November 6, 2009
Review by Brian B.
1. Leopard-Skin Pill-Box Hat- The intro music has changed since last time I saw
him in 2007, the commentary is the same. Watching Dylan take the stage is just
so cool - no other way to put it :D . A way overdone opener, but the Charlie
brought new life to it. Bob's vocals were clear and thick upfront in the mix.
Well done. 2. The Man In Me - Very nice. Bob walks away from the behind the keys
and waves his arms around center stage. 3. Beyond Here Lies Nothin' - Well
performed. Denny was audible for one of the only times of the evening. First
live rendition for me. Loved it. 4. It's All Over Now, Baby Blue (Bob on guitar)
Another overcooked tune for me. It was well played. Dylan looked cool with his
guitar all the way up his chest and played a little one string melodic solo in
the high E string. 5. Summer Days - Charlie brought out a big White hollow body,
but Bob kept his leash on tight throughout. Its more lounge style now than
rocked out versions circa 2002. 6. Desolation Row- Crowd liked it, at least
those around me seemed really into it. Starts soft, then after the first chorus
hits a crescendo and stays that way throughout. 7. Cold Irons Bound - NICE NEW
ARRANGEMENT. You just have to hear it. Its great! 8. Sugar Baby - Very mellow
and intimate, differs from the L&T version. Bob center stage w/ mic and harp in
hand. Just like the version on youtube from this tour. 9. Tweedle Dee & Tweedle
Dum - While I was waiting to pick up my tickets @ will call the guys behind me
were saying how much they hoped he didn't play this one. Sorry boys, there is
was. A chance to take a bathroom break. 10. Po' Boy - Nice, but kind of a repeat
of Sugar Baby. 11. Highway 61 Revisited - At this point I wondered how many
times Bob can play this song and still enjoy it. Seriously, Tony G. has to be on
total auto pilot here. Its a cool song but is it really worthy of a night after
night, tour after tour performance? 12. Workingman's Blues #2 - A TRUE
highlight. Bob begins on keys and then leaves for the center stage. Applause
after every chorus. 13. Thunder On The Mountain - Awesome song, but I have yet
to here this one pulled off live that I like better than the studio recording.
Tonight is sounded much like HW61. 14. Ballad Of A Thin Man- Another highpoint.
For anyone who is the least bit nostalgic for Rolling Thunder era Bob, you get
it here. You have to watch the shadows cast from the floor lights on the back
screen. There is Dylan circa 1975 hat and all in the shadow...and on-stage, Bob
November 2009. The song was stellar.
At this point I moved from the 4th row to the 1st dead center right next to the
mic used to pick up the audience. I had the best seat in the house - BAR NONE
for the remainder of the show. 15. Like A Rolling Stone - Standing dead center
in the 1st row with my hands on the stage just a few feet from Dylan. Best
"LARS" I'll ever experience. I kept looking at the band members thinking, "you
guys have the best jobs in the world!" The last two songs were more of the same
for me. 16. Jolene 17. All Along The Watchtower
Final thoughts - If you've taken a break from the shows over the past few years,
check this tour out. Its a few steps above in terms of musicianship than just a
few years ago. After reading fan reviews from earlier this tour, I was
anticipating a more "freewheelin'" Charlie Sexton. Not the case tonight.
Charlie's playing and stage presence reminded me of when he first began with Bob
in 1999. He watched Dylan the entire night, waited at times for a cue to tear it
up, only to get nothing from the boss. This was especially visible during Summer
Days, he went over to his pedal board stepped on a few buttons in anticipation
for his spotlight moment...he got ready to rock...and than Dylan began singing
the next verse...Charlie looked stage right (opposite of Bob) with a roll of the
eyes as if to say "come on...what happened to my solo." Sorry Chuck, you have to
remember its still Bob's show. Stu looks terrified, bored, and ultra
serious...worried about his
job? Doesn't seem to be enjoying it at all despite the fact he has the BEST JOB
IN THE WORLD! Tony and George do their thing as anyways...and the other guy is
Despite some critical commentary, it was a good show and I enjoyed it. There is
know one else I would have rather seen tonight than Bob Dylan. A father and
daughter next to me tearfully embraced at the shows end. Just a reminder of the
power this music evokes. Until next time Dylan is in Northwest Ohio or Southeast
Review by Don Handy
"The best sound you can get is an intimate club room, where you've got four
walls and the sound just bounces. That's the way this music is meant to be
heard." - Bob Dylan, Rolling Stone, 2006
It was the best of shows, it was the worst of shows.
