June 23, 2007
Review by Howard Weiner
HOWLIN’ AT THE MOON
Another escapade prompted by the art of Bob Dylan is in the books.
If you were at the Events Center, at the swank Borgata Hotel on the
evening of June 23rd, 2007, you witnessed something spectacular and I’m
not just talking about the scantily-clad cocktail waitresses. That should
be the end of my review, but I’d like to pontificate.
Bobby came out with his Cowboy Band and pounced on another Cat’s in
the Well. ..Good clean fun. The first five songs featured Mr. Dylan on
electric guitar. It Ain’t Me Babe was scintillating in the second hole.
Listening to Dylan’s lush vocal exploits, I knew we were headed into
uncharted territory He had the same beige hat and dark suit as he did on
opening night (hopefully, they have same day dry cleaning at the Borgata),
but this was a different man who took the stage from opening night. All of
his charisma was pouring out: a touch of 1964 was mixed with Rolling
Thunder and all the years combined henceforth. It was palpable, he had it
going on. Just Like Tom Thumb’s Blues was even better. Did I really
criticize his electric performance last night? Well, everybody plays the
fool sometime. The engaging new arrangement of It’s Alright Ma was in the
fourth spot. Lay Lady Lay was a sweet follow up. I hadn’t seen that in
seven or eight shows. And the ladies were panting
and swooning as Bob flat out had his mojo working.
Moving to his beloved keyboards, Bob Rolled and he Tumbled all
night long. It was a powerhouse version that was superior to the previous
night’s attempt. It was one of those nights. Bob was crackling with
energy; from my vantage point he appeared to be doing squat thrusts. It
was one of those nights. As a fan you could marvel in every aspect of his
performance. Rollin’ and Tumblin’ is a hell of a song. When I first
learned it would be on his new album, I wasn’t looking forward to it. But
sooner or later (One of us Most Know) U2 (Bono) shall burn. This could be
the greatest remake of a classic blues song.
The evening took a sensual turn when Bob eased his way into Girl
from the North Country. These tender renditions of his early classic are
really resonating with me, as well as the enthusiastic Bobcats on hand who
roared as he served up his initial harp rendezvous. Bob got down to the
nitty-gritty in Atlantic City, unleashing his blues classic from Love &
Theft, High Water. Bob effectively reigned in the band on this number. I’m
all about improvisation, but the band was beginning to sound a little
overindulgent on this number. Bob kept the focus on the song. When he’s
fully engaged like he was on this night, that’s a blessing.
After witnessing 23 songs from his majesty on this tour, he finally
decided to bust out some mid 70’s delights. I pumped my fist in the air
and yelled out, “Yes yes yes,” to the opening chords of Simple Twist of
Fate. I don’t want to delve into details, but this number is largely
responsible for setting me on this wild Never Ending journey that started
for me back in ’87. I felt like I was transported back to 1975 as I
watched Dylan whip through this crowd pleaser. His vocal cadence,
incantations, inflections and any other adjective you can think of to
describe what makes this man’s voice indelible, was on display. Ah Wooooh!
Highway 61 was Revisited yet again, after scoring my beer I returned to
hear Bob and his posse finish this rocker out with some snazzy flourishes.
It was time for some more Blood on the Tracks as we heard Tangled
up in Blue. Denny Freeman had his way with some concise tasty leads, but
all eyes and ears were on the Maestro. The man was in A+ form all night. I
knew what was coming, and I wouldn’t have changed if for all the hashish
in China. Before Tangled came to an end, my heart was pounding; I smelled
the tail of the dragon. An all-time great Dylan presentation was lurking,
and I was in the thick of it before it began.
