--- In smalltalkatthewall@yahoogroups.com, Little Sally Sanctus
<littlesallysanctus111@...> wrote:
>
>
> Happy Thanksgiving! Hope your day is filled with
> Little Sally Sanctus
>
>
>
>
> [Non-text portions of this message have been removed]
>

Happy Thanksgiving! Hope your day is filled with
Little Sally Sanctus




[Non-text portions of this message have been removed]

Neurology, I posted last night. It didn't show as far as I could tell.
sometimes' I Delete.  So, this is aonther show of the site of this Better and
Newer ,, New stars to America. Dec. concerts a new star  (stars)  bigger, than  
Ga Ga.. (ha haa,, GLORIA)...  No subject.. http://www.elliottmurphy.com/

But i do love pokerface  Julia, jd,, ever ever on to the edge.
(that one reminded me of you.)





--- In smalltalkatthewall@yahoogroups.com, Little Sally Sanctus
<littlesallysanctus111@...> wrote:
>
> here is an enormous�list of Dylan
>           cover songs with dates and artists list here.
>           http://www.baseport al.com/cgi-
>           bin/baseportal. pl?htx=/dylancov /main
>
> someone from another group sent me this and i got permission to share it
>
> Little Sally Sanctus
>
>
>
>
> [Non-text portions of this message have been removed]
>

here is an enormous list of Dylan
           cover songs with dates and artists list here.
           http://www.baseport al.com/cgi-
           bin/baseportal. pl?htx=/dylancov /main

someone from another group sent me this and i got permission to share it

Little Sally Sanctus




[Non-text portions of this message have been removed]

Heaven, earth, and man are the source of all creatures.  Heaven gives birth to
them, earth nourishes them, and human beings complete them.  Heaven endows
creatures at birth with a sense of kindship loyalties; earth nourishes them with
food and shelter; man completes them through ritual and music.  These three aid
each other like hands and feet, each is essential and together they make one
body....

Dong Zhongshu 179-104 BC

Happy Thanksgiving wallnuts!!.........when's the next hoot?


--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>
> a mixed bag of life, we take the good and the bad - we have no choice anyhow. 
traffic and pillars vs perfectly delivered lines and great conversations about
old music.
>
> the guy who bought united palace in 1069, the flamboyant rev. ike, (may he
RIP) was my landlord and his whole family lived downstairs from me for 10 years.
i once accidentally ran over his groceries when he put them behind my car in our
joint garage as i was backing out!  we both laughed at rolling melons and
onions.  just a few items got mashed. it was always fun to ride with him in the
elevator.  his son's cat used to climb down to my terrace to stalk largo (my
parrot) in the window.  he was one of a kind.  the landlord across the street
was don rickles.  ike was far more eccentric and crazy than the comedian by a
long shot.
>
> anyway, that was his church.  he worshiped with an emphasis on money, money,
money and more money.  in the underground garage i had my little escort parked
near his fleet of super duper rolls'.  he owned another apartment building a few
blocks away, also on the ocean, with more cars to pick from to use for the day
to drive to his way way uptown church.
>
> ornate, gilded and velveteen fit ike to a Tee.
>
> it also fits that you arrived in a lincoln town car with a celebrity!
>
> nice read, thanks for the review.
>
>
> --- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@> wrote:
> >
> > Bob Dylan at the Palace, November 19, 2009
> >
> >
> > I'm really glad I got to see the Philly show (which was added late in the
game) on this tour before seeing this.  I went to this show thanks to a rather
legendary Philly disc-jockey, who for decades has had one of the greatest radio
shows I've ever hear, every Sunday night, where he plays the greatest R&B, soul
Motown and doo-wop artists.  I mean someone who knows, understands, and has
experienced the entire history of rock and roll.  His show was so great that I
always wondered if he was into Bob, though Bob didn't fit the format of his show
was originally on Philly's number one Soul station.  I found out a few years ago
when one day to my great delight, I received an email from him, telling me how
much he liked my Bob reviews.  So I wrote him back immediately saying, hey, I've
listened to your show for years, telling him how way back, my friends and I had
a regular Sunday night ritual, where we'd get together, get stoned, play cards
and listen to your show.
> >
> > So for the ride up he decided the only way to go was to rent a limo, which
turned out to be a Lincoln Town Car, and I got to hear a lot of great stories
about James Brown, Curtis Mayfield, seeing Elvis in 1956 (Wow!) and various
shady practices of the music biz, in addition to discussing various Bob
theories.  It turned out our driver was well aware of whom he was driving and
the reality of the current American economic situation hit hard when he revealed
he'd previously been an IT exec for major corporation, but was laid off. 
Workingman's Blues indeed.
> >
> > Driving to New York City is always a major strategic operation, where you
start checking the traffic reports a good 40 miles before you're near the city
so you can decide which tunnel or bridge has the worst backup.  That doesn't
necessarily work out.  As we approached the George Washington Bridge, what had
been a 20 minute backup turned into a 40 minute backup.  Anyway we arrived about
10 minutes before show time and discovered that the seats were way better than I
thought about 12 rows back from the right side of the stage.  There was just
enough time to take a brief look at the ornate walls and ceiling which were to
say the least impressive.
> >
> > I was kind of excited to see Dion.  I've seen about four or five times
before, but the last time I saw him about ten years ago in Atlantic City, he was
totally great, going through his whole history from his doo-wop beginnings all
the way up, but leading a great band, and playing some very funky lead guitar as
well.  At the Palace, he was just okay, and a little too casual, playing a lot
of covers of old rock `n' roll like "Summertime Blues."  He would have been far
better if he played his hits, some more of his later originals, such as "King of
the New York Streets," and played some stuff from his blues album, because he
really can play that stuff.  He talked a little about going to Reverend Gary
Davis' house in that very neighborhood, to take guitar lessons.  But what he
played to demonstrate Gary Davis was in no way anything close to Gary Davis's
style by any means.
> >
> > During the half-hour intermission I made the mistake of going to the one
men's room in the theater with the palace guards coming in checking for illicit
smokers.  Returning was a major as the too-small upper lobby was one of the most
incredible cases of human gridlock I've ever encountered in my life,
claustrophobia to the extreme.  At about 8:35 the lights were done, the
announcement made, and everyone stood up for the Bob entrance.  He opened with a
fierce, charged "Change My Way of Thinking," with Charlie Sexton playing an
Epiphone thin hollow body.  It was in every way great.  Bob's collar had some
kind of sparkling stuff on it.  Bob then moved to the center mic for an equally
good, "The Man In Me," with Donnie on trumpet.  It was about then that I noticed
the six-foot, seven, two-feet wide human pillar a few rows in front of me.  I
could not see Charlie interacting with Bob, I could not see the drums.  I could
not see Sexton playing.  I had to choose between Bob's head on one side of the
pillar, and Charlie's head on the other.  I looked to my left.  The entire
center section was sitting down.  Farther left the very front section closest to
the stage was standing, everyone behind them sitting down.  It was the same on
my side, except for the few rows right behind me.
> >
> > Bob returned to the keyboard and Donnie stayed on trumpet for a
still-charged "Beyond Here Lies Nothing."  "Most Likely You Go Your Way," was
next and I spent most of the song trying to see.  Every time the human pillar or
the guy in front of him would shift, I would have to shift.
> >
> > Dylan then returned to center stage, playing guitar for the only time that
night, for "My Wife's Hometown," definitely one of the high points.  Sexton got
right up next to Bob and they were definitely getting down trading licks, and
Dylan was clearly having fun singing.  "Desolation Row" was next.  It wasn't
quite as insane as the Philly version, but there's something about the current
arrangement that definitely works and keeps building the song.  Dylan employed a
number of different vocal styles during the course of this song, growling one
minute, singing astounding clearly the next.  On the "They all play on the
pennywhistle line," he was singing so clearly it seemed the past 40 years had
suddenly vanished.  He seemed to be both concentrating and having fun at the
same time, pausing before certain lines, maybe remembering why he wrote them,
but also deciding how he was going to sing them.
> >
> > "When the Deal Goes Down," came next.  Everyone in the theater sat down
except the section in front of me, the section closest to Dylan.  If there was a
point when the show started to drag, this was it.  Dylan's organ dominating the
mix was just a little too circus waltzy.  Things weren't helped by various
interlopers deciding to take advantage of the wide aisle right in front me which
resulted in constant comedy between whoever decided to stand there and the
theater security force.
> >
> > "Cold Irons Bound" revived the energy considerably and followed by another
totally moving "Workingman's Blues #2," with Bob starting at the keyboard and
moving center-stage for a great harp solo.
> >
> > A not bad "Highway 61" was followed by a totally stark, verging on scary,
"Ain't Talking."  I kept my eyes focused on Bob's head, but suddenly this woman
appeared in front of me dancing.  I couldn't believe it.  Dylan's singing about
slaughtering people where they lie, gardens without gardeners, and she's dancing
as if the flowers of spring were suddenly rising.
> >
> > I escaped briefly during "Thunder on the Mountain," and returned to see
(well sort of) a truly remarkable "Ballad of a Thin Man."  Again Dylan was
totally focused on how and what he was singing, making each image come alive,
each line count.  The way he barked out, "You've been with the professors, they
all liked your looks," was particularly enjoyable.  After that, the rest of the
show really didn't matter, and outside it was pouring rain.
> >
>

