. That said, Bob loved singing it, and was it me or did he really emphasize the "winds in Chicago" line. Pretty cool in retro-spect. > 13. Everything Is Broken Was a great track, Bob really grinned and seemed to love singing the chorus. I never really cared for it before, but now I must reinvest my listening time... > (encore) > 14. Love Sick Equally Bob seemed to love playing this. Just like Broken, despite the nature of the song, Bob was smiling and cranking out the lyrics. Sounded fantastic. Much-much better than the album version.. > 15. Like A Rolling Stone Crowd explodes.. Someone on r.m.d. said this sounded country-fied recently. The verses are kinda slow and melodic, but (of course) the chorus was spat out by Bob and definitely rocked. > 16. Knockin' On Heaven's Door (acoustic) > (Charlie on electric guitar) Crowd continues to explode. Bob sang it album-like. Cool, whole crowd backing Bobby. > 17. All Along The Watchtower Seemed really short? Maybe I was just enjoying it too much! > 18. Blowin' In The Wind (acoustic) Long, pleasant, whole crowd singing. Basically a superlative show. Well worth the 3 hour drive down from Chicago, and getting in late to work today :) Sorry I'm not particularly detailed, I was thinking at the show how I'd let r.m.d. down unless I brought a lap-top and wrote notes as it happened... Bob definitely got into it... Maybe Broken was the highlight for him, he seemed to enjoy it most... Lots (literally chimney-sized arrest-me-now-amounts) of pot-smoke from the crowd, perhaps easing his pain... Either way, loud (I was on the track), beautiful performances of some great great songs.. I can still hear "Nobody can sing the blues..." thundering through my head... Thanks Bob!
From: "Few, Judy" chv9s@allstate.com To: "'webmaster@expectingrain.com'" Subject: tip: Springfield Review Date: Tue, 14 Aug 2001 09:32:19 -0500 There are a few things I will add from the otherwise eloquent reviews written here before me. I thought I would add a few things that may or may not be of interest to my friends, all Bobcats. I did not hear Bob say a word except to introduce the band. My friend said she thinks he said something introducing Masters of War. Bob was shooting Charlie dirty looks during the Roving Gambler opening song. After the song finished, Bob backed up with Charlie and was waving his arm and talking to him in a "scolding" manner. Lights go back up and Charlie starts talking to Bob. Bob looks at him and in a flip of the head and a scrunched up face, he says "All right!" He didn't seem to be doing anything similar after that. Bob had on his black suit with silver strips down the arms and pantlegs. You have seen it before. I didn't think he had on a tie until the wind caught his white silk scarf he had on. His mustache is gone, he had on his white and black boots (you've seen them before) and he did a lot of dancing, smiling and lots of eye contact with the people right front and center. We were very close. Very close to Bob but very close to each other too. The crowd was again a multitude of ages with very young people who know Bob and some of his songs. I will say they still aren't as familiar with each song as I am, I am the only one who squealed and jumped (hitting 4 other people in the process) when that familiar strum started "Blind Willie McTell" What a treat!! I did think there wasn't as much time lapse between songs as I have seen before. They seemed certain of the songs they were going to perform. Bob kept up an energetic pace all night. It appeared to me that there must have been air conditioning on the stage because they all looked refreshed all night and looked like they could have, and might have, made this a 3 hour show. Bob had very extended endings to his songs. I heard someone say as we walked out "How many songs did he sing?" His friend replied "47 I think." I was amazed when I saw he had only sung 18. The newspaper said 9,000 + were in attendance, but I thought it honestly looked like there were 20,000 people there. And this was the most enthusiastic group I have stood with. Lots of hand waving, screaming, shouting, worshipful, revering, happy, group of people (at least the people at the stage on the track). My husband stood outside the pack of worshippers (he is a Bobcat by marriage) and remarked on how receptive everyone was especially during the encore. I will have to say also that Charlie and Tony "chatted" a lot, laughed and joked with Larry also in the mix and Charlie did a lot of flirting with the audience. I think they were making private "Bob jokes" but I certainly don't know that for sure. Bob was in it so totally because of the crowd (of course, that's only my perception.) But all in all, it was a tremendous and fun show!! I too am hearing " . . . nobody can sing the blues..." Thanks Bob!! You are one of a kind!!