The Fox Theater, site of last night's Bob Dylan concert, is the best venue that
he has played in the Detroit area since 2006 to get an approximation of, and
appreciation for, the aforementioned "best sound." The city of Detroit may not
have much of a future, but it does have a history, and the Fox Theater is one of
the relative few that hasn't been torn down. Yet. Built as an ornate movie
theater, it boasts ostentatious inside architecture of a weird, art deco / Hindu
theme, which thrills one when he first encounters it, but which strikes one as
gaudy when he is older and more cynical. (Why they went to such expense to
decorate the walls of a darkened movie theater is puzzling.) At a talk given at
an area bookstore by Jack Kerouac's first wife, Edie Kerouac-Parker, she
identified the Fox Theater as the place where her former husband and Neil
Cassidy spent a night, as depicted in the novel On The Road. In the sixties it's
where the Motown Reviews played their hometown gigs. In the eighties it hosted
In an interview with Jann Wenner in Rolling Stone, in 2007, Bob Dylan was quoted
as saying that "Corporations are religions." Last night's show, then, was a
religious affair. The best seats in the house were held-back for those who are
part of a "Concert Club" that the venue takes part in, as well as people who
have other connections, such as season ticket holders to the Red Wings games.
Perhaps even worse is the mezzanine, which seats are purchased by corporations.
It has a separate entrance, and has catered buffet-style dinner for the
attendees before the show. If your sense of a great rock'n'roll gig involves
some sweaty dive, then this is about as far away from a rock'n'roll venue as you
can possibly get.
That said, the sound was great. For their part, Bob Dylan and his Band restored
my faith in their ability to deliver a great show. Charlie Sexton is a different
guitarist than Denny Freeman, more of a showman. There is an excitement even in
the hits that was missing in years past, perhaps because Charlie Sexton can
perform very much like Michael Bloomfield did, which may also account for why
they performed 4 songs off of Highway 61 Revisited. One need only contrast last
night's performance of "Ballad Of A Thin Man," during which Bob Dylan obviously
felt and meant the lines, while Charlie Sexton fired-off volleys of
faithful-yet-innovative mini-solos, with the turgid, plodding version released
on the Not Dark Yet CD single, to see how much both this band and Bob Dylan's
delivery has vastly improved over the years. Hopefully some of the songs from
this tour will surface officially, and soon!
Being a small person (5'7"), I had to put-up with the physical reality of the
venue. Constructed as a movie theater, it was designed for the patrons on the
main floor looking-up at a screen, so the floor doesn't rise from the stage as
much as it should. I got stuck behind a seven-foot amazon and her
equal-in-stature boy-pal, the latter of which leaned over to talk to her
throughout the set, blocking my view. Thankfully they left with the mass-exodus
during "Workingman's Blues #2," a song of which the well-connected patrons in
attendance obviously felt no connection with, as they simply couldn't relate to
it's sentiments. During his 2006 Rolling Stone interview, Bob Dylan said that
"The only fans I know I have are the people who I'm looking at when I play,
night after night." Last night's venue undermined that assessment, as people
stood and cheered for the songs that Bob always does, and either sat down or
left for the relatively rare material.
Regarding the set-list, he did wonderful versions of the two songs that I'd most
wanted to see him perform, "The Man In Me" and "Po' Boy," but also did my two
least-favorite Bob Dylan songs of all-time, "Tweedle Dee Ho-Hum" and the
excreteable "Jolene." During the latter I sat down, yawned, and thought of
things that I'd rather be doing at that moment; picking-up dog shit in my yard,
cleaning a sewer, that sort of thing. Why Bob Dylan does that song night after
night is beyond me. I mean, I know that he's human and fallible: writing songs
with Robert Hunter, performing with the Grateful Dead and Together Through Life
have all proven that he makes mistakes sometimes. But smart men learn from their
mistakes and, if nothing else, I always thought that Bob Dylan was an
At work yesterday afternoon, the radios on the shop floor were playing Christmas
songs, so I had some hope that Bob Dylan would play something off of Christmas
In The Heart last night, but it was not to be. In the end, last night's show was
like life itself, full of disappointments, issues of class, wealth and power, as
well as the uplifting joy and unexpected surprises that keep us keepin' on.
