March 15, 2010
Review by Kathleen
3-15 off the cuff review under a strict time deadline
I was in the middle of discussing cultural sensitivity with my Japanese
pals, and Bob being late, and wouldn’t ya know it, he came out nearly on
time…
General Items
Grey flowy somewhat pinstriped suites on the guys with black shirts. Bob—white
hat, grey/blue shirt, sparkly things down the side of his pants, a vest and coat
jacket both with brass buttons.
Bob still knows where he is going on stage.
Of the banter I could hear with Donnie, one of them was “I can’t figure out
how…” Something like that. Not tons of banter or band jocularity tonight.
But everyone played well, was focused, and seemed happy enough.
Show in general started a little slow, but got better and better.
Songs (A few thoughts)
Seńor was an arrangement centered on the harp. Lovely.
High Water—great version, you could really hear Donnie tonight on
everything, yeah! Check out the banjo break.
Levee—Bob was laughing at something throughout the end of the song while he was
doing some wild keyboard stuff. Also there seemed to be a Dickey Betts thirds
guitar thing going with Stu and Charlie at the beginning of the song.
Trying to Get to Heaven--hauntingly beautiful vocals by Bob and yummy solo
by Charlie.
Cold Iron Bounds—New arrangement still… it’s good. Two or three times the
song just flat out stops. One of the times was half a beat longer than the
others and pretty dramatic.
Desolation Row--Bob had a lick going…
Mobile—I know all the haters of this song are going to find this hard to
believe, but this was pretty much the crowd (and Bob and the band maybe
even) favorite of the night. It was an arrangement totally built around
the harp. Bob could barely get the harp away from his mouth in time to sing the
lyrics, it had so much harp. Great harp playing all night--it was really really
a harp night. Anyway, I was lucky to be in the dance section of the audience to
begin with and this was a real dance-o-rama.
Man in the Long Black Coat—this is a very new arrangement you are gonna
love. Guaranteed. I have no idea how to describe it though. The bass is
the base of the song is pretty much all I can say.
About this time in the show, I got busted for having a flashlight, so I
don’t have many other notes. I do recall that I danced an earring off
during Thunder on the Mountain (amazing I didn’t dance any clothes off)—my
part of the audience was in a frenzy for anything danceable starting with
Mobile.
I’d better clue you in on what you are going to hear on the recordings
because we had major Bob talk. The really groovy Deadhead (kid) Japanese
guys who made Bob a guitar and have been trying to give it to him, finally
succeeded. (It was a really pretty guitar, looked like a Fender Thinline
reissue tele with an F hole, but it was a strat. Natural finish, a little
darker than blonde, though. Handmade.) Anyway, these guys have been
holding up a sign asking Bob to receive the guitar, and so before the band
intros, Stu took it on stage and got it over to Bob. Bob said, “what’s
this, who’s this for…is someone trying to give Stu a guitar? Stu, you’ve
got yourself a guitar.” There was a note with it and Bob said, “Should I
open it?” Bob rested it on the keyboard, then Charlie held it up and walked it
around. The moment was very light-hearted and heartening. Then Bob said, “I’m
going to take this with me.” He was giggling during band introductions,
especially when the word guitar came up.
The entire exchange is one of those rare and great concert moments that I
live for and a reason to travel to other countries to hear Bob. I am sure
it could not have happened anywhere but in Japan. Starting the first day, I was
like, yeah, right, they are gonna get that to Bob. But, there it went, right to
Bob in a perfect flow of what was going on between Bob and the Japanese
audience.
Lots of high fiving was going on and hugging, people who didn’t even know
the guys were in a huddle at the end. Big fun tonight, big fun.
Addendum
I did the previous review quick and dirty so it would get up before everyone
heard the recordings and wondered what was going on. But there is so much
intrigue about the guitar, I’ll say a little more.
Like I said the body was like one of those Fender Thinline tele reissues
with one F-hole, but strat pick-ups/knobs. I don’t know the wood, but it
had a very nice grain with a natural finish. The wood was not blonde, but
not dark at all. The neck was a dark wood, I don’t think ebony though, and had
a cherry blossom (white) pattern on the front of it, that I do not think was an
inlay. But it looked nice. The hardware was stainless (no gold), the tuners
were amber-orange and you could see through them a bit. There was a little
(this isn’t the exact word) plaque inside that said something like Bob Dylan
commemorative guitar Japan 2010 or something like that.
The guitar felt like Japan, calm and peaceful. The guitar maker was a
sweet, humble, and cute (if that’s not too lecherous to say given our age
difference) young man. His friend he was with owns a guitar store near
Tokyo (I was telling him how all those stores are like museums because all
the really nice U.S. vintage guitars are there) and both of them were
well-versed in rock n roll which was fun for me. And their other friends
were pretty funny and happy go lucky.
The guys with the guitar were down by Stu, making a pretty big commotion by
holding up a big sign about the guitar and waving their hands; although I have
definitely seen Bob’s band (mostly) ignore bigger productions. (The guitar was
in a soft case.)
Here’s why I think the guitar made it onstage: It’s like my soulmate, Rex
the Wonder Cat, and the birds. Rex would watch the birds on the porch
through the sliding glass doors all the time. He knew there was a door and he
couldn’t get them; but every day at some point his instincts would
uncontrollably get the better of him. He would lunge at the birds and bang his
head on the glass.
So it is with guitar players. I don’t know if the fans dangled the guitar
the other nights (I think they did), but I was telling them if it got to be
their last show on the rail they should show it to the techs. Anyway, they took
it out of the case during the encore and Tony, Stu, and Charlie, all had to have
a look. You dangle a nice guitar in front of a guitar player and they can’t
help themselves. It’s like a curvy woman, they have to have to look at it or
preferably have their hands on it. It’s irresistible. Up it went, and before
it was over, Stu, Charlie, and Bob had all held it for awhile.
I think it was a brilliant move, especially as a goodwill gesture in a
country where, like I said, these things have meaning. I think the people
standing near the guitar maker who knew about the guitar to Bob mission felt
like it was a coup for Japan. Also, it settled things down at the front of the
stage, so everyone could relax. That was the fourth show, and it would have
gone on for several more shows--guitar lugging into a GA show, finding room for
it, signage, making a racket.
Still I’ve been worried that Stu might have had to do extra push-ups or Hail
Mary’s to atone.
Meantime, in a time capsule from 3/18 thrown back into this review, I had a seat
in the balcony that night and, aside from getting hassled again about my itty
bitty blue almost no light flashlight I use for 5 second a song to write the set
list and instruments, it was a nice perspective on the show. I think since no
one does anything wrong ever here—the pedestrians even wait for the green walk
sign to cross the street--that anyone doing anything even slightly out of line
is in trouble. I guess I’m a rebel in Japan.
But, I digress. There is an American vernacular compound word that you are not
supposed to write on public websites that describes perfectly the scene on the
floor at these Japanese concerts, especially right near Bob. The first part of
it is “cluster.” I can’t wait to see what being Number 1100 is like tonight.
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