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Habe ein sehr schönes Review auf der Homepage gefunden:
BOB DYLAN IN LOS ANGELES
A review of the opening night of Bob Dylan’s five-night engagement at the Pantages Theatre in Los Angeles. Originally published in LAVoice.org
I went to see the gypsy on Monday night: Bob Dylan live at The Pantages Theatre. It was the Opening Night of a five-night stand in Los Angeles this week. The very real Merle Haggard and a young cat named Amos Lee are opening for him on this leg of his Never-Ending Tour. At first glance, it seems strange to see Merle and Bob touring together: one the writer of the notorious anti-hippie tune, „The Okie From Muskogee,“ and the other the reigning Embodiment Of The Liberal 60s. Let’s just keep in mind Merle was opening for Bob, not the other way around and anyway, Haggard made fun of that old song the other night.
I missed the first half of Amos Lee’s set (my good friend Jack Daniels was paging me from the cocktail lounge). His band was a crisp, three-man unit that sounded like something Daniel Lanois could do justice to. Lee played guitar like Dave Matthews, but sang like Stevie Wonder. Overall, a mellow but energetic introduction to a hot evening.
Merle Haggard strode out to respectful applause which continued throughout his set. I didn’t expect a lot from him, but he quickly laid to rest any doubt as to his considerable talents. His voice is in as fine a form as one would want from a country singer, and that’s saying a lot. He also took most of the guitar solos himself. The monologues were funny and self-deprecating, and he stopped songs midway often to joke and tease his bandmates („the oldest bar band in the world“). They were cut off after playing a snippet of a song about the benefits of marijuana; Haggard explained that he didn’t have the motivation to finish writing it. The musicians were dressed like Nashville pros and sounded even better. In fact, the sound quality in The Pantages was quite nice even from my perspective (WAY back) and that played to the advantages of all three performances. The only aspect of the sound that was a bit muddy were the vocals, and once Bob came on, that didn’t seem to matter as much.
Bob Dylan And His Band blazed to life with a raging version of „Drifter’s Escape,“ an arrangement that sounded not unlike Cream’s „Crossroads,“ yet much more aggressive. That blast gave way to the lush chords of „The Times They Are A-Changin‘.“ Something ought to be said at this point about Bob’s audience. These days, Dylan’s audience consists of primarily two kinds of people: those who accept Bob for whatever he’s doing at THIS MOMENT (since he has proven again and again that he’s no one’s servant) and those who are there to see a greatest hits show. Bob doesn’t play „greatest hits.“ Now and then a song like „Times“ will crop up in the setlist that these people recognize, but it is played in a way that Bob Dylan chooses. Tonight, his relatively new lineup of musicians played it as a ballad, Bob’s organ leading the way. Anyway, the song was received warmly on all fronts, as was the entire show.
No single Dylan album was represented that night as well as his most recent, 2001’s „Love And Theft.“ This is appropriate since the modern sound of Dylan and his band live is most closely borne out on that record. Besides the mid-60s peak, I dare say Dylan is as good now as he has ever been. I don’t say that lightly, but the power of the man and his band is something ferocious and palpable. Dylan has been on a search for a musical sound for about a decade now, and he is closer to that now than ever. That sound is a rollicking, rambling form of American music that, at all times, embraces and conjures blues, jazz, country, folk, and of course, rock. Imagine all the American musical artists of the 20th century aiming towards a unified sound: this is it. Dylan has reverse-engineered American music since the advent of recording devices, and come out with something so powerful and so elemental, the band plays music you’ve heard before, in a way that you can never quite believe. There is evidence of this sound on Dylan’s Grammy-winning 1997 album „Time Out Of Mind“ on songs like „Dirt Road Blues,“ but the producer of that album, Daniel Lanois, couldn’t wrap his head around what Bob was going for, so it doesn’t come out quite right. It wasn’t until „Love And Theft,“ which Bob produced himself (under the alias Jack Frost), that the sound saw The Light. It’s even stronger now.