Peace & Noise,
Review by Ronald L. Brown
Based on recent reviews, this latest leg of Bob Dylan's 2009 tour talked about a
reinvigorated band, perhaps in no small salute to the recently "re-added" Charlie
Sexton. As a long-time Dylan fan, I was looking forward to the Friday, November 6
performance at Detroit's Fox Theatre with both excitement and trepidation; it's
always exciting to see one of the great cultural icons of the last 75 years in
American History. And, of course, Dylan fans are cautious because most of us
have seen one of "those nights" where our favorite icon appears he'd rather
be watching "Law and Order" reruns.
I'm glad to report, however, that Friday's show was one for the ages.
From the opening tune, "Leopard-Skin, Pill-Box Hat," it was obvious the most
invigorated member of the band was Dylan himself. Having seen him a half-dozen
times, Bob had more energy, enthusiasm, give and take with the crowd and his
band than I've personally witnessed in all previous shows combined.
Bobbing and weaving behind the keyboards, pointing to the crowd as he
sang - even clearly smiling on several occasions, Dylan was animated almost beyond
recognition, and made me wonder if he simply was feeling every bit of his 68 years
on the road the last couple times I'd seen him.
The energy centered around an evening-long dual/dance/romance between Dylan
and Sexton. When Dylan spent most the night either behind his keyboard or right
out front with harmonica and microphone, Sexton was front and center just about
the whole night. The young Texas guitar slinger was right there with Bob every
step of the way, either weaving his magic between vocal lines to create a seamless
document, or taking solos with force and confidence not witnessed since the days
when Sexton and Larry Campbell ruled Bob's band.
One of the most of beautiful moments came during the evening's fourth number,
"It's All Over Now, Baby Blue," the only tune in which Dylan picked up a guitar. In
this instance, it was a beautiful, "old school" sunburst Guild model, and he and
Sexton stood side-by-side conniving, cajoling, and trading licks with one another in
a moment that illustrated Dylan's underrated prowess as an axe man - and sent
shivers from my head to my toes.
For the next number, Sexton switched to a cream-colored Gretsch hollow-body
guitar and steamed through "Summer Days." I'm not a guitar geek, but between
the Gretsch model and several vintage Stratocasters and Telecasters, Charlie had
one of the most impressive collections of instruments I've seen in any concert.
"Summer Days" was one of several numbers from "Love and Theft." The set list
included a triple play of "Sugar Baby," "Tweedle Dee & Tweedle Dum," and
"Po' Boy." Other highlights were a slightly reworked "Cold Irons Bound" - previous
live versions would punch you right in the mouth, but last night's "Irons" was more
dangerously seductive. Dylan reclaimed center stage three-quarters of the way
through, turning preacher for "Workingman Blues #2," a perhaps fitting and
pointed attempt for Bob to recognize the plight of Detroit area citizens.
By the time Dylan, Sexton, and the rest of the band closed the two-hour set with
"All Along the Watchtower," they had the crowd, which had been a bit too laid
back for most of the show, on it's feet, shaking the rafters, and witnessing to the
gospel according to Bob.
God bless you, Bob. Lord knows how long you'll be able to keep going, but this
night concluded as one of the best shows I've seen from Dylan, or any artist.
Review by Debra & Marc Schemansky
It all started off the usual way. Right on time. The intro music. The
description of his career. The excitement of the crowd, everyone on their feet.
And then a rousing rendition of Leopard-Skin Pillbox hat. I have seen him do
this song a number of times; but this time it seemed tighter and full of energy.
He seemed to want to belt it out at full throttle and they did. All burners were
on high. Charlie leading the charge and George keeping a montrous beat...
beautiful. Bob then came out center stage and sang the Man in Me... arms
outstretched, singing like he meant it, and playing the harp. Cool. Other
highlights for me was Bob playing lead on Baby Blue.... A little rockabilly
Summer Nights. Desolation Row building slowly in tempo. But I felt the best
three songs of the night were Cold Irons Bound.. heavy, complex beat, great
vocals evoking a Howlin' Wolf kind of vibe... very well done. Then Thunder on
the Mountain with a duel between Bob on keyboards and Charlie on lead guitar...
each daring the other to go a little further.. both seeming to have a great
time. And last but not least, Ballad of a Thin Man. Lit from below, shadows cast
on the wall, slow, evil, dark, fantastic. He is currently at the top of this
game... vocals are more distinct, and musicianship of the entire band was
excellent. No christmas songs though..