a mixed bag of life, we take the good and the bad - we have no choice anyhow. 
traffic and pillars vs perfectly delivered lines and great conversations about
old music.

the guy who bought united palace in 1069, the flamboyant rev. ike, (may he RIP)
was my landlord and his whole family lived downstairs from me for 10 years.  i
once accidentally ran over his groceries when he put them behind my car in our
joint garage as i was backing out!  we both laughed at rolling melons and
onions.  just a few items got mashed. it was always fun to ride with him in the
elevator.  his son's cat used to climb down to my terrace to stalk largo (my
parrot) in the window.  he was one of a kind.  the landlord across the street
was don rickles.  ike was far more eccentric and crazy than the comedian by a
long shot.

anyway, that was his church.  he worshiped with an emphasis on money, money,
money and more money.  in the underground garage i had my little escort parked
near his fleet of super duper rolls'.  he owned another apartment building a few
blocks away, also on the ocean, with more cars to pick from to use for the day
to drive to his way way uptown church.

ornate, gilded and velveteen fit ike to a Tee.

it also fits that you arrived in a lincoln town car with a celebrity!

nice read, thanks for the review.


--- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@...> wrote:
>
> Bob Dylan at the Palace, November 19, 2009
>
>
> I'm really glad I got to see the Philly show (which was added late in the
game) on this tour before seeing this.  I went to this show thanks to a rather
legendary Philly disc-jockey, who for decades has had one of the greatest radio
shows I've ever hear, every Sunday night, where he plays the greatest R&B, soul
Motown and doo-wop artists.  I mean someone who knows, understands, and has
experienced the entire history of rock and roll.  His show was so great that I
always wondered if he was into Bob, though Bob didn't fit the format of his show
was originally on Philly's number one Soul station.  I found out a few years ago
when one day to my great delight, I received an email from him, telling me how
much he liked my Bob reviews.  So I wrote him back immediately saying, hey, I've
listened to your show for years, telling him how way back, my friends and I had
a regular Sunday night ritual, where we'd get together, get stoned, play cards
and listen to your show.
>
> So for the ride up he decided the only way to go was to rent a limo, which
turned out to be a Lincoln Town Car, and I got to hear a lot of great stories
about James Brown, Curtis Mayfield, seeing Elvis in 1956 (Wow!) and various
shady practices of the music biz, in addition to discussing various Bob
theories.  It turned out our driver was well aware of whom he was driving and
the reality of the current American economic situation hit hard when he revealed
he'd previously been an IT exec for major corporation, but was laid off. 
Workingman's Blues indeed.
>
> Driving to New York City is always a major strategic operation, where you
start checking the traffic reports a good 40 miles before you're near the city
so you can decide which tunnel or bridge has the worst backup.  That doesn't
necessarily work out.  As we approached the George Washington Bridge, what had
been a 20 minute backup turned into a 40 minute backup.  Anyway we arrived about
10 minutes before show time and discovered that the seats were way better than I
thought about 12 rows back from the right side of the stage.  There was just
enough time to take a brief look at the ornate walls and ceiling which were to
say the least impressive.
>
> I was kind of excited to see Dion.  I've seen about four or five times before,
but the last time I saw him about ten years ago in Atlantic City, he was totally
great, going through his whole history from his doo-wop beginnings all the way
up, but leading a great band, and playing some very funky lead guitar as well. 
At the Palace, he was just okay, and a little too casual, playing a lot of
covers of old rock `n' roll like "Summertime Blues."  He would have been far
better if he played his hits, some more of his later originals, such as "King of
the New York Streets," and played some stuff from his blues album, because he
really can play that stuff.  He talked a little about going to Reverend Gary
Davis' house in that very neighborhood, to take guitar lessons.  But what he
played to demonstrate Gary Davis was in no way anything close to Gary Davis's
style by any means.
>
> During the half-hour intermission I made the mistake of going to the one men's
room in the theater with the palace guards coming in checking for illicit
smokers.  Returning was a major as the too-small upper lobby was one of the most
incredible cases of human gridlock I've ever encountered in my life,
claustrophobia to the extreme.  At about 8:35 the lights were done, the
announcement made, and everyone stood up for the Bob entrance.  He opened with a
fierce, charged "Change My Way of Thinking," with Charlie Sexton playing an
Epiphone thin hollow body.  It was in every way great.  Bob's collar had some
kind of sparkling stuff on it.  Bob then moved to the center mic for an equally
good, "The Man In Me," with Donnie on trumpet.  It was about then that I noticed
the six-foot, seven, two-feet wide human pillar a few rows in front of me.  I
could not see Charlie interacting with Bob, I could not see the drums.  I could
not see Sexton playing.  I had to choose between Bob's head on one side of the
pillar, and Charlie's head on the other.  I looked to my left.  The entire
center section was sitting down.  Farther left the very front section closest to
the stage was standing, everyone behind them sitting down.  It was the same on
my side, except for the few rows right behind me.
>
> Bob returned to the keyboard and Donnie stayed on trumpet for a still-charged
"Beyond Here Lies Nothing."  "Most Likely You Go Your Way," was next and I spent
most of the song trying to see.  Every time the human pillar or the guy in front
of him would shift, I would have to shift.
>
> Dylan then returned to center stage, playing guitar for the only time that
night, for "My Wife's Hometown," definitely one of the high points.  Sexton got
right up next to Bob and they were definitely getting down trading licks, and
Dylan was clearly having fun singing.  "Desolation Row" was next.  It wasn't
quite as insane as the Philly version, but there's something about the current