That slow pounding mystical beat was begging for love. Blues fell
down like hail and then, Dylan sang his most autobiographical lines, “I’m
the oldest son of a crazy man/ I’m in a Cowboy Band.” And the crowd
roared. Every word came from the heart. The way he pronounced berserk was
berserk. The latest crowd pleasing line is, “They say whiskey will kill
you/ But I don’t think it will.” Dylan crooned this in such an emotive
fashion, I must confess, I was sobbing and weeping. Any day know, I’ll be
in possession of this amazing performance. Ever freakin’ breath he shared
with us was special. After the third verse there’s a brief violin solo
that brings even more zing to a masterpiece that is the benchmark by all
songs from this millennium should be measured. When Bob exclaimed, “the
judge is coming in/ All rise/ Lift up your eyes,” I thought of that
goofball judge from the Anna Nicole Smith case. Nettie Moore is worth the
price of admission. If any of you cats have the
great fortune of acquiring this tape, cherish the Nettie Moore.
Summer Days had more zip than any version I can recall in a couple
of years. Blowin’ in the Wind was a great follow-up ending, which I got to
hear last night as well. There was a little ruckus in the row behind me
that distracted my attentions for a minute or two on this one. It’s 4.45
AM, I’m back in New York and I’m tired. Thunder and Watchtower were
awesome again, especially the Modern Times number. When Dylan came out for
his final salute to the audience, he passively looked at the crowd while
turning the palm of his hands outwards towards the raucous crowd. With his
typical swashbuckling swagger, it was humble, cocky and loving in one
gesture, very Dylanesque. He entertains even just by the very act of
receiving applause. The whole experience was so moving, I’m still at a
loss for words. Onward and forward – see you’ll at the Mohegan on
Wednesday.
Howard Weiner
www.visionsofdylan.com
Comments by Donald Miller
On Father's Day morning I was opening up Hallmark Cards at breakfast when I
came across an unusual one covered in fuzzy imitation leopard skin material. I
opened it up to find tickets for Bob Dylan at the Bogata Casino in Atlantic City.
Sure beat the usual shirts and ties.
When I was a kid Willie Mays was my favorite baseball player. It wasn't just the
great power of his small frame or his speed on the bases on his breathtaking
defense in centerfield. Willie played with unmatched style and grace. He rarely
spoke to the press, letting his play speak for itself.
A decade later I was a teenager when the Mets bought out his contract to
allow him to finish up his career in New York. By now The Say Hey Kid over
over 40. It wasn't easy to watch him. On some days you could glimpse
greatness but on others his aging body betrayed him and it was painful to
watch him play.
Although the Mets were having a mediocare season that year, they rallied in
the fall and found themselves in the playoffs with the great Cincinnati Reds.
In a playoff game at Shea there was an altercation between the famous
gambler Pete Rose and the Met's diminutive shortstop Bud Harrelson. The
huge New York crowd got ugly and started throwing all kinds of trash and
assorted objects on the field. The Umpires were threatening a forfeit when
Willie led a small group of players to the outfield and simply held up his hands.
The crowd of 55,000 grew quiet and play resumed. The Mets beat the Reds
and went on to the World Series.
A few months later I sat memorized as Bob Dylan sang "Gates of Eden" in
Madison Square Garden. Like most high school kids I spent my days listening
to Cream and Jimmy Hendrix and here was a diminutive man standing alone
on stage that could not sing or play guitar by conventional standards. It just
didn't matter. It was the greatest performance I had ever seen. I went
home and bought all his records and haven't missed many shows in these
past 33 years.
I had made up my mind years ago not to argue or to judge Dylan shows
(OK that was pretty corny). We all know he is 66 years old and his body is
betraying him. I just love seeing him and knowing I will catch a glimpse of
greatness. As everything around me has changed and I grow old, Bob Dylan
is still there giving it all. I really appreciate it.
I don't want to say too much about the venue or any specific song. I do
prefer the open-air venues in minor league ballparks of the past few years or
the old grand (and being renovated) Beacon in the City. I am not a big
casino fan and something about the Bogata and Dylan doesn't quite mix.
Maybe Bob likes it that way.