Review by Todd W. Berner
Like many of my long-time Bob-friends, I had taken a break from live Dylan shows
for the past couple years. The performances had grown stale for me, and with
money being tight, it made sense to lay off and wait for something better to
happen. At the same time, Bob’s getting older, and my 7-year old daughter was
reaching the point of maturity that I had to consider getting her to see Dylan
before it was too late. I want my kid to have bragging rights someday.
I pondered taking her to the ballpark tour last summer, the whole “kids come for
free” a big part of that idea. But the long drive to Ohio and even longer days
in the hot sun would have been difficult for her, so I decided to let it go and,
again, wait for something better. And when a Detroit show was in the works,
again, those thoughts returned. A look at ticket prices scared me off, thinking,
“It’s just not worth it right now.” But then, one of those afore-mentioned
Bob-friends told me, “You know Charlie’s back, right?” and that was enough for
me. Moments later, two tickets were sitting on my printer.
Maggie, my daughter, was raised with the music. I’m sure a lot of you can say
the same about your kids. (Aren’t we great parents?) So she was rather excited
for the show, and had told all her friends at school about it, much to their
obliviousness. I was pleased to finally have the chance to introduce my daughter
to the thrill of a live concert event, and even better that her first would be
with Dylan leading the way. (Much better than my first concert, Whitesnake, back
in their heyday in 1987.)
After a brilliant Polish meal in Hamtramack, we finished the drive to the Fox,
found our seats, and waited for the introduction. Maggie engaged in conversation
with the people around us, those who asked questions like, “Is this your first
concert? Do you like Bob Dylan.” It was great watching her interact like this.
We are a family, we Dylan freaks.
The lights dropped at 7:35 and Maggie and I were on our feet in seconds. Pillbox
Hat starts the place jumping immediately, and I picked Maggie up in my arms so
she could see Bob behind the keyboard. She was smiling big.
Rather than give a blow-by-blow of each tune, I am content to say that all
around, this was the best performance from Bob that I’ve seen since Charlie left
the band. Regardless of how cool those State Theater shows were a few years ago,
the energy and enthusiasm from Bob and the band were back to high levels last
night. Highway 61 was killer (I could watch George hammer those drums on that
tune all night), and even Tweedle, which has been known to send me quivering
nauseously to the floor in years past, had a really nice vibe to it for a
change. Bob’s vocals on Desolation Row were nicely punctuated, as were certain
lyrics in Thin Man, with Bob doing these great finger-pointing movements to
engage the crowd (and himself) in the work. The tune, by the way, is exceedingly
powerful again, not quite as big as 1966 (as others have agreed), but definitely
the best I’ve ever heard it in my experiences.
But truly, the highlight was watching my kid get into the show. She stood next
to me all night, dancing, having a great time. Her dancing was really something,
because it wasn’t that kind of dancing you see kids do, but rather an almost
practiced dance, the kind of dance you see the hippie chicks do when they’re
really grooving on something. She had her arms limp at her sides, swaying,
bobbing her head, occasionally raising an arm into the air to touch a note or
acknowledge the rhythm. It was my proudest moment as a father thus far (in a
long line of proud moments), to see my kid digging the scene and the music.
I picked her up again as the band entered the formation after Watchtower, so she
could see the band one last time. She waved, and yelled, “Thank you Bob!” I
smiled again. While she was asleep before we got as far north as Auburn Hills, I
knew she had an amazing time. And this morning, when I woke her up, the first
thing she said to me was, “Thank you for taking me to the Bob Dylan concert,
You’re welcome, my dear. You are very welcome.