These days, Dylan stands behind his little church organ, stage left, stabbing at the microphone with his still-unconventional vocal style. Behind him stands his lead guitarist Stu Kimball, whose playing often seems to please Bob. Center stage stands his new violinist, Elana Fremerman, who at first listen reminds one of Dylan’s 70s violinist Scarlet Rivera, but she soon sheds that comparison in favor of a broader style, one that encompasses flowing grace as well as sharp attacks of her bow. Multi-instrumentalist Donnie Herron stands far stage right, playing a new instrument on every song, adding just the right touches to fill out the sound. Rhythm guitarist Denny Freeman stands next to Herron, adding some high-end Telecaster to the sound, and now and then taking a dirty rockabilly solo. But they would all be scenery if it weren’t for the core members who hold the rhythm down: Tony Garnier on bass and George Recile on drums. Garnier, in his porkpie hat, has been playing with Dylan for longer than any other single musician in the forty-four years since Bob came on the scene, with him since the early 90s. The powerhouse behind the drums, Recile, locks in with Garnier’s playing so well that it allows the band’s Dixieland style to issue forth, as they hold it together. The beats these two put out are ridiculous; „solid“ doesn’t do them justice. There is an exact force behind everything they play. Anyone else can play anything, and know that underneath is an unassailable foundation.
The „greatest hits“ fans are the types that listen to Bob’s records despite his voice, while the other half of the audience are the types that listen to the records BECAUSE of his voice. I hate to use the word „idiosyncratic“ but Dylan is still doing things vocally that we mortals don’t yet have the vocabulary to deal with. The trouble is that too many of us go into music with specific notions of what a singer’s voice should convey. Sure, an opera singer has a tremendous tone and timbre, but if there’s no emotion behind it, the whole thing is pointless. Bob Dylan, who usually has one of the most grating voices ever committed to tape, is also one of the most talented singers I’ve ever heard. The emotion goes straight down, if one allows it to. The trick is getting past the pre-conceptions. Last night, as always, that was difficult. I heard open snickers from the crowd at some of the barking, wailing and syncopated stuttering Bob emitted. But Dylan is an artist that we can trust, and as such, we can always assume he is expressing exactly what he is feeling about his words on any given night. It was a stuffy, anxious theatre on a mild Los Angeles night. Somewhere in his vocal delivery, that was expressed. Rather than compare his vocal melodies to those we’re familiar with from the records (which are still only single studio performances recorded and replayed for years and years), it seems to be most rewarding to listen to the new melodies he is constantly inventing not as a crutch against a weakened old voice, but as a way to challenge and explore a new voice. I would compare Bob’s vocal delivery to John Coltrane’s mid-60s work: this is art that we may not understand for many, many years. That is the feeling I get listening to an artist I trust playing music I don’t immediately understand. In the meantime, it’s probably best to just let the music happen. After all, we’ve always got Garnier and Recile.
A few other highlights of the evening: the banjo menace and Baptist anger of „High Water (For Charley Patton),“ the shimmering, gorgeous new full-band arrangement of „Girl From The North Country“ that conjured memories of Minnesota that no one knew they had and made us all forget the classic studio version, the high drama of a towering „Highway 61 Revisited“ in which Bob danced and two-stepped in his boots at his organ, and the skittery Lost Generation jazz-ballad version of the beautiful „Moonlight“ with blue stars rising behind the band, which sounded strange not coming out of a tinny radio or an old Victrola.
The current incarnation of The Bob Dylan Show should not be missed. This is Good Music; not complicated, but not simple, just hard-working American musicians taking their show to the people. If you go, forget all you’ve ever known about Bob; HE’LL tell you what to remember.
Posted by: DillonWallin on Wednesday, March 23, 2005
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Werbungdahrjakomisch, dass diese platte offenbar bei vielen so schlecht ankommt – mir gefiel sie eigentlich ganz gut. neben saved finde ich die alben nach oh mercy ziemlich entbehrlich – irgendwie war da kein drive mehr drinnen…
Ich mag Dylan & The Dead sehr. Wäre Bob nicht so schrecklich veröffentlichungsfaul, hätte ich ja noch Hoffnung auf eine Wiederveröffentlichung als Doppel CD.
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unter
http://my.execpc.com/~billp61/dates.htmlgibt es vielfältige informationen zu dylans tourneen.
setlists, reviews, konzerttermine.--
...falling faintly through the universe...„neben saved finde ich die alben nach oh mercy ziemlich entbehrlich – irgendwie war da kein drive mehr drinnen…“
So’n Quatsch! Wenigstens Time Out Of Mind und Love And Theft sind tolle Alben, die auch den Nicht-Dylaniacs gefallen dürften…
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Gefundene Rechtschreibfehler dürfen behalten werden! Ich habe keine Verwendung dafür. Und übrigens: "Optimismus ist nur ein Mangel an Information"DukeIch mag Dylan & The Dead sehr. Wäre Bob nicht so schrecklich veröffentlichungsfaul, hätte ich ja noch Hoffnung auf eine Wiederveröffentlichung als Doppel CD.