arrangement that definitely works and keeps building the song.  Dylan employed a
number of different vocal styles during the course of this song, growling one
minute, singing astounding clearly the next.  On the "They all play on the
pennywhistle line," he was singing so clearly it seemed the past 40 years had
suddenly vanished.  He seemed to be both concentrating and having fun at the
same time, pausing before certain lines, maybe remembering why he wrote them,
but also deciding how he was going to sing them.
>
> "When the Deal Goes Down," came next.  Everyone in the theater sat down except
the section in front of me, the section closest to Dylan.  If there was a point
when the show started to drag, this was it.  Dylan's organ dominating the mix
was just a little too circus waltzy.  Things weren't helped by various
interlopers deciding to take advantage of the wide aisle right in front me which
resulted in constant comedy between whoever decided to stand there and the
theater security force.
>
> "Cold Irons Bound" revived the energy considerably and followed by another
totally moving "Workingman's Blues #2," with Bob starting at the keyboard and
moving center-stage for a great harp solo.
>
> A not bad "Highway 61" was followed by a totally stark, verging on scary,
"Ain't Talking."  I kept my eyes focused on Bob's head, but suddenly this woman
appeared in front of me dancing.  I couldn't believe it.  Dylan's singing about
slaughtering people where they lie, gardens without gardeners, and she's dancing
as if the flowers of spring were suddenly rising.
>
> I escaped briefly during "Thunder on the Mountain," and returned to see (well
sort of) a truly remarkable "Ballad of a Thin Man."  Again Dylan was totally
focused on how and what he was singing, making each image come alive, each line
count.  The way he barked out, "You've been with the professors, they all liked
your looks," was particularly enjoyable.  After that, the rest of the show
really didn't matter, and outside it was pouring rain.
>

Bob Dylan at the Palace, November 19, 2009


I'm really glad I got to see the Philly show (which was added late in the game)
on this tour before seeing this.  I went to this show thanks to a rather
legendary Philly disc-jockey, who for decades has had one of the greatest radio
shows I've ever hear, every Sunday night, where he plays the greatest R&B, soul
Motown and doo-wop artists.  I mean someone who knows, understands, and has
experienced the entire history of rock and roll.  His show was so great that I
always wondered if he was into Bob, though Bob didn't fit the format of his show
was originally on Philly's number one Soul station.  I found out a few years ago
when one day to my great delight, I received an email from him, telling me how
much he liked my Bob reviews.  So I wrote him back immediately saying, hey, I've
listened to your show for years, telling him how way back, my friends and I had
a regular Sunday night ritual, where we'd get together, get stoned, play cards
and listen to your show.

So for the ride up he decided the only way to go was to rent a limo, which
turned out to be a Lincoln Town Car, and I got to hear a lot of great stories
about James Brown, Curtis Mayfield, seeing Elvis in 1956 (Wow!) and various
shady practices of the music biz, in addition to discussing various Bob
theories.  It turned out our driver was well aware of whom he was driving and
the reality of the current American economic situation hit hard when he revealed
he'd previously been an IT exec for major corporation, but was laid off. 
Workingman's Blues indeed.

Driving to New York City is always a major strategic operation, where you start
checking the traffic reports a good 40 miles before you're near the city so you
can decide which tunnel or bridge has the worst backup.  That doesn't
necessarily work out.  As we approached the George Washington Bridge, what had
been a 20 minute backup turned into a 40 minute backup.  Anyway we arrived about
10 minutes before show time and discovered that the seats were way better than I
thought about 12 rows back from the right side of the stage.  There was just
enough time to take a brief look at the ornate walls and ceiling which were to
say the least impressive.

I was kind of excited to see Dion.  I've seen about four or five times before,
but the last time I saw him about ten years ago in Atlantic City, he was totally
great, going through his whole history from his doo-wop beginnings all the way
up, but leading a great band, and playing some very funky lead guitar as well. 
At the Palace, he was just okay, and a little too casual, playing a lot of
covers of old rock `n' roll like "Summertime Blues."  He would have been far
better if he played his hits, some more of his later originals, such as "King of
the New York Streets," and played some stuff from his blues album, because he
really can play that stuff.  He talked a little about going to Reverend Gary
Davis' house in that very neighborhood, to take guitar lessons.  But what he
played to demonstrate Gary Davis was in no way anything close to Gary Davis's
style by any means.

During the half-hour intermission I made the mistake of going to the one men's
room in the theater with the palace guards coming in checking for illicit
smokers.  Returning was a major as the too-small upper lobby was one of the most
incredible cases of human gridlock I've ever encountered in my life,
claustrophobia to the extreme.  At about 8:35 the lights were done, the
announcement made, and everyone stood up for the Bob entrance.  He opened with a
fierce, charged "Change My Way of Thinking," with Charlie Sexton playing an
Epiphone thin hollow body.  It was in every way great.  Bob's collar had some
kind of sparkling stuff on it.  Bob then moved to the center mic for an equally
good, "The Man In Me," with Donnie on trumpet.  It was about then that I noticed
the six-foot, seven, two-feet wide human pillar a few rows in front of me.  I
could not see Charlie interacting with Bob, I could not see the drums.  I could
not see Sexton playing.  I had to choose between Bob's head on one side of the
pillar, and Charlie's head on the other.  I looked to my left.  The entire
center section was sitting down.  Farther left the very front section closest to
the stage was standing, everyone behind them sitting down.  It was the same on
my side, except for the few rows right behind me.

