SADIE SEES BOB LIGHT UP AT THE HARBOR
Date: Tue, 20 Jun 1995 17:55:35 -0400
From: SadieJane (sadiejane@AOL.COM)
Subject: SADIE SEES BOB LIGHT UP AT THE HARBOR
I thought I had posted this yesterday - but I guess I hit the passenger
button instead. Luckily noone was sitting in the passenger seat at the
time...I don't think.
HARBORLIGHTS, Boston June 16 1995
general sadie disclaimer: anything you read about me on r.m.d. may or may
not be true. I guess y'all will just have to see me for yourselves.......
Bob Dylan played to a NOT sold out crowd of uptight newenglanders (all
r.m.d.'ers exempt from this blaring generalization) on Fan Pier in Boston.
According to the Globe only 3,250 of 4,800 seats were filled - I was in
BEST seats I could beg borrow or steal (18th Row of the front, center
section) and saw at least 20 empty seats scattered throughout the section
front of me. It is a crime. Scalpers and tic agents (and of course
Ticketmaster) should be drawn and quartered. I do eat my words about this
large venue - I was expecting bad acoustics and airplanes overhead - and
pleasantly surprised by the overall feeling of intimacy despite the size.
Still, I'm jealous of the lucky folk in Philadelphia who will get to see
in a smaller venue.
Crash on the Levee
I Want You
Just Like a Woman
Just Like Tom Thumb's Blues
Mr. Tambourine Man
Masters of War
Don't Think Twice
Seeing the Real You at Last
I Believe in You
Obviously 5 Believers
Like a Rolling Stone
My Back Pages
Rainy Day Women #12 and 35
Bob was wearing a large pale blue silk satin shirt (tails out) and his
standard black tuxedo pants with the stripe down the side. Sunglasses (to
protect his eyes from the *glare* of the dusk sky) until he took them off
while putting his guitar down for Mr. T man (someone else pls confirm this
they could have come off earlier...).
Crash on the Levee and the new, lyrical I Want You were played while
was still filing in - Bob himself didn't warm up until Watchtower - which
O - C - K - E - D. The audience sat quietly throughout and applauded
politely after. I stood up and danced uncontrollably a few times and
screaming "Bravissimo" at the top of my lungs.
The next standout number was Silvio, which was truly wild mercury (or
I say silver and gold) and featured JJ and Bob on the dueling guitars.
on the Hammond, I say. Again, audience reaction in the center front 20
mildly interested. I tried to stay seated but failed. During shows like
this I sometimes wish I could just stand up and say "could everone here
into the show just move to the rear of the theater, please?" R.M.D. really
should be able to buy a block of seats down front for every show. Ok, Ok,
back to the review.....
He did his Tony Bennett again during the acoustic set, with almost
harmonica playing until he finally fell into a groove with it during the
Masters of War solo. In general I have noticed that Bob seems less
interested in playing the harmonica this year and I have yet to hear a
harmonica solo as stirring as Hattie Carroll's from last year's Orpheum
But he is certainly more than making up for it with his incredibly
singing. Nary a word out of place.
Another of my favorites of the evening was Seeing the Real You At Last
years Pos. 4th Street) - a lot of the credit goes to Winston Watson who
drives the band with a relentless vigour.
What struck me most about this show in particular was the ensemble's
to stay loose enough to be spontaneous. The G.H. Smith band was one of
bands wound so tight that there was never room for anything to really
Either it works and sounds good, if you like that sort of garage band
or it stinks. JJ and the guys have this way (like a really good jazz
ensemble) of letting things get looser and looser....until it *almost*
apart...then using the space to make a rhythmic or harmonic transition
the pulling the gaps together again. This happened in particular during
song which went briefly from 6/8 to 3/4 (I think) and then back again -
this was Masters of War....if anyone else noticed it please email me.
this looseness can bring a band into rock'n'roll pergatory or BRAVE NEW
and with bob and his boys it is the latter all the way. WORLD GONE
is nothing more exciting then not knowing what is going to happen next -
there was alot of this on Friday night.
I ran down to the front of the stage during Don't think twice and stood
there, basking in Bob's glow til the end. The guy right in front of me
high five. The guy right next to me got the Harmonica (which Bob tossed
as an afterthought after My Back Pages) and stood there mutely clasping it
both hands like a prayer. Some neanderthol townie tried to crash to the
front, suddenly pressing all of us against the stage shouting at the top
his lungs "Hattie Carroll" with an heavy Boston accent (never thought I'd
live to see anything so incongruous as this - given Boston's history for
racial intolerance) and almost caused a riot until one gentleman reminded
that this was a Dylan concert not Greenday Mosh pit and that there were
delicate females present that could get hurt by his flailing limbs. He
actually calmed down and shutup. The song of choice down front was "Two
Soldiers" but bob never came back after Rainy Day gals.
After the show we walked across the street the the Barking Crab for an
gathering. The place was pretty crowded so I just walked into the center
and shouted "Howard" at the top of my lungs. This shameless display was
rewarded when I heard calls of "Sadie" ringing from a far corner. I soon
found myself being lifted in a bear hug by Howard himself and was quickly
introduced to Josh, Nate, Maureen and Mitch. Nate had taken extensive
during the show (something I never do - If only I could see every show
twice!) and you should all expect a wonderful review from him...
The only one missing was Patrick - Patrick who had publically posted that
was going to be bringing the Brixton tapes for us all....I guess he
tear himself away from his tape deck? I had brought him one of my
shows (Tel Aviv) as a thankyou but gave it to Howard instead.
us know what happened to you...we were kinda worried that your plane may
crashed on the levee or somethin'.
Now, one thing that I thought I had to mention. I have one of those
new england no accent accents, but Howard says he has trouble
Howard, on the other hand, has a Newfoundland brogue so thick you could
it with a knife. I mean the guy might as well be off the boat from the
Highlands of Scotland. And he has the nerve to say *he* can't understand
*me* talkin'? Then again, my aussie guest said he had trouble with
and me, but no trouble at all with Howard. I guess next time we could all
bring laptops and log into the Dylan IRC Channel....just a thought.
If Steven Morse of the Boston Globe makes one more backhanded complement
going to send him some serious hate mail. He writes in his *glowing*
"Bob Dylan in the summer of '95? It's a little like seeing Elivis rise
the dead. let's face it, Dylan has been counted out so often that it
as if he's on ths 33,000th comeback. He's been a critic's punching bag,
a laughingstock. But now, amazingly, HE'S getting the last laugh - and
moment too soon to salvage his reputation." Get a life Steve. Dylan has
been on the "comback" trail since since since .... who cares. The man has
had good shows and bad shows and boring shows and mediocre shows and
totally amazing shows. That is just the way it goes. Sorry if you caught
the bad ones, but it's time to move on - I'm tired of hearing you whine.
If I had
my way, I'd give the expression "critic punching bag" a whole new
final final word:
If any one wants to send me a boot of this show (have stuff/will trade) I
will make copies and mail to EVERYONE who attended the CRABFEST 95.
final final word word:
Craig, we all missed you at our little r.m.d. roundtable (*especially*
Maureen and I).....maybe next time, eh?
Delia ain't dead, she just fell off her new pony