Guckst Du hier: http://www.bobsboots.com/CDs/cd-u06.html
Kennste die? Könnte ich Dir brennen.
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Gefundene Rechtschreibfehler dürfen behalten werden! Ich habe keine Verwendung dafür. Und übrigens: "Optimismus ist nur ein Mangel an Information"
AnonymRegistriert seit: 01.01.1970
Beiträge: 0
Habe heute ein paar CDs mit im Büro. Der hier teilweise bekannte furydepp beim Erblicken von Highway 61 Revisited : Oh, Bob Dylan, der ist doch bekannt, ich sage nur Morning has broken! :( :lol: :(
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HerbertHabe heute ein paar CDs mit im Büro. Der hier teilweise bekannte furydepp beim Erblicken von Highway 61 Revisited : Oh, Bob Dylan, der ist doch bekannt, ich sage nur Morning has broken! :( :lol: :(
Soweit ich mich erinnere gibt es den Fury doch schon seit Jahren in Deinem persönlichem Umfeld! Also Heb-Rob, MEINER Kollegin würde SOWAS nach Jahren der Zusammenarbeit nicht mehr passieren….:mad: Man muß sich schon auch etwas Mühe geben um die Welt zu verbessern! Try harder!
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Yet there's no one to beat you, no one t' defeat you, 'Cept the thoughts of yourself feeling bad.MrsGarthiMEINER Kollegin würde SOWAS nach Jahren der Zusammenarbeit nicht mehr passieren….
Die hat inzwischen wahrscheinlich Angst und verkneift sich vorschnelle Äußerungen…hehehe…
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Gefundene Rechtschreibfehler dürfen behalten werden! Ich habe keine Verwendung dafür. Und übrigens: "Optimismus ist nur ein Mangel an Information"Der Fury scheint ein echter Kenner zu sein:
allmusic
And while there had always been a charming, childlike quality to some of his lyrics, there were songs here that worked as nursery rhymes, and these were among the album’s most memorable tracks and its biggest hits: „Moonshadow“ and „Morning Has Broken,“ the latter adapted from Bob Dylan. Dylan himself played „Morning Has Broken“ several times during the „Self Portrait“ sessions.--
Wann kommt Horst Lichter mit dem Händlerkärtchen und knallt mich ab?@ Wilbur nur die Fakten zählen. Und Fakt ist, sie würde sowas nie (mehr) sagen. ;-))
Allerdings hat Sparch ja nun die Ehre von Herbert gerettet. Wohl bot er dem Fury doch eine gute Ausbildung.--
Yet there's no one to beat you, no one t' defeat you, 'Cept the thoughts of yourself feeling bad.@wilbur: „Guckst Du hier: http://www.bobsboots.com/CDs/cd-u06.html
Kennste die? Könnte ich Dir brennen.“
ich hätte interesse an der scheibe!
könnte im gegenzug anbieten: bob dylan: horsens teater, 21.05.00;
bob dylan: the real voice of america (sind gerade frisch rein)!!Hey, hört auf.
Ich muss mir jeden Tag anhören, dass ich keinen Geschmack und keine Ahnung von Musik habe.Man kann ja mal daneben liegen, weiss selber, dass Morning has Broken von Elton John ist
Fury
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es gibt nur eine Nr. 1 : FuryDas deutsche Original „Morgens erst brechen“ von Bernd Clüver ist aber auch…
Bitte? Okay, ich höre schon auf.
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Wenn wir schon alles falsch machen, dann wenigstens richtig.Wilbur©Guckst Du hier: http://www.bobsboots.com/CDs/cd-u06.html
Kennste die? Könnte ich Dir brennen.
Recht gerne, Wilbur. Vielen Dank ! Welche Formalitäten wären hierbei zu beachten ?
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DukeRecht gerne, Wilbur. Vielen Dank ! Welche Formalitäten wären hierbei zu beachten ?
Keine eigentlich. Nur Deine Adresse solltest Du mir natürlich zukommen lassen…
Wenn Du unbedingt was im Austausch schicken möchtest und entweder Dylan-Cover-Scheiben oder Dylan-Boots hast, dann schick mir ’ne Liste…;-)--
Gefundene Rechtschreibfehler dürfen behalten werden! Ich habe keine Verwendung dafür. Und übrigens: "Optimismus ist nur ein Mangel an Information"
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