Bob returned to the keyboard and Donnie stayed on trumpet for a still-charged
"Beyond Here Lies Nothing."  "Most Likely You Go Your Way," was next and I spent
most of the song trying to see.  Every time the human pillar or the guy in front
of him would shift, I would have to shift.

Dylan then returned to center stage, playing guitar for the only time that
night, for "My Wife's Hometown," definitely one of the high points.  Sexton got
right up next to Bob and they were definitely getting down trading licks, and
Dylan was clearly having fun singing.  "Desolation Row" was next.  It wasn't
quite as insane as the Philly version, but there's something about the current
arrangement that definitely works and keeps building the song.  Dylan employed a
number of different vocal styles during the course of this song, growling one
minute, singing astounding clearly the next.  On the "They all play on the
pennywhistle line," he was singing so clearly it seemed the past 40 years had
suddenly vanished.  He seemed to be both concentrating and having fun at the
same time, pausing before certain lines, maybe remembering why he wrote them,
but also deciding how he was going to sing them.

"When the Deal Goes Down," came next.  Everyone in the theater sat down except
the section in front of me, the section closest to Dylan.  If there was a point
when the show started to drag, this was it.  Dylan's organ dominating the mix
was just a little too circus waltzy.  Things weren't helped by various
interlopers deciding to take advantage of the wide aisle right in front me which
resulted in constant comedy between whoever decided to stand there and the
theater security force.

"Cold Irons Bound" revived the energy considerably and followed by another
totally moving "Workingman's Blues #2," with Bob starting at the keyboard and
moving center-stage for a great harp solo.

A not bad "Highway 61" was followed by a totally stark, verging on scary, "Ain't
Talking."  I kept my eyes focused on Bob's head, but suddenly this woman
appeared in front of me dancing.  I couldn't believe it.  Dylan's singing about
slaughtering people where they lie, gardens without gardeners, and she's dancing
as if the flowers of spring were suddenly rising.

I escaped briefly during "Thunder on the Mountain," and returned to see (well
sort of) a truly remarkable "Ballad of a Thin Man."  Again Dylan was totally
focused on how and what he was singing, making each image come alive, each line
count.  The way he barked out, "You've been with the professors, they all liked
your looks," was particularly enjoyable.  After that, the rest of the show
really didn't matter, and outside it was pouring rain.

Too crazy for me not to love!


--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>
> it's time to hide the fan t-shirts in the bottom drawer and say you never
heard of the guy if asked.  we need to go underground.
>
> certainly the old geezers flipped his newest wig.
>
> --- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@> wrote:
> >
> >
> >
> > --- In smalltalkatthewall@yahoogroups.com, "mac_cam99" <mcrevels@> wrote:
> > >
> > >
> > >
> > > --- In smalltalkatthewall@yahoogroups.com, Linda <milocurtis@> wrote:
> > > >
> > > > The videohttp://tinyurl.com/ygfhk34
> > > >
> > > > [Non-text portions of this message have been removed]
> > >
> > > Maybe just me, but couldn't get that link to work...so I found it here:
> > >
> > >
> > > >http://www.youtube.com/watch?v=JLZ8LPIh4Xc
> > >
> > > He's just a crazy fucker....
> > > mac
> >
> > I couldn't get the sound to work right, but the you tube one you can make
big and watch it a whole better, and yes he is!
> >
>

it's time to hide the fan t-shirts in the bottom drawer and say you never heard
of the guy if asked.  we need to go underground.

certainly the old geezers flipped his newest wig.

--- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@...> wrote:
>
>
>
> --- In smalltalkatthewall@yahoogroups.com, "mac_cam99" <mcrevels@> wrote:
> >
> >
> >
> > --- In smalltalkatthewall@yahoogroups.com, Linda <milocurtis@> wrote:
> > >
> > > The videohttp://tinyurl.com/ygfhk34
> > >
> > > [Non-text portions of this message have been removed]
> >
> > Maybe just me, but couldn't get that link to work...so I found it here:
> >
> >
> > >http://www.youtube.com/watch?v=JLZ8LPIh4Xc
> >
> > He's just a crazy fucker....
> > mac
>
> I couldn't get the sound to work right, but the you tube one you can make big
and watch it a whole better, and yes he is!
>

--- In smalltalkatthewall@yahoogroups.com, "mac_cam99" <mcrevels@...> wrote:
>
>
>
> --- In smalltalkatthewall@yahoogroups.com, Linda <milocurtis@> wrote:
> >
> > The videohttp://tinyurl.com/ygfhk34
> >
> > [Non-text portions of this message have been removed]
>
> Maybe just me, but couldn't get that link to work...so I found it here:
>
>
> >http://www.youtube.com/watch?v=JLZ8LPIh4Xc
>
> He's just a crazy fucker....
> mac

I couldn't get the sound to work right, but the you tube one you can make big
and watch it a whole better, and yes he is!

--- In smalltalkatthewall@yahoogroups.com, Linda <milocurtis@...> wrote:
>
> The videohttp://tinyurl.com/ygfhk34
>
> [Non-text portions of this message have been removed]

Maybe just me, but couldn't get that link to work...so I found it here:


>http://www.youtube.com/watch?v=JLZ8LPIh4Xc

He's just a crazy fucker....
mac

This group is sometimes Dylan some days not./

Happy,  Thanksgiving./


Mine
Is the forth go around mine is
Reemergence is dead not
Forgotten

A forth time around
The last time on the beach
The last time in the fields of flowers

A watery grave
Is something, I would appreciate
Unless it was upon a high desert

I strive there
I strive to image
I can, if I will

I am something
I am not snot
I will amount to something
I'm    no    for get me not

Mine
Is the forth go around mine is
Reemergence is dead not
Forgotten

  ./

must work and couldn't make it to any this tour. maybe next time. reviews and
youtube must suffice this time around.  i'm missing a good one by all accounts. 
when he's on he is ON.

i've been to quite a few of them and God willing there'll be many more in the
future.

btw - reminder about looking up for the leonid meteor showers tonight for
anybody who might be awake in the wee hours.