I do think there has been too much criticism of his band, especially Donnie
Herron who I thought was great. Lets be honest, it has to be one of the
hardest jobs in the business playing behind Dylan. Dylan did catch lighting
in a bottle playing harp on Girl from the North Country, a reverting vocal
on Nettie Moore and bringing on more then a few tears singing Blowin in
the Wind to close his set.
It was a good show. Thanks Bob
Review by Brian Slattery
Originally, I planned to do one review of the two Atlantic City shows,
but shortly after Friday night’s show began, I knew that such a plan
was foolish. Inevitably, such a review would become a comparison piece,
nitpicking which versions of repeated songs were superior from night to
night and arguing if a particular song was a better fit in the slot it
appeared compared to the song appearing in that slot the other night. So
I gave up on the idea of writing one review before Bob even had put down
his guitar, listened intently to the songs he sang, joined friends for a
drink afterwards, wrote my thoughts down eventually, and submitted a
review of that show.
And that brings us to Saturday night. Despite leaving Jersey City in the
early afternoon, we didn’t hit Atlantic City until 5:30 p.m. After a
nice meal at the Irish Pub, we made our way to the Borgata, where I again
met up with fellow Bobsters Nina and Charlie, who I must take a moment to
thank. I’ve been a Dylan fan for fifteen years or more,--well, I think
I was born a Dylan fan; it simply took me a few years to realize it
fully--and I’ve always looked for like-minded people. After years of
searching, they found me when I wrote a review for the NYC show last
fall. And shortly after, I was brought into the fold of an amazing,
eclectic group of people who all share one great thing in common--
a love of Bob Dylan and his music. Thanks guys for counting me
worthy to join your ranks. After enjoying a pint of Mother’s
Milk and discussing what might make the set list, we made our
way upstairs to the venue, where once again we joined fellow fans and new
friends Julie and Jamie for a little pre-concert confab. As it quickly
approached eight o’clock, we made plans for the post-show gathering
and made our way to our respective seats, where I met several other great
fans. One had traveled from Argentina to see Bob. Another had seen
Bob and the Band before I was born. As we waited for Fanfare and Hoe
Down, we chatted and shared concert stories and our love of Bob’s
music. While I enjoyed our conversation, I felt the growing anticipation
and electricity in the air and could hardly wait for Bob and the boys to
take the stage. Let me say on the outset, while some grouse at the
current line-up and wish for days past when others graced the stage with
Bob, I believe he has a strong band backing him. True, I loved the shows
with Larry and Charlie, and they possessed an energy that may not be
present today, but that is not to say there is no energy or inspiration
today. Simply, it is a different energy. No two snowflakes are the same.
No two versions of a song are the same. And no two musicians are the
same. Each brings something different to a live performance. And can
anyone argue that their playing on Modern Times was anything less than
amazing? If they have Bob’s confidence, that is more than enough for
me. On to the show, which started almost exactly at the same time as
Friday night ’s concert. Bob opened with the same song but then gave
us It Ain’t Me, Babe and Just Like Tom Thumb’s Blues. Both were
masterfully done. Bob’s voice was strong. He was having fun up there
with the guitar. And the crowd was on its feet welcoming these inspired
performances of two brilliant songs. Of course, the line “I’m going
back to New York City” caused us all to cheer and applaud. It put
me in mind of what I consider my favorite Bob show--MSG,
November 2001. When Bob did that song in New York City post
9/11 and reached that line, the crowd erupted into wild applause. And as
I sat listening to a bluesy Tom Thumb’s Blues, I smiled, remembering
how Bob gave us just what we needed at a time when we still were trying
to make sense of the irrational, insane, and profane horror of that
recent warm, sunny September morn. Tonight wasn’t much different. Bob
always gives us what we need. Whether it is a rollicking Rollin’ and
Tumblin’ or a blazing, driving It’s Alright, Ma (I’m Only
Bleeding), he delivers the goods. Tonight, Bob did a fifth song on