Date: Tue, 14 Aug 2001 21:09:24 -0700 To: webmaster@expectingrain.com From: "R. Mark Rothfuss" mrothfuss@prodigy.net Subject: Springfield review "I wound up peeking through Bob's keyhole down upon my knees..." Review of Springfield 2001 It is now Tuesday morning....very, very early morning...and I have just woken up after 16 hours sleep. Ya see, Springfield, IL is a little over 6 and 1/2 hours from Lexington, KY where I live. After the show on Sunday ('bout midnight, eastern time), I drove straight back home and then had to go immediately to work. Thus, my review may lack something in terms of freshness, but hopefully it will be a bit more clear now. Here we go...show 36 on my never ending tour. I hadn't planned on making this tour. I wanted too. But all the shows were kind of far away and I couldn't really come up with a good enough reason to brave the heat, and the crowds, etc. It just seemed impractical. Luckily, at the last minute I was invited up to Springfield by a friend of mine who just moved there. Not only that, but she works at the agricultural center where the event was held. So I got my excuse. Visit a friend, then I can see Bob! I'm pretty easily persuaded, ya see. We got to the fair grounds early Sunday afternoon. As I walked thru the endless maze of pig pens and horse stables on my way in, I hear what appears to be Bob's band playing "Senor"....I get closer and closer and it gets louder and louder. But the show doesn't start for hours??? Then I see a crowd of people peeking thru a few little windows. Turns out its sound check. No big deal, right? So why the big crowd? Turns out Bob was there. This I had to see. So instead of waiting my turn at the window I run upstairs and try to find a way out onto the grandstand. The whole joint is locked down. But the keyhole on one particular door just happened to be big enough and in just the right spot to give me clean visual access to Bob and band. It was a strange experience. Bob sat very high on a stool, with electric guitar, wearing a white jacket/shirt and big, dark sunglasses. Looking very cool and very in control of the situation. The band were dressed primarily in black, Tony without his trademark cap. I just have to say, these guys are class acts. Always dressed to the nines! Even at rehearsal!! After Senor, the band made several very different attempts at Watchtower, taking a brief break and trying some unknown old timey country groove, then back to some more Watchtower. After hearing it about 9 times, my friends and I left to sample some of the Illinois State Fair's attractions before show time. After a few rounds on the "ring of fire" ride, and after a very heavy dinner of burgers, fries,beer, pizza, ice cream, and those damn powdered cake things, we carried each other into the grandstand and straight up into the nosebleed section. Probably the farthest I've ever been from main stage...but not bad for such short notice. And right around 8:00 Bob and band strolled on out. All wearing different clothes. Bob in black, of course. Big reaction from the crowd. It was just about dusk and the rides at the carnival lit the the backdrop with great drama. Recorder on! 1. Roving Gambler (acoustic) Great song. Unfortunately it seemed muddy and muffled to my ears. Not Bob's fault, but the sound system. However, my recording picks it up quite well and it turns out it is a very good rendition. At this point I should mention that Mr. Dylan began doing his trademark dancing, as he did for the rest of the show. The girls I was with described it as "adorable"....way to go Bob! 2. The Times They Are A-Changin' (acoustic) Nice arrangement. Bob's seemed to devote slightly more attention to it than usual. For once, he didn't just toss it out like a stiff obligation. Though many a line was, indeed, badly flubbed. 3. Don't Think Twice, It's All Right (acoustic) (Bob on harp) Amazing harp solo! I mean, it did not let up. Simply breathtaking. I love the way he leaves his guitar hanging at his side and plays with one hand. All in all, a very good and totally upbeat performance. Marred only by the appearance that Bob seemed a little unsure of the words (and the arrangement). 4. I Don't Believe You (She Acts Like We Never Have Met) (Bob on harp) Same kind of uncertainty here. You can see him pondering, "Do I really want to nail this one or not?" Just kind of hesitant about the whole endeavor. However, I think toward the end of the song his answer turned to yes. Treating the audience to its second straight, though slightly less inspired, harmonica closing. 5. I'll Be Your Baby Tonight (Larry on Pedal Steel) Boring. But not especially boring, I just always say that about this song. 6. Tombstone Blues Wow! No uncertainty here. This was nasty! I'm talking lean and mean. Howling! This performance knocked me out, picked me up and knocked me out again. Dark, swampy, rollickin' blues. Very TOOM. And Bob's phrasing was truly, truly, impressive. A contender for best version i've ever heard. 