--- In smalltalkatthewall@yahoogroups.com, "Ronnie" <dylan_246@...> wrote:
>
> Kare rinn are you not going to on of these fantastic Bob, Shows?!
> ./
>
> --- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@> wrote:
> >
> > thanks.  i should know better than to trust stats of any kind at the NEP. 
pagel is only one click away and well worth it for information.
> >
> > also if you scroll over those shows on the NEP home page list of shows the
info comes up as 1am plus the phantom show is still there.
> >
> > three it is.
> >
> > looking forward to a review, one without the great big dope, um, hope.
> >
> > :-))
> >
> > --- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@> wrote:
> > >
> > >
> > >
> > > --- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@> wrote:
> > > >
> > >
> > > >
> > > > bob's in NY the next 4 nights, i'm out here in the woods.  ugh.
> > > >
> > > Three nights, not four.
> > >
> >
>

Rinns, thanks for posting this.  Yes, as it says..  They're about two,, that are
not 'pure cream' with this Dylan's _"interpretation"
of his work,vision,song.  As the article suggest,, maybe there shall be many
more books~ to come along. To accompany his masterpieces.

I picked up my copy, early through a, 'Diamond Distributors' catalog.
('fer the curious)
Not only, do I love it.

I am proud of it.
(I am a big Bob fan!)




--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>
> on ER there is a link to a review of the book, release date is today.
>
> http://www.app.com/article/20091115/ENT/911150301/1031
>
> bob's own drawn blank artwork might have inspired their style of
tribute/interpretive visual work of songs as well as his music.  some of them
remind me of his art style.
>
> it reminds me of a friend who conjures up all kinds of dylan images.  i need
to email her about this book incase she hasn't seen it yet.
>
> bob's in NY the next 4 nights, i'm out here in the woods.  ugh.
>
>
> --- In smalltalkatthewall@yahoogroups.com, "Ronnie" <dylan_246@> wrote:
> >
> > I picked up this book last weekend.  It's quite Loverly..
> >
> >  It is 13 GRAPHIC INTERPRETATIONS OF Bob Dylan's Songs.
> >
> > [don't know all for sure how new it all is..?]   The date says 2008.
> >
> > FIRST AMERICAN EDITION 2009.
> >
> >
> > Like I said, it is lovely.  Quite a keep sake for any BD fan.
> >
> > I recommend it!
> >
> > Someone's Christmas present..?
> >
> > hehehe  ./  hohoho
> >
> >
> > ron./
> >
>

Kare rinn are you not going to on of these fantastic Bob, Shows?!
./

--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>
> thanks.  i should know better than to trust stats of any kind at the NEP. 
pagel is only one click away and well worth it for information.
>
> also if you scroll over those shows on the NEP home page list of shows the
info comes up as 1am plus the phantom show is still there.
>
> three it is.
>
> looking forward to a review, one without the great big dope, um, hope.
>
> :-))
>
> --- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@> wrote:
> >
> >
> >
> > --- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@> wrote:
> > >
> >
> > >
> > > bob's in NY the next 4 nights, i'm out here in the woods.  ugh.
> > >
> > Three nights, not four.
> >
>

--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>
> thanks.  i should know better than to trust stats of any kind at the NEP. 
pagel is only one click away and well worth it for information.
>
> also if you scroll over those shows on the NEP home page list of shows the
info comes up as 1am plus the phantom show is still there.
>
> three it is.
>
> looking forward to a review, one without the great big dope, um, hope.
>

It sort of was Pagel who started the the fourth show thing actually, so that is
what the pool was based on.  Pagel removed the show a day or two ago.  Dion also
had a 4th show listed on his site according to some people.  There was never a
fourth show listed on Bobdylan.com.

The videohttp://tinyurl.com/ygfhk34

[Non-text portions of this message have been removed]

thanks.  i should know better than to trust stats of any kind at the NEP.  pagel
is only one click away and well worth it for information.

also if you scroll over those shows on the NEP home page list of shows the info
comes up as 1am plus the phantom show is still there.

three it is.

looking forward to a review, one without the great big dope, um, hope.

:-))

--- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@...> wrote:
>
>
>
> --- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@> wrote:
> >
>
> >
> > bob's in NY the next 4 nights, i'm out here in the woods.  ugh.
> >
> Three nights, not four.
>

--- In smalltalkatthewall@yahoogroups.com, "rinny52" <rinny52@...> wrote:
>

>
> bob's in NY the next 4 nights, i'm out here in the woods.  ugh.
>
Three nights, not four.

on ER there is a link to a review of the book, release date is today.

http://www.app.com/article/20091115/ENT/911150301/1031

bob's own drawn blank artwork might have inspired their style of
tribute/interpretive visual work of songs as well as his music.  some of them
remind me of his art style.

it reminds me of a friend who conjures up all kinds of dylan images.  i need to
email her about this book incase she hasn't seen it yet.

bob's in NY the next 4 nights, i'm out here in the woods.  ugh.


--- In smalltalkatthewall@yahoogroups.com, "Ronnie" <dylan_246@...> wrote:
>
> I picked up this book last weekend.  It's quite Loverly..
>
>  It is 13 GRAPHIC INTERPRETATIONS OF Bob Dylan's Songs.
>
> [don't know all for sure how new it all is..?]   The date says 2008.
>
> FIRST AMERICAN EDITION 2009.
>
>
> Like I said, it is lovely.  Quite a keep sake for any BD fan.
>
> I recommend it!
>
> Someone's Christmas present..?
>
> hehehe  ./  hohoho
>
>
> ron./
>

Thanksgiving is over..?

Pete, you can certainly cover a Bob show to a tee.  I can testify to that having
seen his show a few weeks ago. I mean testify.    Bobs     overwhelmingly, very
touching, deeply honest singing style.  This emotional presentations, such as
you mentioned, 'Working Mans Blues'

He puts his voice, body, and soul into those words; (he may have more money more
than most people see), but you know "He knows" those words are TRUTH, and he
cuts the song through like a knife with a sponge.
Honest men are simple men they don't put on any airs. That is what this
performance, is about.

Its an excellent tour. I hope as you suggest everyone who thought they might go?
Go out there and see him.

Thanks for telling the tale of Bob and his current tour.

One thing I didn't mention was that when Dylan and his band played 'Beyond Hee
Lies Nothin',
Donnie played a trumpet of some kind, (with that hand held cover thing), to
change the horns sound.

This band has it all.