guitar. To me, it was the best Lay, Lady, Lay I have heard live. While
I like the song, I can’t say I have ever loved it, but tonight’s
version may cause me to rethink that. When Bob took off his guitar and
went behind the keyboard, he carried the energy of the opening songs with
him. Girl from the North Country was beautiful. Halfway through I
almost had to wipe a tear out of my eye. I didn’t, though. I let it
flow. And after a wonderful harmonica solo, Bob and the boys flowed into
a hard-driving, forceful High Water (For Charley Patton). Bob was having
fun with this one, shooting hand signals to the band, and the band was
right there taking his instruction, creating a great stop-and-go sound at
a couple points, driving the song onward and upward. The violin sounded
amazing. Bob’s vocals were crystal clear. The band rocked. And on the
heels of this fiery performance, Bob delivered a stunning Simple Twist of
Fate. It is amazing how Bob can take a song about a prostitute and
make it so beautiful. He blew a few notes on the harp before the song
but didn’t include a harp solo with this one, which would have been nice
but wasn’t necessary. It would have elevated it to whatever heights
can be achieved after reaching perfection. Tangled Up In Blue was slowed
down to be a bit more bluesy than other recent versions. It worked well,
I thought, and again, Bob’s voice, the most important instrument in the
band, was in fine form. It was powerful. It had force behind it throughout
the night. I didn’t detect a weak moment at all. In the slower, quieter
tunes, it retained its strength. He simply channeled that power to deliver
inspired and awe-inspiring versions of Girl from the North Country, Simple
Twist of Fate, and Nettie Moore. I commented in my review of Friday
night’s show that it was good to see Summer Days swapped out of the
set closer slot. In fact, it didn’t appear at all. Tonight, it made what I
assume will be the first of many appearances in the set list. It wasn’t
the last song of the set, though. It came second to last and was a
rocking and rolling good time. Then, changing the mood and tone
considerably, Bob gave us Blowin’ in the Wind, including a
full verse harmonica introduction. For the second time tonight, I felt
tears coming to my eyes. This time they stopped short of running down my
face. Still, I was moved beyond any words I can write here. Like last
night, after Blowin’ in the Wind, Bob and the band left the stage in
darkness. When the returned, the eye logo was unfurled, and Thunder On the
Mountain rolled like a drum. There were no technical difficulties this
time around. Also, there were no band introductions. After Thunder On
the Mountain, Bob and the boys launched into All Along the Watchtower. I
noticed at the end how some lines had a great echoing effect, which
I’ve heard on other versions but don’t recall hearing Friday night.
When it was over, Bob and the boys stood at center stage, soaking in the
applause from an adoring crowd. The cheers grew louder, as Bob
acknowledged the crowd. We wanted more. And while I would have loved
even just one more song, I admire that Bob can look out at such an
enthusiastic crowd and simply turn to his band, nod, and leave the stage
and leave us wanting more. What more could he have given? Sure he could
have done another song. Heck, he could have done another twenty songs.
But would we have had our fill even then? I know I wouldn’t have. So
he leaves us after performing one hundred minutes of amazing music. As
he sang earlier, he’s still on the road heading for another joint. For
some of us fortunate ones, so are we. For those who have seen all they
will see of Bob this tour, they are left with an incredible performance
from a man who continues to reach new heights. What more could you
want? I believe I achieved my goal of not making this a comparison piece.
I don’t know if I were able to fully capture the power and grandeur of
these opening shows. I do know that Friday night’s show was excellent,
and Saturday night’ s show was phenomenal. I do know that I am happy to
have heard 50% different material on the second night. I do know that I
will not soon forget seeing Bob as he opened another leg of his Never
Ending Tour. Thanks again, Bob, for giving us two unforgettable nights
in Atlantic City by the cold gray sea. If you have any comments or just
like to talk ‘Bob,’ get in touch with me at dylanfan522@aol.com
Keep On Keepin’ On
Brian J. Slattery
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