50 years later and Dylan's still got it
Jason Shough, Senior Writer
Issue date: 11/9/09 Section: Entertainment
America's pre-eminent living poet of record has an unshakeable reverence for the Classic Rock show. After fifty-odd years of touring, Bob Dylan is still playing summer concerts at minor-league ballparks, writing and recording albums (he has released two this year) and packing concert halls three nights at a time.
The little things demonstrate his mastery of the art form. For instance, unlike almost every other musical act out there, Dylan starts his show precisely at the time written on the ticket.
At 7:30pm on Friday Oct. 30, many stragglers, who apparently weren't used to such punctuality, were still buying drinks on the ground floor of the Aragon Ballroom when they heard the first chords ring out. Surprised, most of them forwent the booze in favor of the blues and ran up the stairs to the already crowded stage area.
Dylan opened the show with an inspired version of "Leopard-Skin Pill-box Hat" and followed up with "The Man in Me," another peppy tune featured in the opening credits of the cult-classic film "The Big Lebowski." It was difficult at first to distinguish Dylan from the rest of "His Band" of darkly clothed and dimly lit musicians. Instead of standing front and center, he was tucked away on the right side behind a small keyboard wearing his patented black suit and Spanish-style fedora.
One of the best aspects of Friday's show was how Dylan constantly 'changed it up.' The balance between faster, slower, and straight-up blues songs was excellent. "Sugar Baby," a ballad from the album "Love and Theft," provided a break from the first energetic run. "Rollin' And Tumblin'" led off a second up-beat set and was eventually toned down by "Po' Boy," another quirky ballad of "Love and Theft."
Dylan has long since shirked any allegiance to the way his songs are sung on the records. In concert he sang most of the lyrics rapidly and in front of the beat, rather than allowing his well-known melodies to expand through the phrase.
Since "Time Out of Mind" was released in 1998, his vocal quality has been on a rapid decline while his lyrics are arguably as cunning and meaningful as ever. This illustrates the great paradox of a Bob Dylan show. While struck by the presence and the vast lyrical wisdom of America's foremost poetic populist, the audience finds it nearly impossible to make out a single word he's singing.
The show's brilliant dynamics were capped off at 9:15 by the melodramatic "Ballad of a Thin Man". Dylan and his band reappeared onstage for three more tunes: "Like a Rolling Stone," "Jolene," and "All Along the Watchtower."
While encores have become a highly staged and hokey convention of the rock concert, Dylan carried the gait of a genuine-born performer so well that it seemed like he could have played for another two hours. After all, he barely touched an instrument and he sang with such effortless ennui that he must have had the energy left.
But with dignity and unparalleled suave, Bob Dylan and His Band emerged from their stations, took a bow, and exited the stage to cap off their second night in Chicago's Uptown neighborhood. They had to save something for Saturday.
The little things demonstrate his mastery of the art form. For instance, unlike almost every other musical act out there, Dylan starts his show precisely at the time written on the ticket.
At 7:30pm on Friday Oct. 30, many stragglers, who apparently weren't used to such punctuality, were still buying drinks on the ground floor of the Aragon Ballroom when they heard the first chords ring out. Surprised, most of them forwent the booze in favor of the blues and ran up the stairs to the already crowded stage area.
Dylan opened the show with an inspired version of "Leopard-Skin Pill-box Hat" and followed up with "The Man in Me," another peppy tune featured in the opening credits of the cult-classic film "The Big Lebowski." It was difficult at first to distinguish Dylan from the rest of "His Band" of darkly clothed and dimly lit musicians. Instead of standing front and center, he was tucked away on the right side behind a small keyboard wearing his patented black suit and Spanish-style fedora.
One of the best aspects of Friday's show was how Dylan constantly 'changed it up.' The balance between faster, slower, and straight-up blues songs was excellent. "Sugar Baby," a ballad from the album "Love and Theft," provided a break from the first energetic run. "Rollin' And Tumblin'" led off a second up-beat set and was eventually toned down by "Po' Boy," another quirky ballad of "Love and Theft."
Dylan has long since shirked any allegiance to the way his songs are sung on the records. In concert he sang most of the lyrics rapidly and in front of the beat, rather than allowing his well-known melodies to expand through the phrase.
Since "Time Out of Mind" was released in 1998, his vocal quality has been on a rapid decline while his lyrics are arguably as cunning and meaningful as ever. This illustrates the great paradox of a Bob Dylan show. While struck by the presence and the vast lyrical wisdom of America's foremost poetic populist, the audience finds it nearly impossible to make out a single word he's singing.
The show's brilliant dynamics were capped off at 9:15 by the melodramatic "Ballad of a Thin Man". Dylan and his band reappeared onstage for three more tunes: "Like a Rolling Stone," "Jolene," and "All Along the Watchtower."
While encores have become a highly staged and hokey convention of the rock concert, Dylan carried the gait of a genuine-born performer so well that it seemed like he could have played for another two hours. After all, he barely touched an instrument and he sang with such effortless ennui that he must have had the energy left.
But with dignity and unparalleled suave, Bob Dylan and His Band emerged from their stations, took a bow, and exited the stage to cap off their second night in Chicago's Uptown neighborhood. They had to save something for Saturday.
Viewing Comments 1 - 1 of 1
brian Murphy
posted 11/11/09 @ 1:40 PM CST
not 50 + years. most often not on time. too many more incorrect remarks here to acknowledge. research
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