Todd W. Berner
Review by Don Ely
This train, bound for glory, rolled into Detroit the night of November 6, and it
was my time to get off. I'd been along for stops in Bloomington, Columbus, and
Canton, and now would disembark in my hometown. The Fox Theater on Woodward
Avenue is without doubt the most beautiful movie palace I have ever been in, and
to see a show here is always an event, as witnessed by the number of people who
show up in evening wear. Not me, though, my speed is a Blind Lemon Jefferson
t-shirt and matching flannel. That's coordination enough. Bob Dylan last played
here November 18, 1990, a concert that featured the world premiere of " Buckets
Of Rain ". I wasn't at that show and I can't remember why, but I didn't attend
any Dylan shows after 1988 until 1993. Perhaps I believed the premature reports
of Bob's artistic demise. Tonight in 2009 Bob Dylan and His Band returned to
perform a set full of grace and intimacy befitting the opulent house in which it
The only points taken off were lost while getting in. Neither the college
auditorium, the medium-sized arena, not even the nightclub, all the venues which
presented the previous three dates on this tour, had tighter security than here
in the Motor City. And wouldn't you know it, our line was the worst. Folks moved
ahead non-stop to our left, but our line was stagnant. Must've been some
dangerous Dylan fans up there! No matter, however, I was able to purchase a
bottled water and be seated before the fanfare. I was in the fifth row far to
stage right ( not in the orchestra pit ), with best views of Stu, Charlie, and
Tony. The sound mix would prove to be best of the four nights, with emphasis on
the guitars and on Denny. A nice respite from the other gigs where drums and
Bob's organ were most prominent. " Leopard-skin Pill-box Hat " was the
change-of-pace opener; it was so nice not to have to endure " Cat's In The Well
" on this tour. In at no. 2 was " The Man In Me ", easily the most enjoyable
I've yet heard. " It's All Over Now, Baby Blue " was perfect note for note. "
Summer Days " was a real highlight, and that's saying a lot for a song that was
on automatic for years. The band was as good as any jazz band, rockin' and
swingin' like there's no tomorrow. Charlie Sexton became Charlie Christian as
the calendar pages flew backward. At Canandaigua 8/19/08 " Summer Days " was
played in the third slot instead of at set's end or the encore, and I remember
how absolutely refreshing it was to hear it at that point in the evening, like
some of the early Love And Theft shows. " Cold Irons Bound " has been a constant
this week and I've enjoyed each one, rearranged of course by the man in white.
He stands up there like some eccentric holy man espousing cryptic warnings that
you damn well had better heed. He wouldn't be out of place among the displaced
souls in Paul Thomas Anderson's " There Will Be Blood ".
I think that for me tonight's brightest shards of brilliance arrived during
moments of quiescence. " Sugar Baby " was conveyed stunningly to pin-drop
silence. E-v-e-r-y w-o-r-d carried meaning enhanced by Bob's hushed delivery
front and center and the band knowing how to stay out of the way. " Po' Boy ",
the only one I've seen other than during this summer's ballpark extravaganza, no
longer sounds like a blast from the Roosevelt past, but works it's way into your
heart like a cherry cola from your best girl ( not named Lola ). And there is no
more poignant place to pull out an ace from the deck in " Workingman's Blues #2
" than right here in the down and dirty Motor City. We may be in need of both of
our blackened eyes to be cut open and bled, but damn it all to Hell, we're
Survivors! Another round please, barmaid...... " Ballad Of A Thin Man ", all
shadows and light, sends a chill down your spine and sends you to a different
space and time, where curiously a band plays in some faraway David Lynch
cabaret, as the harp blows on and on.....
Another year gone as the locomotive juggernaut continues speeding down the
Never-ending tracks, it's engineer more in control than ever before. One day
they'll get to Valhalla, but for now just hop on and enjoy the ride. For this
passenger this marks 69 shows in 21 states since 1981, and I hope to see a few
dozen more before this train is consigned to the museum. I'd like to take a
moment and honor the memory of Joe Harring, a Bobcat from Reading, Pennsylvania
who passed away late last year. I never met Joe personally, but we corresponded
and traded a few tapes. He was a huge Philadelphia Phillies fan who was so proud
of his team winning a world championship in 2008, and in retrospect I'm so happy
he lived to see it. Joe would've been proud of his Fightin' Phils this season as
well, even though they were ultimately overmatched by that NY team, um, what's
their name again? Before I get outta here, I want to thank Bill once more for
providing this tremendous site, and extend best wishes and joyful experiences to
Bobcats everywhere....you heard it here first, but I predict you lucky NYC fans
will get a number or two from " Christmas In The Heart "! Maybe a little "
Christmas Blues " or " Musta Been Santa "...
