Bob Dylan 2001.11.11 at Penn State
From: Amleik@aol.com Date: Mon, 12 Nov 2001 16:15:44 EST Subject: 11/11/01 Penn State Review To: webmaster@dylanite.com This was my first show of 5 out here on the East Coast, but my excitement level was not as high as anticipated on my part, due mainly to the events of the last few months. However, as the afternoon progressed, my excitement level reached the point it probably should have been at in the last few weeks. Despite some details to which I will make reference below, Bob did not disappoint and has me looking forward to the remaining 4 shows on my leg of the tour. Roving Gambler and Girl from the North Country were both wonderful surprises in their respective slots. Right away with RG you could tell Bob's vocals were strong and the harmonies with Larry and Charlie were on, but the overall volume seemed to be a little too low. With Girl, you just new it was going to be a night of great singing, and I will go so far as to say it was the best Bob's voice has sounded in the nearly 20 shows I have attended. However, we also learned with Girl that Bob's acoustic leads were not on. To say they they left something to be desired would be giving him too much credit - very bad!! But, I could not do any better (well, I hope so, anyway) so to each his own. It'a Alright Ma was the first sign to me that we had a laid back crowd. Bob salvaged a passable guitar solo in this one, and the band sounded great, but some of the classic lines like "busy being born..." and "even the president..." evoked little response from the crowd. This is easily overlooked, but it can also drag down your perception of the show no matter how good the overall performance may be. Similar thoughts came to me during This World Can't Stand as the harmonies were tight and the voclas so clear that even my mother (her third show, and never having heard this particular song) heard every word clearly, and agreed with Bob that this world will be destoyed again. Cry a While was better than I had anticipated. I believe someone made reference to it sounding like It Takes a lot to Laugh.. at the beginning, and I must agree. But, this is louder, and Bob appears to really have passion for these new songs. This was great to see. Again, superb vocals that ripped out your heart and made me want to cry for much longer than just a while! I love the new faster, country western I Want You, and the harp solo at the end finally got the crowd roaring. Floater was another superb vocal performance by Bob, but the lack of Larry on violin on this song really drags it down for me. Charlie tries to cover it on his red Gibson hollow body (I believe), but it just is not doing it. Bob even looked over his way a few times during those parts of the song - not upset or anything - but as if to say "Yeah, that doesn't SOUND right!" like maybe he knows, and he's thinking of either dropping it, or giving Larry the shot he deserves. Highwater was enough for me. He could have walked off stage after that and I would have been happy it was that good. If he had left, it also would have prevented the disastrous acoustic lead he played during Visions, by far my favorite Dylan song. Only the second time I have heard this, and while the vocal drove it once again, the lead was just plain bad. Larry even tried to make his picking louder by doing it harder, as if to cover up Bob's solo attempt. John Brown was welcomed in place of Masters of War, and while Bob's acoustic lead improved, it still was nothing to write home about. But it was another fine vocal performance with everything clearly enunciated. A shame that the crowd didn't react as if they new what he was saying. Love Minus Zero brought the perfomance level back up on all fronts. Bob muttered around with the harps during the intro, as if deciding which one to use later in the song. He eventually opted not to play the harp as he appeared to have pulled the Visions solo out of the gutter, and perform this one rather well after a slow start. Larry's steel was simply beautiful and this was definitely a highlight combined with Bob's vocals. One of my all-time Dylan favs, and he always does it justice when I am in the crowd. Thanks Bobby! The final electric part of the main set worked really well. Summer Days is amazing. This guy is 60 years old and there were 20 year old college kids who had to take a break mid song cause it was too much for them. Many had been standing in the middle of the floor, hoping to get a chance to "move" all night, perhaps waiting for TUIB. It was as if Bob was saying "OK, you wanna DANCE? Try this on for size" and very few kept up with him. Another great response from the crowd after this one. I was hoping for Mississippi next, but got Sugar Baby instead, and was glad I did. This was incredible, and the crowd showed much respect with their silence and observation. Wicked Messenger and Rainy Day brough the crowd to their feet, and Bob played with the words to Rainy Day, but few noticed. EVERYONE was moving to this one. We got the "Ladies and Gentleman, students, faculty, and alumniiiiiiiiiiiii!" introduction for the band. The encores brought everything full circle. The crowd was up for all of them. Perhaps the best If Dogs Run Free I have ever heard, and an extraordinary Honest with Me. This works so well in place of Highway, and Bob has much passion for these lyrics - it also showcases the tight-nit band all over again, just in case anyone had any doubts. Blowin' was again, perhaps the best version I have heard. Tight harmonies, and Bob shouted out to remind us that indeed "too many people have died!" Another formation found Bob offering his acoustic guitar to an admirer in the front row. He even took a few steps forward to offer it even closer, but he ended up holding on to it. I just hope it was not a negative exchange, like someone saying his acoustic leads sucked, and Bob saying, here, you try it. Watchtower closed things out, and rocked as always. The new version works for me and, it appears, for the band as well. Overall, very nice show, and Bob is still at a high quality performance, much higher than most any act out there. Perhaps I mentioned the squandered acoustic playing too much, but it was really obvious, mainly on GFTNC and VOJ. He salvaged himself on Love Minus Zero, and the electric playing seemed to be fine. Maybe he is just still getting used to the new acoustic guitar. On to Syracuse for Bob, and DC for me. Take Care! Alex Leik