7. It's All Over Now, Baby Blue (acoustic) (Larry on pedal steel) I am so sick of this tired, old arrangement. Put it out of its misery, Bob. However, if you like this arrangment then it was a pretty fair version. 8. Masters Of War (acoustic) (Charlie on dobro) Both this and the previous number, are the two songs I seem to see the most. But unlike Baby Blue, I am very fond of this version of MOW. I miss Bucky Baxter's mandolin, but still very strong. 9. It Ain't Me, Babe (acoustic) Simply stunning. Really masterful control of the verses, and wonderfully sly delivery of the the refrain. As always, a great acoustic crowd pleaser. (even for those members of the crowd unfamilliar with the song, i.e. my weekend host). 10. Blind Willie McTell (Larry on bouzouki) After he went so many years without touching this masterpiece on stage, it began to seem as if he never would. I know we all prayed for it. So who cares if it's been done more than a few times in recent years? It still feels like a treat to hear it after a decade and a half waiting. All in all, a good version. Much better than the older all electric rendition from years past. 11. Most Likely You Go Your Way (And I'll Go Mine) A very majestic highlight. True to the original in a lot of ways. But as far as Im concerned this version transcends it. Thin, wild, mercury...definitely bright gold. A strange metalic guitar sound permeated. All jingly...like bell tones. And good grief, you have to hear Bob's delivery. Like a train thumping over tracks on the verses. And the steam whistle on the chorus. 12. Cold Irons Bound Love it!! Other worldly. Great tempo changes, which Bob handled with ease. Kneebends and rockstar poses were abundant. And the relative closeness of Chicago was not lost on the audience. 13. Everything Is Broken (encore) Not EVERYTHING! In fact this number sounded pretty together. Band was rockin', with Bob improvising lyrics to "gotta serve somebody" results (whatever that means). Perfect vehicle for band intros. So ridiculously Vegas, its actually cool. By the by, what exactly did Bob murmur before introducing the "gitaaaah playerrrr." 14. Love Sick Second TOOM song. Served to remind me that the new album is due out soon. A certain "calm before the new album/new tour storm" overwhelmed me. This might be the last time I hear LS and think of it as one of his new tunes. Strange. And a fine version it was. Nothing extra-special, but hardly just "walking thru the streets that are dead." 15. Like A Rolling Stone Below average. Bob totally half-assed this one. But nobody seemed to care. Everybody up in the highlands where I sat rose in appreciation. My compliments to Mr. Sexton who once again captured the magic of the original guitar riff, while taking it in blistering new directions. 16. Knockin' On Heaven's Door (acoustic) (Charlie on electric guitar) This arrangement makes hearing KOHD seem like a first. It is absolutely beautiful. Delicate. Downright prayer-like. A different song all together. Vibrant blue. I hope he hangs onto it for a while. Great "oooooooo--oooo-oo-ohhs" from LC and CS. And nice choreography from Bob and band as they stepped back from mic's in sync. 17. All Along The Watchtower Strange. I heard them rehearse this countless times this afternoon and yet not a single attempted version was used tonight. More a combination of them all. I have never actually heard a Bob version that really sounded like Hendrix's classic rendition...until tonight. This one had Jimi stamped all over it. Guitars were heavily drenched in trippy acid effects. Get a copy of this show for that alone. Also of note, though, was the bizarre dropped ending...right after, literally, screaming "Howwwwlllll" Bob turned to Dave Kemper and did his "cut" motion. And within seconds the song was over. None of that great "dun-dun-dun-dun-duh...." slowdown stuff which usually ushers "Watchtower" out. Just bam! We're done. 18. Blowin' In The Wind (acoustic) A sea of BIC lighters emerged. Mine a Bob Dylan licensed Zippo. It was spiritual, I tell you. It felt like church. And not the boring kind of church either. No. The Dylan Ministry. Lovely version. It keeps getting prettier. Less folksy protest...more bluegrass hymn. It was a good opportunity to once again take stock of my surroundings. What a spectacular night it was. Bright carnival lights glowing in the distance, cool, dry summer weather, pretty girls everywhere...and then Bob...Bob and this old, old song. No doubt, music is a mystical, magical force...not to sound like a hippy...but I was once again left awestruck. At just the sheer grace and majesty of his unparalleled gift. In a lot of ways Bob Dylan does seem to be the force that ties the rest of the universe together. At least on August 12th he did. Yours in Bob, Mark Rothfuss
2001: February - March - April - May - June - July - August -

Tour