Review by Christopher Oxie
I had the pleasure of spending another evening with the illustrious Dr. Robert
Schuler, local Dylan expert and friend. Just back from his humanitarian of the
year award in Geneva, Dr. Schuler took our group on a private tour of the Fox
Theater prior to the show beginning. Dr. Schuler shared his memories of the
building and even got us a glimpse on the stage with Dylan's equipment in place.
Dr. Schuler's man servant William wasn't with us but we had an enjoyable
evening just the same. We took our seats around 7:30pm. Surprisingly, there
was no opening act and Dylan came on around 7:40pm. He was dressed in a grey
coat, white hat, black pants with a silver stripe on the side and what looked
like a diamond stud earring.
1. Leopard-Skin Pill-Box Hat - This was a great opener and we knew Bob was in a
good mood. He was very energetic and his voice was clear. 2. The Man In Me - A
surprise for the Detroit crowd, but not many really knew what it was for most of
the song. Dylan was articulate and clear from his spot at center stage, waving
his arms around and gesturing to those in the balcony. 3. Beyond Here Lies
Nothin' - Another tough one for the crowd to sit through but it was played very
well. The mix of old and young at the show was still streaming in, surely
expecting an opening act. Crowd did not really react to this when it was over
as I don't think many were paying that much attention. 4. It's All Over Now,
Baby Blue - Not much to say about this one anymore. Same old thing as every
other show. 5. Summer Days - Unusual placement for this song but it was a real
rocker. Dylan began to get the froggies during this and would not recover for
the rest of the night. First of a four song pull from Love and Theft. 6.
Desolation Row - Completely unrecognizable until Dylan was about a third of the
way through. The crowd did not react until the words "Desolation Row" were
said, then, they were all good. 7. Cold Irons Bound - Another song that has been
completely reworked. Difficult to understand Dylan but his voice was clear and
above the music. Gone is the echo effect that gave this song its haunting
effect. Donnie Heron was playing something in the back row but is so far down
in the mix, its impossible to hear exactly what he's doing. 8. Sugar Baby - This
was performed pretty well, but difficult to understand the words. Crowd gave it
a warm response, as if it were a new song....from 8 years ago. 9. Tweedle Dee &
Tweedle Dum - Terrible. I am so sick of this song live that when I heard it, I
wanted to walk out. 10. Po' Boy - Another interesting choice for Detroit. It
has been more than 4 years since Dylan played in Detroit. This was a good song
but the crowd needed to get away from the travelling carney show Dylan seems to
be striving for these days and get back to rocking. 11. Highway 61 Revisited -
This got the crowd on their feet but it lacked the power and force of past
performances. This song is getting almost as tiresome as TDTD but, knowing it
is a crowd favorite, there is little chance it will be dropped 12. Workingman's
Blues #2 - Insert your favorite cliché here. Workingman blues, in Detroit, in
Michigan, in the Midwest, it is a wonder Dylan didn't break out "Tearing Detroit
Down" to get it across. Would have rather had "Someday Baby" or "Not Dark Yet"
but .... 13. Thunder On The Mountain - Possibly the worst Dylan song in the last
15 years. How this makes the set list each night is beyond me. 14. Ballad Of A
Thin Man - The absolute highlight of the entire show. I had seen that he had
been closing shows with this and was hoping to hear it. A masterpiece. Lit
only by the footlights on the stage, Dylan looked like he was in a tent,
somewhere no one knows about, and was playing to a bunch of hobo's who just
jumped the train. Vocals were better and the band really let loose. 15. Like A
Rolling Stone - Boring. Again, it lacked the sheer power and volume of past
tours. Nice band introductions. 16. Jolene - This is a much better song than
Thunder on the Mountain and the crowd was enthusiastic to hear it. Played well,
even if Charlie was a big distraction as he kept kneeling throughout the song.
17. All Along The Watchtower - The same as you've heard it. Dylan and band took
center stage and Dylan smiled and waved to the crowd. His hair seemed to be a
bit longer than recent shows and we had hoped for a second encore but the lights
slowly came back on and everyone left. One of the big complaints was the
refusal of the people in the front to sit down. The ushers were absolutely
fanatical about people taking pictures, even with their cell phones. I saw one
usher insist that a guy delete the picture from his phone and waited until he
did. Overall, a great show from Dylan. One of the best he has given in years in
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