--- In smalltalkatthewall@yahoogroups.com, "PSB51" <psb51@...> wrote:
>
> Bob Dylan
> Liacouras Center, Philadelphia, Pa
> November 9, 2009
>
> Ten years ago, on this exact date, Bob Dylan played this venue, really a
basketball gym at Temple University, though back then it was called the Temple
Apollo.  That was on one of the best legs ever of what his fans are always going
to refer to as the "Never Ending Tour," whether Bob Dylan likes or not, even
though he was the one who coined the term.  One of the reasons that fall tour
remains somewhat legendary, is there were surprises every night, often in cover
songs, but also that feeling of anything can happen, and because anything can
happen, that means catch as many shows as you possibly can – and on that tour I
did, mainly because Dylan played a bunch of shows in a two week period all
within two hours driving distance.  Among the surprises that night were what
remains the only live performance of Dylan singing "A Satisfied Mind," not in
the arrangement that appears on Saved, but in the original country arrangement,
a hit for Porter Wagoner.  Among the other surprises that night were Bob talking
about Bill Cosby, perhaps Temple's most famous graduate, and an extra, in other
words a real encore after the encore's.
>
> Tonight, the Liacouras Center was not as crowded as it was back then.  Let's
just say it would've been pretty easy to get a ticket, and in one sense that was
a shame, because it was probably in a lot of ways quite possibly the best
concert Bob Dylan's played in Philly since that night ten years ago and for
entirely different reasons.  But of course different is what Bob Dylan's all
about.  It's one of the primary reasons to go see him because it's not gonna be
the same as the last time you saw him, even if the last time you saw him was the
night before, and on those rare nights where this would happen occasionally,
even if you just saw him at the show before.  And so I left this show wishing I
was seeing a lot more shows, because from this show, it was quite evident that
that indefinable thing, that magic thing that can't be forced, that has to
happen by itself is happening on this tour.
>
> Now the buzz started early on this tour, in fact even before the tour was
announced, when the news leaked that Charlie Sexton was back in the band
replacing Denny Freeman on lead guitar.  Now, I was never among the Denny
Freeman bashers.  I thought Denny Freeman was on often brilliant guitarist,
whose style was more influenced by West Coast and Texas blues and also West
Coast and Texas Jazz and swing.  He was definitely creative, he never played the
same solo twice.  But in a lot of ways his playing was also cerebral, and while
at times he was outstanding, playing as tough and hard as anyone, he wasn't
necessarily always the right guitarist for Bob Dylan.
>
> Charlie Sexton on the other hand is the right guitarist for Bob Dylan.  He has
an inherent understanding not only of what Bob Dylan's music is about, but what
the songs are about.  It was obvious his first time around with Dylan that those
songs were ingrained deep inside and that hasn't changed, and perhaps now it's
even more so.  Like the two greatest guitarists ever to work with Dylan, Michael
Bloomfield and Robbie Robertson, he plays off not only what the lyrics are
saying, but how Dylan is singing them at that particular moment, punctuating
phrases with quick jabs like a boxer.  Like Mike Bloomfield, he can fast, often
dazzling runs, and like Robbie Robertson he knows when not to play, and when to
come in with energized bursts of sound that are more about emotion and intensity
than showing off, and crackle like a live wire on the ground and snap like a
bullwhip.
>
> Bob Dylan's first surprise tonight was opening the show with "Memphis Blues
Again."  If he's opened with this before, I don't remember it.  But from the
first note the all important energy was there and it totally works as an opener.
In fact I felt it worked better as an opener than anywhere else in the show. 
Actually, I've never been a big fan of this song done live, and I waited years
to hear it live.  The original studio version on Blonde On Blonde is so
incredible and also so funny, that it's been hard to match it live.  The humor
on the original just never translated to the stage.  Tonight however, it was
special, and while maybe the humor wasn't quite all the way there, it did have
that light moving feel of the original.
>
> Dylan then moved from keyboard to guitar and went right into the more upbeat
arrangement of "Man In the Long Black Coat," that he debuted in Europe early
this year.  Powerful stuff, and Dylan even took a really not bad guitar solo,
that had none of the search and destroy aspects of other guitar playing I've
heard from the tour this year.  In other words he nailed it.  Unfortunately
during the song the plot of the eternal bring down appeared in the form of a row
of latecomers who of course had to sit right in front of me and decided to
continue whatever conversation they apparently were already having.  Then all
too soon, Charlie Sexton signaled the end of the song.  Unlike a lot of passed
tours, one thing quite noticeable tonight was there are no more long, drawn out
endings.  All the endings are clear, defined, and fast, and all are signaled by
Sexton.
>
> The conversation continued right through a not bad "I'll Be Your Baby
Tonight," where Bob's solo was, well it wasn't anywhere near what he played on
"Man In The Long Black Coat."  At this point my friend Max, whose been going to
Bob concerts with me for 21 years said, "I want to kill these people."  So I
said, as politely and nicely as I could, "Could you guys please not talk during
the songs?"  One guy was cool with it but the other one turned around and said,
"Man, people come to concerts to talk."  At this point I had to restrain every
James Gandolfini walking out of a clothing store and seeing a photographer
instinct I had in me.  In the book, The Godfather, there's this story about when
Al Neri was a cop and how he didn't need a gun, 'cause he'd just use his
flashlight instead, and I had this incredible urge to bring my binoculars
crashing down on this guy's skull, but I then I remember I wasn't in a movie,
even if I'd been through this movie before.
>
> My hit man fantasies were quickly interrupted by Bob returning to the keyboard
and the band blasting into a fierce "Beyond Here Lies Nothing," followed by a
fairly upbeat "Spirit On The Water."  From that point on the energy level never
lagged, and was taken higher by "High Water (For Charlie Patton) with Donnie on
banjo, during which Bob left the keyboard and moved to center stage for a harp
solo.
>
> An almost 66-ish style harp solo started off what turned out to be a truly
gorgeous and moving version of "Tryin' To Get To Heaven."  It was quite possibly
the best version I've ever seen of this song.  Dylan was singing from way down
deep.  Of course in the middle of it, almost the entire row of talkers left to
get beer.  This was followed by an equally amazing "Cold Irons Bound" with Dylan
singing at center stage and playing harp, with searing guitar work from both
Sexton, who got down on his knees, a position he would return to often  and
Donnie Herron on steel.  This arrangement may not have the dramatic show
stopping effects of the previous arrangements, but it's no less, in fact
probably more powerful.
>
> Next came an also upbeat "Desolation Row," that was interesting for a couple
of reasons, the first was Dylan borrowed the organ riff from "If You Ever Go To
Houston," and then Dylan went into what some refer to as his sing-song voice. 
It's really not sing-song, it's almost as if you were reading poetry to little
kids or something.  In the case of "Desolation Row," it was basically hysterical
and took it to new heights of absurdity.  At the beginning of the song the chief
talker, who had returned from the beer run by himself, to my utter astonishment,
turned around and had the audacity to ask me if he could borrow my binoculars. 
After a moment of Obama-like contemplation, in the spirit of Obama diplomacy, I
handed them to him, and he handed them back after a verse or two.  However,
unlike Obama with the Republicans, it worked, and he pretty much shut up for the
rest of the night.  A lot of Dylan fans wonder why Donnie Herron watches Bob
like a hawk during the shows.  This version of "Desolation Row" had the perfect
example.  During the song, Dylan found some organ riff he liked, and Herron
immediately picked it up and echoed it on the mandolin and it took over as the
dominant riff for the rest of the song.
>
> Returning to the pedal steel, Herron then kicked off a rearranged "Po Boy"
with a country flavored riff.  Like every song at this show, this too was done
in upbeat fashion.  Not speedy to get it over with, but just with energy and
cool harp from Dylan.
>
> Next came the high point, the most moving part of an already quite moving
show, a stunningly beautiful, "Workingman's Blues," with Dylan starting at
keyboard then moving to center stage and playing harp.  In a city that just went
through a short but bitter transit strike, a city where jobs are few and far
between, a city where it was announced that very day that the city itself had
less money than thought, and hundreds if not thousands of city workers would be
laid off, in a city where a murder a day, if not more than that has become the
norm, this song resonated, and Dylan was powerful especially on the line, "I
find it hard to believe, someone would kick me when I'm down."  These solo turns
out front by the microphone are something special, just in the way Dylan stands,
his hand gestures, the way he moves.  It's been said many times during his
career, but what comes to mind is Charlie Chaplin, particularly at the end of
Modern Times.  Dylan didn't have a cane, he wasn't walking down the road, his
hat was tilted more like W.C. Fields in It's A Gift, the lone, sad, poet clown
singing about what was going on.
>
> After that, the rest of the show really didn't matter, but it was all good. 
Dylan again returned to center stage for "Ballad Of A Thin Man," "Like A Rolling
Stone" resonated reborn, and "All Along The Watchtower," which ends Bob Dylan
concerts for a reason, sounded a warning, with the band pulling off a very cool
stop during the repeat of the first verse on the line, "I can't get no relief."
>
> The thing about Bob Dylan is that every time you're maybe thinking he can't,
he shows, always in a new way, that he still can.  Like the best magicians, he
always has a few more tricks up his sleeve.  And that is why this tour, now in
its last two weeks is the tour to see.
>

