This is a (fairly balanced) review of a recent Dylan concert (Nashville, 30 June) which some might find interesting in itself but others might find boring. The review does, however, contain a passing reference to Mark at the end of Song #6:
Review by Francis King
Bob Dylan turned out an enjoyable performance in Nashville on Sunday night.
It was not the best of the 53 Dylan concerts I've seen since 1974, but it was
a solid B, maybe a low B+. The band was stellar. Dylan was very much
engaged with his performance.
Now, before turning to specifics about this particular show, some preliminary
observations.
I've read a few reviews lately that complain about the "deterioration" in
Bob's voice... one going so far as to suggest that it is "fraudulent" for him to
continue touring. Really?
Dylan isn't misrepresenting anything. Everybody knows his voice has aged to
the point where there's no real range left. Well, get over it. Folks have
complained about Dylan's voice (or, more accurately, voices) since 1962. If
you think he sounds like an old codger now, well, give a listen to the
original "Blowin' in the Wind."
Frankly, I think his voice in 2013 sounds pretty much the same as it has since
about 2009, if not earlier. That being said, the appreciation of Dylan's approach
to singing is an acquired taste; always has been. Some do. Some don't. I
always have. Still do. What he does with his voice (even what's left of it) is
uniquely entertaining. There's never been anyone else like him, and never will
be. (Who else could make "bottom" rhyme with "autumn," for example. See
"Idiot Wind.") Nobody else does anything remotely like this. (No, I don't
subscribe to the Tom Waits comparisons.)
There's a Joni Mitchell interview on You Tube, in which she says, "Bob's
invented a character to deliver his songs." While the remark comes off, initially,
as not intended to be flattering, she then adds, invoking a pretty passable
Dylan impersonation, "Sometimes, I wish I had that character myself." Exactly.
That character is what makes Dylan so special (well, one of the things that
does, anyway.)
O.K. Sunday night's show.
1. "Things Have Changed." Basically, the same version he's been doing the past
couple of years. Different from the original, but just as good. The band was
wonderful on this one. Great rhythmic interplay between Stu Kimball's insistent
acoustic guitar, Tony Garnier's bass and George Recile's drums. Not quite as
compelling as last year, when Mark Knopfler's lead was magnificent beyond
anything anyone else could hope to do. (Sorry, Duke.)
2. "Lovesick." This was an excellent rendition, essentially true to the original,
but played better. (This is one song that Dylan has not tinkered with much
over the years.) Bob's vocals on this were clear and strong. On this and other
numbers, his enunciation was quite clear and easily intelligible. No mumbling, as
has sometimes been a problem in the past. The clarity and authoritativeness of
his delivery compensated for the limited melodic range of his voice. Nice
interplay between Dylan's harmonica (albeit, a little shrill at times) and Robillard's
lead.
3. "High Water (for Charley Patton)." Another strong rendition. Fine banjo
playing by Donnie Herron, who could actually be heard (in contrast to some
tours, when he was pretty much lost in the mix). Again, pretty true to the
original. Dylan, center stage (as with the first two numbers). Fully engaged
with the song (if not the audience, to whom he spoke not a word all night.
Not even to introduce the band. Well, if you want banter with the audience,
Bruce is a better bet.)
4. "Soon After Midnight." The first of three offerings from 2012's "Tempest."
True to the recorded version. Nicely done. (I have yet to figure out what this
song is about.)
5. "Early Roman Kings." The second one from "Tempest." Excellent performance.
Band shined. Fine interplay between Robillard's lead and Dylan's grand piano.
Best vocal performance of the night by Dylan. Powerful.
6. "Tangled Up in Blue." Yet another new arrangement of this classic, which
he's now done at least 10 different ways over the years. This one had a great
bluesy instrumental in the middle, Duke offering a great lead. For some reason,
Bob left out a couple of verses. Interesting, subtle melodic change in the
opening line of each verse; well executed vocally by the supposedly "voiceless"
Dylan. A high point
