Sunday, November 26, 2006
Saturday, November 25, 2006
Friday, November 24, 2006
Thursday, November 23, 2006
Wednesday, November 22, 2006
Sunday, November 19, 2006
Saturday, November 18, 2006
Wednesday, November 15, 2006
BY GLENN GAMBOA
Newsday Staff Writer
November 16, 2006
Part of the thrill of a Bob Dylan concert is never knowing what to expect.
His moods, his musical approaches and his set lists all vary so wildly that trying to predict one of his shows is like trying to pick election winners two years in advance. Dylan's live shows are known for their volatility, so how does he shake that up? He delivers a show so amiable, so avuncular that you keep waiting for a sharpened twist that never comes.
His 110-minute show at Nassau Coliseum Monday night was stylish and pretty, occasionally rocking in an elegant, gentlemanly way befitting a band dressed in suits and hats. It was also like waiting for the sky to fall. And what could be a more accurate metaphor for our "Modern Times" than that?
Dylan and his impressive five-piece band opened with a "Maggie's Farm" that was polished and devoid of protest. "I ain't gonna work on Maggie's Farm no more," was more of a dinner-table declaration than a slogan for marchers in the streets.
The encores "Like a Rolling Stone" and "All Along the Watchtower" confounded those who wanted to sing along because Dylan's delivery was so light and understated that the screaming audience would blow right past him. While the audience bellowed "How does it feel?" in ham-fisted 4/4 time, Dylan's voice fluttered around the lyrics and the expected timing, as if he was just fooling around, as if he was asking the audience, "How does that feel?"
Even the arrangements were musical head fakes, as the usual fiery guitar solos on "Watchtower" were replaced by Denny Freeman's scratch guitar which owed more to '60s soul than the raucous '60s rock Dylan helped build.
One of Dylan's major victories in recent years is his ability to escape audience expectations. "You think I'm over the hill, you think I'm past my prime," he sang in "Spirit on the Water," from his new album, "Modern Times" (Columbia). "Let me see what you got. We can have a whoppin' good time."
Dylan isn't interested in giving his audience what they want. He gives them what they need.
He doesn't want them to dwell in the past. He doesn't want to give them flashbacks to their wild, radical youth. His interest is in the present, and his unpredictable live show is designed to make them appreciate their current surroundings, even if it means easing back on "Tangled Up in Blue" or filling "It's Alright Ma (I'm Only Bleeding)" with some Chicago blues.
Dylan provided a healthy sampling of the excellent "Modern Times," though he did stick with the more listener-friendly songs ("Spirit on the Water") instead of the more controversial ones ("Workingman's Blues #2" and "The Levee's Gonna Break").
Maybe he will tackle those -- just as masterfully, no doubt -- when he's in a different mood.
BOB DYLAN. Putting up signs of "Modern Times." With the Raconteurs. Thursday night at Continental Airlines Arena in East Rutherford, N.J.; Next Monday at City Center in Manhattan. Seen Monday night at Nassau Coliseum.
Copyright 2006 Newsday Inc.
Tuesday, November 14, 2006
Here is the set list from the concert as posted on http://www.boblinks.org :
|Uniondale, New York|
Nassau County Coliseum
November 13, 2006
|2.||She Belongs To Me|
|3.||Honest With Me|
|4.||Spirit On The Water|
|5.||It's Alright, Ma (I'm Only Bleeding)|
|6.||When The Deal Goes Down|
|7.||High Water (For Charley Patton)|
|8.||Visions Of Johanna|
|9.||Rollin' And Tumblin'|
|10.||Ballad Of A Thin Man|
|11.||Tangled Up In Blue|
|13.||Highway 61 Revisited|
|14.||Thunder On The Mountain|
|15.||Like A Rolling Stone|
|16.||All Along The Watchtower|
Bob Dylan - keyboard, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - electric mandolin, violin, pedal steel, lap steel
Monday, November 13, 2006
Sunday, November 12, 2006
Saturday, November 11, 2006
We drove out to Hempstead again today and saw Hofstra lose to Northeastern 34-24. This will be our last football game of the season. Tonight I took the subway to Manhattan to meet Jon Binstock for dinner. I became acquainted with Jon about 10 years ago on the Prodigy radio boards. Neither of us is in the radio business; we just follow it as a hobby. We went for dinner at the Carnegie Deli on 7th Avenue and 55th Street. I had a wopper of a pastrami sandwich. We were talking about radio aand the woman sitting next to us said she had worked for Clear Channel radio some years back, but since then had gotten out of the radio business.
Saturday night oldies was only on from 6-6:30 tonight since WABC was carrying a hockey game. At that time I was in Manhattan with Jon. Someone has already downloaded it and posted it to a message board. I am listening to a recording of it.
Wednesday, November 8, 2006
I don't care what the critics think. I enjoyed this musical. I guess Broadway is a very tough nut to crack. The main criticism was that there was no story and an incongruity between the songs and the dancing. I bought tickets for a preview because I sensed that it could close early as many "jukebox musicals" have. I guess the Tee-Sirt that I bought from the show will be a collectors item
NEW YORK (Reuters) - A musical set to the songs of Bob Dylan will close less than a month after it opened on Broadway, the show's public relations firm said in a statement on Wednesday.
"The Times They Are A-Changin" -- which was critically panned -- will have its final performance on November 19, closing after 28 performances, a spokesman for Shaffer-Coyle Public Relations said.
The closure of the show, conceived and choreographed by Twyla Tharp who successfully transformed Billy Joel's songs into Tony-award winning musical "Movin' Out," follows failures like last year's flop "Lennon" about the late Beatle.
In his review, New York Times critic Ben Brantley called the Bob Dylan show "the latest heart-rending episode in Broadway's own reality soap opera, 'When bad shows happen to great songwriters.'"
The iconic Dylan approached Tharp three years ago but the critically acclaimed choreographer failed to woo critics, who said her fable about a struggling circus did not capture the magic of Dylan's songs.
New York columnist Michael Musto called the closing a "mercy killing."
"Dylan and Tharp didn't cohabit well in a circus setting, especially with a nearly incomprehensible storyline," he said. "But both are artists and will survive long after this becomes a camp footnote."
© Reuters 2006. All Rights Reserved.