Bob Dylan
Liacouras Center, Philadelphia, Pa
November 9, 2009

Ten years ago, on this exact date, Bob Dylan played this venue, really a
basketball gym at Temple University, though back then it was called the Temple
Apollo.  That was on one of the best legs ever of what his fans are always going
to refer to as the "Never Ending Tour," whether Bob Dylan likes or not, even
though he was the one who coined the term.  One of the reasons that fall tour
remains somewhat legendary, is there were surprises every night, often in cover
songs, but also that feeling of anything can happen, and because anything can
happen, that means catch as many shows as you possibly can – and on that tour I
did, mainly because Dylan played a bunch of shows in a two week period all
within two hours driving distance.  Among the surprises that night were what
remains the only live performance of Dylan singing "A Satisfied Mind," not in
the arrangement that appears on Saved, but in the original country arrangement,
a hit for Porter Wagoner.  Among the other surprises that night were Bob talking
about Bill Cosby, perhaps Temple's most famous graduate, and an extra, in other
words a real encore after the encore's.

Tonight, the Liacouras Center was not as crowded as it was back then.  Let's
just say it would've been pretty easy to get a ticket, and in one sense that was
a shame, because it was probably in a lot of ways quite possibly the best
concert Bob Dylan's played in Philly since that night ten years ago and for
entirely different reasons.  But of course different is what Bob Dylan's all
about.  It's one of the primary reasons to go see him because it's not gonna be
the same as the last time you saw him, even if the last time you saw him was the
night before, and on those rare nights where this would happen occasionally,
even if you just saw him at the show before.  And so I left this show wishing I
was seeing a lot more shows, because from this show, it was quite evident that
that indefinable thing, that magic thing that can't be forced, that has to
happen by itself is happening on this tour.

Now the buzz started early on this tour, in fact even before the tour was
announced, when the news leaked that Charlie Sexton was back in the band
replacing Denny Freeman on lead guitar.  Now, I was never among the Denny
Freeman bashers.  I thought Denny Freeman was on often brilliant guitarist,
whose style was more influenced by West Coast and Texas blues and also West
Coast and Texas Jazz and swing.  He was definitely creative, he never played the
same solo twice.  But in a lot of ways his playing was also cerebral, and while
at times he was outstanding, playing as tough and hard as anyone, he wasn't
necessarily always the right guitarist for Bob Dylan.

Charlie Sexton on the other hand is the right guitarist for Bob Dylan.  He has
an inherent understanding not only of what Bob Dylan's music is about, but what
the songs are about.  It was obvious his first time around with Dylan that those
songs were ingrained deep inside and that hasn't changed, and perhaps now it's
even more so.  Like the two greatest guitarists ever to work with Dylan, Michael
Bloomfield and Robbie Robertson, he plays off not only what the lyrics are
saying, but how Dylan is singing them at that particular moment, punctuating
phrases with quick jabs like a boxer.  Like Mike Bloomfield, he can fast, often
dazzling runs, and like Robbie Robertson he knows when not to play, and when to
come in with energized bursts of sound that are more about emotion and intensity
than showing off, and crackle like a live wire on the ground and snap like a
bullwhip.

Bob Dylan's first surprise tonight was opening the show with "Memphis Blues
Again."  If he's opened with this before, I don't remember it.  But from the
first note the all important energy was there and it totally works as an opener.
In fact I felt it worked better as an opener than anywhere else in the show. 
Actually, I've never been a big fan of this song done live, and I waited years
to hear it live.  The original studio version on Blonde On Blonde is so
incredible and also so funny, that it's been hard to match it live.  The humor
on the original just never translated to the stage.  Tonight however, it was
special, and while maybe the humor wasn't quite all the way there, it did have
that light moving feel of the original.

Dylan then moved from keyboard to guitar and went right into the more upbeat
arrangement of "Man In the Long Black Coat," that he debuted in Europe early
this year.  Powerful stuff, and Dylan even took a really not bad guitar solo,
that had none of the search and destroy aspects of other guitar playing I've
heard from the tour this year.  In other words he nailed it.  Unfortunately
during the song the plot of the eternal bring down appeared in the form of a row
of latecomers who of course had to sit right in front of me and decided to
continue whatever conversation they apparently were already having.  Then all
too soon, Charlie Sexton signaled the end of the song.  Unlike a lot of passed
tours, one thing quite noticeable tonight was there are no more long, drawn out
endings.  All the endings are clear, defined, and fast, and all are signaled by
Sexton.

The conversation continued right through a not bad "I'll Be Your Baby Tonight,"
where Bob's solo was, well it wasn't anywhere near what he played on "Man In The
Long Black Coat."  At this point my friend Max, whose been going to Bob concerts
with me for 21 years said, "I want to kill these people."  So I said, as
politely and nicely as I could, "Could you guys please not talk during the
songs?"  One guy was cool with it but the other one turned around and said,
"Man, people come to concerts to talk."  At this point I had to restrain every
James Gandolfini walking out of a clothing store and seeing a photographer
instinct I had in me.  In the book, The Godfather, there's this story about when
Al Neri was a cop and how he didn't need a gun, 'cause he'd just use his
flashlight instead, and I had this incredible urge to bring my binoculars
crashing down on this guy's skull, but I then I remember I wasn't in a movie,
even if I'd been through this movie before.

My hit man fantasies were quickly interrupted by Bob returning to the keyboard
and the band blasting into a fierce "Beyond Here Lies Nothing," followed by a
fairly upbeat "Spirit On The Water."  From that point on the energy level never
lagged, and was taken higher by "High Water (For Charlie Patton) with Donnie on
banjo, during which Bob left the keyboard and moved to center stage for a harp
solo.

An almost 66-ish style harp solo started off what turned out to be a truly
gorgeous and moving version of "Tryin' To Get To Heaven."  It was quite possibly
the best version I've ever seen of this song.  Dylan was singing from way down
deep.  Of course in the middle of it, almost the entire row of talkers left to
get beer.  This was followed by an equally amazing "Cold Irons Bound" with Dylan
singing at center stage and playing harp, with searing guitar work from both
Sexton, who got down on his knees, a position he would return to often  and
Donnie Herron on steel.  This arrangement may not have the dramatic show
stopping effects of the previous arrangements, but it's no less, in fact
probably more powerful.

Next came an also upbeat "Desolation Row," that was interesting for a couple of
reasons, the first was Dylan borrowed the organ riff from "If You Ever Go To
Houston," and then Dylan went into what some refer to as his sing-song voice. 
It's really not sing-song, it's almost as if you were reading poetry to little
kids or something.  In the case of "Desolation Row," it was basically hysterical
and took it to new heights of absurdity.  At the beginning of the song the chief
talker, who had returned from the beer run by himself, to my utter astonishment,
turned around and had the audacity to ask me if he could borrow my binoculars. 
After a moment of Obama-like contemplation, in the spirit of Obama diplomacy, I
handed them to him, and he handed them back after a verse or two.  However,
unlike Obama with the Republicans, it worked, and he pretty much shut up for the
rest of the night.  A lot of Dylan fans wonder why Donnie Herron watches Bob
like a hawk during the shows.  This version of "Desolation Row" had the perfect
example.  During the song, Dylan found some organ riff he liked, and Herron
immediately picked it up and echoed it on the mandolin and it took over as the
dominant riff for the rest of the song.

Returning to the pedal steel, Herron then kicked off a rearranged "Po Boy" with
a country flavored riff.  Like every song at this show, this too was done in
upbeat fashion.  Not speedy to get it over with, but just with energy and cool
harp from Dylan.

Next came the high point, the most moving part of an already quite moving show,
a stunningly beautiful, "Workingman's Blues," with Dylan starting at keyboard
then moving to center stage and playing harp.  In a city that just went through
a short but bitter transit strike, a city where jobs are few and far between, a
city where it was announced that very day that the city itself had less money
than thought, and hundreds if not thousands of city workers would be laid off,
in a city where a murder a day, if not more than that has become the norm, this
song resonated, and Dylan was powerful especially on the line, "I find it hard
to believe, someone would kick me when I'm down."  These solo turns out front by
the microphone are something special, just in the way Dylan stands, his hand
gestures, the way he moves.  It's been said many times during his career, but
what comes to mind is Charlie Chaplin, particularly at the end of Modern Times. 
Dylan didn't have a cane, he wasn't walking down the road, his hat was tilted
more like W.C. Fields in It's A Gift, the lone, sad, poet clown singing about
what was going on.

After that, the rest of the show really didn't matter, but it was all good. 
Dylan again returned to center stage for "Ballad Of A Thin Man," "Like A Rolling
Stone" resonated reborn, and "All Along The Watchtower," which ends Bob Dylan
concerts for a reason, sounded a warning, with the band pulling off a very cool
stop during the repeat of the first verse on the line, "I can't get no relief."

The thing about Bob Dylan is that every time you're maybe thinking he can't, he
shows, always in a new way, that he still can.  Like the best magicians, he
always has a few more tricks up his sleeve.  And that is why this tour, now in
its last two weeks is the tour to see.

thanks

  Little Sally Sanctus




________________________________
From: rinny52 <rinny52@...>
To: smalltalkatthewall@yahoogroups.com
Sent: Fri, November 6, 2009 8:46:35 AM
Subject: [Small Talk At the Wall] Re: Bob Dylan, Revisited


did you type in "bob dylan revisited" at Amazon?

it's there:

http://www.amazon. com/Bob-Dylan- Revisited/ dp/0393076172/ ref=sr_1_ 1?ie=UTF8&
s=books&qid= 1257515012& sr=1-1

--- In smalltalkatthewall@ yahoogroups. com, Little Sally Sanctus
<littlesallysanctus 111@...> wrote:
>
> i checked amazon and did another engine search  i can't find it anywhere
>
>  Little Sally Sanctus
>
>
>
>
> ____________ _________ _________ __
> From: PSB51 <psb51@...>
> To: smalltalkatthewall@ yahoogroups. com
> Sent: Thu, November 5, 2009 11:08:51 AM
> Subject: [Small Talk At the Wall] Re: Bob Dylan, Revisited
>
>
>
> Don't think I've seen this one yet, Ronnie
>
> --- In smalltalkatthewall@ yahoogroups. com, "Ronnie" <dylan_246@ ..> wrote:
> >
> > I picked up this book last weekend.  It's quite Loverly..
> >
> >  It is 13 GRAPHIC INTERPRETATIONS OF Bob Dylan's Songs.
> >
> > [don't know all for sure how new it all is..?]   The date says 2008.
> >
> > FIRST AMERICAN EDITION 2009.
> >
> >
> > Like I said, it is lovely.  Quite a keep sake for any BD fan.
> >
> > I recommend it!
> >
> > Someone's Christmas present..?
> >
> > hehehe  ./  hohoho
> >
> >
> > ron./
> >
>
>
>
>
>
>
>
> [Non-text portions of this message have been removed]
>







[Non-text portions of